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Previous Next July 4, 2024 WRITTEN BY: THE BITESIZE CREW Welp, we’ve made it. Another six months of reviews, Top 5s, and feature articles from your favourite movie and television website is in the books. If you recall, back in January, we shared a list of movies we were most looking forward to over the first half of 2024 (refresh your memory HERE ). For the most part, all our choices turned out to be at least watchable, if not an instant classic. In fact, Argylle probably was the only total stinker of the lot. We also had one choice, the John Wick -spinoff Ballerina , pushed to 2025, which, as we explained at the time, is exactly why we’ve decided to do these lists every six months. We want to avoid listing movies that end up delayed for months or even years, and the further out you are from a release date, the harder it is to know just how “confirmed” that release date actually is. So, given that, we’re running it back and only focusing on our most anticipated films for the second half of 2024. To be eligible, the movie must have a confirmed release date between July 1st and December 31st. This makes for more accurate selections while also avoiding repetitive lists in the future. So… no need to belabor the point any further. By now, you should understand what we’re doing here. Are any of these on your list? What are you most excited about? Let us know on X (formerly known as Twitter) HERE . MAXXXINE (July 5th) I'm a huge fan of director Ti West's earlier movies in this series ( Pearl and X) , so words cannot describe how thrilled I am to see his latest film, MaXXXine . It is hands down my most anticipated movie of the year. With its 1980s Hollywood slasher vibes, I knew once I saw the first trailer that this would be right up my alley, especially if the rumors are true that it’s the horror equivalent of Quentin Tarantino's Once Upon a Time… in Hollywood . Everyone knows how I feel about QT! I cannot fully express how eager I am to watch Mia Goth, one of our modern-day scream queens, kill it once more. - Paige LONGLEGS (July 12th) Yeah, yeah — another day, another Nic Cage recommendation from good ol’ Q. Here’s the thing, though… Cage does something in Longlegs that he has never done: go full horror villain as a serial killer. Aren’t you at least a little curious, if not downright excited, to see what Cage might do with a character in line with The Silence of the Lambs ’ Buffalo Bill? While I admit the following could be my downfall by setting unreasonably high expectations, early reactions have been tremendous, calling it “one of the best films of the year, hands down,” “the most terrifying horror movie of 2024,” “the scariest film of the decade,” and, quite simply, “a masterpiece.” Even putting the Cage of it all aside, this is definitely a movie I need to see. - Quentin SING SING (July 12th) I’ve been hearing about this wonderful Colman Domingo film for damn near a year now, and I cannot wait to finally see it (I may cry if my local theater isn’t showing it opening weekend). After his Oscar-nominated role in Rustin , word is that Sing Sing should give Domingo another nomination (and possible win). However, unlike last year’s general consensus that he outshined a fairly run-of-the-mill film, this one supposedly lives up to, and maybe even surpasses, his performance. Add in some possible Best Supporting Actor buzz for Clarence Maclin, and Sing Sing could take a swing at my favorite movie of the year - Amarú TWISTERS (July 19th) I’ve seen 1996's Twister a lot. Not because I think it’s a masterpiece, or even because I love the film, but because it re-ran on TBS constantly when I was growing up. It’s good, but I never wanted or needed a sequel. Almost 30 years later, enter Glen Powell. His name changes everything as he has quickly shot up the ranks of Hollywood star power, making this sequel much more interesting. Plus, he’s joined by other up-and-comers Daisy Edgar-Jones and Anthony Ramos. Beyond the cast, with the advancement in technology since the previous film, the special effects have the potential to be absolutely bonkers. Much like how dinosaurs are mainly exclusive to the Jurassic Park franchise, tornados are a seldom utilized film device that hasn’t been overdone in mainstream movies ( Sharknado does not count), so there's a big opportunity for innovation here. Add in the perfect summertime release date, and this should be one of the biggest blockbusters of the year. - Nick DEADPOOL & WOLVERINE (July 26th) There was no way that this movie wasn’t going to be on this list. The entirety of the MCU fandom has been waiting for this film ever since Endgame ’s final credits rolled and since Disney acquired the film rights to the X-Men, hoping to get answers to many of the questions Phases Four and Five have left us wondering. When will Deadpool (Ryan Reynolds) arrive in the universe? Who will he bring with him? Will Hugh Jackman ever see the screen with Reynolds? Can this pair “save” the Multiverse Saga? All of those questions can and may be answered with this film, but all I’m looking for is a good-ass time. With Reynolds, Jackman, and director Shawn Levy at the helm, I have no doubts that they will deliver on it all. - Amarú CUCKOO (August 9th) Continuing a stacked summer of horror, Cuckoo is a horror-thriller, written and directed by Tilman Singer, that I am very much looking forward to. The film stars Hunter Schafer, who was one of the best parts of Euphoria , so I’m very excited to see her first lead role in a feature film. On top of that, there is Dan Stevens, who has never failed to impress me in any role I’ve seen him in, not to mention Gemma Chan and Jessica Henwick. The trailer looks bonkers, promising fast-paced, high-tension, bloody entertainment, with an intriguing and unnerving concept that I can't wait to delve into. - Katie BEETLEJUICE BEETLEJUICE (September 6th) Sometimes you are going about your day, running errands maybe, and a passerby might say something like, “Hey, I love your shirt” or “Your beard makes me wish I was a Viking.” You didn’t think you needed it, but you are renewed with a sudden surge of energy. That’s how a second Beetlejuice feels! No matter the historical terror of sequel sadness, I am still extremely optimistic as Tim Burton takes the reins once again and stylizes the new film in the same way as its excellent predecessor. Michael Keaton, Winona Ryder, and Catherine O’Hara reclaim their previous roles alongside the appropriately cast Jenna Ortega and a slew of other stars that should carry the torch along quite nicely. - Preston WOLFS ( September 20th) There are few actors I consider bonafide “movie stars,” by which I mean more than just celebrated thespians or front-page celebrities. I mean no-shit, Old Hollywood-style, glitz-and-glamor-having, capital-M, capital-S “Movie Stars.” Near the top of that short list are George Clooney and Brad Pitt. So, when you throw the real-life best buds into a movie together, especially considering that they haven't been working all that often recently (since 2015, Clooney and Pitt have only given us five lead performances each, though Pitt also has had a few supporting roles), I’m going to take notice. Their natural chemistry and star-power alone is worth the price of admission, but with underrated director Jon Watts at the helm, this black action-comedy about rival, “lone wolf” mob fixers forced to work together is sure to be a blast. - Quentin JOKER: FOLIE À DEUX (October 4th) Contrary to my previous pick’s predecessor, I did love 2019’s Joker . I think it was yet another chance for Joaquin Phoenix — one of the greatest actors of our time — to flex his skills, and I’m thoroughly looking forward to Arthur Fleck’s (Phoenix) continued descent into madness. As for my anticipation for the rest of the film, that's due to the unknown. The idea of a pseudo-musical has the potential to be very interesting, but also may not work at all. Sure, Lady Gaga was very good in A Star is Born , but she hasn’t impressed me in anything else. Unlike Twisters , I don’t think this one is a slam dunk, but I know I’ll be seated in the theatre as soon as I’m able, watching it all unfold. - Nick ANORA (October 18th) Regardless of what little I knew about Sean Baker's upcoming film Anora , I was already looking forward to it because I find him to be such a fascinating and intriguing filmmaker. Hot off its Palme d'Or win at the Cannes Film Festival, I am now more excited than ever. This screwball dramedy is said to be his best-looking movie to date, which is saying a lot considering how beautifully shot his previous films are. I can’t wait to be re-captivated by Baker's specialty of delicately telling stories about sex workers, especially since its lead actress, Mikey Madison, is being deemed a "star in the making." - Paige SMILE 2 (October 18th) After the surprising box office success of his feature debut Smile (which was originally slated for a streaming-only release), director Parker Finn returns for its follow-up, Smile 2 . Smile was one of my favourite films of 2022, with its simple, effective, and deeply creepy concept, not to mention the fantastic performances that drive it, so I cannot wait to see what can be done with a bigger budget and a new cast. I’m especially interested to see Naomi Scott’s pop star character and the tour setting that was revealed in the trailer, and how the character’s fame will be used both as part of the story and in conjunction with the smiley scares. - Katie GLADIATOR II (November 22nd) Paul Mescal, Denzel Washington, Connie Nielsen, Pedro Pascal, Djimon Hounsou, and Barry Keoghan. Even if you are like me and have a hard time putting names to faces, I can assure you that cast list…*in my best Valley Girl accent*…is, like, really good. Ridley Scott, one of my top 10 best directors of all-time, revisits the gladiator pit once more to give us what is sure to be another classic. With the original being one of those films that I watch over and over when the Netflix scroll gets to be too much, it’s a no-brainer that I’m stoked for a sequel. - Preston NIGHTBITCH (December 6th) It's been a second since we've seen Marielle Heller's direction grace the screen, having last been blessed with 2019's A Beautiful Day in the Neighborhood . So, suffice it to say, I'll be there day one for Nightbitch , a horror-comedy starring Amy Adams as a mother whose life takes a turn in the most bizarre way as she suspects she's slowly morphing into a dog. Anyone who knows me knows I like a movie that takes swings, and I'm truly excited to see what Heller does with this source material. But I'm also really excited to see what Amy Adams does with this role that has already won her a TIFF Tribute Award. I cannot wait to check this one out at the festival this year. - Adriano NOSFERATU (December 25th) Where are all my Eggers freaks at? After The Witch , The Lighthouse , and The Northman , Robert Eggers is without a doubt my favourite new-age filmmaker. His bold commitment to mythology, uncomfortable terror, and attention to detail is truly unmatched, and based on the magnificent first trailer for Nosferatu , it looks like that remains unchanged. A project Eggers has wanted to make since 2015, I cannot begin to imagine what terrifying imagery and production values he has in store for us this time around. Tackling the great vampire Count Orlok (played by Bill Skarsgård) with such a stacked cast, I'm more than ready to never sleep again. - Adriano

Previous Next March 10, 2023 WRITTEN BY: THE BITESIZE CREW Time for the Bitesize Crew to predict the 95th Academy Awards. Do we think Everything Everywhere All at Once will sweep the acting categories? Did anyone dare vote against Guillermo del Toro's Pinocchio? Brendan or Austin?

JACK RYAN: SEASON THREE Starring: John Krasinski, Wendell Pierce, Michael Kelly, Betty Gabriel, James Cosmo, Peter Guinness, Nina Hoss, and Alexej Manvelov Creators: Carlton Cuse and Graham Roland QUENTIN I think Jack Ryan ’s third season might be the series’ best and most action-packed season yet. That said, I honestly don’t remember anything about the first two seasons, so maybe take those statements with a grain of salt. In all likelihood, this season will ultimately prove just as forgettable, but that doesn’t mean it wasn’t an engaging enough espionage show for the short time I spent with it. I also appreciated the small nods to Jack Ryan’s movie adventures, including The Sum of All Fears and The Hunt for Red October . I might as well stick around for the fourth and final season.

Previous Next December 27, 2023 WRITTEN BY: AMARÚ This time of year is one that all school teachers simultaneously dread and love. We dread those last few exhausting days before winter break; standing in class, yelling at children, multiple mental countdowns ticking closer and closer to freedom, Christmas, the New Year, and my birthday (I take Cash App gifts if you’re wondering). And we love what those countdowns lead to: sleeping in, peace and quiet, and real adult interaction. For me, winter break often entails as much movie watching as possible. But no matter how much I try to avoid the classroom on my days off, I can’t help but think about it in some capacity, especially when I watch films with fictional counterparts doing my actual full-time job. Some of these films I initially experienced as a child, and some were first time watches after I began teaching, and, boy, I can tell you that being on the other side of the desk has changed the way I watch these cinematic educators. I’m constantly pointing at the screen, either smiling at something that is all too familiar, or yelling “BULLSHIT” at things that would never, EVER happen, which got me thinking. How realistic are these movie teachers, really? With that in mind, I decided to take my classroom expertise to rate the accuracy of five of my favorite educators throughout film history. This is by no means a ranking. I’m just trying to shed a little light on whether those influential speeches from some of your favorite movie teachers might actually happen in real life. Side note: if the educator is based on a real-life person, you won’t find them on this list. So, I won’t be speaking on the chain-locking Coach Carter or Joe Clark (Lean on Me ), nor the inspirational Jaime Escalante (Stand and Deliver ) or LouAnne Johnson (Dangerous Minds ). But fake teachers are fair game. First up… NAME: MISS JENNIFER HONEY (EMBETH DAVITZ) MOVIE: MATILDA GRADE LEVEL: FIRST GRADE TEACHER ACCURACY: 50% Now, as much as I’d like to believe that teachers are magic, that, of course, is the biggest knock against the enchanting first grade teacher, Jennifer Honey. On one hand, she has a “deep, dark secret” that she doesn’t let affect her teaching practice. That’s just about every single teacher I know, leaving a completely different lifestyle at the door every morning when they walk into the school. On the other hand, if real-life teachers had magical powers, they would use them every chance they could to get kids to stay in their seat, catch flying objects in mid-air, and maybe, just maybe, cause a tiny slip or tumble of the troublemakers when their fourth redirection of the class period has made no difference. That’s probably why Ms. Honey has such a slight, whispering demeanor in class, and why all her first graders are quietly waiting on her every single word: her students KNOW. BETTER… All jokes aside, elementary school teachers are angels walking amongst us, and the non-magical half of Ms. Honey is a damn accurate representation of the best of them, except, based on what side of town she’s teaching, she would not be able to tell an adult that “maybe [they] shouldn’t be a parent,” no matter how well intentioned. But then again, maybe she could… MAGIC. POWERS. NAME: DETECTIVE JOHN KIMBLE (ARNOLD SCHWARZENEGGER) MOVIE: KINDERGARTEN COP GRADE LEVEL: C’MON SON… IT’S IN THE MOVIE TITLE ACCURACY: 1000% The apprehensive looks, the nervous breathing while listening to kids say the darndest things, the “SHUUUUUUUUUT UUUUUUUUUPPP!!!”… everything about substitute kindergarten teacher/undercover police detective John Kimble is accurate. All the way, totally truthful, one thousand percent accurate. When you walk into a classroom filled with energy-ridden five-year-olds thinking that you have everything under control, when, in fact, you have absolutely no idea what’s coming, all hell will indeed break loose. One day in an unkempt kindergarten class would make the best of us run away, yell at the top of our lungs, then subsequently lie down exclaiming “they’re horrible” to anyone who will listen. This is the movie I’d show to all those people that want to say something bad about the teaching profession. Spend one day in our shoes, and you’ll see just how hard it actually is. Still, if you care, you bring your true self, and you actually prepare, you’ll learn to love the little brats. Not me, though… again, elementary school teachers are angels. I’ll stick to my middle school devils. NAME: DEWEY FINN (JACK BLACK) MOVIE: SCHOOL OF ROCK GRADE LEVEL: FIFTH GRADE ACCURACY: 15% This man would have been fired in 2.5 seconds. I know there’s a teacher shortage, but you’re forgetting two important words when it comes to that: public school. Dewey Finn was substituting in a fifth-grade prep school class that cost $15,000 a year to attend. There is no way he’s getting away with a tenth of what he tried to pull off. First of all, the principal would have walked him right back out the door once he mentioned giving kids “a little smack” or leaving early because he had “stuff to do.” Secondly, telling a kid to shut up, sleeping in front of kids who want to learn, and then teaching them about “the man” would have gotten him tattled on real quick. I’ve never taught at an actual prep school, but I’ve taught similar demographics, and I got sent to the principal’s office the second I said the smallest off-color comment trying to be funny (don’t ask). Kids will tell on you quickly, and Dewey Finn would have gotten 15 parent complaints to the school about his “lessons” before he could even get a chance to become the awesome mentor he eventually became to those musical munchkins. That’s the only reason he isn’t at 0%. Real-life music teachers around the world really are that cool, and all good teachers can steer a child’s life towards greatness just like he did. Dewey Finn may not be an accurate representation of teaching, but he is an accurate representation of awesomeness. NAME: JOHN KEATING (ROBIN WILLIAMS) MOVIE: DEAD POETS SOCIETY GRADE LEVEL: HIGH SCHOOL ACCURACY: 95% Speaking of awesomeness, allow me to re-introduce the masterful John “O Captain, My Captain” Keating. Think back to that one teacher that changed your being, riveted you with their lessons, made you laugh out loud, and had you ready to run through walls. If you had that luxury, then you knew a John Keating. He is what Dewey Finn would be if Finn lesson planned…or prepared…or just knew what the hell he was doing. Teachers are hired to teach academic subjects, but in reality, they teach children how to be human beings and how to become their own individual person. No matter the subject, teachers who teach with passion and preparation reach their students at their cores. That’s what John Keating did. He treated his students like adults who were getting ready to enter the world. His combination of truth, intelligence, leadership, and expertise is what all teachers aspire to be when they first step into the classroom. Now, whether that passion is still palpable after years and years of cost-cutting, parent complaints, disrespectful students, government interference, and administrative neglect is a whole other question. Luckily, the 5% I’m taking off his accuracy is a good thing because there is no way in the world that any school nowadays is firing a teacher that is that damn good at his job. NAME: SISTER MARY CLARENCE (WHOOPI GOLDBERG) MOVIE: SISTER ACT 2: BACK IN THE HABIT GRADE LEVEL: HIGH SCHOOL ACCURACY: 100% If you want to be somebody, if you want to go somewhere, you better wake up and pay attention. If you don’t believe that’s a black momma teacher quote that’s just as relevant now as it was 30 years ago when Sister Mary Clarence told it to her rough-around-the-edges classroom, then you haven’t stepped foot inside a public school classroom, maybe ever. Every low-income public school has kids who have great potential but will try your last nerve. Every low-income public school has a black momma in their building (probably more than one). Even in 1992, it was highly understood that you only get one time to try that black momma’s nerve before she’s on your neck. On your neck with love, but on your neck, nonetheless. About 30 minutes into Sister Act 2 , after taking one too many doses of disrespect from her music class, Sister Mary Clarence walks into her room and reads every single student head to toe, laying down the law, and letting them know that her class is no longer one that can be slept through. And if they didn’t like that, they could take their F’s and walk right out the door. This scene, and the entire film, is an excellent display of how teachers can be authoritative yet respectful, strict yet welcoming, funny yet forceful, demanding yet loving. But more importantly, Sister Mary Clarence, like many great Black, female teachers, did everything with an aura that resonated belief in her students. So even when she was cursing them out without using profanity, her kids believed in the potential she saw in them. This unwavering belief of black women is the most accurate movie representation of teaching I can think of because, not only did I experience this as a student, but I also watched it not two weeks ago as a teacher. There’s a Sister Mary Clarence who probably teaches a child you care about this very school year, and you better be happy she does. There’s only one other instance in film that is as accurate a representation of teacher life as Whoopi is in that scene, and that is where I will leave you. Happy Holidays everyone! Photo Credits: Photo 1 - Sony Pictures Releasing; Photo 2 - Universal Pictures; Photo 3, 5 - Walt Disney Studios; Photo 4 - Paramount Pictures

Previous Next March 15, 2024 WRITTEN BY: AMARÚ In 2023, Guillermo del Toro (affectionately known as GdT) made a brilliant and much needed statement after Guillermo del Toro’s Pinocchio (which, by the way…can we just acknowledge how legendary it is that none of us batted an eye when GdT put his name at the front of that title) won the Oscar for Best Animated Feature. He vehemently went to bat for an often-overlooked cinematic medium, stating, “Animation is cinema.” He continued, “Animation is not a genre. Animation is ready to be taken to the next step. We are all ready for it. Keep animation in the conversation.” If you know me, you know animation is always in the conversation when discussing my best movies of the year. I’ve been ready for animation to be taken much more seriously for decades now. Year after year, I feel there are animated features that are just as good, if not better, than many of the Oscars’ Best Picture nominees. Still, like GdT intimated, animation does not get the respect it rightfully deserves, with only three animated movies being nominated for the top prize in the Oscars’ 96 years, and the most recent being 2010’s Toy Story 3. So, here I am, yet again, striving to keep the conversation going. Listed below are five* films from my lifetime that deserved much more appreciation from the Academy of Motion Picture Arts and Sciences. Quick note, though… There are, of course, plenty of animated films I haven’t seen, most notably those from Studio Ghibli. While I respect the few I have seen, including a current Best Animated Feature nominee that I don’t personally consider to be one of the top seven animated films of 2023, I have never been able to truly connect with them. Please don’t come at me for the lack of films outside the popular zeitgeist, but instead let me know what animated films you believe should have been nominated for Best Picture. Educate me. Without further ado, and since I already mentioned it, let’s begin with… GUILLERMO DEL TORO’S PINOCCHIO Release Year: 2022 Best Picture Nominees: Everything Everywhere All at Once , All Quiet on the Western Front , Avatar: The Way of Water , The Banshees of Inisherin , Elvis , The Fabelmans , Tar , Top Gun: Maverick , Triangle of Sadness , Women Talking Best Picture Nominee(s) that Guillermo del Toro’s Pinocchio should have replaced: Elvis , Tar Yea, sure, both Austin Butler and Cate Blanchett went hard in their respective titular roles, but Elvis is overindulgent, and Tar is under…entertaining. Is that a thing? Look, it’s boring as hell. GdT’s Pinocchio , on the other hand, is a film that stays with you for hours, days, weeks, or much, much longer because of its incredibly harrowing and hopeful themes. Add in the impeccable detail that the animators put into the character and production design, the absolutely moving score, and the pitch-perfect voice cast, and you have one of the most deeply felt movies of 2022. Pinocchio , in general, is a horrifying and dreadful tale, but GdT somehow is able to diffuse that brutality with a piercingly bright light of charm and beauty. This final sentiment I could probably attach to every one of the following films, but I truly believe if this exact movie was presented in live action, it would have been a strong contender for Best Picture, Best Director, and Adapted Screenplay. INSIDE OUT Release Year : 2015 Best Picture Nominees: Spotlight , The Big Short , Bridge of Spies , Brooklyn , Mad Max: Fury Road , The Martian , The Revenant , Room Best Picture Nominee(s) that Inside Out should have replaced: None, but they left two slots open. I’ll apologize now for basically repeating this statement a little later on, but if the first ten minutes of Up convinced the Academy to use all ten of its Best Picture nominee slots to give it a nomination in 2009 (2010 ceremony), then how in the world do you leave two slots open in 2015 when Inside Out is miles better than Up ’s remaining 90ish minutes? The creativity, humor, wonderful writing (it was nominated for Best Original Screenplay, dammit), and beautiful score from Michael Giacchino makes Inside Out more than deserving of a nomination. Phyllis Smith’s vocal performance as Sadness absolutely shines amongst a stacked cast, and I can’t imagine anyone in the world being unable to connect with the idea of trying to figure out how to human. It’s so hard to human! Especially as a child going through major changes in life (oh boy, I can’t wait for the hormones in Inside Out 2 ). No matter who you are or where you come from, there is something in this film that connects to you on a spiritual level, and if the Academy felt obliged to reward the well-deserved tears resulting from Ellie and Carl’s connection in Up , I have two words for you: Bing. Bong. THE LION KING Release Year: 1994 Best Picture Nominees: Forrest Gump , Four Weddings and a Funeral , Pulp Fiction , Quiz Show , The Shawshank Redemption Best Picture Nominee(s) that The Lion King should have replaced: Four Weddings and a Funeral Man, I admit, 1994 was pretty damn stacked. I almost decided not to include this absolute classic when I saw what was nominated, but then I remembered that I had, in fact, seen Four Weddings and a Funeral . Then, I subsequently remembered that I remember damn near nothing about it. The Lion King is the film of an entire generation’s childhood. It is supremely voice-acted, has an Oscar-winning score, Oscar- and Grammy-winning original songs, and simultaneously traumatized and put back together every millennial you’ve ever met with its moving story of learning, loss, love, and leadership. It’s much more than the catchy songs we all love. It has charming characters, a top-tier villain with top-tier henchman, an iconic father figure, protagonists you want to root for, and a compelling story. I’d bet everything I just mentioned is something that you pictured in your head immediately. You remember where you were when you first saw Scar toss Mufasa off that cliff. You can hear every meme of Rafiki lifting a young Simba in the air (think about it…yes, that does make sense). Beauty & the Beast may be the Disney Renaissance film that was nominated for Best Picture, but The Lion King is the one that deserved it. A true snub. COCO Release Year: 2017 Best Picture Nominees: The Shape of Water , Call Me by Your Name , Darkest Hour , Dunkirk , Get Out , Lady Bird , Phantom Thread , The Post , Three Billboards Outside Ebbing, Missouri Best Picture Nominee(s) that Coco should have replaced: Honestly, probably about half of them, but yet again, THERE IS AN OPEN SLOT! THE ACADEMY USED ALL TEN SLOTS TO GIVE THE FURNACE SCENE IN TOY STORY 3 A NOMINATION IN A YEAR AS STACKED AS 2010, BUT THEY COULDN’T GIVE THE FINAL SLOT IN 2017 TO COCO , A FILM WHOSE ENTIRE RUNTIME IS AS IMPORTANT, HEARTFELT, AND TEAR-JERKING AS THAT DAMN FURNACE??? Look, I’m not saying that the furnace is the only great scene in Toy Story 3 (it very much deserved that nomination), but I AM saying that Inception, The Social Network, True Grit, Black Swan, and The Fighter would have beaten eight of nine nominees listed above (two guesses which one I think stacks up). Coco is a banger of an emotional thrill ride. Banger music, banger characters, banger visual effects & production design, banger cast, and, my goodness, that last banger rendition of Academy Award-winning song “Remember Me.” How a movie that is comparably as amazing as Toy Story 3 can’t crack a list filled with Best Picture nominees that don’t hold a candle to most of the films Toy Story 3 went up against just doesn’t make sense to me. The math ain’t mathin’. SPIDER-MAN: INTO THE SPIDER-VERSE & SPIDER-MAN: ACROSS THE SPIDER-VERSE Release Years: 2018 & 2023 Best Picture Nominees, 2018 : Green Book , Black Panther , Blackkklansman , Bohemian Rhapsody , The Favourite , Roma , A Star is Born , Vice Best Picture Nominee(s) that Into the Spider-Verse should have replaced: The FILM THAT WON IT ( Green Book since you, like everyone, most likely forgot), Bohemian Rhapsody Best Picture Nominees, 2023: American Fiction , Anatomy of a Fall , Barbie , The Holdovers , Killers of the Flower Moon , Maestro , Oppenheimer , Past Lives , Poor Things , The Zone of Interest Best Picture Nominee(s) that Across the Spider-Verse should have replaced: The Zone of Interest Y’all might have been wondering why I had that asterisk in the intro when I said five films, and if you know me, then y’all also were wondering after Coco how there could only be one movie left. And if you REALLY know me, you already knew this was coming. The Miles Morales-centered Spider-Verse films have the potential to surpass The Lord of the Rings as the greatest cinematic trilogy of all time. They not only innovated what animation can look like, already setting a new trend that subsequent animated films have strived to emulate, but they also set themselves apart as the best Spider-Man films to grace the silver screen, delivering more heart, action, spectacle, and thrills than any of the live-action versions. Yet, amongst all the grandeur, this soon-to-be trilogy’s true heart comes in the films’ introspective themes of identity. Into the Spider-Verse ’s intricate and entertaining story about growing into your own identity is far more moving and authentic than the two papier-mâché true stories nominated in 2018. Then, Across the Spider-Verse took that authenticity and expanded it to tell two equally compelling, parallel tales about the identities we want to share with loved ones but are too scared to reveal, all while naturally interweaving easter eggs, cameos, references, different animation styles, and an epically snubbed score from Daniel Pemberton with intimate detail. And I don’t want to hear anything along the lines of “it’s only half a movie” when The Two Towers is deservedly sitting right there in 2002’s Best Picture lineup. I mean, look, I just watched a whole-ass, two-hour Holocaust movie from 2023’s Best Picture lineup, and I didn’t give two shits about anything it presented to me. I couldn’t tell you one thing about that movie. Sure, MAYBE that’s on me. But you're telling me the Academy has felt that same way about EVERY animated movie released in the past almost 100 YEARS(!), save for THREE?! Only THREE were Best Picture-worthy?! If so, then GdT was right; the Academy needs to have some different conversations when it comes to animation. Photo Credits: Photo 1 - Netflix; Photo 2, 3, 4 - Walt Disney Studios; Photo 5 - Sony Pictures Releasing

Previous Next As we approach 2025 and the end of the 21st century’s first quarter, we wanted to look back to see which actors, actresses, directors, and movies have stood the test of time. With that in mind, for the rest of the year, the Bitesize Top Five will be giving a consensus view on what we think are the Bests of everything since 2000. We are only looking at work released since January 1, 2000, so don’t get mad because your favourites of the 90s didn’t make it. Over the next four months we will do Top Five Dramas, Comedies, Horrors, and Action Films of this century. For our purposes, we worked with the idea that every movie falls under one of those broad umbrellas. It’s imperfect, but it felt like the best course of action. As always, each writer ranks his or her top 15 in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. INGLOURIOUS BASTERDS One cannot discuss the greatest dramas of the 21st century without mentioning the gem Inglourious Basterds . Even writer-director Quentin Tarantino ends his amazing film with the final line "I think this just might be my masterpiece," which is 100% him talking about his work on the movie. For all movie lovers, Inglourious Basterds is essential viewing because it's incredibly engaging with shock value, dramatic moments, suspense, and humorous beats. Plus, the screenplay is razor-sharp, Tarantino's directing is superb, and its ensemble pulls off fantastic performances. As a die-hard Tarantino fan, I not only think this is his best movie to date, but one of the best films ever. - Paige 4. WHIPLASH Whiplash is a film that, regardless of someone’s taste or preferences, I’ll always recommend. Damien Chazelle’s intense, ambitious, and riotously entertaining film explores the limits an artist is willing to push themselves to achieve greatness, and infuses it with an adrenaline-fuelled nervous energy that simultaneously paralyses you while keeping your heart racing. Chazelle uses drum solos as nerve-shredding dramatic set pieces and riveting dialogue to keep you on the edge of your seat, completely immersing you in the volatile relationship between student and mentor. The cast also is faultless, and J.K. Simmons’ pitch-perfect performance as the formidable Terence Fletcher is one of my favourites in any film. - Katie 3. PARASITE Recency bias is looking less and less likely with every passing year for director Bong Joon Ho’s thrilling epic Parasite . Even before the massive twist that slapped everyone in the face, this tense game of class warfare had you at the edge of your seat wondering how the Kim family might pull off their long con. But that twist does happen, and the seat to which you were grasping onto is now a thing of the past. The Oscars confirmed that everything from the writing, directing, and pacing were best of 2019, but the ensemble (especially Song Kang-ho’s harrowing patriarchal turn) also matches that greatness. This is an instant classic whose hype as one of the best of this century is more than warranted. - Amarú 2. ETERNAL SUNSHINE OF THE SPOTLESS MIND Eternal Sunshine of the Spotless Mind is the kind of film that you watch while just being grateful that it exists. A romance mixed with science fiction, not to mention some psychological thriller thrown in, it is a breathtaking, brilliant, and thought-provoking masterwork about our perception of love and connection to others. Everything from Jim Carrey’s and Kate Winslet's heartbreaking performances to Michel Gondry's direction that elicits incredible shots and demonstrates nuance to the Oscar-winning script that is still analyzed and talked about today, everything about Eternal Sunshine is iconic. While some have tried to varying degrees of success to replicate this lightning in a bottle, it will forever be one of a kind. - Adriano 1. THE DEPARTED The Departed is almost hard to classify as a drama because of the intensity within each scene and the heart-racing anxiety it induces. Director Martin Scorsese uses an absolute all-star cast to wind up a plot that is teaming with twists, turns, and tension. The best films coax the viewer into the situation playing out in front of them, and The Departed is the epitome of such a temptress. Who can you trust? Who am I rooting for? What the hell just happened?! These are exactly the kinds of questions you yearn to be asking during a great film of this ilk. Throw in some Boston accents, gang play, complicated romance, humor, undercover police work, murder, Jack Nicholson’s special kind of crazy, with a sprinkle of American patriotism, and you have a recipe for something truly fantastic. - Preston HONORABLE MENTIONS CATCH ME IF YOU CAN ARRIVAL ALMOST FAMOUS LA LA LAND CHILDREN OF MEN

Previous Next October 21, 2022 WRITTEN BY: NICK With Bitesize Breakdown sending three writers to TIFF this year, we decided that each of our individual feature articles should be done in a different style. With that in mind, I wanted to recap my festival experience with a daily journal. All said and done, I saw nearly 40 movies in 11 days. I walked away with some highs that I fully expect to make my “Best of 2022” list, and while there were some lows too, there were few things I actively hated. That said, my favorite takeaway is all the wonderful people I got to meet: fellow critics, eager film fans, and the TIFF volunteers and coordinators. Plus, this was the first time three Bitesizers had been in the same city at the same time (one of which I was meeting in person for the first time). They all made my first TIFF a memorable experience, and they’re just another reason I’m already looking forward to next year. Now, please follow along with the Week One perspective of a first time TIFF critic, and come back on Monday to close out the experience with Week Two. Enjoy the ride... DAY ONE NANNY My first film of TIFF was always going to have the unenviable task of setting the tone for the rest of the festival. It would be the film I ranked all other movies against, and, perhaps unfairly, a film saddled with a certain level of hype regardless of what it was. For me, that film was Nanny . I added this film to my schedule based on another critic’s recommendation, and even though it didn't quite work for me, I understand where the recommendation came from. Anna Diop is spectacular in the lead role, and her chemistry with co-star Sinqua Walls is magical. Unfortunately, the story doesn’t take advantage of this fact while managing to introduce too many ideas and commit to none of them at the same time. THE INSPECTION My opening night closed out with Elegance Bratton’s The Inspection . This was one of my most anticipated films, and it did not disappoint. Bratton crafted an incredibly heartfelt and personal story, which became even more clear as the director shed tears at the Q&A following its debut. In fact, it’s evident on screen that this film clearly meant something to the entire cast and crew. Of the films I caught that neither of my fellow Bitesize writers were able to, this was easily their biggest mistake. DAY TWO WEIRD: THE AL YANKOVIC STORY Weird was probably one of the more intriguing films of the festival, so I was happy to start Day Two with an early morning screening of it. The idea of an Al Yankovic biopic is curious enough, but then you add Daniel Radcliffe in the starring role… and, oh, did I mention it’s being released as a Roku Original? It all makes Weird an apt title. Although I liked it more than I loved it, this film was 10 years in the making, so it just seeing the light of day is a great story. ROOST Due to scheduling, Roost was a film I almost had to cut, but I’m so happy I found a window for it. It’s not the thriller it’s promoted as, but it is a well-acted drama that kept me locked in through its entirety. Kyle Gallner is the standout, making this the second festival film he’s made a splash with after fellow Bitesize writer Quentin raved about Dinner in America from Fantasia Film Festival 2020. BROTHER Clement Virgo’s Brother brought Day Two to an end. Growing up just outside of Toronto, I was particularly interested in this film since I know the area and people of Scarborough extremely well. Aaron Pierre especially captures the Scarborough vibe with his character; but there is something missing that just doesn’t make the film feel quite like the suburb I know. I had hoped the neighborhood would be more of a central character, but instead it feels a little generic. I’m aware that’s going to be a niche opinion since I’m from the area, and I expect others will enjoy it more without viewing it through that lens. DAY THREE THE WOMAN KING After five films, the festival had been very heavy on the drama, lacking anything to really get me out of my seat. Enter The Woman King . Gina Prince-Bythewood's feature is filled with badass women doing badass things, and I loved every minute of it. The performances are great across the board, while the film itself is enriched by the culture and history of the Dahomey warriors, a group I admittedly knew nothing about but came to learn are basically the real-life version of the Dora Milaje from Black Panther . The Woman King is also rife with awards-worthy and career-best showings from a number of actors, and I hope to see some acknowledgement of that come awards season. BLACK ICE Red Carpet Due to a lengthy break between films, I was able to cover the Red Carpet for the documentary Black Ice . I saw the film before the festival, so it won’t be included here (review to come), but everyone at TIFF deserves kudos for how easy they made it for Press, particularly creating a memorable first carpet experience for yours truly. I had the pleasure of speaking with fellow critic Peter Gray on Press Row, where we saw the likes of NHLers PK Subban, Wayne Simonds, and Anthony Duclair…names lesser known to the Australian critic as our sport isn’t quite as popular in his neck of the woods. I even got to discuss diversity in hockey with current Stanley Cup Champion and former Toronto Maple Leaf Nazem Kadri. Toss in a surprise appearance by Hayden Christensen, and it was an unforgettable experience. THE MENU After covering the Black Ice premiere and watching the stars arrive for Glass Onion ‘s Red Carpet (more on that film tomorrow), it was time for The Menu . I knew this devilish tale would be right up my alley, and I was correct. The writing supersedes any one performance, so you feel like you’re being taken on the same ride as the characters in the movie. It’s fantastic! Also, it was the only premiere that made it feel special to be there. There were gift bags with travel mugs waiting on our seats when we arrived, and upon the film’s conclusion, they were handing out food from the film’s menu via a local food truck. That’s how it’s done. This is one of the biggest film festivals in the world, and going that extra mile is something more films should have considered. DAY FOUR GLASS ONION: A KNIVES OUT MYSTERY With the success of Knives Out , Glass Onion had a ton to live up to. Sure, you have the highly anticipated return of Benoit Blanc (Daniel Craig) combined with a new cast of characters, but could the mystery surpass its predecessor’s? Yes, yes it could. Rian Johnson’s follow-up is a funnier film that may not reach the heights of the original, but it doesn’t fall short by much. It’s a great sign that Blanc has a lot of legs since Craig seems eager to take on yet another successful franchise. I expect this movie to break some Netflix records when it’s released later this year, and I already can’t wait for the next entry. It should also be noted that, at the Q&A following this 9am screening, Daniel Craig was admittedly hungover from the global premiere the night before, and watching him struggle to answer questions was genuinely hilarious. WENDELL & WILD Following the highs of Glass Onion , I almost immediately went into a screening for Wendell & Wild . My interest piqued when I heard there was a stop-motion children’s horror film being brought to life by the director of The Nightmare Before Christmas and emerging horror icon Jordan Peele. Sadly, this was a bit of a letdown. Yes, kids likely will enjoy it, but it felt familiar in all the cliché ways you'd want to avoid. I certainly didn’t hate it, and I have an infinite amount of respect for stop-motion animators, but the film itself doesn't match the quality of the visuals. THE GOOD NURSE Another entry from my most anticipated list was The Good Nurse . The true story of a nurse suspected of killing his patients, led by Oscar winners Jessica Chastain and Eddie Redmayne, seemed like a slam dunk. Nope. The film is dreary and devoid of personality, with a tone similar to Netflix’s The Unforgivable . However, unlike that film, the central performances can’t make up for the film’s many issues since they are relatively uninspired. On multiple occasions, I found myself sitting in the theatre actively waiting for the film to end. The fact that they wasted the story of maybe the most prolific serial killer in history on this slog is indefensible. SICK Day Four closed with my first Midnight Madness screening of the festival. The crowd at these showings are different animals. It’s a rowdy environment where people like to have fun, react loudly (a little too often) throughout the film, and relish in the fact that we’re all watching something in a packed house at 1am. It was a good environment in which to see Sick , a relatively generic slasher film with a COVID twist. It’s nothing special as a movie, but it was a fun way to end the day. This concludes Week One. If you thought that was a lot of films, just wait until Week Two when I finally get to see festival juggernauts The Whale , The Son , and The Fabelmans . Two I loved, one I hated. Tune in on Monday to find out which one was which! Photo Credits: TIFF

THE WALKING DEAD: THE ONES WHO LIVE Starring: Andrew Lincoln, Danai Gurira, Pollyanna McIntosh, Lesley-Ann Brandt, and Terry O'Quinn Creators: Scott M. Simple, Danai Gurira, and Andrew Lincoln NICK At its core, The Ones Who Live is a story of a man trying to find his way back home with his partner desperate to get him there. Andrew Lincoln and Danai Gurira make a welcome return as Rick Grimes and Michonne, respectively, with Gurira in particular doing perhaps her best work in the franchise. This series is a love story filled with dramatic moments, great emotional pay-offs, and yes, at times, some trademark The Walking Dead silliness… but although I've been high on the other recent spin-offs, this one just hits differently. Rick Grimes IS The Walking Dead , and this series just reaffirms that.

THE REGIME Starring: Kate Winslet, Matthias Schoenaerts, Guillaume Gallienne, Andrea Riseborough, Danny Webb, Henry Goodman, David Bamber, Rory Keenan, and Stanley Townsend Creator: Will Tracy QUENTIN Despite a muddled story that I struggled to stay engaged with, The Regime remains watchable due to Kate Winslet’s award-worthy and often hilarious performance. If you would enjoy the sharp-tongued barbs from Veep being spouted with total irreverence from a classy Brit, then you’ll find enough entertainment in these six episodes to at least pass the time. Quotes like “it looks like a baboon’s cock” and “it smells like a hog’s urethra” fall out Winslet’s mouth with such ease and delight that it’s hard not to find yourself laughing out loud even as you’ve lost interest in the narrative. CALEB While I didn’t love The Regime ’s worldbuilding, the quick-wit and quirky performances still make it a worthwhile watch. Kate Winslet delivers an unhinged performance as the psychotic Chancellor, blending snappy comedic timing with a considerable amount of emotional depth. The show shines when it’s indulging in its cheeky sense of humor, but falters whenever it takes itself too seriously. As the season crept towards its finale, the writing took a turn towards the overdramatic, and it slowly began to lose me. The Regime ’s attempts at political intrigue may fall flat, but at least it’s funny enough to make up for it.

THE UMBRELLA ACADEMY: SEASON FOUR Starring: Aidan Gallagher, Elliot Page, Robert Sheehan, Tom Hopper, David Castañeda, Ritu Arya, Justin H. Min, Emmy Raver-Lampman, and Colm Feore Creator: Steve Blackman PAIGE You will enjoy the final season of The Umbrella Academy if you watch it for the Hargreeves siblings antics. However, given the season's overall story and character choices made throughout, it's difficult for me to reconcile where the series ends. With the number of episodes reduced from ten to six, there is simply too much going on and not enough time to develop everything adequately. I found the whole plot to be rushed and lacking a satisfying resolution. Maybe I would have been more forgiving of the season's weaker moments if the finale had been more rewarding, but we'll never know.

Previous Next October 28, 2025 WRITTEN BY: KATIE I’m delighted to have had the opportunity to cover the BFI London Film Festival (LFF) again this year. LFF 2024 was my first film fest ever, and it was an incredible, overwhelming, and inspiring experience. The only difference with LFF 2025 is that I didn’t have to brave the Northern Line or wait in queues since I covered it remotely, from the safety of the southwest and the comfort of my living room. Thankfully, the somewhat limited viewing options in BFI’s digital library did not mean that I wasn’t able to watch some amazing, thought-provoking, and entertaining films, both shorts and features alike. I’m grateful that, even if I can't find the time to get to London, I can still experience the festival and some of the wonderful, diverse films that it has to offer. Watching the films at, essentially, my own leisure is a very different experience, but aside from some brief, blood pressure-raising Wi-Fi issues, a far more relaxed one. So, let's get into it. Here is my ranking of the 15 films I saw at LFF 2025. 15. FWENDS I found Fwends to be a testing watch. It centres on two friends who meet in Melbourne to catch up, and the camera follows them over the course of a somewhat disastrous day. Their loosely structured conversations feel like improv, but the actors give the impression they are unsure of themselves and directionless, which makes it all a little awkward. It doesn't help that the characters are cringey and irritating, so it's frustrating to spend so much uninterrupted time listening to them just chatting. Unfortunately, Fwends is not as quirky as it thinks it is, at least not in an engaging way. 14. NOSTALGIE Nostalgie is a thoughtful drama short that confronts a complicated moral issue through the ways in which a paramilitary group in Northern Ireland co-opts a popular song of a retired 80s pop star. The way the film reveals the complexities of the story is interesting, but I wish it had explored the issue a bit more and developed its protagonist further. The song itself is genuinely catchy and sounds authentically of the time, and the dreamy, glittery visuals during the song performance look lovely. Overall, although the performances are great, I wish it had dived deeper into the moral issue at its core. 13. FINDING OPTEL Finding Optel wasn't quite my cup of tea, but I appreciated its vibrant colour palette and playful, mischievous, and distinct visual style. It begins with a somewhat student film vibe, but it improves as it progresses to achieve a genuinely quirky and charming energy. It features some creative flourishes that are used a little too often, like the way it explains local slang through freeze-frames and on-screen definitions, but they are sometimes used too quickly in succession, which can make it all feel a little cluttered. Overall, Finding Optel makes for some light-hearted, family-friendly viewing, but feels unpolished. 12. BALEARIC Balearic has some compelling visuals and a menacing atmosphere, but it's sometimes too unsubtle in how it conveys its ideas. It looks gorgeous, with soft-focus, vibrant colours, and sun-soaked settings, reminding me of classic slasher films, accompanied by a synth-inspired soundtrack. At one point, it takes a surprising turn that, in the moment, filled me with dread; however, after the moment passed, I wasn't fully on board, although the film did continue to intrigue me. It explores how the actions of the wealthiest are detrimental to the environment through images of decadence and consumption against a background of wildfires, but I found it reinforced the same point for too long in different ways. 11. ELEPHANT FAMILIES Elephant Families gave me an insight into a vibrant and thriving Latino culture in London that I didn't know existed. It looks into how the demolition of the Elephant & Castle shopping centre affected those who worked and found community there through diverse stories that are tied together by their memories of the once bustling area. Those affected describe how, in the face of gentrification and displacement, they have worked to keep the unique community and culture alive. The thing I love most about London is the diversity and multiculturalism, and Elephant Families has given me an even deeper appreciation for that. 10. THE DEVIL SMOKES (AND SAVES THE BURNT MATCHES IN THE SAME BOX) The Devil Smokes (and Saves the Burnt Matches in the Same Box) is an ambiguous, deeply atmospheric film that is difficult to pin down. I found it slightly too cryptic to be consistently engaging, but it does effectively establish a palpable atmosphere laden with unease, as well as creating the setting of a dark, cluttered home that is insulated from the outside world. The young performers are amazing, with an authentic dynamic that draws you into their chaotic lives and unstable sense of reality. Although its pacing can be slow and sometimes confusing, I liked many aspects of the film. 9. GRANDMA IS THIRSTY Grandma is Thirsty immediately establishes an impressively unsettling tone, and it left me feeling very creeped out. The set design is great, with the odd-sized flat and use of perspective creating a very claustrophobic feeling. The score, made up of nerve-shredding string instrumentals, is also very unsettling. The incredibly unnerving combination of child actors with adult voices, creepy twins, a scary old lady, and questionable glasses of milk makes for an effective short horror film with a cheeky sense of humour. . 8. MORE LIFE More Life was more engaging than I thought it would have the capacity to be. It's the story of a group of young twentysomethings told through a series of Instagram Live videos, and it surprisingly manages to build some tension through the unique medium. It features incredibly realistic characters and performances with an authentic way of speaking. It explores the intricacies of male friendship dynamics, from the ways they performatively embarrass each other to more worrying issues involving implications that the group is aware of but chooses to ignore, such as a serious sexual assault allegation against one of the individuals. 7. WHAT MARIELLE KNOWS What Marielle Knows is driven by a compelling premise that, whilst not executed perfectly, is still enough to be entertaining and intriguing. Although Marielle (Laeni Geiseler) isn't developed enough beyond her inconvenient telepathic abilities, the story is really about her parents and the darkly funny middle-class satire, calling out their selfishness and, ultimately, disinterest in their daughter's well-being compared to their own desires. The performances by Felix Kramer, Julia Jentsch, and Geiseler are pitch perfect. As far as German comedies go, the film is awkward, tense, and subsequently funny in a twisted way. 6. ISLAND OF THE WINDS Island of the Winds presents an intimate and in-depth account of the daily lives and struggles of the residents of Taiwan's Lesheng Sanatorium, captured by filmmaker Hsu Ya-Ting over two decades. This impressive and moving documentary looks at how those affected by leprosy have been persecuted and isolated by their government's cruel treatment, as well as the residents' admirable determination to fight their mistreatment. It reveals what can happen when communities come together to support the best interests of the most vulnerable among them, and it visually archives the deeply important history of its subjects. 5. COYOTES Coyotes is an impressively tense and engaging short that, at just 20 minutes, grabs your attention and maintains a menacing atmosphere. It has great performances, especially Ali Suliman as the quietly threatening Mukhlis, whose unnerving presence meant I hardly breathed through its perfectly paced runtime. It looks at how injustice and political oppression impact a Palestinian surgeon, who is blackmailed due to her sexuality, through the lens of the thriller genre. It pulls it off very well, and I'd love to see the story expanded in a feature-length film. Still, the short film is fantastic, regardless. 4. THE ASSISTANT The Assistant is a compelling, if strange and sometimes alienating, film. Following Joseph (Piotr Trojan) as he secures a job as an assistant for an eccentric, self-important inventor, it examines how the cycle of poverty is perpetuated by the unfair dynamic between employers and employees. It features an alluring, electronic-inspired score that ranges from ambient to unnerving, juxtaposed with a non-specific period setting infused with elements of the modern world. A film of this experimental style can be a bit testing at over two hours, but there's enough ambition and beautiful cinematography that, overall, I was charmed by The Assistant. 3. THE BLUE TRAIL Set in a near-dystopian Brazil, where the elderly are forcibly sent to a colony to retire at a certain age, The Blue Trail follows 77-year-old Tereza (Denise Weinberg) as she embarks on an odyssey of sorts to evade arrest and buy her freedom. I enjoyed the unique concept and absurdity of the government's discriminative approach, but the film is more about Tereza's self-discovery, set to a dreamy, lo-fi soundtrack alongside beautifully shot images of the Amazon. At just 87 minutes, The Blue Trail is a brief and beautiful exploration of how Tereza chooses to explore her desires and live freely of labels and expectations. 2. OLMO Olmo is a moving, beautifully shot, and unique coming-of-age story that explores the bonds of family and childhood innocence. It follows Olmo (Aivan Uttapa) on his quest to impress his next-door neighbour after he is left with the responsibility of caring for his bedridden father, Nestor (Gustavo Sánchez Parra). The story is bittersweet but also full of warm humour, following Olmo’s attempts to juggle his newfound responsibility with impressing his crush. It has a very American indie vibe that highlights Olmo’s difficult family situation against his teenage desire for independence in a way that is absurdly funny yet also sincere and touching. 1. STRAIGHT CIRCLE Straight Circle is hard to talk about without explaining it, but how it begins versus how it ends is impressively deranged yet deeply affecting and moving. I’d encourage anyone to go into this striking film as blindly as possible, as I did, for a truly unique experience. It’s visually distinct and experimental, barreling from satire to a compelling existential nightmare. The performances from identical twins Luke and Elliot Tittensor are Nicolas Cage-levels of insane, dedicated, physically demanding, and incredible acting. Their performances range from masterful slapstick comedy to unnerving and harrowing. I’m looking forward to what director Oscar Hudson does next.

X MEN '97: SEASON ONE Starring: Ray Chase, Jennifer Hale, Alison Sealy-Smith, Cal Dodd, J.P. Karliak, Lenore Zann, George Buza, A.J. LoCascio, Holly Chou, Isaac Robinson-Smith, Matthew Waterson, Ross Marquand, Gui Agustini, and Adrian Hough Creator: Beau DeMayo QUENTIN If you read my review for Invincible : Season Two, you’ll know that I’ve given up on that show, and X-Men ’97 played a notable role in that decision. The truth is that X-Men is everything that Invincible wants to be but mostly fails at. The story is extremely layered, featuring numerous well-developed characters and subplots that feed into the core narrative without feeling like extraneous diversions. It’s action-packed, emotional, vibrant, relevant, and referential, managing to succeed on every front without the need for overlong episodes or a split season like Invincible . Sure, nostalgia could be a factor, but X-Men is amongst Marvel’s best offerings since Endgame . NICK Like many, I grew up with X-Men: The Animated Series , so it holds a special place in my heart. The moment I started Episode One and heard that theme music, I was overtaken with nostalgia, further taken back to my childhood as I made my way through each episode. The animation, the character versions, the voice work — it’s firing on all cylinders. I’m not sure it’ll land the same for those new to the series, but it will hit for those familiar. It may be some time before we get to see the X-Men enter the MCU, but X-Men '97 will scratch that mutant itch. AMARÚ X-Men ‘97 brought me back to my childhood Saturday mornings, yet aged to gracefully fit modern day. From its modernized animation, to the returning voice-cast and reaffirmed commitment to its themes against prejudice, the show still resonates 24 years after its titular timeline. The action and character-work superbly highlight the extraordinary team dynamics, and not just the ever entertaining Cyclops vs. Wolverine battles. Unlike most X-Men content since the show last ended, every member, new and old, are provided depth and substance to push forward an extremely mature and compelling storyline. I can feel the love that was put into this revival, and that love created utter perfection. KATIE I did not watch the original X-Men: The Animated Series , but this in no way impeded my enjoyment of X-Men'97 . I love the live-action X-Men films, for better or for worse, and it's such a fun experience to see the superhero ensemble in such a well-crafted, compelling story. I was blown away by the vibrant quality of animation that lends itself so well to the scale of the mutant’s powers, the epic fight sequences, and surprisingly mature themes and social commentary. The voice cast is also fantastic, giving deeply emotional and often genuinely moving performances.