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RAGDOLL Starring: Henry Lloyd-Hughes, Thalissa Teixeira, and Lucy Hale Creator: Freddy Syborn QUENTIN With its Seven -like story and grittiness, Ragdoll has a great setup. However, it devolves into a fairly boring crime drama that is further bogged down by the British dryness of it all. It wants to be more about the characters and their uninteresting backstories than the actual murder investigation. And those backstories are never given enough attention to make you care about why these characters are the way they are. It was the longest six-hour series I’ve seen in quite some time.

JACK RYAN: THE FINAL SEASON Starring: John Krasinksi, Wendell Pierce, Michael Peña, Michael Kelly, Betty Gabriel, Louis Ozawa, Zuleikha Robinson, Okieriete Onaodowan, and Abbie Cornish Creators: Carlton Cuse and Graham Roland QUENTIN Over the course of its four seasons, Jack Ryan has been a good-but-not-great show. That said, this season - its final season - might be its best overall. I fully admit there could be some recency bias at play, but the fewer episodes allow for a more focused story and sustained narrative momentum. It’s also further evidence that Michael Peña is one of the most underrated actors in Hollywood, and that Wendell Pierce and Michael Kelly are among the most underused. All in all, it’s a fitting end to a series that knew exactly what it was: an entertaining, more action-packed, less weighty version of Homeland .

Previous Next February 26, 2025 WRITTEN BY: AMARÚ Heroes are supposed to be revered, sidekicks are supposed to be esteemed, and love interests are supposed to have their happy endings; however, there are times when you look around the theater at everyone cheering a character on and think, “what in the world are you all talking about?” In these moments, I tend to go full Killmonger and ask, “is this your king???” These characters are not heroes to look up to, nor are they the symbol of good we aspire to be. Sure, they may provide us with some good (even great) outcomes, but they all sit on a false prophet spectrum that ranges from “eh, you sure?” all the way to “fuck them forever.” With that in mind, let me present five characters that we’re supposed to root for, but for whom I will endlessly give the biggest side-eye. GOKU ( DRAGON BALL Z ) Why We Root For Him : He saves the world Why He Sucks : He continues to unnecessarily put the world, and his son, in danger Dragon Ball Z is a household staple for anime lovers, often being the gateway into that fandom. Goku (Sean Schemmel), the main protagonist, is on the pedestal of iconic cartoon heroes for his cool personality, amazing fighting skills, and the numerous times you’ve tried to emulate going Super Saiyan. Some may prefer the villains-turned-antiheroes Vegeta or Piccolo (Christopher Sabat), but there’s no doubt that Goku is the face of the franchise. Hell, to the masses, he’s probably the hero of all anime heroes. However, honestly, Goku is an idiot. How many times could he have saved the world about five episodes earlier, but instead thought, “naw, I want to fight this guy at his full strength, so instead of winning now, I’m going to risk the entire planet just to see if I can beat him.” Bruh, you gave Cell (Dameon Clarke) a Senzu Bean to recover his full strength when you had a chance to defeat him. Like, what are you even doing? On top of that, how often has he just up and left his family? Everyone knows his son, Gohan (Stephanie Nadolny), was actually raised by a black man (yes, Piccolo is black. I will not be taking questions). Dude, go be a father! All that said, Goku’s saving grace is a big one. He does always save the day in the end, and often does it in a way that shows selflessness and empathy, including when he leaves his family for the greater good. But dammit man, can you just stop being an idiot about it sometimes? JENNY CURRAN ( FORREST GUMP ) Why We Root For Her : Tragic love interest Why She Sucks : She continues to lead on and abandon a disabled person Jenny Curran (Robin Wright) is probably one of the first characters you thought of when reading the intro. Yes, she was a kind child, befriending our lovable Forrest (Tom Hanks) when almost no one else would. Also, the childhood abuse she experienced gives her an understandable excuse for the shitty things she does later in life. That’s the thing, though — it is an excuse. An excuse that many others have been able to overcome, especially with a partner as perfect as Forrest to help her heal. Instead, she constantly exploits Forrest’s mental and emotional capacities, knowing it will be difficult for him to move on. He is too nice and too intellectually incapable of recognizing that she continuously hangs him out to dry. How are you going to take advantage of this man’s kindness, generosity, and body; lead him on whenever possible; and leave him alone every chance you get? Without telling him he has a son, no less!? And he still marries her!! Jenny, you may have deserved Forrest’s love at one point, but by the end of the movie, when young Forrest Jr. (Haley Joel Osment) looks his dad in the eyes for the first time, we all knew that Forrest Sr. deserved better. I hope Junior found a stepmother worthy of his dad’s love. MOLLY CARTER ( INSECURE ) Why We Root For Her : She’s a black woman Why She Sucks : She continues to self-sabotage EVERYTHING Let me put this disclaimer front and center before I start on Yvonne Orji’s layered Insecure character: Protect black women at all costs. With that out of the way, Molly is strong, successful, intelligent, financially stable, and an all-around boss, but she also falls prey to the stereotypical, yet unfortunately common traps that plague many successful black adults. Her mental health — trash. Her communication skills — non-existent. Her relationships — toxic. She steadily fumbles beautiful opportunities because she can’t tear down her walls of vulnerability. She broke it off with a good dude because he had a homosexual experience in his past. She couldn’t make her best relationship of the series, Andrew “Asian Bae” (Alexander Hodge), work because she couldn’t deal with all the issues that stemmed from his race, his family, his job, and his unwillingness to let her control the relationship. Yes, they had communication issues, but she held on to her high standards so tightly that she couldn’t see the compromises he was willing to make for her that she wasn’t reciprocating. It’s similar to how once Issa (Issa Rae) found a semblance of success, Molly’s jealousy reared its ugly head because she couldn’t handle no longer being the more “stable” one in their long-standing friendship. GIRL… get out of your own way, get some therapy, tell people how you feel, and don’t let societal norms screw up a good thing. We are rooting for you. WE ARE ALL ROOTING FOR YOU! GRANDPA JOE BUCKET ( WILLY WONKA & THE CHOCOLATE FACTORY ) Why We Root For Him : He “cares” for Charlie Why He Sucks : He continues to lay in that damn bed At 96 years old, you should be able to get a pass on most things, but in this case? Screw all that. Grandpa Joe (Jack Albertson) let his grandchild hustle through the cold streets while he laid in bed, presumably unable to do anything but yak it up with three other decrepit old folks in the same bed . However, once an opportunity appears, his lazy old legs found a way to jump, dance, and prance his way to a whimsical chocolate factory. How convenient for ol’ Grandpa Joe to get that boost of energy. Couldn’t do that to help Charlie (Peter Ostrum) make some money for the family, huh? Sure, Charlie wanted you there with him, and you believed in him and all that… just not enough to go out and help find that golden ticket yourself? If you had, at least we’d know up front that you’d let your family struggle until there was something in it for you. The fun doesn’t stop there, either! Once Joe gets into the factory, he continues to show his ass. Go ahead, Charlie, drink that fizzy liquid that Mr. Wonka (Gene Wilder) explicitly told us not to drink. I’m sure those ceiling blades aren’t too scary. Oh, and sure, Charlie, steal the Everlasting Gobstopper out of spite because we got caught with the fizzy liquid. Don’t worry about accountability. Thankfully, despite his selfish-ass grandfather, Charlie got the step up in life he deserved. I’m just mad that Joe lived long enough to benefit from it, too. SEVERUS SNAPE ( HARRY POTTER) Why We Root For Him : “Always” Why He Sucks : He continues to be a petty stalker Yes, Severus Snape (a blameless Alan Rickman) was brave, but let me break down why that doesn’t matter. Fair warning: I’ve had these words loaded and ready to go for the past 15 years, so buckle the hell up. During the Pensieve montage in The Deathly Hallows: Part 2, when Albus Dumbledore (Micheal Gambon) asks Snape if he finally grew to care for the boy, meaning Harry (Daniel Radcliffe), Snape looks Albus dead in his eyes, waves his wand, and out comes a doe patronus that represents Harry’s mother, Lily (Geraldine Somerville), whom Snape proclaims to have “always” loved. I call bullshit. That was not love. That was an incel stalker who could not take no for an answer. From the very beginning, Snape was possessive, vindictive, and petty. Yes, he has a tragic past, but so did Harry fucking Potter. When Harry was treated like a second-class citizen by his own blood, did he become a pompous prick when he found an ounce of power? No, of course he didn’t. What did Snape do, though? He joined the Death Eaters. Instead of finding his own people to befriend, which Lily tried to help with, he decided to become a whole-ass Nazi. Yes, James (Adrian Rawlins), Harry’s dad, bullied him, but if Snape truly loved Lily — a woman who found enough goodness in James to love him — then I would think Snape would trust her judgement, right? Nope. He calls her a “mudblood” and holds a grudge against her son for decades, from childhood to adulthood. The grudge was so visceral that when Snape found James dead at Godric’s Hollow, he stepped over his dead body like Allen Iverson stepping over Tyronn Lue. He held such a grudge that, as a grown man, he took all his pain out on children. He humiliated an 11-year-old Harry in the middle of class just for taking notes, simply because he looked like his father. He mentally abused non-Slytherin children. He called Hermione (Emma Watson) an “insufferable know-it-all” despite being the most intelligent student in class. He scarred Neville (Matthew Lewis) so thoroughly that Snape became the boy’s biggest fear. Punk ass. Also, speaking of Neville, here’s a fun fact for all you non-book readers: The prophecy that sent Voldemort (Ralph Fiennes) after Harry never mentions Harry by name. There were two children that prophecy could have applied to — one was Harry, the other was Neville. Now, imagine if Voldemort decided to go after Neville instead of Harry. Shoot, imagine if Voldemort decided to go after anyone besides Lily Potter’s son. Snape would still be running around with a hood, not giving a damn about the thousands of witches and wizards dying at the Dark Lord’s hands. He didn’t get on his knees and beg Dumbledore to spare his life until he thought it was Lily who was in danger. He was all for murdering people until it was his beloved who might die. Then, when she actually did die while protecting her son, he didn’t step up to care for her only child in her absence. He scolded, tortured, and criticized that child for seven straight years. In the end, he couldn’t even say that he cared for the boy because he only thought about how much he wanted a woman who didn’t want him and had moved on with her happy life. Bitch-ass Severus Snape is a selfish, crude, child-tormenting, spiteful asshole who only saved the world because of his unrequited obsession with a girl. That patronus was the equivalent of a stalker tattooing an ex’s name on his chest to see it in the mirror every day. Yes, I used this article just to rant about that greasy-haired piece of shit. I wasn’t lying when I said it's fuck him forever.

Previous Next September 20, 2023 WRITTEN BY: ADRIANO Every cinephile has a story about when they fell in love with movies. For me, my passion started with comedies because laughter has been a source of endless relief my entire life…and, in my humble opinion, the 2000s is the Golden Age for comedy movies. Admittedly, recent films like Bottoms , Bros , and Booksmart have come close to replicating the magic of that era, to varying degrees of success, because they understand what made comedies from the 2000s, as well as comedy in general, work so well. Comedy is an art form that can make people see things in a different light while simultaneously making them laugh, and no period has done it better than the 2000s The overall tone of that era is just different from what it is now and even what it was before. We often hear the complaint “you can’t make jokes about anything anymore,” and yet, the 2000s produced a ton of comedies that don’t rely on offensive humour. In fact, many of those movies are still considered classics especially due to their clever handling of the sensitive subjects. With all that said, I want to celebrate the lost art of the 2000s comedy by singling out just some of my personal favourites. TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY (2006) Unlike most comedic stars of the decade (collectively known as the Frat Pack), Will Ferrell has continued to headline comedies similar to the films that made him a star. However, his recent efforts haven’t had nearly the same financial or critical success. He’s best known for his work with writer-director Adam McKay, and their partnership includes Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby, and Step Brothers . Now, there’s no denying the legacy of Ron Burgundy, but when I think of Ferrell’s man-child schtick mixed with McKay’s absurdist sensibilities, Talladega Nights: The Ballad of Ricky Bobby is the one I consider the best of their collaborations. Aside from the hilarious and quotable lines (“Shake and Bake!”), the film exemplifies absurdism comedy at its finest. It feels as if, in the universe of Talladega Nights , anything goes. One can birth a child by braking at 200 mph, a child can expertly steer a car through oncoming traffic, and a racecar driver can just leave in the middle of a race to eat a sandwich. Everything I just said happens within the first 10 minutes of the movie. Combine that absurdity with layered commentary on American exceptionalism and some impressive racing sequences, and you’ve got a memorable, laugh-out-loud comedy that takes you for one helluva ride! TROPIC THUNDER (2008) You’d be hard-pressed to find a more iconic action comedy from the 2000s than Tropic Thunder . Prominent Frat Pack member Ben Stiller directed, co-wrote, and led an all-star ensemble, including Jack Black, Jay Baruchel, Matthew McConaughey, Tom Cruise, and an Academy-Award-nominated Robert Downey, Jr., in this satirical movie about the lengths actors will go to for a good performance. Controversial, yet timeless, Tropic Thunder ’s memorable characters, extreme plot lines, and hysterical parody trailers that start the movie all contribute to a brilliant lampooning of the movie industry and the egotistical stars that populate it. Tropic Thunder has insane performances and meta-commentary locked and loaded for anyone trying to get some. BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN (2006) Borat is simply a comedy sensation. Sacha Baron Cohen’s ingenious mockumentary sees him don the iconic moustache and suit to travel across America to interview unsuspecting citizens. Some of its humour can be viewed as offensive, but similar to Tropic Thunder , it’s all in service of a commentary on the casual ugliness of American culture, a culture that’s seemingly gotten worse according to its sequel, Borat Subsequent Moviefilm . Borat is the definition of a comedy classic, and I’m willing to bet top-dollar that you’ve uttered the phrase “Great success” or “My wife” in Borat’s iconic accent at least once. It’s an Academy-Award-nominated, box-office phenomenon that will be studied and examined for a long time. Very nice, indeed. SUPERBAD (2007) On the surface, Superbad may seem like another typical coming-of-age high school sex comedy. Two teenagers trying to lose their virginities before college is not something I would call unique. Yet, Superbad is an undeniable classic that has turned into maybe the quintessential high school comedy, launching the careers of Jonah Hill and Michael Cera in the process. What makes this film such a classic, beyond how funny and wild it is, is its relatability. Sure, certain extremes, like McLovin’s (Christopher Mintz-Plasse) “hanging with the the cops’” storyline, are just hysterical, but its heart is what makes this film work. The friendship between Hill’s Seth and Cera’s Evan in the face of complicated uncertainties makes for a quietly poignant story. KNOCKED UP (2007) I wouldn’t be able to forgive myself if I didn’t mention writer-director Judd Apatow at least once. Between The 40-Year-Old Virgin and Funny People , Apatow has carved a niche for relatable and mature rom-coms, and nowhere is that better illustrated than with Knocked Up . The one-night-stand-turned-lovers relationship between career-ambitious Allison Scott (Katherine Heigl) and slacker stoner Ben Stone (Seth Rogen) plays as real as you can imagine, giving this one some true depth. And while the heart is very much there, it’s a hilariously raunchy movie. Rogen’s interactions with his friends are a definite highlight, but so is the relationship between Paul Rudd and Leslie Mann, which launched a spinoff movie, This Is 40 . Bawdy and insightful at the same time, Knocked Up launched Rogen into stardom, and was both a critical and box-office hit. It continues to impress and guide filmmakers for what a rom-com can be. WEDDING CRASHERS (2005) While we’re on the subject of rom-coms, Wedding Crashers is a bizarrely simplistic one, yet it’s endlessly quotable and funny at the same time. Yes, it follows the “scumbag guys learn to love” plotline to a tee, and it begins and ends about as you expect, but it’s what happens in the middle that gives the film an identity of its own. Frat Pack members Owen Wilson and Vince Vaughn give this film a lot of crackling energy just by being themselves. The banter between them gives the movie much needed life, thanks to their rapid-fire dialogue and high joke-per-minute rate (with most jokes being improvised, I imagine). The chemistry between the two stars and the genuine feeling of romance that you can feel through the screen make Wedding Crashers a must-see rom-com for all fans. Bradley Cooper's borderline psychotic performance deserves an honourable mention as well. WALK HARD: THE DEWEY COX STORY (2007) Long before Bohemian Rhapsody and Elvis , we had Walk Hard: The Dewey Cox Story , a pitch-perfect parody of the musical biopic that expertly picks apart the tropes and cliches to hilarious results. John C. Reilly’s performance alone, which is silly yet purposefully melodramatic, makes this a memorable watch that sees the fictitious musician’s comically fast rise (his first song only takes 30 seconds to become a hit) and downfall done in flawless parody fashion. From the start, the movie is hilariously over the top, with one of the funniest and most shocking deaths I can remember. The songs are surprisingly catchy, and the entire cast is committed to the bit too. Walk Hard should be considered a classic, but it remains a true underrated gem. If you haven’t seen it yet, you definitely want a part of this shit. SHAUN OF THE DEAD (2004) I’d love to put both of Edgar Wright’s comedy classics from the 2000s in here, but I didn’t want my bias for one of my favourite directors to show. Even still, Shaun of the Dead is a masterclass of horror comedy and hyper-stylized humour. Wright’s sensibilities for frenetic editing and witty comedy make his take on the zombie genre a truly one-of-a-kind experience. Hyper gore, needle drops, and visual gags galore, Shaun of the Dead is a terrific part one to what would turn out to be the Three Flavours Cornetto Trilogy, also consisting of Hot Fuzz and The World’s End . Even if you’re not a big horror fan, Shaun of the Dead is an endlessly endearing film for anyone to enjoy. SCHOOL OF ROCK (2003) I would be remiss if I didn’t mention at least one Jack Black star vehicle, and if I’m being honest, School of Rock was an easy choice. Even when a film isn’t great (or even good for that matter), Jack Black’s complete commitment to character elevates the film. So, imagine what happens when the material is already great to begin with, as it is with this film. Black’s too-cool-for-school insanity makes for a surprisingly lovely film featuring a fun and colourful cast of child actors giving endearing performances that almost match Black’s… Jack Black-ness. But beyond Black, School of Rock is endlessly hilarious and weirdly inspiring in its own weird way. You’ll surely want to rock on after watching this. MEAN GIRLS (2004) I’m just gonna say it: Mean Girls is not fetch. Or maybe it is. I’m still not totally sure what it means. Either way, beyond Mean Girls ’ quotability and overall message, it has remained a comedy staple for nearly two decades due to the comedic sensibilities of Tina Fey, which, when mixed with the themes of the film, creates something that makes it hard to hold in laughter. The ensemble is hysterical, featuring an inspired comedic turn from Lindsay Lohan and iconic performances from Rachel McAdams, Amanda Seyfried, and Lacey Chabert. For the time it came out, the film’s refreshingly female-focused high school story made for a fresh take on the genre, and its impact has only elevated over time through meme culture and analysis. Pretty grool, if you ask me.

TULSA KING: SEASON TWO Starring: Sylvester Stallone, Garrett Hedlund, Martin Starr, Jay Will, Max Casella, Vincent Piazza, Dana Delany, Tatiana Zappardino, Annabella Sciorra, Domenick Lombardozzi, Neal McDonough, Frank Grillo, and Andrea Savage Creator: Taylor Sheridan QUENTIN I’m not going to sit here and tell you that Tulsa King ‘s second season is compelling, high-end, prestige drama. It most certainly is not. However, when you have the always charismatic Sylvester Stallone surrounded by terrific (and personal favorite) character actors like Frank Grillo, Neal McDonough, Martin Starr, and Domenick Lombardozzi (among others), you can forgive almost all the story’s shortcomings, including its predictability and cheesiness. The fact of the matter is that this is just a fun show, flaws be damned — a sort of Diet Coke version of The Sopranos that I will eagerly tune in to week after week, season after season.

LOOT: SEASON ONE Starring: Maya Rudolph, Michaela Jaé Rodriguez, Joel Kim Booster, Ron Funches, Nat Faxon, Meagen Fay, Stephanie Styles, Olivier Martinez, and Adam Scott Creators: Matt Hubbard and Alan Yang AMARÚ Loot is a show that is carried on the back of its cast. Some jokes land only because it’s Maya Rudolph (Molly), and when she can’t salvage them, her co-stars’ response will make you laugh, smile, or fill up with glee. They’re often accompanied with embarrassment, but standouts like Ron Funches (Howard) and Nat Faxon (Arthur) are so likable that it works. Really, the entire cast is spot on, and even though there are jokes for jokes’ sake, it’s their individual talent fully utilized to bounce off each other that makes Loot funny, witty, and charming. ADRIANO I genuinely wonder if Loot would have been as watchable as it is without the hilariously committed Maya Rudolph. Her spine is probably split in two from carrying this show on her back because she sells even the worst jokes successfully. In all fairness, the show's entire cast is pretty funny, but it really is her show. That said, a lot of the jokes can feel slightly one-note, and I guess the story is fine. I can’t say it’s a bad show by any stretch of the imagination, but without Maya, I don’t think it would’ve worked even this well.

Previous Next With films like Dumb Money, Pain Hustlers, and more coming out this season, we decided it was a good time to look at other films based on true events. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Films Inspired By A True Story. For inclusion on this list, a film must be focused on an event over a particular individual. This means no biopics. Each writer ranks his or her top 15 films 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. TITANIC While the love story and Heart of the Ocean in director James Cameron’s Titanic may not have been based on actual events, the sinking of the RMS Titanic in 1912 by way of an iceberg and hubris obviously was. Although the film contains both historical and fictional aspects, there’s no denying that this Best Picture winner, which won eleven Oscars in total (not to mention being the highest grossing movie of all time for 12 years until it was unseated by Avatar , another Cameron film), has an absolutely stellar production design and a heartbreaking story that is real and memorable. - Paige 4. MONEYBALL This look at the inner workings of a sports franchise both on and off the field is among the best sports films ever made. Led by a star-studded cast, including an Oscar-nominated Brad Pitt, an Oscar-nominated Jonah Hill (in the performance of his career), the late Philip Seymour Hoffman, and a young Chris Pratt, Moneyball examines a moment of significant change in the history of baseball. The introduction of sabermetrics and analytics could easily have been boring, but this film is filled with enough hope, tension, and turmoil to go with the excellent performances throughout. - Nick 3. ALMOST FAMOUS Loosely based on writer-director Cameron Crowe’s own experiences as a teenage writer for Rolling Stone magazine in the 70s, Almost Famous is ultimately the coming-of-age story for multiple characters from different backgrounds, told against the backdrop of a touring rock band. We get to witness young and innocent William (Patrick Fugit), the entire band of Stillwater (but especially lead guitarist Russell (Billy Crudup)), veteran groupie and “Band-Aid” Penny Lane (Oscar-nominated Kate Hudson), and even William’s mother (Oscar-nominated Frances McDormand) find themselves through sex, drugs, and rock ‘n’ roll (in addition to love, friendship, and regret). With a classic rock soundtrack that slaps and a deep ensemble cast, Almost Famous is as charming and heartfelt as it is compellingly irresistible and surprisingly relatable. - Quentin 2. THE SOCIAL NETWORK When you have arguably two of the most well-crafted movie scenes of the 21st century, featuring perfectly cast actors speaking perfectly written dialogue directed by the exact perfect person, it’s no wonder your film tops damn near every list it’s eligible for. The Social Network takes what, on the surface, looks like completely boring subject matter (“really, a Facebook movie??”) and provides a blink-and-you’ll-miss-it paced thrill ride of words too smart for you to not give your full attention to. It’s the same reason why I absolutely loved Sorkin’s ill-fated The Newsroom , except this time, there was no denying his lightning fast quips when he had David Fincher by his side running the ship. - Amarú 1. SAVING PRIVATE RYAN For decades, Saving Private Ryan has been the quintessential war flick for many reasons. Of course, it's an emotional powerhouse featuring some of Steven Spielberg's greatest work behind the camera to date. Also, though, right out of the gate, it is an immersive and stomach-turning film thanks to the hauntingly realistic 24-minute sequence on Omaha Beach. The D-Day sequence is arguably one of the most unforgettable moments in cinematic history, putting us into the terrifying, mud-filled shoes of the soldiers during one of the most devastating battles of all time. But what makes Saving Private Ryan so unforgettable is the humanizing portrait of the soldiers told through a grounded and heartbreaking approach to the reality of war, something that subsequent war films have tried to replicate, but have rarely duplicated. - Adriano HONORABLE MENTIONS FORD V FERRARI ARGO REMEMBER THE TITANS A LEAGUE OF THEIR OWN SPOTLIGHT Photo Credits: Photo 1 - Paramount Pictures; Photo 2, 4 - Sony Pictures Releasing; Photo 3 - Columbia Pictures; Photo 5 - DreamWorks Pictures

WIN OR LOSE Starring: Winston Vengapally, Izaac Wang, Milan Ray, Chanel Stewart, John Thomson, Rosanna Jean Foss, Rosa Salazar, Dorien Watson, Jo Firestone, Erin Keif, Lil Rel Howery, Kyleigh Curran, Vyvan Pham, and Will Forte Creators: Carrie Hobson and Michael Yates NICK Despite a rocky first episode, once Win or Lose gets its footing, it shows the potential to be one of the best Pixar releases this decade. Although the stories are interconnected by the date, the series works more as an anthology, which allows it to tackle a number of themes without being beholden to a feature runtime. My personal favourite was Frank's (Josh Thomson), but all have their own charms. There are also hints of future stories within each episode that enriches the overall characters and will presumably bring everyone together for the finale. AMARÚ Yooooo! There are certain times when you throw hyperbole out the window because when you know, you know; I know that Win or Lose might be the best thing Pixar has ever created. The studio has always excelled in taking everyday concepts and finding a humanity that’s relatable to audiences of all ages, and the care, depth, and insight you expect from their best movies hits you even deeper in the feels over this long form story. The characters are lovable, the themes are painfully real, and the ideas are brilliantly explored in this surprisingly emotional, multiple-perspective look into one championship game.

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. THE DESCENT When I saw The Descent in 2006, I was 25 years old, and it had been a minute since a horror movie had moved my fear needle. However, The Descent was able to tap into childhood phobias that had long passed but are relatable to most everyone: the dark and tight spaces. Through unrelenting suspense, palpable tension, visceral blood & gore, effective jump scares, nightmare imagery, and adrenaline-pumping action, director Neil Marshall plays into those long dormant fears excellently, resulting in a film that is both physically and psychologically terrifying. Plus, he does it with an unknown all-female cast that, at the time, was relatively groundbreaking for the genre. As a British indie, it hasn't had the staying power as some other horror movies of the era, but I'm hoping this reintroduces you to the modern horror classic. - Quentin 4. HEREDITARY Ari Aster’s feature debut, Hereditary , is very close to my heart. Unlike my personal number one The Babadook , which addresses the issue of grief by standing up to its monstrous manifestation and locking it away safely, Hereditary is devoid of hope, showing what happens when grief is uncontrollable and all-encompassing. Every time I watch it, I’m gripped by its dread-laden atmosphere and the way Aster submerges the audience in the family’s emotional turmoil and terror. It makes for a relentless, unforgiving portrayal of grief and trauma that is uniquely unsettling. Plus, Toni Collette is sensational and completely engrossing, giving one of the most terrifying performances I’ve ever seen. - Katie 3. THE CABIN IN THE WOODS As much as I've grown to love horror films, they do have a habit of falling into a repetitive pattern. The Cabin in the Woods has none of that. A wonderfully unique and off-the-wall idea from writers Joss Whedon and Drew Goddard - known for their work together on Buffy the Vampire Slayer and Angel - this film takes the traditional slasher concept and turns it on its head. The main ensemble blends comedy and horror together perfectly, while the pair of Bradley Whitford and Richard Jenkins steal every scene they pop up in. It's one of the most inventive and flat-out fun horror films we've seen in a very long time, and it rightfully earns its spot on this list. - Nick 2. A QUIET PLACE As we discuss HERE , there are certain movies whose theater experience sticks with you for life. I watched A Quiet Place at the Magic Johnson Theater on 124th Street in Harlem, New York, and I can still hear the cavalcade of “yooos,” “sons,” and “Bs” that exploded out of the theater when that little boy got snatched up. John Krasinski’s master class of tension, sound, acting, directing, and horror earns every bit of that New York love. A Quiet Place had all of us holding our collective breath for 90-minutes straight, and kickstarted a fresh new horror franchise that should give us continued thrills for years to come. - Amarú 1. GET OUT Do you know what is scarier than ghosts and monsters?!? Racist and elitist white people, and Get Out delivers on that idea. With its enthralling premise, writer/director Jordan Peele provides a social commentary that makes for one of the most inventive horror features to date. Peele found a way to make a horror movie that is clever, terrifying, and timeless; a modern-day masterpiece that perfectly blends intense horror and tongue-in-cheek humor. Get Out is one of the most entertaining moviegoing experiences you will ever have, thanks to its phenomenal screenplay, unsettling atmosphere, and across-the-board-stellar performances. It has solidified its status as an instant horror classic that will continue to be discussed for years to come! - Paige HONORABLE MENTIONS IT FOLLOWS FINAL DESTINATION CLOVERFIELD READY OR NOT SAW

SQUID GAME: SEASON TWO Starring: Lee Jung-jae, Wi Ha-joon, Lee Byung-hun, Si-Wan Yim, Kang Ha-neul, Park Gyu-young, Lee Jin-wook, Park Sung-hoon, Yang Dong-geun, Jo Yuri, Lee Seo-hwan, and Seung-hyun Creator: Hwang Dong-hyuk PRESTON Stay with me here, but what you must know before starting Squid Game: Season 2 is that it’s really Part One to Season Three’s Part Two (supposedly, releasing sometime in 2025). If I had known that going in, I wouldn’t have frantically searched the episodes list while repeating expletives! This season delivers an interesting arc twist with a few new games, but still revisits so much that is already familiar. The start is slow, the voting sequences are repetitive, and it’s a little predictable; but the set designs and characters are fantastic, and the show manages to hold your interest until its frustrating end. PAIGE Squid Game: Season Two may take its time to get into the madness of the games, but once it does, it hits the ground running… then abruptly ends on a cliffhanger. Don’t get me wrong, it’s a compelling follow-up to its predecessor, but the story doesn’t quite capture the essence or mystique of the first season. Narratively, it begins to stretch itself a little thin, but I do feel that Season Two avoids the sophomore slump due to its continuously outstanding performances. The show certainly doesn’t shy away from its brutality and themes, but overall, I don’t think its story is as strong as the first.

Previous Next June 24, 2022 WRITTEN BY: AMARÚ With Disney+’s Obi-Wan Kenobi finishing up this week, it has elicited as much division as any piece of Star Wars content of the Disney era (division with Star Wars content? Wow…). Some people, this writer included, consider it one of the best pieces of Star Wars lore since Rogue One , while others have panned it for lazy writing and low stakes. As with much of fandom today, fans are yelling at each other from the social media rooftops, unable to respectfully deliberate with those they don’t consider “real fans.” The ever-escalating discourse got me thinking about Vanity Fair’s June 2022 cover story. The cover? Ewan McGregor decked out in his Jedi robes - hood on, full Obi-Wan beard – holding a lightsaber that is casting a celestial blue light behind the words “Star Wars: The Rebellion Will Be Televised.” The image alone is exciting for a Star Wars fan, but what caught my attention even more was the fact that flanking Ewan’s left and right were actors named Diego, Pedro, and Rosario. Upon seeing that three highly anticipated Star Wars series, which feature arguably some of the franchise’s most popular characters in recent memory, are being headlined by a Mexicano, a Chileno, and a Boriquena Afro-Cubana, I was simultaneously hyped and terrified. I have long been waiting for the Latino side of my geek heart to be recognized in the same way that my Blerd (Black Nerd) identity was led to swell with pride when I first saw Chadwick Boseman, Michael B. Jordan, and Danai Gurira don Wakandan garb. Up and down my Twitter feed were three separate representations of the vastly diverse Latinx community, each being showcased as the lead of their own Star Wars series: Andor (Diego Luna), The Mandalorian (Pedro Pascal), and Ahsoka (Rosario Dawson). This kind of visual has been a rarity in my life. Growing up, I found out very quickly that America is often not interested in differentiating the world’s more than 20 distinct Latin American (let alone Spanish speaking) countries. Being half Argentine, I grew up being called Mexican or Puerto Rican, and nothing else. Even today, I watch as my Latinx students have to educate their classmates that Honduran people don’t really eat Mexican cuisine. But looking at that Vanity Fair cover, I was looking at two Latinos and a Latina in the form of a native-born South American, a native-born Central American, and an American-born Puerto Rican who is also Afro-Latina. The thought of this one picture reaching millions of eyes and maybe, just maybe, being able to illustrate both the talent and diversity of my community was inspiring. “That cover brought me to tears… it still does,” lauded film reviewer Rosa Parra, proud Chicana and co-founder and host of the Latinx Lens podcast. When the magazine dropped, she tweeted, “My heart… This little Latina’s heart is filled with joy. Never thought I’d see a cover of a major franchise with mostly Latinos heading it. My kids get to grow up seeing this… and I couldn’t be prouder.” While her sentiments certainly summed up the pride I felt, those joyful thoughts were not at the forefront of my mind. I was waiting for the other shoe to drop. I thought back to the initial reactions to John Boyega’s head popping up in the trailer for The Force Awakens . I thought back to the hate that Kelly Marie Tran received after The Last Jedi , which forced her to deactivate her Instagram account. I was waiting for the scary side of the fandom to rear its ugly head, causing me to doom-scroll for days on end. This, more than anything, overwhelmed that initial sense of pride. Minutes of preconceived rage passed, turning to hours of anxious dread. Days with my Twitter fingers ready to fire off responses at anybody who wanted to spew ignorance and intolerance came and went. But alas…. Nothing. No racist comments. No prejudiced Reddit calls of wokeness akin to when Dominican actress Leslie Grace was cast as Batgirl. No moronic rants about a Latina woman taking over a role voiced by the white, blonde-haired, Kentucky-born Ashley Eckstein. Even more curious, however, was that outside of the small pockets of celebration I saw from my Latinx circles, there wasn’t much congratulatory fanfare for the cover either. The largest positive representation of Latinos in any sci-fi, comic book, or fandom-driven franchise in my lifetime, and little to no attention was being brought to the fact that one of the biggest IPs in the world was being shepherded into its future by a minority group. Specifically, a minority group that has yet to get its due in the current era of film and television. Instead, most social media comments expressed excitement for the characters, the shows, and at the idea that the future of a galaxy far, far away were in good hands. But, in a way, that made the lack of acknowledgement feel a little inauspicious. What did it mean? Were we finally moving in the right direction? Were we stepping closer to the day when “normal” is seeing a majority Latinx Star Wars slate? What about the sequel to a black-led superhero movie that got nominated for Best Picture while making a billion dollars, is that normal? Or a $465 million television prequel to one of the highest grossing (and mostly white) sci-fi franchises of all time finally featuring people of color as elves and dwarves? That’s the dream, right? To see any and all races, genders, sexual orientations, and identities represented in our entertainment, running parallel to the melting pot “dream” this country is supposed to be, and for it to be nothing more than another piece of content for us to enjoy. The day when it’s no longer considered progress, it just… is . To be fair, Disney is making an effort to get there. Turning Red and Raya and The Last Dragon , two animated Disney films released in the past year, have female Asian-American/Pacific Islander leads, while Encanto , the Academy Award winner for Best Animated Feature, revolves around a multigenerational Colombian family. Temuera Morrison (Māori) and Ming-Na Wen (Chinese) just led The Book of Boba Fett , and two of the MCU’s most interesting Phase Four origin stories are Chinese ( Shang-Chi and The Legend of the Ten Rings ) and South Asian ( Ms. Marvel ). Still though, with each chipping away at the status quo of science fiction stories being predominantly white and male, I see Instagram Reels celebrating dark skin children with curly hair recognizing themselves on screen and Hakas being performed by indigenous Tusken Raiders. So, what was it about this cover that possibly generated a silent normalization? Maybe we should be happy that three Latinx leads on a major magazine cover was met with nothing more than geeky excitement, absent of racial motivations and politicalization. But, of course, that isn’t reality. Look again at the title of this article. You’ll see that the word “was” is in parentheses. Just 10 days after the Vanity Fair cover’s release, I changed the word “is” to “was” because my questions about representation being normalized were answered with a violent “Hell No.” After Obi-Wan Kenobi ’s premiere, the official Star Wars Twitter, and even Ewan McGregor himself, had to respond to racist comments aimed at Obi-Wan Kenobi co-star Moses Ingram regarding her casting in the show. That shoe I was waiting for had finally dropped; it just fell into a different racist bucket. It confirmed that with every leap forward, we often find a way to take giant steps backwards. Even more importantly, it confirmed that race, ethnicity, and identity can never, and should never, be taken out of the conversation when it comes to representation in this country. For better or worse, that individuality is what sets us apart. Seeing that booming Latinx pride quietly vanquished to the voids of the Twitterverse reminded me that celebrating your culture, your community, and your heritage isn’t done to appease others. It’s done to allow others to feel comfortable in doing the same. It’s the light that shines through intolerance’s darkness as a beacon of unity. So, here I am, yelling in the face of fandoms everywhere: The future of Star Wars is Latinx, dammit! Viva La Raza y Viva la Rebelión! Because we’re gonna be on your screens for a long time to come, whether you like it or not. Photo Credits: Photo 1 - Vanity Fair; Photo 3 - Disney

OZARK: THE COMPLETE FINAL SEASON Starring: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Lisa Emery, Charlie Tahan, Jessica Frances Dukes, Felix Solis, Damian Young, Alfonso Herrera, and Adam Rothenberg Creator: Bill Dubuque and Mark Williams ADRIANO PART ONE The first part of Ozark 's farewell season is a welcome appetizer to what may be coming in Part Two. It admittedly drags some as it sets up for the end, but the ride is as eviscerating as ever. As always, there are some twists and turns, though not as many, as it mainly focuses on the Byrde family; However, that isn’t a bad thing, as that has always been a very engaging aspect of the series. The character shifts are very interesting, and the show’s setup for the final episodes is insane. It’s the beginning of the end in true Ozark fashion. PART TWO The problem with Ozark ’s final season is probably making it a two-parter because Part Two (and the series as a whole) ends with a bang after a slow start in Part One. Like in previous seasons, the acting by the entire ensemble is off the charts (especially Laura Linney and Julia Garner), and the show keeps the audience on the edge of their seats with its tense and unpredictable nature. Building off Part One, these episodes slowly work towards a big conclusion, and while it’s not as bombastic as I would’ve hoped, it’s still a satisfying ending to one of the best shows in years. QUENTIN PART ONE Ozark isn’t exactly spinning its wheels with Part One of its final season, but it’s clearly just moving pieces in place for the stretch run. The Byrdes are still trying to avoid murder while navigating the Navarro Cartel, yet that storyline takes a back seat to the family drama caused by the hateable Wendy Byrde (a fantastic Laura Linney). And while the tension is lacking, an air of dread permeates these episodes. A couple of new characters (a hot-headed cartel lieutenant and a dogged P.I.) are a little too cliché, but they don’t detract from a generally solid (if somewhat underwhelming) setup for Part Two. PART TWO Be it by design or circumstance, Ozark ’s final seven episodes undoubtedly ratchet up the overwhelming sense of dread, even while still lacking tension. Honestly, we should feel that these characters are in constant danger as we approach the finale, but that feeling never materializes for some reason. Maybe there is just too much story, as it does get lost in itself at times; However, Julia Garner and Laura Linney (Wendy is even more hateable, if you can believe it) make it easy to overlook those detours. Overall, while it could have used more explosiveness and provided more catharsis, it’s a befitting ending to an excellent series.