Search Results

HUMAN RESOURCES: SEASON ONE Starring: Aidy Bryant, Randall Park, Keke Palmer, David Thewlis, Brandon Kyle Goodman, Maya Rudolph, and Nick Kroll Creators: Kelly Galuska, Nick Kroll, Andrew Goldberg, Mark Levin, and Jennifer Flackett QUENTIN In some regards, this feels like a somewhat pointless review to write. If you love Big Mouth (or don’t), then you’ll love Human Resources (or won’t). End of story. It takes the same depraved-raunchiness-with-heart approach that Big Mouth does, but instead focuses it on more adult-oriented topics like postpartum depression, death, and alcoholism. It’s hilariously lewd, but also remarkably brilliant in the way it tackles these issues. It’s not likely to convert any non-fans of the core series, but it’s more of the same excellence for those of us already on board with Hormone Monsters, Lovebugs, Shame Wizards, and a parade of dick jokes.

THE UNDERGROUND RAILROAD Starring: Thuso Mbedu, Chase Dillon, Joel Edgerton, Aaron Pierre, Amber Gray, William Jackson Harper, Mychal-Bella Bowman, Kraig Dane, Sheila Atim, Lucius Baston, Kylee D. Allen, Jeff Pope Creator: Barry Jenkins JACOB Barry Jenkins has found his magnum opus in The Underground Railroad . It may seem like hyperbole to claim the director of Moonlight and If Beale Street Could Talk can reach another level in his storytelling, but there is no mistaking it. All the technical elements of those films are elevated here, including the immaculate cinematography by James Laxton and perfect score by Nicholas Britell. Yet again, Jenkins has made a phenomenal discovery in lead Thuso Mbedu, whose performance aches with the fury of how slavery's stain on America is still plainly visible - a feeling that permeates the entire series.

THE OUTLAWS: SEASON ONE Starring: Christopher Walken, Stephen Merchant, Rhianne Barreto, Gamba Cole, Darren Boyd, Clare Perkins, Eleanor Tomlinson, and Jessica Gunning Created by: Stephen Merchant and Elgin James QUENTIN As a “crime thriller comedy series,” The Outlaws tries to do a little bit of everything with the story without fully hitting on anything. On top of the main (and somewhat unfocused) “bag of money” plot, it also tries to touch on race, political activism, familial dynamics, the price of fame, loneliness, and a budding romance. However, if you ignore the story beats for the development of the characters, each of which have their own thing going on, there is charming amusement to be found in these six episodes, which is further helped along by a delightful Christopher Walken and dryly hilarious Stephen Merchant.

GASLIT Starring: Julia Roberts, Sean Penn, Dan Stevens, Betty Gilpin, Shea Whigham, and Darby Camp Creator: Robbie Pickering QUENTIN Despite Gaslit being painted as Martha Mitchell’s (Julia Roberts) story, it’s more of a satirical farce about the entire Watergate scandal. If anything, John Dean (Dan Stevens) is the main character. Either way, while it starts off strong, focusing on the bumbling idiots behind Watergate in a way that is similar to the Coen brothers’ The Ladykillers , it loses momentum as it starts to take itself seriously in the later episodes. With a cast this strong though (Shea Whigham is particularly great as G. Gordon Liddy), it’s engaging enough to hold your interest, even if it’s not something you would ever rave about.

THE DIPLOMAT: SEASON ONE Starring: Keri Russell, Rufus Sewell, David Gyasi, Ali Ahn, Rory Kinnear, and Ato Essandoh Creator: Debora Cahn QUENTIN Falling somewhere between The West Wing and the latter seasons of Homeland , The Diplomat is an engaging political thriller that also is, somehow, a breezy watch about the machinations of international diplomacy. Keri Russell carries the show on her back, but that’s not to say the supporting cast or story are lacking - both are great. She just has an extremely watchable and relatable screen presence. There are a few soapy elements and very light hints of a “can she really have it all?” storyline, but nothing too forced or melodramatic; there is quite a bit of humor too. All in all, an enjoyable surprise.

Previous Next Spooky season is upon us and with the upcoming release of Halloween Ends, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Horror Villains. Each writer ranks his or her top 15 characters 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. SAM (TRICK 'R TREAT) Sam has become an iconic character for Halloween as Trick 'r Treat is one of the biggest cult films of the season. The comeuppance he delivers to those who break the rules of Halloween is carried out with his own brand of violence, which is all the more unsettling because of his childlike appearance... at least until he removes his mask. Let's hope the long rumoured sequel comes to fruition because we definitely need more Sam. - Nick 4. THE THING The Thing is director John Carpenter’s creature feature masterpiece, and the reason The Thing is so terrifying as a character is its mystery. The suspense and terror this horrifying alien parasite presents while watching is rooted in little more than paranoia. At first, you’re not even sure who or what The Thing is, but when it reveals itself in its frightening forms, you’re in for an unsettling ride. I’d advise getting your wits and flamethrowers ready because the unforgettable creature design crafted by Rob Bottin is bloody petrifying! - Paige 3. CHUCKY (CHILD'S PLAY) Chucky has been active for more than 30 years and gone through multiple redesigns, but at the end of the day, he’s always been the vessel for serial killer Charles Lee Ray. A killer whose motivations have evolved with every new piece of lore, he remains one of the most interesting and multifaceted horror icons out there while still being a sadistic and truly evil character. He’s got the iconic look, laugh, and family, making him the most underrated horror killer by far. - Joseph 2. MICHAEL MYERS (HALLOWEEN) Michael Myers is the epitome of pure evil. While it’s not totally clear if Myers borders on the supernatural, by all accounts, he is just a human being…a human who kills for the sake of killing. No rhyme or reason to his murder sprees, he has haunted the town of Haddonfield through 25 years of Halloween films, properly freaking us out with his iconic look and sheer brutality. He’s a silent killer you’d be foolish not to be freaked out by. - Adriano 1. FREDDY KRUEGER (A NIGHTMARE ON ELM STREET) Through seven original franchise movies, a television show, a pseudo-spinoff, and a reboot, Freddy Krueger, in both his most horrific and humorously sadistic forms, has always been, quite literally, the stuff nightmares are made of. “The Son of 100 Maniacs” turned child predator is nearly inescapable because everyone falls asleep eventually, and he blurs the line between dreams and reality until it’s too late. With his incredibly dark backstory, iconic glove, tattered sweater, and wide-brimmed hat, he is an inevitable death for the children of Springwood. One, two, Freddy’s coming for you? …goddamn right he is. - Quentin HONORABLE MENTIONS PENNYWISE NORMAN BATES JIGSAW ANNIE WILKES GHOSTFACE Photo Credits: Photo 1 - Legendary Pictures; Photo 2 , 4 - Universal Pictures; Photo 3 - Syfy; Photo 5 - New Line Cinema

DUSTER: SEASON ONE Starring: Josh Holloway, Rachel Hilson, Keith David, Asivak Koostachin, Sydney Elisabeth, Benjamin Charles Watson, Camille Guaty, Adriana Aluna Martinez, Greg Grunberg, Gail O’Grady, and Corbin Bernsen Creators: J.J. Abrams and LaToya Morgan QUENTIN While Duster isn’t reinventing the crime thriller wheel, its pitch-perfect homage to the 70s and shows like Starsky & Hutch and CHiPs makes for a tremendously enjoyable spark plug of a series. From the extensive needle drops (everyone from Tina Turner to Merle Haggard) to the impeccable fashion and vintage cars, the self-aware exploitation vibe of gun fights and car chases creates a fun sandbox in which Josh Holloway and Rachel Hilson charmingly thrive through their rugged and feisty performances, respectively. Granted, if the 70s-themed setting, with all its expertly done period details, doesn’t mean anything to you, maybe look elsewhere; however, I had a blast! ROBERT Never did I imagine that J.J. Abrams would again helm a straightforward show, especially not one dealing with law enforcement, but here we are with Duster . Given his involvement, I liken this to a melding of Alias with the fifth season of Lost, where they went back in time to the 1970s (especially with the length of Josh Holloway’s hair). I was a big fan of the Hot Wheels opening credits and the music queues of killer songs. I was happy with the cast in place, even if it didn’t always deliver, and there was enough mystery and intrigue to keep me guessing. Dust this off and give it a shot.

Previous Next October 1, 2025 WRITTEN BY: ADRIANO The Toronto International Film Festival a.k.a. TIFF just celebrated its 50th year (also known as TIFFTY for those who went), and for the fourth year in a row I had the pleasure of attending as press for this beautiful website. While I do tend to overdo it with the number of films I choose to watch at the festival, I can acknowledge that I took it to a new high this year, watching 60 movies, and yes, it is as exhausting as it sounds. But all things considered, there's not much I would've changed. Even with this new record, there are some films I wanted to see but couldn't for a plethora of reasons, whether it was scheduling or inability to get a ticket (this year's ticketing system was worse than usual). Some of those titles include Shih-Ching Tsou's Left-Handed Girl , Gus Van Sant's Dead Man's Wire , Steven Soderbergh's The Christophers , and even David Freyne's much-buzzed-about Eternity . This year I pledged to not watch something I didn't think I'd like, and while I didn't love everything, I do believe that elevated my experience. Throughout the 60 movies, I was able to watch films from 33 countries, as well as one Wavelength title, one Discovery title, two Platform titles, six TIFF Doc titles, six Gala titles, eight Midnight Madness titles, ten Centrepiece titles, and 26 Special Presentation titles. I will absolutely tone it down next year, but I am proud of my spread. Below is my ranking of everything I saw, from worst to the absolute best of the fest. Here’s to another TIFFTY. 60. FUCK MY SON! Yes, it's called Fuck My Son! , I wasn't expecting much. But despite all the gross-out humour and attempts at edginess, this felt like a big troll. And it might've been, but the least you can do is make me laugh beyond its opening meta bit. Operating on just rape humour and body fluids, Fuck My Son! reaches another low with its shameless reliance on generative AI, taking away any semblance of goodwill I can give. I may have seen it with the right crowd, but once it was over, I just felt gross, and not in the intended way. 59. KARMADONNA I was aghast at how a movie with so much intent, while infusing genre thrills, can be borderline unwatchable. Karmadonna has some entertaining camera work, and the blood and gore can be exciting, but that's about as much praise as I can give. It's far too long for this type of film, it takes far too little time to set up its concept, and the protagonist is far too willing to go on this killing spree. The 'commentary' is beyond flat, and every character is just cartoonishly evil. It's the worst kind of movie. One that thinks it's clever when it's actually stupid. 58. TO THE VICTORY! I often don't like the phrase "self-indulgent" to describe a directorial vision, but it's the phrase that rings the most true for writer/director/star Valentyn Vasyanovych's confounding To The Victory! The portrait of post-war Ukraine that's presented here is only interesting when it delves into the familial dynamics of a married couple, but that subplot is barely there. The movie's strange meta-narrative and stagnant, standstill filmmaking are too cold to actually have anything meaningful to add to the horrors in Ukraine, just pockets of intrigue that quickly get buried by entirely out-of-place randomness. 57. BLOOD LINES Whatever Blood Lines set out to do (I say “whatever” because I'm not entirely sure what it was), it's bogged down by a bad script. The movie has multiple plots handled equally poorly, giving no breathing room in its misplaced structure to any character outside the protagonist, who is overacted to extremes by Dana Solomon. And if that doesn't get any worse, there's a reveal that's both easy to see coming but also just a bizarre choice for the tender tone attempted. It has some promise, but whatever good movie is hidden in here is long lost. 56. CHRISTY I acknowledge these movies are not for me, but still, I despised Christy . Sydney Sweeney's fine, mostly doing the cry face she often does, but she has some strong moments towards the end. Beyond the fact that this goes lazily through the typical sports biopic tropes, Christy mainly exists to prop-up Christy Martin's abuse from her husband and mother (played admittedly great by Ben Foster and visibly horrible by Merritt Wever). I know these were terrible people, but the complete lack of nuance assures my stance that this is trauma porn masquerading as inspiration. 55. BALLAD OF A SMALL PLAYER With All Quiet on the Western Front and Conclave , director Edward Berger is seemingly on a hot streak. Well, here's Ballad of a Small Player to effectively end that streak. Colin Farrell is terrific, but he can't save this obnoxiously empty film. Berger infused this with flair and style, but forgot to put in substance or anything meaningful at all, beyond excessive depictions of addiction and a plot gimmick that comes with a twist you can instantly call. I can't even say the film's well-intentioned, because the movie insists on leaving us in the dark on what its intention is. 54. NORMAL I mourn the potential of Normal and what it promised. After taking nearly 40 minutes to set up, we get thrown into a balls-to-the-walls, one-man-army flick where a sheriff must take on a whole town, giving Bob Odenkirk more ammo to show off his action hero chops. The moments when it fulfills the promise are when the movie is at its most watchable... and then it stops. I swear to God, it fully just gave up and wrapped the movie before we even got a climax, which ruined whatever fun I had in the first place. 53. NOUVELLE VAGUE Aside from the budget, Nouvelle Vague is not that dissimilar to a fan film. The Breathless -esque cinematography is stunning, and the performances all around are pretty great. Still, thematically, director Richard Linklater seems strangely incurious about Jean-Luc Godard (Guillaume Marbeck) or the French New Wave. While you can interpret this as a fun hangout movie on the set of Breathless , the movie begins to follow a tedious pattern of Godard self-assuredly wanting to do something interesting, everyone saying it's a bad idea, and then he's right. Even as a Godard fan, I found Nouvelle Vague just pointless. 52. MADDIE’S SECRET As a fan of most of the funny people here, I was surprised how much Maddie's Secret didn't work for me. I got some laughs in, and there is a level of sincerity to the body-positivity messaging, at least when it wasn't making light of it. I didn't find anything here offensively bad, but John Early's (who leads the movie cross-dressed for some reason) debut direction felt a little too amateur to feel anything, especially with its soap opera parody tone. Maybe you'll like this more than me, but I was disappointed. 51. EASY’S WALTZ As much of a joy it is to see Vince Vaughn earnestly belt out Pat Benatar, Easy's Waltz has a big problem: it can't stick to one thing to save its life. As good as it looks, writer/director Nic Pizzolatto throws in a love story, a scam plot, a crime plot, and a "finding your place" plot. None of them mesh together; in fact, the way the movie escalates feels forced, and I didn't quite get a feel of Vaughn's character in the way the movie thought I did. It's not offensively bad, but it certainly misses the mark. 50. DEAD LOVER I truly admire the unflinching creativity of director/co-writer Grace Glowicki's Frankenstein interpretation. Dead Lover is delightfully weird, even gross at times, with a nice aesthetic and intriguing narrative angle. I just wasn't the target demographic for this. I didn't particularly have that much fun with this style of filmmaking, but nearly everyone around me did, so maybe it's personal preference more than quality, and I'm totally fine with that. I didn't find anything about Dead Lover inherently terrible, and I even find the ambition commendable; I just didn't vibe with it, but maybe you will. 49. EPIC: ELVIS PRESLEY IN CONCERT Based on this and his 2022 biopic Elvis , it seems like Baz Luhrmann's interest in Elvis Presley is much more geared towards his impact on culture and less on his personal life. In EPiC: Elvis Presley in Concert , that's a little more forgiving. Aside from the tacked-on opening 20 minutes, this concert movie achieves what you'd hope it achieves: watching Presley perform with magnum electricity. In IMAX, you can really feel the seats move, and there are wonderful editing choices that blend simultaneous performances. That's all this movie really is, but that's all I really asked for. 48. ERUPCJA The excellence of Erupcja is implied but cut short, but I see where the film could've been more successful. The ensemble is great, the breezy vibe of Poland is unique, and I liked the themes it suggested. However, it's just over an hour long, and that's simply too short. Not that it wasted any time, but I wish I had gotten more of a sense of the relationship between Charli xcx’s and Lena Góra's characters or the crisis and symbolism presented had more weight. Instead, it felt like more of a hangout movie than maybe intended. 47. PEAK EVERYTHING Peak Everything is at its best when the absurdist comedy mixed with the eco-anxiety plotline takes over. In the back half, while Patrick Hivon and Piper Perabo have excellent chemistry, that gets taken over entirely by a romance plot, and not that it comes out of left field, but it abandons the film’s identity and becomes much less compelling. I do want to see a feature-length version of the first half, even if I don't think it's ruined per se, it just didn't live up to its full potential. 46. GOOD FORTUNE After showing outstanding directorial chops on his excellent Netflix series Master of None , I was disappointed to see Aziz Ansari go down a visually generic route for his feature debut. There's not a lot about Good Fortune that sticks out, aside from Keanu Reeves' fish-out-of-water running gag that elicited the most laughs and a sincere (albeit not that effective) life-affirming message for people in hard times. But I didn't laugh enough, and I found a lot of the story beats unengaging. I appreciate the attempts by Ansari, but I'll forget about this movie sooner than I had hoped. 45. WHISTLE Whistle is one of the easiest documentaries you'll watch this year, for better and for worse. The film's competition doesn't even come along until 40 minutes in, but in the meantime, we get to know the contestants, with little to no judgment for them. Although based on where the film ends, some of the choices on whom they focus become questionable. Even though Whistle plays it safe, it still is a sweet film with a strong sense of community imbued in there, so check it out if you have an hour and a half to spare. 44. JOHN CANDY: I LIKE ME John Candy: I Like Me is your typical celebrity documentary about a beloved figure. The sentimental interviews, the celebrities telling stories, the behind-the-scenes tales from his iconic movies and shows, and the attempts to make you cry when we get to his passing – it’s all there. It's not a risky film, other than maybe the attention to his insecurity about his weight, but suffice to say, your enjoyment of this will depend on your appreciation for Candy. And I do love him. It made me laugh, it made me cry. It's a worthy tribute to Candy, as basic as it is. 43. RENOIR Renoir's emotional force comes striking down in the end, but it wasn't quite as moving to get there. Writer/Director Chie Hayakawa imbues the film with a nostalgic warmth, but the pacing is all over the place, some moments meandering and other moments thriving in an out-of-reality child-like wonder. Those two tones didn’t mesh together well, and that made Renoir start to feel lopsided. The ending is a lot more well-rounded, making a beautiful portrait of how a kid can process loss, but is it worth it if it takes so long to get there? 42. THE WIZARD OF THE KREMLIN The Wizard of the Kremlin is worth watching for Jude Law's brief yet uncanny performance as Vladimir Putin. Every time he's on screen, my eyes were peeled. Paul Dano also is excellent, but the movie starts to get a little scattershot over the course of its two-and-a-half-hour runtime. As a lover of political thrillers, the dialogue very easily sucked me into the film at times; however, the statement it wants to make on political power in the modern age and the rise of Putin felt lost to a point of no return, creating a forgettable experience. 41. THE FENCE Claire Denis is a filmmaker who seems to be on a bit of a downward spiral, and The Fence doesn't help to pull her back up. I didn't mind this one quite that much. There is an underlying tension that permeates throughout, and the performances are all great, especially from Isaach De Bankolé, who expresses a whole lot with sullen silence. The colonialism metaphor gets very lost in the uninteresting character drama, however, and at a point, the plot gets lost almost entirely. In the end, nothing Denis wanted us to take away stuck with me in any meaningful way. 40. MODERN WHORE I don't quite know how I felt about Modern Whore's mix of documentary and scripted skits. Not that it's a bad idea, it's more how it was executed. The best parts of the movie are when the subject, Andrea Werhun, opens up about her experiences and speaks to other sex workers and her loved ones. Those were the moments where the film's themes were the most effective, but the momentum halts whenever these scripted moments come up, as they just felt amateur, making me wish more effort had been put into making sure it was all done right. 39. TUNER I admittedly wasn’t floored with Tuner like others were, and that may have been a victim of expectations more than anything. That said, I still had a blast and found it perfectly serviceable at worst. Clearly playing in Edgar Wright's toybox, the editing and sound work are frenetic and draw you into the protagonist's perspective, with Leo Woodall giving his all. I also found it well written with engaging characters and story progressions, but there was a kick that others had which I didn't get. Hopefully, a second watch will get me there, but for now, I still really liked Tuner . 38. HEDDA After being in a franchise/IP hole for the past couple of years, it's nice to finally see writer/director Nia DaCosta stretch the capabilities of her talents. In Hedda , she directs the film with a wicked ferocity that keeps every conversation and conflict alive. It looks incredible, the pacing is perfect, and the trio of Tessa Thompson, Nina Hoss, and Imogen Poots are great. That said, the script didn't quite work. There's an interesting 'poke the bear' narrative in there, but nothing ever made me want to grab onto it, even if I did have a fun time watching. 37. POETIC LICENSE Clearly taking after her father, Maude Apatow's directorial debut, Poetic License , is a breezy slice-of-life comedy that takes joy in digging into the funniest and most painful impulses of broken people. I'll admit, there were moments where this felt aimless, especially in the beginning, but once Apatow finds a chaotic sweet spot, Cooper Hoffman, Andrew Barth Feldman, and Leslie Mann's infectious performances feel the most alive, and I felt for these people on human levels beyond the obvious absurdity of the situations they’re in. I do hope Apatow expands on her directorial singularity because this was a great start. 36. EXIT 8 As someone who has never played the game on which it's based, I think Exit 8 works because it's completely unashamed of its video game origins. The film's weird escape room concept feels like it's operating under the mechanics of a video game, giving us a fun escape thriller that works on incredible levels... when it's a thriller . Whenever it leans into the metaphor about fatherhood, it isn't effective, taking me out of an otherwise very engaging film. That, unfortunately, did affect my overall enjoyment of Exit 8 , but it was still a fascinating experience nonetheless. 35. THE NAPA BOYS The Napa Boys , in all honesty, feels like a feature-length inside joke pretending to be a legacy sequel to a fake beloved franchise. I would understand why some wouldn't find that sense of humour very funny, but when the movie casually throws out that the boys have to go 'find Stiffler's brother' without any prior context, that's when I knew this American Reunion meets Lord of the Rings parody film was gonna land for me. It feels very aimless at times, but I did come to laugh, and I laughed more often than I didn't. 34. THE TESTAMENT OF ANN LEE There are moments in The Testament of Ann Lee where director/co-writer Mona Fastvold is on fire. In these moments, the choreography, enhanced by Daniel Blumberg's score, is a magnificent sight. It’s the kind of musical magic I can feel in my chest. Unfortunately, those moments can't save the Wikipedia-esque script. Amanda Seyfried plays Ann Lee with amazing humanity, but as the film progressed, I couldn't help but wonder what I was supposed to feel about Lee, the Shaker movement, or Christianity in America. In the end, the production values and Fastvold's filmmaking are the only memorable parts of the film. 33. THE SMASHING MACHINE With all the chatter of Dwayne Johnson's big Oscar transformation, I was shocked to see just how un-awards-bait The Smashing Machine was. Director Benny Safdie shoots this film in a documentary kind of way, not so much watching a typical triumph sports film, but a stripped-down look at what makes Mark Kerr (Johnson) tick. Johnson himself, while physically unrecognizable, gives off more of a gentle giant performance, a soft nuance I wasn't aware he was capable of. All that to say, despite it coming off as rather stake-less, I fell for the calm approach here. 32. GOOD NEWS Talk about overstaying your welcome... Good News sports wicked editing, absurd humour, wild political satire, and a fun thriller concept involving a plane hijacking. It’s like if Park Chan-wook directed Airplane! . That said, it is maybe an hour longer than it needs to be, but it's hard not to have a lot of fun with this premise and execution. Even when it feels like it's going hard on non-sequitors, the energy keeps it watchable. At a certain point, though, watching people scream for two-and-a-half hours becomes exhausting. This can be fun on streaming, when you can pause it and stretch your legs. 31. ORWELL: 2+2=5 The statement of Orwell: 2+2=5 couldn't be clearer: George Orwell's writings are as prescient as they ever were. The film evokes Orwell's messaging through graphics and Damian Lewis’ narration as Orwell, but the movie is most effective when it compares Orwell's quotes to images that hit close to home, like using footage from the Gaza invasion or the January 6 riots. If you've never read Orwell, this is an important documentary, but if you're like me, who's already well-versed, I got the message pretty quickly — then it went on for another hour. This is a vital documentary, nonetheless. 30. ROOFMAN Based on the trailer for Roofman , I was afraid director/co-writer Derek Cianfrance was gonna ditch his knack for emotionally driven character stories for a more studio-driven comedy. While the film doesn't shy away from the absurdity of this true story, mainly due in part to Channing Tatum's charming goofiness, what grabbed me the hardest about Roofman was Cianfrance's writing that mixed the weirdness with true humanity. Even when it leans into the "criminal with a heart of gold" idea, the empathy it decides to focus on in regards to Jeffrey Manchester leads to effective emotional beats. 29. COVER-UP The story of Cover-Up is certainly a politically relevant one. Beyond being a very charismatic subject, the importance of Seymour Hersh is well-expressed, showing us well-documented pieces of journalism from him that revealed shady military practices in Vietnam and Iraq, and as the film shows us him beginning to write something on Gaza, Cover-Up's relevance shines at its absolute brightest and most hard-hitting. I did find the movie unremarkable beyond its politics, and I wish it offered a bigger punch, as a lot of what we learn is surface-level, but I'd still say this is an important watch. 28. SOUND OF FALLING I'll admit it: not all of Sound of Falling clicked on my first viewing. Not that I didn't understand it, but it's (sort of) an anthology film, and what I missed was what the multiple stories have to do with each other. I have working theories, but until I get the chance to see it again, all I can say is I was sucked into it in spite of my confusion. The slow-burning atmosphere, the sound design, Fabian Gamper's cinematography: all of it captured my interest, so much so that whatever writer/director Mascha Schilinski does next, I'm all in. 27. CAROLINA CAROLINE I could tell you where Carolina Caroline was headed by frame zero. But how does a film recover from being wholly predictable? Being cool as hell, that's how. Through the stylish direction of Adam Carter Rehmeier and the sexy chemistry between Samara Weaving and Kyle Gallner, you’re given a believable, steamy romance and an emotionally charged crime thriller through small-town America. The narrative takes little-to-no swings, but the tone and vintage look of the film make up for that in spades, and this became a thoroughly watchable film throughout. 26. THE LITTLE SISTER While not too much is narratively distinct from most coming-out stories beyond the Muslim perspective, The Little Sister's strength is in the subtle nuances. Writer/director Hafsia Herzi plays around with the type of insecurities and fears plaguing a closeted lesbian in various environments, and some of these moments carry a lot of heartbreak in them, none as devastating as the film's gut punch final moments, which exacerbate the wonderful performance given by Nadia Melliti. While the pacing isn't always consistent, there was never a moment when I wasn't sucked into the emotional profundity of this coming-of-age story. 25. ARCO Arco breaks no barriers in any sense, either in animation or thematically, but it's another piece of evidence that maintaining a level of genuine care for itself will yield great results. The narrative about finding connection at a young age is nothing new, and the animation clearly takes from Studio Ghibli at times. Still, I couldn't help but feel warmth from the story and look in awe at some of the film's visuals, mixed in with creative world-building and mythology that caught my attention. At some point, Arco’s familiarity just didn't even faze me anymore. 24. RENTAL FAMILY There was a fear of mine that Rental Family would lean too sentimental and perhaps even emotionally manipulative, and I was pleased to say that's not the case. Brendan Fraser's teddy bear performance is easy to melt your heart, but director/co-writer Hikari’s patient and often funny writing gives each character a well-fleshed out arc and emotional stake in the narrative. While I never reached the point of tears, I certainly felt the beauty in this story that utilizes an otherwise pretty silly concept. Rental Family is a nice, feel-good film that's genuine and worthwhile in many regards. 23. HEN Hen : A live-action cross between Homer's Odyssey , The Shawshank Redemption, Goodfellas , and Over the Hedge . Dare I say more? Through this unflinching look at a hen's fight for survival (shoutout to the performance from the titular hen), director György Pálfi takes no shame in telling this story with as much kookiness and fun as possible, taking this fearless hen to dark places and beautiful ones, too. Despite the bizarre concept, this is a genuinely captivating story. It's certainly one of the weirder films you'll see all year, but one that's easy to grab onto and get something out of. 22. PUT YOUR SOUL ON YOUR HAND AND WALK A lot of films about the current genocide in Gaza are expected to elicit strong emotional feelings. Put Your Soul on Your Hand and Walk's approach will inspire an interesting kind of heartbreak. The entire film is seen through FaceTime calls between director Sepideh Farsi and a Gaza citizen named Fatma Hassona, and her words will make you ponder the conflict in a new light, watching Hassona's fears and, more importantly, her hope while drone strikes are happening just outside her window. The film's devastation is magnified by knowledge of Hassona's murder after the film was completed. 21. THE TALE OF SILYAN The relationship between man and animal is often portrayed on film, especially in documentaries. The Tale of Silyan's angle on this idea is, yes, healing, but more than just an emotional one. It's not your typical "aww, he's friends with a bird" type of deal; the relationship comes together under more tragic circumstances, and through beautiful cinematography, we get a well-observed glimpse of Macedonian life, both domestic and politically, and through this newfound relationship, we get a profound look at the strife farmers deal with regularly. You'll have your hearts strung, you have my word on that. 20. IF I HAD LEGS I'D KICK YOU If I Had Legs I'd Kick You is likely to be a very alienating film for many people, but I can't stress enough how worth it this experience is, if not just for the tour-de-force performance from Rose Byrne. She guides this stressful, at times excruciating (by design) exercise in maternal frustration, as we follow Byrne's character through some of the most aggravating series of events, told with expert tension and visual splendour by director/writer Mary Bronstein. I have mixed feelings about how it wraps up, but the way Byrne guides this difficult experience is a sight to behold. 19. BLUE MOON Typically, with a chamber piece like Blue Moon , you can't help but feel like you're watching a play. But director Richard Linklater embraces that, almost making sure you feel that way. His direction, mixed with the whip-smart script from Robert Kaplow, immerses us in the staginess of this bar setting, with Ethan Hawke's flamboyant character work giving this extra life with all his monologues, making this one of my favourite Hawke performances. I can understand if this won't work for you, but the energy and pizzazz this had despite its limited setting made for an entertaining and emotional powerhouse. 18. A POET A Poet snuck up on me in a massive way. With a vintage handheld style of filmmaking from director Simón Mesa Soto that shapes its tightrope act, this film shoves the audience into the fractured narcissism of Oscar, played with perfect sliminess by Ubeimar Rios. A Poet's strength is not just in its sense of humour or intentional frustration, but in the rather interesting approach to art, and through this character study, Soto makes the case that at the root of any artist is an inherent ego. This was one of the biggest surprises I've had in a while. 17. MY FATHER’S SHADOW Operating on a similar logic to Aftersun, My Father's Shadow's depiction of Lagos in 1993 under political turmoil, as well as fatherhood through the unaware eyes of children, is a memorable and even heartbreaking examination. Director/co-writer Akinola Davies Jr.'s direction is precise but, by design, rusty. Our perspective is through the kids, so the limited information enhances the beauty and horror of the plot. Sopé Dìrísù's performance blends masculinity with tenderness perfectly, and the child performances from Chibuike Marvellous Egbo and Godwin Egbo are great as well. By the end, it made me cry and reflect, the hallmark of a job well done. 16. BLKNWS: TERMS & CONDITIONS It's hard to think about the last time I saw a movie and thought, "This isn't like anything I've ever seen." BLKNWS: Terms & Conditions acts like a fast-paced slideshow of historical footage, pop-culture references, and even memes, but it also features scripted original scenes to creatively make the audience view black art and history through a singular entrancing experience. I can say with confidence that you could show this to multiple people, and each person will take something different away from the film. It's that kind of experimentation from director Kahlil Joseph that makes BLKNWS unforgettable. 15. WAKE UP DEAD MAN: A KNIVES OUT MYSTERY Wake Up Dead Man is Benoit Blanc's (Daniel Craig) most ambitious mystery yet. Continuing the trend of writer/director Rian Johnson's Knives Out films, Johnson flips audience expectations on their heads in ways that had my eyes glued. Even if you guess who the killer is, the “how” will still shock you. Easily the darkest of the franchise so far, it has great Poe-esque iconography and an interesting take on the radicalizing power of organized religion, all while keeping that Knives Out humour intact. You could argue this is the best of the franchise, and I wouldn't fight you on that. 14. THE VOICE OF HIND RAJAB Using the real audio of Hind Rajab, a 6-year-old girl killed by Israeli soldiers in Gaza, it's very easy to see how The Voice of Hind Rajab is highly effective. Any movie that brings audience attention to the active genocide is worthwhile in my opinion, but showcasing as many perspectives as possible is as well. In this film, the dramatization of an emergency call centre showcases the desperation to save as many people as possible in Gaza, and combined with the heart shattering reality that it's just not possible sometimes, it's a heavy but necessary watch. 13. THE FURIOUS I saw The Furious at midnight, and it's a testament to the sheer bone-crushing insanity of director Kenji Tanigaki's martial arts epic that I had so much energy walking out. The story is fairly simple, but you're here for the action, and I can sincerely say this has some of the best action choreography I've ever seen. Several times, I wasn't sure how someone could conceptualize these fight scenes, let alone shoot them, all building up to a two-on-two-on-one sequence where I didn't blink once. An easy movie to get hyped on by just hearing the name after watching it. 12. SENTIMENTAL VALUE Sentimental Value's impact is an interesting one because it took me a minute to fully get hit by the film's multi-layered writing. While watching it, I was taken aback by Joachim Trier's direction; however, his writing, while grounded and interesting in its depiction of a broken family, didn't get that stunning realization out of me until I considered Trier was saying that, like a home, a family is something that will forever need to be worked on. Pair that with exceptional performances and ambitious filmmaking, and Trier has created another beautiful instant classic. 11. SILENT FRIEND Silent Friend took a while for me to understand what these three stories about plant preservation had to do with each other. Once it did, all the pieces started to connect in a beautiful manner. It's got wonderful themes of connecting to the environment and to each other, and even through its experimental nature, the tenderness of Ildikó Enyedi's direction is hard to miss. All three stories are engaging in their own way (shot with period authenticity by Gergely Pálos), but just experiencing this connected vision was something unique in its own beautiful way. 10. FRANKENSTEIN Writer/director Guillermo del Toro's Frankenstein is long. There was never a moment when I wasn't engaged, but I'll admit there's some fat that could've been trimmed. But the ends justified the means here. As expected from a del Toro film, the crafts are magnificent, from set design to Dan Lausten's cinematography that fully immerses us into this world. But it's the compassionate writing that accurately brings Mary Shelley's book to life, pondering the difference between man and monster, with a stunning performance from Jacob Elordi as The Creature. This Frankenstein is another stunning creature feature from the master del Toro! 9. OBSESSION Watching Obsession , it felt like I was witnessing a new horror hit. Weaponized with debut director Curry Barker's awkward sense of humour, he cannonballs onto the scene with confidence and a fantastic eye for creepy imagery. What makes this one so wonderful is the awfully relatable terror of having a hopeless crush, mixed with the highs of optimism that soon reveal some gross scares from the mere sight of Inde Navarrette. She is a true revelation, as her supernatural attachment becomes a nightmare. I hope for dear life that audiences embrace Obsession for the treat it is because it's special. 8. LITTLE AMÉLIE OR THE CHARACTER OF RAIN At under an hour and a half, Little Amélie or the Character of Rain takes audiences on a gorgeous coming-of-age journey with beautiful animation and wondrous emotions. Following baby Amélie’s (Loïse Charpentier) point-of-view, we get to see both a child’s growing love for life and their discovery of heartbreak, as she sees things through a continuous new lens. The writing offers her a creative viewpoint to reveal life's challenges, both domestically (being a Belgian girl living in post-war Japan) and mythically. I won't hide it; this incredible movie made me cry, and I need everyone to see it. 7. IT WAS JUST AN ACCIDENT There's something very fascinating when you walk out of a movie not sure how to talk about it, yet you know that you just watched something extraordinary. Writer/director Jafar Panahi's Palme d'Or winner It Was Just an Accident is structured like a comedy of errors, yet it's a haunting and wonderfully acted reflection of the scars left on the victims of Iran's government. Its morally interesting plot questions humanity's ability for cruelty in an unjust society, and if you don't leave the film staggered by its final 20 minutes, I'll be impressed. 6. HAMNET Being that this is the hardest a movie has made me cry in recent memory, you'd think Hamnet is just a plea for your tears. But director/co-writer Chloé Zhao's meditation provides more than just a tear-jerker. Taking her time to show the love of this family before tragedy befalls them, we get to see incredible performances from Jessie Buckley, Paul Mescal, and Jacobi Jupe, and stunning cinematography from Łukasz Żal. Hamnet shows us what catharsis after unspeakable loss can look like and the healing power of art. It's hard not to see where the love is coming from here. 5. TRAIN DREAMS Through its hazy narrative structure, which is like watching a collection of memories accompanied by a stunning score from Bryce Dessner, Train Dreams emerges as one of 2025's best films. Featuring a career-high performance from Joel Edgerton, director/co-writer Clint Bentley takes audiences through the stunningly shot life of a post-20th-century labour worker, through the highs and devastating lows. It's an emotional tour de force, showcasing tender meditation and powerful perseverance; you won't find a film that balances stark realism with an alluring dream-like atmosphere like this. If you can get on its wavelength, Train Dreams will stick with you. 4. THE SECRET AGENT After last year's I'm Still Here detailing the Brazilian military dictatorship in the 1970s, The Secret Agent is here to give us an interesting perspective on that period of time. Anchored by a subtle but excellent performance from Wagner Moura, writer/director Kleber Mendonça Filho takes us headfirst into the sun-soaked world of the average Brazilian citizen, enjoying life despite the terror going on. As slow as it is, it finds novel ways to never be boring, including creative noir-style editing choices and a memorable sequence involving Brazilian folklore, which makes this one of the more engaging titles of this year. 3. NIRVANNA THE BAND THE SHOW THE MOVIE As a Torontonian, I acknowledge my bias for a film so littered with Toronto easter eggs, but Nirvanna the Band the Show the Movie is a blast I'd recommend to anyone. Yes, there are inside jokes not everyone will get, but there's still a lot to laugh at. From a sheer filmmaking standpoint, I wondered "how did they do this?" multiple times. The writing alone is truly brilliant, weaving in time travel, comedy, and a sincere friendship narrative all into one uniquely enjoyable package. At the risk of sounding hyperbolic, this movie is sort of a miracle. 2. SIRĀT Sirāt is so bleak, I was in a trance-like state watching it. It's also one of the best films of 2025. Like the raves the characters seek out, Sirāt feels like a high with no actual resolution, just feeling the vibrations of director/writer Óliver Laxe's unforgettable odyssey through the Moroccan desert. The first half is a nice meditative film that follows these nomads and a desperate father/son, but the second half devolves into hell in a way that made my heart race rapidly. I had to cover my eyes a lot, which made this an existentially dreadful yet singular work of art. 1 . NO OTHER CHOICE To the surprise of nobody who knows the name of director/co-writer Park Chan-wook, No Other Choice is another masterful piece of genre cinema. Starring Lee Byung-hun in one of the year's most compelling performances, Park uses his signature style of absurd editing and morally ambiguous characters to create a slapstick comedy-thriller with some bleak class commentary, taking the film in smart directions that go beyond the simple concept of lower-class desperation. He makes a devastating point that you'll have to see to believe. It's also very funny, and a glowing testament to the type of madman filmmaker Park is.

HIJACK Starring: Idris Elba, Neil Maskell, Christine Adams, Jude Cudjoe, Max Beesley, Archie Panjabi, Eve Myles, Kate Phillips, and Ben Miles Creator: George Kay and Jim Field Smith NICK With Hijack following the 24 -method of real-time storytelling, the series aims to create tension, and does so with great effect; I caught myself sitting forward in my chair on quite a few occasions. In limited time, I was given sufficient reasons to become invested in the flight passengers, but none more so than Sam Nelson (Idris Elba). His calm, cool, and collected demeanour only added to the tension since I was just waiting for him to explode. Things get a little turbulent in the middle of the series, and the story takes some unnecessary turns, but it all culminates in an exciting finale. QUENTIN With a simple premise and an engaged Idris Elba, Hijack is a fast-paced series that will hold your interest from episode to episode even as you pick out some minor flaws. Billed as a show that takes place in real-time, that aspect never feels necessary or propulsive in the way that it did for 24 . There also are some on-the-ground side characters that feel like filler, and the hijackers aren’t all that formidable. In fact, they mostly come off as buffoons. All that said, those are very minor nitpicks for a show that remains captivating due to the story’s inherent tension and Elba’s immense watchability.

Previous Next February 28, 2024 WRITTEN BY: QUENTIN AND NICK We’re back, TV viewers! With the Oscars fast approaching and everyone focusing on 2023’s Best in Film, Nick & Quentin, once again, wanted to take a second to highlight 2023’s Best New Television Series (check out 2022’s Best New Television Series HERE ). While some of these were massive successes, others flew under the radar. Either way, all are worth checking out. THE FALL OF THE HOUSE OF USHER Horror shows are always tough to pull off. Whether it be budget constraints or a story becoming inert in its need to fill a required number of episodes, they are usually more lackluster than their cinematic counterparts – except for the creations of Mike Flanagan. He has repeatedly proven that he knows how to deliver scares on the small screen. In 2023, he delivered a near-masterpiece with The Fall of the House of Usher , a miniseries amalgamation of Edgar Allan Poe adaptations that has it all: gore, spookiness, and genuine fright, not to mention a superb cast and tightly written mystery. - Quentin The Fall of the House of Usher is currently streaming on Netflix. THE WALKING DEAD: DEAD CITY/DARYL DIXON I know, I know. Many have fallen out of love with the Walking Dead franchise, yet here I am ranking it amongst my top series of the year... twice. Here's the thing: for the final four seasons of the original series, there was no doubt the highlight was Jeffrey Dean Morgan's Negan. With his combustible relationship with Lauren Cohen's Maggie Rhee, there was clear potential for Dead City . It was a no brainer. It's Daryl Dixon , however, that really surprised me. Norman Reedus' Dixon has never been among my favourite characters, but the decision to place him on a bilingual show in France harkened back to the underrated Mexico arc of Fear the Walking Dead . It was a series I had low expectations for, and one that greatly exceeded them. Both series managed to remain unique enough to stand alone while still feeling part of an extended universe, and I look forward to seeing the directions they take. - Nick Season One of each series is currently streaming on AMC+. Season Two of Daryl Dixon , subtitled The Book of Carol , is set to premiere in 2024, while the release date for Dead City is currently unknown. BUPKIS As far as his acting credits go, I wouldn’t exactly call myself a Pete Davidson fan. However, I can’t deny that Bupkis was one of the best comedies of 2023, new or otherwise. Maybe it’s my love for Joe Pesci, maybe it’s the fact that Edie Falco can do just about anything, or maybe it’s the hyper-real yet genuine meta comedy that plays like Atlanta meets Curb Your Enthusiasm . Whatever it is, the recipe cooked up by series creators Davidson, Judah Miller, and Dave Sirus works, and no show made me laugh out loud more frequently than Bupkis did last year. Let’s hope Season Two is just as “Crispy!” - Quentin Season One of Bupkis is currently streaming on Peacock. It has been renewed for Season Two, but a release date is currently unknown. GEN V The Boys is such an enigma of a series. You have Quentin Tarantino-style violence blended into a superhero series that touches on world issues and the possibility of what a real world with these powers would look like. To replicate it would be a near impossible task, but Gen V honestly does a pretty good job. Absent are many of the downfalls that come with teen-focused series because, much like its parent series, this show doesn't shy away from foul language, graphic imagery, and extreme violence. Instead of relying on lazy tie-ins, Gen V introduces a new cast of characters, giving them their own stories separate from the likes of Homelander. This allows the show to blend into the Boys universe organically without being totally reliant on it. It’s another win for show creator Eric Kripke. - Nick Season One of Gen V is currently streaming on Prime Video. It has been renewed for Season Two, but a release date is currently unknown. THE DIPLOMAT The Diplomat might be my biggest surprise of 2023. When I first saw the trailer, I thought, “Oh, another ‘can-she-really-have-it-all?’ soap opera.” However, contrary to what many may tell you (my fellow Bitesizers included), I can admit when I’m wrong. Keri Russell channels the inner fierceness of her character from The Americans to carry a The West Wing -meets- Homeland series about the American political machine and the dramas one must endure, personally and professionally, to be a successful public servant. I’m sure it helps that my day job is…let’s say, adjacent …to the world in which this series is set, but that doesn’t diminish how great the show is, overall. - Quentin Season One of The Diplomat is currently streaming on Netflix. Season Two is currently filming and will release on Netflix in 2024. SILO A series that was completely off my radar to start the year was the Apple TV+ program Silo . Led by Rebecca Ferguson, this sci-fi story is one that grabbed me early and kept tightening its grip as it progressed. Silo asks interesting questions of both the characters and the viewers as the story slowly unravels amongst some fantastic world-building. The directions this show can take and the possibilities within this world are plentiful, which for a viewer, is so damn exciting. It has been a while since a good sci-fi series has gotten its hooks in me ( Falling Skies may have been the last), but I've been anticipating Season Two from the moment the finale ended. I’d advise going into this one with the least information possible. - Nick Season One of Silo is currently streaming on Apple TV+. It has been renewed for Season Two, but a release date is currently unknown. BEEF After winning a slew of Emmys and Golden Globes, Beef ’s inclusion here should come as no surprise. This darkly hilarious miniseries taps into our inner and unspoken desire to watch the world burn after it kicks us in the dick, as well as our inability to take responsibility for the reason it kicked us in the dick in the first place. Terrific and award-winning performances from Steven Yeun and Ali Wong, who share an animalistic chemistry, are the centerpiece of the series, but the entire supporting cast brings their A-game too, especially David Choe and Maria Bello. Plus, Hoobastank covers! - Quentin Beef is currently streaming on Netflix. Season two is rumored to be in development, starring Anne Hathaway, Jake Gyllenhaal, Charles Melton, and Cailee Spaeny. SHRINKING A series from the creator of Ted Lasso featuring a solid comedic cast, including the legendary Harrison Ford as a curmudgeon therapist? Sign. Me. Up. Whether it's Jason Segel as a leading man, the emergence of Lukita Maxwell, or the welcome return of Christa Miller, Shrinking turned out even better than I could have hoped for. While the ensemble is what really makes the show work, the series also provides consistent laughs and memorable moments. Most importantly, though, it leans into the feel-good and relatable aspects that made Ted Lasso such a success. I hope, as it goes forward, it delves further into some darker themes because I know it will be able to approach these subjects in a delicate yet comedic manner, much like Lasso did. - Nick Season One of Shrinking is currently streaming on Apple TV+. It has been renewed for Season Two, but a release date is currently unknown. MRS. DAVIS With hilariously intriguing and borderline blasphemous takes on religion, Mrs. Davis is successful because of its sheer audacity and outright bonkersness, all of which is somehow made to feel grounded through Betty Gilpin’s dryly droll performance. Like a New York nightclub that Stefon from SNL might rave about, this limited series has everything, from British Knight shoe references to a taco-making Jesus, but it’s the themes of redemption, love, pride, and faith that are rolled into the wacky road-trip adventure that will keep you coming back for more, even as it becomes more and more ludicrous. In a way, it’s the comedic yin to Preacher ’s dark yang. - Quentin Mrs. Davis is currently streaming on Peacock. HIJACK Since 24 popularized the "real time" storytelling format way back in 2001, it's been highly underused. It's a great way to build tension and make it feel like anything can happen. Hijack is a great example of this. Much like 24 , they found an electric lead in Idris Elba, and they let the man cook. At times, it feels like you're personally trapped on the plane instead of watching a series thanks to its anxiety-inducing realism. In fact, the show was such a success that Elba will get another crack at portraying Sam Nelson in the future. While it seems unlikely that a second season lands him back on a plane, if they keep the realistic approach and tense edge-of-your-seat moments, Hijack : Season Two may not be the last. - Nick Season One of Hijack is currently streaming on Apple TV+. It has been renewed for Season Two, but a release date is currently unknown. PAUL T. GOLDMAN Almost certainly the best show on this list that no one watched, Paul T. Goldman is a hybrid documentary miniseries that is equal parts funny, compelling, and sympathetic. It’s so layered that it’s hard to describe with so few words, but know this: the lovable Paul, who makes you want to say “oh, honey” at every turn, tells the true story of how his ex-wife pulled him into a world of pimps, prostitutes, and sex trafficking. Also, he cringily plays himself in the dramatizations even though he is not an actor. Concurrently, there is a making-of-the-documentary angle where Jason Woliner, the frustrated director, is trying to extricate fact from fiction as the sweet-natured Paul may potentially be an unreliable narrator who becomes increasingly involved in the production. It's an easy binge that you won’t be able to look away from. - Quentin Paul T. Goldman is currently streaming on Peacock. THE LAST OF US The phrase "video game adaptation" often is synonymous with words such as disappointing, underwhelming, and disastrous. Then there's The Last of Us . A game that found popularity largely due to its story has become the basis for an adaptation that has to be one of, if not the , greatest video game adaptations of all time. Led by Pedro Pascal - who since filming has rapidly ascended to the A-list - and Bella Ramsay, The Last of Us is able to stand on its own in zombie media because of the unique creature designs, its ability to look and feel like the game (including direct shot-for-shot remakes), the fleshed-out characters, and the in-depth storytelling. The temptation will be there to continue this series beyond the game's story, but I hope it comes to an end with Season Two because, honestly, there is no better way to end it. - Nick Season One of The Last Of Us is currently streaming on Max. It has been renewed for Season Two, with a release expected in 2025.

TREASON Starring: Charlie Cox, Olga Kurylenko, Oona Chaplin, Tracy Ifeachor, Ciarán Hinds, Danila Kozlovskiy, Alex Kingston, and Adam James Creator: Matt Charman QUENTIN While it’s nice to see Charlie Cox outside of Daredevil , Treason is a run-of-the-mill, British espionage show. On the positive end, that means it’s only five episodes, so it doesn’t overstay its welcome; however, it also means that it’s quite dry at times and the character development suffers. The acting is serviceable, but the characters are written in ways that have them doing conveniently dumb things that don’t really ring true-to-life (especially Oona Chaplin’s Maddy, who is a constant head-scratcher of annoyance). Still though, Treason is so short that by the time you realize it’s an imperfect miniseries, you’re already at the finale.

BEHIND HER EYES Starring: Simona Brown, Eve Hewson, Tom Bateman, and Robert Aramayo Creator: Steve Lightfoot QUENTIN Despite lackluster characterizations and random dream sequences that muddy the waters, the first half of this miniseries sets up an intriguing, if unoriginal, psychological thriller. The tone is nearly perfect, as there is an ominous feeling of dread lurking just below the surface thanks to Eve Hewson's performance. However, in episode five, it shifts genres with a reveal that is patently ridiculous, while still insisting on taking itself very seriously. From this point on, everything buckles under the weight of its own absurdity, leading to an absolute bonkers ending that's too dumb and derivative for even a fun "WTF!?" moment.