Previous Next John Wick is the latest franchise to spin-off with the upcoming Ballerina. So, that got us thinking about what some of our favourite spin-offs are across both film and television. You know what that means... yes, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Spin-offs. Considering we've already done a prequel list, we've omitted those titles from inclusion here. Each writer ranks their top 15 releases 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 LEGO BATMAN MOVIE The Lego Batman Movie stands out as an animated spin-off that, in my view, may be truer to the character it focuses on than the live-action films. It broke through the pervading superhero fatigue as a shining example of a comic book movie that balances serious and silly. It’s hilarious and full of hysterical gags, but respects the source material, satirising the Batman universe and his character in a way that highlights his loneliness in a surprisingly emotional way while also lovingly making fun of his signature angst. The Lego animation enables impressively vibrant and imaginative visuals, and the way the characters move, like real mini-figures brought to life, adds to the comedy and charm. It also benefits from the genius casting of Will Arnett as the titular character, whose moody, solitary Batman ultimately is what makes this spin-off so enjoyable for adults and children alike. - Katie 4. PEACEMAKER When it comes to the Bitesize Top Five, I usually refrain from ranking recent movies and series because I want to give things time to breathe before I anoint them with superlative praise. However, in the case of Peacemaker , I can’t deny that it’s a near-perfect spinoff even if it dropped in 2022. It’s a terrific blend of tremendous action, raunchy hilarity, and layered pathos. More importantly, it expands DC’s cinematic universe — something Warner Bros. has long struggled with — in ways that no one expected from a series this irreverent, all while demonstrating the best way to use John Cena’s physique, perfect comedic timing, and willingness to do just about anything. In fact, it was so good that it resulted in Warner Bros. giving James Gunn the keys to the kingdom. And that theme song? It’s still my ringtone. - Quentin 3. THE PENGUIN Having The Penguin on this list after only a year might have you saying, “woah woah woah, take it easy sweetheart.” But honestly, it doesn’t take long to recognize the show’s greatness, especially after Colin Farrell’s disappearing act as the show's titular character in The Batman left you wanting to see and hear his Oswald Cobb accent as much as humanly possible. The Penguin is the rare IP television show that doesn’t lean on its recognition to succeed, instead using it to lift tremendous performances and brilliant writing. If Cristin Milioti wasn’t named Sofia Falcone, she still would capture your full attention alongside Farrell’s Penguin, and the fact that non-comic-book lovers could watch this show with as much enthusiasm as The Sopranos or Breaking Bad shows just how well this spin-off landed. - Amarú 2. THE SIMPSONS No matter what generation you’re in, whether you first caught it during its golden years or during its supposed decline in quality, you very likely grew up with The Simpsons . Considering that it’s currently 36 seasons deep into its run with at least four more to come, it’s safe to say that’ll continue to be the case for new generations too. One could say that it’s easily the most successful spin-off ever, having originated as a series of recurring shorts on Fox’s The Tracey Ullman Show . Designed to be shown before and after commercial breaks, the reaction to Matt Groening’s crudely animated cartoons proved so positive amongst viewers that producer James L. Brooks decided to adapt it into its own series for the network. A few pitches later, and the rest is history as its satire on all aspects of American life created a brand like no other, which includes a feature-length movie (my first full exposure to the world of Springfield, incidentally), a few theatrical shorts (including the Oscar-nominated The Longest Daycare ), several tie-in video games, and much more. The day The Simpsons and its impact on culture ends is the day the world ends, and even with how things are going these days, I’m not counting on the latter happening any time soon. - Bode 1. CREED In a sea of legacy sequels and spinoffs, I'll always stand by the idea that Creed is the gold standard. Like many, I presume, when I first heard about a Rocky spinoff about Apollo Creed's (Carl Weathers) son, my first instinct was, "oh, brother!" In my defence, I had no clue just how unstoppable director Ryan Coogler and actor Michael B. Jordan were. Creed does everything right, plain and simple. It builds off the legacy of the originals while never prying off your nostalgia, crafting its own legacy in the process with new characters and its own sense of primal boxing glory. The highs are high, the emotions hit, it's fierce, and everything is earned. Creed is a masterwork of modern blockbuster cinema, and I can't imagine the bar getting any higher than this. - Adriano HONORABLE MENTIONS BORAT STAR TREK: THE NEXT GENERATION FAST & FURIOUS PRESENTS: HOBBS & SHAW GEN V FRASIER

Previous Next December 4, 2025 WRITTEN BY: ADRIANO In 2023, in the wake of Barbenheimer’s success, renowned filmmaker Francis Ford Coppola predicted “we’re on the verge of a golden age [of cinema].” That quote has stuck with me ever since. To hear one of the greatest filmmakers of all time — one who has had plenty of issues in the industry — proclaim such optimism when there were plenty of reasons to be pessimistic about the state of film was refreshing. It's now nearly 2026, following an October that reported some of the worst box office numbers in decades, which made me go back to that quote. Was that just bright-eyed naivety from a veteran out of touch? Or was he right, just not in the way we expected? WHAT IS A GOLDEN AGE OF CINEMA? “Golden Age of Cinema” is a vague term. One might think it simply means we're getting amazing movies. That's certainly part of it, but we're never going to be short of amazing works. I don't believe anyone considers the 2010s a Golden Age, but that decade gave us The Social Network, The Tree of Life, The Master, Mad Max: Fury Road, Get Out, and Parasite , just to name a few. Frankly, you can find incredible movies everywhere: wide studio releases, small indie releases, and even streaming titles. You’re never going to run out of excellent films to watch, regardless of what your tastes are. So, if it's not all about quality, is it defined by box office? Cynically, maybe a little. Part of what defined the last Golden Age was consistent audience turnout to movie theaters, but even then, it wasn't always so shiny. The Wizard of Oz and Citizen Kane , two massive Golden Age examples, were box-office bombs by the standards of the time. Ultimately, that means the definition is a little wonky. It can't be simply described as a flawless industry where everything that gets made is perfect and makes hundreds of millions of dollars because those two things are neither synonymous nor mutually exclusive. That would be great, of course, but it will never happen; more importantly, it never has happened. THE PREVIOUS GOLDEN AGE To help understand what a Golden Age entails, let's discuss the previous one. I'm not going to get into every single detail, mostly since it's not down to a science; however, by most accounts, the previous Golden Age of Cinema was jump-started by the launch of the studio system. While there is debate as to whether it was the poorly aged but technical revelation of The Birth of a Nation in 1915 or The Jazz Singer in 1927, which popularized the era of the talkies, that began the Golden Age, it's universally understood that it began around that era and, at the latest, ended at the dawn of the 1960s. During that time, output was strong and consistent, mainly because there was a monopoly in Hollywood by five major studios: MGM, Warner Bros., RKO, Paramount, and 20th Century Fox. These studios were working with in-house talent that often included movie stars and filmmakers under contract. Since the film industry was so successful, it made way for groundbreaking technical and narrative discoveries, many of which have become the bare minimum nowadays. For example, there was a time when an establishing shot was considered daring and innovative. Eventually, the fun had to stop due to legal issues and an overall shift in culture with the rise of television. The studio system as we knew it started to disband, which in turn made way for more daring filmmakers in the independent scene to usher in the New Hollywood era. Some filmmakers you might've heard of, including George Lucas, Steven Spielberg, Martin Scorsese, and even our good friend Francis Ford Coppola, all came in to mold the industry into something that looks a little more familiar to what we have today. THE MODERN STUDIO SYSTEM The studio system today is beyond different from what it was almost a century ago. For one, the five leading studios are different now. Warner Bros. and Paramount are still around, but RKO is gone. Disney acquired 20th Century Fox, and Amazon acquired MGM, so those two also are essentially gone. Disney, Sony, and Universal now join Paramount and Warner Bros. as The Big Five. For decades, they've all been focused on tentpoles, for better and for worse, especially as they fight off declining movie theatre attendance in the wake of a pandemic, rising inflation, and the convenience of streaming. For a while, IP blockbusters were easy money, but not so much anymore. Just as an example, Disney has had a tough year. Lilo & Stitch, The Fantastic Four: First Steps, and Freakier Friday are the only Disney films to have made a profit in 2025 (so far). More notable is that Disney’s financial misses include two Marvel films, a Pixar film, a legacy sequel, and a live-action classic remake. It wasn’t that long ago that those types of known entities made easy profits. Those bombs weren’t inexpensive to make, either, which means, even with the best of reviews, they may still have lost tens of millions of dollars at the box office. Granted, I'm well aware that Zootopia 2 and Avatar: Fire & Ash are about to cancel out those losses, but Disney can't rely on singular bailouts forever. Ideally, they should want to keep losses at a minimum. Admittedly, that's an extreme example, but it makes me strongly believe that the studio system is going to change once again, perhaps (hopefully) for the better, because on the flip side, the independent market is thriving. It's not breaking the box office by any means, but thanks to low budgets and companies like A24 and NEON becoming increasingly mainstream, the indie scene has consistently made incredible films for consistent profits, even if the box office numbers aren’t headline generating. For a multitude of reasons, independent studios alone cannot sustain theatres or the film industry. By their very nature, they are small, which has resulted in larger profits relative to investment, but generally less reach despite occasional, if not frequent, awards hype. WHAT WOULD THE NEXT GOLDEN AGE LOOK LIKE? Why all this talk about profit, you may be asking. What does that have to do with a Golden Age? Well, I say that to say, if we do get there (yes, if), it'll look very different than last time. I don't need it to expound upon my subjective feelings on film because, as any Bitesize member will tell you, my taste will never reflect much of the public’s. I've accepted that I Saw the TV Glow will never have more than a niche following despite how amazing it is. Either way, in my opinion, a new Golden Age would include less competition between streaming and cinemas, making the theatrical experience feel more vital. Studio budgets would be much more reasonable on tentpole films to ensure not only fewer financial losses, but that more smaller films could be made. For example, if Disney had reduced Thunderbolts* budget by $100 million, it would have been a financial success; then, Disney could have used that extra money to make 16 movies akin to Best Picture winner Anora ($6 million budget, almost $60 million box office). It's not a simple process, but in time, it could create a pattern of audiences wanting to spend their money at the cinema to watch something interesting and risky instead of only going to see the franchises they recognize. To be clear, I'm not saying get rid of all IP and franchise films, just make it so that they aren't the only thing major studios rely on. At this point, you might be thinking, “that's much easier said than done.” Of course it is, and my vision of the new Golden Age may just be a pipe dream. However, if the studio system is to change, perhaps we're not light years away from some form of my proposed reality. At the end of the day, film is much more than just box office. It’s a test and measure of time. Box office keeps the wheels turning, sure, but time defines a work of art's legacy. It's why we can now look at Citizen Kane and The Wizard of Oz , films that were once considered failures, and identify them as quintessential Golden Age titles. There will always be bad movies, some of which make loads of money, but a shift in the way the studios operate could make those movies an annoying aberration and not the important lifeblood keeping theatres alive. HAVE WE MADE IT TO THE NEW GOLDEN AGE? If it wasn't already clear… no, I do not believe we have made it to a new Golden Age. We certainly have no shortage of Golden Age-worthy titles from both the independent scene, like The Zone of Interest or Past Lives , or the major studios, like One Battle After Another and the Dune series. Of course, there are the two phenomenon-creating films that caused Francis Ford Coppola to make such a claim in the first place, Barbie and Oppenheimer . But is it possible I'm reading too much into a statement that was, perhaps, made offhandedly in the aftermath of a historical cinematic weekend? Maybe so. However, if I may match Coppola's optimism, there are small steps being taken to ensure a better cinematic landscape. For example, Netflix has recently done a better job of giving some of their original films a wider theatrical rollout, so much so that I can still watch Frankenstein in theatres right now even as it’s available in homes across the world. It is far from perfect, but it's a start. Look, here is what I will say in closing… I get depressed seeing A Minecraft Movie making nearly a billion dollars just a few weeks after Mickey 17 was an absolute bomb. That said, considering the overwhelming success story for Sinners and the growing appreciation for IMAX experiences on print film and classic re-releases, I find myself not fully pessimistic about the future of film. If a Golden Age is on the horizon, we probably are years away from it, at best, and who knows what it will actually look like, if we can even recognize it in the moment. My optimism lies in the fact that, at the end of the day, you don't need a labeled Golden Age to watch amazing movies. They are out there. All you need is an open mind and a sense of discovery.

Previous Next January 17, 2024 WRITTEN BY: THE BITESIZE CREW As we enter the new year, almost all movie-related content is focused on looking back at 2023. The best of this, the worst of that, awards predictions, box office tallies, and so on. We’re no different, as we have a few features revolving around 2023 still to come, including The Bitesize Awards. With that understanding, we decided to shift gears a bit and look ahead to 2024. What are the big titles coming this year that we are most excited for, be it purely for fun escapist entertainment or an early awards frontrunner? As you can see below, we all have our certain tastes…from known IP tentpoles to director-driven original stories, from live action to animation, from sci-fi to action to horror to family-friendly. We run the gamut. As you may recall, we’ve done this type of list before, but we changed the rules a bit this time around. We’re only focusing on the first half of 2024, so to be eligible, the movie must have a confirmed release date between January 1st and June 30th. The reason for this is that there are several films expected to release this year, but as we’ve seen in the past, we can never really know when something will actually drop. In fact, just a week before we went to post with this list, one of Adriano’s original choices, Bong Joon-ho’s Mickey 17 (originally set for release on March 29th), was delayed indefinitely. This makes for more accurate selections while also avoiding repetitive lists in the future - such as Killers of the Flower Moon , which topped our past three Most Anticipated Lists due to continuous release date delays. Also, October is far away. You aren’t likely to remember a recommendation for a movie coming out in 10 months, so we’ll wait and do a “Most Anticipated 2024 Films (Second Half)” in July. So, here is what we are looking forward to over the next six months, in order of release date. Are any of these on your list? What are you excited about? MEAN GIRLS (January 12th) The original Mean Girls is a staple of 2000s culture, still one of the most-quoted films ever, and I’d argue a rite of passage for any woman that was a teenager in the mid-noughties. I’ve seen it countless times and never get sick of it, so I am very excited for this modern spin on the generational classic, especially since I love musicals! I’m also interested in how it will connect with and engage a new Gen Z audience and their unique circumstances, with the trailer declaring “This isn't your mother's Mean Girls ,” among fresh takes on clichés and references to TikTok. - Katie ARGYLLE (February 2nd) Believe it or not, Argylle is director Matthew Vaughn's first non- Kingsman film in more than 10 years... at least for now, as there are plans to integrate the two franchises in the future. Yes, the director (known for his signature style) is staying in the spy world, but this time, he's working with a whole new cast of characters. Argylle boasts the big screen return of Henry Cavill - in his first leading film role in a minute - alongside an eclectic cast of characters, including everyone from Sam Rockwell to Bryce Dallas Howard to John Cena to Catherine O'Hara to Dua Lipa to Samuel L. Jackson to... you get my point. Vaughn has earned tons of goodwill with the spy genre, so… if it ain’t broke, don’t fix it. - Nick DRIVE-AWAY DOLLS (February 23rd) Given that Drive-Away Dolls has been described as a “lesbian road trip project,” not to mention that the main characters are two Gen Z women (Geraldine Viswanathan and Margaret Qualley), I can understand why you might be shocked that I’m looking forward to this movie. That said, the supporting cast boasts Colman Domingo, Pedro Pascal, Matt Damon, and the perpetually underrated Bill Camp. More importantly, though, is the person behind the camera: Ethan Coen. The Coen Bros. have long been one of the few directors whose movies I’ll see on name alone, regardless of cast and plot, and I have no reason to think differently just because Ethan is rolling solo this time. Also, when the “lesbian road trip” is described as “going awry when they cross paths with a group of inept criminals along the way?” Man...that’s a classic Coen story if I’ve ever heard one. - Quentin DUNE: PART TWO (March 1st) It should come as no surprise that Dune: Part Two , previously named my most anticipated movie of 2023, would naturally become my most anticipated film of 2024 after being delayed because of the WGA and SAG-AFTRA strikes last summer. It is quite amazing what director Denis Villeneuve was able to capture with the first half adaptation of the legendary book by Frank Herbert. Part One 's visual effects and cinematography not only left me speechless, but also simply astounded by the scope of its storytelling. Part Two of this sci-fi epic is quickly approaching, and I'm excited to see what awaits us on Arrakis. - Paige KUNG FU PANDA 4 (March 8th) I’ve always considered the Kung Fu Panda trilogy one of the most underrated trilogies in recent memory, animated or otherwise. It’s often overshadowed by its DreamWorks Animation counterparts, like Shrek and How to Train Your Dragon , but neither of those trilogies have both the heart and humor that Panda does. Jack Black was born to play Po, and the rest of the cast fit in extremely well too. While I’m slightly worried that a fourth entry might be one too many, adding Viola Davis to a franchise that has continually delivered more than expected may yet again prove that you can’t underestimate the power of the Skadoosh. - Amarú GHOSTBUSTERS: FROZEN EMPIRE (March 22nd) If Frozen Empire is anything like 2021’s highly underrated Afterlife , I’m once again ready to stand tall with one of my favourite franchises ever. Admittedly, the concept for the new chapter has made me raise an eyebrow, but after Afterlife , I trust Jason Reitman enough to deliver another nostalgia-filled ride full of laughter, fun, and a shocking amount of emotional depth. With the original cast (Bill Murray, Dan Aykroyd, Ernie Hudson, and Annie Potts) returning in what is likely to be a more crucial role this time around alongside the cast of the most recent installment (Finn Wolfhard, Mckenna Grace, Paul Rudd, and Carrie Coon), not to mention some new additions (Kumail Nanjiani and Patton Oswalt), I sure can't wait to make the call to catch this one. - Adriano GODZILLA x KONG: THE NEW EMPIRE (March 29th) Okay, I’m fully aware that this movie looks dumb, but that’s exactly why I’m so hyped for it. If Godzilla vs. Kong jumped the shark, then Godzilla x Kong seems to be doing backflips over it. Godzilla’s sporting a new pink makeover, Kong’s got an infinity gauntlet, they’ve doubled down on the whole “hollow earth” thing, and now there’s a baby Kong too? Also, what’s the deal with the big mean orangutan? It all looks so unashamedly ridiculous that, at this point, I’m totally on board with that. I’m just hoping Godzilla x Kong embraces that goofiness while also delivering some epic balls-to-the-walls monster brawls. - Caleb CHALLENGERS (April 26th) Delayed from its 2023 release due to the SAG-AFTRA strikes, Luca Guadagnino's upcoming Challengers caught my attention immediately due to the hype surrounding the trailer. Starring Zendaya, who I believe is one of the most versatile and exciting young talents working in film today, it follows a love triangle set against the backdrop of a sports drama. What more could you ask for?! With a successful filmography including his Suspiria remake, the Oscar-winning Call Me by Your Name , and Bones and All , I am anticipating a dramatic, emotionally engaging, and enticing film. - Katie CIVIL WAR (April 26th) Civil War may be writer/director Alex Garland’s most terrifying dystopian work yet because you know things go awry when California and Texas join forces! Production company A24, who I am rapidly beginning to understand the hype behind, swings for the fences with its biggest budget to date and a cast that includes some low-key favorites of mine in Jesse Plemons and Nick Offerman. Given the current political landscape, the precarious economic condition, and my own proclivities towards preparing for worst-case scenarios, I’d say the timing for this film couldn’t be better (or worse?). - Preston THE FALL GUY (May 3rd) Among other reasons, The Fall Guy has two very big things going for it for me. 1. Nostalgia – I grew up watching reruns of The Fall Guy , a series starring Lee Majors that ran on ABC from 1981-1986, with my grandmother; and 2. Ryan Gosling – sure, I talk a lot about how much I love Nic Cage as an actor, but Baby Goose is at the top of my man crush list. Mix those two things with Emily Blunt, Winston Duke, Aaron Taylor-Johnson (possibly the next James Bond?), Stephanie Hsu, and Hannah Waddingham…all being directed by the action-proven David Leitch…what else could I ask for? Plus, did you see the trailer? Expert use of Bon Jovi. - Quentin KINGDOM OF THE PLANET OF THE APES (May 10th) Although I’m disappointed that director Matt Reeves isn’t returning to helm this long-anticipated sequel, I’m still extremely excited to return to the Planet of the Apes . It’s been almost seven years since the groundbreaking prequel trilogy ended, and since then, I’ve been hungry for more. This new installment seems to be closing the gap between those films and the 1968 original, taking place generations after the end of War for the Planet of the Apes . The humans are looking absolutely feral while the apes are advancing at an alarming rate, discovering electricity, and speaking more fluently than ever. It looks like classic Apes fun! - Caleb FURIOSA: A MAD MAX SAGA (May 24th) It's almost as if Furiosa has checked off every single box for things that gets me pumped for a movie. A George Miller action-epic prequel to Mad Max: Fury Road , one of my all-time favourite movies, with Anya Taylor-Joy in the title role? Say no more. I pulled my car over when I found out the trailer had been released, and to say my excitement only tripled from there would be an understatement. Based on the trailer alone, it looks like we're returning to the post-apocalyptic world of mayhem the way we left it, with badass chases and chaotic cars mixed with (hopefully) a worthy origin story for one of our best modern heroines. Ladies and gentlemen, start your engines! – Adriano BALLERINA (June 7th) If there is one franchise that deserves as much expansion of its world and lore as possible, it’s John Wick . No matter what your thoughts were on Peacock’s miniseries prequel The Continental , getting an Ana de Armas-led action extravaganza spinoff after her amazing portrayal of Paloma in No Time to Die is enough to get my butt in the theater. This franchise has yet to miss, and with multiple characters reportedly returning and Len Wiseman directing (he’s done nothing but fun and entertaining action in my eyes), I can’t see Ballerina being the first to fail. - Amarú INSIDE OUT 2 (June 14th) Although Pixar hasn't exactly been on a cold streak, it has certainly been garnering mostly tepid responses with its recent features. This is precisely why now is the perfect time to revisit the world of Inside Out . The original film succeeded in personifying our emotions in a way that was both relatable and endearing, and I expect more of the same in the sequel. This is especially true thanks to the newest emotion the franchise will be tackling, Anxiety (voiced by Maya Hawke), as well as a few others still being kept under wraps. - Nick THE BIKERIDERS (June 21st) The Bikeriders is uniquely based on a photojournalistic album from the real-life midwestern motorcycle gang chronicled in Danny Lyon’s book of the same name. I have always been fascinated by the “One-percenter” motorcycle clubs, with their semi-nomadic and nonconformist lifestyle that also requires a seemingly contradictory strict adherence to the club’s codes. Writer/director Jeff Nichols often lets his actors act without reliance on flashy cinematography, bells, and whistles to distract from an otherwise bland story. I think what we can expect here is a gripping, modern-day The Godfather -esque tale, featuring bad-ass motorcycles, great dialogue, and Tom Hardy. How can it not be good?! - Preston A QUIET PLACE: DAY ONE (June 28th) Inject A Quiet Place: Day One into my veins now, please. I love that we’re going back to ground zero of this alien invasion to establish how it all began, especially considering we only get a tiny glimpse of it in A Quiet Place Part II . Although John Krasinski isn’t directing this time around, I have complete faith and am stoked to see what he cooked up with writer/director Michael Sarnoski. On top of that, this eerie flick will have Lupita Nyong’o returning to the horror game. So, sign me up! I’m looking forward to being on the edge of my seat throughout this flick, trying not to make a peep. – Paige

Previous Next June 14, 2024 WRITTEN BY: CALEB AND PRESTON Who doesn’t love a good dad? They’ve got endless wisdom, awesome taste in movies, beautiful beer-bellies, and some truly unforgivable (yet amazing) jokes. With Father’s Day fast approaching, Preston (Bitesize Breakdown’s one and only dad) and I thought it would be fun to compile a list of our favourite on-screen fathers. They’re obviously no substitute for the real deal, but these fictional father-figures have entertained us, inspired us, and taught us valuable lessons about what it means to help support a family. Join us as we give a loving shout-out to some legendary dads from the big and small screen while exploring the qualities that make them worthy of our list. MARLIN ( FINDING NEMO ) — THE WILLINGNESS TO CHANGE Marlin (Albert Brooks) from Finding Nemo may be remembered as one of the greatest animated dads of all time, but it’s easy to forget that he didn’t exactly start that way. At the beginning of the movie, Marlin is certainly less than the ideal parent. There’s no doubt that he loves Nemo (Alexander Gould), but he’s controlling and extremely overprotective (which is, honestly, pretty understandable considering what happened to his wife). For me, the reason Marlin is such a great father is that despite all his trauma and greatest fears coming to pass, he still finds it within himself to change his ways. After an intense, harrowing journey to rescue his son, you’d expect Marlin to double down on his overprotective ways; however, he learns that for Nemo to grow as a person (fish?), he must let him live his own life. After raising his son single-handedly, travelling the ocean to rescue him, and coming out the other end as a better parent, there’s no denying that everyone’s favourite clownfish deserves his spot on our list. - Caleb PHIL DUNPHY ( MODERN FAMILY ) — CHILDLIKE INNOCENCE AND GOODWILL Childlike innocence and naivety are accurate descriptors for one of television’s best all-around dads, real estate agent extraordinaire Phil Dunphy (Ty Burrell), the kind of endearing father that you just have to love. Way less cool than he thinks but so committed to his family to even care, his methods of “peerenting” — peer-like talk while sneaking in some parenting — is just the kind of goofy tool that the best dads use to ensure their children are receptive to the techniques necessary to make them the best version of themselves. His infectiously positive attitude and fantastically stealable dad jokes in the face of seemingly overwhelming familial trepidation is nothing less than inspiring to children who have to face a sometimes overly pessimistic world, not to mention to the dads just trying to put on their best face for those they love. -Preston BOB BELCHER ( BOB’S BURGERS ) — LOVING YOUR KIDS FOR WHO THEY ARE Anyone who has ever watched an episode of Bob’s Burgers knows that the Belcher kids can be a lot to handle. Between Gene’s (Eugene Mirman) wild eccentricity, Tina’s (Dan Mintz) teen angst, and Louise’s (Kristen Schaal) chaotic fits of rage, it would be pretty easy for these kids to get on their dad’s nerves. However, despite all their quirks, Bob Belcher (H. Jon Benjamin) is incredibly supportive of his crazy children. Whenever Gene wants to embrace his loud, theatrical side, Bob helps him do so instead of shutting him down. When Tina starts becoming interested in boys, Bob helps her navigate her awkward newfound feelings rather than being overprotective or controlling. On top of all that, he works endless hours at his restaurant to make sure his kids get to enjoy the fulfilling childhood he never had. Bob is as open-minded as he is hard-working, and he’ll do anything to make sure his children live their best lives. He never wants his kids to be anything other than the greatest version of themselves, and that's the mark of a great dad. Good job, Bob! - Caleb GUIDO OREFICE ( LIFE IS BEAUTIFUL ) — STOIC COURAGE AND OPTIMISM Have you ever looked at a couple and wondered how one pulled the other? Humour, perseverance, and confidence are often the answers that not only make for a good selling point to a potential mate, but also make for amazing characteristics to a good father. Guido Orefice (Roberto Benigni) is a Jewish-Italian bookstore owner whose story is going well in winning over his eventual wife and having his much-loved son. However, his personal fairy tale is short-lived as his beloved family is split up and interned at a Nazi concentration camp. Life is Beautiful certainly demonstrates how much Guido loves his wife and family, but it focuses more on his qualities as a father by taking the entire burden of the grave situation on his own shoulders, remaining his lighthearted and goofy self in front of his son. He convinces his son that they are playing a game to encourage him and keep him safe while also giving their crooked stay a purpose. We can only hope to aspire to such stoic courage as a father. -Preston UNCLE PHIL ( THE FRESH PRINCE OF BEL-AIR ) — BEING A STRONG ROLE MODEL Uncle Phil (James Avery) may be a hothead, and he may literally throw people out of his house on occasion, but he’s also an incredible role model. Throughout the six seasons of The Fresh Prince of Bel-Air , Phillip Banks consistently demonstrates what it means to be a good husband, a good man, and, of course, a good father. He preaches the importance of respect, accountability, and integrity to Will (Will Smith) and his children, giving them (and audiences at home) someone to look up to. Uncle Phil’s relationship with Will is particularly powerful because he serves as the strong father figure Will never had growing up. This bond is highlighted in the famously tear-jerking episode “Papa’s Got a Brand New Excuse.” In that Season Four episode, Will’s biological father re-enters his life only to abandon him yet again, and it’s Uncle Phil who’s there to pick up the pieces of Will’s broken heart. Their tearful embrace made for one of television's most touching, beautiful moments, and it forever cemented Phillip Banks amongst the greatest TV dads to ever do it. - Caleb WALTER WHITE ( BREAKING BAD ) — SACRIFICE AND FAMILY FIRST Walter White? …like, from Breaking Bad ? …an example pointing to the characteristics of a good dad?! You’re damn skippy! Walter White (Bryan Cranston) has been met by the worst of an evolving chain of events that…yeah, maybe some of which he may have caused on his own, but his first instinct is always to take care of his family. The man, who is told he doesn’t have much longer to live, makes every effort to ensure his family is financially secure when he is gone. To do so, he uses the only skills he has available to him, those of an overqualified high school chemistry teacher, to make the best damn meth the drug community has ever seen. His perseverance and courage in the face of ever-increasing danger to provide for a family that almost completely disregards his value as a man and father (F@*! you, Skyler! Not you, Anna Gunn) is a laudable value we can admire in this wayward dad. -Preston ARTHUR WEASLEY ( HARRY POTTER ) — OPENING YOUR HEART TO OTHERS Poor Harry Potter (Daniel Radcliffe) has had it pretty rough when it comes to father figures. His own dad died when he was an infant, his godfather Sirius Black (Gary Oldman) spent most of his life locked away in Azkaban, and his uncle Vernon Dursley’s (Richard Griffiths) knack for cruelty is second only to Lord Voldemort (Ralph Fiennes) himself. However, throughout all of Harry’s years at Hogwarts, there was one man who acted as a responsible, dependable, and compassionate fatherly presence in Harry’s life. That man’s name is Arthur Weasley (Mark Williams). While Arthur certainly isn’t the only fictional dad to help raise someone else’s kid (see Uncle Phil above), it’s the fact that he supports Harry without having the means to do so that earns him a spot on this list. Despite already struggling to make ends meet for his own seven children, Arthur willingly accepts Harry as one of his own, caring for him, protecting him, and giving him a strong fatherly figure to guide him through the wizarding world. The Weasley kids may not have all the money in the world, but when it comes to dads, they won the lottery. - Caleb JIM HOPPER ( STRANGER THINGS ) — ACCEPTANCE AND PROTECTOR Jim Hopper (David Harbour) is somewhat unique amongst our fictional fathers. Kind of like Uncle Phil, he takes on the role of parental guardian when he really doesn’t have to. He sees the need to be a paternal protector to a child who has felt alone, betrayed, and unprotected for much of her life. What I relate to the most is the terrifying and frustrating duty of trying to do what is best for a daughter who is dating, especially when his role is further complicated by his adoptive daughter’s powerful, but draining powers. In spite of these special abilities, he still loves her unconditionally, he accepts her fully, he puts himself to the danger, and protects her when others might be too scared. We should be so lucky to have a dad like Jim. Shout out to all the other single fathers and noble step-dads out there fighting the good fight to create a life where the qualifier “step” doesn’t even register. -Preston

BLACK KNIGHT: SEASON ONE Starring: Kim Woo-bin, Song Seung-heon, Kang You-Seok, and Esom Creator: Ui Seok Cho QUENTIN Despite a decent amount of world-building, some slick set design, and being sold as “Snowpiercer meets Fury Road ,” Netflix’s latest Korean import, Black Knight , is way too bland to be enjoyable. This is mostly due to the story, which moves too slowly to maintain interest over six episodes, especially when the characters aren’t all that compelling or charismatic to begin with. The tone also is inconsistent, randomly jumping from post-apocalyptic seriousness to light comedy, and these shifts become even more apparent when they are emphasized by a change in the score. In the end, while it has some nice aspects, it just misses the mark.

THE PENTAVERATE Starring: Mike Myers, Ken Jeong, Keegan-Michael Key, Debi Mazar, Richard McCabe, Jennifer Saunders, Lydia West, Neil Mullarkey, and Jeremy Irons Creator: Mike Myers QUENTIN The Pentaverate is probably best saved for a very specific crowd: people who grew up quoting So I Married an Axe Murderer . In fact, it’s essentially one long Easter Egg for arguably the most quotable scene of that movie, which is a pretty thin premise on which to base a series. Save for Jeremy Irons’ ever-changing opening monologue, which is consistently hilarious, the other humorous bits fade away as the series progresses. It simply can’t sustain the initial nostalgic charm for all six episodes. It’s not a total waste of time, but it’s never as funny as the scene on which it’s based either.

GODFATHER OF HARLEM: SEASON THREE Starring: Forest Whitaker, Jason Alan Carvell, Ilfenesh Hadera, Lucy Fry, Antoinette Crowe-Legacy, Erik LaRay Harvey, Michael Raymond-James, Yul Vazquez, and Joel Marsh Garland Creators: Chris Brancato and Paul Eckstein QUENTIN Despite remaining one of the most under-the-radar shows on television and featuring some great performances (especially from newcomer Michael Raymond-James as Joe Colombo), Godfather of Harlem feels like it’s starting to run out of story in its third season. It’s still a strong series overall, but the plot points are just getting repetitive, and the departures of Vincent D’Onofrio and Giancarlo Esposito don’t help either. Given that Season Three ends in 1965 in emotional fashion and Bumpy (Forest Whitaker) died in 1968, we could be nearing a final season. Honestly, it’s probably the right time given the marginally diminished returns in story and cast.

Previous Next May 28, 2025 WRITTEN BY: QUENTIN “I feel like I’m taking crazy pills!” (W. Ferrell, Zoolander) We’ve all been there. You’re having a friendly conversation about movies when someone pops in with a trendy opinion that is bonkers to you. Or maybe you’re reading a “Best [insert genre] Movies of All Time” list that leaves you perplexed at the number one title. Or maybe there is a new movie that everyone thinks is the greatest thing since sliced bread, yet you’re left scratching your head as to why. This recently happened to me with Sinners . Now, don’t get me wrong; Sinners is fine. But it’s only fine (check out my review HERE ). It’s not “a shoo-in for Best Picture,” it’s certainly not “the greatest vampire movie ever made,” and it most definitely isn’t “the first truly original movie in years” — all direct quotes I’ve heard from multiple people. To reiterate, it’s not a bad movie, but I do not understand the level of hype, love, acclaim, and superlatives being piled on it. I just don’t get it. Given this recent experience, as well as the fact that Sinners hits digital platforms next week, I started thinking about other movies and shows that are universally loved and well-regarded that I simply don’t get. Not so much things I dislike that others love, but more along the lines of “why did this become the thing?” How did something I find so middle-of-the-road land in the “Best of…” conversation collective? Much to my surprise — and maybe yours given my reputation as Bitesize’s OG (Old Grump) — I somewhat struggled to come up with titles. Granted, I tried to rein in my more ranty, old-man-yelling-at-clouds thoughts so as not to come off too much like Andy Rooney (look him up, youngins). I’m sure that drained the swamp a bit, so to speak. First, I didn’t consider any major IP with a devoted fandom, meaning no Marvel, Star Wars , The Lord of the Rings , Star Trek , and the like, because even if I’m not a fan of a certain franchise, I can appreciate the fun and community connection that comes with enthusiastic and sprawling fanbases. For example, I don’t adore Harry Potter , but between the amusement parks, conventions, merchandising, “which Potter House are you?” quizzes, and ingrained camaraderie, I completely understand why people do. It’s nice to be a part of something. I’m part of a few fandoms myself, so to put it in simpler terms: I get it. Second, I avoided any movies that were, in my opinion, only loved by the pretentious arthouse critic scene and awards panels. For the most part, these are movies that pundits rave about during the short awards season, then are generally forgotten about by almost everyone except armchair scholars who want to make the “Marvel is not cinema” argument. I admit this is anecdotal, but no real person I’ve ever met is still singing the praises of The Artist , Power of the Dog , The English Patient , or Phantom Thread (all Best Picture nominees, two of them winners). I get the echo chamber of awards season, so it seems unfair to consider movies that were overhyped in a singular moment. Did I get all the love for Best Picture nominee Mank ? Nope. And considering this is likely the first time you’ve heard anyone mention it in the past five years probably means that most everyone else didn’t get it either, so am I really alone on that one? After setting the rules, giving it some thought, and considering my word count, I’ve come up with three titles that, in most conversations, I’m the outlier. Things that cause my friends to look at me with slack-jawed bewilderment while audibly gasping when I say, “I don’t get it.” Every time this happens, I think back to Mugatu and his crazy pills. Can I really be that wrong about a movie or show? Am I on crazy pills? I suppose it’s possible. But then again, “the greatest vampire movie ever made” rings out in my head, letting me know that I’m not the one on crazy pills because that’s a fucking bonkers take. With that in mind, let’s jump straight into the deep end and piss some people off… THE WIRE (2002-2008) The Wire is perhaps the most overrated television show in history. Ooooh, did you feel that collective recoil? Look, I’m not saying it’s a bad show, just overrated. It’s a perfectly serviceable crime drama that features good-but-not-amazing performances (Michael K. Williams aside), mildly-interesting-but-disjointed storylines and character arcs across its five seasons, and incredibly slow pacing. When I watched it during COVID, it was my second attempt because I couldn’t even get through the first season when I tried years earlier (circa 2013). Upon finishing it, I didn’t feel anything. I didn’t feel like I had been on a journey with characters I cared about. I didn’t feel like I learned anything new. I just didn’t get it. It was fine, but forgettable — and I say that as someone who has literally worked counternarcotics alongside DEA, so I had something of a personal connection. Great shows shouldn’t leave you feeling so shruggy and empty. Maybe watching it so many hype-bombarding years after it aired affected my opinion, but I think most Wire lovers experienced it that way since the series had terrible ratings when it aired on HBO. It’s also worth noting that it was largely ignored by awards shows during its run. However, when people talk about The Wire , they discuss it in almost biblically revered tones. Various publications have called it the “most ambitious” show on television while ranking it at or near the top of lists highlighting television’s all-time best dramas, all-time best crime dramas, all-time best written shows, and all-time best cult shows, among others. Several outlets, including Rolling Stone , The Guardian , and BBC , have ranked it as the first- or second-best television series of all-time. Me, though? I didn’t get it as a captive viewer during lockdown when literally every little thing that could bring joy did bring joy, and I don’t get it today. HEREDITARY (2018) I’ll concede that this one, like The Wire , can possibly be attributed to overhype. When I saw Hereditary on opening night in 2018, it had already premiered at Sundance Film Festival. Reports out of Sundance were, literally, that it was “the scariest movie ever,” even causing people to pass out because it was so scary. Friends, this movie is not scary. Is it good? Sure. Creepy? Of course. Unsettling? Without a doubt. But scary? Nah. Make-you-pass-out scary? Hell nah. Obviously, fear is subjective, which makes my stance a tricky one, but Hereditary is near the top of almost every “Scariest Movie” ranking I’ve seen, which is wild to me. To clarify, I’m not talking about “Best Horror Movie” lists, where it also ranks pretty high usually, but “ Scariest Movie.” The Guardian , Rotten Tomatoes , Collider , Us Weekly , Time Out , Fangoria , and Screen Rant , just to name a few, have all named it amongst the scariest movies of all time. Even we, Bitesize Breakdown , ranked it number one despite it getting zero votes from me, Ru, or former writer Joseph (read “Bitesize Top Five: Scariest Movies” HERE ). In 2023, Broadband Choices conducted an experiment to gauge the scariest movies of all time based on viewers’ heart rates. Hereditary finished sixth. Please tell me, what is everyone so scared of? THE OFFICE (2005-2013) I generally do not like cringe humor or mockumentaries, which is why The Office never really worked for me. That said, I understand that aspect about myself, and I can’t fault people who do enjoy that kind of humor for liking The Office . I’ve even seen some hilarious clips and memes from the show, so I can see the appeal. It’s not a bad show at all; it’s just not for me. The thing I don’t get is how this fairly generic sitcom has grown to the point where people make it their entire personality. Why not arguably better sitcoms like Brooklyn Nine-Nine or 30 Rock ? I suppose you could say it’s for the same reasons that people dig into the IP fandoms I mentioned in the intro, but some of those have been around for nearly a century. Plus, they are grand, escapist mythologies about wizards, gods, superheroes, and other fantastical beings in far-off and interesting worlds. The Office is just a workplace comedy about a bland 9-5 life in Pennsylvania that, I think, a lot of real-life people actually hate living. But I’ve met people that only watch The Office . They’ll finish all 201 episodes, then start over at the beginning. Since it’s the only series they watch, it’s the only show they ever want to talk about. It’s the only pop culture thing they know how to reference. “Do you watch The Office ?” is a common introductory phrase. They write things like “looking for the Jim to my Pam” on dating profiles. They still think “that’s what she said” is the highest form of joke-making (which, okay, fair). I once worked with a guy that asked people to call him The Big Tuna. The Office is not a generational piece of groundbreaking media that has been passed down over the years, from our great grandparents in the 1930s to today’s youth, worthy of such high levels of adulation and, dare I say, idolatry. It’s just an NBC sitcom that ran for nine seasons, and a remade one at that. MOVIE 43 (2013) In the intro, I said I came up with three titles that seem to be loved by almost everyone but me. To show that crazy pills can go both ways, I decided to add a fourth bonus title that seems to be hated by almost everyone but me. If you haven’t seen Movie 43 , it’s an anthology comedy movie featuring 14 different skits, each from a different director, including Peter Farrelly, Elizabeth Banks, Brett Ratner, James Gunn, and Bob Odenkirk. The sprawling, A-list ensemble cast includes Banks, Odenkirk, Kristen Bell, Halle Berry, Gerard Butler, Kieran Culkin, Richard Gere, Terrence Howard, Hugh Jackman, Johnny Knoxville, Chris Pratt, Liev Schreiber, Emma Stone, Jason Sudeikis, Uma Thurman, Naomi Watts, Jeremy Allen White, Kate Winslet, and Julianne Moore, among many other well-known stars. However, despite all that talent, it is considered one of the worst movies ever made. It has a 5 percent on Rotten Tomatoes. It was nominated for five Razzies, including Worst Screen Combo for “the entire cast,” winning Worst Picture, Worst Director (for all 14 directors), and Worst Screenplay. Vue Weekly called it “death-of-laughter by committee.” Richard Roeper called it “the Citizen Kane of awful.” Elizabeth Weitzman of the New York Daily News said, "as a film critic, I've seen nearly 4,000 movies over the last fifteen years. Right now, I can't think of one worse than Movie 43 ." With such an esteemed pedigree, how is that even possible? I know every time I see Davis’ (Jackman) neck testicles (yes, you read that right)… or think about the Millers (Schreiber and Watts) homeschooling their son (Jeremy Allen White) with the “real high school experience”… or hear Coach Jackson’s (Howard) pep talk to his all-black basketball team about to play an all-white basketball team in the segregation era, I crack up. Anything with moments as funny as those, from well-respected people that talented, can’t truly be as hated and critically panned as people make it out to be. I’m not saying it’s the best movie ever, but as a comedy, it more than does its job, even if sporadically, meaning any talk of “worst movie ever” is flat out ridiculous. Who knows? Maybe I am the one on crazy pills.

Previous Next September 2, 2024 WRITTEN BY: KATIE I got to thinking about the notion of perfect films recently when I started making a real effort to catch up on some great films that, for no other reason than my own oversight, I had never seen. These films are not of any particular genre, and I cannot articulate why I waited so long to watch them, but they’re the classics generally agreed upon to be amongst the greatest films in the history of cinema. For example, until this year — and I am slightly ashamed to say it — I had not seen 2001: A Space Odyssey , The Godfather , or There Will Be Blood , among other films that make film fans gasp when you admit to having not seen them. That said, whilst I’ve been enjoying this experience immensely, I’ve noticed that many film books and online sources are repeatedly populated by the same titles when discussing “perfect” films. They also don’t pay much attention to genre films, family films, horror, animation, or comedies, and they tend to lack films focusing on women and female experiences. Admittedly, it’s hard to determine what constitutes a “perfect” film, and there are countless elements to take into account when considering if a film should be deemed flawless. Obviously, opinions of any art are totally subjective and personal, but I feel that when it comes to films, the ones that are considered perfect are those that are generally agreed upon by the largest contingent of groupthink, which can lead to a circular and self-fulfilling prophecy. To me, though, a perfect film is one that… · Resonates on an emotional level · Is visually engaging · Has a memorable score and/or music · Has enduring themes in a story that has wide appeal · Reveals or relates to something about the human experience With that in mind, I’d like to guide you through some films that I, personally, believe to be perfect based on the criteria above. Despite these films deserving such recognition, they usually are not the first ones mentioned when discussing the greatest films ever. For what it’s worth, I’m avoiding the films that often first come to mind in the public consciousness in these conversations, instead using my own subjectivity to highlight films that may not be considered as prestigious as the roundly agreed upon films you find populating most “Greatest of All Time” lists despite being just as good. This is not an exhaustive list, mind you (I do not have the word count for that), and yes, it leans a tad more recent, but it features shining examples, nonetheless. RATATOUILLE (2007) Ratatouille is my favourite film. It’s a true masterpiece, and everything about it is flawless. The voice acting is pitch perfect, the story is emotional and engaging, the visuals are exceptionally detailed, and it meticulously captures every element of a bustling kitchen, from the mouth-watering food to every pot, pan, and utensil. The world that it builds is immersive, making you want to crawl inside its warmth and stay there forever, and the time and attention that went into the film is obvious in every glowing city light and fleeting reflection off the Seine. The unique concept that drives the film lends itself wonderfully to the slap-stick comedy, yet the story at the centre of the film is grounded and humble, especially for a family film. The notion that “anyone can cook” is inspiring, and it can apply to every profession, passion, and pursuit while speaking to the power of perseverance in achieving what you want from life. I could speak about Ratatouille forever, and I believe it more than justifies itself as a perfect film. THE BABADOOK (2014) The Babadook is the true definition of horror with heart, and it utilises the genre to its fullest capacity with its visceral exploration of grief, motherhood, and trauma. One of the reasons The Babadook is so impressive is that it rides on the audience’s ability to empathise with the protagonist, Amelia (Essie Davis), who is both the victim and the monster. The film thoughtfully engages with Amelia’s trauma, never indulging in patriarchal tropes of motherhood whilst also having us fear her and her decisions at the right times. The same goes for her son Samuel (Noah Wiseman). He’s incredibly annoying, but the film also makes us feel sorry for him, desperately hoping for his well-being. It helps that the casting is flawless. Wiseman gives one of the best child performances I’ve ever seen, and Davis is captivating and terrifying. The film drags you along for Amelia’s terrifying ordeal, and genuinely keeps you guessing by convincingly blurring the lines between reality and figments of the character’s imaginations. Plus, the character design is simple yet uniquely creepy and original, conjuring up childhood fears of something lurking in the darkest corner of your bedroom. Lastly, and perhaps more importantly, the message is universal, showing that although grief never truly goes away, we can face it head on and deal with it little by little. MAD MAX: FURY ROAD (2015) Mad Max: Fury Road might be the best action film ever made (to me at least). The entire film is a perfectly calculated piece of pure non-stop adrenaline, but it doesn't lack substance or emotional engagement, keeping you on the edge of your seat for each and every moment. Every element of the film is distinct, impressive, and memorable, including the exhilarating soundtrack, cinematography, world-building, set design, stunt work, incredible action sequences, and vibrant colours that jump off the screen. The action doesn’t become repetitive either, gripping you in every moment, with not a single shot feeling out of place. Although it may seem overwhelming at times, you can simply focus on any part of any scene to see how deliberate it all is. The practical effects set it apart and contribute to its singular quality, and the mayhem taking place on the screen feels tangible, making you believe the carnage is actually happening. What’s more, Tom Hardy and Charlize Theron are fantastic in their roles, managing to convey tremendous amounts of emotion through their eyes and subtle facial movements alone. THE WITCH (2015) The Witch is one of my favourite horror films, and one of the few that is just as impactful no matter how many times I’ve seen it. Robert Eggers’ feature debut quickly establishes a dark, immersive mood before topping it with rising, paranoid tension; an eerie, discordant score; and a sense of historical authenticity that makes it feel like something evil is woven into the fabric of the film. Exploring ideas of Christianity and fears of witchcraft, it explores how the strict moralistic constraints of the time, which mostly concern women, are used against the family to make them turn against each other. All of this is framed by cinematography that emphasises the family’s isolation and heightens the effects of every sound and movement. The performances are also formidable, with a cast including Kate Dickie, Anya Taylor-Joy, and Ralph Ineson, who each shine in their roles and make the period language sound natural. Furthermore, the ending is bonkers and surprising, yet also feels like the most fitting ending for this chilling story. PETITE MAMAN (2021) Céline Sciamma’s beautiful film Petite Maman is both heartwarming and heartbreaking, exploring the simple notion that your parents also were children once, with their own unique childhood experiences, fears, and dreams. The film follows the young Nelly (Josephine Sanz), the eight-year-old daughter of Marion (Nina Meurisse), whose mother has just passed away. They travel to Marion’s childhood home to clear out her mother’s belongings, and Nelly meets another girl her age in the woods behind the home. The new friend looks remarkably like her, and they begin a beautiful friendship. The film has a fairytale-like quality that captures the childhood experience in a way that is magical yet realist, and the world it creates is quiet, understated, and mysterious. Some of its impact lies in the fact that it doesn’t rationalise or explain the fantastical situations that happen but leaves them open for each individual's interpretation. At only 72 minutes, the film breezes by but completely secures the audience’s perspective with the young protagonists, familiarising us with their private, intimate world.

THREE PINES: SEASON ONE Starring: Alfred Molina, Rossif Sutherland, Elle-Máijá Tailfeathers, Tantoo Cardinal, Clare Coulter, Sarah Booth, Anna Tierney, and Roberta Battaglia Creator: Emilia di Girolamo QUENTIN If you enjoy low-stakes crime procedurals, Three Pines is about as mild as you can get. Alfred Molina is engaging in the lead, but he isn’t asked to do much, while the cases themselves never conjure much intrigue. I will say that the season structure adds a nice change of pace to an overcrowded genre. The eight-episode season is essentially four, two-hour movies, with each episode pairing featuring a different case while an overarching, season-long investigation happens in the background. It’s not essential viewing (think Murder, She Wrote meets a dime store paperback), but it’s better than watching Law & Order reruns for the umpteenth time.

Previous Next July 10, 2024 WRITTEN BY: NICK, QUENTIN, AND PAIGE Let's get this out of the way: In our infancy, Fantasia was the first festival to give us press credentials, so it will always hold special meaning. That said, it is far from the only reason we religiously cover it. Revered by notable directors such as James Gunn and Guillermo del Toro, Fantasia is the biggest genre festival in North America. Located in Montréal, Quebec, Canada, the festival is often viewed as a launching pad for many an unknown talent due to its focus on lower-budget, independent filmmaking and fearlessness in presenting innovative ideas and themes. This year's iteration features a wide range of buzzy titles, from the Hunter Schafer-led Cuckoo (one of Katie’s most anticipated of 2024’s second half, read about it HERE ) to the latest from Steven Kostanski (director of Bitesize favourite Psycho Goreman ). As with every year, there will be a bunch of titles featured, and we look forward to catching as many as we can with our remote access. That said, here is a look at some of the movies Nick, Quentin, and Paige are personally anticipating once the festival begins. The Fantasia International Film Festival runs from July 18th to August 3rd this year, so make sure to check our site and socials for all our thoughts on what this year's entries have to offer. AZRAEL When it comes to festivals, existing buzz and name recognition go a long way. For Azrael , which has played a few festivals already, there is quite a bit to go on. The two quotes that most caught my eye, though, are “an inventive and exciting blend of folk and survival horror” and “a thrilling sprint…that had me riveted.” On top of that, there is some notable talent involved. You’ve got Samara Weaving, who should need no introduction; director E.L. Katz (cult classic Cheap Thrills ); and writer Simon Barrett ( You’re Next , The Guest , Godzilla x Kong ). Mix all that together in a dialogue-free movie described as Fury Road meets Evil Dead meets Apocalypto , and this could be an intensely wild ride. The fact that Azrael won Audience Awards for Best Feature, Best Actress (Weaving), and Best FX at Panic Fest 2024 only furthers that hope. - Quentin THE BEAST WITHIN Jon Snow…I mean, Kit Harington…will be joining a pack of direwolves in the upcoming creature feature The Beast Within . This new horror film appears to be more than meets the eye, with the story, told through the perspective of a 10-year-old girl, aiming to be more than just a straightforward werewolf thriller. I'm curious to see what horrific family trauma is depicted in this feature film from Alexander J. Farrel because I'm already gripping the edge of my seat just from the movie's eerie and gothic trailer. Plus, I’m a sucker for werewolf movies, so I’m hoping for a gnarly transformation scene. - Paige DARK MATCH My anticipation for Dark Match is a little different than my second choice because it’s not one of the bigger titles this year. What it is, however, is set in the world of pro wrestling, which always makes for a fun world to play in. Not much is known about the film except it seems to follow a group of indie wrestlers who are hired for a gig within a cult. The cult leader in question? Current AEW wrestler and WWE legend Chris Jericho. Considering this comes from the director of cult classic WolfCop , I expect there to be a delightful mix of over-the-top action and camp, and that’s exactly that kind of film made for a festival like Fantasia. It should be a good time. - Nick FRANKIE FREAKO The only thing I need to know about Frankie Freako is that it’s from writer/director Steven Kostanski, who also wrote and directed one of the most underrated movies of the last decade in Psycho Goreman . In this follow-up to that cult classic, Kostanski “taps into the nostalgia of Saturday morning cartoons, the charm of old-school puppetry, and gonzo comedy,” harkening back to the likes of Ghoulies , The Puppetmaster franchise, Gremlins , and The Garbage Pail Kids Movie . If Frankie Freako pays loving tribute to those movies in the way that Psycho Goreman paid loving tribute to Little Monsters , Mac & Me , and The Monster Squad , I think we’ll have another gem of a cult classic on our hands. - Quentin SHELBY OAKS YouTube has proven to be quite the starting point. Logan Paul is a WWE wrestler, King Bach has amassed quite the IMDB resume, and now Chris Stuckman is a director. The latest widely known YouTuber to branch beyond that space brings his directorial debut and passion project to Fantasia. After a record-shattering Kickstarter campaign and the backing of executive producer Mike Flanagan, Shelby Oaks is one of the more anticipated films this year. The film follows the sudden disappearance of a group of paranormal podcasters, and one of the members’ sisters’ frantic search to find out what happened. The found-footage format isn’t among my favourites, but I’m willing to give this one a shot just to see what Chris Stuckman has to offer behind the lens. - Nick TIMESTALKER After her directorial debut Prevenge , Alice Lowe is back with what seems to be an even more ambitious film in Timestalker . A reincarnation romantic comedy with time travel? Sign me up! Timestalker is presented as a hopeless romantic’s journey through time as she keeps falling for the wrong guy over and over again. This concept sounds fascinating and ridiculous. It reminds me of the 2024’s The Beast , which I quite enjoyed, but with a much lighter tone to it. What can I say? I’m a fan of toxic spins on typical romantic clichés, so I am very much on board to see where this journey takes me. - Paige Photo Credits: Fantasia International Film Festival

Previous Next September 7, 2025 It’s been 19 years since Denzel Washington last acted in a Spike Lee directed film, and the last time they did (Inside Man ) it was one of Spike’s most acclaimed Joints. Now they return for their fifth collaboration, Highest 2 Lowest , a reimagining of Akira Kurosawa’s 1963 classic film, High and Low . Standing toe to toe with Denzel are Jeffrey Wright and A$AP Rocky in this love letter to New York City, hate letter to Boston, and all around bombastic crime story from one of the most unabashed and unique visionaries of our time. Join Amarú, Nick, and Shak as they discuss the comparisons to the original, the action, that score, and a surprise standout performance. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!