Search Results

Previous January 12, 2025 Next A BITESIZE CHAT WITH DEAN FLEISCHER CAMP Dean Fleischer Camp is an award-winning filmmaker and bestselling author best known for co-creating the viral sensation Marcel the Shell. With Marcel the Shell with Shoes On now a critically acclaimed feature film, we sat down to chat with him about what the character means and Marcel's feature film debut. BB: Thanks for taking the time to chat with us. Tell us a bit about the reactions and the response for Marcel the Shell with Shoes On. It has gotten such an amazing reception; Cher has even tweeted about it! I mean, that's a crowning glory. How much better can you get than that? DFC: *laughs* Big fan. BB: Tell us about what the reception has been like? I know it's expanding to theaters across North America now and more people are going to get a chance to see it, but tell us about some of the reactions. What has your own response been to that? DFC: It's been amazing. It's been so fun to talk with people, and it's been sort of surreal to me. I don't know if you've ever worked on something for seven years in kind of a vacuum, but we worked on this film for seven years, and I remember when we premiered it at Telluride [Film Festival]. I started hearing laughter and crying, and it was just so moving and surprising. I was just, like, “oh, yeah, that joke I forgot was funny three and a half years ago, it's really funny and gets a big laugh.” It's just…yeah, it's thrilling. The memes that people have been making are incredible, and I don't know, I'm just grateful for the entire experience. BB: Something that really struck me was just how much of a philosophical character Marcel is with these meditations on life and death and love. I mean, for you, when you and Jenny [Slate] were developing the character, was that always the impetus to sort of give us this prism of life through this unique character? DFC: I think the original short that I made was, you know, there wasn't too much thought put into it. We made it in like 48 hours, and Jenny and I wrote it very quickly. She improvised, and I crafted the character very quickly. It was all kind of a rush and just done on a whim because it made us laugh. But I think what we realized once we saw the response, and once we started making a few more shorts, was that this character is so much richer and deeper than he appears, and that there was so much more to explore about him. There was such a rich inner life, and it always feels like a total pleasure to write for this character, to create stories for him. I often find that I'm just as moved by and inspired by him, by his circumstances in life and his approach to life, as anyone. BB: What inspired the documentary-style because it's such a unique way to take it. It's almost a meta-approach because, of course it was viral before, but it just feels so much more real this way than taking any other narrative approach. DFC: I have always been into documentaries, and I've worked on documentaries. I've also worked on things that blur the line between documentary and scripted narratives. So, it has always been something I'm exploring. To me, it provides a way for an audience to have an intimate interaction with a character that does away with the artifice of, you know, what you might get from a Pixar movie or a Disney movie that doesn't have that approach. For whatever reason, stripping that away allows people to respond to Marcel like he's a real person. So, that inspired… I mean, the original shorts were sort of, although they're so short, we didn't really explore it… but the original shorts were a documentary format. I have intentionally edited it to feel like a rough cut of a documentary. It cuts them off mid-sentence and things like that. It always felt like part of the magic that those shorts bottled was this great tension that happens when you combine stop-motion, which is the most labor intensive, pre-visualized art form on Earth, with this aesthetic or film grammar that feels unquestionably spontaneous and authentically documentary. And when you combine those two things, I think it's just total magic, so I was really focused on preserving that for the feature. BB: Why did you explore such dark themes in this movie? Like, Marcel is such an innocent and happy character, but then you have the themes of loss and loneliness. Why did you go into that dark route for such a happy-go-lucky character? DFC: Well, I think that he's inspiring for that reason. I think it's part of the reason why he resonates with so many people. You can't really have the happiness and the real, you know, nectar of life if you haven't also been through and processed the grief of it. Part of what I was interested in portraying in this movie is that pain and grief and loss are an inherent part of the cycle of life, and that you cannot, literally both in nature but also - at least I've found in my own life - you can't create new growth without death and decay. Those things enrich the soil that growth sprouts from. BB: Did you always have the plan to take it from a short film to a feature, and what was that process like? And, almost more importantly, what does the future hold for Marcel? DFC: I don't know what the future holds for Marcel, but I hope it's a lot, you know? I hope that after the film comes out, there are audiences that will want to see… I don't know if it's a sequel or a TV series or more shorts or what… but I would love to continue to explore the character in whatever way is fun and cool and chill for me and Jenny. You know, we created this whole community of characters that are only in the last three minutes of the movie, but I was sort of so sad watching it, like “oh my gosh, we fleshed out all these great characters.” Some of them are some of my favorite comedians…Nathan Fielder, a fellow Canuck…as well as the voice talent. They're so funny and so great, and I hope we get a chance to explore those characters as well. It was always kind of the plan to turn this character into a feature. At the time that I made the shorts, I was an editor for a living, doing, you know, the worst editing gigs, and was interested in segueing into directing. I've always loved movies, so that was kind of always the plan. But after the first one took off, like when something goes viral or is popular on the internet, you can get meetings with all the major studios and do this sorta water-bottle-tour of Los Angeles. But they're not going to trust you to make your weird feature. They just want you to license your character that is beloved to them to make something that’s a more familiar kind of tentpole franchise. Going through that process, it was recognizable right away, like, “okay, I'm really young. They're not going to trust me to do this. We're gonna have to make this film independently, and it might take a long time.” But ultimately, I'm so glad that we had this more patient process, and that we found the right supporters, creatively and financially, that we could, you know, expand Marcel's world in a good way that felt holistic to the character we made. Make sure to check out Marcel the Shell with Shoes On now in theatres. Interview conducted on July 14th, 2022 by Nick van Dinther. Photo Credits: Banner - Chris Pizzello/AP; Photo 1 - A24; Photo 2 - Maria Andreotti

1899: SEASON ONE Starring: Emily Beecham, Aneurin Barnard, Andreas Pietschmann, Miguel Bernardeau, José Pimentão, Isabella Wei, Gabby Wong, Yann Gael, Mathilde Ollivier, Jonas Bloquet, Rosalie Craig, Maciej Musial, Clara Rosager, Lucas Lynggaard Tønnesen, Maria Erwolter, Alexandre Willaume, Tino Mewes, Isaak Dentler, Fflyn Edwards, and Anton Lesser Creators: Jantje Friese and Baran bo Odar PAIGE 1899 is a pretentious AF show that, at times, is navigating through rough waters. For such an atmospheric and thought-provoking show, it often felt very tedious. The ingredients of mystery and suspense are there, but I needed more answers throughout the season to come out on the other side more satisfied. The structure of 1899 would’ve worked better as a limited series, and although some storylines aren’t tied up by the end, I personally don’t see the need for another season. But who knows? Maybe I will come around on it. Time will tell. QUENTIN It’s hard to say too much about 1899 without getting spoilery, but I’ll give it one thing: it builds an excellent sense of dread, foreboding, and general misery in each of its way-too-many characters. The problem is that the series is super slow until a big reveal in the fifth episode; once that happens, it becomes convoluted and far less interesting. It’s like a series built from all the worst parts of Lost , even borrowing some of the same imagery and a very similar story structure. Honestly, Episode Five is the only hour of the eight that truly held my interest. That’s not a good ratio.

Previous Next December 6, 2023 WRITTEN BY: PRESTON The end of this year brings the exciting musical-movie release of The Color Purple , whose potential is forecasted by the illustrious names of its producers, namely Steven Spielberg, Oprah Winfrey, Quincy Jones, and Scott Sanders (not to mention that cast). So, what better time to celebrate the mellifluous motion picture format? As a seasoned and hardened* Army veteran (read: broken and dysfunctional), I am unashamedly a lover of well-done musicals, the film versions of which almost always allow for a more immersive experience than the neck-straining, “I wish I could get a drink,” chopped-up versions that can often occur on a live stage. Maybe it’s because I was born without any musical talent of my own, or maybe it’s because I am a hopeless romantic who enjoys the dreamlands created by such productions…no matter the reason, I think musicals are underappreciated works of art. I mean, how is it possible that an actor can be blessed with their unique thespian prowess and then, somehow, also masterfully perform dance routines and sing perfectly on key?! It’s crazy! We all have our strengths, I guess. At least I know how to cook a mean carbonara…shut up, Stanley Tucci! Anyway, as is my style, I have created my own standards from which to accomplish the difficult task of cutting out some of the movies that fall into the genre. After all, Ray Kroc, the founder of modern-day McDonald’s, said “the quality of a leader is reflected in the standards they set for themselves.” On second thought, scratch that… it just makes things easier, ok?! We are Bitesize Breakdown after all, so it makes sense to limit our selection to 10 rather than whatever ridiculous number that other lists try to hit just to do justice to every damn film ever made so as not to upset those who think their darling should have “definitely been included!” But I digress… For our purposes here, the mimics of theatrical stage performances like Hamilton or Chicago are hereby disqualified. Productions like Pitch Perfect , Rocketman , Purple Rain , and A Star is Born are appreciated, but likewise eliminated as their primary protagonists are singers and, well, that’s just cheating. Finally, I’m eliminating everything that I dislike, which may be a bit too on-the-nose, but there it is. The simplest standard is that this list comprises movies that I will watch repeatedly for years to come. As a man, born in the 80s and imperfect, I can appreciate the contributions of classics like Singin’ in the Rain , Sound of Music , and Mary Poppins , but what do I want to watch when I sit down on the couch tonight ? What do I want my kids to watch, lest I feel the frustratingly familiar pain of having failed as a parent? If you are new to musicals, or there is anything on this list you haven’t seen…or even if you are reminded of a film that you just haven’t seen in a while…I highly recommend putting one on after work. I believe there is a musical lover in all of us despite the popular need to “poo-poo” both musicals and country music, and if nothing else, it’s got to be better than scrolling through the ether for an hour, right? 10. SEVEN BRIDES FOR SEVEN BROTHERS (1954) I first thought it may have been the teenage timing of my initial run-through that attracted me to this musical so much. A household full of strong, fast-to-fight, and tough woodsmen brothers go to town from their homestead to find women to settle down with? Sold. I could fantasize about which brother I might be and which lady I might chase. Instead, I think it is the shocking antiquated morals of the film that really attract and fascinate without being offensive due to the romantic transformations that occur. The film’s colors pop brilliantly throughout, both literally and figuratively from the engaging story and lively music. Best of all, though, it somehow introduces ballet-style dancing, gymnastics, and tumbling without making the gritty brothers look absurd. 9. WEST SIDE STORY (1961) West Side Story was my personal gateway drug into the world of musicals. As an insecure young man that faced dangers real and imagined, this adaptation of Romeo and Juliet spoke directly to me. The story is classic, highlighted by forbidden love that results in Shakespearian tragedy and an ultimate re-evaluation of the characters’ immature prejudices. The sound design is masterful (proven by its Grammy-winning soundtrack), as it blends Latin sounds with traditional Broadway-style tones that coalesce to build constant and escalating suspense. I can still remember almost every word to “Jet Song” …*ahem*, moving on. 8. CHITTY CHITTY BANG BANG (1968) Set in early 20th century England, Chitty Chitty Bang Bang is, admittedly, more of a children’s fantasy movie. An often flummoxed and struggling single father, played by an effervescent Dick Van Dyke, desperately attempts to make one of his fun inventions work in an effort to save the family from further poverty. Monkeyshines ensue when a wrecked champion race car is saved from the scrap heap. The whole family can enjoy this adventure that includes a motley crew of interesting villains, including the terrifyingly creepy “Child Catcher” (Sir Robert Helpmann). It is a “Truly Scrumptious” adventure! 7. THE WIZARD OF OZ (1939) This shouldn’t take much convincing since The Wizard of Oz permeates throughout our history’s cultural conscience. It has had a presence in theme park attractions and preserved at prestigious museums, not to mention that it has been referenced, imitated, sequel-ed, adapted, re-released, and cartooned through the years. The Academy Award-winning “Over the Rainbow” is a well-known piece of harmonious magic, among the films’ many, that is actually part of the narrative instead of acting as a musical intruder, which can often happen. The fact that this film has so much widespread appeal more than 80 years after its first release really speaks for itself. 6. GREASE (1978) I now recognize that there may be a pattern in my tastes. Yes, the tough guy is represented here too, along with his gang of friends, while he tries to “get the girl” in the classic sense. I won’t back down though, as this is so intrinsic to our society’s tribal nature and our search for love and acceptance. Grease hits on all of the above in a fun, funny, Fonzie-kind of way. The 50s era version of “bad-boy meets good-girl,” teenage angst, and out-of-control hormones are captured in a way that is timeless. John Travolta and Olivia Newton-John shine throughout by way of their swaying hips and outstanding vocals. 5. THE NIGHTMARE BEFORE CHRISTMAS (1993) Usually, when I get nervous about a ranking is when things start to get really controversially exciting, especially when it goes “classic, classic… what?!” Still, this musical easily stands out as one of the best stop-motion style animations of all time with Henry Selick directing a fantastically dark Christmas story written and produced by gothic-inspired phenom Tim Burton. The production aptly challenges the stereotypical nature of Christmas=Good and Halloween=Bad, and due to the musical’s release under Touchstone instead of Disney, its theme’s salute to self-awareness and self-discovery is recognized and celebrated from the start, letting its creepy freak flag fly! Having teenage children, tradition now dictates that The Nightmare Before Christmas is in our rotation of must-watch entertainment during the holiday season. 4. THE GREATEST SHOWMAN (2017) Overall, The Greatest Showman received mixed reviews, but we don’t care, right?! This is about finding musicals that you want to watch tonight, and this one perfectly fits the bill. Hugh Jackman (a Broadway vet in his own right), along with the star-studded ensemble cast, guide us on a fantastical spectacle that mimics the circus tale it is trying to tell. It is a flashy account celebrating not only individuality and perseverance, but also inclusion. My kids will often play the soundtrack while dinner is being prepared, and we will all belt it out as if we were also on stage. It’s great! 3. WILLY WONKA AND THE CHOCOLATE FACTORY (1971) Based on a children’s novel written by Roald Dahl, I love this story; so does everyone else as evidenced by its multiple remakes, including the upcoming Wonka , set to be released later this year. However, this version is by far the best of its ilk, even today. Gene Wilder was born to play Mr. Wonka, where his antics manipulate one's thoughts regarding the sometimes saccharine-leaning music to wonder if there might be an undertone of deception. It provides an imaginative underdog story where loyalty, family, and integrity are the watchwords. 2. FIDDLER ON THE ROOF (1971) Adapted from an already highly successful Broadway stage production, Fiddler on the Roof is a powerfully moving tour de force. The musical components are emotionally stirring as the film attacks wide-arching narrative themes of oppression, sacrifice, compromise, faith, poverty, political strife, community, and “TRADITION”! The cinematography and story-telling methods are groundbreaking, and if further convincing is somehow needed, it also happened to win three Academy Awards, two Golden Globes, and was the highest-grossing film of 1971…so there’s that. 1. LA LA LAND (2016) Ok, it might be blasphemy to put such a newcomer at the top of the list, but I do not care. I’m not putting Singin’ in the Rain on this list, just like I wouldn’t put Citizen Kane as my go-to number one movie of all time. Sorry, not sorry. This story has everything you could want from a musical: humor, romance, character, dancing, and beautiful music. Plus, it’s artistic without trying to be weird, and it finishes without a cliché ending. Ryan Gosling and Emma Stone provide knockout performances, and we get insight into what it might take to actually “make it” in Hollywood. It fascinates at every level, and now that I am writing about it, I just want to go watch it again. Photo Credits: Photo 1, 2, 3, 4, 9 - MGM Studios; Photo 5, 8 - Paramount Pictures; Photo 6 - Walt Disney Studios; Photo 7 - 20th Century Studios; Photo 10 - Lionsgate

Previous Next August 8, 2023 WRITTEN BY: JACOB In the vast history of the cinematic art form, much has been written regarding the idea of firsts and lasts. Yet, for all the authored ruminations on the audiovisual firsts and lasts present in movie history, there remains a distinct lack of material exploring the idea of the final glance shared between two characters, an idea I like to call “Last Looks.” For obvious reasons, this piece comes bearing a hefty SPOILER WARNING. TRIUMPH CASABLANCA (1942) Our start takes place in 1942, with the release of what I believe to be the quintessential old Hollywood classic, Casablanca . There are more than a few iconic moments both leading up to and immediately following this film’s Last Look, from Humphrey Bogart’s delivery of “Here’s looking at you, kid,” to his final line of the film, when he says to Claude Rains’ Louis Renault, “I think this is the beginning of a beautiful friendship.” But it’s what happens between those two lines that draws our focus with respect to this idea of mine. Just after the first of these exchanges, but just before the latter, Ilsa (Ingrid Bergman) and Rick (Bogart) share one final look. If one glances deeper, this look is revealed not to be one of mere love or loss, but of triumph – costly, tragic, and all too bittersweet. As Rick and Ilsa look into each other’s eyes, one can see the idea of victory come across each of their faces. A wisdom that the end of the war and a defeat of the forces that keep them apart is in sight, even as their view of it remains years away. Triumph over evil – in each meaning that takes – is on the distant horizon. DEFEAT THE GODFATHER (1972) On the opposite end of the spectrum, we come to perhaps the most famous film in this piece. Francis Ford Coppola’s The Godfather , for all the subsequent praise and criticism thrown its way since its release in 1972, remains one of the great achievements in movie history, both from an adaptational perspective and as one looks upon its oceans of influence. Everyone remembers the more famous lines and sequences from the film, but few talk about that last shot, where Kay (Diane Keaton) looks, not to Michael (Al Pacino) as he ascends to the status of Don, but to Al Neri (Richard Bright) as he closes the door. It is, in every respect, a glance of defeat, with Neri’s return glance an acknowledgement that Kay will never truly win Michael out of this life that has now been cemented into his legacy. Despite any aversion to it that Michael has attempted, and despite any allure that Kay may represent away from this love affair with organized crime… there is simply no victory that can pull Michael from his ultimate fate, and there is no safeguard against destiny. LOVE THE LORD OF THE RINGS: THE RETURN OF THE KING (2003) As I sat in a movie theater some months ago watching the 20th Anniversary re-release of Peter Jackson’s epic conclusion to The Lord of the Rings trilogy, I was struck by something in the film that I had not noticed before – or, if I had noticed it, had never been quite so attentive to – and that moment is what became the inspiration behind this piece: the Last Look between story protagonist Frodo (Elijah Wood) and his three Hobbit friends on the shores of the river that would carry Frodo to The Grey Havens, thus ending his time in Middle Earth forever. There is no dialogue accompanying this gaze, no final declaration or quippy joke; there is only the beauty of the score and an almost imperceptible zoom on Frodo’s face as his eyes communicate to the others that he loves them, and always will. This is especially punctuated as we cut from Frodo’s gaze to Sam’s (Sean Astin) and understand that, though the look is given to all three of the Hobbits standing on the cobblestone, it is especially meant for him. Within Frodo’s gaze, we see a love not only given to the other Hobbits, but directed towards Sam specifically as a final farewell and reassurance that – in Sam’s heart – he will never truly leave. HOPE SING STREET (2016) As we turn to more obscure material through the mid-2010s, and as the 2010s themselves become laden with blockbuster entertainment slightly less concerned with unabashed sincerity, we come upon subtler but all-too-potent examples of the Last Look that began to permeate the indie filmmaking scene. One such instance is in John Carney’s severely underrated Sing Street . Throughout the film, we come to understand that Jack Reynor’s character, Brendan, may never truly attain the life he so badly needs to rise above his own station, but that he would do anything to help his brother Conor (Ferdia Walsh-Peelo) achieve a better life. In one of the film’s sweetest moments, Conor decides that he and newfound love Raphina (Lucy Boynton) are to leave their island on a boat bound for England so that they can achieve their musical dreams, a move that Brendan is made aware of just prior to its occurrence. One could focus on the final glance between Conor and Raphina, but in this particular case, I find the final look that Brendan gives Conor most compelling, not simply because of what it represents, but because crucially, this is the one example in this piece where the look is not mutually given. As Brendan looks out to the water, and as Conor and Raphina sail on, we are able to see in Brendan’s eyes a kind of hope, not only for Conor’s future, but for any life outside of the island they’ve occupied. As low as Brendan has been for most of the film, the central power of hope is in how it is gifted to other people, and it is evident in Brendan’s gaze towards the distant vessel that whatever hope he has, he is sending towards his brother. TRAGEDY PORTRAIT OF A LADY ON FIRE (2019) Celine Sciamma’s work is destined to be remembered as some of the finest filmmaking in the entirety of French cinema, but I find it unlikely that any of her films will be so revered as her masterful 2019 hit Portrait of a Lady on Fire . The film’s delicate ballet of heartache – mirroring the Greek myth of Orpheus and Eurydice – sets the stage in its first 90 minutes for a final look between the two main characters that can only be understood as tragedy. As Marianne (Noémie Merlant) is set to leave Heloise (Adèle Haenel) behind to a marriage she does not want with a man she does not know, she begins to exit the premises in which she had been commissioned to paint a portrait of Heloise. However, unlike the tale of Orpheus and Eurydice, the viewer understands something infinitely more heart-wrenching: whereas in the ancient tale, Eurydice (Heloise, in this case) is given the option to escape; in this version, there is nothing that can be done, which renders Marianne’s final turn – a look back at her one love in ghostly white – a profound and inescapable tragedy. Therefore, we understand that it is not necessarily the character’s Last Look towards Heloise that informs this idea, but the viewer’s. It is our gaze that sees Heloise and understands that just as Marianne is helpless to rescue her, we are helpless to do anything but watch. CLOSURE PAST LIVES (2023) As luck would have it, Past Lives was not originally part of this piece. In fact, when this idea was conceived, the film had not yet debuted in theaters. How fitting, then, that it would show up just as the text is set to end, giving us one last reference point… and perhaps the most emotionally poignant one of all. As Hae Sung (Teo Yoo) is set to go back to Korea, Nora (Greta Lee) walks him to his Uber, where the two share one Last Look. It lasts for nearly a full minute before the glance is broken, but within that minute, everything is wordlessly communicated, including that this look - this moment - is it for them. They are likely to never meet again, and this chapter has come to an end. This is the wordless catharsis both Nora, and we the audience, have been longing for over the course of the film, and even if the work is barely seven months old, it remains one of the finest examples I can give of the idea behind Last Looks. Photo Credits: Photo 1 - Warner Bros; Photo 2 - Paramount Pictures; Photo 3 - New Line Cinema; Photo 4 - Lantern Entertainment; Photo 5 - Pyramide Films; Photo 6 - A24

Previous Next October 5, 2024 WRITTEN BY: QUENTIN Although Halloween candy and pumpkin paraphernalia have been taking up shelf space in stores since August, October has only just begun — meaning the spooky season is ramping up in earnest. It’s the special time of year when people ponder their most clever costume ideas while catching up on their favorite scary movies. As I get older, I have taken a step back from such things, but it’s still wildly popular for most (younger) people. Incidentally, that general notion could describe my thoughts on horror as a genre. Look, I love good horror, but the operative word is “good.” So many recent horror movies are cheap schlock churned out by studios like Blumhouse because they know horror-heads are perhaps the least discerning movie fans on the planet. I mean, how else can you explain Imaginary , which was roundly criticized, making a 283 percent return on its budget? On one hand, I get it. It’s just smart business. Grab a low-cost cast, throw some lazy jump scares at them, and maybe you can stumble into a franchise, à la M3GAN . Several relative hits like that can make up for one big flop. On the other hand…man, those lowest-common-denominator movies suck. Imaginary , The Strangers: Part One , and Night Swim were all box office hits in 2024 despite being widely panned. Now, that’s not to say all recent horror is terrible. We’ve also seen Longlegs , Oddity , The Substance , and Strange Darling released this year, and they are *chef’s kiss*. Honestly, with just those four movies alone, 2024 has proven to be uncharacteristically strong on horror — for me, anyway. That’s how bad it’s gotten in my eyes. As such, since I’ve become less and less enamored with most horror movies, I started thinking about my best experiences with the genre, and the movies that gave me a true visceral reaction. Whether it was a tangible response to a jump scare or just a palpable feeling of uneasiness, the movies below are the ones that put the “scare” in “scary movie.” Again…for me . Or at least they did when I first watched them, which brings up another consideration. Fear is so damn subjective. When it comes to horror movies, there are so many outside factors contributing to whether they work. Everything from age to the physical location in which you’re having the experience matter. Personal phobias, relatability, and one’s mental state also play a role. For example, a lot of people consider The Exorcist the scariest movie of all time, but I was 20 years old when I first saw it, and I watched it on a brightly lit Saturday afternoon in a communal dayroom, so very hard meh. That said, I readily admit that by my late teens, most of the internal fears that a movie might be able to tap into had long been burned out of me. That’s what happens when your parents let you watch whatever you want when you are eight years old, with the only guidance being, “if you have nightmares, that’s your problem to deal with. You chose this.” So, with that in mind, you’ll notice this list comes almost exclusively from the 1980s. What can I say? Things were scarier when I was an impressionable kid. Also, just to clarify, this isn’t a list of “best” horror movies, so there is no It Follows , Get Out, or Psycho — horror movies that have almost no flaws other than not being scary in the traditional sense. There also aren’t any of the critical darling horror movies that people rave about while I defiantly tell anyone who will listen that they are wack (looking at you, Hereditary and The Witch ). Truthfully, I’m not even sure “favorite” fully applies because I’m a huge fan of The Others , The Descent , and Frailty , but they didn’t elicit scares out of me in the ways the films below did. No, these are the movies and specific images that generally come to mind when people ask, “what is the scariest movie you’ve ever seen?” JAWS (1975) Fun fact about me: I can barely swim and I’m terrified of large bodies of water, and I’m sure that is in no small part due to watching Jaws when I was maybe six years old (there is also a story about me nearly drowning in a kiddie pool when I was a young toddler, but I digress…). This Steven Spielberg-classic is pure unadulterated terror, made all the more frightening by the reality that nature is often scarier than anything we can imagine. I mean, imagine seeing a movie nearly 40 years ago, and memories of it still feed a subconscious fear to not do something as innocuous as “go in the water.” It’s like Family Guy said, “Damn, Nature! You scary!!” POLTERGEIST (1982) & POLTERGEIST III (1988) This is a two-fer. Actual plot points aside, Poltergeist broadly revolves around a young girl trapped inside a television by evil spirits. Do you know how scary that was for me, a similarly aged child who spent all his time watching TV? My childhood brain conjured all the scenarios in which that could eventually happen to me. That doesn’t even get into the clown doll, skeleton-filled coffins popping out of the ground, or Zelda Rubinstein, who, for whatever reason, creeped me out as a child. Speaking of people creeping me out… Nathan Davis in Poltergeist III as the evil Rev. Henry Kane gave me nightmares for weeks. He was (is?) one of the most fright-inducing people I had ever seen in my life, and his unsettling singing of “God is in his holy temple” gave me the heebie-jeebies. For the record, Poltergeist II is no slouch, either. A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (1987) Of the famed ‘80s slasher franchises, Elm Street was the one I experienced last, and it was easily the scariest. Even as a kid, I was never really scared by Jason Voorhees because I knew, logically, I could just leave Crystal Lake and I’d be fine. With Freddy Krueger, however, I couldn’t not sleep. In fact, I’d get in trouble if I didn’t go to bed on time. That meant there was no escape. Dream Warriors was my entry into the Elm Street series, and between Freddy’s burnt visage, the razor glove, gruesome death sequences (one of which also involves a television set, incidentally), and the memorable “One, Two, Freddy’s coming for you,” it quite literally made me wet the bed at seven years old. Special shoutout to Dokken for the kickass title track. PET SEMATARY (1989) Maaaan…this movie messed me up when I was a kid, and it did so with a multi-pronged approach. Victor Pascow (Brad Greenquist), the ghost of a jogger who died after being hit by a truck, so his brain is just hanging out for all to see? Horrifying. The fog-filled atmosphere of the titular cemetery? Creepy. Angry zombie cat? I had a cat, so this wasn’t helpful. A young, reanimated Gage (Miko Hughes) taking people down with a scalpel, most notably by slicing through an Achilles tendon in one instance? Just no, hard nope all around on that one. I mean, even just the look of Fred Gwynne’s big head and his booming southern drawl…unsettling, to say the least. All that is to say, overall, given the context in which I saw this movie around 1990, it might be the scariest movie I’ve ever seen. FINAL DESTINATION (2000) & FINAL DESTINATION 2 (2003) Like Poltergeist , this is another two-fer. This thing is… this is more about the events that occurred after I saw Final Destination than the movie itself because, let’s face it, it’s not all that scary. However, after watching 98-minutes of various chain reactions kill a bunch of people in increasingly gnarly ways, it rightfully put me on edge. Every randomly loud noise was magnified, from a dog barking to a kid dropping his soda in the lobby, even more so because it was about 2:00am in the relatively quiet neighborhood of Pacific Grove, California. As I’m walking to my car, out of nowhere, there was a jarringly loud car accident about half a block away. No one was hurt, thankfully, but it nearly made me poop my pants as I stood in the street waiting for whatever knock-on effect was going to result in “death finding a way” on me. I drove home in silence, probably as the most attentive driver I had ever been in my entire life. Then, a few years later, Final Destination 2 comes out. While I don’t remember much about it, I remember the opening sequence. And more than 20 years later, I still refuse to drive behind logging trucks. Anything that has stuck with me for that long warrants a mention here.

Previous December 31, 2024 Next A BITESIZE CHAT WITH JIM CUMMINGS As part of the Future Of Film Showcase , Bitesize had a chance to chat with writer/actor/director Jim Cummings (Thunder Road, The Wolf of Snow Hollow, The Beta Test ) about his upcoming projects and the importance of independent film. BB: Hi Jim, thanks for chatting with us. As an independent filmmaker how important do you think festivals like the Future Of Film Showcase are? JC: Oh, they’re everything. I mean, you would not be interviewing me right now had it not been for film festivals. I was a producer for six years and I didn't know what made a good movie, but then I went to local film festivals and saw stuff that was being programmed where, like, the jobs of the programmers was to program the best stuff or the most culturally or socially significant stuff from around the country [and] world rankings. I got to see lots of short films that were impressive, and I was, like, “Oh, this is what I should be judging myself against. It's easier than I thought to make something cool, and somebody in Zaire is doing it so I should be doing something like that.” It's less of a risk, and you feel like you're less lonely in making stuff. So, I think festivals, championing not just independent filmmaking but also education in independent film, is incredibly valuable. It builds a community that, especially right now, most young people don't have. And I think having good influences in any art form or any business that you're trying to pursue is crucial. If you don't have good influences, you're gonna fail every time. BB: With The Wolf of Snow Hollow , you seem to have a knack for dark horror comedies. What about the mix of those genres do you find compelling enough to blend them? JC: I think horror and comedy are both punchline-driven narrative structures. Like, with a scare, it's setup and payoff, and the same thing happens with a joke. Arguably, the same thing should happen with drama as well - where you're surprised and you're moved to tears, which we did once or twice in early films. But with horror and comedy, I just find them to be really wonderful, perverted audiences that are down to take risks. They go to the cinema to see something with teeth, and I just really find it a lot of fun to wield the audience's attention through setup and payoff, to get big audible reactions out of them, whether it be a laugh or a gasp, or just a scream. It's a really fulfilling thing to be the DJ of that nightclub and I just love it. BB: Are there any other genres you’d like to branch out and work on? JC: Romance. I've been… Horror, yeah, I'm still kind of new to horror. I was a comedy guy for a long time. But there is something so subtle and punchline-driven about good romance when you're watching a Jane Austen movie. When something romantic happens, and Hugh Grant finally comes in and says, “Actually, I'm no longer married and I'm wondering if I can take you out on a date.” And then Emma Thompson starts crying so hard that everybody has to leave the house. It's, like, “Oh, thank God, their dream has come true.” That kind of relief, especially 85 minutes into a 90 minute movie, is such a daydream of mine. Like, “Oh, movies can be really lovely.” I think that [genre], and then there's another type of film that I call “umami filmmaking,” but there is no real term for it. It's like Ghibli movies of just, like, kind of life pornography of what it's like to make ramen and chop vegetables and spend the summer in a fishing town. I would love to do both of those things. Maybe ensemble. But, yeah, I feel like I haven't really chased that part of my brain or encouraged my team to push me into making that kind of a movie yet. BB: When it comes to acting and directing, who are your key influences for both? JC: Jackie Chan, notoriously. Bill Hader, recently. [He’s] another Southern kid who's writing, directing, and acting, humiliating himself in kind of endearing, funny violence. I don't know. I mean, I grew up watching [John] Cassavetes movies. And, you know, I feel like there's just something that you get from watching a writer/actor/director that is a relationship between the filmmaker and the audience that you don't get from just a director. Where it's like, you're watching Buster Keaton or W.C. Fields and it's like, “Oh, this person is getting their ass beaten in the street and they wrote that and rehearsed it.” You know, it's a much more elaborate joke when it's all coming from the same biological person. I think it's a deeper relationship that you have with Lena Dunham than you would with anybody else. There is something really beautiful and more cohesive that you have in watching something like Thunder Road , where you're like, “Oh, this is a document of this person's humanity in 2018.” And I don't really feel that way about Damien Chazelle's work, you know? BB: Which of those roles are you more comfortable in? JC: I mean, writing has very little stakes because you get to write something ridiculous and then somebody gets to go off and do it. So, that's really comfortable. You can do it in your pajamas. But then with directing, I feel like it's probably the thing that I'm best at because you can sculpt the audience's roller coaster. That's really what that job is, like, saying how long this pause should be as an awkward moment before going onto the next line and really nailing it. Kind of like editing the film, almost in performance and the way the camera moves. Then acting is just kind of self-directing to me. I've never taken an acting class, but I know what good acting kind of looks like or at least I've seen good acting before, so I think I know what the scene needs. So I think probably I'm most comfortable doing all three because they work together, they work hand in hand for me. We write all of our scripts out loud, so we're kind of already directing them and acting them. I really love doing all three. It's such a rush and such a fantastic feeling being on set, but I think probably writing is most comfortable if I had to pick between the three. BB: When you’re directing your own performance, does that make you more critical of it? JC: Yeah, constantly. There were times when I was doing my earlier movies and it would suck, or one line would come across as flat, and I'd go “No, I can do better” or “This ain't it.” Like, “They're gonna make fun of me on the internet. They're gonna say I'm not a good actor.” *laughs* That became, you know, this neurotic thing, but I was already doing it. My neuroticism for making it feel authentic, or at least interesting performance-wise, didn't stop me from making stuff as it does for so many other people who are, you know, aspiring writers, actors, and directors. I was already going to do it, and that feet to the flame of "you're gonna record it, and it's got to be really good; otherwise, you're gonna get made fun of," was a really big impetus to me trying to make sure that something was perfect before going out the door. I think it was helpful rather than harmful. It's too soon to tell. BB: You had the honour of directing Robert Forster’s final role. What was that like? JC: He was great. He was like everybody's grandfather on set. He’s definitely the most famous actor in the movie. He had no business being in our werewolf movie, but he liked the story because his character was dying from a disease that he couldn't tell anybody about and how it was affecting his family and his relationship with his son. And little did we know that’s exactly what was happening to him. He reached out to his manager and was, like, “I want to do this movie, it can be really good.” And his manager was like, “Bob, it's a werewolf picture. Are you joking?” [Bob] was like, “Eh, I don’t really care about the monster stuff. It's the stuff in between that I really like.” He was so savvy when it came to making movies. He had written, directed and starred in a movie that he made in the early 90s where he plays a detective in Hollywood, and he was, like, “I'll never do that again. That was crazy. I don't know how you do it.” So he came to us with just unrelenting respect and was just really, really wonderful. Everybody was trying to hang out with him at lunch, and anytime you got to talk to him about movies and what it was like to be making movies in the 70s and with fucking [Quentin] Tarantino as well, it was just a really great hang constantly. He never wanted to stop working. He was such a proactive, ambitious, will-driven guy, and he was marvelous. I think he shines in the movie. All of his scenes are so endearing and wonderful. I'm glad he said yes. BB: And as someone who is known for creating indie films, how did your role in Halloween Kills come about? JC: Backasswardly. *laughs* I don't know. It was a weird one. I had been pen pals with David Gordon Green for a few years, even before I had made Thunder Road , the short. I had talked to him at a film festival and somebody put me in touch. I was just writing letters to him sometimes, whenever I was down and out, being, like, “How do you do it? Like, how do you do the modern All The Real Girls or George Washington ? Does that fucking matter anymore?” He was just so encouraging constantly. He was, like, “Yeah, nobody's been through more hell than I have. This is normal. It's okay to feel this way.” Very much my life now is sending the ladder back down and doing what David did for me. So when I made the Thunder Road feature, I guess Danny McBride had seen it, and [he] reminded [David] of it, like, "Hey, check this thing out." Then, it happened to be on United Airlines - my producer had made a deal with United Airlines, so it was on airplanes - and David, who was flying to North Carolina to cast Halloween Kills , was, like, “Oh, yeah. Jim is great in this, we should just call him.” So, he landed the next day and called me, and was, like, “Hey, do you want to come down to Wilmington to shoot this movie?” And I was like, “Yeah, sure. My birthday is Halloween, I would fucking kill to be in the new Halloween movie with you directing. Daydream.” I said, “Should I audition?” And he's, like, “No, it's okay. Just go and talk to the Blumhouse team, hang out with the casting department, and have them know that you're not a lunatic. Come on down, we're spending a week in Wilmington.” And I did, and we shot the movie. I'm in the first, like, 10 minutes. No spoilers [but] that Michael Myers guy’s a real pain in the neck. *laughs* It was really just a dream come true working with him. So, really, unconventionally is how I ended up in that movie. It was because I had already made something independent that the director found to be impressive, and [he] was, like, “Oh, yeah, he could do this” and completely circumvented the normal process of getting into a big movie. BB: Is mainstream film something you’d like to feature more in or even do? JC: Oh, yeah. I mean, the reason I'm making movies is out of necessity. It would be too sad for me to have not made movies when I was young. Life is too short, and I couldn't spend 10 years working up a corporate ladder in the hopes of being considered a director someday. Instead, I wanted to scratch the itch, and also sharpen my knife, so that I was actually good at it by the time I was making good movies. So, yeah, I made 10 short films, then the Thunder Road feature, then made two more subsequent features that I feel like are only getting more cinematic and stronger. I'd love to make bigger stuff, it's just that nobody's knocking on my door. The last movie we made, The Beta Test , [was] basically a big middle finger to Hollywood *laughs*, so nobody's knocking on my door, like, you know, unless it's a big person like David Gordon Green or, like, Christopher Nolan. Almost nobody in Hollywood wants to work with me because I made a movie making fun of them. BB: So word on the street is your next project is a Victorian horror film. Can you provide any updates on that at all? JC: I mean, I recorded it as a podcast a couple of days ago, so that just means that it's me in my room recording it on this microphone on this computer I'm talking to you through, drinking the LaCroix I'm pouring for myself. But, yeah, I recorded it and then it's, like, “Alright, this scene sucks. I don't know what I was thinking of writing this bit. These nine pages have to go. They're unnecessary.” So, I have it. I sent it to people. I sent it to a big studio, this really cool executive that I had a great meeting with and loves my work, and she…was, like, “I don't get it, and I don't know if you should be doing this.” *laughs* So, I was, like, “Alright, back to the drawing board.” It's bad that it only takes one person that you respect to kick you in the nuts, and then it's, like, “Alright, maybe I'm a sham. Maybe I don't know what I've been doing these 20 years.” Now, I don't know, I'm talking to a couple of different cool people off the record that could be contributive, but right now, I'm doing another movie. It's a passion project about journalism. It's like a love letter to neighborhoods, moms, and independent journalists. It seems like that might be my fourth movie, and then the Victorian horror movie might be my fifth, knock on wood. Make sure to check out The Beta Test now on VOD. Interview conducted on June 15th, 2022 by Adriano Caporusso. Photo Credits: Banner - Ian Spanier/The Wrap; Photo 1 - Austin Film Society; Photo 2 - Universal Pictures

PAINKILLER Starring: Uzo Aduba, Matthew Broderick, Dina Shihabi, West Duchovny, John Rothman, Jack Mulhern, Sam Anderson, Clark Gregg, Taylor Kitsch, Carolina Bartczak, Tyler Ritter, Ron Lea, and John Ales Creators: Micah Fitzerman-Blue and Noah Harpster QUENTIN Painkiller is the latest in a recent string of shows that aren’t bad but are unnecessary because they are covering ground that a different show decently covered not long ago. Much like Love & Death told the same story as Candy , Painkiller tells the same story as Dopesick , and it’s difficult to say if my blah opinion is based on the show itself, or because the award-winning Dopesick is still in my head. Nothing about it is terrible - the acting is decent, the story is interesting - it’s just…why? That said, it’s certainly watchable for those who didn’t see Dopesick because they don’t have Hulu.

THE PERIPHERAL: SEASON ONE Starring: Chloë Grace Moretz, Jack Reynor, Gary Carr, Eli Goree, Louis Herthum, JJ Feild, T’Nia Miller, Charlotte Riley, Katie Leung, and Melinda Page Hamilton Creator: Scott B. Smith QUENTIN Despite a captivating pilot, The Peripheral fails to capitalize on its instantly intriguing setup, instead falling down poorly explained rabbit holes concerning alternate realities, conspiracies, heady sci-fi ideals, and terrible southern accents. With that in mind, it shouldn’t be surprising that it comes from the people behind Westworld (namely, executive producers Lisa Joy and Jonathan Nolan). Much like Westworld , there probably is a good show in here somewhere, but the writers are too busy trying to be clever and cerebral to let it breathe. I suppose the book on which it’s based could be to blame, but either way, it’s not worth the effort.

Previous Next October 2, 2023 WRITTEN BY: ADRIANO Once again, the Toronto International Film Festival has come and gone. While the energy wasn't as strong this year, probably due to the lack of star power and buzzier titles, likely caused by the ongoing SAG-AFTRA strike and the studios' unwillingness to pay their actors fairly, the lineup was, as always, a nice blend of genre filmmaking, independent discoveries, and international storytelling. Not everything was great…or even good…but there were enough winners to call this another successful TIFF. This year, like the idiot I am, I pushed myself to watch an unhealthy amount of movies in 11 days: 49, to be exact. That may sound insane (because it is), but honestly, until the final days, the hungry cinephile in me couldn't get enough. If you can believe it, there are even some movies I regret missing, such as Ning Hao's The Movie Emperor , Ilker Çatak's The Teacher's Lounge , and Aki Kaurismäki's Fallen Leaves . And I'd be lying if I said I'm not still curious about Harmony Korine's Aggro Dr1ft . But alas, I saw 49, and I'm satisfied with that number. Now that I've had the time to clear my head and properly process everything I saw, here is the ranking of all 49 movies that I saw at TIFF… Also, in case you missed it, check out how Nick ranked the 38 movies he saw at the festival HERE . 49. NYAD On one hand, Nyad did produce some hard laughter; on the other hand, the movie is not supposed to be a comedy. It’s amazing how directors Elizabeth Chai Vasarhelyi and Jimmy Chin direct the film with nothing to offer; however, whenever they try to go outside the box, the decisions are atrocious. Its mix of documentary-style formatting doesn’t work, and the movie doesn't give you anything beyond a feel-good ending. Jodie Foster and Rhys Ifans are good, but wow, Annette Bening is horrendous. Beyond being unintentionally hilarious, Nyad is a massive waste of time. 48. THEY SHOT THE PIANO PLAYER They Shot the Piano Player is just baffling. Giving off the appearance of an animated documentary that features a voice performance from Jeff Goldblum, who sounds like he recorded his lines from bed, Piano Player tells us a lot about the subject while not giving us enough reason to care. While I assume this was intentional, the animation is very clunky, out of sync with the sound and voices, and overall just unappealing. I see the intent with this one, but I found myself way too disinterested. 47. KNOX GOES AWAY I love Michael Keaton, but directing is not his thing. Knox Goes Away takes a somewhat interesting concept and goes nowhere with it. Admittedly, the ending is interesting, but to get there, we have to sit through dull storytelling, weak melodrama, and a very warped interpretation of what Alzheimer’s is. Michael Keaton's (for lack of a better term) Michael Keaton-isms don't work here, which just add to the film's noticeably dour tone. Failing as both a thriller and a character drama, Knox Goes Away doesn't have much, if anything, to offer. 46. PAIN HUSTLERS Pain Hustlers wants to be The Wolf of Wall Street so badly that it forgot to be good…at all. It wants to have it both ways in its approach to the opioid crisis: highlighting the depravity of the people pushing the drugs while also attempting a humanizing character study. Sadly, it fails at both, especially considering how tame the movie really is. In short, it’s too easy. It offers simple answers and takes quick shortcuts in how it handles the subject matter. If you want a good example of style over substance, look no further. 45. ORIGIN There is an old rule in storytelling: Show, don't tell. Origin largely abandons that rule. Instead of delivering what should have been a documentary on the Caste system, writer/director Ava DuVernay opts for an aggressively unsubtle and borderline Hallmark approach to the narrative form. Aunjanue Ellis-Taylor is terrific, and she could gain something from this, but the way in which the message is presented is flatly directed, a structural disaster, and full of moments that are emotionally manipulative. The final thirty minutes, in particular…I'm not gonna lie…were horrendous. I had high hopes for this one, but I was very disappointed. 44. WILDCAT I still don't believe that Wildcat is a movie and not a bizarre fever dream. The way the movie begins, I was into it; however, it collapses from there. Maya Hawke does some heavy lifting, but her father? Not so much. Co-writer/director Ethan Hawke's storytelling abilities reek of pretentiousness without giving reason to care about the subject. On top of that, there are countless baffling creative decisions that had me holding back laughter; not to mention, sadly, a horrible Laura Linney performance. For what it's worth, Wildcat is a very funny movie, but not intentionally. 43. LEE There seems to be this misconception in Hollywood that a movie can coast on just the power of its true story. Lee is another victim of this mentality because, while the story of Lee Miller is interesting, the film does nothing to distinguish itself beyond great performances from Kate Winslet and Andy Samberg. It tries to comment on sexism and war, but that doesn't go anywhere beyond finger-wagging. Motivations aren't entirely clear, and the film falls victim to a bizarre framing device that confuses more than delivers. I'm probably gonna forget Lee very quickly. 42. WORKING CLASS GOES TO HELL To put it bluntly, Working Class Goes to Hell is a disappointing movie. The worst crime a movie can commit is wasting a good concept with mediocrity, which is what is especially done here. As a horror movie, jump scares are present, but it's not fully reliant on them, mostly relying on tension and scary imagery. However, as a social satire, it falls aggressively flat. Its messaging is, at best, agreeable; at worst, oversimplified yet confusing. The decisions made in the end are just baffling too, and interesting political commentaries are not enough to save this from being another spineless horror film. 41. DUMB MONEY It’s not a good sign that my first thought after watching Dumb Money was, “I’ve seen worse.” The story itself is fascinating, and if handled correctly, it could’ve been the funny and entertaining middle finger to Wall Street it aspires to be. Instead, the film overextends itself with needless and underdeveloped subplots that don’t do much to enhance what we know already. With the events of the film happening very recently, the movie’s presentation is way too dull to distinguish itself or justify its existence, making me think it’s going to become irrelevant almost immediately. 40. DICKS: THE MUSICAL I can't remember the last time a movie had me in the palm of its hand then completely lost me by the end. Dicks: The Musical is a film that dials the absurdism up to a thousand and never dials it down. Initially, I loved it. I was laughing a lot while enjoying the musical numbers and just how unapologetically queer the film is. But, eventually, the film’s non-stop insanity just exhausted me. Sadly, there are only so many sex jokes and sewer boys I can take in a minute, let alone 90. 39. GONZO GIRL The pieces are present for Gonzo Girl , but it ultimately falls flat, even if director Patricia Arquette shows loads of potential behind the camera. The film is well shot and the pacing works, but the real highlights are the magnetic performances of Willem Dafoe and Camila Morrone. Both come close to overdoing it, but never cross that line, instead working off each other incredibly. Sadly, the writing is not up to their level, as the movie is mostly just screaming obscenities and cocaine use. It very quickly becomes tiresome and too mean-spirited to enjoy. 38. MOTHER COUCH I'll always respect a movie for taking swings, but Mother Couch misses the mark. While the entire cast delivers great performances, especially Ewan McGregor, its messaging on parenthood and family dynamics are way too obvious to warrant the surrealist rabbit hole the movie chooses to take us down. It attempts to use imagery and just plain weirdness (I still don't really know what Taylor Russell's character was doing) to trick us into thinking the movie is deeper than it actually is, but in the end, it mostly just left me pretty perplexed as to what I just watched. 37. NAGA I understood some of what NAGA was going for, but overall, I left feeling dissatisfied. Writer/director Meshal Aljaser fills the movie with unrelenting tension, and there are moments that genuinely had me at the edge of my seat (Adwa Bader's performance certainly helps). However, as the movie keeps going, it doesn’t feel like it is offering much other than thrills. I didn't like the student film vibe, and while I got the message, the tone didn't feel correct for what it was saying. It's not all bad, but there just wasn’t enough that worked for me. 36. THE END WE START FROM I found myself mostly confused by The End We Start From , and not nearly emotionally invested enough to forgive that. Jodie Comer is fantastic, portraying a tender mother and a fighting survivor with deft nuance. That said, the world-building around her isn't great. I found it hard to wrap my head around what happened in this world to create a borderline dystopian society. On top of that, some of the characterizations felt rushed and unnatural. If you wanna watch The End We Start From for Jodie Comer, go ahead; otherwise, it's skippable. 35. THE QUEEN OF MY DREAMS The Queen of My Dreams is by no means a perfect film. It's a little wonky, structurally speaking, and in the end, it doesn't get at anything deeper than what's on the surface. To make things worse, the subplot about the younger years of our protagonist in the third act is just poorly written. Thankfully, it has a wickedly charming dual lead performance from Amrit Kaur and is a lovely celebration of Pakistani culture and cinema. The film’s familial bond is likely to tug at the heartstrings as well, making this a worthwhile experience overall. 34. HELL OF A SUMMER I'm glad I watched Hell of a Summer with a Midnight Madness crowd because it certainly helped my perception of the movie, especially because time has not treated this movie well. My initial viewing experience was a lot of fun. I laughed a lot, and I thought the slasher aspects were interesting at times. However, the film’s flaws…namely, the weak structure, the shallow Gen-Z commentary, and the way the movie reveals its mystery out of thin air…makes the rest of the movie tensionless, which, in hindsight, has begun to overshadow the fun I had. 33. SLY As a lifelong fan of Sylvester Stallone, it saddens me to say that Sly is predictably self-pandering. I wanted a deeper look at his life, not just his career, but the movie takes most of its runtime to talk about how Stallone created his famous franchises (a lot of the movie is just about Rocky ). As a fan, that's fun, but it's not worth my time when I'm after a little bit more. Not that his personal life isn't touched on at all, but not nearly enough to be insightful. Is it an easy watch? Absolutely. Will I watch it again, though? Probably not. 32. ROBOT DREAMS There is something to admire about the simple existence of Robot Dreams . An animated movie about the friendship between a robot and a dog that is told entirely with no dialogue feels like a relic of the past, and yet here it is. The animation is colourful and enticing throughout, while the themes of loneliness and the human desire to reach out make for an endearing watch. Unfortunately, while the movie feels like a short film stretched to feature length due to increasingly repetitive subplots that could have easily been removed, the final scene alone makes the experience worth it. 31. FINGERNAILS Fingernails has a great premise, but the film never lives up to it. A good chunk of the movie is fleshing out the central idea regarding this test that can calculate love, and because it spends so much time on that, the broader implications of what writer/director Christos Nikou is trying to say about the human desire to feel loved falls through the cracks. Not that this is a bad movie, as Jessie Buckley is as excellent as always and the ideas presented are good ones, but I wish it offered something more. 30. LES INDÉSIRABLES Look, director/co-writer Ladj Ly's intentions for Les Indésirables are clear. It's a very well-made criticism of France's racial inequality and displacement system that can feel riveting at times. However, at a point, Ly's obvious anger felt more like we were being shouted at. There isn’t enough to sink your teeth into as the point comes across fairly quickly; then there is another hour left, ultimately leaving you with a harrowing yet repetitive film. It's unfortunately the kind of film that is less interested in teaching and more in getting a reaction. 29. NEXT GOAL WINS After years of delays, I've finally seen Next Goal Wins and...it's solid, I guess. If you're not into co-writer/director Taika Watiti's sense of humour, this isn't gonna change your mind; however, as someone who is into his style, I found the film quite funny. As a crowd pleaser, Next Goal Wins works, and the film boasts a funny cast, led by an amazing Michael Fassbender, but the writing is quite weak in terms of characterization and story structure. Plus, its portrayal of American Samoa as careless goofballs is a little reckless. Although it's a good time, it’s not necessary viewing. 28. FRYBREAD FACE AND ME Culture and family play a big part in Frybread Face and Me , but the movie doesn't offer enough beyond that to make the experience worthwhile. It's not bad, though. Its look at Navajo-American life is compelling as we learn about their culture, while the family dynamic can be endearing, if not a little confused at times in terms of how we're supposed to feel about the relationship. However, as a coming-of-age comedy, it doesn't really land. The jokes miss a lot, the pacing is off, and the ensemble gives mixed results. Overall, it’s not something I'd ever return to. 27. FITTING IN Fitting In is, at worst, a well-intentioned film that just misses the mark in its execution. The film's strongest asset has got to be Maddie Ziegler, whose raw and authentic performance gives the film and subject the realism it requires. Not that director/writer Molly McGlynn didn’t do that, as the tragicomedy tone worked for the film, but its wonky set up and underdeveloped subplots leave a lot to be desired. That all said, I do believe this film is successful at examining the insecurities of young women in an entertaining and unique coming-of-age way. 26. A DIFFICULT YEAR There is a great movie hidden in A Difficult Year . It’s admittedly hilarious at times, and the performances by Pio Marmaï, Jonathan Cohen, and especially Noémie Merlant are compelling, which almost drives the film to reach its potential. However, the film is lacking in some key areas. The political message of faux activism is very shallow, and it doesn’t make any observations beyond 'it's bad.’ Plus, the characters are one-dimensional, and the plot is way too thin to feel any of the emotional stakes that we are supposed to feel. I would’ve loved to see a better movie with this concept. 25. LA CHIMERA La Chimera has a lot boiling underneath that sadly never reaches the surface, but it still features more than enough to make up for it. The ensemble works wonders, namely the film's lead, Josh O’Connor, whose grit makes him hard to look away from. Alice Rohrwacher’s direction makes the film engaging too, as does the picturesque portrait of the Italian countryside from cinematographer Hélène Louvart. Unfortunately, the crime aspect of the film and its deeper implications don’t result in anything larger than seemingly intended, and the note it ends on isn’t satisfying enough to justify the journey, making me feel very conflicted overall. 24. WOMAN OF THE HOUR Colour me surprised because Woman of the Hour is quite good. Some moments certainly feel like they were only there to pad the runtime since they didn't add anything we didn't already know or because they felt unearned, but Anna Kendrick's direction gives way to not only a freakishly intense final twenty minutes, but also a thrilling commentary on how men are able to manipulate women. Kendrick is as delightful as she always is, and Daniel Zovatto is as charming as he is creepy, and though not without its flaws, Woman of the Hour is a hell of a debut. 23. THE BOY AND THE HERON Hayao Miyazaki's latest feature, The Boy and the Heron , is another wonder from the legendary filmmaker, but one that unfortunately falls just short of greatness. Like Miyazaki's other films, the animation is stunning to look at, with every single frame a sight to behold as it takes you to a universe that shows Miyazaki's imagination holds no equal. While its themes of grief are well written, the film throws a bit too much at the viewer to get the message across, making the film less thought-provoking and more overwhelming. It’s another win for Miyazaki, but not amongst his best. 22. RUSTIN I guarantee you've seen the nuts and bolts of Rustin before, but something about this film works better than most average biopics. Maybe it's just how incredible Bayard Rustin's (Colman Domingo) story of being a forgotten yet important part of the civil rights movement is… Or maybe it's Domingo's instantly charming performance that both devastates and empowers at the same time… Or maybe it's the frenetic energy the film offers in telling this story… or the quick and snappy dialogue that adds layers of surprising entertainment. Whatever it is, it made Rustin work. 21. MEMORY It's wild how much the performances of great actors can elevate a film, but in the case of Memory , that's exactly what Jessica Chastain’s and Peter Sarsgaard’s do. Their nuance in approaching these heavy roles is something to marvel at. Not that Memory isn’t great without them, mind you. Writer/director Michel Franco's deft hand at going about the subjects is delicate and precise, and though I don't see his slow-moving nature working for you if it hasn't before, it works for me. And, again, even if you're not totally into the plot, you still have two incredible performances that are beyond worthwhile. 20. WICKED LITTLE LETTERS One can look at Wicked Little Letters and go, “Oh, look, another charming British comedy.” And there is some truth to that. However, it goes beyond that to deliver more poignancy than I expected. Olivia Colman and Jessie Buckley are both amazing (they always are), but I loved the whole ensemble. Each actor is committed to this bizarre story that intrigues and delights at the same time. The structure isn't completely sound, but with what lies at the end of Wicked Little Letters , it’s hard to not at least smile. 19. THE BURIAL I didn't fully know what I expected out of The Burial , but it wasn't this. I'm not saying it's unlike anything out there (believe me, that's not the case), but I wasn't expecting something this funny to hold this much weight. Tommy Lee Jones is mostly just being Tommy Lee Jones (not bad, just expected), but Jamie Foxx and Alan Ruck are particularly hard to keep my eyes off of. This is a breezy watch, for sure, but the dramatic depth this film had in its storytelling caught me off guard and left me emotionally satisfied. 18. EVIL DOES NOT EXIST Not many directors can make an elongated wood-chopping sequence captivating, but that's what Ryûsuke Hamaguchi pulls off in Evil Does Not Exist as he takes on the environmental crisis with care and insight. The landscapes of the film are stunningly well shot, and the characters on both sides are handled with depth in a way that doesn't villainize anyone. Unfortunately, the final ten minutes take a turn for the worst, feeling like a completely different film that ditches the subtly for thrills. All in all, a once brilliant film that falls flat in the end. 17. FAIR PLAY I found myself really loving Fair Play , something I did not expect to say before seeing it. It starts as an erotic thriller, which I had mixed feelings about, but the psycho-sensual tension between Alden Ehrenreich and Phoebe Dynevor kept me on my toes. As the film goes on, however, it makes a 180 and begins to really captivate as it viciously examines domestic and gender dynamics in the workplace. And Ehrenreich, in particular, really gets to shine. Fair Play went places I had no idea it was gonna go, and it made the movie for me. 16. THE ROYAL HOTEL Does every narrative beat in The Royal Hotel work? Not necessarily. However, Kitty Green's latest film takes you on a thrill ride that rarely ever lets up. Scenes are tension-filled to an uncomfortable degree from start to finish, all in service of its themes of toxic masculinity and male fragility, anchored by great performances from Julia Garner and Jessica Henwick. The ending left me a little perplexed, if not slightly dissatisfied, but the film's commentaries and approach kept me thinking long after the credits rolled. 15. KILL Fun fact: This was my first Midnight Madness premiere at TIFF, and I believe I made the right choice starting with KILL . To put it plainly, KILL is like The Raid on a train. The first act has its fair share of violence, but in the second act, it never stops. The kills are ultra gory, slick, stylized, and messy in the best ways possible. Now, you'd think with a movie like that, it would mainly rely on its kill count, but there's a shocking emotional throughline to compliment the gore. KILL is simply a killer good time. 14. DREAM SCENARIO Now, I'm not saying I don't dream about Nicolas Cage on a regular basis, but Dream Scenario takes that idea to new extremes. Cage puts a new spin on his holds-nothing-back persona for more laid-back chaos in a film that's wildly funny yet thought-provoking. Its commentary on cancel culture offers mixed results, but its stance on the current state of fame hits hard. The absurdism of the plot is very entertaining, but by the third act, it wears a little thin. Still, Dream Scenario is fun and poignant, and who doesn't love some Cage mayhem? 13. MONSTER Director Hirokazu Kore-eda once again shows his knack for quietly devastating storytelling with Monster . Its framing device can be initially jarring since it tells the same story through three perspectives, but the impact is never blunted. By the film's fantastic third act, you get what Kore-eda is saying, and all you need to do is sit back and let the haunting beauty of Monster suck you in and leave you a blubbering mess. The film comes together to make for many shocking reveals that turn its dark subject matter into a tender tale that's hard not to fall for. 12. CONCRETE UTOPIA At face value, Concrete Utopia seems like a fun disaster flick, which set all my expectations going into it. However, I was not prepared for the emotional force and the politics it presented. I can't say it has the most unique messaging about class warfare or dictators, but I couldn't help but get sucked into its atmosphere almost instantly, thanks to the incredible cast, the jaw-dropping production design, and the emotionally satisfying finale. At first, Concrete Utopia may seem familiar, but it wound up being a remarkably unique experience. 11. THE GREEN BORDER The Green Border is an incredible film and a powerful call to action. Through a horrifying black-and-white lens, co-writer/director Agnieszka Holland takes us to the mortifying reality that is the refugee crisis at the border between Poland and Belarus. The film is guided by three plots (a family, a border guard, and an activist), and while some have more weight to them than others, all of them expose something both revealing and painful. The Green Border is a hard watch, no question about it, but it's one that's necessary and worthwhile. 10. PERFECT DAYS Perfect Days is proof that, sometimes, less absolutely equals more. A fascinating character study, the movie follows the protagonist through his day-to-day life, and the film holds nothing back in showing the less-than-ideal yet mundane situation he’s in; however, through Wim Wenders’ nuanced direction and Kôji Yakusho’s subtle performance, even the 20-minute-long sequences of Yakusho cleaning bathrooms reveal a poetic truth. Due to the film’s patient and purposefully repetitive nature, I can’t say it’s a film that’ll appeal to everyone, but the final shot alone made the journey worth it. 9. HIS THREE DAUGHTERS His Three Daughters is a mature, heartbreaking, and bittersweet analysis of family and grief that had me blubbering. Azazel Jacobs' writing and direction ground the film to a point of uncomfortable familiarity as it examines its subjects and the past and current trauma they’ve experienced, all of which is anchored by three magnificent performances from Carrie Coon, Elizabeth Olsen, and especially Natasha Lyonne. The dynamic between the three gives way to something that devastates beyond the central premise in a way that'll make it hard not to hurt your heart at least a little bit. It was an amazing way to end the festival. 8. SING SING The surprise of the festival has got to be Sing Sing . What could've been sappy Oscar-bait turns into something truly beautiful as it examines the humanity that can be found somewhere so deeply dehumanizing. Colman Domingo shines alongside an incredible ensemble (mostly comprised of real-life former inmates), all of whom come together with director Greg Kwedar and his co-writer Clint Bentley to make something devastating yet hopeful about the healing power of art. Quietly powerful in its approach to the subjects at hand, Sing Sing might present answers that could be seen as easy, but it’s effective nonetheless. 7. THE HOLDOVERS Even before the studio logos appeared, I was already into what The Holdovers had to offer. For the first half, I was enthralled by director Alexander Payne's 70s aesthetic and the sharp, almost screwball comedy script (written by David Hemingson). Dominic Sessa and Da'Vine Joy Randolph shine too, but Paul Giamatti gives a performance with so many layers that you can't help but love him despite his grouchiness. The much more mature second act, however, is what stuck with me the most. While still funny, it offers a devastating yet sweet portrait of loneliness that will leave audiences satisfied. 6. AMERICAN FICTION American Fiction juggles comedy, family drama, and social-racial politics amazingly considering this is writer/director Cord Jefferson’s first feature. The film is hilarious throughout, with a healthy blend of absurdism and slice-of-life humour. While the family drama plot can seem familiar (not in the way I imagine was intended), the way it blends with the commentary on how black people are depicted in the media and in culture was nothing short of brilliant. I foresee the ending dividing people, but I thought it was incredible. American Fiction is, at worst, a familiar comedy; at best, an ingenious satire. 5. ABOUT DRY GRASSES About Dry Grasses is proof that when your movie is captivating enough, it’s never too long. Sitting at just under 200 minutes, this film is almost all dialogue, which sounds jarring, but it felt as if it breezed by. Director/co-writer Nuri Bilge Ceylan fills the runtime with fascinating conversations that make the concept, which can seem very simple, become a brilliant character study. Deniz Celiloglu is particularly breathtaking in the lead role, and certain moments in the film are so shocking that I had to stop myself from audibly gasping. It’s the rare three-hour feature that I'd be delighted to return to. 4. THE ZONE OF INTEREST The Zone of Interest is a haunting portrait of the Holocaust that will stay with any audience member willing to take the journey. Writer/director Jonathan Glazer presents an analysis of evil, and how some of the most atrocious human beings can look so normal. While the film revels in the mundane to an uncomfortable degree, Glazer is not afraid to get experimental on us, presenting the audience a challenging way to view humanity in all its ugliness. I left this movie feeling disturbed and angry, yet awestruck at the brave approach to this subject matter. 3. HIT MAN Do you love movies? Yes? Then you'll love Hit Man . There isn't a lot to not love about it, to be honest. Co-writer/director Richard Linklater's latest produces belly laughs nearly non-stop, thanks to sharp writing and instantly lovable characters. Glen Powell's leading man charm is dialed up to 1000, and his chemistry with Adria Arjona is so good that I felt like I was intruding sometimes. As the film keeps going, the plot gets more and more interesting and entertaining, making for a film so calculated, so creative, and so sexy, that it must be seen to believe. 2. HOW TO HAVE SEX In the beginning, How to Have Sex presents us with a lucid and fun coming-of-age sex comedy, and a very energetic one at that. Eventually, however, the film takes a drastic turn into a fascinating study of modern hook-up culture and the dynamic young women have when approaching it. In her feature debut, writer/director Molly Manning Walker announces her arrival to the scene with devastating nuance and astounding visuals. The film also features a performance that I hope turns Mia McKenna-Bruce into a star. How to Have Sex is a stomach-turning accomplishment that must be seen to believe. 1. ANATOMY OF A FALL I'm still in awe of what Anatomy of a Fall pulled off. Co-writer/director Justine Triet crafted a mystery/courtroom procedural that needed every single moment to work or else it would fall apart. I can’t believe she pulled it off. Everything we learn about the case, we learn through Sandra Hüller's character, and Hüller is more than up to the task, giving a breathtaking performance. For a film that's mostly dialogue, the two-and-a-half-hour runtime breezes by, and by the end, the portrait of dysfunctional domestic relationships stays with you as you question everything you've been told. A true work of art. Photo Credits: Toronto International Film Festival

Previous Next It's almost time for the Golden Globes and, in turn, a new batch of series set to start off 2024. Considering this, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Sitcoms. For inclusion on this list the series needs to be live-action and not animated. Each writer ranks his or her top 15 series 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. ARRESTED DEVELOPMENT For me, Arrested Development (the first three seasons, anyways) is the best sitcom of all-time. Sure, it fell off in the final two seasons, but that is more of a testament to just how hilarious the first three seasons were. The result of the combined efforts of Mitchell Hurwitz (creator) and Ron Howard (executive producer and narrator), the addition of some of the most subversively clever writing ever, and the ubiquitous comedic timing of a superstar cast is pure comedy gold. I know I will never be able to hear “The Final Countdown” by Europe without laughing and thinking of Gob (Will Arnett). If for some mystifying reason you haven’t had the privilege, I highly recommend giving it a shot, and I am jealous of what you have in store. - Preston 4. IT'S ALWAYS SUNNY IN PHILADELPHIA It’s Always Sunny in Philadelphia flips the modern sitcom on its head, actively rejecting all of the clichéd tropes that audiences have come to expect from their traditional workplace comedies. There are no predictable “will-they-won’t-they relationships” or “adorkable” protagonists here, and there are no lessons to be learned or significant character growth of any kind. Instead, the audience gets to watch as the strange, eccentric “Gang” that runs Paddy’s Pub spirals further and further into absolute depravity. Hilariously offensive, endlessly quotable, and utterly insane, It’s Always Sunny in Philadelphia is anything but your average sitcom… and that’s exactly why we love it so much. - Caleb 3. SEINFELD Although Seinfeld has been famously described as “a show about nothing,” it’s actually an incredibly relatable examination of social interactions and mundane experiences that we all go through. Things like getting lost in a parking garage or waiting for a table at a restaurant are mined for comedy gold. On top of that, there are near-infinite aspects, quotes, and characters that have informed the pop culture zeitgeist for nearly three decades. You’ve got The Soup Nazi, Festivus, and being “Master of your Domain,” not to mention a Who’s Who of young guest stars like Bob Odenkirk, Bryan Cranston, James Spader, and Jon Favreau. Lastly, the “no hugging, no learning” rule instituted by show creators Larry David and Jerry Seinfeld has inspired a whole new breed of great sitcoms, including the two named above. - Quentin 2. THE OFFICE (US) The American remake of The Office never fails to make its viewers smile. From the hilarious cold opens to the charming end credits, this over-the-top sitcom that ran for nine seasons has something for everyone, becoming one of the best comfort shows around. You can always guarantee that the Dunder Mifflin staff will make you laugh out loud, whether it's through Jim and Pam's (John Krasinksi and Jenna Fischer) shenanigans, Dwight Schrute's (Rainn Wilson) preposterousness, or Michael Scott's (Steve Carell) cringy tangents. The Office , with its distinct documentary-style format, has created a long-lasting impact on the television industry, and it still is and always will be a beloved series thanks to its devoted fans. - Paige 1. COMMUNITY I can't think of a more unique sitcom than Community , plain and simple. Yes, its fourth season was not the best for many well-documented reasons, but the first three seasons and the final two seasons were so great that it cancels that out. The show uses its gang of misfits (played perfectly by its core cast of Joel McHale, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, Alison Brie, Donald Glover, and Chevy Chase) and its unconventional setting to create an imaginative and innovative show that blends absurdist humour and parody to create something special and genuinely heartwarming. By the final episode, I felt so connected to Greendale and its students that I couldn't let go... so I watched it again. And again. - Adriano HONORABLE MENTIONS THE FRESH PRINCE OF BEL-AIR FRIENDS PARKS AND RECREATION MODERN FAMILY WHAT WE DO IN THE SHADOWS Photo Credits: Photo 1 - Fox; Photo 2 - FX; Photo 3, 4, 5 - NBC

MADE FOR LOVE: SEASON ONE Starring: Cristin Milioti, Ray Romano, Billy Magnussen, Dan Bakkedahl, Noma Dumezweni, and Caleb Foote Creator: Dean Bakopoulos and Christina Lee QUENTIN Made for Love is another show that successfully lends itself to obvious Black Mirror comparisons. Yes, that is a compliment. It uses a darkly comedic tone and quirky sensibilities to show us a woman's escape from a tech-invasive relationship that is incredibly toxic and controlling. Cristin Milioti, who has been killing it recently between this and Palm Springs , balances the weighty seriousness and oddball humor perfectly with her relatable persona and natural charm, while Ray Romano shines in a role that could have easily been a one-joke character. It's incredibly bingeworthy, with a quasi-cliffhanger that effortlessly sets up a second season.

SEVERANCE: SEASON ONE Starring: Adam Scott, John Turturro, Zach Cherry, Britt Lower, Tramell Tillman, Patricia Arquette, Jen Tullock, Dichen Lachman, Michael Chernus, and Christopher Walken Creator: Dan Erickson JACOB Echoing Black Mirror by way of the hit video game Control , creator Dan Erickson’s Severance is a high-wire balancing act of excellence across the board. Its design is minimal but meaningful, as entirely three-dimensional characters navigate its mystery so as to make audiences hang on every moment. Pitch-perfect performances (especially from Adam Scott and John Turturro) utter crisp writing so fine-tuned that the bombshells dropped and cliffhangers presented feel earned every time. Ben Stiller might be an even better director than he is an actor, and Apple TV+ has now fully established itself as an essential streaming service. QUENTIN With its high concept, sharp satire, and puzzle box mystery, I went into every episode of Severance wanting to like it; However, it’s such a slow burn that I was on the verge of giving up almost every week. It just requires so much patience and commitment since it doesn’t really pick up until the seventh episode, which is pretty late in the game for a season with only nine episodes. On the other hand, as soon as I finished the finale, I definitely wanted more. Will I still feel that way when Season Two drops next year? I don’t know if I’m that committed. ADRIANO Severance is just one of those shows that gripped me instantly. Its concept could have easily been way too complicated, yet everything becomes clear pretty quickly. The entire ensemble is fully committed to this puzzle box of a show, and the writers and directors keep the show suspenseful and wholly entertaining. Meanwhile, the score and production values contribute to the creepy and bizarre atmosphere that help carry the story. After each episode, I was desperate to find out what would happen next, and the way the season ends is almost rude because I need Season Two right this second.