GRISELDA Starring: Sofía Vergara, Alberto Guerra, Christian Tappán, Martín Rodríguez, and Juliana Aidén Martinez Creators: Carlo Bernard, Ingrid Escajeda, Doug Miro, and Eric Newman QUENTIN “The only man I was ever afraid of was…Griselda Blanco." - Pablo Escobar When you lead with that quote, an expectation of pure evil is set. Sadly, Griselda rarely paints Blanco, played terrifically by Sofía Vergara in a performance that demonstrates her dramatic bonafides, in a light that lives up to that ideal. Sure, she engages in typical narco criminality, but Blanco is depicted more as a paranoid woman trying to succeed in a male-dominated field, not a ruthless kingpin. Plus, at only six episodes, the series is rushed, only giving surface-level insights. The typically comedic Vergara is a revelation, but as a series, Griselda is meh. PRESTON Griselda is a fictionalized miniseries based on the life of Colombian drug mafiosa, Griselda Blanco (Sofía Vergara). At first, the extremely likeable Vergara seems like the wrong casting choice, but as the series progresses, you realize it is all part of the beautifully ugly transformation that makes for a believable and relatable story that will have you intermittently wondering, “Am I rooting for her?!” Attention to detail is appreciated in the use of proper dialectical Spanish vernacular choices, but not so much with the utterly distracting makeup for Vergara. No matter, though; this is highly bingeable entertainment!

Previous Next January 28, 2026 WRITTEN BY: QUENTIN After Fantasy Filmfest 2025 delivered some of my favorite genre movies of the year, including Good Boy , The Toxic Avenger , and Code 3 , I couldn’t wait for their quick-hitter festival, Fantasy Filmfest: White Nights. Thankfully, despite being smaller in stature, it still delivered the goods. But before we get to the ranking, what is White Nights? White Nights is a two-day festival that takes place near simultaneously across seven German cities, and much like the core Fantasy Filmfest, it focuses on thriller, horror, and sci-fi. As always, White Nights features 10 films. This year included the feature film directorial debuts from YouTube sensation Chris Stuckmann, which was the most-funded horror film project in Kickstarter history, and Hannibal creator Bryan Fuller. It also featured My Daughter is a Zombie , which was nominated for seven Blue Dragon Film Awards (Korea’s equivalent to The Golden Globes). Unfortunately, I only saw eight of the 10 movies because the final two overlapped with the New England Patriots playoff game, and I’m nothing if not a man who has his priorities straight. First, New Zealand’s horror comedy sequel Deathgasm: Goremaggedon ; second, the Turkish remake of The Coffee Table , aptly titled The Turkish Coffee Table . Still, it was a great festival (and the Pats won!), and I look forward to attending each Fantasy Filmfest iteration for years to come. Until then, let's rank what White Nights 2026 had to offer… 8. EVERY HEAVY THING Every Heavy Thing is terrible. From the low-budget aesthetics to the abysmal performances, it’s an 89-minute endurance test. Even if one wanted to forgive its indie trappings, which is valid, director Mickey Reece’s insistence on adding weird, Max Headroom-ish fever-dream interludes make for an epileptic fit waiting to happen. Admittedly, there is some Lynchian surrealness, which isn’t my thing, but I can usually recognize the merits of such films even though they aren’t for me. I have nothing positive to say here. Late in the movie, one character says, “…the shit that passes for art in this town.” Preach. 7. SHELBY OAKS There was some hype amongst my cohorts surrounding Shelby Oaks because it’s the feature directorial debut of popular YouTuber Chris Stuckmann. To be perfectly honest, I had never heard of Stuckmann, but after watching, I fully believe this was directed by a YouTuber and bankrolled by Kickstarter. The narrative is unremarkably fine for something that wears its influences so blatantly on its sleeve, but something about the direction and performances just exudes homemade YouTube sensibilities. That’s not necessarily a bad thing, but for someone who doesn’t enjoy original YouTube content because of its inferior quality, it was jarringly noticeable. Maybe I’m just of the wrong generation for this movie. 6. DOLLY While I appreciate the homage to The Texas Chainsaw Massacre , both in general story and 70s aesthetic, Dolly ultimately falters because there is little in the way of character development. There is plenty of violence and blood, including one especially gnarly kill, but the story is nothing more than a paper-thin final girl trying to survive a murderous psychopath. That’s not to say there isn’t some fun to be had, but the unrelenting moments of gore, modest thrills, and doll-driven creep factor can’t make up for the complete lack of actual plot. This review originally posted with Bitesize Breakdown’s coverage of the Fantastic Fest 2025. 5. CRAZY OLD LADY Everything about Crazy Old Lady , from its title to the premise, is basic. Not “basic” in the way Kristen Bell’s character in The Good Place uses it (Ya basic!), just... simple. I mean, it’s called Crazy Old Lady . What’s it about? It’s about a crazy old lady, lost in dementia, violently hurting those around her. Nothing more, nothing less. And it’s mostly fine while featuring some genuinely unsettling moments. That said, its overall basicness can’t sustain even the modest 94-minute runtime before feeling too repetitive. It’s decent enough, but it would have worked better as a 45-minute episode in an anthology series like Tales from the Crypt . 4. DECORADO Despite vibrant animation that recalls old-school Disney and Looney Tunes, Decorado is a grim and depressing exploration of the meaning of life in a capitalist world. Sure, the points made may be apt, perhaps even relatable to some, but it’s uncomfortable to watch in the same way that movies like Marriage Story are uncomfortable — and, dare I say, not enjoyable — to watch even when they are, admittedly, competently and effectively made. Who wants to sit with such an in-your-face, pessimistic view of the world? Not me, and definitely not while at the cinema. So…high marks for the artistry, but low marks for the entertainment value. 3. THE HOLY BOY As the old saying goes, “there is no joy without pain.” The religion-tinged Italian horror flick The Holy Boy attempts to explore that idea but somewhat loses itself along the way by throwing too many ideas at the screen. On top of that central theme, there are questions about repressed sexual identity, self-agency, appeasing the masses, and cultism. That’s not to say it doesn’t work, just that it gets a little messy. Thankfully, the sleepy mysteries and melancholic atmosphere engage the viewer well enough to keep the narrative momentum moving forward even when a subplot goes astray, making for a serviceable, if not exactly noteworthy, experience. 2. DUST BUNNY Stylish as it may be, featuring a production design that blends the fantastical sensibilities of Tim Burton with Wes Anderson’s whimsy, director Bryan Fuller is seemingly confused about who Dust Bunny is for. Although R-rated, it’s as safe for pre-teens as the PG-rated Gremlins and Ghostbusters , which means those coming for the hardened scares and violence advertised will walk away disappointed given how tame and cutesy it all is. The slow, virtually dialogue-free first act and extremely shoddy special effects won’t help win those people over, either. That said, if allowed to see it, younger audiences and fans of Goosebumps will eat this thing up. 1. MY DAUGHTER IS A ZOMBIE Korea’s highest grossing original film of 2025, My Daughter is a Zombie is an unmitigated delight. Don’t let the “zombie” of it fool you, either, as this has more in common with heartfelt family movies like E.T. and Free Willy than anything resembling The Walking Dead . That includes the piano-driven, 80s-inspired, sitcom score. The performances are terrific, none more so than Choi Yu-ri (the titular daughter) and Lee Jung-eun (her boozy grandmother), which makes investing in both the Korean silliness and surprisingly deep sentimentality easy to do. These types of movies are rarely my thing as I get older, but I can’t deny the overwhelming charm of this one.

PEACEMAKER: SEASON ONE Starring: John Cena, Danielle Brooks, Freddie Stroma, Chukwudi Iwuji, Jennifer Holland, Steve Agee, and Robert Patrick Creator: James Gunn QUENTIN I loved everything about Peacemaker . First, the little things: great action, R-rated hilarity, and a rad 80s metal soundtrack that support a multi-layered story and a cast with tremendous chemistry. But second, and more importantly, is the star-making turn by John Cena. While terrific in The Suicide Squad , this series highlights Cena’s range as an actor. He imbues Peacemaker with a depth not seen in Squad , making him a tragic, sympathetic figure despite his dickheadery. And let’s talk about those opening credits: They were often the best 80 seconds of my week. I even made the theme song my ringtone. AMARÚ I had some doubts after the first episode of Peacemaker because James Gunn’s comedic dialogue is 50/50. Either it’s absolutely hilarious or it goes over my head, unlike Drax (see what I did there?). What always delivers is Gunn’s heart and earnestness, and throughout every episode, the entire cast embodies both qualities. John Cena proves he’s today’s go-to comedic actor with range, Danielle Brooks is as charming as ever, and Freddie Stroma comes from nowhere to steal the whole show. There isn’t a weak link in the acting, writing, action, or pacing making Peacemaker a bonafide staple in comic-book entertainment. NICK I enjoyed The Suicide Squad , but I’m going to go out on a limb to say that Peacemaker is better. John Cena may be among the most consistent comedic actors today (which is wild to say), and he proves here that he can continue that in a leading role. The accompanying ensemble is a collection of unique characters that all work well together, especially Danielle Brooks’ Adebayo, who is the series’ MVP. It’s vibrant, the violence is reminiscent of The Boys , and it’s bolstered by an exceptional soundtrack, not to mention it has the best intro of any series on air.

THE SHRINK NEXT DOOR Starring: Will Ferrell, Paul Rudd, Kathryn Hahn, Casey Wilson, and Cornell Womack Creator: Georgia Pritchett QUENTIN When you see a cast list that features Will Ferrell, Paul Rudd, and Kathryn Hahn, you likely expect a laugh-out-loud riot. This miniseries is not that. It’s still pretty decent, but it’s far more serious than what you’d want from those involved. Rudd and Ferrell do a great job playing against type as schemingly manipulative and sadly tragic, respectively, though, and while it’s a little slow, it still manages to rope you into its true story by the end. Also, the “based on a podcast” aspect is palpable, as the tone, approach, dialogue, and score feel like Visual NPR.

YOUR FRIENDS AND NEIGHBORS: SEASON ONE Starring: Jon Hamm, Amanda Peet, Olivia Munn, Mark Tallman, Hoon Lee, Lena Hall, Aimee Carrero, Isabel Gravitt, and Donovan Colan Creator: Jonathan Tropper QUENTIN Your Friends and Neighbors is a flawed show that is kept afloat by Jon Hamm's excellent performance and a surprising amount of humor. Yes, stories about affluent white men turning to crime have been done before (and better), several of the characters and subplots are entirely unnecessary and underwritten (Coop's (Hamm) sister, Ali (Lena Hall), in particular), and the family aspects can get a little soapy at times; however, I was fully invested in Coop's situation from the jump because Hamm makes it all so damn compelling, both through his presence on screen and his Dexter -like narration, especially in the back half of the season.

Previous Next With the release of The Woman King, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Badass Women in Film. Each writer ranks his or her top 15 characters in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. SARAH CONNOR (TERMINATOR FRANCHISE) When you think of “badass” characters, Sarah Connor comes to mind almost instantly. From being the final girl in The Terminator to a woman teetering on the edge of sanity in Judgment Day , Linda Hamilton brought this character to life with unmatched energy. While outside of the first two films there hasn’t been the same level of success (critically or financially), the fact that the franchise has continued trying to reinvent and reintroduce the character shows how important she is. There’s even an underrated television show focusing on her. She is tougher and more interesting than most other male badasses, and one of the most layered and complex female action heroes of all time. - Joseph 4. LEIA ORGANA (STAR WARS FRANCHISE) I’m a huge Star Wars fan, so of course I would have the iconic Princess-turned-General Leia Organa listed here! Portrayed by the late, great Carrie Fisher, Leia is the most badass woman in the galaxy far, far away. Not only is she royalty, but she’s one of the greatest leaders of the Rebel Alliance. She’s a feisty woman who isn’t afraid to speak her mind and take charge, making her a fearless leader that I’ve admired since I was a little girl. There will never be another heroic badass like her in this or any other galaxy. - Paige 3. IMPERATOR FURIOSA (MAD MAX: FURY ROAD) Imperator Furiosa could have been a simple hardened warrior, but with her disability, her incredible fighting spirit, and her deeply felt emotions, she becomes a hero. To have Charlize Theron be the true lead of Mad Max: Fury Road 's stellar ensemble was an inspired choice by director George Miller, and her absolute ferocity is exhilarating to witness. She is, without doubt, one of the most badass female characters of all time. - Jacob 2. BEATRIX KIDDO (KILL BILL FRANCHISE) In Kill Bill , director Quentin Tarantino and star Uma Thurman created the ultimate female badass in a world full of female badasses by getting to the heart of the old adage "hell hath no fury like a woman scorned." The Bride (Thurman) violently tears through former assassins, Yakuza bosses, hit squads, and endless henchmen with martial arts, a samurai sword, and a relatable sense of purpose to exact her revenge. She's the definition of a badass, female or otherwise. - Quentin 1. ELLEN RIPLEY (ALIEN FRANCHISE) Over the course of three movies (technically four, but TECHNICALLY, TECHNICALLY that isn’t Ripley in Alien: Resurrection ), Ellen Ripley's (Sigourney Weaver) story arc delivers arguably the most well-rounded, fleshed-out character in movie history. She checks every “badass” box: action star, alien killer, mech suit-wearer, mother, leader, martyr, survivor, and all-around woman you don’t wanna mess with. Even her clone is more badass than most characters who only have one body. - Amarú HONORABLE MENTIONS LAURIE STRODE (HALLOWEEN FRANCHISE) RITA VRATASKI (THE EDGE OF TOMORROW) HIT GIRL (KICK-ASS FRANCHISE) CLARICE STARLING (HANNIBAL FRANCHISE) PALOMA (NO TIME TO DIE) Photo Credits: Photo 1 - Paramount Pictures; Photo 2 - Disney; Photo 3 - Warner Bros; Photo 4 - Miramax Films; Photo 5 - 20th Century Studios

WHAT WE DO IN THE SHADOWS: SEASON FIVE Starring: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, Mark Proksch, and Kristen Schaal Creator: Jemaine Clement QUENTIN It’s wild that, after five seasons, I think that a mockumentary is one of the funniest, and overall best, shows on television. Believe it or not, I usually hate this format (The Office is terrible, fight me), but the characters, performances, writing, and level of genuine emotion that grounds the mystical absurdity of What We Do in the Shadows is flat out tremendous. In this season specifically, the interpersonal dynamics between my sweet, secretive boy Guillermo (Harvey Guillén) and the vampires is both touching and hilarious. Plus, no cast on television can deliver a one-liner like this one can. Season Five is maybe the best yet. KATIE The latest season of What We Do in the Shadows delivers exactly what I would expect from one of the best comedy series on TV. It’s consistently funny, hilariously macabre, and displays the show’s overall enduring charm. The amazing cast has an electric chemistry and comfortable familiarity, and before every episode, I was excited to see their latest shenanigans. Although I love the gore, absurdity, and Laszlo’s (Matt Berry) many unique pronunciations, the character’s emotional bonds are the beating (or not) heart of this show. ADRIANO It’s rare that a comedy series can continue its trajectory for five whole seasons, but that’s exactly what What We Do in the Shadows has accomplished. It continues to be as funny and clever as it has always been, but with new wacky situations to put our cast of characters through. Even with a major turning point in the plot, the show never once slows its momentum, all while evolving the characters in the process. If the show keeps going at the pace it’s currently at, then I don’t ever want this show to die.

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

UPLOAD: SEASON TWO Starring: Robbie Amell, Andy Allo, Zainab Johnson, Allegra Edwards, Kevin Bigley, Owen Daniels, Andrea Rosen, Josh Banday, Paulo Costanzo, and William B. Davis Creator: Greg Daniels NICK I hope Upload isn’t forgotten due to the production delays of the past two years because it’s a sneaky good show. The second season picks up right where we left off, continuing its mystery plot and providing some neat twists and turns in only seven episodes. The visual effects are tremendous in this “afterlife comedy,” but it’s the chemistry between stars Robbie Amell and Andy Allo that really shines. The knock on this season is the aforementioned length. It feels far too short and ends with an unsatisfying cliffhanger that leaves things feeling unfinished. I needed more. QUENTIN In its second season, Upload has a major sophomore slump. It’s like the writers didn’t really know what to do after all the fun world building of season one, so they tried a little bit of everything. There are plotlines revolving around a murder conspiracy, a “will they, won’t they” romance, a quasi-villainous girlfriend, inner-office dynamics, corporate espionage, and a commentary on the 1%, none of which are explored all that well. It’s a lot of narrative threads for the series’ seven short episodes (about 3.5 total hours). Honestly, the whole affair just feels like setup for an assumed season three. JOSEPH Despite a great concept, the first season of Upload left a little to be desired. Thankfully, the second season changes that by adding some much needed depth to the world. The societal metaphors and existential questions are in full swing, and with that, comes a greater layer of comedy as well. Unfortunately, there are two interesting storylines that this season never commits to, so the final episode leaves you wanting more since it feels unfinished. Though a substantial improvement, season two of Upload still has some issues; let’s hope next season gets even better.

THE GIRL FROM PLAINVILLE Starring: Elle Fanning, Chloë Sevigny, Cara Buono, Kai Lennox, Colton Ryan, and Norbert Leo Butz Creators: Liz Hannah and Patrick Macmanus QUENTIN Despite being based on a layered true story and featuring great performances from Elle Fanning and Chloë Sevigny, The Girl from Plainville fails to explore Michelle Carter’s (Fanning) actions any deeper than surface level. Perhaps it’s by design in not wanting to sensationalize or pick sides in the case, but the series only hints at the “why” of it all. It seems content with being a Wikipedia-level overview of events, which, admittedly, is probably more respectful to the involved parties, but it doesn’t necessarily make for excellent television drama. That’s not to say the series isn’t worth your time. It just feels a little sterile.

Previous Next February 26, 2025 Welcome to A Bigger Bite, the podcast series where we take a deeper dive into some of our favourite films of the year (spoilers included). With the Oscars coming up, we've decided to launch with an episode for each film the Academy Awards have nominated for Best Picture, releasing an episode each day leading up to the big ceremony. This episode we tackle the big screen adaptation of Wicked ! 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!

THEM: COVENANT Starring: Deborah Ayorinde, Ashley Thomas, Alison Pill, Shahadi Wright Joseph, Melody Hurd, and Ryan Kwanten Creator: Little Marvin QUENTIN Them: Covenant can't decide what it wants to be. Is it standard horror about supernatural forces or a sinister fever dream about racism? In struggling to make that decision, the too-sprawling narrative becomes exceedingly scattershot, crumbling under the weight of everything it threw at the wall. That said, the acting is solid, the atmosphere is unsettling, and there are some truly disturbing scenes (one in particular is aggressively dark). It just fails to tie everything together effectively. Admittedly, I might be a little burnt out on the “racial horror” genre too, given how frequently that drum has been beaten recently.