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

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

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

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

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

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!