STERLING POINT: SEASON ONE Starring: Ella Rubin, Amélie Hoeferle, Jacob Whiteduck-Lavoie, Bo Bragason, Keen Ruffalo, Daniel Quinn-Toye, Jeffrey Dean Morgan, Mabel Strachan, and Jay Duplass Creator: Megan Park PAIGE While Sterling Point falls into some YA tropes, it at least does so with rich and witty storytelling. Creator Megan Park once again proves that her authentic voice knows how to elevate the coming-of-age genre. This series about self-discovery and grief feels like a return to form for teen dramas, with strong performances and compelling character arcs that audiences can genuinely connect to. Unlike most YA shows today that are cheesy or over-the-top, Sterling Point has real emotional weight to it. It’s an authentic series with a lot of heart, and though it may not reinvent the wheel, it's the rare YA show that feels sincere and is genuinely great. BODE The teen drama never really went away, but it’s seen a bit of an explosion lately, with the likes of The Summer I Turned Pretty and Off Campus being bonafide hits. Sterling Point arrives amidst that explosion, and it’s a real triumph. Creator Megan Park proves herself capable of articulating the complexities of youth with rich authenticity, and even as the show leans into expected tropes, it transcends them with plenty of wit, genuine emotional weight, and some refreshing doses of Canadiana. Its strong performances only elevate the material even more, and helps its case for being the strongest YA offering to hit the small screen in years.

Previous Next February 21, 2024 WRITTEN BY: THE BITESIZE CREW It’s Oscar season! Typically, around this time of year, the conversation is centered around what movie or performer got snubbed. For example, how many articles have you read about Greta Gerwig and Margot Robbie in the past few weeks? However, what you rarely see from critics like us is a discussion…or in this case, a light head-to-head debate…about the movies and performances that were nominated. Not so much in a negative, “that movie sucks” way, but from a “uhh…why? I really don’t understand the love for that nominee” perspective. Having said that, in an effort to not be entirely negative, we wanted to give equal time to show our respect too. We aren't looking to be disrespectful or take away from someone’s career achievement. So, for each writer who picked a nominee they “didn’t get,” we allowed a separate writer to come to the defense of that nominee. This way, you get the good and the bad, and the information to make your own decisions. Sounds like a good plan, right? It was almost perfect... until Annette Bening. Several writers didn’t understand why Bening was nominated for Best Actress in Nyad , which led to a bit of a competition to write “against” her. As well, no one was ready and willing to defend Bening's nomination, which complicated things because we didn’t want a writer to defend a performance they weren't passionate about. None of this is to say anything negative about Bening, by the way, who is about as close to Hollywood royalty as one can get without being named Meryl Streep, but…hey, it is what it is. Points for honesty? In any case, let’s get to our near-perfect plan, and talk about a few certain Oscar nominees that are on trial. What’s your verdict? ON TRIAL: JONATHAN GLAZER - BEST DIRECTOR Prosecution: Paige The adoration for Jonathan Glazer's work on The Zone of Interest is beyond me. Don’t get me wrong, from a technical perspective, the movie is excellently made; however, it lacks depth and substance entirely. The role of a director is to tell an audience a tale that they can either… A. connect with, or B. find entertaining. This movie falls short on both counts. I especially found it difficult to relate to any of the characters or the plot, and I felt cold and emotionally cut off from its outcome. That's because Glazer's direction (and his script, for that matter) failed to pique my interest in the film’s subject matter. There is just no weight to this Nazi drama, which leaves me baffled that it got Glazer a Best Director nomination. Defence: Adriano I truly believe that once the decade is over, The Zone of Interest will be widely considered amongst the decade's absolute best films. Director Jonathan Glazer's work here truly is remarkable, not just as a writer, as he flawlessly crafts an invisible script that follows these people's lives, but the directorial tricks he pulls off are something I can't recall ever having seen before. This film is an analysis of evil and our desire to build perfect lives for ourselves in the face of said evil, which often results in us putting up walls to separate us from the horrible atrocities of humanity. Glazer explores that conflict by focusing on a Nazi family in an uncomfortably familiar way. Zone also is more colourful than your typical Holocaust drama, and the way Glazer sets the cameras up to give us an observational perspective is pretty jarring. There's no way to sugarcoat it: Jonathan Glazer’s work is masterful on this film. ON TRIAL: AMERICA FERRERA - BEST SUPPORTING ACTRESS Prosecution: Caleb Barbie was a summer highlight for me, but this particular nomination is a bit of a head-scratcher. America Ferrera’s performance is serviceable, but I’d hardly call it Oscar-worthy. Sure, her monologue in the third act is noteworthy, but it’s actually one of the only muddled moments in an otherwise tight script. If she was up against some lighter competition, then maybe I could understand, but you’re telling me she deserved that nom over THE Julianne Moore for May December ? That’s insane. It’s equally insane that we live in a world where America Ferrera got an Oscar nod for Barbie , but Margot Robbie didn’t. Ferrera’s nomination reminds me of Jamie Lee Curtis’ from last year - it may be a decent performance for what it is, but she’s wildly out of place amongst the other nominees. Defender: Nick As good as America Ferrera's noted monologue is, this performance is far more than just a single scene. Ferrera is the heart of Barbie and the bridge between the world of toys and reality. Where Margot Robbie's reaction to the real world provides many cute and funny moments, it's the realism and authenticity Ferrera provides as the only "adult" woman that makes the film work. She is a working-class woman, a mother, and the link that makes Barbie relatable to women of all ages, which she does with determination and poise. Much like the straight man in a comedy duo, she's not flashy, but she's just as important as her counterparts. ON TRIAL - BRADLEY COOPER - BEST ACTOR Prosecution: Adriano Much has been said about Bradley Cooper's seemingly desperate desire for an Oscar, but not enough has been said about how it truly does bleed into Maestro and his performance…not in a good way, either. There is nothing easy about a biographical performance, but when done right, it can truly transport us into the mind of a historical figure. However, when done wrong, it can come off as a cheap impression. As Leonard Bernstein, Cooper sadly leans towards the latter. He isn't bad, but much of his performance relies on the impressive makeup, and in terms of actually acting, Cooper's performance feels like a put-upon performance instead of a real human being. There is more to a performance than just how loud you are. The best performances can convey emotion with merely a look, something Cooper's fellow nominees and even his costar, Carey Mulligan, pull off, but it seems like Cooper was more interested in the in-your-face aspects of Bernstein than authenticity. Defence: Quentin Way back in September at Venice Film Festival, I witnessed the glory of Maestro , a film I called “exquisite.” What did I mean by “exquisite?” Well, for starters, it has since been nominated for seven Oscars, and none of its nominees are more important to the film’s success than Bradley Cooper’s lead turn as Leonard Bernstein. Hell, even in September, I called Cooper’s performance Best of the Fest. Why? Because this Best Picture contender simply doesn’t work if Cooper can’t sell you on his portrayal of Bernstein. Truth be told, I had no connection or personal interest in the real-life composer or his love life, but Cooper’s performance made me care. He disappears so fully into the role that I often forgot I was even watching Cooper, one of the most handsome and recognizable actors in Hollywood. Do you realize how hard that is? If rendering yourself unrecognizable, giving yourself fully to a character, and driving an uncaring viewer to become wholly invested in the story being told isn’t the stuff Best Actor performances are made of, what are we even doing here? ON TRIAL: THE BOY AND THE HERON - BEST ANIMATED FEATURE Prosecution: Preston If the only criteria for “Best Animated Feature” are fantastic animation and a decent (but forgettable) score, then I would agree with The Boy and the Heron ’s inclusion in this year’s nominees. The issue is, however, that the story itself is completely disjointed, which leads to extreme pacing issues…and then sleepy eyes. Most problematic though, is that our traumatized boy is portrayed as an almost non-reactive, robotic puppet whose actions only work to move the story along and completely undermine the audience’s desire to care. His intuitions regarding the Heron are inexplicable, and the main inflection points injected through his mother and father are abandoned; what we are left with is a barely sensical narrative that tries too hard to be artsy for its own sake. Studio Ghibli and director Hayao Miyazaki’s accomplishments are renowned, and this movie in no way takes away from either’s legacy, but it simply falls short of the mark (that they, themselves, have set). Defence: Caleb Alright, I know I wasn’t that hot on The Boy and the Heron either, but it’s not exactly up against stiff competition. Hayao Miyazaki is a titan in this industry, and if his new anime epic didn’t grab a nomination, then what would have? Wish ? Teenage Mutant Ninja Turtles: Mutant Mayhem ? The Super Mario Bros. Movie ? Heron is a little messy, sure, but I’d still rather see an ambitious, hand-drawn, original fantasy story make it in over another American IP film. That aside, Studio Ghibli’s latest is drop-dead gorgeous, and while it admittedly stumbles at points, it’s at least attempting to tackle some thought-provoking themes. If I had to give any of these nominees the boot, I’d set my sights on Nimona or Elemental sooner than I’d go after Heron . I’m not saying it’s a masterpiece, but considering this could very well be Miyazaki’s last outing, I’m alright with it getting some love. ON TRIAL: LILY GLADSTONE - BEST ACTRESS Prosecution: Nick I'm not here to make the claim Lily Gladstone is just ailing throughout Killers of the Flower Moon (although it is a fairly stationary performance), and I'm not here to make the claim that Lily Gladstone should've been nominated for Supporting Actress instead (although it's a case I'd listen to). I'm certainly not here to say it's a bad performance, either. But... A performance some are calling the best of the year, even going as far as to say it's an all-time showing? I just don't get that. In a film with an admittedly stacked cast giving varying levels of terrific performances, Gladstone is never able to match or outdo them. Even when she does get her big moments, they're solid, yet fleeting. What she supplies is a good, one-note performance that works for what is needed within the film. That’s it. Culturally, I understand the significance, and the progression towards more diversity in film is necessary; however, when you line it up against the other contenders, it's not the "Best" anything. As a matter of fact, I think Cara Jade Meyers is the female performance in Killers of the Flower Moon worthy of accolades. Defence: Amarú I keep hearing that Lily Gladstone is “outdone” or “outshone” or “overshadowed” by the very talented cast surrounding her, including the underrated Cara Jade Meyers, but I would agree only with the first half of each of those words. Everyone else in the film is going “over (the top)” and “out(ward)” with their acting choices, leaving Gladstone’s subtlety standing out in this extravagant crowd. She emotes more in her eyes than the rest of the cast does in more than three hours of showy (yet amazing) dialogue. You can be drawn to the bigger performances if that’s your thing, but Lily Gladstone’s marvelous turn proves the old adage, “it’s the quiet ones you need to look out for.” ON TRIAL - PAST LIVES - BEST PICTURE Prosecution: Quentin Touching. Beautiful. Romantic. These are words that have been used to describe Past Lives . However, I struggle to reconcile those labels with the movie I saw, mostly because the story paints the main character, Nora (Greta Lee), as a sympathetic figure when she is, in fact, extremely selfish. For 12 years, Nora has been happily married to and in love with a husband that openly admits he feels insecure in their relationship. Soooo, why is she spending a week galavanting around New York with her first love - a first love who has lingered in her mind for 24 years and who flew across the world specifically to see her - while the husband (mostly) sits at home? That’s not touching, beautiful, or romantic from the husband’s perspective despite the movie hinting towards him maybe being okay with it. When a movie is a complete gaslight job like this, I can’t begin to consider it one of the year’s ten best, even when, all things considered, it’s not actually a bad movie. Defence: Katie The central point of Quentin’s criticism is that the film paints Nora (Greta Lee) as a sympathetic character, one we are called to identify with and relate to; however, I don’t think the film paints Nora, or anyone, as a sympathetic figure. The film is simply gentle in its approach, in every aspect, and doesn’t impose moralistic judgments on any of its characters. The question of “why is Nora spending a week with her first love whilst her husband stands by?” is one that the film acknowledges but does not wrestle with. Instead, the film is concerned with exploring metaphysical themes of fate, identity, memory, and nostalgia. Past Lives is as far from a typical love triangle situation as you can get, and Nora’s husband is not suffering from anything as shallow as run-of-the-mill jealousy, but the more nuanced notion that he cannot relate to or understand his wife as much as someone who shares her past. It’s almost unfathomable that this is writer-director Celine Song’s feature debut because the masterful camera work, magical music, and bittersweet story, combined with understated yet deeply moving performances, make this the most worthy nomination for Best Picture. ON TRIAL - CAREY MULLIGAN - BEST ACTRESS Prosecution: Katie Maestro is this year’s most predictable contender for many awards, and Carey Mulligan’s nomination for Best Actress is at least the film’s most deserving among them, especially when juxtaposed with Bradley Cooper’s imitative performance. However, I don’t believe Mulligan is the most deserving choice for a nomination when looking at the scope of exceptional performances this past year, much less a win. Don’t get me wrong, Mulligan’s performance was not bad in any respect, but it's a good example of the Academy favouring big and cliché acting to genuinely unique, accomplished performances. Whilst Mulligan brings pathos, I was overtly aware I was watching a performance contrived to elicit pity rather than feeling a genuine emotional connection with her character. Instead of cliché Oscar bait of the most obvious variety, I would have much preferred to have seen nominations go to Greta Lee for Past Lives , Natalie Portman for May December , or Cailee Spaeny for Priscilla , all leading performances that bring nuance, complex emotion, and subtlety. Defence: Preston When I am asked to conjure my overall thoughts on Maestro , two things explicitly overwhelm my memory: First, Carey Mulligan’s performance; Second, incidentally, Bradley Cooper’s makeup and vocal affect. Maestro ’s stylized cinematography and the unique (and choppy) directorial framework highlight just how much Mulligan’s portrayal of Felicia Montealegre deeply enriches and, frankly, outshines all aspects of a film that is nominated for seven Oscars. Her approach as Leonard Bernstein’s wife is the exact opposite of the cliché, in-your-face performances that more often reflect simply the available leading roles within a clever film rather than how a talented actor is able to single-handedly enhance the work of art we are experiencing. Her show-stealing success lies directly in the nuance, complexity, and subtlety she brings. She is both stoic and delicate, formidable and forgiving, serving as a firmly grounded lightning rod amidst the storm. It is precisely because she shines within this frenetic environment that she sets herself apart from the competition. ON TRIAL: RYAN GOSLING - BEST SUPPORTING ACTOR Prosecution: Amarú Y’all really thought Ryan Gosling was funny? Or unique? Or something we haven’t seen before in a film going satirically at the patriarchy? Because to me, there was nothing in Gosling’s performance that stood out as outstanding or particularly award-worthy. While the man can certainly act, and he did a fine (really, truly, just ok) job as Ken, when the man said “mojo dojo casa house,” I stared in awe wondering why everybody around me was laughing. Half the time, I felt like his role would have fit perfectly in Not Another Teen Movie , and I’m pretty sure director Greta Gerwig wasn’t trying to go that far with her satire. In all honesty, I’m very happy that the Academy is more open to nominating comedies and comedic performances, but maybe, just maybe, nominate a role that was actually funny next time. Defence: Paige The part of Ken was destined for Ryan Gosling. Looks aside, the man has the acting chops and “Kenergy” to take on any role, and he sure as hell proved it in Greta Gerwig’s Barbie . Sure, he has done comedies before, but none of them have quite compared to his portrayal of Ken, undoubtedly one of his best performances to date. This character could have easily been a silly sidekick, but Gosling brings genuine depth. The most remarkable aspect of his portrayal, though, is that he practically steals the movie in every scene he’s in. Not only do I think he delivered the best performance in the movie, I think he delivered the best male performance of the year!

THE FOUR SEASONS: SEASON TWO Starring: Tina Fey, Colman Domingo, Will Forte, Kerri Kenney-Silver, Marco Calvani, and Erika Henningsen Creators: Tina Fey, Lang Fisher, and Tracey Wigfield AMARÚ Before the end of last season, I was content to have one stint with the charming cast of The Four Seasons . Then came the last episode, and I worried that continuing the group’s story was a reach. Well, I was wrong. Marriage is a forever evolving journey, and revisiting the three “couples’” lives over another year is all too real and all too hilarious. The stars are great, the chemistry is wonderful, the conflict is authentic, and the short episodes keep the fast-paced humor and realistic issues balanced. Let’s meet up again this time next year. NICK Without the source material to go off of, and the absence of Steve Carell’s Nick, I wasn’t sure how another edition of The Four Seasons would work. In saying that, I forgot to factor one major thing: the tremendous chemistry of its lead cast. In its second season, the series still manages to find heart, laughs, and obstacles for its characters, while they each experience their own levels of growth. Their actions aren’t always likeable, but they are inherently human and relatable, which is what makes The Four Seasons stand out amongst its contemporaries. I will gladly take another vacation with this crew. Check out our reviews for Season One HERE .

Previous Next January 15, 2026 WRITTEN BY: THE BITESIZE CREW As we enter the new year, almost all movie- and television-related content is focused on looking back at 2025. The best of this, the worst of that, awards predictions, box office tallies, and so on. We’re no different, as we have a few features revolving around 2025 still to come, including The Bitesize Awards. With that understanding, like we do every year, it’s time to look ahead. What are the big titles coming in 2026 that we are most excited for, be it purely for fun escapist entertainment or an early awards frontrunner? As you can see below, we all have our certain tastes… from known IP tentpoles to director-driven original stories, from sci-fi to action to horror. We even included television shows. We run the gamut. The rules are the same as last year. We’re only focusing on the first half of 2026, so to be eligible, the entry must have a confirmed release date between January 1st and June 30th, 2026. The reason for this is that there are several films and series expected to release in the coming year, but as we’ve seen in the past, we can never really know when something will actually drop. Having this rule makes for more accurate selections while also avoiding repetitive lists in the future. Also, let’s face it, October is far away. You aren’t likely to remember a recommendation for a movie coming out in 10 months, so we’ll wait and do a “Most Anticipated 2026 Films (Second Half)” in July. So, here is what we are looking forward to over the next six months, in order of release date. Are any of these on your list? What are you excited about? …and if you were wondering: Yes, this intro is almost identical to the intro for our last few Most Anticipated articles. If it ain’t broke, don’t fix it. 28 YEARS LATER: THE BONE TEMPLE (January 16) I loved 28 Years Later, but I had uncomplicated feelings about the final sequence , finding it tonally jarring after the emotional events beforehand. Still, it left me unbearably curious about what insanity could be waiting in Nia DaCosta’s sequel, The Bone Temple . We’re given a glimpse into young Jimmy’s (Rocco Haynes) traumatic childhood in 28 Years Later ’s prologue , and the film’s final sequence gives a taste of the unhinged ways in which it has shaped his life during the zombie apocalypse (portrayed by Jack O’Connell as an adult). I’m looking forward to how this is realized, as well as learning more about the tracksuit-clad, wig-wearing, acrobatic group of Jimmys that seemingly befriends Spike (Alphie Williams). I’m also interested in how DeCosta will communicate the cultural reality of the time, frozen in the 2000s memory. Plus, more of the brilliant Ralph Fiennes' compelling character, Dr Kelson, who was a highlight for me. — Katie SHRINKING : SEASON THREE (January 28) One of my favourite shows in recent memory has been Apple TV's Shrinking . It's the perfect spiritual successor to Ted Lasso , and, in my eyes, has been just as good. In a world where mental health services aren’t as accessible as they should be, this is my therapy. This season is particularly special for me as it marks Michael J. Fox’s return to acting. My two favourite actors have long been Fox and Harrison Ford, so to see them share the screen will be like watching a show that was made especially for me. Beyond that, I’m looking forward to continued character development, continued story advancements, and continued laughter. — Nick SEND HELP (January 30) Is January still the worst time of year to release a horror film? Some bad ones have managed to come around, for sure, but over the last decade or so, the month has seen enough good ones to counter that argument. Case in point, I have hope that filmmaker Sam Raimi, a maestro of the genre, will add another January success story with Send Help . It’s exciting enough that this survival thriller, which pits an employee and her boss against each other on a deserted island, is his first original feature in 17 years; however, on-screen talents like Rachel McAdams and Dylan O’Brien, plus a long-awaited reunion with cinematographer Bill Pope ( Darkman , Spider-Man 2 , Spider-Man 3 ) add even more intrigue to the proceedings. — Bode GOOD LUCK, HAVE FUN, DON’T DIE (February 13) If you know anything about “Director’s Jail,” you’ll know that Gore Verbinski — whose wide-ranging career includes The Ring , the first three Pirates of the Caribbean movies, and Rango — has been part of that club for a long while. Though he hit a dry spell with 2013’s The Lone Ranger and 2016’s A Cure for Wellness , both of which were massive box office flops, there were moments in those films that reminded me of the kinetic filmmaker he can be. That’s why it’s exciting to see him finally return to the big screen with Good Luck, Have Fun, Don’t Die , a sci-fi action comedy about a man from the future (played by Sam Rockwell) who gets sent back in time to stop an AI uprising. Early reviews from last year’s Fantastic Fest called it a return to form, and I’m hoping that it lives up to that hype. — Bode SCRUBS : SEASON TEN (February 25) Maybe you were introduced to famed television creator Bill Lawrence through Spin City , or more likely, you became familiar after the wildly successful run of Ted Lasso . But for people of a certain age who grew up on sitcoms in the 2000s, Scrubs was your fix. The heartfeltness of ER mixed with the workplace comedy environment of Cheers , the doctors at Sacred Heart filled our homes with truth about friends, relationships, and the general disdain and sometimes appreciation for our jobs. It concluded after eight glorious seasons (and one very mediocre one), but finally, the reboot talk is not just lip service as its return is imminent. With the braintrust as fully back as it can be, expectations are soaring as high as an eagle! — Robert THE BRIDE! (March 6) I love modern re-imaginings of classic stories, so I’m excited to see Maggie Gyllenhaal's take on Frankenstein and the inspiration she draws from James Whale’s Bride of Frankenstein. I really enjoyed Gyllenhaal's feature directorial debut, The Lost Daughter, so I have high hopes for what she can do with this story and the approach to the central character. I’m intrigued by the unique, punk-romance aesthetic seen in the trailer, which, if pulled off, has the potential to be very fun. The Bride! boasts leading performances from Jesse Buckley, playing Frankenstein's bride, and Christian Bale as Frankenstein's monster, and I can't wait to see how they bring their characters’ relationship to life. — Katie THE BREADWINNER (March 13) Once comedians conquer the stand-up circuit, they tend to try their hands at writing/producing (and sometimes directing) their own feature-length films. Sometimes, the results are gangbusters ( The Big Sick ); other times, not so much ( Bucky Larson: Born to Be a Star ). This spring, Nate Bargatze, the highest grossing stand-up comedian of 2024 and 2025, is bringing us The Breadwinner , about a husband (Bargatze) who must adapt to being the stay-at-home dad after his wife (Mandy Moore) strikes a deal on Shark Tank (quite a last few months for the investor show with this and Marty Supreme ). With Eric Appel, the director of Weird: The Al Yankovic Story helming the movie, I expect uproarious laughter, self-deprecation to the max, and hopefully a crazy pool scene with Dr. Demento…but that third thing is negotiable. — Robert PROJECT HAIL MARY (March 20) I’ve long said that Hollywood should make more movies about contemporary astronauts (firefighters, too, but I digress…). With Project Hail Mary , it seems someone overheard my cloud-ranting because they managed to put together quite the package. Based on the multi-award-winning novel of the same name by Andy Weir, who also wrote The Martian , Ryan Gosling portrays Ryland Grace, an astronaut trying to save Earth while alone in outer space. If you haven’t seen the trailers, Project Hail Mary has the vibe of Armageddon mixed with The Martian (obviously) and Spaceman . As if the presence of Baby Goose on screen wasn’t enough, you’ve also got directing duo Phil Lord and Christopher Miller behind the camera, directing a script from Drew Goddard. So, a premise I want more of, coming from a team that has proven themselves more than capable? Sign me up for launch, even if, admittedly, those trailers I mentioned might have given too much away already. Maybe just avoid them and take my word for it on this one… — Quentin EUPHORIA : SEASON THREE (April 12) It has been four years since the last season of Euphoria , so the fact that we’re finally getting a third season has me seriously pumped. On top of that, Hans Zimmer is joining Labrinth to co-score this season, and that alone has brought my level of excitement to the next level. With a five-year time jump, creator Sam Levinson has already hinted at where the characters will be in their lives, which only furthers my intrigue. Since the series’ first two seasons, the cast’s careers have absolutely skyrocketed, so seeing them return to the show that launched them is something I’m looking forward to. Sure, Euphoria is messy, but that’s how life is; I can’t wait to catch up with Rue (Zendaya) and the rest of the gang in what could be their final outing. — Paige MICHAEL (April 24) Music biopics have not been anything other than standard fare over the past two years, so I am hoping that director Antoine Fuqua’s look at the best artist of all time will give a jolt of life to the genre. I’ve never seen a Fuqua film that didn’t have energy, and looking at the trailer, I am pretty excited to see how Jaafar Jackson portrays his uncle, The King of Pop. In the quick glimpses we’ve seen, there looks to be enough Mike in there to believe the portrayal, but not so much that you lose the young star’s own essence. At least that is what I felt in the very intriguing interaction he has with Quincy Jones (Kendrick Sampson) in the preview. Add in Colman Domingo as “Papa” Joe Jackson, as well as Black Cinema royalty — young and old — in Nia Long, Larenz Tate, Derek Luke, and Laura Harrier, and there’s no way you’re not getting at least one meaty performance out of this. With this director, this cast, and this story, I’m mostly anticipating (aka hoping) for a realistic and entertaining dive into a mega-complicated and mega-talented figure. — Amarú MOTHER MARY (April 24) Truth be told, I thought Mother Mary was coming out in 2024, but better late than never, I suppose. In any case, I’ve been a big fan of director David Lowery for a while. Between a couple of mid-Disney remakes ( Pete’s Dragon and Peter Pan & Wendy ), Lowery has been responsible for three excellent films in A Ghost Story , The Old Man & the Gun , and The Green Knight . He tends to play with several genres, putting fairly esoteric spins on them, and with Mother Mary , he seems to be tapping into some form of psychological horror, with the titular pop star (Anne Hathaway) engaging in a psychosexual affair with her costume designer (Michaela Coel). The trailer looks strange, to say the least, and I can’t make heads or tails of where it might be headed. But the intrigue is high for me, not just as a fan of Lowery, but as someone who likes to be freaked out with a weird vision. — Adriano MORTAL KOMBAT II (May 8) I remember being a sweet little six-year old on my birthday in 1994, just leaving the movie theater with my father and brother, when my dad said, “ Street Fighter was so bad, maybe we shouldn’t see Mortal Kombat next year.” My brother and I begged and pleaded otherwise, eventually getting him to take us against his better judgment. That is, until we all left the theater eight months later, hella geeked because the 1995 movie was and still is awesome (no matter what you haters say)! Fast forward to my birthday last year, leaving the sweet young age of 36, watching the new Street Fighter trailer. All I could think was, “maybe, just maybe, the back-to-back movie releases of two of the best fighting games ever created will now have two awesome adaptations.” That theory will be tested out when Karl Urban takes over as the main character, Johnny Cage, for the second Mortal Kombat , making us all hope that the unnecessary lead of the first, Cole Young, dies early (sorry, Lewis Tan) so we can finally get to this cool-ass looking tournament! Ok, I wasn’t as down on Cole as everyone else, and I was much higher on the first film after a second watch, so I can’t wait for this campy, bloody, downright badass time to kick off what my six-year-old self dreamed of 32 years ago. — Amarú OBSESSION (May 15) One of my favourite things about attending film festivals is when a title comes out of nowhere to instantly catch people's attention. At TIFF 2025, that was Obsession . Praise was heaped upon director Curry Barker and star Inde Navarette in this disturbing indie horror. The film follows a man (Michael Johnston) who uses a supernatural toy to make his crush (Navarette) fall in love with him. But this ain't no rom-com. Originally inspired by The Simpsons episode where Bart gets a monkey paw (“Treehouse of Horror II”), I fully expect insanity to ensue. Unfortunately, I was unable to snag a ticket at the festival, but I'm very excited to finally see this one on the big screen when it comes out in May. — Nick I LOVE BOOSTERS (May 22) It’s fittingly absurd just how much director Boots Riley has had a chokehold on me after just one movie. Sorry to Bother You , Riley’s electric debut feature in 2018, instantly became one of my all-time favourite films. In that one film, he was able to showcase a crazy sense of humour and imagination, and I’ve waited way too long for the next time I get to witness his bizarre sensibilities on the big screen (I also loved his Prime series, I’m A Virgo , but I want to see him in theatres, dammit). The wait is almost over because his sophomore feature, I Love Boosters , is coming out in May. It’s being described as a sci-fi comedy (fitting for Riley, at this rate) about a group of shoplifters. That’s genuinely all I know. However, pair Riley’s brain with a cast that includes clears throat Keke Palmer, Naomi Ackie, Taylour Paige, LaKeith Stanfield, Demi Moore, Eiza González, Don Cheadle, and Will Poulter… and I may have to do some shoplifting myself just to afford a ticket for its SXSW premiere. — Adriano MASTERS OF THE UNIVERSE (June 5) If I’m being completely honest, “anticipated” isn’t the right word for my feelings on Masters of the Universe . “Curious” is far more appropriate. As an 80s kid, I grew up on He-Man. One of my mom’s favorite stories was about how, in 1984, He-Man toys were the hot gift item that no one could find, except that her and my grandmother luckily and randomly found the key action figures for my third birthday (He-Man & Battle Cat and Skeletor & Panthor, for those that don’t know). She said it was maybe the happiest she’d ever seen me to that point, and so very worth how much they cost. So, the movie, which features a mix of proven favorites (Idris Elba as Man-at-Arms, Alison Brie as Evil-Lyn), unproven up-and-comers (Nicholas Galitzine as He-Man, Camila Mendes as Teela), and questionable eye-rollers (Jared Leto as Skeletor, Kristin Wiig as Roboto) — all from a decent, but not exactly hitmaking, director (Travis Knight) — piques my curiosity given my nostalgic ties, but not necessarily my anticipation. If it does nothing more than make me smile as I think of my mother, that’d probably be enough. But, by the power of Grayskull, I hope it’s more than that. — Quentin DISCLOSURE DAY (June 12) Whenever there is a new Steven Spielberg movie coming out, obviously it’s on my radar, but Disclosure Day , specifically, has me beyond hyped. As someone whose favorite Spielberg films are E.T. and Close Encounters of the Third Kind , his return to the alien genre feels like a homecoming and a major reason why this is one of my most anticipated movies of 2026. This film has so much mystique behind it, even with the teaser trailer that dropped in December. There is just so much to ponder as it leaves you questioning what you might do if you learned aliens are real. With Spielberg at the helm, it’s certainly a movie I won’t be missing when it invades theaters this summer. — Paige

Previous Next August 11, 2023 WRITTEN BY: QUENTIN While I would love to attend Fantasia International Film Festival in person one day, the fact of the matter is that it just isn’t logistically easy or cheap to get to Montreal from Germany. So, for the fourth year in a row, I was forced to experience this great festival remotely. On one hand, it’s much easier to watch these movies from the comfort of my couch, usually sans pants, maybe with a beer in hand. On the other hand, not all festival offerings are available as a remote screener, which means I was unable to view a few titles I was really excited for, including Talk to Me and Late Night with the Devil . Plus, nothing beats the theatrical experience, especially at a film festival. That said, I still got to watch 19 movies, ranging from documentary to horror to absurdist comedy, so I don’t have much to complain about. As you know, we only post reviews when two or more writers have had their say, but with festivals, there is often a lack of overlap amongst the writers. We call those single review outliers “Solo Shots.” Below, you’ll read about several great movies that only I saw at this year’s festival; however, the movies that were seen by some combination of Quentin, Nick, and/or Paige can be found in the Film Reviews section of our site. As always, covering Fantasia was an absolute delight, and I look forward to the opportunity to do it again next year and beyond. Until then, enjoy Quentin’s Solo Shots from the 2023 Fantasia International Film Festival! DEVILS Starring: Dae-hwan Oh, Dong-Yoon Jang, and Jae-ho Jang Director: Kim Jae-Hoon For my money, when I start looking at what non-English-speaking countries are doing in terms of content, no one comes close to South Korea in terms of consistency. Devils is the latest film to validate that opinion. This dark and twisty serial killer movie has several obvious comparatives, including Face/Off and Freaky , but despite the somewhat familiar body-swap plot, I was roped in from the start. Even through the subtitles, Dae-hwan Oh and Dong-Yoon Jang give terrific performances, and the level of suspense and tension created is palpable. I know subtitled movies aren’t for everyone, including me oftentimes, but this is one to check out. HUNDREDS OF BEAVERS Starring: Olivia Graves, Doug Mancheski, Luis Rico, Wes Tank, and Ryland Brickson Cole Tews Director: Mike Cheslick Hundreds of Beavers succeeds at everything it sets out to do in creating a live-action cartoon. The gags come a mile-a-minute, and the silent movie slapstick approach will certainly elicit some giggles. It genuinely feels like Charlie Chaplin meets Wile E. Coyote. The thing is… there is a reason that most of Chaplin’s “The Tramp” movies and classic Looney Tunes cartoons were rarely longer than maybe 10 minutes. There is little story, and once you’ve acclimated to the dialogue-free vibe, it’s diminishing returns. Beavers ‘ runtime is 108 long minutes. It gets tiresome quickly. However, if broken down into multiple shorts, there is little to complain about. THE PRIMEVALS Starring: Richard Joseph Paul, Juliet Mills, Leon Russom, Walker Brandt, Tai Thai, Robert Cornthwaite, and Kevin Mangold Director: David Allen The behind-the-scenes story of The Primevals is kind of incredible. Pre-production started in the 1960s, and a series of financial issues and, eventually, the death of its writer/director in 1999(!) made for a slow, winding journey. With that in mind, it makes perfect sense that it feels like a stop-motion tribute to King Kong (1933) and Land of the Lost (1974). All things considered, it works! Sure, it’s cheesy and it approaches so-bad-it’s-good territory, but for what it is and what it took to get here, I can’t be too hard on this future cult classic. Plus, Rondo Montana (Leon Russom) is an all-timer character name. TOUCH KINK Director: Todd Max Carey As a documentary, I suppose tOuch Kink does what it sets out to do by informing viewers about the world of BDSM and those who live the lifestyle while also dispelling some commonly held misconceptions. However, for a topic that has some inherent (sexy) fun baked in, this is a fairly tame affair. Sadly, none of the people interviewed are all that interesting, nor do they come off in a way that says they feel comfortable in front of a camera. Also, the piano-driven score is super cheesy. All in all, tOuch Kink carries the vibe of a workplace training video rather than feature documentary. MAD FATE Starring: Ka Tung Lam, Lok Man Yeung, Charm Man Chan, Ting Yip Ng, and Wing-Sze Ng Director: Soi Cheang Mad Fate boasts excellent cinematography and a layered story that I wanted to be engaged in, functioning as part murder mystery and part examination of fate. However, and I admit that it could have been the subtitles, but this film struggled to hold my interest. This could 100% be a Q problem, but it’s a lot of mystic horoscope-driven dialogue, so because I had to read so much, it really took me out of the film’s vibe. That said, all the parts are there for something potentially great. I’d certainly be interested in an English-language remake, and this has David Fincher written all over it. FEMME Starring: Nathan Stewart-Jarrett and George MacKay Directors: Sam H. Freeman and Ng Choon Ping Although it doesn’t play out quite like I expected, particularly with its abrupt and somewhat unsatisfying ending, Femme is a taut little thriller that boasts tremendous performances from Nathan Stewart-Jarrett, who won Fantasia’s Outstanding Performance Award this year, and George MacKay. The direction and screenplay aren’t bad either (Sam H. Freeman & Ng Choon Ping won Best Director too), showing two characters as they walk the tightrope between violence and lust in a story that explores queer power dynamics and code-switching with unflinching nuance. I just wish the ending had a little more oomph to it because it really drags my rating down. SHIN KAMEN RIDER Starring: Tasuku Emoto, Minami Hamabe, and Sôsuke Ikematsu Director: Hideaki Anno While I’ve been notionally aware of Japanese tokusatsu, I’ve never experienced it in feature length movie form. And although Shin Kamen Rider certainly captures the vibe of the genre, it doesn’t work for me because I don’t have nostalgia for it. Rider is purposely campy, coming off as a mix between 1990s Mighty Morphin Power Rangers and live-action Marvel shows from the 70s. But imagine showing someone Power Rangers now, in 2023, for the first time. It won’t hold up. That’s the problem with Rider ; without a baked-in familiarity and love for the source material, it’s tough to get on board with this level of cheese. #MANHOLE Starring: Yûto Nakajima, Nao, and Kento Nagayama Director: Kazuyoshi Kumakiri If you’re a fan of movies like Buried , which is to say single-location thrillers, #Manhole is for you. The tension built by the mystery of where exactly Shunsuke (Yûto Nakajima) is and how he may have ended up there is only trumped by the escalating madness that unfolds as the story moves along. I will say, given that the film hinges on Shunsuke reading texts and social media (hence the hashtag in the title), which were subtitled to English for me, it’s hard to know if I missed any additional nuance, but for the dark story given to me, I couldn’t have asked for much more. Photo Credits: Fantasia International Film Festival

Previous Next November 29, 2023 WRITTEN BY: NICK AND QUENTIN Canceled. It's a word that has haunted television watchers for years. You get into a series, watch it for multiple seasons, and become invested in the characters just to have the rug pulled out from under you. But what about the good shows that never even get to that point? The series that are never given a chance to find their footing in spite of their cast and potential. Yes, these cancellations can happen due to poor ratings and low quality, but they can also be caused by lack of finances, behind-the-scenes turmoil, or a number of other varying reasons. "Canceled" has become synonymous with being “bad,” and that's just not always the case. Below, Nick and Quentin spotlight some of their favourite "One Season Wonders," those series that left a lasting impression despite the networks pulling the plug too soon. https://www.youtube.com/watch?v=8TSEMxvtY4E LIFE ON MARS (2008-2009) Synopsis: The story of New York City police detective Sam Tyler, who, after being struck by a car in 2008, regains consciousness in 1973. Based on the BAFTA-winning British show of the same name, the American remake of Life on Mars was lauded for its premise, acting, and accurate depiction of the ‘70s. Featuring a superb cast of Jason O’Mara, Academy Award Nominee Harvey Keitel, multi-Emmy Award Nominee Michael Imperioli, and Gretchen Mol, this series is a complex mishmash of genres, including thriller, mystery, sci-fi, and gritty police procedural. Sadly, the ambitious show was interrupted by a lengthy midseason hiatus, which was followed by a timeslot change. This caused ratings to plummet by nearly half, so naturally ABC canceled it. On the plus side, there is a silver lining. It was canceled early enough that producers had time to rewrite the planned season finale as a mostly satisfying series finale, leaving us with a terrific, 17-episode miniseries that functions as a testament to what might have been. https://www.youtube.com/watch?v=6rJ64J-gSbY THE PASSAGE (2019) Synopsis: When a botched U.S. government experiment turns a group of death row inmates into highly infectious vampires, an orphan girl might be the only person able to stop the ensuing crisis. As someone who grew up on Buffy the Vampire Slayer , I had an affinity for vampires before the Twilight craze hit. After Buffy , though, the focus leaned too heavily into the romance side of things ( Moonlight , The Vampire Diaries , True Blood ) and away from the more innovative ideas. Then FOX debuted the underseen series The Passage . Based on the Justin Cronin series of novels, The Passage provided a new twist on the genre, led by the perpetually underrated Mark-Paul Gosselaar and relative newcomer Saniyya Sidney (who went on to play Venus Williams in King Richard ). The series, which focused on a government project gone wrong that opened the door for a potential apocalypse, was like a shot of adrenaline. The storytelling was deliberate and well paced, while the action-packed sequences FOX has always been known for were present as well. Although it was viewed positively by both fans and critics alike, the ratings weren’t there, leading to another much-too-soon cancellation for a Gosselaar series. https://www.youtube.com/watch?v=OEv22Q21OMg THE GOOD GUYS (2010) Synopsis: Washed-up detective Dan Stark teams up with young, by-the-book detective Jack Bailey in the police department's property crimes division. Their superior officer strives to keep them investigating seemingly minor crimes in order to keep the department out of trouble. Something of a mix between The Other Guys and The Nice Guys , The Good Guys soared on the comedic, against-type performance of multi-Emmy winning actor Bradley Whitford as Dan Stark, a washed-up, loose cannon cop who was hot shit in the 80s. The type of cop who relies on hunches, listens to Foghat, hides beer in his shampoo bottles, and uses his gun as a bottle opener. Whitford tackles the role with mustachioed aplomb. No disrespect to Colin Hanks, who plays the straight man incredibly well here, but this was Whitford’s series. On top of that, the basic intent of The Good Guys was a sort of satirical anti-thesis to the glut of CSI -inspired shows that still plague the airwaves today (there are running jokes about Stark not understanding “computer machines” and “smarty phones''), which, at the time, made it a fresh take on the cop procedural. The problem was that people just didn’t watch it since FOX aired it during the summer months - first on Mondays, then on Fridays, then on Saturdays. If you want your show to fail, that’s how you do it. https://www.youtube.com/watch?v=aDt6Jr2kcr4 STUDIO 60 ON THE SUNSET STRIP (2006) Synopsis: A behind-the-scenes look at a fictional sketch-comedy television show. While some of my entries for this article admittedly lean heavily on personal preference, Studio 60 on the Sunset Strip is the one I think most deserved continuation. Set behind the scenes of a Saturday Night Live -style program, the series had a stacked cast of TV mainstays (Matthew Perry, Bradley Whitford, Sarah Paulson), interesting characters, and smart writing by one of the best to ever do it in Aaron Sorkin. The reason for its cancellation came down to poor timing. It was released alongside 30 Rock (another behind-the-scenes-of-an- SNL -style program, albeit a strict comedy), and it was decided there wasn’t room for such a similar series. Unfortunately, with all the talent involved, Studio 60 was the much more expensive venture, which led to its cancellation in spite of being a stronger ratings success than 30 Rock . Personally, I think the series was also undone by airing on network TV instead of a channel like HBO, where it would have been a better fit and likely could have had the success of another Sorkin series, The Newsroom . There’s no way to know if that’s the case, but it's been nice to see the series gain a bit of a second life following the death of Matthew Perry, as many are revisiting it as one of his best pieces of work, which it is. https://www.youtube.com/watch?v=fWcFMt5M1Nc NO ORDINARY FAMILY (2010-2011) Synopsis: The story of the Powells, a typical American family living in Pacific Bay, California, whose members gain special powers after their plane crashes in the Amazon. Back when the MCU was just getting started, everyone was dipping their toes into the superhero pool, with many offerings being about generic heroes (i.e., not Marvel or DC). One such series was No Ordinary Family , which was essentially “live-action The Incredibles .” Family was generally well-received, with the San Francisco Chronicle saying, “there's lots of promise here, of drama, action, comedy, etc., all wrapped up in a family-friendly series.” The charming cast was led by Michael Chiklis and Julie Benz, but also featured a parade of people you’d recognize even if you don’t know their names. But for whatever reason, the audience didn’t latch on to it, with viewership dropping from 11 million to 3.5 million over the course of its 20 episodes. So, it’s not surprising that ABC canceled it within weeks of the season finale. The real shame is that it was maybe just ahead of its time because this series may have flourished if it premiered five years later. https://www.youtube.com/watch?v=0PfnmAV0eFM POWERLESS (2016) Synopsis: Follows the staff of an insurance company that specializes in products to protect defenseless bystanders from the collateral damage of superheroes and supervillains. Instead of going the CW route like many DC characters before it had, Powerless aired on NBC as the first DC Comics sitcom. It featured a charming ensemble cast, including Vanessa Hudgens in my personal favourite performance of hers, Danny Pudi coming off Community , and Alan Tudyk in a scene-stealing role as Van Wayne, Bruce’s cousin. Sadly, the series was marred by behind-the-scenes issues. The original pilot (shown at Comic-Con) was very well received, but after the creator left the project, it was largely re-shot as a shadow of what it was. The series did find its footing as it went on, but the early word of mouth was too much to overcome. At the height of the superhero craze, Powerless attempted to do something different within that universe, but all that’s left is its unrealized potential. https://www.youtube.com/watch?v=A5HPcWebl5A MY OWN WORST ENEMY (2008) Synopsis: This drama follows a man with two identities: Henry Spivey, a mild-mannered family man, and Edward Albright, a covert operative who is trained to kill. Each identity is unaware of the other until the carefully constructed psychological wall between the two is breached. For a while, there was a running joke on the internet that you should never get too invested in a series starring Christian Slater. Between 2008-2015, Slater had three series canceled after one season (and a fourth that was canceled midway through Season Two). The first and best from this string of failures was My Own Worst Enemy . In what might be the most perfect example of a network not giving a series a fair shake, NBC canceled it after just four episodes despite critics calling it “smart and shrewdly funny” with a “charismatic” dual performance from Slater. The show also starred Bella Thorne, Taylor Lautner, Alfre Woodard, and James Cromwell, so a solid cast across the board, and its use of the “sleeper agent” idea to explore the duality of man and self-awareness was extremely clever. Sadly, the premise was just too complicated for your standard network television audience because the already-not-great ratings of the premiere dropped by almost half after four episodes. Then, once the cancellation was announced, viewers found little reason to continue devoting time to it despite featuring slick thrills, non-stop action, dark humor, and engaging twists. https://www.youtube.com/watch?v=mda3sqFpPjg SON OF ZORN (2016) Synopsis: Animation and live-action collide when a cartoon Barbarian dad leaves his war-torn village to reconnect with his moody, non-animated teenage son in suburbia. A hybrid live-action/animated homage to He-Man and the Masters of the Universe , Son of Zorn was a fun weekly comedy. As an outsider, Jason Sudeikis’ real-life cartoon character (literally) Zorn brought forth tons of solid fish-out-of-water jokes as he would struggle with fitting in while the contrast between him and the Pleasantville -stylings of Tim Meadows’ Craig consistently provided laugh-out-loud moments. It’s as if Thor was funnier and had more teeth. Unfortunately, of my selections here, this is the cancellation I understand the most due to the limitations its rating provided. Were this a Netflix series with the ability to go all out, Son of Zorn could have been another of the great adult animated series. Instead, it failed, likely held back by network tv trappings. https://www.youtube.com/watch?v=g8fzC90joak THE TICK (2001) Synopsis: Following the adventures of a wide-eyed, 7-foot, 400-pound superhero with nigh-invulnerability, superhuman strength, super speed, and the battle cry of "Spoooooon!," The Tick is a surrealistic parody of superheroes. Based on the comic book of the same name, The Tick is one of three attempts to adapt the cult classic hero for television. However, for my money, this short, single season is the best of the bunch, mostly thanks to Patrick Warburton’s iconic and pitch-perfect performance as the childlike and optimistic character. On top of that, you’ve got a pilot directed by the acclaimed Barry Sonnenfeld, production design from multi-Oscar and multi-Emmy Award nominee Bo Welch, and Nestor Carbonell as series’ original creation Batmanuel, a hilarious Latino parody of Batman. Despite receiving praise from fans and critics alike for its inventiveness and clever humor (Sonnenfeld has called it the best thing he has ever directed), FOX completely mismanaged the series, pitting it against massive ratings grabbers like Survivor and NBC’s “Must See TV” lineup of Friends and Will & Grace , as well as seemingly not knowing how to promote it in general (or simply not wanting to because they didn’t own it and it had high production costs). Sadly, it was canceled after eight of the nine episodes aired, but you can still buy this surprisingly enduring series on Prime for under $8. https://www.youtube.com/watch?v=KCSqgSNmOOU TERRA NOVA (2011) Synopsis: In the year 2149, a large group of settlers leave the apocalyptic world they live in to time travel 85 million years into the past in an attempt to start a new civilization. Did the Jurassic World franchise leave a bad taste in your mouth? If so, go back and check out Terra Nova . One of the few dinosaur-centric projects to hit the small screen, it focused on a group of people who travel back to prehistoric times in an attempt to recolonize a human race facing extinction. Executive produced by none other than Steven Spielberg, Terra Nova featured the likes of Jason O’Mara (who has made this list twice!), Stephen Lang, Naomi Scott, and Shelley Conn in a thrilling dinosaur adventure with both the effects and unique plot needed to succeed. Unfortunately, the series was very uneven out of the gate, and though it hit its stride in the final episodes, it was too little, too late. It was promptly canceled due to low ratings and high costs. The path to Season Two renewed excitement in fans and critics alike, which even led to Netflix expressing interest in picking it up, but the high costs per episode were just too much to justify the renewal. Still, one worth searching out. Honorable Mentions: The Adventures of Brisco Country Jr., The Michael J. Fox Show, The Unusuals, Reboot Video Credits: Video 1, 5 - ABC; Photo 2, 3, 8, 9, 10 - FOX; Photo 4, 6, 7 - NBC

DR. DEATH Starring: Joshua Jackson, Alec Baldwin, Christian Slater, Grace Gummer, AnnaSophia Robb, Dominic Burgess, Molly Griggs, and Kelsey Grammer Creator: Patrick Macmanus QUENTIN Dr. Death has two things going for it: great acting and an interesting and alarming true story. However, the structure of the storytelling is a bit wonky. First, the pacing is off. It draws you in quickly, but drags in the middle as it gives the titular character's backstory. Second, it's constantly jumping between multiple time periods, so the order of events isn't always clear despite it giving dates and locations. Still, it's fairly gripping, so much so that it pushes you to Google the actual events as soon as the show ends to learn more. That's a success.

DELI BOYS: SEASON ONE Starring: Asif Ali, Saagar Shaikh, Alfie Fuller, Poorna Jagannathan, Brian George, Alexandra Ruddy, and Tim Baltz Creator: Abdullah Saeed QUENTIN Deli Boys isn’t without its charms, playing out like a comedic Breaking Bad with a Pakistani spin, but as a show watched in a binge, those charms become less and less…well, charming…with each passing episode. There are, admittedly, a few one-liners that made me laugh out loud, but for the most part, the humor is relegated to the quietly-chuckle-to-yourself variety. Saagar Shaikh is the highlight as the pothead party boy Raj, and it’s very possible the series would work better on a week-to-week watch schedule (and with fewer episodes); however, as I experienced it, Deli Boys is nothing more than a passing distraction with diminishing returns.

A GENTLEMAN IN MOSCOW Starring: Ewan McGregor, Mary Elizabeth Winstead, Fehinti Balogun, Daniel Cerqueira, Björn Hlynur Haraldsson, Johnny Harris, Leah Harvey, John Heffernan, Anastasia Hille, and Lyès Salem Creator: Ben Vanstone QUENTIN A Gentleman in Moscow is essentially Steven Spielberg’s The Terminal stretched to eight hours and set against the backdrop of The Bolshevik Coup. Ewan McGregor does his best to keep things engaging, but the story is too drawn out, slowly paced, and oddly structured (holy time jump, Batman!) to hold one’s interest on a week-to-week basis. It also fails to fully explore the more interesting political turmoil happening outside the hotel-turned-makeshift-prison, instead focusing on the relationships and evolution of Alexander (McGregor) during his decades-long imprisonment at the luxurious Metropol. I suspect people of a certain age and disposition (read: your grandparents) may enjoy it, though.

Previous Next November 19, 2025 WRITTEN BY: QUENTIN As we approach the end of 2025’s film festival season, I was able to squeeze in one more before the year ran out. For the first time ever, I was lucky enough to attend International FilmFestival Mannheim-Heidelberg (IFFMH). For those who don’t know, IFFMH began in 1952 and is the second-oldest film festival in Germany. It focuses on arthouse and auteur cinema from international newcomer directors and historically has served as a springboard for experimental filmmakers generally overlooked by Western audiences. Some filmmakers that have showed their early work at IFFMH include François Truffaut, Wim Wenders, Jim Jarmusch, Atom Egoyan, Thomas Vinterberg, and Derek Cianfrance. Actually, just check out their mission statement: The IFFMH celebrates innovation, as well as narrative and aesthetic courage. It stands for new experiences. The festival acts as a compass and a trend scout, discovering new talents and presenting visionaries, opening horizons and revitalizing the historical. The IFFMH creates a social experience context. As a mediator and networker of different cultural scenes, the IFFMH creates spaces for exchange between filmmakers and audiences. From an on-the-ground perspective, although it may not boast the brand recognition or mainstream titles of the more well-known film festivals, IFFMH’s lineup was impressive, nonetheless. It featured many of the smaller, international titles that won acclaim, if not actual hardware, at every other major festival, including Venice, Cannes, Berlin, Toronto and Sundance. So, yeah, it’s a great festival, especially for those seeking out new discoveries, and I look forward to covering IFFMH 75 next year. Also, special shout out to Public Relations Director, Rebecca Raab, who was the most responsive and helpful festival liaison I’ve ever had the pleasure of interacting with. She made it all so seamless, and most of all, stress-free. Due to scheduling conflicts, I was able to catch 18 movies this year, which, to me, feels like rookie numbers, but probably only in comparison to other festivals I’ve covered. Still, 18 movies while balancing my full-time day job and unreliable trains between Stuttgart and Mannheim is still pretty decent. Were the movies any good, though? I’m so glad you asked… 18. PETER HUJAR'S DAY Aside from the most dedicated Peter Hujar fans, if you even know who that is (I sure didn’t), I have no clue who Peter Hujar’s Day is for. I say this with no exaggeration, but this movie is literally 70 minutes of Hujar (Ben Whishaw) telling Linda Rosenkrantz (Rebecca Hall) about his day. Yes, it’s as banal and mundane as it sounds. There is so little substance here that it’s nearly impossible to review, other than to say that if you want to be a fly on the wall for a long, name-dropping conversation between two strangers, good news. Excellent 70s home-movie aesthetic, though. 17. TRAFFIC Traffic is, ostensibly, an art heist movie; however, if you go in expecting the fun hallmarks of the genre, you’ll be sorely disappointed. Technically, yes, there is a heist, but the movie isn’t about the heist. It’s about migrant labor, classism, perceived ethnic hierarchies, and the poor trying to rise above their station, all of which is presented with bleak realism (admittedly, that could just be Romanian cinema’s vibe). While the themes are easily digestible, they didn’t resonate with my American brain, nor did the underdeveloped characters. Plus, the heist and subsequent manhunt fall flat. Perhaps this is an example of being lost in translation, though. 16. MOTHER As I understand it, Mother is a fictional tale about Mother Teresa (Noomi Rapace) in the days before she leaves her convent to establish Missionaries of Charity. The thing is… if it’s fictional, who cares? Isn’t there a worthy true story to provide insight into the modern-day saint? On top of that, it jumps between dry character study and horror-tinged moments backed by heavy metal music, which is a jarringly odd combination. So, in the end, we’re left with a fanfic biopic that generally suggests nothing more than Mother Teresa was more complex than the infallible icon we picture in our heads? Cool story, I guess. 15. THE SUMMER BOOK Growing up, I often spent summers in the Kentucky countryside with my great-grandmother, who did not have a television or many modern conveniences to keep a child entertained. The Summer Book took me back to those days, which made for a nostalgic trip down memory lane, but not so much an entertaining movie-viewing experience. There is an old-fashioned stillness in the relationship between Grandmother (Glenn Close) and Sophia (Emily Matthews) that I generally relate to, and the Finnish coastal countryside is beautifully shot. However, much like my pre-adolescent self during those summers, I was left waiting for something — anything! — to break the monotony. 14. THE THINGS YOU KILL I’ve never been a big fan of director David Lynch, so when things are described as Lynchian, it’s not exactly a selling point. Furthermore, Lynchian surrealism is hard enough to understand in English, so watching it through subtitles can make it doubly confusing. The Things You Kill is exactly that — an extremely slow, very Lynchian tale about a man dealing with generational inner darkness and feelings of inadequacy in a patriarchal society. It’s the type of movie whose meaning I needed to clarify after the fact, and honestly, the explanation I found on Google was far more interesting than the actual movie I had just watched. This review originally posted with Bitesize Breakdown’s coverage of Fantasy Filmfest 39. 13. REEDLAND From a craft perspective, Reedland does enough excellent things that I’m curious to see what director Sven Bresser does next. Despite being his debut, the cinematography, sound design, and performance pulled from non-actor and actual reed farmer Gerrit Knobbe demonstrate an incredible amount of skill and a well-assembled crew behind the camera. However, Bresser also wrote Reedland , and while it’s steeped in dread and foreboding atmosphere, I genuinely have no idea what it’s about. Random MacGuffins that lead to nowhere populate the story — a dead girl, black goo, a random rock, a threatening tractor — ultimately resulting in a movie that feels like a narrative Winchester House. 12. BLUE HERON I can’t say Blue Heron is a bad movie; I can say, for better or worse, it is extremely reminiscent of Aftersun , a movie whose critical acclaim I never understood. It’s not that I don’t get writer-director Sophy Romvari’s intent as she explores her fractured memory and hinted-at trauma, but the slow pacing and jarring shift to a pseudo-documentary make it all too clinical. I was never invested in Sasha’s experience as an oblivious child (Eylul Guven) or as an answer-seeking adult (Amy Zimmer). I genuinely hope Blue Heron helped Romvari process whatever she needed to process, but this therapy session doesn’t need an audience. 11. MILE END KICKS I’m learning that most coming-of-age movies aren’t for me anymore. Whether that’s because I’m too far removed from my own experiences, or I simply don’t relate to those of younger generations, I’m not always sure. With Mile End Kicks, it’s definitely the latter. My memories of being young, dumb, and in love (or lust) as an American guy whose 20s started in 2001 simply don’t mirror those of a Canadian girl whose 20s seem to start around 2011. I’m too separated from Grace (a terrific Barbie Ferreira) for this story to resonate, which mostly just left me frustrated by her bad decisions (the closing scene, especially). 10. LIFEHACK The latest “screenlife” offering, a filmmaking approach I’m not sold on yet, LifeHack is excellent for the 30 minutes when the crypto heist takes place. These moments are surprisingly full of anxiety-inducing tension and white-knuckle suspense. Everything that comes before and after? Not so much. The format is far too manic and moves far too quickly for the viewer to ever settle in. It also doesn’t allow for great character development, so it’s hard to be super invested in any of them (particularly when they’re as annoying as Sid (Roman Hayeck-Green)). That said, it definitely makes one think about their online presence. It’s scary out there. 9. RENTAL FAMILY Given these turbulent times, if you need a source — any source — of optimistic, heartwarming feels, Rental Family will almost certainly deliver. Granted, those feels are incredibly shallow and extremely superficial since the characters are mostly just pawns to get you to the next saccharine story beat, but good feels are good feels. Unfortunately, the narrative doesn’t have much lasting heft behind it either because Brendan Fraser is somewhat miscast, with his ever-present teddy bear persona never allowing for a full character arc. Still, you could do worse than Rental Family , even if this cynic found it to be a little too sentimental. This review originally posted with Bitesize Breakdown’s coverage of Zurich Film Festival 2025. 8. NOVIEMBRE When making a dramatized account of a historical event, you need to ensure the audience has at least barebones awareness of the event. Noviembre assumes everyone is familiar with 1985’s Palace of Justice siege by dropping viewers directly into the situation with very little context. It’s unclear if the guerillas are radical terrorists or revolutionaries fighting a corrupt system, which makes it tough to know whose side the viewer should be on (made worse by minimal character development). That said, the Paul Greengrass-inspired direction provides gritty realism and chaotic tension, but there wasn’t enough for me, an unfamiliar, to grasp on to. I needed a pre-brief. 7. KIKA Although not exactly what I expected, Kika (also known as Madame Kika ) is an effective exploration of the things we must do to survive, both financially and emotionally, in the wake of tragedy. I wouldn’t necessarily call it a comedy, but there is certainly more humor than I anticipated as it faithfully shows the awkwardness that can come with true self-discovery, especially as one enters a socially taboo alternative lifestyle. Much like Pillion , Kika is not here to kink shame or judge the dom/sub dynamic, instead offering a disarming and contemplative portrait of a person reckoning with grief on her own terms. 6. LEMONADE BLESSING Remember what I said above about coming-of-age movies? I’m about to contradict it. Lemonade Blessing does a terrific job of putting viewers in the headspace of a religious high school student experiencing first love while internalizing a devout parent’s messaging that all perfectly natural hormonal urges lead to eternal damnation. Grounded yet teetering near the absurd, every aspect of the story feels rooted in realism, from the male friendships to the overbearing parents to just wanting to fit in. At times, it’s compassionately uncomfortable, giving off strong Eighth Grade vibes. So, yeah… most coming-of-age movies aren’t for me anymore; Lemonade Blessing was an exception. 5. FOLLIES Although it doesn’t break any new ground with its premise, Follies is a humorous, at times sad, yet ultimately uplifting exploration of a married couple trying to spice things up by opening their marriage. However, the approach and details add a fresh spin. Shooting with handheld 16mm cameras, using natural light, and deploying an almost mumblecore vibe keeps everything intimate, which means it never feels over-sexualized like some movies like this can be. Furthering that are the small, lived-in details, like the interactions with their children and relatable situations where they each want to ensure they are correctly following the “rules.” It’s all very authentically charming. 4. THE THREESOME Given The Threesome ’s absurd premise, it could have been an over-the-top, jokey comedy like Wedding Crashers . Instead, director Chad Hartigan goes the route of grounded maturity as it explores the different experiences women can have with unexpected pregnancy. Zoey Deutch and Ruby Cruz give layered performances as women facing same-but-different circumstances, with the movie being thoroughly theirs even as we experience it through Connor’s (Jonah Hauer-King) point-of-view. Unfortunately, Connor is presented as such a blandly milquetoast nice guy, which is more the script’s fault than Hauer-King’s, that it brings the rest of the movie down a bit. Still, it’s an overall endearing take on modern romance. 3. ROOFMAN Roofman is a charming love story featuring charming performances that surely will charm a non-discerning couple on date night. No, it’s not particularly memorable, but it’s a highly rewatchable blend of comedy, heart, and 90s nostalgia. Yet, I was left wondering why I was rooting for this dirtbag. Because he’s polite? All of Jeffrey Manchester’s (Channing Tatum) rough edges have been sanded down to create an almost algorithm-generated leading man that ladies may fawn over. That’s fine, I suppose, but it makes for an overly sugarcoated, crowd-pleasing movie seemingly afraid to explore the more complicated themes present in fear of losing general audiences (and box office revenue). This review originally posted with Bitesize Breakdown’s coverage of Zurich Film Festival 2025. 2. THE LAST VIKING I’m not sure why, but it seems the world takes Mads Mikkelsen’s acting talent for granted. In The Last Viking, he gives a hilarious, against-type performance (relative to everything I’ve seen him do, at least) that is sweet, silly, and lovable. He, alone, is worth the price of admission. His brilliance aside, director Anders Thomas Jensen has successfully mixed Rain Main, The Dream Team, and The Coen Bros. to create a movie that is as moving as it is violent. On paper, I’m not sure any of it should work, but it all comes together beautifully as something heartfelt, sincere, and darkly entertaining. This review originally posted with Bitesize Breakdown’s coverage of Zurich Film Festival 2025. 1. IT WAS JUST AN ACCIDENT Tonally, It Was Just an Accident is unexpected. Generally speaking, it has tension without being tense and humor without being funny, but director Jafar Panahi’s ability to walk that tightrope is a major reason why the film works as well as it does. Make no mistake, the commentary on authoritarianism, which is as applicable to the Iranian regime as it is to current American politics, is morally complex and thought-provoking as it explores the cycle of revenge and violence between oppressors and the oppressed. But that tonal balance keeps it accessible by not letting it slip too far into darkness. It was a worthy Palme d’Or winner.

CAPE FEAR Starring: Javier Bardem, Amy Adams, Patrick Wilson, Joe Anders, Lily Collias, CCH Pounder, and Malia Pyles Creator: Nick Antosca QUENTIN You might be wondering who needs a new Cape Fear adaptation considering there already are two great movie versions. It’s a valid question that series creator Nick Antosca fails to answer. Everything but the most basic premise has been “re-imagined,” with Antosca overstuffing the plot with annoying characters, silly twists, and poorly fleshed-out mysteries to fill ten episodes. Plus, the tone is distractingly operatic, trying way too hard to emulate director Brian De Palma’s campy thrillers of yesteryear (think Snake Eyes ). The only thing that kept me going was Javier Bardem’s menacingly charismatic performance, but frankly, after all is said and done, I probably shouldn’t have.

I'M A VIRGO: SEASON ONE Starring: Jharrel Jerome, Mike Epps, Carmen Ejogo, Walton Goggins, Brett Gray, Kara Young, Allius Barnes, and Olivia Washington Creator: Boots Riley QUENTIN When it comes to I’m a Virgo , I’m a man divided. It’s outstanding in many ways, from the social satire to the brilliant racial commentary to the performances (Walton Goggins, especially) to its absurdist vibe. In moments, it’s remarkable and unlike anything else on television. However, as a complete series, it struggled to hold my attention at times. Truth be told, I could say the same about Boots Riley’s previous offering, Sorry to Bother You , so if you liked that film, you’ll probably enjoy this series too. Riley clearly has tremendous talent, but he needs to find a better balance between storytelling and his grand ideas. ADRIANO I’m a Virgo confirms what Sorry to Bother You already suggested: Boots Riley is one of our most unique auteurs. His imagination is allowed to run wild with this series, and his creativity and genius pour out of every frame. The satire isn’t too on the nose either while actually saying something interesting about race relations and capitalism. But, more importantly, there is a surprising amount of heart and depth that had me personally invested despite all the insanity, thanks in part to Jharrel Jerome’s performance. I hope Boots Riley can continue doing whatever he wants. AMARÚ Director Boots Riley is a wild cat who commits to telling uniquely interesting and poignant stories. His TV debut, I’m a Virgo , combines fantastical, political, and cultural sensibilities to illustrate how systems of power can prey on those who are underprivileged and different. But it also shows that different can be powerful. At times, it’s heartfelt and moving; at others, it’s weird and creepy. It’s a lot of things, all at once, and while not all of it works, it’s consistently Boots Riley, who, for better or worse, stays true to his artistry. JACOB As a huge fan of Boots Riley’s 2018 satire Sorry to Bother You , I have eagerly waited to see what he would do next. While his new series, I’m a Virgo , certainly exhibits the same audacity and creative energy that drove his last project, it more so flows through this one rather than powering it. That’s not to say it’s bad, but it does sometimes feel like it’s somewhat unfocused, which can make watching it feel like more of an obligation than an opportunity. I still enjoyed it in the moment, but the satire operates less successfully than before.