SAUSAGE PARTY: FOODTOPIA Starring: Seth Rogen, Kristen Wiig, Michael Cera, Edward Norton, Will Forte, and Sam Richardson Creators: Seth Rogen, Evan Goldberg, and Conrad Vernon QUENTIN It’s always easy to review things like Foodtopia because if you enjoyed Sausage Party , then you’ll enjoy this sequel series (and vice versa). Nothing I can say will convert you, and you likely already know if you’re in or out. That said, since we’re here… It has the same raunchy comedy and incredible food punnery as the film; however, while it’s still very clever, the commentary, which skewers politics instead of religion, isn’t quite as sharp. Also, as should be expected, there is a slight downgrade in the animation quality. But, like I said, if you’re a fan, you’re a fan; Foodtopia won’t disappoint.

Previous Next October 31, 2024 WRITTEN BY: THE BITESIZE CREW When it comes to horror movies, most people probably would agree that the villain is perhaps the most important aspect. Sure, clever concepts, jump scares, eerie atmosphere, and all that other stuff certainly matter, but if you can nail the villain, the rest of the movie can honestly be pretty lacking and still come out a winner on the other side. As we approach Halloween, the Bitesize crew has been discussing how great the horror genre has been in 2024, especially on the villain front. Several movies were name-dropped in the group chat, including Alien: Romulus , Strange Darling , and Blink Twice , but the conversation became more focused at the mention of two movies: Longlegs and Heretic , both of which feature against-type performances from great actors. Longlegs , of course, features an instantly iconic horror villain played by Nicolas Cage. Cage certainly is no stranger to the horror game, but he is almost never a full-on villain (horror or otherwise), so his performance as Longlegs was a bit against type. He has even gone so far as to say he’ll never play a serial killer again because it’s just too dark. Then you have Heretic , where the typically charming, snarky, and affable Hugh Grant dives headfirst in horror villainy, doing everything he can to subvert your expectations and preconceived notions about his reputation. Both movies are terrific, at least partly, because of those unexpected performances, which got us to throw out our own horror pitches featuring against-type performances from typically “good guy” actors and actresses. So, hey, Hollywood, hear us out… GEORGE CLOONEY AS AN OBSESSIVE STALKER (AND HIMSELF) Full disclosure: My pitch is a bit of a rip off. However, since nothing in Hollywood is truly original, away we go… In 2005, it was announced that Brad Pitt would star in the comedy Chad Schmidt , which was about a struggling actor named Chad Schmidt who happened to look like Pitt. Pitt was to play both roles. Unfortunately, that movie fell apart, but the idea has never left my mind. As such, I want to repurpose it as a horror movie. However, instead of Pitt, who has played some dark, murderous characters in his career (not to mention the unfavorable tabloid stories), let’s go with his best bud, Hollywood Golden Boy George Clooney. Clooney has, technically, played “bad guys,” but not to the psychopathic degree I’m thinking here. Much like Pitt in Schmidt , Clooney will play two roles: himself — the handsome, fun-loving, mega-wattage, well-respected, award-winning, A-list movie star that he is in real life; and his stalker, a man that looks like Clooney from The Wasteland — unkempt, dirty, scarred, balding, and slightly off. He looks like someone tried to draw Clooney from memory. He’s hated, disrespected, lonely, forgotten, and unseen, which he’s bitter about because, in Clooney, he sees the life that he should be living. Eventually, he has a psychotic break, and his simple obsession escalates to viciously murderous stalking as he attempts to take over Clooney’s life. Given that this film can touch on themes of celebrity, obsession, fandoms, public perception, and the American Dream, all of which Clooney probably has some personal thoughts on, Clooney could be well-suited to direct. That said, Clooney’s directorial career has been hit and miss, so maybe we play it safe with David Fincher. - Quentin SAOIRSE RONAN AS AN 18TH CENTURY VAMPIRE In this atmospheric, 18th-century-set, slow-burn gothic horror, Saoirse Ronan stars as the deathly pale but eerily beautiful Mary. She resides in a small, rural puritanical community with her pious family, all of whom have been cursed with immortality by a centuries-old vampire who mocked their faith and devotion. The townspeople find Mary unnerving as her and her family try to live unassumingly alongside the human population. Other than taking the necessary amount of blood required to function, they’re seeking a simple, honest life, attempting to suppress their true nature so they can quietly move on when their eternal youth and the occasional disappearance become suspicious. However, Mary secretly longs to explore her bloodthirsty desires, murder the god-fearing townsfolk, and exploit her true power. As the family prepares to relocate again, the local church gains a new priest. He is immediately suspicious of them and is determined to solve the mysterious crimes. For her part, Mary is fascinated by him, but infuriated by his efforts to expose them, so she sets out to manipulate him, lead him astray, and disrupt his investigation by any means necessary. The film could be directed by Mike Flanagan, who is able to create the chilling tone, and has proven successful in handling religious themes before. Plus, Ronan would be alluring as a vampire, and it would be incredible to see her show her range and darker side. – Katie DEWANDA WISE AND JESSE WILLIAMS AS A CHARMING BUT ENIGMATIC COUPLE WHO AREN’T WHAT THEY SEEM Pardon me as I pander to Jamie Foxx fans for a second, but whenever I see DeWanda Wise or Jesse Williams on my screen, I always imagine Foxx whispering to me, “you looked in his eyes, didn’t you?” That Prince-inspired joke immediately comes to mind when I see Wise’s and Williams’ strikingly beautiful gazes. Those eyes that you can’t help but getting lost in would be one of the central conceits in a psychological thriller that sees Wise and Williams as the couple you wish you were (the other conceit would be Black Don’t Crack because they for damn sure don’t look their actual ages). Imagine our movie opens with two famous up-and-coming actors, like Zendaya and Tom Holland, who meet Wise and Williams at an outing, à la Speak No Evil . The older couple catches their attention with a look, and the young co-stars can’t help but get drawn in. Over the course of the night, Holland and Zendaya get more and more comfortable, eventually agreeing to join Williams and Wise in group outings and get-togethers. As their friendship grows, mysterious things that can’t be explained increasingly happen. If this sounds familiar, it’s because you’ve seen this movie before. However, no matter how many times I’ve seen stories like Blink Twice or Midsommar, if the script is well written, the cast is entertaining, and the mystery behind the older couple is unique, I’m always game to watch another version, and seeing Williams and Wise, who are often cast as the best friend/intriguing neighbor type, tapping into something nefarious and downright dastardly would be a blast to see. Plus, using their ageless looks and dazzling eyes can add any number of supernatural elements to the mystery of their cult-like power over others. – Amarú JASON MOMOA AS A PRETERNATURAL RASPUTIN What if what Russia has become today, with its aggressive foreign policy, human rights issues, and authoritarian political leanings, was more insidiously provoked by one historically mysterious man, Grigori Rasputin? Looking back at history, how did this illiterate peasant rise to be, essentially, the proxy co-ruler of Russia? His influence was undeniable, as almost immediately following his assassination in 1916, the House of Romanov, the tsarist rulers for over three centuries, lost power. He didn’t get into that position of power by wielding geo-political know-how, either. Instead, he used religious charlatanism to coerce his victims into sexual debauchery while advancing his hedonistic tendencies, all for the supposed holy cause. Let’s lean into the spiritually evil component here to paint the story of a Satanic man who poisons a nation through the lens of a supremely dark, horror period piece. For me, an unlikely Jason Momoa would be terrific as Rasputin. He can certainly look the part, and it would give him the opportunity to showcase his acting chops in the horror genre, especially with the help of Robert Eggers behind the camera. Also, for what it’s worth, I’m not the first Bitesizer to make a case for a film about the Siberian mystic (read Quentin’s article HERE ), and perhaps together he and I can make this Rasputin film dream of ours come true. Or perhaps a rhapsodic ritual is needed to convince you… – Preston ELLEN DEGENERES AS A CHILD-MURDERING “KAREN” Mirroring the allegations from Ellen DeGeneres' real life, the film begins with her leaning into her lovable (albeit somewhat nosy) persona as Julie, the newest resident of a quiet, white-picket-fence neighborhood. As a proverbial ray of sunshine, Julie is immediately loved by all, especially the community mothers. However, the honeymoon period soon wears off as she begins to show her true colours as an off-kilter "Karen." She becomes a nightmare as her nosy tendencies turn into complaints about everything from the upkeep of surrounding properties to the way her neighbours raise their children. She's highly annoying, but relatively harmless. However, something about her just seems off, so when the neighbourhood children start to disappear, all eyes turn to the increasingly unbalanced outsider. Comedians heading into horror isn’t new territory, but it’s a place where I think DeGeneres could thrive. I mean, her career has taken a 180° turn, so why not lean into that? Once the film really starts to take off, it gives her a chance to channel someone truly sinister, complete with blood, gore, and, of course, murder. The unhinged Julie is the perfect comeback role for an actress ready to shed that squeaky clean daytime persona, and no other director can bring it all together like Sam Raimi. A mix of laughs, thrills, and chills, this has all the potential to be a modern-day horror hit. – Nick GLEN POWELL AS A SERIAL KILLER Picture this: One of our newest and brightest movie stars — a man known for his wicked charm and leading man charisma — suddenly decides to play with our expectations by playing the role of a blood-thirsty killer. Glen Powell truly is the perfect movie star, so much so that, even though he has only headlined a few titles, we already picture him as the quintessential “hero.” So, what would a slasher film look like with Powell using his rugged good looks and ear-to-ear smile to form the character of a serial killer? You could play it as a misdirect to inflict a surprise reveal, but honestly, the idea of the audience knowing he's the killer, watching him charm characters and possible victims could be even scarier. Personally, even when well done, the idea of a creepy-looking person being the killer is not as interesting as when it's the person you’d least expect, and for my money right now, Powell is the last person I can imagine as a psychopath. – Adriano TOM HANKS AS A LOVING GRANDPA WITH A PAST Fun fact: Tom Hanks’ first movie role was in the low-budget slasher He Knows You're Alone (1980). However, as his career has progressed, he has earned the title of “America’s Dad” because of his penchant for heartwarming, family-friendly roles. But have you ever wondered if he has a darker side that is just lurking to come out and play? I know I sure have! I’d love to see him let it out in a return to the horror genre. On the anniversary of his wife’s passing, Ed’s (Hanks) grandkids decide to spend the weekend at grandpa’s house while their parents go on vacation. While there, the adolescent teens stumble upon a bunch of old newspaper clippings about “The Stranger,” a famous serial killer from the past that was never caught. At first, they find it a little odd that gentle ol’ grandpa has a scrapbook about a murderer, but then they find a box full of random jewelry — jewelry that is mentioned in the news articles as missing items from the victims. This is when they begin to realize that maybe their grandfather isn’t so innocent after all. As they try to play it cool until the end of the weekend, Ed’s demeanor completely changes (imagine John Goodman’s character in 10 Cloverfield Lane ) when he realizes someone has gone through his belongings to see something that should not have been seen. This is when things take a sinister turn. His secret can’t get out, and he will do whatever it takes to protect himself, even if that means ditching his pitch-perfect grandpa persona to reveal his true inner demon to the ones he loves most. – Paige

GUILLERMO DEL TORO'S CABINET OF CURIOSITIES Starring: Tim Blake Nelson, F. Murray Abraham, Sofia Boutella, Andrew Lincoln, Crispin Glover, Kate Micucci, Dan Stevens, Martin Starr, Rupert Grint, Ismael Cruz Cordova, and Ben Barnes Creator: Guillermo del Toro PAIGE Guillermo del Toro’s newest anthology series delivers the ideal Halloween treat with its perfect The Twilight Zone meets Creepshow vibe. Its unique tales of terror and horror will keep your curiosity high while also giving you a few nightmares. As curator and host, del Toro did a fantastic job of hand-picking directors and writers to craft these stories of terror. Whether the story is Lovecraftian, out of this world, or within the human mind, this series has something for all horror lovers. I hope Netflix continues this special every Halloween.

SUPACELL: SEASON ONE Starring: Tosin Cole, Adelayo Adedayo, Nadine Mills, Eric Kofi Abrefa, Calvin Demba, Josh Tedeku, Rayxia Ojo, Ghetts, and Eddie Marsan Creator: Rapman QUENTIN Nowadays, it’s really hard to do something truly fresh and exciting with the superhero genre, especially with completely new characters not based on known IP. However, even if Supacell never feels completely original, being reminiscent of Heroes , Attack the Block , The Umbrella Academy , and (British) Boyz n the Hood , it adds enough interesting wrinkles to the overplayed genre to stand on its own. I do wish the pacing had been a bit better because it’s a tad slow to get going, but now that the strong character work and world-building are out of the way, I’m fairly stoked to see where Season Two goes.

DISCLAIMER Starring: Cate Blanchett, Kevin Kline, Sacha Baron Cohen, Kodi Smit-McPhee, Leila George, Louis Partridge, and Lesley Manville Creator: Alfonso Cuarón QUENTIN Despite top-notch direction from Alfonso Cuarón, typically great performances from Cate Blanchett and Kevin Kline (maybe less typically for Kline), and the bones of an intriguing mystery, Disclaimer* falters in its characterizations. The characters are mostly underdeveloped and empty pawns used to get from one sometimes confusing plot point to the next, so even as you’re eager to see the story through to the end, you’re never truly invested in any of the players. My experience probably was undermined by binge-watching too, as revelations come so quickly that they hardly resonate. Granted, there is still a lot to like here, but the total package underwhelms.

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

Previous Next With the upcoming release of Beast, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Man v. Wild Films. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE MARTIAN One may not consider The Martian a man v. wild movie at first, but from where I sit, Ridley Scott’s brilliant adaptation of the famous novel fits the mold as much as anything else. Left with only the tools that remain, Matt Damon churns out one of his best performances ever as Mark Watney, an astronaut left to brave the Martian elements with only his wits and some disco music. Almost every moment of this movie works perfectly, both dramatic and comedic. - Jacob 4. 127 HOURS Director Danny Boyle uses 127 Hours ‘ real-life, man v. wild story to craft one of his best films yet…maybe even his absolute best, full stop. It’s tough to watch at times due to some of its more graphic moments, but it remains an inspiring story anyway, as it explores a man's will and struggle to survive. Quite frankly, that is as man v. wild as you can get. - Adriano 3. CAST AWAY A modern-day Robinson Crusoe , Cast Away is still, in my opinion, one of Tom Hanks’ best and most memorable roles. It’s probably the most perfect depiction of not just someone trapped in isolation, but of a man fighting to survive nature. It's inspirational, beautiful, and surprisingly funny. The fact that Cast Away can make you care about a volleyball proves just how good this film is. It’s an underappreciated classic. - Joseph 2. JAWS “You're gonna need a bigger boat” to understand how much I love this film! Steven Spielberg’s Jaws is a classic blockbuster masterpiece. It’s a well-crafted film that still brings terror to my eyes every time I watch it, and let’s not forget about the iconic score from John Williams. Once you hear that theme, you just know it’s shark time and somebody’s about to get eaten. That’s enough to keep me out of the deep blue sea. - Paige 1. JURASSIC PARK Jurassic Park should be headlining a lot of “Top” lists, and for good reason. The characters are interesting, the pacing is great, the story is tight, and it does what every blockbuster is supposed to do - entertain you. But probably the most amazing thing is that the “wild” aspect still holds up almost 30 years later. The dinosaurs look real, feel real, act real, and most importantly, give you a reason to care about the movie. It’ll hold up for another 30 years too. - Amarú HONORABLE MENTIONS INTO THE WILD THE SHALLOWS TWISTER THE REVENANT THE PERFECT STORM Photo Credits: Photo 1, 3 - 20th Century Studios; Photo 2 - Warner Bros; Photo 4, 5 - Universal Pictures