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

THE TERMINAL LIST: SEASON ONE Starring: Chris Pratt, Taylor Kitsch, Constance Wu, Riley Keough, Arlo Mertz, and Jeanne Tripplehorn Creator: David DiGilio QUENTIN The Terminal List is wholly unremarkable. But, even if you ignore the overly serious tone, generic and convoluted plot, and general predictability, it could have been an okay enough, Tom Clancy-style distraction had they cast someone other than Chris Pratt as the lead. Pratt’s main appeal is his goofy charm, so forcing him to play a brooding silent type kills any chance this show might have had at being watchable. Pratt just doesn’t have it in him (it really needs a Liev Schreiber type of guy), making this series further evidence that “The Worst Chris” isn’t all that great outside of Guardians of the Galaxy .

LIFE, LARRY, AND THE PURSUIT OF UNHAPPINESS: SEASON ONE Starring: Larry David Creators: Larry David and Jeff Schaffer QUENTIN I say this as a big fan of Curb Your Enthusiasm : Life, Larry, and the Pursuit of Unhappiness is a chore to sit through. I love Larry David, but when you remove his schtick from the grounded world of Curb , it becomes annoying. And make no mistake, this sketch show is just quick bursts of what he did in Curb , including jokes being recycled verbatim, dressed in low-budget costuming and already tired observations about the current U.S. government and administration. Granted, David is a funny dude, so he’ll occasionally earn a laugh; the nonstop parade of celebrity cameos is fun too. But overall? Prettay, prettaaay, prettaaaaay…underwhelming. ROBERT At 79 years old, I wasn’t expecting a complete overhaul in the Larry David experience for Life, Larry, and the Pursuit of Unhappiness . Frankly, I got exactly what was promised: Curb Your Enthusiasm meets Drunk History . It was comforting to see Larry with all his friends from the Curb days chopping it up, albeit in period clothing. Granted, as a connoisseur of celebrity interviews, the jokes and bits on the show were word-for-word recreations of things I have heard Larry rant about for years. However, this was like a warm blanket of reason in a time of chaos, like a noteworthy chat-and-cut.

Previous Next August 14, 2026 WRITTEN BY: ADRIANO This was my first year covering Fantasia, and my first time in years covering a festival entirely from home. I typically have a hard time watching new films uninterrupted at home, so this was a new experience for me. In keeping with that mentality, Fantasia was more about discovery. With rare exception, I watched these movies entirely blind, which added a level of excitement to each viewing experience, especially since these films are all cult-style genre films. The limitations of covering the festival digitally meant I couldn’t watch everything that intrigued me, namely Kiyoshi Kurosawa’s The Soldier and the Prisoner , but no matter how I felt about the films individually, experiencing the festival blindly added greatly to the joy. I was able to catch eight films. Check out how they stack up… 8. UNIDENTIFIED MURDER A good twist can be fun and shake up your perception of a film. A twist every 10 minutes, on the other hand, is not good writing. It’s just annoying. Unidentified Murder is one of my least favourite types of movie: just rug pull after rug pull to the point where none of them become shocking anymore. Then, when it tries to raise the stakes, I’m too bothered by everything that has come before to care because said stakes are constantly shifting. It tries to disguise all that with “commentary,” but like the people it’s lampooning, it’s just shallow. 7. HER PRIVATE HELL Have you ever watched a movie and thought to yourself, “that must have made a lot more sense in the filmmaker's head”? It’s clear to me that Her Private Hell’s janky dialogue and nonsensical narrative beats are intentional choices on writer/director Nicolas Winding Refn’s end, and to his credit, the visual pastiche gives the film an alluring vibe. But no, this is not a good movie. Refn’s trying to do his own Mulholland Drive , but there’s not enough connective tissue or clear thematic intention to offset the bewilderment. Maybe this could work if you're high; otherwise, not so much. 6. UNHOLY NIGHT If you can’t tell by my name, I’m Italian, so accurately portraying Italian families, either ugly or beautiful, hits a soft spot for me. Unholy Night’s portrayal of Italian families at Christmas hits the nail on the head, showing the relatable dysfunction, quirks, and insecurities I’ve personally experienced (I’ve literally had some of the same conversations). It is a shame, however, that it’s all wasted on basic shock horror that simply isn’t enjoyable enough. To make matters worse, it clearly overstays its welcome and seemingly doesn’t know what to do with itself at some point. It’s a real missed opportunity. 5. DANCE FREAK The bizarreness of Dance Freak ’s off-the-wall style can take centre stage too much because the moments when the characters are reeling from personal turmoil are often flavourless compared to the dressing. But one can’t help but feel sucked into the surrealism of everything happening on screen. The way it’s shot, the sound work, the oddball sense of humour, the cast's commitment to the bit — it’s shamelessly one-of-a-kind. So, if the story doesn’t hook you, at least directors Alan Resnick and Bobby Rackleff have crafted an intoxicating experience that, if nothing else, is extremely unforgettable. 4. THE PERIL AT PINCER POINT The Peril at Pincer Point packs a lot in at just over 80 minutes, and I’m grateful for all of it. I’m not suggesting it’s a particularly deep movie, but everything about the filmmaking is captivating. From Jake Kuhn and Noah Stratton-Twine’s atmospheric direction to the monochromatic cinematography, from the sound work to everything on display is effective in driving a nautically surreal experience. The story is compelling, as well, to be fair; nothing captivating, per se, but a fun character-driven story that’s more than enough to make this more than just a sensory exercise. 3. AFTER SCHOOL After School balances so much that it’s a testament to the creative team that it all comes together so smoothly. It perfectly blends its humour with the tension generated by each increasingly zany scenario, but never in a way that underscores writers/directors Merijn Scholte Albers and Tobias Smeets’ statement on masculinity and bullying and the effects they subconsciously have on someone. Admittedly, I did feel there was some cribbing from The Teachers’ Lounge , but it has enough of its own identity and thematic interests to feel original. 2. WHEN YOU OPEN THE DOOR I imagine there isn’t a lot left to explore with werewolves (unless you're director Robert Eggers later this year), but When You Open the Door finds ample material to expand on the idea. Using a slow-burn, coming-of-age story as opposed to outright terror, director/co-writer Eriko Katagiri (in her directorial debut, no less) mines the concept of this monster to show a girl (played by Serena Motola, who is great) coming into her own as her perceived place in the world becomes more and more confused. Well-executed, simmering with tension, and thriving with profound storytelling, this was an unexpectedly moving treat. 1. TEENAGE SEX AND DEATH AT CAMP MIASMA As a vocal fan of Jane Schoenbrun, I’m delighted to say Teenage Sex and Death at Camp Miasma is another win for the surreal filmmaker, but in a way that feels fresh. As opposed to the dourness of their first two films, this one is not only silly, but it also showcases Schoenbrun’s fascination with identity and media in a more liberating register. I had a blast watching it, yet I’m still pondering its many themes and ideas. Once again, I walked away with the feeling that I’m watching an artist come into their own in real time.

Previous Next July 7, 2025 After the colossal disappointment that was Jurassic World Dominion , it's time to bring back the dinosaurs and try again. Find out if we think Jurassic World Rebirth has what it takes to restart this franchise. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next November 4, 2022 WRITTEN BY: NICK, QUENTIN, AND ADRIANO Bitesize Breakdown’s mission is to bring you multiple viewpoints for every movie we review. That is why, as you may have noticed, you’ll never find a movie review with fewer than two reviews (television is a different story). That said, in sending three writers to TIFF, there are several movies where our viewership didn't overlap. Sure, we all saw Glass Onion: A Knives Out Mystery , but we also broke off individually to discover some smaller titles on our own. While full reviews for the major titles, like Glass Onion , will arrive closer to their official release date, we don’t know when, if ever, many of the following films will be made available for you to watch. So, in an effort to prevent these titles from falling through the cracks, the following reviews are our TIFF Solo Shots: individual reviews of TIFF films that only one of Nick, Quentin, or Adriano was able to see. We encourage you to keep an eye out for them in theaters or on streaming in the coming months because some of them definitely deserve your attention. BLACK ICE Starring: Akim Aliu, Wayne Simmonds, Matt Dumba, Sarah Nurse, Anthony Duclair, Saroya Tinker, and P.K. Subban Director: Hubert Davis Stylistically, Black Ice is a well-shot documentary. The player interviews taking place on the ice of an empty rink adds to the message of the feature, and there are a wide array of voices featured, including Willie O'Ree, the first black NHLer. Just the fact that the first black NHLer is a lively 86 year old man in 2022 tells you why this documentary exists. Unfortunately, as a hockey fan, most of the information presented is fairly common knowledge, making this a documentary made more for the common fan. That said, the message is the important thing: Hockey needs to change. - Nick WHAT'S LOVE GOT TO DO WITH IT? Starring: Lily James, Emma Thompson, Shazad Latif, Shabana Azmi, Sajal Aly, Asim Chaudhry and Jeff Mirza Director: Shekhar Kapur I’m just gonna get this out of the way: What’s Love Got To Do With It? is obscenely predictable. You know what’s gonna happen from the opening scene, and the ending came as a shock to absolutely nobody. Honestly, it’s predictable to the point where I’m not totally sure they weren’t trying to be predictable. All that said, it certainly entertained the rom-com lover inside of me. It has laughs, it has some interesting perspectives not usually addressed in rom-coms, and our two leads, Shazad Latif and the always lovely Lily James, have fantastic chemistry together. So, despite the predictability, it’s still worthwhile. - Adriano SUSIE SEARCHES Starring: Kiersey Clemons, Alex Wolff, Jim Gaffigan, and Ken Marino Director: Sophie Kargman When watching Susie Searches , it’s very easy to see that this feature-length movie is based on a short film. It’s 105 minutes long, but the entire thing can be reduced to 3-4 “moments,” and the story and character development connecting those moments is either weak or entirely unnecessary. Everything else is well done, from the acting to the sometimes-too-quirky direction, and I admit the aforementioned moments add some genuine intrigue, but Susie Searches is the movie equivalent of a meeting that could have been an email. - Quentin THE COLOUR OF INK Starring: Jason Logan Director: Brian D. Johnson I can’t say I ever wondered what can be used to create ink or how it connects to the Earth, but upon watching, I’ve learned the process is fascinating. The documentary itself is well-shot, while Jason Logan makes for a solid narrator; however, the film branches out to too many side stories. It would have been far better served sticking with just Logan and a few of the artists he provides ink to (or, honestly, even just Koji Kakinuma). The imagery of the ink is nothing less than serene, but, unfortunately, the repetitive nature of the story caused me to lose my focus. - Nick FIXATION Starring: Maddie Hasson, Genesis Rodriguez, and Atticus Mitchell Director: Mercedes Bryce Morgan Fixation does what it wants to do – at least, what I think it wants to do – very well. It puts you in the mindset of a potentially crazy woman undergoing experimental treatment in an institution. She has no idea what is happening, and neither do you. You are on the same ride she is on. However, you still need to tell a story. Fixation is just 99 minutes of intense and trippy imagery that makes you feel as exhausted and insane as she may or may not be. So, if that was the goal, then A+, but that’s also a dumb goal for narrative fiction. - Quentin THE LOST KING Starring: Sally Hawkins, Steve Coogan, and Harry Lloyd Director: Stephen Frears I’m sad to say that I was not into The Lost King . It’s definitely not without its funny moments, mainly courtesy of Steve Coogan’s hilariously dry delivery and Sally Hawkins being as wonderful as always, but the plot was never engaging enough for me. I never really cared about this woman’s goal, nor did they give me much of a reason to. So, as a result, the movie just kinda drags, which is the last thing I want a movie to do. - Adriano PROJECT WOLF HUNTING Starring: Seo In-Guk, Dong-Yoon Jang, and Dong-il Sung Director: Hongsun Kim Fair warning, if you don’t like subtitles, this movie maybe isn’t for you. I’m not a huge fan either, and Project Wolf Hunting has them in abundance. At times, there were so many characters speaking that I couldn’t tell which sub went to which person, leaving me somewhat lost in the story. That said, the story takes a massive backseat to the extremely violent carnage on screen. You know in Morbius , when Jared Leto changes for the first time and kills everyone on the boat? This movie is basically that for two wild and bloody hours. With that action, who needs story? - Quentin LIVING Starring: Bill Nighy, Aimee Lou Wood, Alex Sharp, Tom Burke Director: Oliver Hermanus Living is certainly not bad, and Bill Nighy’s fantastic and heartbreaking performance makes this film super watchable as it features a lot of British charm, humor, and a decent amount of heart. That said, the film can feel like it’s rushing at times, but merely spinning its wheels at others. It’s a weird combo, but by the one hour mark, I was shocked at how quickly they got to a certain plot point and by just how much more movie was left. Overall, I’m more mixed on this than outright like or disliked. - Adriano DALILAND Starring: Ben Kingsley, Barbara Sukowa, Christopher Briney, Rupert Graves, Alexander Beyer, Andreja Pejic, Suki Waterhouse, Avital Lvova, and Ezra Miller Director: Mary Harron Given Salvador Dali’s eccentricities, it’s disappointing this semi-biopic is so damn flat. I say semi-biopic because it’s presented similarly to A Beautiful Day in the Neighborhood , where Dali (Ben Kingsley) isn’t the focal point. Instead, the story is told through the experiences of his assistant (Christopher Briney, who lacks the charisma to carry the movie as the lead). Kingsley, of course, handles himself well, but in what feels like a heavily cut role resulting in minimal screen time, Ezra Miller (as young Dali) is the only actor bringing any life and allure to the screen. Even for the painter’s most ardent fans, this is a bore. - Quentin THE SWIMMERS Starring: Manal Issa, Nathalie Issa, Ahmed Malek, Matthias Schweighöfer, Ali Suliman, Kinda Alloush and James Krishna Floyd Director: Sally El Hosaini The Swimmers is a crowd pleaser for sure, but it’s definitely a bumpy one. The first two acts, I was locked in. An extremely engaging and harrowing thriller that teaches us the horrors of the crisis in Syria. There is one sequence involving a life boat that’s amongst the year’s most terrifying, and the two leads, Nathalie Issa and Manal Issa, do an incredible job. The third act, though, just suddenly becomes a formulaic sports biopic. Kind of a completely different tone, I’d say. I’m sure others will enjoy it, but I wasn’t too impressed. - Adriano BROKER Starring: Song Kang-ho, Gang Dong-won, Bae Doona, Lee Ji-eun, and Lee Joo-young Director: Hirokazu Kore-eda Broker is amazing. Writer/director Hirokazu Kore-eda returns to similar themes that he has visited in the past, and while the results may not be as strong as his previous efforts, they're still effective and heartfelt. The cast works wonders in a story that is consistently warm and welcome yet never overly sentimental in its approach to finding the joy in the messiness of life. Some moments can teeter on melodrama, but those moments are small nitpicks in the grand scheme of this film. - Adriano WILDFLOWER Starring: Kiernan Shipka, Dash Mihok, Charlie Plummer, Alexandra Daddario, Brad Garrett, Reid Scott, Erika Alexander, Ryan Kiera Armstrong, Samantha Hyde, Jacki Weaver, and Jean Smart Director: Matt Smukler If you love small indie movies about finding your place in an unconventional family, Wildflower should definitely be on your radar. It doesn’t break a ton of new ground, sitting comfortably on the shelf next to movies like CODA and Lady Bird , but it’s full of incredible heart and delightful charm. The all-star cast of proven role players (Jean Smart, Jacki Weaver, and Dash Mihok, especially) seem to give relative newcomer Kiernan Shipka the confidence to really dig into this character. I could go on, but the biggest compliment I can give is that I, a 41-year-old cynical male, really enjoyed this sweet, female-driven, coming-of-age tale. - Quentin Photo Credits: TIFF

Previous Next March 12, 2026 With the Oscars coming up, we're once again going to launch an episode for each film the Academy Awards have nominated for Best Picture. Each day leading to the ceremony, we will release an episode, and next up is the surprising Best Picture nominee, F1 ! Director Joseph Kosinski attempts to recreate the magic of Top Gun: Maverick , but instead of planes, he's shooting from the driver’s seat of a Formula 1 race car. ScreenFish's Steve Norton joins the Bitesize crew to discuss Brad Pitt and Damson Idris in the dad movie of all dad movies and its inclusion among this year’s best. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next March 22, 2026 After overwhelming critical and commercial praise, Project Hail Mary is being dubbed a new sci-fi epic for the ages. Is this latest Andy Weir adaptation all amaze, amaze, amaze though? Join Matt, Nick, Amarú, and guest Nathaniel Ahart as they talk about Ryan Gosling’s space odyssey and its potential to survive until awards season. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

THE STUDIO: SEASON ONE Starring: Seth Rogen, Catherine O’Hara, Kathryn Hahn, Ike Barinholtz, and Chase Sui Wonders Creators: Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory, and Frida Perez QUENTIN As someone who loves movies and stories about making movies, I can say that The Studio is very much my shit. The often hilarious, often cringey, exaggerated-but-probably-true-to-life behind-the-scenes machinations of running a movie studio are colorfully brought to life through a stellar cast of comedic stalwarts and a never-ending string of meta cameos. Plus, the frenetic score and almost Paul Greengrass-inspired direction place the viewer squarely in the headspace of Seth Rogen’s frazzled studio head. Admittedly, a lot of the jokes require some inside baseball Hollywood knowledge to work, but it’s still one of Apple’s best shows, just more so for movie fans. AMARÚ The Studio is every movie lover’s panic-inducing fever dream or anxiety-ridden nightmare. Either way, it’s a blast. I constantly held my head in my hands in embarrassment and hilarity, both of which are made extravagantly potent by the outstanding direction. Nearly every scene is a 45+ second tracking shot that, flubs and all, adds a chaotic grandeur to the breakneck script. The only thing more fun than the self-referential satirization of the industry that the series creators clearly love is the dozens of A-list (much more than) cameos. The Studio is a gut-busting love letter to this crazy, ridiculous, magical thing we call cinema. ADRIANO I seriously enjoyed The Studio . For one, it's sharp and expertly crafted, and I love the use of incredibly long tracking shots to contribute to the stressful and intoxicating atmosphere. The principal cast is excellent, and its slew of celebrity cameos are fun too. However, while I was thoroughly entertained throughout, laughing basically the whole time, it can go a bit in circles with its baseline premise of mocking artless industry heads. Also, Episodes Six and Seven weren't my favourites. Still, I quite like this show, and I hope to see it come back. NICK As someone who works in the film industry, The Studio creates the same level of anxiety The Bear does for those in the culinary world. Also like The Bear , it’s exceptionally well done and frighteningly authentic. Apple and Seth Rogen continue to be an ideal match, and this is their top collaboration. Bolstered by wonderful supporting performances from Ike Barinholtz and Chase Sui Wonders, as well as out-of-character guest spots from the likes of Bryan Cranston and Ron Howard, this is a series that deserves all the accolades it is bound to get. Want to hear even more of our thoughts? Amarú, Nick and guest Geoff Alterman join Matt to take A Bigger Bite out of The Studio: Season One HERE .

Previous Next November 13, 2024 WRITTEN BY: ADRIANO In an era of superheroes and studio-mandated nostalgia baiting, directors getting the free range to fully realize a vision is rare these days, especially when it comes to studio films. Thankfully, we have indie studios like A24 and Neon allowing for grander risks while understanding that too much studio interference could result in disaster. As a result, there are a plethora of filmmakers coming in to exploit this freedom of expression, which has been wonderful to witness. While it is a true blessing to still get films from masters like Martin Scorsese and Steven Spielberg, even they will openly admit to the influence and lessons learned from this new era of filmmakers. You can even find videos where they cite some of the directors I'm about to mention. Now, without further ado, here are the best new-age directors that are rewriting the rules of filmmaking. ROBERT EGGERS When it comes to craft alone, Robert Eggers is unmatched. I get the sense he's truly a perfectionist, as all three of his films are so meticulously put together and constructed in a way that feels very true to either the mythology or the period that each film revolves around. On top of that, Eggers is just incredible at tone and world-building. While you can watch an Eggers movie and decipher it based on its commitment to lore and dialogue, each film does something very unique with its atmosphere, whether that be the impending dread of The Witch , the slow descent into madness in The Lighthouse , or the gruesome carnage of The Northman . Eggers just nails it every time. Up next, he has his remake of Nosferatu , and one can only imagine what nightmares he has in store for us. BARRY JENKINS While I'm not thrilled that his next project is a Disney prequel to one of my least favourite movies, 2019’s “live-action” The Lion King remake, there's no denying the outstanding masterworks he has created after he made a name for himself with his Best Picture-winning Moonlight . That film, alongside If Beale Street Could Talk and The Underground Railroad , are genuinely some of the most visually stunning works of art in the past decade. All of Jenkins' films — in some way, shape, or form — deal with identity, isolation, and independence in relation to being black in America. While his films can deal with heavy subjects, Jenkins powerfully avoids black trauma porn, constantly opting for a more hopeful tone, making him a truly sincere filmmaker. JORDAN PEELE I never in a billion years thought that one of the most respected modern horror auteurs would be Ozamataz Buckshank from Stanford University, but here we are. In 2017, sketch-comedy icon Jordan Peele debuted his sensibilities in the horror genre with Get Out . Since its release, Peele received an Oscar for Best Original Screenplay for the film, which has had arguably the greatest modern influence on the genre due to its themes and creativity. While Peele has yet to clear the extremely high bar of Get Out , he continues to dominate studio horror, with his follow-up film, Us , garnering acclaim and study, and Nope following suit. Peele seems to be in a dream position for a filmmaker, being that he seemingly has full creative freedom with his partnership at Universal, and he's the rare director who can sell a movie just because he directed it. An impressive accomplishment from someone who has only made three films. GRETA GERWIG Although not her first film (that would be the 2008’s Nights and Weekends ), Lady Bird put the talents of Greta Gerwig on an extremely high pedestal, and she's yet to disappoint. Her films all seem to be personal to her as she deals with familial dynamics (specifically mother-daughter relationships) and womanhood in all her films. However, she does it in very different forms. Lady Bird is a coming-of-age film, her adaptation of Louisa May Alcott's novel Little Women is a period drama, and, of course, Barbie is an absurdist dramedy that made $1.4 billion. Each film struck a chord with audiences and critics in very unique ways, with all three receiving Best Picture nominations. Gerwig also was nominated for all three screenplays, which leaves me to believe that Gerwig will undoubtedly be a force going forward. JOSH & BENNY SAFDIE Full disclosure, we're reportedly not getting a film from these two as a duo for a while, which is sad, but it was a blast to watch The Safdie Brothers shine bright together. From their early days, they established themselves as true indie auteurs with their fascinating first film Daddy Longlegs , as well as the harrowing drama Heaven Knows What . However, they didn't hit the mainstream until the tense thriller Good Time , which helped give them some notoriety before the stressful masterpiece Uncut Gems shot them into the stratosphere. Uncut Gems has cemented itself as a modern classic, mostly due to the high-octane and nail-biting anxiety that the Safdies poured into nearly every scene. Somewhat unfortunately for fans, they've started doing solo projects. Benny co-created the critically acclaimed surrealist drama series The Curse with Nathan Fielder, and both brothers have separate sports dramas dropping next year (Josh has Marty Supreme with Timothée Chalamet, Benny has The Smashing Machine with Dwayne Johnson). I can't wait to see what they pull off in their respective solo careers, but I sure wouldn't be upset to hear they decided to make another film together. JANE SCHOENBRUN Truth be told, of everyone on this list…and honestly any new-age director, for that matter…there is nobody I'm more excited by than Jane Schoenbrun. In their two narrative features, Schoenbrun has seemingly found themselves a brilliant knack for surreal psychological horror dramas with We're All Going to the World's Fair and I Saw the TV Glow . Their key themes include identity, self-affirmation, and relationship to media, all mainly regarding queer and trans individuals. In both of their films, the use of the camera and colour is fascinating, and the way they decide to implement horror in their own way is successfully chill inducing. In whatever way you may connect to Schoenbrun's filmography, it's hard to deny just how incredibly unique they are. DANIEL KWAN & DANIEL SCHEINERT If you were to tell me the duo that directed Lil Jon’s “Turn Down for What” music video would become three-time Oscar winners, I'd cry foul, for sure. Yet, that is where we find ourselves after Daniel Kwan and Daniel Scheinert, also known as The Daniels, launched themselves onto the scene with their debut film, Swiss Army Man , introducing us to their wild sense of humour, surreal sensibilities, and soft touch when it comes to storytelling. One movie later, they were greeted with universal acclaim for their life-affirming, absurdist, martial arts sci-fi comedy, Everything Everywhere All at Once , a film that will likely remain one of the defining films of the 2020s. Not only did it win seven Academy Awards, when adding up every award that has been bestowed upon the film, it's currently projected to be the most awarded film in cinema history. And that was just The Daniels' second movie. God only knows what these two mad men have in store for us next. SEAN BAKER Whenever I sit down to watch a Sean Baker film for the first time, I can always rely on him to offer me something truly one of a kind. Whether it's Tangerine, The Florida Project, Red Rocket , or his recent Palme d'Or-winning film Anora , which is currently a big Oscar hopeful, there are some similarities you can expect but they always come in their own packaging. Each film of his is a grounded, character-driven, raunch comedy that covers themes of class and sex work in a very judgment-free manner. Even at his film's wildest moments, everything about Sean Baker's direction feels authentic and lived in, creating experiences that'll entertain you and make you laugh, but also make you stop for a minute to realize you just witnessed something incredibly special. DAMIEN CHAZELLE The prowess of Damien Chazelle is remarkable. From his debut film, Whiplash , Chazelle constantly pushes the envelope with a deft hand that makes it clear that he is a master behind the camera. This is showcased even further with his second feature, La La Land , an astonishing feat of filmmaking that he pulled off at just 32 years old. While I admit that Babylon is not my cup of tea, that film (alongside his Neil Armstrong biopic First Man) shows Chazelle is willing to experiment with music and editing, unlike most working directors. Even if his most recent film may have not been the best chapter of his career thus far, I have no doubt that he can bounce back. RYAN COOGLER As simplistic as this may sound, Ryan Coogler is one of those directors that just "gets it." After his outstanding, gut-turning debut, Fruitvale Station , Coogler has changed his tune to become a very important figure in the studio blockbuster game. His Rocky spinoff Creed was a massive surprise that, in my opinion, set the bar really high for the recent glut of legacy sequels. He then dipped his toes into the Marvel machine with Black Panther and Black Panther: Wakanda Forever , two films that were so critically acclaimed that even Marvel deniers like me had to concede to their excellence. Even at his highest scales, Coogler never loses sight of the emotional stakes that guide his films to give them more meaning than just blockbuster thrills, and I, for one, cannot wait for his next offering, Sinners, with Coogler-muse Michael B. Jordan in dual roles.

WELCOME TO CHIPPENDALES Starring: Kumail Nanjiani, Murray Bartlett, Annaleigh Ashford, and Juliette Lewis Creator: Robert Siegel ADRIANO There is something of a missed opportunity in Welcome To Chippendales . The story itself is engaging, compelling me to return every week, not to mention Kumail Nanjiani’s engrossing performance and Murray Bartlett stealing every scene he’s in. However, I wish the show wasn’t so lacking in style, which is especially noticeable for a tale of glamour and intrigue. Unfortunately, any grit present is only there because of the nature of the true crime story, not because of any conscious decision in the direction. It has enough entertainment value that I would recommend it, but it left a lot to be desired. QUENTIN Welcome to Chippendales , Hulu’s latest true corporate crime story, boasts enough sleaze and neon to make the darkly sordid tale quite a bit of fun (think of it as The Dropout through the lens of Netflix’s GLOW ). Admittedly, I’m not a huge Kumail Nanjiani fan, but he does good dramatic work here; however, he is greatly overshadowed by Murray Bartlett. The series’ only real flaw is that it covers 20+ years in eight episodes, so seemingly important plot points and characters are glossed over or forgotten quickly. And while there is clear character development, it comes at whiplash-inducing speeds. Still, I never lost interest.

BATMAN: CAPED CRUSADER: SEASON TWO Starring: Hamish Linklater, Jason Watkins, Krystal Joy Brown, Eric Morgan Stuart, Gary Anthony Williams, John DiMaggio, Matthew Needham, Michelle C. Bonilla, and Cedric Yarbrough Creators: Bob Kane and Bruce Timm AMARÚ When you say something has upped its game, it usually means the predecessor wasn’t great. But with Batman: Caped Crusader , this second season elevates a great show to an exceptional one. Hamish Linklater now deserves mention in the annals of recognized Dark Knights, homaging Kevin Conroy while still stamping his own voice. The noir setting is gritty, humorous at the exact right moments, and brings a fresh take to the best rogues gallery in comics. More than anything, though, I’ve never seen such an unedited representation of the brutality Batman brings to Gotham. It’s surprisingly violent and damn near flawless. QUENTIN You know, it’s funny. I recently reviewed X-Men ’97 , theorizing the two-year break between seasons might have killed my interest in that series. But here comes Caped Crusader , which also had a two-year break, and my thoughts couldn’t be more different. The surprisingly brutal action, noirish animation, and art deco design remain top-notch (X-Men ’s technicals also remained strong, to be fair), but the story is far more engrossing and cohesive, merging crime-of-the-week tales featuring both favorites and deep cuts from Batman’s (Hamish Linklater) rogues gallery with the slow-burn introduction of Joker (Matthew Needham). If nothing else, Caped Crusader ’s excellence has solidified my apathy towards X-Men . Check out our reviews for Season One HERE .