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Previous Next May 14, 2025 WRITTEN BY: THE BITESIZE CREW One of the things we are proud of at Bitesize Breakdown is the personality and individuality of our writing staff. With that in mind, we thought we'd take a moment to give you an opportunity to know the writers behind the avatars. So... Dear readers, Meet the Crew! NICK (He/Him) Birth Year: 1991 Location: Toronto, Ontario Favourite Film: Back to the Future (1985) X: https://x.com/nickvandinther With a background in acting and a love of film from a young age ( Star Wars was my introduction to the medium), I've always been eager to talk about the latest releases. As my shelves overflowed with DVDs (I prioritized space for movies over clothing), I came to the realization that I loved watching and discussing film and television more than most. Looking to continue that conversation, I brought my thoughts to social media where I began to find like-minded individuals, ultimately leading to the creation of Bitesize Breakdown. Coming from the performance side of things, that's where my focus tends to be because I believe a good performance is much more likely to make up for a lacklustre film than vice-versa. However, I try to base my reviews on a combination of personal enjoyment and technical acumen. A ton of work goes into these projects from top to bottom, so that’s why I’ll never feature “Worst Of” lists or celebrate a film’s failure. I enter all films wanting to love them, but unfortunately, it doesn’t always work out that way. AMARÚ (He/Him) Birth Year: 1988 Location: Charlotte, North Carolina Favourite Film: Inception (2010) X: https://x.com/knick888221 Whatup, family - it’s ya boy, Amarú Moses. I’m a teacher by day and a movie lover by… life. Growing up, the Mosi (yes, Mosi) family weekend outings always meant a trip to the movies. From watching The Lion King and Pulp Fiction in the theaters at the ripe age of six to becoming a competitor on the biggest professional movie trivia league Movie Trivia Schmoedown , movies have had an everlasting presence in my life. I’m originally from New York (die hard Knick fan here), lived in seven cities in five states by the time I graduated college (GO BEARS!!!!), and moved to Charlotte in 2017. In 2020, I became the second writer for a little start-up review website called Bitesize Breakdown, so while I may not be the oldest person here, you can consider me an OG. I’m a geek by nature, but I'm a fan of all movie genres… except Musicals… mostly. You can usually catch me hosting One Gotta Stay , still playing online movie trivia, or getting hyphy watching Blindspotting for the fifty-millionth time. Whatever it is, if it has to do with my free time, it probably has a movie attached to it. QUENTIN (He/Him) Birth Year: 1981 Location Stuttgart, Germany Favourite Film: The Big Lebowski (1998) Facebook: https://www.facebook.com/quentin.lester Like a lot of kids growing up, Quentin had a crush on his b abysitter. His babysitter? Movies. From Columbia House memberships to Blockbuster Nights to spending the whole day theater-hopping with his cousin, movies always provided the escape a quiet kid from Kentucky needed. Nearly four decades later, Q’s crush has turned into a full-blown love affair, and he has come to believe that there is a difference between “movies” and “films.” As a result, he applies both an analytic and consumeristic eye to his reviews, equally judging artistic merits as much as pure entertainment value, while trying to remain objective and credible in his takes on movies, film, and television. That said, he loves a good heist, Nic Cage, superheroes, and considers the Rewatchability Quotient one of the most important factors in his ratings. Meanwhile, he will almost always skip Wes Anderson, musicals, found footage movies, and anything that looks too saccharine. A childless, pants-hating veteran… Q is well-traveled, cynical, tattooed, anti-physical media, and can often be found drinking bourbon at a bar with a new best friend he just met. You may think he’s overly harsh in his reviews, but he will abide your disagreement because “that's just, like, your opinion, man." KATIE (She/Her) Birth Year: 1999 Location: Exeter, Devon Favourite Film: Ratatouille (2007) X: https://x.com/katiemaybone I’m Katie, and I love cinema. Films have always played an important role in my life, with some of my earliest memories being of the Warner Bros. Studio just down the road from where I grew up. I’m in awe of the creative efforts that go into crafting a film, which made me an avid cinema goer at a young age. Whilst I’m varied in my viewing, with my favourite films ranging from the faultless masterpiece that is Ratatouille to The Shining , horror has a special place in my heart. From renting The Blair Witch Project and Paranormal Activity DVDs when I was probably a bit too young through to present day, I’ve always been fascinated with the genre. During my time in university, I discovered I much preferred writing about films than making them. I also developed a passion for the intersection of horror and feminist film theory, focusing largely on female-authored horror cinema. My approach to reviews is based equally on how I connect emotionally and personally with a film or series, as much as it is on artistic merit and technical aspects. That being said, I have a soft spot for Florence Pugh, horror films, and anything food related. BODE (He/Him) Birth Year: 1995 Location: Ajax, Ontario Favourite Film: E.T. The Extra Terrestrial (1982) X: https://x.com/bodesulaiman I share the same birthday as Steven Spielberg. Obviously, a lot of people do, but I doubt they use it as a way to introduce themselves like I have. That’s because Spielberg is the reason I got into film in the first place. It’s the joy and melancholy of E.T. The Extra Terrestrial that made an indelible mark on me as a child, sparking a fascination with the power of the moving image as a medium, a fascination that continues to grow the more I watch (no matter what genre) and the older I get (because we’re not getting any younger). Even in the not-so-great moments of my life, I’ve found solace in it. It’s how I’ve made friends. It’s how I’ve bonded with family. It’s how I’m able to make some sense of my place in the world. I’ve always been eager to share my opinions about the latest releases or the canonical classics to anyone who cares to listen, and getting to do so for an outlet such as Bitesize Breakdown is exciting. I couldn’t be happier to be part of the team! ADRIANO (He/Him) Birth Year: 2001 Location: Aurora, Ontario Favourite Film: Network (1976) X: https://x.com/AdriCaporusso For as long as I can remember, film and television have been a major part of my life. When I was 9 years old, I fell in love with the comedies of the 2000s. Films such as Superbad , Step Brothers , and Dodgeball first ignited that flame, and it only got bigger as I grew older and saw films from the likes of Martin Scorsese, Quentin Tarantino, and Stanley Kubrick. Although I had an acting stint in high school, and briefly performed stand-up comedy at Open Mics in 2019, filmmaking and writing became a passion and dream of mine. I spent most of my days in my house just watching movies, old and new, constantly fascinated at the craft and storytelling. As a result, I find myself with an uncomfortable knowledge about the Oscars and Emmys, knowledge that has turned me into an awards pundit. A staunch lover of physical media, film and television has consumed my life for better and for worse, and because of that, I’ll always be somewhat optimistic about a film, whether it deserves it or not. ROBERT (He/Him) Birth Year: 1988 Location: Dallas, Texas Favourite Film: Pulp Fiction (1994) Facebook: https://www.facebook.com/robert.castner.714 Can there be anything worse for a Pittsburgh native and sports fan than to end up in a place like Dallas? (Rhetorical question: the answer is no.) Fortunately, I found life rafts to buoy me under such conditions with my wife and child, who are the world to me. From a movie perspective, I found solace in the silver screen as a means of escapism, as I’m sure most people do. I have always been fascinated with how worlds are concocted and how much of an event going to see a movie can be. From Titanic to Avengers: Endgame , I love the communal aspect and being part of the zeitgeist through something I adore. Once COVID happened, I looked for another outlet, finding online movie trivia. Suddenly, I could lean into my competitiveness by using the one thing that has held up over the years: my memory. Also, I was embraced by my peers and made a ton of great friends along the way. I developed into a geek-movie advocate, but fire up a good comedy ( Superbad , Step Brothers , Pineapple Express ) and I’m in heaven dancing with the Backstreet Boys. PAIGE (She/Her) Birth Year: 1993 Location: Brockton, Massachusetts Favourite Film: Scream (1996) X: https://x.com/frontpaigenews9 For those who don’t know me, my name is Paige Frabetti, aka “The Boston Badass” from Movie Trivia Schmoedown . For as long as I can remember, I’ve always been a huge fan of cinema. It all started with the original Star Wars trilogy, which took me to a galaxy far, far away. I love that film can be an escape from the real world, sucking viewers into make-believe worlds that allow the audience to leave all their worries behind. I also love finding a character or story that I can relate to, helping me to feel seen in this world, which influences how I rate series and movies… can I connect to it and be entertained by it? I also share a huge passion for physical media as I own way too many Blu-rays to even count. Lastly, the other Bitesize writers will tell you I’m the resident horror and A24 fanatic, but I’m also a die-hard Quentin Tarantino fan, a lover of coming-of-age films, and, if you can't tell from some of my tattoos, I’m still a Star Wars nerd.

Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! ABOUT US Bitesize Breakdown is a diverse, global collective of writers that seek to escape the negative connotations associated with the term “critic.” We believe that popular blockbusters are just as important to the conversation as the festival darlings routinely fawned over during awards season. With that in mind, we strive to write for the everyday film fans who spend their hard-earned money at the theater. Our wide-ranging backgrounds allow us to provide multiple perspectives for each and every film & series, and we keep our spoiler-free reviews at around 100 words each to help you make an informed decision in an easily digestible way. Additionally, we feature in-depth interviews, analysis, and much more, making Bitesize Breakdown your destination for film & series insight. THE BITESIZE CREW NICK AMARÚ QUENTIN PAIGE ADRIANO KATIE BODE ROBERT Write For Us!

Previous Next July 16, 2025 WRITTEN BY: NICK, QUENTIN, AND BODE I know we say this every year, but the Fantasia International Film Festival will forever be important to Bitesize Breakdown. It was the first festival to grant us press credentials, and as such, we will proudly cover it as long as we can. A favourite of directors such as Quentin Tarantino, Mike Flanagan, and Mr. DC himself, James Gunn, Fantasia (located in Montréal, Quebec, Canada) is the largest genre festival in North America. It has supplied us with great hidden gems such as Hundreds of Beavers , Dinner in America , Skinamarink , and The Mortuary Collection , and in 2025 we're bound to unearth some more. This year, one of our newest writers, Bode, will be joining Nick and Quentin as the trio tackle as many films as they can, with a selection of the titles they're most anticipating listed below. The 2025 Fantasia International Film Festival runs from July 16th to August 3rd, so make sure to check out our site and socials for all our thoughts on what we get to check out this year. FIXED Long one of my favourite animators, Genndy Tartakovsky has made an indelible mark with his unique style, often emphasizing visual storytelling and exaggeration through shows such as Dexter’s Laboratory , Samurai Jack , Star Wars: Clone Wars , and Primal . And while the wildly successful Hotel Transylvania movies aren’t necessarily as acclaimed as his television output, his bold features manage to shine just as well in those films. I always look forward to anything he makes, and his latest feature Fixed - set to close out Fantasia - is no exception to that. Over a decade in the making, this R-rated comedy about a dog’s night out before he gets neutered promises plenty of raunch, plenty of heart, and plenty of striking 2D animation. - Bode GOOD BOY Unlike most people, the idea of “good movie dog” doesn’t mean much to me. Truth be told, I don’t even like dogs (cats are better, fight me). Dogs are all the worst aspects of toddlers — stinky, self-imposed chore-makers that do little else but eat, be loud, and shit on the floor. I’ll pass. That said, I’m always up for a good ghost story, even more so when it comes with a unique angle. A haunted-house thriller told from the perspective of a dog is about as unique as it gets. I’m picturing something like Steven Soderbergh’s Presence mixed with…uh…I don’t know, Beethoven , maybe? Turner & Hooch ? Whatever it ends up being, it’s apparently “one of the best horror films of the year.” Couple that with buzz that it is, at the very least, “one of the most talked-about genre films of 2025,” and sure, I’ll toss Good Boy a bone. — Quentin LURKER One of the most buzzed-about films to come out of Sundance this year, Alex Russell’s directorial debut Lurker heads to Fantasia hoping to keep that buzz going. Dubbed by its earliest reviews as a “Gen-Z All About Eve ,” the film explores the parasitic relationship between a clothing store clerk (Théodore Pellerin) and an emerging pop star (Archie Madekwe). There’s definitely no shortage of media that examines the rabid desire for fame or the power dynamics between artists and fans. But these are still pretty potent topics, especially considering that we live in a landscape that has been dominated - and in some ways, reshaped - by social media. I’m very interested in seeing how Russell (a writer on Beef and The Bear ) tackles them, and whether his observations are sharp ones. It also helps that the cast is full of promising young actors, as well as the musical talents of record producer Kenny Beats, who makes his feature film scoring debut. I’m especially intrigued to hear what eclectic compositions he cooks up for this. - Bode REDUX REDUX When perusing the offerings at a film festival, especially one like Fantasia that boasts mostly low-budget genre indie movies, one tends to skim the program for exciting key words. The small bit I’ve read about Redux Redux has too many of those interest-piquing keywords to ignore. Early reactions out of SXSW 2025 called it a “multiverse exploration…about vengeance” and a “breathlessly intense cat-and-mouse thriller.” On top of that, it’s written and directed by the Peabody award-winning and Emmy-nominated writers of American Vandal (which I loved) and Cobra Kai (which I enjoyed until I didn’t). Lastly, with a description boasting “deliverance by any kind of weapon, every kind of weapon,” all while being evocative of mid-80s James Cameron, including big bursts of action, shoot-outs, and car chases…I mean, if you’re going on little more than keywords, this one has it all. — Quentin TERRESTRIAL When I'm going into a film relatively blind, I try to find something familiar, whether it be an actor or a director, that gives me some sense of what I may be getting into. For Terrestrial , the name which caught my attention was Steve Pink. You may know Steve Pink as the director of the Hot Tub Time Machine films, but he's also written the screenplays for two of John Cusack's biggest hits, Grosse Pointe Blank and High Fidelity . His latest looks to be a new direction, as Terrestrial has been labeled as both a dark comedy and a sci-fi thriller. Following a struggling writer (played by Jermaine Fowler) and a potential descent into madness, it's the dark aspect that intrigues me most, as this sounds like a character study that Fowler can really sink his teeth into. - Nick TOGETHER “Wait. Dave Franco and Alison Brie (both best known as comedic actors) are the leads in an upcoming body horror?” That was my initial reaction when I first heard buzz from Together coming out of the latest Sundance Film Festival. Whether it's the positive feedback, the unsettling promotional material, or just the film's ominous concept of a codependent couple encountering a supernatural being that transforms both their love and their flesh, I've been anticipating Together ever since. For a film like this to work, the chemistry needs to be on point. So, casting an actual married couple in Franco and Brie only adds another layer to what I assume will be an emotionally devastating and spine-tingling body horror that'll make you want to look away more than once. I can't wait. - Nick

Previous Next March 7, 2023 WRITTEN BY: THE BITESIZE CREW Presenting our 2nd annual Bitesize Awards with updated categories! Similar to the Bitesize Top Five, each writer ranked their Top 10 selections for each awards category. Those lists were then weighted on a reverse point system. After all the points were tallied up, we had our nominations. Finally, we voted on each award. BREAKOUT ARTIST *WINNER* AUSTIN BUTLER ( ELVIS ) There were a lot of great nominees for Breakout Star in 2022, but you need only to look at the Oscars to see who is at the top of everyone’s list. Truthfully, Austin Butler had never been on my radar, and it wasn't until seeing Elvis that I realized I had seen him before in Quentin Tarantino's Once Upon a Time in Hollywood… . Before seeing Elvis , the draw in my eyes was director Baz Luhrmann, but by the time the credits rolled, I knew I had seen the birth of a new movie star. Butler's captivating performance grabs you and never lets go. - JTE MIA GOTH ( X/PEARL ) 2022 was a great year for horror, and I feel like Mia Goth is a huge reason for it. She absolutely killed it in dual roles in X, as well as in the starring role of Pearl . While she may have had past work, X and Pearl have shown that not only is she a new scream queen, she’s a star. Her talent is on full display through her multiple roles, but I feel it’s in Pearl where she truly shines. Her madness and pain is able to radiate through her smiles and dance numbers. - Joseph JENNA ORTEGA ( THE FALLOUT/SCREAM/X ) Wednesday Addams…I mean, Jenna Ortega…took 2022 by storm with numerous killer performances (pun intended). She established herself as a modern-day scream queen with Scream , X , and Studio 666 , but she also displayed impressive range in the school shooting drama The Fallout , which quietly premiered on HBO Max. Ortega is the next hot thing with a bright future, and she’ll be dominating the big and small screen for many years to come. - Paige GABRIEL LABELLE ( THE FABELMANS ) In The Fabelmans , one can see the makings of an excellent young actor who’s poised to have an amazing career. Confident, funny, cold, and extremely vulnerable at times, Gabriel LaBelle is the movie’s brightest spot. With his easygoing charm, it’s easy for audiences to immediately latch onto him as he portrays Sammy Fabelman, the Steven Spielberg stand-in for the story. While not as strong in some of the film’s more emotional scenes, specifically those with his parents, LaBelle still manages to provide an overall impressive performance. - Darryl AMBER MIDTHUNDER ( PREY ) I had seen Amber Midthunder here and there before, especially sticking out in FX’s Legion , but because of Prey , the rest of the world now knows how much of a badass she is. She is an action star through and through, in the vein of Michelle Yeoh and Zhang Ziyi, and just like those women, she can act her ass off too. I can’t wait to see more of Ms. Midthunder’s acting chops or her ass-kicking abilities. - Amarú HIDDEN GEM *WINNER* CHA CHA REAL SMOOTH There was a point in time where I thought Cha Cha Real Smooth was going to be the most well-known indie darling of 2022. However, after about a month, not many people (outside of one Boston Badass you may know) had heard of Cooper Raiff’s heartwarming movie. If you get a chance, go put a big smile on your face by watching this Apple original. Two hops this time!! - Amarú EMERGENCY Emergency is one of the few dramedies that actually stays a dramedy throughout the majority of its runtime as it explores police brutality and the disproportionate response to enforcement as it relates to African Americans. College kids Sean (RJ Cyler) and Kunle (Donald Elise Watkins) know this all too well as they attempt to seek help for the white woman they found passed out in their house. Cyler and Watkins have outstanding chemistry playing the comic relief and straight man, respectively, and with excellent direction from Carey Williams, Emergency is a movie worth seeking out on Amazon Prime. - Darryl MAD GOD Have you ever wanted to see the universe begin and end in nightmarish cycles? Well, then, let me introduce you to Mad God . It’s a beautiful, horrific nightmare that is so visually stunning that, despite its strangeness, it feels easy enough to follow. It’s the most daring film of the year since it strays from a traditional narrative structure and contains virtually no dialogue, yet it commands your attention throughout. It’s an oddball film that features striking imagery and is loaded with themes. - Joseph THE OUTFIT It’s possible that living in Germany has skewed my view since The Outfit was advertised everywhere here, but I’m very surprised this even qualified as a Hidden Gem. However, seemingly almost no one in the U.S. saw this great mystery crime thriller. Either way, it features a terrific performance from perpetually underrated Mark Rylance, a classically old-school score, and fantastic production design. In my review, I called it Reservoir Dogs in the style of Tinker Tailor Soldier Spy , and I really can’t come up with a better way to sell it to you. - Quentin AFTERSUN Aftersun is one of many wins in a year filled with wins for A24. Making just over $3 million at the box office despite being amongst the most critically acclaimed movies of the year, Charlotte Wells’ directorial debut is a slow film that rewards the audience's patience with a tender and remarkable story of a father/daughter relationship filled with love but with an inherent darkness beneath the surface. I hope this film gains more life in the future. - Adriano BEST MUSIC *WINNER* THE BATMAN No other score of 2022 fits the mood of its story quite like The Batman ’s. Thanks to Michael Giacchino’s brooding melodies, an extra layer of grime is added to the fictional city already famous for its inhospitality. Weaving together the various leitmotifs to create a story where all of our characters are interconnected and integral to the mystery, the music does its share of heavy lifting in influencing the viewer's emotions. Highlighted by a pulse-pounding chase sequence in the second act that makes for one of the year's best action set pieces, Michael Giacchino has provided a near perfect musical composition. - Darryl BABYLON Last year, I focused this award more on soundtrack than score because I believe it can be the unsung hero of many films. However, there was no tracklist of music that stuck with me more this year than Justin Hurwitz's score for Babylon . It takes you through a range of emotions, and its pairing with this underrated film is pitch perfect. I even switched my alarm tone to “Manny's Song” to really get me up and at 'em in the morning. I have no doubt this is the best score of 2022, and since this is the film's only Bitesize Award nomination, let me also state that Babylon was also one of the year's best films. - Nick ELVIS Hubba, hubba…Austin Butler truly brings Elvis Presley’s voice to life in this audacious biopic. You can’t help falling in love with the film's countless musical performances, which feature many of the legend’s biggest hits, and they will certainly get you on your feet, singing and swinging your hips. The soundtrack will transport you back to the days when The King of Rock n’ Roll took the music world by storm. So, thank you, Baz Luhrmann. Thank you very much for bringing Elvis’ tunes to the big screen. - Paige WEIRD: THE AL YANKOVIC STORY When it comes to musical biopics, you just know that they will feature a great soundtrack. I mean, if the artist is good enough to warrant a biopic, then they must have some great hits. Weird is no exception. Covering everything from “My Bologna” to “Amish Paradise,” it runs through the parody hitmakers’ early catalogue, delivering head bops, nostalgia, and laughs along the way. The score from Budapest Scoring Orchestra isn’t bad either. - Quentin NOPE Director Jordan Peele’s latest is one hell of a ride, and his third collaboration with composer Michael Abels only adds to its success. Abels’ score takes what could be described as typical horror/sci-fi music and blends it with a western twang befitting the horse ranch setting of the movie. The result is a score that haunts at some points while it excites in the next. It’s fantastic. - Adriano IN ALL SERIOUSNESS AWARD *WINNER* THE FABELMANS Steven Spielberg’s The Fabelmans may not look like an especially brave or challenging piece of art on its surface, but I’d argue that its marketing did it an injustice in representation. The story, a noticeably personal one for maybe the greatest filmmaker ever, is quite a bit thornier than one might expect. Its drama is not elevated by the idea of falling in love with filmmaking, but with falling out of love with almost everything except that. In many contexts, this is sure to become one of Spielberg’s most underrated pieces. - Jacob THE WHALE The resurgence of Brendan Fraser was prominent in the lead up to The Whale , so much so that I began to expect the performance was being overhyped. It genuinely is not. This feels like one of those roles that couldn't have been done by anyone else thanks to Fraser's ability to garner such empathy through this heart-breaking performance. It's not just Fraser, though. Hong Chau also is terrific, while Samantha Morton leaves a lasting impression with limited screen time too. Darren Aronofsky crafted a well-told and tragic story that was more than enough to make my eyes water. One of the best dramas of the year. - Nick ALL QUIET ON THE WESTERN FRONT All Quiet on the Western Front is often lauded as one of the best anti-war stories ever told, and this adaptation gives credence to that accolade. It’s an unflinching and intense film that puts the horrors of war in your face and throws you right into the action. More importantly though, are the scenes away from our main characters on the battlefield, like when Daniel Bruhl’s character is trying to speak politics and stop the war. It shows just how needless war can be. It’s a fantastic drama that deserves all the appreciation. - Joseph TÁR Tár heralds a staggering return to form for director Todd Field, as well as possibly the best work of Cate Blanchett’s career. From the first frame to the final, Blanchett captivates the audience, delivering a performance that is multifaceted and demonstrative of her wide-ranging acumen as an actress. At just under three hours, the film feels its length, but that runtime is necessary to provide the full scope of the downfall of a person who is at the very top of her game. It’s a must watch for any fan of original, expertly crafted, character-driven films. - Darryl THE NORTHMAN The Northman is epic, raw, and one of the best movies of the year. Robert Egger’s latest is an impeccably crafted revenge saga that takes us through the world of viking mythology as we follow Amleth’s (played by a breathtaking Alexander Skarsgård) quest to avenge his father. It’s one of the most memorable films that came out this year, and one struck a primal nerve in me. - Adriano LAUGH OUT LOUD AWARD *WINNER* THE UNBEARABLE WEIGHT OF MASSIVE TALENT Meta films aren't for everybody, but let me just say this... I love them! When done right, a meta film can feel like a film made just for you, and as someone who grew up in the age of Nic Cage, The Unbearable Weight of Massive Talent tapped into that feeling. This film rewards you for every Nic Cage film you’ve ever seen, from Face/Off to Guarding Tess . Thankfully, Cage is not alone on this adventure. Pedro Pascal co-stars, and together, they give birth to what may be the best onscreen bromance in over a decade. - JTE GLASS ONION: A KNIVES OUT MYSTERY After the hit that was Knives Out , expectations were high for Benoit Blanc’s (Daniel Craig) next mystery, and regardless of what you were anticipating, I don’t think anyone thought this sequel would be as funny as it is. Laugh-out-loud moments are delivered from the entire cast, especially Kate Hudson and Craig (and let’s not forget slacker Derol (Noah Segan)), while the mystery is every bit as engrossing as its predecessor’s. Although I wouldn’t necessarily classify Glass Onion as a “comedy,” there is no denying that it is one of the year’s funniest movies. - Quentin THE BANSHEES OF INISHERIN Martin McDonagh could make movies until the end of time, and I’d be happy about it. His brand of dark comedy is back, and although it’s maybe a little more subdued than usual, it’s still absolutely hysterical. This movie intends to make you feel bad, but it does so with vast amounts of laughter and humor, all delivered by a hilarious ensemble that executes flawlessly. - Adriano WEIRD: THE AL YANKOVIC STORY Weird Al has made me laugh my entire life. I also grew up alongside Daniel Radcliffe, watching (loving) him as Harry Potter well into my adolescence. Put those two things together, and you get the funniest movie I watched all year. Radcliffe confirms his penchant for post-The-Boy-Who-Lived quirk, and he was the perfect medium through which to channel the soundtrack of our musical musings for the past three decades. Weird is easily the movie to make me literally LOL the most this year , and the number of audible chuckles in the second place finisher isn’t close. - Amarú TRIANGLE OF SADNESS In an era of filmmaking that's focused on wealth inequality and the condemnation of those who would hoard everything for themselves ( Hustlers , Parasite , The Menu , etc.), Triangle of Sadness will go down as possibly one of the most absurdly direct. A searing lampoon of the upper crust of society, writer/director Ruben Ostlund holds nothing back. A fair warning for those weak of stomach, though: this film contains bodily fluids aplenty. With a cast of actors that seem to be game for almost anything, Triangle of Sadness definitely hits the mark on what it sets out to do. - Darryl ADRENALINE AWARD *WINNER* TOP GUN: MAVERICK In 2022, many great films were released and many great action sequences were shot, but none could quite contend with the power of Top Gun: Maverick as a pure shot-of-adrenaline experience. Beginning with the stellar Darkstar opener, following that with one of the best aerial training sequences ever put to screen, then riding that wave all the way to the multi-part, action-packed final act, there is simply no stopping this film’s momentum once it starts. We all felt the need for speed with this one. - Jacob PREY Prey is a smartly crafted film that recontextualizes the relationship between the hunter and the hunted. The decision to set a Predator story in 1700s uncolonized America is a brilliant one, allowing the audience to engage in a familiar tale in an unfamiliar setting. Respect is given to First Nation members too, and at no point are they a cartoonish characterization or exaggeration of themselves. A culture known for having to hunt for survival being pitted against a pop culture icon famous for hunting humans is an idea rife with creative possibilities, and director Dan Trachtenberg and writer Patrick Aison squeeze that potential for every drop. - Darryl EVERYTHING EVERYWHERE ALL AT ONCE Everything Everywhere All at Once is so many things in one. There is drama, there is comedy, but above all else, it's a shot of adrenaline. You're on the edge of your seat throughout, right alongside Evelyn’s (Michelle Yeoh) complete unawareness of what's going to happen next as she cycles through different multiverses. Plus, Yeoh and Ke Huy Quan both have some of the most crisp fight scenes to come out this past year. There is a reason this is heralded as one of the best movies of 2022. - Nick THE BATMAN The Batman was, hands down, the best superhero film of 2022, and it will get your adrenaline pumping with its nonstop and realistic action beats. Director Matt Reeves managed to make a David Fincher-like Batman film that’s raw and not afraid to get down and dirty. In fact, this dark and intense take on the masked crusader is honestly the first Batman film to actually show off The Dark Knight’s detective skills. You’ll be gripping the edge of your seat throughout the entire film, and looking to fight crime once the credits roll. - Paige RRR The snowballing word-of-mouth for RRR just kept getting bigger and bigger as summer moved into autumn, so I finally had to watch this epic, all-out, ball-of-infectious energy of a film. The movie matched the hype, and it’s just gonna keep growing. There may be multiple genres floating around in its 3-hour runtime, but nothing gets you out of your seat like the explosions, wildlife, and annihilation of the British Empire. And, yes, I’m including the “Naatu-Naatu” dance-off as one of my favorite action scenes of the year. - Amarú NIGHTMARE AWARD *WINNER* BARBARIAN In today's world of social media and entertainment news, it's hard to find a film that can genuinely surprise you. Barbarian pulled off this rare feat, making it the must-see horror film of 2022. Writer/director Zach Cregger also reminded people of how much fun a horror film can be when it's a communal experience. Some of the best horror films ever play with the audiences’ expectations, and Barbarian is a roller-coaster ride that plays with genre tropes to keep you on your toes until the very end. - JTE NOPE I don’t care what anyone says, thinks, or tells their friends: Director Jordan Peele is 3-for-3 in his film career, and you can’t tell me otherwise. The chills, the images, the acting performances, and all things Gordy make Nope one of the creepiest and most exceptional horror movies of the year. It’s nothing like his previous two entries, but Nope confirms that Jordan Peele is an event director of must-see movies that you can buy a ticket for sight unseen. He even made this horror-hater change his tone on the genre, so maybe now I’m just a horror-disliker?… is that a word? - Amarú THE MENU When I walked into The Menu at TIFF, I only knew that it was a take down of the haute cuisine and fine dining establishment. What I did not know or expect was that it would be a tension-escalating tale of Eat the Rich judgments filled with dark surprises, claustrophobic ambiance, blood, and dread. The ensemble cast is better than I could have imagined too, especially Ralph Fiennes, who manages to convey uneasy humor and subtle menace as he leads us through twists and turns with each thunderous clap. - Quentin PEARL Director Ti West delivered horror fans one hell of an unexpected surprise last year with the bloody origin story of X ’s villain, Pearl . The best way to describe this film is a horrifying and bizarre fever dream that allows Mia Goth to give a profound, no-strings-attached performance. Pearl may not be as gory as its predecessor, but it’s more about a mind unraveling from reality, which can be even more terrifying. - Paige X Pearl may have gotten all the talk of 2022, but X was director Ti West's film that stuck with me most. It features great performances across the board (Mia Goth and Jenna Ortega deservingly got the headlines, but I think Martin Henderson also was crucial), and it does a wonderful job of transporting the viewer to the 1970s. There's such a chill and cool vibe to this film that makes it that much more of a contrast when things start to go off the rails. If Ti West nails MaXXXine , the third entry in the Pearl franchise, he will have created one of the all-time great horror trilogies…and that doesn't exist without X . - Nick BEST ENSEMBLE *WINNER* GLASS ONION Not only is Rian Johnson one of the best writer/directors working today, the man also knows how to build out an amazing cast. Just like its predecessor, Knives Out , Glass Onion showcases an outstanding array of talent from its cast of A-listers, which includes Daniel Craig, Edward Norton, Janelle Monáe, Kate Hudson, Dave Bautista, Leslie Odom Jr., and Kathryn Hahn. Johnson just knows how to strike gold with these whodunit ensembles. This group helps elevate the film, allowing it to be more entertaining from start to finish. He was even able to get four former Oscar nominees to appear in this film. Can you name all four? - Paige THE WOMAN KING If there is one film this year that the Oscars snubbed, it's The Woman King . First off, it's a wonderfully directed feature by Gina Prince-Bythewood. However, the cast is the real story here, as the film is anchored by four powerhouse performances from Viola Davis, Lashana Lynch, Thuso Mbedu, and John Boyega. All of them deserved nominations as they do excellent work, both individually and as an ensemble. In fact, it's among the best work I've seen from all four actors, and I expect the film to grow in adoration in the coming years. - Nick EVERYTHING EVERYWHERE ALL AT ONCE A film’s story can only be taken as seriously or have as much of an effect as its performers can allow, and Everything Everywhere All at Once not only has the performers most up to the task, they’re all at the top of their game. Michelle Yeoh and Jamie Lee Curtis reach new heights, while Stephanie Hsu breaks into the all-time pantheon of stylistic villainy; however, it’s Ke Huy Quan’s near-constant display of range – emotional and physical – that’s the capstone and not-so-secret weapon of power. - Jacob THE BATMAN In the age of Comic Book Movies, casting can make or break a film. Fans will argue every choice, even before seeing the movie, because fanboys have a passionate opinion on who should play who (or, more often, who shouldn’t play who). That said, with The Batman , almost every piece of casting news was met with optimism. Even the most controversial choice of Robert Pattinson as Bruce Wayne was raved about once the film hit screens. Director Matt Reeves simply cast the best actors for the roles, even if they didn't meet the physical constraints of the characters (just look at Colin Farrell as The Penguin). All in all, this ensemble is prestigious from top to bottom. - JTE THE MENU The Menu is so smartly written that even with a powerhouse ensemble cast, everyone manages to make an impression. It shows the quality of the writing and direction, but also the actors, each of whom bring their own unique reactions to the events that occur on screen. Every performer has their moment, and their ability to play off of each other in a way that creates a sense of authenticity is remarkable. It’s easy to hate this collection of disgustingly rich characters, but they’re just so much fun to watch because of the performers. Anya Taylor-Joy and Ralph Fiennes may be the starring roles, but they’re really just the glue that holds together all the fantastic performances. - Joseph BEST ANIMATED PICTURE *WINNER* GUILLERMO DEL TORO’S PINOCCHIO We’ve seen this tale time and time again, but Guillermo del Toro and his team were able to bring something new to the table. With astonishingly rich stop-motion animation, this beautifully crafted gem allows del Toro to bring his unique style to the forefront while also appreciating the lore of the classic story. I honestly feel kinda bad for all the other animated films in 2022 because Guillermo del Toro’s Pinocchio steam rolls over all of them, and this magical film will most definitely be taking home the Oscar for Best Animated Feature. - Paige TURNING RED Turning Red is a big move for Pixar as it deals with the complexities of adolescence in a fun and insightful way while also acknowledging some tough realities. The characters are wonderfully written, as are the themes regarding generational differences and the expectations of parents on their children. On top of that, the colors and visual styles are unique and fresh, injecting Pixar’s portfolio with a new look by taking inspiration from various anime. Overall, it’s fun, fresh, intense, smart, and an incredibly impressive film for a directorial debut. Thank you for making this amazing and personal story, Domee Shi. - Joseph PUSS IN BOOTS: THE LAST WISH Never in my wildest imagination would I have guessed that I would be saying this about a sequel to a Shrek spinoff, but Puss In Boots: The Last Wish is quite special. The animation is so striking and hard to look away from that it gives the whole thing a crackling energy that compliments the comedy and adventure on screen. Meanwhile, the fact that it has something poignant to say about death and mortality is very gutsy for a family film, but it all works somehow. This was a pleasant surprise. - Adriano MARCEL THE SHELL WITH SHOES ON I stand by my decision last year to automatically put this as one of the most heartwarming movies of all time, and that decision keeps looking better every single day. Marcel the Shell with Shoes On is the ray of sunshine in this dark world that, even in its sadness, lets us appreciate the small beauties of life. It is joy personified, hope encapsulated, ingenuity epitomized, and… I could just keep going but I only have 100 or so words to rave about this dope-ass anthropomorphic exoskeleton (yeah, I looked up the definition of “shell” because Marcel deserves that respect). - Amarú CHIP 'N DALE: RESCUE RANGERS I grew up in the 90s, and Chip 'n Dale: Rescue Rangers was definitely in my rotation of Saturday morning cartoons. When I heard they were making a new film that would go straight to Disney+, I can't say that I was excited, even if it was directed by Akiva Schaffer of Lonely Island fame. In the end, my reservations were foolish because what we got is, in my opinion, the best combination of animated & live action since Who Framed Roger Rabbit? The jokes work on multiple levels, making the film a blast for both adults and kids alike. - JTE BEST DIRECTOR *WINNER* DANIELS ( EVERYTHING EVERYWHERE ALL AT ONCE ) Everything Everywhere All at Once pushes the envelope in terms of inventiveness and creativity. The main strength of the film, and in Daniels’ storytelling, is the focus on the main issue: a dysfunctional family. Regardless of the nonsense they throw at the audience, from our characters portrayed as rocks to a world where everyone has hot dogs for fingers, the story always reverts to the Wangs and their interconnected struggles. Be it the makeup that Stephanie Hsu’s Joy is decked out in or her outlandish costume designs, the level of detail that went into creating all aspects of this film reveals how well thought out and meticulous Daniels and their crew are. - Darryl MARTIN MCDONAGH ( THE BANSHEES OF INISHERIN ) To balance the story of a platonic break-up against the backdrop of a far-off civil war requires not only delicate balance, but perfect precision in achieving said balance. Few directors – if any – were able to achieve as much as Martin McDonagh did with The Banshees of Inisherin . It’s McDonagh’s direction that lends the film its tragic pathos, leading us to understand that none of this had to happen in either the macro and micro sense, and it’s his writing that allows his direction to be so bold as to say “but it will happen anyway.” - Jacob JORDAN PEELE ( NOPE ) Full disclosure, I enjoyed, but did not love, Nope . That said, there is no denying what Jordan Peele, with the help of cinematographer Hoyte van Hoytema, was able to pull off behind the camera. Did you know that all those night scenes were actually shot in the super bright sunlight of the California desert? That’s wild. On top of that, Peele was also able to deliver thrilling spectacle, tense set pieces, frightening imagery, and, really, just an all-around visually beautiful movie that evokes every last ounce of supernatural vibe that you’d want from a movie like this. - Quentin JOSEPH KOSINSKI ( TOP GUN: MAVERICK ) Imagine you were tasked to helm the years-later sequel to a beloved film starring arguably the biggest star in the world. This is exactly what Joseph Kosinski had to tackle when he agreed to direct Top Gun: Maverick . Not only did Kosinski meet those sky-high expectations, but he did what most directors only dream of... he surpassed them. In a world of CGI and special effects, Kosinski proved that groundbreaking direction and storytelling is still the best effect of them all. From beginning to end, you won’t find a better made film this year than Top Gun: Maverick . - JTE STEVEN SPIELBERG ( THE FABELMANS ) With The Fabelmans being semi-autobiographical for Steven Spielberg, you knew there was going to be a little extra heart put into it. That much is evident on screen, and Spielberg mines his previous work for different sensibilities (such as the childlike wonder of E.T. ) to tell his story. This was his life, so you know he was heavily involved in each scene and character choice, including Paul Dano and Michelle Williams' portrayal of his parents. However, the best part of the film is the star-making turn he pulled out of Gabriel LaBelle. The Fabelmans may be Steven Spielberg's story as told through fictional characters, but it's among his most honest films. - Nick BEST SUPPORTING ACTRESS *WINNER* STEPHANIE HSU ( EVERYTHING EVERYWHERE ALL AT ONCE ) Of all the awards this year, Supporting Actress has the most stacked nominee list, and nothing exemplifies that more than the fact that I’m ranking someone…ANYONE…higher than the Queen Mother, Angela Bassett. But dammit, Stephanie Hsu reached into the depths of my soul with her multi-character role to make me cry, laugh, yell, cheer, and stare in awe. She was the crux that made Everything Everywhere All at Once’ s weirdness so mesmerizing, as her confidence oozed off the screen throughout the gamut of emotions she displayed. It was a beautiful sight to behold. - Amarú ANGELA BASSETT ( BLACK PANTHER: WAKANDA FOREVER ) Both Black Panther films are a tier above the rest of the MCU, but the amazing throne room scene in Wakanda Forever is a prime example of what award-worthy acting is. Angela Bassett gives a thesis of a speech that tells you everything you need to know about Queen Ramonda, everything she stands for, and everything she fears. It’s heart-wrenching. Bassett makes you feel every word with her powerful delivery, and her performance shows just how tremendous she is as an actress. - Joseph KERRY CONDON ( THE BANSHEES OF INISHERIN ) Kerry Condon is The Banshees of Inisherin 's true ace in the hole, bringing incredible nuance to her role. In delivering a remarkable performance that is filled with fierceness and vulnerability, you realize that she is so much more than just the peacemaker between the quarreling friends. She is a fully realized character with her own aspirations. With a performance as brilliant and subtle as this one, I see a few Oscars in her future. - Paige DOLLY DE LEON ( TRIANGLE OF SADNESS ) Perhaps just on the outside of the Oscar nominee pool this year, Dolly de Leon immediately steals Triangle of Sadness right out from under itself the second her true power is realized. Although the film is a true ensemble piece with no actual lead, Dolly de Leon is the captain of the ship, steering us through the third act to an ending that brilliantly demonstrates what the ultimate costs of capital-based societies turn out to be. - Jacob JANELLE MONAE ( GLASS ONION: A KNIVES OUT MYSTERY ) I'll be honest, outside of her supporting role in the Oscar-winning film Moonlight , I hadn't seen much of Janelle Monáe's acting skills on display. When she was announced for Rian Johnson's follow-up to Knives Out , I didn't give it much thought. So, to say I walked out of the theater impressed would be an understatement. In a cast full of A-listers and impressive talent, it was Monáe who left the most lasting impression. I'll say it now: She'll win an Oscar in the next decade because she is that talented as an actress. - JTE BEST SUPPORTING ACTOR *WINNER* KE HUY QUAN ( EVERYTHING EVERYWHERE ALL AT ONCE ) Ke Huy Quan’s comeback performance in Everything Everywhere All at Once is amongst the best and most infectious performances you’ll see all year. It’s hard to look at the character's optimism and not root for him, or feel for him when he’s at low points. I mean, just the way he’s able to constantly switch between alternate versions of the same character, sometimes on a dime, is very impressive to watch. - Adriano BRIAN TYREE HENRY ( CAUSEWAY ) I didn't love Bullet Train , but, man, was Brian Tyree Henry entertaining. However, this award is for his underseen turn in the subtle Apple gem Causeway . This doesn't feel like the sort of film that usually gets recognized since it's not flashy, but it is note perfect. Henry and Jennifer Lawrence (at the best she's been in years) go one-on-one here, but it’s Henry who comes out the strongest. The humanity he brings to James is evident in every scene, which ultimately leads to a couple heartbreaking moments. He's past his breakout moment, but his work here proves that he is ready for more leading man roles. - Nick BRENDAN GLEESON ( THE BANSHEES OF INISHERIN ) There are only a few actors that, when they show up in a film, you know you're going to get a great performance from, no matter the quality of the overall project. Brendan Gleeson is one of those actors. Once again teaming with filmmaker Martin McDonagh and Colin Farrell, Gleeson gives yet another Oscar-worthy performance. The fact is, when you pair Gleeson's acting skills with the rich writing from McDonagh, it's a match made in heaven, and with The Banshees of Inisherin being a true two-hander, Gleeson matches Farrell scene for scene. - JTE BARRY KEOGHAN ( THE BANSHEES OF INISHERIN ) Hidden behind the star power of Colin Farrell and Brendan Gleeson, the awards pedigree of director Martin McDonagh, and the buzz of Kerry Condon, there is Barry Keoghan, who quietly gives awards-season juggernaut The Banshees of Inisherin ’s best performance. He brings tragedy and comedy, optimism and despair. But most of all, he navigates his character’s devastating arc with truth and authenticity. - Quentin MARK RYLANCE ( BONES AND ALL ) Stranger Danger is the best way to describe Mark Rylance’s role of Sully in Bones and All . His character is someone you’d never want to come across in real life because of how outright creepy he is. What Rylance is able to bring to this performance is bloody terrifying, and he nearly steals the whole movie any time he’s on screen. He’s that good! I’m truly baffled that his performance didn’t get eaten up by all the award shows this season. - Paige BEST ACTRESS *WINNER* MICHELLE YEOH ( EVERYTHING EVERYWHERE ALL AT ONCE ) In Everything Everywhere All at Once , Michelle Yeoh delivers a performance that encompasses EVERYTHING we can be in life. In a film that is filled with insanity, Yeoh is able to carry it all on her shoulders with ease, giving us one of the best performances of the year while making it appear effortless. She showcases a diverse range of emotions, as she has to make you believe that she is not only a wife, a mother, and a laundromat owner, but also a multiverse traveler that, at one point, has flippin’ hot dogs for fingers. The actress fully immersed herself in her character, and despite all the madness on display , Yeoh grounds this crazy, complex role in a very honest and nuanced way. - Paige CATE BLANCHETT ( TÁR ) From Tár ’s first announcement teaser, one could understand that Cate Blanchett had reached a new level of power as composer-conductor Lydia Tár. In fact, so thorough is her embodiment of the character (and so brilliantly is she written) that many first-time viewers actually believed Tár to be a real person. One doesn’t get there without true investment, and while a great screenplay can do a lot, true investment comes, first and foremost, from the actor. - Jacob DANIELLE DEADWYLER ( TILL ) Quite possibly the most underrated performance of 2022, Danielle Deadwyler gives the type of performance that the Oscars were made for. The way she emotes is captivating, hiding tears behind smiles, covering fear with displays of strength. The film itself is a respectful endeavor overall, but the truth is that Till is great because Danielle Deadwyler is great in it. - Joseph MIA GOTH ( PEARL ) Mia Goth continued her streak of exceptional female horror performances with her turn as the titular character in Pearl . What initially comes off as semi-parody, leaning heavily into the old-timey southern accent, Goth slowly transforms her character into a beast of a woman whose failing dreams push her to the edge. Honestly, just Google “Pearl Mia Goth 8 minute monologue” and you’ll understand what I’m talking about. - Adriano MICHELLE WILLIAMS ( THE FABELMANS ) While The Fabelmans had great performances across the board, the only one that stuck with me after leaving the theater was that of Michelle Williams. Although the movie didn’t deliver the story I wanted, her performance is heartbreaking as a woman just trying to do right by her children and herself at the same time. It’s layered, deep, and vibrant yet nuanced. She absolutely crushes it. - Quentin BEST ACTOR *WINNER* AUSTIN BUTLER ( ELVIS ) In transforming himself into a real person…nay, an icon…who was larger than life in every sense of the word, Austin Butler is transcendent in Elvis . He gives an exuberant performance that is both rousing and heartbreaking, even doing his own singing and immersing himself so deeply that he may have permanently altered his own speaking voice. Watching Butler perform as The King made me feel what all those fans in the 50s and 60s must have felt when they saw him live. Go watch the side-by-sides of Butler and Elvis on Youtube to see what I’m talking about. It’s a career- and star-making performance. - Quentin BRENDAN FRASER ( THE WHALE ) I don’t know what I can say about Brendan Fraser’s performance in The Whale that hasn’t already been said in dozens of articles. Even if you remove the context of his comeback and everything that has happened to him, it’s still such a mesmerizing and empathetic performance. Even as a lifelong fan of Fraser, I had no idea he was capable of this power. From the jarring physical transformation to the small movements he does with his eyes, it’s a truly wonderful performance. - Adriano COLIN FARRELL ( THE BANSHEES OF INISHERIN ) Early last year, we compiled our “Top Five Actors Never Nominated for an Oscar,” and to no one’s surprise, Colin Farrell topped the list. I'm glad to report that not only is this no longer the case with his Oscar nod for The Banshees of Inisherin , but this isn't a legacy nomination either. Working with director Martin McDonagh for the third time, Farrell excels as the lovable and simplistic Pádraic. His mix of comedy and heart is infectious, and it's a genuine thrill to see him finally get his long overdue nomination. - Nick RALPH FIENNES ( THE MENU ) There are few performances in 2022 that matched actor to character more perfectly than Ralph Fiennes as Chef Slowik in The Menu. He is absolutely captivating as the central mastermind behind the film's psychological warfare, controlling the numerous moving parts and interesting characters with just a look or a whisper. Fiennes is the focal point that grounds The Menu ’s intense chaos, with his mere presence taking a stranglehold on your attention every second he’s on screen. - Amarú DANIEL KALUUYA ( NOPE ) One day, we as a society will look back on Jordan Peele’s Nope and wonder how we all undervalued it to such a degree, and chiefly, how one of its lead performers slipped under the whole awards radar apparatus. Academy Award Winner (lest we forget) Daniel Kaluuya is as sharp here as he has ever been, his eyes more expressive than perhaps any leading man of his generation. Without saying a word, we know what he thinks, how he feels, and what he anticipates next; under the stellar direction of Jordan Peele, Kaluuya has never been better. - Jacob BEST PICTURE *WINNER* EVERYTHING EVERYWHERE ALL AT ONCE Many say that cinema is dead, that Hollywood has no more original stories to tell; Everything Everywhere All at Once blows that critique out of the water. It’s hard to condense my thoughts to so few words because this film evoked so many emotions within me. The story is fantastic, the effects are great, the humor is on point, and the message is just so powerful. It’s an important and touching film that demonstrates the best in filmmaking. It’s worthy of the title “Best Picture.” - Joseph TOP GUN: MAVERICK As a kid who grew up on Top Gun and as an adult who has seen a long string of disappointing legacy sequels, I was preparing for the worst with Maverick . However, from the first trailer, I was sold, and my expectations only continued to rise the closer we got to its release date. Then, I saw it; it was better than anything I could have imagined. It’s full of heart, drama, action, humor, and some of the best set pieces I’ve seen in years. It’s genuinely better than it has any right to be. Following two years of COVID and mostly streaming releases, Maverick is the movie that reminded me of the magic of going to the cinema. If that doesn’t qualify as “Best Picture” material, I don’t know what does. - Quentin THE MENU TIFF was fantastic this year. I had the pleasure of seeing films like The Whale , The Fabelmans , The Woman King , and The Banshees of Inisherin , all of which I loved. But the film that topped my list was The Menu . My favorite horror film of the year featured a tremendous cast, headlined by an enthralling Ralph Fiennes, and just a genuinely good story. It shocked me, surprised me, and above all, entertained me. From the subtleties of Anya Taylor-Joy's Margot to the ridiculousness of Nicholas Hoult's Tyler…and each dish featured on the menu itself…this film is just plain delicious. - Nick THE BANSHEES OF INISHERIN The Banshees of Inisherin is far and away director Martin McDonagh’s best film to date. Starring Colin Farrell and Brendan Gleeson, together for the first time since 2008’s In Bruges , the pair pick up right where they left off: a delicious mix of warmhearted friendship and constant annoyance that can only come with being longtime friends. Farrell and Gleeson both bring their A-game, with Farrell giving the performance of his career. Bleak, shocking, and at times, hysterically funny, T he Banshees of Inisherin proves Martin McDonagh is one of cinema’s most underrated working directors. - Darryl GUILLERMO DEL TORO’S PINOCCHIO Guillermo del Toro is truly one of today’s best and most inspired filmmakers, and his take on Pinocchio is a masterpiece. Even through the stop-motion animation, his visual eye is as present as ever, plus the voice acting is terrific. But what is beyond impressive is the fact that he was able to take a story we’ve seen so, so, sooo many times before and update it in ways that are both necessary and refreshing while still retaining the same themes as the source material. I was a blubbering mess by the end of this true work of art. - Adriano Photo Credits: Photo 1, 3, 14 - Warner Bros; Photo 2 - Apple TV+; Photo 4 - Universal Pictures; Photo 5 - Lionsgate; Photo 6 - Paramount Pictures; Photo 7 - 20th Century Studios; Photo 8, 9 - Netflix; Photo 10, 11, 12, 13, 15 - A24

Previous Next October 5, 2023 WRITTEN BY: JACOB As is the case every year, there are plenty of Oscar-worthy films in 2023 that have either come out too early in the year or are bound to get lost in the shuffle as more things release and overtake their status. Rather than doing a traditional Oscar predictions piece, I thought I would simply provide a list of films that may end up competing in significant categories: things to watch, things to keep an eye out for, and things we all might be underestimating come awards time. I’ll only be discussing the more high-profile work that has come to bear, whether out of word-of-mouth, fall festival hype, or marketing strength, but let’s get started… THE CONTENDERS SO FAR BARBIE Greta Gerwig’s smash hit, Barbie , became more than a sensation at the global box office, it remains an outright phenomenon. The highest-grossing film of 2023 to date and Warner Bros. highest-grossing film ever, the pink-soaked pop examination of female agency, dreams, and the patriarchy as run by horses is one of the year’s best films outright, boasting the critical and audience acclaim to prove it. Warner Bros. has opted to run the film through the Original Screenplay category, which does give it a better shot at the win, but it may prove a challenge when it comes to overtaking another contender a bit further down the list. Best Shot(s): Best Picture, Best Director (Greta Gerwig), Best Actress (Margot Robbie), Best Supporting Actor (Ryan Gosling), Best Film Editing, Best Production Design, Best Costume Design, Best Makeup & Hairstyling, Best Original Song, Best Original Screenplay OPPENHEIMER On the other half of the “Barbenheimer” hype-wave lies one of director Christopher Nolan’s most accomplished works to date, and perhaps his most fully realized outside of Dunkirk in 2017. All-but-certain to finally net the acclaimed filmmaker the coveted Best Director Oscar he certainly deserves, Oppenheimer is more than a simple biopic of a controversial yet titanic historical figure. It is also an examination of the consequences of creation – how it slips out of the creator’s control, the devastating effects it can have, and whether mankind could ever be trusted not to destroy itself given the chance. Marvelous in nearly every way, this visionary achievement stands on the strength of its technical prowess (though that’s not all it has going for it). Best Shot(s): Best Picture, Best Director (Christopher Nolan), Best Actor (Cillian Murphy), Best Supporting Actor (Robert Downey Jr.), Best Supporting Actress (Emily Blunt), Best Cinematography, Best Film Editing, Best Production Design, Best Original Score, Best Adapted Screenplay, Best Sound PAST LIVES You may not have known it given all the space Barbie and Oppenheimer occupied over the summer’s box office, but there was at least one quietly devastating indie released this summer in the form of Celine Song’s beautifully rendered love story Past Lives . Debuting at Sundance and later rolled out by A24 over the last weeks of June, Song’s saga of longing and grieving, not to mention the catharsis present within both, is a delicate ballet on the thinnest tightrope of emotion. Greta Lee, Teo Yoo, and John Magaro are as enrapturing as any three characters have ever been in a film like this, thanks in no small part to Song’s brilliant screenplay. It may not have the cultural status of some other summer films, but don’t count this one out of the Oscar race by any measure. Best Shot(s): Best Picture, Best Director (Celine Song), Best Actress (Greta Lee), Best Supporting Actor (John Magaro), Best Original Screenplay SPIDER-MAN: ACROSS THE SPIDER-VERSE While I’m not as convinced as some others that this film is going to be competing in the Best Picture category (the superhero and animation biases may be fading, but they still exist), that doesn’t mean it wouldn’t be a worthy inclusion, and it certainly doesn’t mean that it won’t be competing beyond Animated Feature. The sequel to one of the most revolutionary animated films ever made once again ups the ante to deliver the most visually stunning Spider-Man movie yet (as well as, much like its predecessor, one of the best ever put to screen, full stop). It’s chock full of heart, humor, terrific voice performances, ace writing, and incredible sound & music. Even at 140 minutes, it’s one of the most rewatchable animated and superhero films ever made, and in my book at least, one of the best films of the year.. Best Shot(s): Best Picture, Best Animated Feature, Best Original Score, Best Sound STILL TO COME ANATOMY OF A FALL Directed by Justine Triet to great acclaim out of Cannes and Toronto International Film Festivals, this international thriller has garnered quite a bit of attention for its script and the performance of lead actress Sandra Hüller. Time will tell if that’s enough to boost Triet’s Best Director odds (especially given the lack of female directing nominations in recent years), but with France opting to submit The Taste of Things for International Feature instead, it only has the big categories to fight in. Best Shot(s): Best Picture, Best Director (Justine Triet), Best Actress (Sandra Hüller), Best Original Screenplay THE COLOR PURPLE Given that no one has seen The Color Purple yet, determining whether it will compete for awards (and for how many) can be especially tricky. That said, a Christmas Day release for a reimagining of one of movie history’s most famous stories, one that is also an adaptation of the Broadway musical based on that story, is nothing to sneeze at. Given the trailer, I’m willing to bet this one goes pretty far. Best Shot(s): Best Picture, Best Director (Blitz Bazawule), Best Actress (Fantasia Barrino), Best Supporting Actress (x2) (Danielle Brooks, Taraji P. Henson), Best Supporting Actor (Colman Domingo), Best Costume Design, Best Makeup & Hairstyling, Best Original Song, Best Sound THE HOLDOVERS Word-of-mouth on The Holdovers has been incredibly strong, with many claiming it’s Alexander Payne’s best film in years. At the very least, it looks like a uniquely lensed experience with the heart of a great 70s dramedy, and it’s good to see Paul Giamatti back in fighting form as a movie actor. Count me in. Best Shot(s): Best Picture, Best Director (Alexander Payne), Best Actor (Paul Giamatti), Best Supporting Actress (Da’Vine Joy Randolph), Best Film Editing, Best Original Screenplay KILLERS OF THE FLOWER MOON Director Martin Scorsese returns to the silver screen for his sixth collaboration with lead actor Leonardo DiCaprio, who this time is boosted by mostly former but frequent Scorsese muse Robert De Niro in the supporting chair. Add in a potential Oscar- winning turn from Lily Gladstone, plus the presences of Jesse Plemons and newly minted Best Actor winner Brendan Fraser, and that’s one hell of an ensemble. Word on this one after its Cannes premiere was extremely high. Personally, I’ve recently been reading Killers of the Flower Moon by David Grann, and let me tell you… even at pushing four hours, this thing is going to pack a wallop. Best Shot(s): Best Picture, Best Director (Martin Scorsese), Best Actor (Leonardo DiCaprio), Best Actress (Lily Gladstone), Best Supporting Actor (Robert De Niro), Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design, Best Original Score, Best Adapted Screenplay, Best Sound MAESTRO At long last, Bradley Cooper returns to direct himself and Carey Mulligan (whose star has never shone brighter) in a biopic about the great Leonard Bernstein. While word on this one is that Cooper’s directorial effort may not be enough to snuff out the competition, his performance is on another level, which is saying something considering his pedigree in that department. Beyond that, the film has a solid team on its production side, which could give it exactly the boost it needs come awards time. Best Shot(s): Best Picture, Best Director (Bradley Cooper), Best Actress (Carey Mulligan), Best Actor (Bradley Cooper), Best Cinematography, Best Film Editing, Best Production Design, Best Makeup & Hairstyling, Best Original Screenplay, Best Sound ORIGIN Love it or hate it, Ava DuVernay’s Origin came out of nowhere and has seemed to garner quite the fanbase following its debut at Venice Film Festival. That said, it’s still too soon to tell exactly how many awards this one could compete for, so I’m keeping it to the ones that would be most likely for now, should it turn out to be stronger than expected. Best Shot(s): Best Picture, Best Director (Ava DuVernay), Best Actress (Aunjanue Ellis-Taylor), Best Adapted Screenplay SALTBURN Oh, Emerald Fennell, you poor director. The mixed reviews on Saltburn give me pause as to just how well it can actually do when the going gets rough, but it seems to be staying in the consciousness of awards voters all the same. There’s a lot that individual nominations can do when put together, and even if this one can’t crack the Best Picture field (which it has not yet given up on), it’s sure to compete in some lower categories. Best Shot(s): Best Picture, Best Actor (Barry Keoghan), Best Cinematography, Best Production Design, Best Costume Design, Best Original Screenplay POOR THINGS The buzz on Yorgos Lanthimos’ Poor Things is through the roof, to the point where it’s widely anticipated that Emma Stone could very well win her second Oscar for her performance. Pair that with its Golden Lion win in Venice, and it’s pretty much guaranteed to at least appear in the Best Picture category, and is likely to be a major contender across the board, even going so far as to perhaps overperform in nominations alone. Just how likely it is to win other categories (apart from Stone) will depend on what it ultimately competes against, but make no mistake, it’s competing. Best Shot(s): Best Picture, Best Director (Yorgos Lanthimos), Best Actress (Emma Stone), Best Supporting Actor (x2) (Mark Ruffalo, Willem Dafoe), Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design, Best Makeup & Hairstyling, Best Original Score, Best Adapted Screenplay THE ZONE OF INTEREST Sight unseen, I believe The Zone of Interest will be a much larger topic of conversation in the Best Picture race once released. From what I understand about it, this Holocaust-set story is a shaking one, which could make voting for it hard to stomach but easy to believe in. The directorial skills of Jonathan Glazer are sure to carry it through to a significant number of nominations. Best Shot(s): Best Picture, Best Director (Jonathan Glazer), Best International Feature, Best Cinematography, Best Original Score, Best Adapted Screenplay, Best Sound OTHER POSSIBLE CONTENDERS - AIR - AMERICAN FICTION - THE BIKERIDERS - FERRARI - THE KILLER - PRISCILLA - RUSTIN

Previous Next March 1, 2025

Previous Next October 10, 2025 WRITTEN BY: QUENTIN … And another film festival is in the books! After having covered Cannes, Toronto, Venice, Berlin, and a handful of smaller film festivals in my short career (fingers crossed for Sundance next year), it was time to officially turn my attention to Zurich. Sure, I had attended twice before, but never with the pleasure and benefit of a press badge. Thankfully, it did not disappoint. Zurich was already the frontrunner for my personal favorite, if not the best overall film festival; this year surely cemented it. Why, you ask? First of all, the movies! After perusing the lineups of this year’s major festivals, there were only a few major players from the festival circuit that didn’t make it to Zurich this year. Among them were Chloé Zhao’s Hamnet , Joachim Trier’s Sentimental Value , Bradley Cooper’s Is This Thing On? , Rian Johnson’s Wake Up Dead Man: A Knives Out Mystery , and the Bruce Springsteen biopic Deliver Me from Nowhere . Frankly, I’m not all that interested in the first two despite the acclaim they are receiving, and the other three will be released soon enough. No harm, no foul, as far as I am concerned because Zurich more than delivered with what they brought to the table. In fact, top to bottom, this probably was the best film slate I’ve experienced at a film festival so far. But more on that in a few… Second to the movies is the access. Zurich may not feature as many world premieres and red carpets as the other festivals, but they provide the easiest press access I’ve had the privilege of enjoying. I was hobnobbing with all sorts of stars: Russell Crowe, Colin Farrell, Dakota Johnson, James McAvoy, Amanda Seyfried, Benedict Cumberbatch, and many more (check out some photos on our X feed ). On top of that, there were afterparties, ZFF Masters, Das Festivalzentrum, and much more. I even got to pose for the Glambot! Also, I must give a shoutout to the helpful staff and volunteer crew, all of whom proved to be very cheerful and delightful, even as they battled some seeming disorganization that worked out both in my favor and not. Again, easily my favorite festival, and it’s not even particularly close. …but back to the movies! Although I missed a few titles for a variety of reasons, including Park Chan-wook’s No Other Choice (scheduling conflict) and Cannes’ most awarded film The Secret Agent (no English subtitles), I scheduled myself one hell of a lineup. I ultimately saw 35 movies, and none of them were FOMO picks — meaning I didn’t see them just to see them because I was there (a real affliction I “suffered” through at Cannes). Were all 35 movies good? Should you spend your hard-earned money to seek them out? I’m so glad you asked… 35. THE SOUFFLEUR Regardless of quality, at only 74 minutes, The Souffleur is barely a feature film. It just so happens that, feature film or not, it’s also terrible. Willem Dafoe is one of the rare actors that could make reading the phone book compelling, and to his credit, he does what he can whenever he is on screen. However, nothing he does is in service of anything resembling a coherent story. There are obvious setups that are never called back to, and random shots of nothingness that feel like filler. In fact, so much of this movie feels like padding to reach a designated runtime that its existence confuses me. 34. HOW DEEP IS YOUR LOVE My favorite subject when it comes to nature documentaries is the deep sea because it’s such an alien and unique ecosystem. So, How Deep is Your Love , a documentary about wildlife on the ocean floor, really piqued my interest, especially since it’d be on the big screen. Sadly, this is more like a stuffy college lecture than the engagingly beautiful documentaries like Planet Earth . The narration is extremely bland and lacking in personality (as are the featured researchers), while much of the nature footage is relegated to sea creatures simply drifting into view of a stationary camera. It’s just not very dynamic, making it a snoozer. 33. I LOVE YOU, I LEAVE YOU Documentaries are tough to review. More than any other genre, one needs to have an inherent interest in the subject. It’s like a museum — if you don’t care about spatulas, a spatula museum would be a bore. I Love You, I Leave You is not unlike a spatula museum. I only watched it because it won Zurich’s Best Documentary and Audience Award. However, I don’t know anything about Swiss musician Dino Brandão, and while his battle with bipolar disorder and how it affects those around him is quietly thought provoking, that lack of familiarity and the extremely no-frills presentation means I was never fully interested. 32. WHISPERS IN THE WOODS There isn’t much to Whispers in the Woods , a French documentary about the Vosges. It’s like a nature-driven coffee table book you flip through at the doctor’s office. You love the pictures, and each one is more impressive than the next. However, you aren’t reading any of the words. You’re simply skimming through the stunning photos. This documentary has the same problem. Every time it focused on the striking wildlife imagery (with incredible sound design), I was captivated. Whenever it focused on the photographer telling his story, I checked out. I was in a perpetual state of wanting to flip to the next cool photo. 31. DESERT WARRIOR Unbeknownst to me beforehand, Desert Warrior had a myriad of production problems. It is also Saudi Arabia’s first Hollywood-style blockbuster. Given that, I suppose it’s a tiny miracle that it made it to the screen at all. But maybe it shouldn’t have because it’s not very good. The story is a slow-moving, generic, and empty mess that features barely serviceable performances, at best. On the plus side, it’s absolutely stunning to look at, so it’s a commendable advertisement for Saudi Arabia’s film industry, especially for desert epics. As such, this is a postcard in film form: gorgeous scenery that says nothing more than “wish you were here!” 30. THE WIZARD OF THE KREMLIN There is an interesting story buried somewhere in The Wizard of the Kremlin , but writer-director Olivier Assayas fails to capture it. First off, this movie is way too long, especially considering the first hour offers unnecessary backstory that is ultimately irrelevant to the plot’s central relationship between Vladimir Putin (Jude Law) and Vadim Baranov (Paul Dano). Second, presenting the story as fiction is confusing. There is a lot of truth here, but I’m not completely sure what is true and what is false, so what’s the point? Lastly, it’s a nitpick, but not even an attempt at Russian accents? Except for Law, this is an across-the-board mess. 29. THE MASTERMIND Man, how do you screw up a heist movie set in the 70s this badly? The Mastermind is a slog, delivering a man-on-the-run story that is completely devoid of tension, action, or palpable stakes. These movies only work when you’re invested in whether or not the thief (Josh O’Connor) gets caught. There is none of that here. If that weren’t bad enough, the characters are so paper thin that single-ply toilet paper would be jealous. This all amounts to a movie that offers the audience nothing but a period-perfect 70s aesthetic and an equally impressive jazz score. 28. THE TESTAMENT OF ANN LEE The Testament of Ann Lee is handsomely made, and I wouldn’t be surprised if it finds itself in the Oscar conversation, especially Amanda Seyfried. However, this just isn’t my cup of tea. I’ve never been particularly fond of movie musicals, and Testament revels in all the things I typically don’t like about them. The songs are redundant and repetitive, adding very little value, which makes the movie feel much longer than it actually is. It’s also weirdly over-narrated, adding to the redundancy. Mostly though, I find Lee (Seyfried) and Shakers’ religious doctrine to be certifiably insane, so it was hard to take any of it seriously. 27. DANDELION’S ODYSSEY If, like me, you were hoping for Dandelion’s Odyssey to be the next Flow , I need to reset your expectations. While it certainly shares some aspects, with both being nature-driven animated movies with zero dialogue, Odyssey is a weird one. It mixes real-life time-lapse photography and CGI in ways that are creative, experimental, and always visually appealing (unless you are freaked out by slugs; there are so many slugs). Unfortunately, it doesn’t have a compelling narrative to make the visuals on screen anything more than something cool to look at, resulting in more of a trippy sensory experience than a movie. Maybe hit a dispensary beforehand. 26. REBUILDING Although I didn’t particularly care for it, Rebuilding offers a naturalistic look at… well, rebuilding one’s life after a natural disaster. To be fair, other than being a tad too slow and meditative, I can’t point to any single thing I didn’t like about it, per se. Maybe these types of movies just aren’t for me, because this is very reminiscent of Nomadland , which I also didn’t care for. All that said, I relate to and admire the overall message that losing everything doesn’t mean losing everything . I just didn’t need a lethargic 95 minutes to drive that point home. 25. RETREAT Given that it unfolds entirely through sign language, I have the utmost respect for what Retreat accomplished. As you can imagine, the barrier for entry is difficult if you don’t sign, and unlike with an audible foreign language, it can be difficult to place the emotion being conveyed while reading subtitles in silence. As a result, everything comes off as a tad lacking. The fact that Retreat is based on a short story may also be a factor, particularly when it comes to plotting. Still though, an incredibly impressive and ambitious effort, even if it’s a mixed bag. 24. BALLAD OF A SMALL PLAYER Though incredibly stylish and anchored by a committed and typically terrific performance from Colin Farrell, Ballad of a Small Player is simply too messy to be anything but a passing diversion, especially if you have a curiosity about Macau. I assume director Edward Berger’s intent was to demonstrate the chaos in Lord Doyle’s (Farrell) life by making everything on screen equally chaotic, from the genre hopping to the camera work; however, in execution, that lack of focus leaves viewers on an island with an awful character for no justifiable reason. It’s a hollow experience that left me with more questions than answers. Doyle’s suits, though? chef’s kiss 23. RENTAL FAMILY Given these turbulent times, if you need a source — any source — of optimistic, heartwarming feels, Rental Family will almost certainly deliver. Granted, those feels are incredibly shallow and extremely superficial since the characters are mostly just pawns to get you to the next saccharine story beat, but good feels are good feels. Unfortunately, the narrative doesn’t have much lasting heft behind it either because Brendan Fraser is somewhat miscast, with his ever-present teddy bear persona never allowing for a full character arc. Still, you could do worse than Rental Family , even if this cynic found it to be a little too sentimental. 22. H IS FOR HAWK H is for Hawk features two plotlines. The first is about Helen (Claire Foy) coping with her father’s death. While Foy carries the requisite emotional weight, it’s thinly written and seems beside the point. The second, more central plotline shows Helen becoming addicted to falconry, which is engrossing as her relationship with the hawk takes flight. However, true story notwithstanding, the grief angle isn’t needed; it distracts from the compelling bird-training moments. Hawk would have been better had it simply been about a woman and her new hobby instead of an uplifting and tropey take on grief-induced addiction (H is for hawk, not heroin, you see). 21. HEDDA Between Tessa Thompson’s scenery-chewing performance, Nia DaCosta’s magnetic direction, and the sultry set and costume design, Hedda has a lot going for it. Thompson, in particular, is captivating in the early goings as a mysterious agent of chaos. She keeps the viewer’s interest piqued as the curiosity of who she is and what she might be up to mounts. However, once her plot is revealed, it all kind of fizzles out. The intrigue is in the not knowing, and once you’re let in on Hedda’s (Thompson) designs, the air is let out of the balloon, resulting in an unsatisfying climax. It’s all fabulous to behold, though. 20. FATHER MOTHER SISTER BROTHER Like most anthologies, the three chapters of Father Mother Sister Brother aren’t created equal. While they all boast great performances, the intrigue conjured is inconsistent given how they are placed in the film’s structure. For example, the second chapter is so much like the first that it’s repetitive. Variety between those two chapters would have worked wonders. There also are recurring references throughout the film that are there for no other reason than to create a Leo-pointing-meme moment. However, once the distinctly different third chapter ends, the movie’s lovely intent is revealed, which is when you realize this is about the destination, not the journey. 19. TWINLESS At its core, Twinless is a standard bromantic comedy. Sure, writer-director (and co-lead) James Sweeney adds his own nuanced flavor and brand of melodrama, but the tropes are all the same. That’s not to say it’s bad, as it easily coasts on the heartfelt chemistry between Sweeney and Dylan O’Brien, the latter of whom gives a tremendous dual performance as the confidently charismatic Rocky and emotionally vulnerable Roman. Still, window dressing aside, from Wedding Crashers to You’ve Got Mail , you’ve seen the basic bones of this story structure before, which keeps it from becoming something special even though it’s a pretty decent movie in its own right. 18. SPLITSVILLE Splitsville is not without moments of humor, but it’s more chuckle comedy than laugh-out-loud comedy, which is odd because it’s such an absurdist farce. Each progressive plot point and escalating development is more and more unrealistic, to the point that I started rolling my eyes at the predictable situations more than chuckling at them. That doesn’t make it a bad movie, as Splitsville would be a good, lighthearted date movie given its charming performances and interesting ideas on modern relationships; however, for better or worse, it’s all a bit too silly and rooted in an unbelievable reality that will leave you thinking “people don’t behave this way.” 17. CALIFORNIA SCHEMIN’ While I fully appreciate that first-time director James McAvoy wanted to make a brisk, 90ish-minute movie (enough with the three-hour movies!), I think he might have been a little too committed to that idea. As a result, California Schemin’ is engaging but somewhat shallow; the character beats come so fast and furious that they barely resonate or feel earned. By McAvoy’s own admission, he cut a lot of stuff out, which almost certainly killed some of the dramatic weight. It’s still a good movie, especially for music fans, but it’s slighter than it probably should have been. It might have been better as a miniseries, honestly. 16. THE THING WITH FEATHERS I admit my thoughts on The Thing with Feathers may be a little biased because my mother passed away earlier this year, but this unsubtle metaphor about grief and loss worked for me despite some pretty notable flaws. To be fair, it’s easy to overlook said flaws when Benedict Cumberbatch gives such an emotional performance. That said, the film is a tonal mishmash, jumping from emotionally heavy drama to jump-scare horror to even unintentional comedy at the drop of a hat. This could easily undercut the story for some people, but for me and my personal context, I found it to be rather cathartic. 15. FATHER The winner of Zurich Film Festival’s coveted Golden Eye, Father is an intense examination of a man ruined by Forgotten Baby Syndrome. Director Tereza Nvotová uses a series of long tracking shots and documentary-style camerawork, often focusing on Michal’s (Milan Ondrik) face, to immerse the viewer in his grief, guilt, and self-loathing (probably even more so for parents). By effectively putting Michal’s headspace at the forefront, as well as Ondrik’s emotionally raw performance, she hides some minor plotting hiccups, including time jumps that can be initially confusing and an ending message I don’t fully understand. Still, I can see why Father won Zurich’s Feature Film Competition. 14. ANIMAL FARM Andy Serkis’s adaptation of George Orwell’s Animal Farm is an odd one. On one hand, many of Orwell’s original themes are relevant today, particularly in the United States, which makes a movie like this even more important right now. On the other hand, this is a movie geared towards younger audiences. Will kids pick up on any of the timely subtext? Will they even care? I just don’t know. Still, it’s an enjoyable film with great vocal performances by the star-studded cast, but it falls into the purgatory of being too childish to be strictly for adults and too thematically nuanced to be strictly for kids. 13. ROOFMAN Roofman is a charming love story featuring charming performances that surely will charm a non-discerning couple on date night. No, it’s not particularly memorable, but it’s a highly rewatchable blend of comedy, heart, and 90s nostalgia. Yet, I was left wondering why I was rooting for this dirtbag. Because he’s polite? All of Jeffrey Manchester’s (Channing Tatum) rough edges have been sanded down to create an almost algorithm-generated leading man that ladies may fawn over. That’s fine, I suppose, but it makes for an overly sugarcoated, crowd-pleasing movie seemingly afraid to explore the more complicated themes present in fear of losing general audiences (and box office revenue). 12. EPIC: ELVIS PRESLEY IN CONCERT At this point, your feelings about Elvis Presley are probably set. Nothing I say is going to convince someone who doesn’t care about Elvis to watch EPiC: Elvis Presley in Concert , just like I’m not going to deter massive Elvis fans by saying it’s terrible. With that said, coming from this Elvis fan, EPiC is a must see. The concert footage is electric, providing the on-stage excitement most of us never experienced first-hand, while the off-stage footage goes to great lengths to show Elvis as an actual person and not just the monolithic icon. Like I said, though…you already know, going in both directions. 11. CHRISTY There isn’t anything particularly ground-breaking about Christy , as it follows most of the usual sports biopic tropes, especially those centered on queer women athletes. But for someone who had no idea about Christy Martin’s (a committed Sydney Sweeney, giving a career best performance) story, I was engaged through all the standard sex, drugs, abuse, and mother-daughter friction. Granted, it helps when the performances are this good (the perpetually underrated and chameleonic Ben Foster also is great), but there is a reason these stories keep getting told. Simply put, they make for good drama. Yeah, it’s somewhat familiar, but that’s not always a bad thing. 10. TUNER There is nothing particularly special or groundbreaking about Tuner , but that doesn’t mean it isn’t worth your time. The simple fact is that this is a good, old-fashioned throwback that feels like an elevated mix of 90s favorites Rounders and Grosse Pointe Blank . Given those nostalgic vibes, it’s possible that slightly older (read: millennials) viewers will appreciate it a bit more than the youths; however, between the charming leads, believable romance, jazzy score, lived-in humor, and heist-adjacent elements, it delivers a fun, if formulaic, date movie. Plus, it’s always nice to see Dustin Hoffman having a good time. 9. BUGONIA As a director, it must be tough when your adherence to being weirdly unpredictable leads to being the total opposite. While I understand it’s a remake, that is the problem director Yorgos Lanthimos faces with Bugonia . Had this black comedy been made by any other filmmaker, I likely would have enjoyed the ride a bit more. However, I knew exactly where this story was going from jump street, which hurt my experience a bit. That aside, the performances are as excellent as you’d assume, and Lanthimos’ delightfully oddball tone permeates every corner of the film. For better or worse, it’s exactly what I expected. 8. THE LAST VIKING I’m not sure why, but it seems the world takes Mads Mikkelsen’s acting talent for granted. In The Last Viking , he gives a hilarious, against-type performance (relative to everything I’ve seen him do, at least) that is sweet, silly, and lovable. He, alone, is worth the price of admission. His brilliance aside, director Anders Thomas Jensen has successfully mixed Rain Main , The Dream Team , and The Coen Bros. to create a movie that is as moving as it is violent. On paper, I’m not sure any of it should work, but it all comes together beautifully as something heartfelt, sincere, and darkly entertaining. 7. THE SMASHING MACHINE While the story stays a little too wavetop, never fully exploring the toxic relationship between Mark (Dwayne Johnson) and Dawn (Emily Blunt), Mark’s drug use and recovery, or the initial rise and controversy surrounding UFC, The Smashing Machine is a showcase for Johnson’s mostly unseen dramatic acting ability. He is magnetic, carrying the film on his unbelievably hulking frame. That’s not to discount Blunt’s performance or Benny Safdie’s direction — both are noteworthy — but I simply couldn’t look away from Johnson even as some emotional beats felt unearned. If this signals a definitive career pivot for the superstar, I can’t wait to see what’s next. 6. AFTER THE HUNT I’ve been underwhelmed by Luca Guadagnino’s films thus far, but After the Hunt , though imperfect, is easily my favorite work of his. As the battle on political correctness and performative wokeness rages on, Guadagnino captivatingly explores modern-day snowflake syndrome and the cultural divide between Gen X, Millennials, and Gen Z. As a result, this is a film that may trigger you or make you feel seen, or both; the ability to effectively elicit such divisive yet accurate opinions, even within oneself, is evidence of a master filmmaker. The excellent performances he pulls from the perfectly cast ensemble is icing on the cake. 5. THE LOST BUS Whether bombastic in scale or a more grounded true story, I’m a sucker for natural disaster flicks. The Lost Bus hues closer to the latter, and the intimate storytelling and almost quiet performances from Matthew McConaughey and America Ferrera make for effective and relatable human drama. However, it’s director Paul Greengrass’ signature directorial style, the incredible sound design, and the stellar fire effects that really immerse the viewer. At times, the scenario can even overpower the characters, but at no point are you ever not invested in everyone’s survival. Tense, kinetic, and engrossing, The Lost Bus is easily among Apple’s best original films. 4. NUREMBERG Although it certainly has moments when it feels more like a history lesson than it should, the fact remains that it’s a lesson some still need to learn. Through powerhouse performances, particularly from an Oscar-worthy Russell Crowe who somehow gives Hermann Göring humanity, director James Vanderbilt delivers a compelling courtroom drama that, surprisingly, mostly lets the facts speak for themselves without sensationalizing them (not that he really needed to). It can, admittedly, get a little preachy, but like I said, this is a sermon that many people still need to hear, sadly. Nuremberg is a dark horse Oscar player. 3. FRANKENSTEIN Truth be told, I’ve long considered director Guillermo del Toro to be overrated, but my tune has changed with Frankenstein . Although long-winded and somewhat tonally disjointed, I can’t deny that this immaculately crafted and lavishly designed adaptation hooked me almost immediately through its terrific performances and grand scale. Del Toro’s gothic sensibilities are perfectly aligned with Mary Shelley’s poetic story of loss and guilt, creating everything I wanted and failed to get from Robert Eggers’ Nosferatu (a slog of a movie). I wouldn’t call it a masterpiece like some have, but the Hollywood machine is doing cinema and cinephiles a disservice by releasing Frankenstein on Netflix. 2. JAY KELLY As a person who loves movies about movies (and, by proxy, movie stars), Jay Kelly was right up my alley. George Clooney is perfectly cast, essentially playing himself (a running joke in the movie), as a superstar actor grappling with the shallow relationships and disheartening loneliness of mega fame. It deftly walks a tight rope between self-indulgent navel-gazing and brilliant meta subtext. And as good as Clooney is, it’s Adam Sandler who steals the movie as he once again proves that he is a legitimate actor. If this were to be Clooney’s final movie (it won’t be), it’d be something pored over for years to come. 1. PILLION I say this literally, respectfully, and with zero negative connotation: Pillion is one of the gayest movies I’ve ever seen. If Brokeback Mountain made you uncomfortably squirm in your seat, this ain’t for you. But if you can handle it, Pillion is a tender and beautiful coming-of-age love story that deserves way more recognition than it is likely to get. Yeah, it’s an explicit, surprisingly-not-NC-17 look at homosexual Dom/Sub relationships, but there is so much humanity, vulnerability, and compassion, particularly in Alexander Skarsgård’s Oscar-worthy performance, that it should speak to anyone who has experienced the roller coaster of first love, gay or straight.

Previous Next March 8, 2024 WRITTEN BY: THE BITESIZE CREW Presenting our 3rd annual Bitesize Awards! You know the drill… Similar to the Bitesize Top Five, each writer ranked their Top 10 selections for each awards category. Those lists were then weighted on a reverse point system. After all the points were tallied up, we had our nominations. Finally, we voted on each award. So, here we go! BREAKOUT ARTIST *WINNER* JACOB ELORDI ( PRISCILLA/SALTBURN ) As we entered 2023, Jacob Elordi was simply the asshole from Euphoria to most people, myself included. However, as with many of Euphoria ’s cast members this year, Elordi took the proverbial next step in his career, most famously by flavoring the bathwater in Saltburn , but also as a quietly nuanced Elvis Presley in Priscilla . He stole scenes from powerhouse and award-winning and -nominated actors, begged comparisons to Austin Butler’s Oscar-nominated portrayal of The King, clearly set his career path on a different trajectory, and made people remember his name. To me, that’s the definition of a breakthrough. - Quentin AYO EDEBIRI ( BOTTOMS/THEATER CAMP/THE SWEET EAST ) Ayo Edebiri had one hell of a year in 2023! She took Hollywood by storm with not one, not two, but five standout movie performances, and she made an impression in every film she appeared in last year, regardless of the size of the role. She took her comedic chops to a new level by leading the raunchy queer teen comedy Bottoms , delivered a stellar voiceover performance as April O’Neil in the animated movie TMNT: Mutant Mayhem , and gave outstanding supporting performances in Theater Camp, The Sweet East, and Spider-Man: Across the Spider-Verse . And even though she's mostly only receiving the accolades for her portrayal of Sydney in FX's The Bear , I have an inkling that since she is growing into one of Hollywood's biggest stars, the accolades will follow her into her film career. - Paige CAILEE SPAENY ( PRISCILLA ) I was mostly unfamiliar with Cailee Spaeny before I saw her lead performance in this year’s Priscilla . Although I wasn’t amongst our crew’s champions of the film itself, what is absolutely clear is that her performance, alongside another breakthrough artist in Jacob Elordi, is that Ms. Spaeny is set to blow up the film scene in the years to come. She is already set to star in one of my most anticipated films of the first half of 2024 in Civil War , and also is starring in Alien: Romulus , scheduled to be released later this year. I expect great things from her, and I am excited to cheer her on as I see her grow to her full potential as an actress. - Preston COLMAN DOMINGO ( RUSTIN/THE COLOR PURPLE ) Colman Domingo has been acting successfully for longer than any of the other nominees in this category have even been alive, brightening the countless films he’s appeared in, no matter how small the role. If there was ever anyone who deserved a bigger breakthrough at a better time, it’s Colman. Just look at this 2023: Transformers: Rise of the Beasts, Ruby Gillman: Teenage Kraken, Fear the Walking Dead, The Color Purple, Rustin, and 2023-film-festival-darling-but-yet-to-be released Sing Sing . Two serviceable voice roles, a long-running TV series, two Oscar-nominated movies (one of which he received), and quite possibly an Oscar-win next year. That is the exact definition of a break… through. - Amarú DOMINIC SESSA ( THE HOLDOVERS ) Aside from the amazing cinematography, I think one of the things that made The Holdovers feel so authentically of the 1970s is the genius casting, specifically Dominic Sessa. Sessa doesn’t rely on typical teenage tropes or angst, but makes the character his own. His performance is full of heart and mischief, displaying the confidence of a far more experienced actor as opposed to an actor in his first feature film, and he has fantastic chemistry with all of his co-stars, including two current Oscar nominees. Acting opposite Paul Giamatti in a screen debut is an incredible achievement, and I am excited to see where his career takes him. - Katie HIDDEN GEM *WINNER* BIOSPHERE From the outset, Biosphere was seemingly created to be a hidden gem. From its quiet drop at Toronto International Film Festival (seriously, there was almost zero information about it) to its quiet day-and-date release almost a year later, it’s one of those movies that succeeds precisely because no one knows what to expect going in. To be fair, I get it. Had this movie been heavily publicized, it wouldn’t work. Without revealing too much, just know that this movie is a hilariously poignant exploration of masculinity, friendship, survival, partnership, and identity, all of which is driven by powerhouse performances by Mark Duplass and (especially) Sterling K. Brown. - Quentin THE CAINE MUTINY COURT-MARTIAL It’s a crime that more people haven’t seen The Caine Mutiny Court-Martial . I know people always say “they don’t make movies like this anymore,” but they REALLY do not make movies like this anymore. This tense courtroom drama is as classic Hollywood as it gets, and its brilliant execution is a testament to the talents of the late director, William Friedkin. He doesn’t rely on flashy cinematography, quick cuts, or an overpowering score because the expertly paced narrative and incredible performances are enough to keep your eyes firmly glued to the screen. If you haven’t seen Court-Martial yet, then you should definitely fix that. - Caleb HOW TO BLOW UP A PIPELINE Way back in 2022, there was a little-known film at Toronto International Film Festival that started gaining traction and buzz amongst the attendees. So much so, that I actually adjusted my schedule so I could see it for myself. I’m so thrilled I did. How to Blow Up a Pipeline is a film best suited for the big screen, as the tension it exudes throughout permeates the theatre. There is a realism to both the direction and the performances that make it feel like you’re watching a documentary, and at times, as if you’re part of the grand plan itself. - Nick PERFECT DAYS Look, am I surprised that a Japanese drama where a pretty large chunk of the film is a man cleaning public bathrooms wasn't a box-office hit? Of course not. Will I still recommend it to everyone within earshot? Absolutely. Perfect Days is a film that's all about the beauty of life. How mundane our lives can be is what makes it beautiful and how we choose to find joy is unique to everyone; Perfect Days sheds light on that, accompanied by a silent yet brilliantly effective performance from Kōji Yakusho. I like to believe Perfect Days found its niche audience, but I hope one day, that audience grows. - Adriano POLITE SOCIETY Polite Society is a one-two punch that deserves to have more people see it. Director Nida Manzoor manages to masterfully blend all sorts of genres, most notably comedy and martial arts, into a fresh and sharp coming-of-age story about two loving sisters with conflicting priorities, played by Priya Kansara and Ritu Arya. Their gleaming chemistry makes this spunky and charismatic film genuinely kick ass. If you’re looking for a playfully charming movie that is light-hearted, then Polite Society is the hidden gem for you to watch. - Paige BEST MUSIC *WINNER* GUARDIANS OF THE GALAXY VOL. 3 The bar was set so high with the soundtracks for the first two Guardians of the Galaxy movies that I feel like people maybe slept on the music in Vol. 3 . Much like its predecessors, Vol. 3' s soundtrack features banger after banger from the likes of Heart, Bruce Springsteen, Radiohead, The Beastie Boys, and Florence + the Machine, among others. Most importantly though, the songs’ placement in the film and the tone-setting these tunes achieve is true master-crafting by director James Gunn, especially the final musical moment of the film, which had me holding back tears. Gunn's departure may signal the end of this franchise, but at least we’ll always have three killer albums. - Nick OPPENHEIMER Ludwig Göransson has crept up to become one of my favourite modern-day composers, and while Oppenheimer may not be his best score in my opinion (I still listen to Black Panther 's score at the gym), it might be his biggest accomplishment. Throughout Oppenheimer , Göransson's score blares in nearly every single moment, elevating what could've been dull political and scientific discussions to something more compelling. The number of earworms in this score are too many to count, and Göransson's blend of classical and contemporary music helps bring certain aspects of J. Robert Oppenheimer to life during the film. Even separated from the film, it's just an excellent score to listen to on its own, as well. - Adriano TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM By the time the guitar strums from A Tribe Called Quest’s “Can I Kick It?” hit halfway through Mutant Mayhem , I had already wanted to give a round of applause to the film’s music supervisor. M.O.P., 4 Non Blondes, De La Soul, Natasha Bedingfield, Gucci Mane, M.O.P. again just for emphasis (“Ante Up” will never not be hype), Ol’ Dirty Bastard, and a pitch-perfect reference to Vanilla Ice’s “Ninja Rap”? Just relive my childhood, why don’t you? Top that with Blackstreet’s “No Diggity” serenading you through an expertly animated action montage, and there’s rarely a minute in which you aren’t resisting the urge to get up out of your seat and groove. I didn’t even mention the perfect Trent Reznor and Atticus Ross futuristic, techno-hip-hop score. C'MON SON!!! - Amarú AIR You might not immediately recognize the artists or the songs on the soundtrack of Air , but I promise you will do an 80s-style shoulder sway and finger snap with almost every song while thinking, “Oh, I remember this song!” Whether it be the chorus to Night Ranger’s “Sister Christian,” the opening guitar pop of Violent Femmes’ “Blister in the Sun,” Cindy Lauper’s generational talent displayed in “Time After Time,” or REO Speedwagon’s “Can’t Fight This Feeling,” the Air soundtrack is simply the best soundtrack of the entire year. By the way, I highly recommend watching the original music videos to each song as you revisit them; you won’t be sorry. - Preston BARBIE One of the best features of Greta Gerwig's blockbuster Barbie is the soundtrack, which brilliantly captures the whimsical yet thought-provoking tone of the movie. It includes a variety of upbeat, glossy songs by notable artists such as Dua Lipa and HAIM, as well as the powerhouse rendition of "I'm Just Ken" by Ryan Gosling. It also features songs with far more somber themes, such as Billie Eilish's "What Was I Made For?" All in all, the mood that the songs create transports us from Barbie Land to the real world in a way that makes us want to cry and dance right out of our seats. Barbie's paradoxical yet realistic journey is brilliantly captured on the film's soundtrack. - Paige IN ALL SERIOUSNESS AWARD *WINNER* THE IRON CLAW I don’t care what generation you belong to, what culture you grew up in, or if you’re even a wrestling fan…it’s almost impossible to watch The Iron Claw and not feel something deep in your spirit. There’s tragedy, then there is tragedy. Then there is the real-life TRAGEDY of the Von Erichs. Director Sean Durkin expertly avoided making trauma-porn out of their harrowing tale, and how could he not when you have top-tier performances from Zac Efron, Holt McCallany, Harris Dickinson, and Jeremy Allen White. I may never watch this film again (it’s A LOT), but I damn sure will never forget it. - Amarú ANATOMY OF A FALL Anatomy of a Fall is a riveting courtroom drama that is both subtle and brilliant all at once, featuring sharp dialogue and a thought-provoking story that will keep you guessing throughout. You may wonder, why so serious? Even though it is lengthy, this mystery is full of gripping performances and nuanced turns that, without co-writer and director Justine Triet's guidance, wouldn’t have worked as well as it did. She lets the film's real beauty come through, allowing the audience to determine what actually happened, leaving them to think about it long after it ends. - Paige OPPENHEIMER Director Christopher Nolan has stated that he thinks J. Robert Oppenheimer was “the most important person who ever lived,” and after seeing Oppenheimer , it’s pretty hard to disagree with him. This larger-than-life drama combines a staggering ensemble cast with an intricately structured, endlessly fascinating narrative. It adeptly explores not only the creation of the atomic bomb, but also the psychological fallout it had on the mind of its morally ambiguous inventor. The end result is one of the most successful dramatic films of our generation, and one that fully convinced us of its profound importance. - Caleb PAST LIVES Ever since I saw its world premiere at Sundance, I knew Past Lives was special. A film about the paths we didn't take and how we justify our actions in the pursuit of love and happiness while trying not to think about what could've been? It rarely gets more human than that. Between its gut-wrenching screenplay, paired with outstanding performances from Greta Lee, Teo Yoo, and John Magaro, Past Lives offers a beautiful experience that's as worthwhile as it is bittersweet. It still absolutely blows my mind that this is Celine Song's debut film. - Adriano PRISCILLA Much like The Iron Claw , another film that just didn’t get its due last year is Priscilla . This is, for my money, the best film Sofia Coppola has directed. The story of a young woman’s growth from naive fan girl to realizing the darkest sides of her relationship with Elvis Presley, the object of her young fandom, brings up questions of love, grooming, and turmoil. Coppola approaches the film in a manner that makes you feel the way Cailey Spaeny’s Priscilla Presley feels. It’s an underappreciated aspect of the film, but one that truly puts it over the top. - Nick LAUGH OUT LOUD AWARD *WINNER* POOR THINGS What else can I say about Poor Things that hasn’t already been said through the multitude of discussions, nominations, praise, and awards that it has justly deserved? As critics, we must wrestle with the notion of remaining vigilantly committed to our candid commentary while balancing what might be desired by our curious devotees. The balance of which can be rightly ignored in this particular case. Poor Things is a masterpiece that stretches our collective imagination, crosses genres, and breaks the limits of the plethora of content created before it. There is a legitimate case for it to win almost every category outside of “Best Animated,” so here is one more tip of the cap to its brilliance. - Preston AMERICAN FICTION American Fiction is funny as fuck, Sterling K. Brown is hilarious as shit, Tracie Ellis Ross is laugh-out-loud funny, and Jeffrey Wright’s dry wit, expertly parried by Erika Alexander’s sarcasm, puts it all together. This hilarious ensemble encapsulates how black people, who live an utterly complicated life in this country, will always laugh. Laugh when we smile. Laugh when we cry. Laugh when we yell. Laugh when we roast the shit out of each other, especially family. How else would we survive the fucked up shit we deal with on the daily? - Amarú BARBIE Much like with animated films, for Barbie to be a runaway success, it needed to find a way to appeal to more than just its target demographic. As a guy in his 30s, this movie was certainly not made for me, but I sure enjoyed it, anyway. The comedy is mainly driven by Ryan Gosling’s ridiculous performance as man-child Ken, but Margot Robbie, Michael Cera, and the rest of the ensemble cast bring the laughs as well. Whether it’s the jokes, musical numbers, or fish-out-of-water scenarios, the hilarious fun is there, and it’s a big reason that Barbie made more than a billion dollars. - Nick DREAM SCENARIO I have not witnessed anything elicit as much laughter from a cinema audience as Nicolas Cage’s perfectly timed fart in Dream Scenario . The film satirises cancel culture and the nature of social media fame by capitalising on Nicolas Cage’s memefied status, balancing real and surreal elements for a hilarious effect. Continuing a trend of impressive performances in indie genre films, Cage is perfect as a boring, awkward professor, displaying his impressive range and bringing a pitiful innocence that is essential to the character. Dream Scenario is often excruciatingly awkward and cringe-worthy, so it is obviously my favourite comedy of last year. - Katie THE HOLDOVERS The Holdovers is such a cozy and feel-good film that it is destined to become a holiday classic. The characters' chemistry with one another throughout the movie is the reason why the plot genuinely feels like a homey hug. Honestly, I could spend hours watching Paul Giamatti’s and Dominic Sessa’s characters bicker back and forth with each other. Every scene is filled with either great comedic bits or heartwarming yet heartbreaking moments, and director Alexander Payne does a fantastic job of capturing the essence of a 1970s Massachusetts boarding school. Considering all of that, the humor and performances make me believe it could be my favorite Payne film to date. - Paige ADRENALINE AWARD *WINNER* JOHN WICK: CHAPTER FOUR The John Wick franchise is easily one of my favourite action franchises from the past decade. I loved the first three movies so, so much, yet I'm delighted to say that not only did John Wick: Chapter 4 exceed its predecessors, it exceeded them by a lot. In just about every single department, Chapter 4 is an astonishing big-screen experience. Watching John Wick hack and shoot through foes with ease in elongated sequences has never been more impressive to watch. Some of the techniques used for these sequences are things I can honestly describe as jaw-dropping. I truly can't see any reason why this isn't the new standard for action films going forward. - Adriano MISSION IMPOSSIBLE: DEAD RECKONING I refuse to stop preaching about how Tom Cruise is one of our last true Hollywood stars, and this feels no less true with Mission Impossible: Dead Reckoning . The film is brimming with jaw-dropping action sequences, suspense, adrenaline-fuelled car chases, and some of the most daredevil stunts courtesy of Mr. Cruise yet. Unlike many action films of late, Dead Reckoning looks convincingly real and refreshingly free of CGI, emphasising the impact of the fast-paced thrills, and it will have any viewer on the edge of their seat from the outset all the way through to the end. - Katie SISU At this point, I feel like I’m becoming “that guy” when it comes to Sisu , the dude who just won’t shut up about it. I’m genuinely not sure what else I can say to sing its praises. That said, if you missed my write up in our Hidden Gems article HERE , my ranking out of Toronto International Film Festival HERE , or my review HERE , I’ll tell you that Sisu is an action-packed hybrid of Captain America and Inglourious Basterds . It’s gory, exhilarating, funny, full of “oh shit!!” moments, and thoroughly satisfying, especially as it disposes of Nazi after Nazi. You want adrenaline in movie form? This is it. - Quentin EXTRACTION 2 Extraction 2 may not quite fill the shoes of its kick-ass predecessor, but what it lacks in storytelling, it more than makes up for with kinetic, action-packed mayhem. The cinematography is on point, and with Chris Hemsworth leading the way, the Extraction franchise comes the closest of its competitors to John Wick , the standard bearer for high-stakes, gun-wielding fight thrillers. If we are to further sub-categorize it to just straight-to-streaming releases, it can be firmly placed as one of the two best action films of the year! - Preston GUARDIANS OF THE GALAXY VOL. 3 There are action movies that have action for action’s sake. There are comic-book movies that rely on pure name recognition to carry it through their runtime. Then there is James Gunn delivering the most James Gunn-y, action-filled, comic-book threequel there is. Guardians Vol. 3 is the epitome of the sum of its amazing parts, and the action sequences flourish because of it. That hallway scene wouldn’t hit as hard if not for the character work, humor, and heart Gunn infused into everything leading up to it. It all influences the action, and the action feeds right back into the story in a seamless cycle of immaculately executed action epicness. - Amarú NIGHTMARE AWARD *WINNER* TALK TO ME A24’s horror flick Talk to Me was not only a surprise smash hit at the box office, but it proved to be the best horror flick of the year! With inventive imagery and shocking gore, directors Danny and Michael Philippou’s offering was able to elevate this year's crop of horror films and truly rattle you to the core with how unsettling and chilling it is. This gem is a stylish and disturbing tale of grief and loss that will keep you on edge of your seat from start to finish; it's that bloody good. - Paige GODZILLA MINUS ONE I’ve been a fan of Godzilla my entire life, and with Minus One , director Takashi Yamazaki finally delivered what I’ve been wanting for years: a horror movie. I’m cool with the big guy fighting some monkeys now and then, but the original 1954 film, Gojira , was intended to be a sobering reflection on the horrors of war. This film wisely revisits those roots, providing audiences with a monster movie that’s as terrifying as it is exciting. After years with the American, anti-hero take on the character, it’s refreshing to see Godzilla portrayed as a villain again. Minus One presents everyone’s favorite monster as an unrelenting force of nature, and it just feels right. - Caleb KNOCK AT THE CABIN Maybe it’s because it came out so early in the year, or maybe it’s because director M. Night Shyamalan has lost some goodwill because of the disappointment stemming from some of his more recent efforts; either way, Knock at the Cabin is a damn good movie that most people didn’t talk about. Shyamalan shows an expert ability to create tension throughout this relatively grounded story - by his standards, anyway - and unlike many of his other projects, Cabin doesn’t need to rely on a grand twist. Instead, it delves deep into the dark things that we, as humans, are willing to do for the betterment of others and the sacrifices needed to achieve that. - Nick NO ONE WILL SAVE YOU Brian Duffield’ s sci-fi horror No One Will Save You is both an homage to classic horror and sci-fi cinema, as well as its own original success with unique elements. From the outset, the film establishes a palpable tension that refuses to let up, driven by a powerhouse performance from Kaitlyn Dever that is almost devoid of dialogue. She portrays panicked fear and genuine terror through her physicality and impossibly wide eyes. Plus, the lack of dialogue does not come across as a gimmick, but only intensifies Dever’s performance, the eerie sound design, and constant dread. The film stands out as a soon-to-be genre favourite. - Katie THE PASSENGER As a person who has been less than enamored with recent horror-thriller offerings, especially theatrical releases, I tend to find joy in smaller, straight-to-streaming, indie releases. The Passenger is further proof that this is the pool to be wading in. Although simple in its setup, it thrives on fantastic performances from Johnny Berchtold and the perpetually underrated Kyle Gallner (seriously, Hollywood, wake up on this guy already), leaving just enough questions about motives and the characters’ character to keep the viewer thoroughly engaged. - Quentin BEST ENSEMBLE *WINNER* OPPENHEIMER I remember when I first saw the promo picture for Oppenheimer , with every single known name in Hollywood presented like a supersized version of Hollywood Squares . I had two thoughts: damn, that is a very white cast (I mean, it is, right?); and damn, how is Christopher Nolan going to fit all those people in one film, even at three hours long? Well, he did that shit in spades. Whether on screen for three hours or three minutes, not a soul was wasted in their screen time, and every single instance of the Leo-pointing meme was rewarded with a familiar face giving more than just a reason to Leo-point. - Amarú POOR THINGS The best thing about the Poor Things ensemble is just how unique all the performances are. Emma Stone, Willem Dafoe, and Mark Ruffalo embody roles unlike anything they’ve ever played before, and it’s a joy to watch these talented performers step outside of their comfort zones. Ruffalo is gloriously wacky, Dafoe gives his most sympathetic, complex performance yet, and Stone absolutely shines as Bella Baxter, flawlessly portraying a whole lifetime's worth of development in a single film. Name-wise, it may not be as stacked as some other 2023 films, but as far as sheer talent goes, Poor Things earns its nom with ease. - Caleb BARBIE Everyone say it with me... "Hi, Barbie!" Barbie is a film that lives in its own universe, following its own rules and logic. With that, the actors must come equipped to adapt to the pink world they now live in, and thankfully, every single actor is in on the joke. Everyone brings a wacky sensibility to the film, which helps with the elevated reality presented. Much has been said about Margot Robbie, Ryan Gosling, and America Ferrera already, but there also are comedic highs from of some of the smaller roles, like Michael Cera, Issa Rae, and Kingsley Ben-Adir, and even some smaller dramatic moments are made better by actors like Ariana Greenblatt and Rhea Perlman. - Adriano THE IRON CLAW Every year there is a film that the Oscars wholeheartedly snub. This year, without a doubt, it’s The Iron Claw . Sitting high on my personal Top Five of the year, the big success of this film is its cast. Yes, it’s well documented that many believe Zac Efron deserved a Best Actor nomination for his performance as Kevin Von Erich, but the whole cast is terrific. Jeremy Allen White gives potentially the most authentic showing of the bunch as Kerry Von Erich, while Holt McCallany excels as the vicious Von Erich patriarch. Plus, Harris Dickinson, Stanley Simons, Lily James, and Maura Tierney? A true ensemble that comes together to make a beautiful film. - Nick KILLERS OF THE FLOWER MOON Killers of the Flower Moon wasn’t my favorite film of 2023, but the ensemble cast was easily one of my top three of the year. Leonardo DiCaprio, Robert De Niro, Brendan Fraser, Jesse Plemons, John Lithgow, and newcomer Lily Gladstone…each name stands alone, but in concert with each other they represent a sum that is infinitely better than its individual parts. That’s quite a sum! Each actor does what they do best, but together they bring the requisite gravitas to a slow-moving film whose story necessitates worldwide attention. There are few films of this year (or ever) that carry as much titanic cohesion. - Preston BEST ANIMATED PICTURE *WINNER* SPIDER-MAN: ACROSS THE SPIDER-VERSE At the risk of sounding hyperbolic, Spider-Man: Across the Spider-Verse is one of the most influential animated films since... well, Spider-Man: Into the Spider-Verse . The way the film incorporates several dozen animation styles in just one still frame is a feat in itself, but Across the Spider-Verse is more than a technical marvel. It also has a smart, funny, emotionally gratifying, and relatable story that only complements the animation. I can't even possibly begin to imagine where this is all leading with Beyond the Spider-Verse , but I sure can't wait to witness it. - Adriano SUZUME I had very high hopes for Suzume , and I am pleased to say that it did not disappoint. From exciting, fantastical set pieces and gorgeous expanses of the sky to a simple, delicious-looking plate of noodles, the animation is simply stunning. Directly referencing the 2011 earthquake in Japan, the film combines fairy-tale storytelling with a sense of anxiety and dread to explore emotional themes of grief and trauma, but it’s complemented by the charming coming-of-age narrative and fun sense of mischievous energy. Suzume exemplifies the unique capabilities of animation when it comes to addressing difficult topics in a meaningful, healing way. - Katie TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM In a year with seemingly fewer animated films being released than usual, I am so glad that Teenage Mutant Ninja Turtles: Mutant Mayhem was one of them. It’s so successful at providing a fresh face to a story and characters that, at their core, are timeless, but have been the victim of so many renditions that they needed a face-lift. Writer/producers Seth Rogen and Evan Goldberg provide exactly that with a tubular soundtrack, excellent voice acting, and inspired animation. I grew up with the Ninja Turtles and spent many a day working on my sweet bo staff skills (because Donatello is the best). After watching this latest take on the quartet, I may just have to pick up the bo once more…sorry, honey. - Preston THE BOY AND THE HERON In an otherwise uneven year for animation, it was refreshing to be graced with another ambitious Studio Ghibli epic. With The Boy and the Heron , director Hayao Miyazaki presents one of his most daringly original worlds yet, complete with compelling symbolism, disturbing imagery, and some very, very evil parakeets. While the purposefully perplexing narrative may leave a few viewers frustrated, there’s no denying that this story comes from a place of pure, unbridled creativity. The Boy and the Heron is a gorgeously animated 2D adventure, and I'm glad it's getting the respect it deserves. - Caleb NIMONA I consider Nimona to be 2023’s second best animated movie because of how heartfelt, hilarious, and heroically its themes shine. It’s a shame that this visual and storytelling spectacle wasn’t granted a big screen release. Riz Ahmed and Chloë Grace Moretz’s chemistry is palpable, the action is absolutely kinetic, and it’s one of the few Spider-Verse -influenced movies whose animation feels like it evolved Spider-Verse ’s visual stylings instead of emulating them. I cannot express how much love pours out of every aspect of this film, and if you have access to a Netflix account somewhere, this should, without a doubt, be your next (re)watch. - Amarú BEST DIRECTOR *WINNER* YORGOS LANTHIMOS - POOR THINGS Poor Things is a strange yet magnificent tour de force, and that's all thanks to filmmaker Yorgos Lanthimos' amazing style. It's wildly inventive and bizarrely over the top. It was a difficult assignment to attempt adapting Alasdair Gray's book, but what Yorgos managed to achieve is sincerely mesmerizing. Let’s face it…a director's job is to helm the ship of the entire production, and he did just that, from its powerhouse performances to the beautiful steampunk production design to the magnificent costumes. This film truly is the full package and one of the most stunning films of the year. Bravo, Yorgos. Bravo! - Paige ALEXANDER PAYNE - THE HOLDOVERS Filmmaker Alexander Payne isn’t usually my jam. I often feel like his films are unrepresentative of my life and the people I know, but even amongst the films I didn’t love, I could never deny his skill in capturing the intricate pain and hope within his characters. This is still the case in The Holdovers , which I loved, by the way. I could feel the cold of the Massachusetts air, I could smell the remnants of painted brick hallways within the halls of Barton Academy, and I could taste the food coming out of Mary’s kitchen, all due to Payne’s ability to capture the human experience…even if it isn’t always my human experience. - Amarú CHRISTOPHER NOLAN - OPPENHEIMER Let’s be clear about what Christopher Nolan did with Oppenheimer : He transformed a highly scientific and historical subject into a hauntingly masterful biopic that has quark star-like gravitational pull. His success lies in the world he was able to reconstruct, where the focus on details allows the viewer to marvel at the terrible awesomeness that is being created while simultaneously shouldering the responsibility alongside the imperfect genius who created it. He is in a class of his own when it comes to having the ability to illuminate a broad audience about scientifically charged historical events, all while setting new marks for awe-inspiring cinematic wonder. - Preston SEAN DURKIN - THE IRON CLAW Being a great director is about getting the most out of your crew, and with The Iron Claw , director Sean Durkin effectively utilizes every shred of talent at his disposal. This rousing sports tragedy is an excellently put together piece of work, complete with a devastating narrative, outstanding visual storytelling, and some of the best performances of the entire year. Zac Efron delivers my favourite performance of 2023, and it couldn’t have been achieved without Durkin behind the camera. His ability to guide the talent towards greatness deserves to be celebrated. After The Iron Claw , there’s no denying that Sean Durkin is a director we should be keeping our eyes on. - Caleb SOFIA COPPOLA - PRISCILLA For as long as I can remember, Sofia Coppola has been one of my favourite filmmakers. And as much as I love Marie Antoinette , I believe she has reached a high point as a director with Priscilla . From the moment we first meet the 14-year-old Priscilla Beaulieu, Coppola had me in the palm of her hand, flawlessly and almost miraculously displaying the flame of first love with an eerie, fairytale-like essence. Where Coppola's filmmaking gets really impressive, though, is when she shows that flame goes out, and the film's tone becomes so different yet so captivating. If Priscilla is the new bar for an already outstanding filmmaker, I can't wait to see what she does next (as if that wasn’t already the case). - Adriano BEST SUPPORTING ACTRESS *WINNER* DA'VINE JOY RANDOLPH - THE HOLDOVERS The Holdovers has an undeniable secret weapon in Da'Vine Joy Randolph. While Paul Giamatti and Dominic Sessa are hilariously butting heads, Randolph's character, Mary Lamb, is experiencing the loneliness of the situation in her own way. Grieving the loss of her son and going through her first Christmas without him, Randolph plays the character's highs and lows with authority and authenticity, being a fierce voice of reason during one scene before breaking down in the next scene as she can't bear the pain any more. Randolph's a true force in The Holdovers , and I haven't gotten the performance out of my head since seeing it. - Adriano JULIANNE MOORE - MAY DECEMBER I was absolutely thrilled by Julianne Moore in Todd Hayne’s darkly comedic melodrama May December. Her layered, pitch-perfect performance portrays a woman who is deeply self-conscious, but also neurotic, conceited, quietly controlling, and underhandedly ruthless. She persistently forces the viewer to question her intentions, moral character, and whether there is more to her than initially meets the eye. Her performance is vital to the success of a film that boldly tackles difficult subject matters whilst implicating the viewer themselves in their participation in this uncomfortable story. - Katie RACHEL MCADAMS - ARE YOU THERE GOD? IT’S ME MARGARET Rachel McAdams is often forgotten about amongst the best actresses of this generation. That is until the next time you see her on screen, and in Are You There God? It’s Me Margaret, her vulnerable and supportive performance is another example of seeing her and saying “oh shit, yea, she is damn good.” Oftentimes, in coming-of-age films, B-plots are either shortchanged or a waste of time, but the way in which McAdams is so authentically human as the connective tissue between the generations of the titular Margaret’s family is the reason this movie can show that coming of age doesn’t stop when you come of age. - Amarú ROSAMUND PIKE - SALTBURN To be honest, Rosamund Pike's performance in Saltburn could be considered equally as iconic as her role in Gone Girl . As Lady Elspeth Catton, Pike demonstrates her versatility as an actress, showing that she is capable of playing characters that are more than just dark and twisted. She proves that she also is a master of razor-sharp humor. If any other actress had played this part, some of the lines Pike had to deliver might have been played off as silly jokes, but in her hands, they are daggers. She has established herself as one of the most gifted actresses in the business, and her ability to fully inhabit complicated, nuanced roles is on full display here. - Paige TEYONAH PARRIS - THEY CLONED TYRONE Going into They Cloned Tyrone , I admit, Teyonah Parris was just a name on the poster. Honestly, it was a name I knew, but I didn’t know why I knew it. After watching the movie, it’s not a mistake I’ll make again. She absolutely owns the screen and steals every scene as Yo-Yo, including upstaging a best-in-years performance from Jamie Foxx. She is so unrecognizable and immersed in the character that, four months later, I didn’t even realize it was the same actress playing Monica Rambeau in The Marvels . Or that I had previously seen her in If Beale Street Could Talk . She’s fucking good, man. - Quentin BEST SUPPORTING ACTOR *WINNER* MARK RUFFALO - POOR THINGS I’ll be honest, Mark Ruffalo is another one of those amazing actors ***cough Denzel cough*** that sometimes just does variations of Mark Ruffalo, and that is always more than enough to say he’s given a top tier performance in any given year. However, there is absolutely no trace of Ruffalo in his portrayal of Duncan Wedderburn. He’s outlandish, bombastic, dramatic, hilarious, and everything we have seen from Ruffalo, but to the most entertaining degree. He tapped into another level here to disappear into one of the most ridiculously devilish characters you’ll see in a comedy, and he’s a major reason that the comedy of Poor Things works. - Amarú RYAN GOSLING - BARBIE I may be unnecessarily incriminating myself by admitting that I wasn’t the biggest fan of Barbie . Similarly, I will needlessly profess my love of everything Ryan Gosling and how his performance in Barbie has cemented himself amongst the likes of Brad Pitt, Arnold Schwarzenegger, Matt Damon, and Leonardo DiCaprio as someone whose movies I will automatically commit to watching, no matter the personal cost. His talent knows no bounds, and a lot of what was trying to be communicated in this movie could only be done against the backdrop of what he brought to the table. - Preston CHARLES MELTON - MAY DECEMBER Although director Todd Haynes consistently gets excellent performances out of his actors, it was unexpected that Charles Melton's performance in May December , which also starred powerhouses Natalie Portman and Julianne Moore, was the one that most caught the audience's attention. Melton's portrayal of someone who was groomed throughout his entire relationship is so sad that it allowed him to eclipse his two amazing co-stars. His performance is unforgettable, whether it's the moment with his son on the rooftop or when he breaks down in tears as he watches his kids graduate from high school, he’s just that good. - Paige DOMINIC SESSA - THE HOLDOVERS Going forward, Dominic Sessa might have set himself up for failure because he’s so, so great in The Holdovers , yet it’s his ONLY professional acting credit. It’s a high bar to set right out of the gate. I mean, his first time on screen is opposite Paul Giamatti (a strong contender to win Best Actor) and Da’Vine Joy Randolph (a lock to win Best Supporting Actress, if there ever was one), yet he manages to hold his own, delivering an angsty, angry teen performance that doesn’t stumble into cliché, unrelatability, or, for lack of a better word, CW-ness. The more you think about what Sessa does here, the more remarkable it is. - Quentin GLENN HOWERTON - BLACKBERRY “ I’m from Waterloo where the vampires hang out! ” There was maybe no bigger surprise in 2023 than the performance of Glenn Howerton in BlackBerry . Known mainly for his comedic stylings in It’s Always Sunny in Philadelphia , Howerton delivers a powerful performance as Canadian businessman Jim Balsillie. He is just the right level of over-the-top to be believable as you watch him through the rise and fall of BlackBerry. What could have been a relatively forgettable film is elevated because of the way Howerton brings Balsillie to life. This should definitely be the first step of Howerton’s path towards more serious roles. - Nick BEST ACTRESS *WINNER* EMMA STONE - POOR THINGS In a moment of surreal madness, I saw the world premiere of Poor Things at Venice Film Festival. Even then, free from the shackles of influence, preconceived notions, and hype trains, I knew I had just witnessed one of the best performances of the year. Emma Stone, who has always been a very-good-but-not-quite-great actress to me (extra emphasis on the “to me ” part), was a goddamn revelation. What she was able to do in portraying, essentially, the full evolution of woman…from put upon expectations to understanding self-worth to telling the patriarchy to go fuck itself with tact…is astonishing, hilarious, and profound. Give her all the trophies. - Quentin CAILEE SPAENY - PRISCILLA Although Cailee Spaeny has had some roles early in her young career, Priscilla must be viewed as her top showing thus far. Not only does Spaeny seamlessly step into the shoes of Priscilla Presley, but she does so while acting opposite rising star Jacob Elordi’s dark and excellent take on the King of Rock ’n Roll, Elvis Presley. Be it the innocent naivety of Priscilla’s youth as she adapts to an entirely new life, or the strength of becoming her own woman in eventually taking her life back, it all works thanks to Spaeny’s honest portrayal. At only 25 years old, her career will be filled with opportunities to come, and her performance in Priscilla will be a big reason why. - Nick CAREY MULLIGAN - MAESTRO Maestro may be Bradley Cooper’s magnum opus, but it can only be so because of the performance by Carey Mulligan. Mulligan’s subtle and nuanced portrayal of Leonard Berstein’s wife, Felicia Montealegre, quite simply outshines all other aspects of a film that has been highly praised, deservedly. Her ability to shine in a film with so much chaotic energy, with her believable and delicate balance of seeming impassivity and a truly magnanimous emotional tolerance, is one of the great acting accomplishments of the year. In my eyes, she only narrowly misses the top spot behind Emma Stone. - Preston LILY GLADSTONE - KILLERS OF THE FLOWER MOON When watching Killers of the Flower Moon , it wasn't the heavyweight cast consisting of the likes of Leonardo DiCaprio and Robert De Niro that gripped me, but Lily Gladstone’s formidable performance and commanding presence. Gladstone’s performance is understated and quietly complex, but her subtle facial expressions and deeply expressive eyes communicate everything she wants us to know among an ensemble that is much more exaggerated in its characterisations. Lily Gladstone’s performance has stuck with me since I first saw the film, and I think it will for a long time. - Katie SANDRA HÜLLER - ANATOMY OF A FALL It takes a certain kind of power to hold a film in the palm of your hand in a way that could break the film if done poorly, and Sandra Hüller walks that tightrope flawlessly in Anatomy of a Fall . Hüller plays Sandra Voyter, a writer on trial as she's accused of killing her husband. Neither the characters in the film nor the audience knows if she's guilty or not, and by looking at Hüller's actions, there’s absolutely no way of figuring it out. Her stoicism is not only perfect for the role, but it also makes way for some towering moments of pure excellence during the scenes when her character is at a breaking point. A truly ingenious performance. - Adriano BEST ACTOR *WINNER* ZAC EFRON - THE IRON CLAW Zac Efron’s portrayal of Kevin Von Erich in The Iron Claw is truly a career-defining role, and hands down his best performance to date. Through the role, Efron proved that he’s not only a pretty boy but also has the emotional range and ability to tackle a dramatic role like this. With his stunning physical makeover, flawless interpretation of a real-life person, and aching performance, Efron proved he is someone who should be taken seriously in the industry. I’m baffled that he didn’t receive any awards love this season, but don’t worry, Zac…at least Bitesize recognized your talent this year! - Paige NICOLAS CAGE - DREAM SCENARIO C’mon, guys…who else was going to write about Nic Cage here? Say what you will about my potential (probable?) bias, but in Dream Scenario , Cage plays a role that he has been inadvertently groomed to play. The Memefication of Cage over the years offered a well of knowledge and introspective character development that few people could mine for the character of Paul Matthews. Cage, who could have easily avoided all the personal introspection, decides to lean into his life experiences, delivering a performance that is real, hilarious, awkward, haunting, unrecognizable, and most importantly, relatable. - Quentin PAUL GIAMATTI - THE HOLDOVERS As a longtime admirer of Paul Giamatti, it’s nice to see The Holdovers finally granting him some much-needed appreciation. His performance as Paul Hunam is endlessly endearing, elevating the film every time he graces the screen. Giamatti is undeniably hilarious in the role, but it’s the pathos he brings to the character that really sold me on his performance. With his quick wit, his lazy eye, and a heart of gold, it’s damn near impossible not to fall for this lovably cantankerous professor. This is certainly a performance we won’t be forgetting anytime soon. - Caleb CILLIAN MURPHY - OPPENHEIMER Cillian Murphy gives a career-defining performance in Oppenheimer , one of the biggest films of the year and 2023’s most Oscar-nominated film. Murphy captures the enigmatic figure of Oppenheimer, bringing a physicality to the role that effortlessly communicates what version of the infamous physicist he is embodying. Director Christopher Nolan is no stranger to utilising IMAX cameras, but this time uses them to achieve a far more intimate effect, spending a lot of time in close-up on Murphy’s face, whose haunting eyes and subtle facial expressions convey the internal emotional battle of a man responsible for some of history’s most unthinkable events. - Katie COLMAN DOMINGO - RUSTIN As the resident The Walking Dead fan of our outlet, I have been following Colman Domingo’s work for quite some time, and the man seemingly gets better with every performance. Rustin is his first real shot at headlining a film, which he passes with flying colours. As Bayard Rustin, he is engaging during every minute of screen time as he preaches the message of positivity and perseverance in the face of the opposition. It is a layered performance that is both deeply heartfelt and powerful, all thanks to Colman. With another tremendous showing in Sing, Sing coming later this year, expect to hear his name next award season as well. - Nick BEST PICTURE *WINNER* POOR THINGS Yorgos Lanthimos’ Poor Things is an extraordinary film that promises to stun every viewer. Taking place in an otherworldly, gothic, and surreal universe, Poor Things is like a raunchy, subversive adaptation of Frankenstein , centering on the formative experiences of a reborn woman named Bella Baxter, played by an enthralling and committed Emma Stone. It unflinchingly explores themes of patriarchal control, the suppression of female sexuality, and societal pressures on women, whilst being extremely funny. The in-movie universe is meticulously crafted and totally unique, captured beautifully by the distinctive cinematography, and undoubtedly worthy of a Best Picture Winner. - Katie AMERICAN FICTION I saw nearly 40 films at Toronto International Film Festival in 2023, and none topped American Fiction . The story is clever, and the comedy is spot on, with the cast, headlined by the excellent Jeffrey Wright, using both of those aspects to the greatest of their abilities. A big part of the reason things work so well, however, is Cord Jefferson's effort behind the camera. Not only is American Fiction his feature directorial debut, but it’s also a film that has put him on the map. Oh, and as for that apparently contentious ending? chef’s kiss In my opinion, the best film of the year. - Nick THE HOLDOVERS The Holdovers may not have received the play time of its contemporary rivals, but no matter, because it’s still THE best picture of the year. The filmmaking and storytelling are so pure, and stripped of any flashy visual effects or CGI, the film is able to transport you directly into 133 minutes of complete connection. The details matter, and you can rest assured that every little detail is attended to, so you get to focus on the perfectly imperfect humanistic tale presented, one that beautifully mirrors us all so authentically. Wherever present, a categorical win is deserved for everything this film has given. - Preston THE IRON CLAW As a person who grew up watching professional wrestling, I was well aware of the Von Erich tragedies. Even with that knowledge , The Iron Claw managed to stir emotions in me that aren’t easy to tap into. It’s a weird combination of rousing sympathy, with the wrestling scenes hitting the optimistic nostalgic beats before the pending doom kicked me right in the dick with sadness. And I knew that kick was coming! This is a tremendously acted, expertly written film that makes you feel , and while “entertaining” seems the wrong word, it will stick with you long after the credits roll. What more do you need from a Best Picture nominee? - Quentin PRISCILLA Priscilla is one of the best movies I had the pleasure of watching last year. This tragic, coming-of-age romance is bolstered by an amazing score, dreamy cinematography, and two of the year’s strongest performances. Cailee Spaeny perfectly embodies Priscilla’s sincerity and perseverance, while Jacob Elordi delivers an unflinching portrayal of Elvis Presley, capturing not only the icon’s predation, but also his profound loneliness. All these incredible elements are combined perfectly by director Sofia Coppola to create one of the very best films of 2023. I know it didn’t get any love at the Oscars, so I’m extremely happy that it got a nom from us. Priscilla is worth the hype. - Caleb Photo Credits: Photo 1 - Amazon MGM Studios; Photo 2 - IFC Films; Photo 3 - Walt Disney Studios; Photo 4, 7, 14 - A24; Photo 5, 10, 12, 13, 15 - Searchlight Pictures; Photo 6 - Lionsgate; Photo 8 - Universal Pictures; Photo 9 - Sony Pictures Releasing; Photo 11 - Focus Features

Previous December 31, 2024 Next A BITESIZE CHAT WITH JAY BARUCHEL Jay Baruchel (Goon , She's Outta My League , How to Train Your Dragon ) is here to discuss his first foray into horror filmmaking, Random Acts of Violence . BB: First off, I'll say that I really enjoyed your approach to this film and how you tried to set it apart from other horror films. I know you’ve been vocal about the current state of horror being stagnant, and I was wondering if you could elaborate a bit more on that. JB: Oh gosh, yeah, fair… I guess as a fan of the genre, I find myself rarely scared by anything that I see. Rare is the horror film that is a good movie and actually scares me, and I just also kind of developed a bit of a personal distaste for this idea of what a horror film had to be. It's basically like 10-15 years ago, a bunch of investors realized that they could put a little money into something that would make them a bunch, and then, all of a sudden, we had this whole rash of contained-genre films, which are very transparent in why they were created. For me, it's an art form that is terribly important to me and I cannot separate my love of cinema from my love of horror movies; and I think, when it's at its best, it's a very pure, very direct art form and it lends itself to some pretty special stuff. So I went out and tried to make the movie that I wished was out there. BB: Actors are often asked who they want to act alongside, but they don't really give the director's standpoint a lot of focus. So, now that you’re making a name for yourself behind the camera, who are some of the actors you’d like to work with as a director? JB: Oh wow, what a cool question! They’re all too cool for me, I suspect, but, if I ever got the chance to direct Val Kilmer, I would be able to die a happy man. And, obviously, you could do a lot worse than Daniel Day-Lewis. I’ve gotten to act alongside Gary Oldman; getting to direct him would be a dream. So those would be my guys, I think. BB: You mentioned earlier not being able to separate love of cinema from love of the horror genre, but it's often a fine line between comedy and horror. Your film enters all the way into some pretty gory territory. How do you go from movies like the How to Train Your Dragon series and Tropic Thunder to something as dark as [Random Acts of Violence ]? JB: It comes down to… I’m very, very proud of, and honored to have, the acting career that I’ve had, but that’s like, you know, what I do for a living; and I hate saying that because it inherently sounds like I'm sort of dismissing it to a degree, which I really am not. I have been lucky enough to live off of my acting for quite some time, and, as a result, I’ve gotten to be a part of some pretty special films; but the movies I was watching at home and the stuff I was reading - everything I was sort of interested in myself - has been pretty consistent the whole time. I was always interested in, and a fan of, horror movies and action movies, and was always reading a shitload of true crime. So, for whatever reason, I was just always interested more in “strong medicine” as an audience member. So I knew that if ever I was lucky enough to get the chance to create an articulated vision in a movie, it would probably be something like that. So it’s like the movies that I’m in and the movies that I watch are sometimes different. BB: One of the things that comes up in the film is the idea of the balance between horror as an art form and fetishizing evil. What do you think the difference is between those? JB: That’s a very good question… Now, I think it’s a question that we don’t necessarily provide a clear answer to, which is deliberate, because I think there is some stuff which the film kind of takes a specific moral philosophy and standpoint on; but there’s other stuff that is more… kind of contributing to a debate in a conversation that I feel should happen. That being said, there are movies that I watch, and I know in my heart of hearts when something feels truthful and something feels kind of, yeah, fetishistic. And I’d point to a Quebecoise movie called, in English - 7 Days ; and in French - Les 7 Jours du Talion ; by Podz, and that movie is really harsh. It’s just one guy torturing another guy in a room for a whole fucking movie, and a great degree of realism and verisimilitude. It’s a fucking hard watch, but never once does it feel cheap or false; and never once does it feel like a love letter to violence; and it doesn’t seem to be sort of wallowing in it. So I think to answer the question, I think that’s kind of hard. It’s this almost amorphous thing that we call truth. I think that you can tell when something warrants its aesthetic and you can tell when something is ugly for the sake of ugly. I think you can; I can, anyway. But again, I think it’s a terribly relative thing, because every single one of us watches the same movie and we’re each going to have some different reaction to it, so that would be my kind of instinct is that it speaks to more the truth behind it. Why is Seven important, and a lot of other movies about a serial killer aren’t? BB: I saw a lot of influence from 70s Italian horror, I just wanted to know what other influences you put into the direction of this? JB: I definitely think there is some degree of giallo in the movie’s DNA. I think that when you see that, you’re seeing a lot of Karim Hussain’s influence because that’s an era and genre that’s really important to him. You know, for me, I think there’s some really important and beautiful stuff to be taken from it, but I’d be lying if I said it was my go-to. However, I saw ways that aspects of it would work pretty well in our flick. But for me the other kind of big influences would be The Red Shoes by [Michael] Powell & [Emeric] Pressburger, a British film from the 40s about a belly dancer, which is like not remotely scary - well not scary in a horror sense, scary in a different sense - I mean, most people don’t call that film scary, but there’s just a sort of a weird energy to it that I can’t put my finger on, but anyway, it was right for this movie. And then I say the two films that informed the energy of the violence in our movie the most would be Irreversible and David Fincher's Zodiac . They kind of both approached violence in a super honest, realistic way that allowed it to be kinda clumsy and stoppy and sort of really, really, you know, gritty as a result. So, those would be our big inspirations. BB: You adapted this one from a comic book. I was wondering if you could talk to me about the idea of bringing a comic book to screen. How you did it, using the art in the movie? And how your experience with Captain Canuck leant to that? JB: Oh awesome! It really starts from there being a really interesting story, an interesting kind of starting off viewpoint in the comic book and it just kind of got stuck in Jesse [Chabot]’s head, and in my head... Then, at a certain point, it becomes the only thing that matters is serving the story as well as we can, and so we allow the document we’re creating to start to live its own life, which means it’s beholden to its source material, but only to a certain point. There lives a moment where the movie starts to want to be something of its own, and you have to kind of decide is this thing it wants to be, that is different than the comic, is it worth doing? And then in terms of the aesthetic, I think maybe subconsciously we wanted it to look like that, but I think more than anything our way in with our camera, and our lighting, and our colour pallets was more just, kind of, arch. We wanted really strong arch colours in light and shadow, and that happens to be how a lot of comics are kind of created, so it ends up looking like that. Now, in terms of what did my experience with Chapter House and Captain Canuck lend to it? I knew exactly what it would be like to be on a Comic-Con tour and the kind of headaches that the owner has to look forward to arriving at a venue. So there is, I think, there is some bit in the movie where I’m yelling at the guy who owns the comic book shop about a fucking box that he can’t find that we sent and that’s shit that seems to happen at every Comic-Con. So that seems to be a bit of a comic industry banality that could be something funny and real. So, I definitely took some of my years in admin in that world [to inform the] vibes in this movie. BB: There are two scenes in the film that stand out for me, in that they’re kind of like opposites of each other. One is the autograph signing that features fans that are a little too into the Slasherman comic and then later in the film the police interrogation where the officer is expressing great disdain towards the comic. How do you feel these scenes comment on horror culture as a whole? JB: Yes, that’s an awesome question! That’s the thing I think I wanted to show… We’re trying to talk about, you know… It’s an inherently kind of relative experience as an audience member consuming a work of art, but we also… I was trying my best to show every bad thing that can come from this. It’s more about this idea that one can divorce oneself from responsibility for anything one puts out into the world, which I think is as absurd as the concept that video games and comics make people kill people. I think those are both are very facile, silly, absurd, philosophes... So, basically, how those two scenes compliment each other, it’s like this is what it could look like. It’s like when you’re caught in something that you looked the other way on. When Todd has made a Faustian bargain and even if he thinks he’s ultimately… that his book is victimized by critics, he still, part of him as a rational man has to agree with at least part of what they’re saying. He knows, ultimately, that even if he believes his work has more merit than people seem to believe it does, he knows what his fan base looks like and he knows ultimately how it will come across in the cold light of day. So it’s about the specter of responsibility that he was able to keep at arms length, kind of getting closer and closer to him until the end. BB: With this film, along with Man Seeking Woman and Goon , you film in Canada often. I know Georges St. Pierre always said that he enjoys fighting in Canada for a comfort level. What exactly is the thing that draws you towards shooting in Canada, and is it particularly important to you? JB: It’s two things. I think one of them is what he said, you know, this is my home; this is where I’m from and this is where I’m most comfortable. The other piece of it is, I feel, what many could call a silly obligation to English-Canadian cinema. I want to know that, for better or worse, I contributed to the cinematic language of my country, and I want to know that I added something to our cultural tapestry. You know, this is sort of part of why… it would be more convenient, I think, for me to have gone elsewhere, potentially, but I know that at the end of the day, even if I got to create some really special stuff, I would have contributed to another country’s culture. And this is… for me, my great shame is that I never joined the army, if I’m being perfectly frank. That’s not a joke, that’s like something I will always… it’s haunted me since I was a kid, that I didn’t do what a lot of my uncles and my granddad and my cousins did. Now, please, I don’t mean to say that I am comparing this movie to what any of my uncles or granddad or cousin did in joining the army, but it is in some way, a way that I can kind of contribute and help. Because listen, countries come and go, but art sticks around, and I would like to add to this country as best as I can. BB: You touched on working in the comic industry a bit, and then you mentioned that your taste in films has pretty much stayed the same throughout the years. Can you tell me what are some of your major comic book and horror film influences? JB: Alan Moore's From Hell, I think, is as good a use of the comic book medium as has ever been created. I would also put Preacher , everything Garth Ennis did in Preacher up there. Everything Garth Ennis did for The Punisher - for the years that he wrote The Punisher - really, really, really important to me. And then I would have to say for horror flicks, it would be The Exorcist , the original The Texas Chainsaw Massacre by Toby Hooper, and John Carpenter’s The Thing . And to be honest, I still think The Exorcist , probably the scariest movie ever made... But, I think, what might be neck and neck with it is a movie people don’t think of as a horror movie, but I think I would argue that 2001: A Space Odyssey is probably the scariest movie ever made. So, you know, I will spend my life trying to recreate even a moment from that film. BB: You mentioned Preacher and The Exorcist. , and there is a ton of religious imagery used in this film. I was wondering why you chose to use that and why do you hate Christmas? JB: Hahaha, no fair! That’s a very good question. So I’m kind of a child of two cultures to a degree. My dad is Sephardic Jewish, first generation. My mom is sort of dyed-in-the-wool Irish, English, Scottish, Canadian, and deeply Catholic. And some of the most impactful, not necessarily best, but most impactful moments in my childhood are tied to religion and Catholicism, specifically. I was in Catholic school from grades 1-6 and have hated myself the entire time as a result of it. I’d like to tell people that I was raised with two different, but very potent, forms of guilt from Jewish culture and Catholic culture. But, it all kind of seems to stem from like… This is the best way I can say it: I remember my mom reading me the Bible when I was a kid and she got to the story about Noah, and I started bawling my eyes out uncontrollably. Three years old, bawling my eyes out, like “why would God want to do this?” And then you know, Catholicism has a lot of really beautiful stuff in it, but it is very, very deeply viled. You grow up going to church, and class, and seeing Christ, you know, eviscerated, brutalized and you know it’s it drilled into you. So there’s kind of… It’s impossible for me to kind of separate blood from awe because it was drilled into me from childhood and from years, and years, and years in church. And you know, my relationship with the church is still kind of like a weird, tenuous one. I reject most of it, and yet I still feel a degree of safety and comfort when I’m in one, and so there’s a sort of push and pull in me that kind of finds its way out and manifests itself in this movie. BB: Lastly, this film seemed like you wanted to subvert some horror tropes. I’m not sure if that’s something that you added organically or if that came from the source material. Can you chat a bit about your approach to horror tropes and why you were kind of kicking them a bit? JB: Yeah, for sure… Your work should reflect what you actually believe, you know? And even if we enjoy kind of, on a surface level, you know, your kind of standard type of slasher films sometimes, even if that scratches a certain itch for us, we’re also able to discuss and talk about why this is maybe not the best and is potentially irresponsible and all this different shit. And it’s just like the point of something is a conversation that Jesse [Chabot] and I always seem to get into, and I think we were lucky enough to have known each other since high school, but also the high school we went to was a fine arts high school. So, this concept of “what is the point?” and “why does one do this?” and “what does this mean?” - this is just shit that was drilled into us. Of course, when we started writing this thing, you know… our intellects were commensurate with our age and, in sort of time passing, we evolve. Ideally, that document should evolve along with us. So, every year that the movie didn’t happen, we go back to the document, open the hood up and be like “ok, how can we make this better?” and we’d [discover] “well I don’t fucking think that way anymore” and “holy shit, this is a bit fucking exploitative!” or “this is kinda thin,” or “this is kind of shitty.” And so, the dielectric in the film is a conversation that Jesse and I had about our script over the course of a decade, and we realized that that would be the most honest, truthful way to do it - to actually not let that conversation inform how we write the thing, but to actually put it into the movie and almost build the movie a bit around it. Make sure to check out Random Acts of Violence now on VOD and Shudder. Interview conducted on July 24th, 2020 by Nick van Dinther. Photo Credits: Banner - The Montrealer; Photo 1 - Elevation Pictures; Photo 2 - Entertainment One

Previous Next December 13, 2023 WRITTEN BY: THE BITESIZE CREW Every year, there are hundreds, if not thousands, of movies released around the world. Even for us at Bitesize Breakdown, a collection of vociferous and voracious movie watchers, it’s impossible to keep up with every single movie released, so we can only imagine how many offerings fall through the cracks for the general movie fan. Whether it be a foreign film, an independent festival darling, or a smaller film that was unceremoniously dropped on VOD, it can be difficult parsing through all your options. Plus, we understand that everyone has busy lives, so the idea of wasting two hours on a movie you’ve never heard of is likely a non-starter for most people. We totally get it. That’s where this article comes in. Sure, you’ve likely heard of, or even seen, the big blockbusters…movies like Barbie and Spider-Man: Across the Spider-Verse …but what about the less flashy movies that didn’t get the same level of marketing as those tentpole behemoths? Below, each of the eight Bitesizers have highlighted two films that flew under-the-radar for whatever reason, but that are no less worthy of your time and attention. Many of these can be found on digital platforms currently, so you don’t even need to leave the comfort of your home to have a truly enjoyable movie-watching experience. If nothing else, we’re just hoping to spark some interest in something you may not have otherwise noticed. So, without further ado, check out the Bitesize Crew’s picks for their top hidden gems of 2023! ACIDMAN With a quiet release this year, this flick probably flew under your radar, but I’m here to spread the word on this touching, low-key, father-daughter drama. Despite a simple premise, Acidman is a beautifully shot, intimate two-hander with more meat on its bones than you’d expect. This allows its two leads, Dianna Agron and Thomas Haden Church, to deliver two of the most underrated performances of the year. This film is one of those rare gems that subtly unpacks its characters’ feelings onto the audience in such a gentle and reflective manner that it will resonate with many people. - Paige BIOSPHERE I first saw Biosphere as a last-minute addition to the TIFF line-up in 2022. It was added with almost zero information, outside of the fact that it starred Sterling K. Brown and Mark Duplass. Honestly, that's the best way to approach this movie, as blind as possible. Biosphere is an intimate, unique, and rather funny film surrounding two isolated men living through a supremely interesting premise. I’m more than a year removed from my first viewing, and it still hasn't left my mind. Sadly, though, it's public release in July came with little fanfare. I have no doubt people are bound to love this film if they see it, they just need to see it. - Nick THE CAINE MUTINY COURT-MARTIAL It’s a shame that The Caine Mutiny Court-Martial flew under the radar this year because it’s fantastic. This remake of the 1954 classic is helmed by the late William Friedken, who absolutely crushes it here. I know people say this a lot, but you really don’t see movies like this anymore. Caine Mutiny is patient, captivating, and unpretentious filmmaking at its finest. You can feel Friedkin’s confidence in almost every frame of the film, with the acting, blocking, and editing all being truly masterful. Sadly, this is Friedkin’s final film, but at least he went out with a bang. – Caleb CASSANDRO If nothing else, Cassandro is worth a watch for Gael García Bernal’s amazing performance. In almost any other year, he would be in talks for an Oscar nomination for his honest, vulnerable, and enthralling portrayal of the real life “exotico” wrestler. The movie itself is a slow burn that spends time to bring true emotional resonance to the title character’s journey. That same care is brought to the film’s gritty tone, exemplifying how much work and perseverance goes into people’s passions. Whether or not you’re a wrestling fan, you’re bound to appreciate how much Cassandro truly cares for its subject matter and its presentation, making it a movie you shouldn’t miss. - Amarú DEEP SEA At this point in my life, it takes a lot for me to fully buy into animated movies or movies with subtitles. With animation, I’m just too old and cynical nowadays, while with subtitles, I generally find it hard to immerse myself in the story with all the reading. However, Deep Sea is so remarkable, featuring a deeply poignant story of childhood depression and parental neglect told through some of the best animation I’ve ever seen, that I was utterly blown away. If you can believe it, I was even emotionally moved. It’s not unlike Studio Ghibli’s Spirited Away , if you need something else to sell you on it, but Deep Sea more than stands on its own as one of the best animated films I’ve seen in recent years. - Quentin ENYS MEN Enys Men is a unique display of auteurship, with Mark Jenkin as the writer, director, cinematographer, editor, and composer of the soundtrack. Best described as a Cornish folk horror, it follows a woman known only as The Volunteer, played by Mary Woodvine, who is tasked with observing wildflowers on a remote island. The Volunteer repeats the same tasks daily, and eventually, everything slips between dreams and reality, where all of history and time seem to co-exist simultaneously. Shot on 16mm film, it has a palpable 1970s style, making it feel like a lost artifact that was discovered on that isolated island. I’m surprised Enys Men didn’t have more of an impact, especially considering the recent success of the similarly experimental Skinamarink, but it is a must-see for avant-garde horror fans. - Katie THE FIRST SLAM DUNK I will admit that I’m not the biggest anime fan, but a good friend recommended this to me because I am a huge basketball fan, and I was very happy that he did. The First Slam Dunk is a visual feast, with exciting in-game action and powerful stories to connect you with the players outside the game. It takes every aspect of itself seriously, complete with the typical over-the-top drama and comedy that makes anime such a revered genre, and it all works to make this film a very entertaining watch. Do yourself a favor… take a chance on one of the best animated films in this stacked animated year. - Amarú FLORA AND SON Not quite a family drama, not quite a love story, Flora and Son was such a pleasant surprise when I saw it at TIFF this year. Although the film is called Flora and Son , the highlight really is Flora (Eve Hewson) and Jeff (Joseph Gordon-Levitt). Hewson leans on her Irish roots as the brash and edgy Flora, which wonderfully contrasts against Gordon-Levitt’s clean-cut Jeff. The chemistry these two share without being in the same room is palpable, and director John Carney finds work arounds to ensure that we aren’t just watching an extended Zoom call. Meanwhile, the music is both catchy and quite good. In fact, I’d go so far as to suggest that “Meet in the Middle” deserves some Original Song recognition at this year’s Oscars. - Nick HOW TO BLOW UP A PIPELINE When it comes to social justice, the climate crisis, and civil disobedience, you'd be hard-pressed to find a film as effective at displaying those themes as How to Blow Up a Pipeline . The film is so successful in its messaging that it was later revealed that even the FBI had some concerns about the film. Yet, when it came out in April of this year, it didn't quite make the noise that a film like this probably should have made despite its critical acclaim. It’s a shame, really, considering a film of this magnitude and importance, despite its potentially radical approach, can inspire some necessary change as we continue to fight against a worsening environmental crisis. - Adriano LANDSCAPE WITH INVISIBLE HAND Landscape with Invisible Hand shocked me more than any other film this year. It was a film I thought I would hate, but I ended up really enjoying it. Director Cory Finley stands apart from his contemporaries by providing a substantive narrative with social commentary over a wide-range of social issues, and he does so with beautiful subtlety while avoiding the tempting Hollywood finger-wagging trend. Instead, what we get is a unique, satirical story that is eccentric but somehow avoids being weird. Asante Black and Kylie Rogers have fantastic chemistry, and Tiffany Haddish inspires with her own dramatic performance. This quirky hidden gem may not be on the monthly watch list, but movies with this level of intelligence rarely are; you will be glad you branched out. - Preston LINOLEUM “You know that comedian that talks in kind of an annoyingly high-pitched voice and does the skit on Hot Pockets?” - That question has been an easy reduction to quickly identify the comedian Jim Gaffigan, but NO MORE as he turns in a beautifully nuanced performance in Linoleum. This film is a breath of fresh air away from the usual Hollywood fodder as writer/director Colin West brings us a refreshingly warm and original story that is mercifully creative. Its cleverness lies in its ability to touch on so many beautiful themes while telling its surreal tale from the perspective of one “simple” man. In the end, what is captured is the complicated essence of what we experience through the vicissitudes of life and its strange wonder. - Preston PERFECT DAYS Sadly, Perfect Days didn't leave the mark it should have this year, even though it is one of the most emotionally rewarding movies of the year. The movie requires patience, that's undeniable; a majority of the movie is essentially just a man cleaning toilets and going about his day-to-day. So, sure, it's not the most exciting film in the world. However, those patient enough to stay will find something beautiful in the mundane. Kōji Yakusho's endearing performance is enough to make the experience worthwhile, but ultimately, you have a special film that exemplifies the beauties of life and that which keeps us going despite the hardships. I hope it finds an audience someday. - Adriano POLITE SOCIETY Polite Society is a one-two punch that deserves to have more people see it. Director Nida Manzoor manages to masterfully blend all sorts of genres, most notably comedy and martial arts, into a fresh and sharp coming-of-age story about two sisters, played by Priya Kansara and Ritu Arya. Their gleaming chemistry makes this spunky and charismatic film genuinely kick ass. If you’re looking for a playfully charming movie that is light-hearted, then Polite Society is the hidden gem for you to watch. - Paige RYE LANE Raine Allen Miller’s feature debut, Rye Lane , is the best rom-com I have seen in years, but I feel that it’s criminally underappreciated. The film follows Dom (David Jonsson) and Yas (Vivian Oparah), who meet after having each recently endured a rough break-up. Set against the backdrop of sunny South London, they get to know each other over the course of the day. It's an energetic and refreshingly modern take on a well-worn genre that is brimming with life and vibrant colour. The leads have genuine banter and authentic chemistry, and I was cheering for them all the way through. I feel this one was missed during an exciting year of blockbusters, but rest assured, Miller's charming film will make you fall back in love with rom-coms. - Katie SISU Admittedly, having first seen Sisu at TIFF 2022’s Midnight Madness has done a lot of heavy lifting towards making Sisu one of my Top Ten movies of 2023. That said, this is a heavily stylized war movie written and directed by a Finnish filmmaker you’ve probably never heard of, starring a collection of non-American actors you’ve probably never heard of. So, I get why most people likely avoided it. However, Sisu wears its American action influences on its sleeve, recalling everything from Quentin Tarantino, Captain America, Rambo, John Wick , and Saving Private Ryan . Plus, to ease your minds on the thing that probably scared off most people: it’s in English. - Quentin THEATER CAMP It’s surprising that more of my friends haven’t seen Theater Camp because it seems to be right up my demographic’s alley. It’s got a cast chock-full of some of my generation’s favorite actors, including Molly Gordon, Jimmy Tatro, and Ayo Edebiri. On top of that, it’s got a fun summer-camp, mockumentary style á la Wet Hot American Summer (2001), and most importantly, it’s funny as hell. It’s baffling to me that similar comedies like Barbie and Bottoms were such wild successes this year while this fell into relative obscurity. It’s hilarious and heart-warming at the same time, and if you’re in the mood for some more zany Gen-Z comedy, look no further than Theater Camp . - Caleb

Previous Next March 26, 2025 WRITTEN BY: THE BITESIZE CREW This week sees the release of David Ayer’s A Working Man , which is a very generic title for a movie. However, the only thing more generic than the title is the generic way in which one can describe exactly what A Working Man is to someone who may not have heard of it: it’s a Jason Statham movie. This is by no means meant to denigrate Statham because “a Jason Statham movie” is usually a ton of dumb fun, often harking back to the action heroes of the 80s and 90s. That said, let’s be honest, Statham doesn’t have a lot of range. He is one of the few actors whose name alone articulates precisely what’s in store since his characters and movies tend to be so one-note. Bloodied knuckles, gun and knife play, the “oh shit!” killings of faceless henchmen, a gravelly voiced and accented wise-crack or two, and an unshaven and retired badass reluctantly asked to revert to his ass-kicking ways to right a wrong. Statham has played this type of character so well and so frequently that he was asked to spoof it in Paul Feig’s Spy , which he did with delightful aplomb. That was a decade and 12 very similar movies ago. Yet here we are with A Working Man , where he plays a former Royal Marine commando forced to use his old set of skills to find his boss's kidnapped daughter, uncovering a conspiracy in the process. And do you know what he has coming in 2026? Mutiny , where he plays a former Special Forces operative who is framed for murder, which leads him to an international conspiracy as he searches for the true killer. And in 2027? An untitled action thriller where he plays “a man pulled back towards the ghosts of his violent past.” All this is to say… you keep doing you, you magnificent British bastard. We’ll keep buying tickets. So, with all that in mind, the Bitesize Crew started discussing other one-note actors that we love despite their tendency to repeat themselves. Statham, at this point, is almost his own genre. Who else has reached that level? What other performers out there conjure a very specific image when we say, “it’s a [insert actor] movie”? We’ve listed our favorites below… WILL FERRELL A one-note actor shouldn't be confused with an actor that brings a piece of their own personality to a role, either in a subtle way or, in the case of Will Ferrell, a very big way. Ferrell is typically known for his large comedic roles as the man-child. Or the charming idiot. Or the confident loudmouth. Sometimes, all three at the same time. Still, it's hard to pin down what exactly Ferrell's style is other than... Will Ferrell. It's his own brand of funny, and he imbues that into most, if not all, of his roles. Case in point, Ron Burgundy ( Anchorman ) and Alan Gamble ( The Other Guys ) couldn't be more different. One is a cocky, narcissistic buffoon; the other is a dorky, desk-jockey hiding a ball of rage. Ferrell portrays these characters with very different personalities and characteristics, yet they're both fall-out-of-your-seat hilarious for similar reasons. Ferrell's talent as a comedic performer is such that you know what kind of comedy you'll get, but in a bizarre way, it's never the same as before, which is damn impressive. — Adriano DWAYNE JOHNSON Once upon a time, there was a man known only as "The Rock," a moniker from the then-known WWF. Two decades later, The Rock has become Dwayne Johnson, one of the biggest names in Hollywood. He did this by creating a persona that borrows from his wrestling days while also standing on its own. First, he was the tough but charming adventurer ( The Scorpion King , The Rundown ). Then, he became the tough but charming reluctant family man ( The Game Plan , The Tooth Fairy ) before evolving into the tough but charming action hero (The Fast Saga, Skyscraper ) we’ve seen most recently. Occasionally, there is humour mixed in, but that's basically what you're getting: tough but charming. However, even though I’ve mostly enjoyed his career so far, all good roads must come to an end. Johnson seems to be realizing this, too. In a world where Dave Bautista has consistently shown range and John Cena has shown an undeniable comedic quality, there is competition on the former pro wrestler turned actor front. As such, Johnson is making another pivot. Only time will tell how it turns out, but I'm really looking forward to his next iteration as the (presumably) tough but charming awards-caliber dramatic actor: as former MMA fighter Mark Kerr in Benny Safdie’s biopic The Smashing Machine and as a Hawaiian mob boss Martin Scorsese's untitled crime drama. — Nick MELISSA MCCARTHY Throughout her varied career, two-time Oscar-nominated actress Melissa McCarthy has proven that she is a diverse performer who can bring an emotional punch to her roles. However, I prefer her arguably more low-brow movies, where she tends to play a familiar but always hilarious comedic character. This character is simultaneously crude yet naive, brash, and loud, but also charming and ultimately kind-hearted. She can always be relied on for a laugh. For one, she’s my favourite character in my favourite comedy, Bridesmaids , bringing a chaotic energy that shines in every scene with a deadpan delivery that never fails to make me giggle. She plays a similar character in The Heat, Identity Thief, and Spy , in all of which her esteemed improv skills have yielded countless hysterical one-liners. For these reasons, she always plays incredibly well against her co-stars, and I think her performance alongside co-star Sandra Bullock in The Heat is my favourite buddy cop pairing ever. McCarthy gets a lot of flak for her one-dimensional characters, but time again, she has proven she is the best at what she does. — Katie RON PERLMAN Ron Perlman was the perfect actor to play Hellboy in the early 2000s. He looks big and menacing, with a deep voice and the air of nefariously fun charm. However, even without the makeup, that perfectly describes Perlman in just about every role you've seen him in, just ask Guillermo del Toro. Anytime you need an actor to punch up a macho-man action movie with the right amount of funny bravado, you get Mr. Perlman. And he is money every time. No matter how often you see him as the bad guy, or the heavy, or the black-market arms dealer you’re not sure you can trust but have no choice but to, he is that guy. He is also that voice, as heard in roles like Gnarlack from Fantastic Beasts and Where to Find Them and the Stabbington Brothers in Tangled . Once he puts on his famously devilish grin and guffaws that deep-timbered laugh, you can’t help but get sucked into the slickest, slyest, and most perfectly timed puns and one-liners, which he has been delivering over the last 30-some-odd years. Guillermo, keep putting Perlman in all your things because I’ll keep watching him. — Amarú KEANU REEVES What’s not to like about Keanu Reeves? He’s a beloved actor on and off the screen who, over the course of three decades, has starred in some of our favorite movies, including The Matrix and John Wick franchises, Speed , and Point Break . However, if you really dive into his extensive filmography, you can undoubtedly spot a trend in his performances. In fact, most of the characters he has portrayed are strikingly similar as he tends to take roles that focus more on the physicality of a performance than the actual acting itself. I won't argue that the characters he portrays aren't complicated or nuanced, but when Reeves is on screen, he is seemingly just being himself to a certain degree. I don't think that's inherently a bad thing, either. In all honesty, I consider him to be among the top "one-note" actors working today. Reeves knows how to play to his strengths, and he does so by consistently taking on characters that are comparable to his own persona. You may disagree, but as portrayed by Reeves, are there huge differences between John Wick ( John Wick ), Neo ( The Matrix ) and Ted “Theodore” Logan ( Bill & Ted’s Excellent Adventure )? He is best suited for characters that don't call for massive depth or a wide range of emotions, allowing himself to remain more stoic, calm, and almost at peace, even as he kicks ass. And I’m here to tell you there is nothing wrong with that. — Paige RYAN REYNOLDS Despite dipping his toe into some non-comedic waters, including suspense ( Buried ), action ( Smokin’ Aces ), psychological thriller ( The Nines ) science-fiction ( Life ), drama ( Mississippi Grind ), and horror ( The Amityville Horror ), Ryan Reynolds is mostly known for playing some version of his breakout character, Van Wilder. He is almost always the handsome, quick-witted, charmingly snarky, lovably sarcastic, glib smart-ass, which doesn’t feel too far from his actual personality if his social media and interview personas are to be believed. And maybe that’s why it still works so well. It feels genuine. Say what you will about the quality of the movies themselves, but his schtick is routinely elevating mediocrity (as opposed to it ruining an amazing script). Whether it’s as Wade Wilson ( Deadpool ), Nolan Booth ( Red Notice ), Guy ( Free Guy ), Michael Bryce ( The Hitman’s Bodyguard ), Victor Locke ( Hobbs & Shaw ), Andrew Paxton ( The Proposal ), Chris Brander ( Just Friends ), Monty ( Waiting… ) — well, you get the idea — I know I’m in store for mile-a-minute jokes from a dude that I would love to just hang out with. He seems like the type of guy who would make my face hurt from laughing too much at the bar, and if the only way I can get close to that experience is by watching him play himself over and over again, I’m in every time, especially when he is allowed to fully unleash under the cover of an R rating. — Quentin

Previous Next August 8, 2024 WRITTEN BY: AMARÚ Music and movies are inextricably connected, and a single note can take us back to seeing our favorite movie for the first time. Even more, there are certain soundtracks that are just as iconic as the films themselves because an artist went absolutely HAM with their original music. If I mention Disney’s Tarzan , who isn’t first reminded of Phil Collins and his dulcet tones singing “You’ll Be in My Heart”? The Lion King ? Elton John asking Nala and Simba in the African plains if they “Can…Feel the Love Tonight”. Black Panther ? Once you've recovered from Future bringing “King’s Dead” to a screeching halt with the worst “la di da di da” in song history, Kendrick Lamar’s deep musings are spread throughout a pitch-perfect, 14-song anthem of revolutionary spirit. It’s with these movie music memories in mind that I want to hypothesize other potential marriages of artist and film, so I have chosen an artist to curate the soundtrack for ten upcoming* movies that I think just might take said film to unforgettable music levels. MOVIE: TRAP* *at the time of this writing, M. Night Shyamalan’s Trap hasn't been released yet ARTIST: Olivia Rodrigo Trap is one of my most anticipated films to finish out Summer 2024 because of its unique premise of trapping a serial killer in a concert venue. The setting alone necessitates the music being essential, and it must have a great balance of energy, emotion, drama, and a tinge of danger. Right now, one of the biggest names in pop music that checks all those boxes is Olivia Rodrigo. Her raspy tones are a great backdrop for M. Night’s thrilling scripts, and her ability to transition seamlessly from emotional screams to pure calm fits perfectly with Josh Hartnett’s creepy stare we’ve seen up and down those trailers. A pop-punk tracklist that can be played front-to-back at a concert is something I think a Trap soundtrack would greatly benefit from, and Rodrigo is a prime candidate to pull that off. (Author’s note: After watching this, kudos to M. Night for basically giving this to his daughter to curate and showcasing nepotism at its finest). ALTERNATE: Lady Gaga POSSIBLE FEATURES: Billie Eilish, Dua Lipa, Sabrina Carpenter, Lana Del Rey, Doja Cat MOVIE: GLADIATOR II ARTIST: Jay-Z After all the whining about the music in Gladiator II’ s first trailer, this pick is fueled primarily by pure pettiness. First off, there’s never not a good occasion to use the masterful needle drop that is “No Church in the Wild”. Second, Jay-Z has already delivered a terrific album for a Ridley Scott film powered by the epitome of cool that is Denzel Washington ( American Gangster) . So, when your first clip introducing the world to a legacy sequel is of Denzel laughing and dapping up someone in Roman times, you need music that matches that effortless swag. Jay-Z has been hip-hop royalty for three decades, and not only is he at a stage in life where his rhymes paint intricate pictures as substantial as Scott’s set pieces, but he also has connections to bring in acts, new and old, that hold similar gravitas. That’s the vibe Gladiator II needs. It has the weight of the original on its shoulders, but also must convince younger audiences that the story is worth continuing. Bring in strong production from the likes of Just Blaze, RZA, DJ Premiere, and Pharrell, and Mr. S. Carter could curate an album that lives up to the Gladiator legacy. ALTERNATE: Tobe Nwigwe POSSIBLE FEATURES: Frank Ocean, Nas, Rapsody, The Roots, Lil Baby MOVIE: WICKED ARTIST: Chappell Roan Wicked is all about identity. Glinda (Ariana Grande) wants to remake everyone in her image, and Elphaba (Cynthia Erivo), not realizing her own self-worth, wants to conform to societal norms so that everyone accepts her. For her part, Chappell Roan epitomizes not giving a fuck what anyone thinks, is unapologetically herself, and has an extravagant pop style that matches the flashiness of any musical. She has tons of girl-power anthems (where she can easily adapt her language for PG-13 audiences) for the witches to rock to and has the range to make emotionally poignant ballads for more dramatic moments. A Wicked soundtrack needs someone who won’t be overshadowed by the film’s musical numbers, and Chappell Roan would be up to that challenge. ALTERNATE: Taylor Swift POSSIBLE FEATURES: Lil Nas X, Renee Rapp, Alanis Morrisette, Florence & The Machine, Sufjan Stevens MOVIE: MUFASA ARTISTS: Davido & Tems I’d like to thank Beyonce for bringing music from the continent into more homes through her curation of 2019’s The Lion King soundtrack, but it’s time to give the reins to actual African artists for Barry Jenkins’ Mufasa . Afrobeats, one of the most popular up-and-coming genres in music today, can deliver that. Led by genre vet Davido and rising sensation Tems, this would be a collaboration of key Aftobeats artists providing jubilant, vibrant, and percussive sounds to the origins of Simba’s father. Davido’s youthful energy brings verve to Mufasa’s younger years, while Tems’ melancholic timbre guides us through the family conflicts we know are coming. Showcasing this exciting genre’s range of styles will easily bring life back to this franchise, which is exactly what Mufasa needs to buck the skepticism generated by its predecessor’s lifeless shadow. ALTERNATE: Wizkid POSSIBLE FEATURES: Burna Boy, Arya Starr, Tyla, Adenkule Gold, Omah Lay MOVIE: Untitled Ryan Coogler Vampire Thriller ARTIST: J.I.D Ryan Coogler is officially an event director, especially when paired with constant collaborator Michael B. Jordan. Their combination of pulse-pounding pace, effective storytelling, emotional resonance, and utter vibes has yet to miss. So, for the unofficial Blade movie that will actually release this decade, I had to go with the best new hip-hop artist out today, J.I.D. His intricate lyricism, ever-changing flow, and rapid-fire cadence will match Coogler’s exciting vampire-killing action sequences, and his soulful singing can slow the vibe for Jordan’s inevitably stirring gut-punches. Bringing on features from his Dreamville Records crew will only add to the grounded nature that will make this film successful. Lastly, full bias on display here, this is the one choice listed here that I really, really, REALLY want to come to fruition. ALTERNATE: Kendrick Lamar POSSIBLE FEATURES: J. Cole, Bas, EARTHGANG, Ari Lennox, Lute MOVIE: BALLERINA ARTIST: Rina Sawayama Yes, this is the same Rina Sawayama that played Akira in John Wick: Chapter 4 , and yes, her music is just as badass; there’s no better choice as a backdrop for Ana De Armas’ introduction into this world. Sawayama is a multi-genre artist, with the ability to morph into anything from R&B to indie pop, but no matter the genre, everything about her screams rock ‘n’ roll. Ballerina must continue the Wick legacy of big action, big scope, and big world building, and with her powerfully gritty vocals, gnarly guitar-fueled production, and propulsive lyrics, Sawayama has musical presence big enough to hit as intensely as every kick, punch, and stunt performed on screen. ALTERNATE: Steve Aoki POSSIBLE FEATURES: DeadMau5, Diplo, Marshmello, The Chainsmokers, Skylar Grey MOVIE: F1 ARTISTS: Run the Jewels & Zach De La Rocha When originally looking into artists for the upcoming Joseph Kosinski-directed, Brad Pitt-starring, sports-racing drama F1 , I was strictly thinking rock acts. However, once someone mentioned Run the Jewels (RTJ), all other choices went out the window. Yes, RTJ is a hip-hop group, but go to one of their concerts. With El-P’s fire-fueled production and Killer Mike’s booming cadence, if you ever attend one and a mosh pit DOESN’T ensue, you might be in the Twilight Zone. Add in frequent collaborator Rage Against the Machine frontman Zach De La Rocha, and you have the exactly correct adrenaline-filled musical act to match the intensity you know Kosinski is going to generate from inside of a Formula One racecar going 200+ miles per hour. ALTERNATE: Foo Fighters POSSIBLE FEATURES: Danny Brown, Denzel Curry, Travis Barker, Eminem, Red Hot Chili Peppers MOVIE: GUILLERMO DEL TORO'S FRANKENSTEIN ARTIST: Trent Reznor Trent Reznor has become a masterful and Oscar-winning movie score composer, but for what’s bound to be an epically eerie retelling of Frankenstein by the masterful Guillermo del Toro, I want to hear those Nine Inch Nails vocals once more. It doesn’t have to be purely his show either since he can also utilize his production skills to feature other rock acts like Queens of the Stone Age or Gojira. Either way, putting his footprint on both the score and soundtrack, combined with GDT’s unique vision, would mark this Frankenstein as something wholly different than the dozens of other retellings. ALTERNATE: Evanescence POSSIBLE FEATURES: Queens of the Stone Age, Gojira, Greta Van Fleet, Epica, Rob Zombie MOVIE: THE MANDALORIAN & GROGU ARTIST: Jack White In a franchise characterized by iconic scores, composer Ludwig Goransson did what most thought was impossible by creating ANOTHER iconic Star Wars sound with his score to The Mandalorian . It’s a major reason why that western-samurai story can transition into a man-and-his-son folk tale so well. If there’s one man that can take influence from Ludwig’s cool ass instrumentals, fit it into his own style, and collaborate with staples of country and folk music to create the soundtrack to “Mando & Son’s” walkabouts, it’s the brains behind The White Stripes. From his eccentrically chill musical stylings to his collaborations with the likes of Loretta Lynn, not to mention previous work on similarly western-tinged tales ( Cold Mountain ) and the ability to get gritty when necessary , Jack White is a great bridge of modern and classic folk vibes to bring this film to life. ALTERNATE: T-Bone Burnett POSSIBLE FEATURES: Sturgill Simpson, Mumford & Sons, Phoebe Bridgers, Bon Iver, James Blake MOVIE: THE HUNGER GAMES: SUNRISE ON THE REAPING ARTIST: Teddy Swims From Jennifer Lawrence’s rendition of “The Hanging Tree” to Rachel Ziegler’s harrowing musical performances as Lucy Gray Baird , The Hunger Games films are just as defined by its beautifully sorrowful music as its exciting action. With announced prequel Sunrise on the Reaping focusing on the rugged District 12 victor Haymitch Abernathy (previously played by the ever-mysterious Woody Harrelson), the musical standout must be someone with the same combination of pain, strength, intrigue, and soul. Enter Teddy Swims. He has the look of a chain-smoking, middle-aged, rock ‘n’ roll-loving biker, but when he opens his mouth, his soulful tone feels like the lost loves of 1000 lifetimes, leaving you staring quietly in awe. Swims will provide Sunrise with an emotive resonance that’s an excellent addition to this franchise’s stacked musical repertoire. ALTERNATE: Sam Smith POSSIBLE FEATURES: Alessia Cara, Justin Timberlake, Anderson.Paak, Erykah Badu, Jasmine Sullivan