A MAN IN FULL Starring: Jeff Daniels, Diane Lane, William Jackson Harper, Aml Ameen, Tom Pelphrey, Sarah Jones, Jon Michael Hill, Chanté Adams, Lucy Liu, Bill Camp, and Evan Roe Creator: David E. Kelley QUENTIN A Man in Full provides both too much and too little in its six relatively short episodes. It provides too much because there are five or so loosely connected plotlines, so pacing and momentum are an issue; it provides too little because there are so many story threads that most of them are underdeveloped (or worse, almost completely separated from the other plots, making them less engaging). That said, there are some great moments , almost all of which stem from William Jackson Harper or the contentious rivalry between Charlie (Jeff Daniels) and Harry (a fantastic Bill Camp), ultimately resulting in an unfocused acting showcase.

BLUE EYE SAMURAI: SEASON ONE Starring: Maya Erskine, George Takei, Masi Oka, Brenda Song, Darren Barnet, Cary-Hiroyuki Tagawa, Randall Park, and Kenneth Branagh Creators: Michael Green and Amber Noizumi PRESTON Blue Eye Samurai is certainly a unique take on the oft-animated trope of the lone samurai-ronin beset by perilous misadventures. Its success lies in its willingness to go to extremes, but is hindered by a somewhat disjointed narrative regarding its primary protagonist and odd gratuitous sex scenes that add little to the story. Audacious thematically, it masterfully broaches the subjects of gender roles, mixed-race, class-system hierarchy, greed, and much more. Overall, the bingeable series is beautifully violent, and the interspersed points of levity bring together a strategically cohesive ensemble cast. I am already looking forward to Season Two! QUENTIN As a person who doesn’t typically like anime, I came into Blue Eye Samurai with some trepidation. While it certainly hasn’t driven me to reassess my feelings about the entire genre, it delivers enough Tarantino-esque vibes to make for a worthwhile experience. The thematically and gratuitously adult story (there are heavy doses of nudity, sex, and violence) and the engaging animation that looks like a mix of Akira ’s traditional style, the vibrant colors of Archer , and the 3D-effect of the Spider-Verse movies, more than make up for some lackluster pacing and sometimes stilted vocal performances. If nothing else, it made me interested in Season Two.

HIT MONKEY: SEASON TWO Starring: Jason Sudeikis, Fred Tatasciore, Ally Maki, Olivia Munn, Leslie Jones, Cristin Milioti, Nat Faxon, Stephanie Beatriz, Emi Lo, Reiko Aylesworth, Tramell Tillman, Sonny Valicenti, and Rob Corddry Creators: Josh Gordon and Will Speck QUENTIN Full disclosure: even though I watched Hit-Monkey : Season One, it was way back in 2021, so I only remember broad brush strokes, such as it’s about an assassin monkey and his ghost mentor voiced by Jason Sudeikis. That’s about it, so I came into Season Two pretty cold. That notwithstanding, Season Two is a terrific surprise. Don’t let the Marvel branding fool you, either. This is as violent, bloody, and R-rated as a Tarantino movie, but it also boasts well-balanced humor and genuine emotion built on incredible character depth. Coupled with striking anime-meets-Archer animation and on-point vocal performances, you’ve got something that rivals X-Men ’97 .

PAUL T. GOLDMAN Starring: Paul T. Goldman Creators: Jason Woliner and Paul T. Goldman QUENTIN Paul T. Goldman is a wildly surreal trip that is tough to explain in 100 words, but imagine watching Tommy Wiseau’s The Room and James Franco’s The Disaster Artist , which is about the making of The Room , at the same time. Now, throw in a true crime documentary angle, and that sums up Paul T. Goldman . A pure-hearted and lovable doofus, Paul T. Goldman (the man) brings some light cringe to the screen, but he also elicits genuine laughs and feelings of sympathy. Plus, the story is just bonkers. Overall, it’s a true hidden gem of a series and a win for Peacock.

Previous Next September 26, 2024 WRITTEN BY: QUENTIN Another film festival and another week of spending way too much time in a cinema is in the books, and you know what? Fantasy FilmFest just might go down as one of my more enjoyable festival experiences. Sure, it’s not as prestigious as Cannes or Venice, and it doesn’t have the sheer volume of blockbusters as Toronto, but it was easy and stress-free. No waiting in lines for entry. No logging into a ticket portal first thing in the morning to participate in a mad dash to claim tickets. No airport security. No hotels. Just drink a beer (this is Germany, after all), watch a movie, go home. If only all festivals could be so chill. As for the movies, this probably was the most consistent festival I’ve covered. It obviously had some amazing entries, which you can read about below, but even the few weak entries weren’t outright terrible. Hell, my ranking below doesn’t hit “middling” territory until around #15. But again, maybe the lack of stress and not being constantly “on the go” just allowed me to appreciate the films a bit more. Either way, I look forward to covering Fantasy FilmFest, as well as Fantasy FilmFest White (January) and Fantasy FilmFest Nights (April) for as long as they will have me. Now, let’s get to that ranking… 24. BREATHING IN How do you review a film that is so reminiscent of another film you dislike, especially when the film you dislike is somehow revered? Is the new movie actually bad, or just not your jam? Is it a poorly done ripoff, and you can’t tell the difference? Hard to say, but that’s where I am with Breathing In , a movie that feels very much like a knockoff of The Witch (a movie I strongly dislike). Both are slow-burn, candlelit, folk-mystery bores that never engage. In fact, in Breathing In , when one character repeatedly says, “I must not fall asleep,” I felt that struggle in my soul. 23. INTERSTATE On paper, Interstate , a movie about a hitman trying to get out of the game, should be right up my alley. It has the same writer as the extremely underrated The Shallows , and festival materials reference The Godfather when highlighting it. However, I struggled to connect with it despite a few striking scenes. I admit that perhaps the slow pacing, genre mixing, and subtitles just didn’t mesh well enough to rope me in, but once it unexpectedly went supernatural, I was mostly just waiting for the 90-minute movie to end. It will probably work for some people; it just didn’t work for me. 22. A DIFFERENT MAN A Different Man is the type of not-great oddball movie that A24 stans will champion anyway just because it’s from A24. Granted, it has a lot on its mind, asking thought-provoking questions about beauty, vanity, and self-esteem. It also features strong performances, particularly from Adam Pearson. However, the characters, especially Sebastian Stan’s Edward, make too many questionable decisions, which ultimately results in a very frustrating viewing experience. On top of that, it’s a bit of a slog, and the ending provides no catharsis or satisfaction. I appreciate what writer-director Aaron Schimberg wants to do, but he doesn’t do it well enough to make the movie recommendable. 21. WAKE UP Wake Up doesn’t do anything to stand out amongst the overcrowded genres of “survive the night” slashers like Willy’s Wonderland or “you picked the wrong house!” thrillers like Don’t Breathe . Aside from one scene in neon blacklight, the kills, although super bloody, aren’t very creative, mostly relying on a “stab, stab, kill, kill” mindset. Perhaps worst of all, the Gen-Z activist victims are wholly unlikeable individuals who make the dumbest decisions, while the security guard doing his job hunting them is a rage-filled weirdo. If you aren’t rooting for the victims to not die, or for the security guard to carry out clever kills, what’s the point? 20. DARK MATCH Given its presumably small budget and indie vibe, it’s hard to be too critical of Dark Match , which has a lot in common with Green Room . Sure, the performances won’t blow anyone away, the story is extremely underwritten, and it requires some inside knowledge of professional wrestling as it casually drops terms like “kayfabe.” That said, there is enough brutal and bloody carnage to keep genre fans entertained for 90 minutes, especially if those fans also love pro wrestling. This review originally posted with Bitesize Breakdown’s coverage of the 2024 Fantasia International Film Festival. 19. STEPPENWOLF Steppenwolf was a disappointment, but that is almost entirely because my expectations were way off base. If you recall, I compared it to John Wick and Sisu in my Fantasy Filmfest preview; however, while featuring similar levels of brutally bloody violence, the tone is completely different. Steppenwolf is bleak, sharing more in common with You Were Never Really Here than the fun, stylized action movies mentioned above. Also, that somewhat depressing tone is muddled because it also tries to shoehorn light humor into the existential commentary about people’s inhumanity, which rarely works. Perhaps it will be better on the rewatch with my expectations recalibrated. 18. ESCAPE FROM THE 21ST CENTURY Escape from the 21st Century is a tremendous amount of fun until it really, really isn’t. First off, it has style to burn, looking like Scott Pilgrim vs. The World on quaaludes, mixing colorful animation, beautiful backgrounds, and video game action to create an extremely vibrant world. It even has similarly excellent needle drops and the same type of humor, which is hilarious at times. However, and I admit there could be something lost in translation since the movie is in Mandarin with English subtitles, the Everything Everywhere All at Once -inspired story is confusing and convoluted as hell, making it quick to wear out its welcome. 17. AZRAEL I’d recommend going into Azrael expecting nothing more than surface-level thrills because, if you think too hard about the vague and inconsistent world we’re given, it ruins the whole affair. Samara Weaving is an excellent and capable lead, once again proving that she should be near the top of any modern Scream Queen list (especially considering this movie has zero dialogue). However, too often I was left asking myself, “wait, but then how/why…?” Unfortunately, this results in a story that is hard to become invested in. There is plenty of bloodshed, though (and some terrific cinematography), so there is that to go along with Weaving. 16. BLOOD STAR Considering Blood Star is from a first-time director, first-time screenwriters, and features two virtually unknown leads, it’s hard to call the film anything but a success. Sure, it’s flawed, mostly in pacing (one prolonged, mid-movie, exposition dump sequence feels extremely out of place), but flaws are part of B-movie grindhouse flicks’ charm. It’s not required viewing, but I had fun with it, and John Schwab is particularly good as the villainous sheriff. More than anything, though, it left me curious to see what director Lawrence Jacomelli does in the future because Blood Star is a very sturdy debut. 15. SPEAK NO EVIL Had I gone into Speak No Evil completely blind, it likely would have ended up with a higher rating. The movie is built on a delightfully unhinged, “keep ‘em guessing” performance from James McAvoy, except if you’ve seen any of the trailers, which (in Germany, at least) were shown nonstop, there isn’t much to guess. The marketing pretty much lays out the entire movie for you. So, the first hour, which should be a slow-burn of simmering tension, just exists before lazily heading into a finale filled with generic and standard home invasion tropes. McAvoy is great, but the trailers shot this movie in the foot. 14. PROJECT SILENCE Project Silence doesn’t do anything to reinvent the wheel, but it’s entertaining enough in its own right to satisfy genre fans. The general idea here is Dawn of the Dead , but instead of zombies, it’s murderous dogs; instead of a shopping mall, it’s a collapsing bridge. Again, nothing featured is totally original, to include a comic relief character and a government conspiracy aspect, but the overall movie works because of the effortless character development and the ensemble’s easy chemistry. It won’t change your world, but if you like the “trapped by zombies” subgenre, this plotline-adjacent offering will scratch an itch. 13. A PLACE CALLED SILENCE A Place Called Silence is reminiscent of Ashley Judd’s filmography from the late ‘90s and early 2000s, namely the psychological thrillers like Kiss the Girls and Twisted . That said, Silence features enough twisty subversions and suspenseful set pieces to inject new life into a somewhat tired genre. Although I didn’t love parts of the ending, and I don’t understand why there is so much Jesus Christ imagery since there isn’t any obvious religious component at play (it’s too blatant to be coincidence), I was thoroughly engaged throughout. Side note: apparently, this is a remake of a 2022 movie, both by the same director, which is just odd. 12. SLEEP Although I’m unsure what director Bong Joon-ho saw in Sleep to call it “the most unique horror film and…smartest debut film I've seen in ten years,” that doesn’t mean it’s not still very good. At barely 90 minutes, Sleep does a great job of creating escalating tension and claustrophobia before arriving at a wild finale that provides answers in unexpected ways. Jung Yu-Mi gives a terrific performance as a mother descending into sleep-deprived madness, something I’m sure many parents (or anyone who has shared a hotel room with me and my snoring) can relate to. Overall, an effective and subversive chamber piece that’ll keep you guessing. 11. HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON When people talk about discovering hidden gems at film festivals, Humanist Vampire Seeking Consenting Suicidal Person is exactly what they are talking about. The most authentically indie-feeling movie at Venice Film Festival last year, Humanist Vampire puts a modern spin on vampire mythology to deliver a fresh, funny, and darkly sweet coming-of-age story that touches on familial pressure, adolescent expectations, teen depression, and young love. In the Q&A that followed my screening, director Ariane Louis-Seize (who won the GdA Director’s Award at Venice) referenced Let the Right One In and Lady Bird as inspirations, and I can’t describe it any better than that. This review originally posted with Bitesize Breakdown’s coverage of the 80th Venice International Film Festival (2023). 10. THINGS WILL BE DIFFERENT Considering that Justin Benson and Aaron Moorhead are executive producers on Things Will be Different , I should have known what I was in for. But they were also part of the draw, so what can you do? In the end, I was given an extremely compelling puzzle-box mystery that had me on the edge of my seat, eager for whatever answers it may deliver. Except, it doesn’t really give any answers. It gives closure for these excellently acted characters and this specific story, but the broader mysteries are left floating in the ether. So, overall, it’s an engaging (and mostly worthwhile) yet frustrating experience. 9. SCARED SHITLESS When you have a movie about a plumber saving people from a genetically engineered, blood-thirsty creature that is living in a building’s plumbing system — and it has a puntastic title like Scared Shitless — you have a certain expectation. Thankfully, director Vivieno Caldinelli and the entire cast, but especially Steven Ogg, understood the assignment. This is a hilarious and bonkers throwback to 80s movies like Critters , but it’s done so skillfully that it belies its apparent Midnight Madness, B-movie inspirations. Full disclosure: I saw a 10:45pm showing of Scared Shitless after more than a few beers, and for maximum fun, I highly recommend you do the same. 8. PÁRVULOS First off, Párvulos is not at all the movie I was expecting from the poster, which makes it look like a nightmarish zombie movie in the vein of Netflix’s Black Summer . While the movie certainly gets dark towards the end with a fair amount of blood, Párvulos is an almost sweet and surprisingly funny coming-of-age story about familial bonds. The washed-out filter in which the film is shot (another poster deviation) adds an atmospheric, fairy tale vibe that helps keep even the grimmest moments from overpowering the heartfelt, hopeful, and bittersweet themes at the story’s core. All in all, an emotionally resonant surprise in every way. 7. THE WELL The Well is a throwback to ‘70s European horror that feels authentically vintage across the board. The direction, performances, score, cinematography, and production design legitimately make you feel like you’re watching a classic horror movie. The story structure of two plotlines that ultimately merge also works because it gives the viewer a creepy, supernatural, ghost aspect and a grisly, Hostel -style gorefest…and that gorefest goes hard in the paint. Combine all that with terrific practical effects and some nightmare-fueled character designs, and you end up with one of the year’s better horror movies and hidden gems. 6. KILL Although it may not add anything new to the revenge genre, that doesn’t mean Kill isn’t a violently bloody-knuckled blast. I could rattle off a list of movies it’s derivative of, but the easiest comparison is The Raid meets Bullet Train due to its confined setting, excellent fight choreography, stylized hyper-violence, and refusal to let you catch your breath. On top of that, there are just enough emotional stakes at play amongst all the gleeful carnage to add weight to the orgiastic mayhem. Kill is one of the year’s best action films, and I’d love to see it propel Lakshya to being the next Jason Statham. 5. SAỶARA Saỷara may be the darkest, most visceral, and most unrelenting revenge movie I’ve ever seen. This isn’t a stylishly done popcorn movie like John Wick , but instead a movie full of brutal scenes that are hard to look away from. Although slow to start, once the inciting incident happens, it’s a merciless string of bloody carnage that had me repeatedly saying “Goddamn.” If you’ve seen Irréversible , you know how rough that scene is, and Saỷara ’s entire second half elicits similar reactions. That may not sound enjoyable, but the level of catharsis provided by the eventual comeuppance is worth it (doubly so for Jiu-Jitsu aficionados). 4. THE WASP Although there is the subtle air of a Lifetime movie in the early goings, The Wasp is elevated by captivating performances from Natalie Dormer and especially Naomie Harris. The way Harris is able to convincingly change demeanors on a dime is super impressive, and it’s perhaps one of the better performances I’ve seen this year. On top of that, the tight script combines just enough predictability with bombshell twists to keep viewers on their toes, all while balancing escalating tension and dark levity. You can definitely tell it’s based on a stage play, but that doesn’t make this Hitchcockian psychological thriller any less effective. 3. TWILIGHT OF THE WARRIORS: WALLED IN With thrilling and incredible video game-inspired fight choreography (especially during the finale’s wild “Final Boss” fight) and a decent amount of character development, Twilight of the Warriors: Walled In is a total blast! The 80s throwback vibes and gritty noir-ish feel only aid in making this one of the best martial arts movies I’ve seen since maybe The Raid series (admittedly, I haven’t seen a ton of recent martial arts movies). The story beats strain credulity at times, but if you’re like me, you aren’t coming to a movie like this for the story, and Warriors more than delivers the carnage we’re all here for. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 2. THE SUBSTANCE If you get squeamish with gross body-horror imagery and flat-out disgusting sounds, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 1. STRANGE DARLING If you ever need a prime example of a movie that expertly subverts expectations, look no further than Strange Darling . Playing a bit like Sanctuary but with the throwback horror motifs of Pearl and The Texas Chainsaw Massacre , this is a twisty, tense, and thoroughly engaging thrill-ride. It’s also a great example of how to use non-linear storytelling to maximum effect. You’ve probably read my praise for Kyle Gallner in the past (he does solid work here too, no doubt), but he’s ultimately overshadowed by Willa Fitzgerald, whose performance drives everything happening on screen. Kudos to writer-director JT Mollner for creating something special with this one. This review originally posted with Bitesize Breakdown’s coverage of Fantastic Fest 2023.

BEEF Starring: Steven Yeun, Ali Wong, Joseph Lee, Young Mazino, David Choe, Patti Yasutake, Ashley Park, and Maria Bello Creator: Lee Sung Jin QUENTIN While I don’t agree with all the “Netflix’s Best Show Ever!!” hype, Beef certainly is one of the streaming service’s better original offerings. Steven Yeun and Ali Wong have tremendous anti-chemistry when on screen together, but the series really shines when it dives into the struggles and failures of their individual characters. The dark comedic tones, tremendous character development, and cause-and-unintentional-effect plot points give the series a heavy Coen Brothers vibe, while the surreal finale has shades of Everything Everywhere All at Once . One lingering thought is that the series would have been more impactful (and much darker) had it ended with Episode Nine, though. AMARÚ The fact that Steven Yeun made me utterly hate him is a testament to how wild Beef is. I was constantly stressed while watching this dark and dastardly clusterf*** of a show (I mean that in the best way possible). Yeun kills it as the depressed dude-bro Danny, and his douchebaggery is matched by Ali Wong’s maniacal Amy. It becomes a sport figuring out who you dislike more, yet, somehow, you still feel bad for both of them when their true emotions explode on screen. Thank God each episode is only 30 minutes long because my heart wouldn’t have survived much longer than that. PAIGE A24 has done it again! Beef is a premium, grass-fed dark comedy that takes us on an adventure of self-discovery and rage. Our two leads, Steven Yeun and Ali Wong, deliver stellar performances that allow us to dive into their characters’ psyche and imperfections, and while the show can feel overwhelming at times, it’s still worth the watch because it’s so different from anything else you’ve seen. It’s compelling, it boasts great writing, and it will definitely make you think twice before letting out some road rage. JOSEPH The themes and ideals of Beef can best be summed up with the old adage “hurt people hurt people.” Despite the marketing and initial setup, Beef is far from an outlandish comedy. In fact, calling it a comedy at all is a stretch. Instead, it functions as more of a character study that dissects the issues brought on by generational trauma and a fear of loneliness. The characters are so rich and complex that the ridiculous heights the show reaches still manage to feel believable. Beef is the type of show that hooks you in and holds your attention from beginning to end.

Previous Next February 21, 2025 Welcome to A Bigger Bite, the podcast series where we take a deeper dive into some of our favourite films of the year (spoilers included). With the Oscars coming up, we've decided to launch with an episode for each film the Academy Awards have nominated for Best Picture, releasing an episode each day leading up to the big ceremony. Let's kick this thing off with Dune: Part Two ! Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

SOMETHING VERY BAD IS GOING TO HAPPEN Starring: Camila Morrone, Adam DiMarco, Zlatko Burić, Jennifer Jason Leigh, Ted Levine, Jeff Wilbusch, Karla Crome, Gus Birney, and Sawyer Fraser Creator: Haley Z. Boston PAIGE Something Very Bad Is Going to Happen starts off strong with an eerie atmosphere and an intriguing mystery, but as it goes on it gradually loses its footing. Once an unexpected cursed twist occurs, it sends the story in a completely different direction, which honestly would’ve landed better if it had actually been set up and better developed. That said, Camila Morrone does deliver a standout performance as Rachel. But I’d be lying if the thin story didn’t leave me wondering if this concept would’ve been better suited as a movie. BODE Something Very Bad Is Going to Happen …and I wish that it didn’t take about eight episodes for it to occur. In this modern TV era, we’re inundated with shows that might’ve been better suited as movies, and this Netflix marital horror miniseries is a pretty solid example of this. It’s effectively dread-inducing when it counts, thanks to some imaginative camerawork, and it does build to a satisfyingly gory conclusion. But because of its series length, the pacing feels stretched out, which can lead to some notably uneven writing that takes away some of its impact. It’s decent as is, but shorter would’ve been better.

HOUSE OF THE DRAGON: SEASON THREE Starring: Emma D’Arcy, Matt Smith, Olivia Cooke, Tom Glynn-Carney, Ewan Mitchell, James Norton, Phia Saban, Sonoya Mizuno, Steve Toussaint, Fabien Frankel, Abubakar Salim, Clinton Liberty, Benjamin Evan Ainsworth, Matthew Needham, Gayle Rankin, Tommy Flanagan, Bethany Antonia, Phoebe Campbell, Freddie Fox, and Harry Collett Creators: Ryan J. Condal and George R.R. Martin PAIGE Season Three of House of the Dragon delivers the perfect balance of thrilling dragon action, political intrigue, and compelling character drama, focusing on destiny and the pursuit of power to make it the darkest and most intense season yet. The writing this season is extremely sharp and gripping throughout, managing to keep the tension high and raise the stakes while also excelling in showcasing these characters’ internal conflicts. Plus, Emma D’Arcy delivers a commanding performance as Rhaenyra. If this season proved anything, it’s that no one is safe in this tragic story. ROBERT I have tried to be a Game of Thrones book reader, but I have failed in my attempts. I also know the third season of House of the Dragon was meant to showcase some epic wartime action from the stories that Season Two sorely lacked. Fortunately, it delivers in spades, especially with HBO spending the money to fill out the landscape with striking and realistic visuals. I do think some plotlines are stretched out much longer than they should have been for filler, but the acting is superb, the characters are compelling in their motivations, and, now, Season Four can be the gift that was promised. QUENTIN In my House of the Dragon : Season Two review, I mentioned being relieved that there were only two more seasons to hate-watch. With Season Three, I ended up somewhere worse than hate-watching: indifference. Outside of Rhaenyra (Emma D’Arcy), we don’t spend enough time with any other character to truly be invested. Does anyone honestly care about Criston Cole (Fabien Frankel), Rhaena (Phoebe Campbell), or Sir Ulf (Tom Bateman)? When you don’t care about most of the characters, none of the deaths, twists, or reveals leave an impact, which means you’re basically just sitting around waiting for the next cool-looking but substantively bereft battle scene. AMARÚ Shout out to Tommy Flanagan. He stepped into House of the Dragon : Season Three to remind everyone that the North remembers… and that the writers remembered why this show is so entertaining. They heard the complaints about Season Two and said, “is this what you want?” From jump, this season brings the twists, political gains, epic battles and deaths, all while paying off our patience from last year’s setup. In addition to Flanagan, Emma D’Arcy, Matt Smith, and many of the ensemble deliver masterful performances that bring Game of Thrones back to prominence. KATIE House of the Dragon: Season Three wasn't a disappointment, but it was inconsistent and lacked momentum. It delivers stunning visuals, thrilling violence, and compelling action sequences, but I also couldn’t help but notice the long stretches of episodes where we move from place to place whilst people have isolated conversations with little impact, tension, or plot movement. Although Emma D’Arcy’s powerful performance as Rhaenyra is gripping, we don’t spend enough time with the supporting characters to care what happens to them, which negates the impact of the deaths and twists. Check out our reviews for Season Two HERE .

Previous Next October 29, 2024 WRITTEN BY: KATIE It’s no secret that horror is my favourite genre, so naturally, Halloween is my favourite holiday. From indie atmospheric chillers to the latest scraps offered by Blumhouse, I’m open to all of it, and I’m always excited to see what’s in store for me. This year, in particular, has been a great year for horror, boasting incredible films such as Late Night with the Devil, Stopmotion, Longlegs, In a Violent Nature, MaXXXine, Immaculate, Alien: Romulus, The Deliverance, The Weekend and Fréwaka , and many more! On top of that, there are still more highly anticipated releases coming and some hyped movies I’ve yet to get around to. Each of the films mentioned above unsettled me in a unique way, and some of them even kept me up at night. However, not everyone wants to be terrified, and some topics or imagery can completely negate someone’s enjoyment of a film. Whether it be a sensitivity to violence and gore, age restrictions on content for younger viewers, or just a general dislike of intense horror, those people shouldn’t be left out of the October fun. Not to worry, though! There remain many films that create a fun, spooky atmosphere without traumatising their audiences. So, in the spirit of Halloween for All, I’d like to take you through some films that are accessible to most audiences, be it younger viewers with an appetite for scares or adults in the mood for some low-stakes spooks. A lot of these films are amongst my childhood favourites, whilst a few from recent years have delighted me with their spookiness without venturing into full-blown horror. So, get comfy, grab some blankets, settle down with your autumnal spiced beverage of choice, and enjoy some of my favourite family-friendly frights. THE WITCHES (1990) The Witches is a film that I watched more times than I can count as a child, and it gives me a distinctively nostalgic feel every time I watch it, especially since I love Roald Dahl's books and his other film adaptations. The image of the witches shedding their disguises and the Grand High Witch’s (Anjelica Huston) grotesque transformation has always stuck with me, and the fear I had of the young Luke (Jasen Fisher) getting caught whilst hiding and watching them was almost unbearable. I can still see the close-up images of the congregation of witches, their faces twisted into contorted excitement as the Grand High Witch explains her devious plan to eradicate all the children in England. It’s not scary in a horror sense, but in a campy sense that is honest to the dark wit of the original book, built on theatrical costuming, excessive performances (including an iconic Huston), unsettling make-up, and Jim Henson’s incredible prosthetics and animatronics. THE HAUNTED MANSION (2003) Admittedly, The Haunted Mansion gave me nightmares when I first saw it at age five. Specifically, the part where Eddie Murphy quietly enters a dark, mysterious room and checks himself out in an ornate mirror, is startled by a lone crow, and then looks back at the mirror to discover his own decomposing face looking back at him. Still, I have a lot of great memories of watching this film countless times when I was younger — always on Halloween — making it a nostalgic favourite of mine. Re-watching it at age 25, the CGI is laughable and Murphy’s performance is even funnier, but the film stands up as a solid Halloween watch. With the lavish, cobweb-covered set design, hilarious cast of ghostly characters, and fun, cheesy family feel, I’m confident that the scary parts won't be too much for young viewers and will still entertain older viewers. CORPSE BRIDE (2005) I obviously needed to include at least one Tim Burton film on this list, so I’ve chosen another childhood favourite, Corpse Bride , which offers a gateway to body horror for young viewers through its dark visual humor and macabre but endearingly upbeat undead characters who are in various states of decomposition. It’s also romantic in a gothic way that I’ve always found enchanting, perfect for some lightly spooky viewing with real heart and a tender, emotional story. Plus, it simply looks beautiful with its meticulously crafted stop-motion animation, not to mention it features a joyously catchy score by Danny Elfman, as well as an iconic voice cast, including Helena Bonham Carter, Christopher Lee, Johnny Depp, Emily Watson, Joanna Lumley, and Richard E. Grant. MONSTER HOUSE (2006) I have many fond memories of watching Monster House , and I think people of all ages can find something they love about this film. It encapsulates the nostalgic feel of 80s movies to create a cozy, autumnal vibe alongside a tense atmosphere, and with the formidable house and gorgeous cinematography that closely emulates real camera movements, the animation is incredibly imaginative. The terrifying old man, Nebbercracker (Steve Buscemi), is delightfully mean-spirited, genuinely frightening me as a kid, and the way the house’s detailed cross-sections reflect parts of the human body is creative, compelling, and very creepy. The tragic story of Constance (Kathleen Turner) is heartbreaking, too. Yet, the film also has a touching story that explains why Nebbercracker is so hateful, and alongside the endearing trio of young characters, we learn about his genuinely sweet and emotional backstory. The dynamic between the children is charming, and they speak and act like children in a way that a lot of modern animated films seem to get wrong, exploring coming-of-age themes and childhood innocence authentically and satisfyingly. Plus, “Ohh…so it’s a girl house” is still one of the most hilarious lines ever. CORALINE (2009) Coraline is easily one of the best horror movies made for children, and although I’ve never understood the claim that it's too scary for young viewers, it is undoubtedly very unsettling and incorporates lots of creepy imagery. I, personally, think Coraline is one of the most effective introductions to scary-ish content for younger viewers without being too challenging due to its use of stop-motion animation, which adds physicality to the more harrowing scenes whilst offering enough distance to prevent it from becoming too scary. Thematically, Coraline speaks to universally relatable childhood experiences, from boredom and curiosity to feeling ignored by emotionally absent parents. Not only this, but the animation is spellbinding, using rich and juxtaposing colour pallets to highlight the differences between the worlds Coraline (Dakota Fanning) finds herself in whilst bringing the strange and inspired characters to life. A HAUNTING IN VENICE (2023) In my opinion, A Haunting in Venice is the best of Kenneth Branagh’s lavish Agatha Christie adaptations. I love its intoxicating gothic horror aesthetic (it’s dark AND you can actually see!) and the clear inspiration Branagh has drawn from the techniques of classic cinema, creating an old-fashioned yet extremely well-crafted and entertaining film. In my review when it was first released, I said “the film is perfect, if tame, viewing for the coming Halloween season: fun, silly, and spooky without ever being scary,” which I completely stand by. The film has a light sense of suspense and tension, with fleeting shadows, eerie fog, and a ghostly atmosphere, but it doesn’t have jump scares or intense horror. Plus, it has an incredible cast that includes Michelle Yeoh and, of course, Kenneth Branagh as his best version of Poirot.

DAREDEVIL: BORN AGAIN: SEASON ONE Starring: Charlie Cox, Vincent D'Onofrio, Deborah Ann Woll, Elden Henson, Margarita Levieva, Michael Gandolfini, Genneya Walton, Michael Gaston, Will Fitz, Mark Geller, Nikki M. James, Wilson Bethel, and Jon Bernthal Creator: Dario Scardapane, Matt Corman, and Chris Ord NICK There was apprehension about how violent and gritty Disney could make Daredevil: Born Again but by the conclusion of the first season, any doubts are washed away. This really does feel like a continuation of the beloved Netflix series (with an added MCU tie-in of course) and a return to form for Charlie Cox as a deeply conflicted Matt Murdock in an unraveling Hell’s Kitchen. Although it takes a little bit to fully settle in, by season's end it's clear there are zero limitations being put on showrunner Dario Scardapane and that's a very exciting place to be leading into Season Two. QUENTIN Born Again works well as a continuation of Netflix’s Daredevil and a soft MCU reboot for Daredevil/Matt Murdock (Charlie Cox) and Kingpin/Wilson Fisk (Vincent D’Onofrio). Thankfully, it maintains its predecessor’s dark, gritty, and violent tone instead of glossing it up to match Daredevil’s appearance in She-Hulk . That said, the series takes a minute to find its footing, and given the creative overhaul that went down mid-production, a few subplots feel Frankensteined together. Plus, this is more Lawyer Murdock’s and Mayor Fisk’s story than Vigilante Daredevil’s and Crime Boss Kingpin’s. Still, it’s very good, and is set up for an even better Season Two. AMARÚ I want to thank the Born Again showrunners for all the reshoots that had to happen to get these versions of Matt Murdock (Charlie Cox) and Wilson Fisk (Vincent D’Onofrio) into the MCU. Both characters are gritty and complicated, and this first season seamlessly blends the Netflix seasons’ tone into the universe on the strength of their shoulders. Focusing on the emotional layers of Murdock and Fisk’s intertwined lives creates such a deeply rich show that it doesn’t even need their better-known monikers to suck you in. So, when their alter egos do emerge, it’s that much more earned. Season Two can’t come soon enough. ROBERT As the MCU TV portfolio has been middling, at best, Born Again was intended to be the savior, and it does admirable work to convey its intentions to be different. While I appreciate the craftsmanship and the commitment to uber violence, I thought it was clearly uneven, and sometimes soulless as its first season played out its nine episodes. Unlike the Netflix iterations, which started its own universe, this feels like a cog in a greater machine. Charlie Cox and Vincent D’Onofrio do impeccable work, especially together, but a clear vision seemed to be missing overall. Want to hear even more of our thoughts? Amarú and Nick join Matt to take A Bigger Bite out of Daredevil: Born Again: Season One HERE .

Previous Next November 21, 2024 WRITTEN BY: PRESTON As I began to think about my upcoming film-focused feature article, I went through my usual process. I checked the time of release and thought of topical ideas that might coincide in a meaningful way. I also checked with my fellow writers and editors to bounce ideas off them to make sure we are not duplicating efforts and scoured the internet for a potential recipe for success. As it turns out, we are on the cusp of the “Holiday Season,” which usually translates to merely “The Christmas Season.” Thanksgiving is surely implied, but it’s typically relegated to the sometimes tiring, family get-together that acts as the gateway to the more important Christmas, with New Year’s serving as the season’s depressing conclusion. In the metaphorical meal, Thanksgiving is the appetizer, Christmas is the entree, and New Year’s Eve is the dessert before we roll our way home in devastating regret with promises that we will do better for the foreseeable future. What? …I can’t be the only one! In any case, just like we aren’t going to put up Christmas lights until after Thanksgiving (right, neighbor Steve??!), we are also going to give Thanksgiving its proper due. Thankfully (no pun intended), the holiday season also conjures ideas of delicious meals, football, and family traditions surrounding specific food. As you probably already know, I will use any excuse to talk about, dream of, prepare, and eat tasty cuisine (check out my previous foodie article HERE ), so this is simply another way for me to express love for something I’m very thankful for. As for Thanksgiving, this year I suggested to my family that we step away from tradition for more of a multicultural spread. This was met with trepidation and was almost immediately shut down (love you, Mom). So, this year I will be frying another turkey and making all the other normal American fixins, which I do love. In the end, all that really matters is the spirit of the holiday and spending time around family while showing our love through food. However, that doesn’t preclude us from making our own melting pot of a dream Thanksgiving meal right here, and if we are going to make a delicious sundry of dishes, why not get some inspiration from our other great love…movies. So, let’s let go of the more traditional notions of the food requirements and have ourselves a fantastic day of culinary delights. Won’t you join me for a meal of film-featured dishes that are a must-include on our non-traditional, Thanksgiving menu? Let’s Eat! BRUNCH One of the difficulties with Thanksgiving is deciding when to start eating. I feel a constant push-pull emotion of when might be the earliest time to actually dig in while performing a calculus to determine what level of negative judgment I might receive from suggesting such a time. It’s a fine balance that we are going to throw completely out the window in our fantasy world of Thanksgiving bliss. Let’s immediately kick the party off with a breakfast classic: steak and eggs. We will take our inspiration from the best egg sandwich I have ever seen on screen, which comes from chef John Clasky (Adam Sandler) in Spanglish . The film is terrific, if not a little mid, but the egg sandwich is anything but, featuring bacon, lettuce, tomato, melty cheese, and a runny egg. Why not pair it with the medium-rare filet mignon eaten by Cypher (Joe Pantoliano) in The Matrix . His apathetic but hedonistic morals are perfectly aligned with our gluttonous spirit and celebration of food on this particular Thanksgiving Day. LUNCH Chef , starring Jon Favreau as Chef Carl Casper, is among my favorite films for foodies. The movie is essentially soft-core porn for my kind, and we could genuinely produce our entire menu from the meals featured in this movie alone. Instead, we will include only one of the many noshables he prepares: the grilled cheese. Cooked right on the plancha, the ooey-gooey and buttery delight features yellow cheddar, white cheddar, parmesan, and Gruyère cheeses on sourdough bread, providing one of several dream lunch fares. Our second option will be the burger from The Menu . Who knew that such a twisted film could show us one of the most delicious burgers I have ever seen prepared before my eyes. It is the simple and unpretentious joy that it brings to the chef de cuisine, Chef Slowik (Ralph Fiennes), and the lucky recipient, Margot (Anya Taylor-Joy), that makes my mouth water despite its relatively basic and straight-forward construct. For our final lunch option, we have Minny Jackson’s fried chicken, as featured in The Help . I’ve spent most of my life in the South, and I can’t imagine not including some southern soul food on our menu. After all, as Minny (Octavia Spencer) says, “frying chicken make you tend to feel better about life.” AFTERNOON SNACK Aspiring sumo wrestlers, competitive eaters, and hyper-grazers need to take it easy every now and then while still requiring eating just a little something. For the awkward portion of the day between lunch and dinner (as if this concept exists on Thanksgiving), we will prepare some lighter options. Ratatouille provides us with some delicious potato & leek soup from Remy’s (Patton Oswalt) and Alfred Linguini’s (Lou Romano) initial push into the professional culinary world that ultimately becomes the inspiration for their menu-to-be, as well as their eventual flagship dish for which the film is named. Second, we will include a little sushi. Perhaps it is the tension felt through the sharing of the meal in Snowpiercer , or the rarity of its serving, but even without starvation as a motivating factor, I still want the delectable sushi prepared for the train’s elite. Finally, I have to include the Taco Bell meal enjoyed by John Spartan (Sylvester Stallone) and Lenina Huxley (Sandra Bullock) in Demolition Man . I am already a massive fan of Taco Bell since it was such a big part of my adolescence, but the bougie, fine-dining version featured in the film would provide the perfect snack option before we get hit with our fantastic supper. In case you were wondering, there is an actual restaurant based on the one our heroes dined in. So, this one doesn’t have to be fantasy, you can actually experience it. It’s still on my bucket list, as long as they don’t stiff me on Fire sauce… DINNER It’s time for the main event. For our pièce de résistance, we are bringing in the show-stopping Il Timpano from Big Night. The film stars Tony Shalhoub and real-life culinarian Stanley Tucci as brothers running an Italian restaurant. Il Timpano — a layered pasta with tomato sauce, roasted vegetables, and cheese covered in a crispy dough — is a sight to see, and I recommend at least watching a clip of it being made (bonus points for just watching the film, to be honest). After cutting a big slice, we are going to smother the carbo-loaded present in the rich, red gravy from Goodfellas . The process of slicing the garlic with a razor blade, as well as just the entire process of making the Italian sauce, made cooking so masculine to me as a child. It fueled my juvenile desire for the pursuit of everything food related. We aren’t stopping there, either. We are adding a little more protein with quail covered in a rich chocolate gravy with roasted asparagus, as seen in Chocolat . The birthday dinner of Judi Dench’s character, Armande Voizin, is beautiful to witness, and it really gets the old salivary glands going. Lastly, we are adding the entire mysterious and colorful spread that we see when Peter Pan (Robin Williams) starts to realize who he truly is in the wonderful film Hook . Bangarang! DESSERT Dessert will be simple. We will get the pulse racing with a light, suspenseful, and “not so terrible” strudel. Just don’t forget to “wait for the crème.” No matter how thrilling the meal we witness in Inglourious Basterds is, there is no denying how amazing the strudel looks. To top it off, we are going to wash it down with the five-dollar milkshake from Pulp Fiction . Now, normally, a vanilla shake is not my go to, but Vincent Vega (John Travolta) just sells it so well. LATE-NIGHT SNACK Sometimes, no matter what we did to ourselves earlier in the day, we still need a little something-something later in the night. I think it has something to do with our aggressive approach to existence and vigorous life essence (or it could be something to do with stomach-stretching proprioceptors). Either way, we need a delicious nightcap to complete our circle of shame. Here we will turn to the night food market delights from Crazy Rich Asians . As I’ve traveled to some of the more remote locations in the world, I have found late-night “street food” is often the best I’ve ever tasted. Soups, bowls of laksa curry, and savory treats on sticks are just the things we need to fill in all the cracks and ensure we have plenty of delicious leftover options for the next week or so. Photo Credits: Photo 1 – Colombia Pictures; Photo 2 – Warner Bros.; Photo 3 – Aldamisa Entertainment; Photo 4 – Searchlight Pictures; Photo 5 – Dreamworks pictures; Photo 6 – Walt Disney Pictures; Photo 7 – Opus Pictures; Photo 8 – Warner Bros.; Photo 9 – Rysher Entertainment; Photo 10 – Warner Bros.; Photo 11 – Miramax; Photo 12 – TriStar Pictures; Photo 13 – Universal Pictures; Photo 14 – Miramax; Photo 15 – Warner Bros.