YOUR FRIENDLY NEIGHBORHOOD SPIDER-MAN: SEASON ONE Starring: Hudson Thames, Colman Domingo, Grace Song, Eugene Byrd, Kari Wahlgren, Zeno Robinson, Jonathan Medina, Cathy Ang, and Hugh Dancy Creator: Jeff Trammell AMARÚ Even if we’ve seen Peter Parker’s (*sigh* Hudson Thames) origin story 50-million times, there’s a reason that Spider-Man is arguably the most popular comic-book character of all time, and Your Friendly Neighborhood Spider-Man is another example of why we keep coming back. The hand-drawn hybrid animation is stunning, the action is incredible, and the slick inclusion of the MCU multiverse makes the show an absolute blast. But what really sells it is its heart, and not just from Pete, but from its multitude of characters. I love returning to Spider-Man’s awkward charm, and I love it even more when it permeates the entire show. QUENTIN I’ve seen a lot of trash-talk surrounding Your Friendly Neighborhood Spider-Man ’s animation style, and for the life of me, I have no idea what those people are talking about because, visually, this series is a retro comic fan’s dream. It’s damn near art in motion, reminding Old Q of the floppies Young Q used to read by flashlight after bedtime. As for the series, overall? It's still just another Spider-Man (Hudson Thames) origin story despite some fresh twists on both comic and MCU lore. Frankly, I don’t need it. As a quick-hitting distraction, it gets the job decently done, but I’m not clamoring for Season Two.

HUNTERS: SEASON TWO Starring: Logan Lerman, Al Pacino, Jennifer Jason Leigh, Lena Olin, Jerrika Hinton, Carol Kane, Josh Radnor, Greg Austin, Tiffany Boone, Louis Ozawa, Kate Mulvany, and Udo Kier Creator: David Weil QUENTIN In its final season, Hunters is a series of highs and lows. The highs include pulpy action and brutal violence, as well as themes that border on the profound (especially in the finale). There is an Inglourious Basterds -inspired breakaway episode that is excellent too. However, convoluted storytelling and a subplot that seemingly exists just to keep Al Pacino involved make the series less than completely interesting, a problem exacerbated by the three years since Season One. It’s just hard to remember anything outside of the broad brush strokes, so you’re really just returning for the Nazi killing, which, admittedly, is always fun, even in its simplicity.

YELLOWSTONE: SEASON FOUR Starring: Kevin Costner, Luke Grimes, Kelly Reilly, Wes Bentley, Cole Hauser, Kelsey Asbille, Jefferson White, Gil Birmingham, Forrie J. Smith, Ryan Bingham, Breckin Merrill, Finn Little, Ian Bohen, and Denim Richards Creators: Taylor Sheridan and John Linson QUENTIN Although still watchable, this season of Yellowstone is the blah-est one yet. It’s more concerned with doing a soft reset, evolving from The (Cowboy) Sopranos to This is Us: Cowboy Edition , than building off previous seasons. The problem is that there is no true villain, and it’s more interested in setting up two spinoffs (6666 and 1883 ) than telling its own story. And enough with the cowboying montages (seriously, it’s like 5-10 minutes per episode). It all makes the season feel like filler. Everything else that made Yellowstone excellent is still there, but the writing is sorely lacking this time.

Previous Next October 1, 2025 WRITTEN BY: ADRIANO The Toronto International Film Festival a.k.a. TIFF just celebrated its 50th year (also known as TIFFTY for those who went), and for the fourth year in a row I had the pleasure of attending as press for this beautiful website. While I do tend to overdo it with the number of films I choose to watch at the festival, I can acknowledge that I took it to a new high this year, watching 60 movies, and yes, it is as exhausting as it sounds. But all things considered, there's not much I would've changed. Even with this new record, there are some films I wanted to see but couldn't for a plethora of reasons, whether it was scheduling or inability to get a ticket (this year's ticketing system was worse than usual). Some of those titles include Shih-Ching Tsou's Left-Handed Girl , Gus Van Sant's Dead Man's Wire , Steven Soderbergh's The Christophers , and even David Freyne's much-buzzed-about Eternity . This year I pledged to not watch something I didn't think I'd like, and while I didn't love everything, I do believe that elevated my experience. Throughout the 60 movies, I was able to watch films from 33 countries, as well as one Wavelength title, one Discovery title, two Platform titles, six TIFF Doc titles, six Gala titles, eight Midnight Madness titles, ten Centrepiece titles, and 26 Special Presentation titles. I will absolutely tone it down next year, but I am proud of my spread. Below is my ranking of everything I saw, from worst to the absolute best of the fest. Here’s to another TIFFTY. 60. FUCK MY SON! Yes, it's called Fuck My Son! , I wasn't expecting much. But despite all the gross-out humour and attempts at edginess, this felt like a big troll. And it might've been, but the least you can do is make me laugh beyond its opening meta bit. Operating on just rape humour and body fluids, Fuck My Son! reaches another low with its shameless reliance on generative AI, taking away any semblance of goodwill I can give. I may have seen it with the right crowd, but once it was over, I just felt gross, and not in the intended way. 59. KARMADONNA I was aghast at how a movie with so much intent, while infusing genre thrills, can be borderline unwatchable. Karmadonna has some entertaining camera work, and the blood and gore can be exciting, but that's about as much praise as I can give. It's far too long for this type of film, it takes far too little time to set up its concept, and the protagonist is far too willing to go on this killing spree. The 'commentary' is beyond flat, and every character is just cartoonishly evil. It's the worst kind of movie. One that thinks it's clever when it's actually stupid. 58. TO THE VICTORY! I often don't like the phrase "self-indulgent" to describe a directorial vision, but it's the phrase that rings the most true for writer/director/star Valentyn Vasyanovych's confounding To The Victory! The portrait of post-war Ukraine that's presented here is only interesting when it delves into the familial dynamics of a married couple, but that subplot is barely there. The movie's strange meta-narrative and stagnant, standstill filmmaking are too cold to actually have anything meaningful to add to the horrors in Ukraine, just pockets of intrigue that quickly get buried by entirely out-of-place randomness. 57. BLOOD LINES Whatever Blood Lines set out to do (I say “whatever” because I'm not entirely sure what it was), it's bogged down by a bad script. The movie has multiple plots handled equally poorly, giving no breathing room in its misplaced structure to any character outside the protagonist, who is overacted to extremes by Dana Solomon. And if that doesn't get any worse, there's a reveal that's both easy to see coming but also just a bizarre choice for the tender tone attempted. It has some promise, but whatever good movie is hidden in here is long lost. 56. CHRISTY I acknowledge these movies are not for me, but still, I despised Christy . Sydney Sweeney's fine, mostly doing the cry face she often does, but she has some strong moments towards the end. Beyond the fact that this goes lazily through the typical sports biopic tropes, Christy mainly exists to prop-up Christy Martin's abuse from her husband and mother (played admittedly great by Ben Foster and visibly horrible by Merritt Wever). I know these were terrible people, but the complete lack of nuance assures my stance that this is trauma porn masquerading as inspiration. 55. BALLAD OF A SMALL PLAYER With All Quiet on the Western Front and Conclave , director Edward Berger is seemingly on a hot streak. Well, here's Ballad of a Small Player to effectively end that streak. Colin Farrell is terrific, but he can't save this obnoxiously empty film. Berger infused this with flair and style, but forgot to put in substance or anything meaningful at all, beyond excessive depictions of addiction and a plot gimmick that comes with a twist you can instantly call. I can't even say the film's well-intentioned, because the movie insists on leaving us in the dark on what its intention is. 54. NORMAL I mourn the potential of Normal and what it promised. After taking nearly 40 minutes to set up, we get thrown into a balls-to-the-walls, one-man-army flick where a sheriff must take on a whole town, giving Bob Odenkirk more ammo to show off his action hero chops. The moments when it fulfills the promise are when the movie is at its most watchable... and then it stops. I swear to God, it fully just gave up and wrapped the movie before we even got a climax, which ruined whatever fun I had in the first place. 53. NOUVELLE VAGUE Aside from the budget, Nouvelle Vague is not that dissimilar to a fan film. The Breathless -esque cinematography is stunning, and the performances all around are pretty great. Still, thematically, director Richard Linklater seems strangely incurious about Jean-Luc Godard (Guillaume Marbeck) or the French New Wave. While you can interpret this as a fun hangout movie on the set of Breathless , the movie begins to follow a tedious pattern of Godard self-assuredly wanting to do something interesting, everyone saying it's a bad idea, and then he's right. Even as a Godard fan, I found Nouvelle Vague just pointless. 52. MADDIE’S SECRET As a fan of most of the funny people here, I was surprised how much Maddie's Secret didn't work for me. I got some laughs in, and there is a level of sincerity to the body-positivity messaging, at least when it wasn't making light of it. I didn't find anything here offensively bad, but John Early's (who leads the movie cross-dressed for some reason) debut direction felt a little too amateur to feel anything, especially with its soap opera parody tone. Maybe you'll like this more than me, but I was disappointed. 51. EASY’S WALTZ As much of a joy it is to see Vince Vaughn earnestly belt out Pat Benatar, Easy's Waltz has a big problem: it can't stick to one thing to save its life. As good as it looks, writer/director Nic Pizzolatto throws in a love story, a scam plot, a crime plot, and a "finding your place" plot. None of them mesh together; in fact, the way the movie escalates feels forced, and I didn't quite get a feel of Vaughn's character in the way the movie thought I did. It's not offensively bad, but it certainly misses the mark. 50. DEAD LOVER I truly admire the unflinching creativity of director/co-writer Grace Glowicki's Frankenstein interpretation. Dead Lover is delightfully weird, even gross at times, with a nice aesthetic and intriguing narrative angle. I just wasn't the target demographic for this. I didn't particularly have that much fun with this style of filmmaking, but nearly everyone around me did, so maybe it's personal preference more than quality, and I'm totally fine with that. I didn't find anything about Dead Lover inherently terrible, and I even find the ambition commendable; I just didn't vibe with it, but maybe you will. 49. EPIC: ELVIS PRESLEY IN CONCERT Based on this and his 2022 biopic Elvis , it seems like Baz Luhrmann's interest in Elvis Presley is much more geared towards his impact on culture and less on his personal life. In EPiC: Elvis Presley in Concert , that's a little more forgiving. Aside from the tacked-on opening 20 minutes, this concert movie achieves what you'd hope it achieves: watching Presley perform with magnum electricity. In IMAX, you can really feel the seats move, and there are wonderful editing choices that blend simultaneous performances. That's all this movie really is, but that's all I really asked for. 48. ERUPCJA The excellence of Erupcja is implied but cut short, but I see where the film could've been more successful. The ensemble is great, the breezy vibe of Poland is unique, and I liked the themes it suggested. However, it's just over an hour long, and that's simply too short. Not that it wasted any time, but I wish I had gotten more of a sense of the relationship between Charli xcx’s and Lena Góra's characters or the crisis and symbolism presented had more weight. Instead, it felt like more of a hangout movie than maybe intended. 47. PEAK EVERYTHING Peak Everything is at its best when the absurdist comedy mixed with the eco-anxiety plotline takes over. In the back half, while Patrick Hivon and Piper Perabo have excellent chemistry, that gets taken over entirely by a romance plot, and not that it comes out of left field, but it abandons the film’s identity and becomes much less compelling. I do want to see a feature-length version of the first half, even if I don't think it's ruined per se, it just didn't live up to its full potential. 46. GOOD FORTUNE After showing outstanding directorial chops on his excellent Netflix series Master of None , I was disappointed to see Aziz Ansari go down a visually generic route for his feature debut. There's not a lot about Good Fortune that sticks out, aside from Keanu Reeves' fish-out-of-water running gag that elicited the most laughs and a sincere (albeit not that effective) life-affirming message for people in hard times. But I didn't laugh enough, and I found a lot of the story beats unengaging. I appreciate the attempts by Ansari, but I'll forget about this movie sooner than I had hoped. 45. WHISTLE Whistle is one of the easiest documentaries you'll watch this year, for better and for worse. The film's competition doesn't even come along until 40 minutes in, but in the meantime, we get to know the contestants, with little to no judgment for them. Although based on where the film ends, some of the choices on whom they focus become questionable. Even though Whistle plays it safe, it still is a sweet film with a strong sense of community imbued in there, so check it out if you have an hour and a half to spare. 44. JOHN CANDY: I LIKE ME John Candy: I Like Me is your typical celebrity documentary about a beloved figure. The sentimental interviews, the celebrities telling stories, the behind-the-scenes tales from his iconic movies and shows, and the attempts to make you cry when we get to his passing – it’s all there. It's not a risky film, other than maybe the attention to his insecurity about his weight, but suffice to say, your enjoyment of this will depend on your appreciation for Candy. And I do love him. It made me laugh, it made me cry. It's a worthy tribute to Candy, as basic as it is. 43. RENOIR Renoir's emotional force comes striking down in the end, but it wasn't quite as moving to get there. Writer/Director Chie Hayakawa imbues the film with a nostalgic warmth, but the pacing is all over the place, some moments meandering and other moments thriving in an out-of-reality child-like wonder. Those two tones didn’t mesh together well, and that made Renoir start to feel lopsided. The ending is a lot more well-rounded, making a beautiful portrait of how a kid can process loss, but is it worth it if it takes so long to get there? 42. THE WIZARD OF THE KREMLIN The Wizard of the Kremlin is worth watching for Jude Law's brief yet uncanny performance as Vladimir Putin. Every time he's on screen, my eyes were peeled. Paul Dano also is excellent, but the movie starts to get a little scattershot over the course of its two-and-a-half-hour runtime. As a lover of political thrillers, the dialogue very easily sucked me into the film at times; however, the statement it wants to make on political power in the modern age and the rise of Putin felt lost to a point of no return, creating a forgettable experience. 41. THE FENCE Claire Denis is a filmmaker who seems to be on a bit of a downward spiral, and The Fence doesn't help to pull her back up. I didn't mind this one quite that much. There is an underlying tension that permeates throughout, and the performances are all great, especially from Isaach De Bankolé, who expresses a whole lot with sullen silence. The colonialism metaphor gets very lost in the uninteresting character drama, however, and at a point, the plot gets lost almost entirely. In the end, nothing Denis wanted us to take away stuck with me in any meaningful way. 40. MODERN WHORE I don't quite know how I felt about Modern Whore's mix of documentary and scripted skits. Not that it's a bad idea, it's more how it was executed. The best parts of the movie are when the subject, Andrea Werhun, opens up about her experiences and speaks to other sex workers and her loved ones. Those were the moments where the film's themes were the most effective, but the momentum halts whenever these scripted moments come up, as they just felt amateur, making me wish more effort had been put into making sure it was all done right. 39. TUNER I admittedly wasn’t floored with Tuner like others were, and that may have been a victim of expectations more than anything. That said, I still had a blast and found it perfectly serviceable at worst. Clearly playing in Edgar Wright's toybox, the editing and sound work are frenetic and draw you into the protagonist's perspective, with Leo Woodall giving his all. I also found it well written with engaging characters and story progressions, but there was a kick that others had which I didn't get. Hopefully, a second watch will get me there, but for now, I still really liked Tuner . 38. HEDDA After being in a franchise/IP hole for the past couple of years, it's nice to finally see writer/director Nia DaCosta stretch the capabilities of her talents. In Hedda , she directs the film with a wicked ferocity that keeps every conversation and conflict alive. It looks incredible, the pacing is perfect, and the trio of Tessa Thompson, Nina Hoss, and Imogen Poots are great. That said, the script didn't quite work. There's an interesting 'poke the bear' narrative in there, but nothing ever made me want to grab onto it, even if I did have a fun time watching. 37. POETIC LICENSE Clearly taking after her father, Maude Apatow's directorial debut, Poetic License , is a breezy slice-of-life comedy that takes joy in digging into the funniest and most painful impulses of broken people. I'll admit, there were moments where this felt aimless, especially in the beginning, but once Apatow finds a chaotic sweet spot, Cooper Hoffman, Andrew Barth Feldman, and Leslie Mann's infectious performances feel the most alive, and I felt for these people on human levels beyond the obvious absurdity of the situations they’re in. I do hope Apatow expands on her directorial singularity because this was a great start. 36. EXIT 8 As someone who has never played the game on which it's based, I think Exit 8 works because it's completely unashamed of its video game origins. The film's weird escape room concept feels like it's operating under the mechanics of a video game, giving us a fun escape thriller that works on incredible levels... when it's a thriller . Whenever it leans into the metaphor about fatherhood, it isn't effective, taking me out of an otherwise very engaging film. That, unfortunately, did affect my overall enjoyment of Exit 8 , but it was still a fascinating experience nonetheless. 35. THE NAPA BOYS The Napa Boys , in all honesty, feels like a feature-length inside joke pretending to be a legacy sequel to a fake beloved franchise. I understand why some wouldn't find that sense of humour very funny, but when the movie casually throws out that the boys have to “find Stiffler's brother” without any prior context, that's when I knew this American Reunion meets Lord of the Rings parody film was gonna land for me. It's very aimless at times, but I laughed more often than I didn't. 34. THE TESTAMENT OF ANN LEE There are moments in The Testament of Ann Lee where director/co-writer Mona Fastvold is on fire. In these moments, the choreography, enhanced by Daniel Blumberg's score, is a magnificent sight. It’s the kind of musical magic I can feel in my chest. Unfortunately, those moments can't save the Wikipedia-esque script. Amanda Seyfried plays Ann Lee with amazing humanity, but as the film progressed, I couldn't help but wonder what I was supposed to feel about Lee, the Shaker movement, or Christianity in America. In the end, the production values and Fastvold's filmmaking are the only memorable parts of the film. 33. THE SMASHING MACHINE With all the chatter of Dwayne Johnson's big Oscar transformation, I was shocked to see just how un-awards-bait The Smashing Machine was. Director Benny Safdie shoots this film in a documentary kind of way, not so much watching a typical triumph sports film, but a stripped-down look at what makes Mark Kerr (Johnson) tick. Johnson himself, while physically unrecognizable, gives off more of a gentle giant performance, a soft nuance I wasn't aware he was capable of. All that to say, despite it coming off as rather stake-less, I fell for the calm approach here. 32. GOOD NEWS Talk about overstaying your welcome... Good News sports wicked editing, absurd humour, wild political satire, and a fun thriller concept involving a plane hijacking. It’s like if Park Chan-wook directed Airplane! . That said, it is maybe an hour longer than it needs to be, but it's hard not to have a lot of fun with this premise and execution. Even when it feels like it's going hard on non-sequitors, the energy keeps it watchable. At a certain point, though, watching people scream for two-and-a-half hours becomes exhausting. This can be fun on streaming, when you can pause it and stretch your legs. 31. ORWELL: 2+2=5 The statement of Orwell: 2+2=5 couldn't be clearer: George Orwell's writings are as prescient as they ever were. The film evokes Orwell's messaging through graphics and Damian Lewis’ narration as Orwell, but the movie is most effective when it compares Orwell's quotes to images that hit close to home, like using footage from the Gaza invasion or the January 6 riots. If you've never read Orwell, this is an important documentary, but if you're like me, who's already well-versed, I got the message pretty quickly — then it went on for another hour. This is a vital documentary, nonetheless. 30. ROOFMAN Based on the trailer for Roofman , I was afraid director/co-writer Derek Cianfrance was gonna ditch his knack for emotionally driven character stories for a more studio-driven comedy. While the film doesn't shy away from the absurdity of this true story, mainly due in part to Channing Tatum's charming goofiness, what grabbed me the hardest about Roofman was Cianfrance's writing that mixed the weirdness with true humanity. Even when it leans into the "criminal with a heart of gold" idea, the empathy it decides to focus on in regards to Jeffrey Manchester leads to effective emotional beats. 29. COVER-UP The story of Cover-Up is certainly a politically relevant one. Beyond being a very charismatic subject, the importance of Seymour Hersh is well-expressed, showing us well-documented pieces of journalism from him that revealed shady military practices in Vietnam and Iraq, and as the film shows us him beginning to write something on Gaza, Cover-Up's relevance shines at its absolute brightest and most hard-hitting. I did find the movie unremarkable beyond its politics, and I wish it offered a bigger punch, as a lot of what we learn is surface-level, but I'd still say this is an important watch. 28. SOUND OF FALLING I'll admit it: not all of Sound of Falling clicked on my first viewing. Not that I didn't understand it, but it's (sort of) an anthology film, and what I missed was what the multiple stories have to do with each other. I have working theories, but until I get the chance to see it again, all I can say is I was sucked into it in spite of my confusion. The slow-burning atmosphere, the sound design, Fabian Gamper's cinematography: all of it captured my interest, so much so that whatever writer/director Mascha Schilinski does next, I'm all in. 27. CAROLINA CAROLINE I could tell you where Carolina Caroline was headed by frame zero. But how does a film recover from being wholly predictable? Being cool as hell, that's how. Through the stylish direction of Adam Carter Rehmeier and the sexy chemistry between Samara Weaving and Kyle Gallner, you’re given a believable, steamy romance and an emotionally charged crime thriller through small-town America. The narrative takes little-to-no swings, but the tone and vintage look of the film make up for that in spades, and this became a thoroughly watchable film throughout. 26. THE LITTLE SISTER While not too much is narratively distinct from most coming-out stories beyond the Muslim perspective, The Little Sister's strength is in the subtle nuances. Writer/director Hafsia Herzi plays around with the type of insecurities and fears plaguing a closeted lesbian in various environments, and some of these moments carry a lot of heartbreak in them, none as devastating as the film's gut punch final moments, which exacerbate the wonderful performance given by Nadia Melliti. While the pacing isn't always consistent, there was never a moment when I wasn't sucked into the emotional profundity of this coming-of-age story. 25. ARCO Arco breaks no barriers in any sense, either in animation or thematically, but it's another piece of evidence that maintaining a level of genuine care for itself will yield great results. The narrative about finding connection at a young age is nothing new, and the animation clearly takes from Studio Ghibli at times. Still, I couldn't help but feel warmth from the story and look in awe at some of the film's visuals, mixed in with creative world-building and mythology that caught my attention. At some point, Arco’s familiarity just didn't even faze me anymore. 24. RENTAL FAMILY There was a fear of mine that Rental Family would lean too sentimental and perhaps even emotionally manipulative, and I was pleased to say that's not the case. Brendan Fraser's teddy bear performance is easy to melt your heart, but director/co-writer Hikari’s patient and often funny writing gives each character a well-fleshed out arc and emotional stake in the narrative. While I never reached the point of tears, I certainly felt the beauty in this story that utilizes an otherwise pretty silly concept. Rental Family is a nice, feel-good film that's genuine and worthwhile in many regards. 23. HEN Hen : A live-action cross between Homer's Odyssey , The Shawshank Redemption, Goodfellas , and Over the Hedge . Dare I say more? Through this unflinching look at a hen's fight for survival (shoutout to the performance from the titular hen), director György Pálfi takes no shame in telling this story with as much kookiness and fun as possible, taking this fearless hen to dark places and beautiful ones, too. Despite the bizarre concept, this is a genuinely captivating story. It's certainly one of the weirder films you'll see all year, but one that's easy to grab onto and get something out of. 22. PUT YOUR SOUL ON YOUR HAND AND WALK A lot of films about the current genocide in Gaza are expected to elicit strong emotional feelings. Put Your Soul on Your Hand and Walk's approach will inspire an interesting kind of heartbreak. The entire film is seen through FaceTime calls between director Sepideh Farsi and a Gaza citizen named Fatma Hassona, and her words will make you ponder the conflict in a new light, watching Hassona's fears and, more importantly, her hope while drone strikes are happening just outside her window. The film's devastation is magnified by knowledge of Hassona's murder after the film was completed. 21. THE TALE OF SILYAN The relationship between man and animal is often portrayed on film, especially in documentaries. The Tale of Silyan's angle on this idea is, yes, healing, but more than just an emotional one. It's not your typical "aww, he's friends with a bird" type of deal; the relationship comes together under more tragic circumstances, and through beautiful cinematography, we get a well-observed glimpse of Macedonian life, both domestic and politically, and through this newfound relationship, we get a profound look at the strife farmers deal with regularly. You'll have your hearts strung, you have my word on that. 20. IF I HAD LEGS I'D KICK YOU If I Had Legs I'd Kick You is likely to be a very alienating film for many people, but I can't stress enough how worth it this experience is, if not just for the tour-de-force performance from Rose Byrne. She guides this stressful, at times excruciating (by design) exercise in maternal frustration, as we follow Byrne's character through some of the most aggravating series of events, told with expert tension and visual splendour by director/writer Mary Bronstein. I have mixed feelings about how it wraps up, but the way Byrne guides this difficult experience is a sight to behold. 19. BLUE MOON Typically, with a chamber piece like Blue Moon , you can't help but feel like you're watching a play. But director Richard Linklater embraces that, almost making sure you feel that way. His direction, mixed with the whip-smart script from Robert Kaplow, immerses us in the staginess of this bar setting, with Ethan Hawke's flamboyant character work giving this extra life with all his monologues, making this one of my favourite Hawke performances. I can understand if this won't work for you, but the energy and pizzazz this had despite its limited setting made for an entertaining and emotional powerhouse. 18. A POET A Poet snuck up on me in a massive way. With a vintage handheld style of filmmaking from director Simón Mesa Soto that shapes its tightrope act, this film shoves the audience into the fractured narcissism of Oscar, played with perfect sliminess by Ubeimar Rios. A Poet's strength is not just in its sense of humour or intentional frustration, but in the rather interesting approach to art, and through this character study, Soto makes the case that at the root of any artist is an inherent ego. This was one of the biggest surprises I've had in a while. 17. MY FATHER’S SHADOW Operating on a similar logic to Aftersun, My Father's Shadow's depiction of Lagos in 1993 under political turmoil, as well as fatherhood through the unaware eyes of children, is a memorable and even heartbreaking examination. Director/co-writer Akinola Davies Jr.'s direction is precise but, by design, rusty. Our perspective is through the kids, so the limited information enhances the beauty and horror of the plot. Sopé Dìrísù's performance blends masculinity with tenderness perfectly, and the child performances from Chibuike Marvellous Egbo and Godwin Egbo are great as well. By the end, it made me cry and reflect, the hallmark of a job well done. 16. BLKNWS: TERMS & CONDITIONS It's hard to think about the last time I saw a movie and thought, "This isn't like anything I've ever seen." BLKNWS: Terms & Conditions acts like a fast-paced slideshow of historical footage, pop-culture references, and even memes, but it also features scripted original scenes to creatively make the audience view black art and history through a singular entrancing experience. I can say with confidence that you could show this to multiple people, and each person will take something different away from the film. It's that kind of experimentation from director Kahlil Joseph that makes BLKNWS unforgettable. 15. WAKE UP DEAD MAN: A KNIVES OUT MYSTERY Wake Up Dead Man is Benoit Blanc's (Daniel Craig) most ambitious mystery yet. Continuing the trend of writer/director Rian Johnson's Knives Out films, Johnson flips audience expectations on their heads in ways that had my eyes glued. Even if you guess who the killer is, the “how” will still shock you. Easily the darkest of the franchise so far, it has great Poe-esque iconography and an interesting take on the radicalizing power of organized religion, all while keeping that Knives Out humour intact. You could argue this is the best of the franchise, and I wouldn't fight you on that. 14. THE VOICE OF HIND RAJAB Using the real audio of Hind Rajab, a 6-year-old girl killed by Israeli soldiers in Gaza, it's very easy to see how The Voice of Hind Rajab is highly effective. Any movie that brings audience attention to the active genocide is worthwhile in my opinion, but showcasing as many perspectives as possible is as well. In this film, the dramatization of an emergency call centre showcases the desperation to save as many people as possible in Gaza, and combined with the heart shattering reality that it's just not possible sometimes, it's a heavy but necessary watch. 13. THE FURIOUS I saw The Furious at midnight, and it's a testament to the sheer bone-crushing insanity of director Kenji Tanigaki's martial arts epic that I had so much energy walking out. The story is fairly simple, but you're here for the action, and I can sincerely say this has some of the best action choreography I've ever seen. Several times, I wasn't sure how someone could conceptualize these fight scenes, let alone shoot them, all building up to a two-on-two-on-one sequence where I didn't blink once. An easy movie to get hyped on by just hearing the name after watching it. 12. SENTIMENTAL VALUE Sentimental Value's impact is an interesting one because it took me a minute to fully get hit by the film's multi-layered writing. While watching it, I was taken aback by Joachim Trier's direction; however, his writing, while grounded and interesting in its depiction of a broken family, didn't get that stunning realization out of me until I considered Trier was saying that, like a home, a family is something that will forever need to be worked on. Pair that with exceptional performances and ambitious filmmaking, and Trier has created another beautiful instant classic. 11. SILENT FRIEND Silent Friend took a while for me to understand what these three stories about plant preservation had to do with each other. Once it did, all the pieces started to connect in a beautiful manner. It's got wonderful themes of connecting to the environment and to each other, and even through its experimental nature, the tenderness of Ildikó Enyedi's direction is hard to miss. All three stories are engaging in their own way (shot with period authenticity by Gergely Pálos), but just experiencing this connected vision was something unique in its own beautiful way. 10. FRANKENSTEIN Writer/director Guillermo del Toro's Frankenstein is long. There was never a moment when I wasn't engaged, but I'll admit there's some fat that could've been trimmed. But the ends justified the means here. As expected from a del Toro film, the crafts are magnificent, from set design to Dan Lausten's cinematography that fully immerses us into this world. But it's the compassionate writing that accurately brings Mary Shelley's book to life, pondering the difference between man and monster, with a stunning performance from Jacob Elordi as The Creature. This Frankenstein is another stunning creature feature from the master del Toro! 9. OBSESSION Watching Obsession , it felt like I was witnessing a new horror hit. Weaponized with debut director Curry Barker's awkward sense of humour, he cannonballs onto the scene with confidence and a fantastic eye for creepy imagery. What makes this one so wonderful is the awfully relatable terror of having a hopeless crush, mixed with the highs of optimism that soon reveal some gross scares from the mere sight of Inde Navarrette. She is a true revelation, as her supernatural attachment becomes a nightmare. I hope for dear life that audiences embrace Obsession for the treat it is because it's special. 8. LITTLE AMÉLIE OR THE CHARACTER OF RAIN At under an hour and a half, Little Amélie or the Character of Rain takes audiences on a gorgeous coming-of-age journey with beautiful animation and wondrous emotions. Following baby Amélie’s (Loïse Charpentier) point-of-view, we get to see both a child’s growing love for life and their discovery of heartbreak, as she sees things through a continuous new lens. The writing offers her a creative viewpoint to reveal life's challenges, both domestically (being a Belgian girl living in post-war Japan) and mythically. I won't hide it; this incredible movie made me cry, and I need everyone to see it. 7. IT WAS JUST AN ACCIDENT There's something very fascinating when you walk out of a movie not sure how to talk about it, yet you know that you just watched something extraordinary. Writer/director Jafar Panahi's Palme d'Or winner It Was Just an Accident is structured like a comedy of errors, yet it's a haunting and wonderfully acted reflection of the scars left on the victims of Iran's government. Its morally interesting plot questions humanity's ability for cruelty in an unjust society, and if you don't leave the film staggered by its final 20 minutes, I'll be impressed. 6. HAMNET Being that this is the hardest a movie has made me cry in recent memory, you'd think Hamnet is just a plea for your tears. But director/co-writer Chloé Zhao's meditation provides more than just a tear-jerker. Taking her time to show the love of this family before tragedy befalls them, we get to see incredible performances from Jessie Buckley, Paul Mescal, and Jacobi Jupe, and stunning cinematography from Łukasz Żal. Hamnet shows us what catharsis after unspeakable loss can look like and the healing power of art. It's hard not to see where the love is coming from here. 5. TRAIN DREAMS Through its hazy narrative structure, which is like watching a collection of memories accompanied by a stunning score from Bryce Dessner, Train Dreams emerges as one of 2025's best films. Featuring a career-high performance from Joel Edgerton, director/co-writer Clint Bentley takes audiences through the stunningly shot life of a post-20th-century labour worker, through the highs and devastating lows. It's an emotional tour de force, showcasing tender meditation and powerful perseverance; you won't find a film that balances stark realism with an alluring dream-like atmosphere like this. If you can get on its wavelength, Train Dreams will stick with you. 4. THE SECRET AGENT After last year's I'm Still Here detailing the Brazilian military dictatorship in the 1970s, The Secret Agent is here to give us an interesting perspective on that period of time. Anchored by a subtle but excellent performance from Wagner Moura, writer/director Kleber Mendonça Filho takes us headfirst into the sun-soaked world of the average Brazilian citizen, enjoying life despite the terror going on. As slow as it is, it finds novel ways to never be boring, including creative noir-style editing choices and a memorable sequence involving Brazilian folklore, which makes this one of the more engaging titles of this year. 3. NIRVANNA THE BAND THE SHOW THE MOVIE As a Torontonian, I acknowledge my bias for a film so littered with Toronto easter eggs, but Nirvanna the Band the Show the Movie is a blast I'd recommend to anyone. Yes, there are inside jokes not everyone will get, but there's still a lot to laugh at. From a sheer filmmaking standpoint, I wondered "how did they do this?" multiple times. The writing alone is truly brilliant, weaving in time travel, comedy, and a sincere friendship narrative all into one uniquely enjoyable package. At the risk of sounding hyperbolic, this movie is sort of a miracle. 2. SIRĀT Sirāt is so bleak, I was in a trance-like state watching it. It's also one of the best films of 2025. Like the raves the characters seek out, Sirāt feels like a high with no actual resolution, just feeling the vibrations of director/writer Óliver Laxe's unforgettable odyssey through the Moroccan desert. The first half is a nice meditative film that follows these nomads and a desperate father/son, but the second half devolves into hell in a way that made my heart race rapidly. I had to cover my eyes a lot, which made this an existentially dreadful yet singular work of art. 1 . NO OTHER CHOICE To the surprise of nobody who knows the name of director/co-writer Park Chan-wook, No Other Choice is another masterful piece of genre cinema. Starring Lee Byung-hun in one of the year's most compelling performances, Park uses his signature style of absurd editing and morally ambiguous characters to create a slapstick comedy-thriller with some bleak class commentary, taking the film in smart directions that go beyond the simple concept of lower-class desperation. He makes a devastating point that you'll have to see to believe. It's also very funny, and a glowing testament to the type of madman filmmaker Park is.

Previous January 19, 2026 Next A BITESIZE CHAT WITH KATEE SACKHOFF & JAMES MADIGAN Director James Madigan and Katee Sackhoff (The Mandalorian , Battlestar Galactica ) join Nick to talk about their love of action films and the potential of a Fight or Flight sequel. Make sure to check out Fight or Flight now in theatres. Interview conducted on May 6th, 2025 by Nick van Dinther.

THE BETTER SISTER Starring: Jessica Biel, Elizabeth Banks, Corey Stoll, Kim Dickens, Maxwell Acee Donovan, Bobby Naderi, Gabriel Sloyer, Matthew Modine, Lorraine Toussaint, and Gloria Reuben Creator: Olivia Milch QUENTIN While The Better Sister has prestige talent involved, the series can’t overcome its campy, Lifetime-esque vibe to be taken too seriously. I mean, this is a show where rich Chloe (Jessica Biel) is married to murdered Adam (Corey Stoll), who is unstable Nicky’s (Elizabeth Banks) ex-husband. Also, Chloe and Nicky are sisters. That is the level of movie-of-the-week plot devices we are dealing with here, and they come with over-the-top acting, derivative twists, and all the typical genre clichés. If trashy thrillers — and I use that term lovingly — are your thing, then give it a go. Otherwise, this is another forgettable “beach read” show.

WONDER MAN Starring: Yahya Abdul-Mateen II, Ben Kingsley, Arian Moayed, X Mayo, and Zlatko Burić Creators: Destin Daniel Cretton and Andrew Guest QUENTIN Wonder Man is unlike anything Marvel has done before. While that’s certainly a compliment, just how big a compliment you consider it to be might depend on your view of “superhero fatigue” because there are virtually no superhero tropes or evil villains here. There are no end-of-world stakes or big action sequences. In fact, almost nothing about this miniseries screams Marvel. Instead, it’s a heartfelt meta-comedy about two lonely, struggling actors — portrayed with genuine sincerity by Yahya Abdul-Mateen II and Ben Kingsley — that has more in common with The Studio and Reboot (funny cameos included). It’s an honest-to-God surprise from a studio that rarely delivers those nowadays. AMARÚ Wonder Man is quite the unique Marvel Cinematic Universe experience. More of a character study (of both leads and of Hollywood as an entity) than your normal comic-book affair, creators Destin Daniel Cretton and Andrew Guest present the most personal and affirming Marvel property in recent memory. The chemistry between Yahya Abdul-Mateen II’s Simon Williams and Ben Kingsley’s returning Trevor Slattery is undeniably odd-couple charismatic, and it generates not only a genuinely relatable new hero to follow, but also adds depth to the divisive Mandarin MCU storyline. All in all, this is a fresh win for Marvel Television that reminds us of this studio’s appeal. ROBERT When Wonder Man was being advertised, and then delayed, my expectations were at the floor. To Disney’s credit, I think they rolled it out that way purposefully. Fortunately, their gambit paid off as this overshot the predetermined limit I had set. The heart of the show is the bromance between Simon (Yahya Abdul-Mateen II) and Trevor (Ben Kingsley), who are lost souls managing to wade through a cutthroat industry to buoy each other’s dreams. The allegories referenced through Simon’s struggle to hide his true self and to succeed are quite adult for Marvel. This show should be the guiding beacon for the studio’s future.

HOTEL COSTIERA: SEASON ONE Starring: Jesse Williams, Jordan Alexandra, Maria Chiara Giannetta, Antonio Gerardi, Sam Haygarth, Tommaso Ragno, Pierpaolo Spollon, and Amanda Campana Creators: Elena Bucaccio and Francesco Arlanch QUENTIN Hotel Costiera delivers breezily enjoyable escapist television, but nothing more. It features beautiful people, gorgeous Italian landscapes, a bit of season-long mystery, and crime-of-the-week mechanics that keep things fairly light despite occasionally dipping its toes into the noir genre. Think of it like if The White Lotus had been made by USA during its “Characters Welcome” era in the early 2000s. It’s by no means must-see or prestige television, but it’s a fun beach-read series that coasts on vacation vibes, Jesse Williams’ confident swagger, and the chemistry he shares with his team of fellow fixers. Plus, at only six episodes, it doesn’t overstay its welcome.

Previous Next May 27, 2026 It’s been seven years since we’ve had Star Wars on the big screen. Was the return worth the wait or a waste of time? Join Nick, Amarú, Harrison, and special guest Ace Cabrera as they discuss all Star Wars: The Mandalorian and Grogu has to offer and where we go from here. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next March 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 February 12, 2025 WRITTEN BY: PAIGE Although every friend dynamic is unique, I believe that some of the most genuine on-screen representations of women come from stories about their platonic bonds. It is crucial to have stories about women who rely on each other, encourage one another, and simply enjoy each other's company because they serve as a reminder of our own beautiful yet complex friendships. With that in mind, move over Valentine’s Day! We’re here to honor Galentine's Day, which is observed on February 13th to celebrate mutual female empowerment. For my part, I want to note the power of the female bond by shining a light on my favorite female friendships that have graced the big screen over the years. So, grab your gal pals for a Galentine’s Day Movie Night! THELMA & LOUISE (1991) When I think of the term “ride or die,” the first movie that comes to mind is Thelma & Louise , starring the great Geena Davis and Susan Sarandon. There is an unbreakable bond between two best friends embarking on a road trip gone wrong. The women's tight knit friendship is evident despite the plot's occasionally heavy and hard-hitting moments, which provide a poignant depiction of two lifelong buddies who will do practically anything for one another. The film uses friendship as a source of strength, showing the ways in which this kind of bond can help one face and overcome any obstacle. Plus, I just adore how this movie explores the freedom achieved between the two platonic best friends — a freedom typically reserved for women only to find with romantic lovers. Ridley Scott’s film truly shows that once two girlfriends join forces, it’s over for everyone else. It also has one of cinema’s most iconic final scenes, taking the idea of “friends ‘til the end” quite literally. ROMY AND MICHELE’S HIGH SCHOOL REUNION (1997) Romy and Michele’s High School Reunion is a 90s classic packed with nostalgia. Although Lisa Kudrow and Mira Sorvino play bombastic characters, this hilarious gem is full of charm. The film does a fantastic job of demonstrating how friendships can provide support throughout and beyond high school because the titular characters love each other for who they are, through thick and thin. While not having much to show in terms of their personal and professional lives, they make the best of the situation by sticking to a lie they made up together to appear successful. In the end, despite them having a big blow up, the pair realize that their shared friendship is enough to feel successful in life. The moral of the story is that high school reunions can be rough, but if you have your bestie by your side, you’ll get through it. Romy (Sorvino) and Michele (Kudrow) demonstrate that, even after years of being friends, the shenanigans never really end. SUGAR & SPICE (2001) Sugar and Spice is one of those early 2000s flicks that I’m genuinely surprised never turned into a cult classic. Yes, the premise may seem ridiculous, but it’s a high school comedy you can enjoy with your girlfriends while turning your brain off. Many say your friends are your chosen family, and in this case, it’s totally true. When Diane (Marley Shelton) informs her family that she is pregnant, they disown her. Thankfully, she has her cheer squad to stick by her side, no matter what. They live up to their cheerleading oath of “all for one,” committing to performing the perfect stunt together: robbing a bank! They use cheer lifts and teamwork to pull off this heist for the soon-to-be mom as she is desperate for money. Let’s be honest, true friends are the ones willing to commit a crime for or with you, and Lincoln High's A-squad are true homies. Get ready to cheer for the bad girls in this underrated quirky comedy! GIRLS TRIP (2017) In addition to being one of the funniest buddy films of the last decade, Girls Trip gave us major friendship goals. “The Flossy Posse“ (Queen Latifah, Jada Pinkett Smith, Tiffany Haddish, and Regina Hall) may have become distant over time, but once they get the gang back together, they rediscover their bond while enjoying a weekend of debauchery at the Essence Festival in New Orleans. Each character must work through their own personal struggles — whether that’s a cheating husband, getting fired, or losing touch with themselves — as they attempt to reconnect amid the chaos and drama that ensues throughout the trip. This ultimately deepens their collective bonds and gets them through their challenges, as their steadfast love and support for one another will always win. This is one of the most perfect movies to watch while discussing exactly how a Galentine’s should be spent. BOOKSMART (2019) Some may refer to the friendship displayed in Olivia Wilde's directorial debut as the “female version of Superbad ,” and while those comparisons are somewhat accurate, Booksmart represents so much more. This movie goes beyond the notion that high school students are just misunderstood adults. It explores the idea that they have already started to realize who they are, and that it is a treasure to have someone by your side as you grow into the person you want to be. The bond between Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) exemplifies the cycle of friendship's loyalty through the highs, lows, and in-betweens of major life changes (in this case, going off to college). These girls not only stuck with each other through four years of high school while hitting the books, they also support one another during a wild, chaotic night that they will always remember. If you and your gal pals are looking for a great teen comedy, I highly recommend throwing Booksmart on. SOMEONE GREAT (2019) Someone Great is a Netflix original movie that all the girlies should check out with their friends. Getting dumped can be rough, but your crew will be there to help ease the pain, which is precisely what these friends do when Jenny (Gina Rodriguez) gets dumped on the same day she gets her dream job. To help mend her broken heart, they rally behind her by calling in sick to their jobs and distracting her with a wild night out on the town. While the film is hilarious, there are a lot of tender moments, too, especially as it demonstrates how friendships can be a crucial support system. Besties like these will always be there to provide emotional support and strength during challenging times, and the bond between Jenny and her two best friends, Erin (DeWanda Wise) and Blair (Brittany Snow), is something special to watch on screen. Let’s face it, we’ve all been there, so this is the perfect flick to watch if you’ve recently gone through a break-up.

Previous Next March 10, 2026 With the Oscars coming up, we're once again going to launch an episode for each film the Academy Awards have nominated for Best Picture. Each day leading to the ceremony, we will release an episode, and it's time to talk about The Secret Agent ! It's been a strong year for international films crossing over to the mainstream and Brazil's The Secret Agent is among the strongest. Join us as we discuss this three-plus hour saga, and Wagner Moura's chances at taking away that Best Actor trophy, and... the Olympics? 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!