Previous Next August 6, 2025 WRITTEN BY: NICK After a lot of apprehension following the sale of James Bond's creative control from Barbara Broccoli and Michael G. Wilson to Amazon MGM Studios (and, in turn, Amy Pascal and David Heyman), there has been some recent positivity. First, Denis Villeneuve (Prisoners , Arrival , Dune ) was announced as the director of the upcoming 26th Bond film. Then, Steven Knight (Eastern Promises , Locke , Peaky Blinders ) was announced as the film’s writer. So, with the brain trust in place, the focus has turned to casting, and as interesting as that decision will ultimately be, I wanted to look at some other franchise aspects that could use a bit of a revamp. Below, I’ve singled out four pathways I’d like to see Amazon MGM take to not only reinvigorate the IP under its leadership but also offer something we haven’t seen before with this character. We live in a world of franchises, and their success often lies in the way they’ve been able to expand their stories beyond that of a singular hero. That’s what we need here. There is a potential for so many new ideas and characters in the world of MI6 and 007, and it’s time we start exploring that to enrich the world of James Bond. Here are a few places to start… SPOTLIGHT THE OTHER 00 AGENTS Despite some brief appearances throughout the franchise (Sean Bean's 006 in Goldeneye being the most notable example), the focus has always been on 007. There was an iteration of this piece where I contemplated letting the demise of Daniel Craig’s James Bond in No Time to Die be the end of Bond as a person and having someone new (perhaps a woman) take over the mantle of 007. However, I’ve reversed course on this as there are plenty of other avenues to build upon without letting Mr. Bond go. Does the character need a bit of a modern update? Sure, but that’s something I’m sure will be addressed. I think you have the potential to greatly enrich this franchise if you place a focus on and give some weight to the other 00 agents inside MI6. Whether it’s the old guard of Broccoli or the new one at Amazon MGM, there are clearly certain attributes of Bond they aren’t ready to move away from. Regardless of your opinion on that, focusing on other 00s would allow for greater representation of actors from different genders or ethnicities, creating unique characters and backstories tailored to them. If the long-desired Idris Elba casting as 007 isn’t going to happen, why not make him 008? Or bring in Thandiwe Newton (my long-time personal pick as 007 successor) as 003? If you go this route, you’re no longer beholden to any prerequisites. You can build a character from scratch while taking everything from their race to sexual orientation into account. This would create authentic and entirely new characters that could potentially help carry the franchise for years to come. SHOW WHAT IT TAKES TO BECOME A 00 AGENT Bouncing off my previous point, wouldn’t it be cool to see the process these agents have to go through to get into MI6? Witnessing the training of some of the brightest hopefuls England has to offer, watching their rise or downfall, the politics, the allegiances, the successes, the failures… I mean, although tonally different, this aspect is a big part of why Kingsman: The Secret Service (a film heavily influenced by Bond) worked as well as it did. Just because series like Treadstone and The Continental (origin stories for the Jason Bourne and John Wick franchises, respectively) didn't really work, doesn't mean the idea is a bad one. With the extended runway a series offers, you would be able to follow these young agents as they make their way through the 00 program and take a deep dive into all that entails. This would not only create better world building, but it would also provide higher stakes and major characters who can either become part of the future or act as expendable assets while still carrying some weight to advance the stories of other characters. BRANCH OUT FROM A SINGULAR TIMELINE I understand we live in a world of expanded universes, but one of the best things this franchise can do is step outside of its standard timeline. Think about it…as it stands, playing James Bond is a lot like taking on the role of a superhero for Marvel or DC Studios. The role may be great, but you're locked in for multiple films, which can take away certain opportunities due to contract and scheduling issues. It doesn’t have to be that way. If we introduce the idea of James Bond one-offs, we have a chance to play with Bonds of different ages, different timelines, and with different actors. Would you like to see Christian Bale, Hugh Grant, Benedict Cumberbatch, or countless other A-list actors play Bond? That becomes much more plausible in this format. You could take James Bond back to the 70s or connect him to real world events. You can take real risks to do something different. I’m not saying they’d go as far as making a deep drama where they explain his misogynistic ways by having him be a closeted homosexual in the 1960s (could you imagine?), but the possibilities really are endless. James Bond being an indestructible pseudo-superhero worked when I was growing up, but in a cinematic landscape populated by superheroes, I don’t need that anymore. You already have 25 films of a character you know won’t die. It’s time for stakes, and giving Bond singular stories can do that. You can put Bond in true peril, maybe even have the villains win sometimes. It’s not that he needs to die, it’s that you know he can. This fresh start is the perfect time for an evolution of this character and the way his stories are told. We’ve had Bonds that lean more into the cheese and comedy, and we’ve had Bonds that are pure badass. It’s time to see what the next version of Bond is, and the beauty is, we don’t have to pick just one. BRING BACK PIERCE BROSNAN Yes, I know I just said it was time for a fresh start, and I meant it. But there’s still a way to make this work. Pierce Brosnan is the Bond I grew up with, and when Daniel Craig’s version of the character was fully realized, it made me wish we’d gotten to see Brosnan have a shot at the edgier version of the character. I’ve also always been intrigued by the idea of an Old Man Bond storyline where he comes back for one last mission. Or perhaps to mentor the next 007 in line. This worked tremendously well with Hugh Jackman in Logan — a film I consider the greatest superhero film of all time — and there’s no doubt things could go the same with Pierce. A gritty and grizzled Brosnan (similar to what he showed in the underrated The November Man ) could pair nostalgia with the introduction of something new. It could be a ton of fun even if it took Brosnan following in Harrison Ford’s footsteps as Han Solo in A Force Awakens , laying his version of the character to rest to secure a return.

HISTORY OF SWEAR WORDS Starring: Nicolas Cage, Nick Offerman, Jim Jefferies, Sarah Silverman, Nikki Glaser, DeRay Davis, Open Mike Eagle, London Hughes, Isaiah Whitlock Jr., Zainab Johnson, and Patti Harrison Be it my immature sense of humor or my unashamed love for Nic Cage, I really enjoyed this show. It's informative, but also a lot of fun. At only 20 minutes a pop, it never gets caught up in trying to be too educational. In structure, it's similar to VH1's Best Week Ever , featuring famous comedians and random film clips to keep you engaged. Cage is all in too, balancing a winking self-awareness of his gonzo, "let's get weird" reputation with a pseudo-seriousness that says "Pay attention. I'm Nicolas Fucking Cage." It all works, even if it keeps things light.

WIN OR LOSE Starring: Winston Vengapally, Izaac Wang, Milan Ray, Chanel Stewart, John Thomson, Rosanna Jean Foss, Rosa Salazar, Dorien Watson, Jo Firestone, Erin Keif, Lil Rel Howery, Kyleigh Curran, Vyvan Pham, and Will Forte Creators: Carrie Hobson and Michael Yates NICK Despite a rocky first episode, once Win or Lose gets its footing, it shows the potential to be one of the best Pixar releases this decade. Although the stories are interconnected by the date, the series works more as an anthology, which allows it to tackle a number of themes without being beholden to a feature runtime. My personal favourite was Frank's (Josh Thomson), but all have their own charms. There are also hints of future stories within each episode that enriches the overall characters and will presumably bring everyone together for the finale. AMARÚ Yooooo! There are certain times when you throw hyperbole out the window because when you know, you know; I know that Win or Lose might be the best thing Pixar has ever created. The studio has always excelled in taking everyday concepts and finding a humanity that’s relatable to audiences of all ages, and the care, depth, and insight you expect from their best movies hits you even deeper in the feels over this long form story. The characters are lovable, the themes are painfully real, and the ideas are brilliantly explored in this surprisingly emotional, multiple-perspective look into one championship game.

CREATURE COMMANDOS: SEASON ONE Starring: Frank Grillo, Alan Tudyk, Indira Varma, Zoë Chao, Sean Gunn, David Harbour, Maria Bakalova, Steve Agee, and Viola Davis Creator: James Gunn NICK As much as I enjoyed James Gunn's The Suicide Squad , Creature Commandos may be the best version of a reluctant villain team-up we’ve seen. In just seven episodes, Gunn made me care about each individual character by using a portion of every episode to explore their tragic backstories, which adds devastating weight to the main timeline. While it can be incredibly violent, much like Gunn’s Guardians series, at its core is a connecting thread of heart realized by some excellent voice-over performances from Frank Grillo, Alan Tudyk, Indira Varma, and the rest of the cast. Gunn's DCU is off to a tremendous start. AMARÚ James Gunn has an uncanny ability to fill freakishly outlandish tales with a shit ton of heart, and that’s how a show like Creature Commandos, with it’s gratuitous violence and adult themes, can endear you to a chaotically untethered motley crew of characters in the short span of seven, 20-minute episodes. Gunn’s writing efficiently provides authentic depth to a wildly eccentric world, making this introduction to the DCU feel lived in and real. Packing so much into such small packages does leave a few odd characters and side stories undercooked, but Gunn has more than succeeded in making me believe in his new comic universe. QUENTIN Considering James Gunn's The Suicide Squad and Guardians of the Galaxy are essentially live-action cartoons with their bi-pedal sharks and talking trees, it shouldn't be surprising that he absolutely killed it when going full animation with Creature Commandos . The very bingeable series features excellent vocal performances (especially from David Harbour as Eric Frankenstein), neat DC easter eggs, plenty of bloody action, a bop of a soundtrack, and a compelling “A" story paired with nuanced, character-developing flashbacks. Commandos could have easily been a half-hearted introduction to Gunn's DC Universe, but he has instead delivered an exciting first offering that conjures a lot of excitement for what’s ahead.

Previous Next October 22, 2024 WRITTEN BY: QUENTIN In 2024, Zurich Film Festival celebrated its 20th anniversary with a slate of over 100 movies. For me, since I already covered Cannes this year, I couldn’t attend the entire festival from beginning to end because I couldn’t pull myself away from my true day job to accommodate that level of commitment. However, I was able to attend the opening and final weekends (three days each). This allowed me to see 11 movies on the ground in Zurich, a personal slate that has been complimented by eight other films on the Zurich program that I was lucky enough to catch at Cannes. Sadly, because of the split weekend approach, I missed a few films I was very interested in, but I’ll get to them eventually. Those movies include Super/Man: The Christopher Reeve Story , the Jesse Eisenberg-directed A Real Pain , and Homegrown , “a harrowing portrait of Donald Trump's Hells Angels (aka Proud Boys).” Next year, though, my plan is to spend the entire festival at Zurich because, honestly, after two years of limited access, it has proven to be my favorite festival experience. I’m going to do it right next year and see all the things. Anyway, we'll get to that in 2025. On with this year's ranking… 19. QUEER Full disclosure: I have been coming to the realization that I’m just not a fan of director Luca Guadagnino. With Queer , that notion is solidified because I have almost nothing positive to say about the film. There are some terrific needle drops, and I’ll give Daniel Craig credit for a daring performance (I didn’t say a “great” performance. I truly don’t get the hype.). Otherwise, this is a 135-minute slog with nothing to say despite insisting on saying it in increasingly hallucinatory ways. With its lack of character development, unfocused and incoherent story, sleep-inducing pacing, and fake-looking production design, Queer is pretentious and self-indulgent trash. 18. BIRD Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and delivering sensitive realism than telling an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances (Barry Keoghan, especially), but predict that others, particularly women, are likely to be more moved by this picture than I was. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 17. WILLIAM TELL It seems like forever since we’ve received an old-school, historical epic in the vein of Braveheart , and although William Tell boasts all the hallmarks one would expect, it lacks a certain spark to truly rouse the viewer. Even in the film’s best and most intense sequence — the famed apple moment — something is lost since we already know how it ends. I understand such is the way with true stories, but this feeling of meh permeates the entire 135-minute runtime. On the plus side, the entire film is gorgeously shot, featuring tremendous cinematography and some of the most beautiful landscapes I’ve seen in a minute. 16. LEE Despite a committed performance from Kate Winslet and a solid against-type showing from Andy Samberg, Lee doesn’t offer much to engage the viewer. The beats of Lee Miller’s (Winslet) life feel cherry-picked and rushed, as if perhaps more interesting tidbits were left on the editing room floor simply to make for a shorter runtime, and while it certainly shows some atrocities of war, it’s nothing we haven’t seen before. Plus, the awkward framing device of a story being told in flashback is wholly unnecessary (especially the “reveal”). This all results in a film that fails to make the viewer truly invested. It’s beautifully shot, though. 15. ON BECOMING A GUINEA FOWL Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 14. THE UNHOLY TRINITY The Unholy Trinity doesn’t do anything particularly amazing or particularly terrible, resulting in the kind of movie that could easily play as a weekend cable rerun for years to come. The story, direction, and Western vibe are workmanlike and serviceable, while Pierce Brosnan and Samuel L. Jackson do their typical thing with expected success. Brandon Lessard, on the other hand, feels out of place. He often comes across as too modern, and he simply doesn’t have the acting chops to hold his own with his costars. Overall, he brings down the whole affair to a watchable but forgettable western. 13. BABYGIRL Perhaps this is more an issue of expectation management, but based on the trailers, I expected Babygirl to be…I don’t know…hot? Sure, nominally, it’s an erotic thriller, but it’s blandly clinical, lacking in overall sexiness and horny delights (many of which are reduced to montage form). That said, the performances are great, especially Nicole Kidman, who seemingly thrives playing the rich white woman with the imperfect perfect life, and writer-director Halina Reijn confidently explores sexual desires, repression, liberation, and power dynamics. It’s certainly not a bad movie, but it’s being marketed as titillating and lurid eroticism; since that’s not what Babygirl is, I walked away wanting. 12. THE LAST SHOWGIRL As cliché as the story is, recalling The Wrestler and Crazy Heart , The Last Showgirl is generally effective because of the ensemble cast and fresh take of seeing this familiar tale told from a woman’s perspective. Pamela Anderson, though a bit uneven, still gives the best performance of her career as a character that perhaps she understands better than anyone else could, and she’s elevated by terrific supporting turns from Dave Bautista and Jamie Lee Curtis. Sure, some plot points could have been fleshed out much more, and I didn’t care for the multitude of literally out-of-focus camera shots, but Showgirl is more successful than not. 11. CONCLAVE Conclave is amongst my most overhyped movies of the year (I blame Nick). That’s not to say it’s bad, but at no point did I find the story gripping or thrilling, which is kind of the point of a “conspiracy thriller,” no? Granted, it boasts terrific performances and is handsomely made, but the characters are so underdeveloped that the twists and turns (including a silly final reveal) never hit as hard as seemingly intended. I genuinely didn’t care who became Pope, and a movie like this requires the audience to take a side to work effectively. Conclave is decent, I suppose, but a disappointment, nonetheless. 10. JOKER: FOLIE À DEUX In Folie à Deux , Joaquin Phoenix seamlessly slides back into the character for which he won an Oscar, and Lady Gaga’s songbird talents are perfectly cast as the relative light to his darkness. That alone would make it worth your time. However, unlike Joker , this sequel actually has something to say, using a subtle meta touch to explore themes of celebrity, obsession, reality v. fantasy, and scandal as entertainment. It’s not flawless, admittedly, as the musical numbers contribute to disjointed pacing issues, but we’re still left with a sequel that, although not quite as good as its predecessor, is more ambitious, which makes it more worthy of respect. 9. GOOD ONE Good One is a tremendous feature directorial debut from India Donaldson, and a showcase for young star Lily Collias. Funny and insightful, understated yet complex, it explores Sam’s (Collias) transition from dependent teenager to empowered adult as she deals with two, generally harmless but not quite enlightened, middle-aged dads struggling to navigate the line between “daughter figure” and “fully realized woman.” Donaldson does a great job of putting us in Sam’s shoes as she observes their bickering, regrets, selfishness, and sexism, which creates a low-simmering tension throughout as we’re left wondering when enough might be enough. It’s simple and spare, but never slight, and always compelling. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 8. THE ASSESSMENT On its surface, The Assessment is a tense and claustrophobic exploration into the difficulties of parenthood. On top of that, it has style to burn, as well as three tremendous performances, none more excellent than Alicia Vikander in one of the best showings of her career. However, as the story widens its aperture into broader world-building and deeper commentaries on bureaucracy and “this could really happen” stakes, it loses the thread a bit. There is still a lot to like in The Assessment , including some self-validation that being a parent isn’t for me, but it just barely misses sticking the landing. 7. THE KINGDOM (aka LE ROYAUME ) Although generally a coming-of-age tale, The Kingdom takes a darker and grittier approach than most genre offerings by focusing on the daughter of a Corsican mob leader in the middle of a gang war. It’s like watching Narcos from the perspective of Pablo Escobar’s daughter, which delivers two captivating aspects we don’t often see: 1. The effects gang life has on unaffiliated family members; 2. the dichotomy of a ruthless crime lord that is, first and foremost, a loving father. It makes for a taut, moving, and gripping experience. Even more impressive? This is director/writer Julien Colonna’s and star Ghjuvanna Benedetti’s feature debuts. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 6. THE ORDER Simply put, The Order is good, old-fashioned filmmaking for grown-ups, with no gimmicks, no frills, and no egregious attempts to overdo it. At its core is a compellingly intense true story that plays like a mix of Hell or High Water and BlacKkKlansman , all of which is driven by terrific (but not necessarily awards-worthy) performances from Jude Law and Nicholas Hoult. That said, while I could nitpick a few undercooked narrative choices, when the end result is something this riveting (not to mention beautiful to look at because the cinematography and landscapes are top shelf), it’s easier to just give yourself over to it. 5. THE APPRENTICE Much like Oliver Stone’s W. , The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL -style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 4. HERETIC In Heretic , the villain, played by a disarmingly deranged and against-type Hugh Grant, poses questions and tests of faith to two Mormon missionaries (Sophie Thatcher and Chloe East, both excellent). On premise alone, I had extremely high hopes because I love anything that deconstructs religion. Thankfully, the film delivers. While it isn’t “scary” in the traditional sense, it is a powder keg of tension and palpable suspense, featuring deceptively menacing dialogue and thought-provoking questions. In what has been a strong year for horror, Heretic proves to be one of 2024’s best. I’m not sure it works with anyone else but Grant, though. 3. ANORA Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems , then you’ve got a pretty good idea of what’s in store. It’s worthy of any and all awards consideration it’s surely to garner. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 2. SEPTEMBER 5 Seemingly out of nowhere (it didn’t play at Sundance, Toronto, Cannes, or Venice), September 5 is a dark horse contender for Best Picture. Admittedly, I’m a sucker for journalism movies, but this one is driven by the narrative’s “as-it-unfolds” propulsiveness, which creates an electric, suspenseful, and thrilling look at news media doing live coverage of a terrorist attack for the first time. On top of that, with what is currently happening with Israel and Gaza, it’s as timely and relevant now as the real-life events were in 1972. Add in terrific performances from the entire ensemble, and you’ve got one of the year’s very best. 1. FLOW I surely didn’t expect one of the best films out of fest season to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

HUMAN RESOURCES: SEASON ONE Starring: Aidy Bryant, Randall Park, Keke Palmer, David Thewlis, Brandon Kyle Goodman, Maya Rudolph, and Nick Kroll Creators: Kelly Galuska, Nick Kroll, Andrew Goldberg, Mark Levin, and Jennifer Flackett QUENTIN In some regards, this feels like a somewhat pointless review to write. If you love Big Mouth (or don’t), then you’ll love Human Resources (or won’t). End of story. It takes the same depraved-raunchiness-with-heart approach that Big Mouth does, but instead focuses it on more adult-oriented topics like postpartum depression, death, and alcoholism. It’s hilariously lewd, but also remarkably brilliant in the way it tackles these issues. It’s not likely to convert any non-fans of the core series, but it’s more of the same excellence for those of us already on board with Hormone Monsters, Lovebugs, Shame Wizards, and a parade of dick jokes.

MR. SCORSESE Starring: Martin Scorsese, Thelma Schoonmaker, Leonardo DiCaprio, Robert De Niro, Daniel Day-Lewis, Jay Cocks, Jodie Foster, Spike Lee, Steven Spielberg, Nicholas Pileggi, Ari Aster, Cathy Scorsese, Francesca Scorsese Creator: Rebecca Miller KATIE I loved every minute of this documentary. I don’t think I’ve ever described a documentary as fast-paced and exciting, but it really is. Moving through director Martin Scorsese’s filmography in chronological order, as well as his personal history, this series highlights the impact he has had on the cinematic landscape, society, and those closest to him. It’s visually distinct, connecting his films with significant times in his life, and ridiculously entertaining with often funny anecdotes, all accompanied by a fantastic soundtrack. Overall, Mr. Scorsese is a hugely enjoyable documentary, and a stunning portrait of one of the greatest living filmmakers. QUENTIN If you’re a fan of director Martin Scorsese in any capacity — or just an unashamed cinephile — Mr. Scorsese is a must watch. Granted, depending on your level of fandom, it might be a little too long at five hours, but it covers everything from his upbringing to personal battles, from relationships with Robert De Niro and Leonardo DiCaprio to his connection to the music world. Scorsese is surprisingly open and vulnerable as an interview subject, and he’s surrounded by a collection of equally noteworthy and powerful artists that add rich context to his career. If nothing else, it’ll make you want to rewatch his entire filmography.

WEDNESDAY: SEASON ONE Starring: Jenna Ortega, Gwendoline Christie, Riki Lindhome, Jamie McShane, Hunter Doohan, Percy Hynes White, Emma Myers, Joy Sunday, Christina Ricci, Moosa Mostafa, Isaac Ordonez, Catherine Zeta-Jones, and Luis Guzmán Creators: Alfred Gough and Miles Millar AMARÚ Wednesday has a peculiar vibe I really enjoy: Harry Potter aesthetics, Buffy (good Buffy ) campiness, and a Sherlock Holmes-ish family mystery fit for The CW. Some editing and dialogue choices are reminiscent of the “Young Adult Soap Opera” shows on that network, but those are nitpicks when you have a lead as powerful as Jenna Ortega (Wednesday). She is a perfect fit for the role whilst making it uniquely her own, which is all the more impressive considering she’s playing alongside her predecessor, Christina Ricci. I love a well-made teenage show, and Wednesday , the character and the series, delivers that on multiple levels. PAIGE This series is very much a mix of The Chilling Adventures of Sabrina meets Riverdale , and with that, I’m afraid to say the choice to go full YA may have been a deadly one here. Wednesday never fully captures the wicked magic that made The Addams Family films oddly enjoyable. If it weren’t for Jenna Ortega’s morbidly good performance as Wednesday Addams, not to mention the charming aid of her handy sidekick Thing, this show would not have worked as well as it does.

Previous April 29, 2026 Next A BITESIZE CHAT WITH ALAN TUDYK With his 12th Disney Animated film now in theatres, Alan Tudyk (Firefly , Rogue One ) joins Nick to talk about his role as Valentino in Wish , some of his career highlights, the upcoming Creature Commandos , and even do a few of his signature voices. Make sure to check out Wish now in theatres. Interview conducted on November 20th, 2023 by Nick van Dinther. Photo Credits: Banner - Ben A. Pruchnie; Photo 1, 2 - Walt Disney Studios

UNDER THE BRIDGE Starring: Lily Gladstone, Riley Keough, Vritika Gupta, Chloe Guidry, Javon “Wanna” Walton, Izzy G, Archie Panjabi, Aiyana Goodfellow, and Ezra Faroque Khan Creator: Quinn Shephard QUENTIN I can’t remember the last time a show went from promising start to borderline unwatchable in the time that Under the Bridge does. Maybe it’s just me, but the more time I spent with the bitchy, white, teenage girls who refer to themselves as — huge eye-roll — the “Crip Mafia Cartel” while constantly bragging about how gangster they are and incessantly name-dropping John Gotti, the tougher it was to finish each episode. Just…So. Damn. Annoying. That said, if you can get past that, the acting and (true) mystery are decent enough to satisfy fans of shows cut from the same cloth as True Detective and The Killing .

THE WESTIES: SEASON ONE Starring: J.K. Simmons, Titus Welliver, Tom Brittney, Jessica Frances Dukes, Stanley Morgan, Sarah Bolger, Allen Leech, Hamish Allan-Headley, Vincent Walsh, and Hilary McCormack Creators: Chris Brancato and Michael Panes QUENTIN On paper, The Westies checks the right boxes, but unfortunately, it feels like that’s all it’s doing. It’s almost as if no one’s heart is in it. J.K. Simmons plays an Irish mob boss more like a tired dad than a menacing gangster while Hamish Allan-Headley turns John Gotti into a lazy Italian archetype. Then you have the mostly nameless Irish goons, who don’t do much but make stupid decisions, and an underwritten B-plot about the IRA. Titus Welliver and especially Tom Brittney (DCU’s next Batman?) seem more engaged, but it’s all too toothless to stand with the likes of The Sopranos and Peaky Blinders .

THE 'BURBS: SEASON ONE Starring: Keke Palmer, Jack Whitehall, Julia Duffy, Paula Pell, Mark Proksch, Kapil Talwalkar, Danielle Kennedy, Randy Oglesby, Justin Kirk, Erica Dasher, Kyrie Mcalpin, Max Carver, and RJ Cyler Creator: Celeste Hughey ROBERT Peacock nostalgia-dips to 1989 and delivers a new streaming show based on a cult classic film in The ‘Burbs , where murder and mystery infect a small, safe community. If this sounds familiar, maybe you have seen Grosse Pointe Garden Society , or Based on a True Story , or any other media this decade where mild-mannered civilians get thrust into a whodunit investigation. I was interested to see Keke Palmer as the lead after Nope , but her vibes were off for this project, and the characters, while kooky and heartwarming, didn’t buttress against lazy writing. Feel free to U-turn out of this cul-de-sac of lemons.