DEVIL IN DISGUISE: JOHN WAYNE GACY Starring: Michael Chernus, Gabriel Luna, James Badge Dale, Michael Angarano, Chris Sullivan, Marin Ireland, Augustus Prew, Brandon McEwan, Cricket Brown, and Thom Nyhuus Creator: Patrick Macmanus QUENTIN In the current glut of miniseries about famous serial killers, Devil in Disguise separates itself by bringing a fresh approach to the table. Instead of the typically exploitive path of sensationalizing John Wayne Gacy’s (a terrific Michael Chernus) gruesomeness and depravity on screen, Devil quietly explores the monster’s psychopathy without caricature. It’s a powerfully grounded endeavor, especially because — in a rarity — it truly honors the victims, giving life to those who were taken too soon and the people they left behind. For once, genre fans are reminded that their entertainment is derived from actual tragedy and not faceless MacGuffins. Ryan Murphy’s Monster should take notes. NICK Considering victim neglect (and homophobia) played a large part in the number of murders John Wayne Gacy (Michael Chernus) committed, it's nice to see Patrick McManus' main focus of Devil in Disguise is the victims. It's also the thing that sets this above other true crime dramas. Gacy isn't sensationalized here (as is often the case), but it makes him no less compelling or frightening. This should be the new blueprint for telling these kinds of stories. Had the authorities handled this case with as much care as McManus, some of those boys would still be alive today.

Previous Next July 9, 2025 WRITTEN BY: ADRIANO On a purely technical basis, an IMAX camera can truly enhance the way a movie is filmed, utilizing formats and sound systems that aren't available on a regular screen. In less technical terms, nothing compares to seeing a movie on that large IMAX display. Some of my favourite film memories were filmed in IMAX, and I try my best to see any movie I can on one of their screens. I’m so dedicated that I even saw Madame Web in an IMAX theater. In recent years, I've noticed an uptick in acknowledgement for the format beyond just being a bigger screen, and many high-profile filmmakers embracing IMAX film to show its true capabilities. Notable recent examples include Jordan Peele's Nope and Denis Villeneuve's Dune films. But what's telling is just how much attention non-action/sci-fi films have gotten for their use of the projection, namely Christopher Nolan's biographical drama Oppenheimer, Brady Corbet’s historical epic The Brutalist , and just a few months ago, Ryan Coogler’s period horror Sinners . These aren't films you'd typically associate with IMAX as the larger format is often taken up by blockbuster genre spectacle, and yet a good chunk of those films’ revenue came from IMAX. Since the resurgence of the format’s benefits and use, a solid amount of older films have been restored for IMAX and re-released. These re-releases are by no means a new phenomenon, but this year alone, we've gotten restorations of Parasite , Seven , and Princess Mononoke . If this trend is to continue, I want to pitch some films, or groups of films, I'd love to see on an IMAX screen. I will specify that I'm only pitching films that have never had a release on IMAX, so as much as I'd love a chance to see La La Land , 2001: A Space Odyssey , or Uncut Gems on that glorious screen, I won’t be discussing those. Instead, here are the films I hope to screen once Ontario’s Cinesphere, one of the largest IMAX screens on Earth, finishes the (necessary) renovations they’ve been undergoing since 2022. Its reopening can't come soon enough! THE DOLLARS TRILOGY The IMAX format shouldn’t only belong to car chases and alien invasions. With all its spectacle and atmosphere, it’s just an inherently good idea to give the western genre its time in IMAX theaters. It can bring extra life to a vast horizon or give extra weight to the drama, and while a western is no stranger to shootouts or train robberies, it doesn't mean a simple standoff can't feel as pulse-pounding as any action sequence. I explored a few options to best give the genre a shot at the large screens, but in the end, I cheated a little and decided on the Dollars Trilogy ( A Fistful of Dollars, For a Few Dollars More , and The Good, the Bad, and the Ugly ). This western/action trilogy is a great candidate to show audiences the sprawling world of spaghetti westerns on the best screens on Earth. The Sergio Leone directed trilogy is a landmark in the genre, with A Fistful of Dollars popularizing spaghetti westerns in North America. So, a three-film marathon or one movie a week release in IMAX would be perfect. The western spectacle has its trademark chases and shootouts, but it’s the iconic final duels that would make any audience's jaw drop. Imagine experiencing the beautiful landscapes on those massive screens, Ennio Morricone's masterful score on those pulse-shaking speakers, and the mere gruff of Clint Eastwood's 'The Man with No Name' staring down our souls, ready to make his mark. You can release it in the original Italian too. In either language, I'd be there for all three. THE ORIGINAL STAR WARS TRILOGY With everything that has been re-released and reformatted for IMAX, I was genuinely surprised to find that the original Star Wars trilogy has never had such a release. I mean, just from a financial standpoint, that's easy money, no? Regular Star Wars re-releases tend to do good business; just look at the $55 million Revenge of the Sith just racked up. Imagine how profitable a large-format re-release of one of history's most influential trilogies would be. My personal love for Star Wars is admittedly running dry, but I'd still take the first opportunity I could to watch A New Hope alone in IMAX. The original three films are arguably the most iconic big-scale genre films ever, with so much of the science-fiction we see nowadays coming directly from them, so it's only right we get to experience this franchise's roots on the best screen possible. Plain and simple, it would be very cool. BACK TO THE FUTURE Given that it's about to reach its 40-year anniversary, I wouldn't be too shocked if this is something that is already in development, just not yet announced, especially with the recent screening at the TCM Classic Film Festival. Back to the Future is one of the most iconic films ever made, with endlessly quotable scenes, and some of the most recognizable props, memorabilia, and wardrobe in the cinematic zeitgeist. It would be an event to behold to watch this pillar of movie history in IMAX. Now, despite the fact that it's a science-fiction film, Back to the Future isn't necessarily known for its large scope. Not that the DeLorean sequence and the clock tower scene wouldn't be amazing on a giant enhanced screen, but this re-release would work mostly because of the light, but adventurous comedic tone that director Robert Zemeckis perfected, and being enveloped in that wonder while travelling back to the 1950s would just feel different in the immersive IMAX format. The rest of the trilogy would also make for excellent IMAX viewings, but I wanted to single out the original because its popularity and filmmaking makes the smaller scale feel bigger than it actually is, and in IMAX, that would be quite engrossing. WALL-E Now, let's bring in a little love for animated films. Animation has no limits, so these films can show things that aren't a theoretical possibility in live-action, and there’s no better way to showcase that endless potential than in IMAX. I considered many options, but if we're talking about pure visual and emotional splendour, I can't help but think that Wall-E in IMAX would be the most extraordinary. One of Pixar's many masterpieces, Wall-E flourishes with physical world-building, and for the first 30 minutes or so, you're watching a lone robot silently roaming a stunningly animated desolate Earth. Those visuals combined with Thomas Newman's score would be enough to buy an IMAX ticket, but then you get the added bonus of Buster Keaton-esque humour and a beautiful love story. I can honestly say the first half alone would be a sight to behold in IMAX. But then we go to space. The moments outside of Earth give us some of the most gorgeous sequences in animation history, and at the risk of sounding cliché, some of those scenes are absolutely transportive. We have a technical marvel to gawk at, AND there's an engaging story to go along with it. Honestly, this might be the best candidate I've talked about so far. Heartwarming and stunning, pulse-pounding and sweet, Wall-E is the kind of movie IMAX was made for. MULTIPLE NETFLIX RELEASES I've been very lucky to see many of the movies I'm about to talk about in theatres. But to my knowledge, Netflix has never embraced IMAX despite the incredible filmmakers that I'm sure would love to show their films in the format. To be clear, there is a lot of garbage that I don't need to ever make its way to an IMAX screen (apologies to all you The Gray Man fans). There are, however, some acclaimed, large-scale, stunning, and even Oscar nominated films that I’d trip over myself in a millisecond to experience in IMAX. The list is sprawling. You have the chaotic genre-frenzy of Noah Baumbach's White Noise , the emotional weight and raw portrayal of decade spanning organized crime in Martin Scorsese's The Irishman , and the adventurous wonder of Bong Joon-ho's Okja . How about the jaw-dropping cinematography of Alfonso Cuaron's Roma , the escalating calculated mayhem of Rian Johnson's Glass Onion: A Knives Out Mystery , and the whimsical stop-motion world of Guillermo del Toro’s Pinocchio ? Or the badass western thrills of Jeymes Samuels' The Harder They Fall , and the more subdued, yet grander scope of Jane Campion's The Power of the Dog . Some aren't a fan of The Power of the Dog , but I would still love to see the way that film's grit and take on the American West are portrayed on IMAX. Netflix has a long way to go when it comes to showing films in theatres, but if they did an IMAX series similar to what A24 has been doing, that would be a great start.

THE WALKING DEAD: DARYL DIXON: SEASON ONE Starring: Norman Reedus, Clémence Poésy, Louis Puech Scigliuzzi, Anne Charrier, Adam Nagaitis, Laïka Blanc-Francard, and Romain Levi Creator: David Zabel NICK If AMC wants to continue doing The Walking Dead spin-offs, they need to find ways to stand alone. Daryl Dixon does that. It looks different, it sounds different (half of the series is in French, and the English features a realistic amount of swearing for a zombie apocalypse), and it finally expands on the idea of the variant walkers introduced in World Beyond . I was skeptical of Norman Reedus’ Daryl Dixon as a series lead, but this endeavor actually provides some of the best work Reedus has done as the character in quite some time. Bring on The Book of Carol.

WANDAVISION Starring: Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Randall Park, Josh Stamberg & Kat Dennings Creator: Jac Schaeffer QUENTIN Although slow to start, WandaVision is an ambitiously weird exploration of grief and trauma done in the distinctive style of the MCU. The sitcom setup, referencing everything from Bewitched to Modern Family , is perfect for Disney+'s first Marvel series, as it eases viewers into the drop-off from film budget to TV budget. That's not to say it feels cheap or that it features subpar writing or acting; those things are superb, but the effects aren't always up to film standards. That minor quibble aside, WandaVision is full of emotion, action, mystery, and several surprises - a bold start to Phase 4.

NINE BODIES IN A MEXICAN MORGUE Starring: Eric McCormack, David Ajala, Lydia Wilson, Jan Le, Adam Long, Siobhán McSweeney, Peter Gadiot, Ólafur Darri Ólafsson, Ángel López-Silva, and Sebastián Capitán Viveros Creator: Anthony Horowitz QUENTIN Agatha Christie’s And Then There Were None is one of my favorite books, so anytime there is a movie or series that is even remotely similar, I’m in from the jump. Nine Bodies in a Mexican Morgue , while not perfect, captures enough of the classic story’s tension, mystery, and intrigue to keep viewers on the hook as they unravel what is happening. Plus, at only six episodes, people die quickly, resulting in a narrative that never feels like it’s spinning its wheels. It’s a little slight, especially given the lack of star power and a jungle set that looks stage-y, but I was pleasantly surprised.

Previous August 1, 2024 Next A BITESIZE CHAT WITH ZACH KORNFELD Director Zach Kornfeld (The Try Guys) joins Nick to talk about the importance of telling this story and his future beyond The Try Guys. Make sure to check out Ouch! and all the other great offerings from Fantasia International Film Festival. Interview conducted on July 24th, 2024 by Nick van Dinther.

HIS & HERS Starring: Jon Bernthal, Tessa Thompson, Pablo Schreiber, Sunita Mani, Marin Ireland, Rebecca Rittenhouse, Mike Pniewski, and Crystal Fox Creators: Bill Dubuque, Dee Johnson, and William Oldroyd AMARÚ For most of its six-episode run, His & Hers is a run-of-the-mill, whodunit revenge story carried by its two charismatic leads, Tessa Thompson and Jon Bernthal. With their performances leading the way, you easily fall in lockstep with the messy, melodramatic, soap opera-like tropes reminiscent of ABC’s Revenge and every other popcorn-worthy crime thriller with juicy twists and turns. Most of these types of series go for so long, or add so many intertwining surprises, that they back themselves into an unwinnably tangled corner. Luckily, this guilty pleasure lands their plane better than most, and gets a massive binge-worthy recommendation because of it. PAIGE His & Hers is a juicy mystery thriller that’s, unfortunately, filled with plot holes. Don’t get me wrong, on the surface, it’s a captivating and entertaining watch; however, it ultimately lacks the substance needed for audiences to fully get behind its truly shocking twists. While the show’s pacing helps maintain momentum and keeps you on your toes from episode to episode, its gaps also begin to become more noticeable, leaving its twists to not feel fully earned. That said, our leads, Tessa Thompson and Jon Bernthal, deliver solid performances that will keep you around and invested through it all.

THE MAN WHO FELL TO EARTH: SEASON ONE Starring: Chiwetel Ejiofor, Naomie Harris, Annelle Olaleye, Clarke Peters, Bill Nighy, Jimmi Simpson, Kate Mulgrew, Sonya Cassidy, Joana Ribeiro, and Rob Delaney Creators: Jenny Lumet and Alex Kurtzman QUENTIN Despite an interesting premise and some excellent performances (Chiwetel Ejiofor, especially), each passing episode of The Man Who Fell to Earth loses its grip on the elements that made for the series’ strong start. After the fish-out-of-water angle exhausts itself, the story begins to move at a snail’s pace as the show seems determined to slow-roll its mystery in an effort to play up its tone of ethereal solemness. Considering all the good things it has going for it (score, special effects, overall vibe, etc.), it’s the type of sci-fi series I want to like, but I just don’t have the patience for it.

APPLE CIDER VINEGAR Starring: Kaitlyn Dever, Alycia Debnam-Carey, Aisha Dee, Tilda Cobham-Hervey, and Ashley Zukerman. Creator: Samantha Strauss PAIGE What Apple Cider Vinegar excels at in this true-ish story of deception is not merely recounting Belle Gibson's (Kaitlyn Dever) scam, but serving as a window into a society that is all too ready to trust influencers. This limited series is one of those dramas that’s hard to watch but impossible to look away from. It is told in a disjointed, time-skipping manner, which unfortunately loses the momentum for each character's development, but at least has a number of other ingredients that add flavor to its story, primarily its strong ensemble led by Dever, who I must say nailed her Australian accent. KATIE Apple Cider Vinegar is a thoroughly entertaining, if slightly disjointed, series that focuses on the life and fraudulent career of Belle Gibson (Kaitlyn Dever), an Australian wellness blogger who deceived countless people. It presents a compelling look at how easily early social media influencers could amass followers and lie to their naïve audiences, while empathetically exploring what drives people to seek attention and validation online. The overlapping timelines hurt the pacing and were slightly confusing, but the gripping story and witty framing device kept me engaged. Plus, Dever’s performance is incredible, her accent is spot-on, and she is exceptional at portraying Gibson’s deluded determination.

DEXTER: ORIGINAL SIN: SEASON ONE Starring: Patrick Gibson, Christian Slater, Molly Brown, Christina Milian, James Martinez, Alex Shimizu, Reno Wilson, Brittany Allen, Patrick Dempsey, Sarah Michelle Gellar, and Michael C. Hall Creator: Clyde Phillips NICK Let's get this out of the way, Dexter: Original Sin is not Dexter . This series has a different look and tone which leads to a much campier take on the events of the original series. The cheesy schlock of it all had me at first (thanks in large part to Patrick Gibson's take on Dexter Morgan). Then as the series went on, the story became more outlandish, the actors displayed a clear inferiority to their modern counterparts, and the tie-ins began to feel forced. Gibson remains a highlight, but I’ve been saying I didn’t need a prequel before this, and that opinion was only strengthened here. QUENTIN In a world where Dexter doesn’t exist, I can see how Original Sin might be enjoyable (maybe). However, I don’t live in that world. I’ve seen all nine seasons of Dexter , so this prequel feels like a cheap imitation of the original series, like Lifetime’s The Unauthorized Dexter Story . The cast mostly come across as cheesy cosplayers of the original stars, while Dexter’s (Patrick Gibson) origin story was already well covered in the mothership series. Plus, the formula is 100 percent the same as before. All this leaves us with nothing more than an unabashed cash grab that fails to add anything new to the franchise. ROBERT Expert marketing brought me to Dexter: Original Sin as I was planning to skip it since it seemed like purely a money-making endeavor. However, I was pleasantly surprised, especially because most of the casting choices are wins, from Dexter (Patrick Gibson) to Deb (Molly Brown). It plays fast and loose with aspects of Dexter’s origin, but not in a manner that I found troublesome. Mostly, I was just excited to play in the murderous sandbox again, and hearing Michael C. Hall’s sultry narration brought me back to the glory days. Tonight’s the night… to watch.

Previous Next One of the best after effects of a great film is the memorable lines that stick with you outside of the theatrical experience. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Most Quotable Films. As per usual, each writer ranks their top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE PRINCESS BRIDE Inconceivable! The Princess Bride is only number five on this list?! Ok, well, when you see (some of) the movies ranked higher, maybe you will feel better. Or maybe you will feel that we did this whole list a disservice by calling it a “Top Five.” We keep making these lists, using that phrase every month, and I’m not sure it means what we think it means. But, as you wish, we keep coming back again and again with more lists, and this film usually ends up somewhere on them because it’s one of the best films in almost every category. Anyone who says differently is selling something because it still bwings us together nearly 40 years later. Like mawage, it’s a blessed awangement that dweams within a dweam. So, whether you like to have fun storming the castle, or your name is Inigo Montoya (Mandy Patinkin) and we killed your father and must prepare to die, nothing, including death, can stop the Rob Reiner classic from returning. All we can do is delay it for a while. — Amarú 4. STEP BROTHERS I live my life one quote at a time; sometimes to add to a conversation for laughs, other times as a non-sequiter because my brain drives for internal pleasure. So, in most instances, quotes are used as a mechanism to make me happy, and comedy, usually Will Ferrell comedies, offer the deepest well from which to draw satisfaction. Fortunately, my wife and I share a similar sense of humor and movie quote knowledge to say, or scream, at one another. Step Brothers is always at the top of the rotation. This Adam McKay effort was not designed to live on in perpetuity for its contribution to cinematic excellence, but to inform others what to do if your older stepfather gets in your face. Without Step Brothers , I wouldn’t know that a swanky party in Catalina is considered the biggest helicopter leasing event in the Western Hemisphere since 1997. Or that Cops doesn’t air until 4:00 pm on weekdays. Roger Ebert thought supporting films like this was a travesty that would singlehandedly lead to the fall of Western civilization, but would you want to live in a world without “Boats and Hoes” or the sweet harmonies of Derek’s (Adam Scott) loving family belting out “Sweet Child O’ Mine”? I didn’t think so, because good things like rainbows and puppies make existence great. But, please, no matter what bullying you endure, don’t lick any white dog excrement laid by those sweet puppies…Step Brothers is always looking out for us. — Robert 3. SHREK The cultural impact of Shrek cannot be understated as every person of every age can recite quotes from the animated classic. Like many, I’m sure, Shrek quotes have just become part of my vocabulary, and the iconic voice cast of Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow, to name a few, solidify Shrek as one of the most quotable films ever. I’m going to nearly resist the temptation to fill this paragraph purely with Shrek quotes because there are simply so many well-known phrases from this film, including but absolutely not limited to Shrek’s (Myers) infamous “this is MY swamp!”, the perfect delivery of “some of you may die, but it's a sacrifice I am willing to make”, and the instantly recognisable cadence of Donkey (Murphy) saying “I like that boulder. That is a NICE boulder.” And who can forget, “we can stay up late, swapping manly stories, and in the morning.. I'm making waffles!” — Katie 2. ANCHORMAN: THE LEGEND OF RON BURGUNDY “Stay classy, San Diego.” “60 percent of the time, it works every time.” “Boy, that escalated quickly.” I can go on, but I do have a word limit. The best comedies can have their jokes or one-liners stick with an audience for a couple of weeks, maybe even a year. Anchorman has remained a cultural staple for over two decades, in part due to the memorable characters and hysterical humour. As with other Will Ferrell and Adam McKay collaborations, the anarchic sense of humour the two share in Anchorman gives the cast of funny people ample room to improvise, which is undoubtedly where many of our great quotes come from. I bring it up because it shows the incomparable power of comedy; that something off the cuff in the moment can become a cultural cornerstone. Anchorman , if nothing else, is filled with them. — Adriano 1. PULP FICTION “They call it a Royale with Cheese.” Before I had ever seen Pulp Fiction , I was very much aware of that particular quote. So much so that, whenever I would eat a Quarter Pounder from McDonalds, it would always pop into my head (and still does to this day). But one of the great things about watching Quentin Tarantino’s classic sophomore feature, especially for the first time, is realizing that “Royale with Cheese” is just one of many memorable quotes sprinkled throughout its sprawling runtime. Whether it’s "Oh, I'm sorry, did I break your concentration?” or "I'ma get medieval on your ass” or, yes, even the “Royale with Cheese” line, they all are quotes that have helped make the film such a pop-culture staple since its 1994 release (not to mention its memorable characters, anthology-like structure, and iconic soundtrack). Of course, Pulp Fiction wasn’t the first example of Tarantino’s ability to generate iconic dialogue, but the fact it was only his second film shows the level of talent he possessed, even at a young age. — Bode HONORABLE MENTIONS BACK TO THE FUTURE SUPERBAD AIRPLANE! THE BIG LEBOWSKI MEAN GIRLS

DEXTER: RESURRECTION: SEASON ONE Starring: Michael C. Hall, Uma Thurman, Peter Dinklage, Jack Alcott, David Zayas, Ntare Guma Mbaho Mwine, Kadia Saraf, Dominic Fumusa, Emilia Suárez, and James Remar Creator: Clyde Phillips NICK Although I enjoyed New Blood , it was tonally different from the Dexter we've come to know. Resurrection , however, is a return to form, offering up one of the best seasons in the series and allowing Michael C. Hall to have fun again. This season continues to focus on Dexter's (Hall) relationship with Harrison (Jack Alcott), introduces a new type of antagonist, and brings a level of closure to the days of Miami Metro. It's a reinvigoration of the character (including the welcome return of James Remar's Harry) and one whose journey I’m excited to continue on with. QUENTIN Here’s the thing about Dexter : including New Blood (but not the pointless Original Sin ), Resurrection is the series’ tenth season, and in a vacuum, it’s one of the better seasons of the show’s run. In fact, with a few tweaks, this could have been the perfect way to end the show back in the day. However, the fact that Resurrection comes after two(!!) fake-out deaths of Dexter (Michael C. Hall), I can’t help but roll my eyes a little. There just aren’t any stakes anymore, which creates an intangible that prevents me from fully buying in again. It’s just… fool me once, you know? ROBERT The best seasons of Dexter don’t lean too heavily on either comedy or drab seriousness. The main issue of the last season, New Blood , was that it took itself too seriously. Fortunately, the entire brain trust that worked to make the show its most evolved form were involved in Resurrection . Therefore, some of the character choices for Dexter (Michael C. Hall) and Harrison (Jack Alcott) were reconfigured, and the heartbeat of the season, their relationship, was enhanced in a way that never feels incongruous with what came before. Despite a disappointing finish, Resurrection reintroduces viewers to OG Dexter: a sight for bloodshot eyes.