Previous Next April 3, 2024 WRITTEN BY: ADRIANO The movie musical seems to be a thing that goes in and out of popularity pretty often, but at the end of the day, it is admittedly a staunchly niche genre. Just recently, studios admitted to hiding that their musical releases are musicals because it seems to turn off general audiences. Personally, I can attest that many people in my life have proudly proclaimed that they "hate musicals." That sentiment can't be further from the truth for me. I love musicals. Simply being a musical is enough for the film to pique my interest and excitement. Something about using spontaneous song-and-dance to push the plot forward can elicit more emotions than plain-old dialogue can, and of course, can bring out so much joy. If done correctly, you’ll even get some tasteful toe-tapping. Musicals have been a staple of cinema for nearly a century, with some of the biggest and most influential films in history being musicals. However, the disrespect of the genre is still very much alive. So, with that in mind, I want to dial the clock back to the 1930s, and talk about my favourite musical from each decade: 1930s: THE WIZARD OF OZ Synopsis : Young Dorothy Gale and her dog Toto are swept away by a tornado from their Kansas farm to the magical Land of Oz. When a legendary film has reached audiences across the spectrum for nearly a century…as The Wizard of Oz has…what other choice do I have for this decade? The film introduced audiences to the magic of technicolor, and The Wizard of Oz's imaginative storytelling and world-building continue to inspire awe in families and cinephiles alike through its Oscar-winning music and the wonderful land of Oz. The Wizard of Oz is, to this day, one of the gold standards, not just for musical and fantasy cinema, but for cinema in general. 1940s: THE HARVEY GIRLS Synopsis : On a train trip West to become a mail-order bride, Susan Bradley meets a cheery crew of young women traveling out to open a Harvey House restaurant at a remote whistle-stop. While we're on the topic of Judy Garland, let's go from Oz to the Wild West. In 1946, director George Sidney released the upbeat, exciting, and visually grand western musical, The Harvey Girls , which saw Garland as a new addition to a group of waitresses at the Harvey House restaurant. The Harvey Girls is an example of how musicals can elicit profound excitement for the medium just by experiencing the action on screen. The sequence of “On the Atchison, Topeka and the Santa Fe” (the song that won an Oscar, by the way) is a hoot and a holler of lively performances. I know The Harvey Girls isn't the most popular film in the world, but it's truly one that deserves your attention. 1950s: SINGIN’ IN THE RAIN Synopsis : A silent film star falls for a chorus girl just as he and his delusionally jealous screen partner are trying to make the difficult transition to talking pictures in 1920s Hollywood. Do you know how incredible and influential Singin' in the Rain is? Even if you haven't seen the movie, I'm willing to bet that just reading the title has unlocked an earworm in your brain. Singin' in the Rain is one of the classic Hollywood films that you think couldn't possibly live up to the hype attached to it, and yet, without fail, each viewing feels like the first. For one, the production values are marvelous…and not just by ‘50s standards…but the music also is charming and catchy. On top of that, the film is funny and entertaining. Singin' in the Rain is a masterpiece that is going to remain in the annals of film history for the rest of time. 1960s: THE SOUND OF MUSIC Synopsis : A young novice is sent by her convent in 1930s Austria to become a governess to the seven children of a widowed naval officer. The Sound of Music is one of those movies where, if you don't like it, I don't trust you. Yes, it's corny, I admit that - but that's part of the charm. If you want a beautiful, endearing, musical experience that'll leave you smiling through the vast majority of its 3-hour runtime, you’ll find that here. However, and maybe most importantly, there also is a powerful story, one that'll leave you with tears and a sense of warmth. Just the image of Julie Andrews' Maria dancing on the hills to "The Hills Are Alive" is enough to put the biggest smile on one's face. 1970s: CABARET Synopsis : A female girlie club entertainer in Weimar Republic-era Berlin romances two men while the Nazi Party rises to power around them. Cabaret’s musical style helped make it an instant classic, and rightfully so. It’s stylish, creative, and irresistible right from the jump. So irresistible, in fact, that director Bob Fosse won Best Director at the Oscars that year over Francis Ford Coppola’s work on The Godfather . Its musical prowess alone is more than enough to make Cabaret something special, but it's what lurks under the surface of the glitz and glamour that gives Cabaret an unexpected weight. It deals with socially powerful themes that are as relevant today as they were in 1972. So, come to the Cabaret , come hear the music play. 1980s: LABYRINTH Synopsis : Sixteen-year-old Sarah must solve a labyrinth to rescue her baby brother when he is taken by the Goblin King. I certainly own that my undying love for David Bowie may have played a part in my selection of Labyrinth , but you know what? Labyrinth is a hell of a good time, either way. It's Jim Henson's creativity and fun times galore, with a magical adventure and kick-ass soundtrack, courtesy of Bowie, who just quite simply rocks in this movie. Henson's use of puppetry to create something very intriguing on a visual level (not always successful, granted) makes the occasional musical sequence even more visually striking. Plus, the production design makes the new world that Jennifer Connelly's Sarah must venture through to save her brother come alive. Labyrinth is one of those movies where the pros outweigh the cons in a way that makes the movie just so enjoyable. 1990s: THE LION KING Synopsis : Lion prince Simba and his father are targeted by his bitter uncle, who wants to ascend the throne himself. I would be remiss if I didn't mention at least one of Disney's masterpieces from its renaissance era. I don't think I'm saying anything groundbreaking when I say that The Lion King stands head-and-shoulders over its contemporaries. The beginning scene sets the stage for a true musical triumph, as we're introduced to the world of Pride Rock with a deafening bang. The rest of the film is a funny and emotionally stirring animated adventure featuring some of Disney's most iconic music, courtesy of Hans Zimmer and Elton John. Animation can do so much that live-action can't, and if you want any more proof of that, look no further than The Lion King . 2000s: CHICAGO Synopsis : Two death-row murderesses develop a fierce rivalry while competing for publicity, celebrity, and a sleazy lawyer's attention. This Best Picture-winning masterclass of filmmaking is one of those films that needs to be seen to be believed. Borrowing similar styles of musical sequences from Cabaret , Chicago introduced a new generation of moviegoers to an evocative, raw, and sexy style of musical storytelling, where the music isn't just there to make your toes tap but to enhance the story and give a new perspective from its characters' headspace. Chicago is a gritty crime thriller wrapped in a pretty package that warns of the dangers of our desire for fame, and I can't think of a better way for this message to be presented if the goal was to be both fun and effective. 2010s: LA LA LAND Synopsis : While navigating their careers in Los Angeles, a pianist and an actress fall in love while attempting to reconcile their aspirations for the future. Now it's time for me to gush about my absolute favourite musical of all time. La La Land is the quintessential modern musical, one that's both a tribute to what is considered the golden era of cinema and one that's so strikingly contemporary. Featuring ear-catching music and astoundingly choreographed sequences that are directed with such an incredible creative hand by Damien Chazelle, this film (in what can be described as a reverse Chicago ) is a love letter to the dreamers who risk everything to make their insane dreams come true, “foolish as they may seem.” With iconic performances from Emma Stone and Ryan Gosling, La La Land is a surefire modern-day classic. 2020s: WEST SIDE STORY Synopsis : An exploration of the forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. Robert Wise and Jerome Robbins’ 1961 Best Picture-winning West Side Story is considered one of the genre's finest accomplishments, but while I loved the film, I certainly have my quarrels with it. So, how does one update a classic of such high regard? Enter the master, director Steven Spielberg. Fixing just about every issue I had with the original, Spielberg's West Side Story is made with love and nuance, not to mention so much energy and power in its scenery and choreography that it's hard not to get so sucked into a familiar story that just feels so fresh.

Previous Next The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Netflix Original Films. Each writer ranks his or her 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 TRIAL OF THE CHICAGO 7 Whether you appreciate the fast-paced, nonstop style of writer/director Aaron Sorkin or not, one thing that he never misses on is getting the best work out of an amazing cast. The Trial of the Chicago 7 is no different, as that ability is on full display in this entertaining and insightful historical drama. - Amarú 4. FEAR STREET The Fear Street trilogy, which essentially plays out like a 6-hour movie, is a bloody masterpiece in horror storytelling that pays homage to many of the horror/slasher films that have come before it. In fact, its real brilliance is in its ability to make familiar horror scenarios feel original and inspired. Releasing each part week-by-week made it appointment viewing for all horror fans, and it is, hands down, one of Netflix’s best original films! - Paige 3. THE HARDER THEY FALL Despite proclamations that the western is dead, Netflix screamed “fuck all that noise!” with The Harder They Fall , a brash and stylized take on the classic genre. With a fresh approach, stellar ensemble, killer soundtrack, and exciting set pieces, this should be the 2021 Netflix Western that people remember going forward (sorry, not sorry, The Power of the Dog ). - Quentin 2. TICK, TICK... BOOM! Quickly and deservedly gaining traction as one of the best musical adaptations ever, Tick, Tick… Boom! is a grand display of talent. Director Lin-Manuel Miranda showcases how his skills are not limited to the theatre, while Andrew Garfield transforms into Jonathan Larson. It’s a shining example that there are many ways to adapt and honour work from other mediums and a testament to Netflix’s dedication to the craft of storytelling through film. - Joseph 1. THE MITCHELLS VS. THE MACHINES The Mitchells vs. the Machines handles the familiar theme of "technology is evil" in a unique manner by focusing more on the family connections that get lost with modern tech. Featuring a relatable topic for anyone who has felt alienated over different interests, it allows viewers to admire its animation and enjoy a fun family adventure that can stand toe to toe with most Pixar offerings. - Nick HONORABLE MENTIONS MARRIAGE STORY THE IRISHMAN THE POWER OF THE DOG ROMA DOLEMITE IS MY NAME Photo Credits: Netflix

Previous Next May 12, 2023 WRITTEN BY: NICK Answers to questions like “what is your favourite food?” and “what’s your favourite song?” change frequently, but for me, the answer to “who is your favourite actor?” has always been Michael J. Fox. Maybe it’s because, like me, he came from a small town in Canada, or maybe I was just introduced to his films during my formative years; either way, I have always gravitated to his relatability on the screen. He has a mix of comic sensibility and unmitigated charm that makes it extremely difficult to dislike him in any of his roles. It's also notable that Fox has been able to leave a lasting mark on both film and television before that was the “in” thing to do. He has won multiple Emmys, Golden Globes, and even a Grammy. The list below has 10 entries, but I didn’t even touch his voice work (Stuart Little , Atlantis , Homeward Bound ), Plus, there are numerous other projects I could have gotten into, be it well-regarded films like Casualties of War and The Hard Way or his acclaimed turns in series like The Good Wife and Scrubs . There is just a wealth of titles to choose from and they didn’t make the cut. Unfortunately, with his Parkinson's battle having such a drastic effect on his ability to work, we'll never know just how many more gems there could have been. For me, though, everything on the list below is timeless and will always be something I can revisit. Plus, luckily, his life and career are being celebrated with Apple TV+'s fantastic new documentary, Still: A Michael J. Fox Movie , which examines his life both before and after his diagnosis through archival footage and the words of the man himself. So, sit back and enjoy! No need to fasten your seatbelts either…because where we're going, we don't need roads… 10. FAMILY TIES (1982-1989) Beyond a certain time-traveler that will pop up later on this list, Alex P. Keaton is likely Fox’s most well-known role. It’s through Keaton that Fox really honed his craft and comedic timing. What you probably know is that he played a high school student well beyond his years that was unwavering in his Republican ideals (before that was such a dirty word), and he often clashed with the rest of his family because of his opinions. What you may not know is that the series was meant to focus on the former hippie, liberal parents, Steven and Elyse Keaton (Michael Gross and Meredith Baxter, respectively). However, Fox's coming out party changed that. The focus turned to their son, and an iconic career was jump-started. Running for seven seasons, Fox played the role through the majority of his twenties, so you had the opportunity to watch him grow alongside his character. 9. RESCUE ME (2009) Few of Fox’s roles can be classified as edgy, but one of the outliers is Dwight on Rescue Me . This wheelchair-bound substance abuser is, simply put, an asshole. Brought onto the series for a multi-episode arc, Dwight gave Fox an opportunity to play against type, and it’s clear how much fun he is having with the role, which is about as much fun as the audience has getting to watch every foul-mouthed bit of dialogue he spews. He even has a goatee! It’s no surprise this crass performance won Fox his fifth Emmy. 8. THE SECRET OF MY SUCCESS (1987) Whether it be the slow-motion daydream montages or the over-the-top characters, The Secret of My Success is such a wonderfully 80s film. The premise of a small-town guy somewhat aimlessly moving to the big city is nothing new, but the charm of Fox is what makes this version work. He excels at displaying a confident charm that never comes off as smug or arrogant, which makes it impossible not to root for the character of Brantley Foster as he rises through the ranks. This movie is a joy to watch and makes for a great double feature pairing with Ferris Bueller’s Day Off . 7. TEEN WOLF (1985) Maybe it’s because I was fairly young when I first saw it, but Teen Wolf holds a special place in my heart, and this over-the-top puberty picture is dripping with entertainment value. It’s pure 80s, from its characters (who can forget utterly useless coach Bobby Finstock (Jay Tarses)?) to its iconic moments (roof surfing, anyone?). Watching Fox’s Scott Howard struggle to come to terms with his lupine side could’ve been ridiculous, but it’s done in a way that parallels the high school experience to make it relatable despite the outlandish premise. 6. DOC HOLLYWOOD (1991) The cast of Doc Hollywood is perplexing. You have stage legends like Frances Sternhagen & Barnard Hughes, and early performances from the likes of Woody Harrelson & Bridget Fonda. It’s Fox, however, that ties it all together. His brand of charm makes it very hard to dislike his character, Ben Stone, and his chemistry with Julie Warner makes for one of Fox’s best on-screen relationships. The only thing more enjoyable than watching him fall in love with her is watching him fall in love with the town of Grady. All in all, another relatively simple story that is elevated by the performance of Fox. 5. THE FRIGHTENERS (1996) I forgot how good The Frighteners is until I rewatched it in preparation for this list. My personal favourite Peter Jackson film is filled with unique and bizarre characters, but it works as well as it does because of Fox. Seeing him play a swindler is perfect casting as it allows him to manipulate his charm to be mischievous while also giving him some more work on the dramatic side of things. Performance-wise, this must be considered one of his best, and it really spotlights the direction his later film career could have gone were it not for his diagnosis. 4. BOSTON LEGAL (2006) A highlight of his latter career, Fox’s multi-episode stint as cancer-stricken Daniel Post gave him a character that fit perfectly within the dramedy style of Boston Legal . The union of Fox and writer David E. Kelley’s dialogue is a match made in heaven because you get the same quick humour you have learned to expect from Fox but with a flavour of tragedy as well, something that landed a little harder considering this was one of his first roles post-diagnosis. It was a relatively short stint (only six episodes), but a memorable one as it led to his tenth Emmy nomination. 3. CURB YOUR ENTHUSIASM (2011) & THE MICHAEL J. FOX SHOW (2013-2014) I feel these two need to be roped together since both are Fox giving viewers a window into his life with Parkinson’s while still being able to find the humour in it. He doesn’t want you to feel sorry for him, nor does he want people walking on eggshells about his affliction. Curb features some hilarious physical gags, but it also makes a point of showing that, even when people are afflicted with something like Parkinson’s, they can still be jerks. It’s the underseen The Michael J. Fox Show , however, that gives a fuller picture of Fox's real day-to-day life. Sure, there’s still some quality physical gags, but it’s a great insight into how one would manage the situation while still maintaining a sense of humour. 2. SPIN CITY (1996-2001) When people speak of great sitcoms from the 90s, Spin City is one that is often unjustly forgotten. It’s the final role of the early phase of Fox’s career, before his symptoms were prevalent, and he makes the most of it. The series itself is well-written, and it features the likes of Barry Bostwick, Richard Kind, Alan Ruck, Connie Britton, Michael Boatman, and Fox as employees in the mayor’s office battling the daily hijinks that come with the job. Sitcoms like these have become a dime a dozen these days, but this one shines a spotlight on the comedic timing of Fox that few are able to match. 1. THE BACK TO THE FUTURE FRANCHISE (1985, 1989, 1990) Anyone who knows me knows my affinity for this franchise. It features two perfect films and a third that I will defend until my dying day. Fox and Christopher Lloyd as teenager and mad scientist are the perfect pairing to guide you through these films, but it’s the relatability of Marty McFly (Fox) that really carries things. In fact, one of the best aspects of Marty is that he is human, and it’s his own mistakes that get him into trouble. He loses his temper when anyone calls him chicken. He risks the fabric of time for a get rich quick scheme. I’m able to see myself doing these things, which makes me that much more invested in the story and his character. If I’m flicking through the channels and it’s on (no matter what point it’s at), I can’t help but watch. For a movie from 1985 that still works just as well nearly 40 years later, that’s one of the biggest compliments I can give. Michael J. Fox and countless others are still fighting but they can't do it alone. If you would like to do your part to help end Parkinson's Disease, please visit https://www.michaeljfox.org and donate to The Michael J. Fox Foundation to help find a cure. Photo Credits: Photo 1, 8 - NBC; Photo 2 - FX; Photo 3, 6, 10 - Universal Pictures; Photo 4 - MGM; Photo 5 - Warner Bros; Photo 7, 9 - ABC; Photo 8 - HBO

THE WALKING DEAD: DEAD CITY: SEASON TWO Starring: Jeffrey Dean Morgan, Lauren Cohan, Logan Kim, Zeljko Ivanek, Lisa Emery, Gaius Charles, Mahina Napoleon, Dascha Polanco, Keir Gilchrist Jasmin Walker, and Kim Coates Creator: Eli Jorne NICK Part of the reason I continued watching The Walking Dead and its spin-offs was the creation of characters I'm invested in. With Dead City , I find myself annoyed with these new additions more than anything else (save for Kim Coates' Bruegel). The mafia parallels and the introduction of Conscription are interesting, but much like Daryl Dixon , this doesn’t match the strong debut season. Having said that, this is much better than Dixon’s sophomore effort, and Jeffrey Dean Morgan remains infinitely watchable as Negan. I don’t know where this is going, but it feels time for these side series to converge back into one. Check out our reviews for Season One HERE .

MOBLAND: SEASON ONE Starring: Tom Hardy, Pierce Brosnan, Helen Mirren, Paddy Considine, Joanne Froggatt, Lara Pulver, Anson Boon, Jasmine Jobson, Mandeep Dhillon, Daniel Betts, Geoff Bell, Janet McTeer, Toby Jones, and Jordi Mollà Creator: Ronan Bennett QUENTIN If you didn’t know, MobLand was originally conceived as a spinoff to Ray Donovan before being retooled into its own thing. Thankfully, despite seeing the Donovan DNA throughout, not to mention shades of Gangs of London , this is just a damn good show. Granted, a surly Tom Hardy, ruthless Pierce Brosnan, devious Helen Mirren, and director Guy Ritchie go a long way to elevate fairly standard mob fare, but this one also has the benefit of sharp writing, gritty style, brutal violence, tense moments, and dark humor. Also, you’ll be seeing a lot of people next Tuesday, especially Eddie (Anson Boon), if you catch my meaning. AMARÚ MobLand is as entertaining as a British crime drama from Guy Ritchie, starring Pierce Brosnan, Helen Mirren, Paddy Considine, and Tom Hardy, sounds like it would be. It reaches Power - and Game of Thrones -levels of twisty turny, but there’s a clear difference with this family mob story: it’s fucking hilarious. Watching an unhinged Brosnan and Mirren alongside Hardy's personification of the quintessential never-shaken fix-it man you don’t fuck with – not to mention Considine continuing his more-than-solid run of roles made for genuine belly laughs – through a string of jaw-dropping reveals and crazy violent blowups… yeah, I’d definitely like some more, please. ROBERT Dark, absurdist humor through twisted, British gang violence is what Guy Ritchie does, and his schtick fits well for prestige TV, as seen with MobLand . The juxtaposition of the cool, collected machinations of Tom Hardy’s Harry as fixer and the raw, animalistic jawing of both Pierce Brosnan’s Conrad and Helen Mirren’s Maeve as mob royalty is captivating. Everything is slick but grimy, like you can see the muck and mud trying to swallow the fiefdom as built by the Harrigan family in real time. If you are in the mood for blokes getting nicked before their teapots are wiped and getting stuffed in boots, this is a show for you.

ABBOTT ELEMENTARY: SEASON THREE Starring: Quinta Brunson, Tyler James Williams, Sheryl Lee Ralph, Janelle James, Lisa Ann Walter, Chris Perfetti, and William Stanford Davis Creator: Quinta Brunson AMARÚ It’s official - three seasons of damn near perfection makes Abbott Elementary a bonafide, all-time classic sitcom. Season Three clearly had a bigger budget (all them damn cameos) and bigger aspirations, but none of it dimmed the intimate and hilarious synergy that the cast has with each other, that creator Quinta Brunson has with a pen, or that the entire crew has with their dedication to highlighting the U.S. education system. Every year, each member of the excellent ensemble helps the series evolve to an even more unique cast of characters that doesn’t have one weak link. All this greatness combines to make comedic TV royalty. KATIE I only recently discovered Abbott Elementary , and to my surprise, finished watching the first two seasons just in time for the release of the third. After the first, I knew it was something special, but Season Three has made me love the unique characters and their hilarious dynamics even more. It takes the finest parts of my favourite sitcoms and updates them to 2024 in the best way possible, with a faultless cast and exceptional writing, whilst highlighting pertinent issues with the American education system. I don’t have one bad word to say about this show, and I cannot wait for the next season! ADRIANO Abbott Elementary will be considered a sitcom staple in time, I'm sure of it. Three seasons in, and it's just as funny, charming, and sincere as it's ever been. The show has consistent laughs and character growth from the lovable ensemble that just make the show so watchable. On top of that, although it wasn't my favourite aspect of the season, the idea to shift the series’ flow by making Janine (Quinta Brunson) work at the school district was a fascinating change of pace. Abbott Elementary could never end and I'd be happy.

GOOD AMERICAN FAMILY Starring: Ellen Pompeo, Mark Duplass, and Imogen Faith Reid Creator: Katie Robbins QUENTIN Despite making me interested in the true story on which it’s based, Good American Family leaves a lot to be desired. For one, the performances range from cheesy to overwrought to wooden, especially Ellen Pompeo in a role that feels like it was written for Nicole Kidman. For two, the “he said, she said” story structure prohibits the viewer from investing in a side, which is most of the fun in the true crime genre. Lastly, the series is presented through flashbacks, flashforwards, and narration that make for a disjointed watch. Honestly, you’d be better off Googling Natalia Grace (Imogen Faith Reid) and leaving it at that.

Previous Next July 2, 2025 WRITTEN BY: THE BITESIZE CREW Another July, another opportunity to see if the first half of our cinematic year lived up to our early expectations. Looking back at our list HERE , there were some great gems that turned out to be better than expected (Q was surprised by Companion , but saw the greatness of 28 Years Later coming), some series that far exceeded expectations (shout-out to Nick on his The Pitt pick, and Adriano for knowing the Sinners hype was going to come to fruition), and some picks that, let’s just say, were more disappointing (let’s not shout-out that Captain America: Brave New World hope). That’s usually how it works when looking ahead to movies that you may not even have a trailer for yet. That said, the Bitesize Crew is back at it again, focusing on the releases we are awaiting on most to finish out the year. Now, let’s get to the rules. We’re only focusing on the second half of 2025, so to be eligible, the entry must have a confirmed release date between July 1st and December 31st, 2025. The reason for this is that there are several films and series expected to release for the rest of the year, but as we’ve seen in the past, we can never really know when something will actually drop. Having this rule makes for more accurate selections while also avoiding repetitive lists in the future. So, from Summer Blockbusters to Oscar hopefuls, here is what we are most anticipating for the second half of 2025, in order of release date. Are any of these on your list? What are you excited about? SUPERMAN (July 11th) Batman notwithstanding, I’ve never really been a DC guy. The biggest reason has always been because I’ve never felt much connection with the number two hero on their roster. The good Superman movies are okay, but with his OP (overpowered) capabilities, I couldn’t feel the stakes or find anything overly interesting about his stories. However, if there is one person who can take a comic book storyline you’d never expect to be interesting, and inject life, humanity, and humor into it with heartbreaking honesty, it’s James Gunn. I’ve been intrigued by all of his choices as the new head of DC Studios, and what solidified this newfound fervor was the opening “discussion” between Clark (David Corenswet) and Lois (Rachel Brosnahan) in the first official Superman trailer. Since then, I have been hyped to see what exciting energy Gunn is going to bring to turn arguably the stiffest superhero into a fully layered character. If he pulls it off, Gunn may go down as one of the most important figures in comic-book movie history. At least in my book. - Amarú THE NAKED GUN (August 1st) If there's one genre that has suffered the most in recent years, it's laugh-out-loud comedies. Sure there've been a couple memorable ones ( Joy Ride , Palm Springs ), but the success stories have been rare. Even rarer is the subgenre of spoof comedy, and there's nothing better than The Naked Gun . Sadly, Leslie Neilsen is no longer with us, but we've got Liam Neeson taking over the mantle as Frank Drebin Jr. If you have any hesitation about this casting, you clearly haven't seen Neeson in Life's Too Short or Atlanta . The man is capable of comedy gold. No doubt it's going to be difficult to reach the heights of the Nielsen films, but if the trailer is any sign, the return to silly comedy and visual gags shows director Akiva Schaffer is certainly aiming for just that. - Nick WEAPONS (August 8th) It’s always bold to put a full paragraph of voiceover from the trailer onto the poster, but for Weapons , it just adds to the tantalizing mystery. I enjoyed Barbarian thoroughly, so this follow-up for director Zach Cregger has to be considered a must-see. With Josh Brolin headlining alongside actress-of-the-moment Julia Garner and a more than solid supporting cast that includes Benedict Wong and Alden Ehrenreich, it doesn’t need more hype. Anytime you can make a group of children, who are already scary to begin with, even creepier, you have to know you are in for something that will chill you to the bone, and what better time for chills than in the dog days of summer. - Robert THE TOXIC AVENGER (August 29th) I have no connection to the 1980s cult original, but I have been told its weirdness is something to behold. Due to its extreme nature as an unrated, violent film, this reboot has been in limbo for two years after premiering at Fantastic Fest in 2023. Those R-rated descriptors are but a tractor beam for me, sucking me in without remorse. I am aware Brothers wasn’t for everyone, but anything Peter Dinklage wants to headline I will support, and director Macon Blair helmed the vastly underrated I Don’t Feel at Home in This World Anymore with Melanie Lynskey and Elijah Wood. With Wood finding his way as a creep alongside Dinklage in this project, all I have to say is “rise up for the mutant janitors!” - Robert THE CONJURING: LAST RITES (September 5th) The second half of 2025 is a great time for horror movie sequels, but I’m most excited for The Conjuring: Last Rites . I love The Conjuring films. Some are better than others, and they've never quite reached the heights of the incredible first installment, but each film is distinct, compelling, full of jump scares, and driven by horror genre favourites Patrick Wilson and Vera Farmiga’s fantastic performances as the infamous demonologists Ed and Lorraine Warren. Wilson and Farmiga will return for the last time, embarking on their final case together in The Conjuring Universe: the Smurl haunting. The trailer leads me to suspect this could be the scariest, most unsettling film in the franchise for some time, and although I’m reluctant to say goodbye to Ed and Lorraine Warren, I’m excited to see what Last Rites has in store for me. - Katie DOWNTON ABBEY: THE GRAND FINALE (September 12th) I said I wasn’t a DC guy. Marvel, on the other hand… all day, every day! If you are like me, you know exactly where I’m going with this. Happy Hogan (Jon Favreau). 2013. Iron Man 3 . When Tony Stark (Robert Downey Jr.) lay next to Happy in his hospital bed and told the nurse to put on Downton Abbey because Happy thinks “it’s elegant”, I felt seen. Now, it’s definitely going to be hard to watch the third entry in my favorite not-so-guilty pleasure without the best there ever was, Dame Maggie Smith. But there is still so much cattiness, drama, elegance, and characters to love in this ever growing world of British royalty. The most interesting part of continuing this story has always been watching how the Crawleys navigate the advances of modernity over time, and with new times come new challenges, new marriages, new love triangles, and new characters (to the films at least). I’m geeked as hell to see how the upstairs and downstairs leads Downton into the “future.” - Amarú HIM (September 19th) What are you willing to sacrifice in the quest for greatness? This is a question that’s been at the forefront of many films. There Will Be Blood , Whiplash , and Black Swan , happen to be three examples which are considered some of the greatest films to come out of the 21st century (as reinforced by the recent New York Times list). It’s probably way too soon to say if Him , produced by Jordan Peele, and directed by Justin Tipping in his first studio effort, will be as capital-G great as those aforementioned films, but after that trailer took me by surprise, I’m certainly excited to find out. It’s already one thing to put a psychological twist on this question (like Black Swan did), but to intertwine it with the world of football (one of America’s favourite pastimes) makes things more intriguing, as sports feel like relatively untapped territory in the horror genre. Add in Marlon Wayans giving what looks like his most electrifying dramatic performance since Requiem for a Dream , and I couldn’t be more fascinated to see the end result. - Bode ONE BATTLE AFTER ANOTHER (September 26th) Truth be told, I’m a little conflicted about One Battle After Another . On one hand, Leonardo DiCaprio is an actor whose movies I will watch sight unseen. I don’t care what it’s about, I’m there. My level of anticipation mostly rests on that fact alone. I’m also a huge Benicio del Toro fan. Once you sprinkle those two with some of Sean Penn’s surly gravitas and Regina Hall’s sassy magic, you’ve got real potential for something great, at least on the performance side. On the other hand, I haven’t truly enjoyed a Paul Thomas Anderson movie since 2002’s Punch Drunk Love . Hell, I haven’t full-on loved one since Magnolia . So, what wins out? The boring pretentiousness that has turned me off so many of the director’s recent efforts, or the fact that DiCaprio never misses. I’m hoping for the latter, and the fact that Battle is being advertised as a black comedy action movie — a rare genre for Leo — I’m anticipating something special from him, and thus, a return to form for PTA. - Quentin FRANKENSTEIN (November) I've been lucky enough to work on a couple Guillermo del Toro films, including Frankenstein , and the one constant with the director is the thought and care that go into his projects. He is like no one else I've seen on set with the way his passion pours out of him. Considering he's been angling for Frankenstein for nearly 20 years, this may be his most impassioned creation to date. This world was made for him, and as Robert Eggers' Nosferatu showed, there's an audience for these gothic retellings. With his spellbinding visuals and a killer cast headlined by Jacob Elordi, Oscar Isaac, and newly christened scream queen Mia Goth, there's a genuine chance this could become the auteur's greatest film to date. - Nick THE RUNNING MAN (November 7th) Edgar Wright is, without question, one of my absolute favourite filmmakers. I've deeply loved everything he's made. Hell, I'm probably the biggest defender of Last Night in Soho on this planet. Just him making another film at all is enough to get me hyped, but with The Running Man , I find myself counting down the minutes until this comes out. Yes, there is the action adaptation from the 80s with Arnold Schwarzenegger, but instead of directly rebooting that (which would be enough for me honestly), Edgar Wright seems to be adapting Stephen King's novel with his own signature stylized genre approach, starring none other than Glen Powell in the lead role amongst a killer ensemble, including Michael Cera, Katy O'Brian, Josh Brolin, Jayme Lawson, Emilia Jones, and Colman Domingo. I'm such a sucker for anything Edgar Wright does, but the subject matter he's approaching is so fascinating that I need to know what his stamp on it will look like. - Adriano SISU 2 (November 21st) In 2023, I attended the Toronto International Film Festival, my first festival as accredited press. On the second evening, still riding high on the experience of it all, I saw Sisu , a Finnish action thriller that had no poster, no trailer, and no known actors. My only connection was that I kinda-sorta knew director Jalmari Helander because of Rare Exports . It was a total dart throw, especially for a midnight showing after a long day of movie-going, but hot damn! It was an out of nowhere bullseye! Marrying the sensibilities of John Wick , Captain America , and Quentin Tarantino, it was a fresh, violent, and most importantly, fun take on “kill the Nazis” movies. A few months ago, Helander casually announced, out of nowhere (at least for me), that Sisu 2 would drop this fall. If it’s anything like the original (which I gave 4.5 reels ), especially considering it’s being driven by double the budget (still only $13 million) and new cast additions Stephen Lang and Richard Brake, I already know this will be one of the most fun action experiences of the year. - Quentin WICKED: FOR GOOD (November 21st) I’m not a fan of the Wicked stage show, so going into the first part of Wicked , my expectations were not high, especially amongst all of the negative press the film seemed to be receiving at the time. However, these alleged issues did not impact my enjoyment, as I tried and failed to resist Wicked ’s intoxicating charm. Cynthia Erivo and Ariana Grande are amazing performers who shine as bright as each other, and their compelling dynamic is a big contributor to my excitement for Wicked: For Good . The first one established their past and the world they live in, and I can't wait to see their relationship explored further amongst the difficult circumstances they’ve been plunged into, alongside what I am sure will be incredible musical set pieces. - Katie AVATAR: FIRE AND ASH (December 19th) “Never bet against James Cameron” has been a general saying for as long as he’s been putting out movies, but it felt especially prophetic after Avatar ’s long-awaited follow-up, The Way of Water . The film went on to be one of 2022’s biggest films after over a decade of folks declaring that the moment for this series has passed. Anyone who saw the last film would know that Cameron hasn’t lost his touch in terms of delivering the gargantuan spectacle and sweeping emotionality that audiences expect from his blockbusters. These films are accentuated by his willingness to further push the boundaries of what’s possible with the moving image. From his utilization of 3D, which remains game-changing, to capturing the action (under and above water) at a higher frame rate (60FPS in this case, a feature which bugged some viewers, but which I found absolutely transcendent). All of this makes me excited to see how he expands the world of Pandora with Fire and Ash , especially since Cameron has previously teased that it’ll be darker than the previous two entries. As long as Payakan survives whatever chaos is planned, I’m perfectly okay with that. - Bode MARTY SUPREME (December 25th) After Uncut Gems frankly blew me away in 2019, I've been waiting to see what the Safdie Brothers will give us next. The two directors have decided to work separately for their next projects, with Benny Safdie releasing The Smashing Machine later this year. While that film does excite me, Josh Safdie’s Marty Supreme sounds like I'm about to have the time of my life. Starring Timothée Chalamet, the movie is said to center around a ping-pong player named Marty Mauser as he is in “pursuit of greatness.” The film reteams Josh Safdie with editor/co-writer Ronald Bronstein and cinematographer Darius Khondji from Uncut Gems , which is exciting in and of itself, so I’m expecting similar mayhem. But, with the film being described as a cross-country comedy, and possibly a mix of Catch Me If You Can and The Wolf of Wall Street , I'm beyond excited to see what insanity Josh Safdie has cooked up for us. - Adriano

THE MARVELOUS MRS. MAISEL: THE FINAL SEASON Starring: Rachel Brosnahan, Alex Borstein, Michael Zegen, Marin Hinkle, and Tony Shalhoub Creator: Amy Sherman-Palladino QUENTIN I’ve never truly understood the acclaim for The Marvelous Mrs. Maisel . It has always been a solid show…I mean, I've watched it for five seasons…but it has never been one I looked forward to, episode to episode or season to season. That said, its final season is easily the best since Season One. The time jumps provide great context and, more importantly, closure for the main character's arc, and by showing where her career ultimately lands and the make-or-break moments that got her there, the story has much more narrative momentum. Despite my lackadaisical view of the series over the years, it certainly stuck the landing. AMARÚ I always admire shows that take risks, even if they don’t pan out. The final season of The Marvelous Mrs. Maisel took a huge narrative swing from its first frame, and while I wasn’t fond of it initially, the marvelous (*wink wink*) performances, breakneck pacing, and hilarious writing rewarded their risky dedication with a strong second half. It also delivered one of my favorite episodes of the entire show, highlighting just how great Alex Borstein is as Susie Myerson. Season Five may be a step down from previous seasons, but it grew into a proper send-off for Mrs. Maisel (Rachel Brosnahan). JACOB Although there were some not insignificant bumps in the road, The Marvelous Mrs. Maisel rounds out its fifth and final season to cement a six-year legacy as one of the best shows in the entire Prime Video arsenal, and certainly one of the best-looking ever put to screen (at least from a design standpoint). Some episodes this season did drag a bit, but the highs are as high as they’ve ever been, the writing remains sincere and funny (the finale is near perfect), and the costumes are once more delightful to see. Despite their imperfect run, I’ll miss these unforgettable characters. ADRIANO The Marvelous Mrs. Maisel takes its final bow with some mixed results, but in the end, not underwhelmingly so. Initially, I found the season to be repetitive of what came before it, save for the interesting time jumps. Eventually, though, the show’s memorable ensemble, breakneck pacing, incredible writing, and character work won me back over as it took swings for the fences. Then, it delivered a deservedly marvelous final episode. Season Five might just be the best season since Season Two, and ultimately, quite the sendoff for this show.

Previous Next April 30, 2025 WRITTEN BY: ADRIANO Regardless of how you say it, it's clear that the dominance of superhero movies in our culture might be coming to an end. With the exception of Deadpool & Wolverine , every superhero movie failed, either critically or financially, in 2024. Granted, last year may have just been an off year, especially considering there was only one MCU movie and no DC movies, but it’s ultimately bound to happen, much like the western genre faded away after being a dominating force in the 1960s. Now, this might come as a surprise to you since I’m the Bitesize crew member who probably likes the genre the least, but I don't want them to go away. At their best, superhero movies can use the genre to do something truly interesting, exciting, and engaging. No, superhero movies aren't going to disappear, but with their dominance eventually coming to its natural conclusion, I do want to discuss ways in which they can be saved, so to speak. To be clear, I don’t want to re-establish it as the biggest and most popular genre, but I do want them to still feel like events when they come out. FOCUS ON THE PRESENT I’ll always give Kevin Feige props for pulling off the cinematic universe idea. It wasn't perfect, but the build-up to Endgame was historic. However, the MCU has come under fire recently for its scattered big-picture set-up, an issue that pertains to most superhero franchises. Being too focused on what's to come is what failed the Sony-verse and the DCEU. Now, there's nothing inherently wrong with setting up future films; however, when you look at Batman v Superman: Dawn of Justice , so much of that movie was centered on the future and not on the conflict in the title. More recently, Quantumania only existed to set up Kang (Jonathan Majors), but now, due to reasons out of the studio's control, it will lead to nothing. The thing that made the MCU’s Infinity Saga work was that they took their time and made every movie feel like its own. Sure, some existed due to a consequence of a previous Marvel outing, but even still, the Captain America movies felt like they were about Captain America (Chris Evans), even when they were setting up future conflicts. You can set up the future, for sure, but that must be the secondary goal. Similarly, though, a more recent issue is focusing too much on the past. I can't stand the recent trend of nostalgia farming in these movies. The multiverse has been red hot recently, and in plenty of instances, it relies heavily on pre-established IP for cheap applause. No Way Home started the trend of using past characters that we assumed we'd never see again, but that film used the characters in service of the plot, giving them actual arcs. The Flash and Deadpool & Wolverine are examples that very much didn't do that, using the past as almost a fan-service tactic. In the same way that I don't watch a Jordan Peele movie expecting the Armitage family from Get Out to show up, I shouldn't have to watch a superhero movie depending on nostalgia from 2006 to get me through. The whole thesis of this section is to simply let each movie be its own thing. I'm not saying stop with the cinematic universes because I genuinely think that was a successful experiment, just not in a way that a movie only exists to set up the future or callback to something you liked in the past. BREAK THE FORM One phrase you might have heard a lot in recent years is "superhero fatigue." I, personally, think it’s real. Although there are certainly other factors at play, most notably COVID and the evolution of the theater-going environment, the fact remains that No Way Home and Deadpool & Wolverine are the only comic-book movies to cross a billion dollars at the box office since 2020, whereas four pulled off that feat in 2019 alone. The thing is… fatigue only happens when people are bored. When we begin to notice patterns, we get tired of seeing the same stuff. As such, there shouldn’t be a set formula when writing these movies. I shouldn't be able to compare three different films from three different studios and find they come back with similar results. I'll give you an example: why do all these movies end in a firefight with a faceless army? Why can’t they end in a simple duel every once in a while? Am I saying that will automatically make it good? No. But it can at least distinguish itself from the noise. Even the smallest changes can help us feel like we're not subjected to the same thing over and over, reducing the effects of that pesky fatigue. Which brings me to my next point… HAVE FUN WITH IT What do I mean by this? Am I just repeating what I said above? I admit, it's a similar point, but it is different enough that I want to explore it. I want to see superhero movies become products of filmmakers, not studios. However you want to shake it, I think that is a real issue with these movies. They're mandated, not created by someone who cares. It's always “one for them,” rarely “one for me.” I'm not going to pretend that I don't know why, but it does make some of them feel pretty cold. Eternals was directed by Chloé Zhao, a woman who had just won Best Director for directing Best Picture winner Nomadland , and it feels nothing like anything else she has made. I want to see a humanistic director like Zhao get the budget and leash to do what she wants. I'm not saying every superhero movie needs to win the Palme d'Or. That's a crazy expectation. However, I was much more excited about what Luca Guadagnino and Justin Kuritzkes were going to do with the now canceled Sgt. Rock , a film focused on a character I know nothing about, then I am to see what Andy Muschietti does with Batman and Robin in The Brave and the Bold . So, when I say, “have fun with it,” I mean go nuts. Don't hire a director to use as a puppet. Hire an auteur and let them go a little wild. That can mean something more patient from a director like Kelly Reichardt, or, if you want to stick to the action genre, hire Chad Stahelski to make something truly kickass. I understand that it might not always land, but at least it’s a swing. Last year, Joker: Folie á Deux was undeniably something new, and it was widely rejected by audiences and critics. However, you’ve also got The Batman , which similarly took some liberties with a new vision and was heavily embraced. When I was in school, I was taught something that I’ve never forgotten: audiences don’t know what they want until they see it. Audiences didn’t know they wanted an animated Miles Morales movie that played with multiple kinds of animation, but now audiences are begging for the next Spider-Verse movie. You can play it safe all you want, but it’s going to wear out eventually. I want to see more experimentation from filmmakers, whether that be with genre or story writing, and fewer boardroom productions. STOP STREAMLINING I'm sure most will agree that there is an oversaturation of superhero content, but it may come as a surprise that I don't completely agree. Once television entered the equation, yes, it became a little overstimulating. In 2023 alone, we had 8 movies and 10 seasons of superhero television. That is a lot for one year, but then again, we get two to three horror movies every month and almost never hear that horror is oversaturated. So why, exactly, does this stigma only seem to apply to superheroes? Part of it has to do with the things I already discussed, but I have another working theory… Superhero movies are almost always under the roof of two brands: Marvel and DC. Likely, many people view each Marvel or DC movie as part of a bigger franchise that becomes a chore. In other words, getting three movies and three TV shows in one franchise every year, especially with declining quality, can feel like a lot to keep up with. Since 2021, I've noticed a dangerous amount of streamlined production on superhero films and TV shows — rushing to the finish line, if you will — which is part of the reason the DCEU never took off. When two franchises are constantly streamlining and connecting movies, it can justifiably feel like we’re being bombarded with too much content that simply isn’t good enough for our time and money. Can you blame audiences for not wanting to dedicate so much to so little? EMBRACE THE DECLINE This one doesn't involve the actual movies, but the fans. Superhero movies are declining, plain and simple, and I think embracing that is a good thing. It encourages better results. That doesn't mean stop liking them. By all means, have fun with these movies and enjoy them as much as you feel. However, a common occurrence when a superhero movie comes out and is generally disliked is that a lot of people tend to dumb down their arguments in order to defend it. Defences like "don't take it so seriously" or others in that ballpark always come up. Why not embrace what was wrong with the movie? That acknowledgement of flaws doesn't devalue your entertainment. Going back to horror… In the early 2010s, while there were some diamonds in the rough, there was, generally speaking, a lot of garbage. Most horror fans didn't abandon the genre, but they didn't hedge their criticisms either. Nowadays, horror movies are regularly popular with critics and audiences alike, but when one is bad, fans don't get defensive. They possibly enjoy it, acknowledge its flaws, and move on. I’ve seen some terrible horror movies with great sequels because of this. I’m not sure we’ll ever get Endgame -level hype again (seriously, do you remember the palpable electricity of Endgame ’s opening weekend?). But, if we can be open as to why these movies are beginning to fail, maybe there is a chance. Yes, stan culture and toxicity online play a key part in the defensiveness, but if we can make those people a vocal minority, I think it’ll be for the best.

Previous Next July 1, 2024 WRITTEN BY: ADRIANO This year’s Emmy nominations won’t be announced until July 17th, but voting is officially underway as we speak. With juggernauts like Succession , Barry , and Ted Lasso having finished their runs, and other awards darlings like The White Lotus and The Last of Us having not released a season this year, some might say that this television awards season is lacking. However, I'd argue that some fantastic shows will most certainly hear their name called on nomination morning, including Baby Reindeer and Lessons in Chemistry for Limited Series, Hacks and The Bear for Comedy Series, and Shōgun and Loki for Drama Series. With that said, since voting is going down right now, I want to make a plea for some shows I’ve loved whose likelihood for major nominations ranges from “likely but not guaranteed” to “basically guaranteed to miss.” Listen up, Emmy voters! I’M A VIRGO After his spectacular debut film, Sorry to Bother You , in 2018, I’ve been waiting years for Boots Riley’s sophomore effort. Finally, it has arrived in the form of Prime’s absurdist, superhero, coming-of-age comedy series I’m a Virgo , which throws the punches fans of Sorry to Bother You should now expect from Riley as he delivers a commentary on capitalism and casual race relations without ever hitting viewers over the head. That aside, though, the thing that makes Virgo so special is that beyond the zany social commentary, it has a lot of heart because Riley puts tremendous care into Cootie's story of isolation. Cootie is portrayed with hysterical authenticity by Jharrel Jerome, and he should absolutely get a nomination for Outstanding Comedy Actor to accompany Virgo ’s very deserving Outstanding Comedy Series nomination. Boots Riley's ambitions and brilliance are more than worthy of recognition in the Writing and Direction categories as well. I sure hope I won't be mourning this show's fate on nomination morning. EXPATS Speaking of Prime shows from filmmakers who I've waited longer than I would've liked for their next project, let's talk about Lulu Wang's Expats . While this series is slow in nature, Wang's direction and writing give way to a beautiful examination of womanhood and privilege that allows every moment to breathe extraordinarily authentic life. For that alone, Wang not receiving a nomination for direction doesn’t make sense to me. A show like Expats could've easily relied on the writing and terrific ensemble, but Wang's direction gives the show a whole new layer of breathtaking realism that grounds the show in a new light. I would love to see Expats receive recognition across the board, but I will not be selfish, only making a plea for Lulu Wang to receive nomination for Outstanding Direction for a Limited Series. WINNING TIME: THE RISE OF THE LAKERS DYNASTY It hurt to see Winning Time end on such an unfortunate note, forced to end its second season (and the series as a whole) with an abrupt "where are they now?" montage following an unexpected cancellation. That said, prior to that, Season Two of Winning Time is as dazzling, entertaining, and fascinating as the wildly overlooked first season, and I say that as someone who doesn't care about sports in the slightest. Rewarding Winning Time with nominations to recognize the entire series, the creative direction, and the phenomenal ensemble — namely Quincy Isaiah as Outstanding Lead Actor and Jason Segel as Outstanding Supporting Actor — would be more than valid for an underappreciated show that was taken from us far too quickly. THE RIGHTEOUS GEMSTONES I understand that Danny McBride's abrasive comedic sensibilities can rub some the wrong way; hell, he can be too much for me sometimes. But still… I'm completely lost as to why The Righteous Gemstones has never been nominated for an Emmy. It may be crude, but that crass humor isn’t used lazily like offensive humour often can be. It has purpose. On top of that, it's only complemented by an engaging, well-thought, and surprisingly heartfelt story that deals with greed, organized religion, and toxic familial bond. This third season is absolutely the best so far, and it’s the perfect time to correct past mistakes by giving The Righteous Gemstones an Outstanding Comedy Series nomination to acknowledge the show’s excellent ensemble and writing. THE SYMPATHIZER I can't believe I have to make a plea for a critically acclaimed, black comedy-drama from HBO that is co-created by Park Chan-wook and starring recent Academy Award Winner Robert Downey Jr. in multiple roles. However, for some reason, The Sympathizer never once caught on, which is a shame. As one would expect from Chan-wook, this series is a stylish and entertaining romp that deals with themes of identity and colonialism excellently. Admittedly, The Sympathizer is very likely to receive a nomination for Robert Downey Jr.'s headline-making supporting performance(s), but in no way should it stop there. Hoa Xuoande's complicated-yet-empathetic lead performance is more than deserving of the recognition Downey has received, and none of this show works without Chan-wook’s kinetic direction. Nominating the legendary director for pulling off the incredible feat that is The Sympathizer is not a lot to ask. PLATONIC Platonic is an endearing and funny (anti?) romantic comedy that features two easy-to-love performances from Seth Rogen and Rose Byrne. What else do I really have to say? In this Apple series, the mere idea of a rom-com is twisted around to show us a story of codependency and modern gender dynamics, and the results are funny and fascinating to behold. The least I can ask for is acting nominations for Rogen and Byrne, who elevate the material into an authentic and relatable territory that grounds Platonic , but it shouldn't be overlooked for its clever writing either, especially for its eighth episode, where Francesca Delbanco's writing shines the brightest. I don't fully know why this show flew so under the radar during its run, but it's one I'd recommend, and I’d be very pleasantly surprised if Emmy voters chose to acknowledge it. GEN-V The Emmys seem to have a strained relationship with The Boys , and I’ve never really understood why. Nonetheless, Gen-V is an excellent show whether you're a fan of The Boys or not. If you don’t care for The Boys ' subversive and gruesome nature, fair warning, Gen-V has the same depravity and gore of its origin show, but it also has its own identity. It is focused on telling a compelling coming-of-age story that is far away from the politics and mayhem of The Boys while being a riot in the process. You could nominate everyone in the ensemble and it would be valid, and quite frankly, it should absolutely receive a nomination for Outstanding Comedy Series. RESERVATION DOGS Reservation Dogs not receiving a single Emmy nomination for either of its first two seasons confuses me still. It’s funny, bold, sweet, and wholly original, yet despite the acclaim, the show has never gotten the attention it most surely deserves at the Emmys. With its third and final season eligible this cycle, I hope and pray that voters let the show go out with the bang it's owed. You can nominate it in any category and it would be deserved. The entire ensemble is terrific, and you could honestly nominate all four lead performers if you want, especially D'Pharaoh Woon-A-Tai, who is brilliant. The direction is always fascinating and underappreciated, while the writing is incredible too. Emmys, this is your last opportunity to fix your mistakes and honour this gem of a show. THE COMPLETELY MADE-UP ADVENTURES OF DICK TURPIN Now, I've covered some shows that I consider to be pretty under the radar, but none of them come close to how wildly underappreciated The Completely Made-Up Adventures of Dick Turpin was and is. It's as likable and quirky as the title suggests. It's not super deep or life-affirming or anything like that. It's simply a show filled to the brim with hilarity at just about every turn, and there's not much more one could ask for when it comes to a comedy show. It's a very easy show to recommend, and its whip-smart dialogue and humour should get the show recognized for Outstanding Comedy Writing. However, it's Noel Fielding's silly and pitch-perfect comedic timing that begs for a nomination for Outstanding Comedy Actor since he turns what could be nothing more than a prolonged sketch show into a true comedic force.

Previous Next July 27, 2023 WRITTEN BY: PAIGE Since I turned the golden age of 30 back in April, I wanted to be kind and rewind back to the year I was born, 1993. That is when it all started for me, so why not craft a retrospect on cinema for that year? With that in mind, in an effort to honor my birth year, let’s pay homage to the 30-year-old films that made the biggest impact, not only on the world, but on me personally as a cinephile. My approach is to use many of the same categories that we use for our annual Bitesize Awards because, had Bitesize been around in 1993, I honestly think we’d have many of the same winners that I picked today. If you’ve read our Bitesize Awards before, you know how we do things, breaking films down by genre, but I’ve also added a couple surprises. Now, join me in 1993! IN ALL SERIOUSNESS SCHINDLER'S LIST In all seriousness… are you surprised that Schindler’s List won the drama award?!? With excellent storytelling and great performances, there’s no denying that this film is ranked among the best films of all time. Inspired by the Thomas Keneally novel and Oskar Schindler's real-life story, this historical drama follows Schindler (Liam Neeson), a businessman who tries to save thousands of Jewish people by employing them in his factories during World War II. While it’s a heart-wrenching watch, it’s one that should be seen because it tells a story of survival through a raw and devastating lens that allows viewers to see the triumphant faith of one human being trying to do good. Plus, the film received twelve Academy Award nominations, winning seven, including Best Picture and Steven Spielberg’s first for Best Director. Runner-up: A BRONX TALE ADRENALINE JURASSIC PARK In another “no surprise,” we have Jurassic Park , the adrenaline-fueled film that was the number one movie at the box office in 1993. Given the jaw-dropping visuals and CGI, it’s honestly baffling that this movie came out 30 years ago, but this action adventure has aged like fine wine. The film’s mastermind, Steven Spielberg, still stuns audiences to this day with how real and believable the dinosaurs look. Adapted from Michael Crichton's novel, the movie follows a group of visitors to an island where a millionaire has successfully cloned dinosaurs; then things go awry. Of course, the film is filled with astonishing action sequences and chilling sound effects (I can still hear the echoes of T-Rex footsteps in the distance), but it also has so much heart and such memorable characters that you’ll want to become a paleontologist. The fact that this movie brought dinosaurs back to life has truly made it one of the ultimate adventure films. Runner up: DEMOLITION MAN LAUGH OUT LOUD DAZED AND CONFUSED Alright, alright, alright…not only is Dazed and Confused the funniest movie of 1993, it's also my favorite movie to be released that year, as well as my second favorite movie of all time ( Scream (1996) is first). This coming-of-age comedy by Richard Linklater follows a group of rowdy teenagers in Austin, Texas, celebrating their last day of school in 1976. The film is totally authentic, funny, charming, and it makes you wish you grew up in the 70s, interacting with these fascinating characters. It really captures the essence and tone of the era, which makes it the ultimate hangout film. This carefree day-in-the-life film also has the raddest soundtrack to jam to, and it stars - not one, not two – but three performers that would eventually go on to win Oscars (Renée Zellweger, Ben Affleck, and Matthew McConaughey). Runner up: MRS. DOUBTFIRE NIGHTMARE CRONOS While 1993 wasn’t the best year for horror, there is one film that does stick out to me: Guillermo del Toro’s Cronos . This happens to be del Toro's first feature length film, and his first of many monster movies. This unique vampire flick is stylish and gory while, at the same time, isn’t all in your face trying to frighten you. It’s the visual aesthetic and practical effects that make it feel so creepy. Cronos tells the story of an antique dealer who stumbles upon an ancient scarab called…you guessed it, Cronos…that grants him eternal youth. However, this newfound youth comes at the cost of needing to reluctantly consume human blood, which leads the main character to seek blood in ways that do not involve hunting victims. The story shows the internal struggles he faces when choosing between eternal life and his family's safety. Runner up: LEPRECHAUN HIDDEN GEM A PERFECT WORLD Clint Eastwood’s most underrated film as a director, A Perfect World , is also the biggest hidden gem of 1993. This film will surprise you with how much heart it has, and if you haven’t seen it, you need to jump on it because it’s such a moving story that will give you all the feels. The movie is set in Texas in 1963, and it follows escaped convict Butch Haynes (Kevin Costner) as he takes an 8-year-old boy hostage while fleeing the authorities. While on the run, the two embark on a road trip that results in an unlikely bond and friendship. This character-driven film is a tender but thrilling manhunt movie that explores themes of childhood trauma. We also get Kevin Costner playing against type as a “bad guy,” which we almost never get, and it's arguably one of his best performances to date. Runner up: MATINEE BEST LEFT IN 1993 HOCUS POCUS Okay, listen… before everyone jumps down my throat about this pick, let me just say that this Halloween cult classic from Disney is rightfully beloved by many, including myself. It’s a must watch for me every October, and l love visiting Salem, MA, every year during the spooky season. That said, let’s be honest… Hocus Pocus is campy as hell, and it hasn’t aged very well in many ways. It has a sexualized teen aspect that is downright creepy, especially with the virginity of 15-year-old Max (Omri Katz) being a major plot point, not to mention his 8-year-old sister (Thora Birch) calling him out on it every five seconds. All that nonsense takes up the majority of screen time instead of giving us more of what we want: the Sanderson Sisters (Bette Midler, Sarah Jessica Parker, Kathy Najimy). It’s also worth pointing out that the special effects in this film are cheap and cringey. The film would’ve benefited so much more if it used more practical effects. Runner up: SUPER MARIO BROS. GRAB BAG TRUE ROMANCE Now is the time for the Grab Bag Award, which goes to a film that doesn’t exactly fit into any of the categories listed above but still deserves a shout-out. I decided to go with one of my favorite films written by Quentin Tarantino, True Romance . Is it a drama? Is it an action movie? It has a lot of humor, but can you call it a comedy? Who’s to say? Directed by the late Tony Scott, the story revolves around comic-book nerd Clarence (Christian Slater) and prostitute Alabama (Patricia Arquette), two people who fall in love and go on the run from the mafia after crossing it in several ways. It’s a hell of a road trip film that features a wicked unique love story with the perfect blend of humor and violence. With a murderer’s row of a cast, including Gary Oldman, Christopher Walken, Dennis Hopper, Brad Pitt, and James Gandolfini, True Romance is a love story for the ages that is so exhilarating that you need to check it out if you haven’t. Runner Up: WHAT'S EATING GILBERT GRAPE? Photo Credits: Photo 1 - Amblin Entertainment; Photo 2 - Universal Pictures; Photo 3 - Gramercy Pictures; Photo 4 - October Films; Photo 5, 7 - Warner Bros; Photo 6 - Walt Disney Studios