Previous Next March 7, 2023 WRITTEN BY: THE BITESIZE CREW Presenting our 2nd annual Bitesize Awards with updated categories! Similar to the Bitesize Top Five, each writer ranked their Top 10 selections for each awards category. Those lists were then weighted on a reverse point system. After all the points were tallied up, we had our nominations. Finally, we voted on each award. BREAKOUT ARTIST *WINNER* AUSTIN BUTLER ( ELVIS ) There were a lot of great nominees for Breakout Star in 2022, but you need only to look at the Oscars to see who is at the top of everyone’s list. Truthfully, Austin Butler had never been on my radar, and it wasn't until seeing Elvis that I realized I had seen him before in Quentin Tarantino's Once Upon a Time in Hollywood… . Before seeing Elvis , the draw in my eyes was director Baz Luhrmann, but by the time the credits rolled, I knew I had seen the birth of a new movie star. Butler's captivating performance grabs you and never lets go. - JTE MIA GOTH ( X/PEARL ) 2022 was a great year for horror, and I feel like Mia Goth is a huge reason for it. She absolutely killed it in dual roles in X, as well as in the starring role of Pearl . While she may have had past work, X and Pearl have shown that not only is she a new scream queen, she’s a star. Her talent is on full display through her multiple roles, but I feel it’s in Pearl where she truly shines. Her madness and pain is able to radiate through her smiles and dance numbers. - Joseph JENNA ORTEGA ( THE FALLOUT/SCREAM/X ) Wednesday Addams…I mean, Jenna Ortega…took 2022 by storm with numerous killer performances (pun intended). She established herself as a modern-day scream queen with Scream , X , and Studio 666 , but she also displayed impressive range in the school shooting drama The Fallout , which quietly premiered on HBO Max. Ortega is the next hot thing with a bright future, and she’ll be dominating the big and small screen for many years to come. - Paige GABRIEL LABELLE ( THE FABELMANS ) In The Fabelmans , one can see the makings of an excellent young actor who’s poised to have an amazing career. Confident, funny, cold, and extremely vulnerable at times, Gabriel LaBelle is the movie’s brightest spot. With his easygoing charm, it’s easy for audiences to immediately latch onto him as he portrays Sammy Fabelman, the Steven Spielberg stand-in for the story. While not as strong in some of the film’s more emotional scenes, specifically those with his parents, LaBelle still manages to provide an overall impressive performance. - Darryl AMBER MIDTHUNDER ( PREY ) I had seen Amber Midthunder here and there before, especially sticking out in FX’s Legion , but because of Prey , the rest of the world now knows how much of a badass she is. She is an action star through and through, in the vein of Michelle Yeoh and Zhang Ziyi, and just like those women, she can act her ass off too. I can’t wait to see more of Ms. Midthunder’s acting chops or her ass-kicking abilities. - Amarú HIDDEN GEM *WINNER* CHA CHA REAL SMOOTH There was a point in time where I thought Cha Cha Real Smooth was going to be the most well-known indie darling of 2022. However, after about a month, not many people (outside of one Boston Badass you may know) had heard of Cooper Raiff’s heartwarming movie. If you get a chance, go put a big smile on your face by watching this Apple original. Two hops this time!! - Amarú EMERGENCY Emergency is one of the few dramedies that actually stays a dramedy throughout the majority of its runtime as it explores police brutality and the disproportionate response to enforcement as it relates to African Americans. College kids Sean (RJ Cyler) and Kunle (Donald Elise Watkins) know this all too well as they attempt to seek help for the white woman they found passed out in their house. Cyler and Watkins have outstanding chemistry playing the comic relief and straight man, respectively, and with excellent direction from Carey Williams, Emergency is a movie worth seeking out on Amazon Prime. - Darryl MAD GOD Have you ever wanted to see the universe begin and end in nightmarish cycles? Well, then, let me introduce you to Mad God . It’s a beautiful, horrific nightmare that is so visually stunning that, despite its strangeness, it feels easy enough to follow. It’s the most daring film of the year since it strays from a traditional narrative structure and contains virtually no dialogue, yet it commands your attention throughout. It’s an oddball film that features striking imagery and is loaded with themes. - Joseph THE OUTFIT It’s possible that living in Germany has skewed my view since The Outfit was advertised everywhere here, but I’m very surprised this even qualified as a Hidden Gem. However, seemingly almost no one in the U.S. saw this great mystery crime thriller. Either way, it features a terrific performance from perpetually underrated Mark Rylance, a classically old-school score, and fantastic production design. In my review, I called it Reservoir Dogs in the style of Tinker Tailor Soldier Spy , and I really can’t come up with a better way to sell it to you. - Quentin AFTERSUN Aftersun is one of many wins in a year filled with wins for A24. Making just over $3 million at the box office despite being amongst the most critically acclaimed movies of the year, Charlotte Wells’ directorial debut is a slow film that rewards the audience's patience with a tender and remarkable story of a father/daughter relationship filled with love but with an inherent darkness beneath the surface. I hope this film gains more life in the future. - Adriano BEST MUSIC *WINNER* THE BATMAN No other score of 2022 fits the mood of its story quite like The Batman ’s. Thanks to Michael Giacchino’s brooding melodies, an extra layer of grime is added to the fictional city already famous for its inhospitality. Weaving together the various leitmotifs to create a story where all of our characters are interconnected and integral to the mystery, the music does its share of heavy lifting in influencing the viewer's emotions. Highlighted by a pulse-pounding chase sequence in the second act that makes for one of the year's best action set pieces, Michael Giacchino has provided a near perfect musical composition. - Darryl BABYLON Last year, I focused this award more on soundtrack than score because I believe it can be the unsung hero of many films. However, there was no tracklist of music that stuck with me more this year than Justin Hurwitz's score for Babylon . It takes you through a range of emotions, and its pairing with this underrated film is pitch perfect. I even switched my alarm tone to “Manny's Song” to really get me up and at 'em in the morning. I have no doubt this is the best score of 2022, and since this is the film's only Bitesize Award nomination, let me also state that Babylon was also one of the year's best films. - Nick ELVIS Hubba, hubba…Austin Butler truly brings Elvis Presley’s voice to life in this audacious biopic. You can’t help falling in love with the film's countless musical performances, which feature many of the legend’s biggest hits, and they will certainly get you on your feet, singing and swinging your hips. The soundtrack will transport you back to the days when The King of Rock n’ Roll took the music world by storm. So, thank you, Baz Luhrmann. Thank you very much for bringing Elvis’ tunes to the big screen. - Paige WEIRD: THE AL YANKOVIC STORY When it comes to musical biopics, you just know that they will feature a great soundtrack. I mean, if the artist is good enough to warrant a biopic, then they must have some great hits. Weird is no exception. Covering everything from “My Bologna” to “Amish Paradise,” it runs through the parody hitmakers’ early catalogue, delivering head bops, nostalgia, and laughs along the way. The score from Budapest Scoring Orchestra isn’t bad either. - Quentin NOPE Director Jordan Peele’s latest is one hell of a ride, and his third collaboration with composer Michael Abels only adds to its success. Abels’ score takes what could be described as typical horror/sci-fi music and blends it with a western twang befitting the horse ranch setting of the movie. The result is a score that haunts at some points while it excites in the next. It’s fantastic. - Adriano IN ALL SERIOUSNESS AWARD *WINNER* THE FABELMANS Steven Spielberg’s The Fabelmans may not look like an especially brave or challenging piece of art on its surface, but I’d argue that its marketing did it an injustice in representation. The story, a noticeably personal one for maybe the greatest filmmaker ever, is quite a bit thornier than one might expect. Its drama is not elevated by the idea of falling in love with filmmaking, but with falling out of love with almost everything except that. In many contexts, this is sure to become one of Spielberg’s most underrated pieces. - Jacob THE WHALE The resurgence of Brendan Fraser was prominent in the lead up to The Whale , so much so that I began to expect the performance was being overhyped. It genuinely is not. This feels like one of those roles that couldn't have been done by anyone else thanks to Fraser's ability to garner such empathy through this heart-breaking performance. It's not just Fraser, though. Hong Chau also is terrific, while Samantha Morton leaves a lasting impression with limited screen time too. Darren Aronofsky crafted a well-told and tragic story that was more than enough to make my eyes water. One of the best dramas of the year. - Nick ALL QUIET ON THE WESTERN FRONT All Quiet on the Western Front is often lauded as one of the best anti-war stories ever told, and this adaptation gives credence to that accolade. It’s an unflinching and intense film that puts the horrors of war in your face and throws you right into the action. More importantly though, are the scenes away from our main characters on the battlefield, like when Daniel Bruhl’s character is trying to speak politics and stop the war. It shows just how needless war can be. It’s a fantastic drama that deserves all the appreciation. - Joseph TÁR Tár heralds a staggering return to form for director Todd Field, as well as possibly the best work of Cate Blanchett’s career. From the first frame to the final, Blanchett captivates the audience, delivering a performance that is multifaceted and demonstrative of her wide-ranging acumen as an actress. At just under three hours, the film feels its length, but that runtime is necessary to provide the full scope of the downfall of a person who is at the very top of her game. It’s a must watch for any fan of original, expertly crafted, character-driven films. - Darryl THE NORTHMAN The Northman is epic, raw, and one of the best movies of the year. Robert Egger’s latest is an impeccably crafted revenge saga that takes us through the world of viking mythology as we follow Amleth’s (played by a breathtaking Alexander Skarsgård) quest to avenge his father. It’s one of the most memorable films that came out this year, and one struck a primal nerve in me. - Adriano LAUGH OUT LOUD AWARD *WINNER* THE UNBEARABLE WEIGHT OF MASSIVE TALENT Meta films aren't for everybody, but let me just say this... I love them! When done right, a meta film can feel like a film made just for you, and as someone who grew up in the age of Nic Cage, The Unbearable Weight of Massive Talent tapped into that feeling. This film rewards you for every Nic Cage film you’ve ever seen, from Face/Off to Guarding Tess . Thankfully, Cage is not alone on this adventure. Pedro Pascal co-stars, and together, they give birth to what may be the best onscreen bromance in over a decade. - JTE GLASS ONION: A KNIVES OUT MYSTERY After the hit that was Knives Out , expectations were high for Benoit Blanc’s (Daniel Craig) next mystery, and regardless of what you were anticipating, I don’t think anyone thought this sequel would be as funny as it is. Laugh-out-loud moments are delivered from the entire cast, especially Kate Hudson and Craig (and let’s not forget slacker Derol (Noah Segan)), while the mystery is every bit as engrossing as its predecessor’s. Although I wouldn’t necessarily classify Glass Onion as a “comedy,” there is no denying that it is one of the year’s funniest movies. - Quentin THE BANSHEES OF INISHERIN Martin McDonagh could make movies until the end of time, and I’d be happy about it. His brand of dark comedy is back, and although it’s maybe a little more subdued than usual, it’s still absolutely hysterical. This movie intends to make you feel bad, but it does so with vast amounts of laughter and humor, all delivered by a hilarious ensemble that executes flawlessly. - Adriano WEIRD: THE AL YANKOVIC STORY Weird Al has made me laugh my entire life. I also grew up alongside Daniel Radcliffe, watching (loving) him as Harry Potter well into my adolescence. Put those two things together, and you get the funniest movie I watched all year. Radcliffe confirms his penchant for post-The-Boy-Who-Lived quirk, and he was the perfect medium through which to channel the soundtrack of our musical musings for the past three decades. Weird is easily the movie to make me literally LOL the most this year , and the number of audible chuckles in the second place finisher isn’t close. - Amarú TRIANGLE OF SADNESS In an era of filmmaking that's focused on wealth inequality and the condemnation of those who would hoard everything for themselves ( Hustlers , Parasite , The Menu , etc.), Triangle of Sadness will go down as possibly one of the most absurdly direct. A searing lampoon of the upper crust of society, writer/director Ruben Ostlund holds nothing back. A fair warning for those weak of stomach, though: this film contains bodily fluids aplenty. With a cast of actors that seem to be game for almost anything, Triangle of Sadness definitely hits the mark on what it sets out to do. - Darryl ADRENALINE AWARD *WINNER* TOP GUN: MAVERICK In 2022, many great films were released and many great action sequences were shot, but none could quite contend with the power of Top Gun: Maverick as a pure shot-of-adrenaline experience. Beginning with the stellar Darkstar opener, following that with one of the best aerial training sequences ever put to screen, then riding that wave all the way to the multi-part, action-packed final act, there is simply no stopping this film’s momentum once it starts. We all felt the need for speed with this one. - Jacob PREY Prey is a smartly crafted film that recontextualizes the relationship between the hunter and the hunted. The decision to set a Predator story in 1700s uncolonized America is a brilliant one, allowing the audience to engage in a familiar tale in an unfamiliar setting. Respect is given to First Nation members too, and at no point are they a cartoonish characterization or exaggeration of themselves. A culture known for having to hunt for survival being pitted against a pop culture icon famous for hunting humans is an idea rife with creative possibilities, and director Dan Trachtenberg and writer Patrick Aison squeeze that potential for every drop. - Darryl EVERYTHING EVERYWHERE ALL AT ONCE Everything Everywhere All at Once is so many things in one. There is drama, there is comedy, but above all else, it's a shot of adrenaline. You're on the edge of your seat throughout, right alongside Evelyn’s (Michelle Yeoh) complete unawareness of what's going to happen next as she cycles through different multiverses. Plus, Yeoh and Ke Huy Quan both have some of the most crisp fight scenes to come out this past year. There is a reason this is heralded as one of the best movies of 2022. - Nick THE BATMAN The Batman was, hands down, the best superhero film of 2022, and it will get your adrenaline pumping with its nonstop and realistic action beats. Director Matt Reeves managed to make a David Fincher-like Batman film that’s raw and not afraid to get down and dirty. In fact, this dark and intense take on the masked crusader is honestly the first Batman film to actually show off The Dark Knight’s detective skills. You’ll be gripping the edge of your seat throughout the entire film, and looking to fight crime once the credits roll. - Paige RRR The snowballing word-of-mouth for RRR just kept getting bigger and bigger as summer moved into autumn, so I finally had to watch this epic, all-out, ball-of-infectious energy of a film. The movie matched the hype, and it’s just gonna keep growing. There may be multiple genres floating around in its 3-hour runtime, but nothing gets you out of your seat like the explosions, wildlife, and annihilation of the British Empire. And, yes, I’m including the “Naatu-Naatu” dance-off as one of my favorite action scenes of the year. - Amarú NIGHTMARE AWARD *WINNER* BARBARIAN In today's world of social media and entertainment news, it's hard to find a film that can genuinely surprise you. Barbarian pulled off this rare feat, making it the must-see horror film of 2022. Writer/director Zach Cregger also reminded people of how much fun a horror film can be when it's a communal experience. Some of the best horror films ever play with the audiences’ expectations, and Barbarian is a roller-coaster ride that plays with genre tropes to keep you on your toes until the very end. - JTE NOPE I don’t care what anyone says, thinks, or tells their friends: Director Jordan Peele is 3-for-3 in his film career, and you can’t tell me otherwise. The chills, the images, the acting performances, and all things Gordy make Nope one of the creepiest and most exceptional horror movies of the year. It’s nothing like his previous two entries, but Nope confirms that Jordan Peele is an event director of must-see movies that you can buy a ticket for sight unseen. He even made this horror-hater change his tone on the genre, so maybe now I’m just a horror-disliker?… is that a word? - Amarú THE MENU When I walked into The Menu at TIFF, I only knew that it was a take down of the haute cuisine and fine dining establishment. What I did not know or expect was that it would be a tension-escalating tale of Eat the Rich judgments filled with dark surprises, claustrophobic ambiance, blood, and dread. The ensemble cast is better than I could have imagined too, especially Ralph Fiennes, who manages to convey uneasy humor and subtle menace as he leads us through twists and turns with each thunderous clap. - Quentin PEARL Director Ti West delivered horror fans one hell of an unexpected surprise last year with the bloody origin story of X ’s villain, Pearl . The best way to describe this film is a horrifying and bizarre fever dream that allows Mia Goth to give a profound, no-strings-attached performance. Pearl may not be as gory as its predecessor, but it’s more about a mind unraveling from reality, which can be even more terrifying. - Paige X Pearl may have gotten all the talk of 2022, but X was director Ti West's film that stuck with me most. It features great performances across the board (Mia Goth and Jenna Ortega deservingly got the headlines, but I think Martin Henderson also was crucial), and it does a wonderful job of transporting the viewer to the 1970s. There's such a chill and cool vibe to this film that makes it that much more of a contrast when things start to go off the rails. If Ti West nails MaXXXine , the third entry in the Pearl franchise, he will have created one of the all-time great horror trilogies…and that doesn't exist without X . - Nick BEST ENSEMBLE *WINNER* GLASS ONION Not only is Rian Johnson one of the best writer/directors working today, the man also knows how to build out an amazing cast. Just like its predecessor, Knives Out , Glass Onion showcases an outstanding array of talent from its cast of A-listers, which includes Daniel Craig, Edward Norton, Janelle Monáe, Kate Hudson, Dave Bautista, Leslie Odom Jr., and Kathryn Hahn. Johnson just knows how to strike gold with these whodunit ensembles. This group helps elevate the film, allowing it to be more entertaining from start to finish. He was even able to get four former Oscar nominees to appear in this film. Can you name all four? - Paige THE WOMAN KING If there is one film this year that the Oscars snubbed, it's The Woman King . First off, it's a wonderfully directed feature by Gina Prince-Bythewood. However, the cast is the real story here, as the film is anchored by four powerhouse performances from Viola Davis, Lashana Lynch, Thuso Mbedu, and John Boyega. All of them deserved nominations as they do excellent work, both individually and as an ensemble. In fact, it's among the best work I've seen from all four actors, and I expect the film to grow in adoration in the coming years. - Nick EVERYTHING EVERYWHERE ALL AT ONCE A film’s story can only be taken as seriously or have as much of an effect as its performers can allow, and Everything Everywhere All at Once not only has the performers most up to the task, they’re all at the top of their game. Michelle Yeoh and Jamie Lee Curtis reach new heights, while Stephanie Hsu breaks into the all-time pantheon of stylistic villainy; however, it’s Ke Huy Quan’s near-constant display of range – emotional and physical – that’s the capstone and not-so-secret weapon of power. - Jacob THE BATMAN In the age of Comic Book Movies, casting can make or break a film. Fans will argue every choice, even before seeing the movie, because fanboys have a passionate opinion on who should play who (or, more often, who shouldn’t play who). That said, with The Batman , almost every piece of casting news was met with optimism. Even the most controversial choice of Robert Pattinson as Bruce Wayne was raved about once the film hit screens. Director Matt Reeves simply cast the best actors for the roles, even if they didn't meet the physical constraints of the characters (just look at Colin Farrell as The Penguin). All in all, this ensemble is prestigious from top to bottom. - JTE THE MENU The Menu is so smartly written that even with a powerhouse ensemble cast, everyone manages to make an impression. It shows the quality of the writing and direction, but also the actors, each of whom bring their own unique reactions to the events that occur on screen. Every performer has their moment, and their ability to play off of each other in a way that creates a sense of authenticity is remarkable. It’s easy to hate this collection of disgustingly rich characters, but they’re just so much fun to watch because of the performers. Anya Taylor-Joy and Ralph Fiennes may be the starring roles, but they’re really just the glue that holds together all the fantastic performances. - Joseph BEST ANIMATED PICTURE *WINNER* GUILLERMO DEL TORO’S PINOCCHIO We’ve seen this tale time and time again, but Guillermo del Toro and his team were able to bring something new to the table. With astonishingly rich stop-motion animation, this beautifully crafted gem allows del Toro to bring his unique style to the forefront while also appreciating the lore of the classic story. I honestly feel kinda bad for all the other animated films in 2022 because Guillermo del Toro’s Pinocchio steam rolls over all of them, and this magical film will most definitely be taking home the Oscar for Best Animated Feature. - Paige TURNING RED Turning Red is a big move for Pixar as it deals with the complexities of adolescence in a fun and insightful way while also acknowledging some tough realities. The characters are wonderfully written, as are the themes regarding generational differences and the expectations of parents on their children. On top of that, the colors and visual styles are unique and fresh, injecting Pixar’s portfolio with a new look by taking inspiration from various anime. Overall, it’s fun, fresh, intense, smart, and an incredibly impressive film for a directorial debut. Thank you for making this amazing and personal story, Domee Shi. - Joseph PUSS IN BOOTS: THE LAST WISH Never in my wildest imagination would I have guessed that I would be saying this about a sequel to a Shrek spinoff, but Puss In Boots: The Last Wish is quite special. The animation is so striking and hard to look away from that it gives the whole thing a crackling energy that compliments the comedy and adventure on screen. Meanwhile, the fact that it has something poignant to say about death and mortality is very gutsy for a family film, but it all works somehow. This was a pleasant surprise. - Adriano MARCEL THE SHELL WITH SHOES ON I stand by my decision last year to automatically put this as one of the most heartwarming movies of all time, and that decision keeps looking better every single day. Marcel the Shell with Shoes On is the ray of sunshine in this dark world that, even in its sadness, lets us appreciate the small beauties of life. It is joy personified, hope encapsulated, ingenuity epitomized, and… I could just keep going but I only have 100 or so words to rave about this dope-ass anthropomorphic exoskeleton (yeah, I looked up the definition of “shell” because Marcel deserves that respect). - Amarú CHIP 'N DALE: RESCUE RANGERS I grew up in the 90s, and Chip 'n Dale: Rescue Rangers was definitely in my rotation of Saturday morning cartoons. When I heard they were making a new film that would go straight to Disney+, I can't say that I was excited, even if it was directed by Akiva Schaffer of Lonely Island fame. In the end, my reservations were foolish because what we got is, in my opinion, the best combination of animated & live action since Who Framed Roger Rabbit? The jokes work on multiple levels, making the film a blast for both adults and kids alike. - JTE BEST DIRECTOR *WINNER* DANIELS ( EVERYTHING EVERYWHERE ALL AT ONCE ) Everything Everywhere All at Once pushes the envelope in terms of inventiveness and creativity. The main strength of the film, and in Daniels’ storytelling, is the focus on the main issue: a dysfunctional family. Regardless of the nonsense they throw at the audience, from our characters portrayed as rocks to a world where everyone has hot dogs for fingers, the story always reverts to the Wangs and their interconnected struggles. Be it the makeup that Stephanie Hsu’s Joy is decked out in or her outlandish costume designs, the level of detail that went into creating all aspects of this film reveals how well thought out and meticulous Daniels and their crew are. - Darryl MARTIN MCDONAGH ( THE BANSHEES OF INISHERIN ) To balance the story of a platonic break-up against the backdrop of a far-off civil war requires not only delicate balance, but perfect precision in achieving said balance. Few directors – if any – were able to achieve as much as Martin McDonagh did with The Banshees of Inisherin . It’s McDonagh’s direction that lends the film its tragic pathos, leading us to understand that none of this had to happen in either the macro and micro sense, and it’s his writing that allows his direction to be so bold as to say “but it will happen anyway.” - Jacob JORDAN PEELE ( NOPE ) Full disclosure, I enjoyed, but did not love, Nope . That said, there is no denying what Jordan Peele, with the help of cinematographer Hoyte van Hoytema, was able to pull off behind the camera. Did you know that all those night scenes were actually shot in the super bright sunlight of the California desert? That’s wild. On top of that, Peele was also able to deliver thrilling spectacle, tense set pieces, frightening imagery, and, really, just an all-around visually beautiful movie that evokes every last ounce of supernatural vibe that you’d want from a movie like this. - Quentin JOSEPH KOSINSKI ( TOP GUN: MAVERICK ) Imagine you were tasked to helm the years-later sequel to a beloved film starring arguably the biggest star in the world. This is exactly what Joseph Kosinski had to tackle when he agreed to direct Top Gun: Maverick . Not only did Kosinski meet those sky-high expectations, but he did what most directors only dream of... he surpassed them. In a world of CGI and special effects, Kosinski proved that groundbreaking direction and storytelling is still the best effect of them all. From beginning to end, you won’t find a better made film this year than Top Gun: Maverick . - JTE STEVEN SPIELBERG ( THE FABELMANS ) With The Fabelmans being semi-autobiographical for Steven Spielberg, you knew there was going to be a little extra heart put into it. That much is evident on screen, and Spielberg mines his previous work for different sensibilities (such as the childlike wonder of E.T. ) to tell his story. This was his life, so you know he was heavily involved in each scene and character choice, including Paul Dano and Michelle Williams' portrayal of his parents. However, the best part of the film is the star-making turn he pulled out of Gabriel LaBelle. The Fabelmans may be Steven Spielberg's story as told through fictional characters, but it's among his most honest films. - Nick BEST SUPPORTING ACTRESS *WINNER* STEPHANIE HSU ( EVERYTHING EVERYWHERE ALL AT ONCE ) Of all the awards this year, Supporting Actress has the most stacked nominee list, and nothing exemplifies that more than the fact that I’m ranking someone…ANYONE…higher than the Queen Mother, Angela Bassett. But dammit, Stephanie Hsu reached into the depths of my soul with her multi-character role to make me cry, laugh, yell, cheer, and stare in awe. She was the crux that made Everything Everywhere All at Once’ s weirdness so mesmerizing, as her confidence oozed off the screen throughout the gamut of emotions she displayed. It was a beautiful sight to behold. - Amarú ANGELA BASSETT ( BLACK PANTHER: WAKANDA FOREVER ) Both Black Panther films are a tier above the rest of the MCU, but the amazing throne room scene in Wakanda Forever is a prime example of what award-worthy acting is. Angela Bassett gives a thesis of a speech that tells you everything you need to know about Queen Ramonda, everything she stands for, and everything she fears. It’s heart-wrenching. Bassett makes you feel every word with her powerful delivery, and her performance shows just how tremendous she is as an actress. - Joseph KERRY CONDON ( THE BANSHEES OF INISHERIN ) Kerry Condon is The Banshees of Inisherin 's true ace in the hole, bringing incredible nuance to her role. In delivering a remarkable performance that is filled with fierceness and vulnerability, you realize that she is so much more than just the peacemaker between the quarreling friends. She is a fully realized character with her own aspirations. With a performance as brilliant and subtle as this one, I see a few Oscars in her future. - Paige DOLLY DE LEON ( TRIANGLE OF SADNESS ) Perhaps just on the outside of the Oscar nominee pool this year, Dolly de Leon immediately steals Triangle of Sadness right out from under itself the second her true power is realized. Although the film is a true ensemble piece with no actual lead, Dolly de Leon is the captain of the ship, steering us through the third act to an ending that brilliantly demonstrates what the ultimate costs of capital-based societies turn out to be. - Jacob JANELLE MONAE ( GLASS ONION: A KNIVES OUT MYSTERY ) I'll be honest, outside of her supporting role in the Oscar-winning film Moonlight , I hadn't seen much of Janelle Monáe's acting skills on display. When she was announced for Rian Johnson's follow-up to Knives Out , I didn't give it much thought. So, to say I walked out of the theater impressed would be an understatement. In a cast full of A-listers and impressive talent, it was Monáe who left the most lasting impression. I'll say it now: She'll win an Oscar in the next decade because she is that talented as an actress. - JTE BEST SUPPORTING ACTOR *WINNER* KE HUY QUAN ( EVERYTHING EVERYWHERE ALL AT ONCE ) Ke Huy Quan’s comeback performance in Everything Everywhere All at Once is amongst the best and most infectious performances you’ll see all year. It’s hard to look at the character's optimism and not root for him, or feel for him when he’s at low points. I mean, just the way he’s able to constantly switch between alternate versions of the same character, sometimes on a dime, is very impressive to watch. - Adriano BRIAN TYREE HENRY ( CAUSEWAY ) I didn't love Bullet Train , but, man, was Brian Tyree Henry entertaining. However, this award is for his underseen turn in the subtle Apple gem Causeway . This doesn't feel like the sort of film that usually gets recognized since it's not flashy, but it is note perfect. Henry and Jennifer Lawrence (at the best she's been in years) go one-on-one here, but it’s Henry who comes out the strongest. The humanity he brings to James is evident in every scene, which ultimately leads to a couple heartbreaking moments. He's past his breakout moment, but his work here proves that he is ready for more leading man roles. - Nick BRENDAN GLEESON ( THE BANSHEES OF INISHERIN ) There are only a few actors that, when they show up in a film, you know you're going to get a great performance from, no matter the quality of the overall project. Brendan Gleeson is one of those actors. Once again teaming with filmmaker Martin McDonagh and Colin Farrell, Gleeson gives yet another Oscar-worthy performance. The fact is, when you pair Gleeson's acting skills with the rich writing from McDonagh, it's a match made in heaven, and with The Banshees of Inisherin being a true two-hander, Gleeson matches Farrell scene for scene. - JTE BARRY KEOGHAN ( THE BANSHEES OF INISHERIN ) Hidden behind the star power of Colin Farrell and Brendan Gleeson, the awards pedigree of director Martin McDonagh, and the buzz of Kerry Condon, there is Barry Keoghan, who quietly gives awards-season juggernaut The Banshees of Inisherin ’s best performance. He brings tragedy and comedy, optimism and despair. But most of all, he navigates his character’s devastating arc with truth and authenticity. - Quentin MARK RYLANCE ( BONES AND ALL ) Stranger Danger is the best way to describe Mark Rylance’s role of Sully in Bones and All . His character is someone you’d never want to come across in real life because of how outright creepy he is. What Rylance is able to bring to this performance is bloody terrifying, and he nearly steals the whole movie any time he’s on screen. He’s that good! I’m truly baffled that his performance didn’t get eaten up by all the award shows this season. - Paige BEST ACTRESS *WINNER* MICHELLE YEOH ( EVERYTHING EVERYWHERE ALL AT ONCE ) In Everything Everywhere All at Once , Michelle Yeoh delivers a performance that encompasses EVERYTHING we can be in life. In a film that is filled with insanity, Yeoh is able to carry it all on her shoulders with ease, giving us one of the best performances of the year while making it appear effortless. She showcases a diverse range of emotions, as she has to make you believe that she is not only a wife, a mother, and a laundromat owner, but also a multiverse traveler that, at one point, has flippin’ hot dogs for fingers. The actress fully immersed herself in her character, and despite all the madness on display , Yeoh grounds this crazy, complex role in a very honest and nuanced way. - Paige CATE BLANCHETT ( TÁR ) From Tár ’s first announcement teaser, one could understand that Cate Blanchett had reached a new level of power as composer-conductor Lydia Tár. In fact, so thorough is her embodiment of the character (and so brilliantly is she written) that many first-time viewers actually believed Tár to be a real person. One doesn’t get there without true investment, and while a great screenplay can do a lot, true investment comes, first and foremost, from the actor. - Jacob DANIELLE DEADWYLER ( TILL ) Quite possibly the most underrated performance of 2022, Danielle Deadwyler gives the type of performance that the Oscars were made for. The way she emotes is captivating, hiding tears behind smiles, covering fear with displays of strength. The film itself is a respectful endeavor overall, but the truth is that Till is great because Danielle Deadwyler is great in it. - Joseph MIA GOTH ( PEARL ) Mia Goth continued her streak of exceptional female horror performances with her turn as the titular character in Pearl . What initially comes off as semi-parody, leaning heavily into the old-timey southern accent, Goth slowly transforms her character into a beast of a woman whose failing dreams push her to the edge. Honestly, just Google “Pearl Mia Goth 8 minute monologue” and you’ll understand what I’m talking about. - Adriano MICHELLE WILLIAMS ( THE FABELMANS ) While The Fabelmans had great performances across the board, the only one that stuck with me after leaving the theater was that of Michelle Williams. Although the movie didn’t deliver the story I wanted, her performance is heartbreaking as a woman just trying to do right by her children and herself at the same time. It’s layered, deep, and vibrant yet nuanced. She absolutely crushes it. - Quentin BEST ACTOR *WINNER* AUSTIN BUTLER ( ELVIS ) In transforming himself into a real person…nay, an icon…who was larger than life in every sense of the word, Austin Butler is transcendent in Elvis . He gives an exuberant performance that is both rousing and heartbreaking, even doing his own singing and immersing himself so deeply that he may have permanently altered his own speaking voice. Watching Butler perform as The King made me feel what all those fans in the 50s and 60s must have felt when they saw him live. Go watch the side-by-sides of Butler and Elvis on Youtube to see what I’m talking about. It’s a career- and star-making performance. - Quentin BRENDAN FRASER ( THE WHALE ) I don’t know what I can say about Brendan Fraser’s performance in The Whale that hasn’t already been said in dozens of articles. Even if you remove the context of his comeback and everything that has happened to him, it’s still such a mesmerizing and empathetic performance. Even as a lifelong fan of Fraser, I had no idea he was capable of this power. From the jarring physical transformation to the small movements he does with his eyes, it’s a truly wonderful performance. - Adriano COLIN FARRELL ( THE BANSHEES OF INISHERIN ) Early last year, we compiled our “Top Five Actors Never Nominated for an Oscar,” and to no one’s surprise, Colin Farrell topped the list. I'm glad to report that not only is this no longer the case with his Oscar nod for The Banshees of Inisherin , but this isn't a legacy nomination either. Working with director Martin McDonagh for the third time, Farrell excels as the lovable and simplistic Pádraic. His mix of comedy and heart is infectious, and it's a genuine thrill to see him finally get his long overdue nomination. - Nick RALPH FIENNES ( THE MENU ) There are few performances in 2022 that matched actor to character more perfectly than Ralph Fiennes as Chef Slowik in The Menu. He is absolutely captivating as the central mastermind behind the film's psychological warfare, controlling the numerous moving parts and interesting characters with just a look or a whisper. Fiennes is the focal point that grounds The Menu ’s intense chaos, with his mere presence taking a stranglehold on your attention every second he’s on screen. - Amarú DANIEL KALUUYA ( NOPE ) One day, we as a society will look back on Jordan Peele’s Nope and wonder how we all undervalued it to such a degree, and chiefly, how one of its lead performers slipped under the whole awards radar apparatus. Academy Award Winner (lest we forget) Daniel Kaluuya is as sharp here as he has ever been, his eyes more expressive than perhaps any leading man of his generation. Without saying a word, we know what he thinks, how he feels, and what he anticipates next; under the stellar direction of Jordan Peele, Kaluuya has never been better. - Jacob BEST PICTURE *WINNER* EVERYTHING EVERYWHERE ALL AT ONCE Many say that cinema is dead, that Hollywood has no more original stories to tell; Everything Everywhere All at Once blows that critique out of the water. It’s hard to condense my thoughts to so few words because this film evoked so many emotions within me. The story is fantastic, the effects are great, the humor is on point, and the message is just so powerful. It’s an important and touching film that demonstrates the best in filmmaking. It’s worthy of the title “Best Picture.” - Joseph TOP GUN: MAVERICK As a kid who grew up on Top Gun and as an adult who has seen a long string of disappointing legacy sequels, I was preparing for the worst with Maverick . However, from the first trailer, I was sold, and my expectations only continued to rise the closer we got to its release date. Then, I saw it; it was better than anything I could have imagined. It’s full of heart, drama, action, humor, and some of the best set pieces I’ve seen in years. It’s genuinely better than it has any right to be. Following two years of COVID and mostly streaming releases, Maverick is the movie that reminded me of the magic of going to the cinema. If that doesn’t qualify as “Best Picture” material, I don’t know what does. - Quentin THE MENU TIFF was fantastic this year. I had the pleasure of seeing films like The Whale , The Fabelmans , The Woman King , and The Banshees of Inisherin , all of which I loved. But the film that topped my list was The Menu . My favorite horror film of the year featured a tremendous cast, headlined by an enthralling Ralph Fiennes, and just a genuinely good story. It shocked me, surprised me, and above all, entertained me. From the subtleties of Anya Taylor-Joy's Margot to the ridiculousness of Nicholas Hoult's Tyler…and each dish featured on the menu itself…this film is just plain delicious. - Nick THE BANSHEES OF INISHERIN The Banshees of Inisherin is far and away director Martin McDonagh’s best film to date. Starring Colin Farrell and Brendan Gleeson, together for the first time since 2008’s In Bruges , the pair pick up right where they left off: a delicious mix of warmhearted friendship and constant annoyance that can only come with being longtime friends. Farrell and Gleeson both bring their A-game, with Farrell giving the performance of his career. Bleak, shocking, and at times, hysterically funny, T he Banshees of Inisherin proves Martin McDonagh is one of cinema’s most underrated working directors. - Darryl GUILLERMO DEL TORO’S PINOCCHIO Guillermo del Toro is truly one of today’s best and most inspired filmmakers, and his take on Pinocchio is a masterpiece. Even through the stop-motion animation, his visual eye is as present as ever, plus the voice acting is terrific. But what is beyond impressive is the fact that he was able to take a story we’ve seen so, so, sooo many times before and update it in ways that are both necessary and refreshing while still retaining the same themes as the source material. I was a blubbering mess by the end of this true work of art. - Adriano Photo Credits: Photo 1, 3, 14 - Warner Bros; Photo 2 - Apple TV+; Photo 4 - Universal Pictures; Photo 5 - Lionsgate; Photo 6 - Paramount Pictures; Photo 7 - 20th Century Studios; Photo 8, 9 - Netflix; Photo 10, 11, 12, 13, 15 - A24

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

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

BLACK MIRROR: SEASON SIX Starring: Aaron Paul, Josh Hartnett, Kate Mara, Zazie Beetz, Clara Rugaard, Salma Hayek, Annie Murphy, Paapa Essiedu, Anjana Vasan, Samuel Blenkin, and Myha'la Herrold Creator: Charlie Brooker PAIGE While the new batch of Black Mirror episodes are a major improvement from last season’s, they still aren’t as glorious as what came before. As usual, the writing and performances are phenomenal, but I feel like it’s missing the original flair that made me fall in love with the show in the first place. Overall, this season just feels like it sees its originality as more of a burden than an opportunity to stand out. Although change is good, it seems that the pandemic derailed the dark and twisted technology horrors we’re used to seeing for a more natural commentary on society as a whole.

Previous January 12, 2025 Next A BITESIZE CHAT WITH DEAN FLEISCHER CAMP Dean Fleischer Camp is an award-winning filmmaker and bestselling author best known for co-creating the viral sensation Marcel the Shell. With Marcel the Shell with Shoes On now a critically acclaimed feature film, we sat down to chat with him about what the character means and Marcel's feature film debut. BB: Thanks for taking the time to chat with us. Tell us a bit about the reactions and the response for Marcel the Shell with Shoes On. It has gotten such an amazing reception; Cher has even tweeted about it! I mean, that's a crowning glory. How much better can you get than that? DFC: *laughs* Big fan. BB: Tell us about what the reception has been like? I know it's expanding to theaters across North America now and more people are going to get a chance to see it, but tell us about some of the reactions. What has your own response been to that? DFC: It's been amazing. It's been so fun to talk with people, and it's been sort of surreal to me. I don't know if you've ever worked on something for seven years in kind of a vacuum, but we worked on this film for seven years, and I remember when we premiered it at Telluride [Film Festival]. I started hearing laughter and crying, and it was just so moving and surprising. I was just, like, “oh, yeah, that joke I forgot was funny three and a half years ago, it's really funny and gets a big laugh.” It's just…yeah, it's thrilling. The memes that people have been making are incredible, and I don't know, I'm just grateful for the entire experience. BB: Something that really struck me was just how much of a philosophical character Marcel is with these meditations on life and death and love. I mean, for you, when you and Jenny [Slate] were developing the character, was that always the impetus to sort of give us this prism of life through this unique character? DFC: I think the original short that I made was, you know, there wasn't too much thought put into it. We made it in like 48 hours, and Jenny and I wrote it very quickly. She improvised, and I crafted the character very quickly. It was all kind of a rush and just done on a whim because it made us laugh. But I think what we realized once we saw the response, and once we started making a few more shorts, was that this character is so much richer and deeper than he appears, and that there was so much more to explore about him. There was such a rich inner life, and it always feels like a total pleasure to write for this character, to create stories for him. I often find that I'm just as moved by and inspired by him, by his circumstances in life and his approach to life, as anyone. BB: What inspired the documentary-style because it's such a unique way to take it. It's almost a meta-approach because, of course it was viral before, but it just feels so much more real this way than taking any other narrative approach. DFC: I have always been into documentaries, and I've worked on documentaries. I've also worked on things that blur the line between documentary and scripted narratives. So, it has always been something I'm exploring. To me, it provides a way for an audience to have an intimate interaction with a character that does away with the artifice of, you know, what you might get from a Pixar movie or a Disney movie that doesn't have that approach. For whatever reason, stripping that away allows people to respond to Marcel like he's a real person. So, that inspired… I mean, the original shorts were sort of, although they're so short, we didn't really explore it… but the original shorts were a documentary format. I have intentionally edited it to feel like a rough cut of a documentary. It cuts them off mid-sentence and things like that. It always felt like part of the magic that those shorts bottled was this great tension that happens when you combine stop-motion, which is the most labor intensive, pre-visualized art form on Earth, with this aesthetic or film grammar that feels unquestionably spontaneous and authentically documentary. And when you combine those two things, I think it's just total magic, so I was really focused on preserving that for the feature. BB: Why did you explore such dark themes in this movie? Like, Marcel is such an innocent and happy character, but then you have the themes of loss and loneliness. Why did you go into that dark route for such a happy-go-lucky character? DFC: Well, I think that he's inspiring for that reason. I think it's part of the reason why he resonates with so many people. You can't really have the happiness and the real, you know, nectar of life if you haven't also been through and processed the grief of it. Part of what I was interested in portraying in this movie is that pain and grief and loss are an inherent part of the cycle of life, and that you cannot, literally both in nature but also - at least I've found in my own life - you can't create new growth without death and decay. Those things enrich the soil that growth sprouts from. BB: Did you always have the plan to take it from a short film to a feature, and what was that process like? And, almost more importantly, what does the future hold for Marcel? DFC: I don't know what the future holds for Marcel, but I hope it's a lot, you know? I hope that after the film comes out, there are audiences that will want to see… I don't know if it's a sequel or a TV series or more shorts or what… but I would love to continue to explore the character in whatever way is fun and cool and chill for me and Jenny. You know, we created this whole community of characters that are only in the last three minutes of the movie, but I was sort of so sad watching it, like “oh my gosh, we fleshed out all these great characters.” Some of them are some of my favorite comedians…Nathan Fielder, a fellow Canuck…as well as the voice talent. They're so funny and so great, and I hope we get a chance to explore those characters as well. It was always kind of the plan to turn this character into a feature. At the time that I made the shorts, I was an editor for a living, doing, you know, the worst editing gigs, and was interested in segueing into directing. I've always loved movies, so that was kind of always the plan. But after the first one took off, like when something goes viral or is popular on the internet, you can get meetings with all the major studios and do this sorta water-bottle-tour of Los Angeles. But they're not going to trust you to make your weird feature. They just want you to license your character that is beloved to them to make something that’s a more familiar kind of tentpole franchise. Going through that process, it was recognizable right away, like, “okay, I'm really young. They're not going to trust me to do this. We're gonna have to make this film independently, and it might take a long time.” But ultimately, I'm so glad that we had this more patient process, and that we found the right supporters, creatively and financially, that we could, you know, expand Marcel's world in a good way that felt holistic to the character we made. Make sure to check out Marcel the Shell with Shoes On now in theatres. Interview conducted on July 14th, 2022 by Nick van Dinther. Photo Credits: Banner - Chris Pizzello/AP; Photo 1 - A24; Photo 2 - Maria Andreotti

Previous Next January 24, 2024 WRITTEN BY: ADRIANO We truly are in the thick of awards season, and like usual, the majority of attention is centred on the acting categories. This year, several performances are dominating the conversation, and with actors like Lily Gladstone, Emma Stone, Cillian Murphy, and Da’Vine Joy Randolph receiving their flowers, I can’t help but smile. That said, while most of the performances being recognized are more than deserving, there are bound to be a few that have unfortunately fallen by the wayside, especially considering the incredible year in film we just had. As such, I wanted to take this opportunity to acknowledge some of my favourite performances from 2023 that, for whatever reason, are not getting the awards recognition they fully deserve. Warning: Mild Spoilers KŌJI YAKUSHO ( PERFECT DAYS) Some performances may seem like there is very little happening on the surface, and then there is Kōji Yakusho in Perfect Days . In theory, Yakusho isn't asked to do much at all in the Wim Wenders drama, as he's relatively silent the whole movie as he goes around Tokyo cleaning toilets and going about his day-to-day. But with how little he projects, it's what's on the inside when you look into his eyes that conveys so much more. Yakusho's character, Hirayama, constantly rides a high-wire act of dissatisfaction and heartache, but just peering into him, you can see the little things that bring him such joy. That’s what makes Perfect Days one of 2023's most endearing watches. The last shot alone, where we stay on Yakusho for a little under a minute, shows the pure talent on display. GLENN HOWERTON ( BLACKBERRY) I've been a fan of It's Always Sunny in Philadelphia for years, and I’ve always been remarkably impressed with the talent of Glenn Howerton. His line delivery always gets something out of me, especially during Dennis Reynolds' more rage-fueled moments. So, to my delight, he finally got to show off what he can do outside of Sunny with Matt Johnson's BlackBerry . As Jim Balsillie, Howerton was tasked with portraying a corporate shark with a short-tempered mentality towards his enemies. He could have played this lazily, and it still would have been entertaining. But he didn't. Yes, he yells a lot, but he becomes a room-silencing force to be reckoned with, a feeling he sometimes is able to convey with just a stare. I hope this is just the beginning of a more distinguished career for Howerton. HAVANA ROSE LIU ( BOTTOMS) When done right, a comedic performance can be just as effective as a dramatic one, and Emma Seligman's high school comedy Bottoms is filled with hysterical performances that elevate the already very funny script (shoutout to Marshawn Lynch). However, since seeing the film in August, Havana Rose Liu has remained in my mind for her pitch-perfect comedic timing throughout the film. In a film where I laughed quite a lot, the scenes where I laughed the hardest were due to Liu's starry-eyed yet strong and confident delivery. Two moments in particular that stand out to me are, one, her reaction to hearing she has been cheated on, and two, when she confronts the cheating boyfriend. The reactions are polar opposite, but firmly believable because of Liu. CARA JADE MYERS ( KILLERS OF THE FLOWER MOON) With Leonardo DiCaprio, Lily Gladstone, and Robert De Niro giving knockout performances, it can be hard to remember just how incredible the entire ensemble of Martin Scorsese's Killers of the Flower Moon is. It's a film filled with impactful performances compacted in smaller roles. Take Cara Jade Myers for example… As one of the victims, Myers portrays Anna Brown with a stern confidence that makes her character arguably the most memorable outside of the central three. On the surface, Brown is a reckless alcoholic, but through Myers, we have a woman aware of the wolves circling her, fearful of her fate while also fighting for her humanity. We don't get much time with her, but the time we do have makes it all the more heartbreaking when she is gone. JACOB ELORDI ( PRISCILLA) After 2022's star-making turn from Austin Butler as Elvis Presley, to get another version of the King of Rock ‘n’ Roll so soon seems jarring. Thankfully, Jacob Elordi's portrayal of Presley in Sofia Coppola's Priscilla allows him to capture a unique portrait of the icon. Elordi nails the Elvis of it all, in the sense that he truly feels like Elvis Presley, from the mannerisms to the voice. There are even moments where the physical resemblance is frightening (props to the hair and makeup department). That said, what makes his performance so special is how human he comes across…in beautiful ways, and more importantly, ugly ways. Elordi expresses the love he shared with Cailee Spaeny's Priscilla Presley very believably, but also the stress and weight of the world on his shoulders, resulting in the toxic side effects that are fully felt. If Butler's Elvis was meant to reaffirm our perception of Presley, Elordi's was meant to show us a side we've never seen before. SOPHIE WILDE ( TALK TO ME) If there is one performance this year that feels like a true lightning-in-a-bottle, star-is-born moment, it has to be Sophie Wilde for her turn as Mia in Danny and Michael Philippou's debut horror film Talk to Me . In the beginning, Mia seems like your run-of-the-mill high school senior, but little does she know, her life is about to be altered in the worst ways. In one of the year's most surreal moments, when she first begins the ritual and becomes "possessed", Wilde is unrecognizable. Her physicality in the moment is truly haunting to watch, and that's just one scene, mind you. As the film goes on and the spirits begin to fully encapsulate her, Wilde portrays her character’s descent in a way that is true to the Philippou brothers' crazy vision, but never in a way that feels fake, not for a second. Also, keep in mind, this is Wilde's feature film debut. MARGARET QUALLEY ( SANCTUARY) Being that Zachary Wigon’s Sanctuary is a chamber piece, a weak performance can diminish the overall effect of the film. Christopher Abbott certainly brings a vulnerability to ground the film, but Margaret Qualley gives this movie a life that takes the film up several notches from scene to scene. From the beginning, even under a facade, there's something mysterious and seductive about Qualley. It isn't until her true persona and motives are revealed, when the twisted game of wills begins, that Qualley truly lets loose. By nothing more than the way she speaks, you can tell that she holds all the power, holding Abbott's character deep in the palm of her hand. By the end, despite the character's clear flaws, Qualley has a way of even roping viewers in, making us almost root for her plight. That is the marking of a truly effective performance right there. ALISON OLIVER ( SALTBURN) Given the star power on display in Emerald Fennell's Saltburn , from rising stars Barry Keoghan and Jacob Elordi to industry titans Richard E. Grant and Rosamund Pike, it's quite impressive that, for me, the stand out is far and away Alison Oliver. As Venetia, Oliver bursts into the film silently, yet instantly alluring. Throughout the film, there's something mysterious about Oliver's cadence. You can't tell if she's mischievous or seductive. As the film goes on, we begin to see she's just broken, and only personally satisfied through pleasure. In the film's second most notable bathtub scene, Oliver's monologue displays something I feel the film needed more of: vulnerability. Yes, she's a good person, but she's still seeking happiness, and in that moment, it feels like Oliver is expressing the acceptance that Venetia will never get. PATTI LUPONE ( BEAU IS AFRAID) In Ari Aster's Beau is Afraid , the topic of the trauma and anxiety that toxic parental figures can inflict upon their children is taken to many, many extremes. Joaquin Phoenix's Beau is quite a damaged character, so when we finally meet the woman who caused all this torment, she had to be an immediate force of nature. With barely any screen time, Patti LuPone accomplishes just that, instantly…and I mean INSTANTLY. Mona's gaslighting and putdowns feel like gunshots, and LuPone's stern delivery cut deep into Beau, almost justifying the previous two-plus hours of him being the way he is. To be honest, if I had a mother like Patti LuPone's character, I'd probably be a neurotic oddball as well. MILO MACHADO-GRANER ( ANATOMY OF A FALL) Last, but most certainly not least, I must talk about a performance from my favourite film of 2023, Justine Triet's Anatomy of a Fall . Much has justifiably been said about Sandra Hüller's earth-shattering performance, but one performance that I can't help but think about is Milo Machado-Graner as Daniel. I'm always blown away when a child actor can be so comfortable and magnetic in front of the camera, and Machado-Graner is no exception. One might argue that part of what makes me so impressed with this performance is merely the fact that he was 13 years old at the time of filming, but no matter his age, what he pulls off as the grieving Daniel is truly outstanding, particularly towards the final act as the focus on him and his beloved dog, Snoop, take centre stage to deliver some of the most impactful acting of the year. Photo Credits: Photo 1 - DCM; Photo 2 - Elevation Pictures; Photo 3, 8 - MGM; Photo 4 - Apple; Photo 5, 6, 9 - A24; Photo 7 - Neon; Photo 10 - La Pacte

Previous Next March 5, 2025 WRITTEN BY: ADRIANO Saturday Night Live (or SNL , for short) is simply a monumental institution. The sketch comedy series recently celebrated its 50th season with an anniversary special that brought out former cast members and hosts to perform. Indeed, the show has birthed the careers of some of the greatest comedic minds in history, including the late John Belushi, Gilda Radner, Chris Farley, and Norm MacDonald. As many have been celebrating the history of SNL in the wake of the Anniversary Special and Concert, I wanted to take the time to honour some of the best post-SNL careers. Please note, I will not be including any cast members who were only on the show for one season, including the likes of Ben Stiller and Robert Downey Jr. (yes, they had their time on the hit series). CHEVY CHASE (1975-1976) One of the original cast members in 1975, Chevy Chase may not be as much of a household name nowadays due to his inability to get roles because of how famously impossible he is to work with. Still, at one point in time, the name Chevy Chase was synonymous with star power. He left the show very early in the second season, so this is admittedly a bit of a cheat, but he immediately cashed in on his star power, good looks, and natural slapstick delivery. He is known for his work in 80s film classics, including the National Lampoon’s Vacation movies, Spies Like Us , Fletch , Three Amigos! , and my personal favourite, Caddyshack . His most modern claim to fame is his starring role in the first four seasons of Community . His heyday may be long gone, but Chevy Chase is still, and likely always will be, one for the ages. BILL MURRAY (1977-1980) Bill Murray feels like he's been around forever. Even before leaving SNL , he made a name for himself on the big screen in Meatballs with frequent collaborator Ivan Reitman. However, once he left the show in Season Six, he was an instant box-office draw. He used his deadpan sensibilities to massive effect in even the smallest of roles, as seen in Little Shop of Horrors , but his lead performances in Scrooged, Groundhog Day, and Ghostbusters are the stuff of legends. He has even proven that he has a knack for the dramatic (while maintaining his comedic charm) as a regular cast member in Wes Anderson’s films, starring as Polonius in Michael Almereyda’s Hamlet , and perhaps most notably, earning an Oscar nomination for his turn in Sofia Coppola's Lost in Translation . Frankly, the fact that he didn't win is not something I'm thrilled about. EDDIE MURPHY (1980-1984) In SNL ’s sixth season, there was a huge disruption as series creator Lorne Michaels had left and the entire cast was replaced. This is historically known as a dark period for the series, and it's not too much of an exaggeration to say that Eddie Murphy single-handedly saved the show. After leaving in Season Nine, Murphy became an instant movie star. In fact, my parents had their first date at one of his movies, and I always forget which one because his string of hits feels endless: Beverly Hills Cop, 48 Hours, The Nutty Professor, Harlem Nights, Trading Places, Coming to America, Bowfinger, Dreamgirls (which earned him an Oscar nomination), Dr. Dolittle, Dolemite is My Name , and even voice work in Mulan and Shrek . Suffice it to say, despite not every one of his projects being amazing (or even good for that matter), Murphy is one of the single most influential comedic voices in history. JULIA LOUIS-DREYFUS (1982-1985) Remember when I said there are some famous people that you might not know were on SNL ? Yep, Julia Louis-Dreyfus was a cast member for three seasons. While her stint was short, I think it's telling that her career is so storied that her time on the famed television institution is somewhat forgotten. Most notably, Louis-Dreyfus played Elaine Benes on the hit sitcom Seinfeld , for which she won an Emmy, as well as Selina Meyer in the HBO comedy Veep , for which she won six Emmys (meaning she only lost once as the series had seven seasons). If that wasn't enough, she also starred in The New Adventures of Old Christine (a show that earned her ANOTHER Emmy), a seemingly recurring role in the Marvel Cinematic Universe, and both supporting and leading roles in films such as Enough Said , National Lampoon's Christmas Vacation , and A Bug's Life . There is no real sign that this woman is going to stop any time soon either. MIKE MYERS (1989-1995) You gotta love an actor who can disappear into a role, especially in a funny way. Mike Myers was a cast member from Season 14 through Season 20, during which he adapted one of the show's most popular recurring sketches, Wayne's World , into two highly successful films. Once leaving the show, he turned his knack for wild comedic character work into the spoof comedy, Austin Powers: International Man of Mystery , arguably one of the most notable comedies in history, and its two even more financially successful sequels. As if Austin Powers wasn't enough, he replaced the late, great Chris Farley to become the titular voice of the Shrek franchise. Lastly, quick side note, his Netflix miniseries, The Pentaverate , which I acknowledge isn't very good, still has all the fun Myers antics that I thoroughly enjoy. He is, to put it in broad terms, shagadelic, baby! ADAM SANDLER (1990-1995) My girlfriend and I recently had a debate on which SNL alum had become the most popular — not necessarily the most acclaimed, but the biggest star. We both landed on Adam Sandler. The elephant in the room is that yes, he has had some absolute misfires. Jack & Jill, Little Nicky , and That's My Boy are just a few examples of critical disasters that also bombed at the box office. However, Sandler has become such a trusted audience favourite that even some of his most critically derided offerings, such as Click and Grown Ups , have succeeded. That aside, after being abruptly fired from SNL during Season 20, he starred in Billy Madison , then Happy Gilmore a few years later. These two films are synonymous with his monster career, not to mention other comedic hits like The Wedding Singer, 50 First Dates , and Big Daddy . Sandler doesn't shy away from the dramatic side of things either, with highly acclaimed performances in Punch-Drunk Love, Funny People, The Meyerowitz Stories , and of course, Uncut Gems , the film that might have jump-started a Sandler resurgence. WILL FERRELL (1995-2002) It's time to talk about my absolute favourite SNL alum and one of my favourite actors ever: Will Ferrell, whose SNL career is surely amongst the best the show has ever seen. Once he left, though, it was time to take the movie world by storm, making a huge splash right away with a critically acclaimed supporting performance in Old School . While he is widely known for leading roles in films such as Elf and Blades of Glory , he's probably best known for his collaborations with former partner Adam McKay. The two co-wrote the Ferrell-starring vehicles Anchorman: The Legend of Ron Burgundy, Step Brothers , Talladega Nights: The Ballad of Ricky Bobby, and even a one-man Broadway show called You’re Welcome, America . His work in the 2000s, when he was a prominent member of what's known as The Frat Pack, has personally influenced my sense of humour and made me love movies. So, for that alone, he earns a spot on this list. TINA FEY (1997-2006) While she may never reach movie-star status, there is no denying the success of Tina Fey. Starting as a staff writer in 1997 before being elevated to head writer in 1999, she appeared in her first sketch in 2000. Clearly, her time on SNL left an impression as she immediately created the sitcom 30 Roc k upon her departure, satirizing her experiences on the show, ultimately winning an Emmy for her performance and two additional Emmys for writing. As if that wasn't enough, she also wrote and co-starred in the hit comedy film Mean Girls (as well as the Broadway musical adaptation), she co-created Unbreakable Kimmy Schmidt , and starred in the hit films Baby Mama, Megamind , and Sisters . Like most on this list, she received the Mark Twain Prize for American Humor in 2010, but at 40 years old, she was (and still is) the youngest recipient of the award. You can't say it's unearned. ANDY SAMBERG (2005-2012) Andy Samberg was two years into his seven-year run on SNL when he starred in his first movie, Hot Ro d, a wildly under-appreciated comedy gem. Since leaving the show in Season 37, Samberg has taken starring roles in the films Popstar: Never Stop Never Stopping and Palm Springs , as well as contributed voice work in Chip 'n Dale: Rescue Rangers , as well as the Hotel Transylvania and Cloudy with a Chance of Meatballs franchises. Perhaps most notably, he was the Golden Globe-winning lead actor of the terrific Golden Globe-winning hit sitcom Brooklyn Nine-Nine . However, for me, he'll always be known for his work with Akiva Schaffer and Jorma Taccone in The Lonely Island, a musical group whose comedic sensibilities have helped shape this generation's absurdist sense of humour, for better and for worse. BILL HADER (2005-2013) Bill Hader left SNL after Season 38, and even before his departure, his rising star was already cemented with small but effective roles in Knocked Up, Pineapple Express, Tropic Thunder, Forgetting Sarah Marshall , and Superbad . Once he officially left, he expanded his horizons to a wider variety of roles. A lot of animated films took advantage of his phenomenal vocal range, as seen in Inside Out, The Angry Birds franchise, and the Cloudy with a Chance of Meatballs series. He didn't shy away from dramatic work either, as seen through his acclaimed performances in The Skeleton Twins and It: Chapter Two . All his talent, however, culminated in the universally acclaimed HBO comedy-drama Barry , which he created, wrote, starred in, and often directed. That series won him two Emmys for his brilliant performance, not to mention a Peabody Award for the series’ overall excellence. Now that Barry is done, Hader has claimed he wants to direct horror movies, and I cannot wait.

EXPATS Starring: Nicole Kidman, Sarayu Blue, Ji-young Yoo, Brian Tee, Tiana Gowen, Bodhi del Rosario, Ruby Ruiz, Amelyn Pardenilla, and Jack Huston Creator: Lulu Wang ADRIANO I've been waiting since 2019 for Lulu Wang's follow-up to her excellent feature debut, The Farewell , and I am delighted to say that her new Prime series Expats does not disappoint. Although it’s certainly slight in its approach to modern-day womanhood, Wang allows the performances and writing to breathe every step of the way. It's a nuanced show in all the right ways, and it leaves the viewers with a dark sense of realism in nearly every frame. Episode Five alone makes its slow-burn nature a worthwhile experience.

A THOUSAND BLOWS: SEASON ONE Starring: Malachi Kirby, Stephen Graham, Erin Doherty, Francis Lovehall, Ziggy Heath, Jason Tobin, Darci Shaw, James Nelson-Joyce, Nadia Albina, Jemma Carlton, Caoilfhionn Dunne, Morgan Hilaire, Tom Davis, Ella Lily Hyland, Robert Glenister, and Susan Lynch Creator: Steven Knight QUENTIN If you’re experiencing severe withdrawals from Peaky Blinders , ask your doctor about A Thousand Blows (at least until the Blinders movie, The Immortal Man , hits Netflix). With both series coming from Steven Knight, Blows could be the 1883 to Peaky Blinders ’ Yellowstone due to the shared production values, period-specific details, and above average performances (although, Blinders is stronger on the acting front). However, while it touches on still relevant themes of class, gender, and racial dynamics, the story is a poorly paced slog built around thinly written characters and boxing sequences that are bruising but not exciting. If you need a Blinders fix, it’ll do…but meh.

Previous February 18, 2026 Next A BITESIZE CHAT WITH NIRVANNA THE BAND Matt Johnson and Jay McCarrol talk about bringing Nirvanna the Band to the big screen, the editing process, and making a truly Canadian film. BB: So, this film is filled with tons of [Toronto] Easter Eggs. How do you go about creating a film that is so unabashedly Canadian, yet something that worldwide audiences are going to be able to embrace? MJ: We have good role models in that sense. In other Commonwealth countries like Australia and England, the BBC and ABC have a lot of super hyper-local content, whether it's The Office or Chris Lilley's Summer Heights High , where there are references to such bizarre local culture that you'd think it's completely unintelligible to outsiders. But these are some of my and Jay's favorite things ever made. So, I don't think that we thought about it as something that was going to repel audiences. We saw it as a feature. If we can do something in Canada in the same way that these other guys made shows about their particular cultures, then we'd be in good company. JM: Just working backwards too. Like, we don't put on any costume really, or we don't really venture out to try to manifest a set that we thought and we wrote. We're just using literally what's in front of us. So, we're able to do it because we really are what you see. This is where we live and this is what we know. It's all we know. BB: Let’s talk about the editing. You've really made the unbelievable so believable. What were the biggest challenges you faced in the editing phase of the film? And maybe tell us a bit about some of the struggles because it looked like a lot of work went into it. MJ: The real struggle is actually not what you'd think. And this is what's so fun about making movies in this format. The struggle with editing is when the editors get a better idea for what our scene should have been than we had. And, so, we'll shoot something... a great example would be, I'll use a very obvious one, okay? When we tried to sneak through security at the CN Tower and we on the production team were expecting to get stopped. We thought that they were going to say, “hey, you can't bring parachutes in here. You can't bring wire cutters in here” and stop us. So, when they let us through all of a sudden, we are, like, okay, so now what do we do? We send that footage back to the editors and we're, like, well, do we use this? Like, what can we do? And they confront us with the idea that they love this footage, so let's see where it goes. Now, you have to go and actually shoot what you said you were going to shoot. That is, I think, a big example, but every day we were hearing alternate versions of what we had shot from the editors as they said, “don't do that, do this instead.” That said, it means that we're really working for them. Like, we're trying to shoot as much content as we can, do as much crazy shit as we can, so that they have enough clay, so to speak, to really mold something interesting. But we trust them completely. Curt [Lobb] and Bobby [Upchurch] are more or less in charge of the movie. JM: It's very fun to be presented by them. We get to perform for each other. So, Matt and I, there's no script. We know kind of where we want to go, but we improvise a lot of stuff, and they play with those ingredients and concoct something and show it back to us. But, often, they're not just doing that to make it funny. They're trying to find some better writing, as well. And often, what happens is that we go back to shoot again because the editors have discovered a way to punch up the writing, make something make more sense, to help a storyline. So, we're constantly going back and forth between the people on the field and the people in editing. We're making it all together. BB: There’s a scene where you head back to your apartment in 2008 and you inadvertently interact with your younger selves. How did you plan out that scene? Because that footage you have in that scene, it's almost as if you filmed it back then perfectly to fit with what we get in this film. JM: Well, when we made the webseries, we were really figuring out things as we went. We didn't know how to shoot with a lot of intention. We would just improvise, and our camera guys would just shoot us trying a lot of different things. We eventually made a webseries and cut it all down, but we saved all the little mini-tapes in a drawer because we're, like, maybe one day this will come in handy. Years later, we found ourselves sort of still figuring out what we wanted to do with this movie, and we realized that enough time had gone by that we could string together this crazy idea of a time travel plot using the old footage. So, the real heroes of that sequence are our editors that went through all that footage and all the stuff that didn't get into the web series, which is so many hours of things, and found little pertinent moments that they could develop a little narrative to. Then we came in and were, basically, just being directed by them as to how to fit in how we were interacting with ourselves. Through a series of tricks, it all came together. BB: You guys really centered friendship as the emotional core of your story. Was there a moment you guys shared with each other while making this movie that really stands out to you? MJ: It's interesting because making movies is so difficult that it would be... believe it or not, the things that bonded Jay and I the most were when things were going wrong, but it wasn't our fault. JM: We had a common enemy and it wasn't each other. MJ: Yeah, it would be like when Matt Greyson, the producer, made a huge mistake or Ben Shane forgot our clothes. Then Jay and I could just sit in this boiling hot RV on Queen Street in rush hour traffic and laugh and be like, well, at least it wasn't our fault that this got screwed up. JM: We’d just laugh. It was a joyous time because we realized, okay, we are off the hook. But we are going to suffer. MJ: Filmmaking is, literally—it may seem like a joke—but it's constant suffering. It's like the joy comes when you're thinking of the idea and how good it will be and you're dreaming, “oh, wouldn't it be funny?” Like, we'll jump off the CN Tower, oh, it'll be hilarious. Then you actually have to do it and it's not fun at all. It's like your stomach is in a knot. You're worried you're going to get in so much trouble. It is literally not a good time. JM: I'm very bad with heights too. It's awful. No interest in getting up there. MJ: And you can apply that to almost every single section of the movie where it seemed like a good idea, then you actually have to do it and it's just pain. It's pain, but the friendship survives. The idea that in some ways, thematically, it's important that these characters go through such adversity only to realize that the most important thing to them is their connection to one another. Because I think that's how great friendships are formed. Like, at war or in school, in places where you have to do something extremely difficult. For some reason, you can't get rid of those people because you went through something hard. BB: Since the show has wrapped and, you know, there have been so many different movies and TV shows that have had big impacts and big moments, has anything come out in that time that you guys think, we could absolutely riff on this in the Nirvanna the Band universe? MJ: This is such a smart question. It's like asking Weird Al what songs have come out that he wishes he could do a version of. It's weird, I would say that the obvious answer would be like a kind of Barbenheimer, like Oppenheimer -style parody. But you never really know what's going to work and what's not going to work. I think that if we were ever going to do a more modern movie and do a straight one-to-one ripoff of it, the best would be Whiplash , because we have this kind of dynamic between us already and there's a musical element to it. I could see us doing an entire Whiplash episode of the show. But it's funny because we've never been asked that before, so I imagine that we could probably come up with a hundred. JM: It's usually what moves us and if we have a lot of gas in the tank to talk about it. If we end up… if we're just on our own as friends and with our whole crew, if we're talking a lot about something and we have a lot of ideas, that just means that there's something there that we can explore. MJ: I'll say the shows that we thought about making but never did... They're a little bit dated now, but we tried doing a Westworld episode of the show. And we also had another idea for a time-travel episode where we go back way, way, way far and it was kind of going to be like a Game of Thrones -style episode. Go to, like, not prehistoric, but a medieval time. BB: Well, hopefully there’s more to come, and I can’t wait for audiences to get to check this thing out. MJ: Thank you, Nick. JM: Thanks, Nick. Make sure to check out Nirvanna the Band the Show the Movie now in theatres. Interview conducted on February 4th, 2026 by Nick van Dinther.

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.