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

Previous Next December 10, 2023 WRITTEN BY: ADRIANO This year sees the Golden Globes take one of their biggest shake ups since… well, last year, when they had another big shakeup. For the 81st Golden Globes, which take place on January 7th, 2024, the Hollywood Foreign Press Association (or HFPA), the usual voting body for the Golden Globes, has been disbanded. Since then, Dick Clark Productions and Eldridge Industries have acquired the awards show, and expanded the voting body from 200 voters to 300 while championing a 60% racially and ethnically diverse contingent of voters. Alongside the voting change, a new category has been added to the film side, the controversial Cinematic and Box-Office Achievement Award, and most interestingly enough, the categories’ nomination count has been expanded from five slots to six. With that, many questions arise as to what the Golden Globes will look like this year. We’ll likely see the films we expect to dominate the awards season going forward to do well here, such as Martin Scorsese’s Killers of the Flower Moon , Yorgos Lanthimos’ Poor Things , and Bradley Cooper’s Maestro . And of course, “Barbenheimer” is highly expected to dominate on both sides of the aisle with Christopher Nolan’s Oppenheimer on the dramatic side and Greta Gerwig’s Barbie on the musical/comedy side. The bigger questions are reserved for the fringe contenders, such as Justine Triet’s Anatomy of a Fall , or even Blitz Bazawule’s The Color Purple . The Color Purple , in particular, because in other years, a crowd-pleasing musical would likely annihilate at the Golden Globes; however, with this new voting body, while I personally find it likely the film will receive nominations, will it receive as many nominations as one would expect? As for an international title like Anatomy of a Fall or Jonathan Glazer’s The Zone of Interest , will these types of titles fare better than they have in the past with the new voting body? Either way, for many titles, this will be the jumping-off point for the rest of the awards season. I highly expect Cord Jefferson’s American Fiction and Celine Song’s Past Lives to cement their spots in the Best Picture race, but for other titles, I’m more interested in whether or not they will get the platform to show that they are here to stay. Titles such as Ben Affleck’s Air , Todd Haynes’ May December , Sofia Coppola’s Priscilla , and Sean Durkin’s The Iron Claw are where we can see who means business and who will be missing out on awards season altogether. All that said, I’m just excited that awards season is officially upon us, so get ready… because the Golden Globes are about to fire the starting gun! Side note: For the sake of clarity and due to a lack of understanding at this point in time, I’ve decided not to focus on the television side, so this will only focus on the film side of the Golden Globes. Without further ado, here are my predictions: Best Motion Picture - Drama OPPENHEIMER KILLERS OF THE FLOWER MOON MAESTRO ANATOMY OF A FALL PAST LIVES THE IRON CLAW Alt: PRISCILLA Best Performance by an Actress in a Motion Picture - Drama Carey Mulligan - MAESTRO Sandra Hüller - ANATOMY OF A FALL Lily Gladstone - KILLERS OF THE FLOWER MOON Cailee Spaeny - PRISCILLA Greta Lee - PAST LIVES Annette Bening - NYAD Alt: Teyana Taylor - A THOUSAND AND ONE Best Performance by an Actor in a Motion Picture - Drama Cillian Murphy - OPPENHEIMER Bradley Cooper - MAESTRO Leonardo DiCaprio - KILLERS OF THE FLOWER MOON Colman Domingo - RUSTIN Zac Efron - THE IRON CLAW Andrew Scott - ALL OF US STRANGERS Alt: Adam Driver - FERRARI Outstanding Motion Picture - Musical/Comedy BARBIE POOR THINGS THE HOLDOVERS AMERICAN FICTION THE COLOR PURPLE MAY DECEMBER Alt: WONKA Outstanding Performance by an Actress in a Motion Picture - Musical/Comedy Emma Stone - POOR THINGS Margot Robbie - BARBIE Natalie Portman - MAY DECEMBER Fantasia Barrino - THE COLOR PURPLE Jennifer Lawrence - NO HARD FEELINGS Ayo Edebiri - BOTTOMS Alt: Eve Hewson - FLORA AND SON Outstanding Performance by an Actor in a Motion Picture - Musical/Comedy Paul Giamatti - THE HOLDOVERS Jeffrey Wright - AMERICAN FICTION Timothee Chalamet - WONKA Nicolas Cage - DREAM SCENARIO Jason Schwartzman - ASTEROID CITY Gael Garcia Bernal - CASSANDRO Alt: Matt Damon - AIR Best Performance by a Supporting Actress in Any Motion Picture Danielle Brooks - THE COLOR PURPLE Da’Vine Joy Randolph - THE HOLDOVERS Emily Blunt - OPPENHEIMER Taraji P. Henson - THE COLOR PURPLE Penelope Cruz - FERRARI Jodie Foster - NYAD Alt: America Ferrera - BARBIE Best Performance by a Supporting Actor in Any Motion Picture Ryan Gosling - BARBIE Robert Downey Jr. - OPPENHEIMER Mark Ruffalo - POOR THINGS Willem Dafoe - POOR THINGS Robert De Niro - KILLERS OF THE FLOWER MOON Charles Melton - MAY DECEMBER Alt: Dominic Sessa - THE HOLDOVERS Best Director Christopher Nolan - OPPENHEIMER Yorgos Lanthimos - POOR THINGS Martin Scorsese - KILLERS OF THE FLOWER MOON Greta Gerwig - BARBIE Bradley Cooper - MAESTRO Justine Triet - ANATOMY OF A FALL Alt: Alexander Payne - THE HOLDOVERS Best Screenplay Greta Gerwig and Noah Baumbach - BARBIE Tony McNamara - POOR THINGS David Hemingson - THE HOLDOVERS Christopher Nolan - OPPENHEIMER Celine Song - PAST LIVES Eric Roth and Martin Scorsese - KILLERS OF THE FLOWER MOON Alt: Cord Jefferson - AMERICAN FICTION Best Motion Picture - Animated SPIDER-MAN: ACROSS THE SPIDER-VERSE ELEMENTAL THE BOY AND THE HERON TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM NIMONA CHICKEN RUN: DAWN OF THE NUGGET Alt: THE PEASANTS Best Motion Picture - Non-English Language ANATOMY OF A FALL SOCIETY OF THE SNOW THE TASTE OF THINGS PERFECT DAYS THE BOY AND THE HERON THE ZONE OF INTEREST Alt: THE TEACHER’S LOUNGE Best Original Score Ludwig Göransson - OPPENHEIMER Robbie Robertson - KILLERS OF THE FLOWER MOON Daniel Pemberton - SPIDER-MAN: ACROSS THE SPIDER-VERSE Christopher Bear and Daniel Rossen - PAST LIVES Thomas Newman - ELEMENTAL John Williams - INDIANA JONES AND THE DIAL OF DESTINY Alt: Jerskin Fendrix - POOR THINGS Best Original Song I’m Just Ken - BARBIE (Written by: Mark Ronson and Andrew Wyatt) What Was I Made For? - BARBIE (Written by: Billie Eilish O’Connell and Finneas O’Connell) Keep it Movin’ - THE COLOR PURPLE (Written by: Halle Bailey, Denisia Andrews, Brittany Coney, and Morten Ristorp) Am I Dreaming - SPIDER-MAN: ACROSS THE SPIDER-VERSE (Written by: Mike Dean, Peter Lee Johnson, Rakim Mayers, Roisee, Landon Wayne, and Leland Wayne) A World of Your Own - WONKA (Written by: Neil Hannon) High Life - FLORA AND SON (Written by: Gary Clark, John Carney, and Eve Hewson) Alt: Can’t Catch Me Now - THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES (Written by: Dan Nigro and Olivia Rodrigo) Cinematic and Box-Office Achievement Award BARBIE OPPENHEIMER SPIDER-MAN: ACROSS THE SPIDER-VERSE GUARDIANS OF THE GALAXY VOL. 3 JOHN WICK CHAPTER 4 TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM THE LITTLE MERMAID ELEMENTAL Alt: MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 Photo Credits: Warner Bros. 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DR. DEATH: SEASON TWO Starring: Édgar Ramírez, Mandy Moore, Ashley Madekwe, Gustaf Hammarsten, and Luke Kirby Creator: Ashley Michel Hoban QUENTIN After a surprisingly good first season, Dr. Death : Season Two comes across as a series that Peacock felt forced to make simply because they’ve had few wins and need more content. The first half of the season is so focused on the relationship between Dr. Macchiarini (Édgar Ramírez) and Benita (Mandy Moore) that you kind of forget the series is supposed to be about someone called “The Cutthroat Conman.” It’s more like a Lifetime movie about a lying husband. It eventually gets to the medical malpractice story in the final few episodes, which is admittedly interesting, but it’s a little too late at that point.

WHAT WE DO IN THE SHADOWS: SEASON SIX Starring: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, and Mark Proksch Creator: Jemaine Clement QUENTIN In the first three episodes (all that was provided to critics), What We Do in the Shadows enters its final season firing on all the same hilarious, outlandish, and precise-chemistry-having cylinders it always has. Collectively, this triad of episodes barely has a 70-minute runtime, yet they are filled with genuine laugh-out-loud moments while setting up a story that promises interesting pathways for all involved as we approach the end of our journey with these vampires. It’s the third episode, however, that contains the biggest indicator for what this season might look like. It’s a terrific start to a bittersweet ride that I can’t wait to take. KATIE The first three episodes of the final season of What We Do In The Shadows kick off on a fang-tastic note, delivering the same hilarious character dynamics and outlandishly funny hijinks for which the show has become renowned. It playfully leans into sit-com tropes to deconstruct the narrative style in a way that feels fresh yet familiar, and raises questions that will be exciting to explore. The loveable cast sustains the show’s infinite charm and potential with their chemistry and laugh-out-loud one-liners, and I cannot wait to see where the story takes each of them.

MASTERS OF THE AIR Starring: Austin Butler, Callum Turner, Anthony Boyle, Barry Keoghan, Nate Mann, Rafferty Law, Edward Ashley, Jonas Moore, Elliot Warren, Matt Gavan, Branden Cook, Ncuti Gatwa, James Murray, and Josiah Cross Creators: John Shiban and John Orloff QUENTIN Serving as a companion piece to Band of Brothers and The Pacific , Masters of the Air isn’t as strong as the former but soars higher than the latter on the strength of its aerial sequences. They are beautiful, visceral, exhilarating, and anxiety-inducing, especially once they establish any character can die. As for the performances, they are solid enough, but this is the type of show where the characters don’t really matter. The real stars are the action scenes that show the horrors of war. Admittedly, it drags some towards the end as it moves away from the bomber missions, but the miniseries remains an overall winner. ADRIANO Like its predecessors, Band of Brothers and The Pacific , Masters of the Air is a tour de force that sets another bar for what television can be. On a technical level, it's invigorating and jaw-dropping to look at, with some moments feeling like your soul is exiting your body. In terms of the writing, it can fall under typical war story archetypes, but it's captivating nonetheless, successfully displaying the heroism of its subjects with nuance and humanity. Mix that with a cast of talented young actors giving knockout performances, and Masters of the Air is officially the first must-watch show of 2024. NICK Those who know me know that I'm not the biggest fan of war films (or, in this case, series), but there is something about Masters of the Air that just got its hooks in me. And that something is the visual excellence of the show. Whether it's the exhilarating aerial sequences or the seamless transformation back in time, this thing fires on all cylinders. The story itself may not feel as inspired, but it's helped along by solid performances across the board, anchored by the two Bucks (Austin Butler and Callum Turner). I highly recommend checking this one out, even if war stories aren’t for you.

Previous Next August 2, 2023 WRITTEN BY: ADRIANO The 2023 Toronto International Film Festival is fast approaching, and I’m very grateful to be representing Bitesize Breakdown as official press again this year. But more importantly, as a movie lover, I’ll be attending for the seventh year in a row. I’ve gone every year since I was 15 years old, and between the films and overall fun of the community that’s always present at the festival, it’s my favourite part of every year. As of right now, TIFF has only announced its Gala, Docs, and Special Presentations slate. Honestly, I expected some pushes and delays due to the SAG-AFTRA strike, but according to TIFF CEO Cameron Bailey, the festival program remains just as it was always planned. While I am sad that movies I am highly anticipating, like Sofia Coppola’s Priscilla and Martin Scorsese’s Killers of the Flower Moon , won’t be at TIFF, the lineup this year still gives me hope that, despite not being as stacked as recent years, the festival will be full of excitement, variety, and quality. With that said, of the films announced, here are the ten that I’m most excited to see in Toronto this year: WOMAN OF THE HOUR This year’s lineup sees a lot of actor-turned-directors, including Viggo Mortensen, Ethan Hawke, and Michael Keaton. However, the film that caught my attention the most was Anna Kendrick’s Woman of the Hour. Based on the true story of serial killer Rodney Alcala’s appearance on The Dating Game, Woman of the Hour could be all sorts of things. Is it a dark drama? A psychological thriller? That ambiguity, coupled with the subject matter, makes me interested to see what Kendrick does in the director’s seat. Starring: Anna Kendrick, Daniel Zovatto, Nicolette Robinson, Kathryn Gallagher, Kelley Jakle, Autumn Best, and Tony Hale Director: Anna Kendrick THE MOVIE EMPEROR I love a good satire about the film industry, which is why The Movie Emperor immediately caught my attention. I’m pretty unfamiliar with director Ning Hao’s filmography, so I can’t say for certain how funny or engaging this film will be. But the thing that got my enthusiasm up is the fact that Hao will direct and star alongside Hong Kong action icon, Andy Lau. This seems like a change of pace for him, and that gets me excited. Starring: Ning Hao and Andy Lau Director: Ning Hao AMERICAN FICTION Speaking of satires, not much is known about American Fiction , but a quick Google search about its source material made it shoot up my list of most anticipated titles. It’s based on a novel called Erasure , which is described as a “skillful, extended parody of ghetto novels such as Sapphire’s Push .” It aims to criticize the very criticism of African American literature. If that doesn’t pique your interest enough, Jeffrey Wright leads an ensemble cast that also features Tracee Ellis Ross, Sterling K. Brown, Issa Rae, and Adam Brody, to name a few. Starring: Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Leslie Uggams, Sterling K. Brown, Myra Lucretia Taylor, John Ortiz, Issa Rae, and Adam Brody Director: Cord Jefferson MONSTER It feels like Hirokazu Kore-eda can’t help but screen his films at TIFF, and Monster is thankfully not an exception. The film premiered earlier this year at the Cannes Film Festival to critical acclaim, most notably for its ability to shift perspectives to tell a quietly devastating story. Plus, Monster won the Queer Palm and Best Screenplay at Cannes. With Kore-eda being one of my favourite filmmakers, I’m excited to see his latest at the festival. Starring: Sakura Andô, Eita Nagayama, Soya Kurokawa, Hinata Hiiragi, and Yûko Tanaka Director: Hirokazu Koreeda THE HOLDOVERS Fun fact about this movie: it secretly screened at last year's TIFF. It was shown to studios and industry leaders, leading to a bidding war that Focus Features won for $30 million. One of the rare entries on this list to have a trailer, The Holdovers looks like classic Alexander Payne: a funny and light comedy above the surface with something much more poignant underneath. This might be one of the TIFF movies that will make me well up. Starring: Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa Director: Alexander Payne NEXT GOAL WINS Next Goal Wins has been one of my most anticipated films for literal years. Initially, it was supposed to come out in 2020, but it has been pushed several times for varying reasons (COVID, Armie Hammer, etc.) Right now, the film is at risk of being pushed again due to the ongoing SAG-AFTRA strike (a delay that could easily be avoided if studios would just pay their actors a fair wage), but I’m hoping I’m able to watch this at the festival before it gets a wide release. I’m a big Taika Waititi fan, and this film looks like a lighthearted, funny, and crowd-pleasing soccer romp. Starring: Michael Fassbender, Elisabeth Moss, Oscar Kightley, Uli Latukefu, Rachel House, Kaimana, David Fane, Beulah Koale, Chris Alosio, Taika Waititi, Will Arnett, and Rhys Darby Director: Taika Waititi THE ZONE OF INTEREST Another film that premiered at Cannes, The Zone of Interest was one of the most buzzed-about films at that festival. It’s described as a meditative and haunting portrayal of a German family whose patriarch is a commandant at Auschwitz, exploring their home life as they live right next to a concentration camp. Directed by Jonathan Glazer (who also directed of one of my favourite movies, Under the Skin ), the film is critically acclaimed, holding a 96% on Rotten Tomatoes, with particular praise given for its portrayal of evil in a common setting. It may not be the most fun movie at the festival, but it’s one that might impact me the hardest. Starring: Sandra Hüller, Christian Friedel, Medusa Knopf, Daniel Holzberg, Sascha Maaz, and Max Beck Director: Jonathan Glazer ANATOMY OF A FALL Not only did Anatomy of a Fall also premiere at Cannes earlier this year, it managed to win the top prize, the coveted Palme d’Or. To say Justine Triet’s court thriller is critically acclaimed seems to be an understatement, and Sandra Hüller’s performance alone has received maybe the highest praise for any performance this year. It’s been one of my most anticipated films since its premiere, so suffice to say, I will be first in line to the North American premiere. Starring: Sandra Hüller, Swann Arlaud, Milo Machado Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Saadia Bantaïeb, Camille Rutherford, Anne Rotger, and Sophie Fillières Director: Justine Triet THE BOY AND THE HERON There is no filmmaker, possibly in history, that has done more for Japanese animation than Hayao Miyazaki. The man’s filmography has many iconic masterpieces, such as My Neighbor Totoro, The Wind Rises , and, of course, Spirited Away . So, when I found out that Miyazaki’s first film in 10 years, The Boy and the Heron , would be the opening night film, I could not contain my excitement. The Boy and the Heron came out in Japan last month with little-to-no marketing, but it’s already being heralded as a masterpiece. As if my excitement for this film wasn’t already sky high… Starring: Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Shôhei Hino, Kou Shibasaki, and Takuya Kimura Director: Hayao Miyazaki HIT MAN I was probably the most shocked by this addition to TIFF’s program. I had heard of this project by Richard Linklater, but I assumed it was going to come out next year. So, it’s a very delightful surprise to see that it will be having its North American premiere at the festival. Starring and co-written by Glen Powell, TIFF described Hit Man as a “sorta-true crime comedy thriller about role play, romance, and the precarious pursuit of self-knowledge,” which sounds like a movie that appeals to what I love most in film. Combine that with the fact that it’s directed by a prolific filmmaker that I admire, and I truly can’t wait to see what Linklater and Powell have cooked up. Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, and Molly Bernard Director: Richard Linklater Photo Credits: TIFF

Previous Next October 19, 2023 WRITTEN BY: THE BITESIZE CREW As we begin to emerge from the film festival season, several of the Bitesize Crew noticed that we had seen quite a few movies from actors that made us wonder, “why didn’t this person become a bigger star?” This month alone features new offerings from the likes of seasoned veterans Ann Dowd, David Duchovny, Lance Reddick (R.I.P.), Jason Clarke, Bill Camp, and Stephen Dorff, all of whom seem deserving of more recognition and accolades. With that in mind, we wanted to shine a light on some of the unsung heroes of Hollywood. Sure, you may know their names or recognize them from “that one thing,” but these performers never reached The A-List, either as a perennial awards-nominated actor like Leonardo DiCaprio or a recognizable box office draw like Reese Witherspoon, despite exhibiting tremendous talent over the course of decades-long careers. And sadly, given their age or seeming Hollywood perceptions, the fact of the matter is, through no fault of their own, these people likely will never take the next step for a late career breakout. They are who they are, as they say. Lastly, we want to stress that this piece is about actors and actresses who have settled into their station, their star no longer rising. Like we said, they are who they are, probably forever bound to round out ensemble casts and bring a little extra oomph to a supporting role. This is different from the relatively fresher-faced actors that are still waiting for their breakout role or have yet to fully reap the benefits of a recent coming out party. This is why individuals like Antony Starr, Keke Palmer, and Mia Goth aren’t included below. They are still climbing the Hollywood ladder, and, hopefully, we won’t be writing this same article about them in 15 years. Obviously, this article could have featured 50 names, so keeping in line with the Bitesize name, each writer chose two individuals. Keep reading to see who made the list… MICHAEL PEÑA Michael Peña, probably best known as Ant-Man’s fast-talking friend, Luis, has had a lengthy career that spans comedy, action, drama, and horror. He has worked with such acclaimed directors as Oliver Stone, Clint Eastwood, Alejandro González Iñárritu, David O. Russell, and Ridley Scott in both blockbusters and awards contenders, not to mention noteworthy roles on hit series like Felicity , The Shield , Eastbound and Down , and Jack Ryan . So, why is it you probably needed the Ant-Man reference to put a face to the name? Peña has proven successful at being both hilariously funny and intensely serious, but it seems like he’s rarely offered roles worthy of his talent. Granted, he’s currently receiving great reviews for his latest turn in Prime’s A Million Miles Away , but this likely is the first time you’re even hearing about that movie. Otherwise, he’s been stuck in garbage like Jexi , Moonfall , and Secret Headquarters despite having been nominated for five (and winning two) ALMAs (formerly known as The Latin Oscars). - Quentin GINA TORRES Charlize Theron. Michelle Rodriguez. Gal Gadot. Zoe Saldaña. All these women are mainstays when you mention “Badass Women in Hollywood.” Gina Torres did it before all of them, though, and still does it with just as much grace, strength, and talent. Early in her career, she had plenty of strong guest spots in popular TV shows, including roles as Cleopatra opposite Lucy Lawless in Xena: Warrior Princess , as well as a menacing villain against David Boreanaz in Angel . However, it wasn’t until her portrayal of Zoe Washburn, the only person able to put Nathan Fillion’s Captain Mal in his place on Firefly and Serenity , that people solidified her spot as a woman you don’t wanna fuck with. Plus, she also carries that un-fuck-with-ability into 94 episodes of the recently resurgent Suits . Now that you know who I’m talking about, you can’t tell me you didn’t just think “oh, my goodness, she is a hot damn boss in everything she is in.” She is the type of woman who walks in a room and all the light bends towards her. That is the force of gravity she carries in every role she’s had for the last 30 years, to the tune of two ALMA nominations (winning one) and four Imagen awards (also winning one). Torres should be mentioned amongst the Yeohs, the Dawsons, the Therons, and the Saldañas of the world when it comes to powerful women in this industry, and she more than deserves a launching pad movie to help her reach her deserved status. Yo, Feige!! Zaslav!! How have you not called her number for a role yet? - Amarú CLIVE OWEN Who decided that Clive Owen wasn't worthy of being an A-list talent? He's had critically acclaimed roles in both film and series, exudes both the charm and class necessary to play a nobleman while also being able to play an everyman, and he's a damn good-looking gentleman. However, aside from an Academy Award nomination for 2004's Closer , his work hasn't garnered the recognition it deserves. Furthermore, since 2006's stellar Children of Men , can you name an Owen-led film off the top of your head? What about series? I mean, yeah, he had The Knick in 2014, which is excellent, but it was highly underseen as it aired on Cinemax. He has long been deserving of bigger roles in bigger projects, yet his star has seemed to fade. Although he has a couple series roles coming this year, at nearly 60-years-old, his time seems to have come and gone. - Nick TIMOTHY OLYPHANT An actor with the talent, look, charm, and resume to be an actual A-lister is Timothy Olyphant. However, for some bizarre reason, he just never fully reached that status despite his potential as a leading man. While Olyphant has been in the industry since the mid-90s, he has demonstrated a broad range, dipping his toes into nearly every genre, including horror ( The Crazies ), action ( Hitman ), comedy ( The Girl Next Door ), and drama ( A Man Apart ). As time went on, Olyphant eventually found what he may be best known for: donning a cowboy for cable (or streaming) television, with critical hits like Deadwood, Justified, and The Mandalorian . Olyphant has had a lengthy career, and has even been nominated for three Emmys, so it’s still baffling that this man has not been given the chance to fully flourish as a leading man on the big screen. Sadly, his career is at a point now where it likely won’t go much beyond where it’s already at. - Paige LIZZY CAPLAN Lizzy Caplan has created a storied career in the industry with her impressive range, yet her star power still hasn’t been fully utilized. She got her start on the short-lived television show Freaks and Geeks , and she's since been able to flex her comedic chops even more with supporting roles in films like The Interview , Hot Tub Time Machine , and The Night Before . And while comedy might be her mainstay, she's more than capable of dramatic performances too. Just look at her supporting performances in Cloverfield , 127 Hours , and Allied . The thing is… notice how I keep using the word “supporting?” For some reason, despite her talent, she's been relegated to the sidelines. The most notable instances of Caplan in a leading role are in the shows Masters of Sex and Fleishman Is in Trouble , and in both instances, she received an Emmy nomination. So, she can be a star, she just hasn't gotten the right opportunity to show it. Hopefully, filmmakers will notice one day that she's more than capable of being a leading lady. - Adriano BEN FOSTER Despite a nearly 30-year career full of scene-stealing supporting roles, Ben Foster has never been able to cross the threshold into A-List status. He has barely maintained a reputation as a relative household name, with most of his lead roles coming in under-the-radar indies. I mean, have you seen (or even heard of) The Messenger , The Program , Leave No Trace , or Galveston ? Probably not. To most people, he’s just a “That Guy” actor. With that, comes a remarkable lack of awards hardware given how great he has been across a wide range of genres, with his biggest win being an Independent Spirit Award for Best Supporting Actor in Hell or High Water . For whatever reason, Hollywood doesn’t seem to be paying attention to what the man is capable of, relegating him to thankless roles in straight-to-streaming movies. In fact, in 2022 alone, he had four such roles ( Hustle , The Contractor , Medieval , and Emancipation ). Frankly, Foster deserves better. - Quentin WOOD HARRIS Wood Harris is the first guy I think of whenever I see the Leonardo-DiCaprio-pointing meme. Every time he appears on screen, I point and say, “HELL YEAH, I know this is about to be damn good.” Or, at least, I know he is going to be damn good in it, no matter the genre. Whether it’s having great comedic timing in Ant-Man , playing a ruthless drug dealer in The Wire , or responding “Strong Side” to Gerry Bertier in Remember the Titans , Harris always does his damn job, and does it extremely well. Yes, in case you missed it, Avon Barksdale was also a linebacker in a Disney film. He’s been bringing gravitas to his dramatic roles and weight to action films for almost 30 years, and yet he’s still “that guy” from Creed , or “that guy” from Winning Time , or “that guy” you didn’t remember was in Dredd , Blade Runner 2049 , and Justified . The fact that he’s nothing more than the guy who played Avon in The Wire or a pointably familiar face to most people, even in Black culture, is a shame because, if you put him next to any actor, he will steal the scene. Hopefully, he can get some movie roles that allow his popularity to match his talent. - Amarú GARRETT DILLAHUNT It feels like Garrett Dillahunt’s career has flown completely under the radar. Best known for his supporting roles on series like Deadwood , Terminator: The Sarah Connor Chronicles , Raising Hope , and, most recently, Fear the Walking Dead , Dillahunt is the man you call in to spruce up the cast of your latest project. Showing a range of everything from sympathetic hero to cold blooded villain, this is an actor we take for granted. The wildest thing is, he just seems to be improving with age. I’d love to think that there’s a late career come-up in the plans for Dillahunt, but unfortunately, it feels like no one in Hollywood is willing to give him that chance. Instead, they’ll just continue to profit off the fruits of his labour. - Nick SARAH MICHELLE GELLAR Starting with the hit series Buffy the Vampire Slayer , Sarah Michelle Gellar was on the rise to be one of the hottest talents to come out of the 90s. Building on the charm and popularity of that fantasy show, Gellar had the upper hand to continue elevating her career, but once the mid-2000s hit (and before she even hit 30-years-old), her career flattened out. Sadly, it just hasn’t gone beyond what I would have hoped for her. With beloved movies like Cruel Intentions , The Grudge , and the Scooby-Doo films, I would’ve pinned her to become a blockbuster star like Drew Barrymore or Cameron Diaz. Unfortunately, after those hits came films like The Air I Breathe , The Return , and Suburban Girl , all of which were poorly marketed box office failures. As a result, her career never really took off, which is a shame, because it had nothing to do with her talent. - Paige CHRISTINA HENDRICKS One of my biggest Mad Men hot takes is that Joan Harris is one of the best characters, if not the best, on the show, and part of the reason she stood out to me was just how great Christina Hendricks was in the role. Her on-screen presence was so magnetic every time she showed up that the part-time character was elevated to series regular just because she was so good (Google it, it's true). With six Emmy nominations for her excellent performance, why exactly didn't she become a star like her Mad Men co-stars Jon Hamm and Elisabeth Moss? I don't have an answer except to say that it's wrong. While she had some minor post- Mad Men roles in films such as The Neon Demon and American Woman , as well as a leading role in the show Good Girls , Hendricks not currently being one of the most sought-after actresses is a travesty, plain and simple. She’s due for better roles in the future, but if not, we'll always have Joan. - Adriano Photo Credits: Photo 1 - Walt Disney Pictures; Photo 2 - USA Network; Photo 3 - Universal Pictures; Photo 4, 5 - FX; Photo 6 - Lionsgate; Photo 7 - HBO; Photo 8, 10 - AMC; Photo 9 - CW

CITADEL: SEASON ONE Starring: Richard Madden, Priyanka Chopra Jonas, Ashleigh Cummings, Roland Møller, Osy Ikhile, Caoilinn Springall, Lesley Manville, and Stanley Tucci Creators: Josh Appelbaum, Bryan Oh, and David Weil QUENTIN Citadel is the definition of style over substance. It’s gorgeous to look at, featuring beautiful people doing glossy-sheened, spy-themed globetrotting, but it becomes quickly apparent that the producers didn’t spend much of the $300 million budget on the script because the already generic story is woefully underdeveloped (not to mention eye-rollingly dumb at parts). Sure, it has some marginally fun twists, but they are so superficial and in service of characters that are so underwritten that they barely register. It feels like the vibe of this show’s writers’ room was “do you know what would look cool?” instead of “do you know what would be interesting?”

Previous Next September 16, 2025 WRITTEN BY: BODE One of the hottest acquisition titles to come out of the festival circuit in 2023 was Richard Linklater’s Hit Man , whose journey started at Venice and continued through the Toronto and New York Film Festivals. I went to a screening during TIFF’s second week, and I remember just how fun it was — especially with a packed audience that ate up every twisty, funny, and downright sexy moment. Although it had pre-sold to a bevy of international distributors, it had yet to land a U.S. distributor, often the first domino to fall. I came out of that screening, not necessarily hoping it would land a good distributor, but feeling that it would, and that it would get the kind of theatrical release a crowd-pleasing flick like it deserved. When it was reported that Netflix picked up the rights for most continents, my heart sank because theatrical isn’t in their business. Streamers have maintained a healthy proliferation when it comes to original movies, with a good amount of their offerings staking claim as awards titles to watch every year. I can still remember when Netflix brought Beasts of No Nation to the fall festivals in 2015, and the level of controversy it generated within the industry due to its planned day-and-date release. It goes without saying that things have changed a lot since then. Just this year, Netflix, Amazon, and Apple all have several big titles from major filmmakers doing the festival rounds. Having seen some of these films already, I can certainly say that the theater should be your first engagement with them, not at home with a ton of distractions around you. However, since some of their theatrical release windows are either too short or too geographically limited, the only chance you may have to check them out on a big screen is if you’re at a major festival. That’s not entirely fair for film fans, and most importantly, it doesn’t give these movies the kind of shelf life they deserve. With all that in mind, I want to make the case for why streamers need to get their tech-brained heads out of the algorithm and FULLY embrace the theatrical experience. (MORE) MONEY If there is one thing Silicon Valley loves, it’s money. Much like Hollywood, it makes their world go round. So, it’s puzzling to me that they wouldn’t want more of it. Moviegoing obviously hasn’t been the same post-COVID. It’s not a weekly habit for the average person like it used to be, and it doesn’t help that fewer movies are being made by the major studios. That last point is important, because the likes of Netflix and Amazon have smartly built their original libraries by making the type of movies Hollywood used to make before they became obsessed with franchises and shared universes. That being said, there is more upside value (if more risk) to a theatrical release than there is for a straight-to-streaming title, which is typically less risky, but yields less profit. Apple is learning this lesson as we speak with the success of F1, which has made over $600 million worldwide. Given that it has been such a financial hit, it’s all the more bizarre that Apple wouldn’t give Spike Lee’s Highest 2 Lowest a similar theatrical run, especially since it reunites the filmmaker with Denzel Washington, still a reliable box office draw. The same could be said for Amazon, which despite its renewed commitment to theatrical after having purchased MGM, dropped films like You’re Cordially Invited and Heads of State (both odd couple comedies with big names) directly on their service. Had they been theatrical, they could’ve boosted the margins on weekend box offices that needed more product. Most importantly, the general public would’ve known these movies actually exist, which leads to my next point… CULTURAL CACHE Ted Sarandos, the co-CEO of Netflix, is known for saying a lot of nonsense regarding the theatrical experience. One of his more notable comments is stating that “Barbenheimer” would’ve been as big a cultural phenomenon had it been streaming-only. That simply isn’t true. In terms of cultural significance and awareness, theatrical releases still hold a cache that streaming-only releases struggle to grasp. You can see those results on a weekly streaming chart, which typically features a few theatrical releases, many of which weren't box office hits at the time of release. Kevin Costner’s costly endeavour, Horizon: An American Saga - Chapter 1 , was a box office flop last year. At the time, any hope of seeing the other chapters seemingly died. But when it hit Netflix in its second window after previously streaming on HBO Max, it became an out-of-nowhere streaming hit because its status as a theatrical release most likely generated more awareness and excitement than it would have received otherwise. Meanwhile, Zack Snyder’s also costly but direct-to-streaming Rebel Moon just kinda came and went since it didn’t have that theatrical clout. Even though Netflix has millions upon millions of subscribers, that doesn’t inherently mean every big movie released directly on their service will have as big a cultural footprint as a genuine box office hit (or even a box office flop). Need more evidence? Netflix released Beverly Hills Cop: Axel F after acquiring it from Paramount in 2019. That is a major legacy sequel that probably could’ve been Eddie Murphy’s Top Gun: Maverick (and Lord knows we need more studio comedies in theatres where they belong). While people certainly watched the film over the July 4th weekend last year when it hit the streaming service, it felt as if no one talked about it afterwards. Similarly, Murphy — a bonafide comedy icon people seem to be clamoring for a comeback from — has had a string of straight-to-streaming movies for both Netflix and Prime Video since 2019, and other than Dolemite is My Name , I can’t recall anyone talking about those either. STREAMING ISN’T A REPLACEMENT From the moment Netflix bulldozed their way into entertainment with their own original content, setting the sea of change that’s still in effect today, it has always resisted the traditional approach. They popularized the binge method for TV. They made day-and-date releases bigger than they ever had been. They helped propagate the end of physical media, the very thing it built its empire on, by shuttering that part of its service in 2023. While streaming services are an extremely convenient tool, that’s mostly all they are: a convenience. Like most technology, we shouldn’t treat them as a replacement for the tried-and-true traditional methods. Netflix sees things differently, though. Unlike Amazon and Apple, their occasional about-faces notwithstanding, it’s clear that Netflix sees theatrical as a threat to their business model. It’s one thing to state that it simply isn’t their approach — Sarandos has been very consistent about that over the years — but it is hard for me to not put on my conspiracy hat when I think about the moment he was quoted as saying the theatrical model is “an outdated concept.” It doesn’t help that when they seemed open to the idea of a proper theatrical release, even partnering with the major chains, they quickly went back to their stubborn ways. I’m referring, of course, to their handling of Glass Onion: A Knives Out Mystery . Despite its success on fewer than 1,000 screens over the Thanksgiving holiday and popular demand to extend its run before it hit the site in December, Netflix stuck to their original plan. Not only did that arguably leave tons of money on the table, but it made the sequel to one of 2019’s most successful movies feel like less of an event. Had director Rian Johnson stuck with Lionsgate, who released the original film, we all know things would have gone down a lot differently. Look, I remember rolling my eyes at all the worry within the industry at the time, especially since simultaneous releases had existed for almost a decade at that point without threatening the business whatsoever. But that was 2015, when moviegoing was still at its peak, regardless of the size or genre of the film. It’s 2025 now. Netflix’s resistance to movie theaters may not have been alarming then, but there is an argument to be made that the alarm bells are ringing now given that they’ve released plenty of movies that likely would have done well in theaters. In the next few months, Netflix has Guillermo Del Toro’s Frankenstein and Wake Up Dead Man: A Knives Out Mystery , not to mention Noah Baumbach’s star-studded dramedy Jay Kelly and Kathryn Bigelow’s latest thriller, A House of Dynamite . These are showy titles worthy for a proper theatrical release, but, of course, they won’t get one. Given their limited screens and the number of days they’re in the cinema (the latter of which is why major theatre chains like AMC and Cineplex refuse to show Netflix films), their quick-hitter theatrical releases are nothing more but press for their eventual streaming releases and an attempt to qualify for awards season. It’s truly a shame, too, because there’s still no better way to watch a movie than in a theatre. It’s not just about quality or community. It’s also about choice and accessibility. It’s about ensuring that there’s still a future for the big screen, no matter how much things change.

Previous Next January 10, 2024 WRITTEN BY: CALEB I went to the movies a lot last year… like a lot , a lot. In the past few months, the theatre has even begun to feel like my home away from home. I’ve always loved going to the movies, but you know what? The more I go, the more I think there is some room for improvement. So, how can we make it better? Below, I’ve compiled my own little wish list to outline some of the things I’d like to see theatres either add or enhance upon this year. Bear in mind, these are highly personal wants that are based on my specific experiences with theatres in Ontario, so this won’t be a universal list by any means. For those outside of Canada, especially if you live in a big city, there is a chance that your local theatres may have already granted some of my wishes (lucky you!). So, with that said, let's skip any further delay and hop right into my 2024 movie theatre wish-list! Bring On the Throwbacks: One thing I’d really like to see more of is some good old-fashioned throwback screenings. I remember around my 15th birthday, Universal did a big re-release of Jurassic Park . Getting to watch that movie in a packed theatre was an absolute delight simply because having a chance to experience one of my all-time favourite films on the big screen for the first time was a dream come true. Now, this isn’t saying that I want every theatre to be filled with older movies. I obviously want new releases to have their time in the spotlight as well, but I think it’d be fun to have “Throwback Thursdays” or something similar. I know this isn’t unheard of (some small theatres and Cineplex locations already screen older movies on occasion), but I’d like to see it become more frequent. It would be especially cool if they were discounted, or if people got to vote for the movies online. Imagine walking into your local cinema to watch Gremlins , Back to the Future , or 2001: A Space Odyssey on the big screen. It would be a blast! Movie Marathons: Jumping off my last point about classics, how about we bring back movie marathons too? Do you know how many stories I had to hear growing up about people going to watch a Star Wars marathon before The Phantom Menace , or a Harry Potter marathon leading up to The Deathly Hallows ? I was too young to make it through one of those at the time, but I’m a grown man now, and I want to go to a marathon! I want to claim proudly that I sat through all nine Planet of the Apes movies before making it to Kingdom of the Planet of the Apes . Imagine how fun it would’ve been to watch a Spider-Man marathon before No Way Home . I would’ve been first in line! Unfortunately, it seems like movie marathons are becoming a thing of the past, or at least they are where I live. I’ve seen a few here and there for Star Wars and the MCU, but even those are usually relegated to specific theatres, most of which are outside of Canada. I can understand how the average person might not want to sit through seven or eight movies in a row, but I still think it’d be fun to have a few special events for the die-hard fans. Keep Catering To The AV Crowd: Let's talk about IMAX. No matter what anyone says… no matter how great your dad claims his surround sound is… there is absolutely no better way to watch a movie than in an IMAX theatre. The massive wall-to-wall screen, the crystal-clear laser projection, the near-deafening Dolby Atmos soundscape… it’s what cinematic dreams are made of. Getting a chance to see Oppenheimer in 70mm was one of the best theatre-going experiences I’ve had in a long time. It’s been announced that Dune: Part 2 will be getting a 70mm IMAX release as well, and you can bet your ass that I’ll be there opening night. All that is to say that I really like when theatres cater to the geeky, tech-y, film-kid part of my brain, and I hope to have a lot more experiences like that in 2024. This past July, Cineplex announced that it is adding five new IMAX systems across Canadian theatres, which is great news but not nearly enough. I’d really like to see theatres continue to focus on higher quality projection and sound, while moving further away from gimmicks like 3D glasses and moving seats. All that tacky nonsense just distracts from the experience. If you really want to make a movie-going experience better, make the screen bigger and the speakers louder. More Sneak Preview Screenings: Getting to see movies early is awesome! Pre-screenings just feel mysterious and exclusive, like you’re part of some secret club. When everyone else is talking about that hot new movie, you get to be the cool dude who confidently states “oh yeah… I saw it already.” They’re also great because they allow new films to get some much-needed word of mouth before their wide releases. I got to see a few sneak preview screenings this year, like Talk to Me and TMNT: Mutant Mayhem , but they still are relatively rare. Preview screenings spark fan engagement, they sell well, they’re great for publicity, and they’re just plain cool. Let’s do more of them in 2024. Create Better Subscription Models: If there is one trend that seems to be sticking around for good, it’s the subscription model. There is a subscription for damn near everything at this point: music, books, fitness, video games…you can even get food subscription plans now. Personally, I would love for theatres to hop on board and give movie fans some better options. Currently, I pay about $11 a month for Cineplex’s “Cineclub” membership. It gives me one complimentary movie, 20% off concessions, and two discounted “member-priced” tickets per showing. It’s a pretty good deal, honestly, but why not take it further? Imagine if you could pay somewhere closer to $30 a month and get unlimited screenings. That’d be amazing, and I’d pay it in a heartbeat. Hell, based on the number of movies I see in a month, I’d probably pay upwards of $40, especially if they began throwing IMAX or AVX screenings into the equation. Subscription models dominate almost every other form of media consumption, and for good reason. They give you a lot of bang for your buck, and they’re convenient. The average person might be hesitant to buy a $15 movie ticket, but if they had a subscription, they could be a lot less selective about what they choose to see. More people would go to the movies, and therefore, more people would buy concessions. Viewers are happy, theatres are happy. Sounds like a good idea to me. Bring Back Proper Theatre Etiquette: Instead of ending this article on something that I think theatres need to address, I’m going to end it on something I think we, as a society, need to address. This may be my biggest wish, actually. Frankly, we all need to learn how to behave in theatres again. I understand that the modern world is one of constant noise and distraction, but we should be able to make it through a movie without bothering the people around us. Look, I get it, I also have a really hard time sitting still and watching a TV show without pulling out my phone. I’m no stranger to TikTok brain-rot, so I know how hard it can be to pay attention to one thing for more than ten seconds. Still though, let's not make our short attention spans everyone else's problem. Movies aren’t free, and people pay good money to watch them. In 2024, I want us all to start arriving on time, turning our phones off, sitting still, and most importantly, keeping silent. If I could point to one thing that has ruined a lot of my theatre-going experiences this year, it would have to be the rowdy crowds. I think it’s absolutely crucial that movie-fans continue to support their local theatres, but it’s a whole lot harder to do that when inconsiderate audience members ruin the experience. Honestly, all I really want out of my 2024 theatres is a little bit of peace and quiet so I can enjoy the show. Photo Credits: Photo 1 - Warner Bros.; Photo 2 - Associated Press; Photo 3 - IMAX; Photo 4 - Sony Pictures Releasing; Photo 6 - Mashable

Previous Next As spooky season comes to a close on this Halloween night, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Scariest Movies. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. IT FOLLOWS Writer-director David Robert Mitchell created a terrifyingly original idea with It Follows , which is a rarity in horror these days. Who would have thought a film about a supernatural entity that essentially takes the form of an STD would be so frightening? It Follows is so chilling that it will make the hairs on the back of your neck stand up; however, it’s so much more than that. It’s also wicked stylish, featuring great performances, stunning cinematography, and a killer score. It may be hard to rewatch, but it deserves all the love this spooky season! - Paige 4. THE DESCENT It's been more than 15 years, and I can still remember the tension, thrills, scares, and claustrophobia I felt watching this little British horror film for the first time in theaters. To this day, it sticks with me as one of the scariest, and overall best, horror movies I’ve ever seen because of its unrelenting suspense and visceral frights (both physical and psychological), not to mention the fully developed collection of characters portrayed flawlessly by virtually unknown actresses who manage to make the film feel more real due to their lack of stardom. - Quentin 3. THE SHINING What is there to say about Stanley Kubrick's The Shining that hasn't already been said, analyzed, or praised? The reason this film is one of the scariest I've ever seen is the fact that its atmosphere and unnerving tone stay with you long after the credits have rolled. Kubrick's film enters your psyche to plant seeds of dread that can't easily be shaken. While most films use noises in the dark or jump scares to entice fear, Kubrick works on a level few in horror can match today. - JTE 2. THE EXORCIST Few films compare to The Exorcist with regards to scares, longevity, and cultural impact. To this day, nearly 50 years later, it is still a right of passage for kids at sleepovers, while some adults continue to avoid it altogether. Overall, The Exorcist is just a remarkably well-made film that highlights the best in horror. - Joseph 1. HEREDITARY Hereditary is the kind of movie that leaves me, a legal adult, staying up at night. The film is constantly unsettling, featuring horrifying visuals, disturbing imagery, and unnerving terror at nearly every corner, and it keeps me consistently turning away and freaking out. - Adriano HONORABLE MENTIONS SINISTER THE BLAIR WITCH PROJECT PARANORMAL ACTIVITY POLTERGEIST (1982) THE TEXAS CHAIN SAW MASSACRE (1974) Photo Credits: Photo 1 - Mongrel Media; Photo 2 - Path é Distribution; Photo 3, 4 - Warner Bros; Photo 5 - A24

Previous Next It's that time of year again! The Bitesize crew has put their brains together to go through all the films and series that 2023 has had to offer thus far to compile Bitesize Breakdown's consensus Top Five Midyear Report. All films had to be released by June 30th and series concluded their season by the same date to become eligible. Each writer ranks his or her top 15 releases in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. ABBOTT ELEMENTARY: SEASON TWO Abbott Elementary already had me and millions of others in the palm of its hands due to its hilarious and inviting nature, but the second season doubled down on what made the first one so amazing. With more than double the episodes, this season allowed Quinta Brunson and her obscenely funny and talented co-stars to evolve their characters to the point that I feel like I know them personally, making for one of the best seasons of television this year. - Adriano 4. PAST LIVES One of the best films of the year thus far is one that many of you probably have not seen, writer/director Celine Song’s Past Lives . Once again, A24 manages to strike while the iron is hot with yet another amazing film about the human connection. It’s deep and thoughtful, but most importantly, it will pull at your heartstrings through soulful performances that will resonate with you long after the film is over. This sweet, intimate drama is one that you shouldn’t miss. - Paige 3. THE LAST OF US: SEASON ONE Few video game adaptations can call themselves good; fewer still can call themselves great. That The Last of Us operates at a higher level than even the latter descriptor is a genuine miracle and a testament to the immense adaptational talents of Craig Mazin and Neil Druckmann. The decisions made regarding where to cut out certain sections of the game to make room for more narrative storytelling are brilliant, as are the added narratives themselves; not to mention every performance throughout the season’s run. It all makes for, without a doubt, the year’s best single season of television to date. - Jacob 2. THE BEAR: SEASON TWO You might want to make sure you don’t have a heart condition before watching The Bear because once you start (whether binging both seasons back to back like me, or you’ve already seen Season One like people smarter than me), there is no way you are taking your eyes off this intense, gripping, beautiful, and stressful-ass show. The “no weak link” cliché attributed to great ensembles applies tenfold here, as top to bottom…from the leads down to the stacked cameos…everyone is delivering award-worthy performances to match the top tier story elements. The Bear : Season Two is an absolute must-see season of television - Amarú 1. SPIDER-MAN: ACROSS THE SPIDER-VERSE With the "hot" thing in superhero films these days being the exploration of a multiverse, no one has managed to do it better than Sony. The follow-up to Into the Spider-Verse brings together a wonderful voice cast, dynamic visuals, and expands on the themes explored in its predecessor. This is not only a shoo-in for Best Animated Feature, but it warrants consideration for Best Picture overall. - Nick HONORABLE MENTIONS JOHN WICK: CHAPTER 4 SUCCESSION: SEASON FOUR DUNGEONS & DRAGONS: HONOR AMONG THIEVES HOW TO BLOW UP A PIPELINE SHRINKING: SEASON ONE Photo Credits: Photo 1 - ABC; Photo 2 - A24; Photo 3 - HBO; Photo 4 - FX; Photo 5 - Sony Pictures Releasing