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THE SEX LIVES OF COLLEGE GIRLS: SEASON THREE Starring: Pauline Chalamet, Amrit Kaur, Alyah Chanelle Scott, Gracie Lawrence, and Mia Rodgers Creators: Mindy Kaling and Justin Noble PAIGE Class is in session, and right away, I must say that Renee Rapp's early season departure has created a sense of absence. Although a new roommate is added this season, she doesn’t completely capture her essence. At least I still like hanging out with the other original characters because they offer so much fun and charm to the show. Even if this season is the weakest of the three, I will continue following these girls until they graduate, especially if the show's creators get back on track writing storylines that female viewers can relate to. Check out our reviews for Season Two HERE .

BLACK DOVES: SEASON ONE Starring: Keira Knightley, Ben Whishaw, Sarah Lancashire, Andrew Buchan, Ella Lily Hyland, Isabella Wei, and Omari Douglas Creator: Joe Barton QUENTIN When it comes to spy shows, most tend to sacrifice character for action and shadowy intrigue. Netflix’s Black Doves goes the other way with it. In what essentially amounts to Red Sparrow but British, this thriller is at its best when focusing on the humourous partnership and backstory of Helen and Sam (a great Keira Knightley and an even better Ben Whishaw, respectively). The mystery itself is fine, if a little convoluted, and there are the typical gunfights and whatnot, but witnessing the evolution of the two spies and the personal cost of the job is what makes this quick Christmas-tinged series (six episodes) a winner.

Previous Next November 17, 2025 Glen Powell has had a nice, movie star making run these past two years, and in his latest film he's teamed up with acclaimed director Edgar Wright for a remake of one of Arnold's classic 80s action films, The Running Man . Did they combine to create another great 2025 Stephen King adaptation, or did this one fail to live up to their collective hype? Nick, Amarú, and Adriano join Matt as they talk about the good, the bad, and the possibly ugly of this star-studded action comedy, featuring the likes of Colman Domingo, Josh Brolin, Michael Cera, Katy O'Brian, Lee Pace, and Emilia Jones. Click HERE to subscribe to our YouTube channel for all of our latest video content including our Early Reactions, and be sure to give us a thumbs up and comment your thoughts!

ADOLESCENCE Starring: Stephen Graham, Owen Cooper, Christine Tremarco, Ashley Walters, Faye Marsay, Amelie Pease, Erin Doherty, and Mark Stanley Creators: Jack Thorne and Stephen Graham PAIGE Adolescence is a brilliant, slow-building miniseries with each episode astonishingly shot in one continuous take. The character-driven, cautionary drama has such a raw and unnerving quality that will cause you to self-reflect and ponder on today's adolescent culture, particularly the impact of toxic masculinity that the internet has on young men. Its dialogue is extremely powerful, allowing each moment to linger, and all of the performances are phenomenal, particularly an extraordinary Stephen Graham. I’m telling you, this Netflix series will stick with you long after it’s over. KATIE Adolescence is the first piece of media I’ve seen that accurately highlights the insidious nature of online far-right pipelines and incel culture, showing how social media exposes vulnerable children to these dangerously toxic ideals. It’s incredibly impactful and timely, drawing on horrific real-life events that seem to be happening all across the UK at the moment; an epidemic of young men and boys enacting extreme violence against young women and girls. The naturalistic dialogue, gut-wrenching performances, and seamless single-shot style simmer with rising tension, creating a sense of urgency that implores society to finally take misogynistic violence and its causes seriously. ROBERT As a parent, there is no piece of media I have seen that has frightened me more than Adolescence , and that is why it should be well regarded. This limited series put into perspective the real fear of how online presence can be pushed, with little to no effort, from something innocuous to something rife with virulence. The mystery is centered around motive more than “whodunit”, and the stylistic camera shots, pacing, and drama are all so revolutionary that I’m surprised I haven’t seen anything like this in a previous show. I was riveted and heartbroken from the jump.

Previous Next November 13, 2024 WRITTEN BY: ADRIANO In an era of superheroes and studio-mandated nostalgia baiting, directors getting the free range to fully realize a vision is rare these days, especially when it comes to studio films. Thankfully, we have indie studios like A24 and Neon allowing for grander risks while understanding that too much studio interference could result in disaster. As a result, there are a plethora of filmmakers coming in to exploit this freedom of expression, which has been wonderful to witness. While it is a true blessing to still get films from masters like Martin Scorsese and Steven Spielberg, even they will openly admit to the influence and lessons learned from this new era of filmmakers. You can even find videos where they cite some of the directors I'm about to mention. Now, without further ado, here are the best new-age directors that are rewriting the rules of filmmaking. ROBERT EGGERS When it comes to craft alone, Robert Eggers is unmatched. I get the sense he's truly a perfectionist, as all three of his films are so meticulously put together and constructed in a way that feels very true to either the mythology or the period that each film revolves around. On top of that, Eggers is just incredible at tone and world-building. While you can watch an Eggers movie and decipher it based on its commitment to lore and dialogue, each film does something very unique with its atmosphere, whether that be the impending dread of The Witch , the slow descent into madness in The Lighthouse , or the gruesome carnage of The Northman . Eggers just nails it every time. Up next, he has his remake of Nosferatu , and one can only imagine what nightmares he has in store for us. BARRY JENKINS While I'm not thrilled that his next project is a Disney prequel to one of my least favourite movies, 2019’s “live-action” The Lion King remake, there's no denying the outstanding masterworks he has created after he made a name for himself with his Best Picture-winning Moonlight . That film, alongside If Beale Street Could Talk and The Underground Railroad , are genuinely some of the most visually stunning works of art in the past decade. All of Jenkins' films — in some way, shape, or form — deal with identity, isolation, and independence in relation to being black in America. While his films can deal with heavy subjects, Jenkins powerfully avoids black trauma porn, constantly opting for a more hopeful tone, making him a truly sincere filmmaker. JORDAN PEELE I never in a billion years thought that one of the most respected modern horror auteurs would be Ozamataz Buckshank from Stanford University, but here we are. In 2017, sketch-comedy icon Jordan Peele debuted his sensibilities in the horror genre with Get Out . Since its release, Peele received an Oscar for Best Original Screenplay for the film, which has had arguably the greatest modern influence on the genre due to its themes and creativity. While Peele has yet to clear the extremely high bar of Get Out , he continues to dominate studio horror, with his follow-up film, Us , garnering acclaim and study, and Nope following suit. Peele seems to be in a dream position for a filmmaker, being that he seemingly has full creative freedom with his partnership at Universal, and he's the rare director who can sell a movie just because he directed it. An impressive accomplishment from someone who has only made three films. GRETA GERWIG Although not her first film (that would be the 2008’s Nights and Weekends ), Lady Bird put the talents of Greta Gerwig on an extremely high pedestal, and she's yet to disappoint. Her films all seem to be personal to her as she deals with familial dynamics (specifically mother-daughter relationships) and womanhood in all her films. However, she does it in very different forms. Lady Bird is a coming-of-age film, her adaptation of Louisa May Alcott's novel Little Women is a period drama, and, of course, Barbie is an absurdist dramedy that made $1.4 billion. Each film struck a chord with audiences and critics in very unique ways, with all three receiving Best Picture nominations. Gerwig also was nominated for all three screenplays, which leaves me to believe that Gerwig will undoubtedly be a force going forward. JOSH & BENNY SAFDIE Full disclosure, we're reportedly not getting a film from these two as a duo for a while, which is sad, but it was a blast to watch The Safdie Brothers shine bright together. From their early days, they established themselves as true indie auteurs with their fascinating first film Daddy Longlegs , as well as the harrowing drama Heaven Knows What . However, they didn't hit the mainstream until the tense thriller Good Time , which helped give them some notoriety before the stressful masterpiece Uncut Gems shot them into the stratosphere. Uncut Gems has cemented itself as a modern classic, mostly due to the high-octane and nail-biting anxiety that the Safdies poured into nearly every scene. Somewhat unfortunately for fans, they've started doing solo projects. Benny co-created the critically acclaimed surrealist drama series The Curse with Nathan Fielder, and both brothers have separate sports dramas dropping next year (Josh has Marty Supreme with Timothée Chalamet, Benny has The Smashing Machine with Dwayne Johnson). I can't wait to see what they pull off in their respective solo careers, but I sure wouldn't be upset to hear they decided to make another film together. JANE SCHOENBRUN Truth be told, of everyone on this list…and honestly any new-age director, for that matter…there is nobody I'm more excited by than Jane Schoenbrun. In their two narrative features, Schoenbrun has seemingly found themselves a brilliant knack for surreal psychological horror dramas with We're All Going to the World's Fair and I Saw the TV Glow . Their key themes include identity, self-affirmation, and relationship to media, all mainly regarding queer and trans individuals. In both of their films, the use of the camera and colour is fascinating, and the way they decide to implement horror in their own way is successfully chill inducing. In whatever way you may connect to Schoenbrun's filmography, it's hard to deny just how incredibly unique they are. DANIEL KWAN & DANIEL SCHEINERT If you were to tell me the duo that directed Lil Jon’s “Turn Down for What” music video would become three-time Oscar winners, I'd cry foul, for sure. Yet, that is where we find ourselves after Daniel Kwan and Daniel Scheinert, also known as The Daniels, launched themselves onto the scene with their debut film, Swiss Army Man , introducing us to their wild sense of humour, surreal sensibilities, and soft touch when it comes to storytelling. One movie later, they were greeted with universal acclaim for their life-affirming, absurdist, martial arts sci-fi comedy, Everything Everywhere All at Once , a film that will likely remain one of the defining films of the 2020s. Not only did it win seven Academy Awards, when adding up every award that has been bestowed upon the film, it's currently projected to be the most awarded film in cinema history. And that was just The Daniels' second movie. God only knows what these two mad men have in store for us next. SEAN BAKER Whenever I sit down to watch a Sean Baker film for the first time, I can always rely on him to offer me something truly one of a kind. Whether it's Tangerine, The Florida Project, Red Rocket , or his recent Palme d'Or-winning film Anora , which is currently a big Oscar hopeful, there are some similarities you can expect but they always come in their own packaging. Each film of his is a grounded, character-driven, raunch comedy that covers themes of class and sex work in a very judgment-free manner. Even at his film's wildest moments, everything about Sean Baker's direction feels authentic and lived in, creating experiences that'll entertain you and make you laugh, but also make you stop for a minute to realize you just witnessed something incredibly special. DAMIEN CHAZELLE The prowess of Damien Chazelle is remarkable. From his debut film, Whiplash , Chazelle constantly pushes the envelope with a deft hand that makes it clear that he is a master behind the camera. This is showcased even further with his second feature, La La Land , an astonishing feat of filmmaking that he pulled off at just 32 years old. While I admit that Babylon is not my cup of tea, that film (alongside his Neil Armstrong biopic First Man) shows Chazelle is willing to experiment with music and editing, unlike most working directors. Even if his most recent film may have not been the best chapter of his career thus far, I have no doubt that he can bounce back. RYAN COOGLER As simplistic as this may sound, Ryan Coogler is one of those directors that just "gets it." After his outstanding, gut-turning debut, Fruitvale Station , Coogler has changed his tune to become a very important figure in the studio blockbuster game. His Rocky spinoff Creed was a massive surprise that, in my opinion, set the bar really high for the recent glut of legacy sequels. He then dipped his toes into the Marvel machine with Black Panther and Black Panther: Wakanda Forever , two films that were so critically acclaimed that even Marvel deniers like me had to concede to their excellence. Even at his highest scales, Coogler never loses sight of the emotional stakes that guide his films to give them more meaning than just blockbuster thrills, and I, for one, cannot wait for his next offering, Sinners, with Coogler-muse Michael B. Jordan in dual roles.

Previous Next May 7, 2025 WRITTEN BY: KATIE I generally don’t like action films. It’s not an aversion to pure spectacle or violence, either. I am, after all, a massive horror fan, so those elements often work in a film’s favour for me. What often bothers me about action films is the lack of personality and creative flair, not to mention the pacing, uninteresting performances, and onslaught of action that doesn’t allow room for anything else to breathe. Among the car chases, explosions, punches, and shoot-outs, I find myself struggling to feel emotionally involved in the story, to include caring about the characters, which is vital to maintaining engagement. When I think of an action film, I pessimistically conjure poorly lit images of guys shooting each other or throwing endless punches, featuring frenetic editing and so many cuts that I can barely make out what’s happening. I find recent action films are particularly guilty of this, with a good example being most of the MCU’s offerings over the past few years. The actors don’t seem to really care about character development, and the fights have become so overwhelmingly long, so rapidly edited, and so destructive yet inconsequential that I completely tune out. There’s no buildup, no suspense, no tension, no clarity, and no sense of stakes. This speaks to what film critic Matthias Stork has diagnosed as “chaos cinema”: films characterised by excess, exaggeration, and overindulgence. They disregard spatial awareness, emotional engagement, and character development in favour of adrenaline-fueled mayhem. They use quick cuts and shaky camera shots to create the impression of action, circumventing the need for strong direction and good choreography. These aren't inherently bad things, but all together and over the course of nearly two hours, they become incredibly monotonous. This isn't to say that I don’t like a few films like this. I love the Fast franchise, which is guilty of all the above, showing that even I, someone who may think themselves immune to the appeal of chaos cinema, can be seduced by cool cars and ridiculous action set pieces. However, especially in the most recent instalments, the Fast films acknowledge their ridiculousness in a self-conscious way that assures me they’ll at least do it right. David Bordwell has noted that most Western-made films since 1960 — not just action flicks — can be characterised as utilising “intensified continuity,” meaning generally shorter shots and faster-paced editing. He compares modern remakes to their pre-1960 originals, finding that, even though classic Hollywood films are often viewed as overwrought, modern films are less subtle in terms of music, performance, editing, and just about everything else. I think this trend has persisted, with even modern remakes of pre-2000 films being comparably less subtle in the same ways. In this sense, modern audiences could simply be more accustomed to faster pacing and, therefore, be better equipped to keep track of the action. So, is chaos cinema lazy and designed to overload the senses of passive audiences? Or could it be viewed as a challenge to or progression from the dominant artistic style established by classic Hollywood cinema? Either way, all of this is to position action as a widely varying genre, and in the words of Bordwell, show that action movies shouldn’t always be “considered a mindless splatter of violent spectacle and CGI. [They] can have a cogent architecture,” and this architecture is what makes them so entertaining. Bordwell’s article “Anatomy of the Action Picture” highlights the intricacy of action films and the impressive feat of advancing stories through physical action, which can be just as effective as dialogue. Yes, audiences want impressive action, but it needs to be tied together with plot and emotion in order to be effective. When action films are done well, they’re artful, immersive, and most importantly, entertaining. Like Bordwell says, “we like stars, but in stories; and stories that move us.” Now, I want to go through some action films that I love, as someone who doesn’t love action, and uplift what are, in my opinion, some of the very best the genre has to offer. FACE/OFF (1997) As a Nicolas Cage fan, I’m ashamed of how recently I saw Face/Off for the first time. Nevertheless, it is a delightfully unhinged, over-the-top, perfectly calculated action film. Cage and John Travolta are simply magnificent in their dual roles, and I was genuinely impressed with the calibre of their performances. Lesser actors would not try this hard in a film this insane, but their utter devotion and lack (or even awareness of) restraint convince the audience to accept the ridiculous premise and enjoy the ride. Whilst there are plenty of shoot-outs, fights, and explosions, director John Woo makes liberal use of slow motion to ensure we can appreciate every flame and gunshot. He’s not hiding behind spectacle, just doing it incredibly well. What’s more, it’s quite a gorgeous film, with time spent establishing the deep red interiors of the church, the gold accents, and the glow of the candles. Not only is the action immersive, but it’s a well-crafted film in many other aspects. X-MEN: FIRST CLASS (2011) Truth be told, I’m not a big superhero gal these days, but I adore the X-Men films. I think it’s because all the characters care about each other and so much time is spent exploring their dynamics, making the action more enhanced and engaging. Specifically in First Class , the performances are strong all around, but James McAvoy and Michael Fassbender are so, so good; their relationship drives the story. But on top of their core arc, there are so many emotional plots throughout First Class, and they’re all very well developed: Mystique’s (Jennifer Lawrence) struggle with self-acceptance, Magneto (Fassbender) being haunted by his deeply traumatic past, Professor X’s (McAvoy) earnest dedication to non-violent resolution, and the newly recruited mutants honing their unique abilities. The creative use of their powers makes all the action more satisfying and compelling. Take, for instance, the bar scene in Argentina, which is a simple setup, accentuated by Magneto’s powers in a creative way, that is still understated and impactful. MAD MAX: FURY ROAD (2015) Fury Road is my favourite action film, one of the best ever. I’ve even argued before that it constitutes a perfect film (read about it HERE ). Despite the high-octane, relentless action, it never becomes monotonous, fully gripping your attention. Each and every moment is meticulously crafted. Unlike some action films that use cacophonous action to conceal flaws or lack of direction, Fury Road uses it to highlight the intention and artistry in every shot. Look at any corner of the frame at any time, and you’ll be impressed by what you see. Fury Road propels its plot forward through breathtaking action set pieces that render dialogue useless, and I think Bordwell’s opinion that action doesn’t deny the audience narrative, but immerses them in it, is very fitting for Fury Road. REVENGE (2017) Admittedly, Revenge can be considered a horror film from the rape-revenge subgenre, which is the context in which I’ve written about it before, but it has all the hallmarks of a straight-up action film. Most of the film follows the gun-wielding protagonist, Jen (Matilda Lutz), as she prowls the desert, her appearance evocative of Lara Croft. She stalks the men who attacked her, taking them out one by one to exact her revenge. Similar to some of the best action films, there is very little dialogue, and the violent action moves the plot along. It’s pure, bloody, overindulgent, and gorgeously shot carnage. The final scene, in particular, is incredible. The suspense is maddening as Jen and her attacker chase each other around his beautiful apartment, which becomes increasingly blood-soaked as time goes on. It’s a fight to the death, a cat-and-mouse chase quite literally stripped down to one perfectly tense, intensely violent action sequence. MISSION: IMPOSSIBLE – FALLOUT (2018) My opinion of this changes from time to time, but Fallout is the best Mission: Impossible movie. After re-watching it recently, I was struck by how its stylish precision, fantastic performances, tremendous fight choreography, palpable tension, and rhythmic pacing make the runtime fly by. Fallout proves that action set pieces that, in a lesser film, would consist of close-up shots and quick cutting to create the impression of exciting action — like car chases or fights or just simply running — can be dynamic, elegantly constructed, and shot with clarity. I also love how it focuses on character development, exploring Ethan Hunt’s (Tom Cruise) vulnerability and sense of morality, adding an emotionally engaging dimension to the action.

Previous Next October 12, 2023 WRITTEN BY: QUENTIN I’m not going to lie to you. Even as a person who tracks these things, I had never heard of Zurich Film Festival until about two weeks ago. For whatever reason, it just doesn’t get anywhere near the same press coverage as the other festivals, which is wild because its lineup was on par with all the major fests, including screenings for Maestro , Poor Things , May December , and Priscilla (as well as some other major titles you’ll see below). So, considering my late awareness of its existence, the fact that I just spent ten days at Venice Film Festival (making it hard to travel for another full week), and the number of movies on the Zurich slate that I had already seen, I was only able to make it to Zurich Film Festival for its final weekend. However, despite the quick turnaround, I still was able to view seven movies, nearly all of which were anticipated titles that didn’t screen at Venice. As for the festival itself? It was leaps and bounds better than Venice. The city was better, the logistical aspects of the festival were better, the people were nicer, and it was just more accessible. My hope is that next year, I’ll make it to Cannes Film Festival for the first time, but if that doesn’t come to fruition, Zurich should by no means be considered a consolation prize. It just might be the best film festival I’ve attended in person so far. Now, let’s talk about those movies…. 7. MEMORY With this being one of the few films I missed in Venice, I was happy to get a second chance at it in Zurich. Sadly, I learned that I didn’t actually miss anything worthwhile. Sure, it has decent performances from Jessica Chastain and Peter Sarsgaard (the latter of which won Best Actor in Venice somehow), but neither are performing at the top of their game. Most importantly, though, the story sets up several fascinating pathways for it to explore, but then never follows through. In fact, it leaves so many intriguing plot threads dangling that one must wonder if this final product is the director’s true vision, or if the studio made cuts to remove some potentially controversial story beats. 6. EILEEN Despite tremendous era-specific production design and terrific performances from Anne Hathaway and especially Thomasin McKenzie (with a great Boston accent), this slow-burning, twisty, coming-of-age thriller is just a tad too slow for its own good, while also featuring a third act that almost feels as if it’s from a completely different movie. Still though, at only 96 minutes, the chemistry and psychosexual tension between Hathaway and McKenzie, not to mention a great supporting turn from Shea Whigham, are more than enough to keep viewers mostly engaged until the end. 5. DUMB MONEY When one considers how recent the events of Dumb Money are, as well as the film’s very surface-level exploration of said events, it almost feels like the team behind this movie were in such a hurry to push it out to theaters before people forgot about the GameStop short squeeze that they weren’t terribly focused on making it interesting. Yeah, it’s shiny, features an all-star cast, and has a bangin’ soundtrack, but the characters aren’t really developed at all. They are essentially NPCs, only there to navigate the viewer through the highlights of this topic’s Wikipedia page. Overall, this feels like algorithmic filmmaking at its most money-grabbing. 4. KILLERS OF THE FLOWER MOON Look, I’m as surprised as you are. Going into the festival, I fully expected Killers of the Flower Moon to be the easy number one choice, but here we are. Broadly speaking, it features all the things you’d expect from those involved: great cinematography, powerhouse performances, strong themes, important messaging, and interesting directorial flourishes. However, at 3.5 hours, it has massive pacing issues. Some parts are extremely rushed while others are incredibly sluggish, not to mention some questionable editing that makes it hard to recognize over how many years this story takes place. All in all, it’s good, but it’s far from great…and it’s definitely not the masterpiece I heard about coming out of Cannes. 3. SALTBURN Saltburn , writer-director Emerald Fennell’s follow-up to the excellent Promising Young Woman (her feature directorial debut, for which she won Best Original Screenplay), ultimately feels like the result of a filmmaker being given creative control too soon after a breakout. Despite outstanding performances, beautifully shot scenes, and a tremendously engaging setup, the second half simply has too much going on. It’s overstuffed, rushed, and underdeveloped. It’s still very good, mind you, and Fennell is an amazing talent; however, it may have been better as a miniseries in order to flesh out the back end a bit more. Or maybe Fennell just needed someone to give her some honest notes to rein it in a bit. 2. WICKED LITTLE LETTERS If Flower Moon is the festival’s surprise disappointment, Wicked Little Letters is the surprise overachiever. I’ve often been accused of not liking “lady movies,” but this cheeky little gem is raunchily (in language only) delightful. Admittedly, a charmingly crass Jessie Buckley and Olivia Colman simply doing what Olivia Colman does can cover for a lot of flaws, but it’s not like this easy-going mystery has many flaws to begin with. It may feel slight, especially pertaining to the mystery aspect, but it’s an enjoyably simple watch that ultimately entertains. Think of it as the movie version of a good “beach read.” 1. DREAM SCENARIO I know what you’re thinking: “Of course, your top ranked movie is the Nicolas Cage movie.” And, yeah, I get it. That said, I didn’t plan this. I already told you that I fully expected Flower Moon to be here. In any case, Dream Scenario is part absurdist comedy and part surreal horror, which gives Cage multiple opportunities to show his impressive range…and show it he does. He nails what is asked of him on both sides of that coin, while the story delivers timely messages on the consequences of fame and cancel culture, even as it struggles to fill the entire 100-minute runtime adequately. More interestingly, though, it’s an incredibly layered metaphor for the Memeification of Cage, touching on the idea in a more intelligent and cerebral way than The Unbearable Weight of Massive Talent . Photo Credits: Toronto International Film Festival

Previous Next August 16, 2023 WRITTEN BY: NICK With the announcement at San Diego Comic-Con that The Walking Dead content is not going anywhere anytime soon, and with Season One of The Walking Dead: Daryl Dixon coming next month, I decided it was a great time to look back at the 22 seasons of The Walking Dead Universe thus far. After going through The Walking Dead, Fear the Walking Dead, The Walking Dead: World Beyond, Tales of the Walking Dead, and The Walking Dead: Dead City (yes, I’ve watched them all), I realized the best way to write this piece was to shout-out some of the characters (some fondly, some not so fondly) that have graced the screen. This is a retrospective, so be aware, there will be spoilers! BEST PERFORMANCE : LENNIE JAMES AS MORGAN JONES ( The Walking Dead and Fear the Walking Dead ) The characters in this world go through a lot, but no one has had to endure a more heartbreaking path than Morgan Jones. He lost a son, a wife, and himself, only to leave his original group in the flagship series, join the first spinoff, and have the losses continue to pile up. Along the way, this man has gone from saviour (literal saviour, not Negan's (Jeffrey Dean Morgan) group) to basket case to pacifist to badass, and it only works because of the performance of James. Although the writing hasn’t always been on point for Morgan, James has been at the top of his game every episode. He’s the unsung hero of this franchise, and even in weaker seasons like the most recent of Fear the Walking Dead , the stories focused on him are always the most powerful. HONOURABLE MENTION: JON BERNTHAL AS SHANE WALSH ( The Walking Dead) MOST DESERVING OF A SPINOFF : JUDITH GRIMES - CAILEY FLEMING ( The Walking Dead ) The Walking Dead: World Beyond was a bit of a misfire as it basically told a worse version of the Telltale (video) Games series, which, let me just say, it's a travesty we never got Clementine on the TV side of things. However, the idea of children having to grow up in this world is intriguing. What’s more intriguing, however, is how they’d live as adults having this be the only life they’ve ever known. Enter Judith Grimes. Cailey Fleming gave a great portrayal of the child once known as “Little Ass Kicker,” but with no cure in sight thus far, jumping 15+ years into the future to see the state of things through the eyes of another Grimes would be both on brand for the series and an interesting addition to the franchise. HONOURABLE MENTION: HEATH - COREY HAWKINS ( The Walking Dead ) BEST CHARACTER ARC : CAROL PELETIER - MELISSA MCBRIDE ( The Walking Dead ) Even outside of The Walking Dead , is there any other series with a character arc as dramatic as Carol’s? Starting as a meek and silenced mother in an abusive relationship, most wouldn’t have expected her to make it out of Season One alive. However, after the loss of her daughter, a switch is flipped, and Carol makes it adamantly clear she’s a survivor. She’s one of the only characters willing to make the hard decisions, and she shows a level of composure and resourcefulness to make the most of any situation. She may have started as an afterthought, but by the finale, it’s clear that Carol was easily one of the most crucial characters of the series’ run. HONOURABLE MENTION: ALYCIA CLARKE - ALYCIA DEBNAM- CAREY ( Fear the Walking Dead ) PERSONAL FAVOURITE : RICK GRIMES - ANDREW LINCOLN ( The Walking Dead ) Rick Grimes is the ultimate family man. Whether you agree with him or not, his intentions were always clear. He did it for Lori (Sarah Wayne Calles). He did it for Carl (Chandler Riggs). He did it for Judith. Did he cross the line? Absolutely. Did he make the wrong choices? You betcha. But these mistakes and the trial-and-error of his character shone a light on his humanity and made it easy to put yourself in his shoes. "What would you do if you were in the Zombie apocalypse?" It's a question we've all asked ourselves, and one that Rick Grimes answers (both positively and negatively) in a multitude of scenarios. HONOURABLE MENTION: HERSHEL GREENE - SCOTT WILSON ( The Walking Dead ) BEST GUEST STAR : JOHN CARROL LYNCH AS EASTMAN ( The Walking Dead ) Morgan’s pacifist persona may not have been a fan favourite, but the episode where he learned of these new ways definitely is; that is thanks to his mentor, Eastman. In a world engulfed by darkness, Eastman approaches things with a level of hope and optimism rarely seen at this point in the apocalypse. With his mantra that all life is precious, he teaches a lost and hopeless Morgan these ways, as well as a pretty badass way to use a stick as a weapon. Unfortunately, it takes sacrificing himself to cause Morgan to adapt to these beliefs, but for the short time that Eastman was around, he made quite the impression. HONOURABLE MENTION: MICHAEL RAYMOND-JAMES AS DAVE ( The Walking Dead ) OVERSTAYED THEIR WELCOME : EUGENE PORTER - JOSH MCDERMITT ( The Walking Dead ) Ah yes, the scientist that had the cure. Introduced in Season Four of the main series, Eugene was precious cargo as he had vital information on how to stop the walkers and turn the world back to normal… except he didn’t. The reveal that Eugene was a liar deflated the whole story and character. After that, he just adopted the weasel role of the series. He was constantly in need of rescue due to his lack of street smarts, and he was selfish to the point of putting members of the group at risk multiple times, even going so far as to join The Saviors. He’s eventually redeemed later in the series, but the character just never had legs to continue past a season or two, let alone the series run he was given. HONOURABLE MENTION: CARL GRIMES - CHANDLER RIGGS ( The Walking Dead ) GONE TOO SOON : JOHN DORIE - GARRET DILLAHUNT ( Fear the Walking Dead ) To those who bailed on Fear the Walking Dead after a lackluster first two seasons, you missed out on a great third season based in Mexico, as well as the introduction of one of the best characters of that series, Garret Dillahunt’s John Dorie. Dorie is a former cop like Rick Grimes, but the two could not be more different. John is a gentle man searching for June aka Laura/Naomi (Jenna Elfman), the woman he loves who ran away from him early in the apocalypse. His pursuit and their reconciliation is the best love story told in The Walking Dead Universe, and like many love stories, it ends in tragedy with Dorie’s death being one of the most heartbreaking in the franchise. HONOURABLE MENTION: NOAH - TYLER JAMES WILLIAMS ( The Walking Dead ) THEY REALLY DROPPED THE BALL ON : PAUL "JESUS" ROVIA - TOM PAYNE ( The Walking Dead ) Back in Season Six of The Walking Dead , Rick and Daryl (Norman Reedus) happened upon a man who displayed probably the best hand-to-hand combat skills seen in the franchise. Jesus was a highly anticipated character from the comics, and he debuted with a bang… but that was really it. This cool, new, ninja-like character was relegated to second-in-command of the Hilltop community, and his physical attributes were rarely taken advantage of. Yes, his death was impactful, but more so because of the Whisperer revelation. Aside from that, it was more a matter of mourning what could have been over what was. HONOURABLE MENTION: HOPE - ALEXA MANSOUR ( The Walking Dead: World Beyond ) BEST VILLAIN : NEGAN - JEFFREY DEAN MORGAN ( The Walking Dead / Dead City ) In the history of television, there have not been many character introductions quite like that of Negan. In a span of 15 minutes, he debuted and instantly struck true fear into the heart of Rick's group, dispatching two of them in vicious fashion. What makes his character even more interesting is the question of whether or not he's truly a villain. The evolution he goes through is one of malice and sympathy, with the hope of redemption, and whether he's the villain or the anti-hero, he always uses traits of both to complete his objective. It's what makes Negan one of the most interesting The Walking Dead characters of all, and what makes Dead City work so well. Plus, let's not forget his dialogue and Morgan's delivery of it... *chef's kiss* HONOURABLE MENTION: PHILIP "THE GOVERNOR" BLAKE - DAVID MORRISEY ( The Walking Dead ) Photo Credits: AMC

FOR ALL MANKIND: SEASON FOUR Starring: Joel Kinnaman, Toby Kebbell, Wrenn Schmidt, Krys Marshall, Cynthy Wu, Coral Peña, Edi Gathegi, Tyner Rushing, Svetlana Efremova, and Daniel Stern Creators: Ronald D. Moore, Matt Wolpert, and Ben Nedivi QUENTIN After another time jump, this time to 2003, For All Mankind seems somewhat lost in its fourth season. Most of the original characters are gone, except for Ed and Margo (Joel Kinnaman and Wrenn Schmidt, respectively, unconvincingly playing characters twice their real ages), and the story has transitioned away from astronauts in an active space race to new characters carrying out the day-to-day items that occur once the race is over. Plots revolving around the working conditions of the maintenance staff on Mars, a smuggling ring, and political summits aren’t what I want from this show. I’ll stick around for Season Five, but it’s on notice.

Previous October 22, 2025 Next A BITESIZE CHAT WITH HARRY WATERS JR. This year marks the 40th Anniversary of Back to the Future and what better day than Back to the Future Day to chat with Harry Waters Jr.? That's right, Marvin Berry himself joins Nick to talk about filming the Enchantment Under the Sea Dance, revisiting the character four years later, and the franchise's everlasting fandom. Make sure to check out all the 40th Anniversary events for Back to the Future , including a limited theatrical return. Interview conducted on October 15th, 2025 by Nick van Dinther.

Previous Next At the halfway point of the year, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Most Anticipated for 2022. Each writer ranks his or her top 15 films or series 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. BABYLON Director Damien Chazelle has always had a knack for telling soulful stories, whether that means a drummer busting his ass to appease his monster instructor, a man seeking to accomplish something no one has done before in space, or two lost souls seeking dreams over realism. A truly singular talent, his upcoming Babylon , which follows Hollywood from the silent era to the talkies and stars two of Hollywood’s surest things in Brad Pitt and Margot Robbie, is sure to amaze. - Jacob 4. KILLERS OF THE FLOWER MOON Honestly, with a cast featuring Leonardo DiCaprio, Robert De Niro, Jesse Plemons, Brendan Fraser, John Lithgow, Jason Isbell, and Sturgill Simpson…all being directed by Martin Scorsese…the plot is somewhat irrelevant. I don’t care if it’s four hours of DiCaprio eating spoonfuls of mayonnaise in front of the others while shitting his pants – sign me up. The fact that Killers of the Flower Moon is actually the true story of a 1920s murder investigation – sign me the fuck up, please. - Quentin 3. NOPE A spectacular cast, writer/director Jordan Peele, an original concept, and aliens?! Nope has it all! Peele has changed the horror genre through his great efforts at minority representation, and I can’t wait to see what this sci-fi horror film brings. I hope it’s just as loaded with meaning and social commentary as Peele’s previous work. - Joseph 2. BULLET TRAIN With an Oscar in hand, Brad Pitt leads an all-star cast with director David Leitch, an industry vet known for action packed films like Atomic Blonde and Hobbs & Shaw . Bullet Train promises plenty of brutal fights, a bloody mess of action, and lots of bad luck for Brad Pitt’s character, all while boasting a vibe similar to John Wick (another Leitch joint) but with added humor. All aboard because you won’t want to miss this train! - Paige 1. GLASS ONION: A KNIVES OUT MYSTERY Another murder mystery featuring a spectacular cast of characters led by the enigmatic Benoit Blanc (Daniel Craig)? Yes, please! This is not only one of the most highly anticipated sequels of 2022, but one of the year’s most highly anticipated films , period. I’m so glad to hear that there will be a theatrical release before it’s available on Netflix too because the twists, turns, and Craig’s accent deserve the big screen. - Amarú HONORABLE MENTIONS DON'T WORRY DARLING BLACK PANTHER: WAKANDA FOREVER THREE THOUSAND YEARS OF LONGING HALLOWEEN ENDS PREY Photo Credits: Photo 1, 2 - Paramount Pictures; Photo 3 - Universal Pictures; Photo 4 - Sony Pictures Releasing; Photo 5 - Netflix

ONLY MURDERS IN THE BUILDING: SEASON THREE Starring: Steve Martin, Martin Short, Selena Gomez, Meryl Streep, Paul Rudd, Jesse Williams, and Michael Cyril Creighton Creators: Steve Martin and John Hoffman ADRIANO I'm impressed that after three seasons, Only Murders in the Building continues to push itself beyond its sketch comedy premise and improve on its original idea. Some of its absurdist elements don't entirely work, but this season's intense focus on the characters, beyond just the core three, made this the most captivating season yet. Both the returning and new members of the ensemble work wonders, especially Meryl Streep, whose performance feels like a return to form. I have to imagine there's not much further this concept can go, but if it keeps up this pace, then bring on Season Four. AMARÚ For a while there, I thought there was only so much you could do comedically with Only Murders in the Building , especially with the Steve Martin of it all (*gasp! I separated their names this time!*), but that’s why you get strong performers like Meryl Streep, Paul Rudd, and Jesse Williams to infuse new life, their high tides lifting all boats. As this third season goes on, their talent carries the plot and mystery into surprisingly unexpected dramatic places, with Martin Short and Selena Gomez being the primary beneficiaries. The well-built finale also shows that Season Four can hopefully still bring something new. QUENTIN In a vacuum, Only Murders in the Building continues to bring the same elegant murder mystery humor that it always has, with Martin Short especially bringing the heat this season. That said, this is a premise that can only go on for so long before we start getting into the Dexter problem (seriously, how many serial killers did Miami have? And how many murders can happen around these people?). But, if you’re able to look past that without it feeling a little tired and formulaic (it’s pushing it for me, to be honest), Only Murders remains a mostly unmitigated delight. PAIGE Only Murders in The Building maintains its power as a merriment-driven murder mystery show that lets its lead trio (Selina Gomez, Martin Short, and Steve Martin) shine, not to mention that adding Meryl Streep to the cast obviously elevates the material and the overall talent level. However, I can’t help but feel like this season is missing the lovable charm it had in seasons prior, which I think comes down to the fact that we are missing such a key element of the show that makes it what it is: The Arconia.