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THE LORD OF THE RINGS: THE RINGS OF POWER: SEASON ONE Starring: Morfydd Clark, Ismael Cruz Cordova, Charlie Vickers, Markella Kavenagh, Daniel Weyman, Cynthia Addai-Robinson, Lloyd Owen, Nazanin Boniadi, Robert Aramayo, and Owain Arthur Creators: Patrick McKay, John D. Payne AMARÚ The Rings of Power is a lesson in patience. It masterfully weaves multiple storylines together, but in following four separate plotlines, it takes a bit too long to reach a payoff. But dammit, what a payoff! For some, that slow burn may feel boring (*cough* Q *cough*) or overwrought, but for me, it brought tension to the slowly unraveling mysteries and created connections to captivating characters (especially Owain Arthur’s Durin). It even generated catharsis once the explosive climax begins tying things together in the gripping final episodes. It returned me to the beauty of Middle Earth, and I can’t wait to go back. QUENTIN While beautiful to look at…and make no mistake, it is breathtakingly gorgeous…if you aren’t already a diehard Ringer, The Rings of Power is boring as hell. The disparate storylines are just far too unwieldy and slow-moving to hold the general fan’s interest. Honestly, I still can’t tell you what the series is even “about.” The unlikable characters (especially Galadriel (Morfydd Clark)) are given weak characterizations too, and the acting comes off as wooden (though, that could be due to the bland Tolkien dialogue they are forced to deliver). As visually stunning as it may be, I can’t believe Amazon backed up the truck for this. JACOB Amazon’s The Rings of Power may not invoke the same emotion as The Lord of the Rings films from which it draws inspiration, but it’s an impressive piece of work nonetheless. Lavishly produced with one hell of a pilot, Season One immediately induces a sense of wonder and majesty in the viewer. As the story continues, there are admittedly a few awkwardly paced episodes, and for only having eight episodes total, that’s not ideal for a debut season. That said, the performances and dialogue all work well enough even then. I’ll watch Season Two, for sure.

Previous Next With Remembrance/Veterans Day having just passed, along with the recent release of All Quiet on the Western Front, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Military Films. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. A FEW GOOD MEN “You can’t handle the truth” because A Few Good Men is still one of the best military movies ever made. The whole cast, especially Jack Nicholson and Tom Cruise, give outstanding performances in this courtroom drama that is surrounding the death of a Marine at Guantanamo Bay Naval Base. It has a beautifully written script by Aaron Sorkin brought to life by director Rob Reiner, who is able to capture the sentimental state of these characters perfectly. You can’t go wrong with watching this film on Veteran’s day, or any other day for that matter. - Paige 4. 1917 Sam Mendes’ 1917 may not be the greatest war film ever made, but it is, without question, one of the most accomplished WWI stories on the silver screen thus far. Besides the total immersion brought on by Mendes and cinematographer Roger Deakins’ one-shot approach, the film’s two lead performances are appropriately devoid of star power as well, allowing the audience to see past the performer and into the character. Even the VFX are great. The biggest thing, however, that separates this movie from the rest is its incredible Thomas Newman score. - Jacob 3. DUNKIRK To this day, Dunkirk is still one of the best cinema experiences I have ever had. The sound design was remarkable, truly immersing you in the battles on land, air, and sea. Director Christopher Nolan did a fantastic job at crafting an anxiety ridden film that thrust you into the horrors of war. - Joseph 2. INGLOURIOUS BASTERDS Arguably director Quentin Tarantino’s masterpiece (at least according to him), there had never been a movie like Inglorious Basterds , nor has it been touched since. Featuring amazingly iconic performances, tension-filled scenes, and darkly humorous writing, Basterds is a singular movie that may never be replicated - Amarú 1. SAVING PRIVATE RYAN In Saving Private Ryan , director Steven Spielberg crafted a war movie masterpiece on the back of a terrific screenplay, a documentary-style approach, an outstanding cast, and a religiously-adhered-to authenticity. The 30-minute opening scene at Omaha Beach remains an unparalleled depiction of old-world combat, and what follows is a tribute to the heroism, sacrifices, and camaraderie often associated with those who wear the uniform. This film paved the way for movies like Dunkirk and 1917 . - Quentin HONORABLE MENTIONS APOCALYPSE NOW HACKSAW RIDGE THE HURT LOCKER ZERO DARK THIRTY THE DEER HUNTER Photo Credits: Photo 1 - Columbia Pictures; Photo 2, 3, 4 - Universal Pictures; Photo 5 - Dreamworks Pictures

Previous Next July 30, 2025 Disney is returning to the world of Zootopia with the long-awaited sequel to their 2016 hit. Amarú is back with his reaction for the first official trailer of Zootopia 2 , starring Jason Bateman, Ginnifer Goodwin, and Idris Elba, plus newcomers Ke Huy Quan & Quinta Brunson. Click HERE to subscribe to our YouTube channlel for all of our latest video content including our Early Reactions, and be sure to give us a thumbs up and comment your thoughts!

Previous Next September 3, 2025 WRITTEN BY: THE BITESIZE CREW When Bitesize Breakdown started in 2020, officially covering the Toronto International Film Festival wasn't even a consideration. Now here we are, five years later, and we're covering our fourth consecutive edition of our home festival. If that wasn't special enough, this is TIFF's 50th anniversary, so I'm sure there will be some surprises in store on that front. This festival gives Toronto even more life than it already has because there is something for everyone, even those who aren’t in it for the movies. There is Festival Street, which features food, activities, and the Canadian debut of the mobile Criterion Closet. There is Cinema Park, which shows a free outdoor screening every night of the fest. Then you have the Red Carpet, which is a taste of Hollywood for the North. We haven't even touched on the film slate yet. There are films for everyone, too. You have buzzy mainstream titles like Wake Up Dead Man: A Knives Out Mystery and Good Fortune , the awards darlings like Sentimental Value and The Secret Agent , and world premieres like Roofman and Nuremberg . This year, Nick and Adriano will be welcoming Amarú to the fold as he makes his in-person festival debut. Ru has been with the site from the very beginning, so this has been a long time coming. So, allow us to get into some of the titles we're most anticipating. Some may be on your radar, some may not, but if you're coming to TIFF, these are the titles you may want to check out. THE CHRISTOPHERS Synopsis: The children of a once famous artist (Ian McKellen) hire a forger (Michaela Coel) to complete some unfinished, long ago abandoned canvases so they'll have an inheritance when he dies. While I haven’t seen I May Destroy You, I have been informed of its — and its creator Michaela Coel’s — greatness. Seeing her in Wakanda Forever only solidified my interest in her career, so The Christophers had my curiosity as soon as I found out she was teaming up with Sir Gandalf…sorry, Sir Ian McKellan…in a black comedy dealing in deception, art, and forgery. When I discovered it was directed by Stephen Soderbergh, it had my attention. Coel plays a down-on-her-luck artist tasked with infiltrating the home of a famous painter under false pretenses to obtain and finish his previously unfinished work. Now, the Ocean’s trilogy is a personal top three movie trilogy, and combining what we know Soderbergh can do with twisty tales, McKellan’s ability to channel mischief and curmudgeonry, and the intrigue Coel brings with just her presence has me tantalized by how deliciously entertaining this combination could be. I’m hoping this story of allegiances and betrayals is as fun as the set up has alley-ooped for TIFF audiences. — Amarú FRANKENSTEIN Synopsis: A brilliant but egotistical scientist brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation. Guillermo del Toro is one of the most passionate filmmakers working today, and Frankenstein may be the peak of that passion. I was lucky enough to experience this firsthand as I had the opportunity to work on this set for about a month. It was evident just how much thought and care del Toro put into this particular project. From the set design to how meticulous he is with his vision, this has the potential to become the definitive Frankenstein story on film. Featuring a stacked cast of Oscar Isaac, Mia Goth, Christoph Waltz, and Jacob Elordi as Frankenstein’s monster, this could be one of the great gothic horror films of our time, and maybe…just maybe… the career highlight of the Oscar-winning director del Toro. — Nick HEDDA Synopsis: Henrik Ibsen's renowned stage drama from 1891 is reimagined in an epic and emotional way. With this being my first major film festival as press, you are going to notice a trend with how I decided to make all my choices. Just like Issa Rae at the Emmys, I’m rooting for everybody black, and the very first movie I said “hell yes” to with nothing but a picture and crew list was the Tessa Thompson-led, Nia DaCosta-directed Hedda . I’m still waiting for Thompson to make a leap into the sphere of superstardom her absolute charm deserves, and while The Marvels isn’t great for some, DaCosta’s Candyman was a wonder of visuals and tone. Bringing them together for a female-centric romance led by a black woman, which by the looks of the trailer is an entertaining cat-and-mouse game of power, is something I don’t need to be convinced about any further. The team, the tone, and finally the trailer — personally unveiled to me in that order — got me hyped with each progressive discovery. — Amarú THE MAN IN MY BASEMENT Synopsis: Charles Blakey, an African American man living in Sag Harbor, is stuck in a rut, out of luck and about to lose his ancestral home when a peculiar white businessman with a European accent offers to rent his basement for the summer. The deeper I dig into my screening choices, the more I’ve fine-tuned my earlier mentioned trend to also include rooting for actors who are forever on the verge of being (but already should be) household names. Corey Hawkins is another “that guy” who makes an impact every time he’s on screen (if he doesn’t pull off Dr. Dre in Straight Outta Compton , that movie does not work), but for some reason, his name still hasn’t broken through. A name and face that has always been memorable, however, is Willem Dafoe. When thinking of Dafoe as a mysterious white man that randomly offers to rent out Hawkins’ character’s basement, I shudder at the thought of anything being possible in what looks to be a tale of bizarre revelations. Will they be supernatural? Will they be nefarious? Will they be shocking? Either way, it’s the Green Goblin in a black man’s basement, so you know you’re in for a creepily good time. With a script adapted from mystery novelist Walter Mosley, the author of Devil in a Blue Dress , I can’t help but be intrigued by what unnerving twists Dafoe, Hawkins, and debut director Nadia Latif have in store. — Amarú MODERN WHORE Synopsis: Andrea Werhun as she portrays her past roles as escort Mary Ann, stripper Sophia, and her OnlyFans presence - all part of her Toronto sex work journey. A few years ago, I had the pleasure to see a short film by director Nicole Bazuin and star Andrea Werhun at Fantasia Film Festival called Modern Whore , which is based on the latter's memoirs from her time as a sex worker. It was smart, funny, and tackled important topics. When they announced it was being turned into a feature, I was all in. If my enjoyment of the short wasn't enough, it's being produced by the Oscar-winning director of Anora , Sean Baker. Baker has always handled the topic of sex work with care, and this will be his second time working with Werhun as she was a creative consultant on the aforementioned Best Picture winner. If the Bazuin/Werhun pairing can maintain the humour of the original short over the course of a feature runtime, this should be a no-brainer success. — Nick NO OTHER CHOICE Synopsis: After being unemployed for several years, a man devises a unique plan to secure a new job: eliminate his competition. There is no filmmaker like Park Chan-wook. He's a madman and a master of pushing genres to the extreme, both narratively and stylistically. You may not even realize that a lot of popular titles take major inspiration from his work. Remember that Godawful long-panning shot in Deadpool & Wolverine with all the Deadpool clones? It was ripped right from Park’s Oldboy . With No Other Choice , it looks like Park is evolving his already wild style. Based on the novel The Ax , it follows an unemployed man (played by Squid Games' Lee Byung-hun) who begins killing people to get work. Described as a dark comedy thriller, the film seems to feature a lot of Park's bizarre way with cinematography and editing but also appears to include an interesting class commentary. To be honest, though, whatever Park Chan-wook cooks up, I'm there no matter what. — Adriano RENTAL FAMILY Synopsis: An American actor in Tokyo struggling to find purpose lands an unusual gig: working for a Japanese "rental family" agency, playing stand-in roles for strangers. He rediscovers purpose, belonging, and the beauty of human connection. Before I characteristically start gushing over Brendan Fraser, let me just say there are other reasons that I'm very excited for Rental Family . First, Hikari is a promising filmmaker. She's best known for directing a couple of episodes of Beef , which is a fantastic show, but she also has a lovely film on Netflix called 37 Seconds that I can't recommend enough. Second, the plot, which follows an actor (played by Fraser) who works for a rental family business in Tokyo, sounds heartwarming, and the trailer backs up that claim in spades. But, yeah, I can't deny I have a soft spot for Fraser, and this movie looks to take advantage of his gentle and teddy bear-like presence in an effective way, hopefully providing a different type of performance than his incredible Oscar-winning performance in The Whale . — Adriano THE SMASHING MACHINE Synopsis: The story of mixed-martial arts and UFC champion Mark Kerr. There's a growing consensus that Dwayne Johnson has fallen as far as third place in terms of wrestlers turned actors. His upcoming role as real-life MMA fighter Mark Kerr in The Smashing Machine feels like his biggest attempt to change that narrative. Johnson has shown flashes of range throughout his career, but he has always reverted back to the safe zone. There's no questioning his success financially, but if Johnson still has the same drive it took to reach the pinnacle of the wrestling world, that’s likely not all he's looking for. After showing what he could do with Adam Sandler in Uncut Gems , director Benny Safdie may be the right man to bring that out of him. Add in Emily Blunt as Kerr's wife and this could be the start of a whole new phase in Johnson's career. — Nick THE TESTAMENT OF ANN LEE Synopsis: Ann Lee, the founding leader of the Shaker Movement, proclaimed as the female Christ by her followers. Depicts her establishment of a utopian society and the Shakers' worship through song and dance, based on real events. After The Brutalist knocked my socks off last year, seeing the writing duo of Mona Fastvold and Brady Corbet at it again just a year later is an easy way to get me hyped. The Testament of Ann Lee is directed by Fastvold (she also directed The World to Come , which is great) and it follows Ann Lee (played by Amanda Seyfried), the founder of a Christian group called the Shakers in the 1700s. It also stars Thomasin McKenzie, Lewis Pullman, Tim Blake Nelson, and Christopher Abbott, and will be shown on 70mm print at the festival. I should also mention that it's supposedly a musical, and that the music reportedly will be done by Daniel Blumberg, who just won the Oscar for composing The Brutalist . Maybe I'm comparing the film too much to The Brutalist , which could even lead to my disappointment, but with all these pieces, how can I not be excited? — Adriano

THEM: COVENANT Starring: Deborah Ayorinde, Ashley Thomas, Alison Pill, Shahadi Wright Joseph, Melody Hurd, and Ryan Kwanten Creator: Little Marvin QUENTIN Them: Covenant can't decide what it wants to be. Is it standard horror about supernatural forces or a sinister fever dream about racism? In struggling to make that decision, the too-sprawling narrative becomes exceedingly scattershot, crumbling under the weight of everything it threw at the wall. That said, the acting is solid, the atmosphere is unsettling, and there are some truly disturbing scenes (one in particular is aggressively dark). It just fails to tie everything together effectively. Admittedly, I might be a little burnt out on the “racial horror” genre too, given how frequently that drum has been beaten recently.

THE BONDSMAN Cast: Kevin Bacon, Jennifer Nettles, Beth Grant, Damon Herriman, Maxwell Jenkins, and Jolene Purdy Creator: Grainger David QUENTIN Despite Kevin Bacon committing to the role as a backwoods quasi-dirtbag, The Bondsman is too scattershot to even be dumb fun. With only 30 minutes per episode, there simply isn’t enough time for the humor, character development, horror aspects, twists, and overall story to coalesce in a way that truly ropes the viewer in. The poor balance between the “demon of the week” approach and Hub’s (Bacon) second chance at life with his estranged family make it that neither one is super compelling. It also doesn’t help that it’s very similar to R.I.P.D. , and anything that makes you think of that movie can’t be super great. ROBERT Did you like R.I.P.D .? Probably not, but imagine if they extended the narrative as a shortened season of streaming TV, spiced it up with gore and profanity, and moved Kevin Bacon out of the villain role and into the lead. Would that do anything for you? Well, it did for me because The Bondsman gives off some serious Supernatural vibes, and the cast chemistry, especially between Bacon and Beth Grant as his roped-into-demon-killing mom, are the true advantage for the show. Since the episodes are short, no time is wasted with exposition, so no need to skip this one.

QUIET ON SET: THE DARK SIDE OF KIDS TV Starring: Drake Bell, Giovonnie Samuels, Bryan Hearne, Alexa Nikolas, Kyle Sullivan, and Soledad O'Brien Creators: Mary Robertson and Emma Schwartz KATIE Quiet on Set is a damning and heartbreaking documentary that examines the dark side of creating Nickelodeon’s most popular hit shows, particularly Dan Schneider’s reign as the TV studio’s most successful and influential showrunner. It’s a difficult but eye-opening watch, presenting a comprehensive account of the exploitation, rampant misogyny, flagrant breach of child labour laws, and terrible abuse of all kinds that occurred on a regular basis. At the same time, It’s important that these former child stars have a platform to share their experiences, and it will undoubtedly have an impact on the safety and well-being of young actors going forward. NICK When compared to the EXCELLENT We Need to Talk About Cosby , Quiet on Set isn’t as well done. However, it does expose what went on behind the scenes at Nickelodeon and the actions of Dan Schneider. As a kid who grew up watching these shows, it’s crazy how much went over my head, and this series brings that to light. The big knock comes from missing some of the big names you’d want to hear from, which hurts a lot of the content not surrounding Drake Bell's story, a horrifying story in its own right.

Previous April 4, 2025 Next A BITESIZE CHAT WITH SAMIR OLIVEROS In 1984, a down-on-his-luck HVAC technician with a get-rich-quick scheme obsession, that lived in an ice cream truck, made headlines when he appeared on the game show, Press Your Luck . Miraculously, this man won over $100,000, captivating audiences and driving CBS producers nuts. His name was Michael Larson, and what sounds like a miracle was actually deliberate and planned out, based on memorizing the game's patterns. Over 40 years later, Michael Larson's story is finally put to film in The Luckiest Man in America , directed by Samir Oliveros. I had the opportunity to speak to Oliveros to discuss the film and Michael Larson himself. BB: I remember hearing about the story of Michael Larson and the Press Your Luck scandal when I was a teenager and being so interested in it; I just knew I had to catch the film when it premiered at the Toronto International Film Festival last year. What was your relationship with the story of Michael Larson? Did this story come to you, so to speak, or was it one you were really interested in telling? SO:  It actually came to me when I was browsing through a thrift shop in LA. I like to do that because I like to browse through film negatives, photos, and old family memories because it's always a good inspiration for your characters when you're writing. I found this VHS tape and when I played it, it was a taping of Press Your Luck . I started researching about the show, and then I found out about the scandal and thought, “Oh, that must be an amazing movie,” and there was no movie. So that's when we decided to make it. BB: Now, I know Michael Larson passed away, I believe in 1999, but I'm curious if you were in any way in touch with his family during the writing or the production of The Luckiest Man in America . SO:  We were in touch with Bill Carruthers Jr., who's the son of the creator of the show and was a creative consultant. He read a couple drafts and helped us with a lot of the production design decisions. BB: What about Paul Walter Hauser? What was it in particular that stood out to you enough for him to play a role like Michael Larson? SO:  I think he manages to balance drama and comedy perfectly. I had seen him in Richard Jewell , and we needed somebody who could pull that off because what he does on screen and during the tapings is something that is extraordinary, but it's also funny when you see it. It's like, it gives you that nervous laughter in your stomach so we thought that somebody from comedy would be ideal, but who could also pull off those dramatic moments in the movie. Then at the time we were gonna start casting, they released Black Bird and I thought he was brilliant. That's why we thought he was the perfect Michael. BB: You also casted Walton Goggins as Peter Tomarken. Was that your first choice while watching tapes of the show or was he someone that came to you after? SO:  I'm a huge fan of Goggins, so we always thought of him for that role. Then we went out to him and he loved the role. It was great. He was amazing. He became Peter Tomarken for four weeks. BB: What did filming the Press Your Luck sequences look like? Was the set built from scratch? How many moving pieces were there in bringing the show to life? SO:  So, we had a perfect replica of the studio and my production designer was really focused on making sure that it was going to be identical. Because we were dramatizing some things for the movie, we wanted those known things to be very faithful to the original ones. There was a lot of focus on making sure that was gonna be exactly the same. Then, when we started shooting that stuff, it was amazing because at some point, Goggins just decided to just run the whole show. So, because we were shooting scene-by-scene, at one point he said, “Listen, let me run the entire taping in one go and let's see what happens.” I was super into that idea. That's when we let him do that and it was great because everyone else just felt the thrill and it felt like a taping of the game show. So, we were really happy with that idea. A lot of it made it into the movie, actually. BB: Reading up on Michael Larson, there is a lot that happens after the scandal. Was there ever any intention of portraying anything that went down with him after this situation? Or were you just steadfast on the scandal being the story? SO:  At some point, we spoke about a Catch Me If You Can multi-city epic which we were gonna just do like a big biopic with all of that included. But then, when we started focusing on the game show, we realized that there was this very interesting pace that the script was falling into and we loved it and we were like, “Do you think that it would be possible to keep it into one single location? Can we tell the whole movie in this one 24-hour moment in time?” The more we condensed it, the more we felt like this was a great movie. Also, because of the amount of exposition that we were gonna withhold and how we started structuring the movie so that we were peeling him like an onion, getting to his emotional core towards the end of the movie. It was really exciting; it felt like a great challenge. So, that's why we decided to make this the movie. BB: There is also an underdog story element to it. What was it about Michael Larson that you wanted to portray him, not as some schlub who cheated the system, but as a guy who succeeded in his own way? SO:  Because I believe that what he did was not wrong. I think what he did was just an unorthodox way of accomplishing his dream. He found a loophole and he exploited it. But at the end of the day, the guy had a good heart and what he wanted was just to get his family back together. The way in which he did it might have been questionable, but he was just a very driven guy and he just wanted to accomplish his dreams. I think that's very inspiring. We wanted to be able to have that complexity of character in which we see that gray area where we don't know if we're supposed to root for him or we're supposed to feel sorry for him. I think that's what makes for a good character. Make sure to check out The Luckiest Man in America now in theatres. Interview conducted on March 28th, 2024 by Adriano Caporusso.

Previous Next September 2, 2024 WRITTEN BY: KATIE I got to thinking about the notion of perfect films recently when I started making a real effort to catch up on some great films that, for no other reason than my own oversight, I had never seen. These films are not of any particular genre, and I cannot articulate why I waited so long to watch them, but they’re the classics generally agreed upon to be amongst the greatest films in the history of cinema. For example, until this year — and I am slightly ashamed to say it — I had not seen 2001: A Space Odyssey , The Godfather , or There Will Be Blood , among other films that make film fans gasp when you admit to having not seen them. That said, whilst I’ve been enjoying this experience immensely, I’ve noticed that many film books and online sources are repeatedly populated by the same titles when discussing “perfect” films. They also don’t pay much attention to genre films, family films, horror, animation, or comedies, and they tend to lack films focusing on women and female experiences. Admittedly, it’s hard to determine what constitutes a “perfect” film, and there are countless elements to take into account when considering if a film should be deemed flawless. Obviously, opinions of any art are totally subjective and personal, but I feel that when it comes to films, the ones that are considered perfect are those that are generally agreed upon by the largest contingent of groupthink, which can lead to a circular and self-fulfilling prophecy. To me, though, a perfect film is one that… · Resonates on an emotional level · Is visually engaging · Has a memorable score and/or music · Has enduring themes in a story that has wide appeal · Reveals or relates to something about the human experience With that in mind, I’d like to guide you through some films that I, personally, believe to be perfect based on the criteria above. Despite these films deserving such recognition, they usually are not the first ones mentioned when discussing the greatest films ever. For what it’s worth, I’m avoiding the films that often first come to mind in the public consciousness in these conversations, instead using my own subjectivity to highlight films that may not be considered as prestigious as the roundly agreed upon films you find populating most “Greatest of All Time” lists despite being just as good. This is not an exhaustive list, mind you (I do not have the word count for that), and yes, it leans a tad more recent, but it features shining examples, nonetheless. RATATOUILLE (2007) Ratatouille is my favourite film. It’s a true masterpiece, and everything about it is flawless. The voice acting is pitch perfect, the story is emotional and engaging, the visuals are exceptionally detailed, and it meticulously captures every element of a bustling kitchen, from the mouth-watering food to every pot, pan, and utensil. The world that it builds is immersive, making you want to crawl inside its warmth and stay there forever, and the time and attention that went into the film is obvious in every glowing city light and fleeting reflection off the Seine. The unique concept that drives the film lends itself wonderfully to the slap-stick comedy, yet the story at the centre of the film is grounded and humble, especially for a family film. The notion that “anyone can cook” is inspiring, and it can apply to every profession, passion, and pursuit while speaking to the power of perseverance in achieving what you want from life. I could speak about Ratatouille forever, and I believe it more than justifies itself as a perfect film. THE BABADOOK (2014) The Babadook is the true definition of horror with heart, and it utilises the genre to its fullest capacity with its visceral exploration of grief, motherhood, and trauma. One of the reasons The Babadook is so impressive is that it rides on the audience’s ability to empathise with the protagonist, Amelia (Essie Davis), who is both the victim and the monster. The film thoughtfully engages with Amelia’s trauma, never indulging in patriarchal tropes of motherhood whilst also having us fear her and her decisions at the right times. The same goes for her son Samuel (Noah Wiseman). He’s incredibly annoying, but the film also makes us feel sorry for him, desperately hoping for his well-being. It helps that the casting is flawless. Wiseman gives one of the best child performances I’ve ever seen, and Davis is captivating and terrifying. The film drags you along for Amelia’s terrifying ordeal, and genuinely keeps you guessing by convincingly blurring the lines between reality and figments of the character’s imaginations. Plus, the character design is simple yet uniquely creepy and original, conjuring up childhood fears of something lurking in the darkest corner of your bedroom. Lastly, and perhaps more importantly, the message is universal, showing that although grief never truly goes away, we can face it head on and deal with it little by little. MAD MAX: FURY ROAD (2015) Mad Max: Fury Road might be the best action film ever made (to me at least). The entire film is a perfectly calculated piece of pure non-stop adrenaline, but it doesn't lack substance or emotional engagement, keeping you on the edge of your seat for each and every moment. Every element of the film is distinct, impressive, and memorable, including the exhilarating soundtrack, cinematography, world-building, set design, stunt work, incredible action sequences, and vibrant colours that jump off the screen. The action doesn’t become repetitive either, gripping you in every moment, with not a single shot feeling out of place. Although it may seem overwhelming at times, you can simply focus on any part of any scene to see how deliberate it all is. The practical effects set it apart and contribute to its singular quality, and the mayhem taking place on the screen feels tangible, making you believe the carnage is actually happening. What’s more, Tom Hardy and Charlize Theron are fantastic in their roles, managing to convey tremendous amounts of emotion through their eyes and subtle facial movements alone. THE WITCH (2015) The Witch is one of my favourite horror films, and one of the few that is just as impactful no matter how many times I’ve seen it. Robert Eggers’ feature debut quickly establishes a dark, immersive mood before topping it with rising, paranoid tension; an eerie, discordant score; and a sense of historical authenticity that makes it feel like something evil is woven into the fabric of the film. Exploring ideas of Christianity and fears of witchcraft, it explores how the strict moralistic constraints of the time, which mostly concern women, are used against the family to make them turn against each other. All of this is framed by cinematography that emphasises the family’s isolation and heightens the effects of every sound and movement. The performances are also formidable, with a cast including Kate Dickie, Anya Taylor-Joy, and Ralph Ineson, who each shine in their roles and make the period language sound natural. Furthermore, the ending is bonkers and surprising, yet also feels like the most fitting ending for this chilling story. PETITE MAMAN (2021) Céline Sciamma’s beautiful film Petite Maman is both heartwarming and heartbreaking, exploring the simple notion that your parents also were children once, with their own unique childhood experiences, fears, and dreams. The film follows the young Nelly (Josephine Sanz), the eight-year-old daughter of Marion (Nina Meurisse), whose mother has just passed away. They travel to Marion’s childhood home to clear out her mother’s belongings, and Nelly meets another girl her age in the woods behind the home. The new friend looks remarkably like her, and they begin a beautiful friendship. The film has a fairytale-like quality that captures the childhood experience in a way that is magical yet realist, and the world it creates is quiet, understated, and mysterious. Some of its impact lies in the fact that it doesn’t rationalise or explain the fantastical situations that happen but leaves them open for each individual's interpretation. At only 72 minutes, the film breezes by but completely secures the audience’s perspective with the young protagonists, familiarising us with their private, intimate world.

Previous Next October 31, 2025 WRITTEN BY: THE BITESIZE CREW As everyone probably knows, Quentin is Bitesize’s resident old man. With that often comes complaints about how some of the opinions and views of Bitesize’s younger writers — the youths, as he lovingly calls them — tend to skew too recent, especially when it comes to rankings and Bitesize Top Five. Sure, his rantings can often be taken as an old man yelling at clouds, but during a recent brainstorming session for future group articles, we might have found some truth in his possibly senile harangues. The idea pitched was “Deep Cuts,” where each writer would pick a lesser-known movie from a popular performer’s filmography and discuss why it’s underrated. The thought process was that this would highlight movies we enjoy even though they were critically maligned, underseen due to release circumstances, or simply forgotten by the general masses. However, when we started tossing out the names of actors and actresses to focus on, we had a problem. For every suggestion, all but one had at least two writers who hadn’t seen anything but the most popular or most recent movies of said performer. The knowledge base simply wasn’t there. A deep cut list for Tom Cruise that features the likes of Mission: Impossible , Jerry Maguire , and Rain Man isn’t a list of deep cuts at all. The idea just didn’t work. All said and done, 24 actors and actresses were suggested, from Sylvester Stallone to Saoirse Ronan. The only performer who had at least seven writers that could contribute to a list of deep cuts was, of all people, Ryan Reynolds. As a result, we flipped the idea. Instead of highlighting deep cuts that we love, our writers will look back through the annals of film and watch and review a movie that we very obviously should have seen but haven’t for whatever reason. This will make us all better film fans and critics while maybe giving you additional insight into why each writer reviews newer movies the way they do. So, welcome to “Film School,” our new recurring article series. Each iteration will be topic-centric, so feel free to offer topic suggestions in the comments on Instagram, Facebook, or X. For our first lesson, since today is Halloween, let’s dive into Horror Classics. Class is in session… THE CABINET OF DR. CALIGARI (1920) After seeing The Cabinet of Dr. Caligari on movie superlative lists for years, it wasn’t until The Unbearable Weight of Massive Talent — where Nicolas Cage calls it his favorite movie — that I added it to my watchlist. Well, the time is now, and the hype is quasi-real. If you can get past it being a silent movie from 1920 (a big ask, to be sure), you’ll be treated to a tremendous example of expressionism whose fingerprints can be seen on works from a wide range of filmmakers, from Tim Burton to Robert Eggers. On top of that, the score is incredible, a mix of electric guitar, synthesizer, piano, and horns that has clearly influenced both heavy metal and jazz musicians alike. Once you consider the inherent creepiness that stems from being a 105-year-old German movie, from the old-world makeup and distorted set design to the sheer graininess of it all, it’s easy to see why Caligari has been considered an all-time classic as the first horror, cult, and arthouse film. I don’t need to watch it again, mind you, but it was a worthwhile experience. Also, it’s on YouTube if you’re interested. — Quentin NIGHT OF THE LIVING DEAD (1968) Despite studying film for four years, one of my most glaring film blindspots was Night of the Living Dead . I obviously knew of its significance, but finally watching it revealed the extent of its impact. It highlighted to me just how much contemporary zombie movies are inspired by George A. Romero’s iconic picture, particularly 28 Days Later , as both films employ scrappy filmmaking techniques and a story focused on confused, scared civilians (some more heroic than others) who are forced to work together to survive. Also, Night looks incredible, especially the striking use of lighting and shadows that is almost Hitchcockian. Every shot is purposeful, and the violence, whilst somewhat mild compared to what audiences are accustomed to today, is shocking in its own way. Additionally, I really enjoyed the pre-1970s acting, which doesn’t rely so much on realism but rather on a more operatic style of emoting that really lends itself to heightened tension. Lastly, the ending is a smack in the face, a brutally bleak conclusion after we’re given a sliver of hope. Overall, Night of the Living Dead is one of the best zombie films I’ve seen. — Katie SUSPIRIA (1977) I compete in a horror movie trivia league, and no matter how well-versed you THINK you are, you will find others who run circles around you. Fortunately, this article presented an opportunity to round out my genre knowledge because, despite previously studying a varied slate of Dario Argento’s films, I missed Suspiria . I’ve learned that was a mistake. Argento is a master of ramping up suspense and drawing out kill scenes by using sound and visuals as a distraction in the lead up to a crescendo of artful violence. It is like ballet, which is apropos for this film since it is set at a dance academy. Despite some acting difficulties stemming from language barriers, it isn’t hokey; it remains tense and unsafe throughout. Even the supernatural aspects don’t seem outlandish but consciously considered, like everything else that comes across the screen. — Robert THE SHINING (1980) The Shining ’s slow descent into madness is anything but slow moving. It always has your attention, whether through director Stanley Kubrick’s beautiful one-shots, composers Wendy Carlos and Rachel Elkind’s haunting score, or the brilliant acting from the Torrance family (Shelley Duvall, Jack Nicholson, and Danny Lloyd). I also can’t pass up the chance to mention that this supernatural psychological horror from yesteryear, has to, of course, feature a magical black man (Scatman Crothers), and it isn’t a misused trope for once. Yes, The Shining is long. Yes, it’s meticulous. But dammit if it doesn’t live up to the hype. — Amarú TWILIGHT ZONE: THE MOVIE (1983) As a fan of The Twilight Zone , it’s baffling that I had never seen Twilight Zone: The Movie . I think I steered clear for so long because of the horrific tragedy that occurred on set during the filming of John Landis’ segment, which resulted in the death of Vic Morrow and two children. That said, I tried my best to go into this film with a clear mind. Each outing certainly offers a different take on the beloved series. Joe Dante’s “It’s a Good Life” delivers a Carrie -like narrative that is quite creepy, while Steven Spielberg presents a more whimsical and heartfelt story with “Kick the Can.” However, George Miller’s “Nightmare at 20,000 Feet” is the most successful at capturing the authentic tone of the show. Unfortunately, as a whole, the film never lives up to expectations, nor does it come close to the unsettling brilliance of the original series. The 1983 movie just doesn’t hit like the iconic episodes from the early 60s do. — Paige THE LOST BOYS (1987) The sad truth is, sometimes, you just see a movie too late. Had I seen The Lost Boys as a kid, I would've eaten it up. Unfortunately, without that nostalgia attached, this one just doesn't do it for me. I'm not saying it's a bad film (it's not), but there just isn't anything that made me understand its reverence. The effects, characters, and performances are fairly average (even for the time), and the most memorable thing about it is Gerard McMahon's "Cry Little Sister." Yes, the track is a banger, and its use throughout the film is perhaps the film’s greatest strength. Look, it's a nearly 40-year-old film, and the fact that I liked it at all still says something. Having said that, I don't think I'll ever feel a need to revisit it. — Nick CEMETERY MAN (1994) If you find yourself watching Cemetery Man , you'll likely be telling yourself, "wow, this is a lot of fun!" but also "what the hell?!" It’s a delightfully silly and creepy 90's B-movie, directed by Michele Soavi, about a cemetery night guard (played by Rupert Everett) tasked with killing the undead rising from their graves, and it revels in the zaniness of its concept with genre flair and gothic perfection. It pushes the idea to its limit, and considering all the gore and sex this movie offers, that limit is not for the faint-hearted. I'm willing to bet that most people reading this have never heard of this movie, and frankly, I hadn't either until recently; however, I'm very glad I did because, even if you aren't into the B-movie type of grind, you can safely say there's nothing like Cemetery Man . — Adriano THE INNOCENTS (2021) The Innocents begins in the dark. Literally. For what feels like a minute, the viewer is treated to nothing more than a black screen scored to the isolated sound of a young girl singing the folk song “O Willow Waly.” That then bleeds into the 20th Century Fox logo, denying us the pleasure of hearing that iconic fanfare in the process. It’s a perfect setup for an increasingly chilling feature. Director Jack Clayton takes much of the ambiguity that fuels Henry James’ novella The Turn of the Screw and maximizes it for all that it’s worth, slowly but surely. Its wide CinemaScope frame heightens the darkness that surrounds Bly Manor, and its editing, scoring and sound techniques are truly ahead of its time. All these aspects effectively add to the question of whether the hauntings are truly supernatural, or if they are actually a result of Miss Giddens’ (Deborah Kerr) worsening mental state. This was a blindspot of mine that I was more than happy to find myself enveloped in. — Bode

Previous Next December 1, 2022 WRITTEN BY: JACOB The mission of Bitesize Breakdown is to address a variety of perspectives for every movie we cover, hence the notion that no singular film will ever be covered by fewer than two writers (we, of course, have alternate rules for television). With that in mind, there are some instances – such as in our coverage of film festivals like TIFF and NYFF – wherein our viewing experiences do not overlap. While several of our writers may attend higher profile showings, such as those for Glass Onion: A Knives Out Mystery or Noah Baumbach’s White Noise , we also strive to break off during these events to discover more obscure works individually. Reviews for the aforementioned larger titles (and many others) are forthcoming as their official release dates move closer, but since some release dates have not yet been set or made known, we offer a singular perspective on the following films. CORSAGE Starring: Vicky Krieps, Colin Morgan, Finnegan Oldfield, Jeanne Werner, Alma Hasun, Katharina Lorenz, and Ivana Stojkovic Director: Marie Kreutzer An unexpectedly funny opener to the NYFF press week, Corsage is a well-helmed film with another magnetic performance by the great Vicky Krieps, even if the film itself doesn’t fully live up to its potential. It certainly looks beautiful, but not everything in the frame seems to land as it was likely intended to. Some of its more dramatic moments ring more hollow than they should, while the occasional joke fails to land properly (although most of them work overall). As Austria’s official submission to the Best International Feature race, it’s got a pretty damn good shot at landing a nomination. ONE FINE MORNING Starring: Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Camille Leban Martins, Sarah Le Picard, Pierre Meunier, and Fejria Deliba Director: Mia Hansen-Løve One Fine Morning finds itself split between two main narratives: one being an extramarital affair of its lead character, and the other a slow decay of her renowned father as he succumbs to Parkinson’s. The latter of the two is definitely the stronger one, carrying most of the film’s emotional heft and offering Léa Seydoux her best moments in a stellar lead performance; however, it doesn’t quite tie together with the other storyline. Neither feels truly whole, rendering their mutual inclusions unjustifiable. That said, if you enjoy international cinema of the slice-of-life variety, this one works well enough in other ways. SAINT OMER Starring: Kayije Kagame, Guslagie Malanga, Valérie Dréville, Ege Güner, Atillahan Karagedik, Mustili, Aurélia Petit, Faith Sahin, Salih Sigirci, and Lionel Top Director: Alice Diop Alice Diop’s fiction debut, Saint Omer , is a difficult film to unpack right from the outset. Both structurally and thematically, it is decidedly non-traditional. How does one tell the story of an infanticide in a nuanced fashion, and is it even ethical or responsible to do so? Diop’s film grapples with these questions as much as it wrestles with all the socio-economic circumstances that influenced its origin, for good or ill. Whether or not the mostly conversational courtroom settings will resonate with audiences or drive them away is anyone’s guess, but one thing is for sure: they will not soon forget it. STONEWALLING Starring: Honggui Yao Directors: Ji Huang and Ryûji Otsuka Stonewalling means well, but stumbles right out of the gate and never quite recovers. The drama from directors Ji Huang and Ryûji Otsuka is clearly meant to be a high-stakes venture, but given how long things take to happen, the film feels about as low-stakes as it can be. Its protagonist is thinly-drawn, and the surrounding characters don’t really seem to have been drawn at all, acting more as placeholders for plot developments than people. At two-and-a-half hours, the film is far too long, and by the film’s end, whatever point it is trying to make is lost amongst the wasted time. UNREST Starring: Valentin Merz, Alexei Evstratov, Clara Gostynski, Li Tavor, Monika Stalder, Laurent Ferrero, Laurence Bretignier, Mayo Irion, Nikolai Bosshardt, Hélio Thiémard, and Daniel Stähli Director: Cyril Schäublin It takes a little while into Unrest to click into what it’s doing in terms of time and spatial geography, but this tale of anarchism slowly enveloping a small European town until it has taken over does eventually come together. Its most interesting element is the cinematography, which can feel odd, but soon reveals itself to be telling its own story through the way things are carefully placed. Even without a singular protagonist to follow, and being driven by theme rather than story, Cyril Schäublin’s NYFF entry is likely to be one of the most underrated films at the festival. SCARLET Starring: Raphaël Thiéry, Juliette Jouan, Noémie Lvovsky, Louis Garrel, Yolande Moreau, François Négret, Ernst Umhauer, Inès Es Sarhir, Antonin Stahly, Athénaïs Sifaoui-Blanc, and Bernard Blancan Director: Pietro Marcello While Pietro Marcello’s Martin Eden may be his better work, Scarlet is a more-than-worthy follow-up effort. Raphaël Thiéry’s performance is one of the year’s best, a softly rendered gentleness hiding behind his giant eyes, while Juliette Jouan (the spitting image of Alicia Vikander and Natalia Dyer) leads the second half with poise. Noémie Lvovsky charms in a supporting role, while the film’s music and sound back them all up by being excellent as they can be. The film’s halfway point does throw the viewer off as it shifts perspectives, but not so far that one can’t appreciate the ride. NO BEARS Starring: Naser Hashemi, Reza Heydari, Mina Kavani, Bülent Keser, Mina Khosrovani, Vahid Mobasheri, Jafar Pahani, Bakhtiyar Panjeei, and Sinan Yusufoglu Director: Jafar Panahi No Bears has one of the most impressive beginnings of any movie released in 2022, but following act one, it devolves into something decidedly more average than what those opening minutes promised. The film isn’t exactly bad as is, but its repetitive storytelling and largely ambiguous ending drag down some of its better moments, including a few top-notch jokes and solid performances. To be fair, it does feel somewhat incomplete, and knowing the director is currently in prison does shed a different light on proceedings, but even then, it’s not quite as strong of a film as it could be. ALCARRÀS Starring: Jordi Pujol Dolcet, Ainet Jounou, Xènia Roset, Anna Otin, Albert Bosch, Josep Abad, Montse Oró, Carles Cabós, Joel Rovira, Isaac Rovira, Carles Cabós, Antonia Castells, Djibril Casse, and Jacob Diarte Director: Carla Simón Alcarràs runs about 30 minutes too long, but gorgeous photography and excellent color grading does put it a cut above most other international films of its kind. A terrific ensemble cast buoys Carla Simón’s tale of industrialization closing in around small businesses, even as the story itself becomes somewhat repetitive. It’s a shame the actual story of the film doesn’t seem to know what point it’s trying to make narratively as much as thematically, but the film’s final image remains a real knock-out. It’s far from astounding, but this movie will likely work for most world cinema fans. ENYS MEN Starring: Mary Woodvine, John Woodvine, Edward Rowe, Callum Mitchell, and Joe Gray Director: Mark Jenkin Echoing films such as The Lighthouse via David Lynch-like directorial sensibilities, Enys Men ’s abstractness is the thing that both helps and hurts it the most. In one sense, that abstractness detracts from clarity for the audience, making its 90-minute runtime a test of patience as much as interpretation. On the other hand, Mary Woodvine’s internal performance and the film’s overall look and sound are tremendously well-rounded; aesthetically, the film emulates 1970s expressionism almost perfectly. Unfortunately, it’s not quite enough to keep the film on the minds of viewers, and it certainly isn’t likely to produce any return customers once completed. EO Starring: Sandra Drzymalska, Isabelle Huppert, Lorenzo Zurzolo, Mateusz Kosciukiewicz, Thomasz Organek, Lolita Chammah, Agata Sasinowska, Anna Rokita, Michal Przybyslawski, and Gloria Iradukunda Director: Jerzy Skolimowski Although imperfect, one would be hard-pressed to not find something to like in Jerzy Skolimowski’s EO . An often gorgeous film with a few indiscernible style choices and a second half that fails to stick the landing, at least its first half is pure visual storytelling. It’s tough not to care about animals in movies, but the way Skolimowski invites us into EO the Donkey's perspective with little more than some well-placed cuts and a few different camera angles is a remarkable feat for any film to pull off. It’s a shame the film doesn’t otherwise work. RETURN TO SEOUL Starring: Park Ji-Min, Oh Kwang-rok, Guka Han, Kim Sun-young, Yoann Zimmer, Louis-Do de Lencquesaing, and Hur Ouk-Sook Director: Davy Chou Park Ji-Min’s stellar, multi-layered performance as Freddie is the centerpiece holding director Davy Chou’s Return to Seoul to the fulfillment of its own promise. Without her, the film doesn’t feel as authentic or as affecting. Luckily, she’s good enough to carry it because the story itself – while interesting and poignant – doesn’t quite come together around her as well as it hopes to. As Freddie moves through no less than three time jumps, the audience must forego connection in favor of scope. That trade doesn’t entirely sink the film itself, but it does prove difficult, especially with supporting character attachments. PACIFICTION Starring: Benoît Magimel, Sergi López, Lluís Serrat, Pahoa Mahagafanau, Montse Triola, Marc Susini, Baptiste Pinteaux, Cécile Guilbert, Mike Landscape, Mareva Wong, Matahi Pambrun, Alexandre Mello, Michael Vautor, Laurent Brissonnaud, and Cyrus Arai Director: Albert Serra The ambition of Pacifiction cannot be understated as it attempts to thread a spy thriller through its largely lackluster narrative, which sacrifices audience interest for sounding smarter than it is. Perhaps it is better than I’ve insinuated, but its gorgeous looks can’t substitute for the confusion and exhaustion it offers. Like a mid-game chess board to a novice player, the film is so ahead of itself by the time the plot gets going that audiences aren’t likely to catch up to what’s happening before it moves on yet again. Structurally and narratively, it’s moderately messy. R.M.N. Starring: Marin Grigore, Judith State, Macrina Barladeanu, Orsolya Moldován, Rácz Endre, József Bíró, Ovidiu Crisan, Zoltán Deák, Cerasela Iosifescu, and Andrei Finti Director: Cristian Mungiu The way in which R.M.N. attempts to juggle two separate narratives at once does leave it a little distracted, forcing it to commit to neither story as much as it should to either. That said, it does have a decent bit to recommend, namely solid performances, great photography, and one of the year’s better movie endings. Unfortunately, all that good will can’t keep it afloat amongst its themes of sheep-like racism and bigotry, which may be as realistic as they can be given the film’s setting, but still feel a bit too bluntly handled for a movie format. TRENQUE LAUQUEN Starring: Elisa Carricajo, Verónica Llinás, Juliana Muras, Laura Paredes, Ezequiel Pierri, Cecilia Rainero, and Rafael Spregelburd Director: Laura Citarella There are few examples of films more exhausting to watch than Trenque Lauquen . Three hours and twenty minutes is far too long to tell a story that is only half essential after both parts are combined. That said, the essential half is pretty good, and a committed performance from Elisa Carricajo, as well as the intriguing mystery surrounding her whereabouts, is what makes most of it bearable. To direct something of this scope takes enormous skill, even if that scope is far too wide-ranging for the story being told. I admire Laura Citarella’s gumption, but I can’t call it inspired. ALL THAT BREATHES Starring: Salik Rehman, Mohammed Saud, and Nadeem Shehzad Director: Shaunak Sen All That Breathes is one of the finest shot movies of 2022, and one of its most rewarding documentaries. At first, it seems as though it’s simply an impressively done bird rescue doc, but it soon morphs into something on a larger scale with a more intimate story. Truthfully, it’s not so much about the bird rescue op as it is about the three brothers running it and how they manage to stick by each other in the face of the conflicts threatening their livelihoods. Director Shaunak Sen’s gamble in the structure of it pays off, and documentary fans will love it. DE HUMANI CORPORIS FABRICA Directors: Verena Paravel and Lucien Castaing-Taylor The human body is fascinating, and to that end, De Humani Corporis Fabrica certainly exhibits educational value. To witness in real-time the stresses that medical professionals deal with day to day on little-to-no sleep for long stretches of time is in itself a miracle, bound to enhance respect for those in the field. That said, the film’s unflinching showcase of reality may be its ultimate shortcoming. The ultra-graphic nature of watching full c-sections and genital surgeries may prove to be too much even for interested parties, and it seems as though that rawness is the film’s entire (and only) point. IS THAT BLACK ENOUGH FOR YOU?!? Starring: Margaret Avery, Harry Belafonte, Charles Burnett, Suzanne De Passe, Laurence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Glynn Turman, Billy Dee Williams, and Zendaya Director: Elvis Mitchell Netflix’s Is That Black Enough for You?!? is by no means a waste of time, but it lacks the necessary structural tools to assert itself as essential documentary filmmaking. Apart from educating people about the history of Black cinema, especially in the 1970s, the film doesn’t do much to keep the audience engaged, nor does it say much of anything the audience doesn’t already know. The editing is fairly choppy as well, while the narration is too overbearing, occasionally challenging the viewer’s engagement. It’s not a condemnation, but this probably would have worked better for a network like the History Channel. DESCENDANT Director: Margaret Brown Perhaps Netflix’s strongest documentary feature yet, Descendant is an inspiring look into not only the search for the slave ship Clotilda (the last to dock in the U.S.), but the communities to which its discovery is most precious. Expertly directed by Margaret Brown, the film’s examination of generational recovery and communal reclamation across Black America is one of its many rich offerings, and every minute spent within this community offers new layers to unfurl. This is a surefire contender in the Best Documentary Feature Oscar race, and – if campaigned right – could yield Netflix their fourth win in just six years. Photo Credits: NYFF

Previous Next The holiday season is here and it's time to dive into those comfort films that give us the warm and fuzzies. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Heartwarming Films. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. ROCKY The Best Picture winner of 1976, Rocky , is a lot of things: uplifting, exciting, funny, and as the list suggests, heartwarming. The main source of comfort for me is the title character himself. In spending time with Rocky Balboa (Sylvester Stallone), you get to see the world through his eyes, and his outlook makes me feel optimistic. Plus, every time I revisit the film, it's like catching up with an old friend. The character of Rocky has now been in a total of 8 films, and what endures is his attitude and charm. - JTE 4. FORREST GUMP To me, Forrest Gump is the most heartwarming film to ever grace the silver screen. It presents us with countless life lessons, whether it be appreciating the little things, not taking oneself too seriously, or knowing it’s okay to be an outsider. No matter who you are, you can take away something significant from this film because all of us can empathize and relate to this character through his experiences. It’s also the perfect movie for some soul searching because, at the end of the day, “life is like a box of chocolates…” - Paige 3. FIELD OF DREAMS Sports movies in general tend to be heartwarming, but Field of Dreams even more so than most. Featuring great performances from Kevin Costner and the late Ray Liotta, not to mention the beautiful score by James Horner, this 1989 classic still holds up today. It has even led to the creation of an actual MLB game at Field of Dreams ballpark next to the original location 30+ years later. Now that's a film that has left an impression. Also, that scene where Ray (Costner) gets to play catch with his father (Dwier Brown)? Waterfalls. - Nick 2. SCHOOL OF ROCK School Of Rock …rocks! It’s hard not to find Jack Black’s enthusiasm, as well as his character's infectious commitment to the art of rock & roll and, more importantly, to his students, endearing. The way the kids grow on ol’ Dewey Finn (Black) and how he teaches them to stick it to “The Man” will never fail to warm my heart. - Adriano 1. E.T.: THE EXTRA-TERRESTRIAL Few films released in the modern era have a truly multi-generational audience and a legacy that endures past nostalgia, but Steven Spielberg’s masterpiece E.T.: The Extra-Terrestrial is one of them. It’s one of the most iconic films ever made, and it still holds up to this day in every way. The effects are great, the story is emotional without being overly saccharine, and it stays with you long after watching it. It’s a heartwarming tale you likely grew up with, and one that will be shared with generations to come. - Joseph HONORABLE MENTIONS WILLY WONKA AND THE CHOCOLATE FACTORY PADDINGTON 2 THE PRINCESS BRIDE MRS. DOUBTFIRE A LEAGUE OF THEIR OWN Photo Credits: Photo 1 - United Artists; Photo 2, 4 - Paramount Pictures; Photo 3, 5 - Universal Pictures