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FARGO: SEASON FIVE Starring: Jon Hamm, Juno Temple, Jennifer Jason Leigh, Joe Keery, David Rysdahl, Richa Moorjani, Sam Spruell, Sienna King, Dave Foley, Conrad Coates, and Lamorne Morris Creator: Noah Hawley QUENTIN After not loving its fourth season (I gave it a 2.5), Fargo is back with a vengeance, returning to all the things that made the first three seasons great: excellent characters, top-notch performances, and an engaging story that is equal parts violent, dramatic, suspenseful, absurd, and funny. Admittedly, some parts are unnecessary (Lamorne Morris’ character, for example), but the exploration of the power dynamics at play in America’s current culture, gender, and class war is extremely compelling and as relevant as ever. And it’s all carried by a terrific cadre of quirky side characters and subversive powerhouse performances from Jon Hamm and Juno Temple. PRESTON After watching Seasons Three and Four, I thought Fargo had peaked; however, Season Five brings it home as the closest offering to Seasons One and Two in terms of quality. Jon Hamm plays the bad guy so well that I hope the majority of his roles in the future will be villainous, while Juno Temple perfectly takes on the role of a sweet and unassuming, yet enigmatic, Midwesterner. The combination of writer/creator Noah Hawley’s genius, executive producers Joel and Ethan Coen’s unique humor and perspective, and a kick-ass cast operating against the backdrop of unbelievable but “true” events lead to solid entertainment.

INTERVIEW WITH THE VAMPIRE: SEASON ONE Starring: Jacob Anderson, Sam Reid, Eric Bogosian, Bailey Bass, and Assad Zaman Creator: Rolin Jones QUENTIN As a person who only knows the story from the 1994 movie (i.e., I haven't read the book), Interview with the Vampire works on almost all fronts, particularly as a less campy, grown-up version of True Blood . The performances (Sam Reid as Lestat, especially), lavish set design, and gothic atmosphere create a fun and engaging tale about love and immortality, while also exploring themes of race, sexuality, and certain power dynamics. There are a few moments when an episode might drag a bit, but it’s so beautifully put together, it’s hardly noticeable. It’s certainly one of the better new shows of 2022.

IRONHEART Starring: Dominique Thorne, Anthony Ramos, Alden Ehrenreich, Lyric Ross, Manny Montana, Regan Aliyah, Matthew Elam, and Anji White Creator: Chinaka Hodge AMARÚ Ironheart feels like being back home, comfortably walking into an old neighborhood I haven’t visited in years. Led by a magnificent Dominique Thorne, the authentically heartfelt ensemble (especially surprise stand-out Lyric Ross) takes well-tread coming-of-age, crime drama tropes and gives them a refreshing energy that feeds your soul. Every time you think clunky plot points will dampen the light, another earnest interaction filled with heartbreak, joy, humor, and all of the above takes the story to surprisingly emotional places. Add in a pitch-perfectly cool Anthony Ramos, and an outstanding soundtrack, and I finished this six-episode season wanting to take a plate with me.

Previous Next With the merciful ending of Fear the Walking Dead and the highly anticipated Wonka coming later this month, we've decided to talk about prequels. The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Prequel Films/Series. If the prequel spawned a series, we will only be counting the first entry. Each writer ranks his or her top 15 releases in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. X-MEN: FIRST CLASS As a big fan of the X-Men franchise, the idea of a reboot worried me a little since the new cast would have massive shoes to fill. Well, James McAvoy and Michael Fassbender were more than up to the task as their interpretations of Charles Xavier (Professor X) and Erik Lehnsherr (Magneto) are terrific. There is a renewed focus on other mutants, as well as an incredibly risky decision not to have Wolverine re-cast as part of the core, and Matthew Vaughn's direction brings it all together to create a stylized and refreshed version of the X-Men. Unfortunately, Vaughn didn’t stick with the series and the follow-up films got progressively worse. It's a great “what if?” to wonder what may have happened had he never left. - Nick 4. RISE OF THE PLANET OF THE APES Rise of the Planet of the Apes caught me off guard. I remember watching the trailer when I was younger and thinking, “Do we really need more Apes movies?” Yes... yes, we did. Together, Rise , Dawn , and War make up arguably the greatest prequel trilogy of all time. They expertly blend astonishing spectacle with an epic narrative, anchored by Andy Serkis' powerhouse mo-cap performance. Caesar (Serkis) is not only one of the greatest special effects ever brought to screen, he’s also an absolutely incredible protagonist. I never thought it was possible to care about a monkey this much. - Caleb 3. THE GODFATHER PART II The Godfather Part II not only gets a well-deserved spot on the Bitesize Top Five prequels list, but it also is considered one of the few sequels that is better than the original, and it quite justly occupies a space on every best films of all-time list! Francis Ford Coppola’s (director) and Mario Puzo’s (writer and producer) genius parallel storytelling shows similar-aged looks at Michael Corleone’s (Al Pacino) ever tightening grip on the family “business” while simultaneously giving a glimpse into his father’s, Vito Corleone (Robert De Niro), creation of the family’s criminal enterprise. It is a multiple award-winning, iconic, and gritty gangster film with masterful cinematography, terrific acting, a score to die for…and, oh yeah, it happened to revolutionize filmmaking forever! - Preston 2. BETTER CALL SAUL It's a hard task to follow up Breaking Bad , one of the most respected and acclaimed shows in history, with a prequel about Walter White's lawyer. But somehow, creators Vince Gilligan and Peter Gould pulled off a show that is not only on the level of its predecessor, but some have even argued it's actually better than Breaking Bad . Better Call Saul mostly ditches the gritty, thriller aspects of Breaking Bad , instead going for a slower, more introspective black comedy character study of Jimmy McGill/Saul Goodman, played extraordinarily by Bob Odenkirk. There's simply too much pathos and too many layers of Better Call Saul to discuss in this piece, but for any fans of Breaking Bad , this is a perfect companion series, and even if you're not, it’s a powerful and entertaining ride all on its own. - Adriano 1. CASINO ROYALE Growing up, my introduction to James Bond was through Pierce Brosnan’s suave charm, over-the-top gadgetry (invisible cars!?), and fun campiness. So, when it was announced that the franchise reboot would be gritty like a Bourne movie and starring the much-less-suave Daniel Craig, I mostly shrugged. However, Casino Royale turned Bond into an actual person as opposed to the cartoon character he had become, making Daniel Craig a star and introducing American audiences to the terrific Mads Mikkelsen in the process. Lastly, as a five-film prequel series - the first run of Bond movies to be serialized - these movies provide character development, depth, emotion, and genuine closure on top of the usual gadgets, spy games, Bond villains, sexpots, and exhilarating set pieces. - Quentin HONORABLE MENTIONS STAR TREK (2009) ROGUE ONE: A STAR WARS STORY PEARL ANDOR PREY Photo Credits: Photo 1, 2 - 20th Century Studios; Photo 3 - Paramount Pictures; Photo 4 - AMC; Photo 5 - Sony Pictures Releasing

DAVE: SEASON THREE Starring: Dave Burd, Gata, Andrew Santino, Travis Bennett, and Christine Ko Creators: Dave Burd and Jeff Schaffer QUENTIN In its third season, Dave …essentially a white, Jewish Atlanta …finds its stride as an examination of fame, ambition, relationships, and self-worth. Honestly, it’s remarkable how far Lil Dicky has come from irreverent music videos on YouTube to creating a show with this much depth and nuance. Each character is so well developed and laid bare that you genuinely want them to succeed even as they trip over their own eccentricities and flaws. Add in rap bangers from the underrated lyricist and A-List guest stars (including an auto-tuned rapping Brad Pitt, who will certainly get an Emmy nod), and you’ve got the best show you’re probably not watching. ADRIANO Dave remains one of the most underrated shows on TV as Dave Burd, aka Lil Dicky, continues to examine fame and self-worth in an irreverent and raunchy way, this time in his pursuit of love. If the show’s gross-out sensibilities didn’t work for you in the past, I don’t see how they would work for you this time around either, but there’s something so profound about this show that made this season’s approach to modern relationships relatable and heartwarming. I strongly urge everyone to give this show a shot because this season is well worth the time investment.

Previous Next May 19, 2025

Previous Next January 8, 2025 WRITTEN BY: ADRIANO Another year has come to an end, and 2024, like most years, has been a year of highs and lows when it comes to cinema. For those who don’t ardently follow such things, I imagine many are trying to figure out what movies are worth catching up on, especially since awards season has thrown a bunch of movie titles at you. I’m assuming, more likely than not, you’ve seen the big blockbusters like Dune: Part Two and Wicked , and maybe you've even caught some buzzy hits like Longlegs and Challengers . As we speak, many of you are probably trying to get caught up on awards hopefuls like Anora and The Brutalist . However, I'd be remiss if I didn't mention some films that, in my opinion, are easily amongst the year's best offerings while flying completely below the radar. So, here are ten underappreciated films from 2024 that everyone should watch. HOW TO HAVE SEX I saw How to Have Sex for the first time at TIFF 2023, and it has remained in my head ever since. I'm genuinely at a loss for words that it's Molly Manning Walker’s directorial debut, but that has made me excited for whatever she does next. Following three teenage girls on a week-long summer vacation to Malia, Greece, the film focuses primarily on Tara, played spectacularly by Mia McKenna-Bruce, as she seeks to lose her virginity. While the film begins as a somewhat familiar, albeit energetic, coming-of-age party film, it evolves into something much more profound, becoming a seething indictment on hook-up and party culture and how it pertains to women and consent. It's the kind of film I'd show my kids when they become teenagers, not just because it's so good, but because of how important it could be in shaping their minds on the subject. I SAW THE TV GLOW After their surreal previous film, We're All Going to the World's Fair , I was pretty intrigued by whatever writer-director Jane Schoenbrun cooked up next. I Saw the TV Glow validated that excitement big time, making them the upcoming filmmaker I'm most excited for. Something about Schoenbrun's way of exploring themes of finding individual freedom, especially for queer and trans people, via entertainment, esoteric horror, and colourful imagery that crawls under your skin is simply mesmerizing (not to mention the performances Schoenbrun got out of Justice Smith and Brigette Lundy-Paine). However, the best part of it is that, even once the credits rolled, it felt like it still hadn't ended, as the movie kept me pondering every scene and detail long after I left the theatre. Now, I'm not going to pretend I Saw the TV Glow is a film for everybody, but I still believe it's a film everyone should seek out and experience at least once. HIS THREE DAUGHTERS The power a good writer-director can capture in a single room for almost an entire movie’s runtime is something that I'll never understand. In Azazel Jacob's chamber piece His Three Daughters , we follow three adult sisters who resolve their broken relationship as their father is about to die. The biggest sell of this movie has been the central performances from Carrie Coon, Elizabeth Olsen, and most notably, Natasha Lyonne. All three of them feel as lived in as possible, with every grievance and past trauma feeling very authentic. His Three Daughters shines as a devastating yet strangely endearing film of familial baggage and what grief can bring out of people. Simply put, it's a worthwhile tearjerker that should leave a long-lasting impact on any viewer. DÌDI I might as well throw another great coming-of-age movie in the mix with Dìdi . In the feature directorial debut of Sean Wang, Dìdi is about a 13-year-old Taiwanese-American kid named Chris, played amazingly by Izaac Wang, in the final month of summer vacation before beginning high school. The kicker: the film takes place in 2008, meaning the rise of the digital era plays a major role. As someone who came of age in this era, I can speak to the film's unflinching authenticity, from the performance of the entire ensemble of kids to the way they speak. Plus, the embarrassing and emotional beats the kids go through all felt very familiar, for better and for worse. However, the film's secret weapon lies in Joan Chen, who gives one of the year's best performances as the protagonist’s struggling mother. If you grew up in the 00s, you'll find something really special here, but even if you didn't, it's still a funny and heartwarming coming-of-age film. HUNDREDS OF BEAVERS A common accusation I hear whenever I speak ill of a superhero slopfest is that I "don't like fun." Thankfully, Hundreds of Beavers is here to prove that I do, in fact, love fun because it’s just a total blast. Directed by Mike Cheslik for just $150,000, the film follows a 19th-century applejack salesman who suddenly must survive a hoard of conniving, human-sized beavers. This movie is essentially a feature-length, live-action Looney Tunes cartoon, featuring slapstick that harkens back to the era of Charlie Chaplin and loads of laughter from its wild visual gags. The gags themselves genuinely make me wonder how they made this film with such a tiny budget. There is nothing about Hundreds of Beavers that is necessarily profound; it's just a sincerely silly movie that sucks you in with its pure mayhem. KILL Speaking of pure fun, let's talk about Kill . Directed by Nikhil Nagesh Bhat, the film follows two commandos who are aboard a train that's been hijacked by bandits. Also, the two commandos seek revenge and justice after the bandits kill the girlfriend of one of the commandos. While there is an effective emotional throughline with the murder that really sets the plot in motion, if you're like me and just a kneejerk sucker for well-executed, hyper-gory hand-to-hand combat, this is the film for you. I was lucky enough to see this for the first time with a Midnight Madness crowd at TIFF, which was exciting enough as is, but subsequent viewings of the film have only affirmed just how radically exciting Kill is. SASQUATCH SUNSET No dialogue, just grunts and bodily fluids being chucked everywhere. That's Sasquatch Sunset for you. A bizarre film across the board, it tells the story of a family of sasquatches who venture across the wilderness. That's the essential plot of the film, but the movie offers much more under the surface. Directed by Nathan and David Zellner, Sasquatch Sunset gives us some incredible performance work from Jesse Eisenberg, Christophe Zajac-Denek, Nathan Zellner, and especially Riley Keough as they demonstrate absurd levels of humanity despite being trapped under several layers of prosthetics. But the thing about this film that is really special is its ability to give us a lovely tale of finding a connection to each other and to the earth. It shows that even at its most ridiculous and in the face of heavy hardships, life has a way of turning things around. Trust me when I say this one will make you laugh and possibly even cry. SNACK SHACK A running theme in this article seems to be that of the coming-of-age genre because I really want to talk about just how much I adored Snack Shack . Set in the 90s, the film follows two teenage boys who start running a concession stand at the local pool. Writer-director Adam Carter Rehmeier has stated that this film is semi-autobiographical, based on experiences from his own childhood, and that level of authenticity is apparent in nearly every scene. The movie has a lot of heart and plenty of laughs, and even at the film's most familiar beats, Snack Shack is just charming all the way through. A big part of that charm are the excellent lead performances from Connor Sherry and Gabriel LaBelle. There are not many people I wouldn't recommend this to. It's just too likable. THE ORDER If it was still the 90s, The Order would've been huge. A thriller about an FBI agent trying to take down a white supremacist terrorist group? It has everything a movie-goer would love… and it was just ignored. It has all the pulse-pounding thrills you'd want from an effective true-crime action-thriller, with great cinematography, engrossing storytelling, and an all-around amazing ensemble, including one of my favourite performances from Jude Law. It may seem like a tough watch due to its subject matter, but director Justin Kurzel crafted a timely yet enthralling film that can satisfy any audience. THE SHADOW STRAYS Whenever I hear that we don't get original, high-concept, action films anymore, I roll my eyes hard because they do exist, you just have to look deeper. For example, The Shadow Strays , a martial arts film by acclaimed director Timo Tjahjanto, is about a female ninja who sets out to rescue a child from human traffickers. I mean, what about that concept doesn't sound enticing? I'll admit, when I saw the film at a Midnight Madness screening on the 10th day of TIFF, I was tired and considered leaving before the film began. And then 15 minutes in, ninjas were shooting and slicing people up in stylized and gory ways, so I decided to stick around. Totally worth it. An unrelenting blast from start to finish with plenty of heart, it ends on a sequel set-up, which I usually get annoyed at; however, this time? I welcome it.

Previous Next March 25, 2022 WRITTEN BY: THE BITESIZE CREW Time for the Bitesize Crew to predict the 94th Academy Awards. Who do we have taking Best Picture? Did anyone vote for Kristen Stewart? How many awards will Dune walk away with?

Previous Next May 31, 2024 WRITTEN BY: QUENTIN I did it! Another major film festival crossed off the list, and another 41 movies watched. Yes, you read that right: I saw 41 movies. In 11 days. It was a lot — like, a lot a lot. I might even say too much, only because most of these movies I probably wouldn’t have seen had it not been for Cannes, and honestly, I don’t know that I would have even noticed or cared that I didn’t see them at some point. For comparison, of all the movies that dropped at Cannes in 2023, I’ve seen just eight of them. Two of those were Best Picture nominees Anatomy of a Fall and The Zone of Interest , and truthfully, I didn’t care for either one of those. The real talk is, I’ve learned, even as a movie lover, most of Cannes’ film slate just doesn’t appeal to me and my American sensibilities. Also, at least this year, so many movies focused on the same themes, so there ends up being a lot of repetition as filmmakers from various countries all take on the same topic. This year’s topic du jour was #MeToo and the general mistreatment of women in patriarchal societies, which… obviously those are stories worth being told, but how many times do I need to see it in such a short timeframe? I agree, 100 percent: men are the worst, and women deserve better. I’ll never not agree, but by the tenth movie in six days with that message, it just became exhausting to sit through. Honestly, I'd feel the same way after a glut of thematically similar heist movies too. Still, though, I persevered because…why wouldn’t I? It’s Cannes, and I needed to make the most of it, both for me and for you. However, that has created a list of movies that is incredibly hard to rank against each other. How do you rank an American action blockbuster like Furiosa against a quiet Indian meditation on sisterhood? Something like Motel Destino might be objectively better than Horizon , but I’ll rewatch Horizon and all of its overlong sequels. I’ll never rewatch Motel Destino . It creates a quandary. As a result, the ranking below is not a single, top-to-bottom ranking of every movie I saw. Instead, I decided to break it down into three ranked categories: 1. The Top 11 Movies, overall; 2. Foreign-language movies; 3. English-language movies. The Foreign-Language and English-Language Rankings will not include any titles that made the Overall Top 11. Also, you may ask, “Why Top 11?” That’s a fair question. The Top 11 is made up of five English-language movies, five foreign-language movies, and one movie that has zero human dialogue. It just worked, perfectly balanced, as all things should be. So, who wants to read some reviews? FOREIGN-LANGUAGE MOVIES, RANKED 18. GHOST CAT ANZU Despite boasting an animation style reminiscent of Studio Ghibli, Ghost Cat Anzu doesn’t deliver a story anywhere near as moving, humorous, well-paced, or emotional as that famed studio’s offerings. The first hour follows the titular ghost cat as he farts, plays cards, rides a moped, and laughs annoyingly at random things. Eventually, a Spirited Away -esque plot kicks in that features genuine stakes, a semblance of character arcs, and less randomness, but by the time it gets to that point, I was already mentally checked out of its meandering nonsense, even as I found the innovative animation generally pleasing to the eye. 17. ARMAND Armand starts off incredibly strong, featuring terrific performances and a tone similar to 2021’s underrated gem Mass . However, what begins as a tense “he said/she said” chamber piece about lies and preconceived notions eventually goes off the rails. There is one scene where Renate Reinsve annoyingly laughs for what feels like 10 minutes, like a Family Guy joke that just won’t die. From there, it just gets weirder with the introduction of ghosts and random dance numbers. It makes me curious if director Halfdan Ullmann Tøndel even knows who his audience is. Then again, maybe these are typical sensibilities in Norwegian cinema and I’m the asshole. 16. PARTHENOPE The great irony of Parthenope is that, at its core, it’s an exploration of beauty and the superficiality that lies therein, yet it remains as shallow as a Calvin Klein ad. Yes, it’s beautifully shot, with beautiful people doing beautiful things in beautiful locations, but that’s about it. There is little in the way of emotional depth or resonant meaning, and it plays out just as one might expect. Gary Oldman does solid work in a small role as John Cheever, but sadly, he just made me long to watch the 1992 Seinfeld episode “The Cheever Letters.” 15. FILMLOVERS! Of all the movies on this list, Filmlovers! probably is the least accessible to a non-French audience. Film can mean different things to different cultures, and when you create a love letter to cinema that is part philosophical essay, part historical documentary (complete with film clips and testimonials), and part narrative…all told from the French experience…something is bound to be lost in translation. It makes it hard to relate to the talking heads or to see yourself in their proclamations about how a certain movie may have changed their life. I understand and respect the approach, but American “filmlovers” aren’t the right audience for this. 14. JULIE KEEPS QUIET Going into Julie Keeps Quiet , I was expecting something close to 2019’s The Assistant — a tense examination of what happens when one stays quiet in the face of observed abuse. As it turns out, Julie Keeps Quiet is too literal of a title because this is a tension-less film filled with long silences and avoided conversations. The thing Julie (Tessa Van den Broeck) is keeping quiet about lingers so subtly in the background that you forget it’s the crux of the story, leaving us with nothing more than a collection of lifeless scenes of people running tennis drills (“lifeless” compared to Challengers , at least). 13. ALL WE IMAGINE AS LIGHT In all honesty, I only saw this movie because the buzz on the ground at Cannes was that it could win the Palme d’Or (it ultimately won the Grand Prix, effectively second place). Personally, I don’t get it. Despite some terrific shots of Mumbai, this subtle tale of three women simply existing in a patriarchal society, shown through their friendship, desires, and traumas just didn’t grab me. I heard a lot of people call it “dreamlike,” which makes sense because it definitely made me want to take a nap. I get there is importance in the representation, but that alone doesn’t make for an amazing movie. 12. THE GIRL WITH THE NEEDLE Shot in gorgeous and haunting black and white, The Girl with the Needle is a bleak, sorta gothic horror movie that failed to resonate with me. I can certainly recognize the dark tragedy at hand, but other than lightly bumming me out, which has as much to do with its overall aesthetic as it does the particulars of the horrendous true story, it failed to evoke much emotion out of me. The imagery never elicited gasps, the dark turns were never shocking, and the performances never made me sit up in my seat. I’ll probably forget this movie exists within the next six months. 11. MISERICORDIA While the story beats are reminiscent of The Talented Mr. Ripley (or Netflix’s latest adaptation, Ripley ), Misericordia is a much more pared down, subtle, and quiet look at sexual repression, needs, and desires. Oh, and there is murder. It’s very dry and very slow, boasting perhaps the most indie feel of any movie from Cannes Film Festival, and while I can’t assuredly say it works, it doesn’t not work either. Personally, though? I wasn’t overly compelled by it. 10. SANTOSH Much like All We Imagine as Light , Santosh is the story of an Indian woman navigating the patriarchal society of Northern India, this time through the lens of a constable investigating the disappearance of a young girl. The investigation is nominally the core of the story, but it too often takes a back seat to the sexism and ugliness that Santosh (Shahana Goswami) must endure to get anything done, as well as the knowledge she gleans from a senior female officer. It’s not entirely unlike Indian Training Day , but it would have been more compelling with a better balance between the case and the social commentary. 9. SAUVAGES I’m always a sucker for stop-motion animation and claymation set designs, which Sauvages has in spades. On that front, I have no notes. However, the story itself is very preachy as it explores the question of (and obvious answer to) who the real “savages” are, natives or capitalists. Environmental protection is an extremely important and worthwhile message, especially in this era of climate change and its deniers, but it makes the movie feel more like a lecture than anything else. As a result, I suspect most adults will feel talked down to while most children will be bored by the dryness, cute monkey notwithstanding. 8. BEING MARIA Being Maria is the story of Maria Schneider, the female lead in the controversial erotic drama Last Tango in Paris , played terrifically by Anamaria Vartolomei. When the movie focuses on the trauma endured by Schneider while filming Tango , particularly the scandalous “butter scene,” it’s striking and heartbreaking. However, once it moves to the aftermath that occurs once Tango is released, it devolves into standard and shallow representations of “the downward spiral,” including typical scenes of addiction, sex, and generally dysfunctional behavior. Thankfully, Vartolomei elevates it all to be slightly more than the Lifetime Movie tropes we’re given. Also, Matt Dillon is surprisingly excellent as Marlon Brando. 7. SHE’S GOT NO NAME Yet another movie that is exploring domestic abuse and the treatment of women in a patriarchal society, She’s Got No Name looks back at a true story from 1940s China about a woman on trial for killing her abusive husband. Though there are some beautiful shots and Ziyi Zhang is fantastic as the alleged murderess, the story is extremely overstuffed with random diversions, which creates a movie that is too long and exhaustingly disjointed. The pieces are there for an important story with an important message, but it simply undermines itself by trying to include too many details. 6. I, THE EXECUTIONER Unbeknownst to me, I, the Executioner (a.k.a. Veteran 2 ), is a sequel. I didn’t see (or have even heard of) its predecessor, so I have no idea if there were important nuances or backstory I was missing as I watched this movie. That said, it’s an enjoyable but fairly standard action cop thriller. It reminded me of movies like S.W.A.T. and Striking Distance — you know, the kind of movies you stop on when flipping channels but never intentionally watch. If it were in English, it may have ranked higher, but being somewhat generic and in subtitles makes for nothing more than a one-time diversion. 5. ON BECOMING A GUINEA FOWL Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though. 4. WILD DIAMOND The biggest compliment I can give Wild Diamond is that I very much hated — and I mean HATED – Liane (Malou Khebizi), but that is such a testament to Khebizi’s performance as she plays the character as sympathetic but abrasive, vulnerable but tough-as-nails. Khebizi aside, I found a lot of the Gen-Z-ness annoying, but I’m a grumpy old Xennial, so… shrug emoji . On a more serious note, I genuinely can’t get on board with its message that one should do whatever it takes to live that “Influencer Life” (especially the end takeaway); however, Khebizi is so damn good that I can’t dislike the movie as a whole. 3. MOTEL DESTINO Whether director/co-writer Karim Aïnouz intended to remake The Postman Always Rings Twice , or if he just made a movie with similar plot points and themes is hard to say. Either way, despite what is easily described as a Brazilian adaptation of Postman (even if it wasn’t on purpose), Motel Destino is a sexy, sweaty, grimy, and primal approach to the familiar tale. Aïnouz uses searing colors, lush cinematography, and lusty rawness to cover for a somewhat flawed but never-less-than-engaging erotic thriller. You may have seen the Postman story before, but never like this. 2. THE BALCONETTES Another of the many movies from Cannes to touch on themes related to #MeToo , The Balconettes is a horror-comedy that relies on a wide-range of recognizable (but French-infused) vibes. There is a bit of Coen Brothers, some Quentin Tarantino, a lot of madcap burlesque, and a touch of vaudeville. Sure, it creates some massive tonal shifts, especially as it veers more towards the supernatural, which results in the movie losing steam towards the end because of the sheer scattershotness of it all, but I can’t say I didn’t have fun. 1. DOG ON TRIAL When one talks about finding hidden gems at film festivals, Dog on Trial is a perfect example. A movie that, on its surface, appears to be light and goofy (which it is) also works as a terrific metaphor for how society sees women, as well as a more straight-forward look at animal rights. Though almost never preachy, it explores the nature of the legal system, societal constructs, and humanity in humorous yet thought-provoking ways. It’s absurd and whimsical, but also deeply philosophical and observant. Plus, who doesn’t love a Movie Dog? ENGLISH-LANGUAGE MOVIES, RANKED 12. THE DAMNED While I commend what The Damned wants to do (and it does it well, to be fair), it doesn’t make for an enjoyable movie-watching experience. This is the type of war movie that isn’t about characters or battles, but the tedious mundanities that come between the battles. Plus, with it being set during the U.S. Civil War, the analog aspect of it all makes it even more of a slog to watch. It’s a lot of people just walking around, filling canteens, and eating beans next to a fire. Granted, it made me feel the same disillusionment the soldiers felt, but who wants that? 11. MEGALOPOLIS Although a modern world in which ancient Rome never fell is an incredibly fascinating premise, Francis Ford Coppola’s Megalopolis is an unmitigated disaster that vacillates from (presumably unintentional) campiness to overbearing self-seriousness at the drop of a hat. In addition to that, the story is so overstuffed and poorly developed, it’s like Coppola simply gave his stacked cast a handwave gesture and basic gist, leaving them to figure everything out on their own, which results in a collection of A-list actors who clearly aren’t working on the same wavelength. It’s not lacking in ambition, but the execution isn’t there. The visuals look sorta nice sometimes, though. 10. THE SHROUDS While The Shrouds isn’t without moments of intrigue, it’s generally let down by a convoluted conspiracy mystery, stilted acting (especially from Vincent Cassel), and atrocious dialogue. Also, not that I’m exactly complaining, but why is Diane Kruger naked for most of her scenes? In any case, I want to give writer-director David Cronenberg the benefit of the doubt because I know he’s using this movie to work through grief about his wife passing, not to mention it was originally written as a series for Netflix; however, in the end, I think he might have been a little too close to this one to recognize its flaws. 9. RUMOURS As a political satire, Rumours is certainly clever, but probably a little too smart for its own good. It requires a certain level of winking, “if you know, you know” awareness, and I’m not sure audiences lacking a general knowledge about geopolitical reputations will get a lot of the jokes present in this surreal sci-fi comedy. That awareness is the difference between a movie worth your time and a movie that is merely a mildly amusing diversion. No complaints about the cast, though, all of whom are game for the B-movie weirdness happening on screen. 8. FAYE Documentaries about movie stars tend to fall in one of two camps. They either are self-aggrandizing puff-pieces or unvarnished examinations that present the subject warts and all. Sadly, while Faye very lightly dips its toes into the latter, it’s mostly the former. Aside from a few passing references to Faye Dunaway battling mental illness and having a reputation for being difficult, this documentary offers little more than Wikipedia-level biographical facts and a collection of movie clips. That said, it may drive you to watch Bonnie & Clyde , Chinatown , and Network again (or maybe even for the first time), which isn’t a bad thing at all. 7. OH, CANADA Despite what other critics and Rotten Tomatoes might have you believe, director Paul Schrader hasn’t made a great movie in years. Sadly, Oh, Canada keeps that streak alive. The weird thing is that there are several things to like here, including a terrific performance from Richard Gere, poetic dialogue, and a great Americana-folk soundtrack, but all those things are squandered by lethargic and muddled storytelling that lacks passion. It wants so hard to be a melancholy treatise on life, death, and the regrets in between, yet it fails to make you care enough about the character to care at all about his remorse. 6. CHRISTMAS EVE AT MILLER’S POINT There are two plots in Christmas Eve at Miller’s Point — one that generally worked for me, and one that didn’t. If you grew up going to big family gatherings on Christmas Eve like I did, the fly-on-the-wall approach to the family get-together offers enough relatable holiday charm and nostalgia bombs to carry you through. However, once the B-plot about annoying teenagers sneaking out takes over, I started to lose interest because all the initial recognition of my own youthful holiday seasons faded away. I suspect one’s appreciation of this movie will depend entirely on how much of their own life they can see in it. 5. LIMONOV: THE BALLAD OF EDDIE Here is the thing about Limonov: The Ballad of Eddie — I absolutely loved parts of it. Ben Whishaw has never been better, giving a punk-rock performance that is as unflinchingly energetic as it is fascinatingly complex. Meanwhile, Kirill Serebrennikov’s direction is delightfully chaotic, grimy, intense, and stylish, capturing the vibe of 70s New York perfectly. That said, by the end, I was left wondering why I just watched a 140-minute biopic about a guy that I had literally never heard of before. It’s simultaneously too much and not enough, and for the most part, the details of Eddie Limonov’s (Whishaw) life have already faded from my memory. 4. HORIZON: AN AMERICAN SAGA — CHAPTER 1 Horizon — Chapter 1 is tough to review because, frankly, it’s not really a movie. Or at least it shouldn’t be. It’s like watching the first three episodes of a miniseries, which means it’s mostly just introducing a sprawling number of so-far-unrelated characters. There is very little development on any front, and nothing remotely resembling a typical multi-act story structure. The best way to describe it is “just western vibes,” so fair judgment probably should be reserved until after seeing Chapter 2 , if not Chapters 3-4 . Still, the acting, cinematography, and production design are very well done, and I’m invested enough to see the sequels through. 3. BIRD Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and sensitive realism than delivering an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances, but predict that others, particularly women, are likely to be more moved by this picture than I was. 2. KINDS OF KINDNESS After Poor Things , one had to expect at least a small hangover with director Yorgos Lanthimos’ next outing, so it’s not exactly surprising that Kinds of Kindness is underwhelming. Don’t get me wrong, it’s good; however, it might be Lanthimos’ least good movie, which is all because of the story structure. Kindness is basically an anthology of three short films, and there is inconsistency in their levels of intrigue and development. I would have rather watched any of the three as a standalone feature instead of the truncated versions we get here. Still, all the typically weird greatness you’d expect from Lanthimos and this cast are present. 1. GOOD ONE Good One is a tremendous feature directorial debut from India Donaldson and a showcase for young star Lily Collias. Funny and insightful, understated yet complex, it explores Sam’s (Collias) transition from dependent teenager to empowered adult as she deals with two, generally harmless but not quite enlightened, middle-aged dads struggling to navigate the line between “daughter figure” and “fully realized woman.” Donaldson does a great job of putting us in Sam’s shoes as she observes their bickering, regrets, selfishness, and sexism, which creates a low-simmering tension throughout as we’re left wondering when enough might be enough. It’s simple and spare, but never slight, and always compelling. TOP ELEVEN MOVIES OVERALL, RANKED 11. INTO THE WONDERWOODS Truth be told, I don’t watch a ton of animated movies. It’s not that I don’t enjoy them, per se, but so many of them are unabashed toy commercials aimed at children. There is no real weight behind the storytelling, and it’s hard to tell which ones are worth my time. Enter Into the Wonderwoods , a charming and delightful spin on Alice in Wonderland that features beautiful and varied animation, as well as a surprisingly emotive score. I admit it’s a small sample size, but it’s one of the better animated movies not named Spider-Verse that I’ve seen in a while (...but hold that thought). 10. THE KINGDOM Although generally a coming-of-age tale, The Kingdom takes a darker and grittier approach than most genre offerings by focusing on the daughter of a Corsican mob leader in the middle of a gang war. It’s like watching Narcos from the perspective of Pablo Escobar’s daughter, which delivers two captivating aspects we don’t often see: 1. The effects gang life has on unaffiliated family members; 2. the dichotomy of a ruthless crime lord that is, first and foremost, a loving father. It makes for a taut, moving, and gripping experience. Even more impressive? This is director/writer Julien Colonna’s and star Ghjuvanna Benedetti’s feature debuts. 9. THE SECOND ACT I probably didn’t get every joke in director Quentin Dupieux’s The Second Act given its overall Frenchness, but I still laughed a lot, especially at Manuel Guillot’s hilariously nervous energy and physical comedy that work in any language. In addition to Guillot, the four French A-listers (Léa Seydoux, Vincent Lindon, Louis Garrel, and Raphaël Quenard) playfully play with their real-life public personas while making fun of just how silly actors and the film industry are. It’s breezy, playing like Tropic Thunder meets Extras , and though it may be sacrilege to say, there is a lot of potential here for an American remake. 8. THE APPRENTICE Much like Oliver Stone’s W. , The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL -style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers. 7. TWILIGHT OF THE WARRIORS: WALLED IN With thrilling and incredible video game-inspired fight choreography (especially during the finale’s wild “Final Boss” fight) and a decent amount of character development, Twilight of the Warriors: Walled In is a total blast! The 80s throwback vibes and gritty noir-ish feel only aid in making this one of the best martial arts movies I’ve seen since maybe The Raid series (admittedly, I haven’t seen a ton of recent martial arts movies). The story beats strain credulity at times, but if you’re like me, you aren’t coming to a movie like this for the story, and Warriors more than delivers the carnage we’re all here for. 6. THE SUBSTANCE If you get squeamish with gross body-horror imagery and flat-out disgusting noises, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. 5. THE SURFER Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. 4. EMILIA PEREZ I genuinely have no idea how Emilia Perez works as well as it does. Sure, it features terrific performances across the board (especially Karla Sofía Gascón), but it’s just such a bonkers premise and approach that you keep waiting for it to collapse under the weight of its own ambitions. It never does, though. The gritty crime elements are tense, the musical sequences are percussive and propulsive, and the character dynamics feel real and sincere. The fact that it all comes together near flawlessly is a testament to director/screenwriter Jacques Audiard’s ability behind the camera and the self-confidence in his vision on the page. 3. FURIOSA: A MAD MAX SAGA Given the (unexpected?) modern-day masterpiece that is Fury Road , there was some concern on my end that returning with a prequel would result in a disappointing cash-grab of a movie. Thankfully, Furiosa is anything but. It might be a bit too long, but you hardly care when the acting (Chris Hemsworth, especially), action, and writing are this good and compelling. It’s the rare prequel that stands on its own merits while expanding on the lore of everything that came before it and improving the depth of its immediate predecessor. Only time will tell if it’s better than Fury Road , but it deserves genuine consideration. 2. ANORA Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems , then you’ve got a pretty good idea of what to expect. It’s worthy of any and all awards consideration it’s surely to garner as we get deeper into 2024. 1. FLOW I surely didn’t expect the best film out of Cannes to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. Photo Credits: Cannes Film Festival

Previous Next February 19, 2025 WRITTEN BY: AMARÚ It may be Black History Month, but for those who really know, every month is Black History Month; even though I have watched every kind of movie there is over the course of my 36 years of movie-loving life — no matter the demographic, culture, or target audience — that same reverence isn’t always reciprocated back by non-minorities. Black cinema (and Asian and Latino cinema, for that matter) is essential to the zeitgeist of movie history, but I’ve stopped counting the times I’ve had discussions about the best [insert genre here] films and had to teach somebody about all-time hood classics: “You haven’t heard of I’m Gonna Git You Sucka ?!” Or, “what do you mean you love romance movies but have never seen Love Jones ?!” Frankly, I’m never surprised by this, particularly since I entered movie criticism circles seven years ago, because it’s pretty common that I’m one of the few people in the room who looks like me. While there are a few non-melanated folk who are in the know (you know who you are and I see you), from online movie trivia to my own very wonderful and welcoming critics association, I very often have to fight between my conflicting urges to either blatantly put Black films in the faces of my fellow movie-lovers, or go full-blown KevOnStage and yell “IT’S FOR BLACK PEOPLE, ANYWAY!!!” But if you know better, you do better. So, I have taken the opportunity to help the Bitesize Breakdown crew rectify some film gaps that they undoubtedly have. For this personalized guide through classic Black cinema, I have curated a line-up of essential hood classics that my fellow Bitesizers have not seen, each based on what I think are films they would enjoy. Then, they wrote a review on those first-time watches. I was not immune from this lesson, as I also watched and reviewed a film that I have never publicly admitted to not seeing for fear of having my Black Card revoked. Feel free to take this journey with us if you haven’t seen these movies, and if you’re like me, make a playlist for your fellow uninitiated. Most importantly, if nothing else, for the love of film, go watch Black movies. ADRIANO For our resident awards aficionado, I needed to find a movie filled with vibes. That is what always seems to get Mr. Caporusso out of bed in the morning: lowkey pretentious, high-key aura, and monumental performances. There was one movie that stood out in my mind that covers all those prerequisites. For Adriano, I chose…… EVE’S BAYOU (1997) I was fairly shocked to realize that not only was Eve’s Bayou directed by Kasi Lemmons, but it was her debut film. Despite the (mostly) grounded storytelling, the movie is presented in an oddly mystical way. Even though it’s a domestic family drama, there's something about the gothic undertones that drive the film (both narratively and thematically) that feel otherworldly. Memory plays a heavy role in the film, and the exploration of how hazy it can be only adds to the effect, not to mention the excellent ensemble. I genuinely can't stress enough just how well-made the movie is. The Louisiana setting makes way for some beautiful cinematography, especially with the way the lakes and nature are filmed, but I also couldn't help but notice how well-lit the interior scenes were. Plus, the sound work gives the film a very lived-in feel, and while the score might be a little soap opera-y on its own, it works with the tone of the film. With every genre sensibility that Lemmons presents here, Eve’s Bayou never comes up short emotionally. Obviously, history plays an integral role in the story, but the family drama gives it even more authenticity. These lives feel very real, and through the relationship between the father and daughter (Samuel L. Jackson and an 11-year-old Jurnee Smollett), we get a very profound look at the way we process our familial baggage. KATIE There is nothing about Katie that doesn’t yell “sweetheart.” Kindness, intelligence, and care just oozes out of every word she types, so I looked for a coming-of-age film that brings a combination of joy and thoughtfulness. Plus, she is something of an academic (or at least she writes like one), and I needed a film she could relate to as a student. For Katie, I had to go with… DOPE (2015) As a fan of coming-of-age narratives and American indie cinema, I was very excited to watch Ru’s recommendation Dope , especially after having recently loved Shameik Moore’s hilarious role in The Gutter. I can see why Ru thought I’d enjoy this movie because it's brimming with unconventional coming-of-age themes and irreverent indie humour while taking a unique storytelling approach to the serious issue of bias in academic processes. Dope both defies and satirically indulges stereotypes. As I was watching, I realised that I could not recall another instance of black nerds on screen, much less a film that focuses entirely on their experiences and nuanced identity. So, although Dope is thoroughly entertaining, it also made me think about the lacking representation of these character types elsewhere. At times, the film veers from offbeat high-school comedy to sudden violence, but the tonal shifts reflect the uncertainty and unpredictability of the L.A. neighbourhood. The cast has great chemistry and no issues handling the diverse emotional demands of the story, and their close friendship feels convincingly authentic. Plus, it's absolutely stacked. Since I went into the film blind, I was pleasantly surprised every time I saw a younger-looking familiar face. The energetic editing and creative cinematography keep the pace brisk, yet it also knows when to tone it down for maximum emotional impact. What’s more, the incredible soundtrack is an education in itself, featuring original songs that are genuinely catchy! NICK Honestly, Nick was, by far, the hardest person to choose for. He always just seems to be around, meaning unless we’re talking about Back to the Future, he’s down for just about any kind of movie with no extreme emotions about any particular genre. Do I go action? Horror? Sports? A great drama? For Nick, Mr. Middle-of-the-Road, I went with a movie that is underrated even in the Black community but still is hella solid. That film is… HIGHER LEARNING (1995) Considering his reasoning (although I push back on being middle-of-the-road), I completely understand why Amarú picked Higher Learning for me as it’s a mix of all genres. There is comedy, drama, thrills, and some entertaining moments, to be sure. Unfortunately, there’s a little too much of everything without director John Singleton giving things enough of a chance to settle and have the weight they should. He is even quoted as saying, “I was 25 years old making [ Higher Learning ]. I'm, like, chock full of everything that would concern young people: lesbianism, and racism, and everything I could put in that movie.” It shows, John. The other thing that unfortunately works against the film is that it feels incredibly dated. Not so much in the content (sadly, that’s still all too prevalent these days), but the quality. You get some solid performances from the likes of Laurence Fishburne, Ice Cube, and Omar Epps, but the remainder of the cast is forgettable. As I said, there are entertaining (and harrowing) moments, but they don’t amount to a film that does anything better than its contemporaries. Amarú claims that this film is underrated in the Black community, but I’d argue it’s rated just as it should be: middle of the pack. PAIGE If there is a movie that allows a woman to take the sweetest revenge, Paige is there for it. She is known for being a horror queen, but she is always all in on women empowerment. No matter the genre, if somebody (especially a man) is getting their comeuppance from a spurned woman, Paige will be rooting her on from the front row. For Paige, I had to give her the ultimate woman’s anthem on film… WAITING TO EXHALE (1995) I’d be lying if I said Waiting to Exhale isn’t an overlong and overstuffed story that feels dated in some respects; however, despite these drawbacks, it’s full of passion, heart, and humor. While the movie tackles the difficulties of dating and relationships, at its core, it exemplifies the strength of friendship between our lead characters, portrayed by Whitney Houston, Angela Bassett, Lela Rochon, and Loretta Devine. This quartet feels like a genuine friend group that would have each other's backs, no matter what. Director Forest Whitaker’s (yes, the Forest Whitaker) film may fall prey to shallow romantic clichés, but at least he made sure to flesh out the central friendship to feel as authentic as possible. These women can overcome anything, as long as they have each other by their side. That’s true girl power, right there. Hoes over bros! QUENTIN At this point, you’re probably expecting me to call Q an old man. While that’s always something of an exaggeration, the truth of Q is that he is a grown-ass man. He is interested in nothing but being grown at all times, and there’s one film that screams being grown. Grown jokes, grown characters, grown plot line, grown love interests. For Q, I had to pick the grown man’s movie… A LOW DOWN DIRTY SHAME (1994) As a dude who grew up loving Keenen Ivory Wayans’ I’m Gonna Git You Sucka and In Living Color (and later, Scary Movie and White Chicks ), not to mention old-school actioners featuring wisecracking badasses like The Last Boy Scout ( starring Keenen's brother, Damon, incidentally), it’s easy to see why Ru chose A Low Down Dirty Shame for me. Had I seen it when it first dropped in 1994, I have no doubt it would be a nostalgic favorite that I’d still be quoting regularly. But nostalgia is a funny thing. There are so many movies I love for their 90s-ness, but when you don’t first experience that 90s-ness in the actual 90s, it can make for a cringey watch — and watching Low Down for the first time 30 years after its release is rough. Wayans does a decent enough job both as director and star (though, unsurprisingly, he’s better at the comedic bits than the action ones), but everything is undermined by how dated and cheesy it all is without the nostalgic lens of familiarity. On that same note, in 1994, Jada Pinkett probably stole the show because she is legitimately great as the sassy Peaches. But in 2025? Fair or not, I have a real hard time wanting to even watch her on screen given what she has become. Overall, Low Down probably always felt like Wayans grasping for mainstream Eddie Murphy status, and time certainly hasn’t done it any favors for fresh eyes. AMARÚ Ok, don’t crucify me, but when certain cultural staples came out, I was too young to want to watch. Yes, I watched adult movies at a young age, but there were certain vibes that I just didn’t gravitate to. To this day, I’m still not the biggest Scorsese-like gangster film fan. This one isn’t a gangster film, but I’ll finally admit that, until 2025, I had not seen… MALCOLM X (1992) I haven’t decided whether Spike Lee’s greatest cinematic achievement is Do the Right Thing or this three-hour, intimate look into one of the most important and complicated figures in American history. What I do know is that the Academy needs to figure out a way to stop handing legacy wins to people who don’t deserve them that year (sorry, not sorry, Al Pacino). Malcolm X — and Denzel Washington’s performance — takes three tonally different movies and immaculately tells them as one magnificently earnest film. It perfectly exemplifies the last century of this country through the Civil Rights leader’s rich story. Every line, shot, and performance is perfectly placed to magnify the reality of the American experience: racism, poverty, the hustle of the American dream, religion, fame, betrayal, redemption, family, and tragedy. This film is multi-faceted, surprisingly funny, unbelievably harrowing, and outright truthful. I’m glad I finally sat down to learn something that day.

DEAD TO ME: THE FINAL SEASON Starring: Christina Applegate, Linda Cardellini, James Marsden, Diana Maria Riva, Brandon Scott, Sam McCarthy, Luke Roessler, and Garret Dillahunt Creator: Liz Feldman NICK Dead to Me was a great two-season series that really didn't need a third season, yet here we are. The writers find a way to keep the story going (including a hard left turn in the latter episodes), but it lacks the magic of the earlier seasons. That said, Linda Cardellini is just so great in this role, and her chemistry with Christina Applegate is among the best on television. All said and done, this series will be remembered for its unabashedly honest handling of grief underneath its central mystery and the heartfelt platonic love story it became. I’ll miss this one.

Previous Next January 15, 2025 WRITTEN BY: KATIE Since the early 2010s, there has been a significant surge in the proliferation of female filmmakers, especially in horror. Beginning with the unprecedented success of hits like the Soska Sisters' American Mary , Ana Lily Amirpour’s A Girl Walks Home Alone at Night, and Jennifer Kent’s The Babadook, these films have been central to discourse concerning their subversive approach to the horror genre. Ever since then, female horror filmmakers have continued to reach new heights of success. In 2017, Roxanne Benjamin, Jovanka Vuckovic, Karyn Kusama, and St. Vincent combined forces to create the first all-female horror anthology, XX . Between 2017 and 2021, Julia Ducournau, Natalie Erika James, Rose Glass, and Prano Bailey-Bond earned critical acclaim with their eminent debut features. In 2021, Leigh Janiak found major success with the Fear Street trilogy for Netflix, Julia Ducournau won the Palme d'Or for Titane (making her the second woman ever to be awarded the prestigious prize), and Nia Decosta became the first black female director to debut at number one at the U.S. Box Office with Candyman. This year alone has been an impressive year for female-helmed horror, especially seen in the surge of body horror films, including Arkasha Stevenson’s The First Omen, Michael Mohan’s Immaculate ( although not in the director’s chair, Sydney Sweeney’s producer role was integral to its film’s success), and Coralie Fargeat’s Golden Globe-nominated The Substance. So, why is this significant? This surge has offered new and unique perspectives in a genre that has long been dominated by white, male directors who typically sexualize women, represent them as monstrous, or are treated as nothing more than helpless victims. Not only do these films defy traditional assumptions about women’s role in horror, but they are aligned in how they wield tropes and genre hybridity to address real-life concerns. Barbara Creed (an amazing feminist scholar and one of my personal heroes) addresses this in her latest book, Return of the Monstrous-Feminine: Feminist New Wave Cinema. She revisits her theory, which was first published in her seminal text The Monstrous-Feminine in 1993, by examining a selection of contemporary films made by women, arguing they constitute a specific historical movement — Feminist New Wave Cinema. These films focus on women first, telling stories about revolt against patriarchal oppression and definitions of femininity. Unlike in her earlier text, which focused on female monstrosity in relation to male fears rather than female subjectivity, in Feminist New Wave Cinema, monstrosity is an empowering, potentially even liberating, concept. Inspired by Creed’s latest take on the monstrous-feminine, I want to explore the ways in which several films have used tropes and aesthetics of horror, as well as the notion of female monstrosity, to affirm female-lived experiences and criticise various societal issues that impact mainly women, specifically beauty standards, motherhood, and sexual violence. BEAUTY IS PAIN In both The Substance and The Outside , female protagonists use a product marketed to them by mysterious men in an effort to achieve an ideal of beauty that they feel is currently out of reach. Despite the detrimental effects it has on them, they repeatedly return to the product and convince themselves of the benefits, their drive to feel acceptable and loved outweighing their well-being. The brutal process of transformation — which in The Substance necessitates a series of terrifying injections that become increasingly difficult to watch, and in The Outside involves worsening rashes and blistering skin — calls out the dehumanisation and pain that is inherent in many beauty treatments. Although society praises the result of cosmetic surgery and other aesthetic alterations, it rejects awareness of the process. However, Fargeat and Amirpour refuse to let us look away. You need to know the cost. In her famous book Gender Trouble , Judith Butler refers to performing gender as “the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame that congeal over time to produce the appearance of substance.” This is evident in both films, which uses body horror to highlight the impossibility of meeting constantly shifting beauty standards and the absurdity in even trying. They show how societal standards drive women towards unsustainable, increasingly extreme practices in order to produce an image of themselves that society accepts. Both films culminate in a fusing of identities for the protagonists, a transformation into something monstrous and unfamiliar, committing acts each of the women would have previously found unthinkable. However, Fargeat and Amirpour do not blame their protagonists, instead casting a side-eye at those who made them feel they needed to change in the first place. In the films, there is an obvious answer for both women: just stop using the product, but the directors empathise with their protagonists, showing how easily it can get out of hand, highlighting the lengths people will go to feel worthy of love and acceptance, and exploring the ultimate cruelty that it will never be enough. "A BOY'S BEST FRIEND IS HIS MOTHER" The history of horror cinema is permeated with mothers. One of the most famous is Norman Bates’ (Anthony Perkins) mother from Alfred Hitchcock’s Psycho , but Mrs. Bates doesn’t even exist outside of Norman’s head, where she is smothering and cruel. Norman is not to blame for his monstrous acts, it’s his mother’s influence that turned him into the man he is. So, as highlighted by Sarah Arnold in her incredible text Maternal Horror Film: Melodrama and Motherhood, the fact that one of the most iconic mothers in horror history never even materialises outside of a male construction says a lot about maternal representation. According to Creed, when women are presented as monstrous in horror films, it is almost always in relation to their reproductive functions , which is evident in some of the genre's most well-known films, including The Brood and Rosemary’s Baby . Surprisingly, there have not been many female-authored films about pregnancy and motherhood, but Feminist New Wave Cinema has reclaimed the concept of monstrosity to liberate their protagonists from the oppressive constraints of motherhood, which demand women be nurturing, self-sacrificing, and submissive. In her hilarious horror comedy Prevenge , Alice Lowe satirizes the contradictory nature of being the perfect mother-to-be through Ruth (Lowe), who is guided by the disembodied voice of her unborn baby to kill. As Ruth slashes throats, breaks skulls, and castrates misogynists, she also dutifully attends her prenatal appointments. Her midwife tells her that her body is no longer her own, and that she must do everything in service of the fetus. Ruth expresses that she’s finding her pregnancy difficult, without disclosing her murderous urges, but the midwife reiterates, “baby will tell you what to do.” So, Ruth does what she is told. Lowe takes the idea of maternal selflessness to the extreme, with Ruth committing decidedly unfeminine acts, but all in service of the unborn child, unsettling the notions of maternal identity. Amelia (Essie Davis) in Jennifer Kent’s The Babadook is in a similar position to Ruth as a recently bereaved single parent. Significantly, both characters express regret and reluctance in relation to motherhood, and both are told to prioritise their children and, essentially, get over themselves. Both try to repress their grief with disastrous results. Ruth kills whilst Amelia and her son are tormented by the terrifying Babadook , a literalisation of her anxiety. Like Ruth, Amelia is not the one who is monstrous, but the societal pressures that demand so much of her; however, they both perform ideas of monstrous femininity as a cathartic, liberating act that foregrounds the female experience and criticises idealised expectations of motherhood. REVISING THE RAPE REVENGE FILM Understandably, rape revenge films have not been viewed favourably by general audiences. They’re viewed as exploitative, inherently misogynistic, and generally disturbing. Defining films of the canon are Wes Craven’s The Last House on the Left and Meir Zarchi’s I Spit on Your Grave, which involve brutal depictions of sexual violence that focus on female suffering and degradation. However, Coralie Fargeat’s Revenge and Madeleine Sims-Fewer & Dusty Mancinelli's Violation show that revenge films can not only be liberating, but even feminist, emphasising the subjectivity of their female protagonists and exploring the societal conditions that perpetuate rape culture. Revenge presents an interesting challenge for feminist interpretation through its employment of the male gaze in the first half of the film. The protagonist, Jen (Matilda Anna Ingrid Lutz), is undoubtedly sexualised initially , flaunting her appearance for the gratification of men, but this is done to challenge the audience. Fargeat implicates the viewer in their assumptions about Jen, drawing attention to the discourse associated with victims of sexual violence, e.g., “she shouldn’t have been wearing that if she didn’t want it.” Just because Jen is flirtatious and sexualised does not mean the men around her are entitled to her body, which is underscored by her transformed demeanour after she is raped. She becomes almost animalistic, covered in dirt and grime, wielding a gun, and efficiently stalking and killing the men involved as she exacts her satisfying revenge. Fargeat also handles the rape scene uniquely to her male predecessors by limiting visual access and instead using sound and cuts to portray Jen’s ordeal. Whilst Jen’s screams can be heard, the camera focuses on her face and cuts away only to highlight the other man’s indifference to her suffering. This juxtaposes the way the camera voyeuristically captures Jen in the first half of the film, showing Fargeat’s disinterest in indulging a sadistic male gaze. Violation similarly implicates viewers in their assumptions. Through a non-linear storyline, it is revealed that Mirian (Madeleine Sims-Fewer) consensually kisses her attacker, who is also her sister’s husband, prior to the rape. This draws attention to the issue of assumed consent, as well as the sadly common assumption that a victim may have “asked for it” through behaviour. Similarly to Revenge , the rape scene in Violation focuses on the victim, emphasising Mirian’s feelings of betrayal and paralysing inaction. The use of macro photography lenses results in very tight close-ups, whilst the shaky, handheld camerawork creates a fragmented perception of the ordeal. The sound of Mirian’s whimpers are heightened above the score, which plunges the viewer into her sense of helplessness, especially when paired with the claustrophobic framing. Mirian’s revenge involves tricking her attacker before knocking him out cold and methodically dismembering his body. The process is grueling for both Mirian and the viewer, and although she doesn’t achieve the cathartic transformation of Jen in Revenge , she is shown to be traumatised and exhausted, demonstrating that the psychological impact of sexual trauma is not so easily erased. Both films show there is no single way of experiencing, or coping with, sexual violence through understated yet impactful scenes of the attacks, and they interrogate the ways in which the blame is situated with the victim rather than holding perpetrators accountable. WHAT’S NEXT? Clearly, this recent wave of female-authored horror films is significant. The surge in the proliferation of successful films that belong to Feminist New Wave Cinema shows that female horror filmmakers are increasingly gaining traction in the genre with their unique approach to the tropes and aesthetics of horror whilst also gaining more opportunities to tell their stories. This continues into 2025 with many exciting horror releases helmed by women. The body horror trend carries on with Sasha Rainbow’s feature debut Grafted , set to premiere on Shudder later this month, with director Rainbow commenting that the film will follow the female protagonist's "wild and bloody pursuit of perfection." On top of that, Jennifer Kaytin Robinson’s I Know What You Did Last Summer sequel will hit cinemas in the summer, Maggie Gyllenhaal's highly anticipated The Bride! will be released in late September, and Lynne Ramsay’s psychological thriller about the pressures of motherhood, Die, My Love , is expected to premiere at the 2025 Cannes Film Festival.