A KNIGHT OF THE SEVEN KINGDOMS: SEASON ONE Starring: Peter Claffey, Dexter Sol Ansell, Daniel Ings, Shaun Thomas, Danny Webb, Finn Bennett, Henry Ashton, Edward Ashley, Tanzyn Crawford, Sam Spruell, and Bertie Carvel Creators: George R. R. Martin and Ira Parker ROBERT Nothing does wonders for an IP like a palette cleanser, and while that can sometimes have a negative connotation, for a teetering fandom like Game of Thrones , A Knight of the Seven Kingdoms ended up the highest-end apéritif. The comical aspects of Westeros were always bogged down in expectations and self-seriousness, but the unabashedly funny, small-scale adventures of Dunk (Peter Claffey) and Egg (Dexter Sol Ansell) warmed the heart and soul. With minimal budget came creativity and groundedness, and the shorter episodes paved the way to a focus and efficiency other properties sorely lacked. This is the Westeros by which to aspire. AMARÚ The initial shock of this Game of Thrones spinoff’s comedic tone had me recalibrating how I approached it after episode one. Once I did, I found the jokes to be a refreshing addition to the normal Thrones violence, drama, and political backstabbing. Dunk (Peter Claffey) and Egg (Dexter Sol Ansell) have a wonderful dynamic, with Claffey’s stoicism clashing perfectly with Ansell’s tenacity. I haven’t cared this much about Thrones characters’ fates since Ned Stark (Sean Bean), and their relationship, alongside an entertaining ensemble, engaging story, and energizing look at Westeros might make this the best “Dem Thrones” has been since the Battle of the Bastards. KATIE I approached The Knight of the Seven Kingdoms with caution, feeling apprehensive about another Game of Thrones spin-off. Thankfully, I absolutely loved it. It follows distinct, well-developed, and endlessly endearing characters, Dunk (Peter Claffey) and Egg (Dexter Sol Ansell), whose dynamic is heart-warming and hilarious at once. Whilst it's funny, it’s also brutal and doesn’t pull its punches. Part of its charm is how simple and focused the story is, and how it isn't about royalty or the fate of the realm, but a grounded story about a knight with a good heart and his squire. PAIGE Having no expectations going into A Knight of the Seven Kingdoms , it ended up being a pleasant surprise. Frankly, it completely blew me away. My only real complaint is that the episodes are too short. This smaller-scale tale is wonderfully written and delivers a sparkle of hope within Westeros. Its more focused and grounded approach allows the dynamic between Ser Duncan the Tall (Peter Claffey) and Egg (Dexter Sol Ansell) to truly shine. The chemistry between Claffey and Ansell is the series’ standout, making every scene they share compelling and heartfelt. It’s scrappy, lighthearted, and an all-around great time spent in Westeros.

RAGDOLL Starring: Henry Lloyd-Hughes, Thalissa Teixeira, and Lucy Hale Creator: Freddy Syborn QUENTIN With its Seven -like story and grittiness, Ragdoll has a great setup. However, it devolves into a fairly boring crime drama that is further bogged down by the British dryness of it all. It wants to be more about the characters and their uninteresting backstories than the actual murder investigation. And those backstories are never given enough attention to make you care about why these characters are the way they are. It was the longest six-hour series I’ve seen in quite some time.

Previous April 29, 2026 Next A BITESIZE CHAT WITH KEIR O'DONNELL Keir O'Donnell (Wedding Crashers , Fargo ) joins Paige to discuss his debut behind the camera with the heist film Marmalade and the transition from acting to directing. Make sure to check out Marmalade now in theatres. Interview conducted on February 2nd, 2024 by Paige Frabetti. Photo Credits: Banner - Variety; Photo 1 - Signature Films, Photo 2 - New Line Cinema

AMERICAN GIGOLO: SEASON ONE Starring: Jon Bernthal, Gabriel LaBelle, Gretchen Mol, Lizzie Brocheré, Leland Orser, and Rosie O’Donnell Creator: David Hollander QUENTIN Despite Jon Bernthal’s committed, if overly muted, performance, American Gigolo is too convoluted in its murder mystery (not to mention the contrived conveniences) and not sleazy enough in its more lurid moments to work on either level. Honestly, it’s just a weak-ass murder show with Gigolo branding and Blondie’s “Call Me” slapped on it. Plus, some truly off-the-wall casting, including Wayne Brady as a gigolo-slash-pimp and Rosie O’Donnell as a deadpan homicide detective, makes the series feel like even more of an odd duck. It’s not unwatchable, but there are so many better things out there, including the 1980 movie on which the series is based.

WHAT WE DO IN THE SHADOWS: SEASON FOUR Starring: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, and Mark Proksch Creator: Jemaine Clement QUENTIN While still enjoyable in the general sense, What We Do in the Shadows ’ fourth season might be the series’ weakest outing yet. Nothing about it is bad, per se, but this season chooses to focus on the show’s two least interesting characters. Too much time is dedicated to Baby Colin Robinson (Mark Proksch) and Nadja’s (Natasia Demetriou) Vampire Night Club, which sideline Nandor’s (Kayvan Novak) hilarious djinn shenanigans while also leaving Laszlo (Matt Berry) and Guillermo (Harvey Guillén) severely underused. That said, Episode Eight (“Go Flip Yourself”) is a brilliant parody of home improvement shows and one of the best episodes of the show’s entire run.

Previous Next November 9, 2022 WRITTEN BY: JACOB AND PAIGE The New York Film Festival is one of the most extraordinary and sought-after film festivals in the world – attracting legions of filmmakers, press, and, especially, movie fans. People flock to the event hoping to catch a glimpse of films prior to their wide release and engage with their favorite filmmakers at panels, conferences, and Q&A sessions. Sometimes, a film’s wide release comes right on the heels of its NYFF debut; other times, it is well after. Furthermore, although most films have already debuted at other festivals or held early screenings for select press members, they can generate buzz simply by their inclusion in the New York slate. This year, Bitesize Breakdown sent two writers, Jacob and Paige, to New York City to cover the prestigious film festival for the very first time. This journey, much as with the three Bitesizers who attended Toronto International Film Festival, acts as a launchpad into a new era for our small collective. Once in NYC, we embarked on many an adventure. New York’s unique attractions and atmosphere provided serenity and elation for both of us as we visited popular bars, new dining locales, and – in Jacob’s case – the world premiere of Dwayne Johnson’s passion project, Black Adam . While immortalizing the experiences that would christen our strengthening bond, we covered all manner of events and befriended some equally extraordinary film critics along the way. Appropriately, we made no exceptions for sleep, as vibrant conversation lifted spirits and minds soared. If you’ve never attended a film festival, press lines are where friends are made, be it through Cinephile gameplay or the simple discussion of shared experiences. Our small duo often found itself amongst like-minded souls, including noted cinematographers, podcasters, journalists, and other equally excited attendees. Discussing film with like-minded fellows became a pastime as thorough and sure as baseball. It was, in many senses, a delightful presentation of opportunities for all involved. As we were granted access to some of the year’s most anticipated films, we were able to see many great offerings. As with most things, some were exceptional, others were admirable (if not beloved), and, of course, some did not meet expectations (though we won’t focus on those here). Paige’s main highlights included Charlotte Wells’ debut feature Aftersun , the biting satire of Ruben Östlund’s Triangle of Sadness , and Luca Guadagnino’s raw cannibal love story Bones and All . Noah Baumbach’s Netflix adaptation of White Noise was also a favorite of hers. As for Jacob, top marks went to Park Chan-wook’s masterfully edited Decision to Leave , Todd Field’s remarkably directed and performed Tár , and Sarah Polley’s novel adaptation of Women Talking . Of course, many other films of quality were also seen, such as Till , The Eternal Daughter , She Said , Corsage , All the Beauty and The Bloodshed , All That Breathes , Descendant , and Sr. , whereas most other films ranged from disappointing to largely enjoyable (though not especially mind-consuming). All told, New York was good to us. It welcomed us openly, gave us everything we needed, and saw us off with enough love and goodwill in our hearts to eagerly anticipate a repeat journey, which, hopefully, will not be too far away. Until that time, however, we will continue to write and root for Bitesize Breakdown as this exciting new era begins. Most importantly, to the good folks of NYFF60 – the staff, concessionists, programmers, showrunners, press conference attendees, and all who helped to put together one of the most extraordinary experiences any critic can hope to have in his, her, or their lifetime – we thank you for your all-encompassing hospitality. See you soon. Photo Credits: Photo 1, 4 - Jacob Jones; Photo 2, 3 - NYFF

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

Previous Next Before you begin your Halloween festivities, we've got one more Top Five for you (a day early) as the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Alien Invasion Films. As per usual, each writer ranks their 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. MEN IN BLACK I truly believe that Men in Black is one of the most underrated films of the past 30 years. Look at me crazy all you want, but go with me here… Yes, it gets all the “Mr. July” Will Smith love because it was a mega-hit blockbuster that still has plenty of cultural currency today. But when was the last time you watched it? If it’s been a while, maybe you are thinking that Mr. July’s other alien invasion movie needs to be here instead. To that, I say watch MiB again and tell me how you feel? Because every time I watch it, I am blown away by how well-acted, briskly paced, amazingly choreographed, and intelligently written it is. Not only is it one of the best alien invasion movies of all time, but I also put it up there as one of the best sci-fi movies ever made. Those calls for a retroactive Oscar nomination for Vincent D’Onofrio don’t come from nowhere. Men in Black is the perfect blend of blockbuster entertainment and prestige aura that you wouldn’t expect from a movie with its own (bangin’-ass) theme song. — Amarú 4. EDGE OF TOMORROW I'm not sure why Edge of Tomorrow doesn't get more love. Driven by a War of the Worlds- meets-Groundhog Day concept, we see Tom Cruise's unexpected hero, William Cage, repeatedly battle brutally violent alien invaders with the support of Emily Blunt's impressive badass. It's a nearly perfect sci-fi action film, featuring a concept that is executed extremely well, not to mention the simply breathtaking futuristic spectacle and alien battleground sequences. The action is immersive and violent, and the viscous extraterrestrial invaders are among some of my favorites ever on screen, especially given their memorable creature design. Their hive mind and ominous power make them a compelling threat despite Cage's inability to die, and watching them kill him in increasingly savage ways never gets old. I also love the cast, particularly the dynamic between Cruise and Blunt, that latter of whom matches and sometimes even exceeds the former’s compelling screen presence. — Katie 3. THE THING To many, 1982 is considered a benchmark year for science fiction films: Tron , Blade Runner , Star Trek II: The Wrath of Khan , among others. Even with that slate, it’s hard to believe that The Thing was the least regarded, speculatively because it offered a grim and hopeless look at interaction with an alien species that was diametrically opposed to the most popular movie of that year, E.T. the Extra-Terrestrial . Why think about an otherworldly visitor killing you and assimilating your appearance when they could be eating Reese’s Pieces and going trick-or-treating with you? Either way, John Carpenter’s classic was ahead of its time, especially from a visual effects and make-up standpoint. With every viewing, I increasingly question the collective thought process of the Academy not recognizing it at all. Not only does The Thing play on our xenophobia and the crushing realization of bitter loneliness and isolation, but it does so through mystery, making you question who is human and who is alien. It is intimate but sprawling in its ideas and environment, a true exercise in building tension and horror. — Robert 2. ALIEN "In space, no one can hear you scream" is factually correct, but also the ingenious tagline for the 1979 sci-fi horror flick Alien. However, people can hear us scream on Earth, and they certainly heard us screaming while watching this classic. While subsequent films in the franchise lean a little more into action, with some great and some not-so-great results, the original stands out as being particularly amazing at creating absolute dread with its man v. alien premise. Alien plays into the archetypal invasion structure in effectively frightening ways. We don't even see the xenomorph for a good chunk of the movie, and yet, there's the permeating fear of something unseen putting the USCSS Nostromo’s crew in mortal danger. I, admittedly, have a sour relationship with director Ridley Scott, but Alien forever remains one of his crowning achievements. — Adriano 1. ARRIVAL Arrival flips the alien invasion genre on its head, proving that not all alien invasion films need to end in a blood bath. When a bunch of mysterious spaceships touch down across the world, chaos ensues. However, director Denis Villeneuve takes a brilliant and more unconventional approach to the subject matter by deciding to focus on the communication between us and them instead of the possible conflict. This film is so much more than your typical alien invasion story as it will genuinely pull at your heartstrings. It dives deep into heavy themes of time, memories, and the overall human experience, all against the backdrop of first contact. I don’t use the word “masterpiece” lightly, but let’s be real, Arrival truly earns that title. — Paige HONORABLE MENTIONS PREDATOR CLOVERFIELD ATTACK THE BLOCK A QUIET PLACE WAR OF THE WORLDS (2005)

Previous Next November 6, 2024 WRITTEN BY: KATIE The 68th BFI London Film Festival (LFF) is the first film festival I’ve ever attended, and I hope it won’t be the last. It was an eye-opening experience because I didn’t expect watching films all day to be so exhausting, not to mention the logistics and organisation. Nonetheless, I had an amazing time, and I feel so lucky to have experienced all the stress and excitement. Unfortunately, there were some films I couldn’t catch due to a lack of availability, scheduling conflicts, or, frustratingly, travel cancellations, including Anora, Chain Reactions, Bird, Nickel Boys, Nightbitch , and Triumph , just to name a few. However, I did get to see 27 amazing films in total, which I have ranked below… 27. SKINCARE Skincare was disappointing. I love Elizabeth Banks, and the concept sounded right up my street; however, against my expectations, Skincare doesn’t say anything meaningful about the beauty industry. It feels like it just wants to make fun of its characters, presenting a shallow exploration of its themes of fame, celebrity, and the image-obsessed city of Los Angeles. Overall, it’s thinly written with underdeveloped characters who I didn’t care about, the satire doesn’t cut deep enough, and the reveals are predictable. On the plus side, Elizabeth Banks is delightfully neurotic and the most entertaining part of the film. 26. SOFA, SO GOOD I didn't love Sofa, So Good , but I must commend its quirky, shoestring-budget, indie style and delightfully simple premise. The film has an amusingly absurdist tone and offbeat humour, and the cousins at the centre of the story are very engaging. That said, I found that the surrealist elements felt forced in places and slightly distracted from the comedy. Even at just 69 minutes, it overstays its welcome and very much feels like a short film stretched to a feature-length runtime. Overall, though, it's a promising debut feature with a unique style and great performances. 25. THE WOLVES ALWAYS COME AT NIGHT The Wolves Always Come at Night is beautiful, but not for me. I found the slow pacing challenging, and the story too wandering to hold my attention. However, the cinematography is gorgeous, especially scenes of the vast Mongolian landscape and the ferocious weather conditions. The film is at its most engaging when observing quieter, intimate moments between the family-friendly, and these are the times I enjoyed most. But I felt like I was missing the overarching point of the documentary, which is actually more of a re-construction of events that is more cinematic than factual. 24. A TRAVELLER’S NEEDS A Traveller’s Needs baffled me. At no point did I understand where it was going or how it was going to get there. That isn't to say I didn’t enjoy it. Isabelle Huppert is incredibly enigmatic and watchable as the mysterious Iris, and the casually aimless plot is light-hearted and interesting, but I constantly felt like I was missing something. I assume this is because I haven't seen — or admittedly have any knowledge of — director Hong Sang-soo’s work, specifically his past two films starring Isabelle Huppert, which may have demystified it to an extent. 23. ELTON JOHN: NEVER TOO LATE Elton John: Never Too Late is effortlessly entertaining thanks to the buckets of archival footage of Elton John’s incredible life and show-stopping performances from over the years. It features lots of intimate interviews where the star speaks frankly about the toughest times in his life, as well as candid moments where we witness him being a father and loving husband. The documentary reveals parts of John’s life I knew nothing about, but I would have liked more focus on the build-up to his final performance at Dodger Stadium, which surprisingly lacked tension considering the significance of the occasion. 22. THE NIGHTS STILL SMELL OF GUNPOWDER The Nights Still Smell of Gunpowder is an atmospheric, deeply personal documentary with an unusual way of revisiting the past, and it reminded me of the meditative style of director Patricio Guzmán's documentaries about Chile's traumatic history. The film uses the language of cinema to explore intergenerational trauma, focusing on personal testimony, and utilises ambient sound to create a unique sensory experience. The documentary doesn’t provide an informative narrative about the subject, but instead a very personal account of how Cossa attempts to reconnect with his and his family's past, highlighting the lasting impact of the civil war in Mozambique. 21. SUGAR ISLAND Sugar Island is a beautifully hypnotic film that explores a young woman's sudden entry into adulthood, alongside a myriad of weighty themes, including immigration, worker’s rights, colonialism, slavery, and lacking access to education. However, I felt the film's meaning was slightly lost on me because a lot of time is dedicated to rituals that are not explained, just shown (although I still loved the sensory experience of infectious music, sound, and vibrant colours). Many moments are injected with a sense of magical realism that is particularly compelling, and the performances are fantastic overall, especially Yelidá Díaz. 20. MY ETERNAL SUMMER Sylvia Le Fanu's debut feature, My Eternal Summer , is quietly joyful and sorrowful, and I teared up just as much as I laughed out loud. From the perspective of Fanny (Kaya Toft Loholt), the film balances a touching coming-of-age narrative with the unfathomable experience of losing a loved one, showing the melancholic beauty and ugliness that comes with facing such an experience. The family is portrayed in realistic terms, and Fanny’s grief is explored in an almost matter-of-fact way that shows the family dealing with the mother’s illness and the inevitability of her death in a “slice-of-life” approach. 19. SEPTEMBER SAYS Although September Says starts stronger than it finishes, this unsettling film explores darkly compelling themes of identity, sisterhood, and manipulation, with incredible central performances by the two sisters (Mia Tharia and Pascale Kann). They create a sense of intimacy and secrecy between them that feels almost magical, which is interesting when combined with the realist style of the film. September Says also starkly explores aspects of womanhood in a way that I haven't seen represented on screen, which is to say it’s completely natural, from sanitary pads peeking out from underwear to a hilarious yet tender scene focusing on female pleasure. 18. THE APPRENTICE The Apprentice isn't just a film about Donald Trump (Sebastian Stan). It’s an exploration of the evil facilitated by capitalism, corruption, and pursuit of wealth at all costs. It’s a simplistic view of Trump's life, but instead of playing a caricature, Stan gives a truly impressive performance. He effortlessly portrays Trump’s mannerisms and cadence as he slowly twists into the man that everyone knows today, and Jeremy Strong is disturbingly captivating as Trump’s mentor, Roy Cohn. There is, however, a distressing scene that didn’t seem in tone with the film, didn’t add anything to the story, and disturbed my immersion since it was so jarring. 17. DAHOMEY Dahomey is a moving documentary exploring the return of stolen artifacts to Benin. Director Mati Diop narrates the journey through the disembodied voice of the statue, which immediately captured my attention and created an ethereal tone. Alongside this, slow-paced scenes highlight the clinical nature of dealing with these artifacts, and energetic debates amongst young people who discuss what the return of these items means for their heritage and future show the varying attitudes surrounding the event. The mark of a good documentary is its ability to engage an audience with no prior knowledge of the subject, and Dahomey did just that. 16. BRING THEM DOWN Bring Them Down is a tense tale of revenge and cyclical trauma with a pervading sense of intensifying rage bubbling quietly but ferociously beneath the surface. The story is simple but very powerful, thanks to the incredible performances that drive it, especially Christopher Abbott and Barry Keoghan. Director Christopher Andrews doesn’t waste time pinning the blame on a particular character instead exploring the way that each of the men perpetuates violence and refuses to take accountability. Bring Them Down is engaging but bleak, and although I was engrossed in the drama, I won’t return to it anytime soon. 15. WITCHES Witches is an important, personal film that explores post-partum depression. Director Elizabeth Sankey draws a connection between this and the treatment of witches throughout history, featuring moving testimonials from women who have suffered post-partum depression alongside scenes of witches on the silver screen. This enables Sankey to draw many conceptual connections between the treatment of women in the past and issues that still impact them today. It’s the first time I’ve heard these issues discussed in such honest terms, which was revealing, and it represents a step in the right direction while also sadly highlighting the failings of society in supporting new mothers. 14. ALL OF YOU All of You is a hopelessly romantic film that I found ridiculously easy to enjoy. Leads Brett Goldstein and Imogen Poots have enough passionate chemistry to overcome the underdeveloped near-future sci-fi concept that is established early on because, ultimately, this is about their organic connection that developed independently of apps and algorithms. It also explores interesting questions about whether we can choose who we love, and if there is one single choice we can make that will save us from a lifetime of potential uncertainty. Overall, this is a beautifully bittersweet romance that left me with a lump in my throat. 13. THE WEEKEND The Weekend is a fantastic horror-thriller that explores dark themes surrounding the inescapable grips of family, tradition, and trauma. The cast is fantastic, particularly the women in the family, namely Uzoamaka Aniunoh and Gloria Anozie-Young, both of whom give powerfully emotional performances. The film also has an amusing sense of humour, and the line “as a man of substance” has lived rent-free in my mind since I saw it. Although the runtime is a tad drawn out and it loses the engaging sense of urgency towards the end, it's thoroughly entertaining, driven by captivating performances, surprising twists, and lots of bloody horror. 12. SUPERBOYS OF MALEGAON Superboys of Malegaon is an entertaining, feel-good story that blends melodrama, comedy, and adversity to create a heartwarming tribute to young friends who set out to bring their dreams to life through the screen. It’s based on the documentary Supermen of Malegaon, and knowing that the film is inspired by true events makes it all the more satisfying to root for the loveable underdogs. The film covers a lot of ground in just over two hours, but the punchy energy of the story, warm humour, and fantastic performances make for a compelling watch with a crowd-pleasing and uplifting message. 11. AÏCHA Aïcha is a thrilling story that follows the young maid Aya’s tumultuous journey from rags to riches after miraculously surviving an incident that kills everyone else involved. Fatma Sfarr gives a magnetic central performance as Aya, and the film effortlessly handles multiple compelling storylines featuring themes of police corruption, oppressive class dynamics, misogyny, and liberation in post-revolution Tunisia, staying engaging and exciting throughout. All the storylines and difficult topics can start to feel exhausting, but ultimately leads to a satisfying conclusion. There is also some beautiful camerawork and visuals complemented by an immersive score, especially in the entrancing nightclub scenes. 10. A REAL PAIN A Real Pain is charmingly funny and artfully written, with a quick-witted script that is driven by the endearing dynamic between writer-director-star Jesse Eisenberg and Kieran Culkin, who brings his lovable, signature nervous energy to the role. They are a compelling double act with perfect comedic timing, but the film is also emotional and thought-provoking, exploring mental health, the weight of history, and the difficulties found in supporting and understanding those closest to us. Overall, A Real Pain is a tender, dryly funny, indie drama with a scene-stealing performance from Culkin. 9. CROCODILE TEARS Crocodile Tears is a gripping coming-of-age thriller that focuses on the odd and unhealthy relationship between a mother (Marissa Anita) and her son (Yusuf Mahardika). A sense of threat lurks in the corner of every frame as the mother tries to tighten the suffocating grip she has over her son, and the incredible performances and striking imagery enhance the mounting atmosphere of paranoia. You can almost feel the unbearable humidity of the setting, adding to the oppressive dynamic. Marissa Anita’s performance as Johan’s mother is incredible, and she embodies chilling reptilian movements that make her all the most threatening. 8. FRÉWAKA Fréwaka is deeply atmospheric and unsettling, effectively employing folk horror tropes and nightmarish Catholic imagery to explore inherited trauma, mental illness, and grief. The bond that is slowly formed between the two leads, Clare Monnelly as Shoo and Bríd Ní Neachtain as Peig, is complicated, emotional, and endearing, and both of their performances are amazing. I found the focus on the female perspective interesting, as well as the way writer-director Aislinn Clarke tackles the tension between Ireland’s history and the modern present, both on a personal level for the characters and in a broader cultural sense. 7. THE SURFER Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans. 6. MEMOIR OF A SNAIL Memoir of a Snail is instantly one of my favourite animated films of the year, with its creative and distinctive stop-motion style, crude and often outrageous humour, and life-affirming message. Plus, despite all the sex and swearing, it’s the most wholesome, rewarding film of LFF. It’s also an intelligent film, exploring the darkest moments of the character’s lives whilst advocating for a forward-thinking approach to tragedy and celebrating progress in the face of adversity. The voice cast is also very endearing, especially Sarah Snook as the protagonist Grace and Jacki Weaver as Pinky. 5. THE CATS OF GOKOGU SHRINE The Cats of Gokogu Shrine is a ray of sunshine. It’s a testament to the importance of community, treating the world around you with respect, and the beauty found in everyday life. Since I’m unapologetically a cat person, I loved observing the many mischievous cats and kittens that populate the Shinto shrine. This is a type of film I’ve increasingly come to appreciate, which asks the viewer to slow down and appreciate the beauty of the world it is capturing, which, in this case, is the gorgeous coastal town of Ushimado and, most importantly, its feline residents. 4. BLITZ With emotional family drama, gripping action, and incredible special effects that are breathtaking in their sheer scale, Blitz captures the devastating destruction of war and the ways that it united and divided people and communities. Director Steve McQueen highlights the efforts and impact of those that history and cinema have previously ignored, specifically women and people of colour, neither of which have been represented fairly, if at all. The cast is also very strong, particularly a captivating Saoirse Ronan, as well as an incredible acting debut from the young Elliott Heffernan, who is our emotional lifeline throughout the film. 3. EMILIA PÉREZ Emilia Pérez is brash, bold, and energetic, combining melodrama, tension, crime, violence, and dazzling musical numbers. It kept me guessing at every turn and it consistently subverted my expectations, with the tone veering from tragic to uplifting to suspenseful. I just allowed it to take me on an insane ride instead of trying to figure out what it was supposed to be. Zoe Saldaña is also enthralling in one of the leading roles — I could not take my eyes off her. Overall, Emilia Pérez is full of spectacle, ambition, and uniqueness. 2. LA COCINA La Cocina will undoubtedly be one of my favourite films of the year. It hits the ground running as we follow a young chef into the hectic, demanding kitchen environment and, like her, we learn how it all works through exposure to the chaos. From the stunning black-and-white visuals to the fast-paced, pressure-cooker tension, it's deliciously compelling with palpably stressful energy, and it layers conversations and arguments in several languages with an incredible sound design that emphasises the cacophony of the kitchen. Plus, each member of its huge cast of characters is incredible without getting lost in the crowd. 1. CONCLAVE Conclave is a ridiculously entertaining and suspenseful film consisting of little more than people talking in rooms, which is why it's so impressive. Even as someone with a Catholic background, I’ve never felt invested in the election of the next pope, but Conclave is immediately gripping, plunging you into a process filled with intricate drama and a mounting sense of tension that’s felt in every line of dialogue. It’s also sharply funny in the way it juxtaposes modernity with the absurd rigidity of Catholic tradition, and it boasts a career-best performance from Ralph Fiennes.

Previous June 10, 2025 Next A BITESIZE CHAT WITH SEAN LEGACY Sean Legacy is quickly rising up the ranks of professional wrestling, be it the WWE ID program, WWE Evolve , or most recently, WWE NXT . Quentin is here to chat with him about his journey and what comes next for this soon-to-be WWE Superstar. Make sure to check out Sean on WWE Evolve and WWE NXT . Interview conducted on June 5th, 2025 by Quentin Lester.

ARCHER: INTO THE COLD Starring: H. Jon Benjamin, Judy Greer, Chris Parnell, Aisha Tyler, Amber Nash, Adam Reed, Lucky Yates, Natalie Dew, and Christian Slater Creator: Adam Reed QUENTIN In October, I called Archer ’s final season “a fitting exit” that failed to explore the series ending with deep introspection. Unbeknownst to me at the time, showrunner Adam Reed had a trick up his sleeve with Into the Cold , a grand finale movie (or is it just three episodes?). This may sound repetitive, but this action-packed final mission with the gang is even more of a fitting ending. It does everything the final season did to bring these characters full circle while also providing the genuine closure, growth, and retrospection one would expect in an ending. It’s the proper send-off that was missing from Season 14. KATIE Into the Cold is an even more satisfying ending to Archer than the season finale. It’s fast-paced, hilarious, and full of both action and heart. We get to see each character of the main ensemble, as well as some other familiar faces, at their best in this final, crazy mission, with an ending that made perfect sense and provided closure whilst allowing them all to live on in their own ways. Overall, this is a fitting celebration of one of TV's best comedies, and I’m hopeful that we haven't seen the last of the gang. Long live Sterling Archer!

HIS DARK MATERIALS: SEASON THREE Starring: Dafne Keen, James McAvoy, Amir Wilson, Ruth Wilson, Kit Connor, Will Keen, Simone Kirby, Adewale Akinnuoye-Agbaje, Jamie Ward, and Jade Anouka Creator: Jack Thorne AMARÚ His Dark Material s’ final season is ambitious to a fault. The ideas are grand, the worlds are vast, and performances from the likes of James McAvoy (Asriel) and Ruth Wilson (Marisa) are large enough to fill them. But they aren’t the only characters we follow in this labyrinthian finale. Eight episodes simply was not enough to wrap up multiple storylines weaved within its intricate mix of religious and science-fiction based lore, leading to questions being answered too quickly and problems solved too neatly. These final episodes, while thrilling, would have felt more organic if granted an extra season to breathe.