SAS: ROGUE HEROES: SEASON ONE Starring: Connor Swindells, Jack O’Connell, Alfie Allen, Sofia Boutella, and Dominic West Creator: Steven Knight QUENTIN As a story, Rogue Heroes can sometimes lose itself. With only six episodes, it covers more than two years, which means character development and certain plot explanations are glossed over rather quickly at times, especially in earlier episodes. However, once it has set the foundation, it becomes more engaging as you finally get to see the SAS running covert missions in Northern Africa during WWII. Overall, it has a Peaky Blinders in the Desert feel, and Jack O’Connell is a firecracker that is constantly bringing Guy Ritchie vibes. Lastly, if you like WWII content, this is an interesting side of the conflict we’ve rarely seen.

CRIMINAL RECORD: SEASON ONE Starring: Peter Capaldi, Cush Jumbo, Dionne Brown, Stephen Campbell Moore, Charlie Creed-Miles, Shaun Dooley, Aysha Kala, Tom Moutchi, Cathy Tyson, and Zoë Wanamaker Creator: Paul Rutman QUENTIN Despite some decent acting, particularly from Peter Capaldi as a detective with possibly questionable morals, Criminal Record insists on focusing on the least interesting part of the story. It mostly abandons the central investigation to focus on the personality conflicts between and private lives of the up-and-coming detective (Cush Jumbo) and the seasoned vet wanting to protect his legacy (Capaldi). It’s just too all over the place, which means that this “crime thriller” has very few thrills. Add in the fact that Jumbo’s character is fairly unlikeable and there is a racial commentary lazily shoe-horned in, and Criminal Record simply isn’t worth the effort.

LUCKY HANK: SEASON ONE Starring: Bob Odenkirk, Mireille Enos, Cedric Yarbrough, Diedrich Bader, Olivia Scott Welch, Sara Amini, and Suzanne Cryer Creators: Paul Lieberstein and Aaron Zelman QUENTIN I’m sure there is a fanbase for a series like Lucky Hank , but I’m certainly not part of it because I’m either not old enough or miserable enough to relate to it. Despite the performances being very good, I just don’t know what kind of television viewer wants to spend an hour a week with a collection of characters who hate themselves and their lives. It’s depressing and exhausting. Meanwhile, the dry humor and sardonic wisecracks don’t add enough absurdity or levity to pull the viewer out of the mid-life crisis funk that permeates the entire show.

Previous Next December 5, 2024 WRITTEN BY: QUENTIN Regardless of context, everyone loves a good hot streak. For whatever reason, it’s exhilarating to see someone excel well above expected levels of success for short periods of time. It always feels like you’re witnessing history, watching in suspenseful awe as you wonder if the streak will continue or come to an end. There is just a certain romanticism to it, as well as an exciting angle you can’t help but root for. More than anything, though, they just add to the fun of it all. Obviously, hot streaks are most closely aligned with sports, but they apply to other areas too, and since we cover movies, let’s talk about some Hollywood Hot Streaks. But first, what exactly is a hot streak? Google says a hot streak is “a streak of repeated success,” which is technically true, if a little basic. But at what point is it not a “streak” and simply someone being consistently good? Personally, I think streaks require defined beginnings and ends, and are smaller snapshots within a larger career. For example, one could argue that Leonardo DiCaprio has been on a hot streak since 1997’s Titanic , if not earlier, since his filmography has zero widely agreed-upon duds. Same for director Christopher Nolan. That feels like a cop out, though. For me, a streak needs to be measured success above and beyond what is considered normal, given the context of the achievement and the person’s body of work. Also, I think a streak must consist of at least three consecutive successes. Two great movies back-to-back? That could be a coincidence or luck. Three, though? That’s a streak, baby! On the other hand, two great movies, followed by a stinker, followed by a third great movie? While impressive, there’s no streak there. Like I said, consecutive successes with a defined beginning and end. Also, “success” is a broad term. It could mean critical acclaim, audience love, box office haul, cultural impact, lasting legacy, and more. So, with that in mind, away we go! ALFRED HITCHCOCK Last Movie Before the Streak: The Wrong Man (1956) The Streak : Vertigo (1958), North by Northwest (1959), Psycho (1960), The Birds (1963) Streak Ender : Marnie (1964) Since I’m assuming most of you reading this haven’t seen many Alfred Hitchcock movies, I’ll keep this relatively brief. In a career spanning six decades, Hitchcock directed more than 50 feature films and multiple episodes of television. He is, by and large, considered one of the greatest directors of all time. While we could split hairs all day over his filmography, there is no denying that the four-film stretch of Vertigo , North by Northwest , Psycho , and The Birds is perhaps the best stretch of any director’s career. All four have been deemed "culturally, historically, or aesthetically significant" by the U.S. Library of Congress, resulting in their selection for preservation in the National Film Registry. Truthfully, you’d be hard-pressed to find any “Best of Film” list that doesn’t include most of these masterpieces. On one such list, the American Film Institute (AFI) ranked Vertigo (9th), Psycho (14th), and North by Northwest (55th) among the 100 greatest movies of all time. While not on the Top 100, The Birds was ranked the seventh-greatest thriller of all time by AFI. Sadly, I have a word count, so I can’t list every single ranking and accolade that has been bestowed on these four films because I’d end up at well over 5000 words. Just trust me when I tell you that this hot streak is unparalleled. WILL SMITH Last Movie Before the Streak: Six Degrees of Separation (1993) The Streak : Bad Boys (1995), Independence Day (1996), Men in Black (1997), Enemy of the State (1998) Streak Ender : Wild Wild West (1999) Honestly, if we want to be totally fair, we could probably say Will Smith’s streak started when he was nominated for his first Golden Globe in 1993 for The Fresh Prince of Bel-Air , a nomination that was repeated the very next year, but let’s stick with his blockbuster hot streak of the mid-90s. First up, you’ve got Michael Bay’s debut feature Bad Boys , a movie that has since spawned three financially successful sequels over the course of nearly 30 years. Despite middling reviews from critics, it was a box office success, making $141 million on a $20 million budget. Not only has it inspired a plethora of other buddy cop action movies with its bombastic action sequences, cast chemistry, and improvisational style, but it’s a benchmark film, especially in black culture, that is often quoted to this day. After Bad Boys , Smith used his effortless charm and swagger to dominate 1996 with Independence Day , the year’s highest grossing movie at $817 million. In fact, at the time, it was the second highest grossing movie ever behind Jurassic Park . Aside from making Smith a household name, Independence Day has been credited with driving the resurgence of disaster and sci-fi movies in subsequent years, even making the cover of Time magazine. It shattered box office record after box office record on its way to being one of the most popular, influential, and culturally significant movies of the decade. In 1997, Smith struck gold again on July 4th weekend with Men in Black . Director Barry Sonnenfeld took the same qualities that made Smith so damn likeable in Bad Boys and Independence Day , but amped up the family-friendly humor. As a result, Men in Black was a critical and financial smash. Critics heralded the screenplay, action sequences, jokes, performances, and chemistry between Smith and Tommy Lee Jones (an emerging trend), which led audiences to make it the third-highest-grossing film of 1997, as well as the ninth-highest-grossing film of the decade and Sony’s highest-grossing film at the time ($590 million). The film was so popular that sales of Ray-Ban’s Predator 2 sunglasses, the type worn by Smith’s character Agent J, tripled after the film’s release. Now, I admit, given the astronomical success of Bad Boys , Independence Day , and Men in Black , Enemy of the State is more of a coda to the streak than part of it. However, the fact remains that it was a critical and financial success, grossing $251 million at the box office, with reviews praising the writing, direction, and chemistry between Smith and Gene Hackman (again). Smith also won two Grammys in 1998 and 1999, so when combined, it all still feels like part of a hot streak, especially considering how much he crashed and burned with Wild Wild West , a critical and commercial failure that even Smith has called “a mistake.” NICOLAS CAGE Last Movie Before the Streak: Kiss of Death (1995) The Streak : Leaving Las Vegas (1995), The Rock , (1996), Con Air (1997), Face/Off (1997), City of Angels (1998) Streak Ender : Snake Eyes (1998) Coming off a string of serviceable but generally unremarkable fare that culminated with the box office bomb Kiss of Death , Cage started his streak in grand fashion by winning his first and only Oscar, Golden Globe, and SAG Award, on top of at least 13 additional acting awards, for his performance in the heavy drama Leaving Las Vegas . He followed that up with three of the most iconic action movies of the 90s, working with legendary directors Michael Bay and John Woo in the process. The Rock (fourth-highest-grossing film of 1996), Face/Off (eighth-highest-grossing film of 1997), and Con Air (eleventh-highest-grossing film of 1997) brought in over $800 million at the box office combined, solidifying Cage as an A-List megastar. They also have been inspiring memes, jokes, and tattoos for the past two decades, proving their cultural staying power. Then, in 1998, he switched gears, dropping City of Angels , a romance movie that made nearly $200 million at the box office. Admittedly, critical response to the film was mixed, but this five-film stretch proved that Cage was a bankable star across multiple genres. That is until Brian de Palma’s Snake Eyes , both a critical and financial miss, started a string of hit-and-miss offerings from Cage at the turn of the century. JIM CARREY Last Movie Before the Streak: Earth Girls Are Easy (1988) The Streak : Ace Ventura: Pet Detective (1994), The Mask , (1994), Dumb and Dumber (1994), Batman Forever (1995), Ace Ventura: When Nature Calls (1995) Streak Ender : The Cable Guy (1996) Truth be told, aside from 1985’s Once Bitten and television’s In Living Color , Jim Carrey had only been featured in bit parts before he burst onto the scene in 1994 with three of the 90s greatest comedies. So, not only is this an impressive hot streak, but looking at it with the context of being a global introduction makes it even more incredible. Released in February ’94 ( Ace Ventura ), July ’94 ( The Mask ), and December ’94 ( Dumb and Dumber ) to audience (if not critical) acclaim, Carrey’s comedic sensibilities and rubber face set the world on fire. All three movies were financial hits, making a combined $706 million, which is remarkable considering Carrey wasn’t yet a household name. On top of that, each one led to full-on franchises that included animated series, prequels, sequels, spinoffs, and even a video game. Hot streak aside, it’s maybe one of the best years for an actor ever. In 1995, Carrey followed up that tremendous year by starring in Batman Forever and dropping an Ace Ventura sequel. Granted, Batman Forever hasn’t been held in high regard by critics or fanboys, but it still made $336 million at the box office (third-highest-grossing film of 1995), and most people readily admit that Carrey’s portrayal of The Riddler is the best thing about the oft-derided sequel. With When Nature Calls , Carrey more than doubled the box office take of the first Ace Ventura , proving that as slight and silly as the premise was, people loved it. However, the hot streak came to a relative end in 1996 when Carrey starred in Ben Stiller’s The Cable Guy . Despite being a modest commercial success, it received middling reviews from audiences who were seemingly unprepared for a darker Jim Carrey. That said, it has since become a cult classic, and Carrey returned to prominence shortly thereafter with Liar, Liar in 1997 and The Truman Show in 1998. HARRISON FORD & SYLVESTER STALLONE The Ford Streak : Star Wars: Episode IV – A New Hope (1977), Indiana Jones and the Raiders of the Lost Ark (1981), The Fugitive (1993), What Lies Beneath (2000), Cowboys and Aliens (2011), Indiana Jones and the Dial of Destiny (2023) The Stallone Streak : Rocky (1976), Cobra (1986), Cliffhanger (1993), Driven (2001), The Expendables (2010), The Suicide Squad (2021) Streak Ender : Father Time, probably There isn’t much to say here, but it’s a nice fun fact that seems like a relevant way to end this article. Sylvester Stallone and Harrison Ford are the only two actors in history to have a movie open at Number One at the box office in six different decades. The lists above aren’t exhaustive, as each of them has had more than one movie open in the top spot in some decades, but it’s still an impressive streak that may rarely be matched and potentially never beaten. Both legends are getting up there in years, so only time will tell if either of them will be able to extend this streak to seven decades once 2030 rolls around. I’d bet Tom Cruise will be the next person to join this exclusive club.

Previous Next It's almost time for the Golden Globes and, in turn, a new batch of series set to start off 2024. Considering this, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Sitcoms. For inclusion on this list the series needs to be live-action and not animated. Each writer ranks his or her top 15 series in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. ARRESTED DEVELOPMENT For me, Arrested Development (the first three seasons, anyways) is the best sitcom of all-time. Sure, it fell off in the final two seasons, but that is more of a testament to just how hilarious the first three seasons were. The result of the combined efforts of Mitchell Hurwitz (creator) and Ron Howard (executive producer and narrator), the addition of some of the most subversively clever writing ever, and the ubiquitous comedic timing of a superstar cast is pure comedy gold. I know I will never be able to hear “The Final Countdown” by Europe without laughing and thinking of Gob (Will Arnett). If for some mystifying reason you haven’t had the privilege, I highly recommend giving it a shot, and I am jealous of what you have in store. - Preston 4. IT'S ALWAYS SUNNY IN PHILADELPHIA It’s Always Sunny in Philadelphia flips the modern sitcom on its head, actively rejecting all of the clichéd tropes that audiences have come to expect from their traditional workplace comedies. There are no predictable “will-they-won’t-they relationships” or “adorkable” protagonists here, and there are no lessons to be learned or significant character growth of any kind. Instead, the audience gets to watch as the strange, eccentric “Gang” that runs Paddy’s Pub spirals further and further into absolute depravity. Hilariously offensive, endlessly quotable, and utterly insane, It’s Always Sunny in Philadelphia is anything but your average sitcom… and that’s exactly why we love it so much. - Caleb 3. SEINFELD Although Seinfeld has been famously described as “a show about nothing,” it’s actually an incredibly relatable examination of social interactions and mundane experiences that we all go through. Things like getting lost in a parking garage or waiting for a table at a restaurant are mined for comedy gold. On top of that, there are near-infinite aspects, quotes, and characters that have informed the pop culture zeitgeist for nearly three decades. You’ve got The Soup Nazi, Festivus, and being “Master of your Domain,” not to mention a Who’s Who of young guest stars like Bob Odenkirk, Bryan Cranston, James Spader, and Jon Favreau. Lastly, the “no hugging, no learning” rule instituted by show creators Larry David and Jerry Seinfeld has inspired a whole new breed of great sitcoms, including the two named above. - Quentin 2. THE OFFICE (US) The American remake of The Office never fails to make its viewers smile. From the hilarious cold opens to the charming end credits, this over-the-top sitcom that ran for nine seasons has something for everyone, becoming one of the best comfort shows around. You can always guarantee that the Dunder Mifflin staff will make you laugh out loud, whether it's through Jim and Pam's (John Krasinksi and Jenna Fischer) shenanigans, Dwight Schrute's (Rainn Wilson) preposterousness, or Michael Scott's (Steve Carell) cringy tangents. The Office , with its distinct documentary-style format, has created a long-lasting impact on the television industry, and it still is and always will be a beloved series thanks to its devoted fans. - Paige 1. COMMUNITY I can't think of a more unique sitcom than Community , plain and simple. Yes, its fourth season was not the best for many well-documented reasons, but the first three seasons and the final two seasons were so great that it cancels that out. The show uses its gang of misfits (played perfectly by its core cast of Joel McHale, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, Alison Brie, Donald Glover, and Chevy Chase) and its unconventional setting to create an imaginative and innovative show that blends absurdist humour and parody to create something special and genuinely heartwarming. By the final episode, I felt so connected to Greendale and its students that I couldn't let go... so I watched it again. And again. - Adriano HONORABLE MENTIONS THE FRESH PRINCE OF BEL-AIR FRIENDS PARKS AND RECREATION MODERN FAMILY WHAT WE DO IN THE SHADOWS Photo Credits: Photo 1 - Fox; Photo 2 - FX; Photo 3, 4, 5 - NBC

THE LINCOLN LAWYER: SEASON ONE Starring: Manuel Garcia-Rulfo, Neve Campbell, Christopher Gorham, Becki Newton, Angus Sampson, Jazz Raycole, Jamie McShane, and Ntare Guma Mbaho Mwine Creators: Ted Humphrey and David E. Kelley NICK Before going into The Lincoln Lawyer , don't make the mistake of expecting the 2011 film. This is a different Mickey Haller. That’s not to say this is bad, just different. It has the feel of a USA Network series and the always reliable writing of David E. Kelley but it’s just missing something. Manuel Garcia-Rulfo is fine as Haller - albeit a little soft at points – but the rest of the cast (save for the underrated Christopher Gorham) ranges from adequate to miscast. In truth, this would have worked better as a limited series. The first season was fine but I’m not yearning for more.

MIKE Starring: Trevante Rhodes, Russell Hornsby, Harvey Keitel, Laura Harrier, Olunike Adeliyi, and Li Eubanks Creator: Steven Rogers QUENTIN Given that Mike Tyson has spoken out against Hulu’s miniseries Mike and that it has some significant issues, it’s not all that surprising that the streaming network unceremoniously released these eight 30-minute episodes over four weeks. Trevante Rhodes gives an immensely watchable performance as “The Baddest Man on the Planet,” but the series simultaneously covers too much ground and not enough. Each episode covers one bullet point from Tyson’s life (one about his marriage to Robin Givens, one about his rape conviction, etc), but it all stays fairly surface level. Oddly though, that lack of depth makes for an easy, if not particularly enlightening, watch.

THE MORNING SHOW: SEASON THREE Starring: Jennifer Aniston, Reese Witherspoon, Billy Crudup, Mark Duplass, Jon Hamm, Greta Lee, Julianna Margulies, Nestor Carbonell, Karen Pittman, Nicole Beharie, and Holland Taylor Creator: Jay Carson QUENTIN Although The Morning Show hasn’t changed all that much over the course of its three seasons, I think it has just run out of narrative steam for me. I found it extremely difficult to be interested in any of the way-too-many characters, even if the performances themselves are solid across the board. It just tries to tackle too many hot-button issues at once, even featuring COVID and January 6th, neither of which I need to see more of in late 2023. Add in a few too many soapy elements, and The Morning Show has become something I may cancel from my watchlist. NICK The Morning Show had a great two-year run, but its newest offering feels a little lost. With the conclusion of the Mitch Kessler (Steve Carell) storyline last season, there was no clear path forward, and this season reflects that. Yes, Jennifer Aniston continues to thrive as Alex Levy while Jon Hamm is a solid addition, but it just doesn’t work as well. Everything feels watered down, including Billy Crudup's Cory Ellison, who was a highlight of the previous seasons. With no clear party to root for and haphazard storylines throughout, this series must bring more to the table to justify a fourth season.

RABBIT HOLE Starring: Kiefer Sutherland, Meta Golding, Enid Graham, Rob Yang, Walt Klink, Jason Butler Harner, and Charles Dance Creators: Glenn Ficarra and John Requa NICK Be it 24 , Touch , or Designated Survivor , Kiefer Sutherland is infinitely watchable as a series lead, and while it may not reach the heights of some of those others, Rabbit Hole is an entertaining Sutherland vehicle (with a devilish Charles Dance riding shotgun). Where it falters, however, is in trying to be too clever. Its focus on conspiracies is interesting, but things become so convoluted between multiple story threads and flashbacks that it genuinely becomes hard to follow. I wish they had kept a more singular focus because, as it stands, I’d rather see a different project from Kiefer than a return to this character. QUENTIN Rabbit Hole is a weird show in that I was engaged for every episode, but when standing back to look at the entire season, it’s a mess. The biggest problem is that it’s unnecessarily convoluted, to the point that I would often forget what the overarching mystery was. In fact, I accidentally skipped an episode and didn’t even notice until a few days later. That’s how little the serialized storyline truly matters. Still though, on a week-to-week basis, Kiefer Sutherland and the episodic schemes kept me coming back. So, as disposable, conspiracy-driven television, it’s fine, but it’s not the reason to subscribe to Paramount+.

THE WOMAN IN THE HOUSE ACROSS THE STREET FROM THE GIRL IN THE WINDOW Starring: Kristen Bell, Michael Ealy, Tom Riley, Mary Holland, Cameron Britton, and Samsara Leela Yett Creators: Hugh Davidson, Larry Dorf, and Rachel Ramras QUENTIN Aside from a few scenes (including an over-the-top sex scene that is as bonkers as it is raunchy), The Woman in the House Across the Street from the Girl in the Window seems to think parody is simply doing a purposely “bad,” Lifetime-version of this type of story, which isn’t the same as skillfully skewering it. Frankly, the show is never as clever as its title, and the pseudo-serious approach ruins an idea rife with comedic potential. That said, Kristen Bell is always watchable, and fans of cheesy movies-of-the-week might get enough enjoyment to make the 4-hour binge watch worthwhile. JOSEPH Kristen Bell is lovable and charismatic enough to make anything watchable, even The Woman in the House Across the Street from the Girl in the Window . This comedy offers little in terms of humor, with the title being the funniest part, but it is entertaining. The story is a clever satire of the “missing woman” genre, and it’s convoluted enough to keep you engaged in the mystery. Still, it feels like more could have been done to make it either funnier or darker, but instead it rests comfortably in between.

Previous Next August 14, 2026 The Sex Purge is only live for 12 hours, so you should watch our breakdown of One Night Only right now. Is it a meet cute of a romantic comedy? Does it even have enough sex in it to justify its subject matter? Join Matt, Kolby, and Amarú as they discuss their thoughts on this Monica Barbaro and Callum Turner-led rom-com. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next July 18, 2024 WRITTEN BY: PRESTON As I’ve grown more mature in my age, meaning since my ankle has started popping when I walk and I can’t sleep without my neck hurting, I’ve learned to gain a deep appreciation of the law’s general and ubiquitous influence on our lives. I’ve had enough brushes with danger to know that I am, sadly, not invincible, and that the scenarios that “can’t possibly happen to me” certainly can happen and, all too often, do happen. The legal dramas and thrillers portrayed on film, both inspired by true events and those conjured by the creatives we admire, touch on events that represent the most terrifying, compromising, and life-changingly significant things that could ever happen to us. Law, and the people, policies, legislation, and procedures that govern it, can change the course of history through a single ruling or legal commentary. It is because of its grave consequences that we can connect to the stories glowing back at us from within the beautiful four corners of our favorite screens. Further, the sense of justice we feel when that gavel drops instills a sense of vindication from the inevitable slights we all must face throughout our lives. The number of tremendous legal films is extensive and prolific, and I would be remiss if I didn’t at least mention some absolute classics, including Philadelphia , To Kill a Mockingbird , A Time to Kill , and Anatomy of a Murder . I admit, it may be a bit lazy to list them so haphazardly, but the frequency in which I watch them is more a function of emotional self-preservation than any comment on their absolute amazingness. Either way, since we are Bitesize Breakdown, cuts must be made. So, before this article turns into one of those online recipes that requires way too much reading before even getting to the damn ingredients, I will state the case for ten legit, tried-and-true favorites that are a must-watch whenever the opportunity presents itself. If it pleases the court… 12 ANGRY MEN (1957) 12 Angry Men has a special place in my heart because it is also the only stage play I have ever acted in. I played Juror #10 , the racist bigot, a few years ago (I guess I have that kind of unfortunate face for unflattering casting). That aside, no special connection is needed to connect with this film, though. The dialogue is brilliant, with each juror demonstrating the best and worst qualities that tend to take up space within all of us as they fight against their flawed human nature toward a truly ethical and just end. The movie almost entirely takes place within a jury room and is old-school filmmaking at its best, featuring pure acting and a dialogue-driven narrative with palpable tension. THE PAPER CHASE (1973) The Paper Chase is often listed as one of the films that every aspiring attorney should watch before law school. Based on the novel by John Jay Osborn Jr., it follows James T. Hart, played by Timothy Bottoms, as he negotiates his first year at Harvard Law School. From my knowledge, the film does well to display the pressures put upon a typical 1L and the dreaded Socratic method faced during classroom instruction. Professor Kingsfield Jr., played by John Houseman, represents the terrifying contract law professor brilliantly, and is surely a source of relatable camaraderie for law students everywhere. Life’s priorities are often set straight in the face of such adversity, to which we can all relate. A FEW GOOD MEN (1992) My most watched film from this entire list, A Few Good Men , is just too good. A transcendent mixture of military drama, patriotism, sports love, one-liners, legal intrigue, international travel, and extreme tension. If there were any addition of John Wick -esque killing or culinary pandering, I would never have to watch any other film ever again! The entire all-star cast have their parts down cold in a story that is believable, thrilling, and thoroughly captivating. I’ll spare you the obligatory “you can’t handle the truth” quote. Oops, I guess I won’t. MY COUSIN VINNY (1992) It took me a while before I truly appreciated the greatness that is My Cousin Vinny . I watched the film much later in life, so I didn’t get what the big deal was at first. The more you watch, though, the better it gets. There is serious tension in the courtroom as Joe Pesci’s character, Vincent LaGuardia Gambini, tries to navigate the difficulties of in-court litigation and civil procedure against a judge, played by Fred Gwynne, who can’t believe that what is being presented before him is real. Sure, Ralph Macchio is in it, but the real star is the stunning Marisa Tomei, who becomes every man’s dream with her impressive car knowledge, street-smart intelligence, intense loyalty, and noble morals. THE FIRM (1993) Based on the novel by John Grisham, The Firm plays on the seductive nature of the lucrative “big” law firms that attract so many to the life of a corporate transactional litigator. Tom Cruise is stellar, and we even get one of his first-but-soon-to-be-classic intense sprint scenes. Gene Hackman also is especially terrific as he plays a likable but morally compromised mentor. It’s a classic 90s legal thriller that explores our desire for prestige and wealth and what the cost might be to achieve them. THE DEVIL’S ADVOCATE (1997) Keanu Reeves has my heart, what can I say?! This devilish film definitely comes in second for my most-watched legal dramas. A great departure from the realism of most of the other movies I’ve named here, the uncomfortable temptations on display are as real as ever. It’s sexy and wickedly tempting to imagine oneself in our hero’s position, only to feel the discomfort of the situation devolving as the story progresses. Priorities are in the balance as you sympathize and attempt to reconcile your own greed and ambition against the need to be true to the people you say you care most about. THE RAINMAKER (1997) John Grisham strikes again! The Rainmaker makes for somewhat boilerplate and formulaic courtroom melodrama, but still manages to work on so many levels. The dichotomy of the new, ambitious lawyer joining forces with the experienced, shady lawyer to take on the not-to-be-trusted, evil corporation makes the film unique in that it lacks the traditional glorification of the prestigious and often cocky lawyer. A script written and directed by the ever-talented Francis Ford Coppola, we get a story where we are able to sincerely connect to the characters within it. And when those characters are portrayed by Matt Damon, Jon Voight, Mickey Rourke, and Danny DeVito, it’s impossible not to love this legal drama for everything that it is. ERIN BROCKOVICH (2000) Hmm…maybe, there’s a reason why fighting the big, bad corporation is a theme so prevalent in the more successful legal dramas. In this case, we get a movie based on a true story where, according to IMDb, “the real Erin Brockovich-Ellis claimed that the film was 98-99% accurate.” Julia Roberts’ commanding presence makes for some of the best acting I have seen from her, while Albert Finney plays the part of Ms. Brockovich’s boss to a tee. A true underdog story, it’s impossible not to root for this heroine, whose back is against the ropes as she fights for justice and to make a better life for herself and her family. LEGALLY BLONDE (2001) I know, I know. And I don’t care… I enthusiastically endorse this movie. Legally Blonde may not be a sophisticated film of epic proportions, but I feel good watching it. It has a classic, “don’t judge a book by its cover” message that gives me courage to be exactly who I am, even in the face of overwhelming adversity. Despite any propensity we may feel to not take Elle Woods, played by Reese Witherspoon, seriously, we can’t help but cheer her along as she succeeds when the world is telling her that she won’t. It’s a women’s empowerment film without being preachy, featuring a message that we can all gain from. Of note: I recently took the LSAT, and I can assure you that the 179 she scores to get into Harvard is, like, really good. THE LINCOLN LAWYER (2011) Well, well…Marisa Tomei, we meet again. Okay, besides her, the film is packed with fantastic acting talent, including William H. Macy, John Leguizamo, Bryan Cranston, and Ryan Phillippe. Most significantly is the smooth-talking and extremely cool Mick Haller, played by Matthew McConaughey, a criminal defense lawyer who knows how to deal with the type of clientele he must regularly convene with. Based on the Michael Connelly novel of the same name, the lawyerly perspective here feels incredibly accurate, and the tension is wired tight from beginning to end. In fact, it’s such a good and reliable watch for legal film fans that Netflix even created a series adaptation. Photo Credits: Photo 1 - United Artists; Photo 2, 4 - 20th Century Fox; Photo 3 - Columbia Pictures; Photo 5, 7 - Paramount Pictures; Photo 6 - Warner Bros. Pictures; Photo 8 - Universal Studios; Photo 9 - MGM; Photo 10 - Lionsgate