Previous Next June 25, 2025 WRITTEN BY: BODE If you happen to see Mike Flanagan’s latest Stephen King adaptation, The Life of Chuck , I would suggest you sit through the end credits. This isn’t because there’s a big post-credits stinger setting up more adventures in the aforementioned life of its titular character, but rather because you’ll want to hear indie folk artist Gregory Alan Isakov’s version of the traditional ballad “The Parting Glass.” A beloved farewell song in Scotland (where it originated) and in Ireland (for whom you could arguably credit for its enduring popularity), there have been many modern interpretations of that song, from artists as mainstream as Ed Sheeran, to as indie as boygenius. But it’s Isakov’s version that immediately stood out to me as one of the more memorable ones when I first saw the film at TIFF last year, what with his warm vocals, intimate guitar playing, subtle piano, and a rousing harmonica in between the verses for good measure. It fits the mood quite perfectly for Flanagan’s film, and considering its themes of time and mortality, enhances the film’s meaning in many respects. It had me thinking back to some of my favourite film covers, and specifically how they strengthen the themes of their respective films, regardless of the latter’s quality. So, here’s four in particular that I want to highlight in honour of Chuck Krantz and his 39 great years! https://www.youtube.com/watch?v=_kdbT4i717E Broken Social Scene - Love Will Tear Us Apart (originally performed by Joy Division) [ The Time Traveler’s Wife ] So, let’s just get the standard music snob line about Joy Division’s “Love Will Tear Us Apart” out of the way: it’s undoubtedly one of the greatest songs of all time. It’s the indie “Stairway to Heaven”. It’s a masterpiece in juxtaposition, between utterly devastating lyrics and one of the catchiest melodies ever put to record. There’s a reason it’s not just one of the most frequently used songs in film and TV (especially for anything that takes place during the ‘80s, Donnie Darko , or 24 Hour Party People for example), but additionally one of the most covered songs in music history. I’ve heard plenty of good ones here and there; though admittedly, even some of those are perhaps a little too faithful (understandably so) to the original composition. Broken Social Scene’s underrated cover, which was appended to the soundtrack of the 2009 film adaptation of The Time Traveler’s Wife , plays things a little differently. While still faithful, the Toronto indie rock collective (which I should mention is one of my personal favourite bands) brings the song down at half-speed, turning it into a ballad suited for a slow dance, and fittingly enough, the cover soundtracks a scene where its lovelorn protagonists are doing exactly that at their wedding (a scene where the band actually cameos). Some would argue that the juxtaposition of the original is the point, the band delivers it with such earnestness and with such a rich atmosphere (from the lilting pianos to front-man Kevin Drew’s pitched-down vocals) that it sneaks up on you when you least expect it. And given the heartbreak that’s already at the centre of the song, it fits within the context of the film, where time travel literally tears love apart. I couldn’t tell you much about the film itself (other than watching it due to my everlasting crush on Rachel McAdams), but the fact I can tell you a lot about BSS’s cover speaks to how well it works on its own merits, even if it doesn’t surpass the quality of the original. https://www.youtube.com/watch?v=8eptioPpo4w Nine Inch Nails - Dead Souls (originally performed by Joy Division) [ The Crow ] Continuing on the topic of Joy Division covers, “underrated” is probably the last word to use when talking about Nine Inch Nails’ take on “Dead Souls.” Recorded and released in 1994 as part of the soundtrack to The Crow , the one-off cover is such a fan favourite not only due to its appearance in that film, but additionally to its frequent appearances at their live shows. In fact, one could very well see it as sort of a precursor to the soundtrack work that Reznor would embark on later in his career, initially on his own (in the same year, he would produce the soundtrack for Oliver Stone’s Natural Born Killers ), and later with future NIN member Atticus Ross (where film scoring became a specialty). While Reznor and company don’t stray away from the structure of the original track (note for note, even down to its iconic bass line, it’s pretty faithful), they opt for a somewhat slower tempo and moodier, heavier atmosphere, in contrast to the fast-moving, jittery vibe of the original. Reznor never tries to imitate the late Ian Curtis vocally either, especially near the end of the tune, where he screams the chorus “they keep calling me” with such intensity it almost brings forth the image of a person possessed by the voices in his head (lyrically, the song has often been interpreted to be about someone struggling with schizophrenia or some other type of mental disorientation). While the original track is tense and haunting enough, I think the cover accentuates that inherent nature with a fuller sound. It’s especially complimentary to Alex Proyas’ take on the beloved comic, which is already dark and gritty in tone and atmosphere. If you want a picture of the influence Joy Division and other bands in their particular genre left on those in the industrial music scene in the ‘90s, look no further than this. https://www.youtube.com/watch?v=ZJZoF8lIc08 The Venus in Furs - 2HB (originally performed by Roxy Music) [ Velvet Goldmine ] It’s legend at this point that David Bowie, whose influence is all over Todd Haynes’ 1998 cult classic Velvet Goldmine (right down to the film’s title, named after his 1975 track, often called an underrated classic), disapproved of the film and refused to grant the filmmaker the rights to his song catalogue. Those creative restrictions were probably the best thing that could’ve happened to Haynes, as it ended up allowing him to focus more on the elegant and anarchic soul of the 1970's glam rock era. I love the film, and would argue it’s pretty underrated in the context of Haynes’ filmography. Part of its greatness lies in its coupled soundtrack, curated by Haynes, music supervisor Randall Poster, and R.E.M front-man Michael Stipe, as it’s filled with licensed music from the period (Brian Eno’s “Needle in the Camel's Eye” and Lou Reed’s “Satellite of Love” are memorably used), as well as originals (by bands such as Pulp and Shudder to Think) and covers. Two in particular are of Roxy Music tracks “2HB” and “Ladytron,” both which are credited to fictional band The Venus in Furs, led by the Bowie-esque character Brian Slade in the film. In reality however, it’s a bit of a British supergroup, led by Radiohead frontman Thom Yorke, with fellow bandmate Jonny Greenwood, Suede’s Bernard Butler, David Gray band member Craig McClune, and even Roxy Music saxophonist Andy Mackay among some of the other members. “2HB” is probably my favourite cover of theirs, and because my exposure to Roxy Music was relatively thin at the time, it was my first exposure to the song for the most part. Note for note, it’s pretty faithful to the original, but this is one of those cases where I mostly prefer the cover, since the production feels a lot fuller, and Yorke’s always emotive vocals, which mimic Bryan Ferry in some ways, give the lyrics (originally written as a loving tribute to screen actor Humphrey Bogart) an extra oomph in regards to its sincerity. The song’s instrumental break is especially a highlight, as Mackay reprises his wonderful saxophone solo, mixed in beautifully with the rest of the instrumentation, which includes a warm keyboard, relaxed drumming, and as the song reaches its end, guitars that get fuzzier. All together, the impact it leaves, to quote the song’s final verse, “fades away…never.” https://www.youtube.com/watch?v=ppzoBclWpaA Beck - Everybody’s Got to Learn Sometime (originally performed by The Korgis) [ Eternal Sunshine of the Spotless Mind ] Even 20-something years removed from its release, Eternal Sunshine of the Spotless Mind , the multilayered second collaboration between director Michel Gondry and writer Charlie Kaufman, remains as poignant in its exploration of love, heartbreak, and memory as ever, and though some have certainly tried, it’s a difficult and almost thankless task to even try and replicate its magic. Some of that comes down to the film’s soundtrack, from the always underrated Jon Brion’s hypnotic score (blending strings, acoustics, and electronics), to the variety of tunes ranging from the Polyphonic Spree to the Electric Light Orchestra classic “Mr. Blue Sky” (which was actually not featured in the movie, but played a major part in the trailers and advertisements). One of the major highlights, however, is Beck’s cover of The Korgis’ “Everybody's Got to Learn Sometime.” Appearing three times in the film, including its final scene to great effect, the Brion-produced cover is perhaps the most definitive version of the song in my eyes, as it swaps out some of the brightness the original had for devastating melancholy, both vocally (Beck goes for a lower register in comparison to Korgis frontman James Warren) and instrumentally (where the string arrangements add an extra layer to the track). Had Beck recorded it earlier for his 2002 album Sea Change (which, much like Eternal Sunshine , reflects on a breakup), it would’ve been a perfect fit, as it feels like a natural progression of that particular era. So, add this to your list of breakup anthems if you feel like compiling a list of them.

Previous Next August 27, 2025 Welcome to A Bigger Bite, the podcast series where we take a deeper dive into some of our favourite films of the year (spoilers included). With the Oscars coming up, we've decided to launch with an episode for each film the Academy Awards have nominated for Best Picture, releasing an episode each day leading up to the big ceremony. Let's look at perhaps the most underrated title this season, Nickel Boys ! 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!

BAIT Starring: Riz Ahmed, Guz Khan, Sheeba Chaddha, Sajid Hasan, Aasiya Shah, Weruche Opia, and Ritu Arya Creator: Riz Ahmed BODE Could Riz Ahmed be the next James Bond? The more you dig into Bait , the half-hour comedy series that he creates and stars in, the more you realize that this question is very much a jumping-off point for what it really has on its mind. This includes racial identity, the pressures of representation, ambition, immigration, and shame - all of which it explores in ways that are satirical, vulnerable and surreal. Even in moments where it risks being too high-concept for its own good, the compelling performances and genre-bending direction kept me riveted throughout. Trust when I say that this is bait (heh) worth falling for.

COBRA KAI: SEASON SIX Starring: William Zabka, Ralph Macchio, Courtney Henggeler, Xolo Maridueña, Tanner Buchanan, Mary Mouser, Jacob Bertrand, Gianni DeCenzo, Martin Kove, Vanessa Rubio, Peyton List, and Thomas Ian Griffith Creators: Josh Heald, Jon Hurwitz, and Hayden Schlossberg ROBERT Cobra Kai morphed from an intriguing character piece from an old 1980s villain’s perspective into a teen soap opera built around trying to lend credence to any reference ever made in The Karate Kid film franchise. However, Season Six, despite going completely international, brings us back to the beginning, and especially does so in the final five episodes, where it really shines. If you left by the fourth or fifth seasons given the contrivances, attempt to come back, just as Johnny (William Zabka) and Daniel (Ralph Macchio) do. Even though the show is done, Cobra Kai never dies! BRYAN Cobra Kai should have never worked, yet here we are after a wonderful six-season run. Everything fans could’ve wanted is present in this final season…emotional character moments, epic fights…the whole nine. A beautiful cumulation of not only what this series has built to this point, but also 1984's The Karate Kid . Nothing is more wonderful than when a television show ends on top (and on its own accord), perfectly balanced. The Emmy campaign for William Zabka starts now, ladies and gentlemen. I'm sad to say goodbye, but Cobra Kai never dies.

THE WALKING DEAD: DEAD CITY: SEASON ONE Starring: Jeffrey Dean Morgan, Lauren Cohan, Gaius Charles, Mahina Napoleon, Zeljko Ivanek, Karina Ortiz, Jonathan Higginbotham, and Logan Kim Creator: Eli Jorné NICK Dead City feels different than the other The Walking Dead spin-offs, thanks to showrunner Eli Jorné’s darkened tone and its shooting style. Instead of just picking up where things left off, the series succeeds by having a central conflict that forces Negan (Jeffrey Dean Morgan) and Maggie (Lauren Cohan) to work together. This leaves all the feelings they harbour for one another to bubble under the surface to create a ton of tension throughout. Not to mention it lets Cohan - and Morgan especially - showcase their character portrayals at their best. Dead City has reignited this franchise and shows there’s still more story to tell.

Previous Next September 12, 2024 WRITTEN BY: NICK As we speak, I have the honour of covering the Toronto International Film Festival (TIFF) for my third consecutive year, and I wanted to take a second to spotlight some of the festival’s premieres that have come and gone during that time without much fanfare. In an effort to not be too redundant with previous things we’ve done here, I’ve left films like Biosphere and How to Blow Up a Pipeline off the list because they have been given plenty of kudos by us before (such as in our Bitesize Awards HERE ). Given that the TIFF slate is filled with nearly a hundred movies every year, there are still plenty worth checking out that may have missed your radar. If you don’t know where to start, let me help you out… https://www.youtube.com/watch?v=OFAwDO6b5KI HOLD THE DARK In 2018, before there was a Bitesize Breakdown, I had the chance to attend my first TIFF. I only saw two films. The Predator , the highly anticipated Shane Black-directed sequel that couldn’t have been more of a disappointment, and a Jeffrey Wright-led film called Hold the Dark . Now, I’m not here to tell you Hold the Dark is an exceptional film by any means, but it deserved more than an understated Netflix release only weeks later. Anchored by Jeremy Saulnier's direction, the tone and atmosphere give this Alaskan wilderness-set action thriller an eerie True Detective vibe, while the trio of Wright, Riley Keough, and Alexander Skarsgård are each solid in their own rights. If you’re looking for an under-the-radar gem to check out — particularly on a chilly evening — give this one a shot. https://www.youtube.com/watch?v=VojBOTd6Euo CAUSEWAY Do you remember in 2022 when Brian Tyree Henry was deservedly nominated for Best Supporting Actor for his performance in Apple TV+’s Causeway ? Do you remember how good everyone felt to see him get that accolade? Of course, you do. Did you watch the film, though? Sadly, many didn’t, which is a shame because Causeway not only boasts a great showing from Henry, but also one of Jennifer Lawrence’s best roles in years. The story focuses on two people bonding over their shared PTSD (albeit in different ways), and it is both a moving and harrowing look at the effects of trauma and how it shapes us. It can be a heavy watch, but it’s something more people should have seen, especially since it's one of Henry’s and Lawrence’s best efforts. https://www.youtube.com/watch?v=NCDEGP6VjYY DEVOTION In May 2022, Top Gun: Maverick was released in theatres. For Glen Powell, it must have been a dream come true because the film was a bigger hit than anyone could have expected. It’s also the reason his other release that year, Devotion , was such a box-office flop. I truly would like to see how Devotion would have done had it come out prior to Maverick ‘s release, but sadly we’ll never know. Another film about pilots, Devotion stars Powell and, at the time, an up-and-coming Jonathan Majors. Effects-wise, it’s a step down from Maverick , but in a world without that comparable, they are more than serviceable. Plus, it’s just nice to see another piece of Glen Powell’s rise to stardom. https://www.youtube.com/watch?v=2D2ZRfqKUD4 ALICE, DARLING In 2023, I watched Anna Kendrick’s directorial debut Woman of the Hour , which will be releasing later this year. The year prior, however, she had another film at the festival called Alice, Darling . Both films focus on power dynamics and abuse, and although Woman of the Hour ’s success is yet to be determined, Alice, Darling came and went. I’m not sure why, either. Although the film certainly has its challenges, Kendrick’s performance is enough to earn a recommendation for people to check it out. She achieves a level of painfully honest vulnerability that made me feel as if someone I knew personally was dealing with this situation instead of a character on screen. It was unsettling and uncomfortable, but extremely powerful, which is a credit to Kendrick’s great performance. https://www.youtube.com/watch?v=wSeprzQM6gk THE INSPECTION Some of the films I mention here are good. Some are even very good. This next one, though? I think it’s great. One of my favourite films from the 2022 festival, The Inspection tells the story of Ellis French (a fictionalized version of director Elegance Bratton), a young, gay, black man who joins the Marines to gain the acceptance of his mother. The film is heartbreaking, but it’s stuffed with wonderful performances. Gabrielle Union gives a career-best showing as Ellis’ mother, but Jeremy Pope, an actor mostly known for his stage work, is a revelation. His performance was rewarded with a Golden Globe nomination, but this film was still far underseen by the public. We should rectify that immediately. https://www.youtube.com/watch?v=beNTTHnMIy8 FLORA & SON Much like Causeway , Flora & Son is a TIFF film that was quietly released as an Apple TV+ original. As such, it didn’t get a ton of attention, save for a Best Original Song nomination — for the WRONG song, by the way, as “Meet in the Middle” is the far superior choice, but I digress. The story is two-fold as it focuses on both the relationship between mother (Eve Hewson) and son (Orén Kinlan), as well as the budding relationship between said mother and her music teacher (Joseph Gordon-Levitt). It’s a sweet, feel-good story that I’d personally like to see continued, but that definitely won’t happen if you don’t check it out. Oh, and did I mention it’s from John Carney, the director of the critical darling Sing Street ? https://www.youtube.com/watch?v=SeTeCWbF8KY WICKED LITTLE LETTERS Olivia Colman. It’s a name that evokes class, prestige, and a near-guaranteed Oscar nomination. Wicked Little Letters is about as far removed from that as you can get, so maybe that’s why this gem flew under so many radars. Although not on my original TIFF viewing schedule in 2023, solid word of mouth made me add it to my slate, and I’m so glad I did. Colman and Jessie Buckley play off each other wonderfully as two catty women spouting out the most outlandish expletives, while the whodunnit gives the film a nice throughline. If you’re looking for laughs and a little (lot) foul language, then I think you’ll have a joyous time with Wicked Little Letters . I added it to my schedule; now it’s your turn. https://www.youtube.com/watch?v=0UoC1ka-r6U HEY, VIKTOR! I’ll be honest with you… I’ve never heard of the 90s cult classic Smoke Signals , nor am I a fan of the mockumentary format, so I don’t know what drew me to check out Hey, Viktor! at the 2023 festival. What I do know, though, is how much this film made me laugh. Cody Lightning plays a spoiled man-child to a tee as he attempts to resurrect a bit part from the aforementioned film for a sequel. It’s outlandish and ridiculous in the best ways, and it’s bound to put a smile on your face. Although it had a theatrical release in Canada, it only did so in limited form, and it has yet to make its way to the United States or other international markets. I hope this is fixed soon because this little indie deserves more eyes on it.

KNUCKLES Starring: Idris Elba, Adam Pally, Ellie Taylor, and Scott Mescudi Creators: John Whittington and Toby Ascher AMARÚ The Knuckles series continues the Sonic the Hedgehog franchise’s utter commitment to children’s entertainment. Every actor and voice-actor, especially Idris Elba (Knuckles), takes their ridiculous roles seriously. Elba plays fish-out-of-water perfectly for the stone-faced echidna, and it’s his commitment that allows adults like me (aka a man-child) to find some enjoyment in the self-aware banter littered amongst the juvenile plot line. It’s at times too silly, so I can’t say this one is for adults and kids alike, but I appreciate that it doesn’t dumb down anything just to cater to its audience. For better and worse, Knuckles is a kids show that fully embraces its adolescent tone.

THE VEIL Starring: Elisabeth Moss, Yumna Marwan, Dali Benssalah, Josh Charles, and Thibault de Montalembert Creator: Steven Knight QUENTIN Have you ever noticed that British shows look a little less glossy than American shows? Coming from Peaky Blinders ’ creator Steven Knight, The Veil is like Homeland done in the British style. It’s a lot of the same shadowy spycraft, geopolitical dick-measuring, distrust, and so on…just grainer. At its center is Elisabeth Moss, who gives a respectable performance as an MI6 agent trying to determine whether a person of interest is an infamous ISIS commander. She, as well as Josh Charles and some typical espionage tropes, keep the show engaging enough, especially with only six episodes, even if the rushed writing leaves something to be desired.

YELLOWJACKETS: SEASON ONE Starring: Melanie Lynskey, Sophie Nélisse, Tawny Cypress, Jasmin Savoy Brown, Ella Purnell, Juliette Lewis, Sophie Thatcher, Christina Ricci, Samantha Hanratty, Steven Krueger, and Warren Kole Creators: Ashley Lyle and Bart Nickerson QUENTIN Yellowjackets is a mixed bag. Not in terms of quality, as it’s rarely as interesting as its concept, but in execution. It’s like the writers threw Lord of the Flies , Heathers , and Lost into a horror blender, which creates a mishmash of intriguing ideas, but nothing that is truly compelling. The then-and-now storytelling structure doesn’t do the show any favors either because it causes both timelines to move at half-speed. Or maybe it’s just that I’m an old man and half the show is about catty high school girls… either way, I couldn’t get into it. The soundtrack is boss, though.

Previous Next June 6, 2024 WRITTEN BY: AMARÚ At the most recent Oscars, director Cord Jefferson, after receiving his well-deserved Best Adapted Screenplay Award, made a plea to Hollywood to get out of their stuck-in-the-mud ways. “I understand that this is a risk-averse industry, but $200 million movies are also a risk,” Jefferson stated. “It doesn’t always work out, but you take a risk anyway. Instead of making one $200 million movie, make twenty $10 million movies or fifty $4 million movies.” I wholeheartedly agree with this sentiment, and believe it goes far beyond just movie budgeting. There are very few actors in this industry that can escape from being pigeonholed into a particular role or stereotype for damn near their entire career. Hollywood likes the familiar, and it will ride an actors’ familiar skill set for all the money it can. For those who are extremely good at what they do, their undeniability can be a gift that grants them top-billed roles and accolades, no matter if it’s them doing the same thing in every film. For others not so blessed, it can be a curse that either keeps them leading the same kinds of movies repeatedly or being labeled a “character actor” not worthy of bigger roles. In both cases, there are a lot of actors that I’d love to see step out of their norm. In fact, I immediately think of Tom Cruise in one of his most iconic roles of all time, Les Grossman. Who would’ve thought that the funniest and most outlandish role in the already ridiculous Tropic Thunder would be Tom Cruise in a fat suit, fully embracing the crazy? It was utterly brilliant. I want to see more actors get that chance to show the range they aren’t normally afforded: dramatic actors in full-blown comedies, comedians being menacing, family-film regulars becoming the most unlikely action heroes. As such, I have listed nine actors (#1 being the true impetus of this article) and paired them with a director and genre that could truly show Hollywood that it’s great to get out of its comfort zone. 1: DENZEL WASHINGTON IN A BEN STILLER DIRECTED COMEDY (WRITTEN BY JOHN FRANCIS DALEY & JONATHAN GOLDSTEIN) Denzel is Denzel in every movie he has ever been in, and he’s still better than 98% of all actors in the history of acting. These are facts, and I stand by that statement. I guarantee it (and hope you hear that in the way it’s intended). However, one thing I’ve never seen Denzel do on screen is be as funny as he was in his interview with Jamie Foxx (if you don’t know, go find it). In my mind, the only way he would do an all-out comedy is if he’s put in the hands of someone he trusts and respects, and Ben Stiller has more than shown that he knows how to comedically take care of Hollywood royalty (see Tropic Thunder ). Add in the consistently smart and fun writing duo of Daley & Goldstein, fresh off audience favorites Dungeons & Dragons: Honor Among Thieves and Game Night, and Denzel will show off how surprisingly funny he can be (because The Preacher’s Wife was not enough). 2: TARAJI P. HENSON IN A DEV PATEL DIRECTED ACTION THRILLER This may seem like a weird pair, but both actors have recently been the poster child of Hollywood keeping people (of color, in particular) in one lane. From almost losing funding to enduring physical injuries, it’s well documented the lengths Patel had to go to in order to get Monkey Man made. Meanwhile, Henson has been very vocal recently about not getting paid her worth when she brings in both box office dollars and TV ratings. In Proud Mary , she showed that she has the attitude and charisma to carry an action film if given a serviceable script. We’ve also seen her in Smokin’ Aces , but she hasn’t been given a fair shot to LEAD a competent action staple. Patel proved with his directorial debut that he can create a compelling story, and with directing experience now under his belt, Henson’s fierceness can be his muse while he proves how badass she can be as a lead action star. 3: ANNA KENDRICK AS A VILLAIN IN A QUENTIN TARANTINO FILM Okay, so there are a lot of actors that could fill the role of “unlikely Tarantino villain,” but once I heard Anna Kendrick’s name, I couldn’t shake it. She is capable of all the QT quirks (awkward, yet likable, yet crazy, yet endearing), but only tends to be cast as the every-woman juxtaposed to the much more interesting character. I want her to step into the madness that constantly hides behind those ever-expressive eyes. Have you noticed that? Her eyes are strikingly emotive. They carry a lot of fervor that her sarcastic smile tries to hold back. Let Tarantino unhinge her, and I swear we’d get a monster of a movie villain. 4: QUINTA BRUNSON IN A STEVEN SPIELBERG DIRECTED BIOPIC (WRITTEN BY AARON SORKIN) Quinta Brunson has risen from social media content creator to Emmy-winning writer, producer, and comedic actress over the past ten years. She has proven she can do it all in the realm of comedy. If you’ve watched the most recent season of Abbott Elementary , you also can see glimpses of dramatic chops amongst her nerdy-black-girl-next-door persona. Put her in a fast-paced, autobiographical drama a la Catch Me If You Can or The Post , and let Spielberg utilize her can-do, get-it-done attitude like only he knows how. I’m being pretty specific here, but I can’t get the picture of Brunson fast-walking around a newsroom, legal office, or hospital emergency room out of my head, and there’s no two filmmakers who capture those settings more energetically than Spielberg, the godfather of the modern blockbuster, and Aaron Sorkin, the master of double-time dialogue. 5: DANIEL RADCLIFFE IN A JOHN WOO DIRECTED ACTION FILM I’ll admit right now that I have not seen Guns Akimbo (yes, I know I should, and hopefully, by the time you’re reading this, I’ve remedied that), but from what I’ve been told, Radcliffe is put in a lot of action situations that his character would rather not be in. What I’m looking for is trained-to-kill Daniel Radcliffe. Put-him-in-a-dangerous-situation-and-watch-him-mow-through-people-efficiently Daniel Radcliffe. Get-bloodied-but-bounce-back-after-a-couple-injuries Daniel Radcliffe. Have John Woo add some doves, some bullet time, and just enough seriousness to make it all believable, and now you’ve added lethal assassin to the list of things you never thought you’d see Harry Potter become (sorry, I needed at least one reference). 6: PAUL RUDD IN A DAVID FINCHER DIRECTED THRILLER Paul Rudd is an actor who can appear in anything and I will watch it. He also may be another example of an actor playing himself no matter the role, but it doesn’t matter because he’s so damn personable that it’s so damn enjoyable. Get all that nicety the fuck out of here, though. I want David Fincher telling Rudd to do the take again for the 157th time to make sure he gets it exactly right. It’s really easy to make Ben Affleck unlikable (sorry), but it’s a feat to do that for Rudd. I want to see the Fincher-intensity on Rudd’s un-punchable face. 7: JOHN CENA IN A JUSTINE TRIET DIRECTED COURTROOM DRAMA Yes, I know she just did a courtroom drama, but after Anatomy of a Fall , I wouldn’t mind Triet running back another two-hour, top-notch, dialogue-heavy, roller-coaster triumph of talking and arguing with John Cena leading the charge. He is one of the best wrestler-turned-actors working today because of his quick wit, great comedic timing, and ability to successfully use words and intonation in conjunction with his physical prowess, but we’ve only seen two versions of that persona so far: super silly goofball or ultra serious military man. Give Cena a shot as a legit litigator, and Triet’s dialogue and direction could unlock a brilliant balance between the two. 8: JACK BLACK IN A ROBERT EGGERS DIRECTED HORROR FILM On the surface, this pairing may seem like the most contradictory on the list, but when you look a bit closer, Black and Eggers have some strong similarities. They both have an ever-present Rock ‘N’ Roll aura around them, and their passionate energies are always dialed to 100. Black would go all out, Eggers would go all out, the horror would be epic, and maybe our collective faces would melt off. And it would be worth it if we could get the ultimate unadulterated horror version of Jack Black on screen. 9: LUPITA NYONG’O IN A GRETA GERWIG DIRECTED ROMANTIC COMEDY We know that Lupita Nyong’o is a badass because we’ve seen her be a badass in multiple forms: Wakandan badass, Oscar-winning badass, doppelganger badass, voice-acting badass. Just take a look at her well-sculpted arms; you know she’s coming on screen to bring the heat. Can we get a role from her with none of that? I want to see her fully embrace her feminine qualities, daintily walking through life with care-free ease, and falling in love in the most heartwarming way possible. Greta Gerwig is more than adept at showcasing femininity without compromising integrity, and she would beautifully capture a strong, black woman just existing. That is a version of Lupita I would love to see. Photo Credits: Photo 1, 7 - Warner Bros. Pictures; Photo 2, 3 - Paramount Pictures; Photo 4 - ABC; Photo 5 - The Roku Channel; Photo 6, 8, 9 - Universal Pictures

THE MADNESS Starring: Colman Domingo, Marsha Stephanie Blake, John Ortiz, Tamsin Topolski, Thaddeus J. Mixson, and Gabrielle Graham Creator: Stephen Belber QUENTIN If you aren’t a Colman Domingo fan, which doesn’t make any sense because he’s great in everything he has done, you probably don’t need to bother with Netflix’s The Madness . From an overall series perspective, it's kind of a mess. Sure, there are twists and turns that might half-heartedly get you to watch the next episode, but the conspiracy, characters, and social commentary are underwritten and a tad preachy, making it hard to truly invest in them. That said, probably-soon-to-be-two-time-Oscar-nominee Domingo single-handedly wills the bloated series into something watchable through a typically commanding performance despite his character being a somewhat empty and poorly developed vessel.

PLATONIC: SEASON TWO Starring: Rose Byrne, Seth Rogen, Luke Macfarlane, and Carla Gallo Creators: Nicholas Stoller and Francesca Delbanco QUENTIN In its second season, Seth Rogen’s other Apple series, Platonic , solidifies itself as a passably easy hangout show even though it’s not doing anything terribly interesting. Let’s call it pleasant — nothing more, nothing less. Sure, it’s occasionally amusing, but never laugh-out-loud funny (one running joke is particularly lifeless). Plus, oddly, Will (Rogen) isn’t given much of an arc, leaving a show that probably would be stronger if it focused solely on the changing dynamic of Sylvia’s (Rose Byrne) marriage. Still, the chemistry between Rogen and Byrne is good enough that one rarely gets bored despite a weak and rushed storyline that goes on for too many episodes. AMARÚ I continuously forget how talented Rose Byrne is when it comes to awkward comedy (amongst other things), but going back to Platonic for Season Two quickly reminded me how she steals the show from awkward king Seth Rogen. Their back-and-forth is as funny and relatable as ever, but what made this season more memorable is the supporting casts’ increased usage (especially Luke Macfarlane), highlighting how the titular relationships’ volatile dynamic dramatically affects those around them. The comedy is a consistent simmer but, like Rogen, takes a small backseat to tension, ultimately finding an entertainingly addictive balance between laughs and stakes. ROBERT Much to my surprise, after a satisfying and coherent end to Season One of Platonic , Nicholas Stoller and his creative team chart a path in Season Two that does a real service for the characters, complete with shifts in dynamics and relationships that are compulsory to an evolving story. Seth Rogen’s schtick of playing a competent but bumbling buffoon who stumbles all over the screen brought me everlasting joy, and it pairs well with Rose Byrne’s absurdist energy. You can drink this brewed concoction with a toothy smile and order another round, hangover be damned. NICK Even though I liked Platonic : Season One, I wasn’t eagerly anticipating Season Two. It was a series carried by the chemistry between Rose Byrne (Sylvia) and Seth Rogen (Will), and the same can be said about this season. I maintain my interest in the characters, and it’s nice seeing Luke Macfarlane (Charlie) given a bigger role, but this just isn’t a series I can get immersed in; as my fellow writer Quentin would call it, it's the series equivalent of a "nice beach read." Two seasons in, I wish the comedy hit harder, but it does just enough to bring me back for a Season Three. Check out our reviews for Season One HERE .