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THAT DAMN MICHAEL CHE: SEASON TWO Starring: Michael Che Creator: Michael Che QUENTIN After two seasons, it’s clear that Michael Che is trying to create the next Chappelle’s Show with That Damn Michael Che , and while it’s never quite as smart or incisive as the Sketch Show GOAT, that doesn’t mean it’s lacking in laughs. Che’s standup bits are the most consistently funny, but some sketches had me in stitches. One such sketch is called “Arthur’s Abortion Dojo,” and to be frank, if that title alone turns you off, then this show probably isn’t for you. However, if it fills you with intrigue, there are more than enough sketches to make this a worthwhile watch.

Previous Next November 21, 2024 WRITTEN BY: PRESTON As I began to think about my upcoming film-focused feature article, I went through my usual process. I checked the time of release and thought of topical ideas that might coincide in a meaningful way. I also checked with my fellow writers and editors to bounce ideas off them to make sure we are not duplicating efforts and scoured the internet for a potential recipe for success. As it turns out, we are on the cusp of the “Holiday Season,” which usually translates to merely “The Christmas Season.” Thanksgiving is surely implied, but it’s typically relegated to the sometimes tiring, family get-together that acts as the gateway to the more important Christmas, with New Year’s serving as the season’s depressing conclusion. In the metaphorical meal, Thanksgiving is the appetizer, Christmas is the entree, and New Year’s Eve is the dessert before we roll our way home in devastating regret with promises that we will do better for the foreseeable future. What? …I can’t be the only one! In any case, just like we aren’t going to put up Christmas lights until after Thanksgiving (right, neighbor Steve??!), we are also going to give Thanksgiving its proper due. Thankfully (no pun intended), the holiday season also conjures ideas of delicious meals, football, and family traditions surrounding specific food. As you probably already know, I will use any excuse to talk about, dream of, prepare, and eat tasty cuisine (check out my previous foodie article HERE ), so this is simply another way for me to express love for something I’m very thankful for. As for Thanksgiving, this year I suggested to my family that we step away from tradition for more of a multicultural spread. This was met with trepidation and was almost immediately shut down (love you, Mom). So, this year I will be frying another turkey and making all the other normal American fixins, which I do love. In the end, all that really matters is the spirit of the holiday and spending time around family while showing our love through food. However, that doesn’t preclude us from making our own melting pot of a dream Thanksgiving meal right here, and if we are going to make a delicious sundry of dishes, why not get some inspiration from our other great love…movies. So, let’s let go of the more traditional notions of the food requirements and have ourselves a fantastic day of culinary delights. Won’t you join me for a meal of film-featured dishes that are a must-include on our non-traditional, Thanksgiving menu? Let’s Eat! BRUNCH One of the difficulties with Thanksgiving is deciding when to start eating. I feel a constant push-pull emotion of when might be the earliest time to actually dig in while performing a calculus to determine what level of negative judgment I might receive from suggesting such a time. It’s a fine balance that we are going to throw completely out the window in our fantasy world of Thanksgiving bliss. Let’s immediately kick the party off with a breakfast classic: steak and eggs. We will take our inspiration from the best egg sandwich I have ever seen on screen, which comes from chef John Clasky (Adam Sandler) in Spanglish . The film is terrific, if not a little mid, but the egg sandwich is anything but, featuring bacon, lettuce, tomato, melty cheese, and a runny egg. Why not pair it with the medium-rare filet mignon eaten by Cypher (Joe Pantoliano) in The Matrix . His apathetic but hedonistic morals are perfectly aligned with our gluttonous spirit and celebration of food on this particular Thanksgiving Day. LUNCH Chef , starring Jon Favreau as Chef Carl Casper, is among my favorite films for foodies. The movie is essentially soft-core porn for my kind, and we could genuinely produce our entire menu from the meals featured in this movie alone. Instead, we will include only one of the many noshables he prepares: the grilled cheese. Cooked right on the plancha, the ooey-gooey and buttery delight features yellow cheddar, white cheddar, parmesan, and Gruyère cheeses on sourdough bread, providing one of several dream lunch fares. Our second option will be the burger from The Menu . Who knew that such a twisted film could show us one of the most delicious burgers I have ever seen prepared before my eyes. It is the simple and unpretentious joy that it brings to the chef de cuisine, Chef Slowik (Ralph Fiennes), and the lucky recipient, Margot (Anya Taylor-Joy), that makes my mouth water despite its relatively basic and straight-forward construct. For our final lunch option, we have Minny Jackson’s fried chicken, as featured in The Help . I’ve spent most of my life in the South, and I can’t imagine not including some southern soul food on our menu. After all, as Minny (Octavia Spencer) says, “frying chicken make you tend to feel better about life.” AFTERNOON SNACK Aspiring sumo wrestlers, competitive eaters, and hyper-grazers need to take it easy every now and then while still requiring eating just a little something. For the awkward portion of the day between lunch and dinner (as if this concept exists on Thanksgiving), we will prepare some lighter options. Ratatouille provides us with some delicious potato & leek soup from Remy’s (Patton Oswalt) and Alfred Linguini’s (Lou Romano) initial push into the professional culinary world that ultimately becomes the inspiration for their menu-to-be, as well as their eventual flagship dish for which the film is named. Second, we will include a little sushi. Perhaps it is the tension felt through the sharing of the meal in Snowpiercer , or the rarity of its serving, but even without starvation as a motivating factor, I still want the delectable sushi prepared for the train’s elite. Finally, I have to include the Taco Bell meal enjoyed by John Spartan (Sylvester Stallone) and Lenina Huxley (Sandra Bullock) in Demolition Man . I am already a massive fan of Taco Bell since it was such a big part of my adolescence, but the bougie, fine-dining version featured in the film would provide the perfect snack option before we get hit with our fantastic supper. In case you were wondering, there is an actual restaurant based on the one our heroes dined in. So, this one doesn’t have to be fantasy, you can actually experience it. It’s still on my bucket list, as long as they don’t stiff me on Fire sauce… DINNER It’s time for the main event. For our pièce de résistance, we are bringing in the show-stopping Il Timpano from Big Night. The film stars Tony Shalhoub and real-life culinarian Stanley Tucci as brothers running an Italian restaurant. Il Timpano — a layered pasta with tomato sauce, roasted vegetables, and cheese covered in a crispy dough — is a sight to see, and I recommend at least watching a clip of it being made (bonus points for just watching the film, to be honest). After cutting a big slice, we are going to smother the carbo-loaded present in the rich, red gravy from Goodfellas . The process of slicing the garlic with a razor blade, as well as just the entire process of making the Italian sauce, made cooking so masculine to me as a child. It fueled my juvenile desire for the pursuit of everything food related. We aren’t stopping there, either. We are adding a little more protein with quail covered in a rich chocolate gravy with roasted asparagus, as seen in Chocolat . The birthday dinner of Judi Dench’s character, Armande Voizin, is beautiful to witness, and it really gets the old salivary glands going. Lastly, we are adding the entire mysterious and colorful spread that we see when Peter Pan (Robin Williams) starts to realize who he truly is in the wonderful film Hook . Bangarang! DESSERT Dessert will be simple. We will get the pulse racing with a light, suspenseful, and “not so terrible” strudel. Just don’t forget to “wait for the crème.” No matter how thrilling the meal we witness in Inglourious Basterds is, there is no denying how amazing the strudel looks. To top it off, we are going to wash it down with the five-dollar milkshake from Pulp Fiction . Now, normally, a vanilla shake is not my go to, but Vincent Vega (John Travolta) just sells it so well. LATE-NIGHT SNACK Sometimes, no matter what we did to ourselves earlier in the day, we still need a little something-something later in the night. I think it has something to do with our aggressive approach to existence and vigorous life essence (or it could be something to do with stomach-stretching proprioceptors). Either way, we need a delicious nightcap to complete our circle of shame. Here we will turn to the night food market delights from Crazy Rich Asians . As I’ve traveled to some of the more remote locations in the world, I have found late-night “street food” is often the best I’ve ever tasted. Soups, bowls of laksa curry, and savory treats on sticks are just the things we need to fill in all the cracks and ensure we have plenty of delicious leftover options for the next week or so. Photo Credits: Photo 1 – Colombia Pictures; Photo 2 – Warner Bros.; Photo 3 – Aldamisa Entertainment; Photo 4 – Searchlight Pictures; Photo 5 – Dreamworks pictures; Photo 6 – Walt Disney Pictures; Photo 7 – Opus Pictures; Photo 8 – Warner Bros.; Photo 9 – Rysher Entertainment; Photo 10 – Warner Bros.; Photo 11 – Miramax; Photo 12 – TriStar Pictures; Photo 13 – Universal Pictures; Photo 14 – Miramax; Photo 15 – Warner Bros.

REACHER: SEASON THREE Starring: Alan Ritchson, Maria Sten, Sonya Cassidy, Anthony Michael Hall, Brian Tee, Johnny Berchtold, Roberto Montesinos, and Olivier Richters Creator: Nick Santora AMARÚ Reacher continues to be campy, melodramatic, and beautiful. It strikes the right chord of not taking itself so seriously that it can’t poke fun at itself while also being just serious enough that you care about the characters, action, storyline, and stakes. All of this is carried on the stoic shoulders of Alan Ritchson, who embodies the saying “he knew the assignment” – an assignment that requires taking soap-opera like characteristics (romance, shootouts, revenge, and the like) right to the edge of entertaining believability. Season Three tightens all the looser bolts of its predecessor to have you trapped in its cheesy, muscular chokehold. QUENTIN You know, not every series needs to be an awards-baity “prestige drama,” and there absolutely is a space for the television equivalent of a fun beach read. Amongst those somewhat disposable, escapist, turn-your-brain-off shows, Reacher must be near the top. Alan Ritchson’s dry charisma and hulking frame make for a character that is just a joy to watch, whether he’s cracking skulls or dropping a one-liner. Sure, the dialogue can be cheesy at times and the plot is a tad forced, but this Prime series continues to be a damn good time, even improving on the just-okay Season Two by delivering a more focused narrative. Check out our reviews for Season Two HERE.

WINNING TIME: THE RISE OF THE LAKERS DYNASTY: SEASON TWO Starring: John C. Reilly, Quincy Isaiah, Jason Clarke, Adrien Brody, Gaby Hoffmann, Jason Segel, Hadley Robinson, DeVaughn Nixon, Solomon Hughes, Tamera Tomakili, Newton Mayenge, Spencer Garrett, Brett Cullen, Gillian Jacobs, Thomas Mann, McCabe Slye, and Michael Chiklis Creators: Max Borenstein and Jim Hecht AMARÚ Winning Time is pure entertainment. If Season One was the initial ascent in the Lakers rollercoaster of a dynasty, Season Two is that first exhilarating drop. This series shows how exceptional direction (especially from Salli Richardson-Whitfield) can use a stacked cast to their absolute fullest. From big names like John C. Reilly and Adrien Brody, to newcomers Quincy Isaiah and Hadley Robinson, this ensemble is top-notch, highlighted by Jason Clarke’s magnificently hot-headed portrayal of Jerry West. If Season Two is indeed the end, there’s no other way to salute this amazing show than with two words… “FUCK BOSTON!” ADRIANO It feels weird talking about the second season of Winning Time now knowing that it’s the series' last. With that, the season, and by extent the series, ends on such a dour note for a show called Winning Time . I can’t blame showrunners Max Borenstein and Jim Hecht, as they clearly had more seasons planned before HBO abruptly canceled it, and while the ending is disappointing, the season still offers a fascinating look at the Showtime Lakers, featuring tons of style, pizzazz, and an outstanding cast (Quincy Isaiah and Jason Segel stand out again). Fingers crossed HBO reverses this decision. QUENTIN In its second and final season (HBO abruptly announced the series’ cancellation the day after the finale), Winning Time continues to deliver on everything that made Season One a success. The cast is largely the same, so the performances are still top-notch (Jason Segel and Jason Clarke, especially), while the stylistic flourishes bring the same crackling energy as before. But more importantly, the story carries more drama this season as it navigates ego, rivalries, and self v. team in the locker room. Sadly, despite the rushed codas to make it appear as a planned series finale (which it wasn’t), it ends on an incomplete, sour note.

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 September 24, 2025 WRITTEN BY: NICK It’s no secret that TIFF is my favourite festival. Yes, it takes place in my hometown and is the only major festival I've been to, but I like the accessibility and mainstream feel it has. This year was the 50th anniversary, too, so it brought an added layer of coverage and excitement beyond the latest collection of films. Unfortunately, my fourth year covering TIFF faced some challenges, mainly an injury, which limited my slate. I was still able to see a total of 26 films — technically 27 as I checked out a 50th anniversary screening of Jaws on 35mm film, as well. Beyond the films, this year’s highlights included finally meeting the longest tenured member of Bitesize Breakdown , Amarú, in person. Sitting and experiencing the premiere of Wasteman next to stars David Jonsson and Tom Blyth – and having a wonderful chat with Jonsson afterwards. Premieres, Red Carpets, and lots of film conversation with everyone ranging from local press, like Screenfish ’s Steve Norton to Happy Sad Confused ’s Josh Horowitz, to film fans that traveled from afar to see their favourite films and stars made for a great time. There was a wide range of opinions on the nearly 300 films screened, but if you’re wondering what I thought… 26. THE MAN IN MY BASEMENT Maybe I’ve just gotten too used to Willem Dafoe playing outlandish characters, and expected something more in that vein, but I found The Man in My Basement to be a bit of a bore. I can’t put this on the performances of Dafoe or Corey Hawkins because they’re fine, if unspectacular. I just think everything hit a lull following its mysterious setup. It’s not a film devoid of good ideas, it just doesn’t present them in a way that could keep my attention. There’s something here, no doubt, but it needed a lot more work to be brought to fruition. 25. SACRIFICE There’s a lot reminiscent of Triangle of Sadness in the early going of Sacrifice , and although I enjoyed that film, I can’t say the same about this one. It starts strong as a satire on climate change focusing on the arrogance of the wealthy, led by a solid Chris Evans performance; however, once Anya Taylor-Joy's Joan enters the fray, everything falls apart. The early goodwill is undone by the inclusion of cult aspects and what becomes a quite annoying showing from Taylor-Joy. It all boils down to an unsatisfying conclusion that left me wondering what the point of it all was. 24. MOTOR CITY Sure, there are some highlights, good music, and it oozes machismo, but Motor City is a misfire. Though certainly ambitious, the aspect of telling a film practically devoid of dialogue may be its weakest point, as it quickly turns into a gimmick that hurts far more than it helps. It’s as if specific shots and set-pieces were thought of, and then the creative team decided to build a story around that. Like a two-hour highlight reel. This may work for a much shorter film, but at its runtime, Motor City feels like a film that was made out of only its own trailers. 23. GOOD FORTUNE I will preface my review here by saying that I’ve never been a fan of Aziz Ansari, so Good Fortune already had an uphill battle to climb. Even with that caveat, this is still just a run-of-the-mill, relatively forgettable comedy. An entertaining fish-out-of-water performance from Keanu Reeves aside, this just didn’t supply frequent enough laughs, as it's reminiscent of a movie that would have come out in the nineties as opposed to a present day feature. I know we’ve been harping on a return to theatres for studio comedies, but this one would likely have been better left for streaming. 22. BALLAD OF A SMALL PLAYER Coming off of Conclave (my personal favourite film of TIFF 2024), director Edward Berger returns with Ballad of a Small Player, and it’s a big disappointment. Aside from giving Colin Farrell the stage for a reliably terrific performance and being a great showcase for Macau, the film feels kind of hollow. I understood the themes of addiction and temptation, and the search for fulfillment throughout, but the story gets muddled despite a strong and dynamic start. It finds its footing again for the conclusion, but it’s too little too late. Some heavy lifting done by Farrell isn’t enough to salvage Berger’s misstep. 21. EASY’S WALTZ A story set in the underbelly of Las Vegas, written and directed by Nic Pizzolatto of True Detective fame? This definitely should have been more than just “fine,” but it spends its runtime desperately trying to get to a second gear that it never reaches. This is no fault of Vince Vaughn, who gives it his all as a down-on-his-luck crooner and breathes life into Easy’s Waltz . It’s the rest of the film that just kind of coasts along. As fellow Bitesizer Quentin would say, it’s a perfectly cromulent film. Nothing more; nothing less. But with the talent attached, it should have been more. 20. CHRISTY As someone who has remained unconvinced of Sydney Sweeney's dramatic lead potential, Christy is without a doubt her strongest case yet. Sweeney and co-star Ben Foster are both excellent in this, and when the focus is on the relationship of their characters, it's engaging. Unfortunately, the boxing aspect is where things fall short. For as much boxing as there is in the film, the in-ring scenes aren't dynamic in any way, and it leads to weightless fights. A career-best performance for Sweeney, no doubt. But the portrayal of Christy Martin's boxing career deserved more effort. 19. GOOD BOY With a unique premise and Stephen Graham coming off of Adolescence , Good Boy was on my radar fairly early. Although it landed in the middle of the pack for my festival run, it’s not without its positives. Graham and Anson Boone are key among them, as their abilities to give their characters aspects of both villainy and humanity kept me engaged throughout the entire film. As great as both leads are, however, the film’s pacing often betrays them and limits the potential for powerful moments in this character study about rehabilitation. Much like its title, this one is “good” not great. 18. RENTAL FAMILY Brendan Fraser comes across as a very kind and genuine human being, so casting him in Rental Family makes total sense. That doesn’t mean it works, though. Hikari has directed a fairly surface level story that can’t seem to focus itself. It’s a shame, as some of the themes introduced have endless potential, yet the film goes in too many directions to be able to expand on most of them. Fraser is exactly what you want him to be, but it’s the film surrounding him that feels afraid to dive into some of the questions it asks. It would’ve been much more interesting if it did. 17. MILE END KICKS Director Chandler Levack earned tons of recognition from her film I Like Movies, and much of the same directorial qualities are present in Mile End Kicks . It’s another grounded, indie story that is unabashedly Canadian and features an unlikeable protagonist (Grace played by Barbie Ferreira). This seems to be Levack's wheelhouse. Kicks covers all the difficulties of young love. Be it the hypnotism, the bad decisions, the blindness, the manipulation, and of course, the sex. I was increasingly frustrated with Grace's decision-making, but then again, that’s quite authentic to life in your early twenties. Mark Kicks as another lived-in film to add to Levack’s filmography. 16. THE LOST BUS Natural disasters will never stop being good material for exhilarating survival films, and The Lost Bus is yet another example. Director Paul Greengrass brings his signature docu-drama style to the world of wildfires, and it may be his best utilization of it to date. The script has its challenges (particularly in the more grounded moments), but both Matthew McConaughey and America Ferrera make the most of it. I'm not saying this is ground-breaking in any way, but it's a thrilling theatrical experience that yet again makes me wonder why we don’t get more firefighting films. 15. SENTIMENTAL VALUE I'm not sure why Sentimental Value didn’t work as well for me as it did for others. The performances are great, the story is tight and well thought out, and I have no real qualms about Joachim Trier's direction. Yet, I didn’t emotionally connect to this story in any way. Whether it’s the focus on generational trauma, making up for lost time, or simply the bond of family, I never found myself moved. It’s all a fairly mundane affair, and while Trier succeeded in making the characters feel like a real-life fractured family, they just weren’t a family I could fully invest in. 14. SAIPAN Saipan takes a look at a lesser known side of sports, focusing less about what happens on the field and more about how much goes into tournament preparation and the importance of the player-manager relationship. It wipes away the glamour those assume comes with a World Cup to show the grimier side of things. More importantly, it shows the contentious relationship between Roy Keane (Éanna Hardwicke) and manager Mick McCarthy (Steve Coogan), which is a contrast to the simpatico duo these films often showcase. Solid performances, a true story, and a peek behind the curtain make Saipan a nice surprise. 13. MODERN WHORE I’ve been waiting for a feature length version of Modern Whore since seeing the original short film back in 2020. Luckily, director Nicole Bazuin and star Andrea Werhun bring the same charm, comedy, importance, and magic to this feature film. Werhun's magnetic presence instantly pulls you into her story, as she never shies away from the judgement bound to come, nor the intricacies of being a sex worker. Bazuin, for her part, incorporates the animation, cut-scenes, and graphics that made the short films work so well, while adding interviews with those closest to Andrea, which gives the film an added personal element. Worth the wait. 12. THE SECRET AGENT The biggest success of The Secret Agent is in its craftsmanship. Director Kleber Mendonça Filho has recreated 1970s Brazil with impressive authenticity, and it plays as important a role as any character in the film. Well, aside from Wagner Moura's Marcelo. Moura gets to show off leading man capabilities here and keeps you engaged throughout the (deliberately) slower paced film. That pacing can be tough, but along with some other aspects of the film, it makes sense the further the story goes. By its end you have an impressive piece of filmmaking that makes up for a lack of excitement with detail and structure. 11. THE SMASHING MACHINE Despite a couple of teases, I’ve been waiting to see what Dwayne Johnson can do in a serious film. Well, The Smashing Machine is his chance, and he shows how much potential is there. Going into the film, I questioned why Mark Kerr (played here by Johnson) deserved a biopic, and after leaving the film… I still question why Mark Kerr deserved a biopic. As a vehicle for Johnson to finally spread his wings, it’s a great first step. As a sports biopic, it’s fine, but an echo of countless other stories within the MMA world. Now let’s see if Johnson can keep this up. 10. YOU HAD TO BE THERE: HOW THE TORONTO GODSPELL IGNITED THE COMEDY REVOLUTION, SPREAD LOVE & OVERALLS, AND CREATED A COMMUNITY THAT CHANGED THE WORLD (IN A CANADIAN KIND OF WAY) The Toronto production of Godspell was before my time, but You Had to Be There… (the full title would take up my whole review) hammers home just how vital it was to comedy today. The butterfly effect of this single production is something to behold, but the true strength of this documentary is the cast. It’s not just hearing the reflections of their time together, but seeing the genuine family that came out of this one job. You can’t help but feel the love and gratitude that everyone shares, and it makes for one of the more feel-good films of TIFF. 9. ROOFMAN There’s no doubt that Roofman is the strongest performance of Channing Tatum’s career. In fact, this is likely the mold for his ideal leading-man role. There’s comedy, romance, goofiness, a hint of toughness, and tons of heart. Think Tom Hanks in the 90s but more of a badass. A lesser performance would’ve made Jeffrey Manchester (Tatum) hard to root for, but with the heart Tatum infuses into this real life story, you can’t help but want to see him succeed in some way. Add in solid supporting performances (Kirsten Dunst, Peter Dinklage) and this film ends up better than it has any right to be. 8. WAKE UP DEAD MAN I hate to pigeonhole a director, but if Rian Johnson continues making murder mysteries for the rest of his career, I'd be fine with that. Johnson has a knack for this, and his pairing with the now iconic Benoit Blanc (Daniel Craig) is magic. Although Blanc takes a backseat to Rev. Duplenticy (Josh O’Connor) here, he still has moments to shine as Johnson tries his hand at creating a gothic horror film. It's ambitious, but it works, though not quite as well as the previous two entries. That said, I will still gladly take a fourth film on the work of one Benoit Blanc. 7. CAROLINA CAROLINE Samara Weaving and Kyle Gallner are two of the more underrated actors working today, and Carolina Caroline is a terrific showcase for both of them to hammer that point home. A modern day Bonnie and Clyde saga, the love story is what takes center stage over the heist elements. The chemistry between Weaving and Gallner is off the charts, as her southern innocence is the perfect counter to his bad boy charm. They’re both sides of a magnet and you can feel the way they’re drawn to each other. It’s sexy, fun, and exciting and may just finally elevate these two in the public eye. 6. TUNER When it comes to Tuner , Dustin Hoffman may get you in the door, but you still walk into a surprisingly good film. Evoking memories of films like Baby Driver , this is just a good time at the movies. Leo Woodall gives perhaps his strongest performance to date, and everything auditory in the film - from its sound design to its jazz infused score - is all top notch. Plus, the aforementioned Hoffman can still steal a scene at 88 years old. Considering this is a debut narrative feature from a documentary filmmaker, this is quite a success. 5. HAMNET There’s no doubt Chloé Zhao makes thoughtful films, but I've never really connected with most of her offerings. That all changed with Hamnet . In the early stages of the film, there is a lot of meditative beauty, almost like a fairytale. It’s when the love story hits the climax and the tone changes where things stand out. Both Jessie Buckley and Paul Mescal give great performances here, but it's Zhao's direction that really elevates this sorrowful journey. I could feel the emotion bubbling inside me as the story grew, and when it was released, it was both cathartic and overwhelming. Zhao’s best by my count. 4. WASTEMAN To me, the best on-screen depiction of prison has been HBO'S Oz . So it's a huge compliment to say that's what Wasteman reminded me of. I've been waxing poetic about David Jonsson for some time, but this film is more than just a great showing from him. In fact, Tom Blyth is the headline here, as he comes out of nowhere with a powerhouse performance. A gritty, dirty film that never glorifies prison nor shy away from its issues, Wasteman may not bring anything new to the table, but when a story is told and performed as well as this, it doesn’t always need to. 3. NO OTHER CHOICE Park Chan-wook really has something with No Other Choice . Having only seen Oldboy previously, this was a bold reintroduction to the director's work. It’s incredibly difficult to make comedy work with subtitles because so much of it is about timing, but Chan-wook finds a way to expel that issue. Whether it’s the use of physical comedy or the facial expressions from star Lee Byung-hun (who is all-around great here), the comedy shines. Yet, Chan-wook still manages to find a place to include deep commentary on class and capitalism, wrap it all up with a striking final shot, and create an impressively layered film. 2. FRANKENSTEIN Frankenstein is director Guillermo del Toro’s heart laid out on screen. The director’s passion for this story is evident in every scene, and I truly think this is some of his best work to date. The world-building and appearance of the film are exceptional, as del Toro's unwavering use of practical effects shines through. Jacob Elordi as The Creature blows away all expectations while del Toro continues to succeed in finding humanity within a monster. It’s not perfect, mind you – Mia Goth is miscast and the script could be a touch tighter – but much like Frankenstein’s monster, it rises above any of its imperfections. 1. NIRVANNA THE BAND THE SHOW THE MOVIE As someone who’s never seen Nirvanna the Band the Show , I really had no idea what to expect going into this movie. But it’s incredible. Yes, the film is hilarious, as Matt Johnson and Jay McCarrol have clearly fine-tuned these characters. It’s the filmmaking, however, that kind of blew me away. Some of the things that Johnson attempts and succeeds at, be it editing or flat out risk-taking, is thoroughly impressive. On top of that, this thing is so authentically Torontonian, and that combined with a certain film’s integration to the story’s plot, made me feel like this was made for me.

Previous Next It's the spookiest month of the year, so it's fitting that Blumhouse would have THREE horror releases (Totally Killer, The Exorcist: Believer, and Five Nights at Freddy's). So, what better time to look over their past horror filmography! The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Blumhouse Horror Films. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE INVISIBLE MAN Over the years, Blumhouse has proven that they are THE horror studio to distribute spooky content, and while they have certainly had some misses, they definitely hit the mark with Leigh Whannell’s retelling of The Invisible Man . Filled with scares and stellar action pieces, this remake flips the classic story with a technology-enhanced suit while diving deep into themes of abuse. Focusing on the victim, Cecilia (played flawlessly by Elisabeth Moss), instead of the invisible man himself allows the story to take a unique approach to exploring how an abuser can continue to haunt their victim long after the relationship is over. - Paige 4. HALLOWEEN (2018) Although the full trilogy may not have been a success, it's hard to argue against the quality of David Gordon Green's Halloween . From the return of Jamie Lee Curtis as a seasoned and badass Laurie Strode to the homages to the 1978 classic, this continuation of Michael Myers' story is near perfect as far as horror sequels go. Green presents us with a particularly brutal version of Myers (as played by James Jude Courtney), who is able to be just as menacing in spite of being 40 years older. Halloween (2018) is a fitting continuation to the original. If only it had kept that momentum going into the rest of the trilogy. - Nick 3. US Yes, a second Jordan Peele film. Does that say more about Blumhouse’s catalog or Peele as a director? Either way, Us is inventive, tense, brutal, ambitious, thrilling, suspenseful, and just about every term one could use to describe a great horror movie. More importantly, though, it’s incredibly layered and extremely thought-provoking (especially considering the political divide that was happening in the U.S. in 2019 when it was released), featuring tremendous performances (Lupita Nyong’o was robbed of an Oscar nomination) and beautiful cinematography. So, yeah… I think it definitely says more about Peele’s talent. - Quentin 2. SPLIT It's not often that I find myself praising an M. Night Shyamalan movie, yet here we are. He ended a horrendous streak of movies with The Visit , then followed it up with Split , his best film in more than a decade. Split incorporates what Shyamalan once was great at, letting the tension actually sit with the audience and the characters while having a twist ending that improves the film rather than feeling strangely tacked on. Honestly, James McAvoy's captivating multiple-personality performance alone would've made this movie watchable, but there's much more to chew on than that. - Adriano 1. GET OUT Get Out is a special film, man. It transcended the horror genre to become a cultural and cinematic phenomenon that not only launched Daniel Kaluuya’s career, but also started Jordan Peele’s trajectory towards becoming an event movie director. That isn’t just because of its significance to African American culture and the pop culture lexicon (The Sunken Place is forever a thing now), but also because it’s an amazingly acted, superbly paced, well-directed thriller of a film. Get Out will go down as an all-time classic, and anyone who says it’s just OK is playing themselves. - Amarú HONORABLE MENTIONS SINISTER HAPPY DEATH DAY PARANORMAL ACTIVITY THE BELKO EXPERIMENT THE PURGE Photo Credits: Blumhouse Productions

Previous Next October 24, 2022 WRITTEN BY: NICK Welcome to Week Two! If you missed Week One, which covers the first four days of the festival, please check it out here . But before we dive into Week Two, I want to talk about the Bitesize writers who covered the festival. With the whirlwind of it all, it took until Day Nine for the three of us to meet up in person. Grabbing lunch with Adriano, who lives just outside of Toronto, and Quentin, who flew in from Germany, was a festival highlight for me. More importantly, it cemented my belief that I have brought the right people along on the Bitesize journey. As opportunities for more festivals arrive in the future, I hope we’ll eventually get to a point where the entire Bitesize crew will be in the same place at the same time, even if only for a few days. Ok, time to close this thing out. Enjoy the evolving mindset of a person who saw way too many movies in way too short of a time and wouldn’t change it for anything. This is the finale of my 2022 Toronto International Film Festival journal. Let’s finish this ride together... DAY FIVE THE WHALE One of the biggest titles heading into the festival was The Whale due to the career comeback narrative for Brendan Fraser. When a film has apex-level hype surrounding it, even if it's not bad, it's unlikely to achieve the lofty expectations put upon it. That said, believe the hype. Fraser is fantastic in the role, which feels like it was made specifically for him. He garners such sympathy for a character who is not always likable thanks to the honesty of his performance. I was blown away by how good he is. Samantha Morton also deserves credit because her powerful performance is enough to make it one of the year’s top supporting showings despite the minimal screentime. ALICE, DARLING In the same vein as Fraser, there’s something infinitely likeable about Anna Kendrick. That inherent affability made it all the more difficult to watch her as an abuse victim in Alice, Darling . Her performance is tremendous, but the film loses its way a little bit in the story. It could have used a stronger supporting cast and a little more backstory as to why she is the way she is, but it’s still a satisfactory watch (it would be disingenuous to say “enjoyable” given the subject matter). EMPIRE OF LIGHT Empire of Light had to be one of the most confounding films of the festival. The opening credits are beautiful, and there is a fireworks scene used for the poster that is simply stunning thanks to cinematography legend Roger Deakins; however, after that point in the film, it’s as if everyone behind the scenes (Deakins included) was replaced by an entirely different crew. The vision changes too, with the story taking unexpected turns that derail the sweet simplicity of the film’s early parts. Olivia Colman and Michael Ward remain engaging, but this really is a tale of two films. THE BANSHEES OF INISHERIN Full disclosure: I think Colin Farrell is one of the most underrated actors working today. He’s a man who consistently tackles a variety of roles with great success, yet he is rarely mentioned in the conversation of best working actors today. Maybe The Banshees of Inisherin will change that because he is brilliant once again. This absurd fable is exactly what you’d expect from writer/director Martin McDonagh, and it easily provided me with the most laughs of anything I saw at TIFF. Give Farrell his Oscar nomination! DAY SIX THE SON Similar to Farrell, I’m a big fan of Hugh Jackman. I also thought 2020’s The Father was really well done. So, it is beyond baffling that the same director made a movie about mental health that is this tone deaf. There is nothing good here. The performances range from average by their standards (Jackman and Vanessa Kirby) to rough (Zen McGrath), and the idea that this film will be nominated for anything more than some Razzies is laughable. The only highlight of this screening was meeting fellow critic and documentarian Billie Melissa, who was just lovely to talk with. RAYMOND & RAY After two movies, Day Six was shaping up to become a day of me being disappointed in actors I like because the lackluster Raymond & Ray (starring Ewan McGregor and Ethan Hawke) followed The Son . Now, this film isn't near as bad, but it is decidedly average. Truthfully, the performances aren’t to blame; it’s the relatively bland script. I don’t really know what else to say about it other than some added humour probably would have helped. THE GREATEST BEER RUN EVER Red Carpet With a rocky start to the day, it was time to take a break from screenings for The Greatest Beer Run Ever ’s Red Carpet. Unlike the Black Ice Red Carpet, this was a lot more hectic. Since the film is based on a true story, it was nice to see the real-life counterparts of the characters show up, and you could tell they relished their story being told, especially John “Chickie” Donohue (played by Zac Efron). Unfortunately, the cast showed up late and were rushed past the press line to make the premiere on time; however, I did speak briefly with Ruby Ashmore Serkis about her approach to forging her own career separate from her father. I also got to congratulate director Peter Farrelly on the film before he was whisked away. PEARL If you didn’t know, TIFF is hosted at some of the most gorgeous theatres in Toronto, but I’m really glad I got a chance to see something at the Cinesphere, the world’s first ever permanent IMAX theatre. I had been there a few times before, and the experience is like no other. This go round was to check out Pearl , the highly anticipated follow-up to Ti West’s X . The streak of disappointments happily ended here because this was a ton of fun. The tone is very different from its predecessor, but the main takeaway is that Mia Goth really elevates her performance for this sequel. She is sensational, delivering a haunting monologue that will surely top some of “Best of 2022” lists. DAY SEVEN MOVING ON I’ve never seen Netflix’s Grace & Frankie , but I’ve always liked Jane Fonda, so I decided to give Moving On a try. I was pleasantly surprised. This is sort of what I wanted Raymond and Ray to be: a dark comedy featuring a nice mix of funny and heartfelt moments that kept me engaged. Nothing more, nothing less; just what it needed to be. WOMEN TALKING My next film was also women-focused, Women Talking , which is on the opposite end of the spectrum from Moving On . This film falls into the category of “I respected it more than I liked it.” The script from writer/director Sarah Polley is excellent, featuring crisp dialogue being delivered flawlessly from every actor. That said, it was made to get a message across, and unfortunately, Polley tends to prioritize the message over maintaining an entertaining film. Plus, it looks quite dreary because of its off-putting colour palette. Regardless of Polley’s explanation that she wanted it to look like an old postcard, that doesn't justify the misfires in its editing and cinematography. DEVOTION Devotion was another title I was looking forward to. With the recent emergence of Jonathan Majors, I was eager to see him in a starring role on the big screen. Sadly, this is a film that would have been much better had it come out in 2020, as it pales in comparison to Top Gun: Maverick in every single way. That doesn’t make it a bad film, mind you. I still enjoyed it, but still… Honestly, the biggest sin Devotion commits is just coming out too late, which is an unfair complaint when you factor in a worldwide pandemic and just how good Maverick is. All in all, you should still check it out when it hits theatres. DAY EIGHT SANCTUARY It’s Day Eight and fatigue is definitely starting to set in a little, which may be why Sanctuary didn’t really work for me. It just felt like the gag went on far too long. Margaret Qualley and Christopher Abbott are clearly having fun, and I was game for it at the start. But it just kept going and going until I wasn’t enjoying myself anymore. I’ve heard from fellow critics that my opinion doesn’t align with the majority, so I’m not going to tell you not to see it, but it wasn’t for me. CAUSEWAY Just so you know, I love The Silver Linings Playbook . I think it’s an excellent film with a dynamic performance from Jennifer Lawrence. Also, truth be told, she hasn’t wowed me with anything she has done since then. She has been fine, but for me, she hasn’t been worthy of the acclaim showered upon her. Then comes Causeway , a return to form for Lawrence in a subdued, yet quietly powerful, showing. This is a character where the performance could have easily gone over the top, but she finds the sweet spot and stays in it. It’s also another top-notch performance from the highly underrated Brian Tyree Henry. Together, they give two of the best performances of TIFF. PRISONER'S DAUGHTER Going into the screening, I’d heard some unfavourable chatter about Prisoner’s Daughter , but it’s totally fine. It won’t light the world on fire, but it’s a relatively simplistic indie film with competent performances. The familial dynamic works well, and the film didn’t lose me at any point. The only poor decision I can comment on is using music from star Tyson Ritter. It sounds amateurish and makes the whole affair feel like a student film. It’s an unnecessary black eye on an otherwise decent offering. THE GREATEST BEER RUN EVER From carpet to screen, it was finally time to watch The Greatest Beer Run Ever . Similar to Peter Farrelly’s other biopic ( Green Book ) this feels… sanitized? I would have liked to see more focus on the horrors of war to give added weight to the story and show the short-sightedness of Chickie Donohue's (Zac Efron) actions. It’s still a good film, just not a great one. The performances are fine, and it’s got some laughs, but the strength is the outlandishness of the actual story. I mean, an average guy travelling overseas to a war zone just to deliver his buddies some beer is the most recklessly patriotic thing I can think of. That this actually happened is the real story. DAY NINE THE FABELMANS With TIFF winding down, the only major release left on my docket was The Fabelmans . Steven Spielberg has been far more hit or miss in recent years, but with this being the director’s first time at TIFF, I knew this was likely to be something special. And it was! It’s a wonderful quasi-biopic that is less a love letter to film than a love letter to film making . Gabriel LaBelle and Michelle Williams are wonderful, while the journey of Spielberg’s (via character stand-in Sammy Fabelman (LaBelle)) growth behind the camera is a clear highlight of the film. THE BLACKENING You know when an SNL sketch gets turned into a movie with less-than-stellar results? That also applies to The Blackening . It’s not necessarily a bad movie, but does it add anything to the short film it’s based on? Not really. Does it overplay the joke when extended to feature length? Kinda. As a feature adaptation, it needed a more fleshed out story that incorporated the themes and ideas of the short film on a grander scale. Instead, it’s just a stretched-out version of a very good four-minute skit with little else added. It’s needless. DAY TEN BUTCHER'S CROSSING Love him or hate him, Nicolas Cage is an enigma, which is why his projects elicit so much interest. My penultimate day of screenings led me to his latest, Butcher’s Crossing . It’s Cage’s first foray into the Western genre, and unfortunately, it’s a tad forgettable. That’s nothing against Cage, per se, but it’s just another “we’re going to prove the doubters wrong by getting the biggest score this town has ever seen” story without the action to fall back on. I hate to say it, but this was a little on the boring side for me. BROS It’s such a breath of fresh air that Bros even exists. It’s a huge step for LGBTQ+ cinema, and it’s not hyperbole to say this film is breaking barriers. I just wish it was funnier… Look, I know this wasn’t made for me, but there have been many LGBTQ+ comedians to put me in stitches. However, Bros goes for the easiest and most stereotypical gay jokes half the time, and the worst part is, all involved seems to think they work. There are so many opportunities where the film could have been a little more clever, and while I have nothing against Billy Eichner, his tendency to talk over his own jokes (which were objectively the best ones) made me want to strangle him. DAY ELEVEN BIOSPHERE For some background, the TIFF slate is released weeks before the festival in waves. This gives attendees time to research what is coming, prioritize releases, and make a viewing schedule. Biosphere crashed that party because it was a late inclusion announced after the full list of festival titles had been released. As a result, it became the mystery of TIFF. There was little known about the project aside from the cast (Sterling K. Brown and Mark Duplass), and I’d like to keep it that way. All I’ll say is that this little film out of nowhere was one of my favourites of the festival. BLUEBACK A lot of work went into my schedule to make sure I was able to see the maximum number of titles on my priority list ( Biosphere notwithstanding). So, after the hype surrounding How to Blow Up a Pipeline (more on that in a second) led me to schedule it for my final day, I realized I had enough dead space between screenings to add another movie. I chose Blueback . I hadn’t heard much about the film, so I took a gamble. You know, I was pleasantly surprised. It’s a relatively simple story, but when paired with the underwater visuals and sentimental plot, the experience was a satisfying one. HOW TO BLOW UP A PIPELINE Alright, here we go - the last film of the festival. Word spread like wildfire amongst critics that How to Blow Up a Pipeline was a must-see, and it’s easy to see why. While non-linear storytelling can often be used as a trick to dress up a lackluster idea, there is a defined purpose for this story to be told in such a way, and it actually enhances many aspects of the film. The tension built throughout is palpable, and when coupled with the shooting style and characters’ personal stakes, it creates a heist film unlike the many you’ve seen before. There are no big twists because it tells you exactly what’s going to happen upfront: some people are going to attempt to blow up a pipeline. You are just along for the ride, and much like these 11 days at TIFF, it was a ride I quite enjoyed. Photo Credits: TIFF

AVENUE 5: SEASON TWO Starring: Hugh Laurie, Josh Gad, Lenora Crichlow, Zach Woods, Suzy Nakamura, Rebecca Front, Nikki Amuka-Bird, Andy Buckley, Ethan Phillips, Adam Pålsson, Jessica St. Clair, Kyle Bornheimer, Leila Farzad, and Jonathan Aris Creator: Armando Iannucci NICK I enjoyed the first season of Avenue 5 , but after such a long gap between entries, I wasn't sure it would grasp me like before. Although the premiere was a rocky start, it quickly finds its footing to bring back the dark comedy I so enjoyed in its first go around. In fact, it has become even darker. These absurd and morbid storylines work thanks to the hilarious cast led by Hugh Laurie, but it’s a true ensemble that brings its A-game (including what is easily my favourite Josh Gad performance). The series is a specific brand of humour, but it works for me.

Previous Next February 25, 2025

Previous Next June 14, 2024 WRITTEN BY: CALEB AND PRESTON Who doesn’t love a good dad? They’ve got endless wisdom, awesome taste in movies, beautiful beer-bellies, and some truly unforgivable (yet amazing) jokes. With Father’s Day fast approaching, Preston (Bitesize Breakdown’s one and only dad) and I thought it would be fun to compile a list of our favourite on-screen fathers. They’re obviously no substitute for the real deal, but these fictional father-figures have entertained us, inspired us, and taught us valuable lessons about what it means to help support a family. Join us as we give a loving shout-out to some legendary dads from the big and small screen while exploring the qualities that make them worthy of our list. MARLIN ( FINDING NEMO ) — THE WILLINGNESS TO CHANGE Marlin (Albert Brooks) from Finding Nemo may be remembered as one of the greatest animated dads of all time, but it’s easy to forget that he didn’t exactly start that way. At the beginning of the movie, Marlin is certainly less than the ideal parent. There’s no doubt that he loves Nemo (Alexander Gould), but he’s controlling and extremely overprotective (which is, honestly, pretty understandable considering what happened to his wife). For me, the reason Marlin is such a great father is that despite all his trauma and greatest fears coming to pass, he still finds it within himself to change his ways. After an intense, harrowing journey to rescue his son, you’d expect Marlin to double down on his overprotective ways; however, he learns that for Nemo to grow as a person (fish?), he must let him live his own life. After raising his son single-handedly, travelling the ocean to rescue him, and coming out the other end as a better parent, there’s no denying that everyone’s favourite clownfish deserves his spot on our list. - Caleb PHIL DUNPHY ( MODERN FAMILY ) — CHILDLIKE INNOCENCE AND GOODWILL Childlike innocence and naivety are accurate descriptors for one of television’s best all-around dads, real estate agent extraordinaire Phil Dunphy (Ty Burrell), the kind of endearing father that you just have to love. Way less cool than he thinks but so committed to his family to even care, his methods of “peerenting” — peer-like talk while sneaking in some parenting — is just the kind of goofy tool that the best dads use to ensure their children are receptive to the techniques necessary to make them the best version of themselves. His infectiously positive attitude and fantastically stealable dad jokes in the face of seemingly overwhelming familial trepidation is nothing less than inspiring to children who have to face a sometimes overly pessimistic world, not to mention to the dads just trying to put on their best face for those they love. -Preston BOB BELCHER ( BOB’S BURGERS ) — LOVING YOUR KIDS FOR WHO THEY ARE Anyone who has ever watched an episode of Bob’s Burgers knows that the Belcher kids can be a lot to handle. Between Gene’s (Eugene Mirman) wild eccentricity, Tina’s (Dan Mintz) teen angst, and Louise’s (Kristen Schaal) chaotic fits of rage, it would be pretty easy for these kids to get on their dad’s nerves. However, despite all their quirks, Bob Belcher (H. Jon Benjamin) is incredibly supportive of his crazy children. Whenever Gene wants to embrace his loud, theatrical side, Bob helps him do so instead of shutting him down. When Tina starts becoming interested in boys, Bob helps her navigate her awkward newfound feelings rather than being overprotective or controlling. On top of all that, he works endless hours at his restaurant to make sure his kids get to enjoy the fulfilling childhood he never had. Bob is as open-minded as he is hard-working, and he’ll do anything to make sure his children live their best lives. He never wants his kids to be anything other than the greatest version of themselves, and that's the mark of a great dad. Good job, Bob! - Caleb GUIDO OREFICE ( LIFE IS BEAUTIFUL ) — STOIC COURAGE AND OPTIMISM Have you ever looked at a couple and wondered how one pulled the other? Humour, perseverance, and confidence are often the answers that not only make for a good selling point to a potential mate, but also make for amazing characteristics to a good father. Guido Orefice (Roberto Benigni) is a Jewish-Italian bookstore owner whose story is going well in winning over his eventual wife and having his much-loved son. However, his personal fairy tale is short-lived as his beloved family is split up and interned at a Nazi concentration camp. Life is Beautiful certainly demonstrates how much Guido loves his wife and family, but it focuses more on his qualities as a father by taking the entire burden of the grave situation on his own shoulders, remaining his lighthearted and goofy self in front of his son. He convinces his son that they are playing a game to encourage him and keep him safe while also giving their crooked stay a purpose. We can only hope to aspire to such stoic courage as a father. -Preston UNCLE PHIL ( THE FRESH PRINCE OF BEL-AIR ) — BEING A STRONG ROLE MODEL Uncle Phil (James Avery) may be a hothead, and he may literally throw people out of his house on occasion, but he’s also an incredible role model. Throughout the six seasons of The Fresh Prince of Bel-Air , Phillip Banks consistently demonstrates what it means to be a good husband, a good man, and, of course, a good father. He preaches the importance of respect, accountability, and integrity to Will (Will Smith) and his children, giving them (and audiences at home) someone to look up to. Uncle Phil’s relationship with Will is particularly powerful because he serves as the strong father figure Will never had growing up. This bond is highlighted in the famously tear-jerking episode “Papa’s Got a Brand New Excuse.” In that Season Four episode, Will’s biological father re-enters his life only to abandon him yet again, and it’s Uncle Phil who’s there to pick up the pieces of Will’s broken heart. Their tearful embrace made for one of television's most touching, beautiful moments, and it forever cemented Phillip Banks amongst the greatest TV dads to ever do it. - Caleb WALTER WHITE ( BREAKING BAD ) — SACRIFICE AND FAMILY FIRST Walter White? …like, from Breaking Bad ? …an example pointing to the characteristics of a good dad?! You’re damn skippy! Walter White (Bryan Cranston) has been met by the worst of an evolving chain of events that…yeah, maybe some of which he may have caused on his own, but his first instinct is always to take care of his family. The man, who is told he doesn’t have much longer to live, makes every effort to ensure his family is financially secure when he is gone. To do so, he uses the only skills he has available to him, those of an overqualified high school chemistry teacher, to make the best damn meth the drug community has ever seen. His perseverance and courage in the face of ever-increasing danger to provide for a family that almost completely disregards his value as a man and father (F@*! you, Skyler! Not you, Anna Gunn) is a laudable value we can admire in this wayward dad. -Preston ARTHUR WEASLEY ( HARRY POTTER ) — OPENING YOUR HEART TO OTHERS Poor Harry Potter (Daniel Radcliffe) has had it pretty rough when it comes to father figures. His own dad died when he was an infant, his godfather Sirius Black (Gary Oldman) spent most of his life locked away in Azkaban, and his uncle Vernon Dursley’s (Richard Griffiths) knack for cruelty is second only to Lord Voldemort (Ralph Fiennes) himself. However, throughout all of Harry’s years at Hogwarts, there was one man who acted as a responsible, dependable, and compassionate fatherly presence in Harry’s life. That man’s name is Arthur Weasley (Mark Williams). While Arthur certainly isn’t the only fictional dad to help raise someone else’s kid (see Uncle Phil above), it’s the fact that he supports Harry without having the means to do so that earns him a spot on this list. Despite already struggling to make ends meet for his own seven children, Arthur willingly accepts Harry as one of his own, caring for him, protecting him, and giving him a strong fatherly figure to guide him through the wizarding world. The Weasley kids may not have all the money in the world, but when it comes to dads, they won the lottery. - Caleb JIM HOPPER ( STRANGER THINGS ) — ACCEPTANCE AND PROTECTOR Jim Hopper (David Harbour) is somewhat unique amongst our fictional fathers. Kind of like Uncle Phil, he takes on the role of parental guardian when he really doesn’t have to. He sees the need to be a paternal protector to a child who has felt alone, betrayed, and unprotected for much of her life. What I relate to the most is the terrifying and frustrating duty of trying to do what is best for a daughter who is dating, especially when his role is further complicated by his adoptive daughter’s powerful, but draining powers. In spite of these special abilities, he still loves her unconditionally, he accepts her fully, he puts himself to the danger, and protects her when others might be too scared. We should be so lucky to have a dad like Jim. Shout out to all the other single fathers and noble step-dads out there fighting the good fight to create a life where the qualifier “step” doesn’t even register. -Preston

Previous Next December 20, 2023 WRITTEN BY: QUENTIN AND NICK For most people, movie trailers are a key driver for determining whether or not to see a movie, which, I mean… obviously, right? They give a great impression of a movie’s tone, story, characters, and performances. However, trailers are usually accompanied by posters, sometimes more than one. And while movie posters may not give the same type of insight into what a movie is hoping to deliver, they often can be timeless works of art that give off a certain vibe , featured on clothing and other merchandise, as well as covering the walls of art galleries and dorm rooms, around the world for years to come. I’d venture to guess most people don’t remember much about the trailers for The Silence of the Lambs , Scarface , or A Clockwork Orange , but the imagery on their respective posters is recognizable across multiple generations, even to people who have never seen the films. With that in mind, Quentin and Nick wanted to look back at some of the best movie posters of 2023. What posters from this year best elicited a curiosity in the movies they were advertising? What posters best encapsulated what their movies were about? What posters might be hanging on someone’s wall in 20 years? What posters are just damn cool to look at? To be clear, we are only talking about the quality of the poster, not the quality of the movie it represents. So, as such, we aren’t going to bore you with a write up about why we love and appreciate each poster. If you have questions, ask us on X (formerly known as Twitter) @bitesizebreak For now, we’re going to let the posters speak for themselves, just like the artists who created them intended. Also, despite some really amazing fan-made posters out there, we are only listing official marketing materials. So, which one is your favorite?