THE CROWDED ROOM: SEASON ONE Starring: Tom Holland, Amanda Seyfried, Emmy Rossum, Christopher Abbott, Sasha Lane, Lior Raz, Will Chase, and Jason Isaacs Creator: Akiva Goldsman PAIGE From someone who went into this limited series completely blind (which I highly recommend), y’all are in for a treat because The Crowded Room is a spectacular show that shines a light on mental health and the bias towards it in the 1970s. Plus, Tom Holland just blew me away with his performance. I honestly didn’t know he had it in him, but he really shows off his acting chops. Admittedly, it can be hard to watch at times, but there is something special here that makes it worth the effort, especially considering the twists that I absolutely did not see coming. QUENTIN I admit this review will be very unfair because prior to watching the screener provided, major revelations and twists were spoiled for me. Imagine watching The Sixth Sense or The Usual Suspects for the first time while knowing the twist. It takes a lot of wind out of the narrative’s sails, and as a result, the mystery-driven story didn’t really hold my interest. That said, the performances, especially from Tom Holland, production design, and soundtrack are all excellent. Again, it’s probably much better than I am giving it credit for here, but I warn you, go in knowing as little about the story as possible.

Previous January 19, 2026 Next A BITESIZE CHAT WITH DIOR GOODJOHN & DANIEL DIEMER Nick talks with Percy Jackson and the Olympians stars Dior Goodjohn and Daniel Diemer about their roles as Clarisse, daughter of Ares, and Tyson, son of Poseidon. The two discuss how they approach their characters and hopes for the upcoming Season Three. Make sure to check out the season finale and whole second season of Percy Jackson and the Olympians Wednesday, January 21st, on Disney+. Interview conducted on January 14th, 2026 by Nick van Dinther.

THOSE ABOUT TO DIE: SEASON ONE Starring: Iwan Rheon, Sara Martins, Jojo Macari, Moe Hashim, Tom Hughes, Gonçalo Almeida, Dimitri Leonidas, Gabriella Pession, Rupert Penry-Jones, Pepe Barroso, Eneko Sagardoy, Kyshan Wilson, Alice Ann Edogamhe, Jóhannes Haukur Jóhannesson, Alessandro Bedetti, Martyn Ford, Jarreth J. Merz, and Anthony Hopkins Creator: Robert Rodat QUENTIN I cannot believe that Those About to Die cost $140 million because it looks chintzy as hell — just laughably bad CGI and green screening. Plus, a glorified cameo from Anthony Hopkins aside, there are no stars amongst the sprawling cast, unless you count Iwan Rheon (Ramsay Bolton from Game of Thrones ). So, where did all that money go? It didn’t go into the script, which is flat and unengaging. The set design and costumes are okay, I suppose…but not $140-million-okay. Was this series a money laundering scheme for Peacock? Anyway, this Thrones rip-off will probably live up to its title by not seeing a second season.

Previous Next November 17, 2025 Glen Powell has had a nice, movie star making run these past two years, and in his latest film he's teamed up with acclaimed director Edgar Wright for a remake of one of Arnold's classic 80s action films, The Running Man . Did they combine to create another great 2025 Stephen King adaptation, or did this one fail to live up to their collective hype? Nick, Amarú, and Adriano join Matt as they talk about the good, the bad, and the possibly ugly of this star-studded action comedy, featuring the likes of Colman Domingo, Josh Brolin, Michael Cera, Katy O'Brian, Lee Pace, and Emilia Jones. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next December 31, 2025 WRITTEN BY: BODE If, like so many people, you binge-watched the first half of Stranger Things ’ final season the moment it dropped on Netflix last month, you were in for a bit of a treat. In case you didn’t notice, each episode started with a custom “upside down” version of the classic TUDUM intro. If you know anything about me, you know I get a kick out of stuff like this. I already have a bit of a niche fascination with production logos, going all the way back to my childhood. For me, the booming sounds of the 20th Century Studios opener always builds great anticipation for whatever I am about to watch. To take it even further, I love reading stories of how Columbia Pictures’ Torch Lady and MGM’s Leo the Lion became the ever-present mascots they remain to this day. You can honestly trace through the history of Hollywood (and especially the studio system) to see how they’ve evolved, from simple title cards during 1910s and 1920s, to cel animation and matte paintings from the 1950s to the 1980s, to photorealistic CGI that has been a major part of this century’s films. There’s an art to these things, which is why the best ones can make the strongest impressions. Personally, I love it when a filmmaker adapts these iconic logos to fit a specific production, sometimes in how they look but also in how they sound. It can perfectly set the tone of what’s to come before the very first scene, line of dialogue, or even opening credit. That’s what this feature is for: to highlight some of the most memorable logo variants — or, at least, my personal favourites. But before we get into it, an article like this would be hard to put together without websites like Audiovisual Identity Database or YouTube channels like Ifrequire . These online resources have made it a mission to find all kinds of logos, bumpers, intros, and more. If you already had an interest in this sort of thing, or if this article sparks a new interest, consider subscribing and supporting what they do. They are essentially public media archives, which are increasingly at risk in this day and age. So, without further ado… https://www.youtube.com/watch?v=LWE9OSKnR24 UNIVERSAL PICTURES - SCOTT PILGRIM VS. THE WORLD (2010) I’ll always take a chance to wax rhapsodic about Edgar Wright’s Scott Pilgrim vs. The World because it’s one of my favourite films of all time. I was especially thrilled when I got to do so for Bitesize as part of our Top Five Flops list earlier this year. I won’t repeat a lot of what was written in that blurb (you can check it out HERE ), but what I failed to mention was how I immediately fell in love with the film when a Super Nintendo-inspired version of Universal’s 1997 logo graced the screen. Complete with composer Nigel Godrich’s pixelated cover of Jerry Goldsmith’s classic theme, it gives the audience a perfectly clear idea of the film’s video game-esque nature before segueing right into it. https://www.youtube.com/watch?v=RAyro9wpGJc WARNER BROS. - HARRY POTTER FRANCHISE (2001-2011) Like many of my generation, I grew up with the Harry Potter films as they came out, and I marveled as various filmmakers (Chris Columbus, Alfonso Cuaron, Mike Newell, and David Yates) charted the adventures of the titular hero over the course of 10 years. As the stories got progressively darker thematically, the series’ colour palette adjusted accordingly over time. That included the WB shield, which went from its signature gold-and-blue vibrancy in the early goings to a grey-on-black version that grew increasingly rusted with each instalment, most of which soared through an increasingly gloomy sky. You can’t help but respect the commitment. https://www.youtube.com/watch?v=Vw0PtGefpsQ METRO-GOLDWYN-MAYER - STRANGE BREW (1983) If you’re a Canadian comedy nerd, chances are you have fondness for the stylings of Bob and Doug McKenzie, the bumbling siblings that Rick Moranis and Dave Thomas created on SCTV . Moranis and Thomas ended up parlaying the popularity of those characters into a feature film that they also wrote and directed, which is a cult classic, and it’s one that immediately grabs your attention from its unique take on the MGM logo. As a sweeping dolly move reveals, Bob and Doug are more involved than one would expect, and it sets up much of the clever shenanigans that will follow. https://www.youtube.com/watch?v=I1LNdLGx_ZE COLUMBIA PICTURES - SPIDER-MAN: INTO THE SPIDER-VERSE (2018) There’s no shortage of great custom variants of the Columbia Pictures logo, but I’d be damned if I didn’t highlight Into the Spider-Verse as one of the greatest ones. Created by Devastudios, a Santa Monica-based animation and branding company that has created countless logos for various studios, it’s a glitchy reimagining that takes the Torch Lady from her standard look to the many variations throughout the studio’s history. This includes the very first iteration in 1924, followed by versions from 1928, 1936, and 1976, not to mention unique variants from 1965’s Cat Ballou and even 2009’s Cloudy with a Chance of Meatballs (which was, of course, helmed by Spider-Verse producers Phil Lord and Chris Miller). I can’t just commend it for its sheer creativity, though, because it’s also worthy of praise for how it thematically fits with the movie itself. Keep that glitch in mind; it won’t be the last time you see it. https://www.youtube.com/watch?v=htdK962TQ1M 20TH CENTURY FOX - ALIEN 3 (1992) Unlike some of the other entries on this list, the custom logo that plays in front of David Fincher’s divisive Alien threequel is more of an audio variation than a visual one. Re-orchestrated by composer Elliot Goldenthal, Alfred Newman’s classic fanfare starts off like usual before interrupting itself with the second-to-last note growing increasingly distorted. Strings and horns wail in sheer intensity before transitioning into the opening sequence. No matter what you think of the film from that point forward, there’s no denying that it’s a chilling take on a nostalgic theme, and it effectively reels you into what’s to come. It’s also worth noting that 2024’s Alien: Romulus pulls a similar move in tribute, with the logo actually turning green and becoming static shocked as the fanfare wails like it did decades ago. https://www.youtube.com/watch?v=PKon_HEaCDs PARAMOUNT PICTURES - COMING TO AMERICA (1988) Paramount’s iconic mountain has brought forth some clever variations over its very long history as a legacy studio, such as for the Indiana Jones movies (sans the Disney-released The Dial of Destiny ), Event Horizon (which features a great re-orchestration of the 1976 fanfare by composer Michael Kamen), and South Park: Bigger, Longer and Uncut (where the logo fades into a similarly shaped animated mountain before panning into the titular town). But I would say that the variant that opens the Eddie Murphy classic Coming to America stands out just as much, as it cleverly uses the 1986-2002 mountain, which was created with a mixture of CGI and live-action models, as a way to take audiences into the fictional African nation of Zamunda, one of the film’s main settings. The Amazon-distributed 2021 sequel pulls a similar trick with the current logo for its introduction, and while it’s a nice way of keeping up tradition after a 43-year wait, the emphasis on CG makes it a little less effective in my eyes. Admittedly, the fact that I found that film a grave disappointment probably doesn’t help. https://www.youtube.com/watch?v=3u3ZwCsSGrU DISNEY - TRON: LEGACY (2010) The classic Disney castle becomes part of the Grid. That may sound simple and obvious, but I can’t begin to express how cool it was to witness the first time I saw this sequel, especially in 3D. For what it’s worth, the recently released Tron: Ares pulls a similar move, only this time it’s in red to represent the Dillinger Grid featured in that entry. It’s just as cool. https://www.youtube.com/watch?v=jOrb4OJthx0 WARNER BROS. - THE LEGO MOVIE (2014) I mean, if you’re making a LEGO movie, it would be a missed opportunity if you didn’t LEGO-ize the logo of the studio bankrolling the entire project. Luckily, it was in the hands of directors Phil Lord and Chris Miller, so they achieved this relatively easy task. Like the Columbia Pictures variant that opens Into the Spider-Verse, it cleverly illustrates the fun that’s to come. Given that the duo seems to have a knack for logo variants, I wish they had done custom variants for the two Jump Street movies they helmed. Perhaps they would have made this list, too (if they were cool enough, of course). https://www.youtube.com/watch?v=ja-qpKFRZYE A24 - MID90S (2018) This might be the lowest budgeted variant on the list, but like most A24 movies, Jonah Hill’s directorial debut, Mid90s, didn’t cost a ton to make. However, owing to the spirit of skater culture, you make the most of what you have. Similar to Strange Brew ’s custom MGM variant, this is another live-action attempt, with the A24 logo being formed by several skateboards lying on the street before being run over by some of the characters we’ll meet. I’m admittedly not the biggest fan of the film, but I can’t deny it’s a clever and practical way to kick things off.

RIPLEY Starring: Andrew Scott, Johnny Flynn, Dakota Fanning, and Maurizio Lombardi Creator: Steven Zaillian QUENTIN Although I admit there are things I very much respect about Ripley , including the beautiful black & white cinematography, score, and classically vintage feel, I ultimately think that the series is too long and too artsy for its own good. So many episodes are filled with long stretches completely absent of dialogue, and there are a surprising number of sequences that are of Tom Ripley (Andrew Scott) simply walking alone on narrow Italian streets and stairways. Maybe having seen 1999’s The Talented Mr. Ripley made this miniseries far less engaging, especially as it delivers the same story in roughly triple the (slow-paced) runtime, but hard yawn. AMARÚ Andrew Scott is one of the most enigmatic actors working today, but not even his charming cadence can save Ripley from being an absolute bore. As I sat there watching people talk in black & white, I felt like I was waiting in a roller-coaster line, being forced to watch those stylized explainer stories five times before finally getting on. However, the resulting thrill ride never came. None of Scott’s machinations, whether verbal or violent, were enough to get me to care about what was happening. I’d much rather watch The Equalizer 3 again if I want a slow-burn Italian-based thriller. PAIGE It should come as no surprise that Andrew Scott has a superb grasp of Ripley's cold, cunning, and menacing demeanor, but there is something off about this adaptation. The unpleasant charm that characterized Matt Damon's portrayal of the character in the 1999 film is absent from Scott. Don't get me wrong…this limited series is a visually stunning black-and-white noir thriller; however, appearances can be deceiving because the narrative lacks an endearing story despite having lots of mood and style. Regretfully, Ripley lacks the excitement of a thriller, and is a slow paced, hollow series.

1923: SEASON TWO Starring: Helen Mirren, Harrison Ford, Brandon Sklenar, Julia Schlaepfer, Jerome Flynn, Darren Mann, Brian Geraghty, Aminah Nieves, Michelle Randolph, Isabel May, Michael Spears, Jamie McShane, Jeremy Gauna, Joy Osmanski, Jennifer Carpenter, and Timothy Dalton Creator: Taylor Sheridan QUENTIN Most Taylor Sheridan shows have a sprawl problem, resulting in underwritten subplots not getting the attention they need to thrive. 1923 remains his worst offender. There are at least six storylines competing for screen time, so viewer interest during any single episode ebbs and flows depending on where the focus is in the moment. For me, the only compelling storylines are Spencer’s (Brandon Sklenar) complicated journey to Montana from Texas and his British wife’s (Julia Schlaepfer) separate immigrant experience as she tries to meet him there from New York. Nearly everything else is diversionary filler that causes massive lulls, making for an uneven, albeit ambitious, series. Check out our reviews for Season One HERE .

TWISTED METAL: SEASON ONE Starring: Anthony Mackie, Stephanie Beatriz, Joe Seanoa, Thomas Haden Church, and Will Arnett Creators: Rhett Reese, Paul Wernick, and Michael Jonathan Smith QUENTIN Considering the premise of the video game on which it’s based, it’s impressive that Twisted Metal works as well as it does. That does not mean, however, that it’s a great show in the grand scheme of things. While there is some fun to be had with the motor-mouthed and quippy John (the best version of Anthony Mackie) and Sweet Tooth (voiced by Will Arnett), the overall story and inconsequential villain offer diminishing returns as the season goes on. That said, with half-hour episodes, it’s not a huge time investment, and it’s good enough to be a time-killing distraction, especially with the bangin’ 90s soundtrack. NICK I can't pinpoint exactly why Twisted Metal didn't work for me because it's got a killer soundtrack, a fun 90s throwback vibe, and a smartass Anthony Mackie; yet I really struggled to stay interested. If it had turned the wackiness and edginess up a couple notches (think a mix of Preacher and Dead Rising ), it would have served the story better as things feel slightly watered down. Also, for as entertaining as Mackie is, something about Stephanie Beatriz's character just irked me. This series may have had the roadmap for success, but unfortunately, it took a wrong turn along the way.

WACO: THE AFTERMATH Starring: Michael Shannon, Giovanni Ribisi, Keean Johnson, Abbey Lee, Alex Breaux, John Hoogenakker, Kali Rocha, Michael Luwoye, Michael Cassidy, Sasheer Zamata, and David Costabile Creators: John Erick Dowdle and Drew Dowdle QUENTIN On one hand, the fact that someone thought we needed a follow-up to 2018’s Waco , a miniseries that garnered little fanfare and mixed reactions, is odd. On the other hand, the storyline of The Aftermath is still so damn topical and relevant given the current state of divisive politics and government mistrust in America that it’s almost a no-brainer. As for the show itself… it’s pretty solid, but with three separate storylines, each one compelling in its own right, five episodes just isn’t enough to do them all justice. It works as a well-acted, wavetop view of events, but it would have benefitted from being longer.

OBLITERATED: SEASON ONE Starring: Nick Zano, Shelley Hennig, Terrence Terrell, Alyson Gorske, C. Thomas Howell, Eugene Kim, Kimi Rutledge, and Paola Lázaro Creators: Jon Hurwitz, Hayden Schlossberg, and Josh Heald QUENTIN Obliterated is by no means necessary viewing…and it won’t be for people looking for high art…but as an action comedy that only aims to provide raunchy, escapist entertainment, it’s mostly successful. Having said that, I’m not saying it’s “good.” The dialogue is pedestrian, the acting is fine but nothing to write home about, and the general plot is fairly predictable. However, at least for me and my immature sensibilities (not to mention my affinity for Las Vegas), mixing The Hangover with 24 results in a decently fun time filled with sex, drugs, booze, twists, gun fights, and explosions.

MONARCH: LEGACY OF MONSTERS: SEASON ONE Starring: Anna Sawai, Ren Watabe, Kiersey Clemons, Mari Yamamoto, Anders Holm, Joe Tippett, Elisa Lasowski, Kurt Russell, and Wyatt Russell Creators: Chris Black and Matt Fraction ADRIANO I'm not going to pretend that Monarch: Legacy of Monsters doesn't have a nice nostalgic feel to it, but overall, it's rather underwhelming. When the show brings the monster mayhem, it's hard not to have fun; however, those moments are rare in comparison to the human elements, which would be fine if that aspect was compelling, but I found myself largely disconnected, aside from the spectacle of having Kurt and Wyatt Russell on screen together. I can't say it wasn't fully worthwhile because I got some enjoyment, but Monarch isn't special on any level. CALEB As a Godzilla fan, I went into Monarch: Legacy of Monsters with fairly realistic hopes. I figured I’d see the big guy for around a minute or two per episode, but even with those tempered expectations, the show still managed to underdeliver. Godzilla probably has less than ten minutes of screen time throughout the series. I’d be okay with that if the human story were interesting, but in typical Monsterverse fashion, it’s not. It’s as dumb as Godzilla vs Kong (2021), but without any of the fun. With annoying characters, terrible dialogue, and barely any monsters, Monarch has almost nothing to offer. QUENTIN I understand that media about large monsters inherently comes with a bit of silliness and suspension of disbelief, but by the final episode, Monarch: Legacy of Monsters really pushes the bounds of incredulousness. I mean, the finale is titled “Beyond Logic,” which…yep. And, man, is it dumb. All that aside, this is also another Godzilla project that seems to think people want to watch human family drama and not kaiju carnage, not to mention that it’s creating lore for probably the least interesting part of the Monsterverse. Family Russell seems to be having fun, though, and the monsters are cool when they actually show up.

Previous Next With Remembrance/Veterans Day having just passed, along with the recent release of All Quiet on the Western Front, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Military 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. A FEW GOOD MEN “You can’t handle the truth” because A Few Good Men is still one of the best military movies ever made. The whole cast, especially Jack Nicholson and Tom Cruise, give outstanding performances in this courtroom drama that is surrounding the death of a Marine at Guantanamo Bay Naval Base. It has a beautifully written script by Aaron Sorkin brought to life by director Rob Reiner, who is able to capture the sentimental state of these characters perfectly. You can’t go wrong with watching this film on Veteran’s day, or any other day for that matter. - Paige 4. 1917 Sam Mendes’ 1917 may not be the greatest war film ever made, but it is, without question, one of the most accomplished WWI stories on the silver screen thus far. Besides the total immersion brought on by Mendes and cinematographer Roger Deakins’ one-shot approach, the film’s two lead performances are appropriately devoid of star power as well, allowing the audience to see past the performer and into the character. Even the VFX are great. The biggest thing, however, that separates this movie from the rest is its incredible Thomas Newman score. - Jacob 3. DUNKIRK To this day, Dunkirk is still one of the best cinema experiences I have ever had. The sound design was remarkable, truly immersing you in the battles on land, air, and sea. Director Christopher Nolan did a fantastic job at crafting an anxiety ridden film that thrust you into the horrors of war. - Joseph 2. INGLOURIOUS BASTERDS Arguably director Quentin Tarantino’s masterpiece (at least according to him), there had never been a movie like Inglorious Basterds , nor has it been touched since. Featuring amazingly iconic performances, tension-filled scenes, and darkly humorous writing, Basterds is a singular movie that may never be replicated - Amarú 1. SAVING PRIVATE RYAN In Saving Private Ryan , director Steven Spielberg crafted a war movie masterpiece on the back of a terrific screenplay, a documentary-style approach, an outstanding cast, and a religiously-adhered-to authenticity. The 30-minute opening scene at Omaha Beach remains an unparalleled depiction of old-world combat, and what follows is a tribute to the heroism, sacrifices, and camaraderie often associated with those who wear the uniform. This film paved the way for movies like Dunkirk and 1917 . - Quentin HONORABLE MENTIONS APOCALYPSE NOW HACKSAW RIDGE THE HURT LOCKER ZERO DARK THIRTY THE DEER HUNTER Photo Credits: Photo 1 - Columbia Pictures; Photo 2, 3, 4 - Universal Pictures; Photo 5 - Dreamworks Pictures