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Previous May 23, 2025 Next A BITESIZE CHAT WITH FIGHT OR FLIGHT TEAM Director James Madigan and Katee Sackhoff (The Mandalorian , Battlestar Galactica ) join Nick to talk about their love of action films and the potential of a Fight or Flight sequel. Make sure to check out Fight or Flight now in theatres. Interview conducted on May 6th, 2025 by Nick van Dinther.

Previous Next May 8, 2024 WRITTEN BY: QUENTIN The lead-up to attending a major film festival can be a little stressful as you wait for the organizers to release the full film slate, daily showtimes, and movie synopses. Oftentimes, this information is released mere days before the festival starts, which can make it tough to plan an approach when you are trying to see as many things as possible. So, in the early stages, you’re left doing a bit of triage by narrowing down the “must see'' movies based on the limited information available. The problem is, as I write this, all I really have to go on is the movie title, director’s name, some cast information, and whatever I can manage to find online about the plot. Most movies still don’t have posters or trailers, and Cannes has yet to provide press with official movie details. As you can imagine, it makes it tough to decide what the “must see” movies are, especially when it comes to foreign films, which, obviously, are a big part of international film festivals in Europe. That said, this isn’t my first rodeo. I managed to make it work for Toronto International Film Festival in 2022 (where I saw 40 movies in 11 days), Berlinale in 2023 (where I saw seven movies in 72 hours), and Venice Film Festival in 2023 (where I saw 27 movies in 10 days). I think I can do it again. Next up, the prestigious Cannes Film Festival, where I will spend 11 days watching movies in the south of France, probably (definitely?) drinking wine, and hobnobbing with people who are way fancier than your resident Hobo Dandy. Based on the information I have right now, the movies below are the ones I am most excited for. Admittedly, a lot of this early list is driven by recognizable actors and actresses, as well as the fact that they are in English, because I know, at the very least, they will be accessible for this American. That said, once more information becomes available, I’m sure more foreign films will enter my final viewing schedule. However, for now, this is what I got. I can’t wait! Also, remember to follow Bitesize Breakdown on X (formerly known as Twitter - HERE ) for daily festival updates, early reactions, festival photos, and more. ANORA Synopsis : A comedy about a sex worker filmed in New York and Las Vegas. Anora is a perfect example of Cannes not giving me much to work with yet. That synopsis? As bare bones as it gets. That said, a comedy about a sex worker could deliver sexy hilarity. However, the biggest draw is writer-director Sean Baker, the filmmaker behind Starlet , Tangerine , The Florida Project , and Red Rocket , all of which I have some level of respect for. Several online sources are billing Anora as an “exhilarating, adventure rom-com.” Amongst all the seriousness I’m sure to experience on screen at Cannes, this could provide a welcome respite. THE APPRENTICE Synopsis : Set during the early years of Donald Trump's business career, the film is reported to mainly focus on the relationship of Trump and Roy Cohn, a New York City prosecutor notable for working with Senator Joseph McCarthy during the Second Red Scare. Except for one movie a little further down the list, The Apprentice is probably the most American movie screening at Cannes this year. The chameleonic Sebastian Stan, who has already proven a knack for portraying real people in Pam & Tommy and I, Tonya , tries his hand at 80s-era Donald Trump in a story said to document the start of an American dynasty while tackling themes of power, corruption, and deception. Sounds a lot like Succession: The True Story , doesn’t it? Oh, and would you look at that…it also stars Jeremy Strong. Maria Bakalova as Ivana, too? Yes, that’ll do. THE BALCONETTES Synopsis : During a heat wave in Marseille, three roommates are cooped up in their apartment. From the balcony, they look out at their mysterious neighbor, about whom they indulge in all sorts of fantasies. However, late into the night, an ordinary conflict turns into a bloodbath. The first foreign movie on the list features a cast and director that I know pretty much nothing about, so I’m going purely on the synopsis and the fact that it’s a French horror movie. Believe or not, France does some great things with the genre. Titane , Revenge , High Tension , and Brotherhood of the Wolf (yeah, it’s not straight horror, but still…) represent just a few French offerings I’ve quite enjoyed. There are some indications that this will be “comedy-horror,” which I’m totally cool with, especially it lives up to the other description being bandied about: “bloody, punk, and exhilarating.” DEAD TALENTS SOCIETY Synopsis : Set in a fictional underworld, the film revolves around ghosts who aspire to become the most successful and renowned stars with the scare tactics they use on the living. The next foreign film, this time from Taiwan, is another comedy-horror featuring a cast I am completely unfamiliar with. As for the director, John Hsu, this is only his second movie, but his feature debut, Detention (which I haven’t seen), was nominated for 12 Golden Horse Awards (The Chinese Oscars), ultimately winning five, including Best New Director. That’s not nothing. Most importantly, though, this movie actually has a trailer, which makes Dead Talents Society look like a possibly brilliant satire on influencer culture that may provide over-the-top scares in a tone not dissimilar from What We Do in the Shadows . EMILIA PEREZ Synopsis : A musical crime movie about a woman tasked with assisting an escaped Mexican cartel leader with undergoing gender reassignment surgery to both evade the authorities and affirm her gender. If you know me, you know that movie musicals aren’t really my thing. That said, I was in for Emilia Perez based on the synopsis and cast (Selena Gomez, Zoe Saldaña, and Édgar Ramírez) before learning that it is a musical, so I’m just rolling with it. Truthfully, I have no idea what to expect because none of the things I know about this movie mesh in my brain. A musical (which are usually meant to be fun toe-tappers) about a Mexican drug cartel (which are usually violent and gritty characters) and a person who is trans finally becoming her true self (which is usually hopeful) while on the run from the cops (which is usually exciting and tense)? It’s like Chicago meets Narcos meets Transparent . Just a wild mix of ideas, and I’m curious to see how it all ties together. FURIOSA: A MAD MAX SAGA Synopsis : Set before the events of Mad Max: Fury Road , young Furiosa is snatched from the Green Place of Many Mothers and into the hands of a Biker Horde led by the Warlord Dementus. While two tyrants fight for dominance over the Citadel, Furiosa survives many trials as she plots a way back home through the Wasteland. Of all the movies listed here, this one probably requires the least explanation as to why I’m excited for it, so I’ll keep it brief. Mad Max: Fury Road is one of the best movies of the 21st century, and despite having “Mad Max” in the title, the fascinating Furiosa is the most compelling character in the movie. So…director George Miller is returning to tell me more about her past, with a cast featuring the always terrific Anya Taylor-Joy and an unrecognizable Chris Hemsworth? Plus, the trailer looks fucking sick? What else needs to be said? HORIZON: AN AMERICAN SAGA — CHAPTER ONE Synopsis : Set during the American Civil War, it depicts the expansion of the American west. If it isn’t obvious, although I don’t know how that could be, this is the other American movie I referenced above, and it has a lot going for it. First, it’s a western, and it’s been a while since we’ve had a good western epic. Secondly, you’ve got Kevin Costner in front of and behind the camera, sitting in the director’s chair for the first time in nearly 20 years. Lastly, you’ve got a stacked cast of talented role players: Sienna Miller, Sam Worthington, Giovanni Ribisi, Jena Malone, Michael Rooker, Danny Huston, Luke Wilson, Jeff Fahey, Will Patton, Thomas Haden Church, and many more. I admit there is some trepidation since this is planned as a four-movie saga, meaning this one may feel incomplete, but the pros outweigh that lone con. Plus, I want to see why this drove Costner to quit Yellowstone . KINDS OF KINDNESS Synopsis : A triptych fable with segments following a man without choice trying to take control of his life; a policeman who is alarmed that his missing wife has returned and seems to be a different person; and a woman who is determined to find a specific someone destined to become a prodigious spiritual leader. Despite there being a teaser trailer, most people probably don’t know anything about this movie, but as soon as I start name-dropping, you’ll easily understand why it’s among the buzziest movies at Cannes. Director? Yorgos Lanthimos, who was nominated for Best Director for Poor Things just last year. The cast? Two-time Best Actress winner and Bitesize Best Actress of the 21st Century (read HERE ) Emma Stone, four-time Oscar nominee Willem Dafoe, Oscar-nominated and perpetually underappreciated Jesse Plemons and Hong Chau, and rising stars Margaret Qualley and Hunter Schafer. Honestly, the synopsis, which is intriguing in its own right, is irrelevant. Kinds of Kindness is exciting on pedigree alone. MEGALOPOLIS Synopsis : After an accident destroys a New York City-like metropolis already in decay, an idealist aims to rebuild the city as a sustainable utopia while the venal mayor has other plans. Regardless of what you may think of his other works, Francis Ford Coppola directed The Godfather trilogy, Bram Stoker’s Dracula , Apocalypse Now , and The Outsiders . Those are all-time favorites, if not full-on classics. So, when he decides to take on a project, especially for the first time since 2011, it deserves my attention. It’s also no small thing that this is a passion project he made with his own money ($120 million) either, which suggests that, at 85 years old, he isn’t going back to work just to do it. This means something to him. And just look at that cast: Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Jon Voight, Laurence Fishburne, Aubrey Plaza, Shia LaBeouf, Jason Schwartzman, Dustin Hoffman, among others. I’m all in for what has been described as “ Julius Caesar meets Blade Runner .” RUMOURS Synopsis : World leaders meet at the G7 Forum but get lost in the woods whilst trying to compose a joint statement. I’m always a sucker for dark comedies and political satire, and the synopsis for Rumours would indicate an abundance of both. I also have a gut feeling that this could run along the same lines as Triangle of Sadness , which won Cannes’ Palme d'Or in 2022 on its way to a Best Picture nomination. I admit that aspect is pure speculation, though, but no matter; when you’ve got Cate Blanchett, Alicia Vikander, Charles Dance, and Triangle of Sadness scene-stealer Zlatko Burić involved, I’m showing up regardless. THE SUBSTANCE Synopsis : Not available Of everything listed here, The Substance probably is the biggest dart throw because I have literally zero synopsis. All I know is that it’s a “body horror” film. I do have some cast information, but while Margaret Qualley elicits excitement, I can’t say the same for Demi Moore and Dennis Quaid, neither of whom have done anything noteworthy in at least a decade. On the other hand, director Coralie Fargeat also directed French horror film Revenge , so that’s definitely a plus. So, The Substance could be anything from direct-to-streaming dreck to the start of a comeback for veteran actors. That said, it’s in Official Competition, so I’m hoping for the latter. THE SURFER Synopsis : When a man returns to his beach side hometown in Australia, he is humiliated in front of his teenage son by a local group of surfers who claim ownership over the secluded beach of his childhood. Look, I’ll be honest — the synopsis for this psychological thriller sounds very 80s and extremely low budget. A dad presumably getting revenge on bad-boy surfers for embarrassing him? It’s not super enticing. However, The Surfer stars Nicolas Cage, so of course it makes the list. I will not elaborate further. Honorable Mentions : Bird , Julie Keeps Quiet, Misericordia, Oh Canada , Parthenope , The Shrouds , Twilight of the Warriors: Walled In Photo Credits: Cannes Film Festival

THE RIGHTEOUS GEMSTONES: THE FINAL SEASON Starring: Danny McBride, Adam Devine, Edi Patterson, Tony Cavalero, Cassidy Freeman, Gregory Alan Williams, Tim Baltz, John Goodman, Skyler Gisondo, Walton Goggins, Stephen Dorff, Megan Mullally, Michael Rooker, and Seann William Scott Creator: Danny McBride ADRIANO After this season’s premiere became my series favourite, the rest of The Righteous Gemstones' farewell season gives us what we expect from its morally corrupt televangelist family: some of the hardest laughs and most fascinating characters you'll see all year, despite some narrative bumps. What separates this season from the rest of the show is not only its closure (duh), but also how sincere creator Danny McBride was in his last go, giving us a look at what religion can do for people when it's not exploited, making this a very bittersweet and hilarious bon voyage to a very underrated show. KATIE The final season of The Righteous Gemstones solidifies it as one of the funniest, most original shows I’ve seen. The first episode is so good that I’d even recommend it to those who don’t watch the show, and despite a mid-season lull, it finishes off strong with a satisfying, unexpectedly emotional finale. Every cast member is completely dedicated to the show’s ridiculous absurdity, which combined with the Gemstone’s genuine faith and belief, makes everything so much funnier. The sincerity of The Righteous Gemstones is one of the reasons it works so well, and sets it apart from anything else on TV. BODE Since its start in 2019, The Righteous Gemstones has tackled megachurch culture and the hucksters who populate it with the same kind of vulgar humour and sincere pathos that creator / star Danny McBride has been specializing in as far back as Eastbound & Down (still a masterpiece of a sitcom). The show’s final season finds new and absurd ways to double down on both, and its incredible ensemble delivers every moment with full-throated commitment, right down to its bittersweet finale. If there’s any time for the Emmys to get behind this grossly underrated gem in a big way, it’s now. QUENTIN My only real complaint about The Righteous Gemstones ’ final season is, outside of Kelvin’s (Adam DeVine) storyline, there just isn’t much finality. I don’t exactly know how I expected it all to end, but I think I expected more than what I was given. But that is only applicable as far as series finales go because, otherwise, it’s another hilariously raunchy, incredibly dark, and surprisingly heartfelt offering about a ridiculous family that I’ve enjoyed over these past four seasons. Plus, it gave me "Teenjus," “Turn the Other Cheek,” and other gems from Baby Billy (Walton Goggins), so perhaps it gave me everything I needed after all. Check out our reviews for Season Three HERE .

TEACUP: SEASON ONE Starring: Yvonne Strahovski, Scott Speedman, Rob Morgan, Chaske Spencer, Diany Rodriguez, Kathy Baker, Boris McGiver, Caleb Dolden, Luciano Leroux, and Emilie Bierre Creator: Ian McCulloch QUENTIN Bear with me because Teacup is hard to review without spoilers, and Peacock gave a lot of “don’t mention X” guidelines. That aside, Teacup isn’t without moments of intrigue, but the pacing doesn’t do the series any favors. The first half sets up a very compelling “what the hell is going on!?” mystery; however, after a mid-season, hour-long episode full of explanations (all other episodes are 30ish min), that mystery fizzles out in favor of lackluster character development. The problem is the characters aren’t as interesting as the mystery, so with a cliffhanger finale setting up a more character-centric Season Two, I probably won’t stick around. NICK Teacup shares many similarities to the Stephen King adaptation Under the Dome , and much like that series, it struggles to do anything great. Be it the performances, the pacing, or the mystery itself, nothing blew me away. It's intriguing, sure, but never gripping. Any chance at that was quickly halted thanks to an elongated, exposition filled episode midway through the season that conjured memories of some of The Walking Dead 's weakest points. If this were a mini-series, I could be more forgiving, but considering the fact it sets itself up for future seasons, I think this is where my Teacup journey ends.

WHO KILLED WCW? Starring: Eric Bischoff, Kevin Nash, Dallas Page, Charles Ashenoff, Kevin Sullivan, Booker Huffman, Vince Russo, Bret Hart, Bill Goldberg, Brad Siegel, and Dwayne Johnson Creators: Evan Husney and Jason Eisner NICK When the creators of Dark Side of the Ring teamed up with Dwayne Johnson to delve into the demise of World Championship Wrestling, I was in. The layout of the four episodes is much like Dark Side , but the focus is more on the business side of what happened. There's a lot of the big talent involved thanks to Johnson's name attachment, but the omission of Hulk Hogan really dampens things as he's such a crucial part of all the events that went down. It’s worth a watch, but much like the other spinoff, Tales of the Territories , it just doesn’t hit like Dark Side does.

Previous Next July 26, 2025 The Fantastic Four are back on the big screen (for the third time), and the Bitesize crew has come together to discuss whether the MCU’s swing at Marvel's first family actually works this time. Join Matt, Amarú, and Nick as they’re joined by special guest Jeannine “The Machine” Brice to discuss what worked and what didn’t for Mr. Fantastic (Pedro Pascal), The Invisible Woman (Vanessa Kirby), The Human Torch (Joseph Quinn), and The Thing (Ebon Moss-Bachrach). Click HERE to subscribe to our YouTube channel for all of our latest video content including our Early Reactions, and be sure to give us a thumbs up and comment your thoughts!

GOVERNMENT CHEESE: SEASON ONE Starring: David Oyelowo, Simone Missick, Bokeem Woodbine, Adam Beach, Jeremy Bobb, Louis Cancelmi, Jahi Di’Allo Winston, and Evan Ellison Creators: Paul Hunter and Aeysha Carr QUENTIN Government Cheese is an odd duck of a show. Despite its infectiously quirky energy, outstanding 60s-themed production design, brightly colored sheen, and David Oyelowo and Bokeem Woodbine doing everything they can to hook the viewer, there just isn’t much to latch on to from a story perspective. It meanders way too much, in both plot and tone, and at breakneck speed. Characters come and go so fleetingly that they hardly resonate, while seemingly major plot points are forgotten for long stretches. A little more focus would have done this series a world of good, because as is, it has no idea what it wants to be.

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

WEDNESDAY: THE COMPLETE SECOND SEASON Starring: Jenna Ortega, Hunter Doohan, Emma Myers, Joy Sunday, Moosa Mostafa, Luis Guzmán, Catherine Zeta-Jones, Isaac Ordonez, Christina Ricci, Thandiwe Newton, and Evie Templeton Creators: Alfred Gough and Miles Millar PAIGE PART ONE Class is in session with a darker and more mysterious Season Two (Part One) of Wednesday . With its satanic wit and gothic teen feel, this season is much more on par with what I expected from a Tim Burton production, shedding the first season’s CW vibes in the process. Once again, Jenna Ortega shines as Wednesday Addams, and the addition of other Addams family members adds to the show’s eerie charm. I may have rolled my eyes a few times during the course of these four episodes, but, overall, I’m looking forward to seeing what mischief Miss Addams gets into in Part Two. PART TWO While Part Two picks back up right where Part One’s mayhem ended, Netflix seriously needs to get away from splitting seasons into multiple parts, as it honestly hurt the momentum of this season. That said, I'm ghoulishly thrilled to report that this batch of Wednesday episodes are, overall, a step in the right direction. Their dark nature and wicked antics are in full swing while strengthening its focus on Wednesday (Jenna Ortega) and Edin’s (Emma Myers) dynamic with the rest of the Addams family. However, the show still struggles with juggling too many storylines at once, and until the showrunners can get a handle on that, the series may never reach its full potential. AMARÚ PART ONE Wednesday : Season Two: Part One ups the mystery and lessens the coming-of-age angst, so when the teenage drama does happen, it pops amongst the numerous colliding storylines, many of which I initially worried were going to overstuff an already over-stylized aesthetic; however, the focus on the larger cast as a whole helps to aim each of the threads towards what looks like an entertaining conclusion. Jenna Ortega continues to thrive as this generation’s princess of horror, and her great back-and-forth with powerhouses Luis Guzmán, Catherine Zeta-Jones, and Thandiwe Newton proves she was born to play this character. PART TWO The second half of Wednesday : Season Two is a quality payoff to the numerous set-ups that are introduced in the first half. There’s still an air of overcrowdedness, which causes a few of the storylines to feel slightly underutilized, but the benefits of growing a larger, more developed ensemble outweigh those small gripes. Plus, the mystery kicks up in the last four episodes, and the parallel character tales come together nicely to increase that mystery's intrigue. It also helps that 99% of the ensemble are excellently cast and entertainingly acted. Hopefully, we don’t have to wait three years for Season Three. Check out our reviews for Season One HERE .

THE BEATLES: GET BACK Starring: Paul McCartney, John Lennon, George Harrison, and Ringo Star NICK This docuseries gives you a raw look at the creative process of The Beatles. It spotlights the genius of Paul McCartney and his ability to pull hit music out of nowhere, along with how special his partnership with John Lennon was. Perhaps most importantly, it humanizes the group by showing them fooling around and having fun together. Technically, the restoration of the footage is incredible, and Peter Jackson and his crew clearly put a lot of effort into this. It’s certainly longer than it needs to be, but it’s a unique viewing experience I couldn’t help but get sucked into.

Previous Next April 30, 2025 WRITTEN BY: ADRIANO Regardless of how you say it, it's clear that the dominance of superhero movies in our culture might be coming to an end. With the exception of Deadpool & Wolverine , every superhero movie failed, either critically or financially, in 2024. Granted, last year may have just been an off year, especially considering there was only one MCU movie and no DC movies, but it’s ultimately bound to happen, much like the western genre faded away after being a dominating force in the 1960s. Now, this might come as a surprise to you since I’m the Bitesize crew member who probably likes the genre the least, but I don't want them to go away. At their best, superhero movies can use the genre to do something truly interesting, exciting, and engaging. No, superhero movies aren't going to disappear, but with their dominance eventually coming to its natural conclusion, I do want to discuss ways in which they can be saved, so to speak. To be clear, I don’t want to re-establish it as the biggest and most popular genre, but I do want them to still feel like events when they come out. FOCUS ON THE PRESENT I’ll always give Kevin Feige props for pulling off the cinematic universe idea. It wasn't perfect, but the build-up to Endgame was historic. However, the MCU has come under fire recently for its scattered big-picture set-up, an issue that pertains to most superhero franchises. Being too focused on what's to come is what failed the Sony-verse and the DCEU. Now, there's nothing inherently wrong with setting up future films; however, when you look at Batman v Superman: Dawn of Justice , so much of that movie was centered on the future and not on the conflict in the title. More recently, Quantumania only existed to set up Kang (Jonathan Majors), but now, due to reasons out of the studio's control, it will lead to nothing. The thing that made the MCU’s Infinity Saga work was that they took their time and made every movie feel like its own. Sure, some existed due to a consequence of a previous Marvel outing, but even still, the Captain America movies felt like they were about Captain America (Chris Evans), even when they were setting up future conflicts. You can set up the future, for sure, but that must be the secondary goal. Similarly, though, a more recent issue is focusing too much on the past. I can't stand the recent trend of nostalgia farming in these movies. The multiverse has been red hot recently, and in plenty of instances, it relies heavily on pre-established IP for cheap applause. No Way Home started the trend of using past characters that we assumed we'd never see again, but that film used the characters in service of the plot, giving them actual arcs. The Flash and Deadpool & Wolverine are examples that very much didn't do that, using the past as almost a fan-service tactic. In the same way that I don't watch a Jordan Peele movie expecting the Armitage family from Get Out to show up, I shouldn't have to watch a superhero movie depending on nostalgia from 2006 to get me through. The whole thesis of this section is to simply let each movie be its own thing. I'm not saying stop with the cinematic universes because I genuinely think that was a successful experiment, just not in a way that a movie only exists to set up the future or callback to something you liked in the past. BREAK THE FORM One phrase you might have heard a lot in recent years is "superhero fatigue." I, personally, think it’s real. Although there are certainly other factors at play, most notably COVID and the evolution of the theater-going environment, the fact remains that No Way Home and Deadpool & Wolverine are the only comic-book movies to cross a billion dollars at the box office since 2020, whereas four pulled off that feat in 2019 alone. The thing is… fatigue only happens when people are bored. When we begin to notice patterns, we get tired of seeing the same stuff. As such, there shouldn’t be a set formula when writing these movies. I shouldn't be able to compare three different films from three different studios and find they come back with similar results. I'll give you an example: why do all these movies end in a firefight with a faceless army? Why can’t they end in a simple duel every once in a while? Am I saying that will automatically make it good? No. But it can at least distinguish itself from the noise. Even the smallest changes can help us feel like we're not subjected to the same thing over and over, reducing the effects of that pesky fatigue. Which brings me to my next point… HAVE FUN WITH IT What do I mean by this? Am I just repeating what I said above? I admit, it's a similar point, but it is different enough that I want to explore it. I want to see superhero movies become products of filmmakers, not studios. However you want to shake it, I think that is a real issue with these movies. They're mandated, not created by someone who cares. It's always “one for them,” rarely “one for me.” I'm not going to pretend that I don't know why, but it does make some of them feel pretty cold. Eternals was directed by Chloé Zhao, a woman who had just won Best Director for directing Best Picture winner Nomadland , and it feels nothing like anything else she has made. I want to see a humanistic director like Zhao get the budget and leash to do what she wants. I'm not saying every superhero movie needs to win the Palme d'Or. That's a crazy expectation. However, I was much more excited about what Luca Guadagnino and Justin Kuritzkes were going to do with the now canceled Sgt. Rock , a film focused on a character I know nothing about, then I am to see what Andy Muschietti does with Batman and Robin in The Brave and the Bold . So, when I say, “have fun with it,” I mean go nuts. Don't hire a director to use as a puppet. Hire an auteur and let them go a little wild. That can mean something more patient from a director like Kelly Reichardt, or, if you want to stick to the action genre, hire Chad Stahelski to make something truly kickass. I understand that it might not always land, but at least it’s a swing. Last year, Joker: Folie á Deux was undeniably something new, and it was widely rejected by audiences and critics. However, you’ve also got The Batman , which similarly took some liberties with a new vision and was heavily embraced. When I was in school, I was taught something that I’ve never forgotten: audiences don’t know what they want until they see it. Audiences didn’t know they wanted an animated Miles Morales movie that played with multiple kinds of animation, but now audiences are begging for the next Spider-Verse movie. You can play it safe all you want, but it’s going to wear out eventually. I want to see more experimentation from filmmakers, whether that be with genre or story writing, and fewer boardroom productions. STOP STREAMLINING I'm sure most will agree that there is an oversaturation of superhero content, but it may come as a surprise that I don't completely agree. Once television entered the equation, yes, it became a little overstimulating. In 2023 alone, we had 8 movies and 10 seasons of superhero television. That is a lot for one year, but then again, we get two to three horror movies every month and almost never hear that horror is oversaturated. So why, exactly, does this stigma only seem to apply to superheroes? Part of it has to do with the things I already discussed, but I have another working theory… Superhero movies are almost always under the roof of two brands: Marvel and DC. Likely, many people view each Marvel or DC movie as part of a bigger franchise that becomes a chore. In other words, getting three movies and three TV shows in one franchise every year, especially with declining quality, can feel like a lot to keep up with. Since 2021, I've noticed a dangerous amount of streamlined production on superhero films and TV shows — rushing to the finish line, if you will — which is part of the reason the DCEU never took off. When two franchises are constantly streamlining and connecting movies, it can justifiably feel like we’re being bombarded with too much content that simply isn’t good enough for our time and money. Can you blame audiences for not wanting to dedicate so much to so little? EMBRACE THE DECLINE This one doesn't involve the actual movies, but the fans. Superhero movies are declining, plain and simple, and I think embracing that is a good thing. It encourages better results. That doesn't mean stop liking them. By all means, have fun with these movies and enjoy them as much as you feel. However, a common occurrence when a superhero movie comes out and is generally disliked is that a lot of people tend to dumb down their arguments in order to defend it. Defences like "don't take it so seriously" or others in that ballpark always come up. Why not embrace what was wrong with the movie? That acknowledgement of flaws doesn't devalue your entertainment. Going back to horror… In the early 2010s, while there were some diamonds in the rough, there was, generally speaking, a lot of garbage. Most horror fans didn't abandon the genre, but they didn't hedge their criticisms either. Nowadays, horror movies are regularly popular with critics and audiences alike, but when one is bad, fans don't get defensive. They possibly enjoy it, acknowledge its flaws, and move on. I’ve seen some terrible horror movies with great sequels because of this. I’m not sure we’ll ever get Endgame -level hype again (seriously, do you remember the palpable electricity of Endgame ’s opening weekend?). But, if we can be open as to why these movies are beginning to fail, maybe there is a chance. Yes, stan culture and toxicity online play a key part in the defensiveness, but if we can make those people a vocal minority, I think it’ll be for the best.

DARK SIDE OF THE RING: SEASON FIVE Starring: Chris Jericho Creators: Evan Husney and Jason Eisener NICK From the beginning, I've been a massive fan of Dark Side of the Ring . However, when you're running a series like this, the well will eventually run dry on interesting subject matter. With this season, it's missing the big well-known tentpole subjects, but it allows for some more obscure stories to be highlighted, with Chris Colt being a great example. I think there has been a hesitancy to tell more modern stories (aside from Chris Benoit and The Plane Ride from Hell episodes), but that's a direction I think it’s time for them to tackle in Season Six. There are certainly more stories to tell.