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

DOPESICK Starring: Michael Keaton, Peter Sarsgaard, Michael Stuhlbarg, Will Poulter, John Hoogenakker, Kaitlyn Dever, Rosario Dawson, and Jake McDorman Creator: Danny Strong QUENTIN While Dopesick features top-notch acting and a compelling story, its approach could have been better. It attempts to discuss the opioid crisis from every viewpoint, including that of big pharma, the oblivious doctors prescribing OxyContin, the low-income communities hit hardest by addiction, and the government’s investigation into all the above. In doing so, the series is so sprawling that some storylines don’t get the attention they deserve or they splinter off in random directions for unnecessary “character development.” Add in constant and confusing time jumps, and you get a decent show that, with a tighter focus, could have been great.

ANDOR: SEASON TWO Starring: Diego Luna, Kyle Soller, Adria Arjona, Stellan Skarsgård, Denise Gough, Genevieve O’Reilly, Faye Marsay, Varada Sethu, and Elizabeth Dulau Creator: Tony Gilroy QUENTIN Andor is a great example of how two seemingly contradictory things can be true because this series remains the best Star Wars offering despite its disjointed narrative structure, issues with story sprawl, and often sluggish pacing. It’s a clear step down from Season One and, frankly, somewhat disappointing. But when it hits, it fucking hits , carried on the shoulders of a terrific Diego Luna. I wish showrunner Tony Gilroy could have seen his five-season vision come to fruition instead of truncating those planned seasons into what amounts to Season Two’s four-pack of three(ish)-hour movies, but as flawed as it is, this extremely topical final season should satisfy fans. AMARÚ After the weighty ending to Season One, opening Andor ’s second season with rock-paper-scissors battles and techno raves felt very weird and very human. It was unexpectedly authentic, if out of left field, but reiterated how, even amongst tragedy and darkness, humanity is layered and complicated. Building upon that intriguing start, each progressive three-episode saga pushed its momentum forward like the ever-growing rebellion it portrayed, culminating in some of the most powerful, well-acted, satisfying, and emotional Star Wars since they released the best Star War, which not incidentally, is the movie that this season seamlessly leads to (Rogue One ). ROBERT Hey, Obi-Wan ! This is how you lead into a popular Star Wars movie property! Andor ’s second season has more uneven connectivity between arcs than Season One, likely because of the time jumps and release schedule, but that doesn’t take away from the breathtaking storytelling and grandiose themes woven into a show about intragalactic rebellion. Its highs are the highest you will see in media, not just science fiction, as this show exposes a larger truth than that of the Emperor’s energy program: Tony Gilroy should be head of creative content for Star Wars , written in laser-scorched markings on all Disney press materials. ADRIANO After years of Disney running Star Wars dry with boardroom-produced slop, Andor' s two-season run proves that when done right, this franchise can hit. Like its first season, the second and final season is smart, well-produced, emotionally effective, and exhilarating. There are devastating moments of political misery, making it feel like a show for adults that never shies away from war's disgrace and evil. In fact, the eighth episode made my stomach hurt with how brutal it was. At the risk of sounding hyperbolic, Andor is by far the best Star Wars has offered since the original trilogy. I want more of this, Disney. Check out our reviews for Season One HERE . Want to hear even more of our thoughts? Amarú and guest Ace Cabrera join Matt to take A Bigger Bite out of Andor: Season Two HERE .

HALF MAN Starring: Richard Gadd, Jamie Bell, Stuart Campbell, and Mitchell Robertson Creator: Richard Gadd PAIGE With Half Man , Richard Gadd's sophomore outing as a series creator further proves that he's a storyteller with something powerful to say. This time around, he crafts a character-driven drama focusing on two brothers’ relationship, their trauma, and the toxic masculinity within it. The show is anchored by its intense and complex dialogue which allows the performances from Jamie Bell and Gadd to stand out. However, the pace at which this show moves hurts the overall story it’s trying to tell. By the end, its brooding approach just ends up making the story feel more bleak than impactful.

PARTY DOWN: SEASON THREE Starring: Adam Scott, Ken Marino, Ryan Hansen, Martin Starr, Zoe Chao, Tyrel Jackson Williams, Megan Mullally, Jane Lynch, and Jennifer Garner Creators: John Enbom, Rob Thomas, Dan Etheridge, and Paul Rudd QUENTIN After 13 years off the air, it’s remarkable just how much Party Down has still got it. The laugh-out-loud humor, relatable situations, and sharp commentary all boast the same dry spark that made it such a cult hit over a decade ago. But, most importantly, the cast chemistry remains undeniable. The holdovers from the first two seasons haven’t missed a beat, and the new additions slide right in like they’ve always been part of the crew. It makes the whole series feel real and lived in, even when it veers into hilarious absurdity. I only wish there were more than six episodes.

THE ARTFUL DODGER Starring: Thomas Brodie-Sangster, David Thewlis, Maia Mitchell, and Damon Herriman Creators: James McNamara, David Maher, and David Taylor QUENTIN The Artful Dodger isn’t necessarily a bad show, but it’s a little too silly for me to fully give myself over to it despite David Thewlis bringing some playful gravitas to the proceedings. This unnecessary Charles Dickens spinoff carries the same anachronistic vibes as A Knight’s Tale , especially in the music department, but it fails to convey the same level of grounded grit as that movie, resulting in a series that feels more geared for young adults than grown ups who read Oliver Twist . It’s fast-paced, light on emotion and depth, and just kind of frivolous. Again, not bad, just not something I need.

Previous Next February 5, 2025 WRITTEN BY: QUENTIN After absolutely killing it in September with Fantasy Filmfest 2024, the main film festival in the Fantasy Filmfest lineup, I was eager to check out their quick-hitter festival, Fantasy Filmfest: White Nights. Thankfully, despite being smaller in stature, it still brought the heat. But before we get to the ranking, what is White Nights? White Nights is a two-day festival that takes place near simultaneously across seven German cities, and much like the main Fantasy Filmfest, it focuses on thriller, horror, and sci-fi. This year delivered 10 films in two days, including separate movies starring Nicolas Cage and Jack Quaid, as well as a movie from director Steven Soderbergh. We also got a movie that won awards at Toronto International Film Festival and Fantastic Fest while also being the most nominated film at the 61st Golden Horse Awards with 11. Unfortunately, due to a scheduling conflict, I missed the South African remake of 1987’s cult classic Street Trash , but I’m sure I’ll catch it at some point down the road. Overall, it was a great festival, and I look forward to Fantasy Filmfest’s third festival, Fantasy Filmfest Nights, which will take place over four days in May. Until then, let's rank what White Nights had to offer… 9. THE WAILING First things first: this isn’t a Spanish remake of the 2016 Korean classic of the same name. If that disappoints you, I’ve got even more bad news because, frankly, this movie isn’t that great. It uses a story construct similar to It Follows — an evil entity that attaches itself to people — to explore violence against women and mental illness, but the fact is that this premise has been done better (and often). On top of being somewhat unoriginal, it’s disjointed while kinda meandering, feeling half written and relying mostly on atmosphere without building much tension or delivering many scares. The performances are decent, though. 8. I, THE EXECUTIONER Unbeknownst to me, I, the Executioner (a.k.a. Veteran 2 ), is a sequel. I didn’t see (or have even heard of) its predecessor, so I have no idea if there were important nuances or backstory I was missing as I watched this movie. That said, it’s an enjoyable but fairly standard action cop thriller. It reminded me of movies like S.W.A.T. and Striking Distance — you know, the kind of movies you stop on when flipping channels but never intentionally watch. If it were in English, it may have ranked higher, but being somewhat generic and in subtitles makes for nothing more than a one-time diversion. This review was originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 7. MADS On a technical level, MadS is extremely impressive. Shot in one continuous take, this 86-minute movie does a great job of using camera angles and sound design to build a gory vibe of paranoia and anxiety. However, there are inherent drawbacks to the approach that hurt the film. For one, it’s very poorly lit, often making it difficult to see what is happening. Also, the story becomes super draggy, resulting in a movie that feels much longer than its compact runtime. Lastly, the ending is just unsatisfying. Film nerds should see it for the technical achievement, but I’m not sure others need to rush to it. 6. ABOVE THE KNEE Despite its low-budget and oddball Norwegian trappings, I was immediately captivated by this tale of body integrity dysphoria, which is a rare mental disorder characterized by the desire to have a physical disability due to feelings of discomfort in being able-bodied, and the madness it sews into one’s psyche. It’s admittedly imperfect, featuring average performances and not much in the way of gravitas, but the “X days until ‘The Accident’” story structure kept me on the edge of my seat, constantly guessing at how it all might end. It’s by no means necessary viewing, but I’m nevertheless happy Above the Knee crossed my path. 5. NIGHT CALL Night Call , or La Nuit se Traine in French, doesn’t reinvent the wheel of the “survive the night” action thriller, but that doesn’t mean its simple story isn’t effective. Reminiscent of the 1993 cult classic Judgment Night , Night Call boasts tense, suspenseful, violent, and gritty noir thrills while also delivering a sympathetic protagonist in Mady (Jonathan Feltre) that you can’t help but root for. The Black Lives Matter angle is a little ham-fisted, though, failing to be thought provoking in the way it likely was intended, but that doesn’t exactly hurt the movie. Overall, it’s like a well-executed cover song: familiar, but not without merit. 4. COMPANION Much like Barbarian , which has been referenced incessantly in the marketing (“from the creators of Barbarian ”), Companion is a great “the less you know, the better” movie that is sharp, slick, incisive, surprisingly funny, and a thrilling social commentary on perceived gender roles. It probably hits even harder given what is happening in the United States right now. It’s admittedly not overly original — I could rattle off at least a dozen movies that have touched on similar themes — but it’s a witty breath of fresh air in an overplayed genre. It’s hard to believe a movie this good was dropped in January. 3. DEAD TALENTS SOCIETY I’ve been wanting to see Dead Talents Society since I mistakenly thought it was premiering at Cannes in 2024 (I even mentioned it in my Cannes preview!). After eight months, I’ve finally seen it, and I can thankfully say that it doesn’t disappoint. Not only is it extremely stylish, hilariously clever, and rich with world-building, the story is surprisingly heartfelt due to the instantly relatable and lovable characters. Writer-director John Hsu effortlessly balances comedy, horror, and drama in ways few can, and although it drags ever-so-slightly in the middle, Dead Talents Society remains perhaps the best horror comedy I’ve seen since The Cabin in the Woods . 2. PRESENCE Truth be told, I haven’t liked a Steven Soderbergh offering since 2017’s Logan Lucky (eight movies and three series ago), and I was worried the first-person aspect of Presence was going to be too gimmicky. However, I was blown away. To be clear, this isn’t a horror movie at all. It’s a heavy family drama, and I was immediately immersed in the familial dynamics at play on screen (most of the credit goes to Chris Sullivan’s performance). It’s very similar to David Lowery’s A Ghost Story (which also blew me away), and I suspect that, much like Story , Presence won’t leave my mind for some time. 1. THE SURFER Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

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!