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Previous May 23, 2025 Next A BITESIZE CHAT WITH THE SURRENDER TEAM Director Julia Max and cast members Colby Minifie (The Boys , Fear the Walking Dead ) and Kate Burton (Grey's Anatomy , Scandal ) are here to chat with Katie about Julia's debut horror feature The Surrender , her personal connection to it, and the importance of telling female-led stories. Make sure to check out The Surrender now on Shudder. Interview conducted on May 8th, 2025 by Katie Bone.

Previous Next May 6, 2024 WRITTEN BY: THE BITESIZE CREW If you’ve ever read our About Us section, you might remember that our mission statement is to write for “the everyday film fans who spend their hard-earned money at the theater.” That means we want to discuss movies across the entire spectrum — not just the trendy awards darlings and possibly inaccessible critical successes like The Zone of Interest , The Power of the Dog , and Perfect Days , but also the overlooked, discarded, and generally insulted bombs that, for whatever reason, we enjoy anyway. To be clear, we’re not talking about so-bad-it’s-good territory like The Room , and we’re not talking about movies like Billy Madison that were panned because most critics are too far up their own ass to laugh at Adam Sandler pelting grade-school kids with a dodgeball. We’re talking about “yeah, maybe this movie sucks to most people, but I genuinely and unironically love it anyway.” Surely, you have a few of those... With that in mind, each writer has reviewed two such Guilty Pleasures, highlighting the enjoyable positives in otherwise maligned films. For our purposes here, we had two loose benchmarks: the movies couldn’t have a Rotten Tomatoes score higher than 40 and it had to pass a certain “feel” test. For example, one writer initially picked Denzel Washington’s John Q , which much to everyone’s surprise, only has a 26% on Rotten Tomatoes. However, that’s not a movie that seems to be disproportionately hated, as evidenced by a 78% Audience Score. So, it didn’t pass the “feel” test. Alternatively, one of the films below actually has a 43% Rotten Tomatoes score, but it aced the “feel” test with flying colors as it’s often used as a punchline, so we allowed it. It’s an imperfect methodology, but we still came up with a great list. Is it a list of trash? Maybe…but you know the old saying: one man’s trash is another man’s treasure. So, are our picks trash or treasure to you? Let us know what would be on your Guilty Pleasure list! HOWARD THE DUCK (1986) In 1986, long before the MCU, Howard the Duck , a wild fever dream of a movie that meshes a bizarre sense of humor with truly scary sci-fi and horror elements, was released as the first feature film based on a Marvel property. As long as you don’t think too hard about it (for example, don’t explore why Beverly (Lea Thompson) seemingly wants to bump uglies with an alien duck), the movie succeeds on the strength of a terrific soundtrack (the main theme is still an earworm), Jeffrey Jones’ terrifying performance as the possessed Dr. Jenning, Lucasfilm’s puppetry of Howard, and the pure 80s-ness of it all. - Quentin CRITTERS 2: THE MAIN COURSE (1988) Sure, Critters may have garnered a reputation for being a bad Gremlins rip-off, but Critters 2 is a great Gremlins rip-off. It’s a solid 90 minutes of wacky fun, complete with crazy practical effects and a bunch of Easter-themed mayhem. If you want a taste of just how weird this movie gets, consider the “critter-ball.” There is a scene where the critters (or crites) combine, Power Rangers -style, into a giant multi-faced meatball that rolls over the townsfolk, leaving nothing but skeletons in its wake. I seriously feel sorry for any of the critics that managed to watch that transpire without a smile on their face. - Caleb MAC AND ME (1988) I’ll be the first to admit that Mac and Me is like terrible candy: something I inexplicably enjoy while fully recognizing that it’s rotting my brain and providing absolutely zero nutritional value. I mean, it’s the Wish.com version of E.T. the Extra Terrestrial , and is essentially one long commercial for Coca-Cola and McDonald’s, including a terrible(-ly awesome) flash mob dance sequence featuring Ronald McDonald. BUT! despite that…or maybe even because of it…I absolutely love this movie because it takes me back to a simpler time, it’s ridiculously cheesy, and I smile just looking at Mac’s dumb face — it’s hilarious. Ask Paul Rudd, he’ll tell you. - Quentin HUDSON HAWK (1991) How in the world, after watching Bruce Willis and Danny Aiello sing “Swinging on a Star,” listening to Willis and Andie MacDowell quip back and forth, and soaking in James Coburn completely chewing up the scenery, do you not have the biggest smile on your face by Hudson Hawk ’s end credits. The movie completely immerses you in its hilarious antics, and it has one-liners for days (no, I still have never been to Hoboken). Willis has never been more charming, his chemistry with Aiello and MacDowell is off the charts, and the whole cast’s total commitment to the outlandishness makes this film immeasurably rewatchable. - Amarú TEENAGE MUTANT NINJA TURTLES II: THE SECRET OF THE OOZE (1991) The Secret of the Ooze is the best TMNT movie that has ever been made. Is that a hot take? I don’t care if it is because what the second live-action movie does so well is recreate the chemistry and personality of the 90s cartoon turtles that came to define my childhood, be a catalyst for my love of martial arts, and had my brother and I scene-recreation-fighting until someone was pissed and told mom. Throw in a little “Ninja Rap” from Vanilla Ice, and you have a classic that will live on forever. BTW, Donatello is the best of the four turtles mic drop . - Preston HOLLOW MAN (2000) Although some may view Hollow Man as a…ahem…hollow excuse for a movie, I think this version of The Invisible Man is incredibly gripping and thrilling. At its core, this film is about ethics and morality, and it stays faithful to the story of the invisible scientist gone mad. This thriller provides out-of-sight enjoyment by combining classic chills with killer special effects that still hold up to today's standards. Plus, Kevin Bacon gives a deliciously villainous performance. I find it incomprehensible that this gem is not a cult classic because it feels like a true modern horror adaptation of the beloved tale. - Paige BEVERLY HILLS NINJA (2001) God bless the late, great Chris Farley. Even in a film like Beverly Hills Ninja , which admittedly features some obvious humour, his delivery and commitment to the bit still makes me laugh. Whenever I see people talk about how critics can't have fun, and that a movie they enjoyed was panned even though it wasn't supposed to be deep, I typically roll my eyes. But then I see Beverly Hills Ninja , a very stupid movie with a simple one-joke set-up that makes me laugh and smile for 90 minutes, and I begin to realize what they mean. - Adriano MONKEYBONE (2001) Watching director Henry Selick's transition from insane stop-motion animation to insane live-action feels almost seamless. I won’t pretend there aren’t obvious flaws in Monkeybone . Yes, a lot of it is utter nonsense, but that's what I find fun about it. I don't think that was the intention, but Selick's world-building is colourful and wild, complemented by a fun and likeable performance by the great Brendan Fraser. For me, that's the bare minimum. Monkeybone is successful because its innocent nature and depraved chaos are just delightful enough for me to forgive the shortcomings. Also, anyone who knows me knows Brendan Fraser is a cheat code. - Adriano SCOOBY-DOO (2002) Before directing Guardians of the Galaxy , director James Gunn penned the screenplay for Scooby-Doo , a quintessential piece of early 2000’s pop culture. Despite some dated fart jokes and a bit of wonky CGI, this adaptation has largely stood the test of time. It’s regarded as a classic by Gen Z, and it’s not hard to see why. It’s campy as hell, it’s got a fair amount of subtle stoner comedy, and it features a stellar cast of cult superstars like Sarah Michelle Gellar, Matthew Lillard, and Linda Cardellini. Sure, Scooby-Doo isn’t high art or anything, but it’s pretty solid as far as cartoon adaptations go. - Caleb DAREDEVIL (2003) Does anyone else think that Daredevil gets more hate than it deserves? Daredevil is my favorite superhero, so I may be biased, but I genuinely think this superhero movie is one of the most underappreciated ones out there. I enjoy my comic book movies dark and gritty, and this one has a tone that is suitably grim. While I recommend the director's cut more than the theatrical version, the story is pretty faithful to the comics, which is rare these days. Additionally, it’s got an ensemble packed with great actors. Call me crazy, but Ben Affleck is better as The Man Without Fear than Batman. - Paige THE LEAGUE OF EXTRAORDINARY GENTLEMEN (2003) When I was growing up, we didn’t have The Avengers …well, we did, but it was something completely different. It did star Sean Connery, though, who's also in this. Anyways, I’ve always enjoyed The League of Extraordinary Gentlemen . It’s a mashup of various literary icons teaming up Avengers-style, and although it can be a little on the messy side, it's a good time. It also marks the final film of Sean Connery's decorated career, and it ends with a great cliffhanger that sadly and frustratingly goes unrealized. It’s certainly a film of the era, but I think even now, you can still have fun with it. - Nick BE COOL (2005) Although his career has devolved into something borderline unrecognizable, John Travolta used to be cool… like, really cool. Get Shorty ’s Ernesto “Chili” Palmer is a great example of that. Be Cool takes that character and puts him in the music industry, surrounded by a cast of eclectic characters. Sure, it’s goofy, but it’s fun to watch a bunch of actors playing off type, especially Andre 3000 and the “scorching” Dwayne Johnson. I’m not surprised at its poor reviews, especially with it being a comedy, but I thought audiences would have been more into this. - Nick HIDE AND SEEK (2005) Hide and Seek terrified me as a kid, and it still affects me now. It’s an edge-of-your-seat thriller with an exciting twist that would leave M. Night Shyamalan giddy. The first half follows a father and daughter after the tragic loss of the mother, with an incredibly tense atmosphere and all the tropes and creepy imagery you’d expect from young kids in horror films. The second half is all-out mayhem and an exceptionally fun time. All of this is elevated by flawless performances, from Dakota Fanning, who is such an engaging performer at a young age, and Robert De Niro, who is straight-up terrifying. - Katie SAHARA (2005) I admit that, objectively, Sahara could be seen as nothing more than a run-of-the-mill, unrealistic adventure film. However, there’s something that always clicks when you put Steve Zahn next to incredibly capable and charming lead actors. Yes, I’m crediting my love for this movie to Steve Zahn. He just brings the fun out of Matthew McConaughey and Penelope Cruz while the three of them go off on an absolutely preposterous adventure, and who cares about believability when the kinetic action that director Breck Eisner brings to screen, alongside an ensemble of charming veteran actors and an energetically brisk pace, makes Sahara an absolute joy to watch. - Amarú ST. TRINIAN'S (2007) St. Trinian’s is a formative film from my childhood and British noughties classic. It has the fiery sense of Girl Power typical of teenage films from the 2000s and tonnes of anarchic attitude. To this day, it never fails to make me smile, with its oddly impressive cast, hilariously witty lines, slapstick humour, cheesy fun, and pop culture references. The highlights include Rupert Everett in full drag as the bawdy headmistress having a love affair with the Education Minister (Colin Firth), and a successful art heist at the National Gallery celebrated by a Girls Aloud performance, not to mention my favourite ever make-over montage. - Katie BURNT (2015) You knew a chef movie was coming since you’ve already read “Bon Appétit: Films for Foodies.” Seriously, though…why is it that when Bradley Cooper stars in a film, it loses some credibility, even though he is usually fantastic?! Yes, Burnt is a little cliché, but so are the vast majority of movies today — but this one is cliché for a reason. It accurately tells the story of what it’s truly like in the high-stakes, high-pressure kitchens of the very best restaurants. This is the type of movie you watch when you want to throw something on while you eat good food and relax on the couch. - Preston Photo Credits: Photo 1 - Universal Pictures; Photo 2, 5 - New Line Cinema; Photo 3 - Orion Pictures; Photo 4 - Tri-Star Pictures; Photo 6, 7 - Sony Pictures Releasing; Photo 8, 10, 11, 13 - 20th Century Studios; Photo 9 - Warner Bros. Pictures; Photo 12 - MGM Studios; Photo 14 - Paramount Pictures; Photo 15 - Entertainment Film Distributors; Photo 16 - Lantern Entertainment

MADE FOR LOVE: SEASON TWO Starring: Cristin Milioti, Billy Magnussen, Ray Romano, Dan Bakkedahl, Noma Dumezweni, Caleb Foote, and Sarunas J. Jackson Creators: Alissa Nutting, Dean Bakopoulos, Patrick Somerville, and Christina Lee QUENTIN Much like Upload , Made for Love is a tech-centric relationship dramedy that has fizzled out as it is forced to rely on actual story instead of clever world-building. While it’s still occasionally humorous and mildly interesting, this season is simply not as sharp, quirky, or well-drawn as the first season. Plus, the later episodes fall down a rabbit hole that ultimately favors concept over story and character, which, honestly, really sapped my interest. Cristin Milioti and Ray Romano still give good, borderline great, performances, but to what end? At this point, I can’t say I really care about Season Three.

Previous Next September 11, 2023 WRITTEN BY: QUENTIN With the closing ceremonies of the 80th Venice Film Festival taking place over the weekend, it’s easy to say that it’s another great festival in the books for Bitesize Breakdown. Unfortunately, due to travel dates, I was unable to see everything I wanted to, namely missing out on Memory , starring Jessica Chastain and Peter Sarsgaard; J.A. Bayona’s Society of the Snow ; and Ryusuke Hamaguchi’s Evil Does Not Exist . That said, I still managed to watch 27 new releases, a restored version of William Friedkin’s classic The Exorcist , and eight VR-driven short films and installations on Immersive Island. All in all, it was a terrific but slightly exhausting time, and I look forward to doing it again next year. Until then, check out everything I saw during my time on The Lido, ranked, as well as a list of the major award winners. Golden Lion for Best Film : Poor Things Grand Jury Prize : Evil Does Not Exist Silver Lion for Best Director : Matteo Garrone, Me Captain Special Jury Prize : Green Border Best Screenplay : El Conde Volpi Cup for Best Actress : Cailee Spaeny, Priscilla Volpi Cup for Best Actor : Peter Sarsgaard, Memory Marcello Mastroianni Award for Best Young Actor : Seydou Sarr, Me Captain 27. AGGRO DR1FT Without hyperbole, Aggro Dr1ft is not only one of the worst movies I’ve ever seen, it is among the worst pieces of content I’ve seen on any screen ever. It is so bad that if you told me director Harmony Korine made this movie terrible on purpose as a social experiment to troll pretentious film festival attendees in Toronto, Venice, and New York (yes, it’s screening at all three major festivals), I’d believe you. From the awful sound mixing to the challenging infrared gimmick to the mundane monologues, it's almost immediately exhausting before continuing on for what feels like an interminable 80 minutes. 26. THE WONDERFUL STORY OF HENRY SUGAR Full disclosure: I’m not a Wes Anderson fan. I find his work to be style over substance, resting entirely on his personal brand of twee whimsy, candy-colored pastels, and hipster aesthetics. So, it should come as no surprise when I say that I hated The Wonderful Story of Henry Sugar . Even at just 38 minutes, it was painful to endure. The actors don’t so much give performances as they are reading Roald Dahl’s story to you, acting it out in the way you might act out a bedtime story for your kids, while Anderson bludgeons you to death with his trademark style. 25. GASOLINE RAINBOW Maybe it’s the old curmudgeon in me, or maybe it’s that this movie incorporates so many film elements that I actively do not enjoy, but Gasoline Rainbow was a 110-minute endurance test. It’s a fake documentary that is shot in a meandering and improvisational style, featuring a cast of first-time, non-professional teenage actors playing themselves. I hate all those things. Now, this is where the age aspect comes in: do I think all teenagers are annoying? Or just these teenagers? Hard to say, but every dumb thing they said and every dumb decision they made grated on me. I couldn’t leave the theatre fast enough. 24. PET SHOP DAYS Described as a mystery thriller, Pet Shop Days provides little in the form of intriguing mysteries or engaging thrills. It’s a derivative story of terrible people doing criminal things, and of a lost twentysomething finding himself through his relationship with the bad boy. On top of that, the characters are woefully underdeveloped and extremely unlikeable, not to mention that there are several half-baked subplots that don’t add anything substantive. Aside from Willem Dafoe, who is the only person who comes out unscathed, almost everything…from the performances to the direction to the writing…is unsteady. 23. THE RESCUE This review is possibly a little unfair. The Rescue , aka El Rapto , was my thirteenth screening over the course of three days, and it’s a very slow-moving, dialogue-driven, Spanish-language drama set in the 1980s. With that in mind, even at only 90ish minutes, I struggled to maintain any semblance of interest in this movie. I didn’t find the dry story or characters compelling, and I was mostly just waiting for it to end. The acting is fine, I guess, but that’s not exactly an endorsement. So, are my feelings based on the context of the situation or the movie itself? I’ll let you decide. 22. THE BEAST The Beast is the type of film that the snootiest of film critics will call a “must see” while regular people find themselves bored out of their minds. It’s big on ideas and, I suppose, it has decent performances, but it’s extremely lifeless, failing to truly engage the audience due to its somewhat confusing and labyrinthine story. It has elements of Eternal Sunshine of the Spotless Mind , Black Mirror , and classic French romance films, but they never coalesce into something worthy of the effort it takes to fully get on board. It’s not unlike a David Lynch movie in that regard. 21. THE PALACE Controversy surrounding director Roman Polanski aside, The Palace isn’t a very good movie (though, I do think the buzz is overly critical precisely because it is a Polanski picture). He’s clearly going for a satire on the wealthy, combining the commentary of Triangle of Sadness with the day-in-the-life story structure of Hail, Caesar! , but despite a few clever joke setups, they never actually come with a punchline. So, you’re left watching a collection of underwritten characters in undercooked situations, waiting for the other shoe to drop. It never does. 20. EL CONDE In its entirety, El Conde isn’t a movie that I enjoyed. Despite the intriguing and outlandish logline, it’s surprisingly boring, but it’s possible that it works better for people who have some knowledge of former Chilean dictator Augusto Pinochet, of which I have very little. Perhaps that is why the satire didn’t hit for me. That said, director Pablo Larrain was able to create a surreal and haunting atmosphere that is well suited to the content, but this mix of Knives Out and Roma falls into the “movies I respect more than like” bucket. 19. THE PENITENT - A RATIONAL MAN While the oddly titled The Penitent – A Rational Man wrestles with philosophical and often interesting questions about religion, the legal system, mental health, psychiatry, and the press, David Mamet’s screenplay is so preachy and the dialogue so circular and repetitive that it becomes tedious to watch. Further exacerbating that problem is a penchant for over-acting, especially from Luca Barbareschi (who also directed) and Catherine McCormack. All in all, I think between all the big ideas Mamet wants to address, as well as having the lead actor also be the director, it simply tries to do too much. 18. THE FEATHERWEIGHT Personally, I’m not a fan of the fake documentary approach to filmmaking, and while I appreciate Robert Kolodny’s effort to make an earnest faux documentary (not mockumentary), The Featherweight lacks the narrative punchiness to last the whole fight. From a technical viewpoint, there is little to find fault in. The performances serve the format well, and Kolodny’s ability to make it feel like a genuine documentary from the 60s is remarkable. However, the constraints of the genre make it incredibly dry and limit the dramatic heft. There is certainly an interesting story here, but I would have much rather seen it as a standard biopic. 17. IN THE LAND OF SAINTS AND SINNERS Although it’s nice to see Liam Neeson kinda sorta step away from his usual parade of cheap action thrillers, In the Land of Saints and Sinners is undone by the fact that it has two competing and underdeveloped storylines. Both stories have interesting aspects, and had the movie chosen to focus on one, it could have worked really well for a number of reasons. However, as is, it’s a slow-moving thriller that is low on thrills, probably destined to be released directly on a streaming service. To its credit, though, Kerry Condon is fiery and fierce. The movie could have used more of her. 16. MICHEL GONDRY, DO IT YOURSELF While I found Do it Yourself to be an enlightening look into the methods and mind of visionary director Michel Gondry, this documentary is probably best left for those who are already fans of the filmmaker. There are no shocking revelations or lurid details, just the portrait of an artist who has made some of the most creative music videos and movies around. Seeing his interactions with collaborators Jack White and Spike Jonze is charming, and it’s a loving tribute overall, but more than anything, it made me want to rewatch Be Kind Rewind and old videos from The White Stripes, which isn’t a terrible takeaway. 15. ORIGIN Despite being well acted and delivering thoughtful commentaries on racism, caste systems, and personal grief, Origin is as dry as a college lecture. Nothing about Ava DuVernay’s direction is bad, but it’s not particularly dynamic either. It’s not her fault, though. The message is certainly important and, from a scholarly perspective, incredibly fascinating, but it’s not built for a feature length narrative. This would have been much better and perhaps more impactful as a documentary because, as is, it’s like watching someone act out a doctoral thesis paper. Personally, I can’t say I enjoy movies that feel like homework. 14. THANK YOU VERY MUCH Documentaries on well-covered subjects can be tricky because they need to find a new angle to explore and its own reason for existing. Having already seen two Andy Kaufman documentaries, as well as the terrific biopic Man on the Moon , I wasn’t sure I needed another dive into Kaufman lore. However, in what should be the definitive doc on the comedian, director Alex Braverman manages to provide additional insights, mostly through new interviews and archival footage, while also not beating a dead horse on things covered in the other documentaries. Was it necessary? Debatable. Is it enjoyable? Very much so, even winning best documentary at the festival. 13. FINALLY DAWN As a person who likes movies about movies, Finally Dawn , while not perfect, worked well enough to keep me engaged throughout. Mixing a coming-of-age story with some light Hitchcockian menace, Babylon , and an old-world Italian cinema vibe sounds like a lot, but newcomer Rebecca Antonaci (with the help of Lily James, Willem Dafoe, and Joe Keery, no doubt) holds it all together with a great performance at the center of the story. That said, given that there is a constant air of escalating tension inherent to the proceedings, the ending is extremely underwhelming, fizzling out as if writer-director Saverio Costanzo simply ran out of ideas. 12. FERRARI While not a bad movie by any means, Ferrari never makes a case to justify its existence. Yes, from a craft perspective, it’s obviously very well done, from Michael Mann’s direction to the performances of Adam Driver and Penelope Cruz; however, the main story is about a man that isn’t particularly interesting. Enzo Ferrari (Driver) is never shown to be a ruthless tyrant, a savvy businessman, or a brilliant car designer. He’s just a dude who has marital problems. Ferrari is only truly compelling during the too few race sequences, which are beautiful and picturesque (two scenes in particular elicited audible gasps from the audience). 11. HOLLYWOODGATE As a veteran who has many connections to the U.S.’s War on Terror, Hollywoodgate is an eye-opening documentary that is equal parts maddening, frustrating, enlightening, and even comical. Director Ibrahim Nash’at shows incredible restraint by not interjecting his own views, letting the Taliban be their own voice, and they often shoot themselves in the foot despite their best attempts to make themselves look civilized. It’s simple but effective, and it opens the door to hard questions and harsh realities about Afghanistan, the Taliban, and the U.S.’s decades long occupation, the most important of which is this: what was the point? 10. THE PROMISED LAND Let me tell you how good of an actor Mads Mikkelsen is: For more than two hours, this man had me fully engaged in a Danish-language period piece about a guy trying to grow potatoes on a piece of land deemed unfarmable. Granted, the sturdy screenplay, sweeping visuals, and Nikolaj Arcel’s confident direction help him along, but I’m not sure this movie succeeds with anyone other than Mikkelsen at the center of it. This is a grown-up film for grown-ups, reminiscent of Minari in some ways, and it feels tailor-made for the prestigious film festival circuit. 9. DOGMAN Although Dogman has some elements that will make you unintentionally chuckle at their ridiculousness (mostly in the interactions between man and dog), director Luc Besson’s latest is a gritty and grimy tale of trauma, violence, and ultimately redemption…something of a mix between Joker and Dr. Dolittle . Despite a story that is a little schizophrenic, it’s easily the best work Besson has delivered in decades, and he owes it all to the terrific performance of Caleb Landry Jones. Jones is captivating in a role that requires him to be equal parts heartbreaking and fearsome, and although he won’t get it, his work here deserves recognition. 8. THE CAINE MUTINY COURT-MARTIAL Though not flashy, The Caine Mutiny Court-Martial is a thoroughly engaging courtroom drama. Presented like a single-room stage play, it’s content to simply let its actors do what they do best: act. It asks interesting questions about military rank structure, the uniform code of military justice, and the ramifications of decisions made by those in command through the various testimonies, which allows viewers to draw their own conclusions about the case at hand. Given that it was directed by William Friedkin, it’s no surprise that this stripped-down version of A Few Good Men is old school movie making at its finest. 7. HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON When people talk about discovering hidden gems at film festivals, Humanist Vampire Seeking Consenting Suicidal Person is exactly what they are talking about. The most authentically indie-feeling movie at Venice Film Festival, Humanist Vampire puts a modern spin on vampire mythology to deliver a fresh, funny, and darkly sweet coming-of-age story that touches on familial pressure, adolescent expectations, teen depression, and young love. In the Q&A that followed my screening, director Ariane Louis-Seize (who won the GdA Director’s Award) referenced Let the Right One in and Lady Bird as some of her inspirations for this movie, and I can’t sum it up any better than that. 6. DAY OF THE FIGHT Day of the Fight was the biggest surprise of Venice Film Festival for me. I had zero expectations going in because, honestly, the cast (outside of Joe Pesci) and a first-time director didn’t inspire a ton of excitement. That said, this movie is beautifully done. It’s shot in crisp black & white and is carried on the heartbreaking shoulders of Michael C. Pitt, who gives a tremendous performance. It’s a boxing movie, so there are some predictable story beats, but it doesn’t play out 100% as expected, and the catharsis delivered through Mikey’s (Pitt) journey is well earned. Writer-director Jack Huston is one to watch. 5. PRISCILLA Although it drags a bit in the middle (and I admit a proclivity to liking almost all things related to Elvis Presley), Priscilla is easily director Sofia Coppola’s finest film to date. By flipping the script to tell the other half of the story, we come to learn more about the, at times, beautiful but often troublesome relationship between Priscilla (Cailee Spaeny) and The King (Jacob Elordi). It’s obviously more subtle, empathetic, and sensitive than last year’s Elvis , but no less affecting as it paints an honest portrait of young love, insecurities, and seeing your way through to the other side. 4. THE KILLER With only his second movie since 2014’s Gone Girl , director David Fincher returns to his dark thriller roots with the noirish The Killer , a lean assassin flick that pairs the slick planning sequences usually seen in heist movies with the deliberate tone and methodical pacing of Mindhunter . A tightly written revenge story, it features a dryly funny Michael Fassbender as he delivers Dexter -style monologues about how to be a successful assassin. Even if it is relatively straightforward, especially by Fincher standards, it’s no less compelling than some of Fincher’s best works, landing in the top tier of Netflix Originals. 3. MAESTRO Truth be told, I had little interest in Maestro since I have no personal connection to Leonard Bernstein. Even as the movie began, I was unsure about it for the first 20-30 minutes. However, credit given where credit is due: it’s exquisite. Bradley Cooper disappears into the role of Bernstein so deeply that you often forget you’re watching an actor, and he’s matched beat-for-beat by Carey Mulligan. Maestro is certainly more of a “film” than a “movie,” so I’m not sure how well the general public will take to it, but for me, this is another win for Cooper both in front of and behind the camera. 2. HIT MAN Further proving what most people noticed in Top Gun: Maverick , Hit Man reiterates that Glen Powell is a bonafide star as he nimbly bounces between different personas in what may end up as the best pure comedy of the year. Director Richard Linklater, who has already directed several classics, gifts us another one with an effervescent romance crime movie that is dark, hilarious, intelligent, and charming all at the same time. Yes, it’s a sort of rom-com, but it maintains razor sharp edges, refusing to fall down the well of cliché and cheesy genre tropes. It’s like Linklater’s version of a Coen Brothers movie. 1. POOR THINGS Poor Things is a hilariously dark and incredibly horny fairy tale oddity that is deserving of every award it is sure to win this year. The world created by director Yorgos Lanthimos is gorgeously brought to life through powerhouse performances from the entire cast, but especially Emma Stone and Mark Ruffalo in career-best showings. On top of that, themes of feminism and self-discovery, as well as a commentary on the patriarchy, are executed brilliantly. It’s unlike anything I’ve ever seen, it’s near perfect, and is easily the best movie of the year so far. Photo Credits: Venice International Film Festival

FOR ALL MANKIND: SEASON THREE Starring: Joel Kinnaman, Shantel VanSanten, Jodi Balfour, Wrenn Schmidt, Sonya Walger, Krys Marshall, Cynthy Wu, Casey W. Johnson, Coral Peña, and Edi Gathegi Creators: Ronald D. Moore, Matt Wolpert, and Ben Nedivi QUENTIN In its third season, For All Mankind makes another massive time jump, this time to the mid-90s and the race to Mars. While that makes the ages of the actors relative to their characters a bit jarring (for example, Joel Kinnaman is 42 playing a character in his 60s), the series still manages to keep the space-based aspects interesting. That said, this season tends to focus on the soapier elements more than the space stuff, and it drags a little when it gets away from astronauts doing astronaut-y things. Nevertheless, this series remains one of Apple’s more underrated offerings.

Previous Next With the upcoming release of Top Gun: Maverick, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Legacy Sequels. 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. BLADE RUNNER 2049 Blade Runner 2049 , more than almost any other film in existence, is the definition of a perfect legacy sequel. Broader in scope but more intimate in its storytelling capacities, director Denis Villeneuve’s 2017 sequel to Blade Runner demonstrates its reverence for Ridley Scott’s foundational work whilst improving upon it in every fashion. From the tiniest whisper that expands the implications of its world to the largest and longest shots it has to offer, 2049 is an outright masterpiece. - Jacob 4. CREED How many times is the seventh entry in a film series amongst the franchise’s best entries? Miraculously, director Ryan Coogler rejuvenates a somewhat tired character and genre through heart, emotion, nostalgia, and an out-of-nowhere, Oscar-nominated performance from Sylvester Stallone. It’s the sequel no one asked for, yet it’s a revelation with the perfect blend of paying homage to its predecessors and taking the series in new directions. - Quentin 3. TOY STORY 3 There’s rarely a time where a third film in the trilogy is considered the best. And being the best after waiting 11 years for the next entry? Well, Woody, Buzz, and the crew pull it off. Be honest, you still cry at the furnace scene. - Amarú 2. STAR WARS: THE FORCE AWAKENS This film brought Star Wars back to life with instantly engaging new characters and the perfect amount of nostalgia. Where the prequels had their struggles, this brought fans back to a galaxy far, far away and picked up where the story left off in 1983. - Nick 1. MAD MAX: FURY ROAD With 30 years between films, the Mad Max franchise returned…and, boy, did it not disappoint! Series creator George Miller’s return to this post-apocalyptic world is a badass and chaotic masterwork that is, without question, the best in the franchise. An absolute roaring film that brings the franchise back to its feet. - Adriano HONORABLE MENTIONS TERMINATOR 2: JUDGEMENT DAY HALLOWEEN (2018) SPLIT JUMANJI: WELCOME TO THE JUNGLE SCREAM 4 Photo Credits: Photo 1, 2, 5 - Warner Bros; Photo 3 - Disney/Pixar; Photo 4 - Disney/Lucasfilm

THREE PINES: SEASON ONE Starring: Alfred Molina, Rossif Sutherland, Elle-Máijá Tailfeathers, Tantoo Cardinal, Clare Coulter, Sarah Booth, Anna Tierney, and Roberta Battaglia Creator: Emilia di Girolamo QUENTIN If you enjoy low-stakes crime procedurals, Three Pines is about as mild as you can get. Alfred Molina is engaging in the lead, but he isn’t asked to do much, while the cases themselves never conjure much intrigue. I will say that the season structure adds a nice change of pace to an overcrowded genre. The eight-episode season is essentially four, two-hour movies, with each episode pairing featuring a different case while an overarching, season-long investigation happens in the background. It’s not essential viewing (think Murder, She Wrote meets a dime store paperback), but it’s better than watching Law & Order reruns for the umpteenth time.

ABBOTT ELEMENTARY: SEASON TWO Starring: Quinta Brunson, Tyler James Williams, Sheryl Lee Ralph, Janelle James, Lisa Ann Walter, Chris Perfetti, and William Stanford Davis Creator: Quinta Brunson AMARÚ I was late to the Abbott Elementary train because, as a teacher, I was pissed off at the atrocious truths the pilot presented about the American education system. But, once I got past that, I fell in love with this intelligent, tightly written, and hilariously relatable show. The second season has twice the number of episodes as the first, which equates to twice as many opportunities to showcase creator Quinta Brunson’s writing genius, Sheryl Lee Ralph’s legendary status, Tyler James Williams’ dry brilliance, and Janelle James’ revelatory outrageousness. And that’s only half of the amazing cast. This show is perfect. I have no notes. ADRIANO I don’t see how anyone can claim they don’t love Abbott Elementary unless they haven’t seen it. Season Two of Quinta Brunson’s mockumentary doubles down on everything lovable about the first season: hilarious in ways most shows wish they could be, an iconic cast of characters played to comedic perfection by the phenomenal ensemble, and its continued critique of the U.S. educational system. This season elevates the series to peak television by deepening its characters and increasingly grounding them to humanity as we learn more about them. It’s a reminder that network television is still an untapped goldmine. JACOB For what is essentially another hangout show, one would think Abbott Elementary wouldn’t really need an evolution of its own, and yet, this show grows as it continues to be one of the funniest and most easily watchable shows on television. The expansion of episodes in Season Two allows the characters not only to be more free in their comedy, but also to explore deeper topics like race education or self-care boundaries. The rotating list of guest stars this season also was stepped up a big notch, and while the finale doesn’t 100% land, it works for this story.

THE BOOK OF BOBA FETT Starring: Temuera Morrison, Ming-Na Wen, and Pedro Pascal Creator: Jon Favreau NICK The Book of Boba Fett may be seven episodes long, but it’s really made up of three different chapters. Those chapters (the flashbacks of how we got here, Fett's (Temuera Morrison) modern day crime lord, and the continuation of the Mandalorian/Grogu story) work well individually, but as a whole, they make for an unbalanced series. Although I found episodes five and six to be the best of the season, they’re a complete departure from the other entries. An argument can be made to watch episodes one to four and skip directly to seven if you want optimal viewing of Boba Fett's story. AMARÚ If you wish there was more Boba in The Book of Boba Fett , I don’t blame you. But when I realized that executive producers Jon Favreau and Dave Filoni are now in the Star-Wars -is-a-wholly-connected-universe business, I was fully sold. We get long-awaited answers about post-Episode V Boba (played soulfully by Temuera Morrison), at least two episodes of the best Star Wars content I’ve consumed this past decade, and a finale that left me salivating over whatever the next season of Disney+’s Favreau World is. Or is it the Filoniverse?? Either way…I’m here for it. JAMES Temuera Morrison comes to mind first when I think of Star Wars because, of all the actors in this universe, he was the most active in media beyond the films. It's incredibly thrilling to see one of my favourite actors front and center in the franchise that brought him to my attention. While I do wish Morrison had a chance to show a bit more of his range, I feel this season is a strong jumping off point for an exciting, character-driven series. Part samurai epic, part western, and part crime drama, this show blends genres beautifully. QUENTIN The Book of Boba Fett is three shows in one: 1. a thematically rich (if familiar) flashback story about Fett’s (Temuera Morrison) time following his escape from the Sarlacc pit; 2. A half-baked, fan-service-filled story about Fett becoming an underworld boss; and 3. The Mandalorian , Season 2.5. These three shows do not mesh well enough narratively to justify the series’ existence, and Morrison’s flat performance certainly doesn’t help. That said, the action is on par for the franchise and the show is mostly entertaining, but it does little to expand and push the Star Wars universe forward in interesting ways.

Previous Next March 22, 2024 WRITTEN BY: CALEB If you’ve been keeping up with film news lately, I’m sure you’ve been hearing a lot about James Gunn and his new position at Warner Bros. If you haven’t , then let me tell you: Mr. Gunn has been put in charge of rebooting the DC Cinematic Universe… or the DC Extended Universe… or whatever it is they want to call it these days. And you know? I think it’s safe to say that people are generally pretty excited about this. Gunn, to his credit, has a good reputation with (comic book) audiences since he was the mastermind behind the successful Guardians of the Galaxy trilogy, as well as the director of The Suicide Squad and Peacemaker . It makes sense that fans are happy. DC seems to be in trusted hands. Honestly, though, I’m a little nervous. Not because I don’t like Gunn (I do), but primarily because, in my opinion, a lot of the recent attempts at cinematic universes haven’t been going very well. I want this new DC universe to succeed, but in order to do so, it needs to learn from all the mistakes some other cinematic universes have been making as of late. What mistakes, you may ask? I’m going to tell you! Keep reading… FOCUS ON QUALITY OVER QUANTITY I’ve heard a lot of people speaking ill of the MCU lately, and I get it. I’m not big on their recent output, either. However, it’s interesting that when I hear people disavow MCU projects, they generally say things like “I’m done with Marvel.'' Not “I’m done with Thor, ” or “I’m done with Ant-Man; ” no… it’s “I’m done with Marvel.” It’s a blanket statement. They’re not giving up on a single character or a specific series - they’re giving up on the entire cinematic universe. This makes sense. In a cinematic universe, everything is connected, so it tracks that if I want to give up on the Ant-Man movies, I also must give up on everything else. If I don’t want to watch WandaVision , Captain Marvel , or Ms. Marvel , then how can I possibly hope to understand The Marvels ? Nowadays, the MCU is releasing more projects than ever before, so it’s no wonder that people are having a hard time keeping up. The thing is that Marvel Studios seems to have forgotten why it was so successful in the first place. It wasn’t the number of projects they made, but the fact that all the projects were mostly well crafted. The entire Infinity Saga lasted from 2008 to 2019, comprising 23 films. That’s about two movies a year, which isn’t a difficult pace for fans to maintain, especially since most of them were quite good. Compare that to Phase Four, which ran from 2019 to 2022. That’s barely four years, but those four years were packed with 18 total projects. Eighteen. I might’ve been okay with that if those projects were still consistently good, but that’s definitely not the case these days. For a cinematic universe to thrive, viewers need to want to keep up with it. If you pump out too many underwhelming projects at once, they stop feeling like event movies and start feeling like homework. It’s better to make a few great movies than a whole lot of mediocre ones. PICK YOUR TONE CAREFULLY Let’s switch gears to the recently defunct DCEU, as well as a franchise near and dear to my heart, The Monsterverse. These universes have a lot in common. They’re both mixed bags with some high-highs, low-lows, and plenty in-between. Personally, though, I think the biggest commonality they share is that they’re both tonally all over the place. For instance, let’s compare Gareth Edwards’ Godzilla (2014) to the new trailer for Godzilla X Kong . The 2014 film is a grounded, moody, realistic depiction of the legendary kaiju. It takes place in modern day, it features a conventional depiction of the military, and the script went to great lengths to properly contextualise the appearance of the monsters in the film. It feels real. Fast-forward ten years, and now Godzilla is the star of a buddy-cop movie where he teams up with a giant monkey to fight another giant monkey. There are flying cars, monster robots, and the whole thing is set in the hollow earth. These new entries are unashamedly cheesy and, in theory, I’m completely okay with a cheesy Godzilla movie. However, what I’m not okay with are sequels that don’t even attempt to stay consistent with the style, mood, and atmosphere of their predecessors. It makes the interconnectivity feel like an afterthought, and it points to a clear lack of creative focus. The same problem can be seen when comparing a film like Man of Steel to Aquaman. They’re technically in the same universe, sure, but if you watched them back-to-back, you’d get a case of tonal whiplash bad enough to fracture a vertebrae. I think having stylistic variety is great, but it shouldn’t come at the cost of a universe’s plausibility. For all the flack I’ve given Marvel so far, tone is actually something in which the MCU has a fundamental understanding. Marvel czar Kevin Feige and company knew that if they were going to make a cinematic universe, they had to establish the tone right off the bat, and then choose filmmakers that complimented each other's styles and artistic sensibilities moving forward. You can make different films in the same universe with varying genres and subject matter, but without a consistent tone between projects, things are going to get really messy, really quickly. KNOW WHERE YOU’RE HEADED It’s no secret that the MCU isn’t at a creative high point right now, as I’ve stated several times already. Fan reception has been generally mixed since Avengers: Endgame , and that movie was released four years ago. With every new MCU project, it becomes harder and harder to understand where they’re headed. Finally, it dawned on me that Marvel Studios probably doesn’t even know. Come to think of it, I’m not sure any of the current cinematic universes know where they’re headed. Star Wars is on a vague path towards another prequel that’ll take place before The Force Awakens. Marvel was on its way towards the Kang Dynasty, but that seems to be falling through after the Jonathan Majors scandal. Both The Conjuring Universe and the Monsterverse seem to be playing things by ear, with very little in the way of a confident roadmap for the future. The interconnectivity of these universes seems to be resulting in a few crossovers and cameos here and there, but none of it seems to be leading towards anything nearly as ambitious as Endgame . Phases One through Three of the MCU were all leading to Thanos, a world conquering force to be reckoned with, and that was something audiences were extremely excited about. There were no major course corrections necessary, no huge plans to be changed. However, we’re starting to see how cinematic universes strain under the weight of faulty planning. If you want people to be interested in where your cinematic universe is heading, it needs to be heading somewhere interesting. If the interconnected storytelling isn’t leading towards some sort of payoff, then there’s no real point in it being interconnected in the first place. This leads me to my final, and most important point… IF THERE ISN’T A GOOD REASON TO MAKE A CINEMATIC UNIVERSE, DON’T Let’s talk about Sony’s Spider-Man Universe, or the SSU for short. I’ve also heard a few people call it the Morbi-verse, but I somehow doubt that name is going to stick. Starting in 2018 with Venom , this cinematic universe has gone on to give us such classics as Morbius , Venom: Let There Be Carnage , and, of course, the recent dumpster fire that is Madame Web . I bring the SSU up because, if there is one thing it is actually good for, it would be proving that, sometimes, cinematic universes aren’t always a great idea. Sony has been attempting to set up a Spider-Man universe WITHOUT SPIDER-MAN!! for the better part of a decade now, and it’s far from the only bad cinematic universe idea that’s been attempted. Plenty of studios have tried and failed to emulate the success of the MCU. Ghostcorps wanted to make a Ghostbusters cinematic universe, Universal wanted to make a classic monster movie universe, and Hasbro has been trying for years to make a GI Joe/Transformers crossover happen. The big difference between these ideas and the MCU, is that, on a conceptual level, the MCU actually makes sense. Marvel has access to a lot of different, marketable superheroes, all of which already have plenty of potential for crossovers, cameos, and spin-offs. They also have a near-century of untapped source material at their disposal, readily available to be adapted. Sure, it might not last forever, but if every project was handled properly, the MCU could theoretically go on for decades without ever running out of content. Just because the idea of a cinematic universe worked for one studio doesn’t mean it’ll work for another. If you don’t have the material to support a cinematic universe, then why make one? …and this brings me back to James Gunn, who is now in charge of one of the only other franchises out there that can unquestionably support a cinematic universe. DC isn’t suffering from a lack of source material, characters, or creative talent. Under the right guidance, I believe that this new DC universe might finally be able to rival the MCU, but only so long as it manages to avoid the pitfalls that other universes have fallen into. With proper planning, clear creative direction, and an emphasis on essential, quality filmmaking, this new DC universe might just be a hit.

THE STAIRCASE Starring: Colin Firth, Toni Collette, Michael Stuhlbarg, Dane DeHaan, Olivia DeJonge, Patrick Schwarzenegger, Sophie Turner, Odessa Young, Rosemarie DeWitt, Tim Guinee, Parker Posey, Juliette Binoche, and Vincent Vermignon Creator: Antonio Campos ADRIANO The Staircase is incredible. While its early momentum isn’t maintained throughout, each episode is intense, gripping, and fascinating. It never feels like it’s giving us too much information either, doling out just enough to understand what’s happening without confusing us. Although I imagine some aspects were dramatized from the real story, it stays grounded while never seeming romanticized. The entire ensemble gives knockout performances, with Colin Firth giving what is potentially a career best performance. My one complaint is that the subplot involving the documentary crew felt unnecessary, but even then, this is one of the best shows of the year.

SHE-HULK: ATTORNEY AT LAW Starring: Tatiana Maslany, Ginger Gonzaga, Jameela Jamil, Steve Coulter, Renée Elise Goldsberry, Josh Segarra, Tim Roth, Mark Linn-Baker, Mark Ruffalo, and Charlie Cox Creator: Jessica Gao AMARÚ She-Hulk: Attorney at Law is the most consistently inconsistent MCU show to date. It fully embraces its light-hearted, courtroom procedural comedy vibe, but where one episode makes you laugh, the next leaves you bored. Its hit-or-miss comedy ranges from cackling to cringeworthy. That said, with Tatiana Maslany bodying the Jennifer Walters/She-Hulk role; great supporting performances from Ginger Gonzaga, Renée Elise Goldsberry, and Josh Segarra; and a much better executed latter half, She-Hulk ’s potential gives hope to a future that surpasses this lackluster debut. NICK She-Hulk : Attorney at Law is difficult to review because it isn't just one thing. It's a buddy story with Jennifer (Tatiana Maslany) and Bruce (Mark Ruffalo), that becomes a legal comedy, that kinda becomes a Daredevil soft reboot…and that's without even mentioning that finale. That said, I had a ton of fun watching it thanks to Maslany, who absolutely smashes this role. Her blend of humour, sympathy, and badassery proves this was pitch perfect casting. Even when the show doesn’t work, she always does. I don’t know what’s next, but feel free to add her into any upcoming MCU project. Madisynn (Patty Guggenheim) too. QUENTIN As a whole, She-Hulk: Attorney at Law isn’t great, finishing just above Ms. Marvel as the second worst MCU series overall. That said, some scenes demonstrate a potential for what could have been if the series had been more focused and nuanced than the overly broad “can Jennifer Walters (Tatiana Maslany) really have it all?” narrative. The scattershot approach isn’t helped by some questionable CGI, a breaking-the-fourth-wall-angle that wasn’t integrated well enough, and the huge gamble of an uber-meta finale that didn’t work at all. But we did get MCU Daredevil (Charlie Cox) and another exciting (if half-hearted) character reveal, so not a total loss.