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).

ONLY MURDERS IN THE BUILDING: SEASON TWO Starring: Steve Martin, Martin Short, and Selena Gomez Creators: John Hoffman and Steve Martin AMARÚ Season Two of Only Murders in the Building continues what it does best while also giving more depth to the main cast, especially Selena Gomez’s Mabel. Steve-Martin-Short (yes, I did it again) are as funny as ever, but aren’t shortchanged to make room for Mabel’s story. Similarly, the supporting cast isn’t sidelined for the main trio. In getting more from every character on screen, the mystery is actually more meaningful. And although there are some B-plots that don’t work as well, they don’t get enough screen time to be distracting. Residents of The Arconia better lookout because I’m ready for the next murder. QUENTIN In its second season, Only Murders in the Building features many of the things that made Season One a delight: excellent cast chemistry, an elegant score, and charming mockery. It also adds in a great self-aware meta component. That said, the story tries to do too much, with subplots that often don’t go anywhere. Generally speaking, those subplots prioritize character development over the murder mystery, which…it’s fine. Still, while I wouldn’t call it a sophomore slump, it wasn’t quite as good this season. Admittedly, that could have more to do with increased expectations after the surprising first season than an actual reduction in quality. ADRIANO Only Murders In The Building ’s second season features a lot of what made the first season so great. Steve Martin, Martin Short, and Selena Gomez remain an absurdly entertaining trio, with Gomez especially getting more to do this season. Plus, the writing is still hilariously smart, featuring a good blend of character drama and a witty murder mystery. That said, while the actual reveal didn’t completely shock me, it worked just well enough. Quite frankly, I can’t wait for the next murder… I mean season.

SUGAR: SEASON TWO Starring: Colin Farrell, Tony Dalton, Jin Ha, Raymond Lee, Sasha Calle, Laura Donnelly, and Shea Whigham Creator: Mark Protosevich QUENTIN If you’re hoping Sugar ’s second season will further explore the first season’s bonkers twist, you’ll be mostly disappointed. For the vast majority of Season Two’s runtime, that twist is an afterthought, left in the background to merely inform Sugar’s (Colin Farrell) decisions and seeming detachment from the world around him. As such, this is just another hardboiled case for Sugar, which is fine. His quiet aloofness and emotionless narration make it play a little slower than I’d like, but if you dig noir vibes, it works decently enough. Admittedly, it eventually comes back to the twist, but by that point, it all feels tacked on and unnecessary. Check out our reviews for Season One HERE .

SEVERANCE: SEASON TWO Starring: Adam Scott, Patricia Arquette, Britt Lower, John Turturro, Zach Cherry, Tramell Tillman, Christopher Walken, Ólafur Darri Ólafsson, Sarah Bock, Alia Shawkat, Bob Balaban, and Merritt Weaver Creator: Dan Erickson KATIE I am pleased to report that the second season of Severance was worth the agonisingly long wait, and it lives up to the first season’s absurdly funny satirisation of corporate culture and strained office dynamics, surreal visuals, and stylish direction. Season Two is darker than the first, delving deeper into the ominous world of Lumon Industries and the increasingly blurred lines between the innie’s work and personal life. Whilst some questions are answered, many more arise, making for an utterly addictive watch. As the interwoven narratives become increasingly existential and complex, I eagerly await tantalizing revelations and, hopefully, some satisfying answers. PAIGE Though it lacks the humanity and bizarre humor of Season One, Severance's second season is nevertheless an engaging brain-teaser that expands the scope of its intriguing premise in numerous ways. It's a whirlwind that I consider a must-watch, even if it doesn't quite reach the heights of its predecessor; however, it would have been undoubtedly difficult to top the brilliance that Season One provided. This time around, the Lumon employees are more complex, the story is certainly more ominous, and the futuristic workplace visuals are once again of the highest caliber. Despite the fact that I have no idea where this show is going, I’m sticking along for the ride. QUENTIN Throughout the season, I’ve frequently flipped between “fuck this show” and “this show fucks!” For better or worse, that is the power of Severance . It’s equal parts captivating, thanks to tremendous performances, stellar direction, and an impeccable score; and frustrating, thanks to a puzzle-box mystery that never hints at a destination (or even a point). It’s weird. I want answers, but I don’t really know what the questions are since the story slowly meanders so densely. Hell, some episodes start in places that make me feel like I missed an episode. Severance is an excellently crafted series, but that doesn’t make it an excellent watch. ADRIANO I waited three years for Severance to return, and it exceeded my already high expectations. Continuing its commentary on corporate malpractice and the way they take advantage of their employees, including the ones who comply, this season doubles down on its mystery, answering many of our questions while giving us more to ponder, mixed in with devastating heartbreak and a twisted sense of humour. The entire ensemble is amazing (Tramell Tillman is this season's MVP) and the direction across the season is excellent. I just hope I don't have to wait another three years for the next season. Check out our reviews for Season One HERE .

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

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.

THE RESORT: SEASON ONE Starring: William Jackson Harper, Cristin Milioti, Luis Gerardo Méndez, Skyler Gisondo, Nina Bloomgarden, Gabriela Cartol, and Nick Offerman Creator: Andy Siara QUENTIN Overall, The Resort is the definition of a series being more about the journey than the destination. What starts as essentially a murder mystery (think Only Murders in the All-Inclusive Resort) eventually turns into something more aligned with Lost . The performances are great, and the story, complete with episodic cliffhangers and a back-and-forth timeline structure, is very engaging; However, the ending is more than just a little underwhelming with its lack of explanations. It’s a quick watch, though, so don’t let the fact that it goes out on more of a whimper than a bang deter you from taking the ride.

SKELETON CREW Starring: Jude Law, Robert Timothy Smith, Kyriana Kratter, Ryan Kiera Armstrong, Ravi Cabot-Conyers, Nick Frost, Kerry Condon, and Jaleel White Creators: Christopher Ford and Jon Watts AMARÚ I had to suppress my day-job bias when watching Skeleton Crew because, if it weren’t for Fern (Ryan Kiera Armstrong) telling Wim (Ravi Cabot-Conyers) everything I want to say to children but can’t as a professional, I would’ve missed the absolute wonder and novelty this show brings to a Star Wars universe in dire need of it. Overall, I loved the nostalgic feel Crew authentically delivers. It’s rife with Amblin fingerprints, balancing a heartfelt and perilous adventure with a truly compelling mystery that I had a blast uncovering, especially alongside Jude Law and Nick Frost, both of whom help bring real stakes to this “kids” show. Outstanding. PAIGE Without a doubt, Skeleton Crew is the most joyful Star Wars project we have ever gotten. This enjoyable journey, which has strong resemblance to an Amblin movie from the 1980s, manages to be full of heart and hope while maintaining a high level of stakes. As you follow this adventure, the series will make you feel like a kid again, led by the outstanding dynamic between Jude Law and the four kid leads (Robert Timothy Smith, Kyriana Kratter, Ryan Kiera Armstrong, and Ravi Cabot-Conyers). Thankfully, this series sparks a new hope for me within the Star Wars universe after its recent setbacks.

THE OLD MAN: SEASON ONE Starring: Jeff Bridges, John Lithgow, Alia Shawkat, Amy Brenneman, E.J. Bonilla, Bill Heck, Leem Lubany, Pej Vahdat, and Gbenga Akinnagbe Creators: Jonathan E. Steinberg and Robert Levine NICK One of the biggest strengths of The Old Man is the way it carefully executes big reveals through its seven episode first season. This makes it hard to get into certain plot points, but what I can say is the acting is great across the board. The heavy hitters do exactly as you’d expect, with John Lithgow getting the edge for series MVP. The writing is crisp too, a necessity for such a dialogue-heavy series. Unfortunately, the show struggles to maintain the tone of its excellent pilot, which sets up expectations for what the series will be, only to subvert them later. ADRIANO The Old Man gets a resounding “hell yeah!” from me. I went into this show thinking “great, some Yellowstone knockoff,” and was only really watching because of recommendations. With the first episode, I thought “Oh, this isn’t Yellowstone at all.” It’s a very exciting thrillride that I was not expecting to go on. It also shows that even at 72 years old, Jeff Bridges can beat me up. The guy was unexpectedly badass and gave a great performance to boot. Overall, I was shocked by how captivated I was with The Old Man . I just wish the season was longer QUENTIN While the series never quite lives up to the promises made in the premiere, it’s hard to be too negative about a show featuring such strong performances from screen legends Jeff Bridges and John Lithgow. Overall, the series is a tad slow, and the ending is a somewhat unsatisfying set up for Season Two; However, it’s filled with enough intrigue, interesting spycraft, and character development to keep you invested. And while I wouldn’t go so far as to call the show “predictable,” the fact is that *I* predicted several major plot points. But either way, predictable or not, The Old Man is worth watching.

INVASION: SEASON ONE Starring: Golshifteh Farahani, Shamier Anderson, Shioli Kutsuna, Firas Nassar, Billy Barratt, Azhy Robertson, Tara Moayedi, Daisuke Tsuji, and Sam Neill Creators: Simon Kinberg and David Weil QUENTIN Much like Netflix’s Away , Apple’s Invasion is a bait and switch. It’s marketed like War of the Worlds: The Series , but in reality, it’s just a soap opera with some sci-fi elements looming in the background. To be clear, Invasion isn’t really about an alien invasion. It’s about unconnected people dealing with regular life stuff (like a cheating spouse) at the outset of an alien invasion. Imagine the events of Independence Day happening, but you’re only watching This Is Us -style storylines. Maybe it eventually becomes the show it was advertised to be, but I’m not sticking around to find out.

ANGELYNE Starring: Emmy Rossum, Hamish Linklater, Martin Freeman, Philip Ettinger, Charlie Rowe, and Alex Karpovsky Creator: Nancy Oliver QUENTIN Even as Bitesize Breakdown’s resident old dude, I had never heard of Angelyne. After watching this short miniseries, I now know who she is, but I don’t understand why she matters. Nothing about her story is sympathetic, and there are no grand messages to be found or important lessons learned. The entire idea seems to be “remember that lady who was famous for being on billboards? This is her story.” Granted, Emmy Rossum does a great job and the soundtrack slaps, but ultimately, Angelyne perpetuates her shallow famous-for-being-famous nonsense. I suspect we’ll see a similarly fatuous series about the Kardashians in a few decades.

Previous Next What is a flop? Sometimes it's a bad movie, sure. But sometimes it's a critical darling that didn't bring in enough money or even a film that didn't do well in its original release but found success through home media or streaming. This got us thinking about some of our favourite flops for one reason or another. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Flops. Each writer ranks their 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. BETTER MAN Better Man, a musical biopic about Robbie Williams as a CGI ape, is a creative gamble that pays off spectacularly well for me while also seeming to be a success with critics. However, it has only grossed about $23 million worldwide against a $110 million budget, unfortunately. I’m a fan of Williams’ music, so I was already familiar with the songs, but I also loved the film’s outrageously entertaining musical set-pieces and unexpectedly raw and emotional portrayal of his story. Sadly, not even its bold stylistic choices and genuinely impressive CGI could make up for the fact that Williams simply isn't well-known enough in the U.S. (only making about $2 million at the U.S. box office) or well-liked enough across Europe for it to succeed. Despite this, I think more people should see Better Man regardless of their familiarity with Williams; they’ll be pleasantly surprised. - Katie 4. THE SHAWSHANK REDEMPTION It took me quite a long time to get over my imagined distaste for The Shawshank Redemption . I don’t know what it was, but growing up, I thought it would be a depressing, uninteresting, and downright slog of a three-hour movie. So, when I finally got around to watching it in my 30s (yes, it took me that long, don’t judge), I looked in the mirror and pointed at myself like that meme you all can now imagine in your head. Considering it flopped, maybe I was thinking the same thing as everyone else when it came out? Boy, were we all wrong. Shawshank is pure heart and joy wrapped in the tragic exterior that Tim Robbins’ Andy Dufresne had to face, with so many lovable (and hateable) characters that you wait with bated breath on each of their respectable resolutions. Whether you cried for Brooks (James Whitmore), got mad with Red (Morgan Freeman), or had the most cathartic exaltation when Andy’s Raquel Welch poster was removed, there is almost no movie that makes you feel the most rewatchable feels more than this brilliant story of resilience. - Amarú 3. WILLY WONKA & THE CHOCOLATE FACTORY As a child, Willy Wonka & the Chocolate Factory is pure wish fulfillment: a mysterious stranger has a contest where buying candy is a requirement, and the ultimate winner gets a lifetime supply of chocolate? That is a dream realized. When you grow up, you recognize the horrors and atrocities wrought on the Oompa-Loompas and children who enter Willy Wonka’s (Gene Wilder) factory and wonder why anyone would consider the story whimsical. A $4 million box office gross against a $3 million budget speaks to how the adaptation didn’t grab as many viewers as readers of Roald Dahl’s classic children’s story. Maybe Shaft was just more popular for the July 4th weekend in 1971, or maybe potential child murder wasn’t a legitimate draw. Either way, despite how problematic it ends up being, the film has magnificent songs, colorful characters, and Wilder making a case for an Oscar nomination as a man locked in arrested development simply trying to make the world more magical. Who can make the sun rise? The candy man can, and did. - Robert 2. SCOTT PILGRIM VS. THE WORLD In 2010, there were a handful of films that taught film geeks like me that online interest doesn’t always translate into mainstream success. Scott Pilgrim vs. the World was one of those very films. Despite months of hype, and even with strong reviews and great word-of-mouth, Edgar Wright’s adaptation of Bryan Lee O’Malley’s acclaimed graphic novel series only ended up grossing $47M worldwide against a reported $60M budget. As someone who bought the Blu-ray, downloaded the soundtrack on iTunes, played the game endlessly, read all the graphic novels, and even re-enacted a scene for my high school drama class: I’ll admit… I was bitter. And I had every reason to be because I’m one of those people who actually missed it in theatres. Luckily, it’s not hard to find a repertory screening in Toronto (for obvious reasons), so I was able to rectify a decades-old mistake. Still, no matter how big or small the screen, everything about the film feels as fresh as the first time - from the sublime visuals to its hilarious one-liners, and especially the incredible casting choices (Ellen Wong should’ve been a star, dammit). It’s my favourite Wright movie for a reason, and it fully deserves its cult classic status. Sylvester Stallone (The Expendables ) and Julia Roberts (Eat Pray Love ) may have won that weekend, but Scott Pilgrim won the war. - Bode 1. CHILDREN OF MEN Am I bitter that Children of Men was a massive flop? I don't know, honestly. Yes, it deserved so much more, especially considering it not only failed to earn back its $76 million budget but also lost about $120 million, which effectively put Alfonso Cuarón in director's jail for a time. However, while the box office is certainly a form of showing value with audiences, so is time… and time has been great to Children of Men . Recently ranked 13th on The New York Times' 100 Best Movies of the 21st Century, it’s clear that, eventually, audiences graced themselves with the masterwork of this poignant dystopian thriller, buying into the breathtaking visuals of the world-building and the excellent character writing. Plus, Cuarón escaped from director's jail to win two Best Director Oscars, so all is well there, too. - Adriano HONORABLE MENTIONS THE IRON GIANT THE BIG LEBOWSKI OFFICE SPACE KILLERS OF THE FLOWER MOON KISS KISS BANG BANG