So many horror movies offer up people in crisis as the victims. No, not all horror movies, just many. On today's episodes we look at one movie from this year, "The Boogeyman," that does just that and cogitate the reasons why the trope works.
"Indiana Jones and the Dial of Destiny," the fifth entry in the franchise, is now out on digital. The big question with this film, at least the one asked by audiences, seems to be "is it better than the last one?" That is the exact thing we're examining today and what we have to say about it all is... rather disappointing.
Do you ever watch something where half of it works so very well and the other half feels, a little, like they just weren't trying that hard? That's the way we feel about "Elemental," Pixar's latest which features a great world, wonderful characters, gorgeous animation, and the most lackluster romance we've seen in a while.
Not every podcast ends where you think it might when you begin. Today's episode is a case in point as we discuss the new version of "The Little Mermaid," where it goes right, where it goes wrong, and where it might teach us some things.
We will be honest with you, the "Fast and Furious" franchise does not operate in our world. The physics are wrong. The inability for so many people to die is wrong. There is just so much that could not happen.
Okay, that may be true, but so what?
On today's episode we celebrate "Fast X" for what it is -- insanely fun.
There is something wonderful in the notion that the new film "Kandahar" (2023) attempts to give us a more nuanced, multi-faceted, look at Afghanistan, the surrounding nations, and the world at large. It is admirable, particularly when we have such a strong tendency to flatten alternate perspectives on the big screen. What doesn't work as well here is the execution. Today we look at both.
With "Volume 3" now out on blu-ray and digital, our time with this version of the "Guardians of the Galaxy" is done. Where do folks end up? Well, we're not possibly going to tell you that, but we are going to offer up some of our thoughts on what works and what doesn't in James Gunn's final entry in the series.
Up this week on the podcast, "Book Club: The Next Chapter," which could also be titled "Book Club 2," but isn't. Heck, it could also be titled "Let's Take a Trip to Italy Rather than Making a Great Sequel." There would be truth in all those titles and we're going to explore that a little bit more this week.
James Cameron's "Avatar" is now available in 4K and that makes it the right time to look at the movie once more. But, upon doind so, we find out opinions wholly unchanged. Stellar in some respects, it is a complete disappointment in others. Let's talk.
A not-quite-untold story, "Chevalier" offers up beautiful sets and costumes and a truly charismatic lead performance. But, is that enough to win our hearts and minds or is there something, unfortuntately, missing from the overall tale?
Out now on Blu-ray and digital is the bloody good film, "Renfield." It is not, sadly, bloody great, just bloody good. And yet, it starts off in absolutley brilliant fashion. Where does it go right? Where does it go wrong? Just how deep will your teeth sink in? Listen and find out.
Out a couple weeks ago on digital and in a couple of weeks on Blu-ray is the third Ant-Man movie, "Ant-Man and the Wasp: Quantumania." It is good enough, surpassing the second film in the series but not as enjoyable as the first. But, what concerns us more this week is the way in which real people's lives are used as fodder for speculation on the direction of a film franchise, and that is what we're going to talk about.
At first blush, it may seem like a whole lot of silliness, but the truth is that there's a genius to Elizabeth Banks' "Cocaine Bear." It is funny and disgusting and barrels its way through its 90+ minute runtime like a bear high on... well, cocaine.
The new "Avatar" sequel is... a lot. A lot of pretty. A lot of time. A lot of CGI. A lot of effort on all parts. Well, all except for the story. The story is a significant disappointment. The story, which somehow tends to get a pass when the movie is discussed, sinks the whole endeavor. It isn't that the memory fails to be mesmerizing, it's completely astounding on a visual level, it's just doesn't work on a story one.
We may have a soft spot for epic fantasy and adventure films, but that doesn't mean that we're a complete pushover. This week, with the 1981 film "Dragonslayer" now available on 4K, we find an example of film in the genre that simply does not work for us. What it does do, however, is spark more interest in our continued conversation about power and religion.
This past weekend, "Women Talking" won an Academy Award for Best Adapted Screenplay. The accolade is well deserved, as the movie is an incredibly powerful one. Dealing with upsetting material, "Women Talking" is distrubing not just for the real events it is based on, but for the truths it shows us about our world. Let's discuss.
Some actors find themselves, at some point in their career, having a moment. Right now, Jonathan Majors is having a moment, one that we hope continues for decades to come; that the moment becomes a long and varied and fascinating career. He not only has two movies in theaters as we release this episode, but one from last year has just arrived on Blu-ray, and that's the one we discuss today, "Devotion."
Currently out on Blu-ray is not one, but two different movies that hit theaters last year and deal with, in no small part, movies. Yes, now available are Steven Spielberg's "The Fabelmans" and Sam Mendes' "Empire of Light." While both movies are beautiful to look at, only one touches the soul. Which goes right and which goes wrong? Let's discuss.
Sometimes it is quite easy to pinpoint what is true and what is a lie. Sometimes it is far more complicated. And perhaps--just perhaps--sometimes it might not matter at all. This week's episode looks at the new film, "Emily," which focuses on the life on Emily Brontë as it may have been but probably wasn't but could have been anyway. Just where is the truth and does it matter if there's a lie?
How do we move from the past to the future? How do we take what has come before, show it reverence (when appropriate), and still manage to create something new and wonderful? This week we're discussing two new Blu-ray releases, "Black Panther: Wakanda Forever" and "Mickey & Minnie 10 Classic Shorts - Volume 1," that, maybe, help guide us on that path.
For this final podcast of 2022, we are going to discuss "Amsterdam," at least a little, one last time. That's because this last episode of the year is going to focus on two other comedies that do work -- "Ticket to Paradise," and "The Banshees of Inisherin." What can we learn from them about why they succeed where that other film fails? What if we decided that an answer was in the clothing... or at the very least is divulged by the clothing?
Last time we were on about how the pacing for Amsterdam is just awful, how it fails to allow the jokes to hit, how it has some sort of faux gravitas that makes it deadly dull. You want an example of how to do it right with a film that also came out on 4K last week? Look no further than Quentin Tarantino's "Pulp Fiction." This week we discuss how it goes right and the one place where it makes a misstep that bothers Josh to this day. Take a listen and enjoy!
It may have the best of intentions, but "Amsterdam" is a film which crumbles under its own weight. It is a movie that offers the sense that it desperately wishes to be Important and in pushing for that added weight, that added meaning, that added depth, it undercuts everything that works about the film. Oh, there are most certainly some great aspects to "Amdsterdam," chiefly the performances, but it simply cannot get out of its own way.
Not every movie has to be the biggest and the best, the funniest and most clever, the loudest and most spectacular. It is okay sometimes for a movie to just, you know, be a movie. That is preceisely what we encounter today with the Bryan Cranston and Annette Bening-starring "Jerry and Marge go Large." The now available on Blu-ray and digital comedy is... fine, and that's quite enough.
Some movies make us stop and wonder what exactly it is that we're seeing. This can be either a good thing or it can be a bad thing. With "Honk for Jesus. Save Your Soul." we're definitely looking at either one or the other. Which? Why? What does/doesn't work about this satire? Only one way to find out -- open your hearts (and ears) to this podcast.