This week, we watch the second film from the director of The Witch. This movie drips style and stinks of old seaweed. Dafoe and Pattinson give career best performances, as do a few seagulls. The Lighthouse (2019), directed by Robert Eggers.
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All in Film
This week, we watch the most infamous and possibly influential horror movie of all time. 50 years later and this film still provides shocking imagery and performances that have yet to be equaled. Centering itself as a character drama, the seemingly lengthy two and a half hours creep by in the best way. The Exorcist (1973), directed by Willam Friedkin.
This week, we are watching a classic from over 80 years ago. This may be the most modern feeling pre-1960’s film we have watch so far in our hundreds of episodes. While it might be a staple in film school classes, it doesn’t need any explanation from a stuffy teacher to see how well made and entertaining this classic remains. Casablanca (1942), directed by Michael Curtiz.
Part 2
This week, we watch love in space. This time hopping journey through the great unknown is filled with hard sci-fi science and amazing special effects. It is also filled with expository dialogue and some less than stellar ideas about how love travels through space and time. Interstellar (2014), directed by Christopher Nolan.
This week, we watch love in space. This time hopping journey through the great unknown is filled with hard sci-fi science and amazing special effects. It is also filled with expository dialogue and some less than stellar ideas about how love travels through space and time. Interstellar (2014), directed by Christopher Nolan.
This week, we start October early. This Australian horror film take approximately 2 minutes to hook you into the story with an amazing introduction sequence, and the rest of the movie follows up with plenty of scares and amazing practical effects. Talk to Me (2022), directed by Danny and Michael Philippou.
Part 2.
This week, we watch the highest rated Hitchcock film, and what is considered widely to be the film that modernized horror. Come for the shower stabbing, stay for the controversial use of a toilet, a woman in a bra, and the utterance of the word “transvestite”. Psycho (1960), directed by Alfred Hitchcock.
This week, we watch the highest rated Hitchcock film, and what is considered widely to be the film that modernized horror. Come for the shower stabbing, stay for the controversial use of a toilet, a woman in a bra, and the utterance of the word “transvestite”. Psycho (1960), directed by Alfred Hitchcock.
This week, we Barbie’d the Heimer. The most unexpected one-two box office knockout’s better (pink) half is breaking records left and right. Top Hollywood creative talent somehow managed to take corporate greed and product recognition to bring older and younger generators together with huge laughs throughout. Barbie (2023), directed by Greta Gerwig.
This week, we watch the film that is taking the box office by storm (with the help of a specific other pink-ish film). Christopher Nolan takes on the massive story of Oppenheimer and the people around him during the Manhattan Project and the race to develop a bomb that could end us all. Oppenheimer (2023), directed by Christopher Nolan.
This week, we watch the highest rated silent movie of all time. At the height of his power and the end of the silent film era, Charlie Chaplin used an exorbitant amount of his own money to create what many consider to be his masterpiece. City Lights (1931), directed by Charles Chaplin.
This week, we watch Harrison Ford’s second outing as the rugged archeologist with the hat and the whip. This film was highest grossing movie of the year it came out, broke opening weekend records, and was the catalyst for the PG-13 rating (alongside Gremlins). We discuss how it compares to the other films in the franchise. Indiana Jones and the Temple of Doom (1984), directed by Steven Spielberg.
This week, we watch Harrison Ford put on a hat and whip some bad guys. The film that introduces the Indiana Jones character remains the series best, even as it is now 5 movies strong. The supporting cast (Karen Allen, John Rhys-Davies, Paul Freeman) all nearly match Ford’s iconic roll, and the practical action set-pieces remain some of the best the genre has ever seen. Raiders of the Lost Ark (1981), directed by Steven Spielberg.
This week, we watch Harrison Ford put on a hat and whip some bad guys. The film that introduces the Indiana Jones character remains the series best, even as it is now 5 movies strong. The supporting cast (Karen Allen, John Rhys-Davies, Paul Freeman) all nearly match Ford’s iconic roll, and the practical action set-pieces remain some of the best the genre has ever seen. Raiders of the Lost Ark (1981), directed by Steven Spielberg.
Bonus Episode! This week, we watch the highest rated move we’ve watched so far. Currently sitting at the #13th best movie of all time, Spider-Man: Across the Spider-Verse is a film that has already solidified itself into movie history as one of the most successful sequels of all time. Even more impressivly, it's the highest climbing film on the Top 250 since 2008’s The Dark Knight. Directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, and produced by Lord and Miller.
Bonus Episode Time! To welcome the film onto Netflix and to attempt to give it all the praise it deserves, we watch Spiderman: Into the Spider-Verse. This movie blows away all recent animated and superhero films alike. It drips originality and brims with jokes, action, and lovable characters. The creators and animators swing for the fences and succeed throughout. Directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman.
This week, in our art-house drama journey, we delve into 'Three Colors: White' (1994). We spotlight the film's intriguing plot, Julie Delpy's performance, and Kieślowski's celebrated storytelling. Does this second installment of the trilogy resonate differently with our hosts? Explore 'Three Colors: White', another installment of the trilogy directed by Krzysztof Kieślowski.
This week, we venture into the emotionally charged world of the first installment in a French trilogy, "Three Colours: Blue" (1993), directed by Krzysztof Kieslowski. We dissect its compelling narrative that intertwines themes of love and loss, focusing on the film's intent, execution, and the thought-provoking elements it unveils. Join us as we navigate the captivating storytelling and distinctive cinematic style in this part of a renowned trilogy.