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All in Movie
This week, we watch the classic noir that has a “bad guy” as the protagonist for the first time in Hollywood film history. A man finds himself in the positions of both the investigator and the person being investigated in an insurance fraud scheme. Even though the film tells you who is the murderer is within the first five minutes, it manages to keep you guessing until the end. Double Indemnity (1944), directed by Billy Wilder.
This week, we watch the historical epic that not only paved the way for all blockbuster films to come after it, but also one that stands the test of time while being a work of art that will never see an equal. The list of films influenced by this masterpiece is massive, and includes every single Steven Spielberg movie, as seeing this in the theater as a child was the reason he became a director. Lawrence of Arabia (1962), directed by David Lean.
This week, we watch the sprawling tale of what it was like to be a kid in the rural South in the 30s. This film has some of the best acting in an older film we’ve seen, and the film remains an amazingly moral tale about what it takes to stand up for a cause and defend all human rights equally. To Kill a Mockingbird (1962), directed by Robert Mulligan.
This week, we watch a film that combines romantic drama and science fiction in a very unique way. Jim Carrey and Kate Winslet each give their career best performances, bringing dramatic weight into a story that could be classified as fantasy, and making the relationship between Joel and Clementine relatable and heartbreaking. Eternal Sunshine of the Spotless Mind (2004), directed by Michel Gondry.
This week, we watch the fictional story about the real musical genius, Wolfgang Amadeus Mozart. This film is remembered for its performances and its period piece elements, with real locations throughout the majority of the movie, and ridiculous costumes at every turn. If you can get past his laugh, this one is a classic. Amadeus (1984), directed by Milos Forman.
This week, we watch Stanley Kubrick’s take on the Vietnam War. Instead of being a rehash of the ideas explored in the many other war films made by the time of its release, Kubrick focuses on the human aspect of turning men violent. The result is an extremely tense and unpleasant viewing experience that many veterans claim is the closest a film has come to realistically portraying what being sent to war is like. Full Metal Jacket (1987), directed by Stanley Kubrick.
This week, we watch the best picture winning film about two Con-Artists going in together to pull off a huge grift. Those two men happen to be Paul Newman and Robert Redford. The Duo’s on-screen charisma shines yet again, and while it might not be setting out to do anything but entertain, it does so in spades, and amounts to a ride worth taking. The Sting (1973), directed by George Roy Hill.
We published our first episode of our filmcast on 10/20/2016. From the start, we froze the IMDB list in time so that we wouldn't have to work from a moving target. But what as changed on the list since then? In this special episode, we review what movies have dropped out (there's some shockers!), what movies have jumped in, and what movies have moved about the most in the list since we started.
This week we continue our discussion of Stanley Kubrick’s 2001: A Space Odyssey and focus on facts and trivia about the film. 2001: A Space Odyssey (1968), directed by Stanley Kubrick.
This week, we watch the most polarizing science fiction film of all time. Famous for it’s slow pacing, heady ideas, and mind-bending visuals, this film has not aged since it’s release over 50 years ago. It inspired all visually based movies after it, from Star Wars to Interstellar, and other art forms as well (David Bowie owes his career to a viewing of this film). 2001: A Space Odyssey (1968), directed by Stanley Kubrick.
This week, we watch the Italian Neorealism film classic that is named by many to be the single greatest film ever made. We don’t get it. Bicycle Thieves (1948), directed by Vittorio De Sica.
This week, we watch the classic musical about the movie industry’s shift to ‘talkies’. While there are stories of Gene Kelly being hard to deal with on set, there’s no question that he brings the best out of the whole cast. And despite the films age, its still hilarious. Singin’ in the Rain (1952), directed by Gene Kelly and Stanley Donen.
This week, we watch the film that just won Best Picture at the Oscar’s (as well as Best Director, Best Writing, and best Foreign Picture). It is also currently very high on the IMDB top 250 list. We couldn’t recommend this movie enough, and we highly recommend watching it without watching a trailer or reading about it. Parasite (2019), directed by Bong Joon-ho.
This week, we watch the first full length computer animated movie ever made. Woody And Buzz Lightyear have an epic adventure of tiny proportions in this landmark film that remains entertaining, and even though the technology since its release has improved leaps and bounds, those improvements wouldn’t have been possible without this classic. Toy Story (1995), directed by John Lasseter.
This week, we watch the Lock, Stock……and Two Smoking Barrels: Part 2. This time with Brad Pitt. It’s probably a good time to make sure your subtitles button works. Snatch (2000), directed by Guy Richie.
This week, Tarantino rewrites history for the first time in his action/fantasy tale about Nazi’s screening a film in a movie theater, and the surrounding plans to kill Hitler and his top advisers. Utilizing his powers of dialogue and quick, brutal violence, Quentin weaves together five chapters of tense and hilarious character interactions. And you know something, Utivich? I think this just might be his masterpiece. Inglourious Basterds (2009), directed by Quentin Tarantino.
This week, Monty Python’s classic film clops its way onto our screens, coconuts in hand. This low budget comedy stands the test of time and remains one of the funniest films from start to finish ever made, no matter how many times we watch it. Monty Python and The Holy Grail, directed by Terry Jones and Terry Gilliam.
