Episode 193: The End of the Tour

25 May

In this episode, Tyler and Josh discuss James Ponsoldt’s The End of the Tour and Milos Forman’s Amadeus.

EPISODE BREAKDOWN
00:00:50- Intro, Digisciple Me
00:01:35- The End of the Tour
00:45:45- Amadeus
01:24:45- Episode wrap-up

Shiver Me Timbers! by Mark Matich

24 May

For this fifth outing, even fans of Disney’s venerable Pirates franchise may be sympathetic to the tongue-in-cheek boredom of the flamboyant swashbuckler Jack Sparrow as he introduces himself to the uninitiated characters in the film, a plucky pair of youthful protags.  Despite the generally underwhelming response to two most recent films in the series (2007’s At World’s End and 2011’s On Stranger Tides), there is no doubt that, with his portrayal of the lovably wily Sparrow, Johnny Depp has created one of the more enduring cinematic characters of the twentieth-first century.  It would be easy enough to fashion another film around his antics, but thankfully a fresh directing duo, Joachim Rønning and Espen Sandberg, working from veteran adventure film screenwriter Jeff Nathanson’s (Indiana Jones and the Kingdom of the Crystal Skull) script, manage to add some enjoyable new dimensions, at least aesthetically, to the proceedings.

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The Fear of God: Alien

23 May

In this episode, Reed and Nathan discuss Ridley Scott’s science fiction classic Alien.

The Finest, by Bob Connally

21 May

“We want the finest wines available to humanity! We want them here and we want them now!” I had that put on a t-shirt at a specialty store once. It’s a quote that only a relatively small number of people will recognize (certainly in the United States). But I had to get it because it’s the definitive quote from one of the most quotable movies of all-time, Bruce Robinson’s cult comedy classic Withnail & I. It now comes in at number 7 on my list but at that time Robinson’s essentially autobiographical look back at 1969 Britain was my favorite movie. So why would a film about two out of work actors living in squalor and living to get drunk and high in late ‘60s London resonate with me so much? I don’t drink much- and not at all when I first saw it at age 20- I don’t take drugs, I’ve never been an out of work actor, and I’ve never been British in the ‘60s. Or in any other decade now that I think of it. But from the first time I saw it, Withnail & I spoke to me in a way few films ever have. I came for the quotes but I came away with so much more.

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Salty Cinema: Alissa Wilkinson

21 May

Vox.com film critic Alissa Wilkinson talks about her favorite film of the year so far, Get Out, how she stumbled into writing about movies for a living, why she thinks the best films about faith are usually made by filmmakers who have none, and the future of film criticism.

In Space, No One Can Hear You Shrug, by Bob Connally

20 May

In 2012, Ridley Scott returned to the world of Alien 33 years after directing the original film. Prometheus was a fairly entertaining but decidedly incoherent movie most notable for an outstanding supporting performance by Michael Fassbender as an android named David. Wisely, Scott and the rest of the creative team behind Alien: Covenant decided to bring Fassbender back but in terms of storytelling, we’re given a largely derivative mess. What’s maddening is not that the audience won’t be able to figure out what’s happening in the film. It’s that this is a movie that presents things in a needlessly complicated way in an attempt to make it appear deeper and more complex than it really is. After taking a slight step back and piecing it together, it’s very simple. There is nothing wrong with simplicity. But don’t try to trick us into thinking there’s more to it when there isn’t.

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The Jogger (directed by Josh Long)

20 May

Thimblerig’s Ark: Shadowlands

19 May

In this episode, Nate discusses Richard Attenborough’s Shadowlands.

It’s the End of the World as We Know It, by Tim Acheson

19 May

Have you ever wanted to watch Mad Max  without the madness? Then Revelation Road: The Beginning of the End is for you.

When it comes to Christians movies, I know the hearts of the filmmakers are in the right place. And, perhaps this is envy speaking, but I wish I could do what they do: Have the talent and equipment to put their story on the big screen. My point is, Christian filmmakers, keep doing what you love.

Unfortunately, good intentions can only carry one so far. And as is the case with many movies made by Christians, Revelation Road is another example of this truth.

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Episode 192: Brooklyn

18 May

In this episode, Tyler and Robert discuss John Crowley’s Brooklyn and Woody Allen’s Midnight in Paris.

EPISODE BREAKDOWN
00:00:50- Intro, Worth Watching
00:05:45- Film criticism
00:22:46- Brooklyn
01:18:10- Midnight in Paris
02:02:30- Episode wrap-up