Archive by Author

Episode 121: Exodus: Gods and Kings

19 Dec


In this episode, Tyler and Josh discuss Ridley Scott’s Exodus: Gods and Kings and David Lean’s Lawrence of Arabia.

Josh on WTF Are You Watching?

17 Dec

Santa Claus Conquers the Martians

Josh was recently a guest on the WTF Are You Watching? podcast to discuss Santa Claus Conquers the Martians.


Episode 120: Saving Christmas

12 Dec


In this episode, Tyler and Josh are joined by Nathan Potter to discuss Darren Doane’s Saving Christmas and Bill Melendez’ A Charlie Brown Christmas.

Minisode 52: Unforgiven

4 Dec


In this minisode, Tyler and Josh discuss the 1991 Best Picture Unforgiven, directed by Clint Eastwood.

Episode 119: Interstellar

27 Nov

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In this episode, Tyler and Josh discuss Christopher Nolan’s Interstellar and Franklin J. Schaffner’s Planet of the Apes.

Minisode 51: Schindler’s List

20 Nov


In this minisode, Tyler and Josh discuss Steven Spielberg’s Schindler’s List, winner of Best Picture for 1993.

Minisode 50: Forrest Gump

14 Nov


In this minisode, Tyler and Josh discuss the 1994 winner of Best Picture, Robert Zemeckis’ Forrest Gump.

Episode 118: Guardians of the Galaxy

6 Nov


In this special live episode, Tyler and Josh discuss James Gunn’s Guardians of the Galaxy and Orson Welles’ Touch of Evil.

Episode 117: The Conjuring

31 Oct


In this episode, Tyler is joined by Reed Lackey to discuss James Wan’s The Conjuring and Tobe Hooper’s Poltergeist.

Jim’s Seventh Favorite Film

29 Oct

When it’s all said and done, John Carpenter likely won’t go down in history being spoken of in the same breath as Martin Scorsese, Orson Welles, John Ford or any other director whose name is synonymous with path paving, pioneering or inspiring future generations. Despite directing a few titles that have resonated with audiences enough to be re-visited and reshaped by others (Halloween, Assault on Precinct 13, The Fog), Carpenter has also directed his fair share of clunkers (pretty much his entire output since the 90s minus In the Mouth of Madness) or titles that aren’t easy to classify by the mainstream (Big Trouble in Little China, They Live).

Because of this, it’s easier for people to overlook Carpenter’s legacy or discredit his successes as anomalies than it is to admit that the man who wrote, “I have come here to chew bubble gum and kick ass, and I’m all out of bubble gum” is a skilled filmmaker. But if one wanted to prove that Carpenter’s success and worth were warranted, he or she would have to look no further than The Thing as Exhibit A, B and C.