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Episode 142: The Babadook

15 Oct


In this episode, Tyler, Robert, and Reed discuss Jennifer Kent’s The Babadook.

00:00:45- Intro, BP Slasher Commentaries, Reed’s articles
00:07:25- The Babadook
01:41:20- Forbidden Planet
02:11:26- Episode wrap-up

Episode 139: Whiplash

25 Sep


In this episode, Tyler and Robert discuss Damien Chazelle’s Whiplash and James Bridges’ The Paper Chase.

00:00:44- Intro, Alpha Omega Con
00:06:49- Online Film Critics Society, Jimmy Pardo
00:18:45- Whiplash
01:24:30- The Paper Chase
02:06:45- Episode wrap-up


Episode 136: with special guest Vance Sanders

14 Aug


In this episode, Tyler and Robert are joined by comedian Vance Sanders to discuss Los Angeles stand-up, movies, and politics.

Episode 134: The Master

17 Jul


In this episode, Tyler and Robert discuss Paul Thomas Anderson’s The Master and Richard Rush’s The Stunt Man.

Episode 130: Locke

29 May


In this episode, Tyler and Robert discuss Steven Knight’s Locke and Paul Schrader’s Affliction.

00:00:50- Intro
00:07:10- Locke
01:04:40- Affliction
01:47:18- Episode wrap-up

Episode 129: Nightcrawler

7 May


In this episode, Tyler and Robert discuss Dan Gilroy’s Nightcrawler and Paul Thomas Anderson’s There Will Be Blood.

00:00:44- Intro, International Christian Film Festival
00:20:05- Nightcrawler
01:14:25- There Will Be Blood
01:46:15- Episode wrap-up

Tolerance, by Robert Hornak

1 Feb

lenny bruce

Whether or not you are Charlie Hebdo, current events make it obvious that comedy can be a lightning rod for dubiously justified anger.  It’s always been so, as Mike Celestino’s ambitiously-scoped documentary That’s Not Funny illustrates, but the shock is that these days the expression of that anger can run the broad gamut from heckling a comedian to storming the offices of a leftist humor magazine with automatic weapons.  Perhaps perversely, one aches while watching the film, which was produced before the Paris attack, wishing Celestino had just waited a few more months so he could include that most tragic of examples.  But there’s enough grist for the mill in the history of American comedy to help him preach his sermon, and Celestino covers it all.


Episode 104: Michael Clayton

30 May


In this episode, Tyler and guest host Robert Hornak discuss Tony Gilroy’s Michael Clayton and Sidney Lumet’s The Verdict.

The Eyehole, by Robert Hornak

12 Sep

In Kurt Vonnegut’s book, Slaughterhouse-5, the Trafalmadorians have abducted Billy Pilgrim and put him in a glass-domed cage on their planet, on display like a zoo animal.  Trafalmadorians do not live in the now, they live on their entire timeline at the same time.  A being that is dead is dead only from a certain point on, but he is alive at all points before that, so not really ever dead.  Trafalmadorians do not understand Billy’s ultra-limited way of thinking about time.  When I read the following description for the first time years ago, I felt I had a perfect analogy to help me understand the difference between the way God sees time and the way I see time:

There was a lot that Billy said that was gibberish to the Trafalmadorians.  They couldn’t imagine what time looked like to him.  Billy had given up on explaining that.  The guide outside had to explain as best he could.

The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear.  They could look at a peak, or a bird, or a cloud, at a stone right in front of them, or even down into a canyon behind them.  But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off.  There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe.

This was only the beginning of Billy’s miseries in the metaphor.  He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe.  The far end of the pipe rested on a bi-pod which was also bolted to the flatcar.  All Billy could see was the little dot at the end of the pipe.  He didn’t know he was on a flatcar, didn’t even know there was anything peculiar about his situation.

The flatcar sometimes crept, sometimes went extremely fast, often stopped – went uphill, downhill, around curves, along straightaways.  Whatever poor Billy saw through the pipe, he had no choice but to say to himself, “That’s life.”

Episode 88: with special guest Robert Hornak

11 Sep


In this episode, Robert Hornak returns to discuss his life and faith.