More Than One Lesson

There’s a scene near the end of Ed Wood where a couple of Baptists who are funding Ed’s “supernatural thriller,” Plan 9 From Outer Space question his ability as a filmmaker. It’s a breaking point for the already harried director, who runs off the set declaring, “These Baptists are stupid, stupid, stupid!” Despite the struggles, Ed’s movie is completed and released soon after. I can imagine a similar moment taking place in 1973 when horrified members of the Lutheran Society first watched George A. Romero’s The Amusement Park, a film they commissioned to raise awareness about the plight of the elderly. The two key differences being that Romero was a decidedly more talented filmmaker than Wood and unlike Plan 9, The Amusement Park was shelved, seemingly to be forgotten forever. But 48 years later, Romero’s movie is finally being released to the world and it absolutely deserves to be seen.

For the past few years, Tyler has been kind enough to post my annual Bob Awards to this site. Every year there are a few key films that for one reason or another I am not able to see in time and when I finally get around to some of them, I regret not having seen them sooner. A past example of this was 2018’s Suspiria, particularly for the performance of Tilda Swinton. For obvious reasons, there were a few films in 2020 that I simply haven’t had the opportunity to see yet but there is one that was released on Hulu in plenty of time that I just didn’t get around to. Until now. It pains me because Thomas Vinterberg’s Another Round is almost certainly the best movie of 2020 that I have now seen.

Supporting Actor

Walton Goggins – Fatman

Supporting Actress

Marianne Jean-Baptiste – Fatman

Science fiction stories inherently ask audiences to suspend their disbelief, but good sci-fi storytellers know that while they are allowed to ask us to accept an improbable or even impossible premise, that there must be a sense of reality to prop it all upon. Stowaway director Joe Penna and co-writer Ryan Morrison thankfully understands this. What they have crafted is a nicely realized sci-fi film that is far more interested in moral dilemmas and inviting the audience into the situation at hand than it is in heady abstract ideas.

In this episode, Reed and Nathan are joined by Matt Ruff to discuss Session 9.

2020 was not only an incredibly difficult year, it was a decidedly strange one. That strangeness was evident in the way movies were released (or in many cases not released). As a result, certain movies that would have had theatrical releases went straight to streaming services you were already paying for while others cost $30 to rent which is great for a family of 4 but made them inaccessible to people who live alone. This year’s Bob Award nominations felt different to put together than ever before and they look a little different as well. Another different aspect of this year’s nominations is that I have left out technical categories. It’s difficult to truly appreciate sound, visual effects, or cinematography without having the opportunity to see movies in a theater. With theaters re-opening my hope of course is that next year, the Bob Awards can return to normal, but for now the focus will be on acting, writing, directing, and of course, Best Picture. The winners will be announced in the next couple of weeks and as before, “The Fun Stuff” will highlight achievements that don’t fit into standard categories. With that, here are the Bob Award nominations for 2020.

Will Hawkins (Kevin Quinn) is a troubled teen who has moved from home to home since the death of his parents. After A Week Away’s opening scene in which he is arrested for “stealing a police car,” which he isn’t driving at any point during said scene, we are given Will’s lengthy rap sheet as he is told the only option now for him is juvenile hall. Will’s officer (Ed Amatrudo) tells the audien – I mean, Will, that he’s a “great kid,” even though he’s just given us no evidence of that. It’s indicative of the many problems to come that between both the stolen police car and our protagonist’s personality, A Week Away jumps right into the, “Tell, Don’t Show,” school of screenwriting.

A few years ago in my review of Kong: Skull Island, I wrote, “Sometimes we want to see a gigantic gorilla smash things.” Of course, while much has changed in our world since that time, that’s an eternal and universal truth. So as movie theaters gradually re-open across the country, the opportunity to see a gigantic gorilla and a gigantic lizard smash things and indeed, each other, has emerged and many people who have not ventured into a movie theater in over a year are taking that opportunity. Being that there are still many theaters that remain closed and because many are understandably averse to going into public for reasons other than buying groceries, Warner Bros. is offering Godzilla vs. Kong on its streaming service, HBO Max, at this same time. So is this monster brawl worth watching and if so, is it worth seeing in a theater?

In this episode, Reed and Nathan discuss the first appearance of Chuckie, Child’s Play (1988).

In this episode, Tyler discusses Darius Marder’s Sound of Metal and John Sayles’ Passion Fish.