12 May
There is a very specific sub-genre of thriller set in a singular location, usually built around a countdown based life-or-death-stakes scenario. Notable entries in this field have been Phone Booth and Buried, but the latest one is an independent piece called Flipped (also known as Blood Rush), directed and co-written by Harris Demel.
12 May
In this episode, Tyler and Robert discuss Alejandro G. Iñárritu’s The Revenant and Sean Penn’s The Crossing Guard.
EPISODE BREAKDOWN
00:00:44- Intro, Civil War review, Out Now appearance
00:08:50- The Revenant
01:40:45- The Crossing Guard
02:20:00- Episode wrap-up
11 May
From the first moments of The Lobster, we know the kind of disturbingly comical ride we’re in for. A woman drives through the rain in silence. She stops in a field of donkeys, gets out of her car, shoots one of the donkeys in the head, and returns to her car, all in one shot. We will not see this woman again, but her actions come to mean more as we are assimilated into the strange dystopian world of the film. As he did with 2009’s notorious Dogtooth, director Yorgos Lanthimos creates a singularly fascinating world, alternately filled with humor and dread.
5 May
Tyler recounts his experiences at the 2016 International Christian Film Festival.
EPISODE BREAKDOWN
00:00:44- Intro
00:04:40- Day 1, Priceless, human trafficking
00:16:45- Day 2, Tyler’s seminar, Wade Williams
00:26:00- Movie recommendations
00:57:00- Reactions to seminar
01:04:15- Day 3, Alex Kendrick
01:10:00- God using Christian film, “The Dilemma of Christian Film”
01:26:50- Awards, meeting Alex Kendrick, the end of the festival
00:01:35- Episode wrap-up
5 May
At this point, the movies in the Marvel Cinematic Universe are fairly easy to make. We know the characters and the world; we just need the new conflict explained efficiently and we’re off to the races. This is not a good thing. Movies should not be by-the-numbers, regardless of how deep into a specific series or franchise they are. In fact, with each new entry, we should see more effort put into the finished product, not less. Rather than simply give us a variation on what we’ve seen before, the filmmakers should at least attempt to present us with something new. By pitting its heroes against each other, Captain America: Civil War had the opportunity to show us something we hadn’t seen before. It could have divided our loyalties and made us question the motivations and philosophies of these characters that we’ve come to know and love over the years. And while it does tease us with that for a few minutes, the film mostly abandons that in order to give us more of the same.
18 Apr
Elvis & Nixon, a stumbling fantasia based on a real meeting, the proof of which is a hand-shaking photograph that is famously the most-requested item from the National Archives, puts forth apocryphal assumptions of how and why Elvis Presley managed to maneuver past the wall of paranoia that was the Nixon White House, hoping to become a “Federal Agent-at-Large” in order to go undercover amongst his own celebrity circles – to “protect this country from sliding into anarchy.” The movie, as was the actual event, is set in December 1970, before Nixon had fully installed his now-infamous Oval Office recording system, so the reasons for the granting of the meeting and the content of the eventual conversation are left to the imagination of the screenwriters. Unfortunately for anyone who nurtures a real appreciation for the overwhelming richness of these idiosyncratic monoliths, the writers, who have a supreme opportunity to concoct some choice banter, play it instead as a quick, barely-scratched-surface intersection of awkward groping for common ground, neither one coming off as someone with actual secrets or legitimate motives, and the titular photo-op finally flops, neither funny nor especially interesting.
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