Monday, December 9, 2013

Episode 12 - 9 - 13

(original podcast date 12-9-13)
Here in Northwest Arkansas, 1-2 inches of snowfall can bring the entire tri-county area to its worship of the fact that we don't have the infrastructure to deal with snow or ice. So, the University has been closed since last Thursday while townsfolk try and fail to drive on frictionless surfaces; we've been on glorious vacation, venturing out to sled or holing up in our fortresses of solitude, dreading the return to our white, blue, or taupe-collared jobs.

But our vacation is probably coming to an end tomorrow, and in any case we braved the weather to take advantage of a captive audience.

We heard music from:

Eight Below, 2006 - Mark Isham
The Ice Storm, 1997 - Mychael Danna
The Empire Strikes Back, 1980 - John Williams
The Shining, 1980 - Wendy Carlos


Sunday, December 1, 2013

Episode 12 - 1 - 13

Tonight we discussed the much talked about and, it must be said, highly ironic death of Paul Walker who drove furiously into a pole and was killed. Of course, he wasn't driving, but likely complicit in his race-car buddy's showing off in a $300,000 Porsche. We had a few jabs about this, probably provoking the ire of a few listeners, but the bottom line remains that a 40-year-old with a young daughter died under circumstances that could have been avoided. The Fast and the Furious still sucks.

The Boom reviewed Thor: The Dark World and found it silly. Go fig.

We heard music from:

Risky Business, 1983 - Tangerine Dream
The Social Network, 2010 - Atticus Ross
Broken Flowers, 2005 - Mulatu Astatke


Monday, November 25, 2013

Episode 11 - 25 - 13

(original podcast date 11-25-14)
On the heels of Thanksgiving, Hanukkah, and Black Friday (so to speak) this week, we were feeling a bit festive. The Boom Operator reviewed Ender's Game, and found it surprisingly decent. We both took Hunger Games: Catching Fire to task for knocking aside the political message for a goddamn Twilight-inspired love triangle (a criticism that could be leveled at the books). Bleh.

We heard music from:

Black Sunday, 1977 - John Williams
Planes, Trains and Automobiles, 1987 - Various
Catch Me If You Can, 2002 - John Williams
Jingle All the Way, 1996 - David Newman


Monday, November 11, 2013

Episode 11 - 11 - 13

Salutations and whaddup, beloved listeners. The brisk, pleasant cool of Fall has eased up a bit (dammit) while Thor continued to thwack the box office and the Boom Operator spent almost the entire time talking to an old hippie who was an extra on Zabriskie Point. It was a chatty show.

We listened to the following:

Dark City, 1998 - Trevor Jones
Fire and Ice, 1983 - William Kraft


Tuesday, October 15, 2013

Episode 10 - 14 - 13

Our second week of October saw a Goblin-themed show: the creepy, synthy, funky sounds of the group that is largely responsible for the ambiance in Dario Argento's most famous films. This is was a really easy show to listen to.

We waxed lyrically about October and why exactly it holds the appeal to us that it does. Mostly we talked about our upcoming or ongoing projects: my capsule reviews of The Howling on this blog, our Multiple Goregasms horror movie screening this week, Halloween Edition Trivia, and Beat Bachs' Halloween Dance Party. The month is ours!

We heard music from:

Patrick, 1978 - Goblin, Brian May
Contamination, 1980 - Goblin
Zombi, 1980 - Goblin
Suspiria, 1977 - Goblin


Episode 10 - 7- 13

October, our favorite month, arrives slick with pumpkiny amnion. Our first October show (of four) kicks off with a John Carpenter theme.

Review - Gravity: Alfonso Cuaron has a pretty good track record, I think. Often his stories can be schmaltzy, but his method of filmmaking usually comes to the fore and lingers far past your initial viewing. Gravity, ostensibly a space-thriller, is actually a meditation on loss and mortality in the form of a close-hewn, visually-striking narrative about simpler events. The metaphor gets a little out of hand in certain points, but by and large the was a thoughtful story with great effects.

We heard music from:

The Thing, 1982 - John Carpenter, Ennio Morricone
In the Mouth of Madness, 1994 - John Carpenter
The Fog, 1980 - John Carpenter


Episode 9 - 30 - 13

With October one spooky day away we bid adieu to one of the least interesting months of the year in preparation for our Halloween month of madness. We have plans for themed radio shows and horror movie screenings every week of this, our favorite time of year. Stay tuned.

Review - Don John:

Reign of Fire, 2002 - Ed Shearmur
Repo, 2010 - Marco Beltrami
Shutter Island, 2010 - Various


Monday, September 23, 2013

Episode 9 - 23 - 13

Somehow our topics wandered from artistic seminal fluid and Dario Argento's latest colon-blow, Dracula 3D. Please do yourself a favor and watch the trailer for this. It looks...transcendent.

Review - The Grandmaster: Wong Kar-wai, that director of cryptic lovelorn conversations and shaky slow-mo with obtuse camera angles somehow was tasked to direct a film about a mythical character in martial arts and film history, Ip Man, who has already been cinematized in a manner befitting his influene. If you're not familiar, this guy is almost solely responsible for training and influencing a host of Hong Kong martial artists who would go on to become movie stars, therein transmitting kung fu and kung fu films to the West. There were clearly two films made here: the one WKW wanted to make, and the one he was bound to make, which results in some strange, uneven pacing, and somehow makes both the action scenes and the love story feel tacked on. The compositions make it worth, though, I think.

Review - We're the Millers: You'll just have to tune in and hear us deconstruct modern comedy and somehow manage to intelligently talk about "Pee pee - Poo poo - Fart."

We heard music from:

Tenebrae, 1982 - Goblin
Cloudy with a Chance of Meatballs, 2009 - Mark Mothersbaugh
House of Flying Daggers, 2005 - Shigeru Umebayashi


Monday, September 16, 2013

Episode 9 - 16 - 13

Tonight we brought an old buddy on the show before he sets sail for the Hipster Coast, and we all sat around talking about movies, Snapchat, and cartoon pornography, among others.

Review - Insidious: Chapter 2: Serendipitously getting to take advantage of his runaway hit The Conjuring a mere month ago, James Wan returns with the second installment of what I'm sure will be more than two or three movies, given the director's cred and the fact that he can make movies for around $5 mil that turn a 900% profit. This second Insidious seems to be going to way of Saw, which both Wan and Leigh Whannel are responsible for, as in: the plot of the first film is retreaded and this is proffered as depth. Beyond that, it's the usual bag of tricks for Wan - more jump scares than you can shake an epileptic demon at. For a micro-budget production and a ghost story, it's fine, but Wan's shtick  is pretty limited, and I'm not sure how long he can trot it out.

We heard music from:

The Mummy, 1999 - Jerry Goldsmith
Fletch, 1985 - Harold Faltermeyer
Fritz the Cat, 1972 - Ed Bogas, Ray Shanklin


Sunday, September 15, 2013

Episode 9 - 2 - 13

This week we interviewed Cody Ford, editor of The Idle Class magazine, the last issue of which we are in. We discussed Arkansas film and filmmakers working in the state as well as reviewing the new Simon Pegg joint, The World's End.

We heard music from:

"American Gladiators," 1989 - 1996 - Bill Conti
Tucker: A Man and His Dream, 1988 - Joe Jackson
American Hot Wax, 1978
My Stepmother is an Alien, 1988 - Alan Silvestri
It! Terror From Beyond the Stars, 1958


Episode 8 - 26 - 13

So, all of the internet is busting nutts of sadness and hate over the announcement of Ben Affleck as Batman in the new, Batman-exclusive movie, Superman II, starring Batman. Oh, and Elmore Leonard died.

We also reviewed You're Next, which more or less could be translated to Home Alone with  lots more realistic outcomes. Meaning murder. The Gaffer gave us a quick and dirt of his viewing of Blue Jasmine and then we called it a night. All is well.

We heard music from the following:

Batman, 1989 - Danny Elfman
Bourne Ultimatum, 2006 - John Powell


Monday, September 9, 2013

Episode 9 - 9 - 13

We talked a bit about the hyperreal, Miley Cyrus twerking on a wrecking ball, shooting RoboCop in the mouth, and James Wan's upcoming sequels. We also reviewed that Riddick movie. Oh yes. We did.

We heard music from:

Once Upon a Time in the West, 1968 - Ennio Morricone
Subway, 1985 - Eric Serra
The Chronicles of Riddick, 2004 - Graeme Revell


Monday, August 19, 2013

Episode 8 - 19 - 13

After a witty repartee involving the merits of shitty TV shows, we fired away at the crop of unusual films coming out soon, namely Wong-kar Wai's The Grandmaster (a boring wuxia film? daring!), World's End, the final pace to the Wright/Frost/Pegg triptych, and Mortal Instruments: City of Bones, another literary tie-in with far to many additions to possibly make it tenable.

And what's the verdict on Redbox? This pushed us into an old discussion of dying business models with live rental-browsing.

Then we gabbed about the Rifftrax screening of Starship Troopers we attended (and enjoyed!) before the Boom reviewed Neil Jordan's Byzantium, which he found to be middling. But at least it gave him occasion to pronounce Saoirse Ronan again, which we can all agree is hilarious.

We heard music from:

The Adventures of Tintin, 2011 - John Williams
Hero, 2002 - Tan Dun
Starship Troopers, 1997 - Basil Poledouris
Interview with a Vampire, 1994 - Elliot Goldenthal


Monday, August 12, 2013

Episode 8 - 12 - 13

On tonight's show we gabbed about the state of the drive-in, the bizarre beast that is the modern blockbuster, the Poltergeist remake, Steve Jobs' horrible biopic

We both caught Neill Blomkamp's Elysium this week, a violently-unsubtle violent social parable delivered via science fiction which should come as no surprise after the likes of District 9. It's strange, personally, that I'm not a bigger fan of both the director and his films, since I wholeheartedly approve of socially-conscious SF, but I feel like Blomkamp's message is getting lost in the medium instead of vice versa. It's hard to properly balance the two, and Elysium definitely devolves due to its lack of internal logic, ultimately just becoming a Schwarzenegger action film of yesteryear, though an admittedly fun one. But don't piss an adenoidal action movie in my mashed potatoes and call it socially-significant gravy.

We heard music from:

Desperado, 1995 - Tito & the Tarantulas
Elysium, 2013 - Ryan Amon


Monday, August 5, 2013

Episode 8 - 5 - 13

So we got bored and watched Smurfs 2. I'm not proud of it. The Boom Operator's not proud.

We also somehow got to talking about Meteor Man, soft-core porn franchises

We heard music from:

Death Becomes Her, 1994 - Alan Silvestri
Emmanuelle - Nico Fidenco
Oblivion, 2013 - M83


Monday, July 15, 2013

Episode 7 - 15 - 13

This weekend a fat asshole was found not guilty for murdering the unarmed teenager he murdered. We, on the other hand, saw a live-action anime where monsters fought robots. The Japanese girl from Babel and a reanimated Heath Ledger pilot an Eva...sorry...a Macross...sorry, a Jaeger and battle some monsters, an honest-to-god anime made non-animated. I'm starting to lose some of the geek hero-worship for Guillermo del Toro. The man can do sets and effects like a boss, but his writing can be infantile and nerdy in the worst ways.

We heard music from the following:

Back to the Future, 1985 - Alan Silvestri
Men in Black III, 2012 - Danny Elfman
Godzilla films - various
The Mysterious Island, 1961 - Bernard Herrmann


Monday, July 8, 2013

Episode 7 - 8 - 13

After a Fourth of July filled with explosions and hot dogs, sometimes simultaneously, we basked in the collective schadenfreude of the Lone Ranger remake's dismal performance at the box office and used the occasion to reflect on the state of the blockbuster today and Johnny Depp's decline from Dead Man to Tonto-tarded.

I reviewed the horror anthology VHS 2...which had almost no VHS in it. While the "films" framed in the story were found on a VHS tape, they were very explicitly shown to be made with digital cameras. I thought this kinda whizzed away the whole nostalgic focus (if not the point) of the original, which, while not groundbreaking, had an interesting framing device. That being said, a couple of the films in this sequel were probably better than anything in the original, it just didn't have a convincing meta.

We heard music from the following:

Kill Them All and Come Back Alone, 1968 - Francesco de Masi
Pirates of the Caribbean: The Curse of the Black Pearl, 2003 - Klaus Bedelt
Dead Man, 1995 - Neil Young


Monday, July 1, 2013

Episode 7 - 1 - 13

Jim Kelly died. A Raccoons live-action film starring Will Forte, Amanda Peet, and Dash Mihok was greenlit. The Boom Operator dished on his film experience on Greater.

To the Wonder: I'm a fan of Malick's, but this is still one I could only sparsely admire, and purely from an intellectual standpoint rather than an emotional one. The writing was fine, but the prancing and oblique cuddling really took me out of it after a while. I'm not sure. On paper this was no different than previous films, which I've pretty universally admired. Maybe I'm just finally tired of this wide-angle schtick and Malick's lonesome search for meaning in the openness of the American West. Bah.

Tonight we heard music from:

Enter the Dragon, 1973 - Lalo Schifrin
Black Belt Jones, 1974 - Dennis Coffey
Tree of Life, 2011 - Alexandre Desplat
The Thin Red Line, 1998 - Hans Zimmer


Monday, June 24, 2013

Episode 6 - 24 -13

Reviews of Monsters UniversityStokerHatchet IIIThe Incredible Burt WonderstoneNow You See MeWorld War ZBefore Midnight.

We heard music from:

The Omega Man, 1971 - John Granier


Wednesday, May 15, 2013

Episode 5 - 13 - 13

After a brief tragic delay to allow for The Boom Operator to do some actual Boom Operatin' for a local film here in and around town(!) we're back with reviews of Iron Man 3Mud (another A-State pride film) and the remake of Maniac. We also had to pay homage to Ray Harryhausen, whose stop-motion gewgaws and monsters enlivened so many of us growing up.

As for Maniac: I have no idea why anyone thought William Lustig's film needed to be remade, except by the horror-crazed French Aja/Lavasseur/Khalfoun, who have the love and influence to make good filmmakers, but not the actual ability. Elijah Wood is not as nasty and disturbing as Joe Spinell, which dampens some of the effect, but the slicker production and better core also highlight what made the original memorable. Still didn't justify a remake, but there you go.

Mud: The Boom Operator thought this Arkansas film was a good take on Southern culture, steered by career-defining performances from Matthew McConnaughey and Ray McKinnon.

Iron Man III: Although I enjoy the American national metaphor-interplay in the Iron Man movies, I did not like this one. Shane Black's dialogue didn't get any good deployment, nor did the Iron Man: Extremis storyline, and there just wasn't enough good in the overlong, visually bombastic story. The Iron Man trilogy was always more interesting to talk about than to actually watch, overall.

We heard music from the following:

The 7th Voyage of Sinbad, 1958 - Bernard Herrmann
Mysterious Island, 1961 - Bernard Herrmann
The Chipmunk Adventure, 1987 - Randy Edelman
Chain Reaction, 1996 - Jerry Goldsmith


Thursday, May 2, 2013

Episode 4 - 29 - 13

Lords of Salem: Rob Zombie, once again, can do absolutely nothing except trot out a cast of his wife and friends and lovingly ape the styles and environments of his favorite filmmakers. Lords of Salem may be his most visually and aesthetically impressive film to date, but it also never rises above pastiche and reference. The individual sequences were great - Kenneth Anger meets Ken Russell, but don't have a narrative to give them context and heft.

We heard music from the following:

Suspiria, 1977 - Goblin
Delta Force, 1986 - Alan Silvestri
Iron Man, 2008 - Ramin Djawadi
Bedknobs and Broomsticks, 1971 - Various


Episode 4 - 22 - 13

On this week's show we discuss the downfall of physical media, as we pour one out for the closing of one of our local entertainment superstores.

The Place Beyond the Pines was reviewed by the Boom Operator this week, and was very much a movie in three acts, two of which were fairly interesting and drew you in only to be laughably disappointed by the wrap of act three. Can we please cast Ryan Gosling in something other than the crazy silent type role? You know, all of his characters would have restraining orders on them in the real world...but since he's sexy...that's another story.

Regarding Oblivion: A curious mixture of over-explaining things best left to our imagination and over-explaining plot points that were far too obvious. On the plus side the visuals, Icelandic scenery, and Tangerine Dreamy score by M83 created an interesting palette. The weak side, sadly, is what makes (and will make) most sci-fi like this unmemorable, the inability to properly handle a complicated, disturbing concept (cloning), not because this film came down on the optimistic side of a bioethics issue for once, but that it did so shallowly. Who cares if Tom Cruise #2345 dies? We have a spare!

We heard music from:

King Solomon's Minds, 1985 - Jerry Goldsmith
Flashpoint, 1984 - Tangerine Dream
The Place Beyond the Pines, 2013 - Mike Patton
Oblivion, 2013 - M83


Friday, April 12, 2013

Episode 4 - 8 - 13

Original Airdate: 4 - 8 - 13
What else could we talk about tonight but the deaths of 3 major cinematic figures (among others) this weekend, none of them particularly untimely? Discussions will, of course, be dominated by talk of Roger Ebert, who truffle-shuffled off this mortal coil last Friday, the day after announcing a break from reviews due to cancer-recurrence. Like him or hate him, he was/is probably the biggest American critic this side of Pauline Kael, and that's exactly why his body of work is controversial. Some would argue that Ebert was the driving force behind the commodification and reduction of film criticism; that the "thumbs" and "stars" he used to package his writing turned an art form into a sale. In a nutshell, I agree, though I think Ebert was less responsible for this development than late capitalism and the post-industrialism narratives at large in his lifetime. He certainly didn't help it. Movie ratings are reductive and often diminish a (we hope) complex apparatus into a marketable nugget, an arbitrary scale that, like money itself, assumes it is a neutral, transparent medium; its power of abstraction/value-form as a universal equivalent places its stamp on everything that is expressed in its terms, which is why according to Ebert - Nicolas Cage's Knowing is among the best films of all time and M. Night Shyamalan's The Happening is better than A Clockwork Orange (uhh).

Some of the nastier obits are probably justifiable reactions to a hagiography that has been in place well before Ebert's death, when he developed a cancer that would claim his lower jaw. He wrote and reviewed in spite of this, which many people claimed was courageous, and he started swinging at popular trending issues in the political sphere, giving him a popularity outside film media.

Other deaths, sadly foreshadowed but arguably more relevant and interesting for film culture were the deaths of visionary documentary filmmaker Les Blank, whose Burden of Dreams remains a pillar of documentary technique and the scion of artful trash, Jesus "Jess" Franco, who fathered an entire dash-sploitation era in horror films, marrying elaborate, artful technique with trashy subject matter.

Appropriately, our review tonight was of the Evil Dead remake. No one was more surprised than us, but this movie was awesome. I had forgotten that a horror film could be, well, horrifying. Evil Dead was, for our show, a rebuttal of our truism that a remake is a diminished copy. While I continue to wish that young filmmakers could push their efforts into incorporating rather than mimicking, but the analogy for the new Evil Dead was more akin to a good artist covering a good song, making the material his own with another's words. A pleasant surprise.

We heard music from:

Fitzcarraldo, 1982 - Popol Vuh
Vampyros Lesbos, 1971 - Jess Franco
Count Dracula, 1969 - Bruno Nicolai


Tuesday, April 2, 2013

Episode 4 - 1 - 11

When I was in high school, people who love to piss me off because they thought I was disarmingly funny when I was at my angriest. Dance, monkey, dance! Sometimes I think the Universe itself plays the troll to the Boom and I, as tonight's show was pretty damn funny precisely for that reason. Not that rage and mordancy aren't usually up our bag of tricks, but fresh, energized anger doesn't always take hold the way it did tonight. That energy kept us bouncing around from silly topic to topic: I remember us debating on whether it would be cool or not to be immortal. With my luck, 5 minutes after achieving immortality I'd get buried in an earthquake and spend millennia under the dirt waiting for the sun to go nova so I could float somewhere else, being totally catatonic and/or insane at that point. What? Anyway, our only capsule review was on the important and worthwhile G.I. Joe: Retaliation, or the moment in Jonathan Pryce's film career where he actually uttered the phrase, "Get me Storm Shadow!" I wonder what the moments after that scene were like, Pryce weeping into his hands, awash with self-disgust and the memories of Brazil. Sad shit. Anyway, we had a good time trashing a film that was already in the garbage, particularly its hilarious understanding of nuclear weapons and geo-politics, even for a movie based on toy ninjas and snake terrorists.

Oh, and during a moment of bored depravity I watched A Serbian Film and laughed through much of it, either because I'm desensitized and sick or because the movie was, at heart, real goddamn silly. You decide.

Lined up for next week are discussions of the Evil Dead remake and the 3D-icized, unnecessary Jurassic Park release.

We heard music from:
Near Dark, 1984 - Tangerine Dream
Shallow Grave, 1994 - Simon Boswell


Wednesday, March 27, 2013

Monday, March 25, 2013

Episode 3 - 18 - 13

After another unexpected off-week, we return to the airwaves with thick cynicism cloying like the phlegm in our throats. It had been a rough week, and we barely had the stamina to opine. The Boom rehashed the shitty Oz movie he saw last week before we both took a look at Studio Ghibli's From Up on Poppy Hill, the sophomore effort from Goro Miyazaki and his impossible-to-fill shoes. After the abysmal disappointment of his Earthsea film, I was really worried for Goro, who wisely toned down his content and ambition for this film, which was more akin to earlier, non-fantasy Ghibli fare like Only Yesterday. The animation certainly improved tenfold from Earthsea, with a focus on detail and minutiae that defines Ghibli as a dominant animation studio. The story, however, of semi-forbidden love and heritage between two (barely) post-adolescents, doesn't quite hit the emotional singularity in quite so possessing a fashion, but this was a step up in what will hopefully be a fruitful and unhampered-by-expectation film career.

We heard music from the following:

Porco Rosso, 1995 - Joe Hisaishi
To Live and Die in L.A., 1985 - Wang Chung
Trainspotting, 1995 - Various
The Wiz, 1978 - Various


Episode 3 - 4 - 13

I wonder what cinematic treasures await us in March? Let's have a gander! I mean...nothing can be worse than January or February, right? I mean, Hansel and Gretel, Noobz, Beautiful Creatures, Safe Haven... What? Why are you looking at me like that? What's this here? InAPPropriate? Hey, that could be funny! Rob Schneider, huh? Well, I mean, he was in Necessary Roughness, so...ok, who else? Lindsay Lohan? She's alive? Oh god, she looks like an irradiated mannequin! What's this about? A fucking sketch film is still being made in 2013?! And it's directed by the guy that beat down a hooker and sold us a "Slap-Chop" and asked us to love his nuts? Oh, oh god. Well, given the blistering success of The Groove Tube and Movie 43...ok, fuck you, what else is coming out?

White T? Two morbidly obese children try to rap with Deion Sanders? Can you give me something that wasn't a film pitched by a mongoloid with fetal alcohol syndrome? Or something with a budget or actors I've heard of?

Ah, here we go: Phantom. Harris and Duchovny as Russians in a submarine, but totally nothing like U-571, K-12, or Crimson Tide or Das...fine, you win again.

Anything else? Oh, right. Another Stephanie Meyer movie. The movie about an alien invasion and a love triangle. Fine, get the hacksaw, I don't want my jugular if this is what I have to look forward to theatrically.

So that's my imaginary conversation about the wonderful theatrical releases in the month of March, as well as he reason why The Boom Operator and I saw zero films this week. Me, I'm still working through some of the documentary/foreign flicks of last year, which are offering me a bit more than, say 21 and Over.

Oh, and we're screening Miami Connection this week at Smoke 'n Barrel, so we are awesome.

We heard music from:

Karate Warrior II, 1988 - Stefano Mainetti
Army of Darkness, 1992 - Joseph DoLuca
Six-String Samurai, 1998 - Brian Tyler
Miami Connection, 1987 - Various

Monday, March 4, 2013

Episode 2 - 25 - 13

Some guy with a Boston accent who likes to say "rehhtahhhhded" with a Boston accent, vastly overestimating how funny that is, hosted last night's Academy Awards and offended quite a few people by doing exactly what they hired him to do and making in-winks at how offensive he was. He made a lot of people upset for saying and doing exactly what they paid him to do. I'll be.

We talked about the Oscars, of course, all the predictable wins and losses and all the self-congratulatory weaponized hegemonic culture that Hollywood represents. I went on my usual rants regarding the Best Picture/Director dichotomy and its unintentional critique of auteur theory; the freaking stupid, disingenuous system for Best Foreign Language film; and globalization as manifested by the bankruptcy of this year's Best Visual Effects winner (Rhythm and Hues). And some other stuff, I forget, but you should listen.

We heard music from:

Life of Pi, 2012 - Mychael Danna
Gladiator, 2000 - Hans Zimmer


Monday, February 25, 2013

Episode 2 - 18 -13

President's Day weekend gave us A Good Day to Die Hard Except for Our Franchise and Beautiful Creatures, a True Blood Twilight Potter Craft plea for franchise dominance relevance existence. They both sucked, and we opined about it and the lack of consequences in our fictional universes. We also discovered the items in which create a powerful franchise, how Hollywood loses focus of said items and how we're stuck in a pre-packaged formula based movie market. Though, when don't we mention that?

We heard music from:

The Mummy: Tomb of the Dragon Emperor, 2008 - Randy Edelman
Murder on the Orient Express, 1974 - Richard Bennett
Paris J'Taime, 2007 - Various
Die Hard 2, 1990 - Michael Kamen


Monday, February 4, 2013

Episode 1 - 28 -13

After a week locked-out of the studio, we came back with guns blazon', loaded with five film reviews and a fifth season of Tavern Trivia. On tap were reviews of John Dies at the EndTexas Chainsaw 3-DA Haunted HouseBroken City and The Last Stand. So, we were busy. We talked about postmodern culture, nostalgia, and the iron titans of the 80s who we cannot let retire. It was a whiz bang of a show, and we think you'll enjoy the look backward, the look forward, and the cross eyed look we give the present.

Musical Selections:
Cobra, 1986 - Sylvester Levay
Jaws 3-D, 1983 - Alan Parker
Red Heat, 1988 - James Horner


Monday, January 14, 2013

Episode 1 - 14 - 13

Greetings duckies,

Back with our first real 2013 shakedown we're up and....talking about awards show nominations concerning the previous year and news stories of things in years to come, blegh. Golden Globes and Razzies and Oscars were discussed (for some reason). Spoiler: they're as boring and paint-by-numbers as we've come to expect. However, if you're in a betting pool...we've got you in a winning spot.  Beyond that, we reviewed Gangster Squad and Lincoln, both of which were sublimely mediocre.

We heard music from the following:

A Zed & Two Naughts, 1985 - Michael Nyman
Rango, 2011 - Hans Zimmer
L.A. Confidential, 1997 - Jerry Goldsmith


Saturday, January 12, 2013

Episode 1 - 7 - 13

Wow, so it's been about 3 weeks since our last show: we had quite a few films to review, mainly The HobbitDjango UnchainedZero Dark ThirtySeeking a Friend for the End of the World, and Silver Linings Playbook. Then....then....we got to our annual worst-of-2012 and the venom really flowed. What you hear/heard was unfiltered, unrehearsed hate-jazz of the most disgusting moments of the past year. We talked for nigh on two hours and some change, all of it gold. Download it now. Just be warned that you may spew milk from your nose while listening...and you don't even have to be drinking any.

We heard a l'il music from:

Crimson Tide, 1995 - Hans Zimmer
The Last Dragon, 1985 - Various