The Binge Movie Podcast: Recent Episodes
The Binge
Chatty movie reviews and actor/filmmaker interviews, brought to you by two queer Bay Area pals: writer Jason LeRoy (member of the San Francisco Film Critics Circle; lifelong devotee, Lilith Fair) and producer Rebecca Olarte (cohost, Shindignation Radio; lifelong subscriber, Cat Fancy).
The Oscars are this Sunday and Rebecca and Jason are breaking down the nominees just moments before the envelopes open
It’s a Christmas miracle! Rebecca are Jason are back to review four new(ish) movies from the dog days of 2025 award season: Jon M. Chu’s WICKED: FOR GOOD, Yorgos Lanthimos’ BUGONIA, Luca Guadagnino’s AFTER THE HUNT, and Jared Bush and Byron Howard’s ZOOTOPIA 2.
Rebecca and Jason kill time before the White Lotus finale by reviewing Bong Joon Ho’s MICKEY 17, Steven Soderbergh’s BLACK BAG, and Mimi Cave’s HOLLAND.
Happy 2025 from The Binge! In their first episode of the new year, Rebecca and Jason review four major movies from the end of 2024: Halina Reijn’s BABYGIRL, Brady Corbet’s THE BRUTALIST, Luca Guadagnino’s QUEER, and Marielle Heller’s NIGHTBITCH.
It’s late November and we’re here to talk about four of fall’s buzziest movies (and nothing else, why, what’s going on?). Find out Rebecca and Jason’s takes on Jon M. Chu’s WICKED, Sean Baker’s ANORA, Jacques Audiard’s EMILIA PERÉZ, and Edward Berger’s CONCLAVE.
This episode contains two Binge Its and two Send It Backs—can you guess which is which? Rebecca and Jason kick off fall movie season with Todd Phillips’ JOKER: FOLIE À DEUX, Coralie Fargeat’s THE SUBSTANCE, Josh Greenbaum’s WILL & HARPER, and Azazel Jacobs’ HIS THREE DAUGHTERS.
Rebecca and Jason wrap up summer with three movies about trauma and one about corporate synergy—can you tell which is which? Find out in their reviews of Shawn Levy’s DEADPOOL & WOLVERINE, Osgood Perkins’ LONGLEGS, Zoë Kravitz’s BLINK TWICE, and Ally Pankiw’s I USED TO BE FUNNY.
In their semi-annual Pride edition, Rebecca and Jason round up 2024’s most notable queer releases. After unpacking whether CHALLENGERS qualifies as queer, they review Rose Glass’ LOVE LIES BLEEDING, Julio Torres’ PROBLEMISTA, Tig Notaro and Stephanie Allynne’s AM I OK? and Ethan Coen’s DRIVE-AWAY DOLLS.
Rebecca and Jason start the new year (in March) with some Oscar catchup chat, followed by reviews of Denis Villeneuve’s DUNE 2, S.J. Clarkson’s MADAME WEB, J.A. Bayona’s SOCIETY OF THE SNOW, and Dave Meyers’ THIS IS ME… NOW.
In their final episode of 2023, Rebecca and Jason celebrate the holidays with four crushingly dark and frequently depraved awards contenders: Todd Haynes’ MAY DECEMBER, Emerald Fennell’s SALTBURN, William Oldroyd’s EILEEN, and Bradley Cooper’s MAESTRO.
Post-summer but pre-prestige season, Rebecca and Jason review Emma Seligman’s BOTTOMS, Roger Ross Williams’ CASSANDRO, Chloe Domont’s FAIR PLAY, and Brian Duffield’s NO ONE WILL SAVE YOU.
Babe wake up, new BARBENHEIMER episode just dropped! We review the summer’s biggest movies, from Greta Gerwig and Christopher Nolan, plus Rebecca’s personal biggest summer movies: Adele Lim’s JOY RIDE and Jeff Rowe and Kyler Spears’ TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM.
It’s the second half of 2023 and we’re kicking it off with four wildly different recent releases: Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson SPIDER-MAN: ACROSS THE MULTI-VERSE, Wes Anderson’s ASTEROID CITY, Andrea Pallaoro’s MONICA, and Matt Johnson’s BLACKBERRY.
Rebecca and Jason are joined by writer/producer George Northy (G.B.F., Charmed) to break down the WGA strike and guest review an especially nerdy slate of recent releases: GUARDIANS OF THE GALAXY VOL. 3, THE SUPER MARIO BROS. MOVIE, DUNGEONS & DRAGONS: HONOR AMONG THIEVES…and odd-man-out queer horror comedy SUMMONING SYLVIA.
Rebecca and Jason are joined by fan favorite guest Ashley De La Torre for an Oscars recap and a sequel-palooza of reviews: CREED III, SCREAM VI, and ANT-MAN AND THE WASP: QUANTUMANIA.
Rebecca and Jason are ready to surprise each other with their top and bottom five movies of 2022. Will they have any overlap? Will it come to blows? Will M3GAN preemptively claim top honors for 2023? Only one way to find out!
Guys, it finally happened: Rebecca and Jason recorded together IN PERSON for the first time in nearly three years! Did it become a cautionary tale about our Covid-weakened immune systems? Irrelevant! The important thing is that they sat together in Jason’s LA living room and discussed Tobias Lindholm’s THE GOOD NURSE (which they’d just watched together!), Halina Reijn’s BODIES BODIES BODIES, and John Patton Ford’s EMILY THE CRIMINAL. Enjoy their in-person chemistry because this might be the last time!
For our first episode of 2022 prestige movie season, we break down Nicholas Stoller’s BROS, Andrew Dominik’s BLONDE, Anne Fletcher’s HOCUS POCUS 2, and Lena Dunham’s CATHERINE CALLED BIRDY.
We’re on a roll with a new all-or-nothing episode! This week, we review Dan Trachtenberg’s PREY, John Logan’s THEY/THEM, Lena Dunham’s SHARP STICK, James Morosini’s I LOVE MY DAD, and Mariano Cohn and Gastón Duprat’s OFFICIAL SELECTION.
Our comeback train continues running right on schedule! On this episode, we review the Russo Brothers’ THE GRAY MAN, Billy Porter’s ANYTHING’S POSSIBLE, Audrey Diwan’s HAPPENING, and Peter Strickland’s FLUX GOURMET—and agree on all except one!
After our fully planned and thoroughly communicated nine-month hiatus, we are BACK at the exact time we always said! On this episode featuring exactly zero mutual ratings, we dive into Taika Waititi’s THOR: LOVE AND THUNDER, Sophie Hyde’s GOOD LUCK TO YOU, LEO GRANDE, and recent queer releases Andrew Ahn’s FIRE ISLAND and Sammi Cohen's CRUSH.
Rebecca and Jason return from an unplanned three-month hiatus to delve into Chloe Zhao’s ETERNALS, Denis Villeneuve’s DUNE, Rebecca Hall’s PASSING, Jeymes Samuel’s THE HARDER THEY FALL, and Julia Ducournau’s TITANE.
We assess James Gunn’s long overdue crack at THE SUICIDE SQUAD and a trio of docs: Kristine Solakis’ gay conversion history PRAY AWAY, Peter Nicks’ snapshot of Oakland’s class of 2020 in HOMEROOM, and Ting Poo and Leo Scott’s portrait of Val Kilmer, VAL.
In which a slight difference of opinion on Cate Shortland’s highly anticipated BLACK WIDOW leads to lethargic semi-discussions of Janicza Bravo’s ZOLA and Enrico Casarosa’s LUCA, before we’re revived by Questlove’s SUMMER OF SOUL and restore harmony by being unimpressed with Vanessa Roth’s MARY J. BLIGE’S MY LIFE.
We have polar opposite reactions to Jon M. Chu’s IN THE HEIGHTS, get spooked by Michael Chaves’ THE CONJURING: THE DEVIL DO IT, muddle through Zack Snyder’s ARMY OF THE DEAD, revel in Anders Thomas Jensen’s RIDERS OF JUSTICE, and exalt in Natalie Morales’ PLAN B.
After debriefing this year's pandemic Oscars, we review Joe Wright’s misbegotten THE WOMAN IN THE WINDOW, Taylor Sheridan’s riveting THOSE WHO WISH ME DEAD, Mike Rianda and Jeff Rowe’s delightful THE MITCHELLS VS THE MACHINES, Nikole Beckwith’s tender TOGETHER TOGETHER, and Azazel Jacobs’ uneven FRENCH EXIT.
It’s strange bedfellows this week on The Binge, in which we mix Adam Wingard’s stupidly fun spectacle GODZILLA VS. KONG with three considerably more taxing films: Emma Seligman’s caustic cringe comedy SHIVA BABY, Oliver Hermanus’ apartheid military drama MOFFIE, and Ricky Staub’s scared-straight morality tale CONCRETE COWBOY.
On this episode we review two Oscar hopefuls, Florian Zeller’s THE FATHER starring Anthony Hopkins and Thomas Vinterberg’s ANOTHER ROUND starring Mads Mikkeksen, and two Oscar doubtfuls, Amy Poehler’s MOXIE and Tate Taylor’s BREAKING NEWS IN YUBA COUNTY.
It’s another super-sized episode full of heavy hitters! We disagree over the Midwestern realness of BARB AND STAR GO TO VISTA DEL MAR, parse where NOMADLAND sits in Frances McDormand’s pantheon of roles, praise Lee Isaac Chung’s family drama MINARI, lament the sprawling wreckage of Lee Daniels’ THE UNITED STATES VS. BILLIE HOLIDAY, revel in the proudly amoral I CARE A LOT, and get into an unexpectedly weighty debate about the gay tearjerker SUPERNOVA.
In our first new episode of 2021, we round up six notable releases from this very peculiar awards season: Emerald Fennell’s provocative PROMISING YOUNG WOMAN, Shaka King’s enraging JUDAS AND THE BLACK MESSIAH, Sam Levinson’s painful MALCOLM & MARIE, Regina King’s edifying ONE NIGHT IN MIAMI, Kornél Mundruczó’s uneven PIECES OF A WOMAN, and John Lee Hancock’s derivative THE LITTLE THINGS.
In our final new releases episode of 2020, we evaluate the year’s unprecedented Christmas Day streaming mega-releases, WONDER WOMAN 1984 and SOUL, as well as George Clooney’s phone-friendly THE MIDNIGHT SKY and Eugene Ashe’s tender Black romance SYLVIE’S LOVE.
In this super-sized December episode, we disagree on the failings of Ryan Murphy’s queer musical comedy THE PROM, agree on the failings of Francis Lee’s period lesbian romance AMMONITE, hail Chadwick Boseman’s final performance in George C. Wolfe’s MA RAINEY’S BLACK BOTTOM, discuss our own cruise memories in relation to Steven Soderbergh’s LET THEM ALL TALK, are underwhelmed by David Fincher’s MANK, and are overwhelmed by every aspect of Darius Marder’s SOUND OF METAL.
We take issue with the toxic dysfunction at the core of Clea DuVall’s HAPPIEST SEASON, eviscerate the lack of compassion in Ron Howard’s HILLBILLY ELEGY, praise Paul Bettany in Alan Ball’s UNCLE FRANK, compare the first two episodes in Steve McQueen’s SMALL AXE, and throw up our hands at Ben Falcone’s SUPERINTELLIGENCE
In our first post-2020 election episode, we review Jason Woliner’s perfectly of-its-moment BORAT SUBSEQUENT MOVIEFILM, Zoe Lister-Jones’ thoughtful reimagining THE CRAFT: LEGACY, Miranda July’s cathartic farce KAJILLIONAIRE, Robert Zemeckis’ DOA remake of THE WITCHES, and Justin Simien’s polarizing horror comedy BAD HAIR.
In our first episode since Jason’s turbulent rebirth as an Angeleno, we review Liz Garbus and Lisa Cortes’ essential voter suppression doc ALL IN: THE FIGHT FOR DEMOCRACY, Aaron Sorkin’s electric courtroom opus THE TRIAL OF THE CHICAGO 7, Julie Taymor’s dreadful Gloria Steinem pseudo-biopic THE GLORIAS, Maïmouna Doucouré’s unjustly vilified CUTIES, and Radha Blank’s hilarious knockout debut THE FORTY-YEAR-OLD VERSION.
We review the long-overdue but impressively effective BILL & TED FACE THE MUSIC, Charlie Kaufman’s inexplicable I’M THINKING OF ENDING THINGS, Jeremy Hersh’s explosive ethical drama THE SURROGATE, and in a meta moment we couldn’t resist, The Binge reviews the teen party romp THE BINGE.
In our last episode of summer 2020 (such as it is), we review Seth Rogen’s dual performance in Branson Trost’s AN AMERICAN PICKLE, James Lebrecht and Nicole Newnham’s enlightening documentary CRIP CAMP, Chelsea Peretti in Andrea Dorfman’s SPINSTER, and Gillian Jacobs in Kris Rey’s I USED TO GO HERE.
We review Karen Maine’s Catholic coming-of-age sex comedy YES, GOD, YES; the blood-boiling but essential ACLU vs. Trump doc THE FIGHT; Amy Seimetz’s unclassifiable contagion mood piece SHE DIES TOMORROW; and Romola Garai’s boring-until-it-isn’t gothic horror film AMULET.
We review Gina Prince-Bythewood’s inclusive action saga THE OLD GUARD, Cristina Costantini and Kareem Tabsch’s beguiling Walter Mercado documentary MUCHO MUCHO AMOR, Dave Franco’s Airbnb horror flick THE RENTAL, and Natalie Erika James’ dark dementia fable RELIC.
In the first episode of our by-popular-demand new biweekly format, we review five movies from the first half of July: David Dobkin’s unexpectedly gentle musical comedy EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA, Max Barbakow’s hilarious and thought-provoking romcom PALM SPRINGS, Kelly Reichardt’s tender ode to friendship FIRST COW, Hirokazu Kore-eda’s French mother-daughter dramedy THE TRUTH, and Dawn Porter’s important but lackluster documentary JOHN LEWIS: GOOD TROUBLE.
In which we celebrate Pride with a grueling death-march marathon of seven in-depth film reviews, joined by our dear friend Jen “Memaw” Chochinov: Judd Apatow’s amiable Pete Davidson vehicle THE KING OF STATEN ISLAND, Jon Stewart’s misbegotten political satire IRRESISTIBLE, Spike Lee’s frenetic Vietnam thriller DA 5 BLOODS, Sasie Sealy’s satisfying action-comedy LUCKY GRANDMA, Josephine Decker’s unconventional literary drama SHIRLEY, Channing Godfrey Peoples’ gentle character study MISS JUNETEENTH, and Shannon Murphy’s devastating but surprising drama BABYTEETH.
In our latest all-streaming roundup, we offer our (unanimous!) opinions of THE HIGH NOTE with Dakota Johnson and Tracee Ellis Ross, THE LOVEBIRDS with Kumail Nanjiani and Issa Rae, Alice Wu’s THE HALF OF IT, HOW TO BUILD A GIRL starring Beanie Feldstein, Andrew Patterson’s THE VAST OF NIGHT, and DRIVEWAYS with Hong Chau and Brian Dennehy.
In our second quarantine installment, we again review the best and brightest in the month’s streaming new release movies, from the supernatural romps of ONWARD and EXTRA ORDINARY to the teen-girl psychodrama of NEVER RARELY SOMETIMES ALWAYS and SELAH AND THE SPADES.
In our first remote edition during the pandemic, we review three new releases that can be watched at home since we no longer have movie theaters: Pete Davidson’s first starring role in BIG TIME ADOLESCENCE, the stylized pica drama SWALLOW, and the small-town feminist crime caper BLOW THE MAN DOWN.
In our February edition, we recap the Oscars and review five movies we’ve both fully seen: THE INVISIBLE MAN, PORTRAIT OF A LADY ON FIRE, HARLEY QUINN: BIRDS OF PREY, COME TO DADDY, and DOWNHILL.
In our first episode of 2020, we assess Sam Mendes’ sudden Oscar frontrunner 1917, dueling death row dramas JUST MERCY and CLEMENCY, and delightful January garbage LIKE A BOSS.
Rebecca and Jason each count down their five favorite (and least favorite) movies of the year, with more than a few surprises along the way...and, most importantly, a comprehensive discussion of the true movie of the year: CATS.
In our December review roundup, we offer a Christmas feast including capsule reviews of THE TWO POPES, KNIVES OUT, A BEAUTIFUL DAY IN THE NEIGHBORHOOD, and STAR WARS: THE RISE OF SKYWALKER, plus full reviews of LITTLE WOMEN, BOMBSHELL, and UNCUT GEMS.
Our new monthly movie roundups continue with fan-favorite special guest Ashley De La Torre. We discuss Edward Norton’s MOTHERLESS BROOKLYN, Kasi Lemmons’ HARRIET, Trey Edward Shults’ WAVES, Alma Har’el’s HONEY BOY, Melina Matsoukas’ QUEEN & SLIM, and Noah Baumbach’s MARRIAGE STORY.
In our first-ever monthly episode, we dive into four of October’s biggest and/or best movies: JOKER, PARASITE, JOJO RABBIT, and PAIN & GLORY. We’ve both seen all four and are ready to debate!
For what might be the only time so far this year, we’ve both seen one of the movies and we absolutely love it: Lorene Scafaria’s feminist crime caper HUSTLERS. Jason also recounts the many failings of THE GOLDFINCH and is captivated by the expressiveness of Keira Knightley’s jaw in OFFICIAL SECRETS.
After catching up about their first foray into international travel and Rebecca’s delayed reviews of Tarantino’s latest (and also NOTTING HILL), Jason surprises her by loving the Jillian Bell comedy BRITTANY RUNS A MARATHON, then they dive into the murky waters of controversial faux-trans romance ADAM and the hard-hitting exposé ONE CHILD NATION.
After doing our first-ever Tarantino review for ONCE UPON A TIME IN HOLLYWOOD, we take on two stellar docs: the Syrian exposé FOR SAMA and a 4K restoration of the drag classic THE QUEEN.
When three working mics suddenly become two, sometimes a guest becomes a cohost! At least that’s what happens this week, when Rebecca nobly sacrifices herself so that special guest Nick Sahoyah can join Jason for reviews of THE LION KING, THE FAREWELL, and SWORD OF TRUST.
After recapping our 2019 Pride weekends, we assess SPIDER-MAN: FAR FROM HOME as a winning finale to phase 3 of the MCU, go in-depth on the chilling visuals of Ari Aster’s buzzy horror pic MIDSOMMAR, and celebrate the new 4K rerelease of Jennie Livingston’s classic doc PARIS IS BURNING.
In which we herald the arrival of major new talent Jessie Buckley in the musical drama WILD ROSE, are extremely divided in our response to the wild Portuguese farce DIAMANTINO, and appreciate the thorough portrait assembled by TONI MORRISON: THE PIECES I AM.
We’re blown away by the ravishingly beautiful and poignant THE LAST BLACK MAN IN SAN FRANCISCO, then crash back down to earth with Jim Jarmusch’s barely-there zombie comedy THE DEAD DON’T DIE and the deeply misguided buddy movie PAPI CHULO.
Jason rallies through his existential crisis about falling out of love with movies to join Rebecca for reviews of the new live-action ALADDIN, Olivia Wilde’s teen comedy BOOKSMART, and Olivier Assayas’ French intellectual farce NON-FICTION.
We’re pleasantly surprised by the Diane Keaton cheerleading comedy POMS, stupefied by the boring and unfunny POKÉMON DETECTIVE PIKACHU, and wish CHARLIE SAYS had decided which Manson Girls story it wanted to tell.
Rebecca reflects on her journey into Marvel fandom as we review AVENGERS: ENDGAME, then Jason brings his JC LeRoy authority to J.T. LEROY and his pensive Christian praise to HAIL SATAN?
In which we wish LITTLE were as engaging as its performances; consider a particularly detestable hot take while comparing notes on Aretha Franklin’s AMAZING GRACE; and lament the uncharacteristic lack of humanity Mike Leigh brings to PETERLOO.
In which we celebrate Rebecca’s reluctant admission of Jason's valid and accurate review of Jordan Peele's US, have our worlds changed by new information about Positive K, and also review David F Sandberg's SHAZAM!, Kevin Kölsch and Dennis Widmyer's PET SEMATARY, and Kent Jones's DIANE.
In which we celebrate Rebecca’s birthday by reviewing three movies she hasn’t seen: Jordan Peele’s US, Jesse Eisenberg and Alexander Skarsgard in THE HUMMINGBIRD PROJECT, and Christian Petzold’s TRANSIT.
After a lengthy hiatus, Rebecca and Jason are back to recap what the hell they’ve been doing for the last two months before diving into reviews of CAPTAIN MARVEL, GLORIA BELL, and THE GOSPEL OF EUREKA.
We start the year on a note of discord by disagreeing on all three movies this week: the Ruth Bader Ginsburg biopic ON THE BASIS OF SEX, the Dick Cheney biopic VICE, and Netflix meme-machine BIRD BOX.
It’s that time! Rebecca and Jason each count down their five top films of 2018 and name the one movie that most disappointed them.
After being pleasantly surprised by the half-century sequel MARY POPPINS RETURNS, we welcome back guest Ashley De La Torre for our review of one of the year’s best films, Barry Jenkins’ IF BEALE STREET COULD TALK.
We praise the powerhouse performances in BEN IS BACK and MARY QUEEN OF SCOTS while taking a few issues with their scripts, then celebrate the exhilaratingly fun freshness of SPIDER-MAN: INTO THE SPIDER-VERSE.
In a quickie episode about two of fall’s biggest and best movies, we weigh in on Yorgos Lanthimos’ darkly funny period drama THE FAVOURITE and Alfonso Cuarón's poetic, deeply personal ROMA.
On this episode, Rebecca and Jason are joined by special guest Ashley De La Torre (@AshleyDeLaTorre) for a review of Steve McQueen’s WIDOWS; then, they diverge in their takeaways from Jason Reitman’s THE FRONT RUNNER.
In which we’re collectively underwhelmed by three major fall releases: Joel Edgerton’s gay conversion therapy drama BOY ERASED, Luca Guadagnino’s phantasmagorical remake SUSPIRIA, and Bryan Singer’s Freddie Mercury biopic BOHEMIAN RHAPSODY.
In a rare triple-Binge It episode, Rebecca and Jason break down their reasons for loving Melissa McCarthy in Marielle Heller’s CAN YOU EVER FORGIVE ME?, Jonah Hill’s directorial debut MID90S, and Paul Dano’s directorial debut WILDLIFE.
We do our best to assess HALLOWEEN in the context of its 40-year legacy; try to describe our feelings about the addiction drama BEAUTIFUL BOY; and point out the pros and cons of the political psychological thriller THE OATH.
After Jason gives an update on meet-and-greet season, he and Rebecca dive headlong into the hard-hitting and essential new drama THE HATE U GIVE, find some potentially racist shade in Damien Chazelle’s FIRST MAN, and deafen the listeners with Jason’s Maggie Smith impression for TEA WITH THE DAMES.
We give our verdict on Lady Gaga’s big-screen acting debut in A STAR IS BORN, praise Robert Redford’s purported big-screen swan song in THE OLD MAN & THE GUN, and reassess our thoughts on the polarizing pop star profiled in MATANGI / MAYA / M.I.A.
After getting a condensed TIFF (ding!) report from Jason, we do our best to stay calm while reviewing Michael Moore’s FAHRENHEIT 11/9, diverge in our takes on the Gilda Radner doc LOVE, GILDA, and take a hatchet to LIZZIE.
We debate our dozen favorite movies of 2018 so far before fall movie season kicks into gear.
After giving THE HAPPYTIME MURDERS the brutal and merciless takedown it fully deserves, we praise two nuanced character studies about very different women struggling with issues of purpose and identity: SUPPORT THE GIRLS with Regina Hall and THE WIFE with Glenn Close.
We welcome Rebecca’s longtime Shindignation cohost Heidi Weber for a distraction-filled attempt at reviewing CRAZY RICH ASIANS, then let Heidi’s skateboarding expertise guide our reviews of the semi-doc SKATE KITCHEN and the full-doc MINDING THE GAP.
After freaking out about the insane new Oscar category, we assess the pros and cons of Spike Lee’s bluntly provocative BLACKKKLANSMAN, get personal about the gay conversion camp drama THE MISEDUCATION OF CAMERON POST, and let Jason nerd out about NICO, 1988.
After encouraging everyone to skip the lame studio comedy THE SPY WHO DUMPED ME, we steer you toward two stellar indies: the deliciously scandalous doc SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD, and the Brazilian lesbian werewolf fairy tale musical GOOD MANNERS.
We praise the delightful achievement of Bo Burnham’s directorial debut EIGHTH GRADE, drop some hard truths about Meryl Streep and Cher’s screen time in MAMMA MIA! HERE WE GO AGAIN, and dig into the latest entry into the Oakland renaissance, BLINDSPOTTING.
We review three new movies about battling different forms of oppression: height (SKYSCRAPER), dogma (AVA), and patriarchy (THE MISANDRISTS).
After celebrating two stunning new documentaries, the stranger-than-fiction blast of THREE IDENTICAL STRANGERS and Kevin Macdonald’s appropriately devastating WHITNEY, we welcome Bay Area filmmaker Alexa Fraser-Herron for our review of Boots Riley’s surreal anti-capitalist Oakland comedy SORRY TO BOTHER YOU.
By popular demand, we review the year’s biggest horror sensation HEREDITARY and evaluate its scare factor, then praise the hilariously eccentric joys of the feminist western DAMSEL and lambast BOUNDARIES for its uninspired, derivative take on the dysfunctional-family road trip flock.
In which we assess how close DEADPOOL 2 comes to matching the original, lament the degradation experienced by the four iconic leads of BOOK CLUB, and celebrate Annette Bening’s delectable turn in the otherwise unremarkable THE SEAGULL. Originally recorded May 17
We welcome a real-life mom to guest-review the hard-hitting mama drama of TULLY, then go from the youthful foolishness of the lesbian sex comedy DUCK BUTTER to the wisdom and maturity of RBG. Originally recorded May 2
After lending a much-needed critical assist to a hidden gem called AVENGERS: INFINITY WAR, we weigh the pros and cons of bloated blockbusters GRACE JONES: BLOODLIGHT AND BAMI and British horror anthology GHOST STORIES.
If you’re looking for levity, we’ve got nothing for you this week! Check out our reviews of the crushing Joaquin Phoenix hitman thriller YOU WERE NEVER REALLY HERE, the crushing coming-of-age drama LEAN ON PETE, and the crushing Michelle Pfeiffer character study WHERE IS KYRA?
We praise A QUIET PLACE for its masterful filmmaking while questioning its characters’ choices; celebrate BLOCKERS as a rare studio comedy that’s as hilarious as it is progressive; and lambast the nothingburger conclusion that undoes the stylish suspense of GEMINI.
In which we’re tripped up by representational failings in the otherwise delightful romps READY PLAYER ONE and ISLE OF DOGS and disappointed by Armie Hammer’s overly clothed performance as a befuddled muse in FINAL PORTRAIT.
We mourn the misbegotten ambition of Ava DuVernay’s A WRINKLE IN TIME; pledge our dictatorial allegiance to Armando Ianucci’s hilarious THE DEATH OF STALIN; and report that THOROUGHBREDS only gets halfway toward being worthwhile.
We dive headlong into the cerebral sci-fi of ANNIHILATION; celebrate the top-tier studio comedy of GAME NIGHT; and decline our invitation to THE PARTY.
After reviewing two new releases about protected paradises under attack (BLACK PANTHER and EARLY MAN) and a third about French perversion (DOUBLE LOVER), Rebecca and Jason welcome guest Joshua Grannell (Peaches Christ) to challenge their negative review of I, TONYA.
In which we become aroused at the thought of FIFTY SHADES FREED being the final film in its series; are deeply moved by A FANTASTIC WOMAN’s portrayal of a grieving trans woman fighting to be seen; and try making sense of THE CLOVERFIELD PARADOX both as a film and a development.
This week we review two new releases brimming with Hitchcockian tension (PHANTOM THREAD and THE COMMUTER) and two good vehicles for great female performances (Diane Kruger I’m IN THE FADE and Annette Bening in FILM STARS DON’T DIE IN LIVERPOOL).
In their first new releases episode of 2018, Rebecca and Jason review three movies by white male directors (shocker!) with overly recognizable styles: Steven Spielberg’s THE POST, Aaron Sorkin’s MOLLY’S GAME, and Michael Haneke’s HAPPY END.
It’s that time! We’re counting down our ten(ish) favorite movies of 2017, as well as our controversial picks for the most disappointing. Fight us!
After comparing recent travel horror stories, Rebecca and Jason assess how STAR WARS: THE LAST JEDI fits in the series; praise the exquisite romance of CALL ME BY YOUR NAME; call for Gary Oldman to get his Oscar already for DARKEST HOUR; and lament Woody Allen’s new low in WONDER WHEEL.
We’re blown away by Guillermo Del Toro’s enchanting genre romance THE SHAPE OF WATER and James Franco’s infectious Tommy Wiseau tribute THE DISASTER ARTIST, but are underwhelmed by the overhyped festival hit THELMA.
We’re thankful for many things, but not necessarily the three movies we review this week: Pixar’s important but undercooked COCO, the hamfisted retelling of Charles Dickens’ Christmas Carol inspiration in THE MAN WHO INVENTED CHRISTMAS, and the crowd-pleasing but by-the-numbers feminist activism of THE DIVINE ORDER.
In this special episode, we’re joined by film/TV critic Inkoo Kang for a spoiler-filled discussion about the year’s most controversial movie: Louis C.K.’s I LOVE YOU, DADDY. Its release was canceled and you might never see it, so we’re here to tell you everything that happens.
It’s an embarrassment of awards-season riches this week as Rebecca and Jason flip for the vigilante-justice jolt of THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, the hilarious and personal high school comedy LADY BIRD, and the deadpan Swedish satire THE SQUARE.
Rebecca is surprised to love THOR: RAGNAROK (and less surprised to also love the intimate nun drama NOVITIATE), while Jason rejects the lame rush-job sequel A BAD MOMS CHRISTMAS in favor of the transcendent AIDS activism drama BPM (BEATS PER MINUTE).
How terrified should Californians be of ONLY THE BRAVE? Rebecca and Jason give their answer. They also review the queer history lesson of TOM OF FINLAND and the rom-com documentary DINA.
We welcome filmmaker Sean Baker for a discussion of his brilliant new movie, THE FLORIDA PROJECT, then dive into reviews of the civil rights superhero story MARSHALL, the shocking and sensual PROFESSOR MARSTON AND THE WONDER WOMEN, and Noah Baumbach’s THE MEYEROWITZ STORIES (NEW AND SELECTED) with its revelatory performance by...Adam Sandler?!?
Jason figures out what he’s allowed to say about BLADE RUNNER 2049, while Rebecca encounters her actual self in LUCKY and her ideal self in CHAVELA.
In which we go on a wild ride with Tom Cruise and his wandering Southern accent in AMERICAN MADE; assess the pros and cons of the inappropriately amusing VICTORIA & ABDUL; and are thoroughly schooled on the realities of chronic fatigue syndrome in the gripping doc UNREST.
They’re back! In their super-sized first episode of the fall movie season, Rebecca and a post-TIFF Jason offer a mini-review of the ultra-polarizing MOTHER! before diving into four full reviews: Emma Stone and Steve Carrell in the delightful and subversive BATTLE OF THE SEXES; the sneakily conservative KINGSMAN: THE GOLDEN CIRCLE; the refreshing and powerful STRONGER; and the lacerating honesty (for better and worse) of BRAD’S STATUS.
In which we review the markedly different heist movies GOOD TIME by the Safdie Brothers starring Robert Pattinson, and Steven Soderbergh's LOGAN LUCKY with Channing Tatum; the affecting sci-fi drama MARJORIE PRIME with Jon Hamm; and welcome a special guest, Instagram pathos expert David Fitzgerald, for a spoiler-filled review of Aubrey Plaza in INGRID GOES WEST.
We dive into three movies that all made us even more anxious about the state of the world: Kathryn Bigelow's racial historic drama DETROIT, the regrettably named climate change doc AN INCONVENIENT SEQUEL: TRUTH TO POWER, and the feel-good coming-of-age doc STEP.
We surrender to the awesome force of Charlize Theron in ATOMIC BLONDE, compare LANDLINE to our memories of the '90s, and rail against THE INCREDIBLE JESSICA JAMES for failing Jessica Williams.
Rebecca and Jason parse through the pluses and minuses of Christopher Nolan's war epic DUNKIRK, fall for the rowdy good time of GIRLS TRIP, and contemplate the nasty period noir of LADY MACBETH.
After counting down the best and worst movies of 2017 at the mid-year point, Rebecca and Jason praise the exhilarating freshness of SPIDER-MAN: HOMECOMING, the poignant poetry of A GHOST STORY, and the hilariously ribald raunch of THE LITTLE HOURS.
In which we praise the humor and heart of THE BIG SICK, contemplate the true genre identity of Sofia Coppola's THE BEGUILED, and prepare to be in the unimpressed minority about BABY DRIVER.
In which Rebecca barely survives her river of tears triggered by Bong Joon Ho's OKJA, then she and Jason break down the many problems with THE BAD BATCH (and its filmmaker) and try making sense of the Cate Blanchett art experiment MANIFESTO.
In which we celebrate the raunchy female hilarity of ROUGH NIGHT and the moderates triumphing over extremists in THE WOMEN'S BALCONY, then play another round of "Spoil That Sh*t!" with the catastrophic family drama/murder movie THE BOOK OF HENRY.
In this special Pride Month episode, we take a break from new releases to look back at the LGBTQ-themed movies that shaped us as queer film lovers growing up in the ‘90s. Films discussed include BOUND, THE OPPOSITE OF SEX, HIGH ART, BEAUTIFUL THING, ALL OVER ME, IF THESE WALLS COULD TALK 2, AND THE CELLULOID CLOSET.
In which we sift through the one-two punch of summer stinkers PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES and BAYWATCH, then break down the Bryan Cranston toxic masculinity drama WAKEFIELD.
In which we unpack the homoeroticism of dueling Michael Fassbenders in ALIEN: COVENANT, do our best to appraise the muted joys of EVERYTHING, EVERYTHING despite being 25 years past its target age demo, and revel in the deliciously dark humor of PREVENGE.
In this Mother's Day edition of The Binge, we review three new releases about mothers both in peril and imperiling: the Amy Schumer-Goldie Hawn comedy SNATCHED, Guy Ritchie's irreverent action flick KING ARTHUR: LEGEND OF THE SWORD, and the intense Australian captivity thriller HOUNDS OF LOVE.
In which we compare GUARDIANS OF THE GALAXY VOL. 2 to its original and find it lacking; wildly diverge in our feelings about the Emily Dickinson biopic A QUIET PASSION; praise the acting and filmmaking of BUSTER'S MAL HEART while wishing the movie itself made more sense; and decide Julian Assange is the absolute worst while discussing Laura Poitras' RISK.
We welcome showbiz journalist Andrew Hampp to review the steamy yet undercooked Canadian lesbian erotica of BELOW HER MOUTH, the enlightening and inspiring activist documentary CITIZEN JANE: BATTLE FOR THE CITY, and the revealing glimpse into a great director's creative process offered by DAVID LYNCH: THE ART LIFE.
In which we praise the buoyant British ode to filmmaking THEIR FINEST, dig into the ethical quandaries of the Romanian drama GRADUATION, then give you all the spoilers you could ever want for the Anne Hathaway monster movie misfire COLOSSAL and the mediocre Fatal Attraction rehash UNFORGETTABLE.
In which we see what happens when we dive into THE FATE OF THE FURIOUS with no prior knowledge of the franchise, then name our favorite movie sequels of all time.
In this special episode, Rebecca and Jason are joined by guest Joshua Grannell, aka drag icon Peaches Christ, for a deep dive into one of the most amazingly bad movies any of them have ever seen: the mind-boggling misbegotten film noir pastiche THE ASSIGNMENT. And despite its awfulness, they want you to watch it immediately.
Rebecca praises GHOST IN THE SHELL’s jaw-dropping visuals while wishing it had retained the philosophical core of the original. Then, Jason chronicles the animal carnage of THE ZOOKEEPER’S WIFE to Rebecca’s horror and celebrates THE BOSS BABY as a feature-length animated 30 ROCK spinoff.
In which Rebecca and Jason compare T2 TRAINSPOTTING to its groundbreaking original, look for signs of life in the derivative sci-fi horror of LIFE, and lament a botched adaptation of Daniel Clowes' WILSON.
After picking three favorite movies from each of their birth years, Rebecca and Jason praise three wonderful but very different female-driven new releases: the live-action musical BEAUTY AND THE BEAST, the French coming-of-age cannibal allegory RAW, and the enigmatic supernatural thriller PERSONAL SHOPPER.
In which Rebecca and Jason praise the high-minded thrills of KONG: SKULL ISLAND, celebrate the great Shirley MacLaine in THE LAST WORD while taking serious issue with its other performances, and dive deep into the familiar but effective character study of DONALD CRIED.
After an impassioned postmortem of this year's Oscars, Rebecca and Jason bid a not-so-fond farewell to Wolverine in LOGAN, talk teen nostalgia in BEFORE I FALL, and bemoan the botched potential of TABLE 19.
In which Rebecca goes into ecstasy over the socially aware horror of GET OUT, then Jason praises KIKI's essential portrait of trans people of color and the brilliant young actress playing a conflicted zombie in THE GIRL WITH ALL THE GIFTS.
In this very special episode, The Binge is joined by screenwriter George Northy (G.B.F.) for a critical appreciation of the female-directed horror anthology XX (11:20). He then sits in with Rebecca as she solicits Jason's views on future in-flight comedy fix FIST FIGHT (30:37), as well as the latest edition of "Spoil That Sh*t!" in which Jason gives away the convoluted ending of A CURE FOR WELLNESS (44:06).
We're back! For Jason and Rebecca's first episode of the Trump presidency, we review three sequels that all work non-terribly: the tastefully trashy thrills of FIFTY SHADES DARKER (9:45); JOHN WICK: CHAPTER 2's (28:58) nonstop head-shot action; and THE LEGO BATMAN MOVIE's (45:43) deliciously referential hilarity.
We kneel at the alter of Annette Bening's exquisite performance in Mike Mills' lovely 20TH CENTURY WOMEN, take PATRIOTS DAY to task for its questionable taste and irresponsibility, and bemoan the sorry state of Ben Affleck's ambitious misfire LIVE BY NIGHT.
We ring in the New Year with three awards season titles making their San Francisco debuts: the mixed-bag grief parable A MONSTER CALLS, Jim Jarmusch's PATERSON with its redeeming lead performance by Adam Driver, and Pedro Almodóvar's sumptuously melodramatic return to form JULIETA.
It's The Binge Year in Review! Listen to Jason and Rebecca count down their 13 collective favorite films of this very bad year. As a holiday gift to you all, Jason ends the show by spoiling COLLATERAL BEAUTY for Rebecca live on the air. You're welcome.
We debate whether FENCES is an ideal holiday movie, celebrate the vital history lesson wrapped in the shiny upbeat package of HIDDEN FIGURES, debate who exactly is the right audience for SILENCE, and spoil the terrible ending of the terrible movie PASSENGERS.
Jason and Rebecca perform a soft-shoe of praise for the incandescent musical LA LA LAND, pull a 180 to to denounce COLLATERAL BEAUTY as one of the year’s worst films, and celebrate the importance and imagination of the Swedish trans-teen allegory GIRLS LOST.
Rebecca grills Jason on the Upworthy-worthiness of LION, his thoughts on MISS SLOANE as a known Chastainiac, and whether OFFICE CHRISTMAS PARTY works as holiday escapism.
In which Jason and Rebecca fall in love with three movies about female protagonists finding their identities in the face of loss and upheaval: the inspiring Disney princess of MOANA, Natalie Portman's astounding performance as JACKIE, and Isabelle Huppert's second brilliant lead turn this fall in THINGS TO COME.
For the first time ever, Jason and Rebecca give all four movies their highest rating! First, they tackle two audacious new releases about the darkest parts of humanity, told through a prism of different genres and tones: Tom Ford’s NOCTURNAL ANIMALS and Paul Verhoeven’s ELLE. After celebrating Kenneth Lonergan's nuanced character-driven genius in MANCHESTER BY THE SEA, they close out with the refreshingly quick-witted and thoughtful teen comedy THE EDGE OF SEVENTEEN.
After several minutes of grief-stricken rambling about the presidential election, Jason and Rebecca name ARRIVAL one of the year's best movies, lament LOVING's newfound relevance while wishing it was a bit more dramatic, and can't get past a strictly intellectual appreciation of THE LOVE WITCH.
Jason's husband Scott Ward joins the show to lend his nerdy Marvel expertise to a review of DOCTOR STRANGE. Afterward, Rebecca and Jason admit to being thoroughly entertained by TROLLS and Jason gives mixed reviews to partially animated documentaries GIMME DANGER, about Iggy and the Stooges, and TOWER, about the 1966 mass shooting at UT Austin.
In an all-foreign all-unrated edition, Jason and Rebecca delight in the perverted thrills of THE HANDMAIDEN, praise Sonia Braga's towering performance in AQUARIUS, and patiently wait for the two dudes to bone in BEING 17.
In which Jason interviews MOONLIGHT writer/director Barry Jenkins about creating one of the year's best films, the construction of toxic masculinity, and Jenkins' storied San Francisco years.
In which Jason and Rebecca bemoan the state of October movies, wish they had a CPA to untangle the many convoluted threads of THE ACCOUNTANT, and praise the subject of MAYA ANGELOU: AND STILL I RISE while wishing the film itself were a bit more inspired.
In their triumphant return, Rebecca and Jason finally tackle their full review of THE BIRTH OF A NATION, plow through the "erotic" "thrills" of THE GIRL ON THE TRAIN, praise the fresh, invigorating experience of AMERICAN HONEY, and face the uncomfortable relevance of DENIAL.
In which Rebecca sits down with East Bay director Justin Tipping to discuss his debut feature, KICKS, as well the pressures of representing your hometown, swerving the male gaze with a cast of 15 year old boys, and funding a film with a diverse cast.
We’re joined by Joshua Grannell, a.k.a. Peaches Christ, for a review of the Natasha Lyonne horror indie ANTIBIRTH (Grannell directed Lyonne in his own horror indie, ALL ABOUT EVIL). Then Rebecca infuriates Jason by calling out THE LIGHT BETWEEN OCEANS’ similarities to Nicholas Sparks and weak female lead, they reunite over their love of Kathy Bates in COMPLETE UNKNOWN, and Jason laments that Character Actress Margo Martindale isn’t enough to save THE HOLLARS from formulaic mediocrity.
In which Jason sits down with iconic actress Clea DuVall (with some background shouting from Natasha Lyonne) to discuss DuVall’s directorial debut, THE INTERVENTION, as well as her storied friendship with Lyonne, Alia Shawkat’s notorious resemblance to Ilana Glazer, and the joys of working on VEEP.
In which we hyperventilate through a series of clichés to describe the exhilarating DON’T BREATHE, are boggled by the inability of A TALE OF LOVE AND DARKNESS to make us care about its rich subject matter, and fall for the fresh, fish-out-of-water charms of MORRIS FROM AMERICA.
After a lengthy analysis of the Nate Parker controversy, Jason and Rebecca are impressed by BEN-HUR's action filmmaking despite its bountiful unintentional laughter, marvel at Jonah Hill's ability to make Miles Teller seem likable in WAR DOGS, and wish Werner Herzog had anything to actually say in LO AND BEHOLD.
In this super-sized summer episode we hold back our tears at the poignant beauty of PETE'S DRAGON, advise listeners to take their older female and/or gay relatives to FLORENCE FOSTER JENKINS, fall desperately in love with the subject of MISS SHARON JONES!, disagree about the merits of LITTLE MEN, and hail the fresh female perspectives of EQUITY.
In which we assess the many convoluted failings of SUICIDE SQUAD, connect with the creative insecurities of DON'T THINK TWICE, and hope NORMAN LEAR: JUST ANOTHER VERSION OF YOU entices a whole new generation to check out Lear's trailblazing TV classics.
On this very special episode, we count down our ten favorite movies of 2016 so far and revisit some of our own finest moments. Plus, Rebecca confronts Jason about only choosing clips wherein she makes hilarious bloopers.
In which we celebrate the appropriately messy return of Edina and Patsy in ABSOLUTELY FABULOUS: THE MOVIE, disagree over where CAFÉ SOCIETY fits into Woody Allen’s filmography, tremble fearfully at LIGHTS OUT’s expert combination of horror and heart, and are nearly as frightened by the maddening picture of the music industry in BREAKING A MONSTER.
In which we surrender to the ectoplasmic enchantment of Paul Feig's GHOSTBUSTERS and condemn the haters in no uncertain terms.
In which we wish that MIKE AND DAVE NEED WEDDING DATES let its leading ladies off the leash, celebrate Taika Watiti's hilarious adventure HUNT FOR THE WILDERPEOPLE, and praise the conceptual triumph of NO MEN BEYOND THIS POINT even though, ironically, it's too man-focused.
In which we celebrate Fart Week with the stinky boring lows of THE BFG and the boldly flatulent highs of SWISS ARMY MAN, then take a dip in the refreshingly bleak waters of Todd Solondz in WIENER-DOG and try to find something nice to say about THE LEGEND OF TARZAN.
In which we puzzle over Nicolas Winding Refn’s proudly inscrutable THE NEON DEMON, spasm with joy at TICKLED’s many twists and turns, and consider Hollywood’s latest white savior in FREE STATE OF JONES.
In which we dive deeply into the subtle horror and clever gender commentary of THE FITS, grow exasperated by the obliquely dull TIKKUN, and praise the patriarchy-smashing Indian heroines of PARCHED.
In which Jason sits down with the subject of PRESENTING PRINCESS SHAW, the Princess herself (i.e. Samantha Montgomery), for a lively conversation about trust, truth, and tenacity. Also, Beyoncé—but not the way you might expect.
In which we find a few nice things to say about the latest unnecessary studio sequels, ALICE THROUGH THE LOOKING GLASS and X-MEN: APOCALYPSE, then attempt to go pun-free for our rave review of the compulsively watchable political tragicomedy WEINER.
In which Jason and Rebecca praise the visionary originality of THE LOBSTER, the seductive thrills of A BIGGER SPLASH, and the gut-busting comedy antics of NEIGHBORS 2 before the annoyingly unfunny THE ANGRY BIRDS MOVIE shows up and curdles our positivity.
In which we praise the unexpected intelligence and craftsmanship of CAPTAIN AMERICA: CIVIL WAR, then have conflicting responses to the gravity of VIVA before letting Jason explain it in RuPaul's Drag Race terms.
This week we take a break from our usual way of doing things. Jason and Rebecca devote the first segment to the most important thing happening in anyone's lives this week, Beyoncé's LEMONADE, before switching roles and having Jason grill Rebecca for her thoughts on KEANU. Then we welcome very special guest Joshua Grannell (Peaches Christ) for a live group review of HIGH-RISE that immediately followed the three of us watching it together.
In this very special episode, Jason sits down with filmmaker Lorene Scafaria and star Susan Sarandon of THE MEDDLER to discuss Beyoncé, bad press, and honest grieving.
In which we salute the gory gonzo thrills of GREEN ROOM, check out John Carney's latest "white people making music in an alley" romp SING STREET, and bemoan that despite its excellent acting, LOUDER THAN BOMBS is entirely too quiet
In which we very, very carefully discuss the racial and cultural messages of BARBERSHOP: THE NEXT CUT, give a bizarrely meh rave to THE JUNGLE BOOK, and delight in the comedy of manners underneath the fabulous frocks of THE FIRST MONDAY IN MAY.
In which we yield to Melissa McCarthy's hilarious hard-R antics in THE BOSS, gush over the atmospheric psychological thriller THE INVITATION, and give measured praise to the sad-white-guy ballad of DEMOLITION.
In which Jason sits down for a 1:1 with brilliant American auteur Jeff Nichols for a deep dive into his ambitious new movie MIDNIGHT SPECIAL.
In which we lament the regressive gender politics of EVERYBODY WANTS SOME!! and critique a trio of music movies, from the boring, hackneyed I SAW THE LIGHT to the soulful and stylish BORN TO BE BLUE and the bittersweet elegance of MARGUERITE.
In which we lament the ongoing trend of long-delayed sequels no one asked for with MY BIG FAT GREEK WEDDING 2, declare Zack Snyder to be one of the leading enemies of good cinema while roasting BATMAN VS. SUPERMAN, and praise KRISHA's powerfully authentic tale of a family marred by addiction.
In which Jason plays marry/f*ck/kill with Shailene Woodley's many onscreen love interests in ALLEGIANT, reluctantly praises the powerful emotional core of MIRACLES FROM HEAVEN while critiquing its racism and privilege, and salutes the glory of Helen Mirren barking orders in a military uniform in EYE IN THE SKY.
In which Jason talks with the legendary Sally Field and comic genius Michael Showalter about their new movie HELLO, MY NAME IS DORIS...with some references to GREY GARDENS and INSIDE AMY SCHUMER thrown in for good measure.
In which Rebecca sits down with director Dawn Porter to discuss her documentary TRAPPED, which shows the effects of TRAP laws on abortion providers in the South.
In which we salute the bold Hollywood filmmaking and searing performances of 10 CLOVERFIELD LANE, are unmoved by the languorous pace of MOUNTAINS MAY DEPART, and wish Terrence Malick would've learned some new tricks for KNIGHT OF CUPS.
We salute the subversive delights of ZOOTOPIA, praise the merciless wit and bold genre fusion of YOU’RE KILLING ME, and celebrate a Norwegian disaster flick every bit as potent as its American peers with THE WAVE.
In which we give our final Oscar predictions before this year's ceremony, shake our damn heads at the utter misfire that is GODS OF EGYPT, and see a lot of ourselves in the Amazonian shaman-white dude relationships of EMBRACE OF THE SERPENT. We also introduce our shiny new theme music, courtesy of our friends in Bay Area band Light Fiction!
In which we welcome special guest Joshua Grannell, a.k.a. Peaches Christ, for a lively review of THE WITCH! We then welcome The Bloodlust contributor Lindsay Gebhart for a personal and revealing discussion of THE CLUB, followed by a hymn of praise for the understated Danish maturity of A WAR.
In which Jason and Rebecca welcome superhero consultant Scott Ward to discuss DEADPOOL, then eviscerate the grossly unfunny ZOOLANDER 2 and reminisce about the glory days of Michael Moore's relevance while talking WHERE TO INVADE NEXT.
In a special episode dedicated exclusively to the hilarious new comedy HOW TO BE SINGLE, Jason sits down with infectiously whip-smart writer/producer Dana Fox to discuss overcoming sexist assumptions, coining the phrase "long-term relationship p*ssy," and her beloved sitcom BEN & KATE.
In which Rebecca admits she cried during THE CHOICE while Jason laments his emotional constipation, we evaluate where HAIL, CAESAR! fits into the Coen brothers canon, and list the many failings of MISCONDUCT’s wretched script.
In which we explore the homoerotic heroics of THE FINEST HOURS, contemplate 45 YEARS in light of Charlotte Rampling's controversial race remarks, and throw in the towel over NAZ & MAALIK's amateur-hour antics.
In which we we're won over by the opening-scene tampons in THE 5TH WAVE, bring our San Franciscan expertise to the depiction of homelessness in THE LADY IN THE VAN, and evaluate Oscar Isaac's gratuitous pink speedo scenes in MOJAVE.
In which we offer stats, snubs, and sass about this year's Oscar nominations, enter a deep rage spiral about the conservative pandering of 13 HOURS, and stare into the abyss of human horror that is SON OF SAUL
In our first episode of 2016, we discuss Americans making a mess abroad in THE FOREST, piercing human emotions and hardcore puppet sex in ANOMALISA, and grandiose bro survival fantasies in THE REVENANT.
In which we discuss the irony of David O. Russell ripping off JOY from a female writer, admire the bold message of CONCUSSION while wishing it was a somewhat better movie, and salute the universal rebellious power of MUSTANG.
We count down the year's top ten and bottom five movies, heaping praise upon those energized by life and vision, reserving our scorn for movies that had potential but ended up wasting everyone's time. Because like we say here at The Binge, life is too short for that mess.
We take a spoiler-free, outsider, non-fan's look at the year's biggest movie, the questionable legacy of this franchise, and the glory and power of Carrie Fisher
In which we try to figure out why Eddie Redmayne smiles like a crazy person throughout THE DANISH GIRL, fail to comprehend the very basic financial lessons of THE BIG SHORT, and praise the “pretentious white nonsense” of YOUTH.
In which we take a bold anti-Shakespeare stance on MACBETH, compare the legacies of Janis Joplin and Amy Winehouse while talking JANIS: LiTTLE GIRL BLUE, and praise the searing performances of Christopher “Charlie” Abbott and Cynthia “Miranda” Nixon in JAMES WHITE.
In which we critique the midcentury lesbian realness of CAROL, praise the passion and power of CREED, lament the lackluster finale of THE HUNGER GAMES, figure out how to tell the two Tom Hardys apart in LEGEND, and break down the homoerotic undertones of VICTOR FRANKENSTEIN.
In which we discuss the Boston hellscape and journalism realness of SPOTLIGHT, praise BROOKLYN despite questioning why only white immigrants get love stories, hint at just how dark I SMILE BACK gets (and how thoroughly Sarah Silverman slays in it), figure out how to talk about the 3D real-sex fest LOVE, and bemoan the missed opportunities of TRUMBO.
In which we debate JEM AND THE HOLOGRAMS’ loyalty to the cartoon, reluctantly confirm Brie Larson’s Oscar-frontrunner status for ROOM, talk Sandra Bullock’s mooning scene in OUR BRAND IS CRISIS, and let Jason mansplain white feminism to Rebecca while discussing SUFFRAGETTE.
Welcome to the first episode of The Binge Movie Podcast. In this episode we review Bridge of Spies, The Final Girls, Steve Jobs, Crimson Peak, and Freeheld. This very special first episode includes an interview with Julianne Moore and Ellen Page wherein they discuss Freeheld.