In The Queue - Film Conversations with Andrew and Phil: Recent Episodes
Andrew and Phil
Your hosts Phil and Andrew blast your ears and blow your minds with some insightful and entertaining discussion about all things film-related. Join us!
ITQ returns to the airwaves with a special episode to pose the question: Is DIE HARD the greatest Christmas movie of all time? Joining Andrew and Phil is returning champion, Drew! The three movie nerds discuss why the classic 80's action film still holds up thirty years later. Here's a hint - the excellent screenplay is a big reason. This talk ranges from Alan Rickman's bad guy persona, to a production that kept rewriting itself as it went on, and just how earned was it to have Reginald VelJohnson's character kill that villain at the end? You won't want to miss this episode.
Drew returns to the program to discuss what is undoubtedly the greatest film adaptation of William Burroughs' writing. NAKED LUNCH is a surreal, inscrutable journey into the world of drug abuse and creative turmoil. Good thing we have Drew to talk us through it. The conversation ranges from homoerotic undertones and the warmth of Cronenberg. Give this podcast a listen!
This sci-fi comedy set in alternate Oakland is unlike anything else you've seen. It's the brainchild of Boots Riley, a hip hop artist who's been dreaming up this film for many years. The discussion covers the machinations of the film's premise and the metaphor of a "white voice", which the main character Cassius employs in order to prosper at this job. Great acting all around makes for a solid moviegoing experience.
This is a film that begins as a meditation on living in nature, under the principles support the idea behind the title, and then soon becomes an examination of two people trying to make their way in a bustling city. LEAVE NO TRACE reminded me of A24's ROOM in an inverse way, but it also recalls certain moments of THE HURT LOCKER. Ben Foster and Thomasin McKenzie give very natural performances as the father-daughter who try to cling to each other, although the daughter begins to feel a pull once she reaches Portland. A wonderful film by Debra Granik.
Agnieszka Smocyńska directs this horror musical mash-up film, the first musical to ever come from the nation of Poland. It takes place in an alternate 1980s, at a nightclub that hosts two carnivorous singing mermaids. If you like your movies moody and weird, then this one is for you. There's nothing quite like it and it's certainly a cinematic experience. The delightful Leticia joins ITQ to talk about this singular film, a recent addition to the Criterion Collection.
As sequels go, its generally a plus to retain the writer of the original film. Taylor Sheridan goes all in as the author of this second chapter and Josh Brolin and Benicio Del Toro reprise their characters. But there is a certain void left by the absence of Emily Blunt, Roger Deakins and undoubtedly, Denis Villeneuve. Still, Andrew found a lot to like about the film. It's a compelling potboiler. But Phil was not so fond of it. He did have fun talking about Josh Brolin's frequent appearances as politically right-wing figures in film.
Bob is the evil that men do...and he all started on a whim from David Lynch on the set of "Twin Peaks" (1990). This topic and many more are explored in this illuminating discussion about one of Lynch's most maligned films. New guest, Steve joins the conversation surrounding this mysterious movie. He proves himself an expert on interpreting Lynch's obtuse intentions. Take a listen to this scintillating conversation. If you're a David Lynch fan, you won't want to miss it.
Fred Rogers was an ordained minister and beloved childhood icon. This documentary is an hour and a half of pure love, and paints a portrait of the power of kindness. Andrew and Phil did not grow up watching "Mister Rogers' Neighborhood" but still have an appreciation for this excellent film. The work of Mr. Rogers touches many lives and can stand as a beacon of hope in a troubled time.
Toni Collette gives an earth-shaking performance as the troubled matriarch of an equally troubled family in this A24 horror masterpiece. HEREDITARY doesn't rely on jump scares to frighten us and has a potent and very real message about how dysfunctional families hurt their members. Andrew was troubled by the spoilers from the trailer, but nevertheless thoroughly loved the film. Phil breaks down the comparisons between this movie and The Exorcist, with some interesting associations.
How do you know that voice speaking directly to you is God? That's an intriguing concept that is touched on in this Netflix film. Chiwetel Ejiofor plays real-life preacher Carlton Pearson, who suddenly hears God tell him that he should evangelize that their is no Hell. His congregation and his supporters think he's lost it, but Carlton remains resolute. Eric joins this episode to talk about the merits and flaws of this film.
Ethan Hawke is Reverend Toller, whose presence at First Reformed church earns him the respect of Mary (Amanda Seyfried) who seeks his guidance for her atheist boyfriend. The non-believer has some frightening plans that set Toller down a path to a reckoning of faith versus industry. Great acting, masterful writing and skilled direction all mark the return of Paul Schrader to world-class filmmaking.
No, there are not dogs that run their own small-to-medium city in this film. But there is a wealth of bitter misanthropy, courtesy of Lars Von Trier! The Danish provocateur has made many films that place great female performances front and center and DOGVILLE is no exception. New guest, Rishi joins this episode to talk about the bleak film. The discussion ranges from religious symbolism to Von Trier's feelings about women. If you've seen the film, we highly recommend you check out this passionate analysis.
This is a true story. A story of survival. It's also a love story, but the chemistry between leads Shailene Woodley and Sam Claflin is lacking. It's hard to buy that they're really in love, despite the inclusion of "I Hope I Don't Fall In Love With You" on the soundtrack. The capsizing sailboat premise is arresting, although it's been done better elsewhere. There is also a surprise twist (well, it may not be a surprise) so spoiler alert if you're thinking of listening to this episode without seeing the film!
Perhaps the greatest ice hockey movie, MIRACLE tells the true story of the 1980 American Olympic hockey team, and their coach, Herb Brooks. Kurt Russell brings Brooks to life with an intensity we don't see often from the actor. The film will get you cheering. New guest Celey joins ITQ to talk about why she loves this movie.
Nostalgia puts asses in seats. That's what Disney is banking on with this unnecessary chapter in the ever-diluted Star Wars franchise. Andrew and Phil have a joyful rant against this film and the larger epidemic of movies that rehash popular culture in a desperate grab for our dollars. Alden Ehrenreich gave a great comedic performance in HAIL CAESAR!, but he cannot fill Harrison Ford's shoes. This episode is plus-sized for your listening pleasure - hope you like it!
One of the biggest box office bombs in movie history comes to ITQ. Returning guest, Drew has another passionate critique in him for David Lynch's notorious 1984 failure. Listen as our hosts tackle all the pertinent questions, like 'Is Dune better than Inland Empire?' Drew shares many fascinating anecdotes in this episode, such as how a family friend gave him the laminated card handed out in theaters during the original theatrical run.
We don't normally do sequels on ITQ, unless we reviewed an earlier film in the franchise. Such is the case with Deadpool 2. Andrew and Phil both liked the first film, but now the house is divided. Andrew didn't care for the humor-saturated follow-up but Phil found the never-ending meta-qualities to be very amusing. What do you think? Is this a good next chapter in the Deadpool universe?
Andrew and Phil could not be more stoked to have a new guest on this episode of ITQ. Leticia joins the podcast from Montreal to request the Colombian Oscar-nominee EMBRACE OF THE SERPENT. This visually marvelous film about a river journey in the Amazon in search of a sacred flower evokes many other films. Leticia brings many great observations to the discussion, which ranges from similarities to Herzog to the depiction of spirituality.
Lynne Ramsay is one of Andrew and Phil's favorite directors, so any new film from her is enough to send ITQ into a tizzy. Ramsay's new film YOU WERE NEVER REALLY HERE blurs the line between reality and...not. There are definitely times in this film where it's not clear if something is really happening, and our hosts are cool with that. Sound and visuals are both used with style, and Phoenix's complex performance is equally arresting.
Is Thanos the real hero of AVENGERS: INFINITY WAR? That's what our new guest proposes in this episode of ITQ. Mike joins the discussion with Andrew and Phil to offer his take on the popular franchise. 70+ characters makes the film rather bloated, but there is something irrefutably fun about watching famous heroes team up against a common enemy. Check out the episode!
Charming Charlize Theron lights up the screen in her new collaboration with writer Diablo Cody and director Jason Reitman. Theron gained (then lost) fifty pounds to play the unglamorous mother of three at the center of this film. Mackenzie Davis is the effervescent night nanny who comes to rescue Marlo (Theron) and remind her she still has everything she needs to roll with the punches. SPOILER ALERT: Andrew and Phil divulge some key plot points in this episode.
This is a comedy. Andrew found it hilarious, Phil didn't. A disagreement! Listen as the two hosts attempt to defend their positions. Many a talented actor in this film (Steve Buscemi, Jeffrey Tambor, Michael Palin, Andrea Riseborough) but the style of humor may leave something to be desired. Fun fact: the original title of the film was not "Stalin For Time."
Chinese artist Ai Weiwei gets a definitive portrait in this documentary. The controversial figure singehandedly takes on his oppressive government in an attempt to freely express himself. He tackles political subjects and secures important exhibitions in London and Munich, yet at home he is treated as a criminal. Returning guest Eric joins us on the podcast to discuss this film, which is available to stream on Netflix.
Wes Anderson does stop motion again, and technically speaking, it's astounding. But the film is emotionally remote and...yikes, have you been following the controversy? Andrew and Phil praise the animation and then have an unpretentious discussion about how this film is cultural appropriation. It's a complicated time for a movie like this. The hosts reminisce about past Wes films and pinpoint The Life Aquatic as the moment when he changed for the worse. How do you feel about this iconoclastic filmmaker?
Who would've thought Vince Vaughn was a one-man wrecking crew? Watching him singlehandedly demolish a car with his bare hands is one of the highlights of this film. But overall, none of us thought BRAWL IN CELL BLOCK 99 worked as a film. It's kind of a genre exercise...that genre being "Tarantino rip-off." Returning guest Aaron admitted that he requested this film sight unseen (he's a big Vince Vaughn fan). But nevertheless, we try to have a productive conversation about this very recent crime movie.
Shhhh. Wait, what? Oh, it's just that new horror sensation, A QUIET PLACE. Directed by John Krasinski, better known for comedic acting roles, the film is taut and tense. In fact, it's masterfully directed. One of the best scary movies to come to theaters. Krasinski has a strong sense of visual storytelling, and the tiny cast turn in captivating performances. Overall, Andrew and Phil both thought this film was great.
Entertaining? Sure. Spielberg's best? Nope. Andrew and Phil both had fun watching READY PLAYER ONE, but only one of them left the theater satisfied. Can you guess which one? Andrew's central point of dissatisfaction is that the world of the Oasis does not feel like enough of an escape from the dreary world the characters inhabit in the film. A return to form for Spielberg, in terms of the level of excitement, but was it worth it?
Andrew brings his brother Calvin on the show to reminisce about their carefree childhood days watching Jim Henson's THE DARK CRYSTAL. A consummate fantasy if ever we saw one, it's also damn scary! But as the three of them agree, kids do like to be scared. And they can learn lessons about death and loss, and not trusting scary bird-trolls with rotting faces. Henson considered this film his ultimate achievement, and we are not ones to disagree. Nostalgia, wonder and awe are all appropriate states of being for this episode.
Groundbreaking director Steven Soderbergh uncovers a new classification in the DSM-V: unsane! This iPhone-shot psych horror was an enjoyable trip, despite there being some crrrrazy plot holes! Claire Foy wrestles admirably with an inconsistent North Atlantic accent while Andrew's buddy Zach Cherry digs deep to play a no-nonsense nurse. What is real and what is imaginary? To learn more about this topic, watch Phil's series of video essays: I'll Believe It When I See It!
Garbage movie alert! All three of us hated this movie. Then why are we talking about it? Because we are gluttons for punishment. If you know REPO: THE GENETIC OPERA, chances are you love it. For that, we are sorry. Not because we've offended you, but because of the harm you are doing to your own brain and eyeballs. This horror-musical is unlike anything else - THANK GOD! But it really is a terrible film. Listen to our discussion about it!
Not nearly as terrible as the IMDb score would have you believe, Ava DuVernay's Disney debut is a flawed, but pleasant fantasy. On this episode we have a self-professed expert on the Madeleine L'Engle novel to check off the differences between the film and the book. Overall, she says the film is fairly faithful...to a point. This is a fun discussion and a good place to turn to for a thoughtful critique of a much-attacked film.
Avast, ye swabs! Why am I taking like a pirate? I guess it's because I equate 19th century naval ships with pirates. That's my problem and I'm working on it. But that should not stop you from seeing this most excellent film! Returning guest Kristy is here to express her love for this film about high adventure on the high seas with Russell Crowe and Paul Bettany. One of the most immersive cinematic experiences of the past twenty years, what with it's fantastic sound design and cinematography - we all think it's a great movie! Hear our discussion for more platitudes!
Even though we have our doubts about what it all meant, ITQ enthusiastically supports ANNIHILATION and encourage anyone to see it in theaters. Cerebral sci-fi is a favorite of ours, and if you listen to the podcast, you already know how much Andrew loved EX MACHINA. Alex Garland returns with Oscar Isaac, (minus sexy dancing) and delivers a thought-provoking mind-blower of a film. If you have any insight you want to share about your interpretation of the film, by all means, hit us up on Facebook!
Well, the Oscars happened! Seems to be a yearly occurrence. Maybe it's us, but the writing was pretty terrible this time around. It must be hard to keep coming up with original material, but at least they didn't trot out an octogenarian actor for cheap applause. And hey, yet another Mexican wins Best Director! Andrew and Phil recount last Sunday's event with love and resolution.
Enthusiastic guest host Liz joins us for this very fun discussion about the seminal documentary PARIS IS BURNING. Liz brings with her a lot of knowledge surrounding the film, and drag culture. The talk ranges from Joan Rivers to RuPaul to drag balls. This episode, like the documentary it covers, is a must-listen!
Believe the hype! Black Panther is the best Marvel movie we've seen. Grounded in believable performances, the story captivated us. While Ryan Coogler's film delivers all the bells and whistles of a comic-book movie, where it really soars is in the emotions of the cast. Michael B. Jordan is a charismatic villain, with whom you can also sympathize. It seems that Disney has allowed the writer/director the freedom imbue Black Panther with some of his own experience, which bodes well for future comic-book adaptations.
A forgotten 80's comedy in the classic fish-out-of-water genre, BIG MAN ON CAMPUS was made by several filmmakers who would go on to greater things. But this remake of the Hunchback of Notre Dame set in UCLA is still funny and entertaining. Visual jokes abound and the cast boasts many stalwart names like Tom Skerritt, Cindy Williams and Jessica Harper. New guest Andrew B. joins Andrew and Phil to rave about this film, a personal favorite of his.
Non-professional actors mingle with established comedians in this latest effort from director Clint Eastwood. Based on a book written about a thwarted terrorist attack on a train to Paris, Eastwood stretches an act of American heroism into a feature-length film. What you have is fairly undramatic story with some really bad acting. Andrew and Phil break down why this film does not really work.
Christian Bale gives a baleful performance in this February release. Based on a manuscript by the deceased Donald E. Stewart, the film boasts a charismatic turn by Rosamund Pike as a frontier widow. Ultimately, not a great Western or a great episode of ITQ. But what do you expect after that killer run of Oscar bait movies? We begin with a nod to Timothée Chalamet's ill-fated turn in today's film, which is not exactly up to the standards of his recent work.
It's on, movie fans. Andrew and Phil's favorite films of the year. May we have the envelope, please? No need for that booji nonsense. These are the films selected by two people who know what moves them. Listen in and see how your favorites stack up next to these two film fanatics.
You never realized how deep this Bill Murray comedy is until you've discussed it with Drew, our returning guest. Meher Baba, behavioral psychology and the (many) stages of grief all figure into this episode. Just in time for the titular holiday, ITQ reviews the classic comedy that marks the beginning of Murray's blue period.
Paging Mr. Scorsese, your technique has been lifted! It's no accident this film has been called "The Goodfellas of figure skating" because I, TONYA is definitely the spiritual godchild of the style created by the Sicilian cinema master. If it invested more in the emotional drama of the characters without using distancing devices to undercut it at every turn, the film might have been less entertaining...but perhaps less problematic. Andrew and Phil go to town on I, TONYA.
Our first guest episode in a long while! But on top of that, we talk about a new and highly acclaimed film. Rankin joins ITQ to compare CMBYN to the novel and how the queer community has reacted to the film. He also sheds some light on trivia surrounding Luca Guadagnino's excellent film. Check out this episode!
The dark horse nominee for Best Picture and a virtual lock for Best Make-Up comes to ITQ! Anchored by an unrecognizable Gary Oldman in nearly every frame, DARKEST HOUR tells the tale of Winston Churchill's early days as Prime Minister. An unremarkable film, to be sure but Oldman does an admirable job mimicking the legendary British statesman. Andrew and Phil go off on a tangent about ostentatious camerawork that takes up more than half of this episode, but it's entertaining, so who cares?
Steven Spielberg snuck this film into 2017 at the last possible minute. After hearing so much praise that THE POST was his best film since MUNICH, and could be the perfect antidote to a toxic presidency, expectations were high at ITQ. Let's face it, when it comes to Spielberg, Streep and Hanks expectations are always high. THE POST is a good film, but not much more than that. High-caliber acting all around, but not a lot of that Spielberg magic. Nevertheless, it's worth seeing. Andrew and Phil have an insightful discussion about what makes a film Spielbergian.
Critics have described Paul Thomas Anderson's new film as being emotionally remote as well as sumptuous. Andrew and Phil are here to tell you it is both of those things. Phil had the pleasure of seeing PHANTOM THREAD in 70mm, the way the creator intended. To top that off, Anderson himself was present at the venue to talk about his film. In this episode, Andrew and Phil favorably discuss the film, as well as the director's intentions behind it.
Phil doesn't give a sht about Star Wars anymore. Andrew gives slightly more of a sht about it, but even he has to admit that the franchise is heading in a very bland direction. Disney seems to be turning it into more of a Cinematic Universe. Conscious efforts to represent women and people of color in smaller roles point to an inclusive attitude. But there is also a certain drain of wit, character and originality that made the original trilogy so captivating. The off-tone humor made Phil and Andrew both roll their eyes. Overall, Star Wars gets less and less exciting as the years go by.
This is a film full of imagination, from the story to the cinematography. Guillermo Del Toro's passionately felt film won him a Golden Globe for directing and his stamp is all over the place. Andrew is one of the many fans that praise how moving a film THE SHAPE OF WATER is. Phil is not one of those people. Despite recognizing the talent that went into creating this film, it still seemed to him like a mishmash of different genres that could not quite sell Del Toro's fantasy that a monster could win the heart of a beautiful woman. Andrew and Phil have a lively discussion on opposing sides about this critical favorite.
Kogonada is perhaps the most commercially successful of the video essayists. His work is seen on several Criterion Collection DVDs and blu-ray and millions of people have viewed his supercuts of Tarantino, Wes Anderson and others. But is he the right man for the job of making a feature film? Andrew and Phil were both let down by COLUMBUS, kogonada's directing debut. There is something to be said for the the film's cohesive tone, but what's the point? Kogonada seems to want to make an art film, but has no fire within him. That does not deter critics, many of whom praise this film. Andrew and Phil do not, however.
James Franco has created a poignant, hilarious comedy about the making of the worst movie ever. His performance anchors the film, and he clearly cares about his character. He has an aptitude for directing comedy that Phil felt was sorely missing in his serious adaptations of Faulkner novels. Andrew also really liked this film, another solid A24 release. Our two hosts debate the bona fides of the central friendship, which is based on real life, but seems unlikely.
This movie is a good time, if you're a cinephile. If not, you might be put off. Not enough people are talking about The Safdie Brothers' film, which was snubbed by the Golden Globes yet named Best Movie of 2017 by Film Comment. Listen to Andrew and Phil gush about the immersive experience of watching this kinetic film.
A strong contender for awards in the writing category, Martin McDonagh's seething satire about the American South is also a powerhouse of a film. Great performances and strong direction abound with surefire nominations for Frances McDormand and Sam Rockwell. Phil liked the film but felt it was a fairly obvious attempt to make a point about Southerners without quite capturing what life is like there. Andrew admired how well-crafted it was, and loved the acting. Will this end up being on their end of year top ten list?
We're loco for Coco! Dazzling animation from Pixar, always pushing the limits of what's possible. A truly heartwarming story that elicited tears from the audience. Andrew and Phil praise the premise of a Mexican-set film and also address the uproar regarding the lengthy short about Olaf the snowman that has been pulled from theaters.
Is nothing sacred? Nope, not even Bambi. The title of Yorgos Lanthimos' captivating ode to discomfort refers to an ancient Greek myth. But there's nothing antiquated about this brilliant, nerve-rattling modern horror. Andrew and Phil both loved this film, perhaps a spiritual cousin to Aronofsky's mother!, but utterly unique. The hosts of ITQ draw comparisons to Kubrick and Haneke, which bodes well for Lanthimos' future body of work!
Andrew and Phil invite one of their old friends from film school to talk about his new horror-comedy MERCY CHRISTMAS, now available for download:(iTunes, Amazon). Ryan Nelson wrote and directed the movie, which took several years to produce. The story deals with a put-upon office worker who gets invited to a Christmas party by a beautiful co-worker that he just met. It seems like good fortune at first, but things are not what they seem. Brutal, funny and sure to entertain fans of the genre, MERCY CHRISTMAS (http://www.mercychristmasmovie.com/) is out just in time for the holidays. Keep up with Ryan's film at these links: (Facebook, Instagram, Twitter)
Art is such a serious topic, it makes a perfect target for satire. Ruben Östlund tackles the hypocrisy of that world in his critically-acclaimed drama THE SQUARE. Andrew and Phil are both huge fans of his previous film, FORCE MAJEURE, which is also a humorous takedown of a ridiculous man. But the female characters in the film are not as sharply drawn as in Östlund's previous effort. If you are skeptical of contemporary art and are intrigued by the accolades this film is getting, this film gets the endorsement from ITQ.
Jonás Cuarón follows in his father's footsteps as director of this tense thriller set entirely in the well, desert. A group of Latinos are crossing the Mexican border into the U.S. and Jeffrey Dean Morgan, for one, doesn't like it one bit. This psychotic super-patriot starts to pick off the travelers one-by-one with his sniper rifle, leaving Gael Garcia Bernal to act the hero and try to make sure all of his compatriots make it to safety. Andrew points out this politically-charged nail-biter has the anatomy of a horror film. Phil considers it an extrapolation of some footnote in No Country For Old Men. Returning guest, Eric brings this film to ITQ.
A film that weaves together an entire community of resonant characters, all tethered together by the star, Christine 'Lady Bird' McPherson (the indomitable Saoirse Ronan). Greta Gerwig's directorial debut is getting a lot of praise, and rightly so. She also wrote the script and it pulsates with real situations to the point that it seems wholly autobiographical. Andrew and Phil both loved it. Another direct hit from A24, who are putting all other film distributors to shame with their consistently stellar releases.
In this rare episode, ITQ welcomes Deirdre Haj, an actress and producer who began a career in Hollywood in 1984. In this extremely frank and candid interview, Deirdre fields questions about rape culture in the entertainment industry, recounting what she witnessed before leaving Los Angeles a number of years ago. Deirdre pulls no punches in her assessment that Hollywood is a hostile place for women. The root of the cause, Haj explains is not only that people with a hunger for power often find their way to the industry...but the industry itself reflects society.
Andrew and Phil spar over the relative merits of this popcorn flick. Should there be more Jackie Chan? Does it really deserve its abysmal Metascore? The Foreigner was billed as a Jackie Chan movie, although he's overshadowed by Pierce Brosnan's prodigious turn as Liam Hennessey, the Irish government official with a checkered past. Phil wanted more Jackie, while Andrew contends that the martial arts legend simply doesn't have the energy to dazzle like he used to. But Chan is such a likable presence he could do almost anything and his fans would be pleased.
The buzz on this film is that it sucks. We have to concur. Director George Clooney took an old, unproduced script about murder by Joel and Ethan Coen and tacked on an underdeveloped plot thread about racism to fight white nationalists emboldened by Trump's election. The result is two competing stories that never coalesce into a whole. Plus, the Coen Brothers story lacks their directing touch. Nobody can do a dark comedy like Joel and Ethan Coen. SUBURBICON has a lot of talent involved but the film is remarkably unentertaining.
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How did Andrew and Phil go their entire lives without ever encountering the magic that is TEEN WITCH? New guest Martha brings this 80's chestnut to the attention of ITQ and boy, is it a good thing she did! The incongruous musical numbers, rap breakdowns and on top of everything...Zelda Rubinstein! Few movies are this enjoyable. Check out the hilarious discussion, and if you haven't already...check out TEEN WITCH!
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Living in the shadow of the Happiest Place on Earth is a group of children and their parents in an unglamorous motel. The tenants include Halley (Bria Vinaite) and her little daughter Mooney (Brooklynn Prince) and the beleaguered manager, Bobby (Willem Dafoe). What follows is a captivating depiction of childhood that transforms into a character study of a woman down on her luck. Superb performances all around had Andrew and Phil marveling over this film. This one is sure to end up on their top ten lists at the end of the year.
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Guillermo Del Toro brings his long-cherished project to light with this ghost story that takes place in a desolate Spanish orphanage in 1939. The Mexican director considers THE DEVIL'S BACKBONE to be the sibling to his more well-known PAN'S LABYRINTH. Special guest Aaron joins the discussion to talk about this handsomely-filmed, engrossing drama. In anticipation of the upcoming SHAPE OF WATER, the three film fans debate del Toro gifts as a filmmaker and the dignity he gives to the ghost character in today's film.
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Andrew and Phil are unable to name a great tennis movie. The sport doesn't lend itself well to being filmed, although Hitchcock did an admirable job as far back as 1951. But unexciting tennis is the least problem with BATTLE OF THE SEXES. The acting talent on display here is stellar, but they are saddled with a mediocre script and pedestrian direction. There is at least one great performance in the form of Andrea Riseborough, and Emma Stone does do well in some of her intimate scenes. Sadly, Steve Carell is mostly wasted and makes one want to watch FOXCATCHER again. Just to see him soar.
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A visionary sci-fi film directed by Denis Villenueve is always cause for celebration. IMDb fans have championed BLADE RUNNER 2049, but disappointing box office and complaints of sexism and self-indulgence plague the near-three hour sequel. Andrew found the movie captivating, but Phil believes it to be slow-moving and unnecessarily long. Hard to ignore also is the depiction of women, which has raised the ire of many feminists. Phil brings up the objectification of female characters, but Andrew refutes that the story necessitates such a viewpoint. Does the film stand up compared to the original BLADE RUNNER? Let Andrew and Phil know what you think: In the Queue Facebook comments section.
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Andrew and Phil make a triumphant return to podcasting in this scintillating episode about the most controversial film in theaters now. Darren Aronofsky's "Mother!" has divided audiences and critics alike with it's brutal, unrelenting disturbia. The film must be examined as an allegory and these two film critics are your guide to interpreting Aronosky's vision. "Mother!" is a film deeply cynical about mankind, not to mention God. Is it garbage just because it makes you feel like garbage? The hosts of ITQ think otherwise. Great to have you back, gents!
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Everyone who saw WALL-E when it came out in theaters in 2008 was awed by the incredible visual storytelling of the film's first act. As the story continued, reactions split - some claimed the heavy-handed message about humanity was artless. While Andrew felt the film should have convinced the audience to care about the human characters as much as the robots, Phil and new guest, Brian both are amused by the satire. What all three parties agree on is that WALL-E still stands as one of Pixar's best films.
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A film about the enormity of time that occasionally feels like an eternity. But that's the point, surely? A24's newest offering is one of their best, according to Phil but to Andrew it suffers from unconvincing performances by the two leads. Is it enough just to intellectually know that two characters are in love? Or does the audience need to feel it as well? This is a film about love ultimately, and while stronger performances would certainly help, the themes A GHOST STORY explores offer a thought-provoking viewing experience.
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Movie trailers. What works, what doesn't? Andrew and Phil welcome new guest Niki on the podcast to talk about the current state of movie trailers. The freewheeling discussion touches on Kanye West, movie spoilers and integrating archival footage into a period piece. Can anyone confirm that Ridley Scott actually used brownies for a visual effect in the original ALIEN trailer? In a world where a misleading trailer can kill the box office for a film, do trailers have too much importance? We think you will like this episode.
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Christopher Nolan triumphs with his new film about a WWII event portrayed less often in movies, the 1940 evacuation of Allied soldiers from the beaches at Dunkirk, France. Nolan explores the cataclysmic situation from three vantage points: the land, the sea and the air. What follows is a tapestry where not one character dominates, but a collective traumatic experience is shared. But what is traumatic for the characters is also thrilling for the audience. The sound effects editing is incredibly transportive and is one of the most compelling reasons why DUNKIRK must be experienced in an IMAX setting. Andrew and Phil are both highly enthusiastic about the film in this podcast.
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In memory of the late horror pioneer George A. Romero, Andrew and Phil host a discussion about one of the director's best zombie pictures, DAY OF THE DEAD with new guest, Calvin. The third film in Romero's zombie franchise was made in 1985 and takes place primarily in a military bunker, beset on all sides by hungry undead. The characters sequestered inside bicker about how best to handle their grim situation. The military faction wants to obliterate as many zombies as possible, while scientists are working on a way to train the zombies in the hopes of some kind of peaceful co-existence.
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One of the best romantic comedies in recent memory is the subject of Andrew and Phil's new discussion. Phil raves about the writing and acting and Andrew is enthusiastic as well...but believes the directing by Michael Showalter to be "pedestrian." Andrew also did not completely buy that Kumail and Zoe were in love in the film. This sparks a debate between the two hosts: which is more important in a romantic comedy? The writing or the acting? Surely, both are, but where the effective writing won Phil over, the unconvincing romance prevented Andrew from completely loving the film.
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The greatest super-pig this side of Zuckerman's farm, OKJA comes beamed into our homes via Netflix. This new film from Korean master Bong-Joon Ho is a ridiculous portrait of corporate greed and mass food production. Okja is a CGI animal that manages to be both touching and convincing. The ensemble cast boasts many great actors and includes an over-the-top turn by Jake Gyllenhaal. Does his performance distract from the whole? Find out what Andrew, Phil and new guest Jasper think in this scintillating episode!
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Sofia Coppola's success at Cannes is now at the center of controversy for its omission of crucial black characters from the original source material. Coppola's films often portray a detached, dreamy world of women and THE BEGUILED continues in that vein. Phil calls it a mature film because of its painterly compositions but mostly because how Coppola crafts an ambiguous feminist narrative. By the film's inevitable conclusion, one might think this is a portrait of how vulnerable women triumph over a heartless, predatory man. But the shades of grey are what makes Coppola's vision so compelling. This discussion is particularly compelling.
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Phil here: This special episode grew out of a statement I made that I've never been moved to tears by a split screen moment in a film, and that they were cold, technical exercises. Andrew counters with examples from CARRIE (1976) and other projects that he found particularly moving. But I stood by my point that the natural distancing effect of a split screen prevents the viewer from getting emotionally close enough to a film to actually cry. Returning guest Bob joins the discussion, which begins with an example from 500 DAYS OF SUMMER, perhaps the saddest split screen moment in recent movie history. Split screens appeal to our intellect, not our hearts. Nevertheless, the three of us had a great discussion about this topic.
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BABY DRIVER is a slick and seamless cinematic concoction. Edgar Wright rises in the ranks as a director of action and curator of killer source music. Wright choreographs car chases to a playlist of classic tracks, and substance is secondary. The story is a well-worn tale of a wheelman taking on one last job before leaving the life and running away with his new flame. But what makes it fun is Wright's ability to direct action that is always easy to follow (and the amazing stunt work is also great). A poignant side note of Andrew and Phil's discussion is the realization that BABY DRIVER is an homage to a grittier and funkier time in the history of cinema (and big cities) that was more authentic and less of a brand than it is now.
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Color me impressed with this 1998 chestnut! Andrew, Phil and new guest Charone talk about PLEASANTVILLE, the color-corrected comedy that satirizes 1950s social mores. The discussion ranges from what color actually symbolizes in the film to how good it is to see Tobey Maguire again! And what analysis of this movie would be complete without pontificating on the ramifications of Don Knotts as the God figure in this world? There's a lot to say in this episode. We just hope Reese Witherspoon is listening.
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Phil here: Last week, Andrew and I had a spontaneous conversation about what I believed to be the death of the cinema. We were about to record a completely unrelated episode about ESCAPE FROM NEW YORK (great movie) but our guest fell through and I also had something to get off my chest. I had just finished a video essay for Fandor about how old TV shows get repackaged into movies, which combined with my opinion that movies are more disposable than ever led to this discussion. I used the term "cinema" to describe the theatrical experience. Think of this episode as a companion piece to my video essay, which I will also post here for our loyal listeners.
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Anger about the current administration is what the producers of BEATRIZ AT DINNER are banking on to sell this so-called comedy. Salma Hayek plays a demure, holistic healer thrown into a dinner party for rich capitalists by a mere coincidence. What begins as a dialogue-driven piece of realistic commentary becomes a cage match of archetypes as Beatriz fends off the cavalier remarks of Doug (John Lithgow, standing in for Trump). The characters are never really fleshed out as human beings, but you can tell politics is the point. A weird climax and conclusion is out of step with the rest of the film.
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Horror films don't get much more cerebral than this. Trey Edward Shults' genre-defying domestic drama will disappoint those wanting a monster movie (the terror is not clearly explained) but as a depiction of a man attempting to protect his family in uncertain times - it's great. Phil normally finds himself impatient with slow-moving films like this, but in the case of A24's latest offering, there is much to think about. Andrew loves ambiguous narratives that leave a lot to the imagination and this film certainly delivers that. Joel Edgerton gives an astounding lead performance and the rest of the small cast is also good, especially Kelvin Harrison Jr, who might actually be the main character...
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This is dedicated to you, the loyal listeners of In the Queue. Thank you. And we hope you enjoy this scintillating discussion of a brain-bending romantic dramedy starring Elisabeth Moss and Mark Duplass. They play a troubled couple who go on a secluded vacation at the suggestion of their therapist. To say more would spoil the fun. If you haven't seen the film, Andrew and Phil and new guest Caleb all speak highly of it. We encourage you to see it and check out the discussion. Is it a comedy, like Phil insists? Or is it no laughing matter?
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Universal makes a naked grab for box office, and are not successful. Bad movie, plus box office failure equals 'turkey.' The studio is reviving their classic monsters from the 1930s in the new 'Dark Universe' franchise. The unifying element is Dr. Jekyll, who will appear in each film, from this film and on to THE INVISIBLE MAN and so forth. Tom Cruise, looking puffier than ever, is the unlikable rapscallion Nick Morton, treasure hunter and all-around douche. He attempts to get rich by plundering ancient artifacts in Iraq. Courtney B. Vance, the only black character, is the first one to die after several minutes of screen time. These cinematic blunders and more point to a bone-headed movie out of step with the times.
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The original political thriller that turned the red queen into the most sinister card in the deck comes to ITQ. Frank Sinatra has our fullest sympathies as heroic Bennett Marco, a Korean War vet trying to understand what is happening to his fellow enlisted man, Raymond Shaw. Both men had a *remarkable* experience in combat that has devastating repercussions not just for them, but for the future of Western Civilization. Throw in a chilling performance by Angela Lansbury as a creepy mom, and John Frankenheimer's trademark unusual camera angles and you have the makings of a classic. Drew returns to the podcast to discuss this highbrow picture.
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The heaps of praise WONDER WOMAN is getting does little to persuade Andrew that it is a good film. Important, yes. But he finds all the same flaws with previous DC superhero movies present in Patty Jenkins' record-breaking film. Phil, on the other hand, thought it was much more fun than SUICIDE SQUAD or BATMAN VS. SUPERMAN. Both hosts agree that the film represents something positive...but only Phil thinks WONDER WOMAN is a good time at the movies. Where do you stand? If you're curious, vote with your feet and buy a ticket to see it. Andrew and Phil can vouch that your dollars are going to a good cause.
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Jables and Kage blaze across the screen in their feature film debut as the gods of heavy metal known as Tenacious D. The movie is in the grand tradition of the band's HBO series and that's one reason why returning guest, Liz loves it so. She recommends the drug-laden film (which ironically she has never seen under the influence) and claims to have seen it 87,000 times. The discussion ranges from whether or not these two ugly overweight dudes deserve to rock so hard (consensus: they do) on to the merits of Dave Grohl in over the top Satanic prostheses. This episode is truly a trip.
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Is it wrong to cheat on your spouse? Azazel Jacobs' THE LOVERS is not interested in answering that question. This A24 release humorously depicts a married couple both in the throes of extramarital affairs without judgment. Debra Winger and Tracy Letts play the bored couple who inexplicably wake up one morning to find a spark rekindled between them. If you've seen the trailers for this film, you know the premise already, and the actual film doesn't do much
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One of John Cusack's best roles is at the heart of this unique black comedy. He plays a hitman stopping by his high school reunion on a contract assassination job. While there, he rekindles a romance with Minnie Driver, who still harbors some resentment that he stood her up for senior prom. This movie consistently maintains a humorous tone, despite often depicting nefarious violence. It also has a wicked soundtrack. Travis returns to ITQ to talk about a film that he has seen a few times too many.
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It is definitely better than PROMETHEUS. That's the consensus among Andrew and Phil in this episode. But we've seen this premise before in nearly every other film in the franchise. A colony ship deploys a vessel to explore an unknown planet; mission goes awry; mothership gets involved; crew dies, one by one. What is new and interesting, however, is the discussion you can have about artificial intelligence in this film. There are some decidedly "Ridley Scott" themes at work here, which are much more compelling than waiting to see which foolish scientist will perish next.
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Two movie-loving dudes who've never seen LITTLE WOMEN? Get outta town! But no, it's true, Andrew and Phil have never seen nor read any version of Louisa May Alcott's treasured story of the March sisters. That is, until now. New guest, Sarah brings the 1994 film to the attention of ITQ and the verdict is...positive! Sarah is an expert on the setting of the film and brings a lot of interesting details to the discussion. The topic of conversation ranges from the invigorating musical score by Thomas Newman to the anachronistic hairstyles and our favorite acting moment from the movie. Have you got one? Have you seen the film??
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If you think it's funny watching Amy Schumer suffer (many folks might) this is the Mother's Day comedy for you. While this is not a "good" comedy, it is in the same vein of SNL-type humor that has a big audience. So, while Andrew thinks this movie has too many problems to succeed, Phil believes SNATCHED lives up to the trailer. If you think you will laugh at this movie, you probably will. But even Phil agrees there are flaws with insincere comedies; namely, when they try to work in sincere themes. Mother/daughter conflicts make up for some amusing bits in SNATCHED, but when the film tries to work in serious pathos, it fails pretty miserably.
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No, it's not Eddie Murphy's stand-up film from 1987. It's way scarier. French auteur Julia Ducournau presents her first feature, a feminist horror film about a vegetarian girl who develops a peculiar craving after a hazing ritual at college. This movie caused audience members to faint and vomit (not necessarily in that order) at a screening in Sweden. It's one of the most disturbing examples of "body horror" around and really pushes the envelope. Especially for a horror film from a woman's perspective. These films are a rarity and when they are of this high quality, they should be supported. But be forewarned, RAW is not for the faint of heart.
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Let's just say, for the sake of argument, that you are not in love with the characters who make up the Guardians of the Galaxy franchise. They are not your best friends. You do not think it is funny or cute when Baby Groot utters his sole (and overused) line of dialogue. You find it inexplicable that this films expects you to laugh constantly at every labored joke and then shed tears at a prolonged and unearned funeral scene for a main character. Can you still enjoy this movie? Phil enjoyed the first GOTG film, but Andrew did not. How do they both feel about the sequel? Well, let's just say they are in agreement on this one.
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Military operations are painted in shades of grey, and EYE IN THE SKY presents a complicated portrait of a drone attack in Kenya. The film is depicted almost completely in real time as a tense situation grows more dire when an ambitious British Colonel (Helen Mirren) demands a "hellfire" strike on an African compound, despite the collateral damage that would result. Aaron Paul plays an American pilot who questions Mirren's authority when it seems an innocent girl would die, unless they can wait it out for just a bit longer... Gripping and well-done, (and featuring a powerful role for Mirren -written originally for a man) EYE IN SKY is highly topical.
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Could this be the most aptly titled film of the year so far? Perhaps, but aptitude is not the measure of a good movie. FREE FIRE is a an exercise in imprecise filmmaking. Director Ben Wheatley wanted to make a nasty, fun dark comedy that delights in watching it's characters brutally kill one another, but the shootout is sloppily directed. It's hard to get a sense of where the bullets are flying, and how many each shooter has before they run out. The film is full of great actors, but Wheatley doesn't seem to care about any of them. His last film, HIGH RISE (episode #223) was a similarly misanthropic mess. Phil would like to see Wheatley make a film that might betray his emotions; an earnest movie about people dear to his heart, rather than another violently ironic black comedy.
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Who can watch this 70s classic and not be heartbroken by Christopher Walken's Oscar-winning performance? He's a revelation to people who only know his weirdo roles of the past twenty years. And if there's one thing Andrew and Phil agree on, it's that THE DEER HUNTER is Robert DeNiro's best role of all time. He's the key component in a film comprised of several great actors. At the helm is Michael Cimino, at the peak of his directing powers. He flew high like Icarus and was rewarded with multiple Oscars, only to encounter the sun with his next film and crash and burn. But let's enjoy this film, brought to ITQ by Bob Eimicke, a NYC film critic and new guest!
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Is a movie sometimes entertaining to watch in spite of itself? COLOSSAL fails on a few important levels, but watching it reach for those heights and fall short is kind of, well, fun. You can't fault writer-director Nacho Vigalondo for being original. Anne Hathaway (in a delightful turn) plays a woman in crisis whose behavior seems to have found an unlikely avatar in the form of a giant monster terrorizing Seoul, South Korea. Sound weird? It is. Sound interesting? It mostly is! The weaker spots mostly center around an unsuccessful performance by Jason Sudeikis and unexplored metaphorical significance of the monster. But rest assured, there is nothing like COLOSSAL in theaters now, and for that reason, the film is worth seeing.
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Paul Verhoeven's original ROBOCOP is a thrilling shoot-em up but also functions as a sly social critique. One of the most horribly violent movies of the 1980s, its true, but if that's all you take away from this film then you're missing the point. Returning guest Caitlin joins Andrew and Phil on this episode, where the topics of discussion range from the progressive portrayal of a female character in the film to sentiency in artificial intelligence. And- is ROBOCOP the film that unites both liberals and conservatives?!
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Taki and Mitsuha are two typical Japanese teenagers. He lives in Tokyo, she lives in a rural town called Itomori. They don't know each other, but as a mysterious comet approaches from outer space, strange things begin to happen. Taki and Mitsuha periodically switch bodies and inhabit the other's life for a day at a time. From this premise comes an involving fantasy. Phil voices his dislike for the style of Japanese animation and Andrew defends it, while simultaneously acknowledging that it's not for everyone. YOUR NAME. is the highest grossing Japanese film of all time, and it's well-worth seeing, as Phil admits, even if anime is not your cup of saké.
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The always brilliant Pythons do not disappoint in this classic religious send-up. Wisely pointed out by new guest, Seth, this film is a collection of irreverent sketches that also manages to hold together as a plot driven film. Truly one of the smartest and most hilarious comedies of all time, LIFE OF BRIAN details the life of one Brian Cohen, who happened to be born on the same day and in the same general geographic vicinity as one Jesus Christ. Through a hilarious turn of events, Brian develops his own fervent religious following, although he is reluctant to take credit for it. Any Python fan will want to listen to this episode, as Andrew is full of interesting trivia surrounding the making of this film.
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Even ScarJo can't save this dull thud of a thriller. Whitewashing or no, GITS suffers other fatal flaws like slow pacing, uninvolving action and pointless visual noise. Fans of the original 1995 anime (like Andrew, for instance) will be disappointed at this lackluster treatment of a beloved story that delighted fans of cyberpunk and sci-fi. Clearly, BLADE RUNNER was an influence on the aesthetic choices that went into imagining this futuristic city, but it's an empty homage that takes the film straight to Nowheresville.
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Huh? How has this movie never been covered on ITQ? New guest, Julien has requested this sci-fi colossus for the podcast and Andrew and Phil celebrate it's debut with an hour-long roundtable discussion. 2001 happens to be Andrew's favorite movie and he is chock-full of insights into deeper themes at play in Kubrick's masterpiece. The conversation ranges from music and sound design to foretold technological trends come true. Essential listening for anyone curious about what this confounding space epic means.
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Renton, Spud, Sick Boy and Begbie are back after twenty years. Since he ripped off the group of heroin addicts in the original TRAINSPOTTING, Renton returns to Edinburgh to try and close the chapter on a tumultuous period of his life. He finds his old mates are still living marginal, (some amoral) lives. This film marks the reunion of the original creative team behind the 1996 classic, and let me tell you, this is no BLUES BROTHERS 2000. A film that has new things to say, T2 does not rely on nostalgia for it to exist. Andrew and Phil both praise the kinetic visuals and wonderful characters in Danny Boyle's dark and funny sequel.
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Few movies of the past forty years have the same notoriety of CRUISING, a highly controversial cop thriller from 1980. The film features Al Pacino as an undercover officer infiltrating the world of gay leather bars in New York City. This film was severely picketed by the gay community when it was being made, as it was deemed to be homophobic. It may be that, but it is also a mess of a movie. Many important plot points are left vague or ambiguous. But the frankness of the material is still fascinating all these years later. New guest, Kathleen brings CRUISING to the discussion, which also explores the James Franco companion piece, INTERIOR LEATHER BAR.
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If ever there was a movie that aped the conventions of Ridley Scott's ALIEN yet lacked the commitment to make itself an interesting movie in it's own right, LIFE is that movie. Andrew and Phil trash yet another mediocre March release in the new episode of ITQ. This killer alien sci-fi horror film boasts a cast seemingly assembled at random and chained to a boring, dour script that takes itself way too seriously. If you're going to make an unoriginal genre picture, you should at least have some fun with it, but the filmmakers behind LIFE act as if they were crafting some kind of cautionary tale about deep space exploration. They forgot to make it an enjoyable ride.
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What a weird film. Oh, wait, it was directed by Ken Russell, so, there ya go! The violently erotic hallucination scenes should have tipped me off. Looking for some dreamy footage of young Hugh Grant? Or of blue-tinted Amanda Donohoe biting off some British boy scout's schlong? Well, you're in luck because LOTWW has both. Drew returns to In the Queue with yet another strange request and we are obligated to humor him. Psychedelic folk-rock contra dancing and a young Doctor Who are other delights of this funny horror flick. If you like bizarre movies, this should be your next watch.
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Tale as old as time...done poorly. Why does this film exist? For the bottom line, and no other reason. Andrew and Phil lament the new remake of the Disney animated remake from 1991. Not only is this version uninspired and overlong, it adds nothing worthwhile to the story and serves only as another reminder of how Disney will continue to cannibalize it's legacy for the sake of squeezing more dollars out of every subsequent generation it discovers. And we have The Little Mermaid live-action remake to look forward to later this year. Pathetic.
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This movie is a pile of garbage! Andrew and Phil (but especially Andrew!) tear into this new attempt at capitalizing on a once great story. 'KSI' doesn't have the tragic sweep of the 1933 Kong, instead it's just a boring film with intermittent action scenes that keep Kong as a undeveloped minor character rather than a full-fledged star. Phil found the monster fight scenes to be the only interesting part of this movie, but even those left Andrew cold. He pegs it as the worst movie of 2017 so far. Some more inexplicable crimes? The reunion of two charismatic stars of 'Straight Outta Compton' in nothing parts, or how about the bald attempt to monetize this as the beginning of a new franchise (to rival Marvel, perhaps?). Listen to the fun discussion!
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The final chapter in the Wolverine saga (unless Marvel finds it profitable for a reboot) is the morose LOGAN. Hugh Jackman is the larger-than-life title character, now living as an alcoholic limo driver after the X-Men have disbanded. He takes care of Professor X, who is getting older and weaker. Logan merely wants to be left alone, but a little girl mutant enters his life and turns his world upside down. The story is too archetypal to be cliche', especially considering how committed the film is to this trope, but Logan finds himself the unlikely father figure a child's life. Throw in some serendipitous political allusions and poorly directed action scenes and you've got the latest Marvel installment.
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A visionary dance between comedy and horror, Jordan Peele's socially conscious directorial debut is nothing short of stunning. The comic genius (half of Key & Peele) displays a strong understanding of what is frightening as well as what is funny. Andrew and Phil both remarked that they had more fun watching GET OUT than last year's KEANU. The premise is a mere setup for a creepy story that continually surprises and has you on edge. Chris is a young, black man with a white girlfriend, who invites him to meet her parents for the first time. He asks if they know he's black. You just watch and see what happens.
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Denzel Washington. 'Nuff said. He carries this film from beginning to end. He breathes life into 'Whip' Whitacre, a hard-living airline pilot and full-time douchebag. As the film begins, Whitacre snorts a toot of cocaine before heading out to fly a commercial aircraft. If you know anything about this movie, you know that early on, there is a serious problem with the aircraft. 'Whip' saves the day, but lands in hot water. Robert Zemeckis' directs with aplomb, and there are good turns by John Goodman, Don Cheadle, Kelly Reilly and Bruce Greenwood. But this is Denzel's show. In one of his best performances, (and in some ways a dry run for his work in 'Fences') he makes us understand how this man repeatedly makes the wrong choices, until it's too late.
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Dev Patel oozes charisma in his Oscar-nominated turn as Saroo, an Indian man living with adopted parents in Australia. Years earlier, he was separated from his parents, never seeing his mother and brother again. He one day decides he wants to find his home and reunite with his original family. They are probably pretty worried about him. 'Lion' is a good film, although Andrew is fonder of it than Phil is. The discussion ranges from how 'Weinstein Brothers' a film is this to the tactile cinematography (also Oscar-nominated) to the depiction of Saroo's decision to track down his family.
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Today, Andrew and Phil are joined by Eric, a new guest on ITQ who recommends Ava DuVernay's Oscar-nominated documentary about mass incarceration of African-Americans. The excellent film is available for streaming on Netflix and DuVernay could become the first black woman to win an Oscar for directing a film of any type. '13th' makes a convincing case that the massive imprisonment of black and brown people is not because they commit more crimes, but rather an extension of the siavery mentality. Illuminating interviews with Angela Davis, Newt Gingrich and others enforce the thesis of this topic.
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If there's anything we can take away about life in 1979 (the year before Andrew and Phil were born) it's that the music was kick-ass. Our hosts would like to lead off by saying it's possible to love Black Flag AND Talking Heads. Mike Mills may not be the bassist for R.E.M., but he certainly grasps what is a killer tune. Phil was dismayed that the most excellent soundtrack for 20th Century Women didn't quite up the game of the filmmaking (ala Kubrick, Tarantino, Wes Anderson, PT Anderson etc.) but this is certainly a writer's movie. Which did Mills come up with first: the characters or setting? Phil considers the film an extended reminiscence; but Andrew calls it a character study. Whoever is right, 20th Century Women is a must-see from 2016.
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The year has been over, but a few important releases were just seen. Now is the time to recap. In this special episode, our hosts each run down their favorite movies of 2016. There will be some surprises, for sure, but you know the quality of these films is going to be high. Looking for a suggestion of a film to see? Pick out one of these titles and you're guaranteed a fulfilling time at the movies. Don't think Andrew and Phil are only going to pick movies that just came out in the past few months. They're digging deep to bring you the very best. Each of them picked ten movies, but did not tell each other what they chose. Here's a hint - neither one picked 'La La Land' as their favorite of the year.
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A sprawling, original screenplay by writer-director Maren Ade provides the backbone for this lively German farce. Career-driven Ines finds her professional life turned upside down by her practical-joking father. At first, his stunt to pretend to be a "life coach" seems to function as his irreverent attempt to spend more time with his daughter. But as the film proceeds down it's idiosyncratic path, deceptively wise dad's ruse seems less selfish, and more a desperate move to help his daughter cope in a ruthless business environment. Andrew felt the film took too long to build to a boil, but Phil was captivated throughout. Our two hosts conclude the episode ruminating who will win the Oscar for Best Foreign Film.
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Jim Jarmusch is no stranger to low-key stories. His new film, 'Paterson' is a chronicle of one week in the life of a bus driving amateur poet in New Jersey. The acting is all around good, with Adam Driver embodying the main character in all his affable charm. Andrew saw the film as a beautiful tribute to life's small moments. Phil thought the film was precisely too small, and therefore not dramatic enough to stick in his memory. A film can delight in small moments and also feature a compelling plot, which this film did not deliver. Andrew challenged Phil to explain why he liked other slow-moving Jarmusch films, but not this one.
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Isabelle Huppert tackles another inscrutably twisted character in this stunner from Paul Verhoeven. Michele is the head of a video game company who is sexually assaulted in her home by a masked intruder. What follows is a game of cat and mouse that will leave you guessing. 'Elle' is also a study of a circle of friends and family, all of whom are flawed or damaged in some way. The whole ensemble of actors is stellar, but it is Huppert who rises above in her Golden Globe-winning performance that elevates this film to greatness. Andrew and Phil do their best to ascertain if the film is mere schadenfreude or if we can learn something about human nature from Huppert's confounding performance.
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This is a great Disney movie!! If anyone is debating whether or not to see this already-released film, know that seeing it would be the right choice! You've got great voice acting by Dwayne Johnson, Auli'i Cravalho and Jemaine Clement, to name a few. The animation is stellar. Andrew and Phil went off talking about how beautiful the water looks in this movie. Best of all is the refreshing Polynesian lifestyle that permeates the world of 'Moana'. It's a much-needed break from the day-to-day lives most of us lead. Will 'Moana' take home the Best Animated Film Oscar from 'Zootopia'?? Either way, they're both Disney movies, so John Lasseter don't care!
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Rare is the Hollywood film that appeals to the whole family. From grandparents to grandchildren, everyone will find something good in 'Hidden Figures'. The story is about a group of African-American women who work for NASA during the Space Race. The U.S. is in competition with Russia to put a man in orbit, and the most valuable contributors to the mathematics of it all are women treated like second-class citizens. They are true underdog heroes and their efforts make for an engaging story. Andrew and Phil hold hope for future PG-rated films as being as high caliber as this mainstream fare.
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A Korean woman in the 1930's becomes the new handmaiden of a Japanese heiress. But things are not as they seem. Throw in explicit sex, sumptuous production design and the masterful direction of Park Chan-Wook and you've got 'The Handmaiden'. Perhaps destined for a spot on Andrew's Best of 2016 list, this film has become a critical darling, but not quite broken through to American audiences yet. The director of 'Oldboy' and other violent films tackles a very different and sensual subject matter. The story has many twists and turns, all the while maintaining an elegant sense of detachment as it juggles a complex story involving many characters.
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August Wilson's posthumous screenplay is faithful to the monologue-driven staging of his own Pulitzer prize-winning masterwork. The story of an African-American family in 1950's-era Pittsburgh succeeds on many levels, due primarily to the acting and Wilson's words. Phil felt that the direction didn't bring the play into the cinema enough, while Andrew applauded it for maintaining the integrity of the original theatrical production. Viola Davis recently took home a Golden Globe for her portrayal of a woman who suffers because of her husband's indiscretions, but still carries on.
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Shh! No talking during the service! What's that? We're not in church? Somebody tell Marty Scorsese, because this film is one of the most reverent depiction of piety in all of cinema. The heroes of this brutal film are the priests, but you needn't be religious to be captivated by their spirit. Andrew and Phil both liked 'Silence' but Phil lamented that it could have been made with a more appropriate (read: less whitewashed) cast. At one point, Gael Garcia Bernal was attached for the Andrew Garfield role. The star of 'Hacksaw Ridge' performs admirably in this difficult role, but his overwhelming whiteness and unconvincing accent prevent a total immersion into the world of the film. However, the overall impact is strong and results in one of the most memorable movies of the year.
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Some people just aren't charmed by dance numbers on the 405. Andrew could barely hide his disappointment with this film. He believes it is a pointless, mediocre attempt to revive the movie musical. Phil liked it, but it's hard to ignore the singing and dancing in this film are not up to par. Ryan Gosling and Emma Stone are charismatic movie stars, but they can't hold a candle to Gene Kelly or (God rest her soul) Debbie Reynolds. Every now and then, a film disappoints, except this particular film has gotten universally rave reviews. 'La La Land' will most certainly win the Golden Globe for Best Musical/Comedy. The question is will it maintain the momentum needed to take home Oscar gold?
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Amy Adams is an art gallery owner who receives a manuscript in the mail from her ex-husband. It's a book he's written and titled 'Nocturnal Animals', a term he used to describe her. The term has dual meaning, as it also refers to a group of West Texas scumbags who terrorize a family on the road at night. The woman in the book doesn't end up too well. Is this book a veiled threat from a man still heartbroken after a divorce? Tom Ford's second film as director is highly compelling, and features a dynamite cast. A highly unusual film that provoked an interesting discussion for Andrew and Phil on today's episode.
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Now and then on ITQ, a listener will guest on an episode about a new release. It doesn't happen often, but all one has to do is ask and we will oblige. On this show, returning champion, Clint joins Andrew and Phil to discuss the hotly anticipated winter release, 'Rogue One'. Some liked it more than others. Phil actually fell asleep for part of it. The funny thing is, the last time he fell asleep at the movies was for another film directed by Gareth Edwards, 'Godzilla'. But Andrew and Clint both found it exciting and fun - perhaps a little bland. Listen to the episode for a fun, rambling time.
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A twisty, French thriller that seems to have influenced recent American films comes to In the Queue from frequent contributor, Aaron. Eight years after his wife's mysterious disappearance, a man finds himself drawn into a mystery that hints she may in fact be still alive. Featuring a jaw-dropping chase through high-speed traffic and many unpredictable plot developments, 'Tell No One' is a satisfying journey into a troubling world of intrigue. Andrew and Aaron both rave about the film, and Phil liked it as well, but there is some disagreement about the efficacy of the pacing. For a thriller, 'Tell No One' does take it's time in establishing the thrills.
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In Kenneth Lonergan's New England-set drama, responsibility to one's family is everything. Men take care of their kids, and when tragedy strikes, a man must cope. Casey Affleck has won many an acting award this year for his towering performance as Lee Chandler, a janitor whose laconic demeanor masks a lot of pain. All the actors in 'Manchester By The Sea' are stellar, and they craft flesh and blood characters that will haunt you after the lights come up. It is a drama that has a dose of humor and ample heartbreak. We can all recognize the world of this film because it is drawn from life. One of the years best.
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Andrew and Phil are nothing if not connoisseurs of fine cinema, which is why this is always the most exciting time of the year for them. Join our hosts as they recap the recent winning films from the NY and LA Film Critic's association while offering their take on those they have seen. Many critically-minded movies come out in December and early January, and Andrew and Phil will get you jazzed in anticipation of upcoming titles like La La Land and Manchester By the Sea. Stay tuned for the conclusion of this episode where Phil recounts a story of seeing a prestige picture at the legendary Castro Theater in San Francisco, where a very special filmmaker shared his new film with an advance audience...
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One of the truly great films of 2016, Barry Jenkins' 'Moonlight' is the story of an African-American boy struggling with his identity in a tough neighborhood of Miami. The film has the feel of a rich, winding novel, more about color and emotions than external events. The central character, Chiron is tortured because of his painful home life and burgeoning sexuality. People come and go in his life over a period of about 15 years but the one person who keeps appearing is Chiron's friend, Kevin. Their dinner conversation at the end of the film is the culmination of a fascinating tale that transcends race, age or class. 'Moonlight' should be seen by everyone.
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What's funnier than a film full of talented stand-up comedians? How about a podcast episode that's being recorded for the third time? Returning guest Aaron joins Andrew and Phil to talk about the little-seen comedic gem, "The Kings of Summer", a story of three high school boys who decided to live in the woods to escape their overbearing parents. In all honesty, Andrew and Phil tried to release this episode several weeks ago, but after two separate sessions, technical problems prevented it's successful recording. Now, for a third time, we have all three movie fans together to gab and the discussion devolves into a prattle about the secret menu at In-N-Out Burger. Sigh. Good movie, though.
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One of the strongest critical favorites of the year is also resonating with audiences. Denis Villeneuve's intelligent sci-fi drama is a major success for him and star Amy Adams. A tale of alien contact on our home planet, Villeneuve's directorial effort features a sense of wonder conspicuously absent from most contemporary science-fiction films. It's a feeling of awe not just at imaginative special effects, but a meticulously imagined world and it's realistic depiction of what such an alien encounter would look like. Andrew and Phil are both enthusiastic about 'Arrival' and take apart some of it's themes (without spoilers).
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Marvel continues it's stranglehold on popular moviegoing with their fall offering, 'Doctor Strange'. A story of the mystic arts, this special effects extravaganza succeeds most with the brain-melting visuals and less with prosaic mumbo-jumbo that serves as exposition. Benedict Cumberbatch is serviceable as Strange, although Andrew pointed that he is the latest crossover British thespian to over-embrace the hard 'r' sound in the American dialect. Many fine actors appear here but overall the story fails to enthrall, except for the disparate scenes when the mystic arts are clearly shown.
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Andrew and Phil discuss one of the most high-profile films of the year, the brainchild of writer-director-actor Nate Parker. After winning awards at Sundance last year, "The Birth of a Nation" was a hot property and Fox Searchlight bought the film for an astonishing $17.5 million. Since then, demand for the film has cooled considerably, due in no small part to the controversy surrounding Parker's 1999 rape trial (he was acquitted). Is this a case of a filmmaker's personal life overshadowing their accomplishments? Or is "The Birth of a Nation" really just not that good?
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Returning champion Criss brings the original 'Pete's Dragon' to ITQ. This rollicking musical meld of animation and live action was a childhood staple of many, but this is the first viewing for Phil of the 1977 Disney classic. The story concerns a boy fleeing his abusive adopted family with the company of his fire-breathing dragon pal, who has the power to turn invisible. Together they discover Helen Reddy and Mickey Rooney and a lighthouse lamp that needs igniting. What could be better? Throw in some toe-tapping tunes, Red Buttons and dated alcoholism humor and you've got a throwback treat for the millennial generation.
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Some men just have a one-track mind. Emily Blunt and all the other actors conduct themselves well in this new thriller. Director Tate Taylor engineered the story with Erin Cressida Wilson, who adapted from the novel. The film is fairly lacking in tension until it runs on rails at the climactic twist. Haley Bennet's performance could be her ticket to the A-list. Andrew and Phil lose their train of thought a few times during this episode. Perhaps they were thinking too much about Edgar Ramirez's caboose. But if watching 'The Girl on the Train' again were Phil's punishment for wrongdoing, he would want to commute the sentence.
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Join Andrew and Phil as they gab with indie horror maven Christine Parker. Not only is she a prolific participant at horror events and conventions in the American South, she's also the founder the Sick Chicks Film Festival in Cary, North Carolina. The SCFF will debut this November 5th in one marathon block of short films. Christine's goal with the festival was to direct attention to women filmmakers working in the realm of horror and fantasy. She is also an acquaintance of one Philip Brubaker, and he welcomes Christine to ITQ to talk about of these things and 'gore'...muah ha ha.
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The new Disney film is a true story of triumph of talent over poor circumstances. Phiona (newcomer Madina Nalwanga) lives in the slums of Uganda with her mother, Nakku (Oscar-winner Lupita Nyong'o). Their day-to-day life is a peasant's existence. One day, Phiona encounters a new group of peers who are all playing the game of chess, led by Robert (David Oyelowo). She discovers she has an incredible knack for strategy and she becomes the star player of her village. Phiona's talent is so strong, she's poised to compete nationally, and even internationally. Andrew and Phil talk about 'Queen of Katwe' this week, and discuss the filmmaking style as well as the story.
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September is a funny time to release a film. It's on the cusp of the traditional autumn Oscar-bait season, but too early to stick in the minds of Academy voters. 'Sully' is the new film directed by Clint Eastwood, and it has all the earmarks of a film destined for critical acclaim and awards. Not the least of which is Tom Hanks. The true story of the pilot who landed his critically damaged plane on the Hudson River is gripping, and largely unknown to the general public. Andrew and Phil discuss this very well-realized film, of particular significance to Andrew, who was living Manhattan at the time of Sully's heroic act.
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Folks, the wait is over. Andrew and Phil are back after a lengthy hiatus and ready to dive into the upcoming season of prestige motion pictures. Their first film review after taking time off for Phil to move across the country (California there he came) is this Laika stop-motion marvel. Thrill to our podcasting protagonists' descriptions of this beautiful and pain-staking art form. Nod your head in agreement (if you want) to their acknowledgement that this gem of an animated film nevertheless falls victim to the perils of "white-washing" in the voice actor department. Should Asian actors have been employed to portray these Japanese characters? Andrew and Phil cover both sides of this issue. They are glad to be back!
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Steven Spielberg collaborates with Disney and all our hopes are high. The source material is Roald Dahl and we know this is going to be good. But the outcome is less than great. 'The BFG' is faithful to the language of the book and several aspects of the special effects are cool, but Spielberg was never an expert humorist and the technical aspects are developed more than the actual story. A late scene that deals with the Queen of England seems like it's going to end the film, but then it keeps on going. Essentially an animated film, Andrew and Phil surmise Spielberg took on this project because it pushed the boundaries of movie technology.
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The hottest documentary of the year so far, 'Weiner' is an entertaining and critically-praised account of a political trainwreck. New York congressman Anthony Weiner had a promising career, but he was forced to resign after the press got a hold of an image of his crotch that he Tweeted to a female fan. The scandal rocked Weiner's marriage to Huma Abedin, but she stayed with him. This intimate documentary follows the disgraced candidate as he runs for mayor of New York City, in an attempt to regain his lost political glory. Andrew and Phil both liked 'Weiner' and the two discuss how the film manipulates the candidate's story to make us feel certain attitudes to this flawed man.
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In case you needed any assurance that maverick distribution company A24 is killing it with high quality, original films, along comes 'Swiss Army Man.' A dazzling comic adventure tale that is unlike anything you've ever seen, the film is the feature debut of 'DANIELS', a directing team previously responsible for music videos. Their new film moves with the energy and emotion of music, spinning a spectacular, surreal yarn centered around Hank (Paul Dano) who is shipwrecked on a deserted island. Washing up in the surf is a human corpse (Daniel Radcliffe), who becomes the best friend Hank has ever had. To tell more of the plot would be spoilage. One of the most lively and passionate episodes of In the Queue is the result of 'Swiss Army Man.'
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The recent, untimely death of actor Anton Yelchin sent us into his back catalogue. The 2007 high school dramedy, 'Charlie Bartlet' was recommended to us by our special guest, Rankin. Yelchin plays the titular character, a charismatic teenager whose goal in life is to be liked by everyone. After getting expelled from private school, the affluent teen finds himself in a brand new public school where he has a long way to go to reach popularity. Yelchin is confident and charming in the role, and Robert Downey Jr. is entertaining as the befuddled principal. Today's discussion ranges from an appraisal of high school movie tropes to Yelchin's performance and the overall message of the film.
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Just when you thought it was safe to watch an underwater monster movie, 'The Shallows' reminds you that an intelligent, frightening film about a killer shark is hard to come by. Blake Lively plays a med student who comes to a secluded Latin American beach to do some surfing. What she finds in the water is more than she bargained for, and she'll have to use all of her survival skills to outwit a Great White that keeps circling her rocky perch in the titular shallows. Andrew and Phil both enjoy a good, one-woman against-the-elements movie, but this is not it. The screenplay itself is quite weak, and our two hosts have a fun time dismantling it for your listening pleasure. Cowabunga.
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A cynic with a cigar was never as charismatic as William Holden. Winning an Oscar for his role as a POW who looks only after himself, Holden is the bright star at the center of 'Stalag 17'. Billy Wilder's WWII comedy comes to us from Kristy, a returning guest here on In the Queue. Andrew and Phil both feel the film relies too heavily on comic relief, instead of building actual tension, the potential for which there is in spades. Early in the film, Americans gets brutally gunned down by Nazis as they attempt to escape the camp. But it's not long until the relentless Brooklynite cut-ups Harry and Animal take over the plot for close to an hour. But then a stool pigeon is exposed, everyone at ITQ is glued to the screen, and 'Stalag 17' ends up as a near-classic.
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This heartwarming tale from Pixar (their third in one year) follows blue tang fish Dory in her search to find her long-lost parents. The sequel to 2003's smash hit 'Finding Nemo', this animated film features many new characters and situations that keep the franchise moving forward, despite some moments that seem rehashed from the original. Andrew holds Pixar to a very high standard, and while he enjoyed the film, it's not one of his favorites. Phil brings up the controversy surrounding the film's supposed "gay characters", two women seen only for a moment, but who have made an indelible impression on some viewers.
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One of the wackiest Disney animated films of all time, 'The Emperor's New Groove' embodies many tropes. It is a buddy comedy, an unlikely friendship story and a tale of comeuppance. This 2000 film contains some of the most cynical and downright screwball humor of any film in the Disney canon. David Spade stars at Emperor Kuzco, ruler of a pseudo-Incan land who finds himself turned into a llama and expelled from his palace by the conniving spell-caster, Yzma. Llama Kuzco hooks up with a shepherd named Pacha and together they try restore the Emperor to his rightful place. Calvin, a new guest, joins Andrew and Phil for this episode, and the three discuss the troubled history behind the making of this film, as well as the joyous finished product.
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Greta Gerwig stars as Maggie, a young woman in New York who wants to have a baby, but not deal with having a man in her life. She seems to have found the perfect sperm donor in Guy, a pickler bottler (phallic reference, anyone?) who is copacetic to have no involvement in Maggie's life. But she has been spending time with John (Ethan Hawke) a frustrated novelist in an unhappy marriage, and love begins to grow. Rebecca Miller's New York relationship comedy is unfortunately overshadowed by the work of the king of New York relationship comedies and suffers in comparison. 'Maggie's Plan' is not very funny and Andrew in particular hated watching this detached treatment of romantic entanglements. Phil wanted to like this film and found some of the performances to be quite good, but ultimately felt the story was too slight to be satisfying.
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In one of the best heist films in recent memory, Denzel Washington leads a powerhouse ensemble cast under the direction of Spike Lee. A daring daylight bank robbery in Manhattan is the premise for 'Inside Man', but the plot is of equal importance to the acting and overall flavor of the City. Working from a script by Russell Gewirtz, Lee directs with flair and urgency, concocting a thriller that is light on it's feet and a lot of fun. Returning guest, Chris brings this film to In the Queue and with Andrew and Phil, the three of them debate the efficacy of Spike Lee's famous trademark camera move.
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Some movies are worth seeing just for the experience of having your mind blown. 'The Lobster' is an unrelentingly grim and weird film but it contains the fun of discovery for the open-minded viewer. Colin Farrell is a mild-mannered man staying at the Hotel where single people have 45 days to fall in love before they are turned into animals and released into the Woods. The humor in this satirical film from Yorgos Lanthimos is pitch-black, and always couched next to shockingly violent scenes that establishes a unique tone. Andrew was fascinated by 'The Lobster', even parts that Phil found to be draggy.
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Oliver Stone's penetrating film about the 1980 El Salvador civil war as seen through the eyes of Richard Boyle (James Woods) a desperate photojournalist in need of a hot story for Newsweek. Boyle drives down to the impoverished nation with Doctor Rock (Jim Belushi) and encounters bloodshed from the militia and hypocrisy from the government. He comes to desire to do one noble act and save the woman he loves from this doomed situation. Can he return to the U.S. with her and save her from a hopeless scenario of violence? New guest, Travis joins the conversation, ranging from Oliver Stone's style, The Clash, and facts vs. truth. You won't want to miss this episode.
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An unlikely pair of heroes weave in and around the mob in Los Angeles, 1977. Healy (Russell Crowe) and March (Ryan Gosling) meet cute in a bone-fracturing altercation, but end up working together to find a missing girl and solve the apparent suicide of a prominent porn star. Buddy cop scribe Shane Black writes and directs this time, and the result is one of the most hotly anticipated films of the summer. Andrew thinks 'The Nice Guys' is a mostly unqualified success, but Phil expresses disappointment that the film fails to live up to the trailers. Listen to these two nice guys talk about film for a spell.
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It is Dublin, 1985. Connor loves pop music. He has just started school in the lower class religious academy, Synge Street. He just doesn't seem to fit in. One day, after being bullied, he makes friends with another outcast who loves the same music he does. Then he meets an older girl and falls head over heels. Seems this girl is seeking to be a model in a music video. Connor decides then and there he will start a rock band. John Carney's follow up to 'Begin Again' is a charming, Weinstein Company-packaged comedic drama. Andrew got caught up in it's energy, Phil, less so, but both agree it has a lot to offer in this summer of blockbusters.
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Lodge Kerrigan's searing drama gets at the heart of what it feels like to have schizophrenia. This 79-minute film employs a non-stop sound design that evokes voices, white noise and other audio distortions that characterize this devastating mental disorder which is so misrepresented in the media. Peter Greene turns in a magnificent performance in the central role, as a man desperate to reunite with his biological daughter and pursued by a mysterious detective. Returning guest Aaron brings 'Clean, Shaven' to In the Queue. This week's discussion touches on cinema aesthetics and Phil's own personal connection to mental illness.
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Tom Hiddleston plays Laing, a physiologist who gets a brand-new apartment in the tower block of the well-to-do. Everything one would need can be found in this high-rise. Everything that is...except sanity. After making a few friends, Laing finds himself increasingly involved in debauchery and bizarre behavior. When the power goes out to the entire complex, the residents devolve into savagery. Ben Wheatley's 'High-Rise' is based on a novel by transgressive writer J.G. Ballard, and one gets the impression that the book affords more space to develop the themes as well as portray a coherent plot.
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Alex Proyas' 'Dark City' was not a box-office success when it came out in 1998, but it's influence is felt in many more popular films that have come out since. In this film, human residents live in an urban world without sunlight and are unknowingly manipulated by the Strangers, pale, Nosferatu-like creatures. Murdoch (Rufus Sewell) wakes up naked in a bathtub, with no memory and a dead woman in his apartment. So begins a twisting film-noir fantasy that boasts stunning visuals and a thought-provoking plot. Returning guest, Drew brings another cult film to In the Queue and Andrew and Phil are pleased to have him back.
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This movie is hardcore. A brutal, white-knuckle thriller set in the world of indie punk rockers, 'Green Room' unfolds in real-time as touring bandmates The Ain't Rights find themselves in a dangerous situation. They are witnesses to a fatal stabbing and the local yokels responsible would like the band wiped off the face of the earth. But the Ain't Rights ain't goin' out without a fight. More cringeworthy than any other film this year, the violent 'Green Room' is in the queue.
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The blaxploitation genre that rose to popularity in the 1970's gets a loving parody in Scott Sanders' 'Black Dynamite'. Michael Jai White stars in the titular role and also co-writes the screenplay, which often blurs the line between spoof and outright homage. Black Dynamite is out to avenge the death of his brother, and along the way he kicks some serious ass and loves on some honeys. If you're the kind of person who laughs when you see the boom mic, you'll love the sense of humor that 'Black Dynamite' portrays so effortlessly. New guest Caitlin joins Andrew and Phil on this episode, and her recommendation is a winner.
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Key and Peele are an Emmy-nominated comedy duo who performed on Comedy Central and won a legion fans on their YouTube channel. Keegan-Michael Key and Jordan Peele are extremely talented, funny guys. 'Keanu', their big screen debut does not measure up. The flimsy story involves Key and Peele searching for the titular cat that was abducted by gangsters. Yes, cats are cute and gangsters are scary, and the thought of scary gangsters fawning over cute cats is an absurdity. But you need more in a film. The film is also full of scenes where very little happens to advance the plot, but they are included seemingly to fill out the film's running time. Andrew and Phil were not impressed.
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Perhaps the biggest race snub of the Oscars this year was overlooking F. Gary Gray's biopic 'Straight Outta Compton', a uniformly excellent film about the life of rappers N.W.A. While it did receive a Best Screenplay nomination, this compelling film features stellar acting all around in its portrait of the figures who would become major players in the gangsta rap movement. Ice Cube's own son, O'Shea Jackson Jr. plays him as an up-and-comer and Jason Mitchell gives tragic dimension to the role of Eazy-E. The rise of N.W.A. is epic, and their importance as cultural icons has been brought to a new generation. This listener's choice comes to us from Anne, a new guest and longtime fan.
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Life as a college baseball jock at a Texas university in 1980. Director Richard Linklater delves into the past to tell a story about young men in the few days leading up to the first day of school. This naturalistic tale has no stars, no unbelievable set pieces and nearly no plot of which to speak. What it does have is a deep love for its' characters and a superb cast to pull off the low-budget humanist masterpiece of the summer. Andrew and Phil both praise 'Everybody Wants Some!!' and discuss how some people want to go to movies to see someone else, while others want to see themselves.
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A sappy, overly sentimental telling of the 2010 Chilean mining disaster that trapped (you guessed it) 33 men underground for 69 days. Antonio Banderas heads the cast and chews as much scenery as possible. Even Juliette Binoche is in this film, playing a role that was originally supposed to go to Jennifer Lopez. That part got elevated quite a bit in casting, but is still prone to hysterics. New guest host Rollie is on the show today to promote a re-imagining of this important story at the Annoyance Theater in NYC. Listen to the episode for more information!
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If you like the idea of seeing a real boy run around in a fake jungle and stand next to fake animals for two hours, far be it from Andrew and Phil to stop you from seeing this version of 'The Jungle Book.' It is essentially an animated film, but with cold, computer-generated precision; not nearly as warm as the original Disney film. The directing by Jon Favreau is uninspired. Andrew was particularly disappointed in Favreau's inability to stage musical numbers that do justice to the songs. Overall, Andrew and Phil don't recommend this film, but know that many people will see it anyway.
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Not too many films have the perspective of 'Hardcore Henry.' For that I am grateful. This cinematic experiment is like watching someone play a first-person shooting game...for 96 minutes. If that sounds like it might get old fast, it most certainly does. The action is sloppy and the pacing is completely out of whack. Sharlto Copley is the only saving grace of this film. Weird that for a film so centered on non-stop action, the comic relief is the best part. Listen to Andrew and Phil tear into 'Hardcore Henry' and save yourself the pain of seeing the film.
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Terrence Malick. Some folks hate him. Some love him. At 72 years of age, he still takes chances as a filmmaker. It just so happens that in this case, he falls short of making a great film. 'Knight of Cups' is an entirely improvised film, and it shows. The story is ostensibly about a Hollywood screenwriter that lives an aimless life of partying, that takes him from one woman to another. While Andrew and Phil admire Malick's ambition, both critics agree that 'Knight of Cups' needs a screenplay to give it structure and purpose. Otherwise, the film is as meaningless as the life the main character leads. And if you think that is the point, listen to this episode and see if you still agree.
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Andrew and Phil are proud to have North Carolina filmmaker Ian McClerin on the show today. Ian has just completed an experimental romantic drama called 'i **** you' and he joins our hosts to talk about the process of making the film and what he hopes to do with it now that is complete. All three of our speakers today have some connection to the University of North Carolina School of the Arts, a school that partnered with Ian in making his dream project. The discussion ranges from sexual content in the film to building trust with your actors and choosing a color scheme as director.
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Some would say Batman laid an egg. One of the most harshly criticized films in recent memory, 'BVS-DOJ' earned the ire of Andrew in this episode. Phil thought it to be a decent comic book movie, although a bit hard to follow at first. Nothing remarkable, but mostly entertaining. Andrew considered this Zack Snyder film to be an affront to all the senses. The story is negligible; the reason to see this film is for the battle scene between the Caped Crusader and the Man of Steel. Jeremy Irons makes a better Alfred than Ben Affleck makes Bruce Wayne. How did you like this movie? Phil is crossing this film off his to-do list.
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Here at 'In the Queue', we pride ourselves on bringing you intelligent conversations about socially relevant films. Which is why today's episode is a biting critique of modern man's disregard for nature. Who are we kidding? 'Harry and the Hendersons' is a classic for many children of the 1980's. While the film may not be great, the Oscar-winning make-up effects by Rick Baker certainly are. Returning champion Emily requested this film, which made for a delightful episode for the whole family.
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John Goodman is the ace up this film's sleeve. A taut, three-person drama for most of its' running time, '10 Cloverfield Lane' relies on an intelligent script to play on our imagination. This film will make you squirm with suspense and it comes at a time when most movie studios are releasing duds. 'Cloverfield' is not so much a sequel to the 2008 monster movie but it exists in the same universe. One of the best movie trailers in recent memory introduced this film a scant two months ago - it showed us many interesting things, without showing us how they fit together. Andrew and Phil have good things to say about '10 Cloverfield Lane'.
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All Juan wants to do is get the necessary replacement part to get his damaged car up and running again. But in true comedic fashion, he keeps getting sidetracked by the quirky characters that populate his small Mexican town. It seems he just can't help but get caught up in the problems of all the people he meets. This comedic drama by Fernando Eimbcke was brought to ITQ by Isaac, a long-time listener from Mexico City. Andrew and Phil were both taken by the beautiful craftsmanship Eimbcke brought to this bittersweet tale of love and grief.
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Laszlo Nemes employs a provocative shooting scheme for his debut film, 'Son of Saul'. This award-winning Holocaust drama is centered entirely around the main character; we see his head as he moves around Auschwitz as part of the Sonderkommando, and we occasionally see what he sees. Saul believes he has found his son among the pile of bodies he is expected to burn, and he sets about have last rites performed on the boy, and thereby save his soul. While Phil agreed the film was deliberate in it's shooting style, he still found himself intermittently bored. Andrew also had some problems with the unconventional way Nemes directed the movie. Hear our two critics talk smack about this universally praised film.
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One of the most praised films of the year, Ryan Coogler's 'Creed' was mostly ignored by the major awards shows. With the exception of Sylvester Stallone's performance, this strong entry into the Rocky Balboa franchise failed to gain a toehold among the Oscars nominations. Which is a shame, because it's a very good film about people of color. Phil had some doubts as to whether or not Stallone turns in a good performance, while Andrew stands by the Italian Stallion. Returning guest Nikomeh chose this film for the podcast and she joins our two hosts for a discussion about a recent movie that deserves your attention.
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Animals running their own bustling metropolis? We must either be in the realm of animated movies or somebody laced our coffee with psilocybin. 'Zootopia' is the latest Disney Animated Studios film and a high-concept comedic adventure. The premise is that there are no human characters, but rather animals that represent human qualities. Andrew and Phil had very different readings of this film. How closely is 'Zootopia' supposed to reflect the actual world? Does this animated film promote racial stereotypes? Our two critics are reaching out to the listeners to weigh in on this surprisingly controversial topic.
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Tina Fey's gloriously witty and fast-paced screenplay is the crown jewel of 'Mean Girls'. Andrew calls the film 'one of the best comedies of the past fifteen years.' Phil saw it for the first time for this episode! A recommendation from new guest, Rankin, this high school satire catapulted Lindsay Lohan and Rachel McAdams into stardom. Relive the 'fetch' qualities of the film with our two movie critics and their guest, an avid fan of the film. Does 'Mean Girls' unfairly perpetuate stereotyping in school? We have the discussion for you!
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Intelligent horror doesn't get much more brooding and merciless than Robert Eggers' 'The Witch.' A former production designer, Eggers has crafted a film that seems to be from the 1630's in it's construction. The dialogue is Puritan - so much so that some viewers were lost as to what was being said throughout the film. The story is about a family that is slowly overtaken by evil. Not unlike how I wish 'Fuller House' would end. Andrew and Phil have kind words for 'The Witch', especially about A24 - the risk-taking distribution company that has given this indie film a wide release.
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Despite the disappointing lack of diversity this year, the Oscars are still an event to which many people pay attention. In this episode, Andrew and Phil run down their predictions for what will win the top Academy Awards this Sunday. Check your scorecards, folks and see if our intrepid film critics are right. This episode is plus-sized and full of insider wisdom. Will 'Mad Max: Fury Road' take home a golden statuette? Who is the front-runner for Best Supporting Actress? Let Andrew and Phil explain it all to you in this episode.
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Never has a film about an athlete seemed so pedestrian. Stephan James plays Jesse Owens, the legendary track and field sensation who won multiple gold medals for the U.S. during Hitler's Berlin Olympics in 1936. Jason Sudeikis (???) plays the coach who never achieved his own dreams of glory and instead tries to live vicariously through Owens. The screenplay is on par with a Movie of the Week in it's dramatic complexity. Some people like their films easy to swallow, and this one is surely light entertainment. But Andrew and Phil don't have a lot of good things to say about it...
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Before he won acclaim for playing Steve Jobs, Michael Fassbender portrayed another, albeit fictional, character known for being an iconoclastic leader. That character is Frank, leader of an experimental rock band and wearer of oversized papier mache' head. Domnhall Gleeson plays Jon, a musician aspiring for greatness. Through a matter of being in the right place at the right time, Jon finds himself playing in Frank's unusual band. It's not the dream gig Jon has been waiting for, but somehow he must decide to work with the difficult musicians or hit the road. 'Frank' comes recommended to In the Queue by new guest, John from Greensboro, NC.
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Ain't this film a Marvel? The first R-rated movie from the juggernaut comic-book studio, 'Deadpool' boasts a never-ending stream of snarky humor and a dazzling hopscotch approach to chronology. The film contains flashbacks within flashbacks and any attempt at preserving the fourth wall is a fruitless exercise, as Deadpool constantly turns and looks into the camera, addressing his adoring public in their theater seats. Finally, a superhero movie that Andrew actually likes. 'Deadpool' lives up to the hype!
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You waited for it and now the wait is over. Andrew and Phil have seen pretty much all the films from 2015 that they want to see (or are able to see) and can now compile a comprehensive list of their favorites. Each critic has ranked their five picks for best movie of the year, with three honorable mentions. How much overlap is there between Andrew and Phil's lists? Not a lot, actually, which makes things more interesting. You'll hear many picks for movies reviewed on In the Queue, as well as a few films that were seen but did not make it onto the podcast. We hope you will enjoy this episode and that it will inspire you to seek out some of these film that you haven't seen yet.
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The Coen Brothers are one of America's national treasures. Their films explore intellectual themes that are part of the foundation of our national identity. And much of their work is balls-out hilarious. 'Hail, Caesar!', while heavy on philosophical subtext, lacks the story to hang it all together. After two very strong trailers that inspired a lot of interest in the film, the brothers' 19th directorial collaboration falls flat. Andrew and Phil have an illuminating conversation about what worked in their new film, and what didn't.
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The genre of animation is seldom applied to telling serious adult stories. We have Charlie Kaufman and Duke Johnson to thank for adapting this very grown-up play and infusing it with wondrous puppetry and digital animation. Despite all the innovation, 'Anomalisa' feels like the work of a bitter pessimist. Lacking the emotion and humor of Kaufman's early screenwriting triumphs, Phil thinks that Kaufman's current period of directing his own scripts makes him nostalgic for the early collaborations with brilliant directors like Gondry and Jonze. Andrew feels 'Anomalisa' is strong technically, and evokes the human world we all take for granted.
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"A man takes a job and...that becomes what he is..."
Travis Bickle is a man looking for meaning in his life. He finds a job driving a cab, and that helps him deal with sleepless nights, but it also reminds of all the filth and scum on the streets of NYC. Among all this depravity, Travis meets a girl and falls hard. But when things don't work out, it sends him on a downward spiral that culminates in one of the most brutal violent rampages in all of cinema history. The star is Robert DeNiro. The director is Martin Scorsese. Eric from Greensboro joins the program to discuss 'Taxi Driver'.
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What inspired Adam McKay to make this movie? A director best-known for his Will Ferrell franchises, McKay makes what is undoubtedly one of the most ambitious movies of the year. A verbose dissection of the housing market crisis, 'The Big Short' does not talk down to its audience. In fact, it assumes the audience already understands the machinations of the bubble burst. Phil found the film hard to follow. Andrew had read the book ahead of time. Both agree 'The Big Short' is not one of their favorites for 2015.
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Imagine living your whole life in a shed. That's the reality for Ma (Brie Larson) and her five year old son Jack (Jacob Tremblay). Forced to live in one room by her abductor, Ma does everything in her power to preserve some kind of normalcy for her son. One day, she concocts a plan to free Jack, in the hopes that he will draw attention and liberate her as well. Sounds grim, but 'Room' is one of the most transformative movie experiences of the year. The film comes recommended to us by Nikomeh in NYC and Andrew and Phil have a spirited discussion about the larger themes of the story. Don't miss it.
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This uneven film from David O. Russell marks the third collaboration between the director and actors Jennifer Lawrence, Robert DeNiro and Bradley Cooper. All great thespians, but 'Joy' suffers from a mediocre screenplay. The plot concerns the titular character who is trying to start her own business with her invention: the self-wringing mop. Phil found the scenes between Lawrence and Cooper to be exciting examples of a young entrepeneuer getting her big break but the rest of the film was just Russell treading familiar ground with his quirky, underwritten, overimprovised dialogue scenes. Andrew liked the film even less than Phil.
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This was Jack Nicholson's true star-making turn: Robert Eroica Dupea, born to a well-to-do family but ended up living a blue collar life for next to nothing. Bobby has a sweet girlfriend named Rayette (Karen Black) who is the oil to his vinegar. We soon learn that Bobby's father is deathly ill, and Bobby is convinced to make the drive up to pay his final respects. Nicholson carries this movie with his remarkably complex portrayal of a man most people would write-off as a cad, or less kind words. Philip saw this movie at an early age and always identified with the self-despising Bobby, even going so far as to find him sympathetic. Andrew S. recommended this film for In The Queue and he joins us from Greensboro, NC.
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Somebody give Leo a goddamned Oscar already. He nearly froze his tuchisin that icy river and had to eat raw bison flesh to satisfy Innaritu's lust for realism. 'The Revenant' is as rugged as movies come; real man vs. nature material. Emmanuel Lubezki's photography is painterly and will certainly get him his third Academy Award in a row. This film is not the action epic the trailers made it out to be, and Andrew found himself unsure where he stood after one viewing of 'The Revenant.' Phil revealed he watched the film a second time and had a better appreciation for it.
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Well, this is a first. One of our listeners has requested the wrong film by mistake. ITQ guest Chris watched the Bogie & Bacall vehicle thinking it was 'The Big Sleep'. But you have to accept the film you're given, so our three hosts discuss this comedic adventure-romance featuring the delightful Hoagy Carmichael in a supporting role. There's no shortage of sultriness from Lauren Bacall, who was then 20 years and fell in love Bogie during filming. This film is full of wonderful elements that never quite coalesce into a classic for the ages. In many ways it's the light-hearted sibling of 'Casablanca'.
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When it comes to aspect ratios, no film this year can measure up to the 8th film by Quentin Tarantino. Andrew and Phil both saw the Super Panavision 70mm print of 'The Hateful Eight' and the roadshow perks were great fun. Let's hope QT is saving cinema one film at a time. The film itself, however, is getting decidedly mixed reviews from In the Queue. A stagebound western featuring no one to root for and an abundance of sadism, 'TH8' offended Phil with its molasses-paced first half, and disappointed Andrew with it's hatchet-job second half. Both critics agree that it is a must-see for Tarantino fans and a repeat viewing may ease their grievances. But why burn another three hours of your life on a movie that offers only hate?
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When you close your eyes, do you see hairy, 1970's Sean Connery in a red diaper with a braided ponytail and a bushy mustache? No? Me neither, I was just asking. 'Zardoz' is the infamous sci-fi flop from John Boorman, who had just won acclaim for the couldn't-be-more-different 'Deliverance' in 1972. Routinely listed among the worst movies ever made, 'Zardoz' is also a ton of fun to watch. Returning guest, Drew recommends this film and engages Andrew and Phil in an epic discussion of the plot and significance of a movie this guest has seen at least thirty times. Yikes!
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Oh, 'Carol'. What a cold and distant film you are. Todd Haynes' universally praised Weinstein Company release is artfully made and evokes a time and place with much atmosphere, but this romance is missing the passion crucial to the success of this type of film! Cate Blanchett and Rooney Mara turn in suitable performances, despite the lack of chemistry between them. Andrew thought that perhaps 'Carol' is a statement on the 1950's stereotype that women are meant to be seen and not heard. Phil was impressed with the artful cinematography. Both critics believe that without a convincing love story at its core, 'Carol' is doomed to be an artsy December movie rather than a timeless, moving romantic drama.
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Some of us have always wanted to be Tenenbaums, even if they are such a sad bunch of folks. In this classic comedy-drama from Wes Anderson, family isn't a word...it's a sentence. Nowhere else in Anderson's storied catalogue has there been quite a collection of lovable characters. It's why many consider this his best film. Kathleen returns to the podcast to discuss this storybook tale with Andrew and Phil. The discussion ranges from the feel of Wes Anderson movies to hilarious pratfalls by Danny Glover. Check it out.
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Andrew and Phil review the movie event of the galaxy. And it was good. Can future sequels sustain the quality of 'Force Awakens'? Most certainly not. This film glorious practical effects, hair-raising action sequences, and good performances to boot. Be warned, this episode contains spoilers. Phil watched the film in 3D, and found it to be a superior example of what he considers an irritating gimmick. Andrew delighted in BB-8, an actual working robot that had heart and soul. Some say that the heroes of this movie are Star Wars fans. Rey and Finn have heard of the Force, Luke Skywalker and Han Solo and get excited about being a part of their legend. The audience is equally excited. Thank you, J.J. Abrams. It's great.
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Every December, a critically-acclaimed masterpiece comes around that distinguishes itself as the front-runner for the major cinema awards. 'The Ridiculous 6' is not that movie. If it were possible for a movie to be excrement, in this case that would truly be a reality. Boasting a dynamite comedic cast, the laughs are scarce in this Western tale, meant to capitalize on the buzz surrounding a certain, eagerly-awaited theatrical release. Adam Sandler plays an Indian. Rob Schneider plays a Mexican. Taylor Lautner plays a half-wit. The comedy comes recommended to us by Criss, a returning guest. Andrew and Phil will reconsider having him on their show after this episode.
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Back when we got our oil by harvesting it from whales, things like the Essex expedition happened. This event took place in 1820, where a ship thousands of miles off the coast of South America was capsized by a monstrous sperm whale. The crew was stranded without hope of rescue and most of them perished on the high seas. Let's see if Chris Hemsworth's career will perish now, after this film and 'Blackhat'. Ron Howard can do better as a director, and this film suffers from the lack of maritime action. Andrew and Phil piece together what's wrong with this film, and the result is riveting podcasting.
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Marty Jackitansky (White Russian, not Polish) is sick of his job. He makes $9.50 an hour, plus some extra dollars he gets as a small-time scam artist. When we meet him he is closing his checking account so that he can open it again and receive the $50 new account bonus. His illicit dealings at work catch up to him and he is forced to relocate to Detroit and hide out. While in Motor City he spends all his money, eats spaghetti in a very long take and discovers himself via video surveillance. 'Buzzard' is a film about a drifter, one of Phil's favorite genres. Returning guest Jeff comes on the show to discuss this film.
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From the outrageous minds of Spike Lee and his co-writer Kevin Willmott, comes this retelling of Aristophanes' 'Lysistrata' set in contemporary Chicago. Shooting deaths in the South Side outnumber those in both Afghanistan and Iraq Wars combined. One woman is fed up with these depressing statistics, so she enlists the female community to deny their men sex until the fighting stops. On this broad canvas, Lee lets his imagination go wild, creating a self-indulgent film that suffers not from ambition but uneven pacing and a problematic depiction of the female characters as sex objects, not activists. Andrew and Phil have a lot to say about this film.
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George Clooney plies his talents as a celebrity to good comic effect in this film. He plays Ryan Bingham, a company man who spends more time flying cross country for his job than he spends in his bare apartment. He gets saddled with the responsibility of training Natalie (Anna Kendrick) a young woman who is essentially replacing him. Along the way Bingham strikes sparks with Alex (Vera Farmiga) another sexually liberated frequent flyer and a charming screwball comedy for the new millenium is born. Returning guest Kristy chose this critically-acclaimed film for this discussion. Check it out!
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The forerunner in the Oscars race is here. 'Spotlight' is a meticulous account of how Boston Globe journalists pieced together a devastating expose of the clergy sex-abuse scandal that ignited a worldwide inquiry into the Catholic Church. Powered by an impeccable ensemble cast, a taut, emotional screenplay and assured direction, Tom McCarthy's film never hits a false or melodramatic note. This is a film about intelligent adults, best enjoyed by other intelligent adults who are sick of superhero nonsense. Andrew and Phil are unanimous in their praise for 'Spotlight'. See it.
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The title means 'hitman' in Spanish. Taking down a drug cartel is a complicated job, and FBI agent Kate Macer finds herself in a morally murky situation in this thriller from Denis Villeneuve. Kate (Emily Blunt) joins a shady coalition led by Matt Graver (Josh Brolin) on the promise that they will go after the criminals responsible for a bomb blast that killed two of Kate's fellow agents. Alejandro Gillick (Benicio Del Toro) is the true wild card of Matt's team; a Mexican who belongs to no crew and plays multiple sides in this war on drugs. These are the players in this taut, excellent drama, which gets rave reviews from Phil and Andrew.
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A dark comedy from West Germany, 'The Nasty Girl' explores the backlash felt by an ambitious young woman who uncovers some dirty secrets about her hometown in the time of the Nazis. Using Brechtian distancing techniques, Michael Verhoeven's' 1990 Oscar-nominated film tells a compelling tale, all held together by the spunky Lena Stolze in the the title role. Liz returns to In the Queue to discuss this altogether forgotten gem, which despite being based on a true story, contains many surreal flourishes.
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The name's James. James Bond. Wait, that's not right. Daniel Craig's 4th and final appearance as cinema's most famous secret agent is not an auspicious one. 'Spectre' has it's share of captivating action, but it's also weighed down by an overly talky script and too much focus on a convoluted plot. Andrew was also bummed out about the lack of chemistry between Bond girl Lea Seydoux and 007. Phil was content just to watch Seydoux and let Bond do whatever. Sam Mendes returns to direct, and the justly celebrated opening scene in Mexico City is a stunner, but it sets up the film to be equally great, which it is not. Not even Sam Smith could sing his way out of this one.
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Bill Brown has been making his own brand of experimental documentaries for over twenty years. With his partner, Sabine Gruffat, the two professors-cum-filmmakers have made a film that portrays the housing crisis in Spain. Shooting on 16mm as well as digital video, the adventurous duo insinuated themselves with squatters and activists, all the while capturing life off the grid through a poetic lens. Bill joins In the Queue for this episode to talk about how they managed to make such a beautiful film in an unfamiliar country, remarkable also as a mirror to our own housing crisis.
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Along comes a film about a hero on a journey that captivates an audience and transports them into a magical world. This is not one of those films. 'Beasts of No Nation' is a bleak tale of a young African boy who falls in with a rebel militia and loses his innocence in a world of violence. It is the first film distributed by Netflix, concurrently released online and in select theaters. Idris Elba plays the Commandant, who leads the army of child and teenage soldiers. He's good, but Andrew and Phil both feel his part is underwritten and could've been much more developed. Chances are you know of this film if you have Netflix. Tune in to this episode to see if it's worth your time.
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In the world of James L. Brooks, romance is messy. Family is messy. Life is messy! This under-valued drama from 2004 stars Adam Sandler in one of his earliest serious roles as a master chef in a faltering marriage, whose life is turned upside down when a fiery Mexican immigrant moves in to be his housemaid. 'Spanglish' has a delightful ensemble cast and moves effectively through humor and pathos in the way you would expect from the man behind 'Terms of Endearment' and 'As Good As It Gets.' Caity returns to discuss this film with Andrew and Phil.
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Hello. The character of Steve Jobs is explored in three acts in the new biopic by Danny Boyle. Thief? Genius? Psychopath? Call Jobs what you will, his story is newsworthy. This backstage drama written by Aaron Sorkin has a formidable cast and a talented director...but still Phil couldn't shake the feeling that Michael Fassbender was miscast as the iconic Apple spokesman. The film also had a serious case of "Birdman" envy, and too much cinematic importance was placed on Jobs' illegitimate daughter, instead of his accomplishments. These are Phil's criticisms, Andrew loved 'Steve Jobs'. What's your opinion?
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The film our generation was too young to see when it was released in theaters, yet still became a part of our childhood anyway comes to In the Queue. The first joint appearance of the The Two Coreys, and perhaps Joel Schumacher's best film (not saying much) 'The Lost Boys' is one of the most fun vampire movies of all time. But here at ITQ we concern ourselves with what makes a great movie, not just a fun one. Andrew admittedly enjoyed this 80's benchmark, yet found flaws with its story structure. Phil enjoyed 'The Lost Boys' too, but thought the silly humor overwhelmed the overall scariness of the picture. Returning guest, Chris brought the overthinking duo down to earth and reminded us all that 'The Lost Boys' is just a fun vampire movie to watch this Halloween!
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An average man called upon to do something extraordinary is a hallmark of a good hero's tale, and no one knows that better than Steven Spielberg. This sophisticated thriller features impeccable period detail and an evocative depiction of governments that were considered our enemies at the time. Tom Hanks could be the new James Stewart, in terms of representing the-good-American-who-does-what's-right. Hanks is a national treasure and he performs admirably in this role. But when are we going to see Hanks' "Vertigo"? Does he get offers to play dark, unwholesome characters?
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In The Queue is walking on air with excitement to have acclaimed filmmaker Marah Strauch join this discussion of her excellent new documentary, 'Sunshine Superman'. Strauch's film explores the romance between Jean and Carl Boenish set against the backdrop of their pioneering leap into the creation of BASE jumping. Full of hair-raising archival footage and a moving collection of period songs, it's no wonder Strauch's film has been shown at every major documentary film festival in the U.S. Andrew and Phil were pleased to speak with Marah about the making of her film, as well as the special link she has with Phil, involving one German warrior-poet...
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Beware of 'Crimson Peak'...it's only got a 69% on Rotten Tomatoes...
Meh. Guillermo Del Toro's newest horror film is not bad, but it's not particularly great either. The Mexican director is one of the most devout fans of classic cinema around, and his supernatural romance is crammed to the gills with references to horror movies come and gone. Phil picked up on Hitchcock's 'Rebecca' and Polanski's 'Rosemary's Baby' as two sources from which much of Del Toro's story is borrowed. In a way, the creative genius behind 'Pan's Labyrinth' is phoning it in for much of the film, but the invigorating climax of 'Crimson Peak' mitigates the whole moviegoing experience from becoming a wash. There is plenty for the eyes to enjoy for the entire running time, but a movie has to be more than look good. It has to be, you know, moving!
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Check your Halloween candy before you eat it. Seriously. An unfortunate child learns this lesson in the anthology horror film, 'Trick R' Treat', recommended to ITQ by returning champion, Aaron. Where else can you see Dylan Baker drag a fresh corpse through his front yard or a school bus full of rugrats tip over into a fathomless quarry? 'Trick R' Treat' is so scary they had to drop the 'o' and add an apostrophe to the title, the enunciation proved too frightening! You may not have heard of this small-budget flick, but style and high production values make this a diverting Halloween delight. After all, a good Halloween-themed horror movie is hard to find. Now if you'll excuse me, I'm going to go razor-blade hunting in this apple I just received.
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From the torch of the Statue of Liberty, Robert Zemeckis opens his film by shattering the fourth wall. It's the first of many unfortunate decisions the director will make in this retelling of the story many of us first saw in the excellent documentary 'Man On Wire'. Why tamper with remaking a classic story? That's precisely what Andrew and Phil are asking themselves in this episode. Clearly, special effects make it much more visceral to experience Phillippe Petit's legendary high-wire act between the Twin Towers, but everything else about the movie is inferior, from the characterizations to the dramatic tension. For more on the subject, listen to this episode, which Andrew and Phil inexplicably recorded in IMAX.
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The only rival to Walt Disney Studios at the time, Don Bluth made some of the most memorable and mature animated films of the 1980's. A tale about a group of child dinosaurs on a journey to greener pastures enthralled moviegoing kids, but 'The Land Before Time' also touches on serious adult themes like loving others different from you and the importance of self-esteem. Returning guest Criss recommended this classic film, which hadn't been seen by our film hosts in many a year, and brought back many memories and associations upon viewing with grown-up eyes.
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Can somebody please give Matt Damon a hand? Why do we have to keep cinematically stepping in and rescuing him from situations? This new space film from Ridley Scott stays realistic throughout, so there are no aliens or droids to jazz up the enterprise. Damon plays Watney, a man left behind on Mars, and yet the Bowie track the filmmakers opt to play is "Starman" and not "Life On Mars?". Don't worry, there are at least a couple of other music cues that are even more on the nose than that. "The Martian" is a fun popcorn movie, due mostly to its epic cast and masterful editing. Did it work for Andrew and Phil? Yes and no. The tone of the film is light, which worked for our intrepid reviewers. But not all the characters rang true for Andrew. Should you see this film? Ask Ground Control, they're commencing countdown.
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Grotesque special effects reached a new apex in 1982, when John Carpenter's 'The Thing' hit theaters. An innovative meld of horrifying creature terror and realistic human drama, Carpenter's masterpiece was a labor of love that nonetheless tanked both with critics and at the box office. It is now acknowledged as a classic and canonized as one of the greatest movies ever made according to the IMDb. Andrew, Phil and returning guest, Drew have lots of good things to say about 'The Thing'. Why not tune into the discussion for awhile and see what happens?
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Cannibals capture and imprison American college students on a mission to protest Amazon deforestation. Eli Roth's homage to Cannibal Holocaust and other films was made two years ago but only released now. Upon viewing the film one can see how the studio may have hesitated before releasing it. It's graphic, but not as graphic as Andrew would have liked. He found the film rather tame and uninvolving. Phil went into the screening prepared to hate the film, but rather found it amusing and never boring. Needless to say, this is not the kind of film you recommend to people. You are either going to see it or you're not.
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'Cloud Atlas' is the natural step forward for the particular genre of film that portrays a huge cast of characters, seemingly unconnected but thematically united. In this film, we explore the lives of people in six different versions of Earth, ranging over centuries. Tom Hanks, Halle Berry, and Hugh Grant don many different wigs and false noses to play multiple parts throughout this near-three hour film. Phil found the make-up unintentionally funny at times, and the cross-cutting structure of the film did not make dramatic sense. Andrew was more impressed with 'Cloud Atlas' although he did admit it was 'exhausting.' Many thanks to new guest Kim for recommending this film. Her thoughtful comments alone are worth listening to the podcast.
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Johnny Depp pulls off another successful disappearing act, this time playing James 'Whitey' Bulger. He's the spitting image of the notorious South Boston criminal in this film, and his acting chops equal his convincing appearance. 'Black Mass' deals with Bulger's involvement with FBI agent John Connolly, who negotiated with the gangster to gain intelligence on other mafia. The acting is uniformly good, and Andrew was especially impressed with Joel Edgerton as Connolly. Phil found the film to be curiously uninvolving, adding nothing to a well-worn genre. One must admit, with a film like this, it's hard to escape the looming specter of 'Goodfellas'...
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Frankenstein was never this funny. That's because those movies weren't comedies. In the hands of Mel Brooks however, the classic horror tale becomes a hilarious laugh-fest. Gene Wilder is Frederick Frankenstein, grandfather to the notorious re-animator, who recently bequeathed Frederick with his castle in sunny Transylvania. While Freddie initially disavows any interest in creating a monster from dead people parts, he quickly catches the bug and decides he will carry out his grandfather's work. The cast is madcap, the comedy is brilliant and the cameo by Gene Hackman is one for the vaults. New guest Kathleen requested this film for In the Queue, and Andrew and Phil are happy to entertain her suggestion.
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M. Night Shyamalan directed this piece of garbage called 'The Visit'. Are we tipping our hand too much? Andrew and Phil did not like this tale of two kids who spend the week with their grandparents. The kids are making a documentary, so we viewers see only what is recorded on their cameras. Its a found footage conceit that is common among horror films these days. Needless to the say, these grandparents have their share of eccentricities, such as hoarding dirty adult diapers, scratching the walls while naked and popping up out of nowhere just to scare us. Shyamalan hasn't had the best track record these past few years, and 'The Visit' does nothing to salvage his reputation. See this film if you must, but Andrew and Phil think you can do better.
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Make sure your smartphone is charged and your romper is just wrinkled enough to say you don't care, and come watch 'Fort Tilden', the new indie comedy that savages twenty-something hipster culture in NYC. Allie and Harper are roommates, and as a result, constant companions. They harbor a lot of resentment for each other and when they both meet a cute boy at a rooftop party, they find themselves crusing for the same catch. A date is set at Fort Tilden the following day for the three of them (plus one wingman) to get together. But getting there from Williamsburg proves to a hellish journey, literally and existentially. These two spoiled girls are not the most likable bunch (Andrew hated them) but they are treated affectionately by the filmmakers (Phil enjoyed watching them). If you see this film, you can tell people it's one of your favorites...but they've probably never heard of it...
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Baked beans ain't just for eating. According to iconoclastic British director Ken Russell, they're also for bathing. Ann-Margret turns in a balls-to-the-wall performance as the mother of the titular pinball-savant, and she steals the show. But there is much at which to gawk in this hallucinatory 1975 adaptation of the the celebrated rock opera by The Who. You've got Elton John, Tina Turner and Eric Clapton appearing in musical numbers. Jack Nicholson is here too, and man can he not sing. Russell adapted the tale by himself (with a little help from some Who bandmates) and the result is a phantasmagoria of religious satire, frightening surrealism and yes, baked beans. Mmmm, beans. Thanks to our new guest, Liz for recommending the film and coming onto the podcast to talk about it. She's awesome!
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A story like this is a rarity; so intriguing and completely true. The six Angulo brothers have lived their entire lives inside an apartment on Manhattan's Lower East Side. They relieve their boredom by acting out their favorite movies, even creating elaborate costumes, like a Batman costume made from cereal boxes and yoga mats. This documentary reveals the home life of these likable young men, as well as their father, whose idea it was to keep his family inside and off of the streets. 'The Wolfpack' has a fascinating beginning, but the film suffers from that old adage that movies are life with the boring parts cut out. Andrew and Phil agree the film ends on an anti-climactic note with no conflict or resolution to satisfy the viewer. Still, the story is interesting enough, and the home movie footage of the boys is mesmerizing.
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Harold Crick (Will Ferrell) is about to die. But first he must embrace life, get the girl and do what he's always wanted. His life is narrated by a writer (Emma Thompson) who created Harold for a book she's struggling over. All his life, Harold thought he was a regular person, until he started to hear his own narration. This comedic fantasy marks a break out role for Ferrell and features great supporting roles by Thompson, Dustin Hoffman and Maggie Gyellenhaal. Returning champion Caity requested this unique film, and she, Andrew and Phil have a laugh-filled discussion that runs the gamut of comparing the film to 'The Bucket List', Dustin Hoffman's swimmer's build, and Phil's non-sexual orgasms from watching exciting scenes.
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Manglehorn! Whatta name and what an understated performance by Al Pacino in David Gordon Green's newest film. Pacino plays a sad locksmith whose only companion is his cat, Fanny. Fanny swallows a key and has to leave Manglehorn all by himself while she is at the vet. So Manglehorn goes on the prowl and scores a date with a pleasant bank teller (Holly Hunter). Their dinner date is the centerpiece of this melancholy flick from the director of 'Joe' and 'George Washington'. Manglehorn carries a torch for a woman named Clara, whose presence is implied but never felt. Everyone leads a small life in this little film, which Andrew really liked. Phil enjoyed the performances but admits not everyone would sit still to observe such an understated portrait of everyday people. Both hosts agree that the magical realism aspects of the story are extremely interesting.
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Don't tell me you've seen everything if you haven't seen this king of cult films. Buckaroo Banzai is a brain surgeon, a rock star and an interdimensional hero! He leads a ragtag group of misfits called the Hong Kong Cavaliers who task themselves with saving Earth from doom at the hands of aliens from the 8th dimension. If this sounds weird, it is. 'Buckaroo Banzai' was a commercial flop when released, but has since developed a formidable fan base. It even caught the attention of Wes Anderson, who paid tribute to the end credits sequence in his ending for 'The Life Aquatic with Steve Zissou.' The film is a favorite of Drew, a new guest who joins the discussion. He sings the praises of this cult film, but Andrew has harsher words to direct to this polarizing, oddball excursion. Tune in and listen to the sparks fly!
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Woody Allen entered a new phase in his artistic development after he conquered the romantic comedy and took it as far as it could go. Films like 'Crimes and Misdemeanors', 'Match Point' and 'You Will Meet a Tall Dark Stranger' explore the dark side of human nature; our capacity for murder, sex and greed. 'Irrational Man' is in the vein of his somber films. You will probably not laugh more than once during this movie. But it is a fascinating portrait of a sociopathic academic character played by Joaquin Phoenix. Emma Stone is the student who develops a serious crush on him, but let us tell you sister, this guy is bad news. This episode does contain SPOILER ALERTS. Enjoy.
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An incredible cast is at play in this romantic drama, itself a mash-up of two separate movies that portray the end of a love affair from both male and female perspectives. You can thank the surgeons (butchers?) at the Weinstein Company for recognizing how they could make an unorthodox two-film art experiment into a single critical darling. Hard to know how successful they were without seeing all the films, but Andrew, Phil and guest star Aaron focus solely on Frankweinstein's monster, the film that alternates between male and female perspectives. Phil loved the performance by Jessica Chastain and overall enjoyed the observational style of director Ned Benson. Andrew was adamantly NOT a fan of the film, which stood in stark contract to Aaron's worshipful perspective of the film that he chose for this discussion. It's up in the air whether this film can be endorsed by In the Queue. Check it out for yourselves and make your own decision, ya dummies!
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Spielberg creates dinosaurs. Dinosaurs destroy box office. Sequels create more dinosaurs. 'Jurassic World' destroys God, man, dinosaurs and most anything else you can think of. After years of rewrites and turnaround, the long awaited next chapter in the 'Jurassic Park' franchise is here. And oh, what a disappointment it is. Besides the boring characters with their banal problems and the cartoonish CGI, you’re better off curling up with a stuffed animal and watching the original, classic ‘Jurassic Park’. New listener and guest host Amy claims responsibility for requesting this early summer blockbuster which Andrew and Phil had previously considered extinct.
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Eye-popping opulence fills every frame of masterful director Zhang Yimou's tragic melodrama. A Chinese emperor and his wife preside over a dysfunctional royal family that includes incest, poisoning and spontaneous acts of suicide. Chow-Yun Fat and Gong Li play the esteemed leaders, whose rocky marriage is only the first in a series of grave and unfortunate circumstances. The costumes are Oscar-nominated, the set design is full of dazzling hyper-real colors, so much so that you wish the self-obsessed players in this tragedy would stop and notice how damn lovely the palace they live in is. New guest host, Stuart requested this film and joins the discussion, which blossoms like a yellow chrysanthemum, petals unfurling in the sun. I just made that up!
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Boxer Billy Hope (Jake Gyllenhaal) loses his wife, his inspiration in a fatal accident, shortly after winning a major fight. He finds himself alone with his daughter, funds rapidly depleting. She is eventually taken away from him by social services. He's hit rock bottom. It's a long way back up to the top, but with the help of Tick Wills (Forest Whitaker) he gets a job at the gym and starts training again. Andrew and Phil give 'Southpaw' their endorsement, despite that the boxing film is a tried true genre that holds little surprises.
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'Jaws' is the movie that scarred a generation. It made us all terrified to get back into the ocean. It also forever maimed summer movie fare in the United States. Steven Spielberg's first masterpiece is also the first blockbuster. Movie executives soon realized that it is possible to make a lot of money with a film, if it is marketed right and appeals to our fears, desires and instincts. While Spielberg would become the most influential man in Hollywood in the decades to come, 'Jaws' persists as one of his best films and a superlative and rousing thriller. New listener, Greg requested the show, coming close on the heels of the film's 40th anniversary. Andrew and Phil dig into the incredible character dynamic of the film's second half, where three very different men have to put aside their differences and accomplish an impossible task. Featuring Oscar-winning editing, music and sound, 'Jaws' is a timeless classic.
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Amy (Amy Schumer) is a career woman whose love life consists entirely of one-night stands. She explains her polyamorous philosophy was instilled in her by her cheating father. She writes for a trendy NY magazine call S'nuff, and is one day given an assignment to write about a sports doctor who works with famous athletes. Amy meets Aaron (Bill Hader), the doctor and their relationship begins professionally. But pretty soon Amy has him in the sack, and he becomes too smitten to give up on her after that. Amy has to face the fact that she may have met a great guy; one that does not deserve to get thrown away. Features a terrible performance by LeBron James.
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Notoriety has followed 'Heaven's Gate' like a lost mutt in search of its owner. While this visually opulent picture garnered director Michael Cimino the moniker 'the Tolstoy of cinema' by French critics, it was a huge financial disaster in the States. But this bleak Western is primed for rediscovery thanks to a stunning new blu-ray released by Criterion. New listener Criss, joins the discussion to talk about this mammoth film, which ended up bankrupting United Artists, was savaged by critics and ignored by audiences.
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Welcome to the latest offering from the ever-shrinking Marvel universe. Paul Rudd puts on an ant costume and can turn into an ant. He uses this power to get into places ants can get into. He has a mentor, played by Michael Douglas and there's a bad guy, who is played by Corey Stoll. He's bald, which doesnt necessarily make him bad, it just makes him badder. Bobby Cannavalle is in this. The ant suit will eventually bring Rudd and his little daughter all together. Ants are strong.
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Gary Oldman delivers a restrained performance as George Smiley, a somewhat retired member of British intelligence during the Cold War. He's brought back by Control (played by John Hurt) the department head who informs Smiley that there is a mole within the top five highest ranking officials working to protect Western Civilization from the Communist threat. What follows is a tense, exacting spy thriller that seems pulled directly out of that time and place and splashed onto our 21st century movie screens. Director Tomas Alfredson (the original Let the Right One In) handles this intricate story, based on a John LeCarre' novel, about intrigue and betrayal, rendered in gloomy, period monochromatic decor. Kristy rejoins the podcast for this pick, proving once again, Kristy loves herself some classy British men.
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Avoid this film if you want to live. The latest entry in the Terminator franchise is pretty bad. Andrew thinks it's God-awful. Phil found it to be intermittently entertaining. The plot is that Sgt. Kyle Rees gets sent to the past, before an AI named Genisys enslaved humanity, in order to protect Sarah Connor and prevent Genisys from taking over. The film is utterly ordinary, although Phil enjoyed some of special effects. Andrew hated the fact that from a physics perspective the fantastical elements didn't make any sense. Good ol' Arnie is in the flick, only he is mostly used for comic relief in this chapter. All in all, we at 'In the Queue' think if you miss this film, you'll be alright.
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Andrew and Phil welcome the filmmakers behind the new documentary 'Kung Fu Elliot' to this special episode of 'In the Queue'. Jaret Belliveau and Matthew Bauckman are the Canadian filmmakers who racked up awards at Slamdance and Fantastic Fest for this fascinating, stranger-than-fiction tale of Elliot 'White Lightning' Scott, a self-proclaimed martial arts master and amateur filmmaker. The documentary chronicles Elliot's attempt to make his masterwork, "Blood Fight". In the meantime, Elliot's long-suffering girlfriend Linda complains that he will never propose marriage, despite the fact that she seems bitter and bored with him. As the film progresses, it becomes clear that the initially affable Elliot is not who he portrays himself to be...to Linda and the world. Here at 'In the Queue' we love having filmmakers on the podcast to talk about their work. What better compliment to this discussion than viewing 'Kung Fu Elliot' yourself? The doc can be downloaded on iTunes and Amazon Instant Video. Thanks again to Jaret and Matt for being on the show.
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Fear. Anger. Disgust. Joy. Sadness. All these emotions exist in our heads. In the Pixar universe, they are embodied by anthropomorphic characters voiced by popular comedians. Enter Riley. She's the new girl in town and misses her old home. It doesn't help things that Sadness is getting a little grab-happy with her memories. Joy tries to stop Sadness from bringing Riley down, but things take a turn for the worst. Both emotions get sucked out of mission control and end up trapped in long-term memory land. It's up to them to get back to headquarters and re-align Riley's mood. Pixar's newest film is a triumph in many ways. But Andrew was disappointed in the film's rushed climax - a perpetual problem for the animation studio. How did you like 'Inside Out'? Give a listen for the In the Queue review.
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If you grew up in the 1980's, chances are this film holds a special place in your heart. A groundbreaking (although rarely outmatched) meld of animation and live action, 'WFRR?' is a classic example of film noir. Bob Hoskins is private eye Eddie Valiant, still emotionally wounded by the death of his brother, at the hands of a 'Toon no less. Through a seemingly simple job, Valiant finds himself mixed up in the world of 'Toons, even though he can't stand them. In a classic 'unlikely friendship' twist, Valiant finds himself protecting Roger Rabbit from the evil Judge Doom (Christopher Lloyd). This movie has it all, including overtly sexual references that tickled the eyes and ears of many a pre-teen since 1988. Emily is the guest on the program, and she shares her appreciation of 'Who Framed Roger Rabbit?' with Andrew and Phil.
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Andrew and Phil return to reviewing theatrical films by catching up with the new action juggernaut that is also a critical darling. A non-stop barrage of intelligently rendered chaos, Charlize Theron usurps the role of main protagonist from Tom Hardy, despite the fact this is packaged as a Mad Max film. She is tough as nails as a truck drivin' woman who liberates the five wives of the evil Immortan Joe and heads toward the idyllic Green Place. She is summarily pursued by IJ's army, which includes War Boys who spray their mouths with silver lacquer when they feel they are about to enter Valhalla. Wouldn't you, in their position? The landscape is arid, dry and inhospitable. It's a dirty, bonkers movie. And it's got a guy playing a guitar that shoots flames. See it.
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Mitchel (Colin Farrell) has just been released from prison and wants to lead an honest life. But he gets pulled into a life of crime again by his spineless, fuck-up friend Billy (Ben Chaplin). Mitchel is a tough guy, but he has a heart of gold for a vulnerable celebrity named Charlotte (Keira Knightley). Mitchel also looks out for the local tramp who always makes him smile. When the tramp gets beaten up, Mitchel wants nothing more than to put the event past him by tracking down the punks who did it and killing them. Throw in a terrifying gangster boss, Gant (Ray Winstone) who antagonizes Mitchel and an ironic twist ending and you have the makings of textbook British crime drama. Chris requested this genre picture, which also has David Thewlis!
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If there ever was a documentary filmmaker who let the good times roll, it was surely Les Blank (1935-2013). He spent five decades as the gentle fly-on-the-wall who could put his subjects at ease and allow them to have fun and be at their best. His specialty was praising pockets of culture throughout the U.S. Blues musicians in Texas (The Blues According to Lightnin' Hopkins) Cajuns in Lousiana (Spend it All) and Polish-American polka dancers from all over (In Heaven There Is No Beer?). Andrew and Phil talk about all three of these films, newly remastered in the Criterion Collection boxed set "Les Blank: Always For Pleasure." Our two film critics are both pleased this collection exists, not to mention in gorgeous Blu-ray resolution. If you are discovering these films for the first time, you are in for a treat.
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In this small-budgeted, indie film from Jeremy O'Keefe, the end of high school signifies a new beginning. Friendships will be lost as life carries on and people venture on their separate paths. Jake is a handsome senior who works in a video store and seemingly has his pick of any girl he chooses. He finds himself drawn to Carrie, a vulnerable girl who recently suffered a terrible loss. His friends warn him to stay away, but Jake's heart is curious. Will they fall in love? Full of naturalistic acting, as well as a memorable turn by Jeff Conaway as Jake's dad, Wrestling scores points on many levels. A new request from Emily, who actually worked on this film when it was shot in Delaware. Andrew and Phil find themselves surprised by their reaction to this movie.
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While Terry Gilliam savages ideas of order and bureaucracy with his camera, his characters state with poignant bitterness the resigned motto: We're all in this together. In 'Brazil' everyone is in it together, and it's a frustrating mess to be in. Technology is retro-futuristic, you need a government form to wipe your nose (not literally, but you get what I mean) it's a depersonalized society where we are all prisoners of grotesque, societal logic. Sam Lowry thinks he has seen the girl of his dreams (literally, she is in his dreams) only now she is flesh and blood. Can Sam win her affection and deal with the deadly mix up caused by Information Services? Better stop reading and go see 'Brazil' yourself!
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Join Coop, Andy, McKinley and the rest of the gang for one more wet hot summer at Camp Firewood. It's 1981 and the last day of camp. Everyone's looking to meet that special someone for one more fling before they part ways. Coop's got his eye on Katie, a girl with whom he is trapped in the friend zone. Camp Director Beth has got her eye on the hot nerdy astrophysicist who oddly doesn't work at the camp but lives within a very close proximity of it. Will anyone find love? Maybe. Will anyone leave camp, get addicted to heroin, kick the habit and return to camp all within the span of an hour? Count on it. Returning listener Aaron brings this true cult classic to In the Queue and you are all invited to bask in it's awesomeness.
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Harsh times in this medieval epic from Czechoslovakia. Set against the backdrop of Christianity succeeding Paganism in the Middle Ages, 'Marketa Lazarová' is a tapestry of different characters fighting to survive in an unforgiving winter landscape. There are the brothers who abduct a German traveler, thereby setting off a war between the king and his heathen peasants. At the center of it all is Marketa, a beautiful girl about to enter the convent, whose fate is changed forever. If this all sounds epic, it pretty much is, but Andrew lamented that it was hard to tell who was who. Fair criticism, and since this was Phil's second viewing, it was easier to follow and a much more enjoyable experience. The photography alone is incredible. A serious recommendation for cinephiles everywhere, from 'In the Queue'.
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Miss Pettigrew (Frances McDormand) is in a tight spot at the beginning of this smartly realized homage to 1930's screwball comedies. She's out of work and a place to live. Through a cunning move, she manages to score a new client (she's a governess) and it happens to Delysia Lafosse, played breathlessly by Amy Adams. Delysia knows a lot of men, and the following 24 hours are a whirlwind of romance for all players involved. This polished confection known as 'Miss Pettigrew Lives for a Day' comes recommended by Kristy, a frequent guest on In the Queue. Does the acting measure up to Andrew's expectations? Will Phil find it to be on par with a TV movie? Listen up! And hear for yourself!
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One of the most mysterious films ever made comes to In the Queue. Ingmar Bergman's first film to eschew the question of God's existence, Persona begins with a confounding sequence of seemingly unrelated images. One thing is certain, the images draw attention to the medium of filmmaking. The film quickly becomes about a nurse named Alma who cares for an actress named Elisabeth, who has taken a vow of silence. Slowly, these two women develop a powerful connection; Alma speaks and Elisabeth listens. A betrayal occurs, which spirals this film into emotional turmoil. Classic Bergman.
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Whenever I see a movie where a handcuffed man bends down and tries to pick up his severed penis with his teeth, I stop and think how lucky I am to live in a world where anything goes in Hollywood comedyland. 21 Jump Street is embarrassment of riches when it comes to comedic talent and is such a fast-moving thrill ride that you never have time to stop and think critical thoughts. Jonah Hill and Channing Tatum carry this ersatz remake of the 80's TV show with their excellent comedic timing. It's another one of those back-to-school movies where 30-something losers get another shot at being cool and dumb jocks get another shot at being smart. Caity, our returning champion listener joins Andrew and Phil for this lighthearted discussion.
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In Heaven, everything is fine. I just made that up! The likes of the Pixies, Stanley Kubrick and Charles Bukowski have all drawn inspiration from this crown jewel of midnight movies: the weirdest movie ever made. There is no movie like 'Eraserhead.' Filmed over five years as David Lynch's thesis project at the American Film Institute, the film is an immersive experience of the highest visual and auditory order. A man with tall hair, a mutant calf-fetus for a child and a puffy-cheeked woman living in a radiator are just a few of the lovable characters in this unforgettable cult classic. In honor of 'Eraserhead's beautiful cinematography, this episode was recorded in black and white.
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In this strange film by Peter Strickland, an anxious sound man is hired to work on an Italian horror movie. That is the plot. This is where the interpretations begin. The sound man, played by Toby Jones is stuck with this low brow project, where people are stabbing heads of cabbage and smashing watermelons on the floor to get authentic sound effects. The Berberian Sound Studio seems to be some kind of hell he can't escape from. He has to deal with his ornery coworkers and difficult scream queens, not to mention increasingly disconcerting letters from his mum. It's enough to drive a sensitive man crazy...is that what happens? We'll let you decide. First time guest host Paige recommended this film and Phil and Andrew are glad she did!
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Hello to all the ITQ fans out there! As alluded to in the last episode, Andrew and Phil will refrain from reviewing new films for the next several weeks while Andrew recovers from surgery. Get well soon, Andrew! In the meantime, our intrepid podcasters are delving into their Criterion Collection DVD library for their discussions. "Hearts and Minds" is a classic documentary, perhaps the most definitive Vietnam War doc ever made. Andrew and Phil have a scintillating conversation about the film's influence on other documentaries. An influence on Michael Moore's work, "Hearts and Minds" holds up quite well 40 years later.
Note - This episode was recorded at a lower audio quality. Those responsible have been sacked.
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Seemingly intended as a mockery of hipsterism, Noah Baumbach's new comedic drama features no shortage of acting talent. But what it lacks can be found in the screenplay. Phil found the film to be merely a collection of mediocre jokes and flimsy plot devices. Andrew flat-out hated it. Ben Stiller and Naomi Watts play an older couple who become involved with the passion for life displayed by a younger couple (Adam Driver and Amanda Seyfried). What starts off as humorous culture clash turns toward inside baseball, where Baumbach's film turns into a meta examination of the ethics of non-fiction filmmaking. Phil could relate to this aspect of While We're Young, but still recommended that those curious about the merit of this film wait until it's on Netflix.
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Why all the hate for Christian Laettner? Just because he's extraordinarily talented and good-looking and occasionally plays dirty on the basketball court? This fantastic documentary produced for ESPN is a comprehensive recap of the legendary player's career with the Duke Blue Devils where he broke record after record, winning fans and enemies alike. Andrew and Phil do something in this episode they rarely ever do: talk sports. They have to thank guest host Clint from Oakland, CA for requesting this unorthodox pick for this week's listener's choice. Where do you fall in regards to Mr. Laettner? Listen to the color commentary and decided for yourself.
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This special effects juggernaut is the latest in a Marvel franchise that the moviegoing public can't seem to get enough of. Superheroes from the first Avengers film as well as other comic book adaptations gather to defeat a common enemy: Ultron. You're either going to see this film or you're not. Andrew was disappointed with the special effects. Phil was disappointed with the story. This film has already made a ton of money, so what do the opinions of two little film critics matter? We hope it's a lot. Check out this latest episode of In The Queue.
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We all know the classic lines, forever immortal in our movie-saturated minds: "Get to the chopper!" "Stick around!" "If it bleeds, we can kill it." This week's listener's choice is to delve into our formative years and revisit a film many of us have known, and loved for at least a couple decades. I'm talking about John McTiernan's 'Predator.' Chris joins the discussion with Andrew and Phil to rave about the machismo and special effects of this 1987 cornerstone sci-fi action film. But not everyone on this podcast loves 'Predator'. Some have some very pointed criticism of this film. Tune in to hear the friction of those in passionate defense of the Schwarzenegger flick and those who have at least a few harsh things to say about it.
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Somebody put this on a double bill with 'Force Majeure'. But seriously, no two films could be more different. This high-concept science fiction mindwalk has only three main characters, each with their own motivations. There is Caleb, the talented programmer who wins a chance to evaluate a ground-breaking creation; Nathan, the visionary inventor who welcomes Caleb into his home; and Ava the artifically intelligent android who fascinates both men. Phil found himself underwhelmed by what he saw on screen. Andrew had some definite opinions about what the film says about mankind. Serious stuff! Give this podcast a listen.
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John Ford is perhaps the quintessential American director. His main genre was Westerns, and this is one of his best. James Stewart and John Wayne portray their archetypal movie star persona and the story becomes a meditation on reason and law versus violence and vigilantism. The nerd versus the tough guy. Both end up wanting to be tough, but can they both hack it? Are they both man enough to kill Liberty Valance? Kristy joins the discussion.
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Tom Hardy and Noomi Rapace reunite after the blockbuster success of last year's "The Drop". Sarcasm aside, I really liked that film. "Child 44"? Not so much. The plot of this Daniel Espinosa film is really convoluted, but from what we can discern, the main plot device finds Hardy as a Soviet officer tasked with solving a series of child murders in the years following WWII. The opening quote of the film, presented as white words on a black screen, read "There are no murders in paradise." A comment on the Soviet party line, but the setting for this film seems inconsequential to the plot. The director tries to tell many different stories at once, which the format of the novel does better, and the result is confusing. Andrew and Phil ripped it a new one.
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Schenectady just ain't the kind of town you want to stop in. Ryan Gosling is Luke, a motorcyclist who works in the cage of death at an amusement park. His life is aimless, but after learning that his old flame gave birth to his child, he decides he needs to provide for them. He gets mixed up in some trouble, with tragic consequences. The Place Beyond the Pines is a film rooted in the repercussions of our actions and how they affect future generations. Caity recommended this film, which Andrew loved, but Phil did not. The acting is solid throughout, but all three of our critics agree the film was poorly marketed.
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Danny Collins has been in the music business a long time. He's getting tired of playing to audiences full of senior citizens, who all sing along to pop hits he can't stand. Collins longs to play more artistically adventurous material like from his first record, but his record label insists that he perform hit material that was written FOR him, not BY him. Danny's manager shows up one day with a letter addressed to Danny, written by John Lennon forty five years ago. And that's where the plot thickens... 'Danny Collins' is a treat, and no one is more surprised than Andrew and Phil. This light drama does build substance as it goes, and is a pretty good role for Al Pacino. The film was written by Dan Fogleman, screenwriter of "Crazy, Stupid, Love", so he knows how avoid cliche' and still deliver the emotional pay off.
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Jason Reitman's 'Men, Women and Children' holds a mirror up to the Internet-saturated culture that obsesses us all. Whether it's pornography or social media, Reitman's film is a cautionary tale about the dangers of over-indulgence. Adam Sandler plays a dramatic role in a strong ensemble cast. Overall, the movie is intelligent and compelling, but interestingly was a colossal flop at the box office. Andrew and Phil are joined by Aaron, who requested this film, and all three scratch their heads as to why this people never got its due.
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Short, sweet and to the point, the title of this film doesn't mess around. Neither does the film. A small-budget film that is heavy on scares and atmosphere, David Robert Mitchell's 'It Follows' is a contemporary horror classic. Andrew would not disagree with any part of that last statement. Phil also liked 'It Follows' which has to do with an unknown, killer monster that terrorizes (albeit slowly) the unlucky soul who happens to become it's unwilling best buddy. In addition to being scary, the film is a valentine of sorts to "old" Detroit; from the historic movie theater to the abandoned homes frequented by the film's characters. For a deeper appreciation of things, give this podcast a listen.
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College acapella groups vy for the top spot at the big championship in this cult comedy from director Jason Moore and '30 Rock' writer Kay Cannon. Anna Kendrick plays a sullen teenager who wants nothing more on the first day of college than to remain cool. She ends up joining an all-girl voice-only singing group called the Bellas, who have a long-standing rivalry with the all-boy Treblemakers (hahaha that's a great pun for music geeks). "Pitch Perfect" is a winning, old-fashioned college comedy that is built primarily on that classic trope of underdogs vs. top dogs. The two gender-fied groups inevitably end up competing in the big championship. Australian comedienne Rebel Wilson steals the show as the most all-out Bella of them all.
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Rabbits don't get their due, cinematically. There's that new Blu-Ray of "Watership Down" that Criterion recently released. But not that many films feature rabbits as the hero or even a sidekick. So imagine how excited we were to learn that "Kumiko, the Treasure Hunter" prominently featured a rabbit as the title character's companion. Alas, Bunzo, as his owner Kumiko called him, was not meant to be the hero or even sidekick of this story. His contribution to the story is dwarfed by Kumiko, the central character, who lives a lonely life in Tokyo. She discovers a VHS tape of the movie "Fargo" and decides she's going to travel to Minnesota and dig up the suitcase full of money that Steve Buscemi's character hides in the snow. You and I both know that is impossible, but try telling that to Kumiko. Minnesota is pretty snowy, you get my drift? Listen for Andrew and Phil's reaction to this strange film.
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One of the best films about war, and not an anti-war film, Ed Zwick's "Glory" never glamorizes the Civil War but shows it to be a battle for which it is worth dying. Matthew Broderick sheds his Bueller persona to be utterly conving as a Captain from a refined background who must lead the 54th, a regiment of Negro soldiers in the march to South Carolina. In a fundamental way, this is a classic underdog story, which has often worked well in the movies. "Glory" transcends this genre by being populated with incredibly great performances and the most haunting musical score in recent times. Chris requested that Andrew and Phil watch "Glory" and he joins in on the discussion.
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Hollywood's bad, m'kay? That is lesson learned number one from watching David Cronenberg's excoriation of Hollywood's (lack of) culture in "Maps to the Stars". Julianne Moore drew a lot of attention to the film for her viciously satirical portrait of an aging actress no longer in high demand. She is backed up by the formidable cast, which includes Mia Wasikowska and John Cusack. This a puzzling, yet fascinating film. Cronenberg used to be known as the Baron of Blood, and there is some blood in this film, but one wonders: did he just want to skewer the vapidity and self-indulgence of the L.A. filmmaking hub? Or is there more to this film? Phil liked it more than Andrew, but both grapple with what is the larger meaning of the film.
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You can't beat Peter O'Toole and Audrey Hepburn as romantic leads. Those two legendary movie stars keep "How to Steal a Million" buoyant through it's entire two-hour running time. In this breezy caper, O'Toole aids in helping Hepburn "steal" a valuable, albeit counterfeit sculpture from a legendary Paris museum. The tone is comic, the romance is sublime and the authentic locations are eye-catching. This film comes highly recommended by Kristy, a frequent contributor to 'In the Queue.' She joins the discussion with Andrew and Phil, who dish about what makes a 1960's studio film a success, among other topics. If you've never heard of this film (like Phil hadn't) give it a watch or better yet, download the podcast and get to know this under-seen gem.
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Faster than you can say 'Bibbidi bobbidi boo' Disney has cannibalized it's illustrious past for the sake of coercing dollars from a new generation of moviegoers. That's right, it's another Cinderella adaptation. This one is not a musical and it's directed by Kenneth Branagh, who cut his teeth making Shakespeare adaptations. Andrew and Phil sadly agree that there is nothing new, remarkable or even worth recommending about this dull retread, but it does herald a cinematic movement Andrew has labeled: Production Design Porn. Branagh's "Cinderella" seems to have shoved its budget squarely in the direction of costume and sets, and at the expense of great performances. This discussion turns toward the sorry state of movies today, as Andrew and Phil gripe and groan through the final third of the show. This isn't an episode, it's a post-mortem. Where's your fairy godmother now?
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Chicago filmmaker Jake Myers joins the discussion about "White Cop", the highly irreverent cop movie parody that made it's way to 'In the Queue'. The film centers on Kip White, a damn good cop trying to bust the European Drug Cartel and avenge his ex-partner's death. The plot is stuff of classic cop movie lore, except this time it's intentionally silly. Very, very silly. Andrew and Phil smile and nod politely as Jake talks about the origin of "White Cop", including how David Liebe Hart from 'Tim and Eric' got involved with the production. Myers' film is currently on tour in Australia and he is already at work on a new project. You can find "White Cop" on Amazon.com. It's pretty out there.
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Finally, a vampire comedy that doesn't suck. The talent behind 'Flight of the Conchords' brings you a mockumentary that follows a handful of undead blood-drinkers around Wellington, New Zealand as they attempt to get into nightclubs (not so easy since they have to be invited in) and deal with the ire and annoyance of having flatmates who don't pull their weight (one vampire hasn't washed any dishes in five years!). 'What We Do in the Shadows' is a hilarious comedy that is also a loving portrait of vampire lore that we've seen across many different horror films. Jemaine Clement, Taika Waititi and Jonathan Brugh are all uproarious as the vampires and there are even werewolves that make it into the picture. Andrew and Phil are both in unanimous agreement that this movie is fantastic and recommend to anyone, living or undead.
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Tarsem Singh is part of that first generation of filmmakers who cut their teeth making music videos for MTV before making the transition to the silver screen. His more prolific counterparts include Spike Jonze ("Her") and David Fincher ("Gone Girl"), both of whom helped "The Fall" get released in theaters. Tarsem's labor of love took four years to make, and was filmed in 28 countries. The film is a story within a story, and is really about celebrating the intimacy between story and storyteller. "The Fall" is a highly imaginative film from one of the most visionary directors of this era, who is such despite only having made a handful of films. He would be in that category anyway, if he had made no other film than this one. Emily is the guest in this episode and the three movie fans discuss her listener's choice.
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Staging a ballet is not a responsibility most of us will ever have to shoulder in our lifetime. For Justin Peck, 25 it is a task and a privilege all rolled into one exhausting package. Peck has proven himself to be a capable dancer in his own right, and he is given the opportunity to create a new ballet to be staged at Lincoln Center in Manhattan. The New York City Ballet is putting on Peck's performance, their 422th ballet, hence the name of the film. This documentary is an example of direct cinema in that there are no interviews, only a nimble camera capturing life as it happens. The rehearsals are probably more laidback than you might think, and Phil found trouble staying focused on this low-key film. Andrew was utterly enraptured with "Ballet 422" from beginning to end. Listen as the two critics find themselves in a rare disagreement!
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Slasher movies are inherently entertaining, whether they are well-done or not. This obscure chestnut is a typical example of the genre: A crazed young man goes on a killing spree, mostly targeting beautiful, occasionally half-naked women. It just so happens the film is completely bonkers, makes little sense and is often ridiculously funny. Since this is a listener request, Corey joins the discussion to hilariously rip "Pieces" to...well...little bits. He's a great guest and this is one fun episode.
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Andrew and Phil can't get enough of "The DUFF"! No, not really. What this new teen comedy has going for it are two funny and charismatic leads in Mae Whitman and Robbie Amell, who transcend the flimsy and familiar plot. Whitman's comic timing is masterful as the titular character, who learns at a party that she is a Designated Ugly Fat Friend for her two supermodel-looking pals. Nevermind that she is not ugly or fat, we learn that the term is meant to be taken loosely. Whitman sets out to prove she is attractive and that we are all DUFFs in our own way. This film is firmly in the genre of teen comedies, so if you are a fan, then by all means, DUFF away. If your favorite movie of last year was "Birdman", you might want to skip this one.
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Once again, the Academy Awards are upon us. For some of us, it's a pleasant feeling; warm and comforting. Others couldn't care less. Andrew and Phil are fanatical about the Oscars. For the second year in a row on "In the Queue" our two most beloved movie critics are running down the top nominations and giving their predictions as to who SHOULD win and who WILL win. Put on your best suit or evening gown and hunker down with your trusty mp3 player to listen to our latest podcast. We promise you it won't drag on for four and half hours. Not counting the red carpet celebration.
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Here on 'In the Queue' we pride ourselves on taking on any kind of movie for our particular brand of criticism, regardless of the film's reputation, background or overall merit. That is how we ended up with 'Fifty Shades of Grey' as this week's new release. To make it even more special, Andrew and Phil are employing a different format for this episode. In honor of this new low in moviegoing, our dynamic duo will trade off different observations about this film until they reach 50. Call it 'Fifty Trades of Grey.' They are the first to admit it, but Andrew and Phil are on the bandwagon when it comes to hating this film. We hope that won't stop you from enjoying their episode. But then again, has it ever?
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The luminous Marion Cotillard has "made it" in Hollywood yet continues to work in her native France as well as Belgium, in this case with the arthouse favorites Jean-Pierre and Luc Dardenne. In "Two Days, One Night" Cotillard plays Sandra, a blue-collar worker recovering from sick leave pertaining to depression. She finds out her boss held a vote with her sixteen co-workers, the majority of which opted to get a generous bonus in exchange for her dismissal. Sandra must convince enough of her co-workers to change their vote in an upcoming secret ballot, or else she is terminated. This film is leisurely paced, which was a turn-off for Phil, but he loves Marion Cotillard and anyone else who does will delight in watching her turn in a fantastic performance. Andrew was enraptured by "Two Days, One Night" and the two podcasters have a wide-ranging discussion on social realism and reality in this notable film of 2014.
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Screenwriting 101: Wanna create a character who is able and moral? Name them Abel Morales! That's exactly what Oscar-nominated word-jockey J.C. Chandor has done for the main character in this period drama set in New York City. "A Most Violent Year" is about Señor Morales (a charismatic Oscar Isaac), a noble immigrant trying to run a legitimate heating oil company in what is on record as one of the most violent years in the history of NYC. Along with his Lady Macbeth-like moll (a highly praised turn by Jessica Chastain) Abel must contend with thugs hijacking his trucks on the Queensboro bridge, police busting their kids' birthday party, attempted burglary, Albert Brooks, cutthroat orthodox Jew businessmen and my personal favorite: a breathless car chase and foot pursuit scene worthy of "The French Connection." Chandor's film is talky, but consistently interesting and fine performances abound. Phil and Andrew have a good time with this one.
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Andrew and Phil totally geek out (more so than usual) in this special episode. Each podcaster runs down their list of top five favorite films of 2014 (with three honorable mentions allowed per person) and will give their passionate pitch as to why each film should be considered one of the best of the year. There is also a moment where they savage a film as the very worst of the year. Enjoy Andrew and Phil's glee as they extoll the virtues of their choices as you may ask yourself the question: What's in your top five?
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A terrifying indie horror film from Australia that made a splash at Sundance and has found worldwide acclaim. Wiliam Friedkin, (the director of 'The Exorcist') called 'The Babadook' the scariest film he'd ever seen. On the surface, it is a tale of a woman and her six-year old son who are haunted by a mysterious, seldom-seen monster terrorizing them at home. The line between reality and allegory are continuously blurred in 'The Babadook'. Is the babadook a real monster? Is the entire film a metaphor for something else? Andrew and Phil discuss this disturbing but highly effective chiller.
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David Oyelowo gives a towering performance as Martin Luther King Jr. in this dramatization of the historic civil rights demonstration that brought thousands of activists from around the country to march in Selma, Alabama to secure equal voting rights for black Americans. Director Ava DuVernay juggles a large cast of characters to create a tapestry of politicians, protesters and police all to convey the climate of 1965. Despite the broad array of players in this drama, Andrew found the film to be flat and unremarkable, while Phil was more excited by the subject matter, which was handled with excitement and soulfulness. Which side will you be on?
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Director Clint Eastwood delivers the controversial 'American Sniper', based on the memoir of Chris Kyle, the most lethal sniper in American military history. All the commotion surrounding this movie minimizes the excellent performance at it's core. Bradley Cooper embodies Kyle as a man uncomfortable with his notoriety and plagued with post-traumatic stress. He's an endearing character - and Phil and Andrew discuss this box-office hit strictly as a stand-alone film and not an adaption of the memoir. This is clearly the most hotly debated film to come out in a long time and our film criticizing duo address the conflict head-on.
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The irascible genius (Benedict Cumberbatch) clashes with the system (British government) in defense of his creation (prototypical computer) to help win the war (World War II). 'The Imitation Game' is not a bad film. But it hits all the same familiar notes that seasoned moviegoers are used to seeing. The filmmakers are all European, but the sensibility is straight from the Weinstein Company. Cumberbatch does a magnificent job of humanizing a character who is written to be socially maladjusted and prickly, but 'The Imitation Game' is too safe. Andrew and Phil pick it apart in this episode.
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The true story of eccentric millionaire John DuPont's relationship with wrestler Mark Schultz and his brother Dave is the subject of this slow-paced, contemplative drama. Steve Carell is soaking up the spotlight for his chameleon-like transformation into DuPont, but the acting is first-class all around. The tragedy at the heart of 'Foxcatcher' is full of dimension and the filmmakers do succeed in fleshing out the characters and their differences, but ultimately director Bennett Miller has crafted an unengaging film. Andrew nails it on the weighty themes at play in this story and Phil laments that a more emotionally involving film could have been made from this substantial real-life material. The two film critics give 'Foxcatcher' it's due, as it was a highly anticipated film for them both.
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When Paul Thomas Anderson makes a film, you can expect it to be provocative, visually spectacular and full of amazing performances. And then you have 'Inherent Vice.' While PTA's films have gotten less kinetic over time (a gradual decrescendo from 'Magnolia') 'Inherent Vice' takes stillness to new heights. PTA's direction is clearly at the service of his screenplay, adapted from Thomas Pynchon's novel, so much so that the audience must sit through long, convoluted scenes consisting merely of two people talking. The plot is not important here, but it basically follows a classic detective story of a P.I. investigating the disappearance of a femme fatale. Phil and Andrew are scratching their heads a little on 'Inherent Vice'. Take a listen to their thoughts on this unexpected private eye comedy.
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Sometimes it takes an 'act of god' to prove the worth of a man. During an initially idyllic family ski trip in the Alps, Tomas, Ebba and their two young children find themselves in a dangerous, snowy situation. Husband and father Tomas' behavior in the near-disaster causes Ebba to re-think her husband's devotion to their family. While Tomas insists he did nothing wrong, Ebba simmers to a boil and explodes with dismay at the perceived 'cowardice' of her husband. Phil and Andrew both loved this movie. Curiously, Phil found 'Force Majeure' as almost too dry and intellectual to be enjoyed on an emotional level, while Andrew found it to be a dramatic gut punch. Check out all of their viewpoints on this episode.
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A microcosm of American society is gently skewered in Christopher Guest's ensemble mockumentary about obsession with dogs. Guest's stock company of talented comedic actors carry this improv-heavy film, which was led by the success of "Waiting for Guffman" four years prior. "Best in Show" follows several different dog owners as they prepare for the Mayflower Kennel Club Dog Show in Philadelphia. In the style of classic cinema verite' documentary, we follow each of the contestants through their preparation and appearance at the show, and are unaware as to which of them will win the top prize. Not only a parody of American canine fixation, the film is also a brilliant spoof of the modern documentary. The structure of "Best in Show" is extremely reverent to the tropes and trademarks of the contemporary non-fiction film, exposing it's familiarity and self-seriousness to all who have seen their share of cable television. Amy joins Andrew and Phil for the first time for this humor-filled discussion.
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Hey! Teacher! Leave those kids alone! Jazz instructor Terence Fletcher (J.K. Simmons) may be another brick in the wall for some students, but to aspiring drum great Andrew Nieman (Miles Teller) he is the ultimate mentor/tormentor. Andrew is a student at the prestigious Schaeffer Conservatory in NYC and his ambition is as sky-high as the Empire State Building. He manages to luck into being one of the core members of Fletcher's band, but it's a dubious honor. While Fletcher manages to inspire Andrew to try harder, he does so by being an insanely cruel and manipulative jerk. "Whiplash" is a mesmerizing, tense and fabulously well-made film. Andrew and Phil clash on their interpretation of the character of Fletcher, but the consensus is that "Whiplash" is one of the best movies of the year.
Cal (Steve Carell) has been cuckolded. He haunts the local bar, moping in his beer until one day he gets spotted by Jacob (Ryan Gosling), the local ladies man. Cal has been married for decades and his cheating wife was his "first". Jacob takes a liking to Cal and tries to help him find his mojo. "Crazy Stupid Love" is an unusual romantic comedy in that the main storyline is not particularly romantic; it's a tale of how men bed as many women as possible. Thrown into the mix are subplots regarding crushes on your babysitter and other entanglements. Caity requested Phil and Andrew review this movie and they do with aplomb. The discussion flows between appreciating the intelligence of this film and also offering some pointed criticism. Check it out!
Laura Poitras has established herself as a filmmaker unafraid to criticize the actions of the U.S. government. In 2013, she was contacted by an anonymous source who wanted to reveal some damning information regarding the invasion of privacy of millions of Americans. The source, Edward Snowden, requested a meeting in his Hong Kong hotel room with Poitras, Glenn Greenwald and Ewen MacAskill, both reporters for The Guardian. The public heard about this 'leak' in the newspapers. Poitras' film captures the pivotal moments on video, as they happen. Edward Snowden says on video that he doesn't want his image to become a part of his whistleblowing, but Poitras wisely does not listen. She crafts a portrait of the man as a hyper-intelligent, altruistic and charismatic figure that is the hero of this film. Poitras' film transcends partisan politics to bring us a story about how privacy is invaded on a grand scale in a supposed democracy. "Citizenfour" is history in the making - a documentary that doesn't explain everything but just enough to keep us current, and urge us on to find out the rest of the information on our own.
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Who knew expired pineapple juice could shut down your vocal cords like that? For one of the main characters in Wong Kar Wai's kinetic "Fallen Angels", it's gotta be the juice...or else he's mute by choice. In this wide-angle city symphony, the lives of a hitman on his last contract, his enigmatic partner and said mute (whose hobbies include riding pig carcasses after midnight) all intersect on the night-time streets of Hong Kong. Wong Kar Wai's film has coolness in spades and eye-popping cinematography courtesy of highly lauded lensman Christopher Doyle. Style is so primary in this mid-90's delight that Andrew deemed it an intellectual exercise and not emotionally satisfying. Phil loved the style of this film and considered it an example of pure cinema, where style and substance coalesce and become one and the same. Guest listener Jeff loves the film for it's visual aesthetic. Some parallels are drawn to the French New Wave, a bone of contention between Andrew and Phil. Not a unanimous appraisal of "Fallen Angels", but an interesting discussion nonetheless.
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Love is a many splendored thing for Stephen and Jane Hawking. That is, until Lou Gehrig's disease rears its ugly head. "The Theory of Everything" dramatizes the relationship between the now-famous author and scientist and his wife of thirty years. Eddie Redmayne gives a tremendous portrayal of a man physically contorted and completely immobile. Redmayne's meticulous preparation for the role pays off in spades. Felicity Jones brings dignity and gravity to her role. One can see how the couple ended up together. Andrew and Phil dish about the acting, the somewhat lackluster direction of "The Theory of Everything" and how a docu-drama must take real life and turn it into something dramatic. It may not be a perfect film, but every other new movie at the multiplex sucks harder than a black hole.
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The new animated movie from Disney (that isn't Pixar) is this beautifully rendered film whose technical wizardry is not quite equaled by its familiar story. What begins as a unique study of characters, morphs into a tried and true superhero tale. Hiro and Tadashi are two siblings who live in San Fransokyo, a technologically happenin' town. Both are involved in the creation of robots, and early in the film, Hiro decides he wants to pursue his passion at the local university. Tragedy strikes! Hiro then finds himself involved with a robot his brother designed, named Baymax. Hiro and Baymax work together (with a little help from their friends) to fight a destructive force on their home turf. "Big Hero 6" is wondrous to look at, but Andrew found himself let down by the sameness of the story. Special guest Emily requested the film as her listener's choice and also found a lot to enjoy, animation-wise. Phil felt a little misled by the publicity of the film, which stressed the relationship of Hiro and Baymax, when in fact, the bulk of the story (including the title) concerns the team of superheroes.
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| | | Pictured: the least charismatic cast in the history of cinema. |
What is supposed to be behind that door? What is that which lurks in the dark, just beyond the camera's frame? What the &*$# am I supposed to be afraid of?! In "Ouija", the imminent threat is not apparent for quite a while. This horror of a movie is centered around the once-popular board game and it's imagined (we hope) potential as a conduit for pure evil. At the story's beginning, a well-liked high school student hangs herself, leaving a ouija board conspicuously on her bed. Her friends, led by the intrepid Laine, decide it is the infamous Hasbro board game that will allow them to communicate with the dead girl's spirit. They do so, and things get ugly from there. All the familiar tropes of horror movies can be found here, but with none of the emotion to back them up. An atmosphere of dread builds from the beginning, but it is all misdirected, as the ouija board is a benign toy and not capable of doing any harm. The film gets a little more creative with the board game's potential, to the point where one wonders if Hasbro would approve of the whole damned venture. Phil and Andrew both agree this film is worthless. Do yourself a favor and watch "Battleship" instead, or better yet, "Clue"!
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Action movie cliches abound in the affectionate tribute to 90's popular cinema "Hot Fuzz", from the team who brought you "Shaun of the Dead." Director Edgar Wright and his co-writer Simon Pegg are behind this daft, violent and tight-as-a-drum thriller that begins as a comedy about a fish out of water policeman who relocates from London to a podunk English village. By the third act, the film blows up into an absurd opera of bullets and mayhem. "Hot Fuzz" is hilarious. The film contains visionary direction and energetic editing that hooks you from the beginning. Simon Pegg is the policeman (Nick Angel) who is transferred for being too good a cop. He kept overshadowing his colleagues and now works in Sandford, where his only friend is a genial fellow officer named Danny. Together they share a mutual appreciation for the film "Point Break." When some unseemly events begin to take place in Sandford, Nick finds there is more than meets the eye to this little hamlet. Phil and Andrew are joined in the discussion by Chris, who has requested this film for review. The three gents wax nostalgic for classic 80's action movies and chat about the comedic value of "Hot Fuzz." How did it stack up? Listen and find out!
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Jon Stewart is a name most people associate with basic cable comedy. With the new docu-drama "Rosewater", he takes a stab at filmmaking. The story concerns Maziar Bahari, a reporter for Newsweek who is arrested and detained while in Iran covering the 2009 election. While 'The Daily Show with Jon Stewart' did extraordinary coverage of the the American presidential election in 2004, Stewart's attempt at writing and directing a political drama falls a little flat. Bahari was held in prison for over 100 days partly because of his involvement in a satirical piece for 'The Daily Show' that was misunderstood by the Iranian government (Fox News probably didn't like it either.) Phil and Andrew don't have many reservations about pointing out that Stewart's debut effort is a dud. The material never gets harrowing enough for the viewer to feel the pain of Bahari's imprisonment. While Stewart's comedy can sometimes go too far, "Rosewater" doesn't go far enough.
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Perhaps the only time a great board game was adapted into a great movie, "Clue" remains one of the most superb comedies of the past few decades. Co-written by 80's joke master John Landis and British sitcom veteran Jonathan Lynn, this movie boasts a truly incredible cast of famous comic actors, including Madeline Kahn, Michael McKean, Martin Mull, Eileen Brennan, et cetera...all led by the sublime Tim Curry as Wadsworth the butler. You know the story. Murders take place at a secluded mansion on a rainy night. Anyone and everyone could be the culprit. But whodunit? "Clue" will answer all your questions and leave you in stitches to boot. The film comes as a recommendation from longtime listener Kristy, and along with Andrew and Phil, a good discussion is had recounting the myriad pleasures of watching this brilliant farce.
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Lime and limpid green, a shroud, a second scene surrounds...wait, this isn't a Pink Floyd song, is it? Nope, it's Christopher Nolan's most ambitious film yet. Fresh off of his newfound artistic renaissance, Matthew McConaughey portrays Cooper, an ex-NASA pilot now a farmer with two kids. Earth is a dry, mostly agrarian environment and humans are on their way to extinction. Cooper stumbles upon an opportunity to fly into outer space, enter a wormhole near Saturn and investigate planets for possible colonization by Earthlings. All in the first hour! "Interstellar" has all the thrills of a summer blockbuster, with all the thematic ambition of an Oscar contender. Nevertheless, some of the "science" and "philosophy" of the film left Andrew with a bad taste in his mouth. Phil was more forgiving and was able to appreciate "Interstellar" for the fun ride it is. Did you see this mega-hyped film? If not, you can still give a listen to this spoiler-free podcast.
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Caww! The triumphant bird-cry of Riggan Thompson reverberates in movie theaters across the country! "Birdman" is one of the best movies of the year. Michael Keaton (Riggan) riffs on his persona as a third-rate actor mostly known for playing a superhero (Birdman, in this case) who is staging a Broadway play in which he wrote and also stars. Ambitious to say the least. Aiding and abetting Riggan is group of loyal thespians, marshaled to their cause by Mike Shiner (Edward Norton) a famous actor and last minute replacement to the cast. Shiner's presence is a boon for the show but ultimately a threat to Riggan. In the days leading up the premiere, Riggan must juggle his cast, his ego and even his tighty-whities (in Phil's favorite scene). It's no accident that the term 'balls' gets repeatedly bandied about in "Birdman" as a way to encompass the magnitude of what Riggan is attempting. This film will leave you with a lot to discuss and many great performances to enjoy. Phil said "Birdman" is best appreciated by those with a background in theater. Andrew marveled at the cinematographic excellence of Emmanuel Lubezki's dexterous camerawork. Wait, we didn't even get to talk about the whole stylistic conceit of the film! Aw, just go out and see "Birdman", it gets four feathers from In the Queue, the highest rating!
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Any Joe Blow with a low grade video camera can become a tabloid news journalist. But it also helps to be a sociopath. Enter Lou Bloom (Jake Gyllenhaal) a gaunt, manic and frighteningly driven young man looking for work. At the beginning of "Nightcrawler", Bloom is making his living stealing industrial materials and selling them cheap. But business isn't exactly booming. He chances upon a car wreck and walks over to it out of perverse fascination. What he discovers is that there is a small network of "nightcrawlers" in Los Angeles; videographers who seek out crime scenes where fresh blood is still in the air, waiting to be documented. There is a demand for that twisted footage on tabloid TV networks, which is where Nina (Rene Russo) a local news director first discovers the odd Mr. Bloom. "Nightcrawler" is a dark, thrilling character study, and Phil and Andrew both agree Gyllenhaal turns in a dynamic performance. The script is intelligent and the first-time director does an admirable job portraying the City of Angels as a hellhole full of devils. Check out this intriguing episode.
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If you're looking for an uplifting film about the inner goodness of mankind, you've come to the wrong place. "Happiness" takes the term 'black comedy' to even darker hues. Writer-director Todd Solondz' tour-de-force centers around a family in New Jersey that has three adult daughters. We follow their lives and the lives of their neighbors, in-laws and lovers. Everyone is looking for their own version of happiness and most of them are deeply perverted or victim to perverts. You've got Alan (Philip Seymour Hoffman) whose hobbies include prank calling random women in the phone book and ejaculating onto the wall (hmm, a pretty postcard would look nice here) Joy (Jane Adams) whose name belies the fact that she is completely miserable and Bill (Dylan Baker) a devoted husband and father who happens to be a malicious pedophile. Yaaaay. The film is a recommendation from long-time listener Aaron, clearly a sick fuck who joins the discussion with Andrew and Phil. Our hosts discuss the performances in "Happiness", other films in the Solondz canon and other ways in which we're all just a little bit perverted.
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Bill Murray is the irascible title character, a mean, selfish jerk who (wait for it) has a heart of gold. He starts to take an interest in the lonely boy-next-door, Oliver (Jaeden Lieberher) who is bullied at school and is generally down in spirits. Oliver's mother, Maggie (Melissa McCarthy) is surprisingly laissez-faire about her son disappearing for hours at a time with Vin. When she finds out the two of them have been going to the horse track she barely simmers. The unlikely friendship between Vin and Oliver is nothing special and as Andrew points out in this episode, the film regards itself with a greater importance than it actually deserves. Eloquent, no? The film is chock full of great actors, including Naomi Watts, and how about Terrence Howard in a bizarrely brief role?? "St. Vincent" fashions itself a feel-good-movie, but Andrew and Phil found it a little more maudlin than that. Bill Murray plays his role well, but one solid performance does not a good movie make. Check out this latest episode, folks.
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- Wardaddy, Gordo, Bible and Coon-Ass. Sounds like they could be characters from a Stephen King novel, but really they're in the new action-drama "Fury." This is another WWII movie, but don't let that deter you - Phil was very skeptical that this picture would add anything new to the canon. But it does add a cannon. All four of the roustabouts mentioned above are soldiers in a tank, dubbed, "Fury." Their mission is to penetrate Nazi Germany. Norman Ellison (Logan Lerman) is a fresh replacement for their last gunner who had his face blown off during a battle. Norman has no cool nickname, he has no military experience and he refuses to kill. "Fury" would probably be better off with Pauly Shore instead. Wardaddy (Brad Pitt) will not give up on making Norman a soldier, even in other ways, like bedding comely German civilian women. Phil and Andrew have a heated debate about the ethics of that particular scene. Feel the fury! The conversation ranges from codes of masculinity, to surprising moments and character foibles. Is this film worth your time? Give a listen.
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Carey Mulligan, Andrew Garfield and Keira Knightley are three of Britain's hottest young talents. If I had to watch a film where the characters' vital organs get harvested and they die a tragically premature and squandered life, I'm glad to at least admire their pretty hair and teeth (well, not you Keira). "Never Let Me Go" is a quasi sci-fi romantic drama based on the titular book (Mulligan's favorite piece of literature) and directed by music video enfant terrible Mark Romanek. You know Andrew Garfield was thinking that beating heart in that Nine Inch Nails video could come in pretty handy in a pinch. In all seriousness, this is a helluva melancholy flick. It takes place in an alternate reality where people can live beyond 100 years, as long they aren't children. For you see, life in this version of England is not all figgy pudding for our three A-list stars from across the pond. Returning listener Caity requested this film for Andrew and Phil and it elicits an impassioned response from all parties. The gang spoke about the visual and musical beauty of "Never Let Me Go" and melted at the heartfelt scenes between Mulligan and Garfield. Lastly, Caity revealed that he is the only reason she watches the new Spiderman movies. Check out this podcast, yo.
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This film is a turd. Kirk Douglas tries his hardest to enliven the proceedings of this comic Western from 1979. The whole film is an attempt to replicate the humor and feel of classic Roadrunner and Wile E. Coyote cartoons. So you've got Douglas (surprisingly nimble for age 63) as Cactus Jack constantly getting his ass handed to him by his foiled attempts at robbing wealthy frontier woman Charming Jones (Ann-Margret) and wayward Austrian cowboy Handsome Stranger (Arnold Schwarzenegger). The bulk of this lame-fest is a long chase scene where Charming and Handsome escape Indians and titular villain, (none other than) Cactus Jack. The film is directed by Hal Needham, who had just directed "Smokey and the Bandit" and would later helm "Cannonball Run." Hal likes his chase movies. "The Villain" is dreadfully bad and comes recommended by Monte. He and Andrew are cheesed off by this epic fail of a film and gleefully skewer it in this discussion. Phil doesn't have much in the way of kind things to say about this recommendation, although it is the kind of film that is perhaps fun to dissect, if you are a film studies major.
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Whoa. What's this? An intelligent adult drama at the local multiplex? It must be December...but it isn't! I'm talkin' 'bout "Kill The Messenger", a dramatization of journalist Gary Webb's investigation into CIA tactics back in 1996. The film follows Webb (a spot-on Jeremy Renner) as he uncovers information that the CIA introduced and sold crack in poor parts of US cities in order to fund arming the rebel militia in Nicaragua in the 1980's. To quote Joe Biden: "This is a big fuckin' deal." Webb risks his life and the life of his family, but he has that nagging journalistic integrity that keeps him pushing forward to the truth. "Kill The Messenger" spawned a rant from our two hosts on the state of the movie industry. Listen with delight as Andrew and Phil tear into the Hollywood establishment for making fewer films like this one, that appeal not to a particular demographic, but rather the intelligent moviegoer. Our intrepid critics trace the history of the blockbuster and the opening gross back forty years. Why don't more smart films get made? The answer is Hollywood seeks not to educate and enlighten nearly as much as escape and entertain. "Kill The Messenger" is a hands-down recommended film by Andrew and Phil.
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What a podcast we have for you this time! Gary Hawkins, screenwriter extraordinaire sits in on the discussion with Andrew and Phil to dish about "Joe", directed by David Gordon Green. The film is about the titular character (Nicolas Cage), an ex-con trying to get straight. He has a hardscrabble job poisoning trees for later destruction and this is how he meets Gary (Tye Sheridan) a 15 year old looking for work. Turns out Gary's dad is a real evil twist; he'll kill for alcohol and steals money from his hard-working son. The more Joe and Gary work together, the closer they become, despite the ominous presence of violence from Gary's dad and others. Joe wants to do the right thing, but he's in a world where that's difficult. This is a gritty film, and Gary tells many fascinating stories about it's genesis. He also talks to Phil and Andrew about his days teaching at film school and mentoring up and coming directors, how Nicolas Cage likes to shoot his sex scenes, and the tragic fate of the most incredible actor in the picture. It's a great episode, so check it out!
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She sure is interesting, I'll give you that. "Gone Girl" is the latest cinematic treat from director David Fincher, who is widely regarded as one of the best filmmakers working today. His movies always deal with dark themes and this new film is no exception. Can't stress that enough. Nick Dunne (Ben Affleck) wakes up on his 5th wedding anniversary and discovers his wife is missing. A media circus ensues. Amy (Rosamund Pike) was beautiful and the tabloid press latches onto her case like so many real-life examples we've seen. Did Nick kill his wife? There are many clues that point in such a direction, but Nick insists he is innocent. Ben Affleck seems honest. What would J. Lo have to say? She might say her love don't cost a thing, but in "Gone Girl" the price of love is very costly, very costly indeed.
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Being sneaky isn't such a bad thing when you're one of the good guys. In this case you've got a collection of heavyweight actors (plus Dan Aykroyd) who are a group of intelligence/hacker misfits from various backgrounds who all work together under the leadership of Martin Bishop (Robert Redford). Their job is to test the security of various organizations by breaking in and then reporting the ease with which they do so to their eager clients. It's legit work, but the 'sneakers' also do some dabbling in hacking and infiltration on the side. A pair of government agents offer to pay Bishop a handsome sum of money in exchange for stealing a valuable "black box" from a brilliant mathematician. But things are not what they seem...and some people are turning up dead. "Sneakers" is a top-notch thriller that soars from the strength of its formidable cast, and it's smart, upbeat sense of humor throughout. For Andrew and special guest, Kristy, it's also one of their favorite movies. Phil hadn't seen the film in 22 years! The projection on the future of power distribution and importance of computers was pretty forward-thinking in 1992. It's worth seeing alone for how hacking is portrayed back in a more innocent time when computers were not as ubiquitous as they are now. Yes, kiddos, once upon a time you couldn't take photos and buy stuff or even leave the house with your telephone.
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If nothing else, a cautionary tale on the allergic complications of cheese. Archibald Snatcher is a rotten sort; an ambitious citizen of Cheesebridge who longs to be a member of the privileged circle of White Hats. He sets about doing so by ridding the town of Boxtrolls, who have recently been maligned as responsible for kidnapping a local child. As the story progresses, the child has grown and his name is Eggs. The boy's moniker is derived from the type of box he is wearing. His fellow box trolls are named Fish and Shoe. You get the idea. When they're not donning unflattering cardboard, the Boxtrolls are a jovial bunch and pose no threat at all to the people of Cheesebridge. Eggs decides he will fight Snatcher to save the day. Along the way, the boy meets Winnie who is a disenchanted daughter of a local politician. In her own manner, she contributes to the hero's journey Eggs will undergo. And the cheese? It'll do funny things to your face...if you are Snatcher.
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Coraline is a lonely child who has just moved into a new neighborhood where she knows no one. She meets a boy named Wyburn, but he serves to annoy Coraline above all else. Her parents are more concerned with their careers than with their frustrated daughter. One day, Coraline discovers a small door in the wall in one of their rooms. She manages to get the key and unlock it, which leads her down a small corridor into another world. In this world, she has an Other-Mother and and Other-Father, both of whom dote on her hand and foot and give Coraline everything she was missing from her actual parents. But, such pleasures come with a price. Everyone in this Other-World has buttons sewn in where their eyes should be...and it isn't long until Coraline is expected to have the same... Aaron joins the discussion with Phil and Andrew for "Coraline", a breathtaking stop-motion animated film.
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You tell me. Say, you're Lindsey Buckingham. One of your biggest hits gets tapped to be featured in a Hollywood movie. The song is a tense, sophisticated and masterfully percussive statement on relationship angst; coming hot on the heels of your last album, which explored the complexities of love and sold 40 million copies. The song in question, called "Tusk", is being requested for licensure in a horror-comedy about an elderly Canadian man who lures an American podcaster into his home, drugs him and mutilates his body to resemble that of a walrus'. Oh, and the walrus' name is Mr. Tusk. Cause, you know, walruses have tusks. Sound good? You just know as Smith was writing the script he planned for the eponymous Fleetwood Mac song to play during the film - never mind that the lyrics have absolutely nothing to do with anything. "Tusk" the movie, is sick, weird and unfunny. Smith seems to be phoning it in on this one. He should have spent more time on the script instead of a cute cross-promotion with a highly recognizable hit single. Take a listen to Andrew and Phil's latest jaw-dropping podcast.
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Your move, listeners. What's that? No, you can't castle your king a second time! Dammit, you don't know the rules of chess! That's okay, because now there are computers who can play the game for us! This phenomenon dates back to the 1980's, which is the setting for Andrew Bujalski's one-of-a-kind comedy, "Computer Chess." This indie film was shot using a black and white Sony videocamera from 1968, lending the film a highly authentic look and feel. Perfect casting, costumes and production design also give this mumblecore flick a disarming naturalness. But what's happening onscreen is often weird and hilarious. A computer chess tournament is the premise, but this film explores issues of artificial intelligence, organic emotions vs. programmed technology, and lots of long-haired cats roaming around in elevators and hotel hallways. There is also an inexplicable scene that is in vivid color. Bonus points to any listener who can explain the purpose of that. Jeff, a return listener, makes this film his third recommendation for "In the Queue." Glad to have you back, Jeff! Tune in to hear Phil and Andrew's opinions on "Computer Chess", a film the likes of which you have never seen!
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Wait for it...wait for it. There it is. Yes, it's "The Drop", a new crime drama from the fertile mind-grounds of Dennis Lehane, this time turning an eye toward Brooklyn mobsters. Bob (Tom Hardy) is a bartender who is a little slow on the uptake but has a good heart. He works at "Cousin Marv's" bar for the very same Cousin Marv (the late James Gandolfini). Their bar is occasionally a drop site for local mob-owned businesses to temporarily stash their collection money. Bob isn't interested in a life of crime. In fact, he lives a solitary life until he rescues a dog from a garbage can in the neighborhood. Said pooch turns out to be on the domain of Nadia (Noomi Rapace) and she strikes up an uneasy relationship with Bob. But this ain't a love story. At least, not entirely. Cousin Marv's bar gets robbed and that night's drop is stolen. This opens a big can of worms for all parties concerned. "The Drop" is a solid, revisionist crime drama that gets recommendations from Phil and Andrew. It is also the last film in which we will ever see James Gandolfini, and that is a sad fact.
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Amtrak, it ain't. In this wildly polarizing sci-fi thriller from Korean director Bong Joon Ho, the future is a pretty grim place. The earth has become uninhabitable and the remains of humanity are contained on a long, multi-car freight train that speeds around the globe in an infinite loop. In this world, you are either on the train or you are dead. Dystopia, folks. The unfortunate ones are in the tail of the train - they are routinely abused, maimed or killed. One such sort devises a plan to escape into the next car, and then continue until reaching the front. That's where the best savory snacks are (not proven). Curtis (Chris Evans) is the reluctant leader of the tail car coalition and "Snowpiercer" concerns itself with their violent journey through states of poverty to privilege, one car at a time. Some moviegoers have called the film: nonsense, full of plot holes and boring. Andrew and Phil are joined by Caitlin, who requested "Snowpiercer" for discussion.
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Peter Devereaux is a retired CIA agent living in Switzerland, where he owns a coffee shop by Lake Geneva. Years after a botched operation involving an inexperienced partner named David Mason, Devereaux wants nothing more than to live his anonymous life in Lausanne, when he is pulled out of retirement for one last job. Devereaux's former boss wants to hire him to extract an agent embedded in the government of Russia, where a war criminal is poised to become the next president. While in the middle of this unexpected assignment, Devereaux becomes entangled with Alice, a woman fleeing an assassin. And in an ironic twist, David Mason returns, this time as Devereaux's adversary. Pierce Brosnan plays the titular character, the nickname for Devereaux, who passes through and leaves nothing behind. Brosnan plays his most brutal personality ever and is the greatest asset of this political thriller.
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In this Danish film, a large gathering is taking place at a fancy rural estate. It is a celebration for the 60th birthday of Helge, the well-off patriarch and his family and friends. His children are Christian, a somewhat pensive young man who runs a restaurant in Paris, Helene, an anthropologist with a dark sense of humor, and Michael, who is trying to live up to his father's expectations and runs a bar in a seedy part of Copenhagen. At first, the proceedings seem farcical, with various guests arriving at the estate and getting into mischief. But it soon becomes clear that what is on Christian's mind is something very disturbing, indeed. During his toast at the birthday party, Christian reveals he has written two speeches and asks his father which speech he would like to hear: the yellow one or the green one. The father chooses green. What results is an intense evening for all parties concerned. Jeff joins the discussion for this episode about his request: "Festen" (The Celebration).
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A rag-tag group of explorers delve deep into the catacombs beneath the city of Paris in order to recover the Philosopher's Stone, a legendary artifact that is rumored to grant eternal life. Scarlet, the leader of the group is a fearless historian who will stop at nothing to discover the secret of the underground system of tunnels, even if it means venturing into Hell itself. "As Above, So Below" is a tiresome found footage horror flick that starts off with a very protracted introduction that seems to take up half the length of the film. When the characters finally do get into the demonic nooks and crannys, the scares are lame and the plot even lamer. The whole film seems poorly conceived, right down to the narrative device of making everything filmed by cameras mounted to the characters heads. Ooh, it's a documentary! That makes it even more real and scary! In this case, not so much. Phil and Andrew did not like this film one bit.
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Peter doesn't like his job. He works as a pencil pusher at a computer company called Initech. After making a particularly egregious error, he decides that he needs to undergo hypnosis to cure him of his spiritual dyspepsia. A mishap involving his treatment sets the stage for this classic comedy. Writer/director Mike Judge depicts the bleak rat race so many of us find ourselves caught up in, despite our intelligence and capacity to dream. Corporate culture is skewered in "Office Space", and yet it all seems perfectly realistic and within the realm of possibility. One of the best American comedies of the '90's and an all-time high portrait of white collar drudgery, Judge's comedy manages to win over the common man with it's underdog portrayal of average people who deserve better but due to a poor economy, are stuck with a soul-crushing job that demeans them. Kristy, a frequent contributor to our listener requests, joins the conversation for this episode.
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Basin City. Home to drunks, prostitutes, corrupt politicians, gamblers, hoodlums and many an unlucky sonofabitch. Stay in Sin City long enough and you're bound to get killed - or worse; fall in love with the wrong dame. Eva is the dame that drives men wild. But she's rotten to the core and will have you murdered at the drop of a thin dime. Marv, Nancy and a few other low-lifes from the wrong part of town return in Robert Rodriguez's sequel to his groundbreaking adaptation of Frank Miller's graphic novel. The style is all there. But the inspiration is lacking. Phil saw the film as retreading old ground without the freshness of the original film. Andrew flat out loved this highly stylized vision of the modern film noir. These guys really butted heads on this one! Resulting in a deluxe-size podcast for your listening pleasure.
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Based on the Yasmina Reza play, "Carnage" is directed by Roman Polanski. The ensemble cast of four famous actors (Jodie Foster, John C. Reilly, Kate Winslet, Christoph Waltz) carries this cutting black comedy of manners. The events unfold in real time: two couples meet amicably to settle an argument between the sons of the respective parents. What seems like a resolution achieved soon into the film turns into a dark exploration of the human soul. At it's heart, the story is about the lure of winning. Everyone in the film wants to be the top dog and get the final word, whether it's through verbal or physical violence. And in the end, perhaps the adults are just as immature as their children. Bridget joins the discussion to offer her insight on "Carnage", one of her favorite films and her listener request for this episode.
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From scandalized master auteur Roman Polanski comes this new film based on the play by David Ives. "Venus in Fur" is about a frustrated theatrical writer-director named Thomas (Mathieu Amalric) who is getting ready to go home after a disappointing series of auditions for the lead actress in his play. Enter Vanda (Emanuelle Seigner) who is drenched, late and woefully wrong for the part. Yet she insists she is made for the role and guilts Thomas into letting her audition, despite his better judgment. Quickly, Thomas realizes Vanda is perfect for the role and finds himself playing the male lead during their sexually tense reading. What follows is an elegant film, rendered by Polanski with such skill that one forgets they are watching a movie, and not getting caught up in a play. Sure, the style is apparent, but what about the substance? Phil admired the masterful control Polanski has over his actors and the overall production, but feels a little let down by the conclusion. Andrew is wowed by the acting and would love to see more plays adapted into films. Catch "Venus in Fur" at your local art house theater and participate in the discussion on this blog.
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What if you could create a partner that had all the talents and personality traits you've ever wanted in them? Calvin (Paul Dano) is a young writer who found literary success at a very young age and is now struggling to finish his next book. After having dreams of a mysterious, inspiring woman, Calvin has a burst of creative energy...and he also has a new houseguest. Ruby Sparks, the product of Calvin's imagination is now living in his home. Once Calvin realizes he is in fact not crazy, he embarks on a wild love affair with Ruby. He takes advantage of his ability to completely control her, and their relationship takes a dark turn. Paul Dano plays this type of leading man well, and Zoe Kazan, who also wrote the screenplay, is duly charming as Ruby. A thought-provoking and original film, "Ruby Sparks" spawns an interesting discussion among Andrew, Phil and Aaron, a guest who requested the film be reviewed on "In the Queue."
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April O'Neil (Megan Fox) is an ambitious New York City reporter tired of covering puff pieces. She learns more about a crime wave sweeping the city and takes it upon herself to find out what's going on, with the hopes of getting a big story. Turns out the Shredder and his evil Foot Clan are terrorizing the citizens of the Big Apple and no one seems able to stop them. No one, that is, until the "heroes in a half-shell." April is spotted at a crime scene by the ninja turtles and later abducted to their lair, where she meets Splinter, a talking rat who has raised the mutant ninja turtles to become warriors. There's also a subplot about another villain who wishes to poison Manhattan and then get rich off of selling the antidote. This film won't win any awards for acting, or screenwriting, or directing...but if you sat down to watch a film called "Teenage Mutant Ninja Turtles" you pretty much know what you're in for.
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This is a first for "In the Queue." In honor of our 50th podcast, we bring on somebody who has been one of our most devout fans to participate in the discussion with us. The man who has made the most listener requests since our show began will sit in on the podcast with Andrew and Phil. Our beloved movie critics talk with Monte about the films he recommended, and the discussion finishes with "Taxi", the last film on Monte's list. Join in on the witty banter with the three of them and think again before renting "Taxi". Seriously, take heed. Thanks again to Monte for his participation and we look forward to another 50 episodes!
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From the Marvel universe comes a new science-fiction comedy starring Chris Pratt as Peter Quill, aka Star Lord, a thieving bandit traveling through space in search of bounty and Top 40 Classic Rock. Quill steals a precious orb at the beginning of the film, unaware that it is actually sought-after by several different parties across the galaxy. The evil Ronan sends an assassin named Gamora to recapture the orb, but she ends up joining Quill's crew, which will include a muscular creature named Drax, a tree-like being named Groot and a feisty raccoon named Rocket. Together they form the Guardians of the Galaxy. Phil was thoroughly charmed and entertained by the combination of humor, 70's arena rock and dazzling special effects. He whole-heartedly recommends the film to anyone and everyone. Andrew, on the other hand, found himself saddened by the similarities between "GOTG" and every other recent Marvel film that has come out. Have comic book movies become unimaginative rehashes of tried and true formulas? Tune in to the discussion and see what you think.
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The brutality of professional hockey serves as the backdrop for this dark comedy starring Sean William Scott as Doug, a simple bar bouncer who is the under-achieving black sheep in his family. One day he finds he has a great talent: punching the crap out of people! He destroys an angry hockey player at a game one day, because said athlete threatened Doug's friend. Seems like that's all it took for Doug's killer instinct to take effect - he's a very sweet guy, and he's very protective of his loved ones. Doug gets recruited for a Canadian hockey team right away, solely because of his ability to kick serious ass. From there, he ascends in the world of hockey, falls in love and gets to meet his match in the form of Ross Rhea, the toughest hockey player in the league.
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Based on a John Le Carre' novel, this austere spy thriller stars the exacting Philip Seymour Hoffman as the leader of an anti-terrorism outfit in post-9/11 Hamburg. He is attempting to capture "a most wanted man", Issa Karpov, an illegal immigrant who could lead the outfit to further terrorist suspects. The cast of characters is masterful (although Phil and Andrew quibble about the casting of Rachel McAdams). Anton Corbijn, the director who cut his teeth on music videos in the 80's and 90's, lenses a dreary, stylistically spare film that focuses all of its machinations on the taut screenplay. A methodical, modern thriller, "A Most Wanted Man" delivers its greatest impact moments before the credits roll.
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Daniel Craig is an unnamed cocaine dealer looking to get out of the business at the beginning of "Layer Cake", an intricate British crime drama directed by Matthew Vaughn. In true film noir fashion, he gets pulled back into the underworld by an intimidating boss who convinces him (in no uncertain terms) that he is to find a missing girl and return her to her mob family. This sets off a chain of sometimes brutal events as Craig and his gang also get involved in moving a million Ecstasy pills on the black market. Blood is spilled, beautiful babes are nearly banged and Craig turns in a performance that surely was instrumental in getting him the coveted role of one James Bond two years later. "Layer Cake" may be hard to follow, and since it's based on a novel it is probably more talky than we'd like, but it's full of the elements we like to see in films of its ilk. It has style to spare, and that's not something to snort at.
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From the mind of writer/director Paul Haggis, comes this self-indulgent melodrama concerning three different stories that sort-of come together in the end. The cast cannot be beat: Liam Neeson, Adrien Brody, Olivia Wilde, Maria Bello, James Franco, etc. However, Haggis' screenplay is in the doldrums, with dialogue that rings false and situations that are ham-fisted and not believable. It is clear that he is trying to make a point with "Third Person", but it's something that could have been done in less than 137 minutes. The polarizing denouement of the film will leave people divided between 'like' and 'dislike'. "Third Person" makes more sense when it's over, than when you're watching it. We should hope for better, especially from a two-time Oscar winning screenwriter like Haggis.
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Arthur (Nigel Terry) just can't wait to be king. Needing a sword, he finds one in the woods (oh, hello) and removes it from it's stone slab. Unbeknownst to him, he has outed himself as the future king; the only man able to pull Excalibur from the rock. This familiar legend is one of many to be found in John Boorman's sword and sorcery epic from 1981 (a golden age for this type of film). Other such stories include the formation of the Knights of Round Table, the search for the Holy Grail, and several others that can also be found in at least one Monty Python movie. Arthur marries Guinevere, who later dallies with Lancelot, and we have a melodrama on our hands. With Wagner blaring on the soundtrack, charmingly quaint special effects, and more than a few familiar faces before they hit it big, "Excalibur" is a ton of fun.
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A romantic comedy of sorts, "Begin Again" follows the relationship between Greta (Keira Knightley) and Dave (Mark Ruffalo) as they scamper around Greenwich Village trying to make music out of their misery. Greta is involved with an egotistical rock star who is breaking her heart and Dave was recently fired from his label for not hiring any successful musicians. Dave happens to hear Greta perform in a bar and instantly decides she is the artist he needs to sign to recover his career, and his life. Greta has other plans. Together, they forge a bond through music and help each other through emotionally difficult times. Andrew unequivocally disliked this movie. Phil enjoyed it. Thought it charming. A lively debate ensues on this podcast...
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Jean-Claude Van Damme plays a meta-version of himself in this somewhat puzzling exercise in cinema. In "JCVD" he finds himself to be a hostage inside of a bank, where out in the streets, people have assumed that he is the criminal. What follows is an examination and deconstruction of the myths surrounding the legendary action star's celluloid persona. The revelation of "JCVD" is the movie hero himself, who displays a captivating self-awareness and command of his emotions. He is clearly capable of more than just kicking and bone-snapping; the film's highlight is a wistful monologue that seems to flow extemporaneously from Van Damme's heart in a quiet moment removed from the action. But needless technical manipulation spoils the enjoyment of watching this film. Hardcore fans of Van Damme's action movies will either be bored or intrigued by this sensitive glimpse into the soul of a man who is often known for beating the shit out of people.
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You know the name. You know the thumb. He was the most recognized, most popular film critic who ever lived. As they say in this film, he was writing about movies for half of the history of movies. Roger Ebert passed away last year, leaving behind an incredible legacy: a Pulitzer prize, a litany of best-selling books, a loving wife and a long-running TV show. His life story is one well-worth watching. "Life Itself" is a wonderfully-made documentary by Steve James, (a filmmaker triumphed by Ebert) that exhibits true affection for its subject...but it goes deeper than that. It's not just affection, but compassion that elevates the film to emotional heights. The camera lingers unflinchingly on Ebert's horrifying medical procedure and his initially troubling drooping jaw. He is still holding on to life, with all his might. By the end of "Life Itself" one feels like they know this deeply familiar person in a vastly different and illuminating way.
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George Clooney's 4th film as director is based on a play called "Farragut North", and won the movie hunk an Oscar nomination for screenwriting. In "The Ides of March" he plays the pivotal role of a Democratic governor running in a primary election in Ohio. Ryan Gosling is a key staffer whose immediate superior is played by Philip Seymour Hoffman. Throw in Paul Giamatti as a staffer for a political rival and you have a crackerjack cast of actors in a dialogue-driven drama. "The Ides of March" is a study in political corruption that Andrew and Phil ultimately found a little tepid. While the cast is great and the writing is sharp, the film never quite reaches full boil, and the conclusion feels rushed. It is clear where Clooney wants us to be ideologically at the film's ending, but has the film earned it's dramatic denouement? "The Ides of March" is a compelling example of ensemble acting, but perhaps not a classic political expose'.
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SNL alum Jenny Slate plays Donna, a twenty-something stand-up comic in wintry Brooklyn. At the beginning of this film, Donna's boyfriend breaks up with her, sending our humorous heroine into a downward spiral of anxiety and depression. She has a one-night stand with a good-natured fellow named Max, and you can guess what the consequences of that are. "Obvious Child" is that rare
rom-com centered around getting an abortion. A film that has never existed before and yet is so prime to be seen by the public. Sweet performances abound in this unique love story that is so matter of fact, it may not even be that controversial! Phil and Andrew delve into hot button issues in their latest podcast.
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Susanne Bier's 2006 melodrama features a stunning ensemble cast and tells a compelling tale of the role of love among family and strangers. Mads Mikkelsen (known for the TV show "Hannibal") plays Jacob, the protagonist of the film; the one to which the story "happens." He works for a children's charity in India when he is called to Denmark to meet with a wealthy business tycoon who is interested in contributing to the charity. Seemingly at random, Jacob is invited by the tycoon to the wedding of his daughter. It is what happens "after the wedding" that will have you glued to your TV screen. This highly praised film was nominated for a Foreign Language Film Oscar and is one of the most beautifully mounted human dramas in recent memory.
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One man lives by his own brutal code in a barbaric Australian wasteland. Eric (Guy Pearce) is a survivor of a global economic collapse that has rendered paper money nearly worthless and safety an impossibility. After his prized car is stolen, Eric sets upon a journey to recover it, at any cost. Along the way he encounters Rey, and the two attempt to reconcile their mutual desire to confront the car thieves. Phil found this film to be a little too slow-moving to prove satisfying, particularly when the compelling action sequences overshadow the philosophical conversations the characters undertake. He also was not impressed with Robert Pattinson's interpretation of a character described in the film as a "half-wit". Andrew and Phil shared the same praise for Guy Pearce's badass portrayal of Eric and the film's inventive musical score. Andrew went on to express his admiration for the screenplay and other aspects of the film. Overall, the duo was split in their final recommendations. This doesn't always happen, folks. Listen to the podcast and weigh in using our comments section.
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Ok, here goes. Oscar is an actor of sorts who spends his day traveling in a limo going to different "appointments" that he keeps around Paris. He transforms himself physically into various characters and participates in very surreal vignettes that are seemingly disconnected and have no discernible meaning. In one encounter, he kidnaps Eva Mendes and takes her back to a kind of lair with seemingly amorous intent. In another scene he dons motion capture attire and performs some special effect run-throughs...for whom? That is the question. Who is Oscar performing for? Is it us, the viewer? What the hell does all of this mean? Phil and Andrew attempt to answer these confounding questions raised by the Leos Carax film, "Holy Motors."
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Tom Cruise plays Cage, an Army officer who is forced into combat during an alien invasion. Cage is strictly a PR guy, not a fighter at all. After he is thrown into the fracas, he manages to kill one of the aliens (known as Mimics), but quickly gets killed himself. He then finds himself starting over at the moment he arrives on the army base every time he dies. Yes, this premise is extremely similar to that of Bill Murray's "Groundhog Day", but " Edge of Tomorrow" manages to turn an unmistakable plot device into something all it's own. "EOT" features Emily Blunt as Cruise's compatriot in this often humorous sci-fi flick. Phil was not looking forward to this one after seeing the trailer over and over again while watching past films for various podcasts over the previous months, but he was pleasantly surprised. Andrew has even higher praise for "Edge of Tomorrow". Check it out for yourself.
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Cha-ching! A gold-caliber cast hits the jackpot in this high-dollar film about the cusp of the financial crisis. Kevin Spacey, Jeremy Irons, Paul Bettany, Simon Baker, Zachary Quinto, Stanley Tucci, Demi Moore, etc all liquidate their roles with tender, invested performances. These actors are truly an embarrassment of riches. J.C. Chandor's screenplay draws from a wealth of material and becomes a veritable currency of sharp dialogue. As a low-budget indie film, Chandor did not break the bank and minted a film with a reserve of intelligence in all its fiscal responsibility. "Margin Call" really makes you take stock in your future, not to mention the future of our economy. There is probably less than 1% of this film that seems lucrative or insufficient. It's so money. So please, dish out some cold hard cash to see "Margin Call". If you don't like it, demand a refund.
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Angelina Jolie plays the archetypal Disney villain in this reboot of the classic "Sleeping Beauty" story. Only she is a sort of anti-hero in this adaptation. Her motives are mixed, which causes her to be a character we are supposed to both root for and cry against. Sadly, the only crying you will do at this movie is probably for the loss of 97 minutes of your life that you will never be able to recover. This movie could have been good, with Angelina still in the main role and with a much-better script...alas, it did not happen this time. Andrew's comments sear the flesh! The special effects fail! Phil was bored by the same Disney tropes you see in most other films. All in all, this is not a recommendation to anyone. If you want to delve into the source material, you can't go wrong with the original animated classic from 1959.
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Charlie is an introvert. He enters high school as a lonely freshman, with zero friends. We've all been down this road. But Charlie has something that makes him special. As a wallflower, he observes the world clearly and sensitively. He knows good people when he sees them. That's why he becomes fast friends with Patrick and Sam, who teach him to open up and release the joy that is inside of him. "The Perks of Being a Wallflower" is a wonderful film based on a popular book published several years ago, that drew many comparisons to "The Catcher in the Rye" and became a variation on that classic novel for a new generation of readers. Phil and Andrew both agree whole-heartedly that this is one of the best high school movies ever made. So there's little more to write about here! See this movie and then listen to the insightful commentary on this podcast!
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Hipster vampires sip human blood like it's fine brandy in Jim Jarmusch's latest film. The venerable American indie auteur turns his dispassionate eye to the subject of preternatural beings in love. The couple (named Adam and Eve) have been in love for centuries, and Adam is growing world-weary. They get their supply of blood from a nearby hospital so they no longer feast on the living...or will they? "Only Lovers Left Alive" left Phil cold with it's aloof portrayal of a grim, emotionally detached world. Andrew dug the flick, partly because of its appeal as an intellectual exercise. Either way, listeners, this podcast is something you can really sink your teeth into...
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This movie plain sucks. But I am obligated to summarize it for you nonetheless. Cameron Diaz is a middle school teacher who is searching for sugar daddy. She almost has one, but then he dumps her and she becomes convinced the way to get a rich man is to have a boob job. So she maintains this teaching gig and becomes motivated to actually try harder when she learns that there is a cash prize for a teacher with the most improved class. This film is a succession of lame, raunchy, mediocre jokes with no real emotional core or heart to speak of. Cameron Diaz is spectacularly unfunny in the titular role and a compendium of hard-working comic character actors are squandered in smaller roles. "Bad Teacher" is bad news, and I'm not afraid to say it.
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Those lovable mutants return in this latest installment of the X-Men saga. In this compelling action-pic, Wolverine (Broadway sensation Hugh Jackman) is sent back to the year 1973 to prevent a murder from taking place. This killing would forever alter the fabric of time, and seal the fate of all X-Men to oblivion. Wolverine meets the young Professor X (James McAvoy) and Magneto (Michael Fassbender) and attempts to have everyone get along. But as you may have guessed, there are complications. The least of which being Richard Nixon. What? "Days of Future Past" is a good summer popcorn flick. Phil isn't even a fan of X-Men, but he liked the film. Andrew shares his unique perspective on X-Men comics as well as superhero films of late.
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Seriously? Once you know this film is brought to you by the man who made "Pineapple Express", the title takes on a whole other significance. Sure, it's a medieval fantasy about wizards, princes and beautiful maidens, but we know what is the magic potion that drives this low-brow comedy. "Your Highness" concerns dashing Prince Fabius (James Franco) and his ne'er-do-well brother Thaddeus (Danny McBride). The two go on a quest to retrieve Fabius' betrothed Belladona from the evil wizard Lazar (Zooey Deschanel and Justin Theroux, respectively). What ensues is a series of anachronistic gags that usually end up having to do with getting high or double entendres. Phil found this film pretty entertaining and enjoyable where Andrew lamented it as a comedic failure. Either way, it ain't "Excalibur." Listen in for the incredible wordplay between two titans of movie criticism!
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This episode is a must-listen for Andrew's passionately eloquent rant in support of intelligent junk films. The new "Godzilla" is the latest heir to a cinematic franchise begun by Toho Studios in Japan in 1954 (the year they also released "Seven Samurai"!). If you are in line to see "Godzilla" it means you are probably interested in watching mass destruction and monsters doing battle at the expense of San Francisco. Andrew would argue that there is a deeper reason to catch a monster movie. What is the threat in this new reboot? While the original Japanese film had to do with atomic bomb anxiety writ large, what is the subtext for Gareth Edwards' new Hollywood remake? These questions are important to Andrew. On the other hand, Phil doesn't need to have dimension in a Godzilla movie. He enjoys watching the mayhem as long as it is well realized. Do you have high standards for your "Godzilla"?
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Orson Welles. Warren Beatty. John Turturro? None other than De Jesus himself has taken a stab at being a triple-threat filmmaker: a writer, director, actor. Was Mr. Turturro successful? Meh, maybe not. "Fading Gigolo", as Andrew pointed out, is a movie about New York, made by New Yorkers, and for New Yorkers. The scant plot concerns Fiorovante, a gentle florist who is coerced into becoming a male prostitute to line the coffers of his buddy, Murray (played by Woody Allen!). Interestingly, women are eager to get it on with the orchid man, even though they never see him until the evening in question. None of the women challenge him in any way either, they are all eager to do it and be his love slave. And pay him handsomely for it. Hmm, vanity project, Mr. Turturro? Phil would have liked this film probably 100% more if it featured David Lee Roth in a cameo. But alas, fortune smiles not sweetly enough upon "Fading Gigolo."
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Steven Spielberg's epic about a troop of WWII soldiers on a mission to retrieve a fellow American was universally acclaimed for its painstakingly realistic depiction of war. No argument from Phil and Andrew there. Where the opinions divide is on the rest of the film. Andrew considers most of the non-battle scenes to be "garbage." Phil finds the pandering easier to swallow, in light of the barrage of horrific violence throughout. They both agree Spielberg is an amazing filmmaker. "Saving Private Ryan" was a groundbreaking vision of war on film and was justly awarded several technical Oscars. Phil says the film is best appreciated as a technical achievement, where as he feels the story is lacking at times. Andrew would say the story is lacking all the time. Listeners, you decide.
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Alejandro Jodorowsky is a singular figure in the history of world cinema. He's made just ten films over the past 60 years, but his influence is profoundly felt among filmmakers. He also has a cult following among moviegoers. Jodorowsky created the original 'midnight movie' with his hallucinogenic Western, "El Topo" in 1970. Jodorowsky is a visionary filmmaker like no other, although in terms of ambition he is akin to directors like Werner Herzog. Back in 1974, Jodorowsky was fresh from artistic success with his bizarre allegory, "The Holy Mountain." He was given the opportunity to direct any film of his choosing and he chose to adapt "Dune", a book he had never read, but had been described to him by a friend. Jodorowsky's "Dune" employed the talents of many top-notch artists of the time, including Moebius, H.R. Giger, Dan O'Bannon and would feature the acting of Mick Jagger, Orson Welles and Salvador Dali. Can you believe this? But alas, it would never come to be. This fascinating documentary manages to salvage some of the intoxicating design of the film's preproduction and give us salivating film fanatics a taste of what might have been. After watching this documentary, it is clear that the titular film ranks high on the list of movies that we wish we could have seen.
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Wow. This film really gets...under...your...something. Scarlett Johansson under-plays her role as an inhuman temptress (some say alien) and offers a cold, emotionless portrayal of a true femme fatale. We witness as her character seduces and eradicates several young Scotsmen who are helpless to her womanly wiliness (she's very forward). "Under the Skin" is from former music video director Jonathan Glazer and it is one of the most assured and visually striking films in recent memory.
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| | | This is Johnny Depp, doing his best impression of the two of us watching this film. |
Dr. Will Caster (Johnny Depp) is attempting to create a world where computers can become sentient beings. However, he is met with strong resistance from anti-technology terrorist groups. He is shot and severely wounded by one such terrorist and the only recourse he and his fellow scientist wife (Rebecca Hall) see for him is to upload his consciousness to the Interwebz. Once Will gets a taste of his new omniscience, his thirst for power threatens to achieve dangerous levels.
Sound interesting? Oy vey. "Transcendence" could be the most hated film ever reviewed on "In the Queue." It's technological inaccuracies were enough to send Andrew into a conniption fit. Andrew may never be the same, and for that I blame the screenwriter of this film. Perhaps more than any film in the history of ever anything, "Transcendence" is founded upon a misuse of scientific and technological terminology, which creates a sci-fi film so far-fetched and ignorant of its own subject matter, with 18 wheeler -sized plot holes that even the least thoughtful person is left wondering "Da fuh?" Check out this podcast and see if you wanna plop down ten bucks for "Transcendence."
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Lars Von Trier wraps up his curious bi-film with aplomb. Joe is now all grown up, and played (almost) entirely by Charlotte Gainsbourg. She struggles to regain her sex drive, which she lost at the end of the previous film. In her adventures she subjects herself to the sadomasochistic torture of Jamie Bell (Billy Elliot) and gets closer to the well-mannered Seligman, who listens dutifully to her hellish tale. After being dumped and discarded by those she loved, Joe finally finds some measure of peace as she concludes her story with a revelation that might offer up some much-needed healing. Seligman listens intently, and in a surprising way, the film concludes.
SPOILER ALERT: Phil and Andrew can't bear to not talk about the ending to this film in explicit detail. Be advised, they WILL spoil the conclusion for you if don't already know it!
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After "Melancholia"(2011), the whole art house circuit wondered what Lars Von Trier would do next. Ousted from Cannes for life, a festival where he had previously been a darling for fifteen years. He has returned with a massive project, so much that he has divided the story into two, 2 hour films. "Nymphomaniac Vol. 1" details the formative sexual years of a woman named Joe, as she describes them to Seligman, a gentleman who rescues her from the street after a beating. Charlotte Gainsbourg plays the mature Joe, who explicitly recounts her sundry past to the intellectual, attentive character Seligman, played by Stellan Skarsgard. Joe's flashbacks come to life in pornographic detail as the viewer is privy to her compulsive, desultory sexual experiments. "Nymphomaniac Vol. 1" is bleak, Brechtian and brusque. Wait til we get to "Vol. 2"
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Kermit, Miss Piggy and many underused characters return in the new franchise film, "Muppets Most Wanted." Muppet films always tend to be a genre unto themselves and this one continues in the madcap vein of its predecessor, titled simply, "The Muppets" (2011). In "MMW", Kermit gets kidnapped and thrown into a gulag while the evil Constantine roams free, convincing everyone he is Kermit. Constantine hatches a scheme to steal precious works of art from across Europe, with the help of Ricky Gervais (playing a character named Dominic Badguy). The film is fun enough, but Andrew and Phil found themselves nostalgic for the Muppets of yesteryear, who sang songs from the heart and appeared in stories about kinship and looking out for each other. In "MMW", our beloved childhood heroes go on a European tour with the thought of increasing wealth and fame. This sets the plot in motion, but hardly seems the kind of story that moves emotionally. When all is said in done, a Muppet movie is worth watching, but we've come to expect more from these guys. Says who? The lovers, the dreamers, and me.
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Hello, listeners. 'Ice' to see you.
Hey, where's everybody goin'?
If you return and listen to our latest podcast I think you will be pleased. For the first time at "In the Queue", Phil and Andrew review a listener's choice! The requested film, "Frozen" is what many consider the best non-Pixar Disney film in years. This animated feature just picked up the Academy Award for Best Song, entitled "Let It Go." In a show-stopping moment, a main character sings about letting her frustrations go and celebrating herself in all her foibles. It's moments like that in "Frozen" that appeal to adults as much as children. Disney's film is full of fast paced humor and action, memorable characters and more than a few surprises throughout it's one hour and forty-eight minute running time. At the film's core is the relationship between two sisters whose love for each other is tested by an uncontrollable magical power one possesses. The little girls of the world now have two new heroines to look up to. "Frozen" is a charming, captivating animated fantasy based on a story by Hans Christian Andersen.
Now you should all listen to the podcast. I won't take 'snow' for an answer!
Is this thing on? (tap tap)
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Acclaimed Japanese filmmaker Hayao Miyazaki makes his debut on the podcast with the universally lauded animated epic, "Princess Mononoke." This fantasy film tells the tale of proud warrior Ashitaka who is wounded by a demon early in the story. Believing he will die from a curse, he travels the land in search of a cure. Along the way he gets involved with a feud between a village of human dwellers and the denizens of a spirit forest, led by the titular character, San. To complicate things even further, Ashitaka develops a bit of a crush on the princess..."Mononoke" marks Phil's first experience with Miyazaki, who has made several animated films that have scored high on the coveted Top 250 on IMDb. Even Roger Ebert has claimed Miyazaki's breakthrough film as one of his Top Ten films of all time! Listen as Andrew and Phil dish about this international sensation known to us as "Princess Mononoke."
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The documentary world got turned on its ear with this unusual, risk-taking film from last year. In Joshua Oppenheimer's portrayal of unrepentant evil, gangsters who participated in the extermination of Communists in 1960's Indonesia are challenged by the filmmakers to re-enact their murders in the movie genre of their choosing. Main character Anwar Congo and the other murderers were devout fans of American cinema and they seem to be very eager to take up the director on this offer. We witness pastiches from Westerns, 1930's crime pictures and others, all with the gangsters portraying the role of the killer...that is until the end, when Anwar experiences the brutality from the other side. "The Act of Killing" was executive produced by Werner Herzog and Errol Morris, and their endorsement is no fluke. This film is disturbing, though-provoking and ultimately very moving. It is also Andrew's favorite film of 2013.
SPOILER ALERT: Near the end of this podcast, Phil and Andrew discuss the climactic scene from "The Act of Killing." They will warn you before doing so in the episode.
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Just sit right back and you'll hear a tale, a tale of a fateful trip...oops, wrong boat. "Noah" has arrived in theaters to thunderous controversy. This new film from Darren Aronofsky takes the good ol' Biblical story and upends it with some embellishment that has Christians up in arms. While it is truly awesome to see Noah's ark realized on the big screen and you have to admire Aronofsky's intense vision, a lot of moviegoers are finding the liberties with the original story hard to swallow. While the film does paint a devout portrait of serving God (in all his inconsistencies) secular humanists like Andrew can still enjoy "Noah" as a raucous adventure epic. Russell Crowe and Jennifer Connelly play the husband and wife at the core of the story, just as they did in "A Beautiful Mind."
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Wes Anderson is at it again. Not even two years shy of "Moonrise Kingdom", the meticulous auteur has released his latest film. "GBH" is a madcap farce unlike anything we've seen from Mr. Anderson. As Andrew observes in this latest podcast, this is possibly the first Wes Anderson film that is plot-driven as opposed to propelled by the characters. And characters there are many. Anderson juggles a huge cast of talented, heavyweight actors. Were their talents squandered? Probably. The film is more designed than directed, observes Phil, who says the film is a collection of moments with no emotional core. Phil and Andrew pull no punches on Wes Anderson films, partly because they remember a time when "Rushmore" and "The Royal Tenenbaums" were the best movies around. Sure, there are good things about "The Grand Budapest Hotel", but it seems so easy to see past the artifice at...what? A hugely fertile imagination and controlling hand, crafting a film so mannered it is nearly his second animated film.
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Yo, Aaron Paul is starring in a movie now...bitch.
Sorry to open the post blue, but I thought it would be instantly recognizable to "Breaking Bad" fans. That's right, Jesse Pinkman is the new Steve McQueen! Or that's what the filmmakers behind "Need For Speed" would have you believe. Paul is Toby, a mechanic who is also a steely-eyed street racer. The 'plot' of this film concerns a cross country race between Toby and his arch-nemesis, Dino, whom Toby holds responsible for the death of a dear friend. The star of this film are the car crashes, which are pretty cool. No CGI was used for any of these stunt scenes, which Phil and Andrew both admire. But sadly, the car-flipping and mid-air pirouettes are not enough to sustain a two hour and fifteen minute running time. Phil and Andrew unite in their lambasting of "Need For Speed." Sorry, Jesse Pinkman fans, you won't find anything to cook with here.
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UURRRRAHHHHHH!!!
Like my battle cry? Not quite as stirring as those in "300: Rise of an Empire", but hey, I'm on a limited budget here. In this war-mongering testosterone-fest, Ancient Greek soldiers wage a bloody war on the high seas against the Persian Army. A sort of sequel to the original "300", this film is also based on a Frank Miller graphic novel. True to the source comic, every character looks like an action figure. No kidding, this film features more six packs than a tailgate party. The film also follows a tried and true plot formula that left Andrew feeling a little cold. Phil was more entertained by the thunderous sound and spectacle, but even he had to admit "300: ROAE" has no substance whatsoever. The slashing swords and spurting blood persist for the entire one hour and forty minute running time. If a film appeals only to your basic instincts and has no meaning or purpose, does it qualify as pornographic? There is sex in this adaptation, but the flimsy story adorns non-stop gore that serves only to raise one's pulse. Is this type of film solely prurient? Phil and Andrew discuss these aspects of "300: Rise of an Empire."
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The time has come! The most celebrated awards ceremony in all of moviedom! Gather around your laptops and mp3 players, cause it's Phil and Andrew's Oscars® 2014 Podcast!
May I have the envelope please? What's that? No envelopes?? Oh, right. It's all digital.
Listen in awe as Phil and Andrew mercilessly run down their list of Oscar picks. Feel the thrill of victory and the agony of defeat at each category. Will June Squibb usurp the Supporting Actress category and take home the gold? Will Glen Freemantle finally beat the odds and win for Sound Editing "Gravity"?
Nobody knows (except for the good people at Price-Waterhouse)!
Not only do our Dynamic Duo (Phil and Andrew) give their two cents about which films will win, they also offer "Snubs"! "Favorite Films"! And the official reveal of the very first listener's choice film podcast! Somebody does listen to us! They have asked us to review the film of their choosing, hence "Listener's Choice"! I wish I could tell you what it was, but I'd have to shoot you.
This podcast runs almost twice as long as one of our normal podcasts, but that's because we are covering EVERY SINGLE CATEGORY that will be handed out on Oscar night. If you'd rather skip to the "good stuff" (Ating, Directing, Picture), just point your audio player to the 31:45 mark and listen from there.
You heard it here, folks. Phil and Andrew have made their predictions. You'll just have to wait until Sunday to see how accurate they were. Fun times! Keep listening :)
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In 2009, the first pirate attack on an American cargo ship in 200 years took place. The Mv MAERSK Alabama was boarded by armed Somalians who took Captain Richard Phillips hostage. Director Paul Greengrass' tense adaptation of these circumstances is a relentless white-knuckler, managing to keep the audience in suspense even though the outcome is assured. Tom Hanks is in top form as the heroic captain, a man who is constantly engaged in a battle of wits with his captors. He is not an action movie hero Hollywood is used to feeding us. Here is a man who is stripped of any physical ability to defend himself or his crew. His attempts to outsmart the invading pirates do little other than buy him time. But it is valiant of him to even try to save himself and his crew. "Captain Phillips" is a portrait of courage as much as it is a topical thriller. Barkhad Abdi burns up the screen in the pivotal role of the pirate leader. The film is top-notch in every respect, and also nominated for Best Picture at this year's Oscars.
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"Gravity" is, as you must know by this point, is a blockbuster sci-fi movie starring Sandra Bullock and George Clooney. Not your average run of the mill popcorn flick, Alfonso Cuaron's visionary film is also a contender for Best Picture at the Oscars. Not only that, but Mr. Cuaron is a serious heavyweight for the Best Director award, which he picked up at the Golden Globes. The plot of "Gravity" is simple. A couple of astronauts get stranded from their spaceship while floating about outside. After a heinous turn of events, Bullock finds herself fighting for her life in an attempt to return to Earth. Mr. Cuaron is being heralded for a 12 and a half minute opening shot. A little easier to attain such a lengthy fluid master by the use of technology these days...Orson Welles could have never stitched together multiple shots to create the beginning of "Touch Evil", let me tell you. No doubt a lot of pre-production went into creating the special effects for "Gravity" and Phil and Andrew will weigh in on the film's overall merit. Can you hear us, Major Tom?
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Ron Woodroof is a hustlin', hard-living cowboy in 1985. Rock Hudson was recently diagnosed with a new killer disease called HIV and he is the subject of Woodroof's mocking, homophobic vitriol. But it's not long before the frighteningly gaunt Woodroof receives the same diagnosis. Frustrated by the lack of adequate medication for his condition, the afflicted electrician travels to Mexico and finds there is a wealth of remedies just south of the border. Welcome to the Dallas Buyers Club. Matthew McConaughey undergoes the kind of physical transformation that the Academy loves to reward, but he has the acting chops to back it up, too. His portrayal of the emotional, belligerent Woodroof will surely win him the Oscar. Some may doubt that fact, but nearly everyone agrees that Jared Leto is taking home the gold statuette for his magnetic supporting performance as Rayon, a dying transvestite with whom Woodroof strikes a complicated business partnership. Two stunning acting turns in a solidly directed film make "Dallas Buyers Club" a favorite of 2013.
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Dame Judi Dench plays the titular character in the new film by venerable British director Stephen Frears. She is a former nun who was forced to give up her son (whose very conception was, as you can imagine, a major scandal) while she lived in a convent. The boy was adopted by American parents and Philomena never saw him again. Flash forward fifty-odd years. Martin Sixsmith (Steve Coogan) is a journalist at a crossroads. He was fired from the BBC and is contemplating his next move. He crosses paths with Philomena and she convinces him to write a story about her search for her son. What follows is an unlikely friendship between the initially reluctant, world-weary journalist and his spirited, unpretentious charge. "Philomena" is a charming British comedic drama, up for a few Academy Awards including Adapted Screenplay (partially written by Coogan), Best Actress and whoa, Best Picture!
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Surprisingly, Spike Jonze's "Her" is one of the most thought-provoking science fiction films in recent memory. While it is a romance of sorts the film is also an exploration of mankind's increasing dependence on technology for human comfort. Joaquin Phoenix's character Theodore plays highly immersive videogames by himself, he participates in sex chats and does not socialize much, save for with his platonic gal pal, Amy. Theodore is looking for the type of partner that caters to his every whim and demands little in return. Enter the new operating system, Samantha. Theodore gradually begins to develop feelings for his new, Siri-esque computer (played by sultry-voiced Scarlett Johansson) and she seems to reciprocate. Can artificial intelligence grow and expand the way a sentient human does? If Philip K. Dick and Ray Bradbury went to a strip club, partied hard, met Kevin Smith and Woody Allen on the way out and got doughnuts and coffee, you might have the screenplay for "Her." Remarkably, this is the first film both written and directed by Spike Jonze and it is this writer's estimation that he stands a strong chance of winning an Oscar for this highly original story.
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We here at "In the Queue" would be remiss not to pause and commemorate the late Mr. Hoffman soon after his tragic, confounding early death. Andrew and Phil were both huge fans of his and had gotten used to his reliable presence in major films, year after year. He was a steadily working actor, whose standards for performance were higher than those of anyone else. Philip Seymour Hoffman seemed to his fans to have his shit together. He did not make the news for being irresponsible and his desire to remain "an actor" instead of "a movie star" was fulfilled. Around the time of his most glamourous role, "Capote" (2005), Hoffman talked to "60 Minutes" about his alcohol abuse when he was a young man. Hoffman appeared strong and in control; he went sober when he was 22, and hasn't looked back since. Flash forward now, nine years later, as cops are digging out fifty bags of heroin from Hoffman's West Village apartment. Truly, he was hiding a lot of pain. Much has been written after his death that he was the greatest actor of his generation. In this case, that is not consoling hyperbole meant to make the aggrieved feel better. Philip Seymour was without a doubt, the greatest actor of his generation. It is a shame that this is what it took for people to stand up and take notice of that.
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Steve McQueen is an English director who has steadily been making a name for himself over the years with the films "Hunger" and "Shame" (both starring the formidable Michael Fassbender). McQueen breaks ground worldwide with his wrenching new film, based on the memoir of Solomon Northup, a free black man in New York sold into slavery in the antebellum South. Chiwetel Ejifor gives one of the best performances of the year in the lead role and every supporting player in this disturbing drama is stellar. Extremely well-crafted (and equally hard to watch) McQueen's drama amplifies the injustice of slavery by showing it through the eyes of a man who had every legal right to be free, but was a victim of a crime that tore asunder his happy and affluent life. Showing supreme facility with actors as well as with camera movement and other aspects of visual storytelling, "12 Years a Slave" is a very strong contender for Best Picture and might just be the best directed film of 2013.
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Martin Scorsese's latest film is a three-hour black comedy based on the outrageous true story of disgraced stockbroker, Jordan Belfort. Leonardo DiCaprio turns in a magnificently hilarious portrayal of Belfort as a drug and hooker-crazed sleazebag whose massive appetite for greed and its trappings nearly destroys him. It's an epic exercise in schadenfreude as the audience is fiendishly entertained by Belfort's devastating irresponsibility as he leads his employees and devout followers down the path of debauchery and avarice. Scorsese is operating in high gear with this film, to the delight of his fans, with a kick-ass soundtrack and adroit storytelling. Supporting performers are all excellent, including Oscar-nominee Jonah Hill, Matthew McConaughey (who is a favorite of many film buffs for his choice of roles of late) and Australian Margot Robbie, sporting a very convincing Long Island accent. "The Wolf of Wall Street" is one of the most controversial films of the year, kudos to Mr. Scorsese, who at 71 years of age still manages to shake up the establishment. Belfort's wife in the film tells him that there's no such thing as bad publicity. The real-life Belfort's agreement to have the myriad fails of his life writ large in an epic Hollywood film truly underscores that notion as he is the most notorious anti-hero to grace the silver screen since, well Jake LaMotta. Belfort's eventual comeuppance for his fraudulent practices allows Scorsese to condemn the scoundrel's actions, even as we are entertained by them. For the great director never shows the rise of the criminal, without showing the fall.
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Some hustle for respect. Some hustle for love. Some hustle for truth. And some hustle for Oscar nominations. Just kidding, David O. Russell. "American Hustle" is the second film of his in a row to sweep all four acting categories as well as nods for Best Picture, Director and Screenplay! How does he do it?? Seems like "Silver Linings Playbook" was just, well, last year. Anyway, Andrew and Phil tackle reviewing "American Hustle" in this episode. Topics of discussion include Scorsese references, David O. Russell's affinity for the characters he creates, and much more. Phil and Andrew looked at each other after seeing this film and decided that this podcast had to be "the best we've ever done." Did they succeed? YOU decide.
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"Nebraska"
Alexander Payne's critically acclaimed new comedic drama is a bittersweet tale in monochrome hues. Bruce Dern has gotten universal accolades (including the Best Actor Prize at Cannes) for his wry portrayal of a senile man who believes there is a million dollar prize waiting for him in the titular midwestern state. It would seem that Dern's character (Woody) received a junk letter informing him he won a million dollars. Woody travels from Wyoming with his son, David (played by Will Forte) who indulges his dad in this one request, even though he knows it is a fool's errand. Along the way, David tries to cope with his dad's alcohol habit and run-ins with former friends who now crave a piece of Woody's winnings. "Nebraska" is almost universally praised. Phil was not particularly a fan of this film, whereas Andrew most certainly was. The first discussion of the 2013 Oscar Race on "In the Queue."
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