Adam A. Donaldson – End Credits: Recent Episodes
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This week on End Credits, we’re praying, and we think our prayers were answer (?) What we wanted in these difficult times was an election where maybe the good guys win, and perhaps we got that with the movie Conclave, which is about the surprising politics of choosing a new pope. And speaking of popes, we will talk about other men and women of God… in the movies.
This Wednesday, November 6, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
God Bless the Movies. Faith is an interesting topic for the movies, and it can be interpreted through just about any genre. There are deeply serious dramas about people of faith, there’s an entire comedy franchises built around the idea that God is a funny old man, and you can’t really talk about religious movies without reference the entire exorcism subgenre. So before getting to this week’s religiously-themed movie, we will talk about some of the others.
REVIEW: Conclave (2024). This week’s movie is about a bunch of men who are each trying to undermine and outmanoeuvre each other as they vie to become one of the most powerful leaders of the world: The new pope. Edward Berger follows up his Oscar-winning All Quiet on the Western Front with a different kind of warfare: Can a good man be the head of the world’s one billion Catholics. Ralph Fiennes and Stanley Tucci lead a talented cast through the most important election of their lifetimes. But how do we like going along for the ride?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of Elevation Pictures/Focus Features.
This week on End Credits even we can’t escape election fever. As we recover from what was (likely) a very busy night of returns from the U.S., we will focus on the movies about American presidents, the real ones. And if you need a break from the ordinary, there’s always the tale of a man and his space alien as we dig into the latest adventures of Venom in The Last Dance.
This Wednesday, November 6, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Ballot Box Office. This week, American voters went to the polls to choose their next president, which, by the time you’re reading this, has been revealed to be Vice-President Kamala Harris or the other guy. But there have been 46 men who’ve previously been President of the United States, and they’ve all appeared in movies as characters at one point or another. Before the main review, we’re going to make some political endorsements of our own.
REVIEW: Venom: The Last Dance (2024). Tom Hardy is back with Tom Hardy, for the third adventure of a washed up journalist named Eddie and his best friend who is a pile of black space goo that eats brains when unleashed. In this adventure, Eddie and Venom are on the run through the backroads of America, but an unseen power from outer space wants something they have and they’re ready to burn down the Earth to get it. But who cares? Don’t we really just want to see Tom Hardy talk to himself for two hours?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/gram9hk9262b2wy6/endcredits_nov6_2024podcast.mp3Photo courtesy of Sony/Marvel.
This week on End Credits, we mark Devil’s Night. Our new favourite holiday! In honour of this year’s end-of-October commemorations, and perhaps to offer some relief from the sturm und drang of modern living, we present a festival of fear! A celebration of screams, if you will! So settle in as we summon the scares because this is Halloween!
This Wednesday, October 30, at 3 pm, Adam A. Donaldson, Tim Phillips, Peter Salmon, Candice Lepage, and special guest Mike Ashkewe will discuss:
Halloween/Horror Movie Draft. It’s the most wonderful time of the year… For some. So it’s to those people that we dedicate this special episode of the show, the Halloween/Horror Movie Draft. The entire gang is here, plus a special guest ringer, to put the season in proper perspective by talking about our favourite horror movies in a set of six carefully selected categories. Join us as we talk about all the monsters, mayhem, killers and cadavers that make this time of the year so special, right up to the granddaddy of the them all…
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/4ystaru7zf7wrpye/endcredits_oct30_2024podcast.mp3Photo courtesy of Trancas International.
This week on End Credits, we’re running. Time is running out! We’ve dealt with some scary stuff in the last few weeks, but at least now we’ve moved on (ran from?) creepy clowns to get to something more earth-bound. On this episode, we’re reviewing the new thriller Strange Darling, and we’ve also got a conversation with the head of the original documentary film festival!
This Wednesday, October 23, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Guelph Film Festival Preview! The Guelph Film Festival launches its 2024 edition on November 1, so plan your festival experience with this conversation. Kimber Sider, the artistic director and lead programmer of the festival, joins us to talk about some of the selections in this year’s program including a tale from the West Bank, the fight for an Ontario landmark, and the community building that occurs around bicycles. Get more info at the fest’s website.
REVIEW: Strange Darling (2024). You know the story: boy meets girl, they decide to engage in the ancient ritual of the hook-up and go to a motel, and then things turn bad. Kyle Gallner and Willa Fitzgerald are the stars of Strange Darling, a non-linear serial killer story with a twist and proudly shot on 35 mm by director of photography Giovanni Ribisi (?!). This came out of Fantastic Fest with a lot of buzz, made a splash this summer in rep theatres, and is now available on VOD. Dare you tune in to learn the terrifying secrets of the film’s success?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/e6sx2u43ngz62fmi/endcredits_oct23_2024podcast.mp3Photo courtesy of VVS/Magenta Light Studios.
This week on End Credits we get terrified. Like most of North America (apparently given the box office numbers), we’ve caught Art Fever, so for the second week in a row we’re going to dig into the cinematic adventures of a killer clown, and in this case it’s Terrifier 3 we’re talking about. And to keep up the spooky theme, we will revisit a Canadian horror classic!
This Wednesday, October 16, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Black Christmas at 50! It was half-a-century ago that a small Canadian movie was released in theatres, and though it might have been overlooked, it’s become one of the most memorable and influential horror films in cinema history. Bob Clark’s Black Christmas features a “who’s who” cast and is still incredibly stylish and atmospheric 50 years later. So what a perfect time to take another look at this gem of Canadian film?
REVIEW: Terrifier 3 (2024). Over a decade ago, horror fans were introduced to Art the Clown in the anthology film All Hallow’s Eve. Now? Art is a horror icon nearly on par with Freddy, Jason, and Micheal, and Terrifier 3 might be his apex. In the third entry of the franchise, Art decides to expand his act to Christmas by giving something pointy or exploding to boys and girls everywhere, but is there more to the story than pure unadulterated violence and chaos? And is Art the only clown worth talking about at the movies this October?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/bk78nw4wm8cp3p7g/endcredits_oct16_2024podcast.mp3Photo courtesy of Cineverse/Dark Age Cinema.
This week on End Credits we send in the clowns! Of course, these aren’t regular clowns, they are clown princes. There are also not good clowns, they are criminals. In fact, you might call them the Clown Princes of Crime! Yes, we’re sending in the clowns, and we’re ranking and reviewing them. We’re doing Joker: Folie à Deux and we’re ranking all the Jokers!
This Wednesday, October 9, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
The Jokers are Wild! The Joker was introduced in the very first issue of Batman in 1940, and has become the most iconic, and most revisited comic book villain in movie history, he’s even been the star of his own movie (and its sequel). So this week, before we talk about the new Joker, we’re going to take a few minutes and rank all the Jokers. From Cesar Romero to Barry Keoghan, we will talk about which Jokers are the wildest!
REVIEW: Joker: Folie à Deux (2024). He’s back! Joker was a surprising smash hit in 2019, an R-rated comic book movie that didn’t look, act or feel like a comic book movie and it made a billion dollars at the box office and won 11 Academy Award nominations. Five year’s later, Joaquin Phoenix is putting on the clown make up again, and this time he’s singing and dancing with Lady Gaga as his Harley Quinn. So, can director Todd Phillips (not Tim Phillips) find that Joker magic again, or is the last laugh on us in the audience?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/fbj3gxanv3cdr92j/endcredits_oct9_2024podcast.mp3Photo courtesy of Warner Bros.
This week on End Credits, we’re ambitious! We do love a passion project on this show, and on this episode we’re serving up thoughts on two of them, one new and one old. In the ‘new’ category, we’ve got the latest movie from the vanguard of the New Hollywood movement, and from the ‘old’ file, we’ve got the greatest hit from the head of the 90s indie movement. Get ready for Megalopolis and Pulp Fiction!
This Wednesday, October 2, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Pulp Fiction at 30! It was three decades ago this week that Quentin Tarantino’s second feature was released to rapturous acclaim, multiple award nominations, and 30 years of influence. Pulp Fiction is frequently cited as one of the best movies of the 90s, if not in the history of cinema, and it certainly cemented the reputation of Quentin Tarantino as the pre-eminent filmmaker of his generation. But after all this time, is Pulp Fiction still the G.O.A.T. we want it to be?
REVIEW: Megalopolis (2024). For years, Francis Ford Coppola – the legendary director of The Godfather and Apocalypse Now – has been trying to get this project off the ground, a fable about one man’s struggle to overcome corruption and decay to make his utopian dreams a reality. In what’s bound to be the most divisive movie of the year, Megalopolis follows the dreamer played by Adam Driver as he manoeuvres the flailing days of New Rome/York to build his dream. This kids is what’s called a metaphor, so does Coppola manage to achieve his dream and build a better cinema?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of American Zoetrope/Lionsgate.
This week on End Credits, we get the jump on October. We can’t wait another six days for the spookiest month of the year to properly begin so we’re going to kick things off with Satan! For the review this week, we’re going to watch the new horror flick The Deliverance on Netflix, and we’re going to talk about history’s greatest super-villain, and his greatest hits!
This Wednesday, September 18, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Hail Satan! The Devil was the villain of the first horror movie in 1898, and he’s been a recurring villain in cinema ever since. The Devil, Beelzebub, Satan, or whatever term you want to use, is a key character or antagonist in all kinds of movies, whether it’s straight-up Biblical like The Passion of the Christ, or musically helping a baseball team beat New York in Damn Yankees, The Devil is reel (see what we did there), and this week, we will hail his cinematic contributions.
REVIEW: The Deliverance (2024). Lee Daniels dips his toes in the horror genre for the first time by walking the well-worn path of the exorcism subgenre. About a year after a commercially and critically attempt to reboot The Exorcist, the accomplished Daniels’ takes his turn to answer the question: How do you rally faith in a faithless era? Led by The United States Vs. Billie Holiday star Andra Day and Oscar-nominee Glenn Close, The Deliverance aims to put a Black working class spin on an old tale, so is it able to deliver the goods, or have we exorcised all juice from the genre?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/ysymuec8wudx3nng/endcredits_sept25_2024podcast.mp3Photo courtesy of Netflix.
This week on End Credits we’re going to fight the power! Get ready for another mashing of action and social justice as a former Marine hands out a lesson in justice in unexpected ways in Rebel Ridge on Netflix. For the rest of the show, we’re going to tackle something funnier, and goofier, a fellow Canadian who made a very big splash 30 years ago with three comedic hits!
This Wednesday, September 18, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Jim Class Hero. Thirty years ago, Jim Carrey went from second banana on In Living Color to one of the biggest movie starts in Hollywood with a hattrick of big comedy hits. This week, we will revisit Ace Venture: Pet Detective, The Mask, and Dumb and Dumber and we will look at the ways they still hold up, the ways these films feel dated now, and why Carrey ended up riding them to become a superstar and Hollywood’s first $20 million man!
REVIEW: Rebel Ridge (2024). You may have heard of civil asset forfeiture, or you may have seen the episode of Last Week Tonight about it. For his new movie, director Jeremy Saulnier decided to make this American civil rights issue his focus by telling the story of a former Marine who comes to small Louisiana town to bail out his cousin only to have the local cops seize the bail money. What follows is a tried and true movie formula: a stranger rides into town and cleans up corruption, but do you think Green Room director Saulnier would so something that straight forward?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/dg6eagn7axmyii6f/endcredits_sept18_2024podcast.mp3Photo courtesy of Netflix.
This week on End Credits, we’re haunted! It’s about a month early but we’ve got a tale of ghosts and goblins as we once again re-unite with old movie friends who are back after a long absence. So yes, we’re reviewing Beetlejuice Beetlejuice this week and speaking of old friends, we will talk about the varied and intricate career of that film’s very talented leading ghoul.
This Wednesday, September 11, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Keaton Alive! The star of Beetlejuice Beetlejuice is Michael Keaton, a man who’s had an impressive 50 year career in Hollywood that has had some very big highs and some very low lows. Keaton has played manic, and he has played serious. He’s played a superhero, a supervillain, and an actor who’s haunted by his superhero persona. He’s also played a newspaper man a couple of times, so to start this week’s show, we’ll talk about the reel Michael Keaton!
REVIEW: Beetlejuice Beetlejuice (2024). It’s been nearly 40 years since “The Ghost With the Most” propelled Tim Burton to being one of the most bankable filmmakers in Hollywood. It took a while but Beetlejuice is back in a sequel so nice they named it twice. When the Deetz family returns to their old home in Winter River, it opens up some old wounds including the ones caused by a certain ghoul in black and white stripes. Michael Keaton, Winona Ryder, and Catherine O’Hara are joined by Jenna Ortega and a host of new actors, but is the most they can do?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/72k39bvz3tun3niz/endcredits_sept11_2024podcast.mp3Photo courtesy of Warner Bros.
This week on End Credits, we’re going back to school, and back to space. In space, no one can hear you scream, but they can hear you rave, and on this episode we will see if there’s anything to rave about with Alien: Romulus. That was one summer movie we missed talking about before Labour Day, and we will also talk about some of the others movies we missed.
This Wednesday, September 4, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Summer Lovin’! It”s first show of the fall, or September at least, so that means it’s time to leave summer, and summer movies, behind… After one last segment. To begin this week’s show, we’re going to talk about some of the films we didn’t get a chance to do a full review for over the last few months, and we missed a lot. So join us for a quick trip through the summer movie box office, from scary movies to apes and a trip to the Old West.
REVIEW: Alien: Romulus (2024). In Alien: Romulus, six people leave their odious, precarious existence working for The Man on the planet Jackson’s Star and make their way to an orbiting space station to find the tools they need that will take them to a better life on a new world. And then they find some xenomophs instead. Fede Álvarez takes his turn with this venerable franchise, and this seventh movie in the Alien series (ninth if you count the Alien Vs. Predator movies) made a big splash last month, so now we will offer our analysis.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/vr6e9vx7w86xbnt9/endcredits_sept4_2024podcast.mp3Photo courtesy of 20th Century Studios.
This week on End Credits, we’re back! Well rested after summer vacation, we’re going to spend this first episode back going to movie jail, or rather a movie set at a jail. Join us as we journey to Sing Sing and an early contender for best picture of the year, and there’s about to be a lot of competition for that title because Fall Movie Season is here, and we’ll preview it.
This Wednesday, August 7, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Fall Movie Preview. Okay, so it’s been a lacklustre year at the movies so far, but that’s about to change because Fall is here! With the biggest film festivals gearing up, and awards season coming into view, studios and distributors have been saving some of their best bets for the last four months of the year. From passion projects, to nostalgic runs, and some blockbuster returns, we will talk about the anticipated hits of Fall 2024!
REVIEW: Sing Sing (2024). At New York’s notorious Sing Sing prison, there’s a program called Rehabilitation Through the Arts (RTA), a theatre troupe made up of the inmates there. Yes, Greg Kwedar’s new film is based on a true story, but it also features some of the men that lived it. Led by Coleman Domingo, the cast of RTA grads tell their story as they mount an original production, balancing the humanizing power of the arts and the dehumanizing conditions of prison. So is the play the thing that makes a good movie in the case of Sing Sing?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/syqy7dvagzf32qy2/endcredits_aug28_2024podcast.mp3Photo courtesy of A24/Black Bear
This week on End Credits, we’re gone. Gone fishin’? Maybe, we don’t watch the co-hosts every minute, especially when they’re not on the air. Yes, it’s that time again, time for the mid-August break. So while we’re breaking, we’ve got some cool – what the kids used to call – “repeats” for you. Get your road maps and your road snacks, because this week we’re vacationing!
Let’s Get Goofy! Summer is a time for watching movies, no doubt, but it’s also a time for hopping in the car with the family and hitting the road. It’s a big world out there, with so much to do and so many things to see, so get out of your dreams and into that car. And while you’re driving, listen to some classic End Credits entries, because if you can’t see a movie, you should at least take some time and listen to us talk about them. See you in a couple of weeks!
Programming Note: End Credits will return with new episodes on August 28.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Image courtesy of the Walt Disney Company.
This week on End Credits we’re getting weird. Now obviously, this show is always a little weird, but this week we’re making it official by talking about movies that stray away from the normal path, and that includes the movie we’re reviewing this week. First, we will look at “What the funk?!” movies, and then we will say “WTF?” about a French movie that’s a Beast.
This Wednesday, August 7, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
What the Funk Movies. The best part of watching a movie is when it surprises you, when it makes you say “What the funk?!” Well, when we say “funk” we mean another word that almost has all the same letters in the same order, but the feeling is the same; “What the funk did I just watch?!” To begin this week’s show, we will turn out some of our favourite WTF? Movies, from the bizarre to the twisted to twist endings.
REVIEW: The Beast/La Bête (2024). In the future, artificial intelligence controls everything and if you want to be a good human helper then you have to purge yourself of emotions. How do you do that? By examining your past lives. How bizarre. Léa Seydoux and George MacKay play lovers through time, each struggling with feelings of isolation and impending doom in 1910 Paris, 2014 Los Angeles, and the the cold indifferent future. So what are we to make of Bertrand Bonello’s acclaimed trip through time, space, love and confusion?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/c3zgjbze9h9pehc7/endcredits_aug7_2024podcast.mp3Photo courtesy of Maison 4:3.
PROGRAMMING NOTE: End Credits is taking the next two weeks off and will return with new episodes on Wednesday August 28.
This week on End Credits, we’re appreciating that all it takes to make $200 million in one weekend is a foul mouth and lots of gore. Or maybe it’s gratuitous cameos from comic book movies you’ve all but forgot about. If you haven’t guessed already, we’re reviewing Deadpool & Wolverine, and sticking with the X-Men, we’re ranking that whole series.
This Wednesday, July 31, at 3 pm, Adam A. Donaldson and Candice Lepagee will discuss:
Lists of Future Past. The X-Men movie franchise played a big role in supporting the idea of serious and ambitious comic book movies can be a box office winner, but it seems like the the movement’s gotten away from Marvel’s Merry Mutants. Before Deadpool & Wolverine there were 13 movies under the X-Men banner, so to say goodbye (hello?) to the movie X-Men, we will rank all those movies from worst to best.
REVIEW: Deadpool & Wolverine (2024). It’s a team-up that people have been looking forward to for years, and it comes at a precarious time for the once mighty Marvel Studios. It started as a joke, but after a massive opening weekend it does really feel like Deadpool is now “Marvel Jesus,” as in he brought the franchise back from the dead, and with no small [maximum] effort from Wolverine himself, Hugh Jackman. Despite being the perpetual underdog, it looks like Deadpool has won again, but is the movie any good? Let’s find out!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/h232qetw297rmcxp/endcredits_july31_2024podcast.mp3Photo courtesy of Marvel Studios/Disney.
This week on End Credits, we’re thinking about stormy weather! About a week after a major storm washed out so many parts of Ontario, including the Pergola Galaxy Cinemas here in Guelph, we’re going to take things up a notch with Twisters. And on the subject of weather and the movies, we will talk about some other movies about the weather.
This Wednesday, July 24, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Weather Flap. The movie of the week leads to a rather obvious pre-review discussion. There are a lot of movies about the weather, or movies where the weather has a major influence on the plot, and while it my not be obvious, not all of those movies are based in disasters. That brings us to this week’s show, where between the snow, and the rain, and the floods we will talk about our favourite movies inspired by the weather.
Twisters (2024). It shouldn’t be surprising that someone would want to make a sequel to Twister, the 1996 smash about tornado chasers in Oklahoma. It’s kinda surprising that we’re getting it almost 30 years later, but if there’s ever been a good time for a tornado movie, it’s now! Daisy Edgar-Jones and Glen Powell replace Helen Hunt and Bill Paxton leading a new generation of chasers through tornado ally on a quest for science and thrills. The formula is solid, but can this team catch… (ahem) lightning in a bottle?!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/jfr8xhqytxkq6hj6/endcredits_jul24_2024podcast.mp3Photo courtesy of Universal/Warner Bros.
This week on End Credits, we’re going back to the turn of the millennium, or do we mean the Willennium? For those of you who remember the turn of the century have we got a treat for you! Remember 1999? A lot of great movies came out that year, and some people think that it might be the one of the best for the breadth and variety of projects, so this week. we’ll draft them!
This Wednesday, July 17, at 3 pm, Adam A. Donaldson, Tim Phillips, Candice Lepage and Peter Salmon will discuss:
The 1999 Movie Draft. Now halfway to episode #400, we pause to hold a very special movie draft. Exactly 25 years ago, we were halfway through what’s come to be known in some quarters as the “Best Movie Year Ever”. This week, the whole gang is here to draft the great films of that year, from a cyberspace dystopia to a Shakespeare comedy in high school to the mockumentary about a scary witch in the forests of Maryland. This week, we’re going to party like it’s… you-know-what. Cue the Prince!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/zg4grkn83ve7c723/endcredits_july17_2024podcast.mp3Photos courtesy of 20th Century Studios, Sony, Paramount, Disney, Pixar, and Lionsgate.
This week on End Credits, we dance! Fancy Dance. You may not have heard of this movie, but it’s there waiting for you on AppleTV+ and it might just be one of the best movies you will see this year. And, along similar topics, we will dedicate the first part of the show to some of the best movies that we’ve seen so far in this very fleeting year of 2024 now more than halfway over.
This Wednesday, July 10, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
The Best of the Year (So Far…). There’s been a lot of anxious talk abut what kind of movie year this has been with the bad box office and the slim pickin’s coming out of the strikes last year, but what if it hasn’t been a bad movie year? As usual, you can find some diamonds in the rough if you want to go looking for them, and this week we will go looking for them. What are some of the best movies released so far in 2024? We will give you six of them.
REVIEW: Fancy Dance (2024). Lily Gladstone got an Oscar-nomination for her fantastic work in Killers of the Flower Moon, but during the campaign, it was this movie that she really wanted to talk about. Fancy Dance, which is from documentarian Erica Tremblay, follows a woman from the Seneca-Cayuga First Nation as she desperately tries to protect her teenage niece from social workers and the horrible knowledge that her missing mother is probably dead. Sounds dire, but is it possible that Fancy Dance is one of the most heart warming movies of the year?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of AppleTV+.
This week on End Credits, we see the music! Let’s be clear, this is not a music show, but we’re still dedicating this episode to the very busy intersection between the movies and music. For the review, we’ve got a movie called The Greatest Hits, which is about time travel, and speaking of greatest hits were going to revisit an old-fashioned bit of cross promotion called “the soundtrack”.
This Wednesday, July 3, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Soundtrack and Vision. Since our movie this week is about music, and since this is a show about movies, why don’t we combine the two? Movies and music have gone together since the beginning, although the music part used to be done live, so it makes that we got around to the idea at some point to highlight the movie soundtrack. This week, we draw some of our favourite tracks from our favourite soundtracks.
REVIEW: The Greatest Hits (2024). You know when that one perfect song takes back to a certain moment in time? What if that was literal? That’s the conceit of The Greatest Hits, a new romantic fantasy you can stream on Disney+ where Harriet, stricken with grief about the death of her boyfriend two years prior, has the ability to go back in time when she hears a song associated with a certain point in their relationship. And then things get complicated. So is The Greatest Hits a summer smash, or is just another disappointing remix?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/qt8hjy5kej7musna/endcredits_july3_2024podcast.mp3Photo courtesy of Searchlight Pictures/Disney+.
This week on End Credits, we take a ride. With the long weekend coming it’s a good time to get out on your bike whether it’s motorized or not, and for this episode of the show we’re going to head out with the gang in The Bikeriders. But the ride only ends there, we get things started in Beverly Hills with three movies about a Detroit Cop who can’t stay out of their business.
This Wednesday, June 26, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Run the Series: Beverly Hills Cop. In 1984, fresh off a stint “saving” Saturday Night Live, Eddie Murphy was cast in a project once intended to be a Sylvester Stallone vehicle. Directed by Martin Breast, Beverly Hills Cop was an instant success, and solidified Murphy’s star status spawning two sequels with a third coming out next week on Netflix. But first, we will look back and run the series on the original Beverly Hills Cop trilogy.
REVIEW: The Bikeriders (2024). If there’s a movie genre aside from the western that activates a real sense of nostalgic Americana it’s the motorcycle movie. In The Bikeriders, filmmaker Jeff Nichols captures that feeling, looking at a decade in the life of a motorcycle gang in the Midwest as they evolve from a social club into something a little more… sinister. Austin Butler, no stranger to a sense of Americana after his Oscar nom for Elvis, leads a stacked cast as they ride through various trials and tribulations, but is it an easy ride or a hard one?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/288agcuskjizgnbx/endcredits_jun26_2024podcast.mp3Photo courtesy of Focus Features/Regency
This week on End Credits, we escape. Greatly! No we’re not talking about the classic 1963 John Sturges’ movie staring Steve McQueen, but it is about World War II and it is about an escape, and it was kinda great. Today, we’re going to review the new bio-pic conveniently called The Great Escaper, and we’re also going to talk about other movie escapes.
This Wednesday, June 12, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Great Escapes. Movies are full of great escapes, and this week’s entry falls into that category (and not just because “great” and “escape” are in the title). Whether one is escaping literal confinement, or something a little more metaphorical, there are lots of movies about one person’s unyielding quest for liberation. Whether that’s confinement in a room, a city, a planet, or a weird moving maze, we will talk about great movie escapes.
REVIEW: The Great Escaper (2024). When the world marked the 70h anniversary of D-Day in 2014, a 90-year-old veteran named Bernie Jordan left his seaside nursing home in England, under his own steam, and made his way across the channel one last time to mark the occasion. Jordan’s story has been realized in The Great Escaper, a heartfelt tribute to love and duty as seen through the eyes of a married couple played by the late-Glenda Jackson and Sir Michael Caine it what looks like his last movie. So this is an easy thumbs up, right?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/b2gt8nduyewtu4nc/endcedits_june19_2024podcast.mp3Photo courtesy of BBC Films/Pathé.
This week on End Credits, we watch TV. Sort of. Our movie in this episode is about people who watch TV and maybe watch a little too closely, but that’s okay because there’s allegory in them there hills! We’re going to talk about the new sure-to-be cult classic I Saw the TV Glow, and we’re also going to talk about summer movies the best way we can, with a draft!
This Wednesday, June 12, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
The Summer of ’89 Draft. Without hyperbole, the Summer Movie Season of 1989 is the Best Summer Movie Season that there’s ever been! It was the summer of Batman! Indiana Jones and the Last Crusade! Do the Right Thing! Shag! (?!) A summer this good can only mean on thing: We need to draft!! To start this week’s show, we’re going to draft the movies from the Summer of ’89 across five carefully chosen categories.
REVIEW: I Saw the TV Glow (2024). We’ve probably all been obsessive about a beloved TV show, but have you ever been so obsessed with a show that you thought it was real? That is perhaps the most basic plot description of I Saw the TV Glow, the second film from the very talented Jane Schoenbrun, but there’s a great deal more going on. From commentary about obsessive fan culture to allegories about the trans experience, we will try to unwind all the implications of I Saw the TV Glow, but we might need a bigger show!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/x7228uykai74vqh3/endcredits_jun12_2024podcast.mp3Photo courtesy of VVS/A24.
This week on End Credits, we’re being careful about what we’re pretending to be. Sly references to Vonnegut aside, things aren’t quite that serious today as this episode tackles the lies we tell when we fall in love while pretending to be a contract killer in Hit Man. But the fun doesn’t stop there because we’re going to Tatooine and back with a return visit to the galaxy far, far away!
This Wednesday, June 5, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
The Phantom Menace at 25! It took nearly 20 years of waiting but Star Wars Episode I: The Phantom Menace opened in theatres, and it happened now exactly a quarter of a century ago! At the time, the hype was so massive that everyone felt it, but the follow on negging by fans was almost just as massive. It’s taken a long time, but the Star Wars prequels are having a renaissance, so how does The Phantom Menace stand now 25 years later?
REVIEW: Hit Man (2024). He stole scenes in Top Gun: Maverick, and he stole Sydney Sweeney’s heart in Anyone But You, so with this much heat there’s only one thing that Glen Powell could do: Play a nebbish college prof turned pretend hit man in a Richard Linklater movie. But don’t get us wrong, it turns out that there’s lots of heat in Hit Man as Powell gets in way over his head and falls in love with a woman that tries to hire him to wack her abusive husband. Can these two Texas boys – Linklater and Powell – put a little rom-com spice in our summer movie viewing?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of Netflix/VVS.
This week on End Credits, we’re speaking French to power! Well, not really. This episode is definitely France adjacent though, because there’s a big annual film festival that just wrapped up there, and they premiered a great many movies over the last few weeks. One of them is the movie we’re reviewing today, a prequel to a 10-year-old movie and a sequel to a 45-year-old one.
This Wednesday, May 29, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Yes We Cannes. Every year, the centre of the film world moves to the south of France. The Festival de Cannes is not like all the other film festivals, it’s much more professional and serious and uptown than the ones with a public component, but that doesn’t mean we can’t still have some fun. To kick off this week’s show, we’re going to talk about the most buzzed about movies this year, including that one that was made by a madman. No, the other one.
REVIEW: Furiosa: A Mad Max Saga. In 2015, George Miller raised his post-apocalyptic saga Mad Max out of development hell with Fury Road, a propulsive, action-packed two-hour chase movie that introduced the great new heroine Furiosa. In this prequel to the sequel we see a young Furiosa, now played by Anya Taylor-Joy, as she’s taken from her home and made a ward of various tyrants and gangsters as she becomes the most fearsome warrior in the wasteland. Big shoes to fill for Joy, but can Miller pull off another surprise hit of epic proportions?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of Warner Bros.
This week on End Credits, we put up our dukes! Join us as we celebrate violence with three movies that we’ve reviewed recently, all of which taught us again and again that sometimes all it takes fix things is to break stuff. So stop, stretch, and line-up your knuckles because when we get into this week, we really get into. Let them fight!
This Wednesday, May 22, at 3 pm, Adam A. Donaldson, Tim Phillips, Peter Salmon, and Candice Lepage will discuss:
Fight Movies! Sometimes you’ve just got to punch something. That’s not the message we got in preschool, but it is a message that we sometimes get from the movies. This week, we’re going to revisit some movies that show us the best way to solve problems – whether that’s family dysfunction, shady real estate developers, or international crime syndicates – is by punching the hell of it. Whether it’s the sisters of Polite Society, the bouncers of Road House, or the Equalizer in The Equalizer 3, we will come back to the idea that violence does solve problems!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photos courtesy of Amazon/MGM, Focus Features, and Sony Pictures.
This week on End Credits, we learn from the best! There’s been a lot talk in the last few years about ther being nothing good at the movie theatre anymore, but as a dedicated listener of this show, you know that’s not true and to prove it, we will dedicate this week’s episode to some of the best movies we’ve seen so far this year at the cinema, though you can now get them at home.
This Wednesday, May 15, at 3 pm, Adam A. Donaldson, Tim Phillips, Peter Salmon, and Candice Lepage will discuss:
Good Movies from 2024! It’s only the fifth month of the year, and there’s already been a bunch of great movies that might fit on anyone’s best of the year list. This week, we will go back to Arrakas, join two women on a crime spree, and enjoy some perfect days as we clean some of the most beautiful public toilets that you’ve ever seen. Yes, we’re going to go back in time and revisit our past reviews featuring some of the best films we’ve seen so far this year. Cue up the wayback machine, and by that we mean the premium VOD channel of your choice!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photos courtesy of Elevation Pictures/NEON, Warner Bros/Legendary, and A24/Film 4.
This week on End Credits, we’re doing endings and beginnings. On the subject of the latter, we’re talking about a new movie that officially marks the first release of the Summer Movie season, a little – but big – movie called The Fall Guy. As for those endings, we will talk about the current state of the franchise that used to launch every summer, and why it’s struggling.
This Wednesday, May 8, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
The Blame Endgame. It’s been five years since the release of Avengers: Endgame, the pinnacle of the Marvel Cinematic Universe. No Marvel Studios movie has every been as successful, before or since, and while some of that blame can fall on the pandemic and the strikes, part of it is probably a loss of direction since the series reached it’s natural conclusion in Endgame. To begin this week’s show, we’ll start with the End and everything after.
REVIEW: The Fall Guy (2024). Summer begins with throwback, a good, old-fashioned action movie with an emphasis on stunts and practical effects, plus it’s got romance and humour. It’s also self-referential and takes place against the backdrop of the movie business, and it’s based on an cult favourite 80s TV show. It’s also got the star-power of Ryan Gosling, newly minted as “Kenough”, plus his fellow 2024 Oscar nominee Emily Blunt as his partner in crime, but with so much going for this movie, how can it possibly deliver, and why does it still manage to deliver?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of Universal Pictures.
This week on End Credits, we work on our serve. Summer is here, so we have thoughts about getting outside and getting involved in sports, and romance (?) The two are combined in the new film Challengers, which was the number one film at the box office last weekend. And speaking of summer, it unofficially begins this weekend in theatres. Stand by for a preview!
This Wednesday, May 1, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Summer 2024 Movie Preview! For the first time since 2006 (excluding the pandemic), the summer movie season begins with a film that’s not a Marvel movie. The Summer Movie Season officially begins this Friday with The Fall Guy, a straight-up action comedy starring Ryan Gosling, which is emblematic of what might the most uncertain movie slate of any summer in decades. Still, it looks like there will be some bangers, and we will seek them out!
REVIEW: Challengers (2024). Is Zendaya a movie star? Sure, she’s a BFD to the Disney Channel set 10 years ago, and then she graduated to big franchises like Spider-Man and Dune, but can she hold court (heh) as one point in a romantic triangle in a big, old-fashioned Hollywood love story. The answer is in Challengers, the latest movie from Luca Guadagnino. Set against competitive world of tennis, Challengers followers three players caught between love, sex, ego, money, competition, and status. It’s a capital ‘S’ star vehicle for Zendaya, but do we want to take the ride?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of MGM/Amazon.
This week on End Credits, it’s war! Yes, it’s time to get political again with the movie that everyone’s talking about, whether you follow every last detail about American elections or not. Yes, we’re tackling Civil War, and we’re also going to talk about the studio that launched this controversial (and lucrative) project, and some of their less well-known (and controversial) efforts.
This Wednesday, April 24, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Fing A24! In 2012, a new studio was launched to try and capture some of those new and eccentric voices that were getting squeezed out of the market. Within a decade, A24 had won an Oscar for Best Picture (Everything Everywhere All at Once), and fostered talent like Ari Aster, Ti West, Greta Gerwig, Sean Baker, and many, many more. Civil War* is their biggest film yet, but we’re dedicated the first part of the show to some of their underappreciated gems.
REVIEW: Civil War (2024). It’s the talk of the culture right now, a movie called Civil War, coming out in an American election year where people are talking about a second U.S. civil war. There’s no doubt that Alex Garland has his finger on the pulse with this one, a tale of four journalists travelling across war-torn America to get to the frontlines outside Washington D.C., but Garland seems less concerned with up-to-the-minute political analysis when compared to the inner-psychology of the people that document death and destruction, so is that okay for this audience?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/5btcmgzpfwbaie5d/endcredits_apr24_2024podcast.mp3Photo courtesy of A24/Elevation Pictures.
This week on End Credits, we’re going to raise the dead. Sounds serious, but it’s not. It’s funny! Our main review this week was thought dead on arrival when it was released in theatres earlier this year, but all movies can live again on VOD and today we’re going to see if there’s some life left in Lisa Frankenstein. As for the rest of the show, we go full zombie with a modern classic!
This Wednesday, April 17, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Shaun of the Dead at 20. In 2004, Edgar Wright did something remarkable: He made a zombie movie that was funny. Forget that this was a time when the business wasn’t making a lot of zombie movies, the idea of taking the trappings of that genre and making it a laugh? Impossible! Well, Wright proved them wrong, and on the 20th anniversary of Shaun of the Dead’s U.K. release, we will talk about why the movie still slaps after two decades of zombie overkill.
REVIEW: Lisa Frankenstein (2024). The year is 1989 and Lisa is not like the other girls. Her mom was killed by an axe murderer (no, really), she’s been wedged into a new family where she sticks out even more, and she’s more than little into the morbid side of life doing things like hanging out in a graveyard. And that’s where true love finds her! From the mind of Jennifer’s Body scribe Diablo Cody, Lisa Frankenstein combines 1980s excess and 1800s excess in a unique package, and this week we’ll determine if it’s the can’t miss movie we missed.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/nuizfcsykua678cu/endcredits_apr17_2024podcast.mp3Photo courtesy of Universal Pictures/Focus Features.
This week on End Credits, it’s the Year of the Monkey! Well, technically it’s not the year of the monkey for another four year, so maybe it’s the week of the monkey, and a year for revenge!! On this show, we’re going to review the new action thriller Monkey Man, which is all about revenge fights, and we’re going to take a moment to talk about the best movie revenge fights so far!
This Wednesday, April 10, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Best Served Cold. Monkey Man is a tale of revenge, but so are a lot of movies. They say that the best revenge is living well, but most of the time it seems that the best revenge is fighting as many guys as possible between you and the source of your betrayal. Before getting into Monkey Man, we will talk about other movies were the best revenge is not served cold, it’s served with a kick-ass fight and lots of over the top and sometimes gratuitous violence!
REVIEW: Monkey Man (2024). Rescued from the ash bin of the Netflix algorithm by Jordan Peele, Dev Patel’s directorial debut Monkey Man is now in theatres everywhere. The story follows a man seeking revenge on the corrupt police chief that murdered his mother, which leads him into the deep rot of India’s political and societal systems that keep the people under thumb. It’s been, perhaps unfairly, described as “John Wick in India” but it’s been impossible to not admire Patel and his vision, especially as a first-time filmmaker. But did it work for us?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/mmrkmdejrzegnjs8/endcredits_apr10_2024podcast.mp3Photo courtesy of Universal Pictures.
This week on End Credits, we wanna fight! Now this is typically a collegial show where the hosts get along, so when we talk about fighting it’s usually in relation to a movie, and this week we’re watching all the fighting with Road House. Now this movie is a remake, and while he was a lover and a fighter, we will pay tribute to the star of that original Road House movie.
This Wednesday, April 3, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Saint Patrick’s Day. In 1989 Patrick Swayze starred in the original Road House, which was an interest role for him coming out of his then-recent hit playing sexy and graceful and romantic in Dirty Dancing. It’s hard not to think about either Road House or Dirty Dancing when it comes to Swayze’s greatest hits, and though he tragically passed away fairly young in 2009, he still stands pretty tall as one of Hollywood’s most interesting modern leading men. We will talk about his greatest roles.
REVIEW: Road House (2024). The larger points are pretty much the same, big trouble at a road side bar and the one bouncer that’s got to unravel it, but Doug Liman’s remake takes, if you will, some bigger swings. Jake Gyllenhaal subs for Patrick Swayze as the bouncer, but this time he’s a former MMA fighter who’s drifting from place to place trying to avoid a fight till some rowdies harassing this small town bar finally push him too far. Gyllenhaal is one oddest leading men working today, so does Road House use his manic weirdo energy well enough as he beats guys to a pulp?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/uyrqar/endcredits_apr3_2024podcast.mp3Photo courtesy of Amazon/MGM.
This week on End Credits, we ain’t afraid of no ghost… busters movie review. In the spirit of Easter and themes of rebirth and rising from the dead, we head to movie theatre to check out a terrifying return in Ghostbusters: Frozen Empire. Along similar lines, we will go back in time to the year 1984 to look at two movies and an open weekend paradox that crosses the streams!
This Wednesday, March 27, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
The Battle of ’84. On the same weekend in June 1984, two similar but very different movies opened in theatres everywhere; one was Ivan Reitman’s Ghostbusters and the other was Joe Dante’s Gremlins. Both have elements of horror and comedy, but perhaps the films slide more to one side or the other, and yet one thing is clear: Two major releases this similar would never get released on the same weekend in 2024! So we will decide, once and for all, who’s superior.
REVIEW: Ghostbusters: Frozen Empire (2024). For 40 years now, we’ve been asking. “Who you gonna call?” and we have occasionally got an answer, but in this movie, everyone answers the call. Almost anyone that’s even been, thought about or tangentially connected to the Ghostbusters returns for Frozen Empire, in which the ghostbusting Spengler family fight a giant snow demon and their own internal dysfunctions. They’ve spent a lot of years trying to turn the Ghostbusters into a massive action/adventure franchise, so does this busting end up feeling good?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/6cm5at/endcredits_mar27_2024podcast.mp3Photo courtesy of Sony/Columbia.
This week on End Credits, we’re going to get swoll! Prepare to enter the exciting world of bodybuilding and queer romance in the late 1980s with the new neo-noir movie Love Lies Bleeding, and for all the K-Stew fans out there, we will pay tribute to your favourite actress’ career by talking about some of her greatest hits!
This Wednesday, March 20, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
The Taming of the K-Stew. Kristen Stewart has been in the movie-making business for the 25 years now, and while most people know her from the big stuff like the Twilight films, and her Oscar-nominated turn in Spencer, she’s actually had a lot of different roles in a lot of different kinds of movies. Before we get into Stewart’s new film, we will talk about some of her old ones, which Stewart performances are among her best after her first quarter-century in the biz?
REVIEW: Live Lies Bleeding (2024). Not to be confused with Drive-Away Dolls, another period movie about lesbians caught up in some criming, Love Lies Bleeding embraces its film noir roots for all its heartache and violence and fatalism. Bodybuilder Jackie arrives in town and meets gym manager Lou, and just when they think they might escape and find happiness together, they realize that they’re both bound by a dark fate, and the dark criminal underbelly of their border town. So do we love Love Lies Bleeding, or do want we let it bleed?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/8hgaki/endcredits_mar20_2024podcast.mp3Picture courtesy of A24/Film 4.
This week on End Credits, we search for perfection. It’s hard to find, difficult to describe, and different for everyone, but if there’s one thing that many critics can agree on, it’s that the new film Perfect Days is pretty close to perfection. We will let you know if we agree with that assessment, but also under the topic of perfection, we will revisit another blast from our 80s past.
This Wednesday, March 13, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
This is Spinal Tap… at 40! Forty years ago this month, a small movie was released and while it didn’t hit so hard at the time, it ended up having a huge impact in the long-term. Rob Reiner’s first film, This is Spinal Tap, introduced the concept of the mockumentary, a documentary-style movie about a subject matter that’s made up, in this case the British hair band Spinal Tap. This week, we will talk about the lingering effect of The Tap and take our nostalgia all the way up to 11.
REVIEW: Perfect Days (2024). What initially began as a tourism project to promote Tokyo’s splendid new public toilets became a movie worthy of nomination for the Best International Feature Oscar! The legendary German director Wim Wenders takes us into the life of Hirayama, who spends his days keeping those toilets clean and enjoying a quiet life filled visits to his favourite haunts, taking pictures of trees in the park and his favourite American music on cassette tapes. In short, all of Hirayama’s days are perfect days, but what happens when fate intervenes?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/asb66e/endcreedits_mar13_2024podcast.mp3Photo courtesy of Elevation Pictures/NEON.
This week on End Credits, the movies are back! Obviously, they never went away, but after a fairly dry year at the movie theatre so far, boy we’re we back last weekend with the arrival of the the long-awaited second chapter of Dune! If that’s not exciting enough for you, there are some huge movie awards being given out next weekend, and we’re very excited to talk about them!
This Wednesday, March 6, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Flight of the Awards. The Oscars are coming! The 96th annual Academy Awards ceremony is this weekend, and it almost goes without saying that this is going to be a big weekend for Oppenheimer. All the odds-makers are saying it’s a good bet that Christopher Nolan’s hit about the father of the atomic bomb is the one to beat, and it’s been pretty unbeatable this awards season indeed. We’ll talk about whether those odds will hold and the other bets around this year’s Oscars.
REVIEW: Dune Part Two (2024). When we last left Dune, Paul Atreides and his mother had found sanctuary with the Fremen, the indigenous population of the planet Arrakis , and now Paul must decide whether to embrace his destiny as their saviour even if that means starting a holy war that sets fire to the universe. If may look like your standard big-budget, Hollywood sci-fi blockbuster, but Denis Villeneuve doesn’t do conventional, and Dune’s not your average cinema spectacle, so after a gangbusters opening weekend, we’re going to talk about our thoughts about Dune: Part Two.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/djad4w/endcredits_mar6_2024podcast.mp3Photo courtesy of Warner Bros.
This week on End Credits, we’re on the road again. The last few weeks of winter hardly seems like a good time for a road trip, but maybe that’s the point. It’s time to get in the car and drive with the Drive-Away Dolls and our old friend Ethan Coen, but before that we will talk about all the movies they aren’t entirely sure they want you to see as we reach the end of “Dumpuary.”
This Wednesday, February 28, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Dumpuary Jones. We’ve reached the end of February (though technically nearly the end because it’s a leap year), which also means it’s the end of “Dumpuary”. It’s the time of year where Hollywood studios dump the movies that they think can make some money but are too embarrassed to release in the harsh light of summer or Christmas. So for the first part of the show this week, we will hail some Dumpuary classics both past and present!
Drive-Away Dolls (2024). As you may recall, the famous filmmaking fraternity the Coen Brothers are taking a break from each other. A couple of years ago, Joel made The Tragedy of MacBeth, and Ethan made this, a 1999-set road trip comedy about a pair of young women finding themselves on the road to Tallahassee and finding something mysterious and tantalizing in the trunk of their borrowed car. If you like Classic Coens like Raising Arizona or Burn After Reading, you will probably see a lot to recommend in Drive-Away Dolls, but is one Coen Coen enough?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/84xct8/endcredits_feb28_2024podcast.mp3Photo courtesy of Focus Features.
This week on End Credits, we’re back! Good thing Hollywood is so royally messed up due to several months of strike action last year that we haven’t missed much!! So in our first episode back we’re going to check one of this year’s big Oscar nominees, Maestro, and we’re going to go back in time to re-visit an Oscar-nominee from 40 years ago, Footloose (you read that right).
This Wednesday, February 21, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Footloose at 40! It’s old versus young, rock ‘n’ roll versus classical, avant garde versus traditional. It’s Footloose! Released 40 years ago this week, the Herbert Ross movie sees Kevin Bacon as Chicago transplant Ren, who arrives in small town America where dancing’s against the law. Ren wants to use his fancy feet but a town full of small minds stand in his way, and a cinema classic is born. But now, four decades later, we wonder how Footloose shakes out.
REVIEW: Maestro (2023). You may not know the name Leonard Bernstein, but his impact on music in the mid-20th century is undeniable. He brought classical music to kids in New York, he wrote the score for On the Town and West Side Story, and he was a master of the art of orchestra conducting. In fact, Bernstein was such a master he stymied two of them when it came time to tell his story – Steven Spielberg and Martin Scorsese – so it falls to Bradley Cooper and his eternal search for Oscar glory, to do the Maestro right. So did Cooper deliver a masterpiece, or a flop?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/kifekw/endcredits_feb21_2024podcast.mp3Photo courtesy of Netflix.
This week on End Credits, we’re going back to the well. For the review this week, we’re going to catch up on one of the summer hits we missed with the now home video release of Indiana Jones and the Dial of Destiny. And speaking of sequels, we will celebrate the second entry in a... Continue Reading →
This week on End Credits, we become adults! That’s the whole point of a Bat Mitzvah, and that’s the whole point of the new Netflix coming-of-age comedy You Are So Not Inviting to My Bat Mitzvah, which has a fun local connection. Speaking of making connections, we will talk about some of the movies we’re looking forward to seeing over the next few months.
This Wednesday, September 6, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Fall Movie Preview. As September dawns and festival season begins, we look forward to lots and lots of consequential movies. But wait, there are still strikes going on which means that our well planned fall movie release schedule might get interrupted; we’re already lost Dune Part 2!! It’s okay though, because there’s still a lot of cool stuff that hasn’t been moved to 2024 (yet?) and we’re going to talk about some of those picks from historical epics to indie darlings!
REVIEW: You Are So Not Inviting to My Bat Mitzvah (2023). Last summer, Guelph was in the middle of Sand-man Fever! Adam Sandler kept turning up at Guelph establishments as he was shooting a movie in nearby Elora, and this is that movie. You Are So Not Inviting to My Bat Mitzvah is not you’re typical Sandler fare, but it is a Sandler family affair. It’s an adaptation of a YA novel about two young women who’s friendship falls apart just as they’re about to become adults in the eyes of God. So was this movie funny enough in the eyes of these two reviewers?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of Netflix.
This week on End Credits, we’re back! After taking our annual summer vacation! We’re refreshed and reinvested just in time for the fall movie season, but since we’re not there yet we will have to settle for a summer release. This week, we’re reviewing the new sci-fi comedy mystery on Netflix, The Cloned Tyrone, and... Continue Reading →
This week on End Credits, and next week (or last week depending on when you read this), we’re on summer vacation. Are we watching movies over these two weeks off? Probably, but we’re not reviewing them for you. While we’re out getting some sun and enjoying the beach, you get a couple of reruns. Grab... Continue Reading →
This week on End Credits, we have Turtle Power! As we enter the proverbial late summer doldrums at the box office, we look for some gold in the form of the new animated Teenage Mutant Ninja Turtles: Mutant Mayhem. And since summer’s best days are behind us, we will peel back the layers and determine... Continue Reading →
This week on End Credits, we tackle the back half of “Barbenheimer”. After rolling with Barbie last week as she travelled from the real world to Barbie word and back again, this week we go into the past with Oppenheimer, which is as real as the real world gets. And if you still have a... Continue Reading →
This week on End Credits, it’s a Barbie world, and we are Barbie girls! (So to speak). We had to make the proverbial Sophie’s Choice when it comes to “Barbenheimer” and we sided on Barbie. We will have our review of that big summer hit, and speaking of summer hits, we will talk about some... Continue Reading →
This week on End Credits, we’re doing a little extension of Black History Month into July. It’s also time again for some horror talk, which maybe makes this a little like Halloween Summer. Whatever the occasion, we will review the new film The Blackening, and in its spirit we will talk about some notable Black... Continue Reading →
This week on End Credits, we have reason to be happy and we have reason to be sad. On the happy side, we will talk about some of our favourite movies from this year, which is going to be fun. As for the sad, Paul Schrader is back with another movie, so you know what... Continue Reading →
This week on End Credits, we’re going to a place called Asteroid City, which is not an asteroid and it’s not a city. It’s also not a real place, but it does look like a lovely vacation spot, or a good place to kill a couple of hours in an air conditioned movie theatre. We... Continue Reading →
This week on End Credits, we have wedding bell blues. Well, not us necessarily, but the heroines of this week’s film do. In this episode, we watch a movie that takes us to one of those most ordinary of summer activities, going to a wedding. We’re watching Polite Society, a hit from this year’s Sundance... Continue Reading →
This week on End Credits, after 301 episodes, we found the film that perfectly encapsulates the aesthetic of this show: we like movies. This week, we go for something Canadian with the coming of age story I Like Movies, and we continue on with our re-visit through the Indiana Jones series with the second of... Continue Reading →
This week on End Credits, we’re going in several different directions. It’s almost like there’s more than one of us, or perhaps there should be. Speaking of multiplicity, the movie we’re reviewing this week is Spider-Man: Across the Spider-Verse, which features a spider-cast of thousands, and since we’re talking about legends, we’re going to take... Continue Reading →
This week on End Credits, we have cause for celebration. Some how, we’ve now cranked out 300 episodes of this local movie show for local movie fans, and on this distinguished occasion, we’re giving our listeners the present. Congratulations, you are about to listen to the biggest draft any movie show has ever done as... Continue Reading →
This week on End Credits, we head into the beautiful and forever sky. No, we’re not dying, but we are going back to space with the latest edition of the Guardians of the Galaxy, who are now up to Volume 3. Along with that, we will talk about remakes, which despite what you heard are not always terrible. All this as we take one last ride before getting to 300 episodes!
This Wednesday, May 24, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Fake it Till You Remake It. This past weekend, The Little Mermaid opened in theatres everywhere, the latest in Disney’s long line of live-action remakes. Now some people say that all remakes are terrible and the very idea of remaking films is bad, but you know what was a remake? 1941’s The Maltese Falcon and 1956’s The Ten Commandments! So this week, we will look at the panoply of remakes from the good to the bad to the sorta okay.
REVIEW: Guardians of the Galaxy Vol. 3 (2023). Excluding crossovers, the last time the Guardians of the Galaxy were on the big screen was 2017’s Guardians of the Galaxy Vol. 2. A lot’s changed for the Guardians, and for the movie audience in the meantime, including a new job for filmmaker James Gunn at Marvel’s distinguished competition. For now, we’ve got one last ride with this crew of Guardians which finds them facing off against a typical comic book megalomaniac and the secret origins of a fan favourite character, so do the Guardians deliver one last time?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo Courtesy of Marvel Studios/Disney
This week on End Credits, we play to win. Completing the trifecta of recent brand origin stories at the cinema, we come around to the video game that made Game Boy and put Russia on the map as a video game maker. Yup, we’re reviewing Tetris, and in honour of that big action movie that came out this weekend, we’ve got to say something about the art of the car chase.
This Wednesday, May 24, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Coup de Chase. In honour of this past weekend’s release of Fast X, and also – interestingly enough – the climax of Tetris, we’re going to talk about car chases. The car chase is a well-worn staple of action cinema, when one-person chasing another on foot isn’t big enough, they hop into cars, onto motorcycles, and, in some rare cases, a subway train or flying vehicle. This week, we tick off a list of some of our favourite movie (mostly) car chases.
REVIEW: Tetris (2023). Joining the recent trend of brand origin stories is this film about the video game that made handheld gaming consoles, and ended the Cold War (?). Tetris follows a game programmer played by Taron Egerton who has to out hustle billionaires, middle men and the KGB to get the rights to the famous Russian game about lining up falling four-piece blocks. Complications ensue? You bet! There’s not doubt that there’s a lot of dramatic aggrandizement with Tetris, but can you still enjoy this embellished-from-a-true-story story?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/34x3ez/endcredits_may24_2023podcast.mp3Photo Courtesy of Apple Studios/Marv
This week on End Credits we’ll BBM you. Are you old enough to remember BBM? Maybe it doesn’t matter because the direct messaging app between BlackBerry devices is a minor plot point in the new film about the titular device. This week, we’re going to review the new true Canadian story, BlackBerry, and talk about other movies about fights overs technology.
This Wednesday, May 17, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Tech Wars. This week’s movie is about the human conflict that’s created as a result of technological innovation. Sometimes these movies are about man versus machine, but sometimes it also means man versus man over the machine. Then, there are the stories about how man’s faith in machines is his undoing, and when you add all this up, it means you get the movies of the pre-review segment on this week’s show as we dig into, “Tech Wars”
REVIEW: BlackBerry (2023). Around the turn of the 21st century, a Waterloo company became the centre of the tech universe when the device they created changed telecommunications forever. They called it the Blackberry, both fans and critics called it the “CrackBerry” and for the better part of a decade, if you had a smartphone, it was probably from the finest minds in K-W. This period of time’s now been captured in BlackBerry, the amazing rise and stunning fall of a made-in-Canada success story. But is the made-in-Canada film about it any good?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/crpzxn/endcredits_may17_2023podcast.mp3Photo courtesy of XYZ Films/Rhombus Media/Zapruder Films
This week on End Credits, we grow up. Not that this is an immature enterprise, but there are some serious big-time adult issues that we have to discuss about the entertainment business, and then the movie of the week is also about growing up. We’re reviewing Are You There, God? It’s Me, Margaret. and we’re also going to talk about Hollywood’s present labour strife.
This Wednesday, May 10, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Walk the Line. Last week, the members of the Writers’ Guild of America went on strike, which means, for the time being, no one’s working on scripts in Hollywood. At issue are a couple of things: changes to the TV business including more outlets and shorter seasons, plus the arrival of A.I. which can help penny-pinching studios cut some corners. Before the review this week, we’ll break down the details and talk about why this strike matters.
REVIEW: Are You There, God? It’s Me, Margaret. (2023). In 1970, Judy Blume published a book that captured on the page what it’s like for a young woman to go though puberty and deal with all the biological and sociological issues that come with it. Now, 53 years later, Edge of Seventeen filmmaker Kelly Fremon Craig has turned it into a movie, but the story’s the same: Young Margaret deals with issues of growing up, liking boys, and finding her faith in a very eventful year in one of the most relatable coming-of-age stories ever told. But does it make a good movie?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/m4mejn/endcredits_may10_2023podcast.mp3
This week on End Credits we’re going to go big or go home. Well, we’re going to go big and then go home because why can’t we do both? We’re going to try this week with a very peculiar movie from one of our most peculiar directors right now, and since he’s taking a gamble, we take a gamble too by talking about other directors that like to embrace risk.
This Wednesday, May 3, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Big Swings! This week’s movie might be characterized as a big swing, meaning a director with clout who uses every bit of it on a movie that has a 50/50 chance of working out. Maybe that’s the work of some British director who gets ahead of his American counterparts by two decades, and maybe that’s the executive who bets his studio on some New Zealand’s director’s interpretation of a fantasy novel, but the thing they have in common is they’re… big swings!
REVIEW: Beau is Afraid (2023). Ari Aster knows how to provoke an audience. He did it with Hereditary, he did it with Midsommar, and he’s back again with Beau is Afraid, the story of man trying to get home. Joaquin Phoenix plays the titular Beau, who lives in a vaguely near future America in a horrible urban hellscape. And then his mother dies. If you don’t think things can’t get any worse for Beau, you’ve clearly never seen any Ari Aster movie because its obviously going to get worse. The question is whether or not we want to take the ride, so do we?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo Courtesy of A24
This week on End Credits we light the match on summer. Yes, we know it’s still April for a few more days, but in movie terms summer is almost here, and we have decide to celebrate in the only way that we can. So we’ll draft! And for the movie this week we’re going back to the stream for a comedy that is sending up the funniest time in human history: Medieval France!
This Wednesday, April 26, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
2023 Summer Movie Draft. Next week, the summer move season officially begins with the release of Guardians of the Galaxy Vol 3 so you know what that means? It’s time to get excited about the movies that we’re going to be fed up with by the time September gets here! This week, we draft our summer movie picks in the realm of comedy, drama, franchise, action/horror and, as always, the wildcard. Join us to see who makes the cut this summer.
REVIEW: Quasi (2023). The Broken Lizard gang is back… In time! The guys who made Super Troopers and Freeloaders had expanded their oeuvre into what can nominally be called an adaptation of the Victor Hugo classic The Hunchback of Notre Dame. This time, you can call the titular Hunchback Quasi, and through a series of misunderstandings he finds himself caught between the King of France and the Pope and their quests to get rid of each other. Can Quasi get himself out of this tough medieval jam, and can he do it while making us laugh?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo Courtesy of Searchlight Pictures/Hulu/Disney+
This week on End Credits, we want to suck… [turns page] Your blood! Who doesn’t love a good vampire movie, especially when the story is centred around the greatest and most famous vampire of all time. So on this episode, we’re going to talk about Dracula’s latest in the horror-comedy Renfield, and also talk about some of Dracula’s greatest hits!
This Wednesday, April 19, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Too Many Draculas! There are two characters that have been in more movies than any other, one is Sherlock Holmes and the other is Count Dracula. Yet another Dracula is the [co-] star of this week’s film, but to begin with we’re going to countdown some of the other Draculas. From the classic portrayal in 1931, to an even more classic portrayal from the silent era, and then more recent efforts with actors of every sort, we’ll count off (heh) the best Draculas.
REVIEW: Renfield (2023). Being Dracula is easy, but being the guy that lures Dracula’s victims to a blood curdling doom and then cleaning up the mess is hard. This is the premise of Renfield, in which Nicholas Hoult plays the long put-upon minion of the dark prince, while Nicolas Cage plays the most famous vampire of all-time. Transplanted from Europe to New Orleans, and time-shifted from the Victoria Age to modern day, does this horror-comedy raise Dracula from the pop culture grave or is it merely just the walking dead?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo Courtesy of Universal Pictures
This week on End Credits, we’re going to play ball with sports politics! We head out to the theatre for a good old-fashioned adult drama about business dealing and inter-personal dynamics with Air. And since that movie is sports adjacent, we will let ourselves get sports adjacent by talking about some of our favourite sports movies (with caveats).
This Wednesday, April 12, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Sporty Vice. Sports movies are almost always a winner with the general audience, and even if they’re bad, they’re still pretty good. Now Air isn’t quite a sports movie, but it takes place around a sport, so for the first part of this week’s show we are going to talk about the best sports movies but with a twist! We’re going to talk about the best true-to-life sports movie (narrative or documentary), the best underdog sports movie, and the best movie about a fake sport.
REVIEW: Air (2023). Believe it or not, there was once a time when Nike was not the pre-eminent name in basketball shoes, and there was a time when Michael Jordan was only the number three NBA draft pick. Nike needed Jordan, but how where they able to overcome the odds to win over the future man often called the Greatest of All Time? That’s the story of Ben Affleck’s latest movie starring his good friend Matt Damon as the man who bet it all on Jordan and won sports merchandising in the process. But can a movie audience thrill to this story about good branding?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo courtesy of Warner Bros./Amazon Studios
This week on End Credits we roll a natural 20. Do you know what that means? Then you’re probably very acquainted with the subject matter that our movie this week is based on. We ventured back out to the theatre to see the new fantasy movie Dungeons & Dragons: Honour Among Thieves, and we’re also going to talk other, different fantasy movies too.
This Wednesday, April 5, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Practically Magic. Fantasy movies. They sound simple enough, but they’re hard to pull off, and the genre is about more than some guys with a sword, a damsel in distress, and a man in a pointy hat casting spells. You can’t put every fantasy movie in the same box, so we will line-up some of the boxes and open then in the first part of this show to talk about all kinds of fantasy movies, some set in magic kingdoms and some set in our own modern world.
REVIEW: Dungeons & Dragons: Honour Among Thieves (2023). There was once an attempt to make the role-playing game Dungeons & Dragons into a movie franchise and it did not go well. So we’re now doing take two, and if the reviews already posted are to be believed, it seems like they got it right this time. Shall we believe the hype? You may as this week we look at the dawn of another movie franchise, ably made by “The Johns” – Jonathan Goldstein and John Francis Daley – and starring Chris Pine leading a motley crew of well-meaning mystics and fighters across a fantasy land.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we catch up with old friends, and newer old friends. We had to wait a whole year, but we finally get a new entry in the retooled Scream franchise, which means we’re heading to New York (via Montreal) for Scream VI. And sticking to the horror realm, we’re going to play a game and dive deep into horror’s golden age in the 1980s.
This Wednesday, March 29, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
The 1980s Horror Movie Draft. The Scream franchise began as a kind of satire of slasher films, which came to prominence in the 1980s in what was probably the greatest film era of horror movies until very recently. But which horror movies from the 80s are draft worthy? To start this week’s show, we’re going to play another draft, and choose the best horror flicks in categories like “Franchise”, “Fantasy”, and “Creature Feature”.
REVIEW: Scream VI (2023). It took eight movies for Jason to make to his way to New York City, but Ghost Face has done it in six! The latest entry in the Scream franchise sees the new characters introduced in last year’s re-quel head to the Big Apple as a way to prevent their lives from becoming another horror movie, but Ghost Face has moved to New York too and he’s still interested in making the Carpenter Sisters the stars of another franchise entry. Were the directing team of Radio Silence able to capture again the magic of Scream?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
Photo Courtesy of Paramount Pictures
This week on End Credits, there’s more here than meets the eye. Are we transforming? No, but we’re here to talk about transformative performances and we’ll start with the one that just won the Oscar for Best Actor. On this show, we’re reviewing winner of two Academy Awards, The Whale, and we’re going to talk about other actors who did more for a part than get a haircut.
This Wednesday, March 22, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Transformers. Sometimes it’s not the cloths that make the man or woman, sometimes its more basic than that. In the history of film, actors have found great performances and great characters by losing a lot of weight, or gaining a lot of weight, or having to fake it with state of the art make-up effects. Before our movie of the week, we’re going to take a minute to remember other actors who found their characters by changing themselves.
REVIEW: The Whale (2022). Most Darren Aronofsky are ensemble pieces built around one great performance, and The Whale is no exception. Brendan Fraser achieved a rare comeback after years away from Hollywood to deal with personal matters, and took centre stage, and an Oscar, for playing Charlie, man literally eating himself to death. Fraser’s pathos and humanity shine through the layers of prosthetic make-up, but what about the dark and occasionally disturbing world built around him by Aronofskey. Is The Whale deserving of its biggest asset?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, leeeeeeeeeeeeeeeeet’s get ready to rumble!!!!! Of course there will be no real rumbling, unless there’s some violent disagreement about the quality of this week’s movie, which is about boxing obviously. We’re reviewing Creed III, and in honour of the recently completed Oscar cycle, we will re-write history to fix some historic wrongs.
This Wednesday, March 15, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Comic Gold. The Oscars were handed out last weekend, and a lot of the trophies went to Everything Everywhere All at Once, and while there are some comedic (zany?) elements to that movie, you can’t really call it a comedy. It’s a truism that if you want to win an Oscar, you’re probably not going to make a funny movie, but what if life were a little more fair? What if they gave out Oscars more often to comedies? This week, we’ll re-balance the scales.
REVIEW: Creed III. In Creed, Michael B. Jordan played the son of original Rocky adversary Apollo Creed, a man struggle to break free of his father’s shadow and create his own legacy, and by the start of Creed III he’s done it! But look out, because the past comes back to haunt the new Creed in the form of Jonathan Majors, an old friend who’s boxing career was waylaid by two decades in prison. Jordan not only stars, but he takes over the directing duties too, which is doubling the pressure on this franchise and its star so did Jordan knock it out, or did he get knocked out?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re just saying “yes” to drugs. Well, we’re saying “yes” to movies about animals doing drugs and then attacking people. If you’re unsure based on this complete lack of subtlety, we’re reviewing Cocaine Bear, which may end up one day being a cult classic, but in case it doesn’t, we’ll suggest a few other movies that are already classics.
This Wednesday, March 8, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
A Cult Above the Rest. So the movie this week seems ready made to be a cult classic, a type film and a type of film fandom that’s hard to define, but is usually around a film that was a box office bomb, controversial, and/or obscure but none the less gathered a small but passionate fanbase. So the level of diffi-cult-y is hard, but nonetheless we will talk about some of the best cult classics from pre-1970s, the 70s-90s, and post-2000.
REVIEW: Cocaine Bear (2023). In 1985 several bags full of cocaine were thrown from a plane over a national forest in Georgia. A bear found some the coke, ingested it, and then died of an overdose, but what if instead that bear went on a cocaine fuelled rampage in the woods, eating hikers and disembowelling park rangers? Filmmakers had a similar thought, and it fell to actress/director Elizabeth Banks to bring this tale to life with that rarest of mixes, horror and comedy. So how did Banks do? Is Cocaine Bear the cult classic in the making it wants to be?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re going to talk about movie magic. Of course, that’s essentially the basis of this show, but on this episode we’re deconstructing some of that magic with the person more credited than most with creating it. We’re going to review The Fabelmans and we’re also going to turn a famous director’s illustrious career into a game.
This Wednesday, March 1, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
The Spielberg Draft. We’ve talked a lot about Steven Spielberg on this show, and why wouldn’t we because if you grew up anytime during the 70s and afterwards then Spielberg has been a pretty big part of your pop culture experience. This week, we will draft what we think is the best work for the director from each of the last five decades, or “Spielb-eras”, and come up with another definitive list of the best from the Greatest of All Time (?).
The Fabelmans (2022). In Steven Spielberg’s 34th movie, he finally turns the camera on himself. A lot of Spielberg’s movies have been about some aspect of the director’s inner-life, but The Fabelmans is very explicitly his story, and that of his family. In the 1950s, young Sammy Fabelman is taken to The Greatest Show on Earth, the Oscar-winning movie, and he’s set on a course that will take him to the upper strata of Hollywood, but not before his family breaks up and apart, which would further inform Sammy’s – Steven’s – vision. So how does this one rank?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’ve got a little bit of a post-Valentine’s Day treat for you, the listener. On the docket for this episode is a romantic comedy made by a husband-and-wife filmmaking team, which kind of makes it a Valentine for Valentine’s. So we’re reviewing Somebody I Used to Know and talking about other movies made by couples.
This Wednesday, February 22, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Power Couple Rankings. This week’s movie is the combined effort of a director and star who are married in real-life, which is not an unusual condition in Hollywood where romantic partnerships are born of professional ones, and vice versa. So to kick off this week’s show, we will talk about some our favourite movies that work (or not) thanks to the love match behind the scenes and the interpersonal dynamics of the filmmaker and their lead both in-front and behind the camera.
Somebody I Used to Know (2023). It’s not an original story, a small town A-type personality sees their well-laid dreams come to a sudden halt, which forces them to reconsider their lives back home where a romantic reunion makes them rethink their future. This time, the star is Alison Brie, she co-wrote the script with her director and husband Dave Franco, and the story finds reality show producer Ally landing at home just in time for her old boyfriend’s wedding weekend in her quaint little Washington State hometown. So how well do we know Somebody I Used to Know?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re back at the end of the world. Again. Our tour guide is M. Night Shyamalan, a man with many hits and many misses and not much in between. So is Knock at the Cabin one of the hits or is one of the misses? We will make that determination, and we will also talk about other entries from the Shyamalan canon that definitely qualify as hits.
This Wednesday, February 8, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Night Carte. M. Night Shyamalan has been making movies for nearly 30 years, and it’s hard to think of many filmmakers who’ve experienced both the highest highs and the lowest lows of box office success. Before digging into the latest Shyamalan joint, we will look at our favourite moments from the director’s previous efforts; from his meditations on faith to his ghost stories and his recent efforts about a mysterious man with many personalities.
REVIEW: Knock at the Cabin (2023). Imagine you’re enjoying a nice vacation with your family at a cabin in the woods and then somebody knocks at the door. Four strangers tell you the apocalypse is here, and the only way to stop it is that you, or another family member, has to die. What would you do? Based on a novel with the same name and premise, M. Night Shyamalan paints a moral conundrum where everything may not be as it seems. Or maybe it is. Dave Bautista leads a talent ensemble, but can they make you believe it’s the end of the world?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re once again on vacation vicariously. There have been a lot of movies about life-changing things happening at resorts while on vacation, and Aftersun is definitely one of them. In other news, we’re returning to another favoured trope on this show: movies that don’t exist yet, but we definitely want to see them when they are.
This Wednesday, February 8, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Paint it Blacklist. Despite all the complaints that there’s nothing new under the sun, or in the movie theatre, screenwriters are still plugging away on original ideas, and many of them end up on the Blacklist, the list of the so-called best unproduced screenplays in Hollywood. This week, we’re going to check out this year’s Blacklist and talk about the scripts that we would like to see make it all the way to the finish line and into the cinema.
Aftersun (2022). You may not have heard of Aftersun until star Paul Mescal won an Oscar-nomination for Best Actor a couple of weeks now. Now part of the conversation, Aftersun is waiting on VOD to take you on a trip through time and memory. Based in part on writer and director Charlotte Wells’ own life, the movie follows a father and daughter on vacation at a Turkish resort where the surface level fun in the sun hides a lot of complicated issues underneath the surface. So is this another subtext-filled vacation we need to take?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, it’s playtime! We’re finally catching up with the biggest hit of 2023 (so far) by making friends with M3GAN (pronounced “Megan” if you’re unaware), you’re new best friend or worst enemy depending on what side of her programming you’re on. And speaking of friends and enemies, we’re going to talk about the Oscar nominations.
This Wednesday, February 1, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Oscars So Trite? The Oscar nominations were announced last week, and if you were a fan of Everything Everywhere All At Once, The Fabelmans, Elvis, and All Quiet on the Western Front, you had a good day. On the other hand, there were some definite snubs, and the most notable was a distinct lack of women nominees for Best Director after women have won the last two years in a row. We’ll break down the categories with the hits, the misses, and the likely-to-wins.
REVIEW: M3GAN (2023). An early social media phenom for the year, M3GAN came out of the gates as the first must-see hit of 2023. That should hardly be surprising, every couple of months there’s a new horror movie from Blumhouse eager to receive the warm embrace of the audience, but might there be something special about M3GAN? We’ve gotten killer robot movies before, and killer doll movies, but M3GAN combines the two thanks to an inspiration from Conjuring godfather James Wan so is M3GAN bigger than the hype and ready to be your friend till the end (credits)?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, it’s time to eat! Although our show plays at mid-afternoon every Wednesday, perhaps you might enjoy a small snack while you listen because, this week, we’re going to make you hungry. Along with our review, which is about The Menu now streaming on Disney+, we will talk about some food-based movies to tease the palette.
This Wednesday, January 25, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
More Eats. Movies centred around eating, or the business of eating, have provided so much rich fodder for numerous movies over the years that’s it’s almost its own subgenre. From a luscious drama about the transformative power of chocolate to the brutal history of betrayal behind the most famous fast food chain on Earth, we will look at some of our favourite movies about food and eating, and yes, there will be cannibalism!
REVIEW: The Menu (2022). Finally, a movie for foodies, about foodies! A dozen people head out to an exclusive restaurant on a secluded island for a meal they will never forget… Their last! That’s what The Menu is about in a nutshell, but there are a lot of intricacies to this overlooked movie from last fall which features Ralph Fiennes as the famously eccentric chef and Anya Taylor-Joy as the mysterious dinner guest who throws a wrench into the chef’s thoroughly planned out meal. The result? A meal of a movie with nourishing themes and acting!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits we have unfinished business. The calendar says 2023, but we’ve still got some work leftover from 2022 as we finally get back into the regular swing of things. First, we’ve got to talk about that list that got so many people up in arms before the holidays, and then we’re going to talk about one of the last movies to be released in 2022.
This Wednesday, January 18, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
The Flack List. Before the break, Sight & Sound magazine released their decennial update to the 100 Greatest Films of All Time list, and we have some notes. Now critics and directors contribute to the list, and essentially the whole thing is done by ranked choice voting, so we aim to do some direct editing by talking about the movies that should still be on the list, the movie that’s yet to make the list, and the new entry that might still be there for decades to come.
REVIEW: White Noise (2022). In 1985, Don DeDillo published a book that was popular, but widely considered unfilmable. At the beginning of the pandemic, Noah Baumbach accepted the challenge and started to develop this story about a Hitler studies professor and his family whose consumerist domestic bliss is assaulted by an “Airborne Toxic Event” from a nearby train crash. It’s impossible not to see the pandemic allegory in White Noise, and maybe that’s the point, but has Baumbach done the impossible and made the unfilmable filmable?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re going to talk about the movies. Of course we do that every week, but in this week’s special post-holiday edition of the show (sorry, we’re still on an advanced winter break) we’re going to talk about the movies about the movies that came out in 2022. From one actor’s fake story, to a filmmaking story, to an embellished true Hollywood story.
This Wednesday, January 11, at 3 pm, Adam A. Donaldson, Tim Phillips, Candice Lepage, and Peter Salmon will discuss:
Chew Hollywood Stories. As we continue our break, we turn our retrospective lens this week to tales from Hollywood. First, we will consider the not so true story of Nicolas Cage’s hilariously action-packed overseas adventure in the improbably named The Unbearable Weight of Massive Talent. Next, we will go out to 1970s Texas for another film massacre with X. And finally, we will go into Hollywood’s past with the highly controversial yet strangely mesmerizing Marilyn Monroe bio-pic, Blonde. Hooray for Hollywood? Maybe.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re still recovering from some holiday cheer, so we’re settling into the new year as we think about the challenges and movies ahead. In the meantime, we’re going to bring you some of our insights from the year that just ended, including this episode that might well be a preview for this year’s Best Animated Feature Oscar. Are these three in contention?
This Wednesday, January 4, at 3 pm, Adam A. Donaldson, Tim Phillips, Candice Lepage, and Peter Salmon will discuss:
Animation Domination. To begin the new year, we’re going to revisit some of the greatest hits from the last year, and we’re lining them up by themes. This week, we’re going to look at how 2022 was a great year for animation with some of the best examples, and they might even be up for Oscars. On this episode we will re-cover Pixar’s Canada-set Turning Red, Richard Linklater’s space age Apollo 10 1/2: A Space Age Childhood, and the charming stop-motion mockumentary Marcel the Shell With Shoes On. Let’s have some fun to start 2023!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we come to the end… of the year! That was a close one, but so was the race to the number one spot in our 2022 Top 5 lists. Yes, since it is the last show of 2022, we will all be joining you this week to talk about our picks of the best films of the year, why they’re the best, and why you should be checking them out over the new year!
This Wednesday, December 28, at 3 pm, Adam A. Donaldson, Tim Phillips, Candice Lepage, and Peter Salmon will discuss:
The Best of 2022. Like every year, the last show of 2022 is dedicated to not just one movie, and not just some movies, but the Best Movies of the Year! The entire panel is here, they have prepared their lists and checked them twice, and they are ready to lay out what – in their learned opinions – are the Top 5 movies of the year. From a Viking legend to a sci-fi western, from a tale of a shell to the tale of one of the most famous actresses of all time, we will run down the lists, which may also included an unexpected trip through the multiverse (not this one – see below).
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re on holiday break. While we’re out there shopping, and celebrating, and making things merry and bright, our voices will still ring out across the airwaves along with some of your favourite Christmas songs that will remind you about your favourite Christmas movies. In case you forgot what we did last year at Christmas, we’re doing it again!
This Wednesday, December 21, at 3 pm, Adam A. Donaldson will discuss:
Sounds of the Season. If it’s the week before Christmas, then it’s time for our annual Christmas movie music show. In a way, we’ve kind of been building up to his with recent feature reviews of A Christmas Story Christmas and Spirited, but those aren’t the classics. This episode is about the classics, or rather music from the classics. Are you dreaming of White Christmas? Is the fire so delightful? Ready for a little Jungle Bell Rock? Well, this is the episode you’ve been waiting for because it means that Christmas is almost here! Tune in, drop out, and bring on the egg nog!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits, we’re going to believe in love again. Or, at the very least, we will believe that you can rediscover interesting movies on VOD even though they’re not successful at the box office. Speaking of which, we’re going to review the queer rom-com Bros, and we’re also going to talk about movies that might be a success (or failure) in the new year.
This Wednesday, December 14, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
2023 and Me. It’s almost the end of the year, and you know what that means? Yes, that means end of the year Best-of lists, and we’ll get there in a couple of weeks, but for now we will do the other thing and look ahead to 2023. There are a lot of interesting movies in the proverbial oven being baked for the next 12 months including the return of a great boxer and a film about one of the world’s most famous toys, plus a reprise by the world’s great archaeologist/adventurer.
REVIEW: Bros (2022). Did someone actually tried to make the great American gay romantic comedy? That seemed to be the goal of Bros, a production of Judd Apatow from the director of Neighbours and The Five-Year Engagement. Billy Eichner, who co-wrote the script, stars as Bobby, a commitment-phobic gay man who doesn’t believe in true love until he meets Aaron, a lawyer who’s also emotionally unavailable. Can these two crazy kids get their act together and then get together? I’m sure you already know the answer, and we’ll share our thoughts about it.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits we’re haunted. The spectre of death casts a long shadow on this week’s show even as we review another Christmas movie, but since it’s the end of the year, we have to start taking stock. So we kick off the show with a remembrance of some of the people who aren’t with us anymore, and then we get right into Christmas with a review of Spirited on AppleTV+.
This Wednesday, December 7, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Death Notes. It’s been a year, and December is a time to remember the things that happened during the previous 11 months. But what about the people? Well, to kick off this week’s show (which coincidentally includes a review of a movie about ghosts), we will look back at some of the famous and talented people who passed away this year, remember why they were so entertaining and influential, and why we will miss them.
REVIEW: Spirited (2022). You know the story: three ghosts showed a miserable old miser the true spirit of Christmas, but Ebenezer Scrooge wasn’t the first person to get the Christmas Carol treatment, and he wasn’t the last. Ryan Reynolds plays a professional mudslinger who’s lived a life of apathy and selfishness, he’s irredeemable, but Will Ferrell’s Ghost of Christmas Present accepts the challenge. A Christmas Carol plays out as a musical comedy with a twist, but can this team-up of Reynolds and Ferrell make things merry and bright this holiday?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
This week on End Credits we return to the hole in the donut hole. If you know what that references, then you’re going to have a good time as we tackle the new mysteries and intricacies in the Knives Out sequel, Glass Onion. And since we’re in the mood for sequels, we will talk about... Continue Reading →
This week on End Credits, we get into the holiday spirit! Let us officially begin the celebration of the pre-Christmas (and pre-Black Friday) season with a review of a movie that’s a sequel to one of the all-time classic Christmas flcks. We’re going to check out A Christmas Story Christmas, but we’re also going to... Continue Reading →
This week on End Credits, we get excited to remember. The long anticipated sequel to Black Panther arrives in theatres, and it carries with it a hint of sadness because of the death of its star. While a new Panther arises in Wakanda Forever, we will first talk about some of the latest film news... Continue Reading →
This week on End Credits, we’re going to Netflix and chill. Well, we’re going to Netflix anyway. The streamer has been through the maelstrom lately, so this week we will offer some Netflix appreciation by reviewing their latest underrated acquisition, the Australian crime thriller The Stronger. And speaking of Netflix’s hidden gems, we’ll find you... Continue Reading →
This week on End Credits, we will go from black-and-white to colour, and back again. That’s a reference to the filmmaking style of the latest Netflix attempt for awards’ consideration, Blonde, which is all about the life of Marilyn Monroe. You might have heard of her, and you also might have heard about some of these... Continue Reading →
This week on End Credits, this is Halloween! In our inevitable Halloween Week show, we will have the inevitable review as we follow up our shows about Halloween, and Halloween Kills with Halloween Ends. And since one good horror franchise deserves another, or all of them (?), we will finally, and scientifically, determine which horror... Continue Reading →
This week on End Credits, we cross the streams. Yes, that is a Ghostbusters reference, but it’s also a reference to the stream from TV to the movies, or maybe just streaming VOD. Like this week’s review, which is a movie based on a TV show. We’re looking at the adaptation of The Munsters, and we... Continue Reading →
This week on End Credits, the world is not what it appears to be. Don’t worry (darling), we’re not talking about politics – that’s the other show – we’re talking about the movies. For the review this week, we’ve got a movie that everyone knows everything about, except the mystery at the centre, and we’re... Continue Reading →
This week on End Credits, it’s the Mia Goth appreciation hour. Almost. We are going to talk about the latest entry in Ti West’s unexpected horror trilogy about fame, sex, and sociopathy in Texas. and it’s called Pearl. And since we’re talking about one prequel as the main review of this week’s show, we’re going... Continue Reading →
This week on End Credits, we’re not going anywhere. There aren’t too many field trips on this show, so staying in one place is not that unusual, but there is something unusual about the movies not taking us too far beyond the same four walls. Our review this week, Good Luck to You, Leo Grande... Continue Reading →
This week on End Credits, we’re going to take it easy. It’s the first day of fall, and after the hustle and bustle of summer we can use something low key. The movie we’re reviewing for this episode is so low key that you might not have noticed that it was even being released. We’re... Continue Reading →
This week on End Credits it’s about to get spooky. Yes, we’re about half-a-month early when it comes to the official start of Halloween season, but we’re jumping the proverbial gun with a little end of summer tribute to horror and scary things. We’re talking about some of our favourite (recent) scary movies, and then... Continue Reading →
This week on End Credits, we’re all about the movies. Seriously though, when are we not about the movies? But this week, we’re reviewing a movie that’s about movies, a good old fashioned comedy about the absurdities of the film business. On this show, we’re reviewing the satire Official Competition, and we’re also talking about... Continue Reading →
This week on End Credits, we’re back! We barely made it out our summer camp excursion, but it’s right out of the frying pan and into the fire considering the first movie back is about a monster from space. So this week we’re reviewing the new movie Prey on Disney+, and to take our nerves... Continue Reading →
This week on End Credits, we’re on vacation. For the next two weeks, actually. We’re getting back to nature, you see. We found this charming little summer camp in New Jersey with a sterling name. Sure, there’s some local legend about a boogeyman living in the woods, but what are the odds any of that... Continue Reading →
This week on End Credits, we’re doing one last show before a summer vacation*. Yes, it’s summer, and that means it’s a time for rock concerts and road trips, and by sheer coincidence, that’s what this week’s show is about. In a rare double review, we will talk about the new Netflix doc about Woodstock... Continue Reading →
This week on End Credits, we’re searching for meaning. It’s a big, complicated world out there, and it’s sometimes hard to make sense the craziest in it, so why not let a little shell show us the way? Marcel the Shell With Shoes On will try and fill us with hope and charm this week,... Continue Reading →
This week on End Credits, we’re looking up. He raise our eyes to the skies, but failing that, we will raise them to the big screen again as we go back to theatres for the latest movie from horror maestro Jordan Peele. Yes, we’re reviewing Nope, Peele’s third movie, and speaking of third movies we’ll... Continue Reading →
This week on End Credits we summon the lightening! We’re back, and so is the God of Thunder for our first deep dive into a Marvel movie in literally years. Yes, we’re reviewing Thor: Love and Thunder on this week’s show, and since we’re going back into the Marvel Universe, we’ll spend the first part... Continue Reading →
This week on End Credits, we will summon our shamanic instincts to better understand our movie of the week. That’s a joke from The Unbearable Weight of Massive Talent, a new movie where Nic Cage plays Nic Cage in a Nic Cage movie inside a Nic Cage movie. If that isn’t confusing enough, we will... Continue Reading →
This week on End Credits we’re going to drop the needle. Even though we’re a movie show, our focus this week is music, or rather movies about music. We talk about the now in theatres story about the one and only Elvis, and to match it, we’re going to spend the first part of the... Continue Reading →
This week on End Credits, we recognize that this is only one version of the show. In the unlimited spectrum of the multiverse, we may have reviewed Everything Everywhere All at Once already, or we may not have reviewed it at all. But we did review it this week, and along with that, we will... Continue Reading →
This week on End Credits we will get into sports, or as we like to call it, “the final frontier.” (Film nerd joke.) We’re reviewing the new sports drama Hustle on this edition of the show, and of course we’re here for the acting, and not the ball throwing. And since we’re already here for... Continue Reading →
This week on End Credits it’s din-o-mania! If it’s summer, then it’s time to start running and screaming from CGI dinosaurs, and that’s what will happen again with our review of Jurassic World Dominion, the sixth in the series. Before that we will go back to the summer of 1993 and talk not about the... Continue Reading →
This week on End Credits, we didn’t start the fire. That line is from a song, and not from the remake of the movie based on the book written by Stephen King. That’s the long-winded way of saying that this week we’re reviewing the new version of Firestarter, and since King is on the menu,... Continue Reading →
This week on End Credits, summer is here, so we’re heading north! And back in time! Our trip to the north is a thousand years in the past when men ruled with swift, brutal efficiency in the name of their old gods like Odin and Freya. Yes, it’s time for the viking revenge tale The Northman,... Continue Reading →
This week on End Credits, it’s a post-long weekend solo round. Fewer co-hosts means time for more movies, and this week, you’re getting a review of three very different flicks. Cartoon chipmunks will kick-off the show with more meta references than you can stand, and then we will get serious with a three-letter word. To... Continue Reading →
This week on End Credits, we get into Father’s Day a little early with a pick that might well be classified as a “Dad Movie.” From the less-than-well-known annals of the Second World War, we’ll be reviewing the new spy drama Operation: Mincemeat. Along with that, we’re going to talk about some other good war... Continue Reading →
This week on End Credits, love is in the air. It doesn’t sound like a romantic comedy of any sort, but we will be reviewing The Worst Person in the World, which is about as unconventional as conventions get in the realm of romantic comedies. Along similar lines, we will also be talking about some... Continue Reading →
This week on End Credits, we’re watching the clock. Just in time for the start of the summer movie season, we’re staying at home to watch the new Netflix time travel adventure The Adam Project. And time travel sounds like magic, right? Well, speaking of magic, we will spend the first part of the show... Continue Reading →
This week on End Credits, we would really like to know what exactly a cliff beast is? If you’re already laughing, then you know that we’re reviewing the new Netflix comedy The Bubble on this week’s show. And since The Bubble is (in-part) a movie about Hollywood franchises, we will also look ahead to all... Continue Reading →
This week on End Credits, we’re running. Our movie of the week almost literally has “run” in the title as it tells the story of man who spent almost the entirety of his youth trying to escape. For the review this week, we’re watching the three-time Academy Award-nominated movie Flee, and before that we’re going... Continue Reading →
This week on End Credits, we look to the sky! Ever notice how the Moon’s just hanging up their daring us to visit? Well, there was a time humans went to the moon, and this week’s featured movie is a loving remembrance of that particular era. We’re reviewing the latest Netflix hit, Apollo 10 1/2:... Continue Reading →
This week on End Credits, we’ve got an appetite. Under the themes of food and desire, we will review a movie that checks both of those boxes in the new film Fresh, which is is now streaming on Disney+. Before that, we will pay tribute a Hollywood actor whose decided to take his final bow... Continue Reading →
This week on End Credits we’re reliving past successes. For our feature review on this week’s show, we’re looking at one of the biggest high-profile remakes of the last few years – almost Oscar-worthy – Guillermo del Toro’s Nightmare Alley. And before that, we will kick off the theme by looking at other good movies... Continue Reading →
This week on End Credits, we’re going to find out what people really think. In the first part of the show, we’re going to talk to the director of an indie horror movie made in Wellington County and find out what scares him. For the review, we’re going to get inside the heads of three... Continue Reading →
This week on End Credits, we’re growing up! Not really. In fact you could say that we’re embracing the kid stuff given the fact that this week’s review is fresh out of the Disney/Pixar myth-making machine. We’re going to review Turning Red on Disney+, and along with that we will talk about some of our... Continue Reading →
This week on End Credits we’re going back to a time of social tumult and high gas prices. History comes around again in Licorice Pizza, the Academy Award-nominated new film from acclaimed director Paul Thomas Anderson. Before that, staying in the worlds of the man called PTA, we will consider some of the greatest characters... Continue Reading →
This week on End Credits, the horror continues. We pass from Ghostface to Leatherface as we warm up the Netflix machine to check out another horror legacy-sequel in the form of Texas Chainsaw Massacre (no The). Before getting into that, we will head back to Gotham City on this Batman eve to talk about all the other movies that bear his name, and rank them!
This Wednesday, March 2, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
Run the Series: The Batmen. This Friday, Matt Reeves’ take on the Dark Knight will be released in theatres in the highly-anticipated (and three-hour long) The Batman. In anticipation of the emergence of this Batman, we spend the first part of the show ranking the other movie Batmen. There have been 10 other named Batman movies released in cinemas over the last 60 years, and we will run the series on which Batman is best, and which one is worst.
REVIEW: Texas Chainsaw Massacre (2022). In 1974, director Tobe Hooper took a small cast and crew into the middle-of-nowhere Texas and for a few thousand dollars created one of the most frightening, visceral and influential horror movies ever: The Texas Chainsaw Massacre. Forty-eight years later, the ninth movie in the franchise aims to re-launch the series again as a bunch of hapless influencers move to a Texas ghost town where a certain chainsaw-wielding butcher still lurks looking for fresh meat. Does he find it? Do we?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/945ead/endcredits_mar2_2022podcast.mp3
This week on End Credits, things are getting stabby. Get the popcorn ready, sharpen your knife, and slip on your Ghostface mask, because this week we’re heading back to horror town for some more meta-textual movie commentary with Scream 5, or rather just Scream. Unfortunately, there’s also some real-life death to talk about, in this case a famous Canadian director.
This Wednesday, February 23, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
For Ivan. There was sad news for movie fans following the Super Bowl last week, the death of preeminent filmmaker Ivan Reitman. A comedy legend, Reitman brought many great films to the big screen as both a director and a producer including Meatballs, Animal House, Kindergarten Cop, and, of course, Ghostbusters. To kick off this week’s show, we will look at some of Reitman’s career highlights, or at least the highlights that have nothing to do with bustin’ ghosts.
REVIEW: Scream (2022). Just over 25 years ago, the original Scream movie became a worldwide sensation, and it launched a franchise that’s still chugging along with this, its fifth chapter. The residents of Woodsboro are plunged into another slasher mystery, and the knife is pointing at a woman with a dark secret that ties her back to the original murders in 1996. The new killer (or killers) are trying to create a legacy-sequel, a new generation of victims must figure out who they can trust and how they can survive, and we must figure out if the movie is worthwhile.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/xcaqp7/endcredits_feb23_2022podcast.mp3
This week on End Credits, we’ve got gold on the mind. Oscar gold. This year’s nominations were announced last week, and in a timely bit of synchronicity we’re reviewing one of the nominees. We’re checking out Netflix’s excellent new drama The Lost Daughter, and before that we’re talking about the movies that did, and did not, get nominations.
This Wednesday, February 16, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
Of Dogs and Dune. The nominations for the 94th Academy Awards were announced last week, and the winner so far, at least in terms of the most nominations, is The Power of the Dog. Jane Campion’s post-modern cowboy story is the front-runner with 12 nods, while Denis Villenauvre’s sci-fi epic Dune is a close second with 11. We’ll talk about what the nominations mean, and we will also talk a little about this year’s Golden Razzie nominations too.
REVIEW: The Lost Daughter (2021). Speaking of Oscar nominees, Maggie Gyllenhaal’s directorial debut scored three nominations, but did it deserve more? Based on Elena Ferrante’s novel of the same name, The Lost Daughter tells the story of Leda, a professor on holiday in Greece who encounters a young mother that reminds Leda of her younger self. This leads to a fascinating story of self-reflection and recrimination featuring award-nominated performances from Olivia Coleman and Jessie Buckley, but is it fascinating for the audience?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/98ydaq/endcredits_feb16_2022podcast.mp3
This week on End Credits, are you ready for some good, old fashioned fun? Jackass, and the comedy there in, may not be to your taste (emphasis on “taste|), but it is a verifiable phenomenon, and now its back in a theatre near you with Jackass Forever. Before that, one of our co-hosts will choose what he thinks are the quintessential Jackass gags (emphasis on “gags”).
This Wednesday, February 9, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
The Best (?) of Jackass. At the turn of the century, a new reality show emerged on American MTV. It featured a bunch of guys doing dangerous stunts that tested their strength, endurance, resiliency, and their gag reflex. Though it only lasted three seasons and 25 episodes, Jackass had long coattails and has become a certifiable brand, and it’s latest chapter is now in theatres. Before we talk about that though, we’re going to look at Peter’s favourite bits.
REVIEW: Jackass Forever (2022). More than two decades after they first got together to test the limits of flesh and good taste, much of the Jackass gang, and some very brave newcomers, have gotten together to relive glory days and push themselves through all manner of stunts, both punishing and disgusting. It’s no secret that the current movie business is obsessed with franchises, but Jackass?! Last weekend’s box office winner fits the trend, but what does the success of Jackass tells us about life in 2022? Is Jackass the answer we’re been looking for?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/x9abkg/endcredits_feb9_2022podcast.mp3
This week on End Credits, we don’t talk about Bruno. It’s like Fight Club, but in this case it’s a guy in a new movie. If you get it, you already know, because there’s a famous song about Bruno, and it’s from the new movie Encanto. We’re reviewing it this week. and before that, we will talk about some other animated movies worth checking out on the internet.
This Wednesday, February 2, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Drawn Together. In 1937, the first feature length animated movie was released. Now, 85 years later, there have been many different animated movies, and some of them end up being more popular than others. So before this week’s feature review, we will talk about some of those. From a search for treasure to a superhero send-up, and from a trip to New Orleans to a trip to the distant future, we will talk about some underappreciated animated movies.
REVIEW: Encanto (2021). In their 60th feature length animated film, Disney goes somewhere they’ve never done before: South America. In Encanto, we meet the Madrigal family, a close knit, multi-generational clan living in an idyllic village. Each member of the Madrigal family has a special power except for Mirabel, who’s trying to come to terms with her life as the non-special Madrigal, but is she about to get a chance to prove herself? If you’ve ever seen a Disney movie before, then you already know that the answer is yes!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/aah7q2/endcredits_feb2_2022podcast.mp3
This week on End Credits, we’ve got a lot things going on. The movie choice this week, The House on Netflix, combines three different stories under one banner, so we’re basically doing three movies in one. And speaking of movies that have more than one movie, we’re going to run down a list of other movies that have several different movies in them.
This Wednesday, January 26, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
A Segment in 6 Parts. This week’s pick is an anthology, which is kind of a rarity in the movie business; a movie that’s made up of different short movies, sometimes with a different director for each segment. Before we get into The House, we will talk about some of the other anthologies you can find across the streaming sites, from stories about love in Paris, to Halloween tales, and several fun conversations around coffee and cigarettes.
REVIEW: The House (2022). This is a movie with three different stories about the same house, lovingly crafted in the nearly lost art of stop motion animation. London’s Nexus Studios produced The House, which contains three tales that span different styles, different time periods, and different anthropomorphized animals or humans. Featuring the voice talents of Matthew Goode, Helena Bonham Carter, Mia Goth, and Jarvis Cocker, The House can be spooky, it can be funny, and it can be strange, but is the movie any good? We’ll see.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/5m3s7q/endcredits_jan26_2022podcast.mp3 Photo courtesy of Netflix
This week on End Credits, something wicked this way comes. Because call it “The Tragedy of the Scottish Play” doesn’t really sound right, we will break form and say this week, we’re reviewing the new Shakespeare movie, The Tragedy of MacBeth. Before that, we will talk about other Shakespeare movies and try to limit the available options to just five or six.
This Wednesday, January 19, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
The Play’s [Adaptation] is the Thing. It’s hard to think if there’s been an author more adapted for cinema than William Shakespeare; in fact, the first adaption of one of his works is believed to be the four-minute King John, filmed on stage in London in 1899. Before getting into this week’s review, we will look back at some of the other Shakespeare adaptations that you can stream now around the internet, including the ones that don’t scream, “English Lit class”
REVIEW: The Tragedy of MacBeth (2021). MacBeth has been adapted, and re-adapted, on stage and screen for decades, including a very recent, much-seen version by Australian director Justin Kurzel. This version though comes from one of the Coen Brothers, and it stars acting titans Denzel Washington and Frances McDormand, so you know this might deliver something new and special, and perhaps something never seen in any version of “The Scottish Play” before. So was Joel Coen able to make much ado about something with Shakespeare instead of brother Ethan?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/npsmye/endcredits_jan19_2022podcast.mp3
This week on End Credits, we unofficially kick off the new year by getting into some new movie reviews. Our pick this week hails from Mexico, but it has some surprisingly familiar themes if you’re a big fan of stories about teenage romance. Speaking of teenage-based drama, let’s just say this week’s show is a boon if you’re looking for something to watch in that genre!
This Wednesday, January 12, at 3 pm, Adam A. Donaldson and Candice Lepage will discuss:
Naught Another Teen Movie. Before we dive into this week’s movie, which is a teen romance melodrama on Netflix, we will spend the first part of this week’s show talking about other teen drama you can find on various streamers. From a gender-switch take on a turn of a century classic to a west coast answer to Degrassi High, from a franchise we’ve visited before on this show to the seedy underbelly of Palm Springs (?), we’re teen crazy this week.
REVIEW: Anonymously Yours (2021). You ever get a text from someone you don’t know who thinks they’re texting with someone else? Did it ever end with you finding true love? Well this is the movie for you! Two Mexican teens – Vale and Alex – are you’re average, everyday high school seniors both anticipating and dreading the end of school, but then a case of mistaken textual identity brings them into each other’s orbit. Will Vale and Alex figure out that they’re secretly texting each other while also falling in love IRL? What do you think, and what do we think?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/cptwjh/endcredits_jan12_2022podcast.mp3
This week on End Credits we welcome you to the new year. Technically, we’re still on a little post-holiday break, but this is also still technically a new episode of the show. So start off 2022 with a new/old journey through the decades and adventures of Britain’s greatest super spy, from Dr. No to No Time to Die, this week is the perfect time to catch up with the 007. It’s a licence to thrill!
This Wednesday, January 5, at 3 pm, Adam A. Donaldson will discuss:
Bond. James Bond Movies. This year is the 60th birthday of James Bond, the movie version anyway. By coincidence, the most recent Bond adventure has hit home video and video on demand, and in the lead up to its theatrical release last fall, End Credits ran a ranking of the first 24 Bond movies. So for our first show of 2022, we will not only run the complete ranking of the first two-dozen Bond movies, we will also have a brief review of the latest hit No Time to Die. This week’s episode comes complete with some James Bond musical cues, so get ready to be shaken, and stirred.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/3abhe9/endcredits_jan5_2022podcast.mp3
This week on End Credits is the last week of the year, and you know what that means… New Year’s Party!!! For our show, the party takes the form of a list, a Best Movies of the Year list. Once again, the whole gang has come together with their carefully considered lists, and as a group we will all reveal the nearly 20 movies that sum up the cinematic story of 2021.
This Wednesday, December 29, at 3 pm, Adam A. Donaldson, Tim Phillips, Candice Lepage, and Peter Salmon will discuss:
The Best of 2021. It’s the most wonderful time of the year, the week after Christmas when we release out Top 5 lists for what we think are the best movies released in the last 12 months. This year’s line-up offers a diverse slate of some excellent musicals, plus an epic journey across the desert for a space chosen one. There’s also a weird gender-bending French horror movie, and a weird genre-bending tribute to the lost art of magazine writing. But wait, there’s also some powerful dramas, and at least one tale about a stolen pig. Spider-men? Maybe next year.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/2drjs3/endcredits_dec29_2021podcast.mp3
This week on End Credits, it’s Christmas. Or nearly Christmas, we suppose. There’s a lot of holiday doings going down, and some of you may still be able to go to the store and do some Christmas shopping, so why not get in the car, tune the radio to CFRU and dig some movie-related Christmas tunes, while making those trivia points that will come in handy after holiday dinner.
This Wednesday, December 22, at 3 pm, Adam A. Donaldson will discuss:
Sounds of the Season. It’s two days before Christmas, and all through the house, no one’s watching the movies, because it’s less than 48 hours till Christmas, yo!!!! So why bother with something new this week? Let’s just flip on the radio and enjoy some holiday music from the movies, complete with some colour commentary about the origins of the music, and how they’re used in the movies they’re found in. So tune in, drop out, and bring on the egg nog!
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/6gpcic/endcredits_dec22_2021podcast.mp3
This week on End Credits, we’re getting ready for the holidays, and to kick things off we’re going to review a movie where the main character is a thoroughly reprehensible cowboy that psychologically tortures his family. For this episode we will check out The Power of the Dog, and before that, we will talk about the year’s Top 10 pop culture news stories according to us.
This Wednesday, December 15, at 3 pm, Adam A. Donaldson and Tim Phillips will discuss:
News of the Whirled. It was a busy year for Hollywood, so we will look at some of the biggest pop culture stories in 2021. There were a lot of potential nominees for our Top 10 stores including how Knives Out is now a major franchise. Also, Hollywood narrowly avoided their biggest strike in decades, and a Marvel superhero decided to sue her business daddy. We’ll likely talk about some of that, plus is Armie Hammer a cannibal?
REVIEW: The Power of the Dog (2021). In one of the most acclaimed movies of the year, Benedict Cumberbatch plays a Montana rancher in the 1920s whose gruff and unlikeable demeanour casts a long shadow over his new sister-in-law and her teenage son. Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee round out the cast in Jane Campion’s beautifully realized dark drama that will test your conventions about who the bad guy is and why, and we will try and convince you to watch what might be the feel-bad movie of 2021.
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/svr8v6/endcredits_dec15_2021podcast.mp3
This week on End Credits, we’ve got style! We’re going to put on our best designer duds and head back out to the movie theatre to watch another Ridley Scott movie. House of Gucci is the review this week, and before that we’re going to cross our fingers and look further ahead to the future (well, one-month in the future) and talk about the potential great movies of 2022.
This Wednesday, December 8, at 3 pm, Adam A. Donaldson and Peter Salmon will discuss:
On to 2022! Hopefully, next year we will see 12 months of open movie theatres, and there will be some great movies to check out assuming the doors stay open. This week, we will look ahead to the movies of 2022, but not the sequels, re-quels, remakes, franchises, or extended universes. So what does that leave? Well, Elvis is back and so is Jordan Peele, J.Lo’s randomly marrying Owen Wilson, Ethan Hawke is evil, and the Moon wants us dead!
REVIEW: House of Gucci (2021). Lady Gaga is a great musician, a style icon, and a pop culture phenom, so it kind of makes sense that she’s the star of a movie called House of Gucci. The new film from Sir Ridley Scott is not so much about style as it is about power, money and murder. The true-life tale about how a small boutique Italian fashion house became a mutli-billion dollar brand is paved with blood and betrayal, perfect fodder for the man behind Gladiator, Hannibal and Thelma & Louise, but is it a story worth seeing, especially in theatres?
End Credits is on CFRU 93.3 fm and cfru.ca Wednesday at 3 pm.
https://mcdn.podbean.com/mf/web/6d4u72/endcredits_dec8_2021podcast.mp3