Movie Trailer Reviews: Recent Episodes
MTR Network
Love watching Movies and TV Shows? We do too. Check out all of our Movie Reviews and reviews for TV shows like e Movie Trailer Reviews, your source for reviews on the latest movies coming out in theaters. Check us out at www.MTRNetwork.Net
Kriss and Ro are back to talk about Movies with our new Movie Talk podcasts. This will be a show where we talk about movies from the past and present that we enjoy. Not really reviews, just a conversation about movies that we like to watch. For this first episode we talk a pair of movies from our childhood, Rob Reiner’s Princess Bride and Mel Brooks’ Robin Hood Men in Tights. These are two films we love for very similar reasons that have become cult classics. We discuss why we love these films and what it says about today’s films and audiences.
On our next episode we’ll be talking about the films Weapons and Backrooms.
Guest: Ro
- @bookblerd.bsky.social
Like what you hear? Subscribe so you don’t miss an episode!Follow us on BlueSky:
@InsanityReport
It’s the 3rd film in the supposedly 5 film never-ending Na’vi Narrative Avatar franchise and it’s expected to make another 2.5 Billion dollars on a 400 Million dollar budget because despite having a story that cherry picks not only it’s favorite tropes about pushing back in colonization, but this time it’s borrowing straight from the indigenous groups that James Cameron has been walking amongst recently, for good and possibly for offensively bad.
Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc
♦♦
Director: James Cameron
Writers: Amanda Silver, Rick Jaffa, James Cameron
Starring: Zoe Saldana, Sam Worthington, Sigourney Weaver, Kate Winslett, Oona Chaplin, Stephen Lang, Edie Falco
Runtime: 197 Minutes
Synopsis: It’s the third Avatar film and this one is about the fire version of the Na’vi. And also one of the character is so mad she’s now a “full blown racist”.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Christy is a biographical sports drama chronicling the early boxing career of renown women’s boxing champ Christy Salters who was almost murdered by her abusive husband/manager/trainer James “Jim” Martin. The film stars Sydney Sweeney as Christy Salters and Ben Foster as Jim Martin.
Check out our review to hear Phenom’s strong reaction and opinions to what played out on the big screen with this film and the mess of a marketing debacle that led to abysmal numbers at the box office.
Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc
♦♦
Director: David Michod
Writers: David Michod, MIrrah Faulkes, Katherine Fugate
Starring: Sydney Sweeney, Ben Foster, Merritt Wever, Katy O’Brian, Ethan Embry, Chad L. Coleman, Jess Gabor, Naomi Graham
Runtime: 135 Minutes
Synopsis: Sports Drama chronicling the life of Hall of Fame Women’s Boxing Champion Christy Salter.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Judy Hops and Nick Wilde are officially buddy cops in this return to Zootopia. But this time the stakes are higher as everyone goes hiss-terical over a snakes showing up at the big Zootenial Gala to steal an old journal that holds some secret about the town’s new weather walls.
Listen in as Ava and Phenom give their review of this fun film!
Playing Now in Theaters etc
♦♦
Director: Jared Bush, Byron Howard
Writers: Jared Bush
Starring:
-
- Ginnifer Goodwin
- Jason Bateman
- Ke Huy Quan
- Fortune Feimster
- Andy Samberg
- David Strathairn
- Shakira
- Idris Elba
- Patrick Warburton
- Quinta Brunson
- Danny Trejo
Runtime: 1 Hour 48 Minutes
Synopsis: A bunny and a fox team up again to uncover a hidden mystery about the founders of their town that involves some dangerous reptiles.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
One of the smartest things I did this year was give this film a 2nd chance viewing. Initially, I didn’t give Good Boy the attention it deserved but saw other critics raving about how good it was. I went back in for round 2 and was knocked off my feet. Indy (the dog) carries this film with an adorable, heartwarming while terrifying performance. I just to wanted to reach through the screen and save Indy from all the bad things and you will too!
Check out our review to get all the deets about Indy and what made make their film and the performances so endearing.
Currently playing in Theaters now
♦♦
Director: Ben Leonberg
Writers: Alex Cannon, Ben Leonberg
Starring: Indy, Shane Jensen, Larry Fessenden, Arielle Friedman,
Runtime: Minutes
Synopsis: A dog and his owner take a trip to stay in rural family home, and immediately things get wild in the wilderness as Indy the dog starts to see and sense dark entities haunting the house and possibly his owner.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
HIM is a film with messaging about Fanship vs Worship, the sacrifice of Mind, Body, and Soul for sports, and cognitive disassociation that comes with being an pro-athlete and more specifically one committed to the brutalities of American Football. But does it stick the landing with all this messaging? All the praise to Kira Kelly for these visuals!
Check out our review to find out.
Playing Now in Theaters
♦♦
Director: Justin Tipping
Writers: Justin Tipping
Cinematography: Kira Kelly
Starring: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, Jim Jefferies, Guapdad 5000
Runtime: 96 Minutes
Synopsis: After a brutal attack a young football prodigy a goes to train at a remote compound with a retiring legend to help with his recovery, but immediately things are not what the seem and the young football star starts to have a mental break down.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
The Long Walk is one of the better ensemble castings this year, with deep rooted character development amongst a group of mostly charming young men who have felt the need to make the ultimate sacrifice. It fits right in line with how King’s tales delicately handle camaraderie in dystopian dramas where people are subjected to horrific outcomes while striving for new hope.
Check our our review to hear while Brandon can’t wait to experience this beautifully tragic film again.
Playing in Theaters
♦♦
Director: Francis Lawrence
Writers: J.T. Mollner
Starring: Davis Jonsson, Cooper Hoffman, Ben Wang, Tut Nyuot, Garrett Wareing, Judy Greer, Charlie Plummer, Mark Hamil
Runtime: 108 Minutes
Synopsis: 50 lottery winners compete in a life or death contest where the last man walking is the winner and gets to wish for whatever they desire.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Caught Stealing is a story of pure chaos that matches the energy cinematographer Matthew Libatique brings to it on screen from behind the camera. It’s Run Lola Run in phantom HD shot for IMAX and is well worth an evening or matinee ticket. It just might finally answer the question “Does Austin Butler have the chops to carry a whole film on his back”.
Check out our review to find out if his charisma makes the cut.
Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc
♦♦
Director: Darren Afronosky
Writers: Charlie Huston
Starring: Austin Butler, Zoe Kravitz, Liev Schreiber, Regina King, Vincent D’Onofrio, Bad Bunny, Action Bronson
Runtime: 107 Minutes
Synopsis: When different groups of mobsters and crime syndicates randomly start showing up and kicking the crap out of Hank looking for something they think he stole from them after he’s caught in his neighbor’s apartment, he realizes not just he and everyone close to him is in danger and has to run long enough to find and give back when they think he’s stolen.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Because this is a kids’ film I thought it best to get the opinion of a kid in this review!
Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc
♦♦
Director: Chris Miller
Writers: Pam Brady
Starring:
| * Rihanna * James Corden * Nick Offerman * JP Karliak * Daniel Levy * Amy Sedaris * Natasha Lyonne |
Runtime: 92 Minutes
Synopsis: A no named Smurf attempts to find his special Smurf gift but in doing so opens a portal to the real world allowing Razamel to kidnap Papa Smurf and search for an ancient magical text to control all the magic in the world.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Three Years after revealing himself to the world, Superman must prove his humanity and save the world from the maniacal ploys of an obsessed and borderline deranged Lex Luthor.
Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc
♦♦
Director: James Gunn
Writers: James Gunn
Starring:
| * David Corenswet * Rachel Brosnahan * Nicholas Hoult * Edi Gathegi * Anthony Carrigan * Nathan Fillion * Isabela Merced |
Walktime: 129 Minutes
Synopsis: Superman is back.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
It’s just better for everyone involved here if you listen to our review above. Enjoy!
Mickey 17 opens in US theaters March 7, 2025
♦♦
Director: Bong Joon-ho
Writers: Bong Joon-ho
Starring: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, Mark Ruffalo, Anamaria Vartolomei, Patsy Ferran, Holliday Grainger
Runtime: 1 Hour 23 Minutes
Synopsis: A poor sap takes a job on a space voyage as an Expendable, a person designated as the sacrificial lamb for deadly jobs and deadly scientific experimentations only to be reprinted back out to do it all over again. But when the death of his 17th iteration doesn’t go as planned, he has to face himself and hide the truth.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
It’s just better for everyone involved here if you listen to our review above. Enjoy!
Love Hurts opened in theaters February 7, 2025
♦♦
Director: Jonathan Eusebio
Writers: Matthew Murray, Josh Stoddard, Luke Passmore
Starring: Ariana DeBose, Daniel Wu, Marshawn Lynch, Mustafa Shakir, Lio Tipton, Rhys Darby, André Eriksen, Sean Astin
Runtime: 1 Hour 23 Minutes
Synopsis: A realtor named Marvin finds himself kicked, punched, tossed, and body slammed back into the hit-man and crime mob family life he thought he’d finally left behind, all in the name of love.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
The story of two black boys who form a bound after being sent to a 1960’s abusive reform school.
Director: RaMell Ross
Writers: RaMell Ross
Starring: Ethan Herisse, Brandon Wilson, Daveed Diggs, Aunjanue Ellis-Taylor
Runtime: 140 Minutes
Synopsis:
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Tells the story of Pansy who is a curmudgeon just trying to make it through each day disappointed in her family and people in general but supported by her more positive sister, who attempts to pull Pansy out of her funk but is starting to grow tired and weary of their insufferable relationship.
Marianne Jean-Baptiste deserves all the awards for this role.
Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc
♦♦
Director: Mike Leigh
Writers: Mike Leigh
Starring:
| * Marianne Jean-Baptiste * Michele Austin * David Webber * Tuwaine Barrett * Ani Nelson * Sophia Brown * Jonathan Livingstone |
Runtime: 97 Minutes
Synopsis: Tells the story of Pansy who is a curmudegeon just trying to make it through each day disappointed in her family and people in general but supported by her more positive sister, who attempts to pull Pansy out of her funk but is starting to grow tired and weary of their insufferable relationship.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Robert Eggers' passion project, a remake of the infamous cinematic Dracula film Nosferatu: A Symphony of Horror.Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Robert EggersWriters: Robert EggersStarring: Lily-Rose Depp, Bill Skarsgard, Nicholas Holt, Aaron Taylor-Johnson, Williem DafoeRuntime: 132 MinutesSynopsis: A Remake of Nosferatu: A Symphony of Horror Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
The Wild Robot is a master class in blending ground breaking technology with animation to give us a gorgeously, heartwarming film that understood the assignment. Lupita (Roz) and Pedro Pascal (Fink) are a sensationally addictive duo surrounded by an amazing ensemble of voice actors who bring to life a wild tale of finding strength in family, protecting the things you love, and embracing heroism.Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Chris SandersWriters: Starring: Lupita Nyong'o, Pedro Pascal, Kit Connor, Stephanie Hsu, Ving Rhames, Mark Hamill, Bill Nighy, Runtime: 1 Hour 42 MinutesSynopsis: A Robot abandoned on earth who is initially treated like an outcast until she adopts a duckling who mistakes her for it's mother, fights to protect her forrest family when her makers return and wage war in an attempt to retrieve her. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
A film that lives and dies by it's leading cast made up of a Mother, her daughter, and a magic Macaw, Tuesday is a dark fantastical tale about how people cope with terminal illness and impending Death. Lola Petticrew really gives an amazing performance here that will charm the audience audience even more than Tuesday is able to charm Death. Arinze Kene voices Death and does some very captivating motion capture with his portrayal of the stuttering Macaw. The film really hits the ground running especially when you toss in the unhinged performance from Julia Louis-Dreyfus switching gears and turning this into a dark comedy. But ultimately the film falls flat when it doesn't fully capitalize on the real world ramifications of Zora's actions, and instead lulls it's audience to very anticlimactic ending. It's almost like the director knew exactly where he was going but didn't fully grasp where things were headed. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Daina O. PusićWriters: Daina O. PusićStarring: Julia Louis-Dreyfus, Lola Petticrew, Arinze Kene, Leah HarveyRuntime: 1 Hour 50 MinutesSynopsis: When Death comes knocking at the door of a terminally ill teenager named Tuesday, she uses her quick wit and insatiable charm to befriend the creature. But when her Mother discovers the Macaw, she takes matters into her own hands and makes an unhinged decision that puts the entire world in dire straits. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Rachel Morrison and Barry Jenkins come together beautifully here to craft a big screen polished adaptation of the 2016 PBS Documentary, "T-Rex: Her Fight For gold". The chemistry between Ryan Destiny and Brian Tyree Henry portraying Claressa Shields and Coach Jason Crutchfield is so palpable. A lot of heart and care went into this project. So, while it may feel like the film doesn't tell enough of Claressa's story, which continued far beyond her Olympic years, the gritty biographical story of a naturally gifted boxing phenom we do get here is unapologetically as inspirational as the real life boxing champion herself. This is the story of T-Rex.Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Rachel MorrisonWriters: Barry JenkinsStarring: Ryan Destiny, Brian Tyree HenryRuntime: 1 Hour 49 MinutesSynopsis: Based on the PBS Documentary "T-Rex: Her Fight For Gold", The Fire Inside tells the story of Claressa Shields, a young black female boxer from Flint, Michigan who's will and determination take her all the way to the Olympics yet somehow not far enough away from the dangers of her home life. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
If Disney is going to take a made for streaming series project and whip it up into a last minute theatrical release, they could at least give us Return of Jafar instead of Bambi 2. Moana does a poor job of catching the audience up on what some of our favorite characters have been up too since we last saw them through an adventure in such a superficial way. And once the film reveals itself to actually not be one-dimensional we're sailing midway through the 3rd act of a story that hopefully James Cameron won't feel the need to be inspired by since he's already made a billion dollars doing it with less heart. The songs aren't really memorable. The new characters aside from one we only get in the 2nd act aren't very memorable. The story we now know is actually part of a trilogy that might actually be going back to streaming after these box office numbers drop is also not memorable. And the Rock sings. There's still a lot of people's favorite things about Moana here, but this film deserved to be better and just doesn't feel like it was treated as such by the House of Mouse. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Dana Ledoux Miller, Jason Hand, David Derrick Jr.Writers: Jared Bush, Dana Ledoux MilleStarring: Auliʻi Cravalho,Dwayne Johnson, Awhimai Fraser, David Fane, Rose Matafe, Hualālai ChungRuntime: 1 Hour 40 MinutesSynopsis: Moana returns as a young adult encouraged by the water spirits to set sail on a new adventure to find the other lost tribes of the sea beyond her side of the reef. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Francis Ford Coppola has definitively proven that no amount of wine country monies can be thrown at a 30 year passion project to justify wasting two extra long hours of your life aging away in an IMAX theater struggling to watch it. Megalopolis is so bad it couldn't make it's money back in a game of tic tac toe against a blind man. A Megalodon of a mess, Coppola beats his audience over the head with his shallow progressive messaging literally carved in stone connecting some beautiful cinematography and provocative performances with some of the ugliest CGI and convoluted story progression I've ever experieneced. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Francis Ford CoppolaWriters: Francis Ford CoppolaStarring: Adam Driver, Nathalie Emmanuel, Laurence Fishburne, Shia LeBeouf, Aubrey Plaza, Jon Voight, Giancarlo Esposito, Dustin HoffmanRuntime: 2 Hours 18 MinutesSynopsis: Set in New New Rome, an idealistically driven, widowed scientific genius with the power to control time pushes back against the regressive regime in an attempt to create a golden utopia causing a violent social and political uproar. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
MaXXXine is the ending to a trilogy we welcomed but didn't ask for, and it almost took the director from Ti West to You Tried West. Luckily, Pearl and X are just so strong that it pretty much makes MaXXXine the 3rd Back to the Future film. A film that's just as far from worthless as it is from worth it, mainly due to a nothing new here story, an unearned reveal, but still somehow a variety of perfectly casted supporting role performances. MaXXXine gets so many things right yet still does nothing to push the genre forward. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Ti WestWriters: Ti WestStarring: Mia Goth, Kevin Bacon, Sophie Thatcher, Moses SumneyRuntime: 1 Hour 44 MinutesSynopsis: A porn star lands her first big Hollywood break while being black mailed by a dirtbag PI who knows her dark X past, and stalked by an L.A. serial killer murdering everyone close to her. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Alien Romulus is proof that anything with a Xenomorph in it should only allow Ridley Scott on set as a Producer. It's a much needed return to the Xenomorph-verse that gives the audience nonstop nerve-wrecking action, just enough sci to fi, nostalgic easter eggs, and fun elements adapted directly from the more recent Aliens videos game like Alien: Isolation. This film does an amazing job if amping up the anticipation for the upcoming FX TV Series, Alien: Earth.Cailee Spaeny fills the shoes of Ripley very well and David Jonsson deserves all the praise for his performance as Andy, an android who gets an upgrade in autonomy. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Fede AlvarezWriters: Fede Alvarez, Rado SayaguesStarring: Cailee Spaeny, David Jonsson, Aileen Wu, Archie RenauxRuntime: 1 Hour 59 MinutesSynopsis: Rain and her android Andy join a group of young workers and attempt to escape their indefinite indentured servitude by boarding an abandoned Weyland-Yutani space station only to discover the station is the home of a Xenomorph with some new toys to impregnate. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Sebastian Stan gives us a complex and riveting performance in this psychological, dark comedy character study, A Different Man, directed by Aaron Schimberg and also staring an arguably Best Supporting Actor performance from Adam Pearson. A Different Man is the Uglies we deserve.Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Aaron SchimbergWriters: Aaron SchimbergStarring: Sebastian Stan, Adam Pearson, Renate Reinsve, Michael ShannonRuntime: 1 Hour 52 MinutesSynopsis: Aspiring actor Edward undergoes a radical medical procedure to drastically transform his appearance. But his new dream face quickly turns into a nightmare, as he loses out on the role he was born to play and becomes obsessed with reclaiming what was lost. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
It's the story of Mufasa and Scar before they scarred us for life as kids over a few catchy bops.Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Barry JenkinsWriters: Jeff NathansonStarring: Aaron Pierre, Kelvin Harrison Jr., Donald Glover, Beyonce, Blu Ivy Carter, Mads MikkelsenRuntime: 118 MinutesSynopsis: The origin story of Mufasa and Scar Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Skincare is a based on the true events of the Dawn Delouise Murder-For-Hire case, starring Elizabeth Banks playing Hope Banks a skincare aesthetician who will stop at nothing to prove her new rival is purposely trying to steal her clients and tank her business. This is one wild and desperate story. Check out our podcast review. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Austin PetersWriters: Sam FreilichDeering ReganAustin PetersStarring:Elizabeth BanksLewis PullmanMichaela Jaé RodriguezLuis Gerardo MéndezNathan FillionRuntime: 96 MinutesSynopsis: With the help of a life coach, a Skincare aesthetician to the Hollywood stars tries to prove a new aesthetician who's just opened a salon across from hers is sabotaging her business and defaming her Brand. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
A young teen becomes addicted to an eerie children's show that opens him up to a deeper internal struggle he spends his whole life running away from. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Jane ShoenbrunWriters: Jane ShoenbrunStarring: Bridgette Lundy-Paine, Justice Smith, Phoebe Bridgers, Fred Durst, Snail Mail, Helena HowardRuntime: 1 Hour 40 MinutesSynopsis: Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
If you're unfamiliar with the plot of Broadway stunner, Wicked, fear not, director Jon M. Chu's (Crazy Rich Asians) big screen adaptation is a splashy note-for-note faithful interpretation of the acclaimed musical. If your gateway is Gregory Macguire's book by the same name, however, expect more committment to the musical's book than his source material.Wicked, a prequel to the Wizard of Oz, tells the backstory of the classic's central villian Elphaba, The Wicked Witch of the West and it's symbol of goodness, Glinda the Good Witch of the South. It's story opens with a Glinda arriving in Munchkinland in a glimmering bubble. To confirm for the citzenry that the witch is dead. It's a majestic start complete with a spectacular ensemble number. Under Chu's stewardship OZ comes to sparkling life. There are recognizable set pieces as well as a more expansive look at the land of OZ. The film adaptation retains the "PG" light touch by inferring much more than showing the darkness decending upon the land. Cynthia Erivio and Ariana Grande-Butera are hands down a triumph as the film's Elphaba and Glinda. Both their vocals and dramatic interpretation of the characters distinguish their performances previous iterations. In this meticulously built world the duo lead their talent-packed ensemble to create one of the best film-adaptation of a stage production ever. Wicked offers plenty for those longing for bright and colorful escapism. You'll laugh, gasp, and be amazed at each cinematic success (perhaps enough to forgive its varied visual effects shortfalls). The narrative leans heavily on its cast for its emotional peaks and valleys and they than more ably respond. Christopher Scott's propulsive choreography delivers again and again. Erivo's blend of stoicism and defensive boldness aid a growing necessary edge. While Grande's pitch perfect switches between self-absorption, ambition, and perky benevolence adds the bounce and flair. Each balancing out the other in a delightful chemistry. But Holzman and Fox' decision to add only hints of the novel's deeper themes, and darker direction, expose a script that fails to fully serve the narrative underpining all the visual pizzazz. Every shallow plot point and thin (secondary) character development between musical numbers turns into glaring oversight in the spotlight of Wicked's exhaustive runtime. So. if you were hoping that 2 hours 40 minutes - and cutting the story into two films - meant more (extremely important) parts of Macguire's Wicked would find its way into the screenplay, well then you'll likely come away disappointed. Perhaps the second half of this story coming November of 2025 will fill in those gaps. But despite this missed opportunity hindering Wicked from truly defying gravity, its technical prowess behind and in front of the camera are worth a watch. Chu's sprawling production brings this origin story to life such verve and vibrancy your inner song-and-dance loving kid will not leave dissatisfied.Listen as Ro and Phenom discuss Wicked and somehow manage to keep it spoiler-freeWicked opens in theaters Friday, November 22.♦♦Director: Jon M. ChuWriters: Winnie Holzman, Dana FoxStarring: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, Jeff GoldblumRuntime: 2 Hour 40 MinutesSynopsis: Misunderstood because of her green skin, a young woman named Elphaba forges an unlikely but profound friendship with Glinda, a student with an unflinching desire for popularity. Following an encounter with the Wizard of Oz, their relationship soon reaches a crossroad as their lives begin to take very different paths.Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness?
Planet Janet is a cute little coming of age drama following the complex relationships of single mother Janet played by Julianne Nicholson as her daughter Lacy played by Zoe Ziegler tries to connect with her. Both actresses do a great job, but the story itself just doesn't hit and ultimately drags on as this woman seems to be stuck her own self loathing. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Annie BakerWriters: Annie BakerStarring:Julianne NicholsonZoe ZieglerElias KoteasWill PattonSophie OkonedoRuntime: 113 MinutesSynopsis: Follows the awkward relationship with a dysfunctional, narcissistic mother and her quirky but calm and more mature 11 year old daughter as people come in and out of the mother's life. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
It's What's Inside is a visual and visceral psychological rollercoaster playing out on screen over 103 minutes of just wacky cinematography and mind games. With a goofy ensemble of untrustworthy friends, playing an insanely dangerous game this story goes every which way but right. Director: Greg JardinWriters: Greg JardinStarring: Brittany O'Grady, James Morosini, Gavin Leatherwood, Nina Bloomgarden, Alycia Debnam-Carey, Madison Davenport, Devon Terrell, David ThompsonRuntime: 1 Hour 43 MinutesSynopsis: When a group of mismatched friends meet up the night before a wedding for one last hoo-rah, an estranged friend from their past randomly shows up to help them celebrate with a freaky out of body mind game he's invented. Things quickly spiral out of control when his true intentions are revealed, while animosity and old grudge amongst members of the group erupt and nobody is who they claim to be. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Our new favorite demonic jester is back and has found itself a new host to torture. Naomi Scott displays an amazingly horrified performance as Skye Riley, a pop star struggling to keep her grasp on reality in the face of grinning figures who do anything but give her something to smile about. Smile 2 picks up right where we left off in the last film, with bigger set pieces, interesting cinematography choices, and many creepy performances all set to a bop of a soundtrack. Listen as Ro and Phenom discuss Smile 2 and somehow manage to keep it spoiler-freeSmile 2 opens in theaters Friday, October 18th.♦♦Director: Parker FinnWriters: Parker FinnStarring: C Noami Scott, Rosemari DeWitt, Lukas Gage, Peter Jacobson, Raul CastilloRuntime: 2 Hours 9 MinutesSynopsis: While preparing for a new tour after a tragic accident, fresh out of rehab, a young pop star witnesses a horrific event putting in motion a cycle of hallucinations brought on by a Smiling demonic entity that can take the form of anyone. As her time and grasp on reality is running out, Skye Riley desperately tries to regain control of her life as it terrifyingly spirals out of control.Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director Josh Cooley's (Toy Story 4, Inside Out) Transformers One weaves the vast (and varied) backstorys and lore into a top-tier re-introduction that sweeps away all previous attempts to repackage this longstanding property. And the best part? This orign story blends unique characters and set peices into a engrossing friends-to-enemies journey into exciting, yet familiar, galaxy-spanning territory. Live-action could never. Seriously, Transformers One follows best friends, a low-ranking minors, Orion Pax (Chris Hemsworth) and D-16 (Bryain Tyree Henry) as they uncover their society's hidden history and the real reasons for its class divisons. Each revelation sets the duo on collision course with their enemies, and each other. Whether you're steeped in the lore, a fan of the live-action franchise, or a coming in with zero knowledge, Transformers One is a vivid adventure certain to capture - and keep - your attention until the credits roll.Listen and Ro and DPalm discuss how Cooley - and this suprisinging fitting A-list voice cast - perfectly threads the action-comedy needle turning an epic bromance gone wrong into an incredibly immersive parable about liberation, friendship, and the cost of losing faith. Transformers One released in theaters September 20, 2024 and arrives on VOD and digital Tuesday, October 22, 2024. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter:@TheMTRNetworkOur shirts are now on TeePublic: https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Uglies doesn't really land anywhere and should be left to float through space in timeout for eternity. Director: McGWriters: Jacob FormanStarring: Joey King, Keith Powers, Chase Stokes, Brianne TjuRuntime: Too Damn LongSynopsis: In a world wear your un-botched face is deemed ugly, a child awaits her celebrated body dysmorphia glow-up. But, when a friend goes missing and she's tasked to help find her, she embarks on a meaningless journey to misunderstand what beauty really is or isn't or could be. Maybe. Or maybe this whole movie is just dumb and we are all now dumber for watching it. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
This review is for people who think they might want to give Platform 2 a chance after seeing the first film, or even if they have never seen the first film. Listen as Ro and Phenom discuss The Platform 2 and somehow manage to keep it spoiler-freeThe Platform 2 streaming now on Netflix.♦♦Director: Galder Gaztelu-UrrutiaWriters: David Desola, Pedro Rivero, Galder Gaztelu-UrrutiaStarring: Hovik Keuchkerian, Milena SmitRuntime: 1 Hour 41MinutesSynopsis: In a dystopian vertical prison with 333 floors, a women voluntarily commits herself after a tragic accident. Insanity corrupts as a group of zionist enforcers called Loyalists descend through the prison holding court and enacting brutal, inhumane justice on Barbarian who violate the food rules. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
If a random couple you met on vacation invited you to their rural area farm to stay with them, would you accept and also bring your kids? Speak no Stupid asks this of it's audience and shows you exactly why it's a diabolically idiotic idea.McAvoy gives the audience an amazing performance as the host from hell, in this The Shinning inspired psychological cat and mice escape thriller. If you enjoy playing with you food, you'll enjoy this dish. Listen as Ro and Phenom discuss Speak No Evil and somehow manage to keep it spoiler-freeSpeak No Evil opens in theaters Friday, November 22.♦♦Director: James WatkinsWriters: James WatkinsStarring: C James McAvoy, Mackenzie Davis, Aisling Franciosi, Alix West Lefler, Dan Hough, Scoot McNairyRuntime: 1 Hour 50 MinutesSynopsis: An American couple suffering from marital issues is invited to vacation at a rural farmhome of a world renowned British Doctor and his wife in Devon, England. The family quickly realizes after meeting the couple's mute son, things are not what they seem with this Doctor.Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
A melo psychological thriller that will keep you wondering who's really losing their mind and their grip on reality until the very end. Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc♦♦ Director: Benoit DelhommeWriters: Sarah ConradtStarring:Jessica ChastainAnne HathawayJosh CharlesAnders Danielsen LieRuntime: 94 MinutesSynopsis: When two best friend neighbors share a tragic loss, their bond is broken as guilt and paranoia causes them to suspect the other of menacing behaviors. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Quick Take: Deadpool and Wolverine is the unlikely team-up that makes all Deadpool’s most fervent wishes come true. From the irreverent fourth-wall break that sets the stage for both the rather straightfoward quest to come and hyper-meta poke at the superhero character’s past as prologue. Longtime collaborators Ryan and Reynolds and director Shawn Levy enter the MCU with a song in their hearts and sway in their hips. If you’re expecting being under the Disney mantel to tone down the violence, raunchiness, or Deadpool’s sexpest ways, go on ahead and put that notion aside. Reynolds and the rest of the writing team cagily stare the Disney “no-no” list in the face then kick it in the shin.
Despite some pacing issues, unfortunate visual ticks, and more than a few songs that stay past far past their usefulness, Deadpool and Wolverine tells a slippery story that underutilizes its original ensemble choosing instead to traverse the multi-verse as only Deadpool can. The narrative holding this buddy comedy being suprisingly straightforward it refuses to abandon the cheekiness what this franchise is best known for. So, if you’re looking for a Deadpool adventure that’s unabashedly madcap and makes the most of its leads then you’re in the right place.
♦♦♦
Director: Shawn Levy
Writers: Ryan Reynolds, Rhett Reese, Paul Wernick, Zeb Wells, Shawn Levy
Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew MacFadyen,
Runtime: 2 Hour 7 Minutes
Synopsis: Deadpool’s peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse.
Deadpool & Wolverine opeans nationswide (US) theaters July 26, 2024
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Quick Take: Furiosa: A Mad Max Saga is both the origin story Citdal renegade, Furiosa, and volatile trek across the wasteland. The fifth installment revolves around laying the ground work to how, the Furiosa of Mad Max: Fury Road came to be and the unveiling of the major settlements across the wasteland. Furiosa throttles down the action, just a notch, to make room to understand the true dysfunction of this dystopian hellscape. In typical George Miller fashion, chronology matters less than the homeretic journey through the world of Max. It’s bold, violent, and emotionally complex. The trails and tribulations of Furiosa are equally matched by the havoc and upheaval between the wasteland factions. Buckle up because Furiosa: A Mad Max Saga’s one hell of a ride.
Director: George Miller
Writers: George Miller, Nick Lathouris
Starring: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne
Runtime: 2h 28m
Synopsis: Snatched from the Green Place of Many Mothers, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Richard Donner’s The Omen (1976) follows American diplomat Robert Thorn (Gregory Peck) as he investigates his adopted son’s, Damien, background once tragedy befalls those close to him. Thorn’s quest for answers ultimately leads him to Italy and the unsettling revelation that his son may be the Antichrist. Sadly the subsequent installments never quite duplicated the impact of the first chapter in this genre-disrupting religious horror saga. So he idea of a compelling legacy-prequel seems like a non-starter. Well, director and co-writer Arkasha Stevenson would like a word. Because, The First Omen is an absolute master class on how to create a stunning in-canon prequel to a horror classic.
Fresh Eyes Brings Fresh Perspective on the HorrificStevenson’s feature debut follows Margaret (Nell Tiger Free), a young American novitiate, as she arrives in Rome, Italy (1971) to complete her probationary period at a Roman orphanage before taking vows. For those new to the Omen universe, this prequel is a fresh-eyed, gnarly lure into the dark and twisted world of religious horror and one of the foundational storylines in the genre. Margaret encounters Carlita (Nicole Sorace), a troubled orphan, living in practical isolation. Reminded of her own turbulent childhood, she befriends the young girl in the hopes of acting as her champion. As increasingly disturbing happenings swirl around Carlita, Margaret stumbles into a dark and gruesome unfolding conspiracy. Just as Margaret connects with Carlita, a rogue priest (Ralph Ineson) approaches, demanding her help. He’s on the hunt for proof of a plot by a corrupt sect within the Church. Margaret soon second-guessing herself. Nowhere is safe.
Unlike in The Omen, the women carry the bulk of the plot development. Tiger Free’s Margaret is a convicing mix of ingénue and fervent acolyte. Shifting the story progression to her point of view adds layers to the terror of being in a new city, trying to integrate into an established social dynamic and feeling unsettled by a sense of danger dogging your every step. Stevenson relies less on the obvious jumpscares and more on discomfort, paranoia and the pay off is utterly next level.
The First Omen breathes menacing new life into religious horror Under Stevenson’s direction The First Omen comfortably resides at the intersection of fanatical secret societies and unholy dark arts. From the period-accurate production design and costuming, to the religious iconography and symbolism deftly sets the stage for a harrowing spiral into the heart of darkness with precision. Cinematographer Aaron Morton employs an earthy color palette and savvy use of light, shadow, and scene staging ably assisting Stevenon’s unabashed commitment to blending its paranoid-thriller and supernatural horror roots into a trauma-inducing story. Through a combination of awkward physicality, unworldliness, and bouts of inexplicable agitation Tiger Free creates a captivating picture of a woman pushed to the absolute brink. There’s an increasingly demented energy of danger driven by the score and sound desighn that, alongside her character development, that acts as razor then thin tether to realty and a visually entralling fever dream.
Listen as Ro and special guest Richard Newby discuss (spoiler-free) the thematically rich and incisive allegories baked into The First Omen. The First Omen opens in theaters, April 5, 2024
Director: Arkasha Stevenson
Writers: Tim Smith, Arkasha Stevenson, Keith Thomas
Starring: Nell Tiger Free, Tawfeek Barhom, Sonia Braga, Ralph Ineson, Bill Nighy
Runtime: 2 Hours
Synopsis: A young American woman is sent to Rome to begin a life of service to the church, where she encounters a darkness that outs her own faith in jepardy,
Like what you hear? Don’t miss an episode. Subscribe today.Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Quick Take: Dev Patel‘s directorial debut, Monkey Man, is a full-throttle, heartbreaking, brutal quest for vengeance. Patel and his co-writers weave ancestral lore and a biting challenge to the socio-political status quo into a underdog tale that wears its cinematic influences and cultural aesthetic on its sleeve. What starts as tale of a street-smart grief-striken man living only for revenge slow morphs into the journey of a man who learns to stand for something greater than himself. Monkey Man pulls no punches and takes no prisoners. Although far from technically flawless and clearly not attempting to reinvent the revenge tropes, in Monkey Man Patel firmly establishes his ability to straddle the line of action star and beguiling leading man with an almost supernatual grace.
Come for the fights and stay for the intense character arc.
Listen as Phenom and Ro discuss (spoiler-free) just how brash Monkey Man is from start to finish. Monkey Man opens (wide) in theaters, April 5, 2024
Director: Dev Patel
Writers: Dev Patel, Paul Angunawela, John Collee
Starring: Dev Patel, Sharlto Copley, Pitobash, Vipin Sharma, Sikandar Kher, Sobhita Dhulipala, Ashwini Kalsekar, Adithi Kalkunte, Makarand Deshpande
Runtime: 1 Hour 53 Minutes
Synopsis: After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.
Note for podcast episode: Monkeypaw Productions and Jordan Peele came on board towards the end of shooting.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Denis Villeneuve
Writers: Denis Villeneuve, Jon Spaihts, Frank Herbert
Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Josh Brolin, Austin Butler
Runtime: 2 Hour 46 Minutes
Synopsis: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family.
Kriss, Ro, Brandon review Dune Part 2.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Quick Take: Madame Web should’ve been a fun and fantastical origin story for a dynamic comic character with real spin-off potential. Instead it’s a mishmash of barely interesting plot points, disjointed visual trickery, and underwhelming performances. More than anything else, Madame Web proves it’s not enough to throw all the “expected” set pieces in a movie, you actually need to know what to do with them.
**
Official Synopsis: Cassandra Webb develops the power to see the future. Forced to confront revelations about her past, she forges a relationship with three young women bound for powerful destinies, if they can all survive a deadly present.
Director: S.J. Clarkson
Writers: Matt Sazama, Burk Sharpless, Claire Parker, S.J. Clarkson
Starring: Dakota Johnson, Sydney Sweeney, Isabela Merced, Celeste O’Connor, Tahar Rahim, Mike Epps, Emma Roberts, Adam Scott
**
Madame Web, Sony’s third standalone spin-off of a Marvel comic character, opened the door for the studio to fully reimagine the origins of its titular character and set the stage for robust worldbuilding in its Spider-Man Universe. The Cassandara Webb of the comics is an elderly woman, with a neuromuscular disease, connected to a life support system that resembles a spider web. She’s fully in control of her clairvoyance and precognition. Webb’s an exceptionally powerful mutant and infrequent supporting character in the Spider-Man comic book series. There’s very little known of her beginnings. When carving a lane for future stories, it doesn’t get much better than having firm grounding in source material but an otherwise clear field to play.
There’s something to be said for nostalgia in movie styling (we won’t talk about those reshoot blunders). Setting a story in the recent past opens the way for the sleight-of-hand of soft revisionist storytelling often beneficial when telling a story with supernatural elements. For audiences, everything feels familiar and contemporary but the edges are just blurry enough to make way for a world full of magic, mystery, and untold danger existing alongside the mundane. What Madame Web gets right(ish) is blending an intentionally pulp-esque vibe into a recognizable version of the contemporary New York City circa 2003. The story moves at a digestible (and thankfully relatively quick) pace of a thriller. So it’s a shame that absolutely nothing else; not direction, editing, character arcs, visual effects, cast performances, or story direction, amounts to more than a “comic movie” checklist neither the screenwriters nor the director knew how to navigate.
The movie opens with a flashback, because of course it does, of a pregnant Constance Webb (Kerry Bishé) deep in the Peruvian Amazon in 1973. She’s on the hunt for a spider said to have miraculous healing properties. She’s whip smart, driven, and desperate. So desperate she misses all the glaring red flags that her impatient head of security, Ezekiel Sims (Tahar Rahim), isn’t really there to protect her waving in her face. Through hamfisted dialogue, a lore info-dump about a secretive indigenous people with powers, known as Las Aranas, (that would’ve carried more weight as naturally occurring revelations), and scenes of a furtive tent search practically lifted from Tomb Raider, it’s obvious Sims’ intends to acquire the spider for his own ends. The action sequences that follow shortly after the expected doublecross are a reminder that staging and filming action and stunts is a skill not all directors possess. Director S.J. Clarkson relies on quick cuts, odd camera angles, and bouncing shots of rustling foliage and blurred glimpses of people leaping from great heights to simulate action and fast-moving “spider people” traveling through the trees coming to the rescue. It’s the first sign, of many, that Madame Webb’s practical and visual effects are a detriment to an already poorly conceived storyline. And although the flashback is a smart entry point for Webb’s origin story, it’s also the movie’s first failure.
Ezekiel Sims, a character also pulled from the comic Spider-verse, and his connection with Constance Webb offer a rational way to introduce the various mystical rites and ceremonies associated with the arachnid-based superpowers. In the comics he’s proven to be knowledgeable about spider-derived powers and resourceful, if selfish. His powers are stolen and that theft carries far-reaching consequences. But instead of taking a beat to really dig into both his background and the society whose secrets he’s hunting, Madame Web sloppily paints Sims with an imminent “villain of the week” energy and yada-yadas Constance Webb’s first (and last) contact with Las Aranas; reducing it to a failed attempt to save her life that manages to spare her child.
Even without knowing Sims’ background – or his importance – in the comics, it’s painfully obvious that his character’s poorly thought out. The script written by Clarkson, Matt Sazama, Burk Sharpless and Claire Parker never fleshes out his motivations beyond increasingly annoying rants about needing to “protect” all he’s built. The storyline sheds absolutely no light on how he escaped the jungle without incident thereby wasting an opportunity to: 1) reveal more about Las Aranas and/or the rites involving the spider and 2) explain how and why this French-speaking mercenary is even in Peru hunting superpowers to begin with. This failing, regrettably, is a hallmark of all the character development and worldbuilding from this point forward. Brace because it becomes intrusively tiresome. There are other important elements along the way treated as throw-aways moments rather than touchstones essential to sticking the landing in the second and third acts.
The timeline soon jumps to 2003 and a thirty-year-old Cassandra Webb (Dakota Johnson). Cassie’s an EMT with attachment issues and a fast-approaching future as a Manhattan cat lady. She’s cynical, reckless, and, after (an unexplored) childhood in foster care, purposefully emotionally unavailable. Everything she knows about her mother fits in a suitcase kept under her bed. Johnson’s portrayal of Cassie does a barely serviceable job of embodying a woman who actively avoids personal connections outside work. There are a few scenes – and relationships – intended to be both Spider-verse easter eggs and demonstrate Cassie actually does care about her circle of friends particularly her EMT partner Ben Parker (Adam Scott) and his family despite her aversion to fully being present as a friend.
Sadly, Johnson’s perpetual smoothed-faced delivery results in an emotionally dead and inauthentic portrayal. Her middling efforts can’t overcome the script’s flimsy dialogue, joyless quips, glaring worldbuilding inconsistencies (like a New York cab without lojack or CPR that never includes clearing an airway) and constantly unfinished looking and/or awkwardly executed visual effects or stunts. Johnson lacks the range to play a character that simultaneously requires make believe to bring the story/world to life and the ability to make us believe in them.
Compounding the errors baked into the opening, Madame Web skips over everything related to showing how Ezekiel Sims actually fits into the world in the present day. Beyond a few moments meant to show the lengths he’ll go to preserve his power; including plotting murder based solely on a vision. His entire part of the story lacks depth. That might not be so unforgivable had the time been spent adding texture to this world through the story arcs of the teenage (future) dynamos: Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced), and Mattie Franklin (Celeste O’Connor).
But again, Clarkson barely expends the energy to make these characters two dimensional. Every bit of their portrayal feels sketchy; paint-by-numbers (from bad tween flicks) at best. Which is a real shame because Merced, Sweeney, and O’Connor bring the only chemistry and dynamic energy to be had. Each does what they can to make these shallow personalities even slightly believable in spite of spouting insipid one-liners, obnoxious teen antics, and being reduced to multiple instances of over-explaining to make up for “the show” that never happens. Unfortunately their contributions to the plot were never going to amount to anything noteworthy. Their storylines are woefully threadbare and not strong enough to weave into anything beyond muddled “side characters.”
So, transitioning from the, Cassie’s spidey senses activate, portion of this adventure to Cassie not only embracing her powers but becoming the type of person who selflessly leaps in to save three teenage strangers, never really clicks the way it needs to. That misfire leads to an entire latter half that requires a level of belief suspension not even amnesia can accomplish. The stakes don’t feel real. The journey lacks the kind of compelling grit to keep you invested and rooting for anyone’s survival. This might be the first time that including a training montage – instead of a wholly unbelievable and lackluster trip back into the jungle – might’ve served to better bridge that gap. But alas, no. The end result is a tangled and fragmented narrative that trips over its own plot holes on a joyless slog to nowhere.
The anticipatory energy of the movie’s final moments is entirely unearned. No one’s buying this as the origin story for a person meant to assume the role of mentor and powerful oracle to those destined to wield powers in the Spider-verse. Because Madame Webb’s built on the type of shoddy character development and disjointed storytelling often blamed on the “shortcomings” of comics as source material. But in reality, is indicative of a weak pen-game, a complete lack of respect for the genre and no vision, creativity, or talent behind the scenes.
**
Distributor: Sony/Columbia
Runtime: 1 Hour 57 Minutes
Release date: February 14, 2024
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak
@BookBlerd@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Director: Todd Haynes
Writers: Samy Burch, Alex Mechanik
Starring: Natalie Portman, Charles Melton, Julianne Moore, Gabriel Chung, Andrea Frankle
Runtime: 1 Hour 57 Minutes
Synopsis: Twenty years after their notorious tabloid romance gripped the nation, a married couple buckles under pressure when an actress arrives to do research for a film about their past.
2023 was really the year of the terrible parent when it comes to movie. In May December, Julianne Moore and Natalie Portman have a “terrible off” to see which one plays the worst person. Charles Melton’s character unfortunately is the one taking the brunt of just how terrible those other characters are. This is a very solid film that’s bound to make your skin crawl because of just how realistic it is. The gaslighting and victimization that Julianne Moore’s character Gracie does in this film is top notch. You’re definitely going to need to take a shower after this one.
Listen as the crew review May December.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: William Oldroyd
Writers: Luke Goebel, Ottessa Moshfegh
Starring: Thomasin McKenzie, Shea Whigham, Anne Hathaway, Sam Nivola
Runtime: 1 Hour 37 Minutes
Synopsis: A woman’s friendship with a new co-worker at the prison facility where she works takes a sinister turn.
Who doesn’t love a “leave them crazy white women alone” film? Eileen is a great film that uses the alway fantastic Anne Hathaway perfectly by pairing her up with Thomasin McKenzie who does a great dead-face, on the cusp of crazy (right about to head over the deep end) young woman looking to impress. Eileen is short, simple and hits all the right notes. Listen as the crew review this film.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Ava DuVernay
Writers: Ava DuVernay, Isabel Wilkerson
Starring: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash, Emily Yancy, Finn Wittrock, Victoria Pedretti
Runtime: 2 Hour 15 Minutes
Synopsis: The unspoken system that has shaped America and chronicles how lives today are defined by a hierarchy of human divisions.
The review crew discuss the latest film from Ava DuVernay, Origins.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Paul King
Writers: Simon Farnaby, Paul King, Roald Dahl
Starring: Timothée Chalamet, Gustave Die, Murray McArthur
Runtime: Hour Minutes
Synopsis: With dreams of opening a shop in a city renowned for its chocolate, a young and poor Willy Wonka discovers that the industry is run by a cartel of greedy chocolatiers.
The crew review their second musical of the year, Wonka.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Takashi Yamazaki
Writers: Takashi Yamazaki
Starring: Minami Hamabe, Ryunosuke Kamiki, Sakura Ando
Runtime: 2 Hour 4 Minutes
Synopsis: Post war Japan is at its lowest point when a new crisis emerges in the form of a giant monster, baptized in the horrific power of the atomic bomb.
The Crew reviews Godzilla Minus One.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Sean Durkin
Writers: Sean Durkin
Starring: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany
Runtime: 2 Hour 12 Minutes
Synopsis: The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s.
The Iron Claw has an absolutely fantastic cast and set of performances and tells the very tragic tale of the Von Erich family. This is definitely a heartbreaking story but it’s also a script that doesn’t do the full story justice. There’s a lot of focus on the tragedy that seems to follow this family around but does so by sacrificing a lot of the context and story. To be fair that context would probably make the story even more heartbreaking but it would have taken the Iron Claw from a good movie with great performances, to a great movie with even greater performances. This is the difference between a film that gets award season buzz for an actor (e.g. Zac Efron) and a movie that gets the full award season push for being an all around great film.
Listen as Ro, Brandon and Kriss dive in more about The Iron Claw.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Yorgos LanthimosWriters: Tony McNamara, Alasdair GrayStarring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy YoussefRuntime: 2 Hour 21 MinutesSynopsis: The incredible tale about the fantastical evolution of Bella Baxter; a young woman brought back to life by the brilliant and unorthodox scientist, Dr. Godwin Baxter.Kriss, Ro & Brandon discuss and review the film Poor Things. There's a lot to really enjoy about this film, chief among them is Emma Stone once again showing what an outstanding actress and performer she is. It's not a slight to the other performers in this film to say that Emma Stone carries this film because the story truly revolves around her character, Bella Baxter. But what Emma Stone is asked to do and is able to do is what makes this film. Not too many actresses could have pulled this off and she does it in a brilliant way. This film isn't perfect but is definitely a great modern telling of the story of Frankenstein (or rather the aftermath of the Frankenstein story) that is worth checking out. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Bishal DuttaWriters: Bishal Dutta, Ashish MehtaStarring: Megan Suri, Neeru Bajwa, Mohana Krishnan, Betty GabrielRuntime: 1 Hour 39 MinutesSynopsis: An Indian-American teenager struggling with her cultural identity has a falling out with her former best friend and, in the process, unwittingly releases a demonic entity that grows stronger by feeding on her loneliness.Kriss, Ro and Brandon discuss the film It Lives Inside. While 2023 has been a good year for horror films, It Lives Inside represents the rare miss of a film that should have been and could have been so much more. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Michael MannWriters: Troy Kennedy Martin, Brock YatesStarring: Adam Driver, Shailene Woodley, Giuseppe FestineseRuntime: 2 Hour 4 MinutesSynopsis: Set in the summer of 1957, with Enzo Ferrari's auto empire in crisis, the ex-racer turned entrepreneur pushes himself and his drivers to the edge as they launch into the Mille Miglia, a treacherous 1,000-mile race across Italy.Once you realize that Michael Mann was a producer on Ford v Ferrari, the "I can do it too" mentality that oozes out of Ferrari makes sense. The problem is, all the charm and intrigue that Ford v Ferrari had is completely missing from Ferrari. Adam Driver is a great actor who is routinely misused by directors and scripts and Ferrari is no exception. Christian Bale and Matt Damon played well off of each other in Ford v Ferrari and made for a compelling story. In Ferrari, Driver is not only boring but Penélope Cruz is criminally underused, leaving Driver without a strong second to play off of. That then leads to the second issue which is there are about 3 different direction this film could have gone which would have made for a great movie and instead it attempts all three directions half heartedly. The best direction this film could have stuck with would have been to follow Cruz's Laura Ferrari and made a much more interesting movie. Instead she's presented as a bitter woman who just can't understand why her great man of a husband is in love with another woman and fathered another child. There jThe other surprising thing about this film is how bad it looks in some action scenes. The crashes in this film are supposed to be big and draw you in. Instead, they're almost comical in how poorly they're shot. Even without looking hard, you can see where stunt drivers have been replaced with crash test dummies or poorly used effects to show gruesome after effects. It's all just very poorly done.Ferrari is a forgettable film. Honestly, in the end just go rewatch Ford v Ferrari if you want this type of film.Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Blitz BazawuleWriters: Marcus Gardley, Alice Walker, Marsha NormanStarring: Fantasia Barrino, Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey HawkinsRuntime: 2 Hour 20 MinutesSynopsis: A woman faces many hardships in her life, but ultimately finds extraordinary strength and hope in the unbreakable bonds of sisterhood.Ro, Kriss and Brandon review the 2023 adaptation of The Color Purple. There is a wild swing in opinions and views on this film. It's definitely a "your mileage may vary". Listen as the crew gives their opinions (and jokes) on this film. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Hayao MiyazakiWriters: Hayao Miyazaki Starring: Runtime: 2 Hour 4 MinutesSynopsis: Already acclaimed as a masterpiece in Japan, Hayao Miyazaki’s new film begins as a simple story of loss and love, and rises to become a staggering work of imagination.Already acclaimed as a masterpiece in Japan, Hayao Miyazaki’s new film begins as a simple story of loss and love, and rises to a staggering work of imagination. Coming after the maker of Spirited Away and Princess Mononoke announced his retirement, The Boy and the Heron is an especially precious gift, and possibly the final film we will see from one of cinema’s greatest artists.As a boy, Miyazaki read Genzaburo Yoshino’s novel How Do You Live? and embraced it as his favourite. This film was initially announced as an adaptation of that book, but Miyazaki uses it instead as one of many layers in a dazzling tapestry that draws even more upon his own youth.During the Second World War, young Mahito Maki (Soma Santoki) suffers a heartbreaking family tragedy and must move immediately to the countryside, where his father (Takuya Kimura) works for a family making planes for Japan’s military, as Miyazaki’s own father did.Isolated, Mahito begins exploring the mysterious landscapes and encounters a grey heron, persistent in its presence. The boy also happens upon an abandoned tower. Curious, he enters. From there, The Boy and the Heron expands into a wondrous, often-startling phantasmagoria.Visually, the film shows Miyazaki at the height of his powers, filling the frame with gorgeous compositions, vibrant colour, and arresting movement. As it draws you deeper into its mysteries, The Boy and the Heron becomes richer, stranger, and more profoundly beautiful. This is a singular, transformative experience in film, and not to be missed. Everyone knows that Kriss doesn't watch anime but thanks to the Toronto Film Festival and the pre-festival buzz that Hayao Miyazaki's latest Studio Ghibili film was receiving, Kriss added The Boy and the Heron to his TIFF coverage list. And the film did not disappoint. Even for those that do not typically gravitate to anime or Studio Ghibili films, this film will definitely be relatable in its themes around grief, finding oneself and what it means to be a "good person". Another thing that works very well for this film is the time period around when this film takes place. Set during the Pacific War during World War 2, there are a lot of subtle (or not so subtle depending on one's understanding of history) that set a much darker and grim tone for this film. That understanding of some of the background action and characters only serves to make The Boy and the Heron even more of an intriguing and engaging films.Image credit: Courtesy of TIFFThere have been a lot of great animated films this year but The Boy and the Heron might be one of the best looking films of the year. Audiences should definitely seek out IMAX showings of this film where possible. Even without IMAX, the film is absolutely stunning and pushes the bar higher for what audiences should demand from animated film visuals.The Boy and the Heron has received a lot of pre-festival buzz and it's all well worth it. Listen as Kriss, Ro and Brandon discuss The Boy and the Heron and dive deeper into the film and what makes it so good.The Boy and the Heron is now playing in US theaters.Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.netFollow us on Social Media:MTRNetworkMTRNetwork@InsanityReport@TheMTRNetwork
Director: Cord JeffersonWriters: Cord Jefferson, Percival EverettStarring: Jeffrey Wright, Tracee Ellis Ross, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Issa Rae, Sterling K BrownRuntime: 1 Hour 57 MinutesSynopsis:Starring Jeffrey Wright in one of his most beautifully nuanced performances, American Fiction is both a wickedly smart satire about the commodification of marginalized voices and a bittersweet portrait of an artist forced to re-examine the terms of his integrity.Thelonious “Monk” Ellison (Wright) is a respected author and professor of English literature. But his impatience with his students’ cultural sensitivities is threatening his academic standing, while his latest novel is failing to attract publishers; they claim Monk’s writing “isn’t Black enough.” He travels to his hometown of Boston to participate in a literary festival where all eyes are on the first-time author of a bestseller titled We’s Lives In Da Ghetto, a book Monk dismisses as pandering to readers seeking stereotypical stories of Black misery. Meanwhile, Monk’s family experiences tragedy, and his ailing mother requires a level of care neither he nor his trainwreck of a brother (Sterling K. Brown) can afford.One night, in a fit of spite, Monk concocts a pseudonymous novel embodying every Black cliché he can imagine. His agent submits it to a major publisher who immediately offers the biggest advance Monk’s ever seen. As the novel is rushed to the printers and Hollywood comes courting, Monk must reckon with a monster of his own making.Adapted from Percival Everett’s novel Erasure, Cord Jefferson’s directorial debut is a wildly entertaining send-up of our hunger for so-called authenticity. Featuring stellar supporting turns from Issa Rae and Erika Alexander, and a string of cheeky cameos, American Fiction is a timely reflection on the fictions we tell ourselves about race, progress, and community.Out of all the films at the Toronto Film Festival, American Fiction seemed like the one that would be a setup for disappointment. Several big name actors (Jeffrey Wright, Sterling K Brown, Issa Rae, etc). It just reeks of the type of film to draw an audience in but disappoint them. Thankfully, Cord Jefferson does not fall into the trap and makes a very smart, nuanced film that is both funny, serious and insightful all at the same time. American Fiction succeeds where other films like it have failed because it does not try to run away from the point it's trying to make by trying to over-explain its point or cater to the wrong audience. It's a very refreshing take on black art and black family. While some will look at the obvious, over-the-top and quite frankly, funny plot of the film, there is a very nuanced, subtle plot that revolves around the complexities of a black family. American Fiction tackles topics like:Black families and acceptance (or not) of homosexuality in their familyBlack male anger that is directed inward instead of expressed safelyHow the "Black experience" can be the same regardless of income and social statusRespectability politics in Black Artand so many more issuesThis is the film that so many think they're making when they want to tackle some of these concepts but fail. American Fiction manages to sneak in a lot of complex issues while masking it under superficial which is very meta for the plot of this film. This is definitely a must see film.Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.netFollow us on Social Media:MTRNetworkMTRNetwork@InsanityReport@TheMTRNetwork
Capsule Review: Napoleon is unimaginative, uninspired, and unrelentingly dry. The score and sound design are masterful, but Scott expects them to do too much work in this inert bolder of a story. It's doesn't even give good costume drama - and I say that as a lover of costume dramas. Listen as Ro chats with Kriss about how Ridley Scott tricked her into watching a film that turns pivotal historical characters into Looney Tunes caricatures and makes such a criminal waste of Vanessa Kirby that Ro demands Scott fight her. Director: Ridley ScottWriters: David ScarpaStarring: Joaquin Phoenix, Vanessa Kirby, Tahar RahimRuntime: 2 Hours 38 MinutesSynopsis: [Alllegedly] based on the true story of Napoleon Bonaparte, primarily depicting the French leader's rise to power as well as his relationship with Empress JoséphineNapoleon opns in theaters November 22, 2023Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Capsule Review: Wish is a low-key rebellion story told from through the lens of a teen who's sense of safety and optimistic outlook on life crumble. Wrapping a story about challenging the status quo up in an enchanting tale about wishing on a star makes good use of its uneven story book and musical moments. Wish doesn't quite has that ineffiable something that makes a traditional Disney classic but it certainly makes up for it with its self-aware exploratiion of the dangers of idealism. Listen as Ro chats with Kriss about the highs ands lows of Disney Animation's latest, Wish.♦Director: Chris Buck, Fawn VeerasunthornWriters: Jennifer Lee, Allison Moore, Chris BuckStarring: Runtime: 1 Hour 32 MinutesSynopsis: Asha, a sharp-witted idealist, makes a wish so powerful that it is answered by a cosmic force – a little ball of boundless energy called Star. Together, Asha and Star confront a most formidable foe - the ruler of Rosas, King Magnifico - to save her community and prove that when the will of one courageous human connects with the magic of the stars, wondrous things can happen.Wish opens in theaters November 22, 2023Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Capsule Review: Whether or not you're a fan of the originl Hunger Game's trilogy, The Ballad of Songbirds and Snakes is a dark and violent downward spiral into villiany you didn't know you needed. Suzanne Collins (finally) showcases her understanding of dystopian hellscapes. And this adaptation proves it by turning what could feel like a needless return to Panem into a stunningly lush, brutal, and well-crafted tale of how easy it is to abandon "the good" in pursuit of safety. It's a grim reminder that often, cruelty is the point. Watching a young Coriolanus Snow (Tom Blyth) navigate the ruthless intrigue of a post-war Capitol is a brilliant allegory for how the scramble for power ultimately makes spectacles of us all. The Ballad of Songbirds and Snakes is a villan origin story you shouldn't miss. Listen as Ro discusses with Kriss why this a prequel is strong enough, despite a few structural flaws, to stand on it's own and definitely worth seeing. Director: Francis LawrenceWriters: Nia DaCosta , Zeb Wells , Elissa KarasikStarring: Tom Blyth, Rachel Zegler, Peter Dinklage, Jason Schwartzman, Hunter Schafer, Josh Andrés Rivera, Viola DavisRuntime: 2 Hours 37 MinutesSynopsis: 64 years before he becomes the tyrannical president of Panem, Coriolanus Snow sees a chance for a change in fortunes when he mentors Lucy Gray Baird, the female tribute from District 12.The Hunger Games: The Ballad of Songbirds & Snakes opens in theaters November 17, 2023Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
The Marvels brings everything you want in a comic book team-up movie to the table: far-reaching stakes, a dynamic ensemble – here a trio made up of Captain Marvel (Brie Larson), Ms. Marvel (Iman Vellani), and Captain Monica Rambeau (Teyonah Parris) – and high energy adventure rife with action-, tragedy, trauma-bonding, and hilarious shenanigans. It takes a certain eye when pulling the right elements of comic story mechanics and superhero tropes together to design a narrative that has both the emotional inconsistency integral to making room for humor and heartache and a willingness to embrace real but non-linear character development in the midst of what is obviously a universe-shifting mission. The Marvels broadens our understanding of both Carol Danvers/Captain Marvel’s power level and Carol’s emotional core. The scene-stealing Kamala Khan/Ms. Marvel embodies the giddy delight (and danger) of meeting your heroes while also stepping boldly into your purpose. Captain Rambeau is simultaneously the smartest person in the room and an empathic woman coming to terms with her past even as she explores her own emerging superpowers. Anyone saying that director/co-writer Nia DaCosta is anything less than an inspired choice that paid off is lying to you, or perhaps basing their assessment of The Marvels on what they think should’ve been how second installment of Captain Marvels’ journey unfolded or where they decided it was leading the MCU. For the rest of us, Nia DaCosta's The Marvels is a delightfully entertaining reminder that it's alright to laugh as hard as you cry because it's about the journey.Larson, Vellani, and Parris are a charismatic trio with exactly the right chemistry to anchor this highly watchable film. DaCosta rightly embraces their energy to present relatable, yet, distinct types, of women united in purpose but each with their own insecurities and strengths. In DaCosta’s hands Danver’s second outing brings her face-to-face with the fallout of her wartime actions. It’s a savvy antidote to the heavy handed military-mindset of the first movie. The bloody-minded villain here, Kree Suprema Dar-Benn (Zawe Ashton), exists as a direct consequence of Carol’s choices. Dar-Benn’s quest for vengeance leads to the trio’s powers becoming entangled and sets them all on a collision course. Ashton’s performance is an ironic juxtaposition to Captain Marvel because her tunnel vision mirrors the more withdrawn Danvers before breaking her Kree chains. It’s a cold intensity that’s easy to overlook amongst the chaotic action and more outsized emotions of the other women. Some may read it as a weakness of the character design, but others will peep the sly commentary in their byplay. The Marvels lays groundwork for the way beneath the surface of these complex women (as well as the franchise). But don’t expect the story to linger and dig into all the emotional turmoil and revelations. This is the beginning of the journey, and these women have layers. The pace is slightly uneven because a few gags linger overlong. It’s not enough to detract but it makes it obvious how much more there is to be revealed. But The Marvels stays mission oriented and as this trio learns how to function as a cohesive unit - and gives some great close-quarters fight choreography - the details are in the dialogue. So don’t fall out of sync with what’s being said. DaCosta doesn’t hide that there’s a lot to unpack even as the plot worldbuilds. The story beats, however, make it clear it’s not an accident we’re not taking any of those side quests here. The character arcs for each member of the ensemble are complete (and leave you wanting more); allowing the overall narrative to stay on brand with this phase's theme: there’s a reckoning for everyone in offing.The few glitches and hiccups in CGI make it clear that the franchise could still benefit from slowing down production timelimes but it's not enough to discount from the amazing visuals of space and the trans...
Director: George C. WolfeWriters: Julian Breece, Dustin Lance BlackStarring: Colman Domingo, Chris Rock, Glynn Turman, Amel Ameen, Gus Halper, Johnny Ramey, CCH PounderRuntime: 1 Hour 46 MinutesSynopsis: Activist Bayard Rustin faces racism and homophobia as he helps change the course of Civil Rights history by orchestrating the 1963 March on Washington.If there's one thing to take away from Rustin it's that Colman Domingo was the perfect casting choice to play Civil Rights activist Bayard Rustin. For all the flaws of the movie and script (and there are many), Domingo is not one of them. If anything, his performance only serves to be a reminder of how frustrating this movie is. To have a performance like the one that Domingo puts in and then have a script that is uneven and wastes the talents of not only the lead but many of the other outstanding performers in the film is just a cardinal sin of film making.The biggest problem with Rustin is that there is a fundamental identity crisis in terms of what the focus of this movie should be. Should it be more of a biopic of Bayard Rustin or should it be more about the overall Civil Rights movement, specifically how the March on Washington came about? One can feel the struggle for this film to find its purpose and the worst part is, by not picking an identity, it fails to provide enough substance on either front. Rustin falls into the same trap that a lot of films about Black Civil Rights icons fall into in that it provides a safe, watered down, white-critic friendly view of a subject that is not safe, is complex and in reality should make an audience feel uncomfortable. Every time it seems that Rustin is about to go into a subject that might be a bit more edgy, the film rushes by it in order to get to the next scene. It's as if this film is on rails and does not want the audience to stray too far from the approved movie narrative. This not only does Colman Domingo a disservice but also great performers like Glynn Turman and CCH Pounder who do the best with the script they were given but could have done so much more. It also does a disservice to the real life heroes they are portraying. Rustin is worth checking out for Domingo's performance. But its flaws also make it easily forgettable. Listen as Kriss & Ro talk about Rustin and what worked/didn't work for them. Watch Rustin on Netflix on November 3rd. Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.netFollow us on Social Media:MTRNetworkMTRNetwork@InsanityReport@TheMTRNetwork
Killers of the Flower Moon is an incisive commentary on the ideology of "manifest destiny" in furtherence of white supermacy as justification for murder. Adapated from the 2017 nonfiction book, Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by journalist David Grann, Killers pulls audiences into the heart of a plot against wealthy members of the Osage Nation in Osage County, Oklahoma. The narrative of the book, however, uses the murders as a vehicle to detail how the bureau of federal investigators (FBI) came into being. Like most stories rooted in US history, and told by white American writers, its non-white actors take a back seat to the elements and aspects of the tale deemed "more fitting" to focus on. Thankfully, the story of the creation of the FBI isn't the one that interested co-writer/director Martin Scorsese. The film shfts away from being an account told from the persepctive of one of the burea investigators, Tom White, to being a slowly unfolding murder consipriacy viewed primarily through the lens of co-conspiratior, Ernest Burkhart (DiCaprio). It, along with the many other narrative shifts, is a wicked decision. Being forced to watch these events unfold through an utterly loathsome character leverages the tropes of the American Western into a biting commentary of how white people can justify anything - including multiple murder- to seize what they believe is their by right of desity. There are few more cutting indigments of the sense of entitlement than watching the scam unravel in real time. This revisionsist western epic reinserts historical truth into a well acted, beautifully shot and paced tale that also exposes the underbelly of the criminal procedural as its third act widens the lenghts to make it clear the horrid motivations of the power hungery were in no way limited to Osage County. Killers of the Flower Moon is insanely well casting and beautifully acted. It's got depth, brutal honesty, and a building tension that holds up through the end. It's deliberately off-putting to realize the primary lens is through DiCaprio's character but damned if that realization doesn't balance out to a net positive for a story. It subtle but this story framing isn't just a shift in order to focus on the white man's life. Viwer's are constantly left feeling some type of way every second; even to the parts where they may initially be "can't relate" about. It's far more thoughtful and unflinching than usual and successfully frames its narrative as a tale about the evil that white men do without infantlizing its vicitms. Scorsese knew it wasn't his place and he didn't have the range to tell the story from an Indigenous perspective but he damn well knows how to tell a story about the evil men do in plain sight that's beyond compelling. By staying in his narrative lane, so to speak, Killers of the Flower Moon draws stark comparrison how comfortable white people are with stories that stack white opinions on non-white bodies by with a tale blatantly driving the narrative through white man's greed and insatiable sense of entitlement. Towards that end. Lily Gladstone's portrayal of Mollie Burkart is undertstated yet evocative perfectly frames exactly how despicable everything going on around her truly is. Her calm center a perfect foil for DiCaprio's more agitated performance as well as an riviting juxtaposistion to the insidious sevngalieque nature of DeNiro's brilliant turn as wealthy landowner uncle William Hale. It's impossible to come away from Killers intensely engaging storytelling - that makes the most of everything Scorsese knows about building a crime thriller - without wanting more insight from the perspective of Gladeston's Mollie. But depsite the obvious positive impact the Osage consultants had on everthing from setting, costuming, production, to dialogue, it's clear that story belongs in the hands of an Indegious (hopefully Osage) storyteller.
Director: Alexander PayneWriters: David HemingsonStarring: Paul Giamatti, Dominic Sessa, Da'Vine Joy RandolphRuntime: 2 Hour 13 MinutesSynopsis: Paul Giamatti stars in Alexander Payne’s latest about the bond that forms between a strict professor and a belligerent student he’s stuck supervising over the winter holiday at an elite boarding school.Barton men don’t lie. This is just one of the many rules Professor Hunham (Paul Giamatti) takes much too seriously as he hands out poor grades at an elite boarding school in 1971. As he dismisses the politics that come along with educating the children of people in high places, he’s punished by the headmaster who gives him a most undesirable assignment for the winter break: to stay at the school and supervise the students who are unable to go home.Hunham resolves to have the students suffer with him, forcing them to start studying next semester’s curriculum ahead of time. Among them, 15-year-old Angus (Dominic Sessa), bright but belligerent, makes a ruckus. Teacher and student become foes, antagonizing one another and tiring themselves out, as Mary (Da’Vine Joy Randolph), the school cafeteria manager, observes from the sidelines, herself alone after recently losing her son in the Vietnam War. As the petulant pair succumb to the depressing truth that they’ve got little else but each other this holiday season, Professor Hunham starts to soften up and they begin to see themselves in one another.Giamatti gives a career-high performance as the risible teacher who delights in doling out punishment, while newcomer Sessa makes an immediate name for himself, revealing layers of complexity to his character’s rebellious nature. With The Holdovers, director Alexander Payne (Downsizing, TIFF ’17) makes a delicate point about how a first impression never tells the whole truth and shows that the pains and tragedies that feel specific to us actually make us a lot more alike than unalike.The Holdovers is one of those fun, throwback films that manages to remind us of one of those Christmas films from the 80's (set in the 70's) but still has more modern sensibilities. On the surface, it would look like your typical "Teacher stuck with a rebellious teenage and they bond and learn more about each other as their misadventures go on" but there's a lot more to The Holdovers. This is really a film about the masks people wear to prevent people from getting too close. The way that people sometimes retreat into their own heads in order to not confront those things that really trouble and scare them. The three main actors/actresses of The Holdovers also form a really great ensemble that plays extremely well off of each other. This is an example of the classic "Don't judge a book by its cover". None of the characters behave how you would think after first meeting them and that also adds to how enjoyable this film is. Paul Giamatti continues to show how he is such a versatile actor who can take on any challenge presented to him. Initially he comes off as just your stereotypical hardass of a teacher that believes in following the rules over everything but as the film goes on you start seeing there's much more to who he is and why he is the way he is. Dominic Sessa plays the spoiled, asshole kid to perfection but also the audience realizes fairly quickly there's a lot more to what is behind his behavior. It's not revealed until much later in the film and when it does, it's absolutely heartbreaking. The true glue that brings this film together is Da'Vine Joy Randolph. Lesser films would have made Mary's character an afterthought and not given her a solid arc. Instead, The Holdovers recognizes her importance to bridging the gap between Hunham and Agnus but also allows her to go on her own journey with grief and loss. The Holdovers is an enjoyable surprise that will definitely hit the right emotional buttons for the holidays. Listen as Kriss and the crew talk about The Holdovers.
Director: David Gordon GreenWriters: Peter Sattler, David Gordon Green, Scott TeemsStarring: Leslie Odom Jr, Tracey Graves, Lidya Jewett, Danny McCarthy, Ann DowdRuntime: 1 Hour 51 MinutesSynopsis: When two girls disappear into the woods and return three days later with no memory of what happened to them, the father of one girl seeks out Chris MacNeil, who's been forever altered by what happened to her daughter fifty years ago.The crew review The Exorcist: Believer. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Justine TrietWriters: Justine Triet, Arthur HarariStarring: Sandra Hüller, Samuel Theis, Swann Arlaud, Milo Machado GranerRuntime: 2 Hour 31 MinutesSynopsis: The much-lauded winner of this year’s Palme d’Or, Justine Triet’s fourth feature has cemented her status as one of today’s great filmmaking talents. Unfolding over two-and-a-half hours like a compulsively readable novel, the riveting Anatomy of a Fall is both a dissection of an intimate relationship and of the judiciary process.Sandra (a ferocious, magnetic, and edgy Sandra Hüller, also at the Festival in Jonathan Glazer’s The Zone of Interest) is a successful German writer who lives in the French Alps with her husband Samuel (Samuel Theis) and their visually impaired son Daniel (Milo Machado Graner). A brilliant, decibel-bursting opening scene suggests tensions in their isolated chalet, so when Samuel is discovered dead in the snow beneath one of their windows, suspicion is quickly aroused. Did he take his own life, or was he pushed to his death? When the investigation proves to be inconclusive — its varying angles hinting at the microscopic examination to come — Sandra is ultimately indicted and put on trial.A captivating and sharply directed, written, and acted courtroom procedural, Anatomy of a Fall also functions like a trenchant autopsy of confirmation bias and ambiguity itself, with the court an operatic arena in which every gesture, word, and past interaction are ripe for judgment. As scrutiny turns to Sandra’s complex character and her tumultuous relationship with Samuel — their artistic rivalries, romantic jealousies, and contempt — the couple’s young son becomes the key witness.Taut, suspenseful, and thrilling until the final moment, Anatomy of a Fall progresses like a heady puzzle that tackles the messiness of existence and the often-elusive nature of truth itself.Anatomy of a Fall is one of those International films that actually feels even better if you watch it as a foreigner. There's something about watching a court room drama from another country from the perspective of a foreigner with no sense of the criminal justice system in that country. In this film in particular, its jarring to see how the prosecutors and judge hound Sandra (Sandra Hüller) as the accused. What makes a good court room dramas work is its ability to pull the audience into the situation. Anatomy of a Fall takes it a step further and even adds in whodunit elements to have the audience completely guessing as to if Sandra is guilty or not. It's as if the film treats the audience as the traditional jury and each scene is laid out as a way for either the defense or prosecution to present their case in order to sway the jury. Where Anatomy of a Fall succeeds where other films fail is that at no point does it take the audience for granted and what's presented never feels like an empty red heron. Witnesses make mistakes. Scenarios seem implausible but not impossible, leaving room for doubt.Director Justine Triet does a brilliant job of pulling the audience into the situation of this movie and making them FEEL the tension and environment. If you already didn't have strong negative feelings about rapper 50 Cent's song P.I.M.P, then you will probably dread/hate the song after. The obnoxious use of the song by the victim (Sandra's husband) is enough to drive the audience crazy. It's not really a downside though as it's clearly done on purpose. The whole point is to pull the audience into the moment and start thinking things like "Maybe Sandra did it because of how annoying he is" and "She has to be lying when she says the song didn't annoy her because it's annoying me". Anatomy of a Fall is definitely well worth the watch. The drama and tension leads right up through the end of the film and will leave audiences engaged the entire time.Listen as Kriss is joined by the Review Crew to talk about this film. Anatomy of a Fall showed at the Toronto Film Festival 20...
Director: Gareth EdwardsWriters: Gareth Edwards, Chris WeitzStarring: John David Washington, Gemma Chan, Madeleine Yuna Voyles, Ken Watanabe, Sturgill SimpsonRuntime: 2 Hour 13 MinutesSynopsis: Against the backdrop of a war between humans and robots with artificial intelligence, a former soldier finds the secret weapon, a robot in the form of a young child.The crew talks about Gareth Edwards' The Creator. Looking past the AI propaganda that this film is (have we learned nothing?), this is a decent enough film that approaches the cusp of greatness. There is the story that Edwards told and then there's the story that's right below the surface that would have made this film great. It's still a beautiful film with an engaging enough story. It's just a bit disappointing it didn't go all the way. Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Craig GillespieWriters: Lauren Schuker Blum, Rebecca Angelo, Ben MezrichStarring: Paul Dano, Pete Davidson, Vincent D'Onofrio, America Ferrera, Nick Offerman, Anthony Ramos, Seth Rogen, Sebastian StanRuntime: 1 Hour 44 MinutesSynopsis: Dumb Money is the ultimate David vs. Goliath tale, based on the insane true story of everyday people who flipped the script on Wall Street and got rich by turning GameStop (yes, the mall videogame store) into the world's hottest company.Craig Gillespie's Dumb Money, is an entertaining yet hollow look at the events that unfolded when GameStop became the stock of Wall Street. On the surface, all of the pieces are there. The cast is extremely solid. Paul Dano plays a very engaging Keith Gill who can draw the audience into this "David vs Goliath" tale. He plays the underdog well, particularly against Offerman, Rogen and Stan who all play the stereotypical Wall Street asshole perfectly. This is what makes this film work as an entertainment piece. If the purpose is to just view this as a dumbed down, simple, David vs Goliath style tale then it does it's job. The problem is that the real story behind GameStop, meme stocks & Reddit is a far more complex and complicated tale that just doesn't get told here.Since this film is more interested in being a black & white, good versus evil type of tale, it doesn't reveal just how many people (non-wall street people) also ended up losing a lot of money because of this. On the flip side, it made it seem like the hedge funds lost but in reality, they didn't and most of those rich people stayed rich. It also skips over the toxic nature of the Wallstreet Bets subreddit and how Gill might not have been the perfect, guy with clean hands in all of this. There's also no connection into other memestocks, the move into NFTs and other things that also started to trend after. Now to be fair, there's probably no way this film could have gone into all of that. But on the other hand, an Adam McKay film probably would have or at least attempted to.Judging this film as a singular entertainment piece with no larger purpose, the film will work for audiences enough to be entertaining. But there won't be any larger discussions or even lasting memories from it. Which is unfortunate because it definitely has the cast to be a more memorable film.Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.netFollow us on Social Media:MTRNetworkMTRNetwork@InsanityReport@TheMTRNetwork
Kriss makes his return to covering the Toronto Film Festival in person for his second time. While this year was a bit different because of the Writers and Actors strike, the film festival itself was still packed full of film lovers. There was also a solid contingent of International films and stars that attended. This year Kriss focused on a reduced schedule but got a good mix of films. From International Midnight Madness films to Thrillers to Comedy/Satire, there was a pretty good mix. Ro joins Kriss as he recaps some of the films he watched at the film festival and makes his recommendation for films to check out.Films discussed during this podcast:ReptileKillBoy Kills WorldGonzo GirlDumb MoneyKnox Goes AwayThe CriticRustinAmerican FictionMake sure you check out the MTR Network TIFF Press Page as there will be additional reviews for films dropping closer to their release dates (Anatomy of a Fall, The Boy & the Heron, The Holdovers and more).Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.netFollow us on Social Media:MTRNetworkMTRNetwork@InsanityReport@TheMTRNetwork
Director: Kenneth BranaghWriters: Michael Green, Agatha ChristieStarring: Kenneth Branagh, Michelle Yeoh, Jamie Dornan, Tina FeyRuntime: 1 Hour 43 MinutesSynopsis: In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.The crew review the latest in Hercule Piorot series both starring and directing Kenneth Branagh, A Haunting in Venice. This film is better than the last (Death on the Nile) and is on par with Murder on the Orient Express. But it has a few flaws. The horror elements work on their own but when paired with the detective elements, something just seemed a bit off. Listen as we discuss in more details.Like what you hear? Subscribe so you don't miss an episode!Follow us on Twitter:@Phenomblak@InsanityReport@TheMTRNetwork Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network Want more podcast greatness? Sign up for a MTR Premium Account!
Sports movies are tricky. So are video game adaptations. Thankfully for Gran Turismo, rather than attempt to spin a narrative out of gameplay, the plot capitalizes on the unique opportunity to showcase its game (that’s actually an extremely advanced driving simulator) through Jann Mardenborough’s extraordinary real-life journey from gamer-to- professional race car driver.
In Neill Blomkamp’s (District 9) hands Gran Turismo is slick, well-paced, and visually engaging. The storytelling weaves the game creation by Kazunori Yamauchi (Takehiro Hira) backstory in but really revolves around British teenager Jann Mardenborough (Archie Madekwe). It’s a highly relatable story of a young man who dreams of a career that seems beyond his means to achieve. He gets a once-in-a lifetime opportunity to prove his worth and make his dreams a reality. His adventure starts with winning a competition designed to identify the best Gran Turismo drivers in the world. The prize: access to a specialty racing academy run by Nissan and a chance to earn a spot on their professional racing team.
Gran Turismo’s solid ensemble performances, dynamic race sequences (based on real races Mardenborough participated in) and the light Hollywood gloss on the chronology keep you invested right through until the end. It’s imminently watchable as racing movie. This is a move based on a marketing ploy turned Cinderella story so expect to see the products in question on screen. However, you’ll be pleasantly surprised that Blomkamp stayed the narrative course all the way through.
Listen as Ro and Kriss discuss Gran Turismo now.
**
Writers: Jason Hall, Zach Baylin
Runtime: 2h 15m
Starring: Sophie Wilde, Joe Bird, Alexandra Jensen, Otis Dhanji, Miranda Otto
Synopsis: Based on the true story of Jann Mardenborough, the film is the ultimate wish fulfillment tale of a teenage Gran Turismo player whose gaming skills won a series of Nissan competitions to become an actual professional racecar driver.
Gran Turismo: Based On A True Story opened wide in theaters August 25, 2023.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Angel Manuel Soto Writers: Gareth Dunnet-Alcocer Starring: Xolo Maridueña, Bruna Marquezine, Becky G, Damián Alcázar, George Lopez, Adriana Barraza, Belissa Escobedo, Elpidia Carrillo, Susan Sarandon, Harvey Guillén, Raol Max Trujillo Runtime: 2 Hour 7 Minutes Synopsis: An alien scarab chooses college graduate Jaime Reyes to be its symbiotic host, bestowing the teenager with a suit of armor that's capable of extraordinary and unpredictable powers, forever changing his destiny as he becomes the superhero known as Blue Beetle.
The crew talk about and review Blue Beetle, the latest from WB in their DC film universe reboot.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: André Øvredal Writers: Bragi F. Schut, Zak Olkewicz, Bram Stoker Starring: Corey Hawkins, Aisling Franciosi, Liam Cunningham Runtime: 1 Hour 58 Minutes Synopsis: A crew sailing from Carpathia to England find that they are carrying very dangerous cargo.
The crew talk about the latest creature feature, The Last Voyage of the Demeter.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Highly anticipated release, Infinity Pool, marked writer/director Brandon Cronenberg's (Possessor, 2020 Sundance) festival return in the Midnight section lineup. It's taking a few more steps off the beaten path in his twisted exploration of the ravages to human soul. So buckle up because there's so much to unpack... ♦♦ Director: Brandon Cronenberg Screenwriters: Brandon Cronenberg Starring: Alexander Skarsgård, Mia Goth, Cleopatra Coleman Runtime: 118 minutes Sundance Synopsis: James and Em Foster take off to an all-inclusive beach getaway in the fictional state of Li Tolqa to help jump-start his writer’s block. Their lazy days are spent relegated to their pricey resort, isolated from the surrounding land. Gabby introduces herself and her partner, Al, as she’s a fan of James’ last novel, and they would like to spend some time together with the Fosters. The couples plan a secret daytrip outside the compound that ends in a fatal accident with James to blame. For a hefty price, there are loopholes to aid foreign travelers convicted of crimes there, which is how James is first introduced to a perverse subculture of hedonistic tourism. *originally run on January 29, 2023 as part of the MTR Network's Sundance 2023 coverage ♦♦ Snapshot Review: Don't be fool by the slick cinematic treatment and debauchery, Cronenberg's here to push you to think about how you justify your choices. Infinity Pool's a vulgar, darkly humorous, incisive commentary on privilege, enticement, and the destruction of soul. Horror movies set at a travel destination open the door for an almost unimaginable spiral into violence that only seems to happen when you exist in a reality vacuum. Infinity Pool leans into that vacuum to create an environment ripe for corruption. There's a persistent forceful disconnect in the narrative that results in one chaotic-as-hell allegory. Listen and Ro and guest critic Richard Newby dig into Infinity Pool. Infinity Pool opened in theaters January 27, 2023 and is currently streaming on Hulu.
Follow more of our Sundance Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
@BookBlerd @TheMTRNetwork
Snapshot Review: Talk to Me is a brilliant take on a classic possession movie for the modern age. It's a cautionary tale masquerading as a haunting minimalist horror film who's strength lies in its emotionally gifted ensemble.
This directorial debut of twin brothers Danny and Michael Philippou demonstrates both their love of horror and a faith in relying on impactful, yet gnarly, practical effects, stellar sound design, a wicked use of dark humor in a twisted well-written narrative to carry the story. If you like your movies to drop you directly into the mix, then Talk To Me's opening is for you. Built for the meme and chronically online generation, Talk to Me leans into genre conventions and an incisive script about grief, depression, youthful disregard of danger. Just know that opening is all foreshadowing. Thankfully it's the kind where the pay-off is not only worth it but never proves more interesting than the movie you ultimately get. The reactions are constantly age-appropriate. So prepare for teenage angst and stupidity to abound. The visuals are murky, occasionally out of focus, and constantly building a sense of unease and foreboding. But there's a profoundness in its simplicity. So lean into the sense of inevitable and the horrific trainwreck that is Mia's (Sophie Wilde) journey into the supernatural.
Listen as Ro and Brandon dig (spoiler-free) into Talk to Me ♦♦ Director: Danny Philippou, Michael Philippou Writers: Bill Hinzman, Danny Philippou| Runtime: 1 hour 35 minutes Starring: Sophie Wilde, Joe Bird, Alexandra Jensen, Otis Dhanji, Miranda Otto Synopsis: When a group of friends discover how to conjure spirits using an embalmed hand, they become hooked on the new thrill, until one of them goes too far and unleashes terrifying supernatural forces. Originally part of MTR's Sundance 2023 coverage - January 23, 2023 ♦♦ Talk to Me opens in theaters July 28, 2023
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Christopher Nolan Writers: Christopher Nolan, Kai Bird, Martin Sherwin Starring: Cillian Murphy, Emily Blunt, Matt Damon Runtime: 3 hours Synopsis: The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb.
Kriss, Ro and Brandon talk about the latest from director Christopher Nolan, Oppenheimer. This is a star studded cast in a very long but good movie. The first hour is a bit challenging but overall everything comes together. Not to mention, there's also a lot of Florence Pugh...assets...to admire.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Christopher McQuarrie Writers: Bruce Geller, Erik Jendresen, Christopher McQuarrie Starring: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson Runtime: 2 hour 43 minutes Synopsis: Ethan Hunt and his IMF team must track down a dangerous weapon before it falls into the wrong hands.
We discuss our problematic cult leader fave Tom Cruise in yet another great action film, Mission Impossible Dead Reckoning Part One. Ro's convinced that Dead Reckoning-Part One resets the bar consistently leveraging its own lore & action choreography without undercutting the intrigue & character dynamics driving the narrative. Nobody does globetrotting spy-craft escapades like the Mission Impossible franchise
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: James Mangold Writers: Jez Butterworth, John-Henry Butterworth, David Koepp Starring: Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, Karen Allen Runtime: 2 hour 34 minutes Synopsis: Archaeologist Indiana Jones races against time to retrieve a legendary artifact that can change the course of history.
It's 2023 and we're talking about an Indiana Jones movie. Who would have thunk it? Well, at least there's Nazis being punched in the face. So maybe that's worth checking out Indiana Jones and the Dial of Destiny. Listen to our review and let us know.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Peter Sohn Writers: John Hoberg, Kat Likkel, Brenda Hsueh Starring: Leah Lewis, Mamoudou Athie, Ronnie Del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O'Hara Runtime: 1 hour 49 minutes Synopsis: Follows Ember and Wade, in a city where fire-, water-, land- and air-residents live together.
Ro, Brandon and Kriss review and discuss the latest film from Pixar, Elemental.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Andy Muschietti Writers: Christina Hodsonn, Joby Harold Starring: Sasha Calle, Ben Affleck, Ezra Miller, Michael Keaton, Michael Shannon Runtime: 2 hour 24 minutes Synopsis: Barry Allen uses his super speed to change the past, but his attempt to save his family creates a world without super heroes, forcing him to race for his life in order to save the future.
Let's start off with an apology to Michael Keaton. For decades now there have been debates over which actor is truly the best Batman and for decades Mr. Keaton has been disrespected and written off in that debate. If there is one good thing to say about this Flash movie it's that it has solidified Michael Keaton as THEE Batman that all others should live up to. Hands down. There is so much wrong with this movie (starting with a problematic and horribly miscast lead) but between Michael Keaton putting this movie on his back and Sasha Calle's criminally underused Supergirl, it's at least worth checking out. But let's make no mistake. Ezra Miller is one of the biggest problems with this film. Even outside of Miller's very disturbing and troubling criminal issues, Ezra was always miscast as Barry Allen. And now with this solo movie, there's two of them in this film and well, it just makes the miscast even more pronounce. A bad lead, terrible CG and a script that takes the worst storylines from the Flash TV show and somehow do them even worse. That's what plagues this movie. But Keaton...Mr. Bruce Wayne...is good enough to keep this from being a complete disaster. Recast Ezra or do whatever. Just give me a full Batman film with Keaton as Batman. Give THAT to us. Oh and give Sasha Calle her Supergirl movie so she can properly shine.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Steven Caple Jr Writers: Joby Harold, Darnell Metayer, Josh Peters Starring: Anthony Ramos, Dominique Fishback, Luna Lauren Velez, Peter Cullen, Ron Perlman, Peter Dinklage Runtime: 2 hour 7 minutes Synopsis: During the '90s, a new faction of Transformers - the Maximals - join the Autobots as allies in the battle for Earth.
Ro & Kriss talk about the latest Transformers film that is clearly a clean break from the Bay-era of films and starts the franchise off in a new and better direction. If you wanted more robots in disguise and less humans, this is what you get. There's also a clear indication that they're finally moving towards one of the crossovers that has been discussed several time before. Listen as Kriss and Ro talk about Transformers: Rise of the Beasts
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Joaquim Dos Santos, Kemp Powers, Justin K Thompson Writers: Phil Lord, Christopher Miller, Dave Callaham Starring: Shameik Moore, Hailee Steinfeld, Oscar Isaac, Jake Johnson, Issa Rae, Brian Tyree Henry, Daniel Kaluuya Runtime: 2 hour 20 minutes Synopsis: Miles Morales catapults across the Multiverse, where he encounters a team of Spider-People charged with protecting its very existence. When the heroes clash on how to handle a new threat, Miles must redefine what it means to be a hero. * Edit The directors are Joaquim Dos Santos, Kemp Powers, Justin K Thompson, Kriss said it was Christopher Miller and Phil Lord but they're just the producers Edit* The highly anticipated sequel to the 2018 Spider-Man: Into the Spider-Verse is here and it was well worth the wait. Spider-Man: Across the Spider-Verse is an even better film than the original and sets up not just for a third film but even the possibility of bringing Miles to live action. Honestly, they should just polish off the Oscar for this film right now. No need to see what else comes out. Yes, it's that good. Listen as Kriss, Ro and Brandon give a non-spoiler review.
Director: Rob Marshall
Writers: David Magee
Starring: Halle Bailey, Jonah Hauer-King, Melissa McCarthy, Javier Bardem, Noma Dumezweni, Art Malik, Daveed Diggs, Jacob Tremblay, Awkwafina
Runtime: 2 hour 15 minutes
Synopsis: A young mermaid makes a deal with a sea witch to trade her beautiful voice for human legs so she can discover the world above water and impress a prince.
The crew reviews the live action adaptation of The Little Mermaid.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Louis Leterrier
Writers: Dan Mazeau, Justin Lin
Starring: Vin Diesel, Michelle Rodriguez, Jordana Brewster, Jason Statham, Tyrese Gibson, Ludacris, Nathalie Emmanuel, Charlize Theron, John Cena, Sung Kang,
Runtime: 2 hour 21 minutes
Synopsis: Dom Toretto and his family are targeted by the vengeful son of drug kingpin Hernan Reyes.
I don’t care what anyone says. The Fast & Furious movies used to be good for a bit of a streak there (5, 6 & 7). It’s very clear the series took a nose dive after 7, which probably should have been the natural end of the series. The shift is clear. After Paul Walker died, the lead actor and character centered around Vin Diesel and he clearly has his own opinions on how the series should go. Justin Lin, who should be credited for saving these series, got chased off of Fast X a week into production and it shows. Fast X is a convoluted mess that doesn’t make sense, has terrible action scenes and it some places forgets what story it’s trying to tell because of terrible editing and scene transitions.
Again, people will say it doesn’t matter and the films have always been ridiculous. But the last few Fast movies have clearly been a drop off from the height of this series that actually put out some good films.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: James Gunn
Writers: James Gunn, Dan Abnett, Andy Lanning
Starring: Chriss Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Karen Gillan, Pom Klementieff, Elizabeth Debicki
Runtime: 2 hour 30 minutes
Synopsis: Still reeling from the loss of Gamora, Peter Quill rallies his team to defend the universe and one of their own – a mission that could mean the end of the Guardians if not successful.
Kriss, Ro and Brandon are back to review the last ride of the Guardians of the Galaxy with Guardians of the Galaxy Volume 3. Make sure you bring some tissues.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Stephen Williams
Writers: Stefani Robinson
Starring: Kelvin Harrison Jr, Samara Weaving, Lucy Boynton, Ronke Adekoluejo, Marton Csokas, Alex Fitzalan
Runtime: 1 hour 47 minutes
Synopsis: Based on the true story of composer Joseph Bologne, Chevalier de Saint-Georges, the illegitimate son of an African slave and a French plantation owner, who rises to heights in French society as a composer before an ill-fated love affair.
Ro & Kriss discuss and review Chevalier.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Guy Ritchie
Writers: Ivan Atkinson, Marn Davies, Guy Ritchie
Starring: Jake Gyllenhaal, Dar Salim, Sean Sagar, Jason Wong, Rhys Yates
Runtime: 2 hour 3 minutes
Synopsis: During the war in Afghanistan, a local interpreter risks his own life to carry an injured sergeant across miles of grueling terrain.
Ro & Kriss talk about Guy Ritchie’s The Covenant.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Kriss and Brandon talk about The Super Mario Bros. Movie. Well, at least Brandon does while Kriss listens as he was the only one to see the film out of the crew.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Chad Stahelski
Writers: Shay Hatten, Michael Finch, Derek Kolstad
Starring: Keanu Reeves, Laurence Fishburne, Donnie Yen, Bill Skarsgård, Lance Reddick, Ian McShane, Clancy Brown, Hiroyuki Sanada, Shamier Anderson, Rina Sawayama
Runtime: 2 hour 49 minutes
Synopsis: John Wick uncovers a path to defeating The High Table. But before he can earn his freedom, Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes.
It’s John Wick. Of course you’re already going to see it. And for good reason. If you must be convinced though, listen to Ro & Kriss talk about this great movie.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Michael B. Jordan
Writers: Keenan Coogler, Zach Baylin
Starring: Michael B. Jordan, Tessa Thompson, Jonathan Majors
Runtime: 1 hour 56 minutes
Synopsis: Adonis has been thriving in both his career and family life, but when a childhood friend and former boxing prodigy resurfaces, the face-off is more than just a fight.
Kriss, Ro and Brandon have differing opinions on the latest Creed film. It seems to come down to expectations. If you have lowered expectations because this is Michael B. Jordan’s first time directing and he’s also directing himself, this might be serviceable. If you were expecting a film that was in line with the previous Creed films, you might be disappointed. Jonathan Majors is absolutely fantastic but the script seems to do a lot of skipping over parts and “tell not show” that the previous films didn’t do. There’s a good film that could have been made here but it’s not showing in the final product. Part of that could be because there’s a first time director but there’s also a lot of script issues as well. If this was the first film in the series, these flaws could be excused. But seeing as how this is the third film in a trilogy, something just feels off.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Peyton Reed
Writers: Jeff Loveness
Starring: Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton, Michelle Pfeiffer, Michael Douglas
Runtime: 2 hour 5 minutes
Synopsis: Scott Lang and Hope Van Dyne, along with Hank Pym and Janet Van Dyne, explore the Quantum Realm, where they interact with strange creatures and embark on an adventure that goes beyond the limits of what they thought was possible.
Ant-Man and the Wasp: Quantumania falls right in line with the other Ant-Man films with the one big distinction that it is Jonathan Major’s MCU feature film debut as Kang and that alone is worth the price of a ticket (or several tickets). It seems that some folks have become confused with Marvel’s approach to its films post-Infinity Saga. Basically they’re not holding our hands and are going full comic book and that can be good or bad depending on what your expectations are. It’s also very clear that you should be watching the Disney+ shows. Watching this film is definitely going to want to watch the first season of Loki again. Anyone who watched that last episode of Loki knew that Major’s was going to kill it (literally and figuratively) as Kang and this film just solidifies it.
It’s not a perfect film by any measure. But we think this is going to be one of those films that folks are going to go back to after the direction Phase 4 & Phase 5 have been going become more clear and have to reevaluate.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: M. Knight Shyamalan
Writers: M. Knight Shyamalan, Steve Desmond, Michael Sherman
Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Rupert Grint, Kristen Cui
Runtime: 1 hour 40 minutes
Synopsis: While vacationing, a girl and her parents are taken hostage by armed strangers who demand that the family make a choice to avert the apocalypse.
Knock at the Cabin might be one of the best looking M. Knight Shyamalan movies from a cinematic points. It has all of the things that should make this a great film. The cast works really well with what they’re given. The problem is, this movie doesn’t have the M. Knight Shyamalan twist and flair that is really needed for this film. It’s a shocking disappointment. This isn’t a bad film at all. But it’s feels like something that was perfectly made for an adaptation by M. Knight but is missing something. What we get is a pretty film with solid acting that just feeling shallow.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
If you’re planning on watching Whitney Houston: I Want to Dance with Somebody because you want to celebrate the woman behind the icon, this isn’t what you’ve been waiting for. Script writer Anthony McCarten (The Two Popes, Bohemian Rhapsody) designed a narrative built on innuendo, interviews, videos, and b-reel footage to such a degree that its central character, Whitney Huston, is never more than a plot device in a highlight reel of her career. And director Kasi Lemmons (Self-Made: Inspired by the life of Madame C. J. Walker), who should know better than to be satisfied with caricatures of Black people, did little to steer the story much deeper than offering a parody of a life lived. This talented cast’s been set adrift with no hope of ever fitting an extraordinary life in such a meandering, and sadly subpar, homage.
Director: Luca Guadagnino
Writers: David Kajganich, Camille DeAngelis
Starring: Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, Clarke Peters
Runtime: 146 (very long) minutes
Synopsis: A joyous, emotional, heartbreaking celebration of the life and music of Whitney Houston, one of the greatest female R&B pop vocalists of all time, tracking her journey from obscurity to musical superstardom.
Listen to the Full Review: Ro and Brandon accidentally go long (but spoiler-free) about where things went wrong and why it’s time we as a community stop accepting mediocrity when it comes to celebrating our icons on film.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Luca Guadagnino
Writers: David Kajganich, Camille DeAngelis
Starring: Timothée Chalamet, Taylor Russell, Mark Rylance, Kendle Coffey, André Holland
Runtime: 2 hour 11 minutes
Synopsis: Maren, a young woman, learns how to survive on the margins of society.
The worst IMBD synopsis (see above) for Bones and All leads to one of our funniest episodes. Listen as Brandon, Kriss and Ro discuss the film that should get Luca Guadagnino on a watchlist (if Call Me By Your Name didn’t already have him on one).
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Liz Garbus
Starring: Prince Harry, Duke of Sussex, Meghan, Duchess of Sussex, Afua Hirsch, Doria Ragland
Episodes: 6
Since the announcement of their courtship the global media has been hyper-focused on the pairing that is Prince Henry Charles Albert David (Prince Harry to the rest of us) and Meghan Markle, the American actress and activist. Like his mother Princess Diana, Sarah Ferguson, and even Princess Margaret, this hyper-fixation on outspoken women with a desire to engage the public in a new and modern way has led to a campaign of venom and hate. Prince Harry, who expressed an intense dislike of the media and a desire to step away from the royal box even before his marriage, saw these repeated patterns and decided on a course of action that disrupted the status quo.
Harry & Meghan is the Duke and Duchess’ response to the ongoing campaign that appeared to be designed to destroy their relationship and return Harry to his “rightful place.” The documentary, which features a compilation of family videos and photos, archival news footage, and personal interviews with family, friends, and the couple, attempts to provide answers to the accusations lobbied at them by the media and by, according to the couple, the institution that is the British royal family. From four differing perspectives and understandings of the British royals, we examine the production value of the documentary as well as provide commentary on some of the themes presented, including the development of a non-traditional family, patterns of the Black community, and more.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@TheMTRNetwork@shittybonmots@TheDrIsHere21Our shirts are now on TeePublic: https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: James Cameron
Writers: James Cameron, Rick Jaffa, Amanda Silver
Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Kate Winslet, Cliff Curtis
Runtime: 3 hour 12 minutes
Synopsis: Jake Sully lives with his newfound family formed on the extrasolar moon Pandora. Once a familiar threat returns to finish what was previously started, Jake must work with Neytiri and the army of the Na’vi race to protect their home.
James Cameron returns after 13 years to give us a sequel to 2009’s Avatar. Avatar: The Way of Water is a visually stunning film as one would expect. What is unexpected (or maybe expected depending on who you talk to) is how bland and regressive the story and plot is. While no one would claim the first Avatar film was some marvel of story-telling. It’s clear that Cameron “borrowed” from several different sources for that first film but it still was edited together in a coherent and enjoyable story. This new film is not only blatant in which films it rips dialogue and scenes from but its way too long and edited together in a way that just doesn’t make sense. It’s really ironic considering how much talk about how superhero and other big blockbuster films “aren’t real cinema” that Cameron decided to rip so much from those films for this.
The other problem with Avatar: The Way of Water is that while Cameron made huge technological progress in how the film was shot and looks, it’s almost as if his mindset with the story is still stuck in 2009. It’s not just that he rips from other films but he does it in ways that waters down the impact of so many of those scenes. It’s the equivalent of someone taking a soul food recipe for fried chicken, removing all seasonings and then baking it instead of frying.
We have a lot of spoiler-free thoughts on this film so listen as we talk about it. And then come back from the Premium spoiler review that will drop sometime the following week.
Like what you hear? Subscribe so you don’t miss an episode!Follow us on Twitter:
@Phenomblak@InsanityReport@TheMTRNetworkOur shirts are now on TeePublic. https://teepublic.com/stores/mtr-networkWant more podcast greatness? Sign up for a MTR Premium Account!
Director: Mark Mylod Screenwriter: Seth Reiss, Will Tracy Starring: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, John Leguizamo Runtime: 2 hour 14 minutes Synopsis: A young couple travels to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises.
Kriss and Ro review The Menu. This horror/thriller/comedy is a fantastic watch. There is a lot of social commentary in this film but it's not done in a heavy handed way. It's very smart and timely. The acting in this film is fantastic. The best moments in this film go from horror to comedy back to horror seamlessly. Listen as we review this film (spoiler-free).
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Ryan Coogler Writers: Ryan Coogler, Joe Robert Cole Starring: Letitia Wright, Tenoch Huerta, Angela Bassett, Lupita Nyong'o, Danai Gurira, Winston Duke, Martin Freeman, Michaela Coel, Dominique Thorne Synopsis: The people of Wakanda fight to protect their home from intervening world powers as they mourn the death of King T'Challa.
Ryan Coogler puts together an emotional film for not only the cast but the fans. The story weaves in the real-life tragedy of losing Chadwick Boseman so suddenly and serves as a great bookend for Phase 4 of the MCU. Phase 4 was clearly about grief and Wakanda Forever handles that extremely well. In addition to that, the film also introduces Namor to the MCU. Tenoch Huerta plays the character extremely well and is a great addition to the MCU. This film also serves as a great sequel to the first film in terms of themes and fallout from some of the things that happened in that movie. It's very clear that there is setup for much larger conflicts in Phase 5 but the film also doesn't burden itself by shoehorning those in. Listen to our non-spoiler review. Spoiler review will drop early next week.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Todd Field Writers: Todd Field Starring: Cate Blanchett, Noémie Merlant, Nina Hoss Synopsis:
Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and first-ever female music director of a major German orchestra.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Jaume Collet-Serra Writers: Adam Sztykiel, Rory Hainnes, Sohrab Noshirvani Starring: Dwayne Johnson, Aldis Hodge, Pierce Brosnan, Sarah Shahi, Noah Centineo, Quintessa Swindell, Bodhi Sabongui Synopsis: Nearly 5,000 years after he was bestowed with the almighty powers of the Egyptian gods-and imprisoned just as quickly-Black Adam is freed from his earthly tomb, ready to unleash his unique form of justice on the modern world. After so many years (like 15), of Dwayne Johnson teasing a Black Adam movie, the movie has finally come out. And it's fine. The bar was extremely low for this film and despite all it's problems, it clears that bar. So there's that. This film can be explained by looking at its strengths being The Rock and its weaknesses are Dwayne Johnson. Here's what that means. For Black Adam to be any type of success it needed to be loud, violent and talk a big game. That's WWE The Rock. And that's what we got in the promotion of this film and even what the film does on screen. It's not interested in making too much sense but rather rocketing you from scene to scene with the promise of "The baddest man alive" doing his best "Bad Superman" impression. Where this film falters is everything else and that's because of Dwayne Johnson. Not because Johnson himself does anything really wrong but rather this seems to be a recurring theme with most films that case him. See, Johnson is such a big personality and can act well enough that for lazy directors and writers, they can just plop him into a movie and let that carry it enough to a popcorn film status. And that's what happens here in Black Adam. Surprisingly this film actually could have been good or even great had the things around Johnson been treated with some kind of care. Aldis Hodge is a great casting for Carter Hall but the film doesn't even try to give him a script that really utilizes his talents. Pierce Brosnan's Dr Fate is turned into if you ordered Doctor Strange on Wish (and he shouldn't have been). It just feels like the whole JSA angle was put into this film to be "bad ass" but not to actually make it work for the story. Throw in terrible song choices for scenes and an overuse of slow motion and what we get here is a mid film that is disappointing because it could have been so much more. Again, the bar was low for Black Adam. It did what it needed to do which was not completely end in disaster. But who knows what the future of DC films is because even if Black Adam wasn't a complete clusterfuck, WB Discovery clearly is.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Synopsis: The true story of Mamie Till-Mobley's relentless pursuit of justice for her 14-year-old son, Emmett Till, who was brutally lynched in 1955 while visiting his cousins in Mississippi. Writer: Michael Reilly, Keith Beauchamp, Chinonye Chukwu Director Chinonye Chukwu changing the lens through which we revisit tragic events in Black history. Till focuses not on the murder of Emmet Till (Jalyn Hall) but who he was, the circumstances that led to his death, and his mother's refusal to permit what happened to be swept into the shadows. Chukwu's crafted a story grounded in honesty but not rooted in exploiting the gruesomeness of this crime. I said I was done watching pre-Jim Crowe narratives but Till is heart-wrenching, informative and Danielle Deadwyler as Mamie Till-Mobley gives a powerful performance that shouldn't be missed. It's a tribute to her strength, her pain, and critical contribution to the Civil Rights Movement. The oft ignored narrative of mothers is richly honored. Till is now playing in select theaters and opens wide October 28, 2022. Listen as Ro discusses with Kriss why Till deserves our attention.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: David Bruckner Screenwriter: Ben Collins, Luke Piotrowski, David S Goyer Starring: Odessa A'zion, Jamie Clayton, Adam Faison, Drew Starkey Synopsis: A take on Clive Barker's 1987 horror classic where a young woman struggling with addiction comes into possession of an ancient puzzle box, unaware that its purpose is to summon the Cenobites.
Not all horror films are created equal. There are films are classified as horror films but really just have horror elements. They're the kind of horror films that people that say "I don't like horror films" will watch. Then there are films like Hellraiser where...well...you know damn well it's the kind of horror film that people that don't like horror films won't watch. The 2022 Hellraiser is a great remake/continuous/soft reboot of the franchise. It is a very 80's type of horror film. For better or worse it has a lot of the same beats and tropes from an 80's horror film which actually makes it an even better remake. This also means that if there are people who will nitpick or complain about 80's horror films, they'll take some issues with this film. But for others, it's exactly what they would be expecting. You get the gore, the creepiness and yes, even the unnecessary nudity and sex scenes. It's all there. Considering how niche Hellraiser is (yes, folks know of Hellraiser but most folks aren't checking for it), releasing this on Hulu is smart. This has actually been a pretty go strategy. They did the same with Prey. Release a very good film on streaming that has a cult following and get people excited for it. Then maybe the next can go to theaters and actually do well.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: David O Russell Screenwriter: David O Russell Starring: Christian Bale, Margot Robbie, John David Washington, Anya Taylor-Joy, Rami Malek, Mike Myers, Chris Rock, Michael Shannon Runtime: 2 hour 14 minutes Synopsis: In the 1930s, three friends witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.
Amsterdam is another one of those movies that commits the mortal sin of underutilizing a great cast. Just about every name on this cast is some one that in some cases would be top or close to top billing. Unfortunately David O Russell's script doesn't do them justice. In a lot of instances, the cast actually saves this movie. Robbie is known for knocking her roles out of the park and this movie is no different. Christian Bale once again commits fully to his part. John David Washington is the odd man out here as he just doesn't have the chemistry needed to match what Bale and Robbie are bringing but it's still serviceable. Part of the problem outside of his chemistry is that Washington's character doesn't get the proper background and context through Russell's script. This is definitely one of those times where if you're gonna jump into some of the subject matter that Amsterdam does, you need to make sure you have the write people writing the script. Russell could have used a Black screen writer to address some of the racial topics in this film. A woman writer wouldn't have hurt as well but Margot Robbie has the start power (along with Anya Taylor-Joy) that I'm convinced they did a little editing and writing for their characters.
All in all, Amsterdam is an entertaining film that could have been and should have been so much more.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
"The Silent Twins” follows the harrowing true story of identical twin sisters Jennifer of June Gibbons. The daughters of immigrants who moved to the United Kingdom from Barbados, with their parents, in the early 1960s. After a series of moves related to their father’s work, the family settled in Haverfordwest, Wales in 1974. Labeled the Silent Twins for their repeated refusal to speak or read at school or socially engage with anyone but each other, Jennifer and June fell prey to machinations of a system with little room for the idiosyncratic, especially the foreign born. And after repeated trauma-inducing attempts to force them to speak and conform, by psychologists attached to the school administration, both girls were labeled mentally disturbed. In their late teens, a petty crime spree lands the girls in police custody. In lieu of being sentenced like ordinary mischievous kids, a judge confines the Gibbons girls to Broadmoor Hospital, a high security psychiatric facility indefinitely. “The Silent Twins” attempts to pull the reader into the world of the Gibbons sisters and bring their intensely creative drive into sharper focus and convey their actions as those of misunderstood eccentrics. “If you were telling your story, through me, how would you want it to begin?...” Telling someone else’s story is tricky; especially if the world’s already decided what’s important to know about that person. So deciding to shun the standard method, a biopic, and go the route of an outsider art film inspired by their life-altering experiences, is a bold move. One that for director Agnieszka Smoczynska’s first English language feature film, is wildly successful emotionally and visually but woefully hampered by its script limitations. Smoczynska’s film begins with the elementary age sisters' voices reading the opening credits as though they’re radio disc jockeys. It’s a bright, fanciful introduction awash with color and the girls’ infectious laughter. Only for a knock at the door to abruptly shift everything to a shot of the twins (played with remarkable facility of emotion by Leah Mondesir-Simmonds and Eva-Arianna Baxter) sitting at a bench, facing a wall, with their heads bowed. A side view reveals the duo clenching their hands and one sister shooting a look at the other as though commanding her to remain quiet until their mother leaves the doorway. What follows is a quietly disturbing portrayal of these young girls being ostracized on top of being bullied just for being the only Black children in the community. Mondesir-Simmonds and Eva-Arianna Baxter have an increasingly heartbreaking symmetry that conveys more than any amount of dialogue could ever pull off. The duo imbue their performances with a hefty emotion and disturbing edge that’s riveting to witness. Unfortunately, “The Silent Twins” has a serious order of operations problem. Just as you're fully invested in experiencing all this upheaval and increasingly cruel attempts to force the girls out of their shell, the story shifts to Jennifer and June in their late teens. And this here's when it becomes painfully apparent Screenwriter Andrea Siegel’s script is inadequate, glaringly so. Because this is less a biopic and more a biographical art film based on Marjorie Wallace’s novel by the same name and the diaries and other writings of the twins themselves, the onus is on Seigel to ground every flight of fancy and internal exploration with its external counterpart. We follow the teens journey into creative endeavors, and puberty, but with little wrestling with the events of their childhood in the mix. It dismantles a significant amount of the personality profile being revealed to this point. In fact, I'd go so far as to say that not incorporating those moments from their point of view strengthens the arguments made implicitly and by the end overtly that something is mentally "off" with Jennifer and June.
(L to R) Tamara Lawrance stars as Jennifer Gibbons and Letitia Wrigh...
Director: Tom George Screenwriter: Mark Chappell Starring: Saoirse Ronan, Sam Rockwell, Adrien Brody, David Oyelowo, Ruth Wilson Runtime: 2 hour 15 minutes Synopsis: In the West End of 1950s London, plans for a movie version of a smash-hit play come to an abrupt halt after a pivotal member of the crew is murdered.
See How They Run isn't a bad movie but suffers from an identity crisis in what movie it wants to be. The trailer will have you thinking it's got the timing and is shot like a Wes Anderson film. The story at times feels as if you ordered Knives Out off of Wish. In reality it's probably trying to be more like Clue but falls short. In what seems like a recurring theme this year with films, it criminally underuses its cast. Because this has happened so frequently this year, particularly with lower budget films, one has to wonder if this is a product of some of the COVID protocols that Hollywood was following earlier in the pandemic when a lot of these films began filming. That doesn't completely excuse the under-use of a cast but might shine a light on why this seems to be happening so often. See How They Run is also making a theater-only run which seems like a mistake. This is a film that would probably find it's audience in a same-day streaming release. Instead this film is going to have an up-hill battle. Listen as Ro & Kriss discuss See How They Run.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Gina Prince-Bythewood Screenwriter: Dana Stevens, Maria Bello Starring: Viola Davis, Thuso Mbedu, Lashana Lynch, Sheila Atim, John Boyega Runtime: 2 hour 15 minutes Synopsis: A historical epic that is based in alternate history of The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries. Overall The Woman King is a good/great movie. It highlights the importance of lighting and shooting black people in film properly. The A plot is extremely strong. And it has an ensemble cast that rises to the moment and delivers. Where Kriss and Ro disagree on this film is the B & C plots. For Kriss they were unnecessary and took away from the A plot. For Ro, not so much. Both agree the editing, especially in the second half of the film doesn't help. Despite that this is still a film most will enjoy and folks should go see.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Disney's live action remake of Pinocchio has all the pieces to be another great live action remake of one of their classic animated films. It has the cast and visuals that put it on track for this. Unfortunately what was produced feels as soul-less as Pinocchio before the Blue Fairy showed up to turn him into a living puppet. The choices made for this film are puzzling. Why cast Cynthia Erivo as the Blue Fairy and then have her only sing one song at the beginning of the film and then never show up again? Why cast anyone in this cast and then so strictly follow the storyline of the animated film that it makes no sense to go for such a big name? Adults will find themselves wondering why certain actors are in this film and then criminally underused. Another problem is the pace. It feels as if someone held a gun to the head of those writing this screenplay and old them if the story lingered on a plot point or deviated too much from the animated film they would never see their family again. Throughout this entire film it felt as if the point wasn't to connect the audience with the nostalgic feeling of the original but to just check a box to say it was done.
Pinocchio is probably good enough to keep young children entertained for almost 2 hours. That's what warrants a 7 in this review. This is a curved review scale that looks at a kids film and how likely it is to keep your kids distracted enough for you to have some down time. However, if the audience watching this film is older and expecting more out of the cast of the story, then they will be extremely disappointed. One has to wonder if maybe this is one of those films that fell victim to filming during the pandemic with Covid-restrictions. Something just seems off. Disney usually does a better job of ensuring that the magic isn't lost when translating from animation to live-action but Pinocchio is definitely missing something.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Barbarian's opening sequence falls squarely in line with the trailer. Tess (Georgina Campbell) makes a late-night arrival to her rental only to discover Keith (Bill Skarsgård) already inside and settled in for the night. After a short exchange reveals each booked the rental in good faith, Keith offers Tess the bed. There's a torrential downpour and no alternate lodgings available. So despite her misgivings, Tess agrees to take the bedroom. In what might be an overkill of red flags, Cregger throws Tess and Keith together in a pitch-perfect setup of "she can't possibly be this stupid" trope. Buckle up because Georgina Campbell absolutely commits to proving that she can, in fact, be an increasingly bad decisionmaker. Plus, you can't even forgive her because she tells you up front, that she knows better. As first acts go, Barbarian delivers one that's uncomfortable, insidiously engaging and only makes promises it can keep. Running Away is ALWAYS an Option... Clocking in at one hour and forty-two minutes, Barbarian is a decidedly modern take on a stack of horror tropes (hat-tip to all Final Girls) offered with some old school, locked-room mystery, flare. Cregger's roots in sketch comedy work in the storyline's favor adding an element of absurdity that further pushes against audience's boundaries. You'll find yourself laughing at the most inopportune times. Thankfully, this story doesn't ever go where you think it will. With a fresh approach that savvily applies tried-and-true cinematic horror movie sleight of hand, Barbarian reinvigorates damn-near every horror visual trick. Just as you think you've got a handle on who to root for, a savvy scene change, long ever-increasingly terrifying sequence, or hard transition sets you back on your heels. Then deconstructs your assumptions bit-by-bit. While your milage may vary, Barbarian does not disappoint even when maybe it should. It thrives on that frenzied denial that rarely snaps us out of utterly stupid or horribly wrong actions before there's no taking it back. Barbarian will test your for tolerance for detestable characters. And then things get really horrifying. This isn't a thinly drawn plot intended as just a vehicle for social commentary on the state of capitalism, gentrification, police/community relations, and dating dynamics. Cregger leans into the willful blindness people rely on to convince themselves to keep pressing forward. This talented ensemble is unexpectedly charismatic and constantly stress inducing. Barbarian is a full throttled horror movie. One that refuses to ignore the reality of the world (and neighborhood) it's set in. It's impossible to delve into the twists and turns without spoiling. So let's just say, if the rules exist for a reason, then Barbarian never got the memo. Listen as Ro and Kriss dig into what worked (or didn't) for them about Barbarian. Zach Cregger's first feature, Barbarian, blends decidedly questionable decision-making and authentically horrifying twists and turns into an increasingly frenzied ride. It's a unique use of dark humor, classic 90s tropes, and some insanely twisted red herrings and death-defying turns. Set aside your expectations because Barbarian is certain to defiantly ignore them...and that's a good thing.
Barbarian hits North American theaters on Friday, Sept. 9.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Adamma Ebo Screenwriter: Adamma Ebo Starring: Regina Hall, Sterling K. Brown Runtime: 102 min Synopsis: As the proud first lady of a Southern Baptist megachurch, Trinitie Childs carries immense responsibility on her shoulders. Her church, Wander To Greater Paths, once served a congregation in the tens of thousands, but after a scandal involving her husband, Pastor Lee-Curtis Childs, forced the church to close temporarily, Trinitie is struggling to manage the aftermath. Now Trinitie and Lee-Curtis must rebuild their congregation and reconcile their faith by all means necessary to make the biggest comeback that commodified religion has ever seen. *Originally part of MTR's Sundance 2022 Coverage Snapshot Review: Written and directed by Adamma Ebo, Honk For Jesus. Save Your Soul, pulls viewers through the side door of the church for a behind-the-scenes look at a ministry in crisis and a marriage at a crossroads. Inspired by the real-life fall from grace of megachurch pastor Eddie Long amid accusations of sexual misconduct, Honk for Jesus goes deep in its bag for a biting commentary on the parasitic relationship between megachurches and the Black community, deification of religious leaders, denial, rejection of the self, and trying to hold on to success at any costs. Pastor Lee-Curtis Childs (Sterling K. Brown) and First Lady, Trinitie (Regina Hall) are in dire need of some good press. They’ve lost their standing in the community. Amid public scandal, their congregation fled. Now former parishioners, Keon and Shakura Sumptor (played with by Conphidance and Nicole Beharie) reign supreme and they have no intentions of stepping aside. In the hopes of revitalizing their image as they plan a grand re-opening, the Lee-Curtis hires a documentarian. But what’s intended to be a record of their celebratory return, swiftly takes a turn. Because that scandal upended the delicate balance of this couple’s complicated marriage arrangement too. Unlike the majority of feature films taking aim at religious institutions, Ebo’s dark satire presents (partially) as a mockumentary. It’s a choice that allows the implied (scandal) narrative to work in tandem with an intimate fly-on-the-wall portrait of a partnership under stress. Offering this narrative up as “story within a story,” is a savvy way to lean into the messiness that is church communities, while keeping the story accessible to a wider audience. Read that back one more time, Honk For Jesus. Save Your Souls is a movie with a specific audience in mind, but everyone is welcome to partake. Just know Ebo’s storyline relies on the kind of sly references, call and response mentality, and church-folk banter that are the hallmark of many a Southern Baptist household all specifically designed to work on multiple levels. If you let it, in between laughing at moments of sheer outrageousness, Honk For Jesus will greatly inform your understanding of Black culture, community, and its complicated relationship with religious hypocrisy and the gospel of prosperity. A subtly building tension between Lee-Curtis and Trinitie sets the stage for a nuanced take on partnership, love, marital sacrifice and betrayal. Hall and Brown have a kind of chemistry a relationship under pressure needs to sell such over the top characters like Lee-Curtis and Trinitie. Individually and collectively the pair set the tone and masterfully control the ebb and flow of the storyline that deliberately speaks around complicated issues. Juxtapose with the more composed - but no less engrossing - dynamic of rival pastors played with a mesmerizing poise by Conphidance and Nicole Beharie Honk for Jesus offers a not-so-quiet commentary on complexity of morality. Thankfully, Ebo deftly dovetails the more serious moments with the kind of insightful comedic edge that balances rather than breaks that tension. As this disgraced couple's relationship unravels, Trinitie unresolved pain comes into sharp focus,
A.S. Byatt’s short story, The Djinn In the Nightingale's Eye is a lyrical tale about being enamored with fantastical, mystical and the very nature of storytelling. Byatt weaves folklore, narrative strategy, a razor-sharp awareness of reality and intrusive flights of nightmare and fancy to build a fairytale about a whimsical woman narratologist (the study of narratives) and her encounter with a creature of myth, a djinn. The titular short story in an anthology of five, The Djinn In the Nightingale's Eye is a dense work that blends the magical and mundane in ways that practically beg for adaptation into a visual medium. Needless to say, I was immediately drawn in when Australian director George Miller’s (Mad Max: Fury Road) announced his intention to finally tackle the project after years of thinking about it. It's not like he hasn’t proven adept at telling unwieldy adventures with a keen eye and insane commitment to visually stunning set designs, kinetic action, and smartly cast characters. The final result, Three Thousand Years of Longing offers an enticing fable and incisive, if imperfect, meditation on the nature of love, need, passion, betrayal, hope and freedom.
Tilda Swinton stars as Alithea Binnie in director George Miller’s film THREE THOUSAND YEARS OF LONGING. Photo credit: Elise Lockwood © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.
Miller’s adaptation follows Alithea Binnie (Tilda Swinton), a middle-aged divorcee and narratologist as she travels to Istanbul for a conference. Slated to give a dual presentation with an old friend this slightly standoffish scholar blossoms when discussing the nature and purpose of myth in a world saturated with scientific explanation. Alithea chooses a glass trinket as a souvenir and accidently unleashes the Djinn (Idris Elba) trapped inside while cleaning it. What follows is a tale that makes the most of Elba's laconic wit and verve to weave rich and enthralling story of days past. There's action, adventure, trials and tribulations. Each successive vignette (there are three) more richly drawn and engaging than the last. But some woefully disjointed character (under) development leaves its contemporary elements feeling out of step. Aside from its use of fairy tales and fables, a significant part of what makes The Djinn In the Nightingale's Eye work is its frequent birds-eye perspective on its characters. Miller's (and Gore) script shifts the storyline point of view. Now Alithea is the narrator. Her first act is to tell the audience that what follows is a true story but shared as a fairytale so people would be more inclined to listen. It’s a clever deviation from the winding strategy Batt uses to introduce her lead. But, when the point of the story is the telling of that story it’s crucial for viewers to care about the experience of the story’s primary narrator. And not far into the first act, it's inescapably apparent Alithea's story arc is missing some crucial pieces. Miller cut too deep when compiling her core motivations, personality traits, and life experiences from the source material. So, although ably portrayed by Swinton, there just aren’t enough depth to build the necessary, consistent, investment in her part of the story. There's too much implied or left unexplained about this woman and the present day portions begin to feel uneven, intrusive or rushed. Despite, Miller and Gore’s script choices falling short of the mark in terms of creating the same sense of enchantment in the present day portion of the story, Three Thousand Years of Longing is still a grand adventure full of captivating glimpses into the life and lamentations of a djinn that's well worth seeing for yourself. Listen in as Ro discusses (spoiler-free) a few of the film's successes and missteps with Kriss.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblack
@BookBlerd
@InsanityReport @TheMTRNetwork
If there's one thing we hate here on Movie Trailer Reviews are films that have surprisingly good casts but a script that let's that cast go to waste. Samaritan is one of those films. Let's be clear here. At no point should anyone not looking at the cast list come into this film expecting a whole lot. The premise for this film feels like MGM wanting to cash in on superhero films without doing any work. You have an aging superhero, a society on the verge of collapse and a young kid who wants to believe in heroes. We've seen this before. But then you start looking at the cast list and you start thinking "well...maybe this will be good." Unfortunately the script is absolutely terrible. This film manages to waste Pilou Asbaek (Euron fucking Greyjoy) in a villain role. Sophia Tatum's character could have been an interesting second villain but is wasted. Dascha Polanco from Orange is the New Black is also underused. Oh and Shameik Moore (Dope and the voice of Miles Morales) is in this film and you'll probably not really notice him at all. It's a travesty all around. Sylvester Stallone actually isn't bad in this movie and does a pretty good job playing the "I'm too old for this shit" main character. Had he had more interactions with some of the aforementioned characters, this movie probably would have been much better. Instead he's forced to interact with Javon Walton's character who is written to be an annoying child character. There's a lot of other things wrong with this film but the underused cast is the most glaring. The best thing this movie has going for it is that it's playing on Amazon Video so you don't have to leave your house to see it and you're not out any cash if you just turn it off.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Dan Trachtenberg Screenwriter: Dan Trachtenberg, Patrick Aison Starring: Amber Midthunder, Dakota Beavers, Dane DiLiegro, Stormee Kipp, Michelle Thrush Runtime: 1 hour 39 minutes Synopsis: The origin story of the Predator in the world of the Comanche Nation 300 years ago. Naru, a skilled female warrior, fights to protect her tribe against one of the first highly-evolved Predators to land on Earth.
Prey does something that is very rare: It is the prequel to a cult classic that is released decades later that turns out to be....really really good. Prey is the best Predator film out of all the Predator films. And that's not a "grading on a curve score". This film is really good on it's own and then gets an added bonus for being a Predator film. There are so many things to love about this film. It does a great job of balancing homage with telling its own story without compromising the characters and development. It also turns the Predator back into the scary, unstoppable Boogieman that loves the challenge of the hunt. Add in the respect for indigenous culture and the cast and this is a top tier film that everyone should fire up in Hulu as soon as they can.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Vengeance follows journalist Ben Manalowitz (B.J. Novak), a self-indulgent writer for the New Yorker, desperate to find an angle that'll let him successfully pivot into podcasting. After a late night call leads him to Texas, and the funeral of Abby Shaw (Loi Tipton) a past hook-up, Ben allows himself to get roped into investigating her death - by her distraught brother Ty (Boyd Holbrook) - in the hopes he can mold the experience into a true-crime show. As writer, director, and star, B. J. Novack leads an eclectic ensemble in surprisingly entertaining a dark comedy with a finely honed satirical edge. The movie's cold opening almost guarantees you won't like Ben. His personality's mostly just vibes and pretentious assumptions. He's never bothered to learn how to be his authentic self. When people try to point out that his detachment holds him back, it goes in one ear, and out the other. So, once he's out of comfort zone, Ben doesn't know how to relate. And his belief that it's everyone else who's out of step leads to hilarious smack downs, rude awakenings, and emotional life lessons. Thankfully, Novack does more than just take potshots at the obsessively ambitious and emotionally disengaged. He's crafted a constantly engaging narrative to mix with his metaphors. Vengeance is both a fish-out-of-water comedy and an intriguing mystery. Along the way, you'll laugh, cringe, and wonder how many times he can miss seeing what's right in front of him. By turning the true-crime angle into the framing device Novack creates a way to naturally take his lead's worldview with a grain of salt. From the outset, he shapes each character's arc to simultaneously embody and combat people's preconceived notions about one another. Just as soon as you think you know what someone thinks or how they'll behave, Novack throws a curveball. Every passing encounter designed to pull the picture slowly (but not too slowly) into focus. There's never a moment when the cast can phone it in. The film's quips, slick dialogue and surprisingly impactful monologue showcases how the impulse to treat people as caricatures results in squandered moments to connect with one another on a real level. In a time where it's commonplace to listen with half an ear and keep both eyes trained on a phone, Vengeance pushes its main character onto a path that demands his whole attention. B. J. Novack makes his directorial debut in full creative control and taking some big swings. Don't be surprised if between the laughs, you end up doing some serious self-refection before all's said and done. Listen as Ro and Kriss review Vengeance and discuss why its off-kilter story and tight ensemble performances hit just the right note. Vengeance opens in theaters July 29, 2022
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Jordan Peele Screenwriter: Jordan Peele Starring: Daniel Kaluuya, Keke Palmer, Brandon Perea, Steven Yeun, Michael Wincott Runtime: 2 hour 10 minutes Synopsis: The residents of a lonely gulch in inland California bear witness to an uncanny and chilling discovery. Jordan Peele's latest film, Nope, will probably be his most polarizing with audiences but that's a good thing. The reason being is that Peele seems to really enjoy proving that he really has no lane that he's staying in and he's going to continue to make ambitious films that are never exactly what you might think the film will be after watching the trailers. Peele's MO is to inject blackness into situations that folks might not initially think about. With Nope you basically get black cowboys, UFOs and then commentary around the modern idea of getting famous/rich by any means necessary. Daniel Kaluuya and Keke Palmer have a great chemistry as brother and sister and are surrounded by a cast that is also very solid. Where this film might lose people is first with the editing. In typical Peele fashion, he purposely cuts between some scenes in awkward, weird ways to mess with the audience. Peele is king of showing something in his movies that seems completely unrelated but requires the audience to make the connections because he's not going to just flat out say it himself. The second thing that might be jarring for folks is that this film leans into some of that "high strangeness" that isn't typical for mainstream audiences and might honestly just be too weird for some audiences. Overall, Nope is another win for Peele. It shows that he refuses to be pigeonholed into a particular lane and that he views all of horror as his bag. Peele has always been very good with visuals and audio and Nope is probably one of his best in that category. This is definitely one of those films that warrants a second viewing, especially if the first viewing left you a bit lukewarm.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Taika Waititi Screenwriter: Taika Waititi, Jennifer Kaytin Robinson Starring: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe Runtime: 2 hour 5 minutes Synopsis: Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct.
Kriss, Ro and Brandon are back to talk the fourth Thor film in the MCU, Thor Love and Thunder. This film is very much a product of its director Taika Waititi. If you had a problem with Thor Ragnorok then you'll probably have a problem with this film and how it blends humor with some really dark themes. Waititi's take on Thor has been to take the God of Thunder and show how much tragedy he's gone through and frame it in humor on the surface and pain and sadness underneath. Christian Bale's Gorr is straight out of a horror film and also is a character built off of sadness and tragedy. Listen as we talk about what works and what doesn't work for this latest MCU film.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Kyle Balda, Brad Ableson, Jonathan del Val Screenwriter: Matthew Fogel, Brian Lynch Starring: Steve Carell, Pierre Coffin, Alan Arkin, Taraji P. Henson, Michelle Yeoh, Julie Andrews, Russell Brand, Jean-Claude Van Damme, Dolph Lundgren, Danny Trejo, Lucy Lawless Runtime: 1 hour 27 minutes Synopsis: The untold story of one twelve-year-old's dream to become the world's greatest supervillain.
Kriss & Ro talk about the latest film in the Despicable Me/Minions series, Minions: The Rise of Gru. Overall this movie does what it needs to do. It's entertaining enough for kids and is serviceable enough for adults. It is becoming clear that this franchise is starting to run out of runway. One of the biggest disappointments with this movie is the underutilization of the cast. There are some actors that are used for some of the villains that could have really been used better to play on the 80's time period. There's also some cring moments surrounding some Asian characters and themes that just seem like they were clunky and lazy. Again, the movie isn't bad but it's starting to feel like the studio is trying to capture the magic of the first film and keeps getting further and further away.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Scott Derrickson Screenwriter: Scott Derrickson, C. Robert Cargill, Joe Hill (short story The Black Phone) Starring: Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, James Ransom, Miguel Cazarez Mora, E. Roger Mitchell, Troy Rudeseal Runtime: 1 hour 42 minutes Synopsis: After being abducted by a child killer and locked in a soundproof basement, a 13-year-old boy starts receiving calls on a disconnected phone from the killer's previous victims.
We got the whole Movie Trailer Review gang back together to discuss the latest from director Scott Derrickson, The Black Phone. Blumhouse has been on a bit of a slide with some really questionable films as of late. Their last series of Welcome to the Blumhouse films on Amazon Prime Video were absolutely atrocious. And who could forget what happened when we all got together last time to discuss the travesty that was the Firestarter remake. So coming into The Black Phone, one couldn't blame audiences if they were a little apprehensive. Thankfully, The Black Phone A lot of things work for this movie. First, Scott Derrickson really knows how to capture horror elements in this film. It's a trend across all of his films but it really stands out in this one. The camera angles, sound editing, framing and everything comes together to really draw the audience into the situations in this film. It also helps that the cast is outstanding. Ethan Hawke has been on a tear lately with the characters and range he's been portraying in movies this year. He's perfectly cast as "The Grabber". He does a lot of "eye acting" that pairs very well with the various masks he wears. But it's not just him. This film has a really solid cast of young actors with Mason Thomas and Madeleine McGraw that pair off extremely well with the adults in this film. The Black Phone has a mix of Stranger Things with your typical Horror Thriller that works very well for it. It can be dumb at times and even predictable but it's done in a way that feels like it pays off in the end so the audiences will enjoy it.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Baz Luhrmann Screenwriter: Baz Luhrmannn, Sam Bromell, Craig Pearce Starring: Austin Butler, Tom Hanks, Olivia DeJonge, Helen Thomson, Kelvin Harrison Jr. Runtime: 2 hour 39 minutes Synopsis: From his childhood in Tupelo, Mississippi to his rise to stardom starting in Memphis, Tennessee and his conquering of Las Vegas, Nevada, Elvis Presley becomes the first rock 'n roll star and changes the world with his music. Ro is joined by Kriss and she talks about what worked and what didn't for the latest from Baz Luhrmann. This film is a mixed bag in terms of what it brings for telling the story of Elvis. It's interesting what parts and roads they do go down and which ones they avoid all together. The cast is really the standout with Austin Butler nailing the role of Elvis. This film is more about Tom Hank's Tom Parker and he does a great job in his role as well. The cast lives up to expectations, unfortunately the story just doesn't.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Angus MacLane Screenwriter: Angus MacLane, Matthew Aldrich, Jason Headley Starring: Chris Evans, Keke Palmer, Peter Sohn, Taika Waititi, Dale Soules, James Brolinn, Uzo Aduba Runtime: 1 hour 40 minutes Synopsis: While spending years attempting to return home, marooned Space Ranger Buzz Lightyear encounters an army of ruthless robots commanded by Zurg who are attempting to steal his fuel source. Kriss and Ro review the latest from Pixar, Lightyear, a new movie in the Toy Story world of films. While the film doesn't break new ground, it's one of those films where it's good and entertaining enough for the whole family. fBecause it's from Pixar, its competition is really itself. Coming off of Toy Story 4, this might not be up to that level but it's also more aimed at building up a new generation of fans in this world. There's a lot here to like and it's also sets up nicely for continuing the adventures of the Space Rangers in future movies. Listen as Ro & Kriss discuss what worked for Lightyear.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Colin Trevorrow Screenwriter: Colin Trevorrow, Emily Carmichael, Derek Connolly Starring: Chris Pratt, Bryce Dallas Howard, Laura Dern, Sam Neill, Jeff Goldblum, DeWanda Wise, Mamoudou Athie Runtime: 2 hour 26 minutes Synopsis: Four years after the destruction of Isla Nublar, dinosaurs now live--and hunt--alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history's most fearsome creatures in a new Era. The 1993 Jurassic Park was a classic. It revolutionize the blend of CGI and practical effects. It had a story based in science that . Unfortunately after the success of that movie, the franchise had been nothing more than expensive tech demos. That's especially true of the Jurassic World trilogy of films with each one getting progressively worse. These films are ridiculous. Utterly ridiculous with things that make absolutely no sense. Like how did large dinosaurs repopulate the entire world after a handful escaped an auction in the last film? Look, we get it. Sometimes ridiculous nonsense films are enjoyable (Hi Fast & Furious series). But it's really hard to turn your brain off for a ridiculous film that doesn't think it's ridiculous. Director Colin Trevorrow is no doubt trying to make a serious film with a coherent storyline which makes the ridiculousness of this film not a feature but clearly a bug. Look, if folks just want to see some dinosaurs then that's fine. You could cut out the few and far between horror-like scenes and put them on Youtube and get your fix. When the film does that, it works. The problem is, it's full of humans your don't care about in a story that doesn't make any sense. That's par for the course at this point. What makes Jurassic World Dominion even more egregious is the blatant and heavy handed nostalgia scenes it goes for. There are times when this film will have a character from the original Jurassic Park say or do something exactly like they did it in that movie but it doesn't land because it's such a hollow attempt. Jurassic World Dominion is the Matrix Resurrections of Jurassic Park films. This is a series that should die and not be brought back.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Chloe Okuno Screenwriter: Zachary Ford, Chloe Okuno Starring: Maika Monroe, Karl Glusman, Madalina Anea, Chloe Okuno, Burn Gorman, Gabriela Butuc, Tudor Petrut Runtime: 1 hour 36 minutes SXSW Synopsis: set in the midst of a citywide panic over an active serial killer, a young woman moves into a new apartment with her partner and is tormented by the feeling that she is being stalked by an unseen watcher in an adjacent building. (This review was originally part of MTR’s 2022 festival coverage.) ** Watcher, director Chloe Okuno’s feature debut, follows Julia (Maika Monroe) and Francis (Karl Glusman), a young couple just arrived in Bucharest, Romania for Francis’ new job. Julia doesn’t speak Romanian or know the country. Almost immediately, she finds herself adrift in the city with an increasingly unavailable husband. She spends most days listening to language lessons and otherwise wandering around at loose ends. Francis does little to help his wife adjust. He’s quick to speak in Romanian, cutting her out of conversations by often failing to translate. He makes no attempt to orient her in the city or their new lives. The first night in their home, she notices the silhouette of a man standing at a window in the building across from theirs. He appears to be looking at her. Days later, in an attempt to convince herself she’s imagining things, Julia waves when she sees him. The man raises a hand and waves back. If this setup has a decidedly Hitchcockian feel, have no fear you’re not imagining it. The hints of voyeurism and Rear Window vibes echo thematically throughout the film. There’s even a very meta moment early on where Julia can’t shake the feeling of being stalked inside a theater while watching Stanley Donen's Charade. Okuno plays with visual perspectives with overhead shots, shots from below, and three-quarter angles to build an ever growing specter of doubt in what Julia’s actually experiencing. Her approach invites the audience to transfer their own anxieties and fears onto the main character. It’s not unique but unlike its predecessor films in the genre (think Hereditary or Repulsion), Okuno uses Julia’s seeming aimlessness to credibly make room for doubt without completely leaving the character as an empty cipher. In Monroe's capable hands, Julia’s got depth in her distressed gaze. Her growing listlessness and lack of focus aid in distorting time and recollection. Paranoia is self-replenishing. Once something trips that switch, it's like a constant itch at the base of your skull; a twitch between your shoulder blades. If the feeling lingers long enough, you can find yourself practically jumping at shadows, flinching away from people, and avoiding places where you can’t put your back to a wall. Thread that paranoia into a story centering a woman convinced she’s being watched (and possibly followed) who can’t get anyone to take her seriously and you’ve got the perfect nightmare fuel. As Julia’s sense of being followed increases, Francis begins to fully discount her unsettled feelings, casting her further adrift. It doesn’t help that there’s an actual serial killer, called the Spider, preying on women in the city. Pretty soon, she’s sleeping poorly and coming off as a blurry eyed hysteric to the people around her. So when her only friend, Irina (Madalina Anea), goes missing from the building; no one’s willing to take her seriously. Whenever she tries to articulate what she’s feeling, it comes out sounding hesitant and unconvincing. To others, the situation begins to look more and more like an unhinged American woman targeting a solitary local man. Monroe’s performance convincingly pushes you into questioning her reliability as a narrator. As incidents and inexplicable encounters keep happening even Julia begins to doubt herself. But if you, like me, automatically say, “oh no” whenever you see Burn Gorman’s name on a cast list; then you know, Julia should definitely trust her gut.
Movies that adapt Stephen King novels don't have a great track record. Firestarter seems to be proud to not only continue that tradition but works hard to make it one of the worst. Someone said, let's take one of King's novels that was already made into a bad film in the 80's, get the guy who wrote the terrible Halloween Kills to write the screen play and then rush through any story so that the plot is incoherent at best. That pretty much sums up the 2022 Firestarter. Zac Efron really needs better people. He's not a bad actor but he's continually given projects and direction that just don't work. Apparently no one told him he was playing the father to Charlie, not her annoyed big brother. To be fair to him, the script didn't seem to really want to write his character that way anyway. The script is rushed and half thought out and it does a disservice to everyone involved from the actors to the audience. At some point we need to have a conversation about how Blumhouse seems to be making the laziest excuses for horror films lately. Cause this just isn't it. Listen as Ro, Brandon and Kriss talk about how much of an absolute shit show this film is.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Doctor Strange in the Multiverse of Madness proves that Marvel Studios is really interested in pushing the boundaries of what people think of their films and is not interested in just sticking to the same old formula. For those that had criticisms of MCU films that they never took risks and were formulaic, this is definitely a film that is challenging that viewpoint. This means we get a film that isn't perfect and polished and definitely relies on having knowledge of the Disney+ shows (but that should have been a given). But it's still good and very entertaining. Sam Raimi's first Marvel Studios film definitely leans hard into horror. We've seen Marvel dabble before into other genres' but Doctor Strange 2 dives feet first into it. There are not only downright frightful moments but there's also a surprising amount of murder on the screen. Yes, murder. A lot of people die (in horrific ways) in this film. Cumberbatch and Olsen do a great job in this film with Olsen continuing the great emotional performance she had in WandaVision . This film is not perfect by any means. For all the horror elements from Raimi, there are some scripting and directing decisions that don't land. Also this film moves at a breakneck pace. This might be one of the fastest paced MCU movies to date. While it's definitely exhilarating, the pace also doesn't give the audience a moment to breathe and really take in all that's happening. It's really hard to talk about this film and some of the characters (Like America Chavez) without spoiling anything because of the plot points so, the best advice is to just go see it as soon as you can.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Robert Eggers Writers: Sjón, Robert Eggers Cast: Alexander Skarsgård (Amleth), Nicole Kidman (Queen Gudrúnn), Claes Bang (Fjölnir The Brotherless), Anya Taylor-Joy (Olga of the Birch Forest), Willem Dafoe (Heimir The Fool) Synopsis: From visionary director Robert Eggers comes The Northman, an action-filled epic that follows a young Viking prince on his quest to avenge his father's murder.
Ro & Kriss review and discuss The Northman.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Roger Michell Writer: Richard Bean, Clive Coleman Cast: Jim Broadbent (Kempton Bunton), Helen Mirren (Dorothy Bunton), Fionn Whitehead (Jackie Bunton) Synopsis: In 1961, Kempton Bunton, a 60 year old taxi driver, steals Goya's portrait of the Duke of Wellington from the National Gallery in London. Ro and Kriss review the film The Duke.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: David Yates Writer: Steve Kloves, J.K. Rowling Cast: Eddie Redmayne (Newt Scamander), Jude Law (Albus Dumbledore), Katherine Waterston (Tina Goldstein), Mads Mikkelsen (Gellert Grindelwald), Ezra Miller (Credennce Barebone) Synopsis: Albus Dumbledore assigns Newt and his allies with a mission related to the rising power of Grindelwald. Ro reviews Fantastic Beasts: The Secrets of Dumbledore while Kriss chimes in about how trash JK Rowling is.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Janus Metz Writer: Olen Steinhauer Cast: Chris Pine (Henry Pelham), Thandiwe Newton (Celia Harrison), Laurence Fishburne (Vick Wallinger), Jonathan Pryce (Bill Compton) Synopsis: Two CIA agents and ex-lovers (Chris Pine and Thandiwe Newton) are brought back together years after a failed rescue attempt and forced to blur the lines between profession and passion in this deeply riveting tale of global espionage, moral dilemma and deadly betrayal. Ro & Kriss review All the Old Knives, available now on Amazon Prime Video.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Riley Stearns' Dual crams a lot into 95 minutes but never feels overstuffed. It's listed as a Sci-Fi Thriller but is also pulls off a dry sense of humor really well thanks to lead Karen Gillan. Its biggest accomplishment is providing meta, societal commentary without ever feeling overly pretentious or preachy. The plot of the movie is very simple. Sarah (Gillan) is living a very depressing and unfulfilled life when she is diagnosed with a terminal illness. To ease the transition for her mother, she opts for the Replacement program that allows dying people to clone themselves so that their clone can continue on with their life. The problem is...Sarah makes a miraculous recovery and is no longer dying. By law her clone has the right to not be "decommissioned" and the way this is handled is by a televised duel to the death where the winner gets to live on as Sarah. This movie is less about some Hunger Games style duel and more about what it means to live a life. Stearns could have made this film really boring and uninteresting but instead uses awkward situations with hilarious dialogue to make this film a joy to watch.
Gillan works well as Sarah (and Sarah's Double). Her last few films have had her really lean into her deadpan expressions and humor and its worked very well for each film. In this one, she's acting against herself in many cases and that just makes it even more impressive. It helps that her character is also very unlikeable. There are times when you start wanting to root for her double as you come to the realization that Sarah kinda sucks. Dual definitely is worth checking out. Again, despite the opening, don't expect some action-heavy scenes like Hunger Games or Battle Royale. It's definitely not that kind of film.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
We all know that movies and TV shows based off of video games have an uphill battle. To be blunt, most absolutely suck. But things are slowly starting to change. The Halo series on Paramount+ is a great example of this. Years ago this would have been a 100 minute movie that was nothing but over-the-top fan service with a terrible story that felt like a rushed money grab. Instead Paramount+ has decided to bank on drawing folks in with ultra violence, a familiar yet unique story and making this adaptation a mini-series that is already guaranteed to go 2 seasons so it has time to grow. It's a smart calculation that makes for an interesting show that presents more positives than negatives in the first 2 episodes. One thing should be made clear. This is NOT your kid's Master Chief. If you have a problem with ultra violence then you don't want to watch this. The opening 10 minutes presents one of the best introduction of the main characters as Master Chief and his squad take out the Convenant that just massacred a town. And by "massacre" we mean killed just about every man, woman and child. As a matter of fact the first people killed in this show are some young teens that literally get picked apart. This series is definitely not just about showing violent alien deaths. The backdrop of the UNC taking on the Covenant is the UNC's own violent campaign to put down a resistance from border colonies that want their own independence. It's very clear that this is a violent universe. Pablo Schreiber makes a pretty solid Master Chief. Schreiber can be very dry and mechanical at times but that's exactly what his role calls for. The rest of the cast is a mixed bag with some feel perfect for the role while others may need a bit more time to settle in. This is mostly due to the story that takes pieces of existing Halo lore while still trying to make something unique. It's ambitious and it remains to be seen if they can pull it off both story-wise and with this cast. The first two episodes of Halo are far from perfect. After the action packed opening of episode 1, things slow down a bit to try to fill out the world and set the scene a bit better. Halo feels like a mix of Starship Troopers and The Expanse. And that's enough to at least warrant checking out the full season. Halo premieres on Paramount+ on March 24th.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Director: Domee Shi Screenwriters: Julia Cho (screenplay), Domee Shi (screenplay), Sarah Streicher (story) Starring: Rosalie Chiang, Sandra Oh, Ava Morse Cinematographer: Mahyar Abousaeedi, Jonathan Pytko Runtime: 110 minutes ** Turning Red centers thirteen-year-old Meilin (Rosalie Chiang) as she enters that in-between phase mother's insist on calling a "magical" time in a young girl's life, puberty. On one level, its an in-your-face allegory: Preteen wakes the morning after her first bout of raging hormones as a giant red panda. Tripping around to hide her shapeshift convinces her mom Ming, voiced by Sandra Oh, that she's gotten her first period. Cue hilarity, hijinks, and those horribly embarrassing moments that can break a mother-daughter bond if not handled just right. Shi's animation background ensures that Turning Red doesn't miss a trick. There's movement, action and important clues in every frame. Mei and her friends are smartly drawn and highly relatable. The story direction and character design keep things accessible for young viewers while still swinging for the emotional fences. There's vibrant color, and a pace-setting soundtrack that make for an engaging and enjoyable experience. The best part? The magical and the mundane are so intertwined a vivid picture of a family deeply connected to their personal history, culture, and one another unfolds in ways that makes the most of common experiences that play crucial part in growing up. Mei's inner panda is part of a larger legacy that marks a true rite of passage for the women in her mother's family. In the midst of navigating school, learning to control her panda while and conniving to spend time with her friends, Mei finds a way to live her best life; but must pull away from her mother (and her expectations) to do it. And here's where Turning Red builds the quiet parts of this coming-of-age story into one revolving around generational knowledge, matrilineal power, womanhood, and choice. So on another, more subtle, level this semi-autobiographical story offers up more nuanced lessons about honoring family by choosing to honor yourself. Of course, those lessons come with a side of boy band mania and secret fundraising but that just means the jokes and laughs are plentiful. Thankfully, Turning Red, never forgets that the hard part of growing up is holding on to family without sacrificing yourself to do it. It's not just a primer for guiding a young girl through the emotional highs and lows of puberty. Pixar's tapped into what worked so well in Inside Out by letting director Domee Shi turns a Chinese Canadian girl's discovering she can turn into a giant red panda into a touching tale about legacy, friendship, and learning to love everything that makes you, you with charm, wit and a heavy dose of middle-school earnestness. Listen as Kriss and Ro get into the themes and reasons this beautifully crafted coming of age story is certain to resonate with the entire family. Turning Red premieres in select theaters and on Disney+ March 11, 2022
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Sean Ellis Screenwriters: Sean Ellis Starring: Boyd Holbrook, Kelly Reilly, Alistair Petrie Cinematographer: Sean Ellis Runtime: 111 minutes
Sean Ellis successfully pulls off a film hat trick by directing, writing and serving as cinematographer of The Cursed and the result is a creepy and terrifying gothic werewolf tale that could give audiences nightmares. The Cursed produces a tight story in under 2 hours but also leaves enough room for the audience to want more. There are so many questions and aspects of this story that could be told but are instead left up to the audience to interpret. In other movies, that could be seen as a downside but for The Cursed it's a testament to how good the story is. It also helps that the real villain in this film isn't the hairless, terrifying werewolf-like creature but the more realistic greedy, rich and powerful French landowner that brings this terror onto his town and family due to his own horrific deeds. This is definitely one of those films where you're rooting for the creature. It helps that at no point does Ellis insult the audience's intelligence by going through the typical denial phase that happens in super natural movies like this where a significant portion of the movie is spent trying to convince characters that the threat is real. This isn't one of those films that hides the monster until the last possible moment. Ellis definitely uses anticipation extremely well to add to the frightening full reveal. The creature itself is a unique take on the idea of a werewolf with it also bending some of the rules typically associated with the creature. A creature that's not beholden to only appearing at night or the full moon adds to the level of sheer terror. 2022 is shaping up to be a great year for horror films and TV shows. Listen as Kriss and Ro talk about what makes The Cursed so good and why you should check it out.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Kogonada Screenwriters: Kogonada Starring: Colin Farrell, Jodie Turner-Smith, Justin H. Min, Malea Emma Tjandrawidjaja, Haley Lu Richardson
Sundance Synopsis: When Yang — a lifelike, artificially intelligent android that Jake and Kyra buy as a companion for their adopted daughter — abruptly stops functioning, Jake just wants him repaired quickly and cheaply. But having purchased Yang “certified refurbished” from a now-defunct store, he’s led first to a conspiracy theorist technician and then a technology museum curator, who discovers that Yang was actually recording memories. Jake’s quest eventually becomes one of existential introspection and contemplating his own life, as it passes him by. Snapshot Review: Writer/Director Kogonada understands that the futuristic can serve as a perfect frame for the quietly despondent and emotionally vibrant. After Yang takes an engrossing short story and adapts it into a breathtakingly gorgeous sci-fi film aimed right at the parts of our psyche we don't pay nearly enough attention. Here, the technology acts as a soft component of this vivid backdrop and a gateway through which the audience becomes immersed in the narrative. For all the story's sadness it's just as hopeful a journey into what holds a family together. This is a family in transition and watching them come to terms with the consequences of their unwitting choices offers compelling insight into identity, family and grief. Kogonada's sense of fun is readily apparent in what might be the best title sequence ever in a film. Yet, After Yang superbly translates the essence of loss, and deepens the allegory about our dependence and attachment to technology at the heart of Weinstein's story. This is an adaptation with heart and soul.
*this review is updated from The MTR Network's Sundance 2022 coverage.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The Batman feels like WB making the strategic and smart decision to go back to what has worked for their live action Batman movies. This means a more grounded Batman with less of the super hero elements but a solid story that will get both critic and audience praise. For better or worse, this film feels like the natural progression from Christopher Nolan’s Batman trilogy. Matt Reeves took a lot of the elements and themes from Nolan's trilogy and added them to a neo-noir detective story that overall works. If you remember that this is Year Two Batman and that this film is really meant as set up to flesh out Gotham and the world this Batman will operate in, then the shortcomings can be overlooked to form a good movie with a potential for a great franchise. There are several things that work for The Batman. First, first is the story and focus on the detective aspect of Batman. The story is built around being a detective thriller and despite pacing and a way too long run time, it's a good entry point to this new Batman and Gotham. If you view this film as the setup for the rest of the franchise then what Reeves does is build out a Gotham that feels like it's a character itself, which is an important part of any Batman story. In many ways the themes of Gotham and corruption are lifted straight from what Nolan's trilogy focused on with slight changes. Some might not appreciate how similar they are but you can't really fault a film for going with what works. Pattinson can hold his own as Batman but finds himself outacted by Zoë Kravitz and Jeffery Wright. It's not really his fault as the direction he's given for the character. Again, with the focus being on this being a Batman only 2 years into his war on crime, the character itself isn't supposed to be well rounded. For what he's asked to do it works and even better, at no point does he feel like he shouldn't be there. There are a few things that hold this film back from being great. The runtime for The Batman is the biggest negative against it. This film is about 30-45 minutes too long. A better job editing could have made this story tighter with better pacing. The longer runtime could be forgiven if the film went for a more well rounded character development for Batman and given us more of Patttinson as Bruce Wayne. Instead what we get is a film that ends and then continues to on and on and on. The lighting in the film is also really bad (in 2022, can we please light Black people better on film? please). Just because a film is a neo-noir film doesn't mean it has to be shot in pitch black. There are scenes in this film that are lighted so poorly it's really hard to see what's happening on the screen. Which is unacceptable. Lastly, the fight scenes with Batman are uninspiring. For all the things Batman v Superman did wrong, the warehouse fight scene with Batman is the gold standard for how Batman should be fighting. There are times in this film where you can see how clunky the Batsuit is and it just doesn't work for any serious hand-to-hand fighting. But again, it's clearly not the focus. Overall The Batman does what it needs to do. There are plenty of good things and the negatives are things that can be fixed moving forward. No, this isn't the Batman many have been waiting for. But at this point, it's pretty much settled that if you want the comic Batman you'd be better off picking up a comic or playing one of the Arkham games. The Batman is more in the tradition of Nolan's Batman and all things considered, that's not too bad.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Showtime's Yellowjackets, an early 2022 break out, (re)set the bar for a dynamic genre-blended series. Now, EPIX's hopes to pick up the baton with its new slow-burning horror series From. Just in time, because thanks to shows like The Boys, and The Expanse, people are rediscovering the joys of not binge watching. There's something about being able to let an show sit with you, mess with your head for an entire week. And From definitely intends to mess with your head. From turns a rundown small town in the middle of nowhere into the living hellscape a hodgepodge ensemble find themselves trapped in. There are monsters, mayhem, small-town politics, and world-weary townspeople just trying to make it through the day...and night. Yes, it's a horror mystery box. But think more Salem's Lot and less Lost. From Airdate: 9 p.m. Sunday, on EPIX
Photo Credit: Chris Reardon/EPIX
Cast: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, Hannah Cheramy, Simon Webster, Ricky He, Chloe Van Landschoot, Shaun Majumder, Corteon Moore, Pegah Ghafoori, David Alipay, Elizabeth Saunders, Elizabeth Moy, Avery Konrad
Long Day's Journey Into Night Synopsis: The Matthews’ family road trip takes a horrifying turn when they are detoured to a small pastoral town from which they cannot leave. When their family RV crashes, Sheriff Boyd Stevens and other residents rush to save them before the sun goes down. The Way Things Are Now Synopsis: At Colony House, Tabitha and Julie grapple with their new nightmarish reality; out in the forest, Jim, Boyd and Kristi struggle to treat Ethan's injuries; tragedy strikes from an unexpected source as a new threat arises in the town. Choosing Day Synopsis: The Matthews family must choose which of the two settlements they will join; Jade comes to terms with his situation; Boyd is faced with an impossible decision that strikes at the very heart of life in the town. A Rock and a Farway Synopsis: Julie finds comfort in her new friends; Jim and Tabitha deal with their struggling marriage; Ethan ventures off into the forest with Victor; Father Khatri urges Boyd to embrace his role as leader; Sara receives another horrifying directive ** The show starts with a visibly tense and disheveled Boyd Stevens (Harold Perrineau) hoofing it down main street sending out a clarion call with an old hand bell. You're not exactly sure what's the hurry but the sense of impending danger grows as he moves through town and the sun slips slow over the horizon. The blend of bleak lighting, seemingly broken down buildings, and eerie soundscape this isn't a happy, thriving small town. These people are scrambling to get inside, lock doors and checking windows like a wicked wind's about to blow through. The small details set the stage for what's to come, a man passed out drunk on the floor, a woman waiting anxiously on a porch across town before ushering a young girl inside and slamming the door on a curse. People in different homes all patting a talisman hanging by the entry before pull down shades and closing curtains. As the camera travels about town giving glimpses of harassed-looking townspeople sheltering in place. That growing sense of doom comes to a head when a ghostly looking grandma convinces a child to open a window. Demonstrates that something monstrous stalks the town's inhabitants ever night. The consequences for falling prey to its scheming are, gruesome. From builds it's mystery from the ground up The point of view shifts to a family on a road trip. The Morrison family traveling a back road by RV destination unclear. A fallen tree in the road pushes them off course, and into this no name town. As they roll down the main thoroughfare, the entire town's decidedly unwelcoming. It's a grim and unsettling introduction to a community divided and a deadly mystery. One that unfolds step by ominous step. There's family conflict, murder, mayhem and mystery. The cast of characters is varied and every variety of walki...
I don't know if Snowpiercer is a good show. I don't. There are things this show does that are annoying and feel like poor writing. However, after the last 2 years of living with COVID and seeing just how dumb people are in real life, the problem with Snowpiercer might be it's hitting too close to home. Either way, it's Season 3 and we're here for the mess. It seems like every season we start off saying the same thing: Andre Layton is stupid and should not be in charge. And the first 4 episodes of this season seem to back this up. Whether it's intentional or not, the Snowpiercer TV show really shows what happens when the wrong people assume leadership while ignoring far more capable people around them. Looking at some of the themes that are popping up this season, we have to believe it's intentional. Especially after episode 4. Alex realizing that she's an extremely capable and gifted engineer on her own who doesn't need Wilford. That plays great against the backdrop of Layton and the inner circle making the same mistakes again and lying to the train (Thereby taking a page out of Wilford's book) instead of just being honest. In what feels like something that's pulled straight out of what we've been dealing with in reality for the last 2 years, Snowpiercer shows what happens when a) the wrong people are in charge b) the people in charge think so little of the people that trust them, that they lie instead of trying to explain the truth. We know this is all going to come crashing down. There's so many reasons.
Layton is out of his mind due to suffering from oxygen deprivation (Aye man. You can't promise people New Eden when you've only seen it in your head after you almost died from a lack of oxygen) Asha is also crazy (and maybe ate people) Ruth should be in charge but once again isn't really in the inner circle. Pike sees this and this of course is gonna cause problems Wilford is still alive. Why? We have no idea. Shoutout to Roche for trying to do what needed to be done Zarah still got Layton wrapped around her finger because he's an idiot and so many other things
This is going to go bad and we can't wait to see the chaos. Also, Osweiller? Your dick is not your friend. Clearly because you're now married to the serial killer that used to cut men's dicks off. Good luck man. We'll be back around episode 7 to talk about the next three episodes.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@BookBlerd @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
It's that time of year again. Yup, a bunch of RomComs that most people won't see get dumped around Valentine's Day. With that in mind, I Want You Back is much more serviceable than the typical paint-by-numbers comedy we see this time of year. It's got Charlie Day and Jenny Slate in it and that enough to at least generate some interest. Day and Slate are the real attraction here. They work well together and have some really funny moments. The opening of this movie showcases both of their characters going through their breakups and its both funny and a bit rough. It's one of the attractive things about this movie. It feels more grounded (even when it gets ridiculous) than your typical romantic comedy. Especially compared to other movies where say a pop superstar picks a random guy out of a crowd and decides to marry him (seriously, who approved Marry Me and why?). The rest of the supporting cast also hold up well. Scott Eastwood also has some really good moments here and is funnier than one would expect. There are two things that hold this movie back. The first is the run-time. At almost 2 hours, this is way too long for this type of film. It could have been streamlined quite a bit. With this film being released on Amazon Video, that makes it a bit more manageable but still, the runtime is an issue. The bigger problem however is that this film still falls into the same "been there, done that" feeling that these films tend to have. There was an opportunity for this film to break from the genre mold but it really doesn't. Which is a shame because it could have been much better. That said, this is a film worth checking out. There's enough here to like and the fact that this film can be watched at from the comfort of your own couch starting Feb. 11th, that's another big bonus.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
There are two types of people in the world. Those who love Shakespeare and consuming it in the vast array of . And then there are those of us that can't stand Shakespeare and are still annoyed by the fact that at some point growing up we were forced against our will to both read and reenact some play or monologue from Shakespeare. There is no in between. Either you love it or you hate it. Objectively, The Tragedy of Macbeth is probably the best adaptation of Macbeth on the big screen. The performances are great and it's a really good, overall movie. That said, the majority of audiences would never want to sit through 1 hour and 40+ minutes of Shakespearean english. Trust me, it's brutal. This is an extremely niche movie that's aimed at a niche audience. Which is fine. But it does beg the question as to why being aimed at a narrow niche audience never seems to be a problem for critics with films like this but then that same thing is used as a negative with other films. It's almost lazy in the fact that at this point, since all these films are basically remakes of the same thing over and over again. Yet that never seems to be a problem. And that leads to the real issue that needs to be directed at the film industry. The question really isn't if this is a good movie or not. For those that love Shakespeare, they'll love this. For those that don't, they'll probably never watch this movie beyond a few curious minutes when they see Denzel Washington or Francis McDormand and go "oh what's this?" and then promptly turn it off and go back to something else. That's the reality. The real question is at what point do we free ourselves from the outdated chains that are Shakespeare? There are so many other literary masterpieces and plays that are better that we could focus our time on. Instead every few years someone is remaking something by Shakespeare. Enough is enough. It's time to pack Shakespeare up in a museum and stop using this as some form of gatekeeping of true acting or directing ability. Listen as Ro, Kriss and Brandon discuss the Tragedy of Macbeth and why it might be time for us to move on to some other things.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director: Abi Damaris Corbin Screenwriters: Abi Damaris Corbin and Kwame Kwei-Armah Starring: John Boyega, Michael Kenneth Williams, Nicole Beharie, and Selenis Leyva Cinematographer: Doug Emmett Sundance Synopsis: Living in a cheap motel in Atlanta and separated from his wife and child, former U.S. Marine veteran Brian Easley is desperate. Driven to the brink by forces beyond his control, the soft-spoken, kind man decides to rob a bank and hold hostages with a bomb. As police, media, and family members descend on the bank and Brian, it becomes clear he’s not after money — he wants to tell his story and have what is rightfully his, even if it costs him his life.
Director Abi Damaris Corbin the John Boyega-led, debut is an hour and fifteen minute drama that takes places almost entirely inside of a bank. Yes, this (loosely) based on true events story is a hostage situation. With that framework comes all the expected trappings of a mobilized police response, the appearance of the FBI, stressful encounters, tense and conversations between people inside and outside the bank. It's an tense standoff that from the outset makes it clear Easley is at a crisis point and is willing walking towards tragedy. Boyega turns in a solid performance of a mild-manner man desperate to be heard. Unfortunately, while the narrow focus on the hours inside the bank work beautifully to showcase the almost instance militarized response of law enforcement, it does little to ground the audience otherwise. Corbin's script underserves this stellar ensemble made up of Nicole Beharie, Michael Kenneth Williams, Selenis Leyva, Connie Britton and Olivia Washington at almost every turn. The characters avoid being poorly drawn characters due only to the caliber of the actors. The slight is made more obvious by the skill demonstrated by smartly designed scene transitions and set composition. There's a hollowness that not even Boyega's emotional performance can fill. As a gateway to understanding that desperation always has a cause and ably pointing out the multi-system failure that triggered Easly's last ditch effort to be heard, 892 is far more successful. With slick slight of hand and strategic placement of flashbacks, Corbin designs an indictment of the convolutedness that is the Department of Veteran's Affairs. There's a lot here to unpack, unfortunately not enough of it focuses on U.S. Marine veteran Brian Easley. On the podcast: Ro and guest Britt dig into 892 892 may veer off course when it comes to being a serviceable biopic or even ably handling the complexity of Easly's plight but, it will absolutely raise your anxiety level and provoke. Spoiler-free, but theme heavy, discussion with guest critic Britt W from popculturereviews.com where we dig into what works - and what doesn't - the set arrangement and filmmaking that went into designing the narrative - and what's the take away from a story that focuses less on the central character in order to And like all good festival conversations, the topics veer to other projects screening and the impact or ways they can inform each other. Highlights:
Why watch documentaries: What 892 pulled into focus for Ro Festival Documentary Riotsville, USA recontextualizing police response evolution as we know it How Film Festivals help you find a new ways to connect to narratives and different perspectives The director's eye in developing the main character and scripting Wherein Ro forget the name of Last Flag Flying Discussing where 892 concludes Why 892 should provoke questions about US systems that run agencies like the VA
Follow more of our Sundance Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
@BookBlerd @TheMTRNetwork
To call The 355 disappointing would imply that there were any expectations for it to begin with. Sure, it has all the pieces to be a good film. The cast is really solid. It's a spy film and who doesn't like that? So where does it go wrong? With Simon Kinberg. While this is only Kinberg's second go as a Director (doesn't give much comfort considering his first was X-Men: Dark Phoenix), he has a long (and disappointing) history as a writer. To be honest, he's just not good at this. The fact that The 355 was given to him to direct shows everything that is wrong with Hollywood. Had this film been directed by a better director, a lot of the problems with it could have been avoided. Even the action scenes feel muted. The problem is where the camera is told to focus. So while the scenes are intense, they just don't hit like they should. This movie should have been directed by a woman. Could a man have directed this and it still been good? Sure. But putting it in the hands of a man like Kinberg that routinely has written/directed films that don't do female characters justice is just setting it up for failure. This film has Jessica Chastain, Lupita Nyongo'o, Diane Kruger, Penélope Cruz and Bingbing Fan in it. Each of them has a character that could have had a whole movie about them. Instead all 5 are put in the same film and it pretty much suffocates all their performances. Fan and Cruz are criminally underused. This is another one of those films that has a ton of potential that doesn't even come close to be realized. At this point it feels on purpose. Do just enough to make it seem like you're supporting a female-centered film. But give it to a shitty director and writer, dump it in January and then make it a theater-only release. The 355 isn't a bad film. It has some entertaining moments. Yet it should have been more and because of the lackluster attempt at doing it right, it's likely to become the first (of probably many) forgotten films of 2022.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Nightmare Alley is not what you might expect from your typical Guillermo del Toro film. If you told me that a Guillermo del Toro film used a carnival for a setting but didn't lean heavily into the abnormal or feature a unique creature design, I'd tell you that you were lying. I'd also question if the film was even worth watching. Nightmare Alley might not feel like the typical Guillermo del Toro film. Despite the title, this isn't a horror or paranormal film. Rather, it's a crime noir that tells the story of a con man who starts believing in his con to the point that everything starts to spiral out of control. While Bradley Cooper is the lead here as Stanton Carlisle, this film is all about the women. Toni Collette, Rooney Mara and Cate Blanchett all put major performances into this film. Blanchett in particular puts in a brilliant performance. Bradley Cooper isn't a slouch in the acting department but he gets outacted in just about every scene with Blanchett. The same can be said for his scenes with William Dafoe but that's to be expected because well...it William Dafoe being creepy and no one out acts creepy Dafoe.
Clocking in at 2 1/2 hours, Nightmare Alley does suffer from some pacing issues. But those issues can be forgiven for the overall payoff in the story as well as the performances put in. While it's not what one might expect from Guillermo del Toro, it's a great reminder of the range he has as a director and is definitely worth checking out.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Come on. You already know you're going to see this film. There's no point in wasting time writing a long ass review for something that you are going to see. We could say this movie was trash (it's not) and you would still go to see it. It's going to be the biggest movie to come out since COVID and for good reason. Sony's best decision ever was letting Marvel Studios hold the reins and take control. The result is not only the best live-action Spider-Man trilogy but the best trilogy in the MCU. If for some reason you're looking to reviews to determine if you want to see this film then the answer is this film isn't for you (at all). There's plenty of reasons to love this film. The first is the way that it reminds us that no matter what big things Peter Parker is dealing with, he's still just a kid that wants to hang with his friends and do right. It's what makes Peter so special. By focusing on that, this film can also tell a big story that's both small in how it focuses on the core of Peter Parker but large in how the effects will spread through the MCU. Our audio review is 100% spoiler-free. You can listen to Kriss & Ro talk about all the non-spoiler reasons this movie is great. Our spoiler review will be coming over the weekend for premium members and include Dpalm joining us to talk. You won't want to miss that.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Kriss, Ro and yes, even Brandon get together to discuss the A24 film, Saint Maud. This film is listed as a horror film but it's really more of a drama/thriller. It does have some body horror in it but it's really more about how the lead character has become completely devoted to her faith to the point of being delusional. One of the best things this film does is that it doesn't overstay it's welcome. This film gets in then gets out and doesn't try to do too much. It has a simple story to tell about how one can become very dangerous when they project their own insecurities and issues onto others with religion and it tells it well. This film is definitely not for everyone. But for those looking for a quick film that dives into issues that we see affect us today with deadly consequence, its worth checking out.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Ghostbusters Afterlife is a pleasant surprise. This is a film that had to balance the really difficult task for a film with a cult following of feeding into the nostalgia of long time fans while also bridging the gap to a new generation. While it's not perfect, Ghostbusters Afterlife does a good job of maintaining that balance. There's enough hat tips and callbacks for Ghostbuster fans but the story is also capable of standing on its own. Ghostbusters Afterlife works well as both an introduction to Ghostbusters and a continuation of the franchise. That's a feat that's really hard to pull off these days. This film is surprisingly fresh in the story it tells. The trailers and TV spots don't really do this movie justice. From the promos you'd think this film relies solely on nostalgia and that's not true. It's a better nuanced story and balance than the promos suggest. Overall the cast is solid. The focus is clearly on Mckenna Grace's Phoebe and she does a great job in the role. By centering the film on her character the film is able to bridge the gap between the two audiences it's trying to connect with. The rest of the cast plays their part in support roles. All of them do a great job even if their characters aren't fully fleshed out. While that can be a problem, this film leaves you curious enough to want more and the lack of attention and depth serves more as a teaser for the future and doesn't feel too much like a deficit. One of the things that really helps this film is the setting. By moving the story out of New York and into a "middle-of-nowhere" town, Ghostbusters Afterlife feels like it has the room too be it's own story. While there are clearly callbacks and direct ties to the original Ghostbuster films, it helps to not have New York looming in the background like a judgmental parent. Ghostbusters Afterlife works across the board for everyone. If you weren't interested in seeing this film, it good enough to checkout. If you are a hardcore fan and worried this film wouldn't live up to your expectations, you have nothing to worry about. If you're looking for a film to check out with the family and are willing to brave theaters, this will satisfy that everyone in the family. All around it's a good solid film. It also earns bonus points for setting up for continuing the franchise in new ways.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
One of the things that has made the Marvel Cinematic Universe so successful is how accessible the movies are. Kevin Feige has managed to balance telling comic accurate stories that please existing fans and comic readers while also making the films still make sense to newcomers. It’s one of the most amazing feats of the franchise. And with that they’ve been able to get weirder and bigger and more out there each year. The problem is while Eternals definitely goes big, it also leaves the audience behind a bit. Even the after credit scenes, a staple of Marvel films, are super deep cuts to the lore that are going to leave the average fan wondering “what?” That’s not to say this is a bad film. No, there is a lot to like about Eternals. Chloé Zhao’s signature is all over this film. Visually, it is absolutely stunning. If there was any concern about Zhao making the journey into shooting big action scenes, Eternals should put that to rest. The action scenes are fantastic and are probably some of the best the MCU has done in a while. The cast is also fantastic for the most part. Richard Madden’s Ikaris is basically what if Superman wasn’t a boy scout and didn’t have a cape. Lauren Ridloff’s Makkari is probably the best visualization of a speedster that either Marvel or DC has done on screen. But beyond just the use of their powers, the actors themselves are great in the roles Angelina Jolie does a great job as Thena. She’s not the lead in this film and doesn’t overshadow the rest of the cast but still plays her part and role perfectly. Salma Hayek is the one cast member that could be replaced without feeling like something is lost. She’s not bad but also doesn’t stand out. Some of the biggest problems with the film revolve around her scenes as well as the editing for her scenes seem to be what really drag this film out. The editing of doesn’t Eternals any justice. There are definitely times where audiences will questions why things were cut and placed the way they are. The script struggles to tell its big story without getting lost in it. At times it feels like the film lingers too long in some areas but not enough in others. It's a very weird and frustrating feeling for a film that breaks 2 hours and 30 minutes in runtimes. Eternals could have used the Guardians of the Galaxy Vol 1 treatment, where the story is made a big smaller in order to introduce the characters and waited for a second film to get deeper. Instead the film tries to do a lot in one sitting and the result is too many loose ends. Of course this is the MCU and so those threads will be followed up eventually, but it leaves this film feeling incomplete. The biggest let down in Eternals is the end. This is where it feels like Marvel Studios failed to heed the tail of Icarus (or should I say Ikaris) and flew too close to the sun. As mentioned before, one of the greatest things Marvel Studios has done is craft stories that take the audience along with them. But in Eternals the audience is clearly left behind. There’s so much going on that needs to be explored and just isn’t. The only reason this isn’t a completely catastrophic shortcoming is that we know that Marvel Studios isn’t abandoning the story any time soon so at some point we will get answers. But the result is a film that just feels like it ends just when it was getting good. It's fitting timing with Eternals coming out shortly after WB’s Dune. There are a lot of similarities between the two, especially when it comes to where they fall short. Both are visually pleasing and will work very well for their own niche, super hardcore fanbases. But both seem to have forgotten that adaptations work best when you have something for everyone. Yes, you want fan service but you also need to not go so deep you lose a new audience. At the end of the day, Eternals is still worth watching. But when judging it against other Marvel offerings, it's clear that changes will need to be made in the next film...
The first reaction to Halloween Kills, the sequel to 2018 Halloween, is "What the Hell happened?" The 2018 film felt like a fitting end for Michael Meyers and Jamie Lee Curtis' Laurie Strode. In that 2018 film, we watched Laurie take the fight to Michael and it was actually pretty enjoyable. Halloween Kills is a far cry from that film. It's so bad it leaves you wondering if the same crew that made the first film made this one. Surprisingly, the answer is "yes". David Gordon Greene is back as director as are the same writers (Scott Teams and Danny McBride). So what the hell happened? Why did this film fall so far off from what they originally did? The biggest thing that doesn't work for this film is that it sidelines the best thing about the first film. Jamie Lee Curtis was great in the first film. In this film she doesn't share a single scene with her nemesis Michael Meyers. She doesn't die, she's just not used in any scenes with him. That is a bit of a spoiler but after seeing the trailers and promotion for this film, it feels like false advertisement and needs to be called out. Instead of focusing on Strode the film decides to bring in a bunch of other characters from previous films or encounters with Meyers and turn them into a militia that goes after Meyers. While that seems like a plot point that could be interesting, it falls flat for a couple of reasons. First, it feels forced. Anthony Michael Hall plays an adult Tommy Doyle. Tommy has an obsession with taking down Michael but he thinks he's going to do it with a handful of random folks with a baseball bat. Why on earth would Tommy think a baseball bat is going to stop Michael Meyers? It just feels like the film wanted to say "See, we're connecting it all back to the original series" but didn't care how or why or even if they should. The second issue is that the film seems like it's trying to make a larger commentary on mob mentality but it does a piss poor job at it. On a positive (maybe the only one), the kills are gory. But they're also boring. Yes, Michael Meyers is a force of nature that is going too plow through people. But Halloween Kills feels like that was the only trick they had up their sleeve and it overplayed it. At some point it felt like watching an old school horror film where you're watching not because it's scary but because the characters are so dumb they deserve to die.
This film ends with the clear indication that they want to make another one. But it really doesn't deserve to continue. Yet that's the history of the Halloween films and the curse of Michael Meyers. Even when they should die, they just pop back up and continue on.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Since we’ve all lived through a deadly pandemic, there have been jokes made about how certain storylines and plot devices in movies just won’t work any more because we’ve seen the reality of how people behave. We’ve seen how people react to science, the calls from the government to stay home or get vaccinated. Unfortunately what we saw was people react in ways that prior to 2020 would be called too ridiculous and dumb if they saw play out in a movie. So how does that relate to the movie Silent Night? Well, the problem is that one of the major plot points now seems completely unrelateable now after what we’ve all witnessed (and continue to witness) the last 18 months. Silent Night has the feel of the 2015 film, The Invitation. A group of friends get together for the holidays, gathering at the home of Nell (Keira Knightley) & Simon (Matthew Goode) to celebrate what might be their last time together. As the film goes on you get bits and pieces of the larger issue that is happening outside of this group that they’re desperately trying to pretend isn’t happening for just one night. While Silent Night isn’t bad, there are two big problems with it. First is the aforementioned issue of the reality of the last 18 months. Without spoiling the film, there are certain things that happen that just seem unrealistic. It’s not really the fault of the film but more of timing. One of the most important aspects of the story is the UK government issuing certain claims and people just buying into it. Having seen how the UK & US had plenty of doubts around very real issues with COVID, it kinda takes you out of the film. It might just be that we’re still dealing with anti-vaxxers and anti-maskers and so seeing a film where people just go along with the government with little pushback just seems a bit unbelievable. But the bigger issue is that the film doesn’t use its great cast well. In a film like this, the thing that should be most interesting would be the tension in the social group. And while there is some there, it mostly feels like wasted opportunities. There is talk about classism a bit but they never address it really with the group. Which there are plenty of opportunities to do that but don’t. In the end Silent Night isn’t a bad film, just a forgettable one.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
Encounter is a film that has some interesting themes but doesn’t fully flesh them all out. It doesn’t have the message it thinks it does mainly because it doesn’t fully complete the thoughts it lays out. It’s not a bad film but also not a very good one either. Really it just sits there in the middle giving a taste of what could be important themes on policing, mental health and the need for good social workers but not producing the full meal. The synopsis for Encounter states that the movie is about two brothers that embark on a journey with their father (Riz Ahmed) who is trying to protect them from an alien invasion. You quickly figure out that the movie isn’t really about an alien invasion but more about how we treat veterans and ex-felons and how jumps to conclusions for law enforcement can lead to deadly situations. This cast is pretty solid. As always Riz Ahmed does a fantastic job. He always pulls out great emotions from his characters and this film even gets him to lean into some action for a bit as well. Honestly, Ahmed’s performance is probably the singular thing that saves this film from being totally forgettable. That’s not a knock against the others in this film. They’re also fantastic (particularly Octavia Spencer). But as the lead, Ahmed does a lot of the heavy lifting and had it been anyone else, it actually would have been too much to ask. Again, this film isn’t bad and is definitely worth checking out for the acting. The problem just comes that it will feel a bit unfulfilling. There’s a really great cast here that does what they can but it’s just not enough. Encounter is being distributed by Amazon Studios and will have a limited release on December 3rd and hit Prime Video on December 10th.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
If Saloum is an example of what we can expect from new distributor Lacmé Studios and director Jean Luc Herbulot, then the future is very bright for what we might be seeing coming out of African cinema over the next few years. Clocking in at only 84 minutes, Saloum is able to tell a compelling story that covers several different themes while also being interesting and entertaining story. Usually when a film is trying to do so much and has such a dramatic turn, it loses what it’s trying to say and confuses the audience. Either that or it just runs out of time to fully flesh out the story. In the beginning this film has the same feel as a spaghetti western or samurai film. It follows three mercenaries that you don’t know much about and are unsure if they’re bad guys or good guys. The one thing that is certain is that they have a very close bond. It’s almost like they’re antihero Three Musketeers. The audience is given just enough about each of them to know what their role in the group dynamic is. What does become clear is that their leader Chaka (Yann Gael) is hiding something and that something might get them all in deeper trouble. What’s really fun about Saloum is the turn at the back third of this film. It’s reminiscent of the turn in From Dusk Till Dawn. The film turns into a horror film based on the lore of the region that works very well. What’s impressive is how the film is able to weave this in without feeling rushed or forced. In fact the turn actually fits in very well with the saying at the very beginning of the film “Revenge is like a river whose bottom is reached only when we drown.” Saloum is definitely something to checkout as is anything else coming out of Lacmé Studios.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
Out of Sync tells a compelling story story about a woman that finds herself slowly falling out of sync with the world both mentally and physically. It’s a good story about how a person can feel their world closing down around them but not realize that those close to them love and support them if they would accept the help. Marta Nieto does a great job playing the unnamed lead character as detached from those around her and standoffish. She plays a sound editor whose personal life is a mess (her ex & his wife need her to vacate the apartment she’s in) and realizes that her hearing is falling out of sync. Add to that her mother has a secret about her upbringing that could be the key to what’s happening to her. What's really great about this film is that the characters you would expect to be terrible and mean, aren't. The main character thinks no one really cares about her but the opposite is revealed. She has plenty of people that care about her if she lets them. Instead she's purposely cut herself off from the world and that's led to this situation where she's now completely falling out of sync. The sound editing in Out of Sync is outstanding. As the lead character falls more and more out of sync with the world, the delay in sound becomes more pronounce. It starts off subtly with the sound being just off slightly. Then the delay becomes longer and longer. It adds to some great moments in the film. Usually having a film being out of sync, isn't a desired effect but in this case it really does work. And honestly in some scenes it really takes some skill. Out of Sync isn't the film for everyone but it's definitely worth checking out. The subtitles in the film actually help, especially with the delay in some oof the audio. If you can sit through that, then this will be right up your alley.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
How would society react if people started getting predictions that they were set to die and be bound to Hell that came true? That’s the basis for Hellbound. And the first episode opens up showing just how serious it can be. Giant smoke “Hulks” show up and chase a man out of a coffee shop and then beat him to death in the middle of a busy street. Then they perform some kind of “ritual” that leaves only a smoking pile of ash behind. This intense scene happens before the credits even roll and does a good job of setting the stage for the rest of the first 3 episodes. Hellbound uses the supernatural as a method to tell a story about how society reacts to events that they don’t really understand. Considering what we’ve been dealing with when it comes to COVID and a global pandemic, it comes off as very relevant. First, there’s how religion is used to try to find meaning in things that are happening. There’s a cult in this series that tries really hard to act like they’re not a cult but is clearly a cult. Hellbound uses the idea of “sin” to try to explain away how these things are happening. Obviously if people are being bound to Hell, then clearly they deserve it. There must be a reason for it and so there becomes a national interest in finding out what secrets these people are hiding. The first three episodes unfold in a way that really suck the audience in. There are moments that almost feel like cliffhangers but aren't even the end of the episode. As things start to get revealed, more questions come up. The third episode really starts to show what's really going on and could even be a good ending if this was a film and not a series. A Netflix release date for Hellbound hasn't been given yet but when it does, it is definitely worth checking out.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
There’s been a lot of buzz around Rob Savage’s Dashcam and to be honest, none of it is deserved. Dashcam is a film that thinks it’s more shocking than it really is. This is one of those “found footage” type films that gives other films in that category a bad name. It’s frustrating because Savage’s Host has gotten great reviews. But Dashcam is a swing in the opposite direction. Found Footage/“Documentary style” fictional films can be good. Hell, they can be great. Most folks immediately jump to thinking about films like The Blair Witch Project and to be honest, that film is terrible. It’s mostly shaky camera, frantic for no reason and uses unnecessary close-ups to try to force tension. Good found footage films understand that there are several keys to making them work:
Have a reason for the camera to always be on Don’t overdo the shaky camera Have a story/plot Make sure there’s a payoff for the audience.
Dashcam doesn’t even come close to the good category because it has none of the 4 things need to make the film good. Instead it's just a lazy, mediocre at best movie that relies on the audience sticking around to see the unlikeable and annoying protagonist get what she deserves. Seriously, making your lead character a rapping white woman who is a MAGA troll and Covid denier is a choice. Even worse, this short film spends an aggravating amount of time following her stupid antics before getting to anything interesting (namely whatever the hell was going on with 'Angela'). When we finally do get Angela and the horror elements, we never get the reveal of the story of what's going on. Instead we get annoying moments like a wannabe rapper trying to rap about incest shortly after running for her life. It's all just one big, annoying waste of time. But the most disappointing thing is that nothing in Dashcam is original. Spend some time scrolling through the Amazon Prime catalog fo horror films and you'll find films that look and feel just like Dashcam does (but better in some cases). It feels hack and lazy. By the time something actually interesting shows up the film is just about over. The most frightening thing about Dashcam is the realization that you'll never get those 77 minutes back. If Rob Savage’s point with Dashcam was to get people “triggered” or talking about his film because of how bad it is, then maybe it’s a success. Other than that this is just a forgettable film in a category flooded with bad to mediocre films. The one positive takeaway from this film is that it increases the desire to highlight the good films. If you’re looking for good found footage films here’s a list to checkout:
Troll Hunter Creep 1 & Creep 2 the Hell House LLC series Searching The Visit The Taking of Deborah Logan Chronicle V/H/S 1 & V/H/S 2 the [REC] series Butterfly Kisses Willow Creek Frankenstein’s Army Gehenna: Where Death Lives
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
The Guilty is one of those films that feels like actually benefited from COVID restrictions. Any other time and this film would have gone too far into showing us car chases and big set pieces. Even worse, it would have turned this film into a cop propaganda film that happens so often when a police officer that is clearly unhinged is somehow made into a hero. Instead what we got was an intense thriller that plays on the concept of police jumping to conclusions and how that can lead to dangerous situations. There are several things that really work for The Guilty. First and foremost is Jake Gyllenhaal. Gyllenhaal might be one of the latest set of celebrities to dry snitch on themselves when it come to their questionable hygiene habits but the man can still act his ass off. Playing demoted and clearly troubled officer Joe Bailey, Gyllenhaal captures completely frantic and out of control nature of a police officer that should never have a badge and a gun. Intensity is something Gyllenhaal always brings to his characters and his Joe Bailey really channels his Louis Bloom character from 2014's Nightcrawler. He's very unlikable and clearly shouldn't be working dispatch much less being a cop with a badge. But he also serves as a great vantage point for how dangerous it is for cops to try too hard to dictate situations and jump to conclusions when they don't have all the facts. The rest of the cast is also well suited for this film. Most are not visibly seen (due to Covid restrictions) but still do a great job helping to bring the story together. Da'Vine Joy Randolph plays a CHP dispatcher who routinely reminds Officer Bailey he doesn't have the authority to tell her or anyone else how to do their job. Its a much needed performance that serves in contrast to Bailey's ego and need to play supercop. Peter Sarsgaard and Riley Keough also give great performances that help drive the level of urgency in the film. Also, like Randolph, they do a great job playing off of Gyllenhaal and help enhance his performance since all of their interactions happen through the phone. This is a huge reason why this film works so well. Usually films do better when they “show instead of tell” you what’s happening. However, in The Guilty, hearing what’s happening without actually seeing it works to the film’s advantage. It puts the audience right there in the seat with Officer Bailey with a little sense of hopelessness because just like him, there’s nothing you can do but sit and wait for someone to explain what happened. this increases the tension in the film and really draws the audience in. It also makes the film feel like there are real stakes. More importantly though, it shows how context matters and that when you’re only one the receiving end of information, it's easy to jump to conclusions that could have devastating consequences. The Guilty has suspense, tension and a sense of urgency that all make this a film worth checking out. Even better, it also shows how the “super cop” on the police force isn’t a good thing for public safety and doesn’t shy away from it. The Guilty will release in select in select theaters on September 24 and on Netflix October 1.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
Kriss and Ro reviewed the film Petite Maman during the 2021 Toronto Film Festival. Writer/director Céline Sciamma returns to the festival circuit with a story about pain, grief, love, and the unique bonds between mothers and daughters.
Follow more of our Toronto Film Festival 2021 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
Candyman suffers from an inconsistent script, wrapped in a beautifully shot film with a great cast that is going to leave audiences either absolutely loving it or feeling like it didn’t live up to expectations. On the surface, everything is there to make this a film that should be universally loved. Director Nia DaCosta embraces the lore of Candyman and attempts to wrap it in an updated and modern tale. There’s been some talk that (wrongly) associates Candyman with “black trauma porn” and that is just false. Candyman has always been more than that. Yes, Tony Todd’s Daniel Robitaille meets a tragic and violent end at the hands of racist white people, but this series has always been more about Robitaille being the Boogeyman and being a Black centered horror franchise. It’s more about revenge and, to be blunt, when white people don’t take Black people serious when they talk about not disturbing the dead or respecting the history of a space they’re invading. DaCosta takes that and adds to it by connecting the tale to modern day Chicago and gentrification and overpolicing. The biggest problem Candyman faces is the lack of focus on what story it’s trying to tell. It becomes very obvious there were two directions that written and the final product was a mash up of both that ends up with an ending that on paper is good, but isn’t earned. There are three distinct acts in this film and each act feels like it had its own writer that had a different idea of the overall story that should be told. The result is several good paths the film goes down never being fully fleshed out. Instead we get throwaway lines that are easily missed (the significance of Brianna Cartwright’s father and his tragic end) or painfully underused actors in good scenes that should be used more (Vanessa Williams is criminally underused). When the end of the film comes, it comes with a sense of satisfaction that quickly fade away because of how hollow it is due to being rushed in the third act and thereby being unearned. It honestly felt like there was more focus on making sure this could turn into another set of future movies instead of making sure the end was earned. Candyman’s story never equals or exceeds the talent of the cast put together. On their own, each does what they need to. Yahya Abdul-Mateen II is clearly a star that is going to continue to shine. Funny enough, both have superhero titles in their future with Abdul-Mateen returning for Aquaman 2 and Teyonah Parris showing up in The Marvels (and teaming bak up with DaCosta who will be directing). Individually both are fine but have very little onscreen chemistry which is always tragic when you have two beautiful people on screen and yet they just have no energy together. Colman Domingo outacts everyone (no surprise) but again, feels underused up until the rushed third act. Overall there will be many audiences that are satisfied with Candyman as a film. The lack of a consistent voice in the script and unearned payoff at the end will be overshadowed by the well shot scenes, two less and overall intentions the story has even with the flaws. Regardless of how audiences feel, this film will definitely generate conversations and help propel those involved into bigger and better things.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The Night House is what happens when David Bruckner the director of V/H/S segment "Amateur Night" and Ben Collins and Luke Piotrowski the writers of the film it ultimately became, SiREN realize they should absolutely make a movie together. The result was a horror film that brought jump scares that were actually earned. Couple that with a story that was compelling, a great use of sound and a lead in Rebecca Hall who balances a character that is part crazy and being haunted into being crazier and what you get is a very good horror film. The camera angles used in The Night House are fantastic. Angles are used to create “living” shadows that move as the camera moves and leave you wondering if Beth (Hall) is being haunted by her dead husband or is spiraling out of control. Added to that is the use of sound and music. Fair warning, if you're watching this film at home with a surround sound system, be prepared for some terrifying sounds creeping over your left shoulder at times. Hall’s performance in The Night House is reminiscent of Riz Ahmed’s in Mogul Mowgli. She’s asked to do a lot of the heavy lifting here (not in a bad way) and excels. She balances playing the grieving widow, suspicious wife and emotionally compromised person extremely well and at times is playing all three roles as once. The biggest issue that The Night House has is that the ending is a big unsatisfying. But even that is due to how good the story is. By the time the film comes to it’s ending, you realize there’s a third story that gets revealed that will leave the audience wanting more. David Bruckner definitely has a win on his hands with The Night House. Knowing that he will be reuniting with writer Ben Collins on the Hellraiser remake should raise the interest in that film. For now though, The Night House is definitely something to check out.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Long time zombie fans will tell you that using zombie outbreaks as a jumping off point for socio-political commentary is a genre staple. At least the one willing to admit George A Romero never made a single zombie film in a vacuum will. Although recent zombiefare tends to be less overt, blending comedy into an apocalyptic happenings is definitely a trend on the rise...again. Brain Freeze, 25th Fantasia Fest's opening night film, offered audiences just such a broad satire. Set in Quebec, Brain Freeze leans into the zombie outbreak in an isolated community trope for it's central crisis. But unlike in many outbreak scenarios, this story isn't a globe-trotting race for a cure or to isolate patient zero. Instead, director and co-writer Julien Knafo uses this outbreak to take broad swipes at a range of issues like, polluting, xenophobia, classism, poor crisis management by governments, and misinformation campaigns. It's the middle of winter on Peacock Island and the owners of the local country club see a moneymaking opportunity in being able to offer its affluent members the ability to play golf year round. Naturally, there's a company with a brand new fertilizer designed to grow grass in even the most challenging of conditions. Of course, this experimental chemical got into the water supply. Soon the island community's inhabitants are a bizarre new breed of zombie. Brain Freeze centers to unlikely zombie apocalypse companions. André (Iani Bédard), the often too on-the-nose embodiment of a disaffected youth, and Dan (Roy Dupuis) a doomsday-prepping security guard. The dynamic between the too make space for some low-key witty moments with a subtext juxtaposing the different ways neither is exactly the optimal traveling companion in a city overrun with zombies. André's self-involved obliviousness is both a boon and a curse. While Dan's anti-establishment tendencies cause him to vital clues and dismiss André out of hand. And here's were the story hits its stride because the journey is fraught yet full of out of pocket humor. In the midst of all this push and pull lies an unexpectedly fun romp as this strange duo attempt to avoid zombification while searching to clues to share with the outside world in hopes of a cure. But beyond the humor and ideologies battling it out in the subtext, Brain Freeze lacks cohesion. Knafo and co-writer Jean Barbe include too many topics to this a social satire. There's an actually sinister storyline lurking just beneath the camp that's repeatedly underserved. So, while the cast give engaging performances and the film balances the ridiculous rather well; ultimately it underwhelms. Come for the creepy, stay to find out what happens to that damn baby... Listen as Kris and I discuss the humorous highs and lows of Brain Freeze as well as the dangers of having too many moving targets when it comes to blending in biting social commentary.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
If you're familiar with Hong Kong action films you're no stranger to the work of Benny Chan. Chan's catalogue is nothing short of iconic; in large part due to the unbelievably high risk action. Think Jackie Chan's Who Am I?, Fist of Fury (1995), and A New Police Story. Raging Fire, the director's final project before losing his battle with cancer, offers the kind of action and violence with a few notable action sequence hat-tips mixed in to cement its place in the genre. Raging Fire is absolutely every thing you hope for in a heroic bloodshed action film. Yen plays Cheung Sung-pong a cop more interested in catching bad guys that advancing through the ranks. Pong hates corruption but walks a thin line when it comes to what he's willing to do to close a case. Don't expect him to wait for a warranted but do expect him to turn down a bribe. What starts out as a sting to bring a drug kingpin in turns into a blood bath; leaving most of the task force dead or in critical condition. Sh The hunt for this band of criminals leads to a reckoning. Because this crew made up of ex-cops turned criminals; led by his former protégé Yau Kong-nog (Nicolas Tse). Nog is a man with a plan. He and his band of ruthless assassins-for-hire have no intention of letting Pong or anyone else stop the. If the plot's a little on the nose, don't worry Tse and Yen's performances infuse these characters with charisma and edge. In what's clearly an ode to heroic bloodshed stories, a genre invented in Hong Kong, Chan's written a story revolving around duty, honor, revenge and redemption. Only in his hands, those themes aren't as restrictive as these tropes tend to be. It's a meditation on fate, split-second decisions, and feelings of guilt, loss of faith, and hopelessness. So don't expect Raging Fire to hold your hand as these hardened men work through their existential crisis with their fists. The devil's in the details - and the flashbacks - even the adrenaline-fueled emotional highs and lows aid in character development. Because Chan grounds Nog's thirst for vengeance in the kind of moral conflict that blurs the lines of right and wrong in interesting ways. By the midway point, you may just find yourself hoping Ngo somehow finds vindication (before Shan brings it all crashing down that is). And that's a good thing. Yen and Tse Carry the Day Chan twists friends-to-enemies melodrama into the perfect vehicle for a heist/revenge thriller. Led by two of Hong Kong's finest, Donnie Yen (Mulan, Ip Man series) and Nicolas Tse (Shaolin, New Police Story), this simple cops versus robbers narrative morphs into a kinetic, yet emotionally nuanced, plot driven by death-defying action choreography. If you've missed bare-knuckle brawls, with a side of lightening fast knife work, shoot outs and epic car chases then push Raging Fire to the top of your watchlist. Although it likely signals the end of an era, Raging Fire is one hell of an epilogue. Listen and Kriss and I dig into the themes, homages and action of Raging Fire. Have no fear, we keep it spoiler-free. This one you really need to see for yourself. Raging Fire screened August 10th during the 2021 Fantasia International Film Festival. Well Go USA Entertainment released it in US theaters August 13, 2021
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Catch the Fair One accomplishes the mission of being able to tackle a subject that pops up in thrillers all the time yet does it without watering down the reality. Hollywood likes to put things in nice little bows in order for audiences to digest the subject in a more pleasant way and the result is a diluted understanding of the problem. Catch the Fair One doesn’t care to make the audience feel better about what they are seeing and it’s a better film because of that. Credit should be given to Kali Reis for his role not only in the film but in also writing the story. Aside from being a champion profession boxer, Reis is also very outspoken and a supporter of the Missing and Murdered Indigenous Women and Girls movement. It’s clear that both these experiences help shape Reis’ story as well as her character in this film. Considering this is her first film credit as both an actor and a writer, this is a pretty great debut. Reis is able to capture the raw emotions of Kaylee, a former boxer that’s trying to find out her younger sister who was kidnapped and potentially sold into sex slavery. Catch The Fair One does a great job of putting a face on what really happens to missing women and girls. It also shows the breadth of the problem and that there isn’t just an easy, happy ending to it all. This film will make you upset and it should. Some might feel a bit empty at the end because they don’t get the closure they expect. But this film isn’t going for the white-washed sanitized version. It’s highlighting the truly desperate and debilitating plight of these women who are kidnapped, sold into sex slavery and worse. Now that’s not to say there aren’t some really satisfying moments of revenge that happens in this thriller. Watching Kaylee waterboard a man she believes is responsible for taking her sister is very satisfying. And there are plenty of moments like that in this film. When it comes to revenge thrillers, Catch the Fair One is definitely a nice addition. Director Josef Kubota Wladyka shots a beautiful film with some great shots that really pull audiences into the film. And again, as first time actor and writer, Kali Reis does an amazing job.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
If we’re going to get a flood of films about quarantining during COVID, then let’s all hope they’re done like 7 Days. Imagine going on the worst first date ever. Now imagine that first date was set up by your parents as a part of the process of an arranged marriage. Now imagine after that worst date ever if you ended up having to quarantine together because Covid exploded and caused cancelled flights and stay-at-home-orders. That’s what happens with Ravi and Rita in 7 Days and it’s a hilarious (and also serious) look at what it means to discover love when the initial meeting goes disastrously. 7 Days does a great job of balancing the humor with some very serious and emotional moments. At it’s core, this film is really about what it means to fall in love. Both characters are opposite extremes. Karen Soni’s Ravi is very traditional and conservative and has a very naive opinion on love. On the other hand, Geraldine Viswanathan’s Rita is more carefree and has a jaded opinion on love. What we see throughout the film is that neither of them is right and there is a middle ground. We go on a journey as they open up to each other and learn more about each other through a forced situation. The other thing this film does really well is handle the cultural elements of arranged marriages. For many who have no understanding of arranged marriages, it seems like a really crazy idea that couldn’t possibly end well. There’s also a stereotype that arranged marriages means underaged brides. But 7 Days does a great job of showing a more measured side. First, there are those that not only embrace it but look forward to it. Also, in 7 Days, the men and women we see are of age. What it really comes down to is consent. There’s a really good balance between comedy and seriousness in this film. It actually starts off mostly as a comedy but as the days go on and things happen, there’s a more dramatic and serious turn. There are some really good conversations with Rita and Ravi both examining their beliefs on love and what it means. 7 Days is very entertaining. For those that aren’t really into romantic comedies, this movie is still worth checking out.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Wacky. Ridiculous. Over-the-Top. Wonderful. That's the way to sum of James Gunn’s The Suicide Squad. Honestly, it’s nice to have some competency back for a DC film. From top to bottom this film is great and it really shouldn’t have been. Just from the announcement, it felt like a weird “Is it a reboot or a sequel” type deal since some of the characters from the first panned movie were popping up in this one. This film makes it clear that it’s a soft reboot and that they’re trying to start off fresh. The Suicide Squad is exactly what you would expect from the director that gave us two Guardians of the Galaxy movies. Take a bunch of relatively unknown characters, throw them together in an ensemble film and make you care about them (the ones that live along with the ones that die) throughout the whole movie. This feels like Gunn came in and said “Let’s take some of the story beats that were tried in the first film but do them right”. There are plenty of times where you can just see this film as taking one of Harley’s baseball bats to the dead corpse of the Ayers’ film and it’s glorious. What stands out about this film versus its predecessor is that you actually care about a lot of the characters because there’s something to care about. Idris Elba is great a Bloodsport and the cast really rallies around him and plays off of him. You may think that DC is leaning too heavily into Harley Quinn but Margot Robbie is one of those actors that fully embodies and invests into the character, it’s hard not to want to put her into everything. Quinn is handled 1000 times better in this film than in the first. This feels like the natural progression for this character after her appearance in Birds of Prey. Also, it’s time to admit that John Cena is a very good actor. He’s in a film with Elba and Robbie and not only doesn’t get blown off the screen but holds his own extremely well. Action-wise, this film is bloody and great. Building on something that was noticed with Birds of Prey, when you can make Harley Quinn’s fight better than Wonder Woman, you have to wonder what the hell DC was thinking with Wonder Woman 1984. Also the effects are damn good. King Shark looks fantastic and when Starro shows up, there’s no drop in quality. With this film only coming in at $175 million for a budget which is far less than the $200+ million WB has spent on worse looking films, you have to hope that maybe this is the start of a change at WB when it comes to their superhero films. But don’t bet on it. The biggest problem with The Suicide Squad has nothing to do with the movie at all but rather with the current state/future of the DC film universe. Is this the start of a new direction for WB with DC films where they finally cut the cord from the Snyderverse? Or is this just a one-off great film and we’ll be back to the disappointing business-as-usual with the next film? Only time will tell. But for now, The Suicide Squad takes the lead as the best DC film.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Beans is a semi-autobiographical tale from director Tracey Deer that centers on her experience as a 12 year old Mohawk girl during the 78-day Oka Crisis standoff ini 1990. This is the kind of film that will illicit a lot of emotion. First off, the real-life events this film covers are based on a dispute over the expansion of a golf course into sacred indigenous lands. It’s infuriating to know that people have to fight for their culture to be respected and that others think so little of it that they would bulldoze it all for a golf course. Secondly, the racial animus displayed against the Mohawk people fighting for their culture feels very relevant and relatable to the reactions we see to protests today. It’s a sad reality that as much as things change, they also stay the same. It’s important to understand that the point of view of this film is from the young lead Kiawentiio who plays Beans. This makes this film about more than just the standoff but how the impact of what it was like as a child to see their culture defended. You can tell that Deer put a lot care into this film and that it was very personal to make. Beans is not only coming to terms with the reality of how people outside of her community very her and her people but also her own natural growing pains that come with growing up as a preteen. While the subject matter of Beans is set from a real-life event that happened in the 1990’s, it’s still very relevant to today in an almost infuriating way. To boost the impact of the film, Deer uses actual news footage from the standoff. The result is really powerful moments that hit harder because we see real footage. Beans is a film that's worth checking out. It opened at the Toronto Film Festival in 2020.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Mogul Mowgli is a great film that serves as an introspection into what it means to be successful and the costs with setting the definition of success based on one’s own insecurities. Riz Ahmed plays a Pakistani rapper named Zed, whose dreams are crushed when he’s diagnosed with a degenerative autoimmune disease . This isn’t the first time Ahmed has played a musician who is left to contemplate his future because his body has betrayed him. In the Sound of Metal, he plays a drummer who loses his hearing and is forced to come to terms with his new reality. In Mogul Mowgli, in addition to coming to terms with his condition, Zed also has to confront and face his own internal struggles with his cultural upbringing and relationship with his father. This is Bassam Tariq’s first feature film as a director and it’s a very impressive first time out. Tariq is rumored to be in negotiations to direct Marvel Studio’s Blade which would not only be a great choice but fit the Marvel Studios pattern of getting talented directors before they really blow up. This film is shot and put together wonderfully to tell an engaging and at times heartbreaking story. If the goal was to illicit emotions from the audience, then this film will do it. While the film leans heavily on Riz Ahmed to carry the narrative of the film, the rest of the cast does exactly what is needed. Alyy Khan is great casting for Bashir, Zed’s father. Khan is the overbearing father who comes off as strict and not as loving but in reality loves his son more than his son realizes. There are some really great scenes between Ahmed and Khan that really cut to the heart of what this film is trying to convene. Nabhaan Rizwan also deserves create for playing RPG. He's infuriatingly ridiculous and offers a great look at why Zed is pushing so hard to get back on his feet but also has us asking what is the true definition of success. Mogul Mowgli is definitely a film to check out once it becomes available. It seems as if Ahmed is really in his element with these films and telling them through characters that are musicians. Maybe part of this is working through is own feelings with his own music. Whatever the reason, it works and he should keep it up.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Gunpowder Milkshake is one of those films that has all the elements to be really good but fails to live up to the potential and the cast. It’s one of the cardinal sins of a film with a great cast and an interesting concept. Seriously, with a cast of women like Karen Gillan, Lena Headey, Carla Gugino, Angela Bassett and Michelle Yeoh, Gunpowder Milkshake didn’t have to try hard to get our attention. The mistake comes from where the attention is put in this film and not leaning on why the audiences were interested in the first place. You would think that this film would focus mostly on ‘The Librarians’, the secret sisterhood of assassins. However this film oddly enough doesn’t give us enough of them. This film should have been treated as an ensemble film but instead it focused mostly on Gillan’s Sam and only gives us pieces of the lore behind The Librarians. It’s a puzzling choice. Especially since when the film focuses on the women of the movie, it works very well. The chemistry between the cast is great. Chloe Coleman as the young Emily is also a great addition and works really well with everyone. It tis a little disappointing that we didn’t get enough of Paul Giamatti being over-the-top Giamatti but what we do get works. One thing I can’t help but feel is that this film would have been better in the hands of a female director and writer. Yes, men can and should be able to write and direct female-centered films well. But in many cases, there’s a clear lack of understanding the assignment. Gunpowder Milkshake falls into that category. It feels like the veterans Basset, Yeoh, Headey and Gugino were able to salvage this film from being a complete disaster just based off of their own talent and not because of what they were given with the script. There’s a lot of forced “Girl Power” moments that feel as if they were clearly written by a man (and they were) and don’t do this cast justice. This film is entertaining enough and apparently there’s a sequel being developed. I hope that the lessons learned from this first outing are taken to heart and I really hope they hand the reigns over to a woman to do it justice.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
It's hard to imagine anyone coming into Disney's Jungle Cruise movie full of high expectations and excitement. First off, this is a movie based off a Disney theme park ride that needed a makeover for racist imagery. I mean who thought a theme park ride would make for a good movie? Well it turns out that while this film might not too memorable, it's actually pretty entertaining. Again, the bar coming in was super low, but even still, Jungle Cruise has several things that make it work. First, Dwayne Johnson and Emily Blunt have great chemistry together and that's the main thing that carries this film. The script finds a good use for Johnson's humor using his really bad puns and dad jokes as a running gag through the film. For her part, Blunt is perfect as always. She's playing the typical archetype for a female character that shuns the rules that tell her she needs to "know her place". The other thing that works for this film is the PG-13 rating. It's actually a bit of a shock how violent this film is. It leans heavy into showing the violence of colonialism. Set in the 1920's, the main villains are undead conquistador's that were cursed after going full colonialist against an indigenous population. Where Jungle Cruise starts to sink is that it doesn't fully commit to this storyline. At times it feels like this film was really going to "go there" but then they realized it was a Disney film and was going to be released on Disney+ and the film they had was creeping up on a R rating so they had to pull back. The result is a film that exceeds expectations but also falls short of what it should be. This makes Jungle Cruise just not memorable. Which is a shame for a film that cost $200 million to make (You read that right...$200 million for Jungle Cruise). Overall Jungle Cruise is entertaining enough to check out. Johnson and Blunt work well together. Just don't expect it to stick with you long after you see it.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
And we're back. Black Widow's release was delayed due to the pandemic and since then there were questions about when Marvel Studios would drop the film and why they delayed. There was even doubt that maybe it wouldn't be good. Maybe Marvel was finally loosing it's step. Maybe the Disney+ series were where they were really hitting their stride and where they should focus. Well let's answer the second part first: Yes Black Widow is good. Of course it is. It's a Marvel Studios film. This is a studio that hasn't really missed and the few times they have (which are debatable), they always come back strong. So why now? This is a question that was asked even when the film was announced. Made even more curious from the fact that Natasha Romanoff died in Endgame. Well there's a few reasons. First, Natasha is one of the few original Avengers/Avengers associates that have played a major role in the MCU yet we know little about. She's joined by Nick Fury and Clint Barton in that category. Fury's background came to us in Captain Marvel and he's going to be popping up a few more times in the future. Barton has a whole Disney+ series coming (which might have some ties to this current film). So it's about time to give some background on Natasha and give her her own dues even if the character is gone in the present. Especially since the one time they tried to give her more depth, it didn't go so well (Age of Ultron). And you know what? It's about time that we learned more about Romanoff's past and the Red Room, her training and even how she got out. What makes this film work is what makes most Marvel films work. A great cast, great action and a story that, even if it's not groundbreaking, serves its purpose. We've seen films like this before. Some good (Atomic Blonde), some not so good (Red Sparrow). What this film does is take the spycraft and the concepts and throws them into the MCU world we know and love. We get some great action scenes that really will have you wondering how the hell Wonder Woman 1984 didn't do better. Even if you're not a Scarlet Johansson fan, this film bolsters the cast with enough names that you definitely will want to see. Florence Pugh as Yelena is perfect. Her character works really well to contrast against the Avenger we know Black Widow to be. Add in David Harbour and Rachel Weisz and you have a really intriguing dysfunctional "family". On the villain side, this version of Taskmaster works well for the story that's being told and really serves almost as a silent-Terminator like character and threat. Overall this is another welcomed addition to the MCU. It will be interesting to see what Marvel does next with some of the characters introduced in this film. With Hawkeye coming to Disney+ later this year and some of the other things we've seen on the horizon, the future is clearly bright for the MCU.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Overall, Luca is a fine film. It has mostly what one would expect from a Pixar film. The animation looks as sharp as ever. There's a message that's aimed at kids trying to navigate the world in front of them. And there is the classic Pixar humor. But even with all that, Luca just feels boring and predictable. Luca is a film that feels like it's on cruise control for 90 minutes. It does what it's supposed to do but at the same time leaves a lot of gaps that should have been filled in the story. Even worse, there are story choices with the characters, particularly Giulia that will leave anyone over the age of 10 scratching their heads. It's 2021, sacrificing the story and growth of a female character for that of two young male characters is really unforgivable at this point. Especially when it's unnecessary. There are a lot of story choice in Luca that just don't make sense. Yes, this film is aimed at children. But there's a level of expectation and quality that we've come to expect from Pixar that includes tackling tough issues in a manner that's digestible by children but also relatable to adults. There are times in this film where it feels that the story just decides to "not go there" and the result is a story that just falls flat. It's funny. Disney & Pixar have no problem killing off parents but somehow find explaining that a father just abandoned his child with no backtory, in an info dump is all they needed to do here. It's very odd and unfulfilling. Maya Rudolph and Jim Gaffigan work well as part of the voice cast here but even they can't save this film. Hopefully the next Pixar film will get us back on track.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
After the success of the first Maleficent, centering another iconic Disney character in a live-action film was inevitable. Having that character be Cruella De Vil from 101 Dalmatians? Well, that's a move certain to have a some people asking why. But it's not really that complicated. There's plenty of opportunity for mayhem (and monetizing) telling a villain's origin story. The twist? Just don't watch Cruella expecting a redemption arc....or a story about dogs. Cruella blends aesthetics together with its rather obvious storyline into a stylish-to-death path of a young genius' (Emma Stone) turn to the dark side. It is a Disney property; so despite its PG-13 rating there's a line this story doesn't cross but it has it's moments. There's excessive signposting via an overloaded soundtrack/score. It's a Camp meets Punk, while The Devil wears Prada with Mannequin sensibilities. Come for the vampy two dimensional villain. Stay for a hyper-stylish, messy, and ridiculously imperfect peek at nature versus nurture. It's a heist film, a found family story, mentor v mentee pit fight. But mostly its a delightfully garish test of your ability to not rolling your eyes. But overall, Cruella is for the dark and twisty little kid who really wanted to know what's up with the nutty lady obsessed with dalmatians. So come for the fashion and stay for Emma Thompson's brutal foil Baroness von Hellman. But whatever you do, for goodness sake don't expect the film's deadpan humor, and romp through the 60s and 70s to ever be more than a snarky, sly bit of sleight-of-hand when it comes to the backstory of Cruella De Vil. Listen as Phenom and Ro discuss Cruella's highs and lows wherein Ro freely admits she's that kid who only watched 101 Dalmatians for its absolutely unhinged villain. Cruella releases simultaneously in theaters and on Disney+ with Premier Access on Friday, May 28.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The team-up of Guy Ritchie and Jason Statham for Wrath of Man comes together as a very solid film combination of revenge mixed with heist. Is the film perfect? No. But there's a solid enough story with intense, bloody action that it makes a pretty entertaining pre-summer film. The film follows the mysterious H (Statham) who joins an armored cash truck company in order to find the thieves who ended up killing his son as part of a prior robbery. H uses his own seedy background and connections to try to hunt down who the inside man in the cash truck company is and who the crew is that lead to the death of his son. Wrath of Man has all the elements we've come to love (and hate) about a Guy Ritchie film. Between this film and The Gentleman, Ritchie really is in his wheelhouse when it comes to this type of film. The suave, nearly-silent, focused and deadly man who can exact ruthless revenge on those that wrong him is clearly something Ritchie does right. He also loves making his protagonist someone who isn't necessarily a good guy but rather a bad guy with a moral code that the audience can get behind. And it works. What doesn't work is the fact that Ritchie still has problems with directing/writing female characters. Niamh Algar's Dana is criminally underused in this film and in many ways her character almost feels like a backslide for Ritchie. Wrath of Man is a film worth checking out. Jason Statham is...well, Jason Statham and who doesn't love Jason Statham? The action scenes are intense with the final one being so intense it makes up for the anti-climatic ending. Still, there's enough here to overcome the flaws.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
If Without Remorse's purpose is establishing Michael B Jordan as the covert operator the spy genre's desperately missing then this action-packed thrill ride rolls out one hell of an origin story. Given director Stefano Sollima's (Gomorrah, ZeroZeroZero) kinetic shooting-style that leaves little room for stunt doubles and cutaway scenes, Without Remorse is an introduction to edgy John Kelly it's not too hard to get behind. If you're a fan of Tom Clancy novels (or the Rainbow Six games) put everything you think you know about John Clark/Kelly to the side. Especially the book, Without Remorse. While the movie adaptation has its flaws, let's just say it does a very good job of steering clear of all the problematic elements of that particular Clancy novel. In that respect, Without Remorse is a breath of fresh air. Jordan's John Clark is active duty and finds himself knee deep in a conspiracy that causes the death of not only members of his SEAL team but also his wife and unborn child. Where Without Remorse struggles is with giving the story the room it needs to be told. Honestly, fair or unfair, its hard not to watch this under 2-hour film and not think of what could have been if it had gotten the Jack Ryan series treatment. This movie is so fast paced that story elements and characters don't really get a chance to settle in. While watching this film, there were several parts where audiences will feel disappointed they didn't get to spend more time to develop. You couldn't easily break this film up into three 8-episodes seasons like the Jack Ryan series and it would be a hit. Instead there's a rush to the finish at break neck speeds and it sucks some of the air out of the room for the characters and the conspiracy story. If the sole purpose of Without Remorse was to give a quick introduction to the character of John Clark/Kelly into the Jack Ryan world that Amazon is building, then it works. It builds anticipation for what could be and setting up a future meeting between Jordan's John Clark and John Krasinski's Jack Ryan. If the idea was to make this the start of its own stand alone franchise, then there may be a bit more work to do to sell this on its own.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Everyone out there has something that is widely accepted as bad and not good that they like. You know that show or movie you can't defend as being "good" but nonetheless you can't help but watch it. In a way. Snowpiercer is what we (Kriss & Ro) consider their "trashy TV". Is it good? Probably not. But it's also very very entertaining and well, who is going to turn away from the (no pun intended) train wreck. To be fair, Snowpiercer isn't really a bad show by any stretch of the imagination. However, by the end of season 2 we can't help but some things were rushed and handled poorly which would have made this show much better. I don't know if COVID affected the end of season 2 of Snowpiercer or not. We've seen this happen before with The Flash. But this is a season that felt like we should have either ended at episode 8 or gone a full 13 episodes. The last two episodes feel like they rushed through some of the set up for the very end. After seeing Wilford take over the train and see all the support he had on Snowpiercer, it seemed a bit odd we didn't get more of the other side and those on Big Alice that support Layton. Because he got back across the border way too easy after he escaped the swamp. Also the stuff with Audrey was a big miss and disappointment. If you're going to do a storyline with a female abuse victim being manipulated back to being under the spell of her abuser, you have to treat that way more delicately than this season did. Overall, we did find this season entertaining but we do think it's time for the show to make a decision as to whether it's trying to live in the shadow of the movie and have a story that leads to that. Or if it wants to blaze its own trail. Right now it feels the show is being hampered by the indecision of what the show wants to be. We hope that next season gets back on track and doesn't lose sight of things (like the Tail).
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The lead character of NOBODY, Hutch Mansell, completes the trifecta of "Dudes You Should Have Just Left Alone". He joins the likes of John Wick and Robert McCall. You know, the guy who was a secret assassin/government BlackOps/Cleaner that is trying to retire and settle into a "normal" life but people just have to fuck with them. And it all goes horrible wrong (for the dumbasses that mess with them). This is a sub-genre of the Impossible White Man genre of films that also is one of the hardest to make. See, everyone wants to make vigilante films and they think they're man character is Batman when in reality they're making a super problematic Punisher. Think the Death Wish remake (or originals for that matter) or Peppermint. Poorly done, these films just turn into torture porn with a (usually) white lead killing an abundance of people of color because of some horrible tragedy. When done right though, these films become the story of a highly capable individual, using their skills to fight for those that can't fight for themselves and take down the bad guy. John Wick (all over killing his dog) and Robert McCall (fighting for those that are victims). In NOBODY, the catalyst is Hutch defending a young girl. It actually goes out of its way to have him NOT harm some people of color. That's how you do these types of movies. On the surface (and the trailers), NOBODY probably looks like a John Wick clone with Bob Odenkirk seeming like odd casting. If that was what this film was, it would probably still be pretty good because well, John Wick was a sleeper hit that's turned into a whole ass franchise. But NOBODY isn't a John Wick clone. More like, John Wick adjacent. And what that does is turn that into its own GOOD movie, that by the end of it, audiences will probably be asking to become it's own franchise as well. This film has great action, a great cast, an appropriately applied soundtrack and even sprinkles in some over the top humor for good measure. Odenkirk fully commits to the role of Hutch Mansell both physically and personality-wise. Hutch has settled into his boring, quiet life that seems typical of man who just seems to be sleep walking through life. He works for his Father-in-Law and his Brother-in-Law is a wannabe tough guy. His wife Becca (Connie Nielsen) is the breadwinner and her and Hutch have grown apart. It seems like Hutch has hit that late, mid-life crisis and has completely checked out. Then you slowly start realizing, it's all a mask and that Hutch isn't some "Beta male" but rather someone you really don't want to piss off. What works for this movie is how the story unfolds. The way the film gives Hutch's backstory to the audience is pretty ingenious, hilarious and honestly...pretty morbid. The supporting cast is great (This might be Christopher Lloyd's best appearance in a film in years). And as mentioned before, the end will have you wanting them to continue on with this series.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Every time we review an episode in season 2 of Snowpiercer, we end up saying the same thing: Layton is out of his depth here. And episodes 4 through 8 really hammer that home. Mr. Wilford executes his long game and literally takes Snowpiercer away from Layton so easily. Now it would be easy to get frustrated with this show for how Layton is being portrayed here but we actually like it. It's more realistic. When you look at the timeline of how things have transpired, we're looking at a few months. Layton was never equipped to be a leader of a society like Snowpiercer. He's still stuck in survival mode (understandably) from his time in the tail. He also suffering from the affliction that infects most men: The inability to listen to the women around him. Or more specifically, the right women. He has no problem listening to Zarah, but still is keeping Ruth out of the loop. And Ruth is really make us warm up to her. If Layton had listened to Melanie before she left, perhaps Layton wouldn't find himself in the situation he does at the end. Episode 6 also works very well to give us flashbacks on the lead up to Melanie stealing Snowpiercer from Wilford. Also gives a bit more context for why she ended up doing what she did. It also plays well to contrast with Layton and how he messed up. We really look forward to the last 2 episodes to see how all this plays out.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
"Coming 2 America" is a reset but not a redo Thirty years later and we've returned to Zamunda just in time for Prince Akeem (Eddie Murphy) and Princess Lisa's (Shari Headly) anniversary and the King Jaffe (James Earl Jones) to tell his son - from his sick bed - that he has a son who must be found. Not because it's terrible that this son's grown up outside the family, but because the country's antiquated laws demand a male heir to secure the throne. Never mind the fact Akeem and Lisa have three fierce and talented daughters, Princess Tinashe (Akiley Love), Omma (Bella Murphy), and their oldest, Meeka (KiKi Layne).
Akiley Love, Bella Murphy, Shari Headley, Eddie Murphy, and KiKi Layne star in COMING 2 AMERICA Photo: Quantrell D. Colbert © 2020 Paramount Pictures
After his father's passing now King Akeem and his trusted aid Semmi (Arsenio Hall) rush back to Queens in search of his long-lost son, Lavelle played by Jermaine Fowler. If it feels like a familiar starting point (with a twist), it's absolutely supposed to. Tradition, Tropes, and Wasted Opportunities The jokes are so "inside" this time around and it feels like Prince Akeem, despite having three children, has been frozen in amber since his wedding. "Coming 2 America" is almost immediately hampered by its seriously shallow narrative. Despite a cast chocked full of talent, little effort's made to dig into the multitude of characters, new and old. Thankfully, it's still obvious that Zamunda is a kingdom out of time; this afrofuturistic country is bright, whimsical, and has little "connection" to the reality on Continent. It's clear, no effort's ever made to get into why Zamundan woman are still so disenfranchised after 30 years. So expect Princess Lisa and her magnificent daughters spend the majority of this romp sidelined. It's sadly indicative of a trend that never ends every time the film runs up on an issue even slightly serious. The comedic bits and blending of homages and cameos (of which you'll be tripping over by the end) do a serviceable job building a story to vibe with and enjoy. But the inexplicable rushing and decision not to subvert a single trope to make new "inside" jokes makes for a good time. But it could've been a new classic... Listen as Ro and Phenom discuss "Coming 2 America" and then get that crew together for that watch party. "Coming 2 America" premieres on Amazon Prime Video March 5, 2021
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Shatara Michelle Ford’s directorial feature debut “Test Pattern” is a definite conversation starter, potentially divisive ones. This 82 minute drama centers Renesah (Brittany S. Hall) in the aftermath of a night out with her friend Amber (Gail Bean) that ended with her waking up in the bed of a man not her live-in boyfriend Evan (Will Brill). The audience's perception of Renesha and Evan's relationship through witnessing a meet-cute in a bar that morphs into an awkward encounter at a grocery store that leads to a first date. This pair of opposites (Renesha is outgoing, high-achieving executive and Evan is a laid-back but charming tattoo artist) come together quickly but seem to connect deeply. A quick time-lapse shows this evolution via subtle changes; a new tattoo for her, a new mustache for him coupled with in-story flashbacks (from her) to pivotal moments. All of this emotional building runs beneath the creeping horror of realizing the opening scene showing Renesha sitting on the side of a bed in a darkly lit room precariously holding a glass of water but visibly blurry and muddled is leading up to exactly what you think it is, her rape. Don't worry, "Test Pattern" isn't about to show her violation. The Trauma's in the Details Thankfully, Ford focuses on Renesha attempting to work through both her feelings and a staggering number of roadblocks to being able to preserve the proof of her assault and report her rape to the police. Her boyfriend Evan struggles with being supportive, understanding and controlling his mounting fury. Watching this unraveling in the context of a soul crushing slow burn turns the volume up on hurt simmering between the two. There's an exacting attention to the detail in this narrative. Watching this couple try to navigate a system that feels purposely design to discourage will absolutely try your patience. It may even leave you wondering about some of Ford's choices. But by the midway point, it'll be clear testing the audience is absolutely deliberate. "Test Pattern" is built on a breadth of interconnected (and deeply emotional) issues like being frustrated, demoralized, repeatedly re-victimized, and dejected. Between cinematographer Ludovica Isidori and music by Rob Rusli sonic and visual contributions, Ford's script and the strength of Hall and Brill's performances tackling the shortfalls of the medical and criminal justice system on sexual assault victims and how it can expose the cracks in even seemingly idyllic relationship lead to a highly impactful story. Buckle up because this slow-burn relies heavily on body language, inference and (an inevitable) lack of resolution. Listen to the crew work through the highs and lows of "Test Pattern" By now you know, Ro is notorious (I accept this moniker) for suggesting films outside Kriss and Phenom's wheelhouse. We're still in a whole pandemy but that didn't stop her from suggesting the crew tackle a serious film while on the edge of exhaustion. The end result is, a conversation that questioned some narrative choices while diving into the complexity of trying to figure out what being supportive to someone in the midst of trauma might actually look like. Now playing in virtual cinemas.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Raya and the Last Dragon is another hit for Disney. There are a lot of things to like about this film but the first thing that will catch everyone's eye will obviously be the visuals. Disney really isn't playing fair on the animation side when it comes to piecing together very real-like animations. For their first Southeast Asian animated feature, Disney went super vibrant with the colors and a world that really pulls you in from the beginning. The character animations are smooth and very life-like. This makes the fight scenes between characters pretty intense for an animated film. Overall the cast works really well. Awkwafina voices the dragon Sisu and while she can be hit or miss for some people, works really well in this role. Also it's great that Kelly Marie Tran can officially be called a Disney princess for her lead role as Raya. The entire cast does a great job together and help bring these characters to life. The only real downside to any of this is the lack of actual Southeast Asian representation in the cast. For a film that is as good as this, it really is an unfortunate oversight on the Disney side and I hope Disney looks to do better in their future films. Kids are obviously going to love Raya and the Last Dragon. It has dragons in it. But what about the adults? Well, this is another animated film that sits perfectly as an entertaining film for kids while being an enjoyable satisfaction for adults as well. Sitting at just under 2 hours, this is a rather long animated feature but doesn't feel like it. Sure, it's a bit heavy handed on the messaging but aren't all Disney films? It also keeps the long Disney tradition of hitting the audience in the gut emotionally early and often. Let's just say, Disney hasn't met a parent they haven't wanted to kill or separate from their child. Someone there clearly needs a hug.
Raya and the Last Dragon is definitely a film to check out. Disney clearly saw some promising numbers with the release of Mulan on their Disney+ premium since they're also releasing this film there as well (as well as theaters that can be open). Considering the runtime, its probably definitely worth it if you have kids and need a couple hours of time to yourself.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Ro & Kriss are back to review and discuss the last three episodes of season 2 of Snowpiercer. As usual, Layton is showing how out of his depth he is when it comes to being in charge of Snowpiercer. Part of that could be that there really hasn't been any time for Layton or the people of Snowpiercer to catch their breath since the war to take the train. But it's also because Layton is hard headed and doesn't want to listen to anyone, particularly women. Melanie tried to help him and tell him that he needs to keep Ruth in the loop and to not lie to her but he then immediately goes about shutting Ruth out. That leads to her to go to Zarah and well, she's a whole ass Lakeith right now (for that reference listen to our Judas & the Black Messiah review). There's a lot of moving parts going on and while Layton thinks he's on top of it all, it's clear he's being outmaneuvered. He's also not listening to Bess who he made train Detective about the fact that there are clearly dangerous Wilford loyalists on Snowpiercer. Again, more proof that Layton doesn't listen to women. Or at least, not the right ones. We're enjoying this season so far but we do have some gripes. We don't think they needed to go as far as they did with Wilford and Audrey. It was pretty reckless and unnecessary. Also this season is oddly paced. Like the last season of The Expanse, this season is focusing more on politics (which is really relevant) but the episodes feel more conducive to watching in 2 or 3 episode chunks versus episode by episode. Listen as Ro & Kriss discuss these episodes and then join us after the next three to discuss those.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@BookBlerd @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Judas and the Black Messiah will (or at least should) make you angry. Not because of the quality of the film or the acting in it. No, it's beautifully shot and the acting is top notch which should catapult this to the top of the runnings for the Oscars. No, it will make you angry because it does a fantastic job of exposing just how diabolical the FBI was in trying to stop and murder any rising Black revolutionary. For those that might think that this film's depiction of the the FBI and agent Roy Mitchell (Played by Jesse Plemons) are an exaggeration, I implore you to go watch the documentary MLK/FBI that exposes how FBI Director J Edgar Hoover was fixated on discrediting (and yes even killing) any Black revolutionary seeking to empower the people. Black people's distrust of Federal agencies isn't born out of conspiracy theories but rather the actual terrible history of these agencies and the roles they've played in oppression. Judas and the Black Messiah does what a lot of films like it (think 2017's 'Detroit') try to do but either couldn't or were unwilling to do. It paints the picture of a Black revolutionary (Fred Hampton) from the point of view of the man who betrayed him (William O'Neil), while not trying to place O'Neil in a more favorable light. We've seen that before where there's an attempt to humanize and soften the history a bad person to try to explain and rewrite their history. Judas and the Black Messiah doesn't do that at all. I think it is important to note that this isn't a Fred Hampton film or biography. This film is about the betrayal of not just Fred Hampton but of the people (hence the title of the film). The whole theme of this film is that white supremacy is frightened by the idea of a "Black Messiah" which is who they deem any Black person trying to rally the community to fight for their freedoms and rights. There's a scene early in the movie where Agent Mitchell is trying to convince O'Neal to be an informant and Mitchell compares the Fred Hampton, the Black Panthers and other Black revolutionaries to the KKK. It's diabolical and ahistorical but also mimics the language you hear today from those that want to downplay white supremacist groups while painting Black Lives Matters activists as terrorists. The entire cast of this film is fantastic. Daniel Kaluuya should be a shoe-in for at least a nomination for Best Supporting Actor. LaKeith Stanfield and Jesse Plemons play their roles of despicable characters so while you might actually start hating the actors themselves because they're almost too convincing. I'm elated that Dominique Fishback got this opportunity to play Deborah Johnson. She was great in Project Power even if that movie wasn't good and she should have been the lead in The Hate You Give. She's been great in her roles in not great films for a while so it's great to see her finally land something that matches her performance. It's ironic that Judas and the Black Messiah got delayed for release until Black History month. Even more ironic because this lines it up with the annual tone deaf tweets and wishes of a "Happy Black History Month" from the FBI and other law enforcement agencies that have decades of Black blood on their hands. At some point this country will have a reckoning with that disconnect and have a real conversation. Unfortunately until then, films like this are all we have to drive home the point. Due to COVID the Oscars have been delayed until April which makes Judas and the Black Messiah eligible for this year's awards (technically the 2020 awards). Not only do I think it's going to change the conversation but it also highlights how many great Black Films came out during the last year. This is definitely one you don't want to miss. Judas and the Black Messiah opens in Theaters and on HBOMax on February 12th
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
There is a good movie somewhere in The Little Things, unfortunately it's just not included the 127 minute runtime of the film. Which is a shame considering the talent put together for this film. How does one waste Denzel Washington, Rami Malek, Jared Leto, Michael Hyatt and so many other talented actors? To be honest, I would have to say it actually takes talent to be that wasteful. The Little Things feels like director/writer John Lee Hancock got the Cliff Notes of the Se7en script, binged a season of NCIS, listened to some true crimes podcasts and said "my job here is done". The film starts off a disappointment with a scene that feels like it's straight out of a cheesy 80's horror film, right down to a female character written to do the most illogical and absolutely dumbest things possible. If the film continued down this cheesy, horror/serial killer route, it might not have been a good film but at least it would have been entertaining. Instead it's just a boring, slog of a film that thinks it's smarter than it is and doesn't earn any of the payoff it thinks it's delivering at the end. Denzel is Denzel. I'm never going to say that a Denzel performance is bad. Even his worst performance runs circles around many actor's best. But it's obvious when he's phoning it in and this is one of those times. Malek is fine but if you're expecting a chemistry like Freeman & Pitt from Se7en, you'll be disappointed. It's not bad but it feels forced. Jared Leto puts in the best performance of the trio but at times it feels like he's overacting because the script just isn't strong enough. Since WB is putting all of its 2021 films on HBOMax, you'd think this is at least a no brainer to check out. Problem is, with a runtime over 2 hours, that still feels like a lot of commitment with little entertaining reward.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Looks like that "12% of a plan" that Layton had last season is turning out to be even more poorly thought out than we expected. Sure, he got the revolution he wanted and took back control of the train. But with Mr. Wilford reappearing and latching his "Big Alice" train onto Snowpiercer, Layton is starting to realize how poorly thought out all this was. Honestly, gotta give Layton credit, not many people could be as incompetent as Layton this quickly with this many consequences. It's almost a skill. Here are a few things we noticed with this season premiere:
It's funny how quickly Layton has already started compromising on his promises of Democracy on Snowpiercer. It hasn't even been 12 hours and he's already declared Martial Law. I guess he's starting to realize it's much easier to be a revolutionary than actually being in charge and running a functional government Ruth is setting Layton up and enjoying every minute of it. The minute she realized Zarah was pregnant with Layton's child, she jumped at the opportunity to give Layton and Zarah special treatment, knowing it could drive a wedge between Layton and the rest of the former tailies. As one of them said "This personal shit is making your democracy harder to believe in" Speaking of Zarah, she's annoying and really should have been thrown off the balcony. She's also a traitor and can't be trusted and the more that Layton makes excuses for her the more everyone else is gonna get fed up with him Layton is really an idiot. The first time they saw that big Frankenstein dude they should have thought twice about any plan to "take" Big Alice. Even outside of that, it was pretty stupid to plan an infiltration without doing any kind of recon up front. Especially after lying to people and saying that he was going to try diplomacy first. There's not a lot right now but it'll be interesting seeing where the plot with the potential that it's not as cold as everyone thinks is going. The fact that Melanie saw snow might mean that maybe the earth isn't as lost as the people think it is. Sean Bean as Mr. Wilford is great cause now all of us are thinking about all the ways he has to die. Between this show and The Expanse, there really needs to be a "It's okay to kill your sociopath kids" rule. Melanie was all smiles at the end of the episode, bonding with Alexandra but she really should be concerned that her daughter was gonna look here right in the eye as she killed an entire train of people. This little girl might be a problem
And there's plenty to more to talk about. Listen as Ro & Kriss discuss this episode then come back after episode 4 as we'll be reviewing these episodes, 3 at a time going forward.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@BookBlerd @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The Doctor, Parrish and Joseph are coming in hot on Chibnall's absolute fumble of the bag with the New Year's episode. Even Keenan Ivory Wayans would agree this is too much messaging for him. We did not need our Trump stand in. We needed more close out for departing companions and an intro to the new dynamic with Yaz and the Doctor. Instead we got a repeat of what we are currently living with in modern times-which we don't need an allegory for because we are living it both here and in the U.K. Additionally, the new companion is inciting great fury in all of us...why can't they just let it be Yaz and The Doctor (Jodie, not me) traveling the universe together?
Follow us on Twitter:
@TheMTRNetwork @TheDrIsIn2015
Want more podcast greatness? Sign up for a MTR Premium Account!
Full disclosure: When Phenom and I sat down to record this review we waxed poetic about how unrealistic it is to have karate gangs roving the streets of the Valley but after the events of January 6th, that doesn't seem like such an unlikely prospect. Season 3 of Cobra Kai marks the show's official move from YouTube to Netflix and while the show never struggles to deliver on the fun and the laughs, the pacing of this season leaves a lot to be desired. There's a lot for the fans who love the nostalgia of the original films, we just wish the show swapped out some of the nostalgia to focus on the young people who are falling victim (literally and figuratively) to the sin of the previous generation. Even though, Miguel is on the road to recovery, Robbie and Tory continue to slip further from the light under Kreese's manipulations. And while the introduction of Kreese's backstory leads up to the return of a fan favorite, there's no amount of storytelling that can make up for that man's machinations. Overall, Cobra Kai remains insanely binge-able but we both wished the writers had kept the fast, driving pace the show perfected while on YouTube. You can watch all 3 seasons of Cobra Kai, streaming now on Netflix.
Like what you hear? Subscribe To Movie Trailer Reviews to hear our Non-Spoiler, Non-Premium Reviews!
Follow us on Twitter:
@TheMTRNetwork
Our shirts are now on TeePublic: https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Over the past decade, Pixar's excelled at building deep existential dilemmas into touching animated feature films. Director Pete Docter (Inside Out, Up), in particular. Docter's known for his skill in blending weighty themes into emotionally charged, yet charmingly joyful, treks through the human psyche. So, it only makes sense that Pixar paired him with Kemp Powers (One Night in Miami) as co-director and co-writer on his passion project Soul. You'll be pleased to discover that Soul leans into what Pixar's best known for, creating an immersive world of visual and sensory delights woven into a thoughtful and emotional journey. Teaching, Dream Chasing, and all that Jazz Joe Gardner (Jamie Foxx) is a jazz musician making his living as a middle school music teacher. Jazz feeds his soul but it doesn't pay his bills. Gardner dreams of performing onstage. But it's starting to look like that's a dream he'll never realize. His mother, Libba (Phylicia Rashad), wants him to accept an offered permanent position teaching and give up on pursuing jazz as a career.
Jamie Foxx voices Joe Gardner in Soul. Photo Credit: Disney/Pixar
Just as he's losing hope, a call from Curley (Questlove), a former student leads to an unexpected audition. Gardner secures a spot playing with renown jazz musician Dorothea Williams (Angela Bassett). It's his chance to play at the world-famous Half Note jazz club. On the cusp of realizing his dream, he rushes towards home. One moment of inattention leads to an accident that jettisons him out of his body and on his way to the Great Beyond. Gardner comes to in his spirit form and, upon realizing he's no longer among the living, refuses to accept his fate. Refusing to Give Up and Discovering Your Spark The meat of this film encompasses Gardner's attempt to avoid going into the Great Beyond. The visuals for the hereafter, by the way, are startling and more than a touch mesmerizing. The blend of a soft color palette and sharp angles creates a stark contrast to an Earth pulsing with life in such bold color it's almost tangible.
Rachel House voices Terry in Soul. Photo Credit: Disney/Pixar
Gardner's escape efforts land him as accidental mentor to a seemingly cynical 22 (Tina Fey), an unborn soul, in the Great Before. As 22's latest mentor, it's Gardner's job to help them discover their spark and earn their pass to a life on Earth. From this point on, expect hilarity, tear-jerking moments, and pithy banter. Shortcut Back to Earth Gardner just knows his reason for living is jazz. It's hard for him to see his life from any other perspective. Until he's forced to. Inspiring 22 to want to have a life proves a daunting task. But guiding the reluctant soul to their own "spark" is secondary. It only matters as a means to get him a pass back to Earth in time for his gig.
Jamie Foxx and Tina Fey voice Joe Gardner and 22 in Soul. Photo Credit: Disney/Pixar
And this is where Soul really finds its footing (and will lose a bit of ground with some). Watching as this pair blunder their way through life's turns, is both hilarious and ironically enlightening. Throughout, a non-corporeal Joe is still distinctly himself. He's also still self-involved in a way that's well past obsessive. The bedrock conviction that jazz is his life blinds him to the fact he's not really been living. A never-been-born 22's convinced they've seen enough of life to skip it altogether. What each discovers, about themselves, and each other, along the way highlights how very easy it is to miss the point of it all. Revelations occur naturally in this world through secondary characters that work to build a version of life in New York that practically screams the creators love at every turn. Jamie Foxx and Tina Fey's chemistry makes for a captivating duo navigating the highs and lows of Gardner's life. The secondary characters are also well developed story essentials that add their own flavor and color to the action.
2017’s Wonder Woman felt like a game changer for WB’s DCEU. After several misfires with Batman v Superman and Suicide Squad, it felt like maybe, just maybe, the DCEU was getting back on track. The film wasn’t perfect (by any means) but Patty Jenkins was able to bring the icon that is Diana Prince to the big screen. To this day the No Man's Land scene is still talked about and the way that Gal Gadot embraced the role solidified her as Wonder Woman. That’s what makes Wonder Woman 1984 such a disappointment. It’s hard to understand how we went from an extremely competent first solo outing to a convoluted mess that looks like it has unfinished special effects, lackluster fight scenes, underused performances from Pedro Pascal and Kristen Wig and most importantly, a script that should be an embarrassment to all those involved. And don't get me started on how this film is set in 1984 and yet doesn't have a memorable soundtrack. How is that even possible? Where to begin? Let’s start with how this film looks. WW84 reportedly had a budget of $200 million and I’ve been spending the last 24 hours trying to figure out where it was spent. There’s an awkward looking scene in the trailers (one of the first clips ever released) of Wonder Woman running where you can clearly tell they put Gadot on a treadmill then edited the background to look like she’s running in the streets. It looks very weird but we all thought it would be fixed. It wasn’t. Not only was it not, but scenes like that are throughout the entire movie. In the first 20 minutes of the film there’s a scene where Wonder Woman is stopping some criminals in a mall. The scene is shot so awkwardly and poorly, I thought they were doing it on purpose to suggest that it was really a cheesy, 80’s movie someone was shooting. What's worse is EVER big action set piece is like this. It feels like you're not watching a 2020 blockbuster but a 1980's film on VHS. What’s frustrating is that, we’ve seen so much better from the DCEU. The fight scenes in Birds of Prey from earlier this year are so much better than WW84. The special effects and CGI of Aquaman blow this film away. If you go all the way back to 2013’s Man of Steel, we’ve seen a female super-powered character use speed in fights and it look amazing. Yet in this film, watching characters run and fight gives you the feel of watching a 70’s Superman film. The movie looks so bad at times you may pause it and then start messing with your TV's settings thinking it's something on your end. It's not. The film just looks bad.
Like it’s predecessor, WW84 doesn’t do the film’s antagonists any justice which is a shame considering Kristen Wiig as Barbara Minerva and Pedro Pascal as Maxwell Lord are actually pretty good. If you’re looking for the comic book versions of these characters you’l be disappointed but at this point in the DCEU, it’s to be expected. Where this film fails is that it doesn’t give them enough time to shine (because it’s too busy focusing on a love story between Diana & Steve) and then completely removes all of the stakes by the end of the film. There may have been some worry about how Wiig would pull off this role and I can happily report that those worries were unfounded. She does an excellent job in the role and honesty should have been the main antagonist of the film and really leaned on the bond then eventually conflict between Diana and Barbara. Unfortunately that doesn’t happen because WW84 seems to have forgotten one of the biggest appeals of the first film: Men aren’t necessary for this story. Both Diana and Barbara are inexplicably tied to male characters that could have easily been cut out of the film. Pascal’s performance is good but the audience also isn’t given the motivations behind the character to actual care about him until nearly the very end. Chris Pine’s Steve Trevor was completely unnecessary and felt like a reaction to the fact that Pine & Gadot had such great chemistry in the first film that they ...
Sylvie’s Love is a beautifully shot film that centers healthy, non-toxic black love that we sadly don’t get enough in films. As audiences we’re used to black love stories not centering black women or when they do, it's inevitably still surrounding some trauma involving a man. That’s what makes Sylvie’s Love such a refreshing watch. Eugene Ashe put together a beautiful offering about love, sacrifice, and purpose. The first thing that hits you about Sylvie’s Love is the aesthetics. One of the best trends in movies lately has been how vibrant period films starring Black people have been. This film is visually gorgeous. From the way it’s shot all the way to the outfits. When telling a story about black love, aesthetics can go a long way. Sylvie’s Love could absolutely work as a silent film and could tell its entire story with just the looks of the characters and the soundtrack. There’s an “old school” romance film vibe to Sylvie’s Love that has part of me want to see this film in black & white. I have no doubt it could pull this off.
NNAMDI ASOMUGHA as ROBERT HALLOWAY and TESSA THOMPSON as SYLVIE PARKER in SLYVIEÕS LOVE
Of course it helps to have a lead like Tessa Thompson. She’s absolutely fantastic as Sylvie. Black women aren’t typically given the chance to play a character like Sylvie and so it’s a joy to see someone as talented as Thompson get the chance. The film’s title “Sylvie’s Love” is just as much about Sylvie finding and achieving what she loves and loving who she is as much as it about her love with Robert. Nnamdi Asomugha puts in an incredibly solid performance as Robert. Again, it's refreshing to see a character like Robert who has suffered trauma and disappointment but never takes that out on the Black woman he loves. We really do need more films that normalize non-toxic, normal love between men and women, particularly Black men and women. This is Eugene Ashe’s second feature film as a writer-director. If this is the quality we can expect from Ashe’s work then my hope is that we see much more from him and soon. Sylvie’s Love is a must see. The film premieres on Amazon Prime Video on December 23rd and shouldn’t be missed. You can listen to Kriss, Ro and Brandon talk about this film on the Movie Trailer Reviews feed.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The Doctor, Shanna, and friends of the show Ejiro and Tai join us to discuss season 4 of the Crown, including the introduction of Diana, the selfishness of Charles, the weak NY accents, the tyranny of Margaret Thatcher, and the failure of Queen Elizabeth II to truly mentor her heir in preparation to take the throne.
Follow us on Twitter:
@TheMTRNetwork @TheDrIsIn2015
Want more podcast greatness? Sign up for a MTR Premium Account!
On the surface, Promising Young Woman might seem like another rape revenge film but Director Emerald Fennell's film has a lot more depth to it than the torture porn the sub-genre has unfortunately become. A lot of films that fall into the "rape revenge" category, particularly those made by men, end up focusing more on the brutality of the rape or the revenge and in doing so, tend to still make these films that should center on women, more about the men. Where Promising Young Woman succeeds is that it never really takes the focus off the victim. It also explores what a victim really is in these situations, showing that there are a lot more victims that are affected than just the direct victim and the long lasting affects of this violation. Promising Young Woman also doesn't let anyone "off the hook". Any time we see news about a rape or sexual assault that has occurred, we also see that the accused has a lot of enablers and defenders. And those people and systems that help these men get away with their crimes only leads to more bad behavior by "good guys". This film makes sure to call out the enablers and show how they all the sudden change tunes when they're the ones in the hot seat. To put it nicely (and without spoilers), let's just say there are a lot more people that are Dean Walkers and Madisons than want to admit. This cast works very well together. Carey Mulligan is perfectly cast as Cassandra Thomas. She's perfectly blends humor, sarcasm, anger and vulnerability. Clancy Brown and Jennifer Coolidge are a great combination of loving parents who are also ready for their child to get out of their house and try to move on. The rest of the cast also works very well together and most do a lot with very little screen time. Molly Shannon has what can best be described as a cameo but it's a pretty impactful and more serious performance than one would expect. The cast doing so much with so little screen time is also what might disappoint some. Laverne Cox plays Gail, Cassandra's boss and she's great. But because she's Laverne Cox audiences might be expecting more. This is not to say that this is a film plagued by an underused cast. Rather its in the much better position of leaving an audience wanting more instead of needing more. Promising Young Woman is by no means a perfect movie. No film really ever is. But it is a great blend of humor and seriousness that explores survivors guilt just as much as it does revenge. Listen to Ro, Brandon and Kriss discuss this film (Plus the current state of 'Award Season' during COVID and more).
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Kriss, Ro and Brandon are back to review and discuss the last three episodes of Lovecraft Country:
Jig-a-Bobo Rewind 1921 Full Circle
There's a lot to discuss with not just these three episodes but the whole series. The first thing though is that HBO did a great job of giving Misha Green the space to tell this story (and make the appropriate adjustments for the show compared to Matt Ruff's novel). It's not just important that a Black woman got to tell this story but it also shows the benefits of giving creators the space and room to tell the full story. The final episode being called "Full Circle" is appropriate for how it pulls in a lot of elements from the previous episodes as well as themes to connect everything. To those paying attention, those threads were always there but sometimes audiences need to see the finished product to really put it all together. Lovecraft is definitely a show that could benefit from a second (or more) viewing to catch even more hints at how things will come together. There's also a needed conversation about the generational pain and trauma that is passed down through Black families. Atticus and Montrose's complex relationship becomes more clear and understandable at the end of this series. The series doesn't make excuses for it but focuses more on how to break the cycle so the next generation is allowed to live without those burdens. Make sure you subscribe to Movie Trailer Reviews on iTunes, Spotify and your favorite podcast app to listen as Ro, Kriss and Brandon discuss these three episodes and the entire series.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Culture columnist Femke Boot (Katja Herbers) is used to getting negative comments online. She’s always believed it should be possible to be nice about having different opinions. But the backlash to a recent article taking a stance against ‘Black Pete’ challenges her belief in people’s decency. When the internet trolls turn vicious and Femke realizes one of her neighbors is among them. The realization proves too much and Femke snaps and pushes her neighbor to his death.
What starts as a drama about the boldness of keyboard warriors and the loss of civility in debate and discourse swiftly shifts into a all out horror movie. Because Femke decides its time to get back at her harassers - and use the adrenaline rush to break through her writers block - face to face. Both Kriss and Ro found The Columnist to be a Fantasia Fest highlight. It's unexpected twists, solidly disturbing performances and highly relevant (and relatable villain) subject matter. It dip it's toe into plot-driven social commentary without ever losing the drive and entertainment value. Listen as they discuss this festival favorite. The Columnist is currently streaming at the Chicago International Film Festival until October 25th. Tickets are $12.00. Directed by Ivo van Aart | Country The Netherlands | Runtime: 83 minutes
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
There are certain movies that automatically make the Halloween marathon, or at least they should. For years, cult classic The Witches, based on Rolad Dahl's book by the same name, starring Anjelica Huston has landed somewhere on that list between Hocus Pocus and Nightmare on Elm Street. Now, HBO hopes you add the Anne Hathaway-led remaking directed by Robert Zemeckis to that watch list. This film - still geared towards children (allegedly) - offers a few unsettling chills and plenty of campiness wrapped in sly humor. Leaning into Dahl's The Witches It's 1967, a young boy (Jahzir Bruno) and his Grandma (Octavia Spencer) find themselves trapped in a hotel during a convention of witches plotting to bespell the world's children turning them into mice. The duo - along with some unlikely accomplices - must outwit the Grand High Witch (Anne Hathaway) and thwart her master plan. Viewing audiences grew up with the child-friendly version this story (this is a lie, Huston's coven of witches scared the bejeezus out of plenty). It's a wicked adventure of a boy left unexpectedly orphaned - who's then attacked by a wicked witch - learning to persevere. For the most part, the main plot points remain unchanged. And while Zemeckis tries to (re)capture the darker undertone of Dahl's forty-year-old tale, the Kenya Barris and Guillermo del Toro crafted script updates time, place, and the ethnic origins of several main characters along with reworking certain key story elements.
(L-r)OCTAVIA SPENCER as Grandma, JAHZIR BRUNO as Hero Boy, and STANLEY TUCCI as Mr. Stringer in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release. Photograph by Daniel Smith
The costumes are stellar, the cast and location (Alabama) add just the right touch of macabre, and the practical effects and CGI work together to create the right edgy if uptight notes. So, the really question is will it appeal to today's audience? Listen as Ro gives a quick breakdown of The Witches and how she thinks it stacks up against the source material and 1990 Roeg adaptation. The Witches premieres on HBOMax October 22, 2020
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Director Rick Korn took some time to sit down with the MTR Network and discuss his latest documentary Harry Chapin: When in Doubt Do Something. Singer/songwriter and philanthropist Harry Chapin's best known in music circles for his number one single Cat's in the Cradle. But, Harry Chapin, the man, threw his entire self - and his career - in to being an citizen activist. He wanted to end poverty and hunger in the world; he was willing to dedicate his platform, time and energy wholly to the cause. Watch the Full Interview: https://youtu.be/Wzv2AKPvk3Y Rick Korn is a film/TV producer, writer, and director who works with different non-profit organizations - including WHYHunger, co-founded by Harry Chapin, - producing fundraising concerts. He's last documentary focused on the rescue and recovery 9/11 workers. During its production, Korn interviewed Chapin's former partner, Bill Ayres. His casual query of Ayers wondering why no one's ever made a documentary about Harry elicited the response, "Why don't you do it?" Korn discusses bringing this story to life, his person connection to Harry Chapin and what he how he hopes learning more about Chapin and the activism Chapin dedicated his life to will motivate others to stop doubting, and do something. What Would Harry Chapin Be Doing? Taking up Harry's mission, like many before him, director Rick Korn and his partners are throwing a free docu-concert to encourage people to get out and vote. TONIGHT, Tuesday, October 20, 2020 DO SOMETHING AND VOTE | BENEFIT CONCERT DOCUMENTARY Featuring commentary from: Harry Chapin, John Lewis (final words as read by Morgan Freeman), Jon Stewart and John Feal, Onondaga Indian Chief Oren Lyons, Ruth Bader Ginsburg, and Greta Thunberg And performances from: Alabama Shakes, Black Puma's, Head and the Heart, Keb Mo, Bruce Springsteen, Tedeschi Trucks Band, Raye Zaragoza, and Harry Chapin Available Free LiveXLive at 8:00 PM ET | Tune in HERE The docu-concert benefits over 25 charities including WhyHunger, LI Cares, Sandy Hook Promise, Fealgood Foundation, and Michelle Obama's When We all Vote. To donate to any of the charities and get voting information, visit https://bit.ly/cauzedosomething. All donations will be matched.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Idris Elba as a cowboy? I mean who wouldn’t be sold? Overall, Concrete Cowboy is a solid film based on the real life Fletcher Street Urban Riding Club in Philadelphia. It’s a mix of fictionalizing the club with a (sometimes stereotypical) story of a young teen reconnecting with his father. Caleb McLaughlin plays Cole, a troubled teen that is sent by his mother to live with his father Harp (Idris Elba), in a last ditch effort to get Cole to turn his life around.
Image credit: Courtesy of TIFF
Concrete Cowboy is one of those films that is solid but could have been so much more if given to directors and writers with a bit more lived experience with the subject. There are times where it feels that this film tries to handle more complex issues and the script just wasn’t equipped for that. Where this film works is when it focus on the story of Fletcher Street and the riding community. This film uses actual members of the community in some of the roles and they such a good job that it might not be until the end of the film when they do a montage of some of them and their real names that you realize they weren’t actors at all. It works because Concrete Cowboy leans on seasoned actors like Elba, McLaughlin, Lorraine Toussaint and Method Man to help flesh out the story. Yes you read that right. Method Man is quietly rises in my rankings of rappers turned actors. What’s actually impressed me about Clifford Smith (gotta use his government for this one) is the roles he’s taking. We know he can do the silly and ridiculous (The How High films are still hilarious). But we’re seeing him in more roles like the one he plays in Concrete Cowboy where he’s taking a more serious and balanced role. I’m here for it. He’s clearly good at it and he has the range. Unfortunately, Concrete Cowboy doesn’t stick to what it's good at. The film decides to go the route of Cole being “pulled back in” by a friend, played by Jharrel Jerome, in the neighborhood. A lot of time is wasted on this storyline that could have been better served really going into more details about the neighborhood, the history of Fletcher Street, urban cowboys and more. Instead it feels that we get just parts of these stories and not the whole picture. It also takes the audience away from its strong suit (the actors and chemistry). While we do get enough of the turmoil between Harp and Cole, there could have been more. We also only get hints of the relationship/friendship between Harp and Leroy (Method Man) and Lorraine Toussaint is criminally under used.
Image credit: Courtesy of TIFF
All in all, Concrete Cowboy is worth checking out but it will leave audiences feeling a bit empty and wanting more. Now if that feeling of wanting more leads to more people looking up and supporting the Fletcher Street Urban Riding Club then it still ends up being a net positive.
Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
Rape revenge movies can be hard to review and after watching Violation during the Toronto Film Festival, I'm still not sure if it's a good movie or not. The problem with reviewing rape revenge movies is that that there are two ways to look at them. On one hand, you can treat them just like every movie and grade them one acting, coherent plot, the way they’re shot, etc. The other way to review them is to grade them on a curve based on how good the revenge is. If you’re lucky, the movie will both be traditional good, with a fairly deserving dish of revenge being served. Unfortunately for Violation, I’m less sold on it as a good movie than I am on giving it a pass for the way the revenge was enacted. Without spoiling I’ll just say, this is why you never eat Karen’s homemade ice cream at the company pot luck.
Image credit: Courtesy of TIFF
The first 40 minutes of this movie works. Madeleine Sims-Fewer plays Miriam, a woman that is a trying to reconcile with her sister (Anna Maguire) on a weekend retreat with their significant others, who is raped by her sister’s husband Dylan (Jessee LaVercombe). Violation tells the story of Miriam not only getting revenge one Dylan but also how she was gaslit by both Dylan and Greta after revealing to Greta that she was raped. This is where Violation succeeds. The way this film handles rape and the subsequent shaming and gaslighting of victims is one of the more realistic depictions in a film. Rape typically isn't the "stranger danger" kind but rather a true violation by someone the victim trusts. Follow that up with the immediate shift in blame by the abuser and the betrayal of family and Violation can hit really close to home.
Image credit: Courtesy of TIFF
Unfortunately, this film can't stick to where it's good at. Where Violation goes wrong is its non-linear, barely coherent story. This pains me to say this because I love a non-linear story. It's clear that Dusty Mancinelli and Sims-Fewer (who also co-directed the film) got a bit in-over-their-heads with their first feature length film. While I love a non-linear story, the key to making them work is making sure the audience is aware of anchor points in the story so they know where in the timeline they are. on top of that, Violation jumps between time points almost too frequently to let key scenes sink in for the audience. This is the real tragedy of this film since its theme of not only rape but gaslighting is done really well, yet the audience doesn’t get a chance to digest some very important moments because the film hops to the next scene in a different point in time. Violation is a film that should have been better and more. It's worth checking out for the revenge sequence but when it's all said and done, you'll just wish there was a bit more focus to make it a complete film.
Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
I had the opportunity to speak with actor Perry Yung - who plays Father Jun leader of the Hop Wei Tong in Cinemax Original Warrior. We discussed how he found his way starring on television after years away, what Warrior brings to television, how he works around trope to seize opportunities to subvert stereotypes, and his thoughts on representation in the age of 44. Who is Perry Yung? Perry Yung is an American actor and musician from Oakland, CA. He plays Father Jun in Cinemax's Warrior, produced by Justin Lin, Shannon Lee (Bruce Lee's daughter) and Jonathan Tropper (Banshee show creator). Yung was fan favorite Ping Wu on Steven Soderbergh's The Knick and has guest starred on shows like, Gotham and The Blacklist. You may also recognize him as the Doctor in John Wick: Chapter 2. Warrior, the Western... Based on the writings of Bruce Lee and brought to life by his daughter Shannon Lee, Warrior sits at the intersection of costume drama and spaghetti western. Only this fights involve bladed weapons and master martial artists. https://www.youtube.com/watch?v=OTfLx35b2Sw&ab_channel=FilmIsNowActionMovieTrailers Show Premise: Warrior takes place in the latter half of the 19th century during brutal gang wars in San Francisco's Chinatown. The show premiered on April 5, 2019 and follows martial arts prodigy Ah Sahm, a Chinese immigrant who arrives in the City of Lights under mysterious circumstances. Once he proves his prowess as a fighter, Sahm is sold as a fighter to one of Chinatown's most powerful organized crime families. He came searching for his sister and ends up embroiled in a bloody turf wars between the gangs and struggle to survive amidst the rising anti-Chinese racism and societal/political upheaval in the city. Cinemax Original, Warrior, returns with a second ten episode season of its high action crime drama set in 19 century San Francisco during the Tong Wars. And Father Jun once again tries to ensure his tong survives regardless the obstacle. If this show isn't on your Fall watchlist you're missing out because it's brutal, full of intrigue, and high drama. The action is kinetic. The plot multilayered. And the show as beautiful as it is bloody. Warrior Season Two begins Friday, October 2 (10:00-11:00 p.m. ET/PT), exclusively on Cinemax https://www.youtube.com/watch?v=V_wSj_1fWtY&t=3s&ab_channel=Cinemax Warrior Stars: Andrew Koji Kieran Bew, Olivia Cheng, Dianne Doan, Dean Jagger, Langley Kirkwood, Hoon Lee, Christian McKay, Joe Taslim (“A Night Comes For Us”), Jason Tobin (“Fast & Furious 9”), Joanna Vanderham (“Eddie & Sunny”), Tom Weston-Jones and Perry Yung. New season two series regulars include Celine Buckens, Dustin Nguyen, Chen Tang, Miranda Raison and recurring series regular Maria Elena Laas. The series will also be available on demand and on MaxGo.com. Warrior was created by and is executive produced by Jonathan Tropper (Cinemax 's Banshee) under Tropper Ink Productions, executive produced by Justin Lin (Star Trek Beyond and Fast & Furious 9) for Perfect Storm Entertainment and executive produced by Shannon Lee for Bruce Lee Entertainment.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Kriss, Ro and Brandon are back to review episodes 5 to 7 of Lovecraft Country.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The first 25 minutes of Pieces of a Woman should be enough to tell you that you’re not prepared for the emotional toll of this movie. It should absolutely come with a trigger warning but at the same time is a must watch. At first this film seems like it’s about loss and grieving after Martha (Vanessa Kirby) and Sean (Shia LaBeouf) lose their child after a difficult home birth. However, what director Kornél Mundruczó and writer Kata Wéber really do is tell the story of how society dictates to women how they should feel and behave. This film really exposes how selfish people can be even when it appears (even to themselves) that they're being selfless. Losing a child is a tragic, heartbreaking experience for parents. But only one of those parents carried the baby inside their own body and that's the reality we have to life with. A woman who loses a child should be able to grieve (or not) how they want and shouldn't have to shoulder the emotional baggage of everyone else's grief and expectations. Pieces of a Woman works because of the two leads in the film, Shia LaBeouf and Vanessa Kirby. As I said in my capsule review, I want someone to give Shia LeBeouf a hug. I'm worried about him. Although maybe I shouldn't because he's come such a long way. From screaming "OPTIMUS!!!!" every 2 seconds in those terrible Michael Bay Transformers films to that weird stretch as a battle rapper, he’s had some rough patches. But with Honey Boy, The Peanut Butter Falcon and now Pieces of a Woman, he’s put together not only the 3 best performances of his career, but three roles that at least put him in the conversation during Oscar season. We can make all the jokes we want but LeBeouf has more than proven that he's a damn good actor. To be honest, part of my concern for his well being comes from the fact that he plays these roles so damn well, I start to question if he's even acting. When it's hard to discern where the fictional character begins and where the real person is, particularly when its different roles with their own unique traits and quirks, then it's safe to say, that's some damn fine acting. But the real star of Pieces of a Woman is Vanessa Kirby. LeBeouf puts in a great performance but this is Kirby's movie. Whatever your feelings about Pieces of a Woman are, the one thing that should be agreed upon is that Vanessa Kirby is absolutely fantastic in this film. If you weren’t a fan of Kirby before, you should leave this film as one. I’ve seen some reviews that suggest that Kirby didn’t really connect because at times she felt too stoic and emotionally detached. The irony of that is how meta that critique is. Martha spends most of the film having to defend herself from her mother and husband who think she’s not showing enough emotion after what happened and therefore must need their help or that something is wrong with her. To complain that Kirby isn’t showing enough (or the correct emotional reaction) as Martha really does miss the whole point the film is trying to make. Pieces of a Woman was one of my favorites of TIFF 2020, coming in second to One Night In Miami. It's a film that will definitely generate more conversations as more people see it. Netflix picked this up to distribute which makes sense. This film fits well in the conversation like Marriage Story did and is definitely worth checking out.
Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
If there was any doubt if Marvel’s The Eternals was in good hands with Chloé Zhao at the helm then Nomadland should be all the evidence you need. Nomadland is a slow burn, but the journey it takes the audience is worth it. This is a gorgeous, well-acted film but it might actually be too subtle with some of the themes for the average viewer. The film follows Fern (Frances McDormand), a widow who has settled into a nomad lifestyle living out of her van as she follows seasonal work throughout the midwest. McDormand plays Fern in typical McDormand fashion and it works extremely well here. Not only is Fern dealing (or rather not dealing) with the loss of her husband but also the loss of her entire way of living. When the factory in her town went out of business, so did the town (even losing its zip code). Fern has all that remains of her life left in a storage unit and her utility van that she lives out of as she travels from seasonal job to seasonal job. McDormand really captures Fern's internal struggles as someone who can't completely let go of her past but also doesn't want to ask for help or seem dependent on others (even her remaining family).
Image credit: 01 Courtesy of TIFF
This film also explores several reasons why so many live the nomad life. This film does a good job of telling those stories or rather, making the audience aware of these through the other people Fern interacts with. It really comes down to some people choosing the life while other are forced. Some have sold everything they own and decide to live on their own terms. Others are forced into this life due to their economic situation. And that distinction between choice and being forced are where some of my issues with the film surface. There are times when I wish this film hit a bit harder. Sometimes it feels as though when Nomadland peels back the layers on what happens with these forgotten towns in America, it doesn’t completely go down the path. Nevertheless this is a solid, well-made film. It's no real fault of the film that I wanted more from it, if anything it's a sign that it did it's job. While fiction, there's a lot of truth and reality in it and if at the end it made me want more and ask more questions, then it's done its job as a film.
Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork
Is there anything that Regina King can’t do? She’s been a versatile actress for 35 years that has always impressed. I could have a heated argument with myself over what my favorite Regina King role is (Her role as Detective Lydia Adams on the criminally underrated Southland is always going to be up there). It’s nice to see her finally get her due. On top of her acting she’s also apparently a vampire that hasn’t aged at all. Her and Paul Rudd drink from the same fountain of youth. So when I saw she was trying her hand at directing a feature length film, I had no doubt that she could pull it off and was not disappointed with the result. For a directorial debut, One Night in Miami is pretty ambitious project. Adapting a play into a movie is always a bit difficult and doing it for your first feature film is even harder. But King along with writer Kemp Powers really pull this film together and make it very engaging. One Night in Miami is the fictionalized tale of the convergence of four black icons in Miami in the height of the civil rights movement. The film has Malcom X (Kingsley Ben-Adir), Cassius Clay(Eli Goree), Sam Cooke (Leslie Odom Jr) and Jim Brown (Aldis Hodge) meeting up right after Clay won the heavyweight championship. Each man is facing a crossroad in their career and how they reconcile their career with the civil rights fight for rights Black people (and themselves) are facing. While this fictionalized “meeting of the minds) didn’t happen, it’s also not too far fetched to think that each of these men had similar conversations (albeit maybe not with each other) with others at some point. Anytime there is a film based on a play, a key part in the success is the acting and One Night in Miami is no exception. As I mentioned in my early capsule review, Aldis Hodge is criminally underrated. He’s racked up a series of roles recently that really make me hope that he gets the really big role next. Leslie Odom Jr is another one of these supremely talented Black actors instantly commands the screen whenever he appears. It's funny. Leslie Odom Jr is one of those actors that everyone recognizes and seems to be in everything, yet still seems like he's not given enough roles. Part of that could be that any time he's on screen is never enough and you just want more. Honestly, One Night In Miami could be the jumping off point for a Sam Cooke bio film with Leslie Odom Jr as Cooke and I wouldn't be mad at all. What really makes this film work though are the two actors playing Malcom X and Cassius Clay. King uses the talent of Odom Jr and Hodge to give support to Kingsley Ben-Adir and Eli Goree who are less well known yet knock out the roles of Malcolm X and Cassius Clay with ease. There are several times when Goree goes on one of those infamous Muhammad Ali ad libs and you'll find yourself hitting rewind because it sounds so much like Ali. Ben-Adir also is fantastic as Malcolm X. He presents a more vulnerable and measured character than I think most people would associate with their idea of Malcolm X but feels natural. All together this cast makes this film not only insightful but relevant to today. The conversations between this men, while fiction, feels like the conversations they would have had and directly represent some of the conversations we have today about the movement and fight for Black lives and rights. King does a great job of depicting the various opinions of these men as all valid and doesn't necessarily take a side. In today's world where there's so much infighting and debate on the "right way" to fight for rights, I think it is important that One Night in Miami takes the stance that everyone might not agree on the exact method but the sum of the parts is what matters. Amazon Studios picked up One Night in Miami so it should be hitting the screens soon (just in time for award season). When it does, audiences shouldn’t hesitate to give this film a watch. They won’t be disappointed.
Anyone who saw Train to Busan in 2016 (or any time after), was very excited to hear about a sequel to that film. The first film not only had zombies that made the fast zombies from Dawn of the Dead seem like amateurs but there was also a tight, emotional story about survival wrapped in the action. Unfortunately the sequel, Peninsula, leans more into being about action and CGI than being a more grounded, emotional story. There is definitely an entertaining film here. The zombies are just as terrifying as they were in the original. Feral, contortionist, fast zombies are a fear of everyone and Peninsula doesn't disappoint in that aspect. There's a scene on a boat where an infected is discovered and it's creepy and brutal and terrifying. Had Peninsula kept with that setting, it would probably have rivaled Train to Busan. Unfortunately that was not the decision made. Where Peninsula comes up short is the story. This film takes place four years after the first film and sets up the Korean peninsula as being completely isolated from the rest of the world. Apparently the rest of the world was able to contain the virus/infection while leaving South Korea (particularly Busan) completely abandoned to the infected. A compelling story might have really focused on those left behind to survive for 4 years against the zombie hordes, but instead this film focuses on Jung Seok sneaking back into Busan with his brother-in-law in order to smuggle a truck loaded with cash back out for some seedy individuals. The film tries to reconcile this plot with a lukewarm explanation about how Korean survivors of the outbreak living in Hong Kong are treated as second class citizens and that Jung Seok and his brother are desperate to find a way to get out of their current situation. What follows is then a mash up of several other movies from Tokyo Drift to Mad Max to any number of dystopian zombie movies. There's a young girl who probably should be in the next Fast and Furious movie who drifts around corners and runs over zombies (because apparently Toyotos are built to run over zombies with no actual damage to the car). There's also a cadre of ex-military (I think they're ex-military) soldiers that were left behind who now hunt down survivors and pit them against zombies. It's all just convoluted and honestly doesn't feel like Train to Busan at all. No one can deny that Train to Busan Presents Peninsula is entertaining. It's just a bit disappointing if you were expecting the same quality and impact as Train to Busan. This sequel is sadly easily forgettable.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
If you’re looking for a ground breaking alien creature-feature, Sputnik may leave you a bit disappointed. However, if you’re looking for a film that puts a unique spin on the typical “astronaut brings some alien life form home with them” trope, then Sputnik will be right up your alley. One of the problems with a typical alien creature feature is that they all follow pretty much the same themes. Sputnik takes a slightly different path and straddles the line between trying to contain a deadly alien creature and determining the line between man/alien. By doing that, it differentiates itself enough from other films and makes Sputnik a highly effective film. One of the key elements of a good creature feature film is obviously, the creature. An effective creature can turn a typically mediocre film that could easily be forgotten into a memorable one. Sputnik starts off a bit slow bu that makes The first time the creature appears even more jolting. The more that’s revealed about the creature (what it eats and how it comes out of astronaut Konstantin Veshnyakov are only made more intriguing by the questions that aren’t answered (Is it a parasite or some other symbiotic creature, can it be controlled, etc). Borrowing from The Thing, Sputnik leans heavily into using the personalities of the human characters to drive the conflict. The "who is really more of a monster?" trope has been done plenty of times before so again, this isn't ground breaking. That said, the film does a great job developing Oksana Akinshina's Tatyana and contrasting her character against the men she's having to deal with.
Overall Sputnik is a Sci-Fi horror film worth checking out. The creature alone is enough to give you nightmares and the performances also help keep the audience engaged. Watch Sputnik now on Amazon Prime.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Kriss, Ro and Brandon are back to discuss the last 3 episodes of Lovecraft Country (Whitey's on the Moon, Holy Ghost, A History of Violence). This show continues to impress and is also a perfect example of what (good) happens when Black people (particularly Black women) are allowed to tell stories involving Black people from our lens. Honestly, the best parts of Lovecraft Country have been the parts that lean on the horror and harassment Black people face more than the traditional fantastical horror elements. This once again proves that the horror Black people face is terrifying. Lovecraft Country is also doing a great job of (sadly) showing how evergreen racism is in this country. You can't watch Leti get taken on a "rough ride" in the back of that police car in Holy Ghost and not think of Freddie Gray. The fact that the cops only showed up after Leti got fed up with the harassment and decided to lash back out reminds us of the way cops only show up when Black people are fed up and in many cases were part of the original harassment. Watching the cops drive past the mob of angry white people and not do anything is right up there with police in riot gear fist bumping white militiamen and vigilantes at Black Lives Matter protests. Even the more subtile things hit hard. Ruby rejecting the notion that she could still apply for the job at the department store because there's no way they'd hire two Black women, much less a Black woman with a larger figure is still something Black people feel. We constantly feel like we're in competition with each other because of how few opportunities we're given. It's not only surreal but infuriating to see how little things have changed. Out of the last three episodes, Holy Ghost is the strongest. This is due to the focus and story revolving around Leti. Jurnee Smollett is putting in one fantastic performance through the whole series, but particularly with this episode. There was something cathartic about seeing Leti take a baseball bat to those racist white people's cars then later on seeing the three racist white dudes meet their end in the haunted house. Between all that and her literally leaning on the power of the ancestors to cleanse the house of evil, this was a powerful episode. Listen as we discuss these three episodes. We talk about:
How each of the three main characters (Atticus, Leti and Montrose) have their own demons to face The use of color and music to really make Black people pop on the screen Reckless vs Impulsive aka Atticus vs Leti Following the story through the eyes of the female characters and more
Oh and Ro & Brandon hint at the fact that no one is prepared for episode 5. So strap in.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The Mortuary Collection, a 2020 Fantasia Festival Official Collection, is an horror anthology collection available in the on-demand library. Written and directed by Ryan Spindell, this anthology offers four twisted tales of the dead. Between the striking cinematography leveling up the visuals and the meta storytelling it's one not to miss. Spindell's love letter to the past is a cohesive narrative that sets the stage (hopefully) for more. Montgomery Dark (Clancy Brown) caretaker and mortician at Raven’s End Mortuary, knows the histories of the dead. Their stories fill the countless books on Dark's shelves. When a woman shows to answers his help wanted add she challenges him to share macabre stories so she "knows what she's getting into."
Caitlin Custer as Sam in The Mortuary Collection
Ro said it after finishing and stands by, The Mortuary Collection is a brilliant blend of all the best elements from 70s/80s horror comics/movies, & pulp fiction. It's lush, goulish, and delightfully twisted anthology. If you like the Creep Show or Tales From the Crypt then this one's definitely for you. It entertains, disturbs, and is at turns, flat out creepy. Ro and Kriss dug all four stories and the wraparound narrative that make up the mixtape that is The Mortuary Collection. Listen in as they dig into this Fantasia Film Festival Official Selection.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Clapboard Jungle: Surviving the Independent Film Business Life as a creative in a world not suited to supporting art in the mainstream is a struggle. It takes more than having a dream. You've got to be ready to hustle. That hustle requires skill, multi-tasking, business savvy, and luck. When it come to being an independent filmmaker, the grind has unique challenges. In Clapboard Jungle: Surviving the Independent Film Business, screening on-demand during Fantasia Film Festival 2020 filmmaker Justin McConnell shares his struggle to take his film projects to the next stage. The goal? Secure enough funding to bring them to the screen. But, Clapboard is far more than just a snap shot of the hustle. This documentary follows McConnell as he learns to navigate the production side of the film festival circuit all while writing, directing and working gigs to keep the lights on. McConnell, bookends his journey between interviews with others in the film industry in ways that highlight that his struggles aren't new or likely to end for anyone looking to climb that ladder. Stories from Insiders Clapboard broadens the conversation and shifts the energy from just being a personal diary to a real behinds-the-scenes look at what trying to get in the room (literally) where the deals happen is like. The sheer number of people including George A. Romero, Larry Cohen, Paul Schrader, Justin Benson, Larry Fassenden, Barbara Crampton and Guillermo del Toro sharing advice and giving the honesty is on its own impressive. Listen as Kriss and Ro discuss exactly how invested they became in McConnell's years-long journey and the highs and lows of grinding indie film style. The utter tenacity of it all is kind of incredible to witness. We felt stressed watching McConnell repeatedly tested. https://www.youtube.com/watch?v=IlJ9M_H0rGU
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
A Storybook Ending turns the question, "what would you do if you realized the person you just killed while defending yourself was in fact a cop" into a timely dark farce. In 18 minutes, writer/director Lanre Olabisi creates a dynamic and layered neo-noir plot that's an excellent balance between the real and the ridiculous. Starring Rotimi Paul (The First Purge), Carra Patterson (Straight Outta Compton), Sawandi Wilson (Isn’t It Romantic) and Toni Ann DeNoble (Manifest) this dark comedy tackles a blend of timely issues in the most unlikely setting and circumstances. A Storybook Ending is a comedy of errors that digs in to marital imbalance, greed, and the fear underlying it all, a fear of the police. A Storybook Ending screened on August 21st in the HBO Short Film Competition during the 2020 American Black Film Festival. It's one of only five shorts in the prestigious short film competition. Ro sat down with Lanre to discuss his short film, the inspiration behind the story and how the comedy is a perfect gateway into confronting the issues lurking beneath the laughs.
Follow more of our Film Festival Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Nikola Tesla is one of the most influential and yet obscure inventors in modern history. A lot of the technology that we enjoy today can be traced back to his ideas, patents and inventions. Yet most people still don't know much about the man. Unfortunately, Michael Almereyda's Tesla isn't going to do much to expand people's understanding of the man. Tesla is frustrating 102 minutes. This is a film that suffers from an identity crisis due to Almereyda's uncertainty of the film he was trying to make. Was this film supposed to delve more into who Nikola Tesla was and give a historical background? Was it supposed to focus on his historical achievements and why they were so important? Was it supposed to tie Tesla's inventions and genius with today's technology? Amazingly, the film sticks its toe in each of those things yet does nothing to make them compelling or interesting. Ethan Hawke is not a bad actor but was not the right choice for Tesla. While Tesla might have been a bit awkward, he was still a presence that attracted people to him. Hawke's portrayal is void of any real emotion or charm or charisma. Eve Hewson does what she can but the script does her and her character (Anne Morgan) no justice. Tesla essentially turns Morgan into an inconsequential character whose sole purpose is to be a sometimes narrator for the story and a way to introduce Tesla to more powerful men. Tesla is a wasted opportunity. At least with Nikola Tesla, his inventions and impact on the world will be remembered. The same cannot be said for this film
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Words on Bathroom Walls is the latest contemporary romance adapted to film. The novel by the same name by Julia Walton release in 2018. It was wildly popular and viewed as an emotional look into living with an mental illness by some and an unnecessarily biting commentary on the Catholic Church by others. But overall, Words was well received and stuck a chord with many readers. It's not completely surprising to see it made into a feature length film. Official Synopsis: Diagnosed with a mental illness halfway through his senior year of high school, a witty, introspective teen struggles to keep it a secret while falling in love with a brilliant classmate who inspires him to not be defined by his condition. Words stars Charlie Plummer, Taylor Russell, Andy Garcia, AnnaSophia Robb, Beth Grant, Walton Goggins, Molly Parker, Devin Bostic, Lobo Sebastian. Since this film adaptation from Roadside Attractions hits theaters (yes, you read that correctly) August 21, 2020. It felt like a good time to sit down and discuss how a story initially told through journal entries translates onto the big screen. Ro's joined by Shanna (co-host of the Supergirl recaps) for a dive into of how the film handles the book's themes, its casting and what we really think works (plot and visuals) about Words on Bathroom Walls; with a few tangents along the way.
DIRECTOR Thor Freudenthal SCRIPT BY Nick Naveda based on Julia Walton’s novel of the same name
Like what you hear? Subscribe so you don't miss an episode!
Follow Ro on Twitter:
@BookBlerd @TheMTRNetwork
Black Boys is Humanization in Context Black Boys focuses on Black young boys and men in America. It' explores how they're dehumanized as a group. It unravels the ways in which society deliberately limited and then blamed for failing to excel. “As much as we try to hold on to our humanity, you realize you live in a world where your humanity is constantly being challenged and constantly being questioned.” - Tyrone Howard It's a timely and necessary documentary that does more than simply help people see beyond their own experience to that of others living in the same society. Director Sonia Lowman centers real people and real struggles in ways that bring the humanity of Black boys into sharp and inescapable focus. The documentary's savvy in it's approach. Breaking the discussion up into sub-sections. This allows for a focused discussion that feeds into the greater whole in ways that inform and capture the humanity of the people sharing their stories and lives. Black Boys is a reminder that these young boys and men are more than the sum of their physical parts. Listen as Kriss and Ro discuss this 2020 Bentonville Official Selection and how the documentary poignantly demonstrates the importance of changing the way we think about the humanity of Black boys, talk about inequity, and never forgetting that heroes are the last thing anyone needs.
Director(s): Sonia Lowman Writer(s): Sonia Lowman Producer(s): Sonia Lowman, Chad Williamson, Elliot Kotel Editor(s): Evald Ridore Cinematographer(s): Jeanne Tyson Production Designer(s): N/A Music Composer(s): N/A Cast: Malcolm Jenkins, Carmelo Anthony, Malcolm London, Vic Mensa, Cris Carter, Jemele Hill, Greg Scruggs, Howard Bryant
Follow more of our Bentonville Film Festival Foundation 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Subscribe:
Follow us on Social Media:
MTRNetwork MTRNetwork @TheMTRNetwork
Want more podcast greatness? Sign up for a MTR Premium Account!
Getting a group of friends together is always a great way to set the stage for drama. So, the premise behind writer/director Chris Chalk's debut feature length film Farewell opens the door for its story to turn in almost any direction. It's a solid choice, for the sneaky thriller it ultimately becomes. Farewell: Social Circles and Secrets Grace and Chance Charles need to celebrate. Grace accepted a new job that'll take the couple overseas. Her devoted husband's all-in for whatever she needs. Their both writers, but her career's on the rise leaving her overworked and on deadline for her next book. The couple's friends decide to throw them an Anniversary Send-Off. As the group comes together, it's immediately clear, these friendships aren't all sweetness and light. Farewell explores the relationship dynamics between these friends with just the right amount of the unconventional to be refreshingly engaging. Friends and Being Dragged for Filth Typically when a film stars a mostly Black cast and centers it's story around a get-together among close friends, the story direction leans towards the comedic. Nut Chalk's directorial debut veers into the awkwardness in ties that not only bind but strangle. Over the course of a night that starts upbeat swiftly gives way to biting sarcasm, low-key shade, and snide remarks. The dragging (and there's just so very much of it) is so on brand for Black folks that authenticity far out-weights the fact the dialogue and scene pacing could've done with another pass. As the night takes a turn into the sinister - and of course you can see it coming - these friends don't band together to make it through. Poor decision-making and all those secrets bubbling just beneath the surface of all the shade and messiness make for more than a few situations that test your ability to believe. That is until you remember no one is who they tell you they'll be in a crisis. Watching the role reversals, acting out, and revelations all given with such solid performances - especially the notable the chemistry between the leads - Farewell is a technically impressive feature and a horror-tinged (the sound production does it's job a touch too well at times) good time. If we're backing husband/wife producing teams in this pandemic, the Chalk's just edged the Franco's out of the top spot for the MTR crew. Of course, that may just have something to do with our desire to never be seen as a bad friend by either.... Listen in as Kriss and Ro dig into why this narrative feature left them with high hopes for whatever Chris Chalk may choose to write next. Director(s): Chris Chalk Writer(s): Chris Chalk Producer(s): Chris Chalk, K.D. Chalk Editor(s): Lex Kimbrough Cinematographer(s): Lex Kimbrough Production Designer(s): Prisca Choe Music Composer(s): Daniel Clive McCallum Cast: K. D. Chalk (Grace), Chris Chalk (Chance), Cesa Pledger (Mila), Eden Marryshow (Remy), Chantal Nchako (Kit), Ashlei Sharpe Chestnut ( Stacey), and Natalie Woolams-Torres (Laila) Farewell is the The Bentonville Film Festival Winner for Best First Feature, Narrative.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
More Than the Sum of Its Parts It's time. Lovecraft Country episode one debuts tonight August 16th on HBO, 9 PM ET. Set your DVR, get that streaming access ready. This is one limited series you don't want to miss. Based on the Matt Ruff book by the same name, Lovecraft Country brings the saga of Atticus Freeman (Jonathan Majors) and his family and friends as they attempt to unravel a dangerous supernatural mystery buried in the roots of his family lineage. Showrunner Misha Green centers the Black family, the everyday and mundane nature of striving for more in a world designed to keep you dispossessed. The cast lead by Majors also includes: Courtney B. Vance, Jurnee Smollett-Bell, Michael Kenneth Williams, Aunjanue Ellis, Jada Harris, and Wunmi Mosaku and trust and believe, no one is ready for what's about to go down. And that's a good thing. Lovecraft Country Episode One: Sundown Life in this 1950s setting has a pulse and vibrancy not often incorporated in the visual elements where Black life in all its many facets lie at the heart of the storytelling. Expect glorious fashion and vibrant settings as the backdrop to the gritty realities of living and moving under segregation and that's before you ever get to the gore, magical, and other horrific story elements. Family Matters This story opens with Atticus traveling from Florida to Chicago. He's heading home after receiving an alarm-raising letter from his father. This Korean War veteran is a much changed man from the awkward skinny kid who left to go to war. But regardless of all else, Atticus loves his family and intends to find his father and see him safely back in the family fold. There's no importing "contemporary" sensibilities into the world-building of Lovecraft Country. Instead these writers deliberately reflect life in Jim Crow America. Starting with dispelling the myth that anti-Black sentiment stopped once you crossed into the North. We meet Atticus along his journey just before his bus home breaks down leaving him with no option but to finish the walk into the city with the other Black person seated in the back of the bus.
Jonathan Majors in Lovecraft Country. Photograph by Elizabeth Morris/HBO
Right out the gate, Lovecraft Country leaves no doubt its that interrogating trauma on multiple levels. Just as Watchmen forced people to recognize the banality of racism and white supremacy in America. Every bit of dialogue between characters is insightful, the soundtrack purposeful, and the lead-in to the horror riddled with historical Easter eggs and multi-level fantastical storytelling. Listen as Ro, Kriss and Ava's Daddy (formally known as Phenom) sit down for the first of many conversations to discuss Lovecraft Country's episode, Sundown. This is Misha Green's Lovecraft Country now. Lovecraft Country meets at the intersection of life in the 1950s Jim Crow America and cosmic horror. Expect the veil between the horrors of the everyday and the supernatural to thin. It's anthology-style is a perfect framework to continuously set it off. Every moment will raise questions about which horror is ultimately more damaging to the psyche. Prepare because Lovecraft's lens is unapologetically conscious, undeniably Black, and absolutely to here to challenge as it entertains like nothing else coming to the lineup.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Hitmen, streaming service Peacock's latest addition, not only hits all the right comedic notes, it keeps the episodes short, the drama high and the relationship between the main characters as ridiculous as it is relatable. While the humor (dry and pithy) won't be to everyone's taste, this show about best friends Jamie (Mel Giedroyc) and Fran (Sue Perkins) as the most unlikely pair of hitmen makes the most of its talented leading ladies.
HITMEN -- "Birthday" Episode 101 -- Pictured: (l-r) Mel Giedroyc as Jamie, Sue Perkins as Fran -- (Photo By: Sky UK Limited) The plot is a blend of sweet and silly as this comdey duo shows it's possible to build a buddy comedy around to women without ever making them the but of the joke.
Misadventure Is The Name of The Game Jamie and Fran are the prefect odd couple. Each supports the other - even when perhaps that's not the best move - through relationships, clashing personality quirks, and mishaps that seem to plague them at ever turn. The laughs are often unexpected but always earned by the end. It shouldn't be possible to describe a pair of contract killers as adorable..and yet here we are. The script makes the most of Giedroyc and Perkins (The Great British Baking Show) long relationship and obvious chemistry to build a great launching point for a show about women of a certain age whose lives are clearly a hot mess making their way in the world by applying their unconventional skill-set. It shouldn't work but their oddball antics and clear love for one another keeps it all together. Finding the comedic sweet spot on a television show is no small feat. Not only does the timing need to be right, the characters often need to be just this side of unbelievable. Listen to Kriss and Ro discuss why Hitmen is not only worth a watch but is a savvy addition to the lineup of Peacock's original shows. Hitmen, the six episode series debuts on Peacock August 6, 2020.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
image courtesy STX Films
As a child, I was probably more akin to the young heroine of Frances Hodgson Burnett's A Little Princess; always believing I was a secretly a princess and yelling about the unfairness of a world that no longer believed in magic. But despite our differences, I always held a deep affection for Burnett's anti-heroine, Mary Lennox. I feel like this latest adaptation of The Secret Garden from STX Films, shows why I was right to back this dark horse. Set against the lush green backdrops of India and England, this adaptation of Burnett's classic story delves deep into the love and loss that has always hovered over this tale. Produced by the good people behind the recent Paddington films, The Secret Garden follows Mary (Dixie Egerickx) and Colin (Edan Hayhurst), orphaned cousins connected by their twin mothers. Mary has grown up in India because her father was stationed in the country while it was occupied by British imperial forces. Colin has grown up in Misselthwaite Manor, an English estate set beside a British moor. While they've grown up quite far apart, their childhoods were similar in that they've both been horribly spoiled and thoroughly neglected. When Mary returns to England following the death of both her parents, Misselthwaite is a dark, oppressive space that has been closed off by Colin's father, Lord Craven (Colin Firth), following the death of his wife. Mary, with the help of Dickon (Amir Wilson), overcomes her own brattish sensibilities and brings life back to the secret garden and the manor. The screenplay by Jack Thorne expands on the story of Mary and Colin's mothers, giving depth to the children's backstory that hasn't been seen onscreen before. As the twin ghosts that center this film, you can see the profound effect that their mother's deaths have had on Mary and Colin's sense of self. The director, Marc Munden, takes this tale of grief and infuses it with life as the garden Mary and Dickon tend takes on epic proportions and scale. The trees move to lift up the young girl as she explores, the leaves bend to greet her and curl away when she's sad. The visual storytelling blends the real and fantastic so the garden becomes a physical manifestation of the growth of these characters. The film is not without its shortcomings. While I applaud the attempt to touch upon the problematic nature of its protagonist's upbringing with the flashbacks to colonial India and the colorblind casting of Amir Wilson and Isis Davis as Dickon and Mary, the film chooses to use Mary and Colin's grief as the rationale behind their spoiled personas rather than address the problematic nature of race and class inherent in this period of Britain's history. Although it's never been explicitly addressed in any adaptation of Burnett's work, given our current time, her work is ripe for a critique of the social structures of colonial Britain. Despite this, fans of the classic tale, will find new ways to fall in love with this story, while those new to the material will be immersed in a tale that doesn't shy away from the underlying sadness of this story. And that's a good thing. Like Mary, we are discovering new ways to be, new things about the people we love and the people we've lost and most importantly, new ways to tell our stories. The Secret Garden premieres via PVOD on August 7th in the US and Canada. Watch the full trailer below and check out the audio review with The Doctor as well.
P-Valley (a.k.a Pussy Valley) premiered July 12th on Starz with a whisper campaign already in progress. What many thought would be -at best- a higher class episodic version of the Player's Club was instead, a vividly nuanced world built on the Mississippi Delta region's nightlife and strip clubs wrapped in a crime-novel-worthy mystery. P-Valley is far more than just a look beyond the pole and into the dressing room. It's the slow burning - gorgeously lit - journey of women on a hustle to fund (or save) their own lives. This show has LEVELS. Just as soon as one twists unravels there's a turn to keep it unpredictable. When Film Noir and Strip Culture Collide... Creator and Showrunner Katori Hall (Tina: The Tina Turner Musical) assembled an all-women team of directors and writers to develop her stage play into a dynamic neon-drenched drama. P-Valley pours the moral ambiguity and cynicism of sex work into a gritty film noir mold. The end result is a intricate plot-driven by the titillating and traumatic (with a side of ambition) all set to a mood-altering blend of the blues and trap music. And with that decision, Delta Noir was born. With every reveal from inside The Pynk, the more riveting each club performer's subplot becomes. The Pynk The writer's room gave a subtle hat-tip to noir archetypes, like the girl-next-door, the femme fatale, and the good-bad girl crafting characters that subvert narrative expectations with a hefty dose of existential angst. The savvy story direction and spot-on casting infuses each character with trope-defying authenticity. The women of P-Valley are the living embodiment of "classy, bougie, ratchet, sassy, moody, and nasty" in the best and most savage of ways (Megan would be proud).
These aren't, however, hollow caricatures as is often the case when a story centers Black women. The P-Valley writers built these women with depth. Each capable and fully embracing their agency. Crafty writing shows them leveraging their personal power at work then juxtaposes those moments with the complicated personal lives each struggles with daily. Each theme-driven episode runs the gambit of family issues, domestic violence, colorism, racism, betrayal, and other oft mishandled issues festering within portrayals of the Black community. Hrere, every story arc's told with an eye always towards honesty and handled with a deft touch. P-Valley constantly up-ends presumptions about what "kind" of woman dances for a living (and why). But, this Delta Noir set to destigmatize more than just stripping. Although it definitely accomplishes that with wit and gritty honesty. So, expect P-Valley to put subtly center body-positivity, addiction, PTSD, toxic mother-daughter dynamics right next to deconstructing masculinity, and embracing one's sexuality. The apologeticness of it all is gratifying. Like In Any Good Noir Drama, Trouble Comes To The Delta... Life in a small town is never simple. And in Chucalissa, the same people throwing dollars until dawn at The Pynk on Saturday are seated in the pews of churches on Sunday. The hypocrisy is real. Club owner Uncle Clifford (Nathaniel Nicco Annan) needs revenue streams to ensure The Pynk survives. He's determined to preserve his family land and see his club thrive. So he plays the game. Clifford's (and The Pynk's) place in the community (and importance to the plot) is constantly evolving. Because thankfully, in P-Valley, The Pynk doesn't exist in a vacuum.
This former(ish) plantation town is due a massive face-lift. Enter the mysterious Andre Watkins (Parker Sawyers) and his client gobbling up real estate all around town. Watkins believes he's on the cusp of breathing new life (and jobs) into the area. But his interests are certain to clash with Uncle Clifford's. As this story unfolds and overlaps with the drama inside The Pynk it's increasing obvious Uncle Clifford's land is seriously in play. It's an refreshing way to approach the complicated relat...
The Boundary Breaking Go-Go's Ro and Joi freely admit to liking documentaries. They're a great way to dip a toe in to messiness without the need to invite it into real life. Documentaries also provide an meaningful way to expand the elements of history to properly capture the zeitgeist of a decade. The latest entry in documenting music history on film is The Go-Go's from director Alison Ellwood (History of the Eagles). Ellwood gathered all the members of the ground-breaking girl group together for open honest discussion about their rise to fame. This group created an entire zeitgeist altogether. It's worth knowing about. The women were frank about their ambitions, honest about their missteps, and real about the challenges to breaking into the music scene. Respect the Game But Smashing the Mold Prepare for a rather comprehensive oral history. Ellwood's directorial style blends live interviews and archival footage to present a seamless look at the journey of a rock band. There's sex, drugs, grit, grime and glamour.
(L-R): Charlotte Caffey, Gina Schock (drums), Belinda Carlisle, Kathy Valentine (bass, behind Belinda Carlisle's head), Jane Wiedlin. 1981. Photo credit: Cassy Cohen/Courtesy of SHOWTIME.
The Go-Go's hold the title as the first (and last) all female rock group to play their own instruments, sing original songs (that they wrote) to have a number one album. It doesn't take more than a downbeat to identify a song by The Go-Go's. Their style was distinct and trendsetting. Learning what it took to get them to the top and what toppled them reveals the strange chemistry likely at the heart of every successful group. Watching this band of badasses grow from punk devotees into stadium-filling rock stars was a wild and engaging ride. The pieces slowly fall into place as they grow into themselves (and out of the punk scene). Their coming of age crashed through the gates of the industry; swiftly dispelling the longstanding belief that 'girl bands don't sell records.' This clear-eyed look back chronicles a journey that's unparalleled in terms of success and unflinching (for the most part) in terms of confronting the band's weaknesses and egos. The darker side of fame, personal demons, and crushing schedules only touches on the subjects discussed. It's a raw look behind the curtain that informs, entertains and sends you away wondering: What exactly will it take to get The Go-Go's into the Rock and Roll Hall of Fame? "The Go-Gos" premieres July 31 at 9 p.m. on Showtime. Listen as Ro and Joi's spoiler-free discussion about this documentary about a group that paved the way for generations of musicians.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Dave Franco makes his directorial debut by stepping into the horror/thriller genre with The Rental. The Rental is a solid directorial debut for Franco as it weaves together a pretty simple but engaging plot, messy characters that aren't annoying and a short runtime (88 minutes).
The characters in The Rental "have it coming" to them for their messy and terrible decisions throughout this film. There's a lot of "unintentionally funny" moments of this film. This is mainly because as the audience, we get to be voyeurs into the lives of two couples that are keeping secrets from each other that are later exposed leading to their downfall. Let's be honest, having an affair with your business partner is never a good idea. Having an affair with your married business partner is an even worse idea. Having an affair with your married business partner who is the brother of your boyfriend while you all are all staying at the same remote Airbnb is just a recipe for disaster. Throw in a murderous voyeur who has the Airbnb rigged with hidden cameras and now we have a movie. The Rental isn't a perfect film but in the age of Covid with a VOD release, this is just what the doctor ordered. Franco avoids some of the pitfalls first time directors have when they jump into the horror genre and is able to keep things simple and safe (maybe too safe). Still, this is worth checking out. Listen as Ro, Joi and Kriss discuss and review this film. We also talk about the state of films in general during Covid, the indefinite delays of some film releases (Tenet) and the upcoming virtual film festivals as an interesting award season starts to come into view.
The Rental opens in over 250 drive ins and theaters (where allowed) as well as Digital and Cable VOD Friday July 24th. For a list of theaters and available rental platforms check out therental.movie
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Let's call him Andre "Starlord" Layton at this point because he's leading a revolution and has about 12% of a plan. We get that he never really wanted to lead a revolution and like Pike said, he doesn't really have the stomach for prolonged conflict. Layton does what many revolutionaries do which is win the day but quickly realize the weight of what that means. We really did enjoy this first season of Snowpiercer. The show did a great job of balancing the class issues while also showing some of the impossible decisions that Melanie had to make. It doesn't claim that she's right, quite opposite. But it also shows how someone with good intentions can pave the road to hell. This season also does a good job of showing how its possible for the really dystopian views on the train from the movie could get to that point. There aren't any really good decisions being made here but that also seems to be the point. Like when Melanie makes Layton have to make the decision to sacrifice a few of the revolutionaries from the tail to save everyone on the train. Layton now has the train but that also means he has all the responsibility and its going to be interesting seeing how he shoulders it (spoiler alert: Not well). But we don't get that much time to think about that as it seems that maybe the real Mr. Wilford isn't as dead as everyone thinks and might now be in control. We can't wait to see what happens in season 2.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
The Twilight Zone Season Two Gains Some Thematic Clarity Jordan Peele's The Twilight Zone premiered on CBS All Access last year. The showrunner's track record had expectation set high. Too high. The series struggled to find its identity and footing in a world where Black Mirror reigns supreme and many of the more subtle aspects of Rod Sterling's show have been forgotten in syndication. But Season Two corrected more than a few of the show's missteps. The largest among them by releasing the entire series in one fell swoop.
Leaving it up to audiences to set their consumption pace allows for more room for episodes that feel less than fully cooked. This decision allowed for a more natural ebb and flow particularly as it swiftly becomes clear this season, again, has some episodes that carry its theme somewhat better than others.
It's clear that Peele is intent on revitalizing more than rebooting The Twilight Zone and reconnect it to its anthology roots. Season Two is not without it's hiccups but between the (once again) top shelf talent, better visualization of its themes and commentary it's a definite improvement. There's more show than tell. More metaphorical staying power. And less rush to make the story land. This time, there's more obvious faith in the narratives being baked in (and in the audience).
Ro, Parish, and HiroJa got together to review Season Two and all agree it's a vast improvement on first season. Listen as they discuss its clearer overall theme for the season, standout performances and episodes, writing, storytelling, and direction. We all look forward to the third season when it comes out in 2052.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Radical Monarchs Puts Girls First The world is a very different place than it was when the Girl Scouts came into being. Being a young girl and wanting to be a leader are less controversial concepts. But wanting to be an activist leader? Well now, that's radical. But it begs the question, should it be? We find our answer in We Are the Radical Monarchs, a documentary premiering on PBS's POV series (also available online) July 20. Background: Set in Oakland, a city with a deep history of social justice movements, We Are The Radical Monarchs follows the two trailblazing, queer women of color who created The Radical Monarchs, a more diverse and inclusive alternative to the scout movement. The Monarchs are focused on empowering girls to confront the intersections of social justice and the issues of the day with lessons that can help them grow into themselves, understand each other as well as their community, and have a sisterhood that doesn't required conformity.
Radical Monarchs co-founders Anayvette Martinez and Marilyn Hollinquest
The Identity of a Radical Monarch The documentary showcases the aims of the Monarchs and how, contrary to public conservative compliant, co-founders Anayvette Martinez and Marilyn Hollinquest are intent on providing an safe environment where hard conversations about combating media indoctrination and celebrating one's self happen. Director Linda Goldstein Knowlton smartly incorporates the girls themselves in telling the story of the Monarchs in ways that showcase not only the voices in the group but also just how necessary this space truly is. If you've ever wondered how you talk to young children about a serious issue, the Radical Monarchs likely have a module for it.
The Birth of the Monarchs The film is a journey. Knowlton smartly follows the first troop of Radical Monarchs for over three years — before and after the 2016 Presidential election — as they complete units on such subjects as LGBTQ allyship, environment racism, and disability justice.
These moments showcase the girls and how they think to great effect. It drills down on the social awareness lessons that become the bedrock of the Monarch's curriculum it's a savvy narrative that excellently dovetails "showing and telling" in a way that builds story momentum and investment. We are the Radical Monarchs is an insightful and uplifting look at how to respond to a need and what to do when demand outpaces availability. The world is a fast moving place where its easy to get lost as an adult, dedicating a space where children can have access to the tools to grow into strong personalities able to navigate it. The Radical Monarchs build sisterhood on multiple levels; creating a way to confront the world and care out space away from its chaos. Listen as we discuss the documentary and the takeaways that make this documentary an enjoyable watch.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Kriss and Ro are back to review TNT's Snowpiercer. This time we're reviewing episodes 5 - 7 or as we like to call it: Melanie you fucking up.
With these three episodes we start to see glimmers of how Snowpiercer devolves into the truly dystopian world we see from the movie. The show is doing a good job of showing us "behind the curtain" and what Melanie is trying to do to maintain not just order but the survival of the human race. On the surface it may look as if they're trying to condone her actions but its really showing the audience how good intentions aren't an excuse for evil behavior. We see Melanie spiraling more and more out of control (which is making her more brutal). Melani is making a lot of short term decisions that give her an immediate benefit but are harming her (and the train) more in the long run. Her decision to override the tribunal's verdict did nothing to put her in the good graces of the Folgers and made her look weaker in front of 2nd & 3rd class.
Bess offers a good contrast to Melanie. Whereas Melanie thinks the ends justify the means to keep her secrets, with Bess we see someone who is starting to make decisions that put her at great risk while benefiting others.
Listen as we review these episodes as well as give some theories on where we think this show can go in relation to the movie. We also discuss how these episodes tie very well into what we're seeing in the world today.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Documentary filmmaker Dawn Porter joins MTR critics Ro and Joi for a video interview about her latest project John Lewis: Good Trouble that premiering July 3, 2020.
Who is Dawn Porter? Dawn Porter has a documentary style uniquely suited to walking Representative Lewis to walk through his own legacy. This isn't the first time she's turned her focus on the work for equal rights. She's turned her lens on the work Black public defenders do fighting for justice in a discriminatory southern legal system in Gideon's Army. Her 2016 film, Trapped, follows the trench war over reproductive rights in states like Alabama, Mississippi and Texas. Porter's skillfully leads her subjects to the heart of the matter in ways that enlighten, humanize and challenge. Settle in as Dawn Porter fields questions, shares her motivation and the direction for this look at Elder Statesmen John Lewis, and her process for deciding how to approach his legacy.
Good Trouble is Always Relevant, but Definitely Timely This interview took place on June 2nd just as people took to the streets and Black people declared they had had enough. In the midst of the swirling upheaval and calls for redress, Good Trouble feels right on time. Be sure to check out Ro's review and chat with Joi about the documentary. "Good Trouble" will be available on VOD and in virtual cinemas beginning Friday, July 3. Find the Film: https://www.johnlewisgoodtrouble.com/
Like what you hear? Then be sure to Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Giving John Lewis His Due John Lewis: Good Trouble, like The Pieces I Am did with Toni Morrison, explores the richness of the Elder Statesman's public life through archive footage and present day interviews. This is a look through his eyes at his days in the civil rights movement and beyond. It couldn't come at a better time.
"we are in a much better place. when I hear people say nothing has changed. I just want to say, come and walk in my shoes..."
In 2014, the National Center for Civil and Human Rights opened an exhibit focused on the life of John Lewis. It was the chronology of his life as a timeline of change in the United States. In the same vein, this documentary directed by Dawn Porter is about giving Lewis his flowers while he's still walking among us. But don't expect Porter to cross the line into his personal life. In terms of a documentary storytelling, leaving the personal costs out unexplored makes for a bit of unevenness. There's plenty of humor, a few glimpses behind the veil, and definitely a broader contextual understanding for his continued optimism to be hand. However, very little - even in this non-linear narrative- that delves into the unknown or unexpected. This documentary raises as many questions as it answered when it comes to John Lewis. Focus on any less favorable events or periods in his life is few, far between and given very little screen time. Lewis has always carefully protected his home and family. So, it's unsurprising that Good Trouble's lens remains focused squarely on his public life and persona. It also silently demonstrates that when John Lewis doesn't wish to be moved, he won't be. Which in a way, tells its own story. A Legacy Still In The Making In 2016, Lewis explained his decision to get involvement in the civil rights movement with, “I was inspired [by doctor King and Rosa Parks] to get in trouble. I was inspired to get in the way.”
So this film stands as a sharp highlight of what it means to get in "good trouble" and why John Lewis continues to answer the call...and why we as a community need to be ready to collectively get in the way as well. Shortly before his assassination in 1968, Martin Luther King Jr. said:
"Now our struggle is for genuine equality, which means economic equality. For we know that it's not enough to integrate lunch counters. What does it profit a man to be able to eat at an integrated lunch counter if he doesn't have enough money to buy a hamburger?"
As the progressive veneer many state's boast about shreds to nothingness, the severe lack of equity and continued socio-economic vulnerability of Black people in the United States is abundantly clear. John Lewis: Good Trouble is a reminder (or lesson for the unaware) that the steps that lead to change are always deliberate and and methodical. And the next steps to retaining and expanding our rights and protections must be as well. John Lewis was more than a man who "marched with King" and Good Trouble does a more than fair job of bringing that fact into focus. It's also clear by the end that this man is far from done putting in work. The Evolution of an Activist By examining Lewis' life and his choices, Porter brings new perspective to not only the path of a movement but the thoughts driving the man. Good Trouble humanizes Lewis in ways that'll send you in search of more information (this well is deep and there is mess), thoughtful about crafting further ways forward, and hopeful about recapturing the mindset that this is a battle for liberation. This isn't the usual direction of a documentary nor is it the expected focus on a life lived. Given the positive focus of the present day interviews, you'll came away with a potentially deeper understanding of why the man garners so much respect. And to the people Porter's truly aiming Good Trouble at, it's message will be clear. The archival footage and glimpses of Lewis with his chief of staff, Michael Collins,
Everyone is trash. EVERYONE! The Doctor and Allegra are back to discuss the season that broke the show a bit. The Carver arc had a chance to be more impactful than it was. The resolution was a bit of a let down in terms of execution. That said, we take a look at the fact that we can no longer blame Sean and Julia for Matt being transphobic racist trash, Julia becoming a flat out murderer, Christian doing a selfish bit of soul searching, and Sean...well, being Sean.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@TheDrIsIn2015 @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
"Snowpiercer:" A Procedural Gateway to 1001 Cars
Just as in Bong Joon-Ho's feature lengthy film "Snowpiercer," the new TNT series takes place aboard the Great Ark Train in perpetual motion around a globe frozen in the second Ice Age. The survivors are seven years into their trek into the future. The rigid class system, so brutally authoritarian in the film, exists beneath a glossy sheen of orderliness.
Jennifer Connelly, Alison Wright in TNT's Snowpiercer. Photograph by Justina Mintz But, beneath the surface, the rumblings of revolution, from the tail, are growing louder as train operations begin to strain under catastrophic set backs. To make matters worse, there's been a murder. This may seem like a far cry from Joon-Ho's grimy allegory about class but that's only true if you've never stop to ask, how did the conditions on the train get to such a brutal point. Once you do, then this step back in time makes sense and ups the tension to a whole new level.
The Weather May Have Changed, But People Didn't As a way to introduce life on the Great Ark, the flow and dynamics between the classes and among the stowaways living in the tail of the train, as well as the challenges of sustaining life in a closed ecosystem, a murder in need of solving isn't a bad choice. It creates a logical opening into a complex world built on dirty politics. The head of hospitality, Melanie Cavill (Jennifer Connelly) calls on the last surviving homicide detective Andre Layton (Daveed Diggs) to solve the murder threatening to force the bubbling unrest to the surface. There's just one problem with her choice, Andre lives in the tail and is the head of the brewing rebellion.
Katie McGuinness, Daveed Diggs in TNT's Snowpiercer. Photograph by Justina Mintz Layton swiftly realizes he's this investigation puts him in a position to not only see more of the train that anyone else from the tail but try to capitalize on tension between the classes and build strategic relationships the rebellion needs.
Story Within A Story While Layton's making his moves, Melanie's intent on keeping the train's inhabitants turned firmly on what she wants. The class divide plays out to create a different kind of drama. In this lux world there's excitement, danger, and twisted machinations intertwine. It's also where this series deviates from it's film roots. If you're familiar with show-runner Graeme Manson (Orphan Black) then you know he's never just talking on one level. So, you can take it as read that this seemingly straightforward police procedural isn't anything so uncomplicated. Taking advantage of the vivid production design to turn the train into a ever-evolving character critical to the plot, the serialized "Snowpiercer" builds on the strength of this dynamic universe to best leverage some of the themes from the original graphic novel Le Transperceneige to create a ten-episode slow-building thrill ride. Settle in for secrets, lies, violence, betrayal, and twisted relationships certain to push things to a tipping point before it's all over. By the end of episode four (and the first full story arc) murder mystery "Snowpiercer" viewers will be primed. There's a murderer set to go to trial and third class workers demanding equal representation. Things are just getting started and order may not survive a murder trail.
A Show Worth Discussing If you're a premium subscriber of the MTR Network, the crew's recent re-watch discussion makes it clear, we're are fans of "Snowpiercer." So it's hardly a surprise we're re-caping the series. TNT's Snowpiercer launched on May 17, 2020. While the plot and paced would've been best served by a two-hour premiere, this show's definitely worth watching. Listen in as we discuss the series introduction and story arc that unfolds in episodes one through four.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
This Shirley Audio Review Definitely Went Left... Once again, Kriss agreed to talk to Ro about a film without first watching the trailer. This time we're talking upcoming release from Neon, "Shirley" starring Elizabeth Moss. Listen in because we had thoughts and feelings galore.
A young newlywed couple - new to the college town - find themselves entering the lively, yet strangely regimented, home of Shirley Jackson during a party. Shirley's husband, Stanley Hyman (Michael Stuhlbarg) invites them to stay with the couple. Rose (Odessa Young) the supportive wife and her quickly neglectful husband Fred (Logan Lerman) arrive just as the writer begins writing her considering her next project. It quickly becomes clear, something is off about the abrasive Shirley. Despite that, Rose is curious about the woman behind the horror stories.
When Things Take A Strange Turn Sometimes It's a Good Thing... Rose's hope to audit classes while her husband establishes himself swiftly falls by the wayside in service to Fred's ambition. In an effort to gain Stanley's favor, Rose ends up nursemaid and house wife to the eccentric Shirley. She and Rose slowly bond. As time seems to give way to the story Shirley's writing, Rose exists less and less away from her. She's sucked into Shirley's process completely. Stanley a toxic, serial philander with an inflated sense of importance who soon comes to resent the young couple's presence despite initially demanding it. What follows is a surreal day-in-the-life look into the abyss. It's never clear what's really happening and what amounts to falling into Shirley's mind. One one level, it just so well crafted you don't care. But beneath this atmospheric glimpse into these women's lives there's a certain emptiness that shouldn't be.
Shirley Should've Been the Center
Based on Susan Scarf Merrell's novel Shirley and directed by Josephine Decker, this adaptation makes the most the fictional character Rose. Odessa Young gives an ever-increasingly haunting performance that shines even as it doesn't entirely make sense. This is a gothic tale about a young woman lured into Shirley's orbit in a way that seals the two together in an captivating and manipulative dance. It's a story Jackson definitely would've written. There's betrayal, gas-lighting, bitter rivalry, back-biting and twisted love What "Shirley" isn't is a biopic and it absolutely should've been. Shirley Jackson was a deeply complex whose deep issues manifested in her writing. She wrote horror. The insidious kind that lingered in the psyche and unbalances the unsuspecting. Elizabeth Moss gives an unparalleled performance as a woman ostracized by the establishment, celebrated among the bohemian and utterly tormented by her own mind.
Who is Shirley Jackson? This world that lacks proper context. Had Decker incorporated a broader array of details (like the fact Jackson's husband made her agree to accept his infidelities as a condition of marriage) about her, the story we're given would've feel so...niche. There are flashes of brilliance in how "Shirley" weaves her issues into the story we're given. There's not-so-silent commentary about docility and expectation that's downright engrossing to watch play out. Moss's portrayal comes with a twitchy-witchy edginess that most definitely could've carried a gritter, fuller look at Shirley Jackson. This agoraphobic, paranoid about her work, overtly hostile, wicked smart yet decidedly lacking in "womanly" charm woman is a walking metaphor in need of unpacking all on her own. So, without the how-and-why of Shirley Jackson - and what makes up her unorthodox life - consistently centered this film is a sadly less coherent. Watching a soon completely enraptured Rose fall victim to Shirley's selfishness and the machinations of her toxic life could've (and should've) carried a deeper meaning and greater impact. If this all carries a heavy whiff of "Who's Afraid of Virginia Woolf" to you well,
Turn Off The Lights For "The Vast of Night" If you like audio plays and ever wondered what it would look like if someone who loved them made a film, then Amazon Prime's latest, "The Vast of Night" a tailor-made fit for you. This sci-fi story combines the best of intimate character byplay, an atmospheric intensity uniquely suited to a 1950 small town setting, and the driving need to know. It's a story worthy of a campfire and a starless night. The "Twilight Zone" and "The Outer Limits" Had A Love Child "did you hear that sound?" This beings with a classic B-movie starting point. A young woman Fay (Sierra McCormick) is the switchboard operator who meets up with radio DJ Everett (Jake Horowitz) and swaps snappy conversation and shares random facts as they each head to work. The town's all gathered in the school gym for the basketball game. So the two walk through empty streets. It sets the right tone and look. It's a dark foggy night. If something odds going to happen, well the right two inquisitive minds are paying attention. Set at the dawn of the race into space and when it wasn't unheard of for someone to call in sightings of unidentified flying objects, "The Vast of Night" is the best kind of a riddle wrapped in a mystery. Listen as Ro discusses "The Vast of Night" with Joi about why it should make your watch queue.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Ro and Joi are back to further share their delight and investment in Little Fires Everywhere with a special interview with writer Shannon M. Houston. Shannon took lead on writing episode six, The Uncanny, my personal favorite. She agreed to sit down and talk all things LFE. If you don't know the name Shannon Houston, trust me, she's definitely one to watch. Listen in and see why we're officially declaring ourselves super fans. Little Fires Everywhere is a dynamic and engaging adaptation. This is very much owing to it's talent packed writers' room lead by show runner Liz Tigelar. It took a village to bring this family drama to such dynamic life. Especially since this is one series that holds together of it's entire story arc. This behind-the-scene clip of bringing this book to audiences gives a taste of what it took:
Like what you hear? Subscribe so you don't miss an episode!
Follow Ro on Twitter:
@BookBlerd @TheMTRNetwork
Corona might have shut down the theaters but that doesn't mean we don't have new movies to review. We got a screener for the IFC Horror film, The Wretched and recorded a review of our thoughts. When we saw the trailer for this film, we thought it had a lot of potential. Unfortunately, the film never lives up to that. The Good Directors Brett and Drew Pierce put together a horror film that looks pretty good. There are some really creepy moments with the witch and there are no shortages of graphic moments either. Chris Evans might talk about eating a baby in Snowpiercer but The Wretched actually shows it. If the rest of The Wretched lived up to the aesthetics then this film would be an amazing horror film. Sadly the rest is lackluster. . The Bad The problem with the acting in The Wretched isn't that it's all bad but rather who is given the focus. John-Paul Howard plays Ben and is the lead but is also the weakest of the actors. Everyone else seems to handle their roles better. Even the kids. Zarah Mahler does a great job as the possessed Abbie and we wish they had leaned on her a bit more The Ugly
What really hurts The Wretched is that it's telling a story that's heavily dependent on lore but doesn't explain or lean into any of that lore. In the end, the story becomes hollow because of it. The motivations and rules surrounding the witch in this film aren't every really clear. What's most frustrating is that there clearly is a lot of lore to lean on and this film could have been so much more. Instead it's just a pretty to look at empty shell of a horror film.
Listen as Ro, Kriss and Brandon break down their thoughts on The Wretched for a full review.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Allegra from the Core Temp Arts network joins The Doctor again to review season 2 of Nip/Tuck. Using a more thematic style this season, the show continues to examine the emotional ups and downs of two middle aged men starting to feel their age, and how their complicated friendship and history causes them both moments of great pain and great joy. In this season, we find ourselves realizing this is a show with no heroes, and this was a season where everyone was a villain in their own way. We also discuss issues of colorism (no it's not a new phenomena), the strength in vulnerability, and the impact that chasing beauty has on us all. Who knew such a sensational show could address such deep topics in a way that got us to thinking?
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@TheDrIsIn2015 @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
A “betty” is known as a woman who dresses like a skateboarder but doesn’t skate. Her sole purpose is to be a hanger-on in the often male represented skate community. HBO’s BETTY, a comedy created/directed by Crystal Moselle, takes this concept and kick-flips it on its head. We follow the all-female Stake Kitchen collective throughout their misadventures in New York City. The "Skate Kitchen" Cinematic Universe BETTY is a continuation-slash-reboot of 2018’s Skate Kitchen, with the origin story of Skate Kitchen getting remixed to fit the series. Camille (Rachelle Vinberg) served as the protagonist of Skate Kitchen. But in BETTY, the other girls - Indigo (Ajani Russell), Kirt (Nina Moran), Janay (Dede Lovelace), and Honey Bear (Kabrina Adams) - pull equal weight in character development. The first three episodes of the series lay the bricks of the girl’s arcs. The hard pivot of the story from the film takes a while to calibrate in your mind if you’ve seen the film before. But once it does, their love of skating paired with their story growth ends beautifully. At its core, the series works because it lets the girls from Skate Kitchen be themselves at their best. The originality of these characters - loosely based on the girl’s personalities - make the story engaging. The camaraderie of the group was the strongest aspect of Skate Kitchen. In BETTY, this camaraderie continues, albeit in smaller groups. The goal seems to give the girls space to get micro-moments together. But there’s an opportunity for later seasons to deliver the visual group shots we received in the film. More Girls Means More Skating There also needs to be more highlights of the girls skating in the series. Vinberg does the lion share of skating tricks, and it’s not due to lack of talent of the other members. Outside of casually gliding on their boards, we don’t get slow and sweeping vignettes from the other main casts. These are young women with enormous skill. To under utilize is unfortunate, and makes you hope for improvement if there’s a season 2. Effortlessly cool, BETTY grounds itself in its rebellious roots. The lives of skaters are one of intrigue and adventure. Adding the complexity and sisterhood of teenage girls to this mix elevates it to another level. With unpredictable but delightful moments, BETTY grabs a hold of you and takes you on this magical journey.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
We're back for part two of our Little Fires Everywhere chat. This time around, Shanna decided to jump in the mix. We're picking back up with the discussion expanding beyond dragging Pearl - although there's still a bit of that - and into the themes and moments that kept us engaged, made us pause so to think, and the mess that still has us puzzled. We give reasons to add Hulu's Little Fires Everywhere to your watch-list Little Fires Everywhere turned out to be the perfect balance of mess, emotional turmoil, and family drama. In a time when television adaptations seem to leave out the core elements that made the book work, showrunner Liz Tigelaar and the Little Fires writers' room not only preserved Celeste Ng's narrative, it cut to the heart and soul expanding on its themes and making great television. So tune in while we chop it up and remember at the end of the day. minding your business is always free. If you haven't added
All Episodes Streaming on Hulu
Reese Witherspoon (Elena Richardson), Kerry Washington (Mia Warren), Joshua Jackson (Bill Richardson), Rosemarie DeWitt (Linda McCullough), Jade Pettyjohn (Lexie Richardson), Jordan Elsass (Trip Richardson), Gavin Lewis (Moody Richardson), Megan Stott (Izzy Richardson), Lexi Underwood (Pearl Warren), and Huang Lu (Bebe)
Like what you hear? Subscribe so you don't miss an episode!
Follow Ro on Twitter:
@BookBlerd @TheMTRNetwork
We're Here is a six-part unscripted series that follows three former Rupaul's Drag Race favorites, Bob the Drag Queen, Eureka O’Hara, and Shangela Laquifa Wadley as they travel to small towns staging drag shows with local recruits. Yes. Three of the biggest personalities in the drag world are bringing drag culture to small town USA. The local participants bring a mixed bag of motives. Some want to celebrate themselves, others want to make amends for past homophobia, many hope to foster tolerance and inclusion by standing up to take a walk in someone else's shoes...literally. Connection and Community
Right out the gate, you know We're Here intends to be very on brand for it's three queens. Arriving in town in unforgettable buses and dressed to make the populous gag, Bob, Eureka and Shangela are on a mission to discover what lies at the hearts and in the minds of the town's people while inviting them to share in the fun. But it's not all hearts and rainbows. Some of these towns are confederate flag waving, civil war monument celebrating, evangelical "silent majority" strongholds. Pain and discomfort often lies just beneath the surface. We're Here gives faces and stories to the awkwardness and isolation that daring to live as your best self can cause. Leading up to a one-night-only drag show, this trio of drag queens guide their newly minted drag daughters through crafting an image, selecting a name, and learning choreography. At the same time, viewers will learn more about the participants home lives and communities. Dancing aside, these participant profiles will keep you invested and wondering about these towns long after the last scene fades to black. A New Day In the Life One Hour at a Time
With just the right touch of Queer Eye, but stripped down to the essence of what makes television shows like this really interesting, We're Here advocates for greater community and love by highlighting the struggle to accept family members, friends, neighbors and often one's self. The documentary-style format is familiar. The stories unique. The participants willingness to pull back the veil on their lives captivating. We're Here is one hell of a teaching moment wrapped in diva attitude, humor, unsettling encounters, and much needed emotional honesty. Tune In Because This is a Ride Worth Taking We're Here premieres on Thursday, APRIL 23 (9:00-10:00 p.m. ET/PT). Viewers can catch the premiere episode for free to all via the YouTube Premieres platform. This is the first time that HBO will make debut content available for free. Ro and Joi sat down to discuss the new series, what sets it a part and what about it has them set to tune in until the end.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Selah and the Spades writer and director Tayarisha Poe created something special. And not just because her film left Joi, Ro and Shanna collectively thinking Rian Johnson's Brick and Roger Kumble's Cruel Intentions had a baby. And that kid's a special kind of rowdy. Selah and the Spades has style, movement, and grace. It reorients common issues like, power and loyalty, into a contemporary high school setting perfect for playing out its themes.
Selah and the Spades, "the kids party different now" Set in an elite Pennsylvania boarding school, Selah and the Spades introduces its audience to a high school underworld fraught with dangers; seen and unseen. This boarding school has five dominant factions within its student body, The Prefects, The Sea, The Skins, The Bobbies, and The Spades, that control the social strata. Selah Summer (Lovie Simone) leads the Spades with her second-in-command, Maxxie (Jharrel Jerome). With a the market on illegal drugs and alcohol, the Spades feed the student body's need to indulge it's vices. At seventeen years old, this outwardly poised young woman runs the most powerful faction in the school.
Lovie Simone stars in SELAH AND THE SPADES Photo: Courtesy of Amazon Studios
The Spades rule through a liberal application of fear and strategic displays of power planned by Selah. Maxxie balances her edge with physical enforcement and building inter-faction relationships. Their efforts keep the Spades at the top of the social pyramid. She's proud of her achievements and had no intention of slipping.
(L-R) Lovie Simone and Jharrel Jerome star in SELAH AND THE SPADES Photo: Courtesy of Amazon Studios
But it's her senior year and the time's come to pick a successor to her thrown. She's determine to secure her legacy and ensure the future dominance The Spades. After meeting Paloma (Celeste O'Connor), a new-to-the school sophomore, Selah think's she's found a worthy protege. Now, if she could just commit to giving up power, everything will stay on track.
Celeste O'Connor stars in SELAH AND THE SPADES Photo: Courtesy of Amazon Studios
Dirty Business Everywhere After quickly acclimating to this close environment, viewers are set for a ride through teenage angst that is likely to change the narrative landscape for these stories. Selah's struggling internally with unwanted changes in her future, her combative relationship with her mother, and a escalating conflict between the factions, Paloma watches and learns. What begins as a simple matter of grooming slowly changes as the sharp-witted Selah realizes her influence on Paloma isn't as complete as she'd like. And as Maxxie's commitment and loyalty come into question as he focus shifts, Selah's surface charm cracks and her unabashed ruthlessness comes to the forefront. Feeling threatened, Selah takes steps to tighten her hold. Used to doing as she pleases, being forced to confront her limitations trigger to dire consequences for the people around her. This Ain't the Wonder Years Although there may be fair comparisons between Selah and the predecessor films of its ilk, particularly Cruel Intentions, this is truly a character study unlike any other. Poe developed a narrative that leaves room for thought provoking examination even as it lures you in with its high drama and messiness. The dynamics in this school highlight a social imbalance that creates a unique vacuum where strength of will can make you a power broker. No one fits the mold or falls into a stereotype. It makes for intrigue and underhandedness in ways that are unsettlingly contemporary. There's almost too much to unpack; which, of course, is good since there's currently a series in development. Listen in as Ro, Joi, and Shanna talk about Selah in the Spades (and how being surprised with a contemporary mob film is a good thing) then keep an eye on the feed for an interview with Celeste O'Connor. Selah and the Spades premiers on Amazon Prime. April 17. 2020.
Sometimes, there's a book that catches your attention because it takes a popular trope (reincarnation) and builds a story around that feels like a fresh approach especially when it's main characters are under 21. Cries from the Lost Island certain fit the bill. I had the opportunity to sit down and ask Kathleen O'Neal Gear some questions about her latest stand alone novel (and solo project) Cries from the Lost Island. Bio: Kathleen O'Neal Gear is an archaeologist and historian. She lives in and raises bison (yes, you read that correctly) in the Owl Creek Mountains in northern Wyoming. She began writing full-time in 1986 and has been prolific (non-fiction and fiction) pretty much ever since. She's authored 10 novels under her name and 37 international bestsellers with her husband W. Michael Gear. What started out as a pretty straightforward curiosity about what made her want to write about Cleopatra turned into an interesting discussion about her inspiration, process, and random facts I discovered while prepping for the interview.
Like what you hear? Subscribe so you don't miss an episode!
Follow Ro on Twitter:
@BookBlerd @TheMTRNetwork
Little Fires Everywhere is the Messy Drama/Mystery You Didn't Know You Needed... Welcome back to another I Talk Sh*t & Read Book-to-Screen chat. This time, Ro and Joi are kicking off a new one and the topic's Hulu Original series, Little Fires Everywhere.
Hulu's Series is an Adaptation that Elevates the Source Material Adapted from the novel by acclaimed writer Celeste Ng, Little Fires Everywhere is the story of two different worlds (we're talking class difference folks) colliding when a nomadic artist Mia Warren (Kerry Washington) and her daughter (Lexi Underwood) arrive in Shaker Heights, Ohio and meet Elena Richardson (Reese Witherspoon) and her picture perfect family. In the hands of showrunner (and executive producer) Liz Tigelaar, this adaptation of Little Fires Everywhere masterfully adds depth and contemporary nuance to both the overall story arc and each character. The writing, directing, and production teams bring it all together with irresistible visuals and perfectly time irreverence.
Questions At Every Turn... What starts as just another a story about two women and their journey as mothers is now moody mystery with a subtly addictive narrative in the hands of actors giving masterful performances. There's emotional complexity, clashes of privilege, angst, and dangerous upheaval. Thus far, the writing and direction seamlessly (despite the varied creators) blends shifting perspectives and dramatic highs and lows together in a way certain to keep attention. To start things off we limited our discussion to topics arising out of episodes one through four respectively. The first four episodes, 'The Spark', 'Seeds and All', 'Seventy Cents', and 'The Spider Web' set the stage for what's shaping out to be an exciting second half. We've got opinions, theories, and serious gratitude for the realness buried in all this glorious mess.
Directors: Lynn Shelton (The Spark, The Spider Web) and Michael Weaver (Seeds and All, Seventy Cents)
Writers: Liz Tigelaar (The Spark), Nancy Won (Seeds), Raamla Mohamed (Seventy Cents), Attica Locke (The Spider Web)
New Episodes Wednesdays on Hulu (Eight Episodes)
Like what you hear? Subscribe so you don't miss an episode!
Follow Ro on Twitter:
@BookBlerd @TheMTRNetwork
The Doctor is joined by Allegra from the Core Temp Arts Podcast Network to discuss season 1 of the original 21st century appointment television series, Nip/Tuck. The show follows two Miami-Dade plastic surgeons through their professional and private lives. Season 1 on rewatch was still soap opera, but we were amazed at the amount of social commentary that the show addressed in a way that was progressive for 2003. Nip/Tuck is currently available for viewing on Hulu. Find Allegra over at Core Temp Arts (https://coretemparts.com/)
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@The Doctor @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
Ro Thinks: Tales From the Loop Aims For the Feels
Amazon's new sci-fi show Tales from the Loop is an anthology based on the work of Swedish artist Simon Stålenhag. His work blends the futuristic, long forgotten, into suburban/rural 1980s settings. It is evocative yet creepily nostalgic. If you've never seen his pair of art books, Tales From the Loop and Things from the Flood now's a perfect time because the images and moments selected to create the world of "the Loop" in this sci-fi series are visually stunning, unsettling, and eerily comforting. This show is not your ordinary dystopian fare.
Executive produce by Matt Reeves, Tales from the Loop enters a dystopian world via a town and various people who live and work above a powerful machine, known as "The Loop", that's as mysterious as the parts of the universe it seeks to explore. Unlike most stories of its ilk, Tales focuses on the human actors and the emotional aspects of life in the future. Amidst the fallen machinery and abandon tech lies despair, confusion, turmoil but ultimately hope. Slow and Steady Cinematic Experience Don't expect flash and fireworks in this future-world. Tales from the Loop is a universe of stories connected less by the tech than the people but that's a good thing. There are sweeping vistas of farmland and sleepy suburbs fanning out from the town built around "The Loop." Random machines and interesting devices anchor the plot but don't directly drive the stories. It's all beautifully immersive, weirdly compelling and yet deliberately incomplete. A haunting score aids the plot is provoking as many questions about this world as the story answers about the people living in it. There's deliberate drag built into the second act of each short story intended to draw out and linger in the moments of these lives. Ultimately it (pacing) is the one element that's truly inconsistently successful in the series. Big Talent for Big Themes The visuals infuse Stålenhag's color palette with life and a slightly off-kilter sense of normalcy. As this world weaves in and out of the lives of it's inhabitants, each turn of events is riddled with emotional land mines. Every cinematographer, set and production designer attached to this project brought their a game. His artwork lives and breathes from frame to frame. Written by Nathaniel Halpern Tales features top-tier talent like, Jodie Foster, Charlie McDowell, Tim Mielants and Mark Romanek in the director's chair. Series opener, Loop, marks Romanek's (long awaited) return to sci-fi storytelling and sets a somber yet inquisitive tone. Each story revolves around a simple theme, love, truth, fear, protecting one's family etc. As a result, each successive story adds clarity to how this world works. With each story coming in just under an hour, Tales from the Loop isn't designed for a binge-watch. That doesn't mean wandering through these living paintings and exploring this world isn't worth the time. Listen in as Ro and Kriss discuss Tales from the Loop and what they thought after finishing the series. Then tune in to their spoiler chat for Premium members. This is MTR Premium Network content. If you are already a subscriber please log in to view/download episode. If you aren't currently a subscriber, you can sign up here.
Like what you hear? Subscribe so you don't miss an episode!
Follow us on Twitter:
@Phenomblak @InsanityReport @TheMTRNetwork
Our shirts are now on TeePublic. https://teepublic.com/stores/mtr-network
Want more podcast greatness? Sign up for a MTR Premium Account!
God Bless Saint Frances
“You’re in your twenties, it gets better,” the man encouragingly tells Bridget (Kelly O’Sullivan), after she tells him she’s a server at a restaurant. Bridget, in a dry tone, responds, “Actually, I’m 34.” The awkward silence that follows is probably not unfamiliar to Bridget, in a world that expects life clarity to appear in your 30’s. But Saint Frances - written by O’Sullivan herself - bucks against this world. A story as messy and unclear as the protagonist, the film gives an honest portrayal of a life in flux. The job opportunity arises for Bridget to babysit an obstinate 6-year-old named Frances (Ramona Edith-Williams) for the summer. She gets unexpectedly pregnant in the midst of navigating the difficult relationships between Frances and her two mothers. She has an abortion after discussing it with the man who impregnated her. Body changes, emotional breakdowns, and arguments follow, as Bridget tries to adjust to her new normal.
Kelly O' Sullivan and Ramona Edith-Williams in Oscilloscope Film's Saint Frances O'Sullivan's vision is a gift from the heavens Kelly O’Sullivan’s vision serves as an anchor in the midst of chaos. And that’s because the vision is personal: she combined her life experiences of being a nanny in her 20’s and having an abortion in her 30’s to craft this screenplay. What’s impressive is how O’Sullivan and director Alex Thompson weaves all these experiences into a thoughtful story of a family. This is further driven by the complexity of its female characters. At the heart of the film is the initially contentious relationship between Frances and Bridget. Ramona Edith-Williams is the breakout actor whose performance toggles between precocious and moody. Frances and Bridget’s tête-a-tête shapes the story, growing from sharp to loving. France’s mothers - Maya (Charin Alvarez) and Annie (Lily Mojekwu) - provide another layer of depth to the family dynamic. Maya’s emotional turmoil from her postpartum depression will move you. And Annie’s tough exterior cracks when struggling to support her wife through her difficult time. The dynamic works because it feels authentic to the characters and the world that’s been built here.
Kelly O' Sullivan and Ramona Edith-Williams in Oscilloscope Film's Saint Frances Centering women, always There have been films that have tackled “weighty” topics such as same-sex parenting, abortion, and postpartum depression. Sometimes they take on an “after-school special” tone. Other times, it lacks the nuanced touch that comes from someone who went through this. Thankfully, Saint Frances avoids those pitfalls. The screenplay manages to balance showing the normalcy of these topics while not diminishing how it affects women. We see everlasting bonds have grown in the conclusion. Ones that have imprinted on Bridget for the rest of her life. Saint Frances highlights that there can be growth in the midst of uncertainty. Life can be in flux but you still learn to love, to understand, to protect. It’s a fitting way to close this chapter of Bridget’s story. Thank God for Saint Frances: raw in its honesty, beautiful in its in relationships, multi-faceted in its female characters.
Saint Frances Update: Ro and Joi circled back to discuss this project from Oscilloscope Films because neither has seen a character study that approached this subject matter quite like Saint Frances. Once again, Joi's recommended a movie Ro never intended to watch but is ultimately glad she did. Listen in and find out why.
Like what you read? Subscribe To Movie Trailer Reviews to hear our Non-Spoiler, Non-Premium Reviews!
Sundance Roundup: Downhill and The Assistant Joi and Ro sit down to discuss two films showcased during the 2020 Sundance Film Festival. Each film's central theme, gaslighting, plays out subtly and in real time. Both film open the door to a discussion that ultimately ends up about relationships and the care you take of you while in them.
Joi On: The Assistant Written and directed by Kitty Green, The Assistant follows Jane (Julia Garner), a young assistant at a film production company with aspirations to rise in the industry. While doing her daily tasks, she gradually notices the inappropriate behavior of her boss. Motivated to speak up, her concerns reveal the complicit nature of the company she works for. Green leverages her expertise in documentaries to edit and direct the story in a succinct manner. Explorative, we begin with Jane's daily routine as an assistant. Most of her duties are what you expect from an assistant. But scenes like Jane deep cleaning her boss' office and throwing out syringes set the tone that something is off in this work culture. The story is crafted based on implication versus "cold hard facts." This is not to diminish the severity of the actions, but rather confront the sobering truth that many sexual assault and harassment cases lack evidence for "believability." The first twenty minutes of the film moves at a snail's pace. But it's deliberate in it's messaging: in the crawl of the day-to-day, we sometimes miss the red flags. Jane eventually can no longer ignore the signs and approaches Human Resources rep Wilcock (Matthew Macfadyen) in the climactic scene of the film. What proceeds is an uncomfortable moment of gaslighting, where Jane is made to feel unsure of the behavior she's seen. Shocked, she returns to her desk and is forced to email her boss an apology for reporting him. The realization of this shady workplace weighs heavily on Jane. But in the end, we assume that Jane will clock into work tomorrow, to fight another day. Open about the inspiration from Weinstein and the #MeToo era, Green has stated her goal was to "make a project that tackles not just this misconduct, but these broader themes of a system that’s inherently structured against women[.]" She succeeds in taking these meaty themes and streamlining them, without undercutting the impact. Simple, yet effective in its delivery, The Assistant is a cautionary tale of how easy it is to ignore abusive structures. And once you're sucked in, how hard it is to speak up.
Downhill An American remake of the 2014 Swedish dramedy Force Majeure, Downhill - directed by Nat Faxon and Jim Rash - follows the Staunton family, led by the father Pete (Will Ferrell) and the mother Billie (Julia Louis-Dreyfus). While on a ski vacation with their children in the Alps, the couple experience what they assumed to be an avalanche. Pete's reaction to flee versus protecting his family causes problems for his relationships with his wife and sons. The cinematography juxtaposes the dark family dynamics with bright sweeping shots. Danny Cohen has an easy muse in the beautiful, white Alps background. But being the cinematographer for films such as The Kings Speech, The Danish Girl, Room, and much more certainly helps. Cohen's eye is utilized best on the slopes, with stock photo shots of skiers enjoying the sport. He brings a lightness that marries well to this black comedy. It puts a spotlight on how even in the most beautiful places, families can crumble. Even with such a stunning backdrop, the story hones in on how Pete and Billie aren't on one accord after the avalanche incident. Unfortunately, the written lack of chemistry of the characters is overshadowed by the actual lack of chemistry between the actors. Will Ferrell is completely miscast as Pete, not finding the right balance between comedy and drama in his performance. Julia Louis-Dreyfus carries the emotional load of the film, course-correcting their interactions to the best of her abilities.