The MacGuffin Men: Recent Episodes
Alex Stephenson
The MacGuffin Men is a podcast that hopes to add some depth to what we feel is lacking in modern film criticism. From a film's place in history to granular film grammar choices of the filmmaker, these movies are discussed from a place of love and appreciation for the art form, all with the understanding that a lot of what we discuss might be nonsense.
Big faces in IMAX, camera placement, wildly aggressive editing, blockbuster Stan Brakhage, and Christopher Nolan reckoning with his own influence on cinema.
Henri-Georges Clouzot's influential mystery, twist endings, the film's depiction of Christina's inner struggle, the use of sound, and the repeated motifs of bars and water.
Gene Kelly and Stanley Donen's illustrious careers (both together and separately), the remarkable precision that links the dancers to the filmmaking, and the film's deserved place in cinema history.
The film's long journey from book to screen, Nicole Kidman's performance, the production design, and Paul King's direction.
The tactile feeling of a film that is made in computers, the film's use of Miles' love of hip-hop, and the emotional through lines that carry the film.
The greatest movie title of all time, Jordan Peele's growing canvas, the contrast between big and small, Keke Palmer, being seen, and the magic of Daniel Kaluuya's eyes.
The continuing incredible choices of John Frankenheimer, Kirk Douglas, how famous Burt Lancaster was, and Rod Serling's feature film career.
Thomas Vinterberg's early days contrasted with his modern work, Dogme 95, Mads Mikkelsen, the film's thoughtful but non-committal stance on alcohol, and that one goddamn perfect scene.
Our own collective case of sequelitis, the structure of the movie, whether knowing more about Benoit Blanc is good or bad, preaching to the metaphorical choir, and the Netflix of it all.
Michael Powell's influential use of perspective and POV, the camera as a weapon, contemporary pans of the film, differences between the receptions of Peeping Tom and Psycho, and how the film attempts to humanize a serial killer.
Cate Blanchett, Todd Field's return to features, no easy answers, Cate Blanchett, levels of performance in day to day life, a series of one on one conversations, and Cate Blanchett.
Ruben Östlund's view of humanity, non-flashy long takes, and Woody Harrelson's undeniable likability.
William Friedkin's 1970s, making a movie in the jungle, the Star Wars of it all, and not caring about whether or not the audience enjoys your movie.
How Signs feels like a 1954 movie released in 2002, Cherry Jones and Brendan Gleeson excelling in small roles, musical perfection, and how M. Night Shyamalan's first two post-9/11 films play twenty years later.
Nathan Fielder's latest inexplicable show and how it manipulates its subjects, time, and its audience.
Michael Bay's return to LA, Eiza Gonzalez' performance, veering tones, the staggering LA River sequence, drones, Terrence Malick's influence on the modern action film, and the best-shot car conversations you'll ever see.
Robert Wiene's highly influential horror film, German Expressionism, and silent era close ups.
The third genius Harold Lloyd’s appeal, movies made without completed scripts, physical comedy, and the film’s reflection of Lloyd’s work ethic.
Holly Hunter’s humanistic performance amidst absurdity, class struggles, the Coen Brothers’ first zany film, and Hi’s struggle to measure up.
The role of public transit, reflections, Steve McQueen and Viola Davis making a film they’re overqualified for, and manipulating genre conventions.
Making something simultaneously naturalistic and highly stylized, Nicolas Cage’s performance, overexposed light, and the importance of sleep.
Billy Wilder meets Agatha Christie, old technology vs. new technology, and the element of performance in getting away with murder.
Pablo Larrain’s newest abstract celebrity profile, Kristen Stewart, putting cameras extremely close to faces, and fried chicken.
Tim Burton getting everything he wanted, Christmas, a movie about society’s power to corrupt an individual, and how Batman is barely in this Batman movie.
The changing character of James Bond, manipulating expectations, the importance of attachment in an action film, film grammar in a big budget Bond adventure, and all that rad stuff in Cuba.
The uncommon structure for a war film, Kubrick becoming Kubrick, and Kirk Douglas’ star power getting movies made.
Gael Garcia Bernal, Pablo Larrain, skateboarding and authenticity, questioning reality, and mimes.
M Night Shymalan’s blank cheque, Bruce Willis’ stillness, the subtle and not-so-subtle craft in the film, and Samuel L Jackson selling the hell out of some of the silliest lines you have ever heard.
Robert Altman, Julie Christie’s stamp on the film, Warren Beatty as a Western hero, and the film’s all-around subversion of its genre.
Frances McDormand as a Hollywood icon, Chloe Zhao’s short but illustrious career, Malick-inspired stylistic choices, and the film’s hybrid of documentary and scripted storytelling.
Reservations about the word “prank,” the genius of Eric Andre (and Kitao Sakurai and Dan Curry and Andrew Barchilon and etc), the evolution of a genre with few entries, technology, and genre manipulation.
John le Carré adaptations, how director Anton Corbijn’s choices bring a grounded style to an old-fashioned film, and Philip Seymour Hoffman.
Film grammar in a comedy, Rachel McAdams and Jesse Plemons’ incredible performances, and the film as a game.
Entry two in Alan J. Pakula’s paranoia trilogy, Warren Beatty’s role as producer, conspiracy theory action films, and silent tension.
Michael Haneke’s use of static images, media criticism, and control in a divisive film.
Damien Chazelle’s documentary-inspired approach, iconography, the moon landing sequence, music, Ryan Gosling, Claire Foy, balsa wood, and more.
The prevalence of disaster movies in the 1970s, Irwin Allen and John Guillermin’s collaboration, and orange/brown colour palette.
The good and bad of David Fincher’s meticulousness, stunt casting, authorship, gestures, Citizen Kane, and Charles Dance.
The hits and misses contained within Christopher Nolan’s latest, including casting, the conflicting thematic and stylistic ideas running through the film, and the goddamn masks. We promise to not try to explain the plot.
How Bong Joon-ho’s masterpiece communicates and comments on the act of looking, ensemble staging and the reasoning behind it, the movie’s commentary on film history, and drop kicks.
Jordan Peele’s unpredictable career arc, the unexpected twist behind Lupita Nyong’o’s performance, the family dynamic, and the film’s presentation of digital technology.
Hereditary’s treatment of the family drama, miniatures, building tension with not-so-showy long takes, and Toni Collette. Midsommar’s treatment of college friendships and academia, communes, building tension with not-so-showy long takes, and Florence Pugh.
Spike Lee’s adventurous and inspiring style, Delroy Lindo’s immaculate performance, the film as cultural and historical criticism, and a whole bunch of other stuff.
Charlie Chaplin’s last film as the Little Tramp, Chaplin’s unique sort of worldwide fame, Paulette Goddard’s performance, the film as commentary on capitalism, technology, humanity, and cinema as a product.
James Mangold, corruption and loopholes, genre mash-ups, woodgrain walls and pastel suits, Sylvester Stallone, Ray Liotta, and every single New York character actor who ever lived.
Satirizing performance while performing, anger with culture, making fun of your audience without them noticing, and the hypocrisy of talking about living your life without an audience while performing for an audience.
Robert Altman, Rip Van Marlowe, Elliott Gould, voyeurism, height, cats, and the film’s use of music.
Mirrors, chessboards, duplicity, the upper class and lower class, shadows, and other aspects of Jean Renoir’s pre-WWII classic.
Confronting the myth of the difficult individual genius, Hitchcock, the metaphorical importance of breakfast, and pushing past objects to get a proper view of a person.
Greta Gerwig’s impossibly precise screenplay, dreams, memory, Florence Pugh, creativity as commerce, and so much more.
Adam Sandler, the aggressive subtlety of Josh and Ben Safdie, Darius Khondji, Kevin Garnett, The Weeknd, and sweatsuits.
Does anything mean anything, Audrey’s role in the film, Barton Fink is an asshole, and what happens outside of the picture frame.
Rian Johnson getting his name in bold letters, the extra mystery hidden within the cinematography, and the donut hole of humanity within the donut’s hole.
1980s Martin Scorsese, Robert De Niro as a comedian, the film’s depiction of Rita, production design, and trying to get out of situations without seeming impolite.
Loneliness, masculinity and its effects on the future, the film’s stance on technology, Brad Pitt’s face journey, and James Gray’s compromises.
Quentin Tarantino’s love of feet finally going somewhere, Leonardo DiCaprio’s vulnerability, Brad Pitt’s ability to play something simultaneously big and small, the rewriting of history, and many polite arguments.
Elsie Fisher, Bo Burnham’s feature debut, zoom lenses, and a whole bunch of sad shit about modernity.
Lapsed fandom, Kawhi, Big Spain, Kyle goddamn Lowry, getting emotional over Chuck Swirsky tweets, partying in the streets, and not fully believing this is reality.
The film’s inception and unique filmmaking style, Andre Holland, Tarell Alvin McRaney’s screenplay, Steven Soderbergh’s stylistic flair, the game on top of the game, and whether or not something like this could actually happen with the NBA.
The connection with John Huston’s earlier work, Sean Connery and Michael Caine’s chemistry, and laughing at the futility of human existence.
John Huston, shooting on location, Humphrey Bogart playing against type, and how Tim Holt’s later career choices illustrate the ideas of this movie.
Marlon Brando and his influence on acting, Elia Kazan’s personal attachment to Terry’s journey, the infamous contender scene, shooting on location, Leonard Bernstein’s score, the moments of abstraction, and the film’s one cutaway to a hawk.
Robert Redford, Michael Ritchie’s diverse career, and the pervasive timeliness of the film.
The unique style of Jared Hess and Jerusha Hess, the film’s stellar cinematography, production design, and sound design, Sam Rockwell’s desire to play dual roles, and the absolute perfection of Jemaine Clement’s performance.
Kenneth Lonergan’s struggle to finish the film, the unique ambition and scope of the film, the high class teen movie, and attempting to describe the core ideas of the film.
Shirley MacLaine, Billy Wilder’s continued impressive career, Jack Lemmon, the film’s portrayal of television, Shirley MacLaine, how the film uses anamorphic cinematography to show expansion and compression of environments, and Shirley MacLaine.
A discussion of the film’s twist, the evolution of Jason Reitman’s career, ignoring Charlize Theron, the aquatic metaphors, matte black jeep wagons, and Diablo Cody, Diablo Cody, Diablo Cody.