It’s here! Trevan and Eric celebrate their 100th podcast with a look back at their favorite moments. And when they’re done looking back, they review some movies!
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2013
V/H/S/2’s attempt to try and provide an overarching narrative that proves to be its biggest downfall, for two reasons. First, the multiple parts that make up this connective short film are easily the worst of this anthology. The second reason is that these “found VHS tapes” obviously don’t exist in the same universe.
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Any way you look at it, Grant’s shooting is an awful tragedy, and debates about the whether the amount of time served by the man who shot him was enough (11 months of a 2-year sentence) are completely warranted. Coogler’s intention, however, for this film is clear: to give voice and dignity to Oscar. This isn’t the story of two people and their chance trajectories ending in tragedy. It’s the story of the victim.
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There’s a big difference between what should be funny and what’s actually funny.
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Listen to Eric Melin and I argue about The Wolverine on Scene-Stealers Podcast #100. Hugh Jackman reprises the titular role that made him famous in The Wolverine, a movie that is simultaneously hampered by being forced to acknowledge the X-films that came before it, and helped by largely divorcing itself from the X-universe and telling its […]
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I know that there are very few people I could recommend Only God Forgives to, but I believe that it shows excellent craft and intentionality. It has forced me to ponder fruitfully topics I would normally avoid.
Be warned, Only God Forgives is for the emotionally and gastronomically stalwart. It is one of the best films I cannot, with a clear conscience, encourage others to see.
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Nicolas Winding Refn’s newest pairing with Ryan Gosling is a step in the wrong direction.
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We’re back! And by “we,” I mean Eric Melin, Trey Hock, and Trevan McGee. There’s a lot to cover this week including a retroactive review of last week’s Pacific Rim, plus Trey and Trevan talk about Only God Forgives before Eric spills on A Hijacking and The Way, Way Back.
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‘A Hijacking’ is a fictional film that hits both with blunt force and a surprising amount of complexity, built around two sides of a terrifying conflict—the hijacking of a cargo ship in the Indian Ocean by Somali pirates.
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‘The Conjuring’ very much feels like a 1970s horror film, before slashers were haunting teenage dreams and well before found footage became the way to make a story feel real.
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Alvarez adopts the film language of Raimi’s films, adds more to the bag of tricks, and keeps the sardonic attitude without necessarily being slapstick.
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Before you think that this all this fawning over Rick Springfield is too weird, consider this: We all have a nostalgic obsession to one thing or another. For an entire generation of “nerds” (who seem to have inherited the summer movie season in all its $200-million+ budget glory), Star Wars has been a defining cultural entity. So before you go off all high and mighty about the weirdos that follow the Yellow Rick Road, think about the bit of pop culture that helped define you.
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For those who are hardcore about their kaiju consumption Guillermo del Toro‘s Pacific Rim is not perfect, but for those who are looking for a fun and thoughtful summer movie with more character than most, Pacific Rim should do the trick in a big way.
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Israeli director Rama Burshtein’s debut is filled with plenty of quality performances and solid writing that almost over come the films distracting stylistic devices.
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If big-budget summer movies are supposed to be entertaining, escapist fun, then Pacific Rim is a perfect example of that. I’ll be damned if del Toro’s silly, exuberant, dramatic Kaiju flick didn’t give me that “rah-rah” feeling, amplified of course by the sight of giant monsters and robots bludgeoning each other while towering over our puny cities and coasts.
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