This week, TC and Z talk about their experience at Butt-Numb-A-Thon, we discuss the films of Edgar Wright, TC explains to us why One For The Money was a true Cinema Sodomy, we counterpoint last week’s podcast by talking about heroes in cinema, and as always we have our Pop Quiz.
2016 is coming to a close and I have watched 21 films in my Uncharted Cinema Project. Nowhere near the 52 that I wanted to. But I have come to realize that is okay. There are lots of films out there and I was feeling too constrained to watch and review films I might not have been interested in.
In addition to our main topic of Villains, we have a riveting discussion about Titanic and Avatar in the last James Cameron episode of Filmmakers Corner. You will also get to hear how CHAOS REIGNS in LCD’s review of Antichrist, Afterwards, find out who loses this episode’s Pop Quiz and what horrible film we force them to watch.
You will hear TC and Z talk about Butt-numb-a-thon at the end of the episode. If you would like more info, check out the intensive application process for getting in: http://www.aintitcool.com/node/76247
In this episode you will hear recent reviews including Z reviewing the terrible Blood Dolls in Cinema Sodomy! After, we continue discussing James Cameron in Filmmakers Corner (The Abyss through True Lies). Our main topic is the importance of props and inanimate objects in film, followed by our pop quiz.
This episode contains our inaugural Cinema Sodomy where LCD reviews Holy Motors . We also begin our discussion of James Cameron in Filmmakers Corner (Xenogenesis, through Aliens) and for our main topic we’re discussing Exhumed Films 24-horror Horrorthon.
TC mentions it in a little side note at the beginning of the podcast but things were again a little shaky for this podcast. We apologize for the sound problems and the rambling and we definitely have all of the kinks taken care of by episode 3.
If you are interested in Exhumed films please visit their website at http://www.exhumedfilms.com/ and like them on facebook at https://www.facebook.com/ExhumedFilms/
In this episode we talk about what we watched recently, we discuss the directorial work of Judd Apatow, we let you get to know us by talking about our top 5 favorite films and we’ll wrap it up with our pop quiz.
TC mentions it in a little side note at the beginning of the podcast but things were a little shaky for our first podcast. We apologize for the sound problems and the rambling and we definitely have all of the kinks taken care of by episode 3.
I have few memories of watching this movie, in fact, I hardly remembered any of it when I sat down to revisit this movie.Which made me both excited and apprehensive at the same time.
I just watched another Winterbottom/Coogan film which I found a little too slight for my tastes. I think Winterbottom has proven he can make interesting films. But “interesting” doesn’t always mean “good”. I hope this one is both!
From the Director and Writer of Once, John Carney, who also wrote and directed this, is a film about a young boy, Conor or “Cosmo”, in 1985 inner city Dublin. As Carney has in the past, the film is told on the foundation of music.
I’ve seen this film once before, earlier in life. I often referenced it as one of the greatest horror movies I’d ever seen. That was about 19 years ago, when I last saw it. I’m so glad I revisited it!
Masque of the Red Death manages to mix B-movie Hammer horror camp with gorgeous production design. Shot in widescreen and vivid colors by Nicholas Roeg, it’s period piece that belies it’s low budget.
When I was a little kid, my dad introduced to a series of movies that I would love until this very day. The year was 1990. The film, Cannibal Holocaust….
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The film opens on Rosie Perez (the titular Perdita) lying on a luxurious white bed while a jaguar prowls over her, pulling the sheet down with it’s mouth to reveal her naked body.
Closely Watched Trains is unconcerned about story. Instead, it focuses on the small moments that make up the big picture. The humor found in everyday life. The people and what motivates them to perform deeds big and small.
Right off the bat I’m going to say that there has never been a more devastating war film than Come and See. It was produced to commemorate the 40th anniversary of the Soviet victory against the Nazi’s in World War II. To call that a victory brings to mind images of smiles and cheers and flag-waving, but as this film makes perfectly clear, it was anything but that.
This film does not age well. It’s take on oriental mysticism is out-dated and the effects are obviously behind the times.
Normally, I’m always willing to give a film a pass on things like that, even going as far as to say I find them charming, but this one didn’t work for me.
This has a great setup. The film opens on death row. A well-spoken regal young man (Dennis Price) is in a cell writing his memoirs. It’s nearing the time of his execution for the crime of murder.
How did he get to this point? And why is he taking it so matter-of-factly? It was a long road that got him to that point, and the film starts from the beginning.
This film is a product of it’s time. A time when the Hayes code was on it’s way out and studios were churning out titillating cheapos to take advantage of audience’s new-found predilections.
It checks all the boxes: humor, sex, name-recognition, and to top it off, Goldfinger had come out the year before. I guess the studio didn’t think much else was needed.
Beyond the Black Rainbow opens with a vintage 70’s film strip. An advertisement for a cult-like wellness center, Arboria, that promises to deliver members true happiness.
Oh, how wrong they were. For the characters, and, unfortunately, for the viewer as well. This film is a slog. Its visual aesthetic is a claustrophobic second-rate Kubrick clone and its soundtrack is composed of the same brain-numbing repetitive sounds.