Frames and Fools: Film, Filmmakers, and Foolishness

It’s been awhile but we couldn’t let spooky season come and go without finding something spooky to watch. Somehow neither of us had seen Danny Boyle’s ‘28 Days Later’ (2007), so we strapped in and watched a movie about deserted city streets, a world gone quiet, and a quickly spreading virus. Yeesh. Luckily, it’s quite a compelling movie, shot very purposely on the same DV video tape we both grew up making movies with in the early 2000’s. The effect is eerie, creating a lo-fi, grungy atmosphere that promises blood and bloodshot eyes around every corner. Somehow the movies still relishes in the joyful, peaceful moments where humans get to enjoy their humanity again…at least until other humans who have seemingly lost theirs threaten that peace. It’s a good one. Happy Halloween, y’all.

Thwip thwip, New Yorkers, it’s your friendly neighborhood hype machine. How much of a movie do you consume before even stepping foot in the theater? In the case of 2014’s ‘The Amazing Spider-Man 2’, we gleefully gobbled up as much of Gwen, the Goblin, and the Garfield as we could in the year leading up to the movie’s release; so much so that we felt like we’d seen the new spidey flick in its entirety through countless trailers, tv spots, and photo spreads. Expectations are a powerful thing, and we learned a valuable lesson in 2014 about how to manage those expectations as well as the temptation to ‘prewatch’ a blockbuster based on a beloved property. Given seven years to age, ‘The Amazing Spider-Man 2’ didn’t exactly get much better than the overcrowded and overdramatic initial experience, but we’ve got more Spider-Men and more space to reflect on what could have been a superb movie with a few more drafts and a lot less studio mandates. Shocking how often that seems to be the case with these massive movies. Get it? Shocking? Because Electro? Up up and away, Webb…

Peaches, peaches, the magical fruit. ‘James and the Giant Peach’ is dark and delightful, warm and wonderful. You’ll learn the value of found family and have the shit scared out of you by a rhino the size of a storm front. Other takeaway lessons: eat the radioactive wriggling rotini the spooky magic man offers you because only good things can come of that; listen to the sad orphan kid because he’s got some pretty good ideas; maybe don’t kill the spider you find in your bedroom because she’s actually super cool and is essential to your adventure across the Atlantic. The ever-excellent Chad Hatter joins us for a particularly significant childhood favorite and brings the background knowledge that really gives this episode that special feature flair. Just peachy.

Floop. Thumb Thumbs. Fooglies. ‘Spy Kids’ is nothing if not bonkers and utterly memorable. It’s certainly a Robert Rodriguez joint, with all the flair, eyebrow arching, and action to satisfy all but the most demanding of filmgoers. The story and characters have heart, the gadgets were the height of coolness as a young viewer, and the solid Latin roots set this movie apart from other kid’s movie in the same time period. Like any good children’s media there are some truly horrifying images that could be considered baby’s intro to body horror, and the vagueness of the secret agencies lends the story a timeless quality other movies don’t have (lookin at you, Agent Cody Banks). This is the movie that led countless kids to want to be spies when they grew up, only to find that the fantasy was much more exciting and colorful than reality. Maybe that’s just Henri speaking from experience. Strap on your Machete BuddyPack and join us on this wild ride.

Adolescence. It’s the harrowing period of time where everything is sweaty and stressful, awkward and anxious, chaotic and changing. ‘Agent Cody Banks’ dives into this dangerous mission with a lot of intentions. It’s difficult to encapsulate the preteen and teen years in a way that feels honest and accurate because everybody’s experience was different and often embarrassing at (most) times. In the case of Cody Banks, the filmmakers opted to zero in on the hormones and horniness…to mixed results. It’s a slick flick, an expensive competitor to the more heartfelt ’Spy Kids’, and ultimately a movie that only holds up if you grew up watching it in the early 2000’s where everything somehow got away with being this over-the-top misogynistic and stereotypical. All of this is said from experience and with love, as Dylan did indeed grow up watching this one while Henri did not. It’s a wild ride, a early millennium kid’s classic, and a fascinating time capsule. Did you want ice with your drink?

What if you wrote a nifty little story and a deranged movie studio executive stole it to make a blockbuster? What if ‘Big Fat Liar’ could essentially be used to describe you and your out-of-control fibbing? It’s almost like a parable about the value of honesty! Maybe the villain could be named Wolf and the figurative shepherd boy figuratively crying wolf could be named Shepherd. You know, symbolism. But in ‘Big Fat Liar’ (2002), the shepherd boy dyes the wolf blue instead of actually dying. There’s also some rewiring of brakes and windshield wipers, some superglue, and a town full of adults willing to put their careers on the line to torment a powerful asshole. Also the Wolf has a soft spot for a stuffed toy monkey. It’s a bonkers trip from the turn of the millennium that’s held up pretty well. Turns out Paul Giamatti absolutely losing it never goes out of style.

Surprise! Your grandma is not only Julie Andrews but is also royalty. ‘Princess Diaries’ (2001) is a staple of the early 2000’s as well as being the film that launched Anne Hathaway to stardom. Henri watched the DVD countless times as a kid and Dylan hadn’t ever seen it, so we kicked off a mini-run of childhood favorite movies with this San Francisco-set gem. It’s a goofy, heartfelt ride that holds up surprisingly well for a Disney princess movie from twenty years ago. It’s a good teen movie, a good princess movie, a classic makeover movie, and it’s also probably the reason so many kids in their twenties wear Doc Martens to this day. Take a trip with us to San Francisco by way of Genovia.

Gird your loins! A stellar cast makes ‘The Devil Wears Prada’ (2006) a slick and stylish watch. Everybody has had a terrible and over-demanding boss at some point, but Miranda Priestly (Meryl Streep) probably takes the cake. Watching this in 2021 brings up some questions for the fashion industry about its impact on the health and sanity of people both in and outside its exacting and exclusive ranks. The infamous ‘cerulean blue’ monologue speaks to the massive influence a few select people can have on the culture, but what about the positive influence that the many could have right back? We love to see Emily Blunt, Stanley Tucci, and Anne Hathaway navigating the cold corridors of Runway magazine, but for ‘2 Devils 2 Prada’ (2022) we’d love to see some solidarity and a bit more mutual respect. A million girls may kill for this job, but should they? All that being said, this movie is and has been a blast to watch for years. That’s all...

Thirty, flirty, and thriving! ‘13 Going On 30’ (2004) joins the long list of body swap/magical realism movies like ‘Freaky Friday’ and ‘Big’ that we can’t seem to get enough of. This movie adds time travel and wishing dust to zap our main character from her 1987 self to her 2004 life and body. Hilarity ensues. Jennifer Garner is electric as the transported teen, and Mark Ruffalo charms as always. It’s a fun, feel-good movie about longing for an escape from everyday life, and we kinda wish we had some wishing dust right now. It probably wouldn’t go towards skipping our twenties, but we’d love to be flirty and thriving...

‘It Happened One Night’ in 1934: one of the earliest romantic comedies, a forerunner of the screwball style, and one of only three major Oscar’s sweeps. Clark Gable and Claudette Colbert Star in this bus opera that follows an heiress and a journalist as they outrun private detectives and the substantial reward for her safe return. It’s a romp, it’s a classic, and it feels rather familiar since it’s been referenced and reworked countless times since its release. Clark Gable’s character provided the inspiration for Bugs Bunny later in the decade, which is pretty neat. Hit the road with us.

It’s time for a slice in ‘Mystic Pizza’ (1988). We made it through the Fast & Furious franchise and now it’s time to slow it down, eat some ‘za, and drool over Vincent D’Onofrio, who’s lookin like a real slice himself. ‘Mystic Pizza’ follows three young women (Julia Roberts, Annabeth Gish, and Lili Taylor) on the cusp of adulthood in a small seaside town. They all work at the local joint (Mystic Pizza), where they sling slices while dreaming about their futures. It’s an earnest and hilarious movie that spends the time getting to know each character in a way that will make you laugh, cry, and really want some damn pizza. Seriously though, don’t watch this movie hungry or the Ratatouille scene will wreck you. The movie is packed full of 80’s goodness, from the big hair to the shameless saxophone and synth soundtrack. Plenty of cute houses, outfits, cars, and people. What are you waiting for? Order up!

‘Fast & Furious Presents: Hobbs & Shaw’ (2019) has a bit of everything and maybe a bit too much of Hobbs & Shaw. We honestly enjoyed ourselves much more than we thought we would after getting reeeal tired of the Rock taking up all the oxygen in F8. This is a whole different thing, though. It’s as if the Rock (and Statham, though we didn’t mind him so much) is a little muscular goldfish that got too big for the tank he was in and just kept splashing around, jumping out, upsetting the other fish, and messing with the cute lil decorations that were so thoughtfully placed in the tank before it was decided that, yeah, okay, maybe we just need to put this fish in an entirely different tank. Also we gotta bring in Idris Elba and Vanessa Kirby because we need more beautiful and talented people to punch each other. The music is great, the action and stunts are excellent, the sci-fi super soldier stuff is fun; it’s kinda a blast. The Rock and Jason Statham have about eight too many scenes where they growl at each other and use the same insults they’ve been using for three movies now, which takes away time that could have been spent on Idris Elba, whose acting honestly lifts this endeavor to another level. More Idris, please. How about we get ‘Brixton & Shaw’ next? Or Brixton just gets to jump back to the main saga? Please? There’s still time...

We’ve made it (basically) to the end. ‘The Fate of the Furious’ (2017) is just as big and brash as the rest of the series, but a new director, a bit more cgi, and no Brian means that it feels a little different. It’s by no means a bad movie nor is it the worst of the franchise, but a couple cracks are showing. The Rock, once a welcome and cheesy addition to the team (not the family, mind you), is beginning to chew the scenery and pull focus. A movie that could have placed Lettie at the center for a much more emotionally resonant story instead bounces around. The villain, played effectively by Charlize Theron, is given no motivation other than a vague throwaway line that really doesn’t justify hijacking a nuclear-armed submarine. Elena is literally in a box for the entire movie. There are still fun moments, but this film is exemplified by its barbecue scene: overcrowded, weirdly computer generated, and just generally a little lost. Friend, costume designer, and unpublished novelist Chad (@chadhatter) joins us to discuss the fate of this fast and furious franchise.

In a way, it’s all led to this. ‘Furious 7’ (2015) feels like a culmination, the main event, our gold standard. At this point in the series we’re utterly attached to Dom, Brian, and the rest of the family. We’ve thrilled at the races, gasped at the outrageous stunts, and smiled at the undeniable warmth of many a family barbecue. The series itself has found its footing, evolving from street racing crime movies toward all-out car action with a beating heart. We’ve come a long way from stealing DVD players off of trucks in the California desert. Now we’re dragging 9000-pound safes through Rio, taking on entire cartels, dueling with ex-military master thieves in custom super cars, dropping out of planes, jumping between vehicles, and we’re doing it all as an established team. It’s been a hell of a ride. This film marked the departure of the charisma machine himself, Paul Walker, whose presence in the series elevated a fun franchise into something that kept us coming back. Tears, bullets, and gasoline flow in this ridiculously epic ride, and this week our cinematographer buddy Nathaniel Regier joins us as we get Furious. 

Cheerio and welcome to London, bruv! In ‘Fast & Furious 6’ (2013) our fearless family is living the good life after their adventure in Brazil, but Agent Hobbes is back with some shocking news and the proposition of another team-up. Dom and the crew are faced with an uncanny mirror version of themselves when a highly skilled team of fast-driving thieves attempt to assemble a fairly standard MacGuffin weapon that has the potential to really wreck stuff. It’s less heist and more Dark Knight meets action-comedy, but it’s all Fast & Furious. More cars, more crazy stunts, a couple solid race sequences, Brian freaking out, and flip cars. No, we’re not gonna explain what that means cuz it’s really flippin cool and you gotta see it for yourself. Our buddy Nathan joins us this week as we leap insane distances between moving vehicles. It’s about family, baby!

They played it safe with ‘Fast Five’ (2011), and by that we mean they pulled out the stops and vaulted the franchise into full action car heist extravaganza. For this one we head down to Rio where a special team has been assembled to pull off a big job. Everybody’s back for the ride and we’re gonna need every piece of this team to outrun the Rock and his drenched dome. The stakes have never been higher, the muscles never bigger, the stunts never this insane. How do you beat an entire cartel and evade the United States government while also getting away with $100 million? By driving real fast, of course.

We’re on to #4 with ‘Fast & Furious’ (2009)! It’s the franchise that won’t quit and this week’s entry is yet another course correction. We loved Tokyo Drift but it didn’t drift its way to massive profits, so Dominic Toretto is back, baby. Now he’s got Sherlock vision, which comes in handy when a loved one dies while driving undercover for a drug cartel. He’s forced to return to the USA despite being wanted for the first film’s escapades, and his mission of vengeance lines up with the FBI’s investigation with the very same cartel! What a coincidence! Paul Walker is back as Brian, who begins this movie with an uncharacteristic foot chase in a suit. Corporate life is killing the once-legendary racer’s spirit, and being reunited with Dom brings out the outlaw side of him that was mysteriously lost between films 2 and 4. There’s some cool car stuff, the prerequisite race scene, and a Hummer full of $60 million of heroin. Yum! Drive with us as we get Fast & Furious.

We’re going much faster than fifty in our fiftieth episode—it’s ‘Tokyo Drift’ (2006)! Technically the title is ‘The Fast and the Furious: Tokyo Drift’ (2006), but we’re moving too fast for all that. Matt is back and also joining us is car aficionado Ben! That’s right, this time there’s actual background knowledge in the mix! Think of it as intellectual nitrous for our usual hopped-up import of a silly conversation. This week we’re rippin the e-brake and sending it sideways as we continue our ongoing investigation of perhaps the most fun franchise that cinema has been pummeled by in the past two decades. This installment goes international, introducing us to the suspiciously old-looking, supposedly seventeen year old Sean (Lucas Black), whose life skids off the road and lands him in Tokyo, where he has to learn an entirely new style of driving if he wants to survive. Do we enjoy his character? Not particularly! Is this movie incredibly fun to watch? Absolutely! It’s cool, it’s a blast, it’s a classic sleepover dvd. Join us as we burn through countless sets of tires and laugh our driftin’ asses off.

Miami, baby! We’re going ‘2 Fast 2 Furious’ (2002) this week, joined again by Matt. There’s gonna be jet skis, palm trees, and enough nitrous to make the world get all streaky. Brian (Paul Walker) is on the lam after letting Dominic (Vin Diesel) run at the end of the last movie, landing his crazy eyes and pure charisma in the Florida street racing scene. He enlists the help of his buddy Roman (Tyrese Gibson) to infiltrate the villain’s operation. The details don’t matter that much because look at all those cars! Anyway, they’re running some kind of money or drugs and look at all those cars! Eva Mendes is here doing something but look at all those cars! Not to ruin anything but wow look at all those cars...

We record this show a quarter mile at a time. ‘The Fast The Furious’ (2001) is many things, from macho car-obsessed eye-feast to an incredibly of-its-time, no-holds-barred intro to what would become a massive and hugely popular mega-franchise. Are we using too many hyphens? It’s a high-octane, family-focused joyride on the mean streets of LA, with enough expensive metal to make Andrew Carnegie blush. Vin Diesel and Paul Walker are the first of many in a stacked cast whose pure charisma drives these movies beyond what they may seem at first glance. Matt, our resident Fast franchise expert and longtime friend, joins us for this and subsequent FFFF episodes (that’s Frames and Fools and Fast and Furious). Shift into first like you mean it and pop off the line for FF1!

This week we discuss ‘Beau Travail’ (1999), directed by Claire Denis. It’s a gorgeous and spare story set in Djibouti on the Horn of Africa and follows a group of men in the French Foreign Legion, one of whom becomes gripped by jealousy and wields his power to disastrous results.

This week’s movie isn’t a film noir...it’s a pinot noir. ‘Sideways’ (2004) follows two friends on a trip to California’s central coast in search of wine, good times, and one last fling before Jack’s wedding. Jack is the has-been actor whose electric smile is a few watts dimmer than years past, while Miles is the wine aficionado and the sad one. He can’t find a publisher for his book, but that’s something to worry about after the wine country adventure of a lifetime. Right now he’s got to worry about Jack doing something regrettable and about how he’s going to impress Maya, the wine aficionado love interest. It’s early 2000’s buddy comedy with a vin twist and, yes, there is male nudity. Grab the corkscrew for this screwy romp about friendship, depression, and merlot.

What if keeping your blood alcohol content at .05% made your life better? ‘Another Round’ (2020) follows four friends testing that hypothesis...to wildly varying effect. This Danish export starring Mads Mikkelsen (of Hannibal, Dr. Strange, and Casino Royale fame) is, by turns, hilarious, tearjerking, and uplifting. It defies expectations and lives up to all of them simultaneously, telling a story of drinking in one of the countries that does it best. Or most. A mix of both, it’s safe to say. The movie is bookended by glimpses of student revelry—the graduating class at the school our four heroes work and teach at—and it’s with much revel and relish that we get to watch the wheels come off in glorious fashion. You’ll learn a little, think a little, and drink a lot. Join us for another round. 

Who is ‘The Illusionist’ (2010)? Is he a magician, bringing small miracles to life for the entertainment of a willing audience?  Is he an old man, watching the world pass him by? Is he the guilt of an artist who put their craft before all else? In this case, anyway, he is not Edward Norton, Christian Bale, or Hugh Jackman. He is Jacques Tati, Monsieur Hulot himself, a character playing a character across a watercolor Europe. Created from Tati’s previously unproduced script, ‘The Illusionist’ is a beautiful and melancholy tale about time, growing up, and the relevance of rabbits. The story behind the story is a sad one, a tale of regret and pain. From that place came the inspiration for an exquisitely rendered journey from Paris to Scotland. Edinburgh has never looked more lovely and wistful. We continued our Tati twofer to see if his unmistakably visual humor translated into another medium as well as we expected. Did the creative minds behind ‘The Triplettes of Belleville’ (2003) pull it off? Tune in and see.

It’s ‘Playtime’ (1967). We went classic this week with the intriguing and influential Jacques Tati. He was a master of physical comedy, starting off as a mime on the European vaudeville circuit before moving into film, where his instincts served him well. Famously not a fan of closeups, Tati worked in wide—letting the legs and body do the work instead of the eyes. His Monsieur Hulot character (a predecessor to Mr. Bean and Monty Python) was a man watching the progress of modern society, present to observe the absurdities of humanity no matter the setting. ‘Playtime’ is widely regarded as Tati’s opus and is certainly his most ambitious film, with massive sets and a huge cast, all individually choreographed for maximum gags in the final half. It’s not always laugh-out-loud funny, but there are layers of intention and wit in every frame. Have fun realizing how many filmmakers and comedians Tati has inspired over the years as you watch this unusual story unfold in a Paris that never was.

“Most happiness comes from like, dumb things.” One of the best things about movies is how varied they can be. It’s all moving lights and synchronized sound but there’s no end to the stories you can tell of the things you can portray. This week we talked about ‘Kajillionaire’ (2020), a curious and funny film written and directed by Miranda July. The story follows Old Dolio, a 26 year old kid raised to be a petty thief and professional opportunist by her seriously paranoid parents. Their paths cross with a woman named Melanie, whose entry into their lives (and their ridiculous schemes) marks a turn for the better, the worst, and the strange. It’s an odd film that requires some trust in order to fully be enjoyed, but it’s well worth the watch. The small cast puts in a mesmerizing performance, and several sequences will stick pleasantly in your brain for days after viewing. It’s the big one!

Sailing for adventure, we went to ‘Muppet Treasure Island’ (1996) this week! It’s a wild and dangerous place filled with all manner of well-crafted sets, fun musical numbers, and a healthy amount of Tim Curry. All your favorite Muppets are here, the main character’s Mullet is here, and all is right with the world; we love this goofy world where anything can happen and physical comedy is the name of the game. This was the fifth Muppet movie, following the still ridiculously funny ‘The Muppet Christmas Carol’ (1992), which we contend may just be the best adaptation of Dicken’s Yuletide tale. Both are a hard-to-beat recipe of ‘familiar story meets zany antics’ that breathes new life and good gags into beloved tales you wouldn’t have pictured as starring frogs, bear, pigs, and gonzos. I’m sure we found a few things to critique, but strap in for a Chris Farley episode cuz we love this shit. You could say this movie cured our cabin fever and set us adrift on an ocean of laughter. We really do treasure a good slapstick voyage, it can really bury your sorrows and raise the mainsail of your spirits. Alright, enough of this. Ahoy!

Again Tyler joins us to finish talking about ‘Wildlife’ (2018), a quietly wild movie about humans being quietly wild. The film explores the idea that we don’t stop being individuals when we get married and our needs don’t disappear just because we have children, but that, uh oh, those children have got some individual needs themselves. How do we make it work? Who knows! We watch the story unfold through Joe’s eyes—he’s the young son with seemingly limitless patience for his parent’s struggles—and learn along with him that people are much more complicated than the roles they’re made to squeeze into. Tyler’s real smart and we had a great time diving deep into not only the filmmaking but also the ~themes~ of this quiet and wild directorial debut. Let’s fly with the geese, shall we?

This week our buddy Tyler is back to discuss ‘Wildlife’ (2018), Paul Dano’s directorial debut. It’s a lush, restrained look at family and what holds it together, centered around a couple and their son who have recently been uprooted to Montana, where a raging wildfire looms on the horizon. Their lives as a unit and as individuals become more complicated when Jerry (played by Jake Gyllenhal) decides to sign onto the dangerous job of fighting the fire, taking him away from his family for months at a time. His decision causes Jean (played by Carey Mulligan) and Joe (played by Ed Oxenbould) to shift in their familial roles, taking care of one another as something else looms on the horizon: doubt. It’s a film full of noteworthy performances directed by a noteworthy actor and it gave us a lot to think about. Enjoy part one, look forward to part two. We had a lot to say, what can we say? We’ll head home when the first snow appears.

This is part 2 of our Twilight Saga (2008-2012) mega episode! Check out the first part or just jump right into the thick of it. Come along with us and our good friend Kate (resident Twilight scholar) as we search for truth, meaning, and a good answer to the eternal question: how did they manage to make a series centered around Bella into a sexy grudge match between two gorgeous and moody dudes? We talked at length about the first Twilight movie in Episode 8 and went even further behind the scenes in our first bonus episode, but now we’re tackling the whole damn bunch. It doesn’t get more sparkly than this. Punch off a vampire head in Episode 39 Part 2.

At long last we return to the Twilight Saga (2008-2012) with our fearless guide Kate. After spending an episode (and another bonus episode) discussing the first, we watched the next four films in a delighted, wine-fueled gorge, kicking off our fascination with vampire stories. Months later we reworked our way through the fantastically mixed bag that is the Twilight saga. These films are an endless source of fascination for us and are also the perfect excuse to hang out with Kate for a few hours, mercilessly but lovingly picking apart the choices made in the making of this much-maligned series. Join us for a two-part Twilight extravaganza, our journey back to Forks, and a merry examination of the films that launched a thousand fanfics. You better hold on tight, spider monkey.

‘Hail, Caesar!’ (2016) wasn’t what we expected when we asked our buddy Tyler to join us on the show. We knew we’d like to talk about a Coen Brothers movie (Tyler and Henri watched every single one in a movie marathon that took several weeks), but their shiny ‘love letter to Hollywood’ isn’t the first that springs to most peoples’ minds when they think about Joel and Ethan’s impressive body of work. Some didn’t know what to think about the movie when it came out, us included. But what initially felt like a loosely strung-together sequence of vignettes leading to nothing becomes, under closer inspection, a carefully constructed sendup of cinema as church, ruthless and reactive business, and “balm for the ache of a toiling mankind”, as the narrator puts it. Unsurprisingly, the brothers did it again, giving us a sunny day-in-the-life that is silly and cynical, savvy and smiling, and ultimately more human than the fantasy it portrays so deftly.
The Future is calling.

No soundscape, no format, no rules. Where are your heroes now? Henri and Dylan get together to follow up on a juicy hot take from the hallowed hermit himself, Alan Moore. Everyone and their mother has weighed in on the impact of superheroes (and the many superhero films dominating cinema in the 21st century) but has anyone gotten this candid? Has anyone been brave enough to wander into the inevitable tangents about Star Wars, derailing the conversation while also tying it back to the idea of fandoms and obsession? Has anyone been bold enough to examine the dissonance created by characters created for children being squeezed into adult films attempting to violently illustrate deep truths about society? Wait, basically everyone has taken their shot at this? Shit. Uh, well...hmm. We probably say at least a couple things that sound vaguely original, is that enough to justify the amount of time we spend examining pop culture in today’s world? Anyway, Batman...

By now it’s probably apparent that we dig vampire stories, and ‘Let The Right One In’ (2008) from Sweden has got to be in our top five. It’s a chilly little tale about two kids, one of whom has been a kid for a very long time. The other is relentlessly bullied at school and could use a friend. Throw in a few neighborhood murders and you’ve got a real tense situation. This movie was remade a couple years later and the exercise of comparing the two was really fun. Both films are remarkable in their own ways, but the Scandinavian essence in ‘Let The Right One In’ helps it to be a truly unique vampire story. You have to invite them in.

And now for something (kinda) different: we watched ‘Slither‘ (2006) and jumped right into a conversation about horror, comedy, horror comedy, and the fun of getting that elusive tone just right. The movie may have flopped, but it showcases a lot of thought and intention that we love to highlight. Pull up a chair and grab your grenades for ‘Slither‘.

Remakes are tricky. ‘Let Me In’ (2010) does something most remakes can’t: hew incredibly close to the original while completely changing the tone and approach. It’s a fascinating exercise to watch two films that were made around the same time and speculate about the choices made, especially when the property crosses cultures. Matt Reeves directed this American remake of the Swedish ‘Let The Right One In’ (2008) and went with a more conventional horror vibe but also chose to focus the story almost entirely on the two young leads, lending the whole movie a twisted fairy tale atmosphere. In our next episode we discuss the original film, itself an adaptation of a bestselling novel. Why did we watch the remake first? Because they’re both fantastic and we like to live dangerously. Almost as dangerously as befriending the local vampire.

In search of peace and solace, Dylan and Henri make their way deep into the most peaceful place they can think of: the local library. There they indulge in one of life’s great joys: a badass and instantly memorable movie trailer, in this case, a trailer for ‘Possessor’. There’s just one thing they forgot: headphones. And there’s only one thing in the world librarians can’t abide more than disorganization: outside voices inside. As the conversation turns to Black Mirror, it becomes increasingly difficult for our heroes to contain themselves...

‘A Girl Walks Home Alone at Night’ (2014) is one hell of a title for one hell of a debut feature film. That evocative title perfectly sets up this moody, beautiful Iranian vampire western featuring, among other things, Persian James Dean, the coolest classic car you’ll see all week, deliciously shot black and white compositions, and one of the most unique vampires set to film. This movie wears its influences on its black and white striped sleeve and we think Nosferatu himself would be proud of the work that went into making such an incredible piece of cinema. We’re gushing, yes, but you will be too after getting bitten by this movie.

Spin the disco ball in Episode 35.

Name your top three Thanksgiving horror movies. If ‘Blood Rage’ (1987) isn’t one, please tell us about more Thanksgiving horror movies because ‘Thankskilling’ shouldn’t be in the top three of anything. ‘Blood Rage’, aka ‘Slasher’ aka ‘Nightmare At Shadow Woods’ aka ‘The Creepy Twin’ (okay, we made the last one up. But the other names actually are real names this movie has also gone by) is a simple tale of murder and mayhem. A twin commits creepy twin child murder, ten years pass, and a twin commits creepy twin college murder but way more this time. Not much else to it but—wait a sec, was that Sam Raimi’s brother? Yes. Yes it was. The haircuts are wild, the slashing is wilder. Hold onto your beers for dear life, there’s a creepy twin on the loose.

Good luck getting the lullaby from ‘Pan’s Labyrinth’ (2006) out of your head, good luck trying to not shed a tear while watching the movie, and good luck trying to not fall completely in love with this masterpiece of a story. Guillermo Del Toro really outdid himself writing and directing the now classic blend of historical fiction and fairy tale, and we had a fantastic time watching it—Dylan for the first time and Henri for the 15th(?). We do many things in this episode: gush over the production design and every other aspect of this movie; ask “at what point do stories for children become a hindrances for adults?”; and attempt to tackle our thorniest challenge yet: who the fuck is Pan?!

Continuing spooky season, we watched ‘American Psycho’ (2000). We didn’t venture back to the wacky 80’s alone, however—we brought the @moviemavens to spiral into insanity with us! (Do check out their excellent podcast). Based on the divisive 1991 novel of the same name, ‘American Psycho’ made an international star out of Christian Bale and kicked off his completely healthy habit of maltreating his body to disappear chameleon-like into his roles. Join us as we romp through Wall Street with all the 80’s business suits, chainsaws, dinner reservations, and disturbing diaries we can handle. We have to return some video tapes.

‘Disturbia’ (2007) is many things: a loose remake of ‘Rear Window’ (1954); a mid 2000’s time capsule; a teen thriller meets slasher movie; and an unintentionally meta examination of voyeurism. Shia LaBeouf stars as a kid (named Kale—we are not kidding) who gives his teacher a black eye, earning him house arrest for three months. Around the same time a new family moves in next door and suspicious things begin happening at another neighbor’s house. Through his binoculars and various camcorders, Kale gets more entertainment than he bargained for while spying through his rear window. Part the curtains with us as we talk about remakes, homage, being a teenager, and writing screenplays like one.

Part the curtains on Episode 31.

Stuck inside. Unable to leave. ‘Rear Window’ (1954) is the movie for our times. Jimmy Stewart plays Jeff, an adventure photographer confined to his apartment by a leg injury. He turns to the ongoing saga that is the inner courtyard and the lives of his neighbors for entertainment during a New York City heat wave, when a disturbing series of events catch his eye. This riveting movie taps into the voyeuristic side of human nature and the question begged by the dark side of paranoia: what if you’re right? We take a trip to Hitchcock’s America in Episode 30.

Parched and lost, Henri and Dylan have been wandering the desert for what feels like days. Discouraged by numerous mirages, they stumble across an oasis and enough cell signal to call for help. Instead they watch the new ‘Dune’ trailer. This prompts a conversation about adaptations, expectations, and emerging media formats. Please send food and other supplies, these idiots truly have no idea what they’re doing out there.

Wander the sands with your favorite fools in this bonus episode!

This week we go behind the curtain—the ‘Torn Curtain’ (1966) to be specific! It’s a story about what happens when you neglect to mention your upcoming espionage and clandestine endeavors to your fiancée, who might choose to tag along. It’s the original mind heist, a lesser known Hitchcock film, and a particular pain for the acclaimed director. Frustrations with the script, the studio’s forced casting, subsequent pressure to finish the film quickly, and differences of approach resulted in a movie with some great scenes and many mediocre ones. It’s an interesting watch and certainly a beautiful one.

Find missile defense secrets in Episode 29!

It’s probably not the best idea to leave your duffel bag full of cash with your friend whose gambling habit is out of control, but that’s exactly what happens in ‘Win It All’ (2017). Jake Johnson stars as the lovable but ever-losing Eddie, who can’t seem to win and can’t seem to stop. Add some money that isn’t his and you’ve got the recipe for a bad situation. Eddie manages to start turning things around, though, and the future seems bright...for now. Joe Swanberg directs, bringing his typical naturalistic style and improvised comedy, turning a standard gambling plot into something heartwarming and fun to watch. The rest of the cast is just as charismatic as Johnson, so every scene buzzes. It’s entertaining all the way to the heart-pounding end.

Go all in for Episode 28.

“Aces are good, right?” asks Ryan Reynolds in ‘Mississippi Grind’ (2015), and—while we may not know much about cards—we thought this movie was worth a couple aces. A pair of aces (the talented Ben Mendelsohn as the perpetual loser, Ryan Reynolds as the good-luck wanderer) lead this ramble down the river from Iowa to Louisiana. It’s blues country, baby, and the soundtrack is delicious. Gerry (the Loser) owes money and needs it yesterday. Curtis (Charmsville) is looking for the next adventure and a ride to New Orleans by way of every gambling opportunity on the way. There are ups, there are downs; there are wins and there are gut punches. It’s part road trip movie, part card playing high stakes character study. It’s a story as much about addiction as it is about knowing when to go all in, and when to trust a complete stranger in a world that’ll get ya for everything you’ve got. These aces are good.

Two Woodfords!

Howdy, hello, and welcome, it’s I See Dead Movies where we watch flops and give em another chance. For this episode we watched ‘Mortal Engines’ (2018) in an adventurous attempt to find out why it became one of the biggest box office bombs in the history of cinema. ‘Mortal Engines’ swung for the fences and includes some fascinating set pieces and world-building elements but failed to capture the public’s attention or admiration. Why? Some familiar culprits are to blame (competition at the box office, bad timing), but there’s more that flat-tired this high-concept post-apocalyptic young-adult hyphen fest. 

Discover the secrets in this week’s I See Dead Movies!

We busted out the snakeskin pants and stealth leather jacket for this one. It’s ‘Escape From L.A.’ (1996) this week, and we’re pumped to watch Kurt Russell jump, roll, and grunt his way through yet another city that needs escaping. Another day, another president who(se daughter) needs rescuing (or assassinating). All in a day’s work for Snake Plissken. Snaaaake Plissken. We all thought he was dead, man.

Welcome to the human race in Episode 26.