Home to The Playlist Podcast Network and all its affiliated shows, including The Discourse, Be Reel, The Fourth Wall, Indiebeat and more. The Playlist is the obsessive's guide to contemporary cinema via film discussion, news, reviews, features, nostalgia, and more.
Whether their torment is played for laughs, cold shivers, or #MeToo rage, assistants get a raw deal on screen. This week, as Kitty Green’s incisive new drama “The Assistant” rolls out around the country, Chance and Noah look at the role of assistants in cinema and real life, also revisiting “The Devil Wears Prada” (2006) and “Secretary” (2002). They're thrilled to be joined by Daily Beast writer Cassie Da Costa to discuss her essay on "The Assistant" and recount her own experiences with a troubling film industry internship.
Fans of Indie Beat, rejoice... we have returned.
On this episode we spoke to filmmaker Alexander Jorgensen.
Jorgensen, originally hailing from Canada, has made a number of films since planting himself in the US of A. He started off focusing most of his time exploring various visual ideas via indie music videos while also paying the bills by picking up random cinematography or post-production gigs here and there. But personal things were brewing. He mounted number of short films -- he worked twice with San Francisco actor Geo Epsilanty, once for an engrossing portrait-doc titled "Self-Diagnosis" and followed that with the somber absent-father narrative "Only Blood" -- and also completed the comedic genre piece "Reasons to Kill" about a hitman interviewing potential clients.
But it was his documentary "Uncomfortable Truths" that really crept in and took hold of Jorgensen's mind. This short film followed a few of the personalities who hang around Ground Zero in New York City, spreading the gospel that the World Trade Center attacks on September 11th were, in fact, an inside job. It's a really charged, energetic film, focusing on people that, let's be honest, most of us tend to walk quickly away from. Jorgensen lets his subjects do the speaking for themselves, often letting the camera linger as they use their best arguments to convince passers-by about the many mysteries surrounding Building 7. The movie climaxes showing the repetitive, cyclical nature of their work -- a masterful stroke with two potential takeaways. Is Jorgensen asking if they are just continually beating the same dead horse to no avail, or is he showing how dedicated people can be when they have such passion for a political project, regardless of what that activist subject is?
This short received a great response and, seeing as the same people were out there nearly every weekend of the year, Jorgensen went back and continued to shoot. He also expanded the idea, incorporating television news footage and also interviewing one of the directors of your stoner college roommate's favorite movie next to "Waking Life," "Loose Change." The resulting feature documentary, "Truther Or: I Am Not A Conspiracy Theorist," is an engaging portrait of the various facets of the truther movement, showcasing the community they've made for one another and even displaying the fractions amongst the movement. Their may be one or two fights or minced words: you'll just have to see for yourself! The film can be streamed now on both Vimeo and Amazon Prime.
We had Jorgensen on the pod to talk about this new film and also his time spent staying up late in haunted houses for work, documentaries in the streaming age, and much more!
After years of cratering in Noah's office Oscars pool, we've dispensed with the official bubbling and brought in a third voice to make sense of Hollywood's biggest (and often obtusest) night. Acclaimed "Sweet & Low" author Nick White returns to BE REEL to predict and critique the 2020 favorites. Highlights include Noah's surprise anointing of "The Irishman" for Oscars glory, Chance's historical theories re: "1917," and Nick's fury over the J-Lo / “Hustlers” win that will never be.
As always, IndieBeat is part of The Playlist Podcast Network—which includes The 4th Wall, Be Reel, The Discourse, and more – and can be heard on iTunes, AnchorFM, Soundcloud, Stitcher, and now on Spotify. To listen on this page, you can stream the podcast via the AnchorFM embed below or up top. Follow us on iTunes, and you’ll get this podcast as well as our other shows regularly. Be sure to subscribe, and drop us a comment or a rating as we do appreciate it. Thanks for listening and check out Indie Beat on Facebook.
"Bad Boys, bad boys / whatcha gonna do / whatcha gonna do when we rate and review?" It’s 2020, and Columbia Pictures has dug deep into its intellectual property vault for a 17-year dormant Will Smith franchise with no meaningful reason to continue. Perhaps more surprising, the latest installment—"Bad Boys For Life"—is a hit. For those who know the Bad Boys franchise only as one big exploding car, Noah Ballard and Chance Solem-Pfeifer are on the case for a full review of the trilogy.
For the first Be Reel of 2020, Noah and Chance visit the March family in their seventh turn on the big screen. With a new structure and perhaps all-time best cast, Greta Gerwig's "Little Women" feels revisionist and affectionate toward the 1868 story all at once. Then, in search of more context, we review the “Little Women” of 1994 and 1949. From these films, we discuss the Jo March of Winona Ryder and the Amy of Elizabeth Taylor while observing these adaptations sort out their own era-driven versions of the classic American novel.
With December all but gone, Noah and Chance reflect on the year in film with a series of semi-original accolades. What was their favorite 2019 performance with no awards potential? Biggest in-theater laugh? Favorite shot? Steepest letdown? What movie will be talked about differently in 2029? In the end, they give their Top 10 lists and bid the year in movies a fond farewell. Happy new year!
This week, Chance and Noah dare to ask a question posed by many conned, spurned and murdered Patricia Highsmith characters: "Who are you, Tom Ripley?" As we celebrate the 20th anniversary of Anthony Minghella’s seminal Matt Damon vehicle "The Talented Mr. Ripley," we seek out the character’s origins in the acclaimed Highsmith novels and the many resulting film adaptations. In addition to the 1999 American hit, we're watching 1977's "The American Friend" (directed by the great Wim Wenders) and 2002's "Ripley's Game," starring John Malkovich. If you like your con artists with a side of sexual frustration and sun-soaked coasts, press play.
Ryan Oliver is joined by Lindsey Romain (Nerdist, Heylo Reylo) and Playlist Editor-in-Chief Rodrigo Perez to discuss "Star Wars: The Rise of Skywalker," the ninth - and final - film in the "Star Wars" saga.
0:00-31:34: “Star Wars: The Rise of Skywalker” Review
31:35-1:43:16: “Star Wars: The Rise of Skywalker” ***SPOILERS***
1:43:17 - End: The Grab Bag
Lindsey: “Little Women”
Ryan: “Cats,” “6 Underground”
It’s less than two weeks until Christmas, so it’s only fitting that The Fourth Wall’s fifteenth episode, an interview with the impassioned and intelligent “Uncut Gems” composer Daniel Lopatin, also known by his music persona Oneohtrix Point Never, would be preceded by a mini-tailspin of manic energy more stressful than the click-clack of going shopping at the mall a few days before the holiday – a fitting anxiety-induced morning that mirrors the adrenaline assault of Lopatin and the Safdie Brothers latest cacophony of emotions.
We had a phenomenal chat with Lopatin, a man whose love for artistry ooze out of him once he gets going on a subject. His relationship with the Safdies has kept the same creative treadmill running since their previous collaboration; following their success with “Good Time,” the trio just kept on “tumbling,” as Lopatin put it. Their shared love for movies being part of what lets their collaboration sing, and their inspiration as artists willing to push the envelope is only growing.
The Safdies assemble a temporary audio cut for the composer that’s often stitched together pieces of records. “They cut it up so finely that it totally destroys the linearity of the original song, and they’re really just using it to show you beats, and spikes, and dynamics,” Lopatin said. Their direction providing a conduit to deliver the color and texture for the film, tethering that color to a sense of character." The apotheosis moment of a collaboration between myself and the Safdie Brothers is when we're in the studio and they’re reacting to a particular sound, not a melody, not any kind of musical progression, but a texture of feeling, a sound that they want me write with. It’s about finding those tools, those colors, and presenting those colors to see if they perk up."
If you’ve seen “Good Times” or “Uncut Gems” already (which, we recommend you do before listening to this episode) it makes perfect sense why this approach lends itself so well to the brother’s style. “The scores work in a similar way,” Lopatin concedes. But the composer is always looking to coax different feelings out of his synthesizers. Sometimes, that involves looking back at history, and letting go of the futurist elements to his music.
We truly had an awesome chat with the composer (Lopatin is a gentleman and a scholar) diving deep into his process and discussing certain song choices. He also told us a great story about watching the underrated hitman movie “Murder By Contract,” (one of Martin Scorsese’s favorite pictures) with the Safdie Brothers.
Uncut Gems is now playing in NY/LA. This interview was conducted by Andrew Bundy.
With "The Rise of Skywalker" looming, Noah and Chance throw caution to the desert winds of Tatooine and revisit every in-trilogy Star Wars movie. To keep things not-10-hours-long, they take a specific approach to this 8-movie blowout: try to give one fresh observation on each installment, rate that womp rat, and move on. From new appreciations of Peter Cushing to potentially sacrilegious lines of questioning (Is Anakin a little ... dumb?), childhoods will be reconsidered, rankings shuffled, and the table set for Star Wars IX.
Ryan is joined by Robert Daniels (812FilmReviews.com, MediaVersity, The Playlist) to discuss Melina Matsoukas' bold directorial debut "Queen & Slim and the discourse surrounding the film while also finding time to discuss Rian Johnson's crowd-pleasing whodunnit, "Knives Out."
0:00-29.38: "Queen & Slim" Review
29.39-44:14: "Queen & Slim" ***SPOILERS***
44:15-57:00: "Knives Out" Review
57:01-01:10:00: "Knives Out" ***SPOILERS***
01:10:01-End: The Grab Bag
Robert: A Beautiful Day in the Neighborhood
t's hard to imagine someone who radiates love and positivity as much as Sterling K. Brown. As I entered the room to speak with the "This Is Us" star about his latest film "Waves" for Episode 14 of The Fourth Wall, he was glancing at his phone all giddy, cheering with excitement. Naturally, it being a Saturday, I simply assumed his college football team scored, however, it was something far more heartwarming that spoke to the essence of who he is. Brown was receiving updates on his son's flag football game and got word that his son scored a touchdown. His reaction was the support of a proud father celebrating the achievements of his child as if his team just won the Super Bowl. So yes, I suppose you could say Brown is as family-oriented and fatherly as Randall Pearson makes him out to be.
Brown lost his father at a young age, but was so "profoundly affected" and "wholely loved" by him that he anticipated being able to do the same for his own children someday. Being a parent has not only given him a great purpose in life, but it has also influenced how he approaches parental roles in film and television, specifically the character of Ronald in "Waves." Brown spoke to the fact that he strongly understands and empathizes with a father who is scared for the well-being of his children, even when unfortunately making decisions for them out of fear. The actor specifically touched on the pressures of raising a young African American boy in such an unforgiving climate.
"You're raising a young Black boy in Florida and you know that life may not be appreciated the same way in the form of a young Black boy that it is appreciated in other people," said Brown. "So you want to keep him safe and more than anything you want to give him the tools to be excellent otherwise people may write him off as being not worth the investment and so you say you gotta be twice as good to get just as far."
The actor continued on the unfair pressures of Black excellence and how it should be addressed. "My wife had a very astute observation, so credit to Ryan Michelle Bathe," said Brown. "Real success for a community is when they are given the ability to fail, and other people are still given opportunities after them. The openness and ability to fail and still get a second chance, that feels like a really good place to begin from in terms of what does it mean to move beyond that idea that I have to be twice as good to get just as far."
During our conversation, Brown delves deeper into this topic, fatherhood, his own upbringing, wisdom imparted onto him by his children, "Waves'" banger soundtrack, and much more. And yes, Brown's son ended up winning that flag football game.
There’s a way of reading Martin Scorsese’s first-person mob epics—“Goodfellas” (1990), “Casino” (1995), and “The Irishman” (2019)—as three stages of criminal life. So on a new Be Reel, Noah and Chance look back through this spiritual trilogy for its groundbreaking style, the sometimes goofy repetitions of that style, and the shadow history of America created by 10 hours of mafiosos, teamsters and their middlemen. Oh, and Chance's dad—a Vegas craps dealer circa 1978—stops by for a lightning round of questions about “Casino," so happy Thanksgiving to you and yours.
"There has to be a sense of what the angst of the city is," says Black Panther star Chadwick Boseman. The actor contemplates the ingredients that make up a successful depiction of New York City while joining me to discuss his new film "21 Bridges" for Episode 13 of The Fourth Wall over a cappuccino.
"We don't get to feel the pedestrian level of New York because this movie's [21 Bridges] moving too fast for that, but you need to feel the pressure, that intensity. When a crisis happens in New York, it's a bigger thing. But I want to do some other New York movie's where it's all about the food [laughs]. Like, 'that's my spot on Washington and Brooklyn, right by the park.' Like you want to feel that, but this movie is about movement." Boseman is no stranger to life in the concrete jungle, having spent several years living in Brooklyn before moving out to Los Angeles. As he discussed evoking the authenticity of New York, I could tell he had a sincere reverence for the city. It's precisely this reverence that led him to studiously examine life as an NYPD cop to deliver an honest portrayal.
Not many performers consistently commit to every role in the way Boseman does. One need not look further than his portrayals of Jackie Robinson, James Brown, Thurgood Marshall, and T'Challa to get a sense of Boseman's dedication to truthful performances. While all daunting tasks, Boseman manages to embrace each challenge often going above and beyond what is required of him, and it's evident in his work. What's even more fascinating, however, is the actor may have been destined to play these characters, specifically T'Challa.
During our conversation, we also discussed the creative differences between biopics and original works, the original concept for "21 Bridges' and how he helped change that, "Black Panther 2," what we can expect from Spike Lee's "Da 5 Bloods," and more.
The Russo Brothers produced "21 Bridges" hits theaters this Friday, November 22nd.
Rafael Motamayor (/Film, Polygon, The Playlist) and Griffin Schiller (FilmSpeak, The Fourth Wall) joins Ryan Oliver to discuss James Mangold’s “Ford v Ferrari,” Alma Har’el’s “Honey Boy,” and a variety of other topics.
0:00-33:10: “Ford v Ferrari” Review
33:11-54:55: “Honey Boy” Review
54:56-End: Grab Bag
Rafael: “The Mandalorian,” “Watchmen,” “Mr. Boogedy”
Griffin: “Frozen II,” “Waves,” “Uncut Gems”
Ryan: “The Irishman”
With over a hundred acting credits to his name, you'd be hard-pressed to find a more productive actor in the business than Willem Dafoe. From superhero blockbusters to prestige pictures, to anime adaptations, to video games, to a nautical descent into madness, Dafoe has done it all, and now the actor joins me for this special episode of The Fourth Wall to discuss his incredible year between "The Lighthouse" and "Motherless Brooklyn."
It was only last year that Dafoe garnered awards recognition by way of a Best Actor nomination for his portrayal of Vincent Van Gogh in "At Eternity's Gate" and Best Supporting Actor the year prior for his work in "The Florida Project." While the 2020 Awards Season is still young, Oscar Buzz has been circling the actor yet again for his salty Shakespearean lighthouse keeper in Robert Eggers' "The Lighthouse" ever since it's premiere at Sundance earlier this year. There's no doubt that Dafoe's proven ability and desire to select distinct and interesting projects has allowed him to deliver some of his best work to date as of late. However, what's truly captivating about the 64-year-old as a performer is his unabashed love of the art form. It's precisely this passion that seeps into each of Dafoe's performances and is what's driven the actor to remain consistently active as he broadens his horizons.
During our conversation, we discussed Dafoe's love of acting, his drive to remain busy, creative differences between playing characters based off of existing source material vs. wholly original ones, his process for delivering "The Lighthouse's" epic monologues, working with both Edward Norton the director and actor, his excitement for collaborating with Guillermo del Toro on "Nightmare Ally" and much more.
Writer/Director Trey Edward Shults joins me for Episode 12 of The Fourth Wall to talk about his third feature "Waves" (my FAVORITE film of the year) discussing the critical moments in his own life that directly inspired the events of the film.
As A24's "Waves" comes crashing into select theaters this Friday, it's astounding to think that such a profoundly human, visceral, and heartwrenching tale is the work of a filmmaker on their third feature film, however, not every filmmaker is Trey Edward Shults. The Houston native, who's previous two works, "Krisha" and "It Comes at Night," both garnered praise for their craftsmanship and intimate exploration of family, puts forth his most personal venture yet cementing his utter mastery over the art of filmmaking. He’s a storyteller who thinks with emotions first and how he can let those feelings take flight in a way that allows audiences to experience what he so deeply feels. Perhaps his prowess over the visual grammar of filmmaking originated during his time working on Terrence Malick movies possessing the same cerebral tendencies as the master above. However, there’s something distinctly provocative about how Shults captures the human experience, and nowhere is this more apparent than in"Waves."
Across all three of his feature films, Shults has explored a constant thematic through-line of complicated family relationships to which the director himself admits inherently seeps its way into his work. Much of this stems from his upbringing and turbulent relationship with his biological father who's impact has been the subject of exploration across Shults' feature films with "Waves" harkening back to the pivotal final moments he spent with his father in autobiographical fashion. By boldly utilizing direct experiences from his own life, Shults understands the innate power in being open and honest with an audience. During our conversation, it became clearer that the filmmaker is someone who will always speak from the heart through personal experiences. This openness comes in the form of a wrestling injury, a pivotal conversation he had with his stepfather, a road trip he and his girlfriend took, and most importantly, his friendship with Kelvin Harrison Jr. as they bonded and meditated over "Waves" to Frank Ocean's "Blond" and "Endless." Shults recalls and interweaves these specific exchanges in such vivid detail, conveying his mastery of human emotion and understanding the relatable power these personal experiences will have in allowing an audience to connect. Those moments truly come alive, however, through the use of a perfectly curated soundtrack that was formative in the creation of the film and an interactive scripting process. During our conversation, we also discuss the first time Shults listened to Radiohead's "Moon Shaped Pool," his use of aspect ratio, color, movement, and how he discovered his cinematic voice.
With “Parasite” poised to become 2019's highest-grossing foreign film within the US and already among the year's most lauded features, Be Reel is taking this week for an episode entirely focused on Bong Joon-ho and his two decades of routinely stellar work. In addition to the "Parasite" deep-dive, longtime listeners might notice the Be Reel guys breaking a cardinal rule: they once swore to never discuss “Snowpiercer” on the podcast because of the unrest it caused their friendship in 2013. Buckle up. Then, “The Host” rounds out today’s main trio of genre pictures that are not anything that they seem. Finally, Chance stumps for the elusive "Memories of Murder" and Be Reel asks, "Why do Director Bong's observations on Korean culture seem to resonate so strongly with American cinephiles? (**Please note: "Parasite" spoilers commence hard between 15 and 36 minutes.)
"Motherless Brooklyn" marks a twenty-year journey for writer, director, producer, and star Edward Norton and Norton joins me to discuss the film on Episode 11 of The Fourth Wall.
Norton is truly one of the great talents of our generation whose diverse body of work has spanned across films such as “Primal Fear” and “American History X,” both of which earned him Academy Award Nominations, “Fight Club,” “The Incredible Hulk,” and “Birdman” just to name a few. In the mere twenty-some minutes we chatted, it became clear that not only is Norton a massive fan of cinema, more specifically film noir, but is riveted by projects that have something to say about our current societal moment. He's a firm believer in Joseph Campbell's concept of transparency and that the most potent art is that which reflects our own image back at us. For all the "Chinatown" callbacks and reverence for classic film noir, it was precisely this concept that allowed Norton to get to the heart of his take on "Motherless Brooklyn."
During our conversation, we go deep into the films that excite and inspire Norton along with how growing up the grandson of a community builder helped shape his approach to "Motherless Brooklyn" and why movies like "The Big Sleep" and "Chinatown" were so influential. "Motherless Brooklyn" hits theaters this Friday, November 1st.
1991's "Terminator: Judgement Day" is finally getting a proper sequel in the highly anticipated "Terminator: Dark Fate," and my guest for Episode 10 of The Fourth Wall is the film's director Tim Miller.
Tim has become somewhat of a rising star given the breakout success of 2016's "Deadpool." While the filmmaker sadly departed the sequel due to creative differences (see Tim's original plan for "Deadpool 2"), a new opportunity arose in the form revamping the Terminator franchise. A veteran of the visual effects industry, Tim became acquainted with James Cameron while Blur Studio (Tim's visual effects, animation, and design company) completed work on "Avatar." From there, and with the help of several abysmal Terminator sequels, the cogs began to turn, and the notion of a proper sequel to "T2" started becoming a reality. It's easy for many filmmakers early in their career to buy into their own hype (especially coming off of one of the most profitable R rated films of all time), however, with Tim the idea of openness and collaboration is something he very much encourages and stems from the environment he's fostered at Blur.
During our conversation, Tim's desire to genuinely make a good movie that audiences will not only enjoy but that he himself is proud of became apparent, and many of "Dark Fate's" key contributions came from members of the cast to which Miller praised to no end. We also discussed the film's prominent Latinx representation, working with Arnold Schwarzenegger and Linda Hamilton, how Hamilton wanted to go even darker with Sarah Conner this go around, emerging filmmaking technologies that excite Tim the most, and much more.
Charlie Chaplin lampooning Hitler’s bombast and fragility in “The Great Dictator” (1940) marked one of film comedy’s all-time “truth to power” moments. But 80 years after WWII, how best to laugh at fascists when they seldom don the brownshirt? With the release of Taika Waititi’s “Jojo Rabbit”—a would-be charming comedy about a Hitler youth whose imaginary friend is der Führer—Chance and Noah ask themselves why, how, and when skewered Nazis are funny. After reviewing “Jojo,” Chance and Noah duck back to “The Producers” (1967) and “Top Secret!” (1984) to examine how Nazis became a source of irony and camp for filmmakers like Mel Brooks and the ZAZ trio. As always—down with Hitler; all the way down.
"The Bourne Legacy," "Jason Bourne," and "Treadstone" producer Ben Smith joins me for Episode 9 of The Fourth Wall to talk about expanding the World of Jason Bourne in the Bourne spin-off series.
Making for the perfect blend of "24" meets "Heroes," the series marks an almost decade long journey for Smith as he's had his heart set on expanding the world that Robert Ludlum created. Perhaps much of this influence comes from the involvement of "Heroes" creator Tim Kring, who Smith discussed collaborating with, and stunt coordinator from "The Bourne Ultimatum," but at the heart of it, what excited Smith the most was the opportunity to explore the mythology of not only the films but Ludlum's novels in order to tell very personal and interconnected stories that were affected by the geopolitical landscape of today. "The base that Ludlum created is very rich," said Smith, "and I think it's a perfect fit for television. You just have a lot more real estate to dive into a lot of different characters which is what we've done on 'Treadstone.'"
For those unaware, "Treadstone" tells the origins of the secret government organization that led to the birth of Jason Bourne. Taking place in 1973 and present day, the series follows these sleeper agents from the Cicada Program (another program under the Treadstone umbrella) as they mysteriously begin to awaken around the globe ten years after audiences meet Jason Bourne in "The Bourne Identity." The prospect of crossing over "Treadstone" with Matt Damon's Jason Bourne or even Jeremy Renner's Aaron Cross is certainly something that would excite fans of the franchise and even Smith himself, however, it all comes down to what the story requires. "What's happening in the world of Bourne is independent of what's happening right now in 'Treadstone,'" said Smith. "There is crossover mythology, but there is no planned tie-in today."
During my conversation with Smith, we discussed the long journey to creating "Treadstone," balancing character storytelling with that signature Bourne action, the work that went into the stunt choreography, his relationship with Ludlum's novels and the Bourne franchise as a whole, and actors he'd like to see play in the expansive Bourne sandbox.
As much as people say, "You're your own worst enemy!", it's never been truer than for the protagonists of "Gemini Man" (2019), "Fight Club" (1999) and "Us" (2019). Whether through movie-science cloning, mental illness or oppressive class structures (with a healthy dose of late capitalism in all three), this week, the Be Reel guys are looking at movies that pit protagonists against literal manifestations of themselves. Around the 28-minute mark, Noah and Chance are thrilled to be joined by Brad Pitt devotee and Letterboxd queen Mia Vicino to examine “Fight Club” on its 20th birthday and celebrate “The Year of Pitt.”
Ryan is joined by Clint Worthington (Consequence of Sound, The Spool) to discuss "El Camino: A Breaking Bad Movie," the epilogue to Vince Gilligan's groundbreaking series that hit Netflix this past weekend.
Be sure to check out Clint's ranking of the "Breaking Bad" Cold Opens at Consequence of Sound: https://consequenceofsound.net/2019/10/ranking-breaking-bad-cold-open/
0:00-21:35: “El Camino” Review
21:36-45:00: “El Camino” ***SPOILERS***
Clint: “Great British Baking Show,” “Dolemite is My Name,” “Succession” Season 2.
Ryan: “Succession” Season 2, “Gemini Man”
Prepare for #MaximumDiscourse, and set phasers to stun. "Joker" - the Todd Phillips-directed dark superhero drama based on Batman's most iconic nemesis - is finally here, and there are certainly thoughts to be had. On this episode, Ryan is joined by Chris Evangelista (/Film) to unpack the controversial film, and tackle the overall discussion happening in the film community at large.
0:00-32:05: “Joker” Review (Non-Spoiler)
32:06-End: ***SPOILER DISCUSSION***
After a brief hiatus while Ryan was on paternity leave, The Discourse is back! On this episode, Ryan is joined again by Jenny Nulf (Austin Chronicle, Austin Asian American Film Festival) to talk Fantastic Fest 2019, the films in September that we missed ("It: Chapter Two," "Hustlers," and more), and dedicate the main review segment to "First Love," the latest film from Takashi Miike.
0:00-5:38: Intro/Ryan’s Penance for Losing at Fantasy Football to Griffin
5:39-18:16: Fantastic Fest Recap
18:17-31:36: “First Love” Review
31:37-End: September Round-Up (“It: Chapter Two, “Hustlers,” “Ad Astra,” “The Day Shall Come,” “One Cut of the Dead”)
This week's Be Reel trio—"Ad Astra" (2019), "High Life" (2019), and "Interstellar" (2014)—draws on the revelations of therapy couches as much as astronomy. With special attention on the critically acclaimed new James Gray/Brad Pitt drama, Noah and Chance unpack these sagas of fathers, children, and the literal and metaphorical light-years between them.
Andy Muschietti joins me for Episode 8 of The Fourth Wall to discuss "IT Chapter Two" in full spoilers!
Andy first garnered the attention of many with his 2013 debut "Mama." The film was based on his three minute short of the same name which also piqued the interest of Guillermo del Toro who went on to executive produce the feature. Muschietti's work and success on "Mama" proved him to be a real emerging talent in the horror genre and it's easy to see why he was brought on for the adaptation of Stephen King's "IT." Embarking on a massive undertaking, Muschietti brought to life King's novel for a new generation amassing both critical and commercial success as 2017's "It" became the highest-grossing horror film of all time. It's only fitting that "IT Chapter Two" is hot on its heels as the film already has the second-highest horror movie opening of all time.
While the adult portion of "IT" has always been notoriously divisive, Muschietti understood that in order for it to work, he needed to cut out some of King's more outlandish material and maintain focus on the Losers and their journey. For this, the director looked to classics that had an impact on him at an early age such as "The Neverending Story" and "E.T." for inspiration. During our conversation, we not only discuss how Muschietti managed to create such a satisfying conclusion but we also get into how he crafted some incredibly seamless and inventive scene transitions, the challenges of making a two hour and forty-five-minute horror epic, reinventing the character of Ritchie, and, in relation to the film's meta-commentary about creators who can't properly end their stories, his favorite movie that couldn't quite nail the ending (his answer may surprise you).
Nobody tells you about the bonus round after the million-dollar question—the one where we ask, "Why have we obsessed for 70 years over the TV game show in all its inherent fakeness, exploitation, and only a lottery ticket's chance of paying the common person their money?" This week, BE REEL is buzzing in, to reappraise "Quiz Show" on its 25th anniversary, "Slumdog Millionaire" one decade after it took home the Oscars' highest honor, and "The Running Man" because it's a very silly movie that clearly set the stage for "American Gladiators." Press play; you might win something!
Bill Hader is one of the most exciting creatives working in Hollywood and today, we welcome him to Episode 7 of The Fourth Wall! Bill became a comedic icon entering people’s homes every Saturday night during his eight-season run on Saturday Night Live birthing such beloved characters as Stefan and numerous impressions ranging from Vincent Price, Al Pacino, Alan Alda, James Carville and more. His SNL performances garnered him an Emmy nomination for Outstanding Supporting Actor in a Comedy Series in 2012 making for the first male cast member nomination since Eddie Murphy in 1984. After leaving SNL, Hader went on to stretch his creative muscles even further creating and starring in HBO’s hit series “Barry.” His work on “Barry” earned him an Emmy for Outstanding Lead Actor in a Comedy Series along with back to back nominations for Outstanding Comedy Series, Outstanding Directing for a Comedy Series, and Outstanding Writing for a Comedy Series. Hader’s latest work is playing the adult version of Ritchie in Andy Muschietti’s horror epic “IT Chapter Two,” on which the actor speaks about the alterations made to the character, getting injured on set, and the similarities and differences between horror and comedy. We also dive into his work on “Barry,” transition into becoming a filmmaker, directing a new feature film, his relationship with Kombucha and why exactly, “Hader loves the booch.”
Ryan Oliver and Jenny Nulf (No Excuses) look back on Summer 2019: the up's, the down's, the winner's, the loser's, and the existential dread about what theatrical moviegoing will look like over the next couple years. The two discuss a myriad of titles that did not get a proper review on The Discourse over the summer, starting with films they both saw, then moving to ones only one of them saw.
0:00-14:00: Thoughts on the Summer Movie Season
14:00-56:12: Films We Both Saw
John Wick: Chapter 3
Always Be My Maybe
Scary Stories to Tell in the Dark
Ready or Not
56:13-End: Other Films We Saw
The Last Black Man in San Francisco
The Third Wife
Tigers Are Not Afraid
Invader ZIM: Enter the Florpus
The Lion King
Men in Black: International
The Dead Don’t Die
The Peanut Butter Falcon
Brittany Runs a Marathon
Sword of Trust
Making a great impression on your loved one's parents is hard enough. But then imagine they want to hunt you ("Ready Or Not"), bust you for false crimes ("Meet The Parents") or poison you for seemingly no reason ("Monster In Law"). Then, you've got yourself a matrimonial Be Reel trio of comedic horrors and horrifying comedies. Better be an open bar, at least. Hear more genre-hopping podcasts from Chance and Noah at ThePlaylist.net.
For Episode 6 of The Fourth Wall, we head to the studio of composer Bear McCreary to discuss his diverse body of work! From the age of five, Bear developed an incredible passion for film and film music which started him on the path to becoming a film composer eventually leading him to become one of the final prodigies of Hollywood legend Elmer Bernstein. Bear's distinct blending of traditional and modern film scoring sensibilities is what sets him apart from other composers along with his drive to innovate. You'd be hard pressed to find another composer who's catalogued such a wide variety of projects with such diverse instrumentation ranging from "Battlestar Galactica", to "Outlander," to AMC's "The Walking Dead", to "10 Cloverfield Lane," to 2018's video game smash hit "God of War." 2019 might be Bear's biggest year yet as he's the musical genius behind two beloved franchises in the "Child's Play" reboot and massive summer blockbuster "Godzilla: King of the Monsters." During our conversation, we discussed growing up as film fans, his work on "Godzilla" and "Child's Play," how he managed to revitalize a classic Blue Oyster Cult B-Side track, and much more!
Ryan Oliver and Playlist Editor-in-Chief Rodrigo Perez dedicate the entire episode to the Disney/Sony fallout regarding Spider-Man in the MCU, and contextualize it to show that there are no villains in this story: it's just business.
The new Cate Blanchett/Richard Linklater film "Where'd You Go, Bernadette" launches Noah and Chance into a Be Reel category about mothers who reject motherhood. All in vastly different life situations, the protagonists of "Bernadette" (2019), "Ricki and the Flash" (2015) and "Second Act" (2018) find a common bond in pursuing much more than what society (real or imagined) tells them they deserve. If that sounds overly serious, well, Meryl Streep growls Springsteen, Jennifer Lopez hurls a man into a Christmas tree, and Cate Blanchett rips Seattle a new one. Let's go.
Aisling Franciosi stars in "The Nightingale," which is the summer's bravest drama or toughest watch depending whom you ask. It could be both, which is fitting of Franciosi's character, Clare, a very complicated woman out for justice against British Army officers in 1825 Australia. In this interview with Chance Solem-Pfeifer, Franciosi discusses how 'Nightingale' director Jennifer Kent would push her actors on set (and get pushed back, sometimes literally). Plus, a quick story about the day Franciosi got the call to play Lyanna Stark despite knowing nothing about "Game of Thrones."
Episode 5 of The Fourth Wall is a special one as we welcome famed James Bond composer David Arnold! Arnold recently received two Emmy nomination for his work on the BBC and Amazon adaptation of Neil Gaiman’s “Good Omens” which features some of the composer’s most unique and diverse orchestration to date. Arnold is no stranger to working with the BBC and showrunner Steven Moffat as he also scored four seasons of the acclaimed series “Sherlock” and is currently working on music for their upcoming “Dracula” series. His film compositions range from 1998’s “Godzilla,” John Singleton’s “Shaft,” and “Independence Day,” however, Arnold is most revered and beloved for his exceptional work on five James Bond films – “Tomorrow Never Dies,” “The World is Not Enough,” “Die Another Day,” “Casino Royale,” and “Quantum of Solace.” Having been hand selected by the legendary Bond composer John Barry after a rocking Bond cover album, Arnold is considered by many fans to be the gold standard when it comes to the music of 007 - second only to Barry himself. During our conversation, we not only gushed over our love of Bond, but discussed his working relationship with Neil Gaiman on “Good Omens,” “Sherlock,” some slight tidbits on the music of BBC’s “Dracula” and much more.
Robert Daniels (812Reviews, MediaVersity) returns to The Discourse this week to join Ryan Oliver in discussing two difficult, yet worthwhile films slowly expanding through the month of August: Jennifer Kent’s “The Nightingale” and Julius Onah’s “Luce.”
Robert: “The Angry Birds Movie 2”
3:24-11:40: “The Nightingale” Review
11:41-20:10: “The Nightingale” ***SPOILERS***
20:11-32:23: “Luce” Review
32:24-End: “Luce” ***SPOILERS***
After smaller roles in shows such as "Endeavor" and "Medici" and films such as "Fury" and "The Imitation Game," actor Jack Bannon is taking DC Television by storm as Alfred Pennyworth in the new Epix Original Series "Pennyworth." Bannon just also happens to be my guest on Episode 4 of The Fourth Wall. During our conversation Jack talked about the daunting task of joining the likes of Michael Caine and Jeremy Irons as he shaped his version of Alfred, getting to play inside the incredibly detailed and somewhat heightened version of 1960s London, approaching a character with PTSD and much more!
Every so often a "Be Reel" category arises that makes us wonder if we didn't unknowingly orchestrate the films ourselves, solely to podcast about them later. Today we discuss three films all from 1989 about deep-sea divers encountering alien life. While James Cameron's technically unparalleled "The Abyss" is the headliner (happy 30th this week), "DeepStar Six" and "Leviathan" may have their lower budget charms as well. In addition to evaluating all the mining teams and goofy beasts of this genre, Chance and Noah often ask, "What the hell were you thinking, 1989?"
As most of you know, the "Fast and the Furious" franchise is all about family. So on the latest episode of The Discourse, Ryan Oliver is joined by an amazing family of film critics - Robert Daniels (812FilmReviews, Mediaversity), Alisha Grauso (Atom Insider), and Griffin Schiller (FilmSpeak, The 4th Wall Podcast) - to discuss the first official spinoff in the nearly twenty-year-old "Fast and the Furious" series.
***Note: There is no spoiler bumper on this episode, and while none of the things we discuss we feel are spoiler-y, those more adversed to spoilers and want to go in fresh should likely wait until after seeing the film. Enjoy the episode!***
He's been the stunt double for Brad Pitt, Jean-Claude Van Damm, and his stunt credits span across a multitude of films including "The Matrix Trilogy" and "V for Vendetta." He was a co-director on 2014's "John Wick," directed film such as "Atomic Blonde" and "Deadpool 2," and now, David Leitch joins the "Fast & Furious" franchise with "Hobbs & Shaw." Leitch is my guest on Episode 3 of The Fourth Wall and during our conversation we discussed going bigger with the fast and furious spinoff movie, he breaks down the film's climactic action set piece, reveals an alternate opening, talks some scene stealing cameos and much more!
Ryan Oliver and Lindsey Romain (Nerdist) dedicate the entire episode discussing the ninth - and supposedly penultimate - film from Quentin Tarantino: "Once Upon a Time... in Hollywood."
0:00-14:00: "Once Upon a Time... in Hollywood" Review
Joe and Erik say goodbye on their last episode of Adjust Your Tracking. We look back and forward, discussing how movies will be seen in the future but also reflecting on what got us here. We make time for several movies and focus most our attention on Nicolas Winding Refn's new giant movie or show Too Old To Die Young.
Legendary voice actor Tom Kenny joins us for Episode 2 of The Fourth Wall! The man who is the iconic voice of SpongeBob on Nickelodeon's SpongeBob SquarePants is set to reprise the character again in next year's live action film The SpongeBob Movie: It's A Wonderful Sponge. During our conversation Kenny reflects on the SpongeBob's 20th Anniversary, discusses how his time doing stand up and sketch comedy led the role of the iconic character, breaks down the recording process and comedy of SpongeBob and much more.
On a new Be Reel, hosts Chance Solem-Pfeifer and Noah Ballard examine the ample evidence against trying to save a marriage with a movie. This week, they check in with “Eyes Wide Shut” (1999) as the infamous Stanley Kubrick-directed interrogation of Tom Cruise and his marriage to Nicole Kidman turns 20. They also look back at the lovechild of “Liz” Taylor and “Dick” Burton, “Who's Afraid of Virginia Woolf?” (1966) and the honeymoon-cum-couples therapy “By The Sea” (2015), which self-analyzes Angelina Jolie and Brad Pitt's sinking ship of a union. New York Magazine's Lila Shapiro joins Be Reel to discuss seeing "Eyes Wide Shut" 100 times and what it taught her about how we discuss sexual politics.
Ryan Oliver and Matthew Monagle (Austin Chronicle, Film School Rejects) discuss two vastly different sophomore features from promising filmmakers that made their debuts on the festival circuit in 2019: Lulu Wang’s “The Farewell” and Riley Stearns’ “The Art of Self-Defense.”
Ryan: “Ali Wong: The Milk and Money Tour”
6:34-26:30: “The Farewell” Review
26:31-46:51: “The Art of Self-Defense” Review
46:52-End: “The Art of Self-Defense” SPOILERS
World renowned film composer Hans Zimmer joins us for the first episode of The Fourth Wall. The Oscar and Grammy Award Winning musical genius discusses returning to The Lion King after over 20 years and his initial reservations, how his live show came to influence his approach to scoring, collaborating with Christopher Nolan, and some insight into his process for scoring next year's Denis Villeneuve Dune remake.
Ryan Oliver and Meagan Navarro (Bloody Disgusting, Consequence of Sound) dive into "Crawl," the latest film from Alexandre Aja ("High Tension," "The Hills Have Eyes"), and to celebrate the occasion, discuss their five favorite animal attack horror films.
Meagan: “The Boys,” “Under the Silver Lake”
Ryan: “Night Killer”
6:56-17:00: “Crawl” Review
17:01-23:30: “Crawl” SPOILERS
23:31-End: Top 5 Animal Attack Horror Movies
On this episode of The Discourse, Ryan Oliver is joined by Jenny Nulf (Austin Asian American Film Festival, No Excuses) to dedicated the bulk of their discussion to "Midsommar," directed Ari Aster's follow-up to his much-lauded "Hereditary." They also find time at the beginning to discuss "Spider-Man: Far From Home."
0:00-16:27: "Spider-Man: Far From Home"
16:18-28:46: "Midsommar" (Non-Spoilers)
28:47-End: "Midsommar" ***SPOILERS***
The Playlist Podcast has rebranded! Welcome to the very first episode of The Discourse! As this show has become more of a rotating door of guests with fresh voices and perspectives on the discussions we have each week, the name felt appropriate. On the first episode, Ryan Oliver is joined by Matt Donato (/Film, Atom Tickets) for a double-dose of creepy doll action to discuss "Annabelle Comes Home" and the remake of "Child's Play."
Matt: “Ghost Killers vs. Bloody Mary,” “Belzebuth”
Ryan: “Piranha” (1978)
8:21-34:18: “Annabelle Comes Home”
34:19-End: “Child’s Play” (2019)
Striking an unlikely balance between gentrification treatise and Great American fantasy, “The Last Black Man In San Francisco” is among 2019’s most striking debut films. On a new Be Reel, hosts Chance Solem-Pfeifer and Noah Ballard unpack the new A24 drama and speak with its star, co-scribe, and inspiration Jimmie Fails.
Ryan Oliver and Mike Shutt (No Excuses) discuss the latest entry in the "Toy Story" series, and argue that it belongs in the same category of greatness as its predecessors.
Mike: To Sleep With Anger
Ryan: The Dead Don't Die
8:06-29:44: Toy Story 4 Review (Spoiler-Free)
On a new BE REEL, treading water on television is a good way not to be on television anymore, as we learn from this week's trio about TV institutions getting new life through new blood. In the new office comedy "Late Night," Mindy Kaling shakes up a white, apolitical late show, just as Rachel McAdams saves a GMA knock-off in "Morning Glory" and Christina Applegate rocks an absurdist boys club in "Anchorman." Change is good, these movies tell us, but do they apply the same lessons to themselves? Let's watch.
Ryan Oliver is joined by fellow Playlisters Julia Teti (also Cinemaholics, Zimbio, Girls on Tops, Film School Rejects) and Will Ashton (also CinemaBlend and Cinemaholics) to dive into this week's three new wide releases: "Godzilla: King of the Monsters," "Rocketman," and "Ma."
Julia: "Chernobyl," "Always Be My Maybe"
Will: "Fleabag" Season 2, "Hail Satan?"
Ryan: "In Fabric"
8:01-34:18: "Godzilla: King of the Monsters" Review
34:19-53:27: "Rocketman" Review
53:28-End: "Ma" Review
Similar to Sir Elton John and songwriting partner Bernie Taupin, whenever the minds of Matthew Vaughn, Taron Egerton, and Dexter Fletcher combine, the result is incredible art. But how does one foster such a successful creative partnership? “Trust and respect, I would say is the most important thing” stated “Rocketman” Producer Matthew Vaughn (Kingsman, X-Men: First Class, Kick-Ass), “and the unified ambition to make as good and entertaining movies as possible, and friendship. So, we all talk frankly to each other, and we all push each other’s boundaries, but at the same time, we’re there to help each other when we cross them. And not scared to make mistakes, but if they’re made, we clear up the mess together.”
Following the ups and downs of Elton John, “Rocketman” is the fantastical musical biopic telling of John’s claim to fame, enduring musical partnership with Bernie Taupin, and his struggles with depression, substance abuse and sexual orientation.
Perhaps more so than previous collaborations, you could sense the personal connection Vaughn, Fletcher, and Egerton had to the story of Elton John and his music with Vaughn himself drawing some comparisons between the famed musician, Egerton, and Fletcher.
“I’ve watched Taron- meeting him as a guy who’s never done a movie before, walking into an audition, knocking it out of the park. Then going on this sort of unbelievable career of fame and fortune thrust upon him at a young age. And continuing to do great work, having ups and downs, but deep down, has a heart of gold. There’s a lot of similarities between him and Elton. They’re very warm, open people, but also incredibly sensitive, don’t like being knocked over but get knocked over, and then they get up” stated Vaughn. “With Dexter, there are similarities. He was like a prodigy little actor, at age four doing “Bugsy Malone,” or whatever he was when he played Babyface. He then became this big famous cool actor, doing “Caravaggio,” and “Revolution,” and then he did this thing called “Press Gang,” and then everything went wrong, and he got onto drugs and fucked it all up basically. And then came back in ‘Lock, Stock,’ and won Guy (Guy Ritchie) and I over in the audition process and all became friends. He’s gradually rebuilt his acting and then directing career where he’s going from strength to strength. So yeah, I suppose there are a lot of similarities between us—it’s why we all get on. And I think ‘Rocketman,’ for Dexter and Taron, really connected to the material on an emotional level, and I think that’s why people like the film because it feels authentic.”
During my interview with Vaughn, we not only discussed his working relationship with Taron Egerton and Dexter Fletcher but where his love of Elton John originated from, if he ever considered directing the project himself, the future of ‘Kingsman’ and much more.
Ryan Oliver and Jenny Nulf (Director of Programming, AAAFF) spend the bulk of the episode on the new Netflix horror/thriller "The Perfection," while also finding some time to talk Booksmart, Brightburn, and The Unauthorized Bash Brothers Experience.
17:13-40:14: The Perfection
40:15-End: The Unauthorized Bash Brothers Experience
With college looming, there’s a certain class of high-school comedy that races the clock. This week, Chance and Noah watched “Booksmart” (2019) “Superbad” (2007) and “Can’t Hardly Wait” (1998) for a trio of movies about graduating seniors with one last chance to ace their social lives. Big questions include:
-Does the women-led “Booksmart” strike the balance between broad comedy and teenage truth?
-Does “Superbad’ ever fall victim to the general yuck of the 17-year-old boy?
-Why in god’s name do the protagonists of “Can’t Hardly Wait” not know each other?
-Will those jerks ever pay for turning Noah away from their party in 2006?
Griffin Schiller (@griffschiller), Kathia Woods (@kathia_woods), and Jenny Nulf (@jennyleighx33) break down and discuss the series finale of Game of Thrones in FULL SPOILERS. They also recap the final season as a whole and look onward to the spin-off series.
“Your world creation is a visual. I want the audience from pretty much right off the bat to know you’re in a different reality, so you’re going to see some weird stuff. You’re going to see dogs and horses and gun-fu and karate and ninjas on motorcycles” says ‘John Wick’ Director Chad Stahelski as he discusses crafting the visual palate of the third installment in the Keanu Reeves-led action series “John Wick: Chapter 3 – Parabellum.”
The ‘John Wick’ series has introduced audiences to such a distinct world that only seems to expand with each entry. Stahelski and cinematographer Dan Lausten challenged themselves to perfect the look of ‘John Wick’ by leaning heavily into lighting techniques so audiences can lose themselves in the environment created. Stahelski states, “…we want you to almost reach into the screen and feel the colors and taste them and smell them and be very very involved with the look of the film, and I think that’s what kind of separates us just from - we’re not actually trying to be rough and tumble and super serious.” While his world building techniques - for which Stahelski attributes his success to working with the Wachowski’s and love of international cinema - and striking visuals continue to entrance audiences in, the ‘Wick’ Director and his stunt team know viewers want to see jaw-dropping action spectacle.
‘Parabellum’s’ most challenging set piece no only involves the series’ intricate choreography but features an incredible amount of moving parts that range from tracking shots to the use of dogs. “It took us nearly a year to bring that sequence to life. Finding the animals that had the physical and mental aptitude that we wanted, the personalities that we needed to bond the stunt team, the camera team, the rest of the crew, and our cast” stated Stahelski. He then went on to discuss specifically Halle Berry’s intense 5-month training with the dogs, whom she would spend 3 hours a day, 5-6 days a week with. In so doing, when we see Berry commanding the dogs on screen, it is, in fact, her giving the orders.
That’s only a small taste of how Chad Stahelski broke down the magic of ‘John Wick 3’. During our conversation we discussed Stahelski’s inspiration for crafting unique action sequences, what the future holds for John moving forward with the series, the status of his upcoming “Highlander” reboot and Ed Brubaker’s “Kill or Be Killed” live-action adaptation, recent “Matrix 4” comments, and much more.
With the untimely passing of writer/director/producer John Singleton last month, Be Reel takes stock of his life, times and film career. From the seminal “Boyz N the Hood” to the endlessly meme-able “Poetic Justice” to the unsung epic “Rosewood,” Chance, Noah, and author Tochi Onyebuchi reflect on Singleton's role as a preeminent black filmmaker and all the beauty and ugliness wrapped up in his both timely and timeless portraits of America.
Find more episodes of Be Reel on ThePlaylist.net.
Ryan Oliver is joined by guest Matt Donato (/Film, Atom Tickets, Dread Central, etc.) to ponder whether or not "The New Mutants" will actually come out, discuss Ana Lily Amirpour's "Cliffhanger" remake, and then dive into a full review of "Pokémon Detective Pikachu."
0:00-20:00: Movie News ("Hellraiser" and "Cliffhanger" reboots; "The New Mutants" pushed back again)
20:00-42:00: Detective Pikachu Review
42:00-End: ***SPOILER*** Discussion
Ryan Oliver and Griffin Schiller (The Playlist, Men vs. Movies) discuss the horrors of Sonic the Hedgehog's character design, Joe Carnahan's unwarranted Twitter meltdown, and conclude with a review of "Long Shot," the latest comedy from Jonathan Levine starring Seth Rogen and Charlize Theron.
0:00 - 5:29: Griffin's Latest Watches ("Barry," "John Wick: Chapter 3 - Parabellum," "Pokémon Detective Pikachu")
5:30 - 17:56: Movie News ("Sonic the Hedgehog" VFX Overhaul, Joe Carnahan's Twitter Spat)
17:56 - End: "Long Shot" Review
This week, Chance and Noah dive into the one-inch pool of movies based on fan fiction — writing that takes the characters of more popular sources and, apparently, has them do weird sex stuff. In addition to the new YA film "After" (2019), our case study includes the mega-franchise “Fifty Shades of Grey” (2015) and one-note joke of a movie “Pride & Prejudice & Zombies” (2016). Plus, Kathleen Newman-Bremang (of Refinery29)breaks down why this genre so defined by sex isn't particularly sexy.
Ryan Oliver, Rodrigo Perez, and Charles Barfield dive into the MCU "Infinity Saga" finale, "Avengers: Endgame."
0:00-13:17 - Spoiler-Free Review
13:20-End - ***SPOILER DISCUSSION***
All shows and episodes are a part of The Playlist Podcast Network – which includes Adjust Your Tracking, Be Reel, Indie Beat, and more – and can be heard on iTunes, Soundcloud, or Stitcher. To listen on this page, you can stream the podcast via the Soundcloud embed below or up top. Follow us on iTunes, and you’ll get this podcast as well as our other shows regularly. Be sure to subscribe, and drop us a comment or a rating if you are so inclined. Thanks for listening.
Writer and director Madeleine Olnek first considered that Emily Dickinson might have been a human being with desires, muses, and ambitions when she read a 1998 New York Times investigation of the famed poet's original drafts. The result was the play "Wild Nights With Emily", now an inventive literary comedy starring Molly Shannon, Amy Seimetz and Brett Gelman. Press play for a discussion of Olnek's new movie, her meeting Molly Shannon in college, and battling the painted-over legacies of historical women.
"Wild Nights With Emily" is out now in select cities. This podcast host whole-heartedly recommends it.
All it takes is a carnival coin-trap, a packet of Party City fairy dust, or a wizard who needs you as his champion and — SHAZAM! — that pesky childhood is over in an instant. But is being thirty, flirty and thriving all it's cracked up to be? This week, BE REEL discusses "Big" (1988), "13 Going On 30" (2004), and "Shazam!" (2019).
Be Reel is brought to you by California College of the Arts' Writing MFA Program. Learn more about CCA.edu/writingmfa.
'Be Reel' co-host Chance Solem-Pfeifer speaks with director Emma Tammi about her new horror film "The Wind" (out now from IFC Films). They discuss how Tammi made the transition from documentary filmmaking to genre mashups, how the wind haunted real-life pioneers, and why trauma is having its day in the horror genre.
Be Reel is brought to you by the California College of the Arts' Writing MFA.
With several thousand writers and one tired agent (Be Reel co-host Noah Ballard) visiting Portland for AWP ’19 last week, we cracked the spine live and in-person of a related podcast category: the writer as forger, as plagiarist, as literary Danny Ocean. This time out, Be Reel discusses “Can You Ever Forgive Me?” (2018), “The Hoax” (2007) and “Secret Window” (2004) for a three-movie slate of word crimes.
Plus, we’re joined by two esteemed authors who’d never do any of this shady stuff — Natalie Serber (“Shout Her Lovely Name”) and Nick White (“Sweet and Low”) — to discuss their favorite films about writers. Be Reel is brought to you by California College of the Arts’ MFA in Writing program.
JC Chandor's "Triple Frontier" isn't the first movie to wonder what would happen if a few rogue soldiers tried to get rich while allegedly doing the right thing. On a new "Be Reel," Chance and Noah review Netflix's latest film and compare its themes and all-star casts to "Three Kings" (1999) and "Kelly's Heroes" (1970).
If you don't know the 1782 French novel “Les Liaisons Dangereuses,” don't feel bad. It's far more likely you know the films it inspired: "Dangerous Liaisons" (1988), "Valmont" (1989) and "Cruel Intentions" (1999). This week on Be Reel, Noah and Chance revisit all three stories of high-court treachery and conquest with the help of film critic Abbey Bender (Village Voice, Time Out New York). The sexual politics are dicey, the costumes grand, and we try our best to figure out what's going on in the cinema of the wealthy and wicked.
On a new BE REEL, Noah and Chance take on sports movies where the most important games are played in offices. Starting with the slick, provoking new Steven Soderbergh film "High Flying Bird" and its critique of the NBA, the pod then revisits the statistical revolutions of "Moneyball" and the racial profiteering of "The Great White Hype."
Be Reel is brought to you by the by California College of the Arts MFA in Writing Program.
Though the Columbian crime epic “Birds of Passage” finds its shape in familiar gangster arcs, its approach to depicting the South American drug trade is one of lyricism and embedded observation of the indigenous Wayuu people. Listen as our Chance Solem-Pfeifer speaks to co-director Cristina Gallego about her latest film with creative partner Ciro Guerra, following on from the Oscar-nominated “Embrace of the Serpent.”
The best way to avoid Gene Hackman screaming at you is to listen to Chance Solem-Pfeifer and Noah Ballard celebrate the all-time great actor's 89th birthday on a new Be Reel. This week, they analyze three of his most memorable antagonists in "Superman: The Movie" (1978), "Unforgiven" (1992) and "The Firm" (1993), and then spotlight some favorites from deeper in Hackman's 50-year career.
Be Reel is part of The Playlist Podcast Network and is brought to you by California College of the Arts and Converse College's Low-Residency MFA.
While the future of Marvel Netflix's The Punisher remains to be seen, that hasn't stopped showrunner Steve Lightfoot from staying optimistic about continuing the journey of Frank Castle. Lightfoot is currently the showrunner of The Punisher, which is now entering its second season, and also has made notable contributions as a writer and producer on NBC's Hannibal and Netflix's Narcos.
I recently spoke with Lightfoot about Season 2 of The Punisher in which he gave some insight into the direction the team would want to take Frank next season and when asked if a Season 3 was happening Lightfoot said the following, "I'd love to do it. I'll do this show as long as people ask me to. Beyond that, I don't know."
The Punisher Season 2 finds Frank Castle (Jon Bernthal) on a journey of self-discovery as he comes to terms with taking on the mantle of The Punisher while cleaning up the aftermath his actions caused in Season 1. After saving a girl (Giorgia Whigham) who’s being hunted down by a religious assassin, Frank transitions from being a man haunted by grief, hell-bent on revenge, to a vigilante with a code.
During our conversation, we not only discussed the possibility of a third season, but Frank's transformation as a character, Lightfoot's inspiration for some of his favorite action set pieces, and which villains he'd like to integrate into the show next to which the showrunner responded, "I’ve always loved Barracuda. I’d love to find a place to play with that character because I think he’s just a force of nature and funny. Just simply, because I’m such a fan of the actor, it’d be great to tangle with the Kingpin…the idea of pitting Jon against Vincent D’Onofrio for a season would wildly excite me."
Vincent D'Onofrio's Kingpin vs. Bernthal's Punisher? Here's hoping Marvel and Netflix keep The Punisher alive for the possibility of showdown alone.
On a new BE REEL, Chance and Noah try to make sense of M. Night Shyamalan's Eastrail 177 trilogy beginning with 2000's "Unbreakable," picking up steam with 2017's "Split," and culminating in the new ostensibly thoughtful comic-book riff "Glass."
Spoilers abound, obviously. And Guardian contributor Zach Vasquez joins the show to discuss his new essay: "Shattered Glass: why we need to stop deconstructing our superheroes."
Ryan and Managing Editor Charles Barfield dive into the aftermath of the 2018 Fall/Winter moviegoing season at the box office, discuss what trends have emerged, who was successful, and who bit the dust.
Joe and Erik dig into the new year officially and start it off with a small genre movie gem, Standoff At Sparrow Creek. The film is also paired up with 1989 cop thriller Dead-Bang in our latest edition of HOLD UP.
On this episode of Be Reel, Noah Ballard and Chance Solem-Pfeifer look for a way through the newly released "Escape Room" and discuss two of its thrilling enclosed-space predecessors in 2002's "Panic Room" and the 1954 classic "Rear Window.”
On this episode of BE REEL, Chance and Noah look back at the comedy films of 2018, examining different branches of the industry tree via specific titles: BLOCKERS for traditional studio fare (14:20), EIGHTH GRADE for the upstart indie (32:15), and SET IT UP for Netflix's full-on foray into rom-coms (48:00). Finally, they name their five favorite comedy performances of the year from films like GAME NIGHT, SORRY TO BOTHER YOU, and more (1:04:30).
This episode is brought to you by Converse College MFA program and California College of the Arts MFA in Writing program.
Lebanese actor/filmmaker Nadine Labaki speaks with our Chance Solem-Pfeifer about her new film “Capernaum,” out Dec. 14 in some US cities. The Golden Globe-nominated drama follows a 12-year-old boy trying to preserve his biological and chosen families amid Lebanon’s refugee crisis. Press play to hear Labaki discuss how her young star is dealing with the movie’s reception and how life and art intersected when one of the “Capernaum” actors was arrested during the shoot.
It's not often you get to meet the director of one of your favorite films of all time, and it's equally as gratifying to discover that they are exactly as you imagined.
Peter Jackson is a man who needs little to no introduction being the master world builder that he is and the visionary filmmaker behind the "Lord of the Rings" Trilogy. He also has managed to place himself at the forefront of cutting-edge technological filmmaking innovations such as his founding of special and visual effects company WETA, his work with performance capture, and his recent plunge into Augmented Reality Storytelling to name a few.
Acting as the Producer and Co-Writer on the latest big-budget fantasy film 'Mortal Engines,' the rights to which Jackson originally purchased back in 2009, the filmmaker had the delightful privilege of watching one of his young prodigies, director Christian Rivers, tackle his first feature film - something Jackson proudly discussed in our interview.
“Mortal Engines” depicts a post-apocalyptic, steampunk version of our world where once great cities now operate as giant predator machines on wheels. Narrowing in on London, the story focuses on a mysterious young woman named Hester Shaw (Hera Hilmar) as she joins forces with a dangerous outlaw and an outcast to lead a rebellion against the evil Thaddeus Valentine (Hugo Weaving).
We spoke with Jackson about his recent WWI Documentary, "They Shall Not Grow Old," which has been turning heads on the festival circuit, along with his involvement in Amazon's 'Lord of the Rings' series, an update on 'Tintin 2' and where he sees the future of AR Storytelling.
"Mortal Engines" is directed by Christian Rivers and hits theaters December 14th, 2018. Be sure to catch our previous interview with the villain of "Mortal Engines", Hugo Weaving and stay tuned for our conversation with the film's composer, Junkie XL.
Hugo Weaving is one of the most versatile actors working today, and one thing’s for certain: he sure makes a damn good villain. Having cemented himself in pop culture with such iconic roles as Agent Smith in The Matrix trilogy, Elrond in The Lord of the Rings and The Hobbit trilogies, V in V for Vendetta and the Red Skull in Captain America: The First Avenger, the 58-year old Australian actor continues to be at the forefront of fandoms everywhere. It also sure helps that he's fortunate enough to have collaborated with some of the most visionary filmmakers of our time including Peter Jackson, The Wachowski’s and Mel Gibson.
With this year’s Mortal Engines, Weaving not only find’s himself reuniting with Peter Jackson, who Produced and Co-Wrote the script but find’s himself back in the pocket playing the film’s main antagonist, Thaddeus Valentine - though notably more likable and charming than some of his past villains.
We spoke with Weaving about some of his favorite literary works, continued collaborations with Peter Jackson, a possible John Wick Matrix reunion, and whether he wants in on some future Bond villain action.
In the Playlist debut of "Be Reel," genre-hopping podcast hosts Chance Solem-Pfeifer and Noah Ballard dive into the career of screenwriting titan William Goldman, who passed away last month at age 87.
They revisit his major works like “The Princess Bride,” “Butch Cassidy and the Sundance Kid” and “All The President’s Men,” and Slate’s Marissa Martinelli joins the program to discuss the far deeper world of Goldman’s “The Princess Bride” novel.
Ryan and Adjust Your Tracking co-host Erik McClanahan both attended the one-night-only of the Director's Cut of Lars Von Trier's "The House That Jack Built," and unpack their many thoughts on the provocateur's latest work.
0:00 - 12:03 - Recommendations
Erik: "Illang: The Wolf Brigade"
Ryan: "Dinners of Death with Joe Bob Briggs"
12:04 - 38:57 - Non-Spoiler Discussion: "The House That Jack Built"
38:58 - End - ***SPOILERS***
Joe and Erik get jazzy and catch up on recent screenings, old and new releases, but eventually find their way into praising another Netflix movie, Apostle, as well as a small theatrical VOD release in Danish thriller The Guilty.
Ryan Oliver and Managing Editor Charles Barfield dive into the merit - or lack thereof - of "Venom," the spin-off film of the popular "Spider-Man" villain, starring a very committed Tom Hardy.
0:00 - 21:25 - Spoiler-Free Discussion
21:26 - End - ***SPOILERS***
Ryan Oliver and guest Matt Donato (/Film, Flickering Myth, We Got This Covered) discuss A24's pizza-themed horror-comedy "Slice," the directorial debut of Austin Vesely and acting debut of Chance the Rapper. We also manage to squeeze in some brief thoughts on Shane Black's "The Predator."
After a long hiatus, Over/Under Movies is back! On this episode, Oktay, Erik, and Ryan dive into Oktay's picks for underrated war movies: "Grave of the Fireflies," "Johnny Got His Gun," and "Come and See" (which, spoiler, we all think the latter is an absolute masterpiece).
Joe and Erik dig back into their love of 70s cinema and chat about newly restored The Last Movie and its accompanying doc The American Dreamer then get to a look at the career of Hal Ashby because there's a new doc about him coming out, Hal.
Ryan Oliver and Editor-in-Chief Rodrigo Perez discuss the films they are most looking forward to in the fall, as well as what's coming up on the Festival Circuit (Venice, TIFF, Telluride, Fantastic Fest, NYFF).
Ryan Oliver and Oktay Ege Kozak talk some of the buzzed-about indies that they've caught up with recently, discuss a film they were both greatly anticipating for reasons they can't explain (The Equalizer 2), and Ryan gives some thoughts on the new AMC Stubs A-List subscription service.
0:00 - 21:32 - What We've Been Watching
Oktay: Eighth Grade, You Were Never Really Here
Ryan: Lean on Pete, Sorry to Bother You, The Last Drive-In with Joe Bob Briggs
21:33 - 45:22 - The Equalizer 2 ***SPOILER*** Review
45:23 - End - AMC Stubs A-List Review
On the first half of this episode, Ryan Oliver and Oktay Ege Kozak dive into the much-buzzed about sixth chapter in the "Mission: Impossible" series, "M:I - Fallout," as well as their feelings about the series as a whole.
On the second half of the episode, we each pick our five favorite action set pieces from the M:I series.
In honor of the film's 10th anniversary, Ryan Oliver and Playlist Editor-in-Chief Rodrigo Perez dive deep into Christopher Nolan's "The Dark Knight," as well as "The Dark Knight Trilogy" as a whole. They discuss how the film has held up in the last ten years, how it changed the cinematic landscape, and how no other film in the dominant, comic book sub-genre has come close to its achievements.
Joe and Erik get back on mic to discuss promising box office for smaller movies this Summer, touch on the Netflix comedy The Legacy of a Whitetail Deer Hunter, and save most their energy to discuss the crazy new satire Sorry To Bother You.
On the first half of the episode, Ryan Oliver and Rodrigo Perez dive into their thoughts on "Ant-Man & The Wasp." On the back half, Ryan is joined by Jenny Nulf (Austin Chronicle, The No Excuses Podcast) to discuss their picks for their "Top 5 Insect Movies."
0:00 - 15:15 - Spoiler-Free Review
15:15 - 45:02 - ***SPOILER SECTION***
45:02 - End - Top 5 Insect Films
Ryan Oliver and Rodrigo Perez dive into "Jurassic World: Fallen Kingdom," as well as the "Jurassic Park" franchise as a whole, and why it might just be time for the dinos... to end.
0:00 - 8:07: Box Office Predictions
8:07 - 32:55: Spoiler-Free Thoughts
32:55 - End: ***SPOILER DISCUSSION***
Drew Taylor's "Fallen Kingdom" Review: https://theplaylist.net/jurassic-park-fallen-kingdom-review-20180606/
"Colin Trevorrow Interview: On Losing 'Star Wars' and Hollywood Sexism:" https://uproxx.com/movies/colin-trevorrow-interview-star-wars-jurassic-world/
"The 'Jurassic Park' Scene That Explains Why the Sequels Don't Work:" http://screencrush.com/jurassic-park-should-have-no-sequels/
Ryan Oliver and Editor-in-Chief Rodrigo Perez climb into the Millennium Falcon, hit warp-speed, and discuss Ron Howard's (in association with Phil Lord and Chris Miller) "SOLO: A STAR WARS STORY."
0:00 - 33:25 - General Discussion
33:26 - END - ***SPOILER DISCUSSION***
Joe and Erik make this episode a documentary special, starting off with the new William Friedkin effort, The Devil and Father Amorth. More time is spent, though, on a few recent streaming TV nonfiction efforts, Wild Wild Country on Netflix and The Zen Diaries of Garry Shandling on HBO.
Oktay Ege Kozak and Andrew Crump put the coda on 2017's awards season with an in-depth look at two of the Oscar-nominees (and winners): "Three Billboards Outside Ebbing, Missouri" and the animated feature "The Breadwinner."
Ryan Oliver and Playlist Editor-in-Chief Rodrigo Perez meander through a myriad of topics after their hiatus from the mic, including the impromptu "The Cloverfield Paradox," the "Solo: A Star Wars Story" trailer, some box office stats, and some preliminary "Black Panther" thoughts.
With Oscar season in full swing, Oktay and Ryan revisit three Best Picture winners that deserved to be talked about more than they are: F.W. Murnau's 1927 "Sunrise," Billy Wilder's 1945 "The Lost Weekend," and Delbert Mann's 1955 "Marty."
Erik and Joe took this week off from recording, so in place of a new episode is a rereleased Hold Up special, where we discuss Pump Up The Volume and Slap Shot. We'll return with new content soon enough. Thanks!
Joe and Erik put the 2017 movie year to bed on this episode, in the first half discussing their respective top 10 favorite films and then shifting gracefully over to Paul Thomas Anderson's latest, Phantom Thread.
Joe and Erik are back on mic after the holiday break, and start the new year by catching up on more 2017 titles: World of Tomorrow Episode Two: The Burden Of Other People's Thought, Bright and The Post.
Ryan Oliver, Playlist Editor-in-Chief Rodrigo Perez, and Playlist Managing Editor Kevin Jagernauth dive deep into Rian Johnson's "Star Wars: The Last Jedi."
0:00 - 12:44: Non-Spoiler Initial Thoughts
12:45 - END: ***SPOILER DISCUSSION***
Joe and Erik take a deep dive down rabbit hole of meta comedy, cult fandom, potentially insane people's artistic visions and so bad it's good cinema with a double feature chat on The Disaster Artist and Jim & Andy: The Great Beyond.
Ryan Oliver and Playlist Editor-in-Chief Rodrigo Perez discuss and review one of the biggest and most-anticipated films of the fall movie season: "Justice League."
0:00-23:28: Regular Discussion
23:28-48:36: ***SPOILER DISCUSSION***
Ryan and Oktay are joined by Erik McClanahan to discuss Ryan's round of horror picks that place you firmly into the perspective of the film's killers: the original 1980 "Maniac" and the 1983 Austrian film "Angst."
Erik and Joe dive into a more free flowing, open chat on this episode regarding heroes in movies, and much more. But they do recommend and discuss some new releases in Jane, Brawl in Cell Block 99 and Wheelman.
Robert Ham (Paste Magazine, Portland Mercury, XRay.fm) joins Oktay and Ryan to tackle two whimsical, melancholy comedies about moving on: Zach Braff's "Garden State" and Bill Forsyth's "Comfort and Joy."
Ryan Oliver, Playlist Editor-in-Chief Rodrigo Perez, and Adjust Your Tracking co-host Erik McClanahan discuss the movie that is on everyone's mind this week: "Blade Runner 2049"
0:00-2:01 - Intro
2:02-9:20 - Reflection on Original "Blade Runner"
9:20-22:57 - Initial Reaction to "Blade Runner 2049" (Spoiler-Free)
22:57-57:50 - ***SPOILER DISCUSSION***
On this episode of Adjust Your Tracking, Joe and Erik discuss the coming-of-age indie thriller "Super Dark Times" for our main review. In the back half we dig into some Laptop Cinema recommendations for films that are streaming.
Joe and Erik dig into the career thus far of one Darren Aronofsky, the filmmaker behind last weekend's Mother!, a fascinating film that's swiftly divided audiences and critics even after a less-than-stellar box office haul.
Joe and Erik discuss the massive success of It and also find plenty to gripe about the movie, even though audiences and most critics seem to be taken with this latest adaptation of Stephen King's seminal book. We also find time to catch up on Twin Peaks: The Return as well as some new Netflix titles—Nocturama in particular comes highly recommended.
Joe and Erik reflect on the Summer movie season so far, catching up on some of the big and small films—Baby Driver & Okja most prominently—we've seen. Our main review comes in the second half of the show where we discuss director David Lowery's A Ghost Story.
Ryan Oliver and Playlist Editor-in-Chief Rodrigo Perez discuss the poor domestic box office opening of 'Transformers: The Last Knight' as well as the behind-the-scenes turmoil regarding the 'Han Solo' spinoff movie.
Oktay and Ryan are joined by fellow Playlister Kenji Fujishima to discuss two films about American capitalism: Paul Thomas Anderson's 'There Will Be Blood' and Martin Scorsese's Howard Hughes biopic 'The Aviator.'
Joe and Erik discuss two new films from exciting auteurs and find plenty of overlapping elements between them, beyond the fact that, yes, Sofia Coppola and Ana Lily Amirpour are women working behind the camera. The latter's sophomore feature, The Bad Batch, is a film that's gotten mixed responses since premiering at Venice last year, but we find much to love about it. Before we get to that, though, we discuss and disagree on The Beguiled.
Oktay and Ryan dive into a Gore Verbinski double-feature as Ryan picks the first - and most beloved - "Pirates of the Caribbean" film as the overrated and the oddball, existential dark comedy "The Weather Man" as the underrated.
Joe and Erik open the show with Wonder Woman and the film's enormous success over the weekend. From there, it's onto our larger topic, writer/director Trey Edward Shults' sophomore film It Comes At Night, which despite its misleading marketing (it's not a monster movie, more a European-flavored horror/survivalist art picture) is a strong effort nonetheless. We also find time at the end of the show to discuss War Machine and some other deflating original releases from Netflix so far this year.
Joe and Erik open the show with brief appreciations for the return of both Master of None and Twin Peaks. After that, they discuss at length Ridley Scott's latest entry in his Alien prequel series, Alien: Covenant. Even though the film underwhelmed at the box office, and received mix responses from critics, there's a lot to discuss. Even though we don't really spoil much at all, this episode is still probably best for those who've already watched Alien: Covenant.
Joe and Erik open with more talk of repertory cinema, in this case the recent 4K restoration of Donnie Darko currently playing in some arthouses around the country (and also getting a gorgeous new blu-ray release from Arrow Video). From there, a recommendation to see The Lost City Of Z in a theater, and soon. The majority of this episode is broken in two parts: a review of AYT favorite Ben Wheatley's latest, Free Fire. Also, the joys of listening to David Lynch talk, specifically in the new documentary about him, The Art Life.
Ryan Oliver, Kimber Myers, and Joe von Appen discuss "The Fast and the Furious" series and how it has endured for 16 years. We also give our thoughts on "The Fate of the Furious" and discuss where the series might go from here.
Episode #1 of Deep Focus. Rodrigo Perez talks to director James Gray about "The Lost City Of Z," nearly offending Isabelle Huppert, working with Brad Pitt and his many thoughts on the state of cinema while trying to adapt to current state of the ever-evolving film industry.
On this episode of Adjust Your Tracking, Joe and Erik start things off with more chatter about the state of going out to the movies, and how things are rapidly evolving in this streaming era. We then move on to our two main reviews: new Netflix speculative sci-fi drama The Discovery and Neon's new release in theaters, Colossal. The back half of this episode features a grab bag of recommendations, starting with the latest from Romanian master Christian Mungiu, Graduation, and then moving to the some streaming options in the wonderful documentary miniseries Five Came Back and season 2 of Fargo. Continuing with our Jesse Plemons theme this episode (he's in three of the films/shows we discuss), Joe also highlights Other People and Stretch & Bobbito: Radio That Changed Lives.
Ryan Oliver and Playlist Editor-in-Chief Rodrigo Perez discuss the middling box office performance of "Ghost in the Shell," what it means for Paramount, and how it relates to Hollywood's diversity problem.
Joe and Erik start the show off with brief appreciations of various media on streaming services: two new Netflix releases of Dave Chappelle standup specials (Deep in the Heart of Texas and The Age of Spin); BET's The New Edition Story and also Alice Lowe's directorial debut Prevenge, available on Shudder. The main thrust of this episode is taken up by a deeper chat on T2 Trainspotting, where we dig into the many issues we found with the 20 years later sequel.
Oktay and Ryan are joined by fellow Playlist writer Andy Crump to discuss two different, but oddly similar sci-fi films about philosophy and robot overlords: The Wachowski Sisters' "The Matrix" and Edgar Wright's "The World's End."
On this sixth episode of our TV podcast, host Kimber Myers chats with Playlist editor-in-chief Rodrigo Perez about Netflix's "Iron Fist," FX's "Legion," and the rest of the Marvel shows taking over our televisions.
Joe and Erik discuss the importance of going out to the movies and preserving the theatrical experience. Then it's on to the main discussion of new genre mashup films Personal Shopper and Raw, the latter film already an early AYT favorite for 2017.
After a much-needed breather from podcasting after a crazy last few months, Joe and Erik have gotten back on mic to continue with Adjust Your Tracking. On this episode, they talk about the absence and looking for meaning again in cinema. A few new titles out there come up, most notably Jordan Peele's wonderful box office hit Get Out, and Macon Blair's Sundance-winning, already-streaming on Netflix and perfectly-titled I Don't Feel At Home In This World Anymore. Also, why The Lobster is the film of our time.
On this second episode of our TV podcast, host Kimber Myers gets Playlist Feature Writer Oli Lyttelton on the line to talk about two shows with less than good people at their center: You're The Worst & Fleabag
On this latest episode of AYT, Joe and Erik discuss cult franchises and the often futile attempts to recapture lightning in a bottle. Films discussed included Blair Witch, Donnie Darko (on our latest edition of HOLD UP) and Southland Tales.
On this episode, Oktay chooses two films that directly speak to each other and feature road trip narratives about finding yourself while traveling across America: Easy Rider takes the over and Lost In America has the under.
On this episode, Joe and Erik fall hard and fast for Justin Tipping's strong debut film, Kicks. They also give some time to discuss the crazy, truth is stranger than fiction doc, Author: The JT Leroy Story.
Joe and Erik discuss two more additions to the ever growing Detroit-set horror movie sub genre, Don't Breathe and Antibirth, but also see potential end of an era parallels between that city and Hollywood's recent output.
On this episode, Erik invites indie filmmaker Andrew Matthews (Zero Charisma) for a talk about an article he wrote recently over at The Talkhouse. In the piece, Andrew writes about a frustrating trend he's noticing more and more in popular, binge-worthy TV shows called plotblocking. And so, that's what we dive into on the show.
On this episode, Over/Under Movies takes a look at two different examples of movies about movies. Ryan's picks here and he went with Oscar winner The Artist for Over and Joe Dante's Matinee for the Under.
This episode is brought to you by Arrow Video’s new blu-ray release Female Prisoner Scorpion: The Complete Collection. This gorgeous box set features all four films in the Female Prisoner Scorpion set, and though they’ve been difficult to access until now, their influence looms large even today. And so we discuss the films, star Meiko Kaji’s iconic performances and the thrill of watching great 70s exploitation cinema.
On this latest episode of AYT, Joe and Erik look at some recent documentary releases that've gained some attention, but focus mostly on the excellent 7.5 hour ESPN doc OJ: Made in America. The last part of the show sees Joe's pick for Hold Up get discussed: Richard Linklater's oft-forgotten SubUrbia.
On this episode, we take a huge hit of nostalgia off of new Netflix series Stranger Things. There's also time to talk briefly about Brady Corbet's austere, slightly unhinged directorial debut The Childhood of a Leader while Joe announces his next pick for HOLD UP: Richard Linklater's SubUrbia.
The hosts of Over/Under Movies get neurotic as hell and dive into their anxieties about creativity and their life struggles. This episode is a Charlie Kaufman special, as host Oktay Ege Kozak chose Eternal Sunshine of the Spotless Mind as the overrated up against Adaptation as the underrated.
Steven Soderbergh stops by the Nitehawk Cinema to talk about his 2011 action film "Haywire," his re-edit of his 1991 film "Kafka," his almost-experiences with a James Bond film, the fell-apart "Moneyball" and more.
Have you been bored with most the movies this Summer? Does it feel like things are changing, but not necessarily towards making better movies? Well, AYT is back and we got your anxieties covered. We don't really have a traditional review on this episode. This show is what we like to call a state of the industry discussion.
The Playlist's Editor in Chief Rodrigo Perez moderates a Q & A with director Nicolas Winding Refn for his new film The Neon Demon that took place live recently at the Film Society of Lincoln Center. The audio comes from our friends over at The Close-Up, an original podcast with new episodes released every Wednesday and features conversations with filmmakers and actors that take place at the Film Society. It's one of our favorite film podcasts so you should definitely subscribe to on iTunes. To find out more visit filmlinc.org/podcast.
The Playlist Podcast returns for an auteur-centric episode, in two parts. On the first half, my interview with Anna Rose Holmer about her debut feature "The Fits," an idiosyncratic and deeply cinematic indie film about a young girl's coming of age transition from tomboy boxer to competitive dancer. The second half of the show is devoted to "Cosmos," the final film from Polish auteur Andrzej Zulwaski.
Joe and Erik dig deep into the career of filmmaker Brian De Palma, in honor of the new documentary out in theaters about his work, De Palma. We also add in a new edition of HOLD UP, looking to see how Carlito's Way looks with modern eyes.
On this latest episode of AYT, Joe and Erik discuss the career of writer/director/actor Shane Black, especially focusing on his latest work The Nice Guys. Later in the show is a chat about Lethal Weapon 2 to see if it holds up.
A two-part episode. Part 1 features a Cannes Film Festival chat with ioncinema critic Nicholas Bell, fresh out of a premiere screening of The Neon Demon. Part 2 is an interview with Yorgos Lanthimos, director of The Lobster.
Adjust Your Tracking is back to talk about Jeremy Saulnier's latest film Green Room. The film is compared with another recent genre release, "Hardcore Henry" since they represent polar opposite extremes on the spectrum of modern exploitation cinema, and that's where the conversation is focused for most this episode. Erik also mentions his pick for the next HOLD UP segment: Robin Hood: Prince Of Thieves.
We start this episode with a followup on Midnight Special. The main section of the show is dedicated to Richard Linklater's latest film Everybody Wants Some!! We dive into a deeper discussion about the film's specific, mostly-white male perspective and what that means in an era of #OscarSoWhite movie culture. The final segment is our latest edition of HOLD UP, in which we discuss Mathieu Kassovitz' brilliant 1995 film La Haine.