In this episode, Tiny and I review Ad Astra. We also discuss some controversies surrounding Joker, the Shane Gillis/SNL fiasco, Beautiful Boy, Stephanie Wittels-Wachs’ heartbreaking memoir about her brother, Parks & Rec writer Harris Wittels.
In this episode, Fekkes and I review It: Chapter Two. We also debate the merits of single entry franchise storytelling in the era of peak TV/storytelling, Disney+ trailers, Apple TV+, and the “Streaming Wars.”
In this bonus episode, Tiny and I review Rapid Response, a documentary about the origin and evolution of motorsport medical science. It’s an interesting documentary currently in theaters that we both recommend.
Premise: A young man searches for home in the changing city that seems to have left him behind.
A young black girl stares up at a man in a hazmat suit while a street preacher rants and raves about the contaminated water poisoning the residents. This is the introduction we get to Jimmie (Jimmie Fails) and Monty’s (Jonathan Majors) version of San Francisco in “The Last Black Man in San Francisco”; far from the trolleys, five-star restaurants and tech headquarters of the city. The Golden Gate Bridge is off in the distance, but it’s far enough away that you may forget that it exists. Reality is certainly heightened here, but not so much to seem unbelievable. The film is loosely based on the true-life story of Jimmie Fails, who shares a story credit with first-time director and his childhood friend, Joe Talbot. Jimmie and Monty- both young, under-employed black men with dreams of bigger and better things- share a crowded bedroom in Monty’s blind grandfather’s house on the outskirts of the city. At night, when Jimmie isn’t working at a nursing home, the three watch old movies as Monty lovingly describes the action. On occasion, the two skate into the city to look after and fix up an old Victorian home in the Mission district that’s currently owned by an elderly white couple. Why is Jimmie so immersed in the upkeep of the home? He explains early on (to a Segway tour full of white people, of course) that the house was designed and built by his grandfather with his own two hands after World War II. Soon, the couple moves out and the home is abandoned, so Jimmie and Monty take over and renovate as they believe it should be, preserving as many details as Jimmie’s grandfather intended.
In this week’s episode, I welcome Patreon supporter, returning guest, and new contributor Ben Sears back to the podcast. We review Toy Story 4 and A24’s The Farewell. We also talk about several upcoming movies and both of our histories working in movie theaters.
Premise: The film follows 16-year-old Austyn Tester, a rising star in the live-broadcast ecosystem who built his following on wide-eyed optimism and teen girl lust, as he tries to escape a dead-end life in rural Tennessee.
What is the American dream, if not to get rich and famous? In 2019, the quickest and easiest way to get rich and famous is to make it big on social media. Such is the subject of Liza Mandelup’s newest documentary, “Jawline”. The film splits its time focusing on two groups of influencers at various stages of success. First there’s Austyn Tester, a 16-year old high school dropout from rural Tennessee who wants to use his good looks, sunny disposition, and rabid online fan-base to “get famous, so then I can change the world.” The second half goes to a group of interchangeable teen boys (we’re never given their ages, but at best, they’re fresh out of high school) living together in an LA home under the iron fist of their manager Michael Weist. Theirs is a tightly regulated lifestyle where any time not spent posting, tweeting, live-streaming, etc. any branded content is met with Michael’s scorn. At one point, an argument ensues about whether or not to open a video with “hey guys”, lest they alienate their non-female fans. Even though it’s not as well done as the Tennessee portions, the LA half of the film mostly serves as a distant warning to Austyn: this is the fate that awaits the rich and famous in 2019. Thankfully, the amount of time spent between the two is more heavily weighted to Austyn and his struggles.
According to my records, it's been 10 years since I've seen Minority Report. It holds up well. Spielberg tackling Philip K Dick's universe is a pretty unique mixture. Though Spielberg's eye for more fun adventure-style action kind of gets in the way somewhat. The fist fight between Anderton and Witwer in the automobile factory and the jet […]
Dig the concept. But the execution is pretty haphazard. Atrocuously awkward visual effects, zero chemistry between Biel and Cage, and the plot is nonsensical at times. The nuclear threat feels very much shoehorned into the story in a "let's make it like 24" way. (Funny too, since Thomas Kretschmann played a villain in 24 season 2 - the one wit […]
Sure, I had a really hard time buying into Matt Damon as a "bad boy congressman", but there's something to the general aesthetic and dialogue that feels so appropriate for Philip K. Dick. I applaud the movie for that alone because PKD's writing style has such a surreal and lived-in feel to it that translating it to film is really difficul […]
I remember seeing this when it first came out and being really disappointed by it. Revisiting it now, I thought "it can't be that bad, right?" Then I saw that the Farrelly Brothers directed it and that confirmed for me that, yes, it can be that bad. And worse.It's repetitive, dumb, and much more juvenile than it needs to be. There's […]
I'm just realizing right now I might hate rainbows. Oh my God, me too. Let's just keep this really real and grounded.Wait. You guys do realize...sorry, rainbows are real.I am really surprised how charmed I was by Unicorn Store. This movie is a whimsical take on confronting adulthood and adult responsibilities when life crushes your soul and aspirat […]