I remember the trailers for Everybody Wants Some (2016) were almost confusing. They made no argument for why anyone should get off their ass and get to the theater to see the movie - a film about a bunch of baseball players at the fictional East Texas State University, kind of screwing around, and...
It seemed the ads almost counted on a knowledge of how Linklater's other movies worked, and counted on you wanting more with different characters. But in 2016, an all-male cast of dudes acting like dudes seemed almost tone-deaf, and the population who would be nostalgic for the college years circa 1980 was mostly home watching Downton Abbey.
Honestly, the first fifteen minutes or so - I wasn't sure I was on board. It *is* an all-male cast being dudes. I'd like to say college dudes are not that crass, but some sure are, and the things you let slide...
Justin returns to talk a movie everyone *should* agree on, the gargantuan movie about a very small and polite bear. It bears some discussion what makes it work and what makes it stand out in a crowded field of children and all-ages film. Have a good cry with two grown adults talking about everyone's favorite fellow from darkest Peru.
I'm not really sure what qualifies as an indie film in this day and age, or even what constituted an indie movie in 2010 when Meet Monica Velour was released. But it had been a while since I'd watched a lower-budget film like this one - and it almost hums with "this is an indie film" in a way the big studio releases I've been watching simply do not.
The movie pitches itself as a "career high performance" for Kim Cattrall, and I'll argue - maybe! I have only seen a fraction of her catalog, but she is, indeed, very, very good in this movie. I totally get why she jumped at the chance to play this character, especially when the general TV and movie audience was associating her with her character on Sex and the City. And, frankly, she nails it.
The weather in Austin is historically cold and we're having a winter storm like we normally only ever see on television in other states. It just doesn't do this in Texas. Or, at least, it didn't tell global warming. These polar vortexes are a real sonuvabitch.
Anyway - we're all super stressed hoping the power stays on and our pipes don't burst and we don't freeze to death in our own homes. But, ha ha, we probably won't. So we watched a movie with an ironic title.
(update: 02/16/21 1:35 PM - it did, indeed, freeze. We lost power. It's been rough. Power is back for the moment.)
"Based on a true story" is more or less Hollywood speak for "we got the three things you remember about this event right, and everything else doesn't bear up to a quick Wikipedia check". It doesn't mean this or others movies aren't worth watching, but always always always Google the subjects of "true story" movies after finishing a film. It's inevitably more interesting than what's in the movie.
I do not remember the 1988 Calgary Olympics at all. I was 13 and lived in Texas where none of the sports existed, and didn't watch much TV at that time in my life. Jamie was actually at those Olympics, so she remembers the actual events and guy. I think I vaguely remember watching hockey.
Eddie the Eagle (2015) is a fine movie - a decent one for kids and adults. Unlikely guy goes to the Olympics to compete - and the glory is in trying. I've spoiled nothing - you can still watch. Everything is very color-by-numbers and has the edges removed. I mean, it's fine - I enjoyed it for what it was.
I dunno what to say about it. Somehow Shane Black made a movie that managed to utterly surprise in every scene, was absolutely wrong, and absolutely hilarious. Had a killer soundtrack, featured Keith David and gave Kim Basinger stuff to do.
I am not sure liking this movie this much makes me a good person, but there we are.
Every time I rewatch Wonder Woman (2017), I'm stunned at the complexity and completeness of the character arc for Diana in the film. But here, at the end of 2020, how much Diana's illusions and how she deals with them being shattered, resonates.
From the first time I saw this movie, I know I've been saying it's one of the only superhero films to actually understand what a superhero is and what they do. It's something comics themselves have forgotten as the writers have fallen into the traps of Hollywood script rules - and the movie itself does, in fact, play with those same rules. But as a character, Diana is pure. She's not out for revenge against someone who performed an injury of some sort upon her or a loved one. She's outraged at the world of man and what they allow to occur - saying there's nothing that can be done.
Arguably, no one involved with this movie knows how anything works in real life and everyone but Danica McKellar's character should be fired. And Dolly, of course, should always be held blameless.
We've watched a lot of parts of Hallmark movies this year, but watched almost none from start to finish - but when a movie promises to serve up Dolly in prime, post 2000 incarnation of Dolly as glamorous wise songstress and embodiment of goodness - I'm in. I have, in fact, watched a good chunk of "The Coat of Many Colors" movie and everything.
SimonUK and Ryan have a holly jolly time biting into the 2017 multi-genre cult fave that has them singing and dancing in the aisles. Join us for a yuletide discussion of a newer film that might just be the Christmas treat you're looking for - it's a real slay ride.
This is the most insanely lazy movie I've seen in a while. Like, it's one of those where you're watching and thinking "literally nothing in this movie is how that thing works". Not how tornadoes work, meteorology, news reporting, children, school, architecture, accents, clouds, pregnancy, smoke, basements, emergency situations, college, glasses or Ft. Worth. Or, in fact, Christmas.
Like - why? How did this script get written? Was it by someone amazingly dumb? Were they kidding and no jokes landed? I just don't get it. I am not an expert in ANY of the topics above, but I do live on earth, and I have a sense of memory of events and observations.
AmyC and Ryan say the word and find themselves checking out the heroic adventures of one of comics longest-lasting heroes who finally found his way to the big screen. And, it's a Christmas movie! We discuss the comics, the movie and what makes for holiday cinematic magic!
Watched: 11/21/2020 Format: Amazon Prime Streaming Viewing: Second Decade: 2010's Director: Rian Johnson
Rian Johnson is one of those directors we need more of. He's smarter than his audience (sorry, he is), and he's making stuff he'd want to see, and if we happen to come along and like it, too, great. If not, it doesn't matter. He made something *interesting*.
On the heels of his stupidly controversial gigantic Star Wars movie that followed his usual way of doing things and managed to make maybe the only interesting Star Wars movie since Empire, he turned to the all-star murder mystery - a la Inspector Poirot films. But not a murder mystery that relied on nostalgia, an exotic setting and romantic period in which the film occurs. It's a family all brimming with motivations to take out the patriarch as they gather in the family a mansion in a wealthy Massachusetts suburb.
Tis the season for genre mashes! It's horror with Christmas joy! Join us as we peek in on a family that has lost its Christmas spirit - and is now facing a giant beastman-shaped reckoning. Marshall and Ryan talk the 2015 holiday horror hit that's become a bit of a perennial favorite (already!) - which reflects on how the holidays with family can really be a nightmare.
It's round three for film adaptations of Spider-Man, and this time they made Aunt May a stone cold fox. After Disney and Sony sorted out their differences, Spidey finally became part of the MCU and - despite not following origin movie rules - manages to turn in a fun movie with a weirdly sympathetic super-villain (it's BATMAN).
I saw The Monster Squad at Showplace 6 on a weekday in late summer when I was a kid. I must have said something about the movie and thinking I'd miss it (it wasn't released until mid-August of 1987, which would have been just as school was starting), so I'm guessing I thought the clock was ticking. My dad loved movies, too, when we were kids. Not like some of your dads who showed you Carrie or whatever, he just liked going to the movies or making a bucket of popcorn at home and watching a movie with us.
All I know is that on a weekday in the few weeks Monster Squad was out, my dad took the afternoon off work - came home and got me, we watched the movie - and then he dropped me off and went back to work. I don't think he remembers this at all, but it meant a lot to me when I was 12.
Director: Tom Ford
A lot of the coverage of the release of this film was that it was directed by Tom Ford, a fashion designer - which is an interesting idea. One would assume a fashion designer has an eye for visuals, lifestyle cues, wardrobe and staging. And - arguably, Ford delivers on all of these things.
He's cast beautiful people and dressed them well. He's hired some beautiful people and dressed them down. And, of course, there's the opening sequence which casts some (let's be honest) not gorgeous people and dressed them not at all. For Ford - this is a hellish horror, absurd and tasteless, open to interpretation and meaningless, so awful its funny. And knowingly hard to look at. And... is, at best, a very small building block of what is arguably his point with the film, and set me to thinking about what and who a Tom Ford is and how that would set them for empathy and sympathy with characters in a story.
Director: Don Hahn
Let me start by saying: in a lot of ways Disney+ is much better than I ever expected. I've enjoyed the Disney "from the vaults" content, catching new material, behind the scenes at parks, movies, etc... with One Day at Disney and two series - one on the making of The Mandalorian and an exceptional doc series on the making of Frozen 2.
And, of course, then the release of Hamilton. I haven't watched Black is King yet, but that's a pretty big line in the sand for the Disney brand to put out on their flagship, no-doubt-this-is-Disney streaming service when Disney has usually just avoided anything that invites cultural critique.*
But Disney+ putting a doc about Howard Ashman, a gay man who died of complications from AIDs at the height of the epidemic, and being honest and open about his sexuality and struggle with the disease, is... kind of mind-blowing. There's something about the platform of their own streaming service and that you've already paid your money to have it that seems to have freed up the Disney Corp to tell some stories well worth telling I don't know we'd see if they didn't have this avenue.
The doc, itself, is the life story of Howard Ashman who - paired with Alan Menken - wrote the musical numbers for Little Mermaid, Beauty and the Beast and Aladdin. He also wrote and originally produced Little Shop of Horrors - which was his big breakout hit off-Broadway.
It's really a pretty great story, well told, and has the heart-breaking knowledge of what happened to Ashman in the back of your head. And, sadly, the fact he was the musical partner of Menken and that he died of AIDS was all I'd known about him until watching the doc.
I don't want to get into details too much, but as loving as it is, it isn't shy about who Howard Ashman was and doesn't make him into a saint - while illustrating pretty clearly what sort of mind he had that helped push the Disney cartoon back into prestige territory (and why Disney was flailing at the time he showed up).
For fans of animation, musical theater, or Disney-history - well worth the viewing.
*Disney tends to get lambasted no matter what they do, and I've stood there and listened to lines of people parrot back the criticisms of Aladdin, Lion King and Little Mermaid during 3 summers at The Disney Store. I would invariably listen and then say "well, I make $4.50 an hour working here and while I'll tell my manager... really, your best bet is writing the studio in California."