Double Feature is a weekly audio show available here, on iTunes and at various other platforms. In this free podcast, Eric Thirteen and Michael Koester discuss two movies in-depth. Double Feature takes a positive look at films of all genres, finding even horror and exploitation movies have amazing things to offer.
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Separating ideas from personhood. The attempts and failures to separate Julian Assange from Wikileaks. An alternate angle of Citizenfour. Differentiating factors between Edward Snowden, Julian Assange and Chelsea Manning. Laura Poitras’ attempts and failures to separate making the documentary Risk from her own human life. The reluctant voice over. How The Matrix picked up the conversation started by Ghost in the Shell and ran with it. Embracing Ghost in the Shell’s post-sexuality, post-gender and most of all post-humanism. Moving past gender identity and perhaps past the very notion of identity itself. Humans crave identity, society eradicates identity. Forget “robot overloads” and AI pop-culture – the real unnoticed threat of autonomy, where it will strike first, and how much sooner it’s coming than anyone is acknowledging.
Midnight movies back characters into corners with disastrous results. Exploitation in all its promises and everything you thought it could never be. Climbing the tower of Joe Lynch’s Mayhem. An action movie with all the horror bits. Contender for highest concentration of satisfying payoffs. Promise office supply closet mayhem, over-deliver on office supply closet mayhem. The fucking corporate world and serious fucking need for more heavy metal face-smashing there. Here come the icons! An exploitation Brawl in Cell Block 99. Cell block? Cellblock? Spoiler, happy surprise party, here have this delicious torture porn. Breaking faces and the fear of more broken faces.
Double Feature’s 500th episode celebrates by trying to figure out what a film is. David Lynch directs the something like a a Julee Cruise nightmare called Industrial Symphony No. 1: The Dream of the Brokenhearted. Stripping away elements, adding to horrors. Isolating the elements of a nightmare – what makes it tick? The meat man. Or woman. Or break-up personification thing. Sawing logs and the best time signatures to do it in. Knock Knock kids watch Lucifer Rising. The county pole and its capacity limitations. Best locations for a honey pie. Various jams. In the twenty first century, screaming is no longer gender restrictive. To be nothing.
Socially imposed guilt, the failures and successes of the penal system, and colorblind justice in the United States of America. Or none of that. New York, San Francisco, and the texture of location. There’s one show left and it’s time to do a good job. There’s an entire previous deep dive of Spike Lee shows you can find on Double Feature. New York and one of the first post-9/11 films. Fighting the article. Double Feature listeners get some free Shudder. White dude’s going to prison. Slanted snuff. Activism and death on film. When activism rushes in – an overwhelming avalanche of terrible images we should all so but fuck are there a lot of them oh god help. From Sundance to Marvel – the incredible success story of Ryan Coogler.
Auteurism beyond control. Kuso’s graphic depictions of graphic something. The artistic merit of creating the most horrible man-made experiences. Vulgar imagery and its place in the arthouse. Sundance movie Kuso and the power of credentials. Putting in the work / trusting the author. Double Feature midnight jelly. Reality (2015) or Réalité. Or maybe Reality (2014) depending on timezones or whatever. Higher level Hollywood satire (or: inside baseball). Things producers get stuck on. The greatest groan in cinema history? Music, film, and the race to an impossibly original idea.
Presidents and propaganda continue. Boy, do they continue. Harry S Truman (basically considered unqualified for the job, hahaha) is elected president because America. Revolution Number 33 Franklin D. Roosevelt is dead man miss him miss him. Ok, reel it back in here. Was the bomb a good idea? Well, no, but there’s a controversy. A pretty fucked up set of 40s and 50 US propaganda, this time made by the actual United States of America government. Everything is fine, don’t fear the bomb, it’s all ok, also get under that desk, kid. The government’s response to fear it apparently to throw more commas into the sentence. Mistaking propaganda for the real thing.
Two space films of completely equal merit and in fact equal in every direction and one of them is not total fucking nonsense. Hey, actually, maybe both of them or total nonsense? Wade through an existential crisis and find out. Jokes about the size of a Solaris. An entire Galaxy of Terror. Galaxy of Terror: larger than Planet Terror? Not an actual question anyone asked or cares about or even makes sense. The question Double Feature is most prepared to answer – what’s going on with all this monster rape? Seriously, what’s with the monster rape in Galaxy of Terror? And furthermore, why is monster rape even a trope? Can’t people just be naked in film? Is there a reason this happens? Will Michael’s Roger Corman impression Continue reading
Southern hospitality as crime heads into the American, well, south. Blue Ruin, Green Room, and Double Feature’s other favorite colors. A man is naked. Why is this man naked. Wait, where is this man going. On no, that poor man’s head. Marilyn Manson is only in Let Me Make You a Martyr for about ten minutes, but because of the Hollywood advertising machine his face must be on every part of the film or no one will see it (and maybe that’s true). How to pitch Let Me Make You a Martyr a bit more honestly. Opening up the untold tales of the American opioid epidemic. If you haven’t heard of this thing called Shudder, you should go take a test-drive. It’s Continue reading
Iconic pairs of mis-understood law breakers speed away from long arm of the law. Or, it’s the end of the year, time for a really obvious double feature. First, The Blues Brothers as the ultimate Chicago movie. Cultural appropriation and the real life, no fucking kidding blues. Carrie Fisher is the fucking greatest and humanity is worse off without her. Not nearly enough can be said about her. She was in the beginning of a new act in the last few years because of Star Wars and people are now discovering all the work she did since the original series and she was just wonderful.Anyways, the musical comedy act. Is Thelma and Louise the feministic movie for 2017 or does 2017’s feminism not allow it? A debate. How audiences want to treat gross people of all walks of life (and why maybe that’s ok for a little while).
Social issue genre films. Trojan horsing social issues. How Get Out keeps it subtle by riding the elephant in the room. Having a conversation with the audience that’s actually showing up. Jesus Christ Get Out is scary, what the fucking hell. Cultural appropriation. Hey, you didn’t know it, but you’ve actually show up for a conversation about emotional manipulation. Welcome. Oh, don’t bother with that door, it locked from the other side. So glad you’re here. Why don’t you just have a seat? A seat. Sit. Down. Now, where to begin – were you paying attention to those monsters? Yeah, pretty complicated. Hope you don’t think you’re going to sit there thinking about trying to find science fiction plot holes in Colossal, there’ still this whole dump drunk you’re about to drown in. Hang on a second, let’s Continue reading