Shelf life. How movies fall in and out of touch with society. Relatability is a circle. Eric’s new film Antrum is the deadliest film ever made and also the number one trending movie on Amazon Prime!
David Mamet and Roger Deakins reconvene as Double Feature looks at the guiding hand. A complete deconstruction of what it even means to “write” a film. Also: the secret holy trinity of horror cinematography.
Tragic masculinity examined as Double Feature covers movies people have actually heard of!
EMERGENCY EPISODE. Film in the time of Coronavirus. Universal sends their theatrical releases straight to VOID as the country joins a world-wide shut down for COVID 19. Modern and period pieces on class are left in the past by a world wide pandemic.
Low-fi crime day. Two films with an odd relationship to comedy. Contrasting personal relationships in the lives of similar characters. Why Double Feature is shelving the pandemic for a special emergency episode.
A front for murder. Sweeney Todd (The Demon Barber of Fleet Street) finds Mr. Todd and Ms. Lovett making pies. No one asks Anthony Stewart Head to sing. Meanwhile, things are much different in the world of Cold Fish. The ever-changing rules of Sion Sono.
Music as a weapon. Talking about films that leave you speechless, like Blindspotting and The Devil’s Candy. Blindspotting is more than just a film about a cop shooting a black person. Oakland’s moment in cinema. Presenting conversations through the art of film. Eric and Michael’s bad geography lesson. Gentrification. PTSD. Cultural appropriation. The White Shield. Felony convictions. The difference between armchair philosophy and lived experience. Beat beating. The importance of music bridging the gap between Blindspotting and The Devil’s Candy. A quick watch. Michael can’t every remember what happens in The Devil’s Candy, but loves it. Hating devils in film, unless they’re white. Metal as the anti-devil force for a change. Forgetting Hard Rock Zombies. The challenge of showing a character’s amazing art. Child murder returns to Double Feature. Uncertainty is scary. Being bad at murder. Deconstructing a film murder scene. Why are we still here? Ah, right. The Patreon.
Eric and Michael finally dig their hooks into I Know What You Did Last Summer films 1-3. Is it a slasher franchise or a hooker franchise? The fisherman Ben Willis. The plot is largely ignored in service of some broader elements of the franchise, so here’s the spoiler-inclusive run down in case it’s useful. A group of kids hit a man on the road and leave him for dead. One twist later, it turns out he’s alive. The plot thickens as David appears to have committed suicide after he was in an accident in which his girlfriend Susie died. In another stunning development, it wasn’t a suicide at all and David was actually murdered. As it turns out, the murderer is Susie’s father, who was the man the teenagers hit on the road and now THEY’RE NEXT.
Lang’s Fairy Books meet Grimms’ Fairy Tales. Rhyming Doo-wop films, Donkey Skin and The Brothers Grimm. Eric hates fun. You watch Jacques Demy’s Donkey Skin carefully. French New Wave. The phone is fine, but why’s there a helicopter? Flaying a donkey and wearing its skin can be off-putting. Also something about incest. Most importantly, cake-baking. Terry Gilliam’s The Brothers Grimm is very American. Major Hollywood film look and feel. Grim reboots. The evolution of fantasy films into superhero films. Lost franchise potential. Unique inaccessibility. The battle between arthouse and blockbuster franchise choices. Will Johnny Depp have another Killapalooza? Production hell as a film motif. Suggest a film to cover by joining the Patreon.
A very British double feature. Well, a somewhat British double feature. Ok so like, half a British double feature anyways. The English make bad coffee (sorry, Charles). Double Feature Year 12 is the year of plots that don’t adequately summarize the film. Blowup has intrigue, murder most foul, and a simple plot. Photography, mimes, and controlling a narrative. Leaving Existentialism 101 to discuss murder. A man searching for a literal and metaphorical propeller. Control and powerlessness. Eric finally learns what Barry Lyndon is. The Kubrick photography. Narration. Not being sure if a film is comedy or not. The epic film, but without the typical arc or lessons. Reading situations wrong. Literal temporarily embarrassed millionaires, for a change. Intimate candlelight.