Two crooked takes on kids with Crank-infused Mom and Dad and the 2021 Norway film The Innocents. Intense and emotionally charged performances. Nicolas Cage is at it again. New reports state: plot is happening. Giving a voice to the voiceless. Genetic psychopaths and how they are sometimes on television. Grappling with the violent urges. Youthful cruelty, the exploration of power, and the emotional violence and conflicts within relationships. Two films that touch on the theme of testing childhood morals and values.
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Taking the other path – delving into the two cult horror films with The Keep and The Strange Case of Dr. Jekyll and Miss Osbourne. It’s a day for very dark secrets on Double Feature.
The Keep, a supernatural horror film set during World War II, follows a group of Nazi soldiers who unknowingly unleash a powerful and ancient evil while stationed in a mysterious castle in Romania. The film explores themes of good and evil, the consequences of tampering with dark forces, and the power of faith.
The Strange Case of Dr. Jekyll and Miss Osbourne” a French-German horror film based on the classic novella by Robert Louis Stevenson, follows the story of Dr. Jekyll, a scientist who becomes obsessed with separating good and evil in the human psyche and ultimately transforms into the monstrous Mr. Hyde in spectacular fashion. The film takes on themes of duality, the dangers of obsession, and the blurred lines between good and evil.
The Keep and The Strange Case of Dr. Jekyll and Miss Osbourne have been recently re-re-rediscovered as cult dark-genre movies and are known for their exploration of distinct visuals used to exploring deeper, darker secrets.
Through the chaos of it all, Double Feature takes on a Claire Denis double feature. As is often the case with Denis, here are two highly regarded films – “Both Sides of the Blade and Stars at Noon. This episode digs into the themes and experience with no previous Claire Denis homework required.
Both Sides of the Blade, a dramatic film about a soldier who returns home after serving in a war-torn country, explores the psychological toll of combat and the challenges of reintegration into civilian life. The film discusses trauma, guilt, and the difficulty of navigating relationships after experiencing intense and life-changing events.
Stars at Noon, a psychological thriller set in weird-future, follows a journalist who becomes embroiled in a conspiracy while investigating the disappearance of a scientist. As she uncovers the truth about the scientist’s research and its connection to a powerful and secretive organization, the journalist is forced to confront her own beliefs and values. The film explores themes of power, corruption, and the manipulation of truth.
Both “Both Sides of the Blade” and “Stars at Noon” have been praised for their thought-provoking themes and the ways in which they challenge audiences to consider deeper questions about the world around us.
Michael makes Eric watch a movie so you don’t have to. Just what elevates Jackass to such heights? Maybe Impractical Jokers has the answers. In this episode of the podcast, analysis is conducted through the framework of performance theory. Both films considered feature a group of individuals engaging in pranks and stunts for the enjoyment of their audience. By investigating the power dynamics and representation within these performances, this episode engages with the concept of humor and the formation of identity in modern media. The cultural significance of these films is also examined, as they both obscure the distinction between reality and fiction and subvert traditional conceptions of masculinity. Through a thorough analysis of the films’ techniques and themes, this episode endeavors to provide a deeper understanding of the role and impact of prank-based entertainment.
A larger conversation about the shrinking world and the hidden rip-off cinema within it. In this episode of the podcast, the cultural impact of the films Lady Terminator and Robotrix is examined. Lady Terminator, a horror film about a woman possessed by an ancient spirit, became a cult classic in Indonesia and gained a dedicated following around the world. Robotrix, a science fiction film about a group of scientists who create a group of advanced female robots, was praised for its unique take on the traditional “femme fatale” character. Both films have influenced pop culture and spawned a number of sequels and imitators. Through interviews with fans and experts, this episode explores the enduring appeal of these films and their place in the broader context of horror and science fiction.
A film too sexual for audiences to take at its deeper meaning. A film too awards-season for audiences to not want it to be about a sex joke. In this episode of the podcast, wade into the cultural impact of the films Lolita (1997) and My Octopus Teacher. Lolita, a drama film about a man’s obsession with a teenage girl, sparked controversy and debate upon its release for its depiction of pedophilia. The book was similarly not spared… but just what is Lolita? My Octopus Teacher, a documentary about a man’s relationship with an octopus, became a hit on streaming platforms and won numerous awards. Both films explore themes of love, obsession, and the blurred lines between humans and nature. Whether you’re a fan of taboos or tentacles, this episode has something for everyone.
Memory, identity, and the human experience. A podcast that just won’t quit. The films Koyaanisqatsi and Memoria are analyzed for their thematic elements. Koyaanisqatsi is a documentary film that explores the relationship between humans and the natural world, and the consequences of technological progress. Memoria is a drama film about a young man struggling to come to terms with his past and build a better future. Both films explore themes of memory, identity, and the human experience. Through a close examination of the films’ plot, characters, and themes, this episode offers a nuanced look at these thought-provoking and emotionally powerful films.
The rumors are true. Double Feature has returned. In this episode of the podcast, the cultural climate of streaming-only film releases is examined through a watch of recent movies Prey and Orphan: First Kill. Prey is a horror film about a group of friends who become stranded on a remote island and must fight for survival against a group of cannibalistic predators. Orphan: First Kill is an unlikely sequel to an underrated cult gem. Both films explore themes of survival, trust, and the dark side of human nature. As streaming-only releases have become more common in the film industry, these films and others like them have gained a niche and sometime random following among viewers who appreciate their unique blend of horror, suspense, and drama. This episode discusses the appeal of these films and their place in the broader context of streaming-only releases.
Double Feature completely resets the show. New listeners, start here. An all-new format – uncut, uncensored, unprovoked. Hosts with emotional stability issues now welcome. Nope is a film that explores the themes of spectacle, violence, and the erasure of Black people in American entertainment history – using science fiction and myth to fill in the gaps in the historical record and confront the grief and violence of that absence! On the other hands… The Black Phone explores the use of horror as a means of cultivating empathy and dealing with real-world trauma, as well as the importance of remembering and acknowledging the victims of evil in order to confront and prevent it.
Hear EVERY previous episodes at Patreon.com/DoubleFeature – starting new? This is a great 1st episode to download! An all-new reset of the podcast starts next episode. In this episode: a no spoilers retrospective of the entire last year. Also included in this episode, what is next for Double Feature? Continue reading
Spices will flow in the last double feature of Year 14. A discussion of two thought-provoking tales of political intrigue, Dune and Spice World. The recently released Dune: One More Time With Feeling is a science fiction epic that explores themes of politics, religion, and environmentalism through use of a sprawling intergalactic society. Spice World, released in 1997, follows the fictionalize pop group the Spice Girls as they navigate the challenges of fame and friendship while preparing for their first live television special. Double Feature analyzes the cultural significance and lasting impact of both films, drawing connections between their respective genres and the broader context of their respective time periods. They also discuss the enduring appeal of each film and the ways in which they have influenced popular culture. Or with Dune, future-appeal anyways.
The final installment in the French Extreme + Exploitation journey. Also, what has been going on with Double Feature? In this episode, the films Battle Beyond the Stars and Them are analyzed for their underlying themes. Battle Beyond the Stars is a science fiction film that explores the concept of individualism versus collectivism, as the main character must rely on the help of a diverse group of mercenaries in order to defeat a tyrannical ruler. Them, on the other hand, delves into the theme of fear and the power dynamics that can arise when a group is placed in a threatening situation. The film follows a family as they are terrorized by an unseen entity, and the characters’ relationships and sense of security are tested as they fight for survival. Both films ultimately address the ways in which individuals and society as a whole can confront and overcome challenges.
Video game otherworlds in Silent Hill and Super Mario Bros. The Morton Jankel cut! focuses on the films Silent Hill and Super Mario Bros. and their themes of alternate realities and the blurred lines between good and evil. In Silent Hill, the protagonist discovers a mysterious town that appears to exist in a parallel universe, where the line between good and evil becomes increasingly unclear as she uncovers the town’s dark past. Similarly, in Super Mario Bros., the titular characters are tasked with rescuing Princess Peach from the evil Bowser, but as they journey through the Mushroom Kingdom, they encounter creatures that challenge their beliefs about what is truly good and evil. Both films explore the idea that there are often multiple perspectives and grey areas in moral dilemmas, and that these can be challenging to navigate. Continue reading
Considering ethics in Anatomy of Murder and The Act of Killing. The podcast episode on the themes of Anatomy of Murder and The Act of Killing explores the disturbing and complex nature of violence and its consequences. The first film, Anatomy of Murder, is a classic crime drama that delves into the motivations and aftermath of a murder, as a defense lawyer tries to prove the innocence of his client. The second film, The Act of Killing, is a documentary that confronts the perpetrators of the Indonesian genocide, as they reenact their crimes for the camera. Through these two films, Double Feature examines how violence can be justified and how it can leave a lasting impact on those involved and society as a whole. The episode also touches on themes of justice, morality, and the power dynamics at play in both films.
Actors doing their thing to comedic ends in The Impostors + Withnail and I. The podcast discusses the themes of The Impostors and “Withnail and I”, both of which explore the concept of identity and the performative nature of self. The Impostors, a comedy film about two struggling actors who accidentally become involved in a wealthy socialite’s disappearance, delves into the characters’ desire to escape their mundane lives and fulfill their dreams of fame. Withnail and I, a British black comedy about two unemployed actors living in London, delves into the characters’ struggles with their own sense of self-worth and the influence of societal expectations on their identity. Both films offer a humorous and satirical look at the struggles of trying to navigate the complexities of one’s own identity in the face of societal pressures and expectations.
Swimming Pool, directed by François Ozon, and The Vanishing, directed by George Sluizer, both explore the concept of identity and the lengths to which individuals will go to uncover the truth. In Swimming Pool, author Sarah Morton travels to her publisher’s house in the South of France to finish her latest novel, but becomes embroiled in the mystery surrounding the disappearance of Julie, the publisher’s daughter. As Sarah delves deeper into the investigation, she begins to question her own identity and whether she is capable of committing a crime. The Vanishing follows the story of Rex, a man whose girlfriend disappears while on vacation at a gas station. As he searches for answers, he becomes increasingly obsessed with uncovering the truth and is ultimately faced with the disturbing realization that he may never know what happened to his loved one. Both films examine the complex relationship between perception and reality and the destructive power of obsession.
Identity and reality. Open Your Eyes, a Spanish film recognizable for one weird reason, follows the story of a wealthy young man named César who suffers from a disfiguring accident and begins to question the veracity of his surroundings. The film delves into the concept of identity and the ways in which it can be altered or manipulated. On the other hand, Never Let Me Go, directed by Mark Romanek and based on the novel by Kazuo Ishiguro, explores the theme of reality through the lens of a dystopian society in which human clones are raised for the sole purpose of organ donation. The film delves into the ethical implications of such a society and raises questions about the value of human life. Both films ultimately challenge the viewer to consider the concept of self and the role it plays in shaping our perception of the world.
Playing with self-image. To Be or Not to Be is a black comedy about a troupe of actors in Nazi-occupied Poland who use their skills of deception to fool the invading forces and save their country. The film delves into the idea of role-playing and how we present ourselves to the world, as well as the blurred lines between what is real and what is performance. Rango, on the other hand, is an animated film about a chameleon who must confront his own lack of identity and discover his true self in order to save his town. Both films explore the importance of self-discovery and the power of finding one’s place in the world.
A podcast episode on the films Daughter of the Sun and Sheitan would explore the themes of identity, transformation, and the blurred lines between good and evil. In Daughter of the Sun, the main character embarks on a journey of self-discovery, learning about their true identity and the power they possess. Sheitan delves into the darker side of human nature, as a group of friends are confronted with the disturbing behavior of their host and must confront the evil within themselves in order to survive. Both films explore the complexities of the human experience and the ways in which our actions can shape our identity.
Manipulation on a scale from least to most delicious. The podcast episode discusses the themes present in the films Snowpiercer and The Favourite. Snowpiercer follows the story of a rebellion on a train carrying the last remnants of humanity after a failed experiment to stop global warming results in a new ice age. The film explores themes of class struggle and the consequences of greed and power. The Favourite, directed by Yorgos Lanthimos, is a historical drama set in early 18th century England that follows the tumultuous relationship between two cousins, Sarah Churchill and Abigail Masham, as they compete for the favor of Queen Anne. The film delves into themes of manipulation, power dynamics, and the corruption of personal relationships. Both films examine the destructive nature of societal hierarchies and the lengths individuals will go to in order to attain and maintain power.
The signature style. In this podcast episode, we will explore the unique styles of the films The Grand Budapest Hotel and The Fall. The Grand Budapest Hotel, directed by Wes Anderson, is known for its visually striking and meticulously crafted sets, as well as its quirky and unconventional narrative structure. The Fall, directed by Tarsem Singh, is known for its visually stunning and surreal imagery, as well as its unconventional and non-linear storytelling. Plus: the crazy rumor of how The Fall was actually made. Both films showcase the distinct and signature styles of their directors, and demonstrate the potential for cinema to be a visually and narratively innovative art form.
Ah, the common themes of submission and dominance present in the films Hardcore (1979) and Dogs Don’t Wear Pants. Individuals will navigate sexually provocative worlds while struggling with their own personal desires. The family vs the dungeon: watch two people try to find their place within a power dynamic. The episode will delve into how these themes are presented and how they relate to the characters’ personal growth and understanding of themselves. Through a discussion of the films’ style and narrative, the episode will delve into how these themes are explored and how they speak to universal human experiences.
Ringu films 1-4. What films are even in the Ring franchise? As is pretty well known… the Ringu franchise is a Japanese horror film series that revolves around the theme of cursed videotapes that cause the viewer to die within a week of watching them. The films explore the consequences of technology and media on society, as well as the dangers of curiosity and the supernatural. The franchise explores a variety of themes over the course of its several installments. One of the main themes of the franchise is the concept of death and the unknown beyond, as the central plot revolves around a cursed video tape that kills its viewers after seven days. The films delve into the idea of death as an inevitable and unknowable force, and also explore the lengths that people will go to in order to avoid their own mortality. Additionally, the franchise touches on themes of family and relationships, as many of the characters are driven by their love for their loved ones and the desire to protect them from the curse. As the franchise progresses, the films also delve into themes of identity and self-discovery, as the characters uncover the mystery behind the curse and must confront their own fears and traumas in order to survive. Overall, the Ringu franchise uses horror and suspense to delve into complex and thought-provoking themes about death, family, and the human experience. And is spooky.
Kids doing bad. Youth and rebellion, and the consequences of violence and the power dynamics within groups. In Nocturama, a group of young people in Paris plan and execute a series of bombings, examining the ideologies and motivations driving their actions. Monos, set in the Colombian jungle, follows a group of child soldiers and their relationships with one another as they are tasked with guarding a kidnapped American engineer. Both films examine the complexities of group dynamics and the blurred lines between right and wrong, as well as the use of violence as a means of resistance or control. The stylish visuals and unique narrative structures of both films add to their exploration of these themes, creating a thought-provoking and memorable viewing experience.
It’s time for a saucy double feature. The podcast episode takes on the themes and cultural impact of the films Klute and Cruising. Klute, a crime thriller released in 1971, centers around the investigation into a missing person case led by detective John Klute, played by Donald Sutherland. Alongside the mystery, the film explores themes of sexuality, gender roles, and power dynamics in relationships. Cruising, released in 1980, follows the story of a detective, played by Al Pacino, who goes undercover in the gay leather scene to solve a string of murders. The film sparked controversy and backlash for its portrayal of the LGBTQ+ community and themes of sexual fetishization and violence. The episode will explore the ways in which these films address and potentially reinforce or challenge societal attitudes towards gender and sexuality at the time of their release and in the present day.
Isolation, mental illness, and the dangers of obsession. Two films lost to time – one that’s probably in the back of everyone’s DVD box collection somewhere, and another that is just now being released in the United States (40 years later!) Plus: Eric talks about getting into analogue filmmaking in 2022. One Hour Photo is so much different now that everyone is the main character from One Hour Photo. Arrebato (also called Rapture) and the Janus films and that subtle but not subtle gag. Considering the consequences of allowing oneself to become too focused on one thing to the exclusion of all else, and the dangers of allowing obsession to consume one’s life.
A tour through exploitation and the new french extremity lands on a definitive world episode. Mondo Cane turns out to be more of the exploitation landscape than many realize. Twentynine Palms is THE film to coin the term New French Extremity – or the movie being talked about, anyways. First up – all around the world, there’s free footage! Take a gander and royalty free documentary clips unlikely to be seen anywhere else! Cutting room floor material too hot for no one! Twentynine Palms brings the new french extremity to America. Everyone talks about the ending of Twentynine Palms, but what actually happens in the runtime of this film? Michael presents his most dubious theory of man. How Twentynine Palms earned the name New French Extremity. Where does the new french extreme go from here? Continue reading
Deepcuts for giallo-lovers. All the Colors of the Dark, a giallo favorite. Dream-giallo. Everything you can do when you’re not worrying about story. The great Edwige Fenech, cult sensation and absolute icon. The makeup! Two covers that did the job. Messiah of Evil as a hypothetical American giallo-adjacent horror film out of California. After the psychological but before the franchises, there was 1970s horror. Wandering through California grocery stores at 3am. Continue reading
Physical media day. A very modern look at Empire Records and High Fidelity. Empire Records, the underdog hero (or at least before the collective delusion that the underdog hero is Blockbuster Video or Tower Records). Found family vs the dicey proposition of working somewhere that asks you to “just think of us like family.” Tower Records as a destination venue. Where were you on Rex Manning day? When the independent record store was too much of a raging success that it just couldn’t stay open. High Fidelity brings everyone to Chicago. The top five listicles that signposted the coming of the end time. Movies about terrible people and the terrible people who misunderstand these movies. Feeling like getting back in touch with music? Explore the music map. Continue reading
The not-so-creature-feature. Park Chan-wook, all time genius pervert. Thirst, which is kind of a funny name, really. Here to talk about one thing, and that’s the sensuality of Thirst. How does Thirst make its sex feel more…well, sexy? Subs, dubs, and regional cuts for miles. Hunt down the proper version of Brotherhood of the Wolf and strap in. As a nice little bonus, oth of these movies explore themes of betrayal, power struggles, and the consequences of desire. The “other” is on full display, with all the fear and mistrust of those who are perceived as different or outside of the norm. Continue reading
Why can’t men just talk about their feelings? Two movies look at wonderful and terrible consequences of the unspoken. First up, everyone’s favorite Brokeback Mountain was a landmark film for American cinema. The lesser cited parts of Brokeback Mountain that fucking rock. What reads differently in this movie today. Brokeback Mountain as an example of real positive change in the fight for equality. Some men can discuss their feelings, but only if they’re also having sex sex. And now, for something different. A controversial film explains a very real criminal act. The Death of Dick Long is a story from another planet, but it really did happen here. At the heart of the conflict? Still some men not talking about what’s going on. Some taboos should never be eradicated – but should they remain taboos? A light film about a heavy story about a light headline. Or maybe it’s all dark. Why does this happen in small towns? Continue reading
Absurd beliefs disrupt society. Bill Paxton’s Frailty as a truly bizarre piece of 20001 filmmaking. What sets Frailty apart from everything that was coming out at the time. Religion obviously hurt Michael as a child. Who’s perspective is it, and does the film believe what its saying? The era of the twist further frays the possible reads of the plot. True Detective head cannon. Werner Herzog brings the strange docufeature Where the Green Ants Dream. Fake story, real activism. Or real story, fake actors? Fake acting, real activists? A more curious take on the previously discussed corporate destruction template. Continue reading
German bleakhause. A taste of German nuwave and cultural revolution. After a year chasing films like Possession and the Luca Guadagnino Suspiria, Double Feature goes on a quest to uncover the real German deep cuts. The low key insanity of The American Friend. Dennis Hopper and Bruno Ganz is enough, but it’s really only beginning. Who doesn’t love a West German Contax Zeiss prime? As long as it’s an MMG, we don’t need any ninja star bokeh over here. Sorry, forgot what this show was about for a second. Everything is terrible all the time and it’s not even World War 1 yet. How telling you exactly what to get from the film makes it even more puzzling. Is Michael Haneke a pain in the ass? Finally, someone sees this cold dark place for what it really is. When mastery allows you to fuck about in a way people wouldn’t accept otherwise. Continue reading
Spooky threads and haunted people. Sophisticated looks at various points in the fashion industry – first up, it’s high fashion houses and haute couture in Phantom Thread. The deviant lifestyle of Paul Thomas Anderson’s characters. Craftsmanship, the crunch, and doing literally anything for a break. What is Phantom Thread really about? What a time for strange and complicated fetishes. The work of Peter Strickland, a name that should be in everyone’s rolodex. The straight premise of In Fabric and the various themes discovered as it’s exercised. Various reads on dry britishisms. Continue reading
Exploitation meets the New French Extremity. Surprisingly little skin will be eaten in this not-exactly-cannible double feature. Is it Man from Deep River, The Man from Deep River, Sacrifice!, Il paese del sesso selvaggio, or The Land of Wild Sex? Why not all? In My Skin, a beautiful and weird film by writer / director / actress Marina de Van. See the Sea gets another namecheck, people really need to find See the Sea. For fans of Lucky Mckee’s May, In My Skin (or Dans Ma Peau in French) talks about some weird stuff. Continue reading
An unfamiliar New York. Navigating the dangerous waters of Once Upon a Time in America. Sergio Leone’s gory fairytales. The fear of a film swinging immoral. The impossibility of Pee-wee’s Big Holiday. Paul Reubens performs the magic trick. Is Pee-wee reading weirder or are we? Lost to time: 42nd start and geographic places that no longer exist on this earth. Continue reading
Fraternal revenge! Decidedly foreign takes of crime genres typically reserved for American cinema! Pairing up a listener pick! Release the bats is a real song and it’s actually good? The Birthday Party is not The Birthday Massacre. Also, El-P has a really good album called I’ll Sleep When You’re Dead. Anyways, who are the characters in The Proposition and what do they tell us about the themes of the film? DVDs: you wouldn’t steal car, would you? The brutality of the western and why American westerns never showcased it. From Michael Koester’s extensive Clive Owen collection comes I’ll Sleep When I’m Dead. An alternate angle to cover the rape revenge film from. Continue reading
Rediscovering cult movies. A tiny bit of genre, because who can help themselves. Michael is tricked into Vampire’s Kiss with the word vampire. Of every frame that is shocking in Vampire’s Kiss, which is the most shocking? What that accent actually does accomplish. Eric tries not to get fired while delivering some Nicolas Cage insight. The Cage performance is crazy, but it does make sense once you get it. Vampire’s Kiss as the story of a how a person becomes one of those New Yorkers who screams random things on the street. Repo Man is as a very out there film that stays very out there. Repossession is very cool, depending on whether or not you are presently employed as a repo man. The low-fi punk-a-fuck. Things you see, in a graveyard. Assassin murder monster! Enough time has passed that we can safely allow two cult Repo films to exist. Continue reading
V/H/S films 1-4. Breaking down every single segment of every single VHS movie in under an hour! The names behind each and every VHS film. Bonus Adam Wingard announcement – Eric Xandra Thirteen’s new documentary on the look of The Guest called Light and Fog. Creativity birthed through the fear of comparison. One word loglines for each V/H/S short. The alternative, darkwave, goth, post-punk & emo kids of Adam Wingard films. VHS segments, one by one. The VHS spin-off called Siren. The lost VHS segment. When the cheap look of an era moves from worst to chique. Repeat producer Roxanne Benjamin! Which is the lightest VHS segment? Which is the heaviest VHS segment? Michael makes a call for techno-horror. What ultimately makes V/H/S work. Continue reading
Adolescents faces the threat of imminent demise. Childhood games go very, very wrong. Summer of 84 taps into the ongoing 80s-kids-on-bikes genre. The overwhelming sense of dread. When the twist is simply delivering on the promise. Adults, and how they basically fuck everything up for everyone. The oppression of daily life before legal coming-of-age. Films getting the hooks in. Takashi Miike plays a dangerous squid-less game with As the Gods Will. Earth’s new obsession with bottle films revives this prior unsceen WTF film. Soviet Montage Theory inspires Japanese CGI theory. Asian cinema – is it weird, or is it cultural ignorance? Even on the podcast, two Americans can’t put together enough collective knowledge of childhood games to make sense of it all. Continue reading
Mysterious crimes and the people who are obsessed with them. Also, mandatory darkwave jokes. People are sucking for The Cure Ending Explained. Agreeing on a premise for Cure. The so-called killer – what he does and how the role is played. Trying to work backwards from the concept of the sleeper cell. Checking in to see how science-based skeptic and resident critical-thinker Michael feels about hypnosis. The mind virus comes for us all. Sound design in Cure and the impact on the audience’s feeling. The most and least supernatural interpretations of Cure. Many audience wanted the film Zodiac to solve the Zodiac Murders. The built-in problem with all true crime, be it documentary or fiction. Zodiac as a precursor to David Fincher’s Mindhunter. Continue reading
The Halloween punchline no one asked for. Creating a synopsis for the indescribal Death Becomes Her. Special guest Zemeckis expert Michael Koester. Uncovering one of the truly great Bruce Willis performances that allowed him to then phone it in several times a year until the end of time. Who is truly the star of Death Becomes Her? So I Married an Axe Murderer as an early Mike Myers work. What makes Axe Murderer unique against the other Myers films. Keeping the audience guessing, even when they don’t know they’re doing it. A complete retrospective on the career of a unique breed. The death of celebrity. Something old, something new, something borrowed, something blue comes to its final resting place. But for how long? Continue reading
Wrestling with the history of exploitation film. Film is wonderful worker exploitation is bad, and adding race makes everything more complicated. Can we still celebrate the art of those who were exploited? Film as historical documents. The additional context provided by Horror Noir. French Extreme was not a planned movement! How the New French Extremity came to be by accident. French extreme films still call for directors to make work that is very much their own. New French Extremity became horror because horror directors starting making New French Extremity. Cinéma du look and what France considers an “over-stylized film.” Leos Carax is Mr. X. Introducing real sex: unstimulated sex in French brings on a wave of actual sex acts captured between actors on film. Finally, the bleak truth of human existence is confronted in one of Eric’s favorite all-time scenes. Continue reading
Something blue. What is aquatic horror? How Deep Rising under-sells what’s special about it, and what a proper logline of the actual movie would look like. The rag-tag crew trope. What fears does aquatic horror tap in to? The overwhelming size of big. The mystique of the shadow. Old CGI is finally coming into it’s moment. Controversial opinions on the truth behind the best eras of practical effects. When different low budget film makers get larger budgets. The unique films of Stuart Gordon. The character of the independent director. The artist’s hand. Cancel the ocean. Something old, something new, something borrowing, something blue will return. Continue reading
Something borrowed. A remake of a remake, sort of. In House of Wax (1953), Vincent Price pitches a wax venture. Maintaining purity in artistic intentions. Later, a person who may or may not be Vincent Price’s character shows up to propagate all the ideas he doesn’t stand for. 3D and other cinematic gimmicks throughout the ages. Which gimmicks stick and which send audiences fleeing the theater. The 2005 House of Wax remake borrows even less from House of Wax 1953 than that version borrows from previous source material. The bizarre reaction to Paris Hilton’s appearance in this very of-the-time horror film. Continue reading
Celebrating October with something new. Leigh Whannell and James Wan are back, back to back. Michael divides modern horror intro three groups. Creating a “wow moment.” Exploring the styles of Upgrade and Malignant: into the unique visual and narrative techniques employed by these two films. Upgrade’s utilization of a high-energy, action-packed style to tell the story of a man who receives a mysterious chip implant that grants him superhuman abilities. Malignant and the use of an atmospheric approach. Both films utilize their respective styles to heighten tension and engage the audience, making for an immersive viewing experience. However, the two films differ in their themes and subject matter, with Upgrade exploring themes of technology and the human condition, and Malignant delving into themes of the supernatural and the human psyche. Continue reading
Celebrating October with something old. Two films about people outcasted from society and the roles the are relegated to play. The invention of cinema in Paris. Or Europe. Or, you know, New York. Film was born wherever you want to say it was born. The era of the movie palace. Keeping Americans from watching foreign films. A period within a period within The Hunchback of Notre Dame. Getting to the bottom of What Ever Happened to Baby Jane. The often cited rise of television pushed film exhibition along – but, in often overlooked ways, film exhibition caused television to innovate as well. It’s the birth of repertory! (or: the re-run) Continue reading
The acid western. Jim Jarmusch’s black and white rock western…noir? Cinematographer Rober Müller. The central figure of the western. Tiny Johnny Depp. William Blake has a full time job – as an accountant. As an accountant. Entering the spiritual world. The original midnight movie. The man in black, El Topo, has to kill a bunch of people so that the woman he took advantage of will fall in love with him. Having exclusively covered the old gentle Jodorowsky, it’s time Double Feature talks discusses Jodorowsky the provocateur. Did Alejandro Jodorowsky actually rape his co-star on camera as he said he did? New York #cancels. El Topo as a Jodorowsky myth. Continue reading
Differing poverties. Turns out, this is not a cheeky Double Feature. A fresh breath of filmmaking in Pather Panchali, a movie many people are still discovering for the first time. The way current films address diversity is still condescending. The problem of getting audience to accept leaving their confort zone. New countries make movies – seeing the democratization of film making again and again as each country gets its own new wave. The punctuation of Pather Panchali’s impulsive nature & mood inserts. Give due respect to Miranda July. Kajillionaire’s surreal look at the modern day struggle with crony-capitalism. In addition to society, Kajillionaire takes on con artists, parenting, arrested development, isolation, existentialism, second changes, self-love, and so much more. Continue reading
Two intense films on opposite sides of the coin. Angst is a truly underground film, even today. Double Feature settles where in the the world these films actually come from. The internet hasn’t yet recognized the banned film Angst, and it’s about time someone gives it a minute. Home invasion from an outrageous new perspective. A movie that appears to be about and also made by mad men. Psychopathic camera. The Guilty – and not the Netflix made for TV movie. Trying to deconstructive the elusive recipe of The Guilty. How does a movie paint so many vivid scenes without ever showing them to the audience? All the amazing places you go in The Guilty without leaving the room. What makes The Guilty unlike any other bottle movie that’s ever appeared on Double Feature. Continue reading
A deep dive into Technicolor. The experiment inspired by The Love Witch – what can be learned about technicolor by watch back to back? Plus, how Technicolor became a powerful influence on the style of the 1950s and how it’s remembered today. Gentlemen Prefer Blondes, a 1953 movie filmed on three strip technicolor film and processed using Technicolor’s dye imbibition development process. The Love Witch, a 2016 movie painstakingly recreating the feeling of 1950s cinema, using many of the same techniques of the 1950s, and shot on 35mm film – but importantly, without the ability to utility long-obsolete technicolor film or processing. Bonus theme for people who don’t care about any of this nonsense: decade separate contrasts on feminism! First up, Gentlemen Prefer Blondes provides an amazing example of spectacle technicolor Continue reading
The second chapter of the Exploitation + New French Extremity journey. This times, files that can be viewed around the world! Fortune smiles upon Double Feature as a theme of freedom and rebellion ties the parallel film movements together. The Wild Angels as a biker exploitation arthouse film. Roger Corman was a filmmaker’s producer…kind of! The many notable directors and writers that came from the Corman camp. Baise-moi as a misunderstood entry in what would later become known as The New French Extreme. The developing trend in French extremity toward unstimulated sex. What is Baise-moi actually about? Continue reading
Artful witches have an odd way. A coven helps break down the mise-en-scène with Suspiria (2018). The feeling of European arthouse films may have been buried in the 80s but it was resurrected by Suspiria in 2018. Mise-en-scène is a french term from the Cahiers du Cinéma world of criticism, but at least one pretentious fuck uses it in practice and they also host a podcast called Double Feature. If Mise-en-scène can be used to craft an immersive film, it can be used to reverse engineer one. Belladonna of Sadness is an honest and moving story about the stages a rape survivor goes through. It’s also a psychedelic slide show with a bunch of silly dicks. At the same goddamn time. Continue reading
A walk through youthful breezy films with a robust set of interpretive tools. Looking at Kiki’s Delivery Service after everything learned on the grand Ghibli journey. One tiny witch, one big village. Independence, it’s everything you ever wanted and nothing you were prepared for! Eli? Roth? The House with a Clock in Its Walls as an Amblin film. The real secret to immersive filmmaking doesn’t rely on the picture – and actually, it’s not just the sound either! So what is it? It’s inside this podcast, so stop reading this lengthy description and listen to the episode. You’ll have a good time. Really, you will. And you deserve it, don’t you? Don’t you? Continue reading
Independent, and maybe Independent As Fuck. One of the all-time greatest comic book adaptations, Ghost World. It seems illegal to watch these actors in this film. A debate on whether or not every single person in Ghost World is fucking boring. An extended exercise in writing a logline and what it can tell us about about films that refuse to be put in a box. Todd Solondz’s film Wiener Dog as a collection of stories connected to the presence of the eponymous doggo who goes from owner to owner. Eric refuses to speak french, even for Bresson. The impossibility of Dawn Wiener and the Todd Solondz multiverse. A case for every Solondz film’s gallery-quality. A whimsical anthology gets two wieners out of a possible five. In conversation: a twenty-first century meditation on dick jokes contained within podcast descriptions. In a special bonus chapter, a human continues writing lengthy descriptions for the purposes of robot organization based on outdated assumptions about search engines. Continue reading
Enter the world of Wong Kar-wai with Chungking Express and the spiritual successor Fallen Angels. A day and night Hong Kong pair from a director who should have been on Double Feature a long time ago. The filmsboth explore themes of loneliness and isolation, as well as the search for connection and meaning in a fast-paced and often impersonal urban environment. Both films also employ unconventional narrative structures and use elements of fantasy and surrealism to portray the inner lives and emotional states of their characters. However, while Chungking Express is a romantic and dreamy exploration of love and loss, Fallen Angels is a darker and more cynical look at the dangers of desire and the corrupting influence of money and power. Both films are also notable for their innovative use of music, montage, and non-linear storytelling, as well as their visual and stylistic flourishes, which help to create a unique and immersive cinematic experience. Continue reading
Bottle films where mad men (of various numbers) make one or more participants play a deadly children’s game. Bonus points: films that are very aesthetically of their moment (or maybe even more specifically, a moment that summarizes the most popular color grades of the prior decade). Ready or Not, a film that gets away with it by surpassing expectations. How the arc, character dynamics and overall writing make Ready or Not stand out from the usual suspects. Samara Weaving is out here winning hearts and minds and everyone knows it. Looking at Would You Rather as a midnight film, which is probably the best way to watch it today. The crushed contrast of the 2000’s hate-film. Torture, abuse, and other fun things we did in the cinemas for some reason. The particular challenges of this kind of high-concept film (and how each movie attempts to overcome them or even use them to their advantage). Continue reading
The rough and tumble birds of existential cinema. Cockfighter as the rare Corman underdog. The drifter and the road film. Holding strong onto the extended bird metaphor. Don’t call Pigeons sky-rats. The composition of A Pigeon Sat on a Branch Reflecting on Existence. An easy look at obtuse arthouse that you can try at home. Using a logline to figure out what a film is about (when the film itself isn’t a lot of help). What it’s like to see The Pigeon with people and the strange ambivalence to cruelty when watching in isolation. On the ground reporting: New York City has something hopeful to offer. Continue reading
Find two movies fucked up enough for each other. An interdisciplinary approach to subverting the issues of equality? Tie Me Up! Tie Me Down! or Pedro Almodóvar’s ¡Átame! Representing the world as it is vs as we wish it was. Almodóvar’s observations on the nature of machismo. The storyteller’s lack of moral obligation in observing the world as it is. A mental patient representing himself as pretty normal but also sometimes having a fake mustache. A conversation about the importance of tone vs narrative via The Witch Who Came From the Sea. A cursed film. The very strange ways people come to the film and the eerie sense of mystery it ads. What (still) lurks on channel X? Lowercase double features have returned to the physical world! What difference does watching a beaten 35mm print actually make on the viewing experience?
American Exploitation and The New French Extremity. Want a better understanding of these movements? Start here! Take a deep dive on the entirety of two misunderstood subgeners in this multi-part series, beginning now with Marihuana and Criminal Lovers. The complete who, what, where, when, why of exploitation. Feigned outrage as a cover to enjoy smut. Exploitation films seek to ride a wavelength of some conversation already in the public. They’re looking to hitch themselves to the zeitgeist. Whether they deliver or not, they will become a mile marker on the evolutionary path of various tropes and stories. Future writers will see them in their younger influential years or even just walk by the posters and they’ll become part of the mixture that makes up mainstream tellings of similar stories. Also by being an early form of independent cinema Continue reading
Failure to launch. Welcome to Double Feature! Giving love to two battle-weathered films with epic ambitions. What is a logline? How can you use loglines to get more out of films you loved? And actually, films you really didn’t? Jupiter Ascending as an underground misfit of multimillion dollar proportions. Chicago gets a moment in the sun. Lazy jokes about cleaning toilets. The (not so) hidden trans themes in Alita: Battle Angel. The possibly unintentional themes of Robert Rodriguez films. Engineering and world building. Why anime so often dabbles in trans motifs where other YA material does not. Continue reading
Get access to ALL previous episodes at Patreon.com/DoubleFeature – starting fresh? This is a great first episode to listen to! A full reset of Double Feature begins next episode. For now, here’s a spoiler-free retrospective of the entire last year. Each year of Double Feature is a self-contained series. The podcast looks at two movies every week in a quest to determine what’s notable about them. First up, a whole year of loglines. What is a logline, why is it important to film discover, and will this type of analysis continue? Throughout the year, additional themes, motifs, and advertising spins are considered. At the end of the year, the finale episode (this very episode) takes a look back at the entire run. Journeys, marathons, triple features, and more all get one last conclusion before the show takes a fresh start. Continue reading
Good and evil nonsense. A new release honors the late John Carl Buechler’s original gore effects as the Tammy and the T-Rex Vinegar Syndrome restoration blurs the line between 1994 release and 2019 release. Freshening up an old Double Feature gag. Who will admit that Tammy and the T-Rex actually happened (also, did it?) Denise Richards rides off on a dinosaur. Why do the restoration? Behind the Curve is a flat-earthers documentary, and it’s fun, and is that ok? Why people believe weird things. The power of community, even when the word “community” mostly just means an intangible thing in a sad person’s mind. What’s the harm? Remembering the work of James Randi. Continue reading
For the last episode of Double Feature, the show declares victory in the war on religion. Mission Accomplished! With religion completely eradicated in the United States, Americans can focus on what really matters: self-pleasure! Double Feature takes a look at god in cinema. Once a prominent figure, god is now such a fringe part of modern life that films almost need to explain what it is. The absurdity of telling an audience what god is supposed to be isn’t much worse than telling them what the true meaning of anything is. Religion poisons everything. Masturbation as a sub-set of masturbation. Double Feature plans a look back. Continue reading
The final stop in the Studio Ghibli stop motion adventure. The journey comes to and end as year finale questions are flirted with. What Porco Rosso means to someone who has just watched a string of Studio Ghibli films. A single adventure in a larger world. There are symbolic Studio Ghibli war movies and then there are Studio Ghibli movies wherein the war occurred or is even portrayed. Hayao Miyazaki antagonists. My Life as a Zucchini is called Ma vie de Courgette in French, which sometimes leads to the English version being called My Life as a Courgette. Especially if you’re quite British. A defense of G-rated film for fans of ugly subject matter films. The utility of motifs for visual and meditative storytellers. Various motifs in My Life as a Zucchini. Continue reading
Country side gets fucked in to grounded movies that spin into surreal wtf nightmares. Deerskin, also known as Le daim, also known as this weird fucking Quentin Depieux film. One cannot prepare for Depieux weird. What the jacket really wants. The unlikely stars who show up for this bizarre time. Coat-wearing dysmorphia. A horror film for some, a great fantasy about filmmaking for others. Get Duked! as a Danny Brown v Run the Jewels hip-hop megacut. The music videos of Ninian Doff. The D of E! The plot of Get Duked is based on a real, no kidding Duke of Edinburgh award which is a very real thing that very real british kids can all go do. How a fast paced film can go beyond the machine for empathy and become an audiovisual adrenaline shot. Continue reading
Adrift in the world. Two Americans get Lost in Translation. The midlife crisis is a redux of the 20 something finding their place in the world. 2003, Focus Features, and the rise of the existential indie into the mainstream. It’s ok to be a rude fuck if no one can understand you anyways. It would be nice if Americans learned something about the immigrant experience from Lost In Translation but that’s probably too much to ask. Double Feature takes a trip back to magic time in their lives with He Died with a Felafel in His Hand. Missing out on the present. Eric recalls the most obvious thing he didn’t even think to film during The Birthday Massacre 2006 Bootleg. Continue reading
Addiction to normalcy. Moving demanding conversation: the style of the Sound of Metal debut could mark the return of the film festival style release (even if there was no festival). An entire way of life is threatened, and with it goes the sense of normalcy. The denial phase. How drug addition is the unspoken experience looming over Sound of Metal. Avant-garde music is the perfect choice for the film. The pain of audio in a visual-heavy medium. Manipulating language to keep the audience alienated. The notable consciousness-threatening first hour of Jacob’s Ladder. Michael believes the audience’s entire relationship with the film’s madness can be pinpointed to a single critical scene. What was happening in horror when Jacob’s Ladder came out and how it may have secretly helped pay the way for the new tone of the 90s. Continue reading
Art-smut! Tentacles and sea-foam reign as Double Feature continues to live deliciously. The Lure find another coming of age use for genre metaphor. What are the rules of the world in The Lure and more importantly, to what ends are they used? Eric makes a stretch for trans-themes and honestly give it a go. What the ending of The Lure could me for audiences and also teenage girls. The Untamed from the tentacle’s perspective. Who are the players and how are their stories intermingled? Homophobia, repression, guilt and shame. No one shame this tentacle though, it’s doing its best. Character mysteries once the plot is settled. Continue reading
Mainstream films with the stomach for sexuality identity discourse. Booksmart makes an appeal to both blockbuster and niche audiences. Rewatchability – how editing and pace and reward an audiences many times over. Challenging the far too common trope of sexual identity and experimentation in the college years. Other ways Booksmart pushes narrative to be just a bit more sophisticated. Moonlight is a surprising breakthrough. Why Moonlight should garner attention even before any discussion on its themes or narrative. Picasso’s Bull. Dissecting the relatability of a film you don’t see yourself in. Double minorities and the fracturing of networks of support. Continue reading
Punishing cinema gets criminal. Memories of a Murder subvert the ringer trope. What makes this Bong Joon-ho film truly upsetting. South Korean cinema creeps up on Double Feature in a retrospective of the films covered so far. The unrated cut of The House That Jack Built and the MPAA fuckery that caused it. A report from the sold-out one-night-only showing of Lars von Trier’s uncut killing spree. Art is Murder. No, you’re thinking of The Smith’s song. Getting away without rolling the eyes. How The House That Jack Built provokes in new ways. The stories about Lars and how they feed into the controversial film. Always remember: fuck Hulu. Continue reading
Sex and sexploitation. Artfuck films ask the world to rethink their preconceptions on cinema and smut. Chelsea Girls provides a deep dive into Andy Warhol. What is actually on the screen during the runtime of Chelsea Girls? Why is it there? What does it mean? How Any Warhol films were made. What Any wanted as an artist. The Factory and factory films. Bad Girls Go to Hell causes Eric to take a pause on sexploitation. Exploitation films as a Chicago-based phenomenon. In an era where audiences and consumers are more conscious of their choices than ever, what is the value of programing Bad Girls Go to Hell? Asking hard questions about what audiences give a spotlight to. A new Woody Allen documentary series provides a brutal point of comparison. Continue reading
Rooting for smart people to solve the room. Matt Damon is making it work on Mars. Building a narrative feature film with a protagonist who has no one to interact with. Charm and charisma is apparently how you avoid 90 minutes of talking to plants. The power of great people doing their best work. Plant-based devastation. Solving Fermat’s Room before grandma’s Facebook feed does it for you. A broader conversation about the solvable bottle movie. Contained puzzle thriller role-call. Triangles not included. Circle and the race to strip down the escape room. Continue reading
Two fills that could nearly get away with the same synopsis. Another music video director turned feature storyteller. Queen Latifah proves to be an amazing on-screen force. Character-drive heisting. Remembering back to the good times. The one scene in Set It Off that should be on every goddamn list. Sugar and Spice is a whiplash change in tone. Speaking to the American Dream. How Sugar & Spice calls out the capitalistic fantasy that is America. Middle class revolt. Eric changes sides on the video-store-guy trope. Continue reading
This stop on the Studio Ghibli meets stop motion adventure takes the infamous final act turn. Two of the most divisive movies in their series. The burden of expectations. First, Tales from Earthsea takes a popular fantasy series of fiction and distills it down until its basic elements before distilling further until it’s not really distilling so much as just creating something entirely different with the same character names. Goro Miyazaki handles the expectations of the family name. Then, Tim Burton fans recon with the lightning in a bottle of previous stop motion films bearing his name. An honest look at Corpse Bride as the show attempts to view it with fresh eyes. Continue reading
Agatha Crispies. A little bit of “if you like American movie, try foreign movie”. Knives Out + 8 Women. First, Kate Hagen brings attention to an alarming trend that’s causing films to be completely lost to new audiences. Knives Out as a very unlikely blockbuster. Making bold choices in a broad movie. Eight Women, also known in as Huit Femmes, was doing Knives Out before Knives Out was doing it. The bizarre comedy in the music and editing of eight women. Continue reading
Mysterious family lineages lead to some nightmarish happenings. Pieta is an intense film even before the legacy of the director. How pieta manages to be about not only interpersonal conflict but also class warfare. Blue My Mind becomes a conduit for a larger conversation on genre-lite coming of age films. Is it better to dance around the much desired genre elements or lean in at risk of under-delivering? Why coming of age and fantasy go so well together. In a special Double Feature emergency: something alarming is happening to the films you love (and the future films you might). Kate Hagen wrote about it in her article Continue reading
Truth and fiction are blurred in a look at why some bands make it and some don’t. Dig! as a documentary everyone who cares about art should see (whether they like music or not). Oh hey wait, it’s THAT band. When someone gets several once in a lifetime shots at fame (and throws them away every time). Paul Hewson and the boys. Trying to make it in music when the other band from your small town is U2. That’s Killing Bono for you. Two films compare two bands side to side for a total of four musical acts – three that people have heard of, and one that had a film written about then. Very, very bizarre musical math. Continue reading
Two emotionally damaged people go on the warpath. Creating a pitch for Destroyer. The marketing and presentation of Destroyer – which buttons to push? Not the first Karyn Kusama for Double Feature. Taboo sexual encounters for the record books. Elevated police procedurals, a twist on structure, and a different kind of Los Angeles. You Were Never Really Here gets another half-hearted pitch in an attempt to lure out it’s themes. Bizarre structure strikes again. You Were Never Really Here as a picture of toxic masculinity. Continue reading
Maniac Cop films 1-3. A look at the entire Maniac Cop franchise, William Lustig, Larry Cohen, and Robert Z’Dar’s Maniac Cop! Trying to talk about killer cops after the popular conscious has realized that cops are a self-sorted bunch of killers. Can a killer cop franchise still be fun while we’re recognizing with ACAB? Surprisingly yes, and it might be thanks to the extra layer the conversation has added to otherwise deliciously-fluffy films of 80s VHS violence. The cop, the fire suit, and the ongoing attempt to find plot. Double Feature continues to write loglines, and for the first time, maybe the first loglines a film has ever had written. Continue reading
Psychosexual arthouse films are not for everyone. Actually, it could be argued that they’re not for anyone. This is not the most important conversation in cinema – it’s what people who see too many weird movies discuss in the safety of arthouses. However, after nearly a year of arthouses being closed around the country (and everyone having seen too many weird movies at home), the arthouse is very much missed. This episode examines two films of Isabelle Huppert, giving space to these very provocative conversations spurned by the films of directors Paul Verhoeven and Michael Haneke. Is it for everyone? No. Is it for anyone? That remains to be seen. Are there merit to these films? Absolutely. Double Feature gives fair warning, then breaks down Elle and The Piano Teacher. Continue reading
Double Feature takes a trip to San Francisco to welcome its newest resident. Two films taking place in the city by the bay. Taking on the plot of Bullitt instead of spending twenty minutes talking about the edit of that infamous chase scene. Flying over the SF hills. The bizarre people people Bullitt. What The Last Black Man in San Francisco says about the city. Gentrification as a universal human issue. The ever-changing face of the golden city. The Paris of the West! Fog City, Gay Mecca, The City that Knows How, seriously, how many more of these could one want? American cinema would have you believe all its citizens live on farms and honestly it’s garbage. Continue reading
Double Feature says goodbye to Texas! Two films with differing takes on Texas. Keeping the film community together. No Country for Old Men and the ever changing world in which we live in. Yellow Rose is a very modern Austin. On the ground insight. While both films are set in Texas and feature strong performances, one is known for its intense atmosphere and sharp dialogue, while the explores themes of immigration, family, and the pursuit of dreams in a more emotionally driven manner. Dig deeper into the unique stylistic choices and themes present in both films and how they contribute to cinema both intimate and broad. Continue reading
Studio Ghibli meet back up with stop motion! If you must blink, do it now. Pay careful attention to everything you see and hear, no matter how unusual it may seem. And please be warned, if you fidget, if you look away, if you forget any part of what I tell you, even for an instant, then our hero will surely perish. Seriously, stop looking at your phone. Goddamnit, did you hear none of that? Go back and re-read it. Ok, but you can’t let your eyes de-focus. Just one time, try to take in the words. One fucking time. Please. Continue reading
Actors breaking free from their shackles. Keaton is back in the rumor mill, and this time it isn’t a Beetlejuice remake. Whether he’s going to play Batman again or not, he will certainly always be the Birdman. Michael Koester insists on calling the 2014 film Birdman “Birdman or (The Unexpected Virtue of Ignorance).” Why would you start the parenthetical after the word “or”? Shouldn’t it be Birdman (or The Unexpected Virtue of Ignorance)? The single take and how to solve the problem of scene tempo. Adam Sandler, also doing whatever the Adam Sandler version of Beetlejuice 2 is. Punch-Drunk Love is also a weird film for Paul Thomas Anderson. Continue reading
Spontaneous tiny humans zombie double feature. The secret indie film pitch deck. How to see the lookbook for Cooties. The cast and that timing and the reaction. How films with kids can achieve an extra level of subversion. Jonathan Milott and Cary Murnion are HONEST. Little Monsters, but not the one that two people are expected to spend 20 minutes breaking down. What is Little Monsters actually about. The pandemic catches up to Double Feature. Being alive is still hard (and it’s not even 2020 anymore). Continue reading
Sneaking in two final movies on the last day of 2020. Prepare for intense rides! It’s time to enter someone else’s mind, and it begins with Horse Girl. Determining how much is real and how much is artistic license. Using the performance of an actor as a tool to sell something in the plot that wouldn’t work otherwise. The level message at the fucked up end of Horse Girl. Possessor, a shock as seen by people who who are new to Brandon Cronenberg. The unexpected delivery. The highest compliment you can pay a film. Searching for an undiscovered sex act. Or really just anything in a film that no one has seen before. The surprising end to 2020: it only takes two movies to discover hope for a year many wrote off. Continue reading
Time is running out for 2020. The invisible authority and the roman à clef. David Fincher and Netflix. What the film Mank says it’s about vs what it is actually about. Imagining the story of Mank just 25 years ago. A film torn from today’s headlines, masquerading as a story from the 30s. No one else wants to talk about how gross classic Hollywood was. Why are we still romanticizing this old way of thinking? Nine Inch Nails also released a Ghosts double album this year: [HALO 33] Ghosts V: Together and [HALO 34] Ghosts VI: Locusts. The Assistant as an example of film à clef. When social injustice becomes a cliche. Finding a unique vantage point into a story the audience knows. How long before the whistleblower can blow the whistle? Continue reading
Celebrating New York with a random sampling of New York drug crime. Half of Double Feature explores a brand new city! Starting on the streets with White Girl. A disagreement over the privilege of White Girl when also considering she’s the victim of various sex crimes, assault and harassment. Still, look who’s not in jail! The unique position of having to do more of the crime that got you in trouble in order to get out of trouble for that crime. King of New York provides that perfect contrasty 90s NYC mood. Who can believe Christopher Walken, Steve Buschemi, Laurence Fishburne, Wesley Snipes, it’s really just crazy town in here. A city with so much crime, only the criminals can stop it. Continue reading
Double Feature takes a look at Los Angeles, old and new. Vibes. Eric makes an announcement about the immediate future of 50% of Double Feature. Magic adventures through Hollywood, DTLA, Silver Lake, and not The San Fernando Valley. The personal automobile: the festish Los Angeles just can’t quit. What do people do in the city? Go out to eat and drive around in their car. The most infuriatingly true part of L.A. Story: this thing you’re making isn’t wacky enough! Michael, a guy who didn’t love It Follows, thinks Under the Silver Lake is the best film of the year. The question of personal autonomy. Los Angeles in your twenties. Awful men, drifting through life. Continue reading
Another look at exploitation. Newcomer William Grefé meets returning champion Herschell Gordon Lewis. How does southern-fried exploitation film feel after America’s 2020 swing back toward democracy? A look at the broader themes themes of revenge, violence, and the horror of the unknown. Low-budget, lurid films depicting controversial or taboo subjects. Popular with audiences looking for a cheap thrill. The history and significance of southern exploitation films. Lasting influence on popular culture. Continue reading
Spending a little quarantine time with friends. Two films that are beyond gimmick. First up, Scare Me is a 2020 film that takes the anthology formula and then makes life even harder for itself. Breaking down the character arcs from the film’s logline. The secret anthology relationship Scare Me still has – hint: it’s not the segments, it’s the other part. Secondly, Creep. Eric struggles to describe Creep without asking if one of the characters is a Creep. An impossibly good found footage film that might be as good or better than all the other found footage films. Admit it already, found footage is interesting and you like it. Secret third double feature theme today: two films that have other films by the same name, and in Scare Me’s case, another film from this very year. What, were there just too many horror movies in 2020 for each one to have a unique title? Continue reading
The adventure continues as Double Feature pairs up another Studio Ghibli film with a stop motion film. The importance of finding and following one’s passions. Two films that discuss the transformative power of human connection. Digging deep to find the best and worst in yourself. Whisper of the Heart is a Studio Ghibli film like few others. Waiting for a floating what-not. Self discover and ambition. Anomalisa might be stop motion, but that’s only the beginning. Anomalisa’s many devices. The desperate search for something unique and special in a sea of sameness. Continue reading
Try watching a movie the week voters in the United States finally defeated the president. After four long years of heartache – and with the pandemic now spiking again – Americans have decided to put someone new in charge. They’ve done so by casting the most votes than any candidate has received in history. Double Feature celebrates the decisive victory by taking an honest look at any otherwise throwaway joke with Joe + His House. First up, Nicholas Cage should be who everyone thinks of when you hear Crazy Joe. Michael has conflicts with the fly-over states. His House is a surprisingly deep and rich film with a multitude of layers. Internal conflict vs external conflict. Past vs future. A schism in the unit. Racism, immigration, ICE and the rest. Britain as a kind of Trojan horse. Continue reading
Even fluff can be painstakingly deconstructed. Slumdog Millionaire and Magic Mike both explore themes of self-discovery and personal growth as their main characters navigate their way through difficult circumstances and unexpected opportunities. Slumdog Millionaire follows the story of Jamal, a young man from the slums of Mumbai who rises to fame as a contestant on the Indian version of Who Wants to Be a Millionaire. Through his journey, Jamal learns about his own history and the true value of love and family. Magic Mike, on the other hand, follows the story of Mike, a male stripper who is struggling to find his place in the world and make a better life for himself. As he becomes more involved in the stripping industry, Mike grapples with his own insecurities and desires, ultimately coming to terms with his true identity. Both films explore themes of love, identity, and the power of self-determination in the face of adversity.
Happy halloween! An trip through the decades of horror lands in the modern era. For all that is awful in the one, hold on to this one moment where two arthouse horror films had a wide theatrical release. It it utterly insane that Midsommar was a pop phenomenon. People took their nine friends to see Midsommar. It was an actual summer hit. And it’s fucking weird. Midsommar is about grief, it’s about relationships, it has a host of things an audience has never seen before (and a lot of them audiences probably wish they still hadn’t seen) and yet, here it is. A movie everyone saw. Isn’t it a great time to be alive? For those still not convinced, enter The Lighthouse! This poster was in theaters. People saw the trailer infront of the highest performing movies of the year. And it’s a constrained ratio, black and white, kitchen-sink insanity piece about two guys drinking late into the night and doing Continue reading
Y2K Horror: scares at the turn of the millennium. Eric finds something very worth-while in his least favorite era for horror. Valentine was really successful and for some reason people ignore it. A sincere attempt (and a false start) at bringing the slasher genre back. Valentine walked so Adam Green could soar. Idle Hands is pretty fucking good and for some reason people ignore it. Michael over-explains numetal. Will you bite? The hand that feeds you? Will you stay? Down on? Your knees? The various stages of the hand. American Pie presents Idle Hands. There is only one idle hand in the film Idle Hands. What films escaped Y2K alive? Continue reading
Straight into the heart of the 90s video films. Remember strolling through Video Value and taking a look at the covers of Ice Cream Man and The Dentist. Unorthodox Halloween continues! Another VHS, another film with renewed cult status. Clint Howard is the Ice Cream Man. The extended weirdness through sound and light. Reach back into Family Value’s discount section for the last copy of The Dentist. Straight to video does not mean unsuccessful – even financially! When a character just snaps, and then his snaps snaps, and that’s all before we even find out what’s going on with the poolboy. How many people can you fit in a dentist’s office? Continue reading
Off the beaten path of early 80s slasher films. The weirdest Halloween of our lives continues with two non-traditional halloween horror films. Three robots get together for good old fashion mall-cop brutality. Their victim? No, not the Bloc in Downtown Los Angeles, but instead a mall in the valley that looks suspiciously like the Beverly Center. Bloody Birthday as an experimental slasher film that was released before there were rules for this kind of thing. What happened with the 80s slasher films no one wanted to franchise? Why did some slasher films get franchises and others did not? Continue reading
War with a kink. How many bloods are in Da 5 Bloods? Spike Lee enters the stream. The Five Bloods. Talking about politics by actually talking about politics. How war and other tragic events shape reality for the years to come. Does a war ever truly end? Overlord, Bad Robots, and your favorite Wolfenstein level. Creating a film people will remember in their idle moments through set pieces and production design. The one WW2 element suspiciously absent from Overlord. When Hitler gets in the way of your good time. Continue reading
Unconventionally overcoming a person’s station in life. First Reformed and the path of radical activism. Inevitable comparisons to Paul Schrader’s Taxi Driver. Shouldn’t we all get radicalized? Eight and one half. How to decipher a film after you watch it and and aren’t even sure you could say what it’s about. Laying all the pieces of 8 1/2 on the table. French movies that are about something but you’re not sure what that something is. A different (and better?) way to handle the tortured genius trope. Continue reading
A look at pageants, adolescence, and outrage. Cuties, the Sundance film from France, garnered needless controversy when it accidentally became a trending topic. People on Twitter who don’t know what a movie is. Originally titled Mignonnes, Cuties is a sometimes-sweet sometimes-heartbreaking story of an 11 year old girl using dance to break free from her family’s conservative religious values and find her own identity. Save-the-children-gate only seems to go after people who aren’t pedophiles and suspiciously over-targets black female storytellers. Probably just a coincidence. Drop Dead Gorgeous disappears from planet Earth. The ephemeral nature of streaming services. 90s casting and a miraculous group Continue reading
Night of the Demons films 1-4. Also, there is a brand new episode of Additional Content available for members: Going Back to the Movie Theater! Now, every film from the Night of the Demons franchise (including the remake). Double Feature tries again. What is a Killapalooza? How Night of the Demons fits in the context of slasherdom. 80s horror style, gore, and nudity. A complete breakdown of Night of the Demons from brand new diehard fans. The first film never knows what’s to come. Michael visits Suncoast video. The power of sequels is realized! The approach of watching a series rather than watching individual franchise installments. The glory days of gory 80s makeup effects. Continue reading
And they say, where are the parents? Troubled kids in less-troubled times. Honey Boy has a lot to say about parenthood and what could be looked at as the grey shades of abuse. Pushing the logline further. The film as a secret insight into the mind and method of an actor. Super Dark Times, super good title. The new wave of movies about kids-on-bikes. A return to one of Double Feature’s favorite genres, something about kids and a raft. A single inciting incident creates extremely divergent paths for the two protagonists. The one person in Super Dark Times who just doesn’t get their due credit. Continue reading
Exploitation films amidst a time of social justice. Falling in an out of love with exploitation. Chicago’s cult cinema scene in the early 2000s. Hard Ticket to Hawaii, sexploitation, and cringey stuff that’s still part of American football? The dirty feelings talking about the exploitation subgenre “blaxploitation” today. The Human Tornado is an underseen kunfu action comedy. Rap, hiphop, spoken word, jive talk, and whatever it is where you randomly break in rhyme during your action sequences. More than just Dolemite – the life and career of Rudy Ray Moore. When an artist has to die for people to learn about them. The influence of Rudy Ray Moore. Continue reading
Big disaster (bottle?) movies! Plus: a brand new, long-awaited feature for Double Feature members. Crawl gains good faith on the horror by cementing down the emotional character details. Video game level design. Florida as represented here and elsewhere in dark genre. Michael accidentally does a really terrible Sam Raimi impression without knowing it. Revisiting the work of Alexandre Aja. Train to Busan, the secret k-drama. Time to unveil the secondary theme: families torn apart but not by the monsters! Actually, it’s sort of…families put back together by monsters? The virtues of selfishness. A quick moment to consider if morality still exists. The world is cold and bleak. Continue reading
Fuck the law. The 2008 film Hunger, about the second hunger strike by Irish Republican Army member Bobby Sands. Fassbender, not eating, and abusing the audience. After checking his car for bonds, a cop no one wants to hang out with exits the frame so audiences can hang out with Michael Fassbender. Liam Cunningham as a man with a beard sitting at a table talking and talking and talking. How context sets up a long take.The Silent Bob trick. If Beal Street Could Talk it would tell you not to make cheap obnoxious jokes about it’s title. How the non-linear narrative makes the situation even more crushing. Here’s a bunch of really specific bad things, the good time was there but yada yada yada, and then here’s some more really awful things to dwell on. Continue reading
A brand new journey begins. This multi-part exploration of Studio Ghibli and stop motion sends Double Feature on an adventure to further understand animation. In the first part, Spirited Away takes a unique look at the coming of age genre by secretly using it as an indictment of soul-crushing capitalism. Then, Isle of Dogs makes a postcard case for Japan’s mostly broadly understood culture and directs it squarely at Americans. Also, the film is kind of gross, right? No one says “I love dogs.” Mainstream audiences respond, but does the film get away with it? Continue reading
Existential dread, modern living and cosmic horror! Palm Springs as more than meets the eye. Copying once is theft, copying many times is a sub-genre. Each step of escalation. Having the cake and then also eating the cake you have (because what we be the point of having a cake if you couldn’t eat it.) Color Out of Space brings on the cosmic horror – but what really is it? The fear of infinite space without the actual space. Actually let’s go back to that cake thing. Who is out there having a cake and not eating it? Isn’t that. waste of a cake? What a stupid phrase. Not in the show: a shaggy dog! Continue reading
Animals and poverty. First Cow and the struggle to start without capital. The Rider makes a case for unavoidable metaphor. When a cow is mysteriously the first, two double feature hosts with stumble through a longline exercise. Cookie meets the fugitive. There’s something suspect about this partnership. The best French fashions come into question as a pastry caper shines a new light on the bounds of human friendship. The Rider’s open embrace of southern American youth. Sympathetic masculinity, horse riding machismo, and the feeling when no GF. How modern day problems created added relevancy in a years-old film. Continue reading
Ennio Morricone through casual viewing. Italy gives exploitation a high-art spin. Totally unintentional: Dario Argento appears everywhere. How Once Upon a Time in the West creates tension differently than the well-cited Mexican stand-off. The Sergio Leone color coded hat system for differentiating protagonists and antagonists. Different films require different musical motifs! A unique byproduct of playing against type. Four Flies on Grey Velvet’s plot cheat allows audiences to live deliciously. To focus on the plot is to miss out on the piece. No colored hat system to be found. Continue reading
Movies that deserve a second look! The secrets overlooked with Jennifer’s Body and The Bling Ring. The creative triangle of Karyn Kusama, Diablo Cody and Megan Fox. What the original theatrical audience missed about Jennifer’s Body. The strongest voice in the room. The true story of The Bling Ring. A secret secret second theme. MySpace or whatever. The world in which this became a story. Who gets away with what. Hanging out in Paris Hilton’s house. While we’re at it, Paris Hilton was great in Repo the Genetic Opera. That’s just a fact. This isn’t an episode about Paris Hilton, though. It just takes place in her house. One of things – Emma Watson’s layered performance. Continue reading
New to the podcast? Start here! In a brand new run of the podcast: considering canon in the multi-verse! How Into the Spider-Verse breathes new life into Spider-Man. Various animation tricks that work in both substantive and stylistic ways. Bringing the team together! Netflix presents Black Mirror presents Bandersnatch: one new clever tick to fight piracy. How long is Bandersnatch? Do you play or watch Bandersnatch, and whichever it is, how much do you have to do before you’ve really experienced it? Self-destruction in the arts. Training an audience to desire chaos. Continue reading
Go to Patreon.com/DoubleFeature for access to all previous episodes of Double Feature! A brand new run of the show resets next episode. For now, here’s a spoiler-free look back at the twelfth year of Double Feature. Each year of Double Feature is a self-contained podcast. The show looks at two movies every week and tries to find what’s notable about them. Throughout the year, additional themes and motifs are considered. At the end of the year, the finale episode (this one!) takes a look back at the best and worst of the year. Movements are scrutinized, conclusions are reached, and threads are closed before a new year of the show takes a fresh start. Continue reading
Exasperated final episode of Double Feature. Eric’s relationship with Richard Kelly. The newfound cult status of Southland Tales. Donnie Darko and Michael’s tonal whiplash of seeing Southland Tales for the first time. A movie from another timeline. Why did everyone watch Southland Tales all at once, years after it was release? The current world and the exhausted state of fury. Preparing for an end of the world party. David Cronenberg’s hopeless vision is a perfect feet for a deeper look at the source of modern agony. What is Spider really about? Secret Cronenberg movies that are actually just twenty years old and you’ve been meaning to get around to for so long you forgot they exist. Dissonant mysteries. Continue reading
BLM and Capitalism. Americans hold power to account as The Brands cash in. On the seventeenth day of Black Lives Matter protests in the United States, workers and corporations are both forced to find the right framing for returning to work in an economy that hasn’t even found its footing amidst the global pandemic. Sorry to Bother You as a singular force against capitalism and in defense of the worker. Finally, a film addresses the broken pact of work in the modern world. Bulworth is newly relevant as corporations figure out how to advertise in the middle of civil unrest. Is it enough to simple have heart in the right place? The message is the message. Continue reading
The final stop in a look at the roles of writer and cinematographer with David Mamet and Roger Deakins. Redbelt as a film not only written but also directed by David Mamet. An alternate to the action path more commonly traveled. Blade Runner 2049 as a film completely alien to the cinema landscape today. Roger Deakins as an invisible hand in a purely visible discipline. Michael and Eric disagree over how uncommon blockbuster sci-fi is today. This is the last episode in the Writer + Cinematographer adventure, but make sure to catch one final look back as conclusions are reached in the upcoming Year 12 Finale. Continue reading
The non-actor. Complimentary softness in the two films approach of the search for belonging.Tomboy and Bubble are two films that explore similar themes of identity and self-discovery, but through unique approaches. Tomboy tells the story of a young girl named Laure who, after moving to a new neighborhood, begins to present as a boy. Navigating this new identity includes confronting the expectations and judgments of peers and family. Bubble then follows the story of Martha, a middle-aged woman living in a small town in Ohio who works at a toy factory. When a new employee, Kyle, arrives, Martha becomes fascinated by his mysterious past and begins to question the choices she has made in her own life. Both films explore themes of identity, self-acceptance, and the search for belonging, but approach these themes through different characters and settings.
Another world, where things never made sense to begin with. A bizarre world. A more relatable world. Michael is a dog, now, and Double Feature leaves Earth to cover Avatar and Greener Grass. Bending elements. Tweet Michael if you’re not listening from Earth. Doing weird without having to suspend disbelief. James Cameron’s Avatar is one of few films younger Eric [redacted]. The plot of Avatar is not unique. 3D is gone. Mall goth scoffing. Personal mythmaking. The silliness of promoting the technology used to create art. Secret Papyrus correction. Was Greener Grass written by an A.I.? Michael watched Greener Grass in a roomful of people who didn’t know what they were in for. Assuming a film was executed as intended. Finding the things a film did well. Anti-art and anti-film. Filmmaking influences. Fans who will seek out films with no advertising or budget. My kid is a dog as a Continue reading
A much deserved look at the work of Bong Joon-ho. An update on virtual cinema! Barking Dogs Never Bite as a dark comedy. Investigating the theme of personal frustration and the ways in which individuals cope with their own limitations and failures. The story of a college professor who becomes increasingly desperate and unhinged as he attempts to solve the problem of a neighbor’s barking dog. A series of absurd and humorous events that ultimately reveal the darker! Mother examines the theme of the relationship between a parent and a child and the lengths to which a parent will go to protect their offspring. The film tells the story of a mother who is determined to clear her son’s name after he is accused of murder, and raises questions about loyalty, justice, and the corrupting influence of power.
Amazon’s SXSW 2020 Film Festival Collection. An isolation Double Feature provides a look into one of the early attempts to recreate some of the film festival experience as most of the world remains on COVID-19 lock down. Le Choc du Futur as a film that celebrates the process of creating electronic music, particularly in the late 1970s. Locked inside, experimenting with new sounds and working on songs. The detailed process of creating music, including false starts, repetition, and distractions. Electronic music as a revolutionary and forward-thinking art form. Vintage electronic equipment and an enveloping orange-brown color palette. Ah, TFW NO GF. Involuntarily celibate men who have rejected societal norms and often engage in violent rhetoric against women and people of color. The perspective of incels, who feel misrepresented by the media and misunderstood by society. A collection of edgelord tweets and 4chan screen grabs. Disaffected and disconnected from society. “Economic opportunities”? Social isolation, economic disenfranchisement, and a lack of positive role models.
A final trip to to the loose-trilogies of Lucio Fulci and Krzysztof Kieślowski. A showcase of how the past can shape the present. The House by the Cemetery delves into the theme of how the past can come back to haunt us, literally and figuratively, and how it is often difficult to escape its grasp. Three Colors: Red focuses on the idea of how the past can shape and define our relationships and how it is possible to connect with others despite our individual histories. Two films that deal with the theme of personal growth and the realization of one’s own limitations and flaws. Finding the ways in which the past can shape and influence present life.
Exploring Virtual Cinema with a stay inside and do a virtual séance double feature￼. What is virtual cinema? How virtual cinema differs from VOD in both spirit and practice. The unspoken blow to independent film in the time of COVID-19. Film Movement releases Zombi Child through arthouse theaters. Other Bertrand Bonello picks. A fresh take on zombies through a very personal and emotional examination of Haitian zombie lore. Zombi Child in the context of French cinema. France’s relationship with horror. Drafthouse brings the Alamo Stay-at-Home experience to Extra Ordinary. What is it like to attend the Alamo Drafthouse? Pre-show and Q&As. The visual and stylistic comedy of Extra Ordinary.
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! In Contagion there’s a global pandemic caused by a deadly virus and people can’t stop watching it. Fear, isolation, and the human cost of scientific advancement. The ways in which the spread of a deadly disease can bring out the best and worst in humanity. Demolition Man as a science fiction action film set in a future society where crime has been virtually eliminated. The film explores the theme of the dangers of totalitarianism and the importance of individual freedom. As the main character, a cryogenically frozen police officer, tries to adjust to a world where all forms of dissent are suppressed, he becomes increasingly aware of the dark side of a seemingly perfect society.
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. In the podcast episode discussing the films Vanya on 42nd Street and The Village, the theme of isolation and its impact on the human psyche will be examined. Both films focus on small communities that are isolated from the rest of the world, either by choice or by circumstance. Through the experiences of the characters, the podcast will delve into the ways in which isolation can lead to both psychological and emotional isolation, as well as how it can foster a sense of community and togetherness. The podcast will also explore the role that the external world plays in shaping the internal experiences of the characters, and how their sense of self is impacted by their isolation. By examining the themes of isolation and community in these two films, the podcast aims to provide a deeper understanding of the human experience in relation to the world around us.
Tragic masculinity examined as Double Feature covers movies people have actually heard of! Two films that both explore themes of violence and its consequences. Raging Bull follows the story of boxer Jake LaMotta, whose tumultuous personal life and penchant for violence lead to his downfall. American History X tells the story of a former neo-Nazi who grapples with the aftermath of his violent actions and works to reform himself and his ideology. Both films examine the cycle of violence and its impact on individuals and society. Two films that explore themes of redemption and the possibility of change.
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.
Two tense films about survival in family dynamics in two very different genres. One, Force Majeure, about an impulsive barrel of the gun decision. The other, The Killing of a Sacred Deer, a film at the extreme end of premeditation.
Living your identity! Tangerine is deeper than you may have heard. At least this once, let’s make sure we all know the full title of Priscilla Queen of the Desert is actually The Adventures of Priscilla, Queen of the Desert. Eric cuts Michael’s Dunkacinno jokes. Usually. Tangerine and The Adventures of Priscilla, Queen of the Desert. How Hugo Weaving ended up in The Matrix. Tangerine is a Christmas film, shot by Alec Baldwin. The public’s focus on unusual film trivia to the detriment of the actual film. Trans women are just people. Making a genuine, non-exploitation film. A different representation of L.A. The Adventures of Priscilla, Queen of the Desert is mostly just trying to be fucking fun. Thinking otherwise misses the point. Australian Rocky Horror Picture Show. Having to be drag queens to exist in 1994. Some gay people sound different and it’s not a big deal. Michael tries not to be problematic. Coming to terms with cultural change and acceptance. Michael does not know anyone in West Virginia. A time before Internet-sanctioned language.
Narratives vs numbers. Eric uses his tease voice. When you money some ball and win a sport. People who think they’re changing the world versus people who actually have an impact, for better or worse. Segway segue. The Sorkin trope of people working at their peak. Fictionalized reality. The importance of winning the final game. Scrappy revolutions. Betting on Zero and learning about multi-level marketing. The heroic wealthy white hedge fund man. Michael’s summary of Clint Eastwood films. The tragic victim at the top of the victim pyramid. Actual human suffering isn’t funny. Temporarily embarrassed millionaires. Anecdotes are the best friend of survivorship bias. Correctness is irrelevant to successful persuasion.
Maybe Gaspar Noé and Harmony Korine can be friends. Michael Climaxes all over a Beach Bum. The never-ending journey to give Harmony Korine a playmate. Eric has not figured out how to release Disposition. If you’re a Patreon, send in lists of films you want on the show. Climax is not a good time. The alternative to art is sometimes suicide. Building up to hell, then hell. Leaving the audience outside the character’s experience. Dancing. Leaving the alarming things unexplained. Maybe there aren’t drugs in Climax, as opposed to Beach Bum. Finding places in that feel like another planet. Secret wealth, privilege, and accomplishments. Pushing wheelbarrows of weed. Tripping into a Pulitzer without showing any labor. Eric gets upset that others might have wild success without doing much work. (No one tell him about his president.) Not letting the audience see how the character sees the world. Shit’s gonna work out, though. Michael on sharks.
The writing and cinematography adventure gets difficult! The Verdict and Doubt. The David Mamet, writer, and Roger Deakins, cinematographer, Year 12 journey continues. Even Mamet gets demands for rewrites. Convoluted plots that may not really matter without the core character. Writing a courtroom drama. Classic three-act structure. Deakins does what a film needs him to do. The things that happened on screen. Semi-ambiguous pedophilia returns to Double Feature. Foreground versus background. Subtle camera work allowing the story to advance. Revisiting the hypothesis. Ghosts versus sledgehammers.
Change through antagonism! A delightful experience with Assassination Nation and Hail Satan? Everybody who saw Assassination Nation died. Deliberately antagonizing people without just being a bigot. The trailer for Assassination Nation. A misunderstood teenager of a film. A Trojan horse full of challenging ideas for the audience. Check out this article. Hey Man, Nice Shot. The satanic church. Pink masses and turning the dead gay. The case for and against evangelism. When all your costume just amounts to wearing a fedora. Michael’s glad for the guy dressed as squirtle next to him in the theater, but doesn’t covet him. Satanic panic is dumb, but did lots of harm. On dismantling systems from within. Pigs heads are scary. Sign up for the Patreon and tell Eric and Michael what films you want them to cover.
Double Feature ends the decade with a very personal look at nostalgia. Mike’s Special Episode to close out the Year of Our Lord 2019 feat. the exploitation of nostalgia via Space Jam and The World’s End. The retroactive viewing of Space Jam. The differences 25 years makes. Michael Jordan used to be huge; now he’s just tall. The belief that things were better back when. Eric is still optimistic about the world. And loves Edgar Wright’s The World’s End. Darkwave and New Wave. Wanting to relive your past versus wanting to live forever. Nostalgia and the Internet. Michael’s message of hope: there is no God and it sucks for everyone right now. Death to Double Feature. Chip in a few bucks to keep Double Feature alive.
1v100. Takashi Miike returns to Double Feature with his hundredth film, Blade of the Immortal. French pronunciation secrets and Jean Vigo’s first and only film, L’Atalante. Eric and Michael ignore Alec Baldwin’s roles in both films and talk about bigger things. Having too much information. Someone who seems to still love his job, 100 films in. Barge life and dull synopses. L’Atalante is about feeling and is fucking amazing as a very early piece of cinema. Actual fucking cats. Michael presents a history of basic things invented after L’Atalante was filmed. Eric explains French New Wave and some of the art that followed in the footsteps of L’Atalante.
Crime without gloss. Looking into the heist with A Simple Plan and Logan Lucky. Join the Patreon and suggest some films, maybe have Eric read your name every show. Uncut Gems is notably not part of the Double Feature. Temporarily embarrassed millionaires. Education vs riches. Money doesn’t matter. Sam Raimi’s A Simple Plan is full of extremely elaborate plans. Different decades’ notions of how well dumb people can commit crimes. Soderbergh returns to Double Feature with Logan Lucky. The mystery of Rebecca Blunt, who may or may not exist, but definitely got Soderbergh to come out of retirement to direct. CSI KFC. Odd, great performances. Smart films about dumb people. Eric’s crisis about dumb people being wildly successful. When a lack of inhibition helps you get ahead.
Supporting casts rally around center stage when these films’ lead characters check out of planet Earth. Smash that Describe. John is writing the show descriptions now. (Hi.) Eric re-crosses the pond. The Double Feature Host Bubble and questions of pairing. The Big Sick’s dramatization of the main character’s real life. Secrets, social discomfort, relationships, and support. Arranged marriages, without and with vetting. Chicago menu spoilers. Moving from the audience-based soft focus to camera-based soft focus. The Lovely Bones costuming may be slightly over the top. Looking like a cartoon of a pedophile lets you have a more interesting acting performance. Peter Jackson’s filmmaking trajectory. Creating a grandiose world out of a small event. Giving the victim a voice. What makes a film hard to revisit? Killers are not fucking interesting. Brian Eno is, though.
Spiritual trilogies meet again when Double Feature digs deeper on a new pair of filmmakers. Eric’s crossed the pond and is on a tin can for the first time since Double Feature: The Early Years. Part two of the two parallel trilogy adventure of Year 12. Gracious gratuity in The Beyond. The Gates of Hell cinematic universe that never was. People forgot the lessons of the spider scene. Greatest Hits of gore shots. Also probably a story. Types of deaths in horror. Atmosphere. Kieślowski’s Three Colors: White. The French flag and revenge. Or equality. Heavily underappreciated, superb art, for art’s sake. An unconventional interpretation of equality. Solondz with less cum. Having a less personal story allows for more comedy.
Border is a fucking perfect film. Double Feature is still not a review show. Double Feature is like a telethon, complete with commemorative plates. Michael on deciding on his favorite film of the year. Film that does more than it has to. Keeping the audience actively assembling, but not confused. Show up, watch Border. Michael’s favorite Cary Elwes films. The Princess Bride is very watchable. Films that hide everything vs nothing. Michael fails to bring up The Congress. Using a framing device to cut to the second tape of Titanic. Never let Michael edit for you. Pathsploitation.
A moment in California surfer youth unexpectedly captures the imagination and attention of a nation. One film seizes it with the success of a franchise, the other can’t hold on no matter how many films are made. Bill and Ted’s Excellent Adventure is a shaggy dog film. A mall culture time capsule. Actively resisting following any of the interesting threads. British police call boxes and American phone booths are nothing alike. Eric and Michael have seen Pauly Shore is Dead. NüMetal accidentally suiting a film perfectly. Fred Durst is directing films, but not this one. A retrospective that wasn’t ready to be told. VJs as an early example of people who obtained inexplicable fame. The artistic significance of a film that takes a peek inside Pauly Shore’s mind.
Taking another step toward understand writing and cinematography! Listening for David Mamet in America Buffalo and looking for Roger Deakins in The Company Men. Michael is proud of his experiment this year. Watching film without worrying what’s going on. You still can’t watch Double Feature. Unless you join the Patreon. American Buffalo is almost a bottle movie, almost written just for Alec Baldwin. Filling in a minimalist film with strong writing. Fucking yourself on a nickel deal. Disenfranchised white collar white men in The Company Men. Ben Affleck as a sad banker who likes boats. A film from the narrow window of time when rich white men weren’t largely hated. Sympathetic visual storytelling. Shooting for dramatic performances versus maximizing comedy.
Celebrating Halloween with classic horror films, The Bride of Frankenstein and The Haunting. Grand elaborate production versus innovative film techniques. Eric and Michael are still here to highlight the good in cinema. The Bride of Frankenstein gives you more to chew on than you’d expect. When you saw this for the show, you should have seen the 4K restoration. “We belong dead.” Leaving the audience wanting more Bride. The 1963 The Haunting, not one of the others. The many films and franchises that borrowed from The Haunting. Eric gives Michael a sleepy nap time. Dr. Sleep had a prequel. Surprisingly great camera techniques. Michael can’t stop insulting Podmanity, but join the Patreon anyway.
Sort of made for TV movie day! Two films that are not what they seem. Director Fred Walton returns to Double Feature in When a Stranger Calls Back. Ventriloquist horror. Ideas so stupid they’re amazing. Voice throwing and camouflage. The strangeness of suspension of disbelief. An accidental 2010s horror film made in the early ’90s. Way too good for TV. Prom Night 2: Where’s the Colon? Terminator and The Prophecy ruined sequels being on Double Feature. Double Feature makes up facts. Making a film into a sequel after the fact. No one’s seen Psycho 6. The numbers game of film titling. Subject matter expertise. Horror zeitgeist and genre awareness.
Warning – Double Feature assumes you just watched these two films. This is not a conversation to provide an introduction to these movies. This episode digs into the most difficult questions posed by two disturbing documentaries. It’s up to an individual audience member to decide if they wish to watch the films, but it’s certainly a bad idea to listen to this episode without having seen them. With that in mind, taking two films of an increasingly extreme subject matter at face value. Having a conversation films ask you to have. When there’s no hope of going back. Using BDSM to trick people into doing farm work (and other low key crimes against humanity). Continue reading
The reckoning. A giant assault of Massive Attack returns to Double Feature with This Must Be The Place and the original Get Carter. Eric tries and fails to not talk about Robert Smith. Using a real-life icon as visual shorthand. Killing Nazis was once normal, then weird, then less weird. Succeeding despite fulfillment. A movie about the character after their interesting story is over. Going back to killing work with Get Carter. The things you learn about Get Carter from Hollywood parties. The lack of violence in a 70s film. Not being able to kill your way to an answer. Watching pornographic films projecting in people’s homes. The Get Carter score and trip-hop. Not wasting time when you plan to kill someone. The inconsistent feel of vigilante justice in cinema. Michael does not advocate killing people, then throws a state execution grenade. Enjoy.
The written word comes to life don’t roll your eyes at me. Writers who specifically hurt one person, with and without malice. Always showing up and actually covering the movies, like Tom Ford’s Nocturnal Animals and Marc Forster’s Stranger Than Fiction. Curating film. Attacking the wall head on with Nocturnal Animals. Eric’s love of high fashion. Interpreting subtle casting choices. Superficiality, high society, and penetrating the defenses of the untouchable. Super brutal art drama. Stranger Than Fiction, or that one film where Will Ferrell is serious. Like Cold Souls and Waiter, but on Double Feature. Dying at a poetically-appropriate time. Bits from the Fight Club fire sale. Ignoring the question of free will because it’s never interesting. Not explaining the backstory in your meta-comedy. In hindsight, kale smoothies are kind of good.
Species films 1-4. Pronunciation guides courtesy of plingmichael.com. What makes a Killapalooza. Species is more than just green porn. Baby Michele Williams. All great actors started in horror films. ’90s icky creature films. Finding a good human specimen. Director Peter Medak returns to Double Feature for Species 2. Failure due to a lack of mutant rats. When you make things super rapey via gender swap. The Weezer of franchises. The last film when you can get a righteous jerk in. The inverse relationship of nudity and creature effects. Blah blah science. Mad scientists and succubus. Solving all your problems by creating alien harems. Gigantic Assault and Photos of You.
Couples, long and short. Double Feature, hyping art and Jim Jarmusch’s Only Lovers Left Alive and Amy Seimetz’s Sun Don’t Shine. Patrons, hyping Double Feature and not picking this week’s films. When in doubt, Tilda Swinton. The curse of immortality. The non-horror, non-vampire-movie vampire movie. Having a sense of scale. The repetition of everything except art. Companionship, perspective, genius, and nihilism. Comparing any given moment in time to the greatest moments in all human history. People kept together through murder. It’s probably not in our best interest to kill each other. Murder as a relationship test. Florida Man, the movie. Whether you sympathize with the person giving or receiving road head. Making films for little money. Festivals and additional content.
You wake up, and suddenly everything is different. Kittie is exciting and nü, like Kickstarter, which helped fund Bokeh and used to almost-fund Double Feature. The things that are out-of-focus. What if everyone else just disappeared? Pragmatism versus religion and nihilism. Having a survivable worldview. Michael makes an argument against survival in a world without new films. There is no point in life; Michael’s okay with that and Eric’s panicking about it. The Signal is a nü and interesting horror anthology. The number of directors in your horror anthology. Films showing small pieces of a global event. Bold choices, like male nudity and a secret anthology full of unreliable narrators. Finding something familiar to hold onto in difficult films. The use of tonal shifts in film and improving the overall narrative through the anthology format.
Adult whimsey, the burden of eternal life, and the vision of Hayao Miyazaki contrasted against Guillermo del Toro. Howl’s Moving Castle. Early use of computers in animation. Animation that looks good has succeeded. Filmmakers should be free to explore, change, and grow. Miyazaki as an anti-war activist. War as background noise to Americans and in Howl’s Moving Castle. Enriching a film with weird characters. Secret Mexican Frankenstein. Unhinged Ron Perlman. ¿Como se dice gravitas en español? The State of American Cinema is … uh, let’s talk about that another time.
Creating art kills humans. Other things that could be done For Your Consideration. Double Feature gets rained on. The happy warrior spirit of creation vs the nihilism of trying to get art made. Eric Thirteen performs for the patreons. Life on set. The drama of film production. For Your Consideration shows how rumors run wild. Double Feature fucks up Christopher Guest. The non-documentary Christopher Guest movie is the most honest. Terry Gilliam and the frustrating life of an artist. Art is hard. The story outside The Man Who Killed Don Quixote makes a call for not ignoring the real-life artist.
Two films about innate genius, giggles, and sniffing. Miloš Forman’s Amadeus is one of the greatest films ever made. Using bookends and unreliable narration to tell a more interesting story. Michael’s firsthand experience of being the Mozart and Salieri in his music career. Madness and genius in film. Double Sleepy Nap Time returns. Tom Tykwer’s Perfume: The Story of a Murderer. Portraying smell in film with the help of macro shots. How did this film get made? Why didn’t people listen to Roger Ebert and see Perfume? Eric discusses the unusually weird ending of Perfume. Michael discusses the totally normal ending of Perfume.
Considering the voice of the writer and cinematographer. A new journey explores the work of David Mamet and Roger Deakins. Learning about screenwriting through brute force, with and without notes. The Untouchables, seen through the writing of Mamet. Poetics and smart, big, bright light cinema. Watching The Ladykillers and listening for the voice of a film after the Coen Brothers. Telling a story exclusively through the visuals. Eric explains dirtying up the frame.
The art life. The horror of what you don’t see and indirectly hurting others through art. Berberian Sound Studio is the best horror film no one has been yelling at you to watch. Making the viewer uncomfortable without showing the horror. Can horror drive its viewer mad? Elevating an actor from supporting to lead to create more compelling art. Dorian Grey makes a return to Double Feature with Albert Lewin’s 1945 adaptation of The Picture of Dorian Grey. Being able to be kind of a dick, but witty enough that everyone still loves you. Oscar Wilde’s characters as versions of himself, and that’s okay. The horror of making someone else suffer the consequences of your lifestyle.
Step into a world of child like wonder. Or maybe one is just, like, smut. It’s time for an adults-are-childen Double Feature. Also, an accidental Dan O’Bannon Double Feature. Tobe Hooper’s Invaders from Mars is a children’s film. What happened to children’s films starring children? Understanding the art of the underappreciated Master of Horror. Weird practical effects and surprise endings. South Park helps keep Michael from having to discuss Heavy Metal directly. Film for horny teenagers and adults who like fun. Further iterations of Heavy Metal and other smutty nonsense. Netflix Non-tent. Defining the lines between nudity, erotica, and porn.
Summer break has arrived. Eden Lake and The Wicker Man: two films about being in the wrong place at the wrong time and doing wrong. Hooded teens and Broken Britain come to your very American hosts with Eden Lake. Eric finally gets to talk about Eden Lake. Fighting children is somehow never considered okay. Machismo, intrusion, escalation of conflict, hopelessness, and razors. The Wicker Man, but not the NOT THE BEES one. Other things notably absent from the horror masterpiece, The Wicker Man: Nicolas Cage, in bear suit, punching an old woman in the face. Purging yourself of Nick Cage so you can enjoy the greatness of the original and the completely different, superior execution of the same story. Mystery cults and being in over one’s head. Religious ritual, sacrifice, and futility of prayer.
Heroes large and small? Michael finally gets to watch Ratatouille. Big Man Japan Bites Dog. Brad Bird returns to the show with Ratatouille, the best Pixar film. Michael attempts to shame Podmanity for never watching the films. The only perfect film is formulaic and entirely predictable. The villain is not really that bad. Hitoshi Matsumoto returns to the show as director and star of Big Man Japan. Getting big to defend Japan from monsters. Legacy superhero and the superhero’s legacy in boredom culture. Using a faux expose documentary to examine aspects of our broader culture. The impact of Man Bites Dog. Careful cultivation of one’s image. Getting your head run over by a film’s ending.
Spiritual trilogies align as Double Feature covers a new pair of filmmakers. A freshly minted episode to begin Lucio Fulchi’s Gates of Hell trilogy and Krzysztof Kieślowski’s colors trilogy. Michael has a high thoughts lists and a silent colon. Giallo, cause that’s what you want. Pretend gore never hurt anybody. Polish director Kieślowski makes his first non-AC appearance on Double Feature. Did you know the French flag consists of three colors? A meditation on freedom, like the kind of freedom when your whole family dies. Art doesn’t need to worry about its audience liking it. Sometimes you know that everyone is going to make fun of your excessively heavy film, but you should make your excessively heavy film because fuck ’em.
It’s finally happening. Year 12 begins here. The perfect introduction for a new Double Feature listener: Blade Runner and Fargo, the most-requested listener films from a decade ago. Eric tries to embrace the fresh start. Michael embraces the show’s deep cuts. The many versions of Blade Runner and which one best captures Ridley Scott’s vision. Double Feature gets some more Dick. What makes something a Fargo story? The Coen Brothers’ Fargo and recent Fargo television series. Coen characters, relatability, Peter Stormare, and something about wood chippers.
A spoiler-free look back at all of Double Feature Year 11. Are you new to Double Feature? This is a great place to start.
Ending the year on the most transgressive films. Those fucking kids Double Feature. The most dangerous film in recent history, Bo Burnham’s Eighth Grade. Also, A Serbian Film. If there’s a new year of Double Feature, Eric promises that Michael will stop making ten-year-old self-references. The challenges of subversive art. Pastel subversion. Presenting both parent and child as human beings. Should I be seeing this? Adult discomfort at normal childhood sexuality. School shooting practice is not normal to adults. Dangerous times in cars. A Serbian Film is a doctorate level fucked up film and smarter than its reputation would have you believe. Oh Fuck, this is a real film. The mystery. The discomfort of everyone at the most infamous scene. A Serbian Film: Really Watchable.
This are not really sequels. The craziest episode of the show. Until next week. Depression is exacerbated by the Patreon. The third, first, and only entry in a franchise. The use of deceptive film titles. Video nasties and lost film. Self-awareness in film. Why would anyone who hates dude bro films watch Dude Bro Party Massacre? The overlap of late horror film hours and early straight world hours. Using the joke title to show a gag reel. Hamlet 2 spent over a decade in the secret, mythical Double Feature graveyard. A film about the nonexistent film sequel to the play, Hamlet. Not showing you the meta film or relating to the play. Realizing you’re not good at creating art. The origins of Michael’s Soundcloud rapper career. Starting a film during the fall from grace. Eric’s imaginary friends show up in support of his art.
The Hammer and Disney journey ends with The Woman in Black and The Princess and the Frog. The new face of Hammer and Disney making A modern animated film. A pairing not based on racism. A scary ghost film. Legitimizing scares in horror. Period horror, not to be confused with Carrie. The bizarre genre of early 1900s property litigation paperwork films. The more recent history of Hammer. The Krimsey’s menu. What if Disney made a cartoon about Louisiana? If you make a cartoon character, you’re going to end up with caricatures, and it’s not necessarily racist. Probably. Maybe. A formulaic, classic Disney princess film with a black princess who gets her hands dirty and spends most of the film as a frog. A frog. The strategy of Disney characters, music, and plot. Eric’s sensitivity TED talk. Racism somehow survived two POTUS terms. Attacking individuals when voting doesn’t make a difference. The dangers of propaganda and distinction between hateful caricatures and innocuous ones. Acknowledging the time a film was made, not as an excuse, but to understand them.
A sexy Double Feature, courtesy of Kevin Smith and Darren Aronofsky, so strap in and strap on. What’s the opposite of a reward? Hatefucking? The stages and trajectory of Kevin Smith’s film career and audiences. The end of Phase 1 Kevin Smith via Zack and Miri Make a Porno. The impact of a film bombing. One man, one woman, and a porno. Does sex + a camera = porn? Coming down on the wrong side of questions. Snipping and tossing title phrases. Film title punctuation! Mother! Metaphorical actors, metaphorically fucking. Darren Aronofsky has sex with the Earth. Films that cannot work on a literal level. There is no sky pig. Beating Catholics. And beating the audience over the head to differing effects. Aronofsky’s film career trajectory.
Road movies with non-white casts. Spike Lee’s Get On the Bus and Wayne Wang’s Chan is Missing. Get on the Patreon. Spike Lee’s contemporaneous Million Man March film is a bottle film and road film. But it’s not a Circle. Spike Lee does not care for subtlety because he’s too busy being right about shit. Resolving your infighting so you can unite to fight the bigger, shared problem. Go watch Chan is Missing. Racism against Asian Americans is probably not getting fixed until we fuck it out of each other. The film that laid the groundwork for terrible, big, dumb Asian American films like Crazy Rich Asians. It was all about the journey. Surpassing Citizen Kane without getting any of the recognition for it. Chan is Missing is a perfect film with imperfect marketing. Forcing yourself to watch incredible films instead of thinking they aren’t relatable for you.
Horror, old and new. Gothic and The Changeling. Not the 2008 film. Or any of the other Changeling films. The spooky chair one and a definite article. Empty chairs that get lots of attention. Person vs House. Michael learns how to pronounce succession. The solid plots of old horror films. Choosing not to address the spooky stuff. Not giving the audience a release until the climax. Old school and modern risers. Production takes time. There are no answers to Gothic. Michael’s introduction to Gothic and terrible cuts of horror films. Eyeball nipples. Music that’s excited to be in the film. You cannot simply be told what Gothic is.
Films about characters driven by the absence of agency. Tokyo Drifter returns as Jee-woon Kim’s A Bittersweet Life. A loyal enforcer who fails to do his job by doing the moral thing. Flexing on ’80s street thugs. Dudes be fighting and toxic masculinity. Having the choice to escape and have a better life. Eastern versus Western mob movies. Passing up the chance for redemption. The Coen Brothers’ noir flick, The Man Who Wasn’t There. You know, for kids. A barber who cuts hair well, but does everything else wrong. Thinly-veiled stories about the film industry. Financing films and Eric’s life as a filmmaker. Grifters as inciting incidents. Good old dark grey-blooded Americans. The masculinity of the ’50s. Fate happens regardless of your actions.
Visitors from afar come to John Carpenter’s Starman and Takashi Miike’s Visitor Q. Observing humanity from a non-human perspective. John Carpenter’s Starman fits right in with his other early films. The original Jeff Bridges uncanny valley. Movies where aliens just try to get back to their spaceships and leave mankind alone. Everyone still remembers Run Fatboy Run. The significance and impact of Carpenter’s career and films. Takashi Miike is the best, even after over 100 films. Visitor Q forces the audience to accept everything it presents to them. Making as many films as Miike forces him to be an experimental filmmaker. Shooting film on early digital cameras to look like a home movie. Has necrophilia been on the show before? Making something as fucked up as possible to get people talking about it.
Rebellion as a way of life. Ginger and Rosa, plus Eric learns How to Talk to Girls at Parties in an Elle Fanning Double Feature. You can’t half-ass activism. Your daddy fucking your best friend is going to be your biggest problem. Is hysteria the more sensible response to impending existential threats? The unsustainability of hysteria. Golden daddy dick. Infighting over the plan when you have the same goal. The power of personal narratives. Everyone would quickly stop caring if aliens landed on Earth. Punks in England. Do The Punkest Thing. Absurd, horrible punk one-liners. How punk is going to be remembered. Resisting authority. When Nicole Kidman shows up, you know it’s a real movie.
The internet destroys society despite the magic healing power of sexual intercourse. The horrors of technology in Cam and Japanese anime tentacle sex in Demonlover. Sex for another purpose. Eric just covers the films with things he wants to talk about, like sex positivity. Camming is just a fun thing we do sometimes. Double Feature, like camming, uses Patreon. Michael isn’t actually a cam girl. All movies are bad, except ones that respect the audience’s intelligence. Using the empathy machine to take the audience along with the film. Demonlover makes Michael reflect upon child pornography. We want films to be full of Klaus Kinski, not victims. The Internet and exponential increase in technology. Deepfakes, censorship, and invasive technology. The Congress infiltrates another episode. Technology surpassed everyone’s ability to understand what they’re giving up to tech companies. Eric and Michael are upset about the harmful uses of technology.
Ginger Snaps films 1-3. A comprehensive look at all that is Ginger Snaps. Why Ginger Snaps deserves a Killapalooza despite appearing to be a trilogy. It’s Ginger Snaps Day! Sequels that have seen the original, but not each other. Fuck Kickstarter. Long live the Patreon. Werewolf movies always suck, except for whatever one you’re watching right now. And Ginger Snaps. A non-tired werewolf metaphor: promiscuity. Unassuming aesthetics. Making film about subtext. Not worrying about fanservice. Boldly choosing not to retcon and ending up with an airtight franchise. Is there a line between period remake and prequel?
Two filmmakers who seem to belong nowhere but are perfectly at home together. Quentin Dupieux’s Rubber 4, aka Keep an Eye Out. How the fuck did this great movie get made? The miracle of making a good movie. Making indescribably weird films. Authorities tripping over their feet in new and interesting ways. Hate fucking the audience because all film is boring. Watch the opening scene of Rubber. Jim Hosking’s An Evening With Beverly Luff Lin. Sometimes the film is just about the journey. Choosing the constraints to use in experimental film. How acting works. Vamping for an entire act. Resisting the standard rules of narrative storytelling. How to still be weird if you make weird film. Get weird.
Hammer and Disney collide once again in part four of the annual Double Feature journey. The natural pairing of vampires and sneaky peasants. Cartoons can remain timeless, but vampires show their age. Michael messes with time. Titties aren’t in the goddamn sheet, or even the hot tub, but didn’t get snipped and tossed. The history of Hammer vampire films. The instantly-dated modern vampire. Eric’s words are of the time. The childhood Disney films of millennials. Aside from the fact that every story is stolen, Disney classics are Disney as fuck. Studio rising from rock bottom to hit machine. This is actual Disney. The unexpected heroic sacrifice that doesn’t benefit the hero at all. Visit the new Double Feature Geocities site!
The global nightmare that is the Hot Tub Time Machine and Timecrimes episode is finally here. When you want to watch a movie you don’t care about. The moment when Michael realized Hot Tub Time Machine was more than just a movie to not care about. You don’t want a squirrel on the field. Making a time travel movie to make fun of time travel movies. When you throw away the straws and graph paper in a time travel film. Nacho Vigalondo returns to Double Feature with Timecrimes. The dark edge to Nacho’s film. Eric Thirteen’s Timecrimes grand theory. Short, easy time loops. Difficult time travel duplicates. Duck it. Rules that don’t apply. Maybe no one understands Timecrimes. Or maybe scientists just like fucking with people.
Hell and the parties you can have there. Double Feature goes to hell, again, but with fewer subtitles this time. Still not Timecrimes or Hot Tub Time Machine. Kids (actually?) doing drugs in film and the real-life tragedy of Sara Anne Jones. The tragic nature of drug use and culture. Why don’t hairstyle trends end up in more films? Dismissing the humanity of people who abuse drugs. Local film scenes and groups of people teaching each other how to make film. The devil as a film trope. Everybody’s banging in Here Comes the Devil, but that’s not what should make you uncomfortable. People who ignore the evidence in front of them to protect themselves from acknowledging their failures. Films that don’t explore the mystery location.
These fucking guys. On this week’s discussion of Hot Tub Time Machine + Timecrimes, The Jerk and The Master get meta. How can a podcast break the fourth wall? Once you’ve been through Soul Man, nothing seems quite so bad. Steve Martin holds up better than Virginia’s politicians. The comedic influence of The Jerk. The type of comedy and comedian that existed at the time and largely can’t exist now. Adapting a stand-up routine into a film. Dogwhistles and virtue signaling in comedy. Steve Martin is the true master and [name redacted] is the true jerk. Paul Thomas Anderson’s L. Ron Hubbard biopic. The near-silent, timeless voice of Paul Thomas Anderson as a director. How did this get made? (But not in the usual way.) Hollywood is the heart of Scientology. Soft-mindedness, definitely not a problematic term that definitely will not look bad in the future. Cults and pyramid schemes, and the challenge of getting one started. Grifters, spoken walls of sound, and skepticism.
External and internal pressures. Double Feature covers an audience-directed horror movie, Prep School! After weeks of discussing the difficulties of creating independent film, Prep School offers the opportunity to support one. A discussion on the finer points of fucking up your classmates and doing horrible things. When the protagonist is too sad to be the in the movie. Institutions that protect their members from being punished by the laws and rules the rest of society adheres to. Firestarter, the first and basically only film about starting a fire with your mind. A secret alternate plot within Firestarter. Michael finds joy in murdering some parents. Where the fuck are all the pyrokinesis movies? Continue reading
Folklore, moral tales, satanic torture orgies and other fun life lessons to live by. Embrace the subtitle. Tumbbad, the remake of the film no one has seen called Tumbbad. Greed and the fun things you can do with it. Luring the audience into a moral smackdown. “Please stop talking about short films like anyone watches them” says guy who made short film. What the fucking fuck happened in Baskin? An extended chase in a circle masquerading as constructive conversation. Something bad is going on. Murdering orgies and the ceremonies they murder in. When you don’t understand something in a horror movie, just tell everyone it’s Dante’s Inferno or whatever. Continue reading
Artsy smuthouse. French people create trouble, every day. Looking at Trouble Every Day as a French extreme film. No one trusts Vincent Gallo, even if his character deserves it. Some kind of plot is derailed by sexy times. When the erotic meets splat. Is there a supernatural element? Blood and body parts. How the new French extreme uses violence in a way other horror films do not. Where A Dangerous Method sits in the David Cronenberg lineup. A film about Carl Jung and Sigmund Freud is really about their ideas more than about the men themselves. Ok, actually this film is all about Keira Knightley. A psychotic performance in an arc worthy of give Keira Knightley an auteur label. Continue reading
Imaginary friends that society just won’t accept. Swiss Army Man, Sundance, and Highland Park, California. Who or what are Daniels? hen the harsh light of day hits at the end of Swiss Army Man. A film 2018 people would be saying is the much-needed conversation about understanding. Accidentally falling in love with monsters. There’s a time and a place for invisible rabbits. The vague mental health issue seen in the film Harvey. How a lack of specificity creates greater inclusion. The massive appeal of cinema classics. Expanding the possible commentary Harvey provides. Despite ongoing attempts at a truce, witches still don’t really like one of the hosts of Double Feature. Continue reading
Approaching the unapproachable slashers. Halloween and Puppet Master get loaded updates. “Not for everyone” for the masses. When the remake is no longer enough. Deep fan service in production instead of easter eggs. Getting the band back together. What does slasher trauma actually look like? The sad consequence of growing up scream queen. New family dynamics. Puppet Master: The Littlest Reich might not give a fuck. Ok, it’s called The Littlest Reich, clearly it doesn’t. Humor where you would least expect it. When VOD is the preferred medium. Fangoria makes movies! The special effects brutality of the Mortal Kombat style parallel universe. How Puppet Master feels gorier than even possible. The ending of Puppet Master might be the most shocking thing on today’s show. Continue reading
Father son pair Mario Van Peebles and Melvin Van Peebles have two movies that tells stories of very different times and places. First up, a trip back to the early 90s. Everyone is worried about crime, crack is a problem, and there’s an issue with the police that isn’t be talked about. Also people hadn’t even seen Pooka yet. Back in the 1970s, Melvin Van Peebles set out to prove there was an audience for a new kind of movie. Looking at the demand Sweet Sweetback’s Baadasssss Song capitalized on. What it takes to make in independent film when no one fucking believes in you. Creating an entire decades long genre just to prove your point. Continue reading
Television goes to the movies. A very broad conversation bout Twin Peaks, how it fits into David Lynch’s filmography, and various reactions to new entries over time. A conversation about Twin Peaks The Return because it’s basically a movie and someone really likes it. David Lynch and Mark Frost create Twin Peaks, the original series. Twin Peaks without David Lynch and Mark Frost. Lynch returns for a Lynch movie. Twenty five years and one really really long Skype call. Twin Peaks comes back in true form, but will anyone accept that? The Showtime network reacts to a bold power move. Michael wants to talk about something awkward. Twilight Zone: The Movie and the conversation no one is willing to have. How and if a movie survives a very public, very notable, very important news event. Continue reading
Hammer studios and Disney studios. A fresh look at two unique entities in different spaces. Unique marks on an otherwise crystal clear record. How The Witches is both quintessentially Hammer horror and something completely different. Voodoo vs magic vs whatever the fuck it is Eric’s silly witch friends believe in. The Black Cauldron is an adaptation of The Chronicles of Prydain without many chronicles or much Prydain but definitely still with a magic pig that can see the future or whatever. The evil guy with horns who wants nothing less than to get on everyone’s bad side. Continue reading
Death in the family. The fallout of grief, loss, loneliness and isolation. It turns out Michael likes Eric’s double feature. The courage of The Eyes of My Mother pays off in a lengthy 2016 festival run covering basically everywhere a film could ever want to play. Making the unsafe bets as a filmmaker (and winning). Grief and the grotesque. How The Eyes of My Mother uses counter-intuitive editing to deliver on horror in an innovative and brutal way. Don’t Look Now and the layers of symbolism. What symbolism feeds the tone and what feeds the narrative. Continue reading
A Double Feature Stockholm Syndome double feature. Dangerous cinema returns. When you put Helena in a box like you do (RIP Cubbiebear). The deeper issues actually at work in Boxing Helena are just regular issues but no one comes to movies where they live anymore. Helena the prop and the crazy man who has mommy problems. Between the panes strikes back. The central issues at the heart of the Patty Hearst story. Can Patty Hearst be both the victim of terrorism and herself a terrorist? Don’t miss the all new Additional Content.
A look at secret role China plays in big American films. Double Feature gets into the weeds on how blockbusters are assembled, from the creation of a bankable team to the financing and eventual distribution. America sees a martial arts niche and brings it to the United States. China loves American blockbuster action stars. Fake American films made by China. Imposter fake American films made by China that are actually made by Americans. The fake American companies funded by China that actually make the imposter fake Chinese rip offs of American films. Double Feature talks about The Meg because it’s easier. Where a cause or a symptom, streaming services play a role in the American devaluation of cinema.
Bear and Long Pig, together at last. Outrageously whimsically characters disrupt the system. No negative jokes about Jean-Pierre Jeunet’s art direction suffering after 1995. Michael feels the need to rant about his top ten list and then randomly namecheck Black Panther. Has Eric Thirteen’s heart changed in 2018? Delicatessen disrupts the system. A kindly speaking bear takes over England in Paddington. Only on Double Feature is Paddington the weirder movie. Continue reading
A cynical look at technological progress. Lo and Behold: Reveries of the Connected World. Just what kind of reveries is this about? A guy from Austin talks to an ex-Silicon Valley programmer about Werner Herzog questioning digital pioneers – and none of them have any answers. The problem of how to talk about future technological problems. An entire conversation about Idiocracy beyond “oh my god, it’s basically a documentary.” A society painted in shitty advertisements. The insane basic-income type ideas that will rule the future and how they compete with the vision presented in Idiocracy. Continue reading
Horror non-horrors (which, it should be noted, is different than non-horror horrors). Eric Thirteen spares everyone else his own depression. Addressing the brilliant, frustrating, vital experience of A Ghost Story. Time’s flat circle doesn’t make it any less fucking sad. Michael Koester is the guy at the party who ate all the pie. It turns out there’s other stuff in A Ghost Story besides self-indulgent millennials and vegan pie. Maybe not on this podcast, but at least in the movie. What We Do In the Shadows: ok, so what is it we do in the shadows then? The many types of vampires, all living in harmony. Making special effects special again. Layers of comedy. Continue reading
The contagion of madness. Blow Away, a film from a parallel universe where Jeff Bridges stars in Big Trouble In Little China and Tommy Lee Jones did time at The Rock. zMacro shots, they’re fucking everywhere. Being right inside the very bomb itself. Try to tell Blown Away it’s not getting away with exactly what it thinks it is. Go on, try it. Fatal Attraction spreads its wings. It varies but the smallest things. You never know how anything will change. The 90s erotic thriller by way of 1987’s Fatal Attraction. Warning: beware of falling mania. Unique traits of the erotic thriller genre, where that audience was before, and where the audience lives today. Continue reading
The lives of individual men as told through bizarre high-concept epics! Double Feature talks about the films of Eric Roth. An examination of the lives of others and what can be learned from them. Indulging the wild premise hooks of Forrest Gump and The Curious Case of Benjamin Button. What does Forrest Gump look like without the historical cameos? Robert Zemeckis has high-tech dreams. Remembering the popular introduction to arthouse via the discovery of David Fincher. Michael refuses to believe a film is actually about what it claims to be about. What can be learned from aging backwards? A midpoint turn brought about through the fantasy mechanic. Continue reading
Hammer meets Disney. The second step in a deep drive on two studios. Scream of Fear is probably actually called Taste of Fear. Where does Scream of Fear sit in 1960s horror? Hammer aside from the more commonly known Universal-Monsters style Hammer Horror. It turns out it was an insurance scam the whole decade. Bambi in reputation and actuality. Animals are innocent! Hunting is terrible and ruins everyone’s sweet party. Seriously, why are people still eating meat? It’s gross. This isn’t really part of the episode or anything, but while you’re reading this, stop eating meat. Just stop. There’s no point. It’s terrible for you, it’s expensive, and it’s barbaric Continue reading
Jaws films 1-4. A look at the entire Jaws franchise as if it’s the true horror property people say it is. What’s refreshing about Jaws if it is a horror film. Aquatic horror and the Miskatonic Institute. Seriously, go if you have the chance. Jaws 2 as the second in a series of slasher films. Jaws 3-D: everything is better in three dimensions, maybe. Jaws 3-DD: wrong franchise. No one can agree who the people in Jaws 3 are, including their friends or even the characters own motivations. Sea World was probably happy, though. The dilemma all aquatic horror movies face: to embrace the Jaws franchise or run away from it? The dilemma Jurassic World for some reason felt inclined to face. The longest two people have ever indulged Jaws 4: The Return. Putting aside psychic sharks, what are Continue reading
Anthology films as a mechanism for inducing social change. XX is not the band The XX. Tales from the Hood as a group of segments with one coherent vision. How specific is Tales form the Hood to mid-nineties Los Angeles? Which parts of Tales form the Hood are just as relevant today? Portraying the big green monster of domestic abuse. The range of anthology film interstitials. XX as a group of segments with a diversity of voices. The amount of power directing XX is insane. Annie Clark, first time long time. St. Vincent music videos. This is not Roxanne Benjamin’s first anthology film. Double Feature favorite Karyn Kusama. Everyone should watch Jovanka Vuckovic’s short films. Continue reading
Missing out! How great films have become further hidden by the difficult moral absolutism of modern times. The Monster Squad, warts and all. Discovering The Monster Squad today. Looking past the foul-mouth dressings of some 80s kids. How The Monster Squad actually held up an underrepresented segment of society. Box office tragedy turns into heartwarming cult success. Bringing the outsiders together. Vampire Girl vs Frankenstein Girl’s much harder to defend content. The Japanese Gore film. How Japanese fashion makes a mess of social issues. What the fuck is going on with all the blackface in this movie? Impossible to believe, Vampire Girl vs Frankenstein Girl might just be accidentally racist. Lolita, Ganguro, and the right side of overly tan Japanese girls with permanent Continue reading
October kicks in with the full force of mystic green Halloween energy. Two fantastical spooky-delights with very different receptions. Horror outsiders then and now. Hocus Pocus hits 25. Eric Thirteen’s film Disposition plays in a theater and heads for the Brooklyn Horror Film Fest. Could Hocus Pocus be made today? Of course it WILL be made today, but CAN it be? Of all the normal elements in Hocus Pocus, what happens to be horror community’s favorite? Who is Mick Garris and why does he never show up on Double Feature? An actual answer to that question (hint: it has nothing to do with how much Double Feature loves spooky vegan Mick Garris, which is plenty). Why it’s ok for everything to just be a horror movie. Slice drops unexpectedly. World building, fresh faces, and an unexacting public! Continue reading
Basic melts minds. Two films with straight-forward plots to different dramatic ends. How can something so basic become so mind blowing? Celebrating the return of The New French Extreme to Double Feature. But first: Mandy should be seen big and seen loud. Nicolas Cage is crazy, but that’s really selling the film short. The cheddar goblin, also meme-worthy. Revenge as a soul-filling temple of artistic glory. The impossible task of a rape revenge film not only working in 2018, but actually being critically essential. Underpromise, overdeliver. The Alamo Drafthouse in Austin Texas and Hollywood’s The Egyptian Theater. Some words on transgression. Continue reading
Take it and run. Sitting down to have dinner with friends. Back to back mind-benders. How Coherence under-promises before over-delivering. The little film you just don’t expect. When that things that always happens starts happening. Turning the tables on expectation. Hitting a mind fuck and then pressing forward. Why it’s impossible to to talk about 10 Cloverfield Lane without talking about Cloverfield – no matter how much the film deserves that conversation. Cinematic-world baggage. Audiences watch television like Double Feature watches franchises. Don’t forget, it’s Patreon time! Continue reading
A new look at two infamous directors. Michael for some reason believes people don’t really know who Danny Boyle. An update on Eric Thirteen’s new film Disposition, with a new round of theatrical dates in the upcoming weeks. Everything is broken, part nine thousand. The movies of M. Night Shyamalan. The entire world was wrong about M. Night Shyamalan and owes him an apology. People are also wrong about Rob Zombie but they’re not quite ready to accept that yet. Does the public narrative regarding “the guy who does the movies with the twists” match reality? Was this real or imagined? Movies ruined by how strangely complicated movies have become. How The Beach uses secrets every step of the way to push forward its plot. The extreme highs and lows of Danny Boyle. People who check out Sunshine again, just saying. Continue reading
Identity, duality, and the public eye. Reflections and persona. What is personhood? Eric Thirteen’s new film Disposition now has a trailer! Disposition (2018) Trailer. Perfect Blue as an insight to an Asia-centric phenomena. Working Perfect Blue backwards. The psychological thrills of Denis Villeneuve. What’s up with the spiders? Enemy’s secret deeper meaning. Do people still have the stamina for puzzle solving? Working though a complex, layered narrative. Rearranging beats to solve a mystery. Find Disposition showtimes at https://dispositionfilm.com. Continue reading
The outsider’s need to belong and the influence of the spooky peer-group. Wearing an aesthetic to sneak past the gate. Three fantastic performances. The public face and the private face. The role of score in Thoroughbreds. Well check out the first time feature director over here! Two halves make a oh no jesus christ don’t do that come back downstairs. The aesthetic of high society. Privilege, wealth, and using the institution to take down the institution. The Craft as a…visual effects buffet! 90s teen horror. The spooky teen film. Bad influences. Cult films and sub-divided communities. The aesthetic of witchy goth kids. Using Trojan horses to bring opposing communities together. Continue reading
Two movies with a secret in common. Some people have heard of this little film called Hereditary. Stanley Kubrick, Ben Wheatley and the non-submersible unit. Creating icons before even starting on the plot. The boldest icons of Hereditary. That infamous scene with the thing that happens after the other terrible thing. Then things get worse by not getting better, and finally worse by getting much worse. The greatest all-time shock cut? What people seem to miss – the top line, broad-stroke metaphor of the film. Michael gets upset at a screening of Hereditary. Kill List finally makes its appearance on Double Feature. What the two films share in common: spoilers! The decision that hard-turns Kill List toward horror territory. Not all things need be revealed. A breakdown in carefully choosing which elements shall remain a mystery. Continue reading
Dangers of growing up with a single source of knowledge. The films of Yorgos Lanthimos. Dogtooth as a comedy. Licking the keyboard. Kynodontas is Dog tooth in…Greek? Is Greek a language? Teenage isolation. Beware of cats. Kill is kiss. Growing up homeschool. A unique thing that only happens with a Yorgos Lanthimos film. It’s the Panic at Hanging Rock. Anticipating the thing. The things that happen up at Hanging Rock. Trying to piece together the mystery. The ending of Picnic at Hanging Rock as a mystery – if only more people had actually seen Picnic at Hanging Rock. That infamous thing that happens, how people feel about it, and why that thing is an interesting thing to do. Continue reading
From hijinks to devastation, Double Feature does some drugs. Good Time, a film from a parallel universe. Robert Pattinson is not fucking around. Settle down, synthesizers. When bad times get worse. It’s getting harder not to just classify all of humanity in harsh black and white. The accountability of Connie Nikas vs the accountability of Nick Nikas. Who is the true Nice Dreams? Cheech and Chong run from the law and everyone loves it. What the legalization of pot can illustrate about counterculture films. A tasty Sprite to go with your ice cream. Explaining the short shelf life of comedy. How comedy cuts to the heart of the zeitgeist and why this should continue to be the North Star. Continue reading
Female fame in different games at different levels. Black Swan as a mainstream arthouse horror film. Why the horror elements of Black Swan are worthy of callout – body horror! A fight between avoiding the most obvious conversation and avoiding the most delicate conversation. The lengths an artist goes through to achieve success, revisited. How Black Swan mostly avoids being rape-y when it basically is. Patti Cakes. Patti Cake$. Patti Cake Dollar Sign. A stunning turn in the plot when someone turns out to not be a cartoon villain. Who actually has talent or promises n Patti Cake$? Living the art life. Escaping the suburbs. Arrested development, lower-case d. Patti Cake$ and the simple art of never giving up. A suspicious lack of conversation around Black Swan’s portrayal of oral sex. Continue reading
Horror of Dracula, very much not the same as original Dracula. Jonathan Harker upsets Dracula after after accepting a job at the vampire’s castle under false pretenses. Legends of hammer horror. The Universal Monsters and the Dark Universe reboot. What was happening in horror in 1958. Later, in Snow White and the Seven Dwarfs: exiled into the dangerous forest by her wicked stepmother, a princess is rescued by seven dwarf miners who make her part of their household. Disney’s place in the modern world. Dwarfs is more commonly spelled Dwarves now. Thanks, Tolkien. The intersection of Disney and angry progressives on Twitter. A case for ladies being chased around by mad men or what the fuck ever. The world as it could be vs living in the world as it is. Princess problems. Continue reading
Yellow and Pink films. Italian giallo pulp films and a requisite number of Dario Argento jokes. Japanese pink films – pinku, pinky violence, and nunsploitation. Blood and Black Lace in high definition. A masked, shadowy killer brutally murders the models of a scandalous fashion house in Rome. That goddamn Suspiria 4k remaster. Putting on a play or opera or whatever behind the scene thing. The giallo fixation on props. School of the Holy Beast aka The Transgressor. What is a pink film? Japense pinku. Finding the canonical pinku and pinky violence films. In order to investigate her mother’s strange death, a woman enters a sacred convent run by hypocritical, perverse nuns. Peeing on Jesus. One of the most incredible things Double Feature has ever seen. Continue reading
Double Feature does the bare-minimum to look at two 90s blockbuster buddy-cop movies. Bad Boys is an unlikely film in an unlikely time, all before you consider Michael Bay. Even stranger still, it didn’t look or feel weird at the time! Representation in big movies. Are buddy cop culture-clash films problematic? Is everyone tired of using the phrase problematic? Everything is easier when you can dismiss it out of hand. The self-conscious anxiety that projects mainstream problems onto obscure movies. Bad Boys was far to easy to defend, time to watch Rush Hour. A Los Angeles film totally lost on a Texan. Chris Tucker was loud and that was fine. Jackie Chan was a weirdly-gazed asian commodity and that was probably also fine. People saw these goddamn movies. For all the ill, there’s unsung power in tropes and clichés. Continue reading
Contrasty Hitchcock covers. Tributes? Ripoffs? Probably not ripoffs, right? Road Games: two words. Although sometimes Roadgames, one word. The open road and how not to tune your guitar. Murder death. Murder death is how not to. A suspicious lack of jokes about dingos. Americans in the outback. The temporary towns that exist on road trips. What Illinois, California, Austin, and some random part of Australia all share in common. How a placement of extreme violence in one specific location can impact the entire viewing experience. Body Double, two words. One half of this episode, still featuring Barbara Crampton. Brian De Palma finally gets some air time on Double Feature. Voyeurism to the next level. Under the surface – what else do audiences get out of voyeurism? Another option for placing your extreme violence. Continue reading
New listener? Start here! A brand new year of Double Feature starts a fresh run with returning local heroes. Pay to rent these films! Victor Crowley as Hatchet 4. Returning to form. The slasher trajectory. The most misunderstood element of the Hatchet franchise – the humor! Top secret Hatchet 10 year anniversary. The impact of Adam Green’s series on two young horror fans. Felissa Rose gets the spotlight she deserves! The Endless is better if you’ve seen previous Justin Benson and Aaron Moorhead films. Remembering back to Resolution. 2018 makes joining a cult super easy. One of the most mind-blowing moments in Double Feature history. Intentional or not, The Endless as a metaphor for filmmaking. Expanding on an interpretation from previous Benson / Moorhead work. Continue reading
A spoiler-free look back at all of Double Feature Year 10. New to Double Feature? Fuck it, start here! The best pairs, the best movies. A secret thing Eric is overly diplomatic about but needs to let loose on. Michael has feelings about 2018. Hang on to tomorrow because tonight the stars revolt! Do you believe and will you learn to scream..like me? There’s nothing to it. When stars revolt. They’re only doing what they’re told. Dun nun nun. Dun nun nun. What’s the mystery? The lights of death and fame. Shine. On. Invaders from inside can easily replace you now. Hang on tomorrow because tonight, the stars. You know. Target Earth for me because tonight, the stars. Sing your favorite song because tonight, the stars…revolt? Death to Double Feature, long live the new flesh. Continue reading
Double Feature year 10 comes to its logical conclusion. The Shawshank Redemption and a quick word on Stephen King. Two imprisoned men bond over a number of years, but not in a prison-bondage centipede kind of way. It turns out the Shawshank Redemption isn’t a movie about standing outside in the rain. Timeless elements of films with and without centipedes. The minimalistic appeal of a prison film. The Human Centipede 3 as the final sequence! A warden finds inspiration in cinema. Michael Koester, Human Centipede expert. Using a sequel to bring real world elects of a film’s reception and legend into the fictional canon. The percentage of American in the prison system, prison system, has doubled since 1985 they’re trying to build a prison! Continue reading
Monster worlds on sound stages! A young man must stop the Lord of Darkness from both destroying daylight and marrying the woman he loves. Well, pretty much that. How Legend is unlike anything else and maybe – just maybe – what it’s about at all. A magical place called Spooky Burbank that is actually called Magnolia Park. The former glory of Creature Feature and the always-glory of Tim Curry. Who needs an audience surrogate? Krampus and the inevitable countdown until Trick r Treat talk begins. A boy who has a bad Christmas ends up accidentally summoning a festive demon to his family home. The audience’s inexplicable need to try their hardest not to understand the tone of Krampus. Continue reading
Presidents and propaganda gets an epilogue! Discovers from looking at fictional adaptations of presidents’ lives and documentaries that are implied to carry the truth. People around the president. Finding more truth in fictional accountings. The desire of fictional narratives to find what feels like “the Truth.” Closer study reveals just how large gaps in knowledge are. Just what is propaganda? Judging an entire person’s life based on one thing they did decades ago. The power of filmmaking. Demanding moral choices from artists. Art that is clear on moral grounds vs art that is a valid use of time and resources. Film as the least rewarding bang-for-buck on the question of resources. Continue reading
Two Al Pacino films that tell us about humanity. Scent of a Woman as a film that was definitely of the time. Taking a stop down for the question of “how did this get made?” A prep school student needing money agrees to “babysit” a blind man, but the job is not at all what he anticipated. That’s right, Scent of a Woman is just The House of the Devil. In Simone, styled as S1M0NE – a producer’s film is endangered when his star walks off, so he decides to digitally create an actress to substitute for the star, becoming an overnight sensation that everyone thinks is a real person. How Simone predicts the 45th presidency and, perhaps more usefully, its supporters. Continue reading
Films about brotherhood from notorious 42nd street directors. What is (or was) 42nd street? The revival theater. Audience consent and the church of unacceptable behavior. A young man carrying a big basket that contains his extremely deformed Siamese-twin brother seeks vengeance on the doctors who separated them against their will. New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family’s three street-hardened brothers and the women they love are about to be plunged into a deadly confrontation with their enemies, with each other, and with their own dark heritage of violence, madness and murder. Continue reading
Rooting for bad people. How human conflict helps audiences enjoy the bad acts of bad people. Charley Varrick is a self interested man who doesn’t seem too bothered by everyone around him being shot, tortured, or meeting an otherwise terrible fate. When a small immoral act turns out to have been a big one, how does the responsibility of having committed it respond? Shane Black’s history of pulp’d fiction. The little American Pulp novel and the little Italian yellow novel. People love conflict! Successful conflict and its relationship to the fuck-you-ending. Rolling the bolder up Franz Kafka Hill. Continue reading
Yesterday’s movies with today’s progressive ideas. Two films that may have found an exploitation hook and used it for something socially positive. Edward D. Wood Jr.’s Glen or Glenda. LGBTQ politics from the 50s, as viewed today. An anthology film with several extra narrative devices and no short-form content. Repetitious stock footage and repetitious stock footage. Idea that think they’re clever and repetitious stock footage. The infectious enthusiasm and inspirations of a series of public failures. Who’s Afraid of a Black Hat? Not the Sundance film festival. Fear of a Black Hat and Public Enemies’ Fear of a Black Planet. The accidental dog whistle that keeps white folks dancing. Criticism that’s kept in-house. The case of public face and private face strikes again. How far can and should metaphor go? Continue reading
Problematic sex gets more problematic. First up is Pedro Almodovar’s film Matador! An ex-bullfighter who gets turned on by killing, a lady lawyer with the same fetish and a young man driven insane by his religious upbringing – these are the main characters in this stylish black comedy about dark sides of human nature. Second up, Billy Wilder’s movie The Apartment. The heat is turned up on office politics when a man allows his boss to use his apartment for romantic encounters. Sex ones. An apartment to have sex in. Continue reading
Exploring two very different aspects of social media in modern society. Tragedy Girls as a commentary on branding. Set up a humorous device, overcome audience expectations. The narcissism potentially illuminated by social media as told through absurd extremes. Best of friends, stick together! Be your best self, even if that means stabbing your peers to death. Ok, maybe don’t do that. Ingrid Goes West, audience is hash-tag-blessed. The annoying sounds of Instagram. The evolution of the word “stalker.” Exposing the somewhat creepy Hollywood networking strategies no one is supposed to talk about. Begging to be literally followed. Society needs a stop-down two think deeper on wanted attention vs unwanted attention. Continue reading
Return of the Living Dead films 1-5. What separates Return of the Living Dead from Night of the Living Dead. Glory be to Dan O’Bannon, legal action be to John A. Russo! Return of the Living Dead II as a redux. Look who’s talking too. Return of the Living Dead III as a meditation on self-harm as a coping mechanism. Expanding on the need for brains. Brian Yuzna lives deliciously. Midnight movies need not be devoid of intellectual content. Return of the Living Dead IV: Necropolis as a tax haven. The killapalooza phenomena of European back to back filming. Return of the Living Dead V: Rave to the Grave as a swell party. A film that definitely takes place in America which no one is questioning. Continue reading
Violent cannibal films with female directors released in the spring of 2017. A reverse-meta sense of humor. Women-in-film retrospective: Eric makes a thing with Ama Lea for the Soska Sisters! The sensibility and wonderful icky-ness of Raw. Eli Roth’s problematic but still extremely useful term “chick-vision.” Normal is uncomfortable, cannibalism is home. Surreal imagery with a physical anchor. Who even wants to go to French-night? The family unit stand-in and horror film community. ZEF ZEF ZEF. Michael goes to the stunt ranch for some long-pig. Living the Dream, or whatever. Basically Die Antwoord the movie, part nine. Continue reading
The climax in the series of Presidents and Propaganda double features. In Ron Howard’s film Frost/Nixon – not to be confused with Japanese monster film Frost vs Nixon – audiences get a dramatic retelling of the post-Watergate television interviews between British talk-show host David Frost and former president Richard Nixon. Then, Peter Davis’ Hearts and Minds documentary presents an examination of the conflicting attitudes of the opponents of the Vietnam War. Just what is propaganda? What are audiences looking for in a documentary? There are not two equal sides. The new role audiences can and must play in viewing both documentaries and news coverage. Continue reading
Human beings consumed by answers! An update on Double Feature’s status. The last critical moments that determine’s this podcast’s fate. First up in writer/director Taylor Sheridan’s film Wind River: a veteran tracker with the Fish and Wildlife Service helps to investigate the murder of a young Native American woman, and uses the case as a means of seeking redemption for an earlier act of irresponsibility which ended in tragedy. Then, in the 2006 mania of William Friedkin’s movie Bug: an unhinged war veteran holes up with a lonely woman in a spooky Oklahoma motel room. The line between reality and delusion is blurred as they discover a bug infestation. Mania, conspiracy, and so much more. Continue reading
Cops, but first: it’s time to make an announcement in the dark days of Double Feature. Floating bad ideas. Up first in the Michael Mann film Heat: a group of no-fucking-around professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist, while both sides attempt to find balance between their personal and professional lives. Also, can you believe who’s in this goddamn. movie? Then, in Training Day: on his first day on the job as a Los Angeles narcotics officer, a rookie cop goes beyond a full work day in training within the narcotics division of the LAPD with a rogue detective who isn’t what he appears to be. Continue reading
Deeper into the questions posed when making films with less than perfect humans. Exploring the magic, therapy, complexities, and baggage of making a movie through a fictional narrative. How Brigsby Bear turns the boy-in-a-bubble template into something new. Sidestepping predictable conflict-ends in favor or wonderment. Mark Hamill in his first of two major audience-challenging roles. Jim and Andy: The Great Beyond. Jim Carrey method acting Andy Kaufman and Tony Clifton. Spending time with Jim Carrey terrorizing a set, making everyone really uncomfortable, and creating a really negative work environment by refusing to break character. Spending time with Jim Carrey showing how therapeutic his method acting was for those around him who knew Andy Kaufman, including Kaufman’s own parents. A director that won’t call the safe word. Set magic that the people watching movies never experience. Continue reading
Spending a night with high society. Eat the rich. Fuck the rich. Eat yourself? Also: melting, death, fatalism, nihilism, and Double Feature gets a cold. Spending an hour making bad decisions. Two movies that were spoiled by their representation over the passage of time. There should be a joke about soiled food here but the hosts are too sick to write one. Enter Bryan Yuzna! Stuart Gordon, Reanimator, and a carefully told story that maybe isn’t real. Screaming Mad George’s name isn’t George. What do these fistful of slasher franchises have in common? This 60 year old Japanese guy. A movie with enough gastrointestinal foley to get into the Cannes film festival. Swell party, but where’s all the sex workers? A-B-C method faults back to A. An all vegan remake of La Grande Bouffee. Just kidding, but actually someone please make that. Continue reading
Music culture through different filters. Country mets hip hop. How Nashville might be more about showbiz than about country western music. What the interpretations of Nashville say about the film (that Robert Altman won’t). How Wild Style was embraced by the developing rap scene in opposition to Nashville. What does it take to earn a communities support? When the artist goes pop. The similarity between hip-hop and horror cinema. Film’s simple, beautiful ability to empower through representation. Continue reading
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. Continue reading
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. Continue reading
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. Continue reading
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. Continue reading
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. Continue reading
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. Continue reading
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. Seriously, you’ll fall in love. 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). Continue reading
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
Slash slash! Two films that take a departure from their initial advertised concepts. Spending the afternoon on Shudder. Halloween Phase 3, or as some call it, Xmas. Better Watch out is kind of a misleading title. Over-lit sets as the oxy-filled murder playgrounds of Chris Peckover’s mind. The lazy Sunday film hits modern day. Prevenge is kind of a misleading title. One woman, one vision! Director, writer, producer, star, host for human life. Prevenge as a filmmaking success story. Talking to Samuel Zimmerman, curator of Shudder. How to live deliciously. Continue reading
Lady problems. Shudder update: Double Feature no longer has a promo code but you should check out Shudder anyways. Search online and maybe you can find one. The Beguiled is too morally clear, let’s add the confederacy! On Side A, Clint Eastwood is a lady problem. A genius use of flashback and unreliable narrator. What it takes to add a turn to the rape revenge film. Can rape revenge invert gender? On Side B, everything else is a lady problem. Thriller: A Cruel Picture: They Call Her One Eye. The mother of all exploitation films. Double Feature reaches for new levels of offensive. A notable eye-poke! Grindhouse cinema’s half-hearted revenge. A defense of Thriller: A Cruel Picture (but no one is going to defend “They Call Her One Eye”). Continue reading
Impending doom and the humans who shall not be oppressed by it. Martin Butler and Bentley Dean bring Tanna to cinema and maybe cinema to Tanna. Is it possible to tell if actors are good in a movie if you couldn’t imagine what they would be like otherwise? Certain destruction hangs over us all. An incredible use for film as an empathic tool – The Benh Zeitlin film Beasts of the Southern Wild explains with art what logic fails to. Why do humans cling to their homes when their homes are so clearly bound for destruction? One engineer who doesn’t actually understand how levees work. There’s basically no reason for anything and seriously what’s even the point. Also, love. Continue reading
A 90s-industrial-fueled burn-it-all-down double feature. The carnage both finally clocking out and ending a hiatus to clock the fuck back in. Two action films that are more subtle than they really know what to do with. Is the lead of Falling Down an anti-hero? Does the film think he’s an anti-hero? And are those two questions necessarily linked? Falling Down is sampled throughout the 90s industrial album Millennium by Front Line Assembly. Break neck edits in a long form narrative. The symbolism, intentional or not, in Man on Fire. Who is the real man on fire? Ok, no one really asks that. How the 2004 film relates to the 90s industrial scene through Nine Inch Nails’s “Fixed” EP. The void in cinema left by Tony Scott’s suicide. Continue reading
The second visit in a look at presidents and propaganda. The Day Reagan Was Shot, a film that says much about Ronald Reagan by knocking him the fuck out. Richard Dreyfuss as: some old white government type with lots of power and an overinflated sense of self-worth (to put it mildly). Audience demand facts. Fun fact: celebrity YouTuber Stephen Bannon once worked in the actual White House. An entire segment about Bannon that doesn’t make fun of how fucking poorly he dresses. Seriously, what a goddamn slob, doesn’t the White House have a bouncer? In the Face of Evil: Reagan’s War in Word and Deed: A bloated title from a bloated man. Bannon’s actual aims – what lurks under his racist Nazi skin suit. How the nupopulist movement is like some kind of cult (or one of the later Harry Potter books). Continue reading
If it’s almost still October, it must almost still be Saw, again. Plus: Chucky, the unbeatable. First up, not everyone is Jigsaw. Tobin Bell and company walk the red carpet, but some one does not proceed to the latest Saw film. John Kramer is both dead and committing crimes, how can this be!? The Curse of the Chucky. Everyone is Charles Lee Ray. Not really but actually kind of or whatever. Finding a compelling story this late in a franchise. Don Mancini is just so so good. Where other franchise sell out, Child’s Play doubles down. Continue reading
Resident Evil films 1-6. A lengthy analysis of an otherwise un-touched horror juggernaut. Power-couple Paul W.S. Anderson and Milla Jovovich. Much like Resident Evil, people need to cherish the Michelle Rodriguezs they have. Resident Evil: Apocolypse, Extinction, Afterlive, Retribution, and The Final Chapter. Marilyn Manson writes some score, Charlie Clouser picks up where he left off, and A Perfect Circle somehow gets involved. Resident Evil has incredible icons. Some past-due respect for production and costume design. Six theatrical releases and more than 1.2 billion at the box office, and somehow ignored by genre fans. Continue reading
Experiments in extreme survival. Eric has seen MAYHEM! Contrary to appearance, there is probably no office Battle Royale zeitgeist moment happening right now. Horror as a funhouse mirror to society. Being a genre fan in the wake of actual no-kidding US massacres. The little big film. People really really wanted The Purge to go outside for some reason. What is The Belko Experiment? The trolley problem. When most would save five lives instead of saving four, the concept of intervention creates a wrinkle. Raise your hand if you’ve seen Circle. Continue reading
Suburban crime: breaking into the old man’s house edition. Crime on the victim’s turf. A secret basement double feature! The morality pendulum swings! When you get too close to the antagonist, horror happens. If you’re too far away from the antagonist, horror happens. Horror often creates a fantasy world where the audience can be threatened by forces they will never encounter in real life. These two movies show the horrors when those fantasy rules are assumed but do not apply. High concept horror. The most intense, what the fuck scene in the last year of horror. Candy corn lasts forever. Warning: do not put candy corn in your stomach as only bad will come of it. Continue reading
Embracing the increasingly popular month-long October horror obsession. A celebration of classic remakes gone double classic. New Line Cinema releases IT, completing their rags to riches story with an incredible moment in the mainstream popularization of horror. Creating a new cult icon does not undo the original cult icon. It as a pop-culture carnivale ride. What’s good for the industry’s good for the genre. Looking back at the impossible creation of Werner Herzog’s Nosferatu. By vampire, they mean Dracula. Rats Rats Rats. Is Nosferatu the Vampyre more Nosferatu or more Bram Stoker’s Dracula? A return to the macabre. Announce Double Feature’s big 2017 surprise. Continue reading
Love and Bots. Double Feature is about to release something HUGE – sign up on Patreon before the next episode and find out what. https://patreon.com/doublefeature Even more news? Eric Thirteen has a new film, DISPOSITION, and it’s playing all fifty states and around the world. Get notified when it plays near you at http://dispositionfilm.com. Finally, humans need ice cream. I’m a Cyborg But That’s Ok tackles care through mutual instability. The title hypothesizes a stance on fantasy vs delusion in recovery and coping. People don’t let people believe delusion. Also, separate topic, what the fuck is Heartbeeps? Stan Winston receives an award, Andy Kaufman gives a final performance, an this is the film that disappears into obscurity? The state of robotics in the 21st century and it’s impact on film. And on jokebots. Also important. Continue reading
When sketchy individuals make great films – what is the moral imperative of an audience in reaction to the art of those alleged to have done wrong, both well after the film and on the set of the very art itself. Using these two films as a launching point for a conversation about “problematic artists,” it should be noted that these specific individuals may be complete innocent. But if they weren’t (and other artists aren’t), how far can art go to produce results? In Buffalo 66, controversial director Vincent Gallo is alleged to have abused Christina Ricci on set. Together they created something amazing, although it certainly has an unintentional factor to it. Should the film be boycotted? How should it be presented in the future? Does this all hang on the opinions of the person abused? A note about A Continue reading
How to double down. Two undeniable action films get equally influential sequels (which is to say, why the fuck did these not influence everything that followed?) The Raid: Redemption: Two: 2: Berandal. Crank (2) High Voltage. Fuck you, Chellios! Eric plants seeds; a beautiful tree grows. Why there are no eyeballs being drilled out in Die Hard. Something that makes breaking out of the mold that much more more difficult. Crank 2: Beind Belief. Listen to movies, they know the world they take place in. Where has the action hero gone? Mike Patton is The Darkness (and one thousand other sounds). Continue reading
Romantic entanglements aren’t helped by toxic masculinity. Eric’s ex-girlfriends present: anti-romance! Double Feature has survivor’s guilt in Austin, Texas and Los Angeles, California. Drafthouse personally apologizes for a hurricane. Rob Reiner introduces Harry and Sally and ellipses. A man thinks men and women can’t be friends but that was back when there were only two genders no seriously. Is When Harry Met Sally… about people or relationships or humanity? The infamous fake orgasm diner scene. Luis Buñuel, or as he is more commonly known, the Spanish Rob Reiner. Buñuel wants you to know: we do not live in the best possible universe. Strangers on a train…also talk about orgasms. Who is the true obscure object of desire? Continue reading
Fuck the critics! Films resist the people who watch them, and get off on tormenting the people who judge them. First: Two teenage yoga enthusiasts team up with a legendary man-hunter to battle with an ancient evil presence that is threatening their major party plans. Kevin Smith will do anything he fucking wants. What was that? A convenience store? For the true fans? Oh totally, not a problem at all. Actually, what about three of them? Great, three convenience store movies. Wait, you guys were asking about these Degrassi movies, right? Then: A Shakespearean actor takes poetic revenge on the critics who denied him recognition! I mean, probably a Shakespearean actor. Vincent Price in sandwhich-face-face. Continue reading
Why art? Bad art, tasteless art, controversial art. Should some art not exist? Racism and dystopia. A poorly timed double feature – thanks, American. Soul Man, a movie that should probably be seen before heard. Seriously, do it. Double Feature can’t be responsible. Order is in debate. Straddling a thin line for an impossible amount of time. One man’s historic atrocity is another man’s first black steps on the moon. Once indefensibility is exhausted. It Happened Here – and it totally can, and actually sort of has. 2016’s Nazi-Sympathizers are 2017’s Nazis. Collaboration in the United States of America. The place dystopian literature earned in cinema. Why paint cruel words? What can be gained from brutal fiction. Playing devil’s advocate to the even less defensible. Continue reading
Differing economic headaches. Decade-specific economic problems. Tangible goods and services and abstract investment. Black ownership as depicted on the south side of beautiful Chicago, Illinois. Ice Cube returns in another great movie that no one expects to be great. Well, no one on Double Feature. Well, ok, no one on half of Double Feature. Never underestimate Cedric the Entertainer. Easy money and hard times. Money, sleeping, and Oliver Stone’s 1987 film Wall Street. What do the economic representatives have in common? No no, besides being white. Gordon Gecko is not to be idolized. Making money moving pieces around a spreadsheet. Oliver Stone running around a…call center, or whatever Continue reading
Two writer directors take on social interactions trapped in a room. A pack of individuals spend that day together, learning to rise above their own differences in sharing the human experience with their fellow man. Or killing each other maybe. These high school cliques certainly have a very white thing in common. Learning about John Hughes through one of his most popular and lasting films, The Breakfast Club. Everyone gets punched by their father and no one really likes it. When adults talk. The greater purpose of learning to live and love your peers regardless of class – to distract yourself from how fucking terrible growing up is. The eighth Tarantino film: The Hateful Eight. Big black cock. Double Feature finds a fresh new appalling. Quentin Tarantino gets better and better. Story telling Continue reading
Double Feature begins a Year 10 journey into American presidents and propaganda. The presidency of George W. Bush through fact and fiction. Well, probably more of the second one. Oilver’s Stone’s W. from 2008. That’s the letter “w” and then a period. What an awful name for internet searchability. No one really though about that back then. Anyways, an Iraq-critical film revolving around Oil and not so much 9/11. Speaking of not so searchable, how do internet search engine’s treat 9/11 vs 911 or 9-11? iTunes tried to name the file with a 9_11. These are the things that fill Eric’s nightmares. As if that weren’t enough – Michael Moore’s films are embarrassing. Continue reading
Absurd films with horror bents. The Greasy Strangler pounds it in. Just pounding. Just hitting that point over and over. And over. By pounding. The point. Pounding it in. Until pounding looks strong on the display. Pounding. Is that even how it’s spelled? Pounding? What does that word really even mean? What’s even happening here? Michael learns all the secrets of The Greasy Strangler and it turns out nothing is going to help. Jim Hosking is a bullshit artist. The Happiness of the Katakuris and the happiness of Takashi Miike. Doing a film on a sort of dare. An alternative to funding. Humanism: it’s probably in there! The Katakuris live on (until everyone dies). Continue reading
Women making their way through life with men, and maybe better without them. Slice of life films focusing on finding individualism and a sense of self in uncommon communities. Two release weekends separated by fifty-nine years. Women in Nights of Cabiria has plenty of fun nighttime activities, and they’ve gotten even better since the fifties. Do the characters of American Honey deserve sympathy? So not the point of the film, but let’s explore for a minute anyways. Michael tried to get Eric to kill himself again. Eric out-poverties Michael. Continue reading
Size and scale in cinema. How do you keep perspective when everyone’s face is the size of a television? How IMAX impacts filmmaking, or at least the future vision of a movie. Do not miss Charlie Day and Ron Perlman together. Just don’t do that to yourself. Cancel the apocalypse! Saul Williams not appearing in Pacific Rim. InnerSpace, have you seen this? Coffee with Joe Dante. Reversing Pacific Rim does not suddenly make InnerSpace. Joe Dante movies might be as much about Joe Dante as anything else, and that’s actually really fucking cool. Continue reading
The new series begins right here. Two recent horror efforts answer “why horror” in spectacular fashion. A slow decent from the reality of tonight’s theme to the extremes of it. The straight concept mystery that keeps on giving. Another oven full of witches. Evil in practice and in metaphors. A movie not about the Salem witch trials (and a whole lot that is). The subtitles can’t save you now. Scares upon repeat viewing.When your best friend is actually a goat. This episode is dedicated to Black Phillip. The era of delicious begins, deliciously. Continue reading
SPOILER FREE SHOW! The reality of 2017 catches up with the bunker and it goes…not well. An extra long look back at the 2016-2017 year of Double Feature. Episode provides a snapshot of the time and also what’s changed in society since the episodes have aired. Additional Content runs full force! The extracurricular accomplishments of Double Feature outside the main run of shows. Bringing listeners and members further behind the scenes. The one film franchise Michael still ins’t getting. A new use of the machine for empathy. The pairs that were fucked and the pairs that were the opposite of that. Also, really really really great movies. These unpredicted results of this year’s Double Feature marathon / journey / whatever. Continue reading
The longest orgasm in podcast history. What is the line between art and pornography? An unpopular opinion. Sex is a dangerous thing. It changes your life. Consent, monogamy, a depression trilogy fuck-epic and the intersection of love and sex. Sexual exclusivity as the default. Nymphomaniac’s two parts should be viewed as a single film. Biological acceptance versus emotional consent. Starting with consent and finishing without it. Infidelity and experimentation. Continue reading
A conversation on race in America from the last two people to learn the results of the disastrous election. Like, actually. Also, an art problem: Racial satire + enough time = film that just looks racist. Can racists in 2017 be saved or is it time to move on to more productive challenges? Racist dogs, on the surface and far below. Double Feature Year 9: The year of rape, sexual assault, blurry lines in erotica and also dogs. Just regular type dogs. When the racism pendulum swings the back the other direction. The inevitability of human hatred – to channel or ignore? Natural, nurture, and who is to blame for a person’s racism. How Blazing Saddles suffers (or triumphs) from today’s freshly racist America. Does the intention of art matter? The notion of not considering the artist and only considering the art is a complete fantasy. Continue reading
The final episode of war and peace. Or rather, Vietnam and drugs. How to win at Russian roulette. This show happens in a bunker and there shall not be any jokes about the Kremlin. The adrenaline junkie, head on. Is war a drug? Come on, an addiction at least. Speaking of, let’s talk about America’s heroine thing. And Danny Boyle. When you give up drugs, sometimes there’s nothing left. This show happens in a bunker and there shall not be any foreknowledge of Trainspotting sequels. NOTHING. LEFT. Continue reading
A bunch of sad times on Double Feature. 2014, what people used to think was a dismal time. The Skeleton Twins are Bill Hader, Kristen Wiig, and…Luke Wilson? Siblings cheating death. Mending family relationships and digging up the past. When the actor relationships show. Craig Johnson returns! Inside Llewyn Davis as interpreted present day. Art and keeping at it. Speaking of, now would be a good time to check out that Patreon. What’s wrong with the Plan of Llewyn Davis anyways? Twisting the gallows-humor knife. Oscar Isaac is suddenly everywhere and it’s great. Continue reading
TIME IS RUNNING OUT! Double Feature Year 10 needs you or it can’t happen. https://patreon.com/doublefeature Impressionable loners who take fiction seriously, fictionally. Real fake stories. What lurks inside the bunker (not a casper mattress). Kumiko THE Treasure Hunter. Old wounds, old centipedes. John Oliver stole John McCain’s joke he stole from Michael Koester. Basted on the true, or lies, or neither, or hey are you watching the new season of Fargo? Fuck ads. THE Human Centipede 2: Arthouse as fuck. Expanding on the brand as an conversational art piece. A retraction on Fargo where no one needs to acknowledge blame. Continue reading
Vaginal thrillers! The erotic thriller. Twice the smut, twice the class. Well, maybe. Park Chan-wook’s master film “The Handmaiden.” Handmaidens before The Handmaid’s Tale was cinematic cool. Things you could not possibly believe are portrayed tactfully. Basic Instinct, the prototypical 90s erotic thriller. Flesh seduces, passion kills! A-list actors used to get naked and that was great. Sharon Stone’s lady parts. Paul Verhoeven’s infamous leg cross. Incoherent sex stabs. Twenty years ago, when rape was totally cool. #JadeGate Continue reading
By the end of this episode, one will not make it out alive: The victim from Murder By Death, the Suicide Girl in Burying the Ex, or DOUBLE FEATURE itself! Actually, let’s address the Double Feature coffin first – then on to murder with friends! Understand yellow face, one of those conversations you only seem to hear on this show. Is it important cultural satire, is it tasteless cheap grab satire, or is it another thing entirely? Joe Dante paints the perfect world for the Los Angeles horror enthusiast in Burying the Ex. There are supposed to be a bunch of great pictures and lists and stuff on here, but let’s stay focused. It’s time: Continue reading
It’s time for REBELLION. Kevin Back way back in Herbert Ross’ Footloose. The “foot” is the bottom of a sail: a sail that is footloose is free to move whichever way the wind blows.” Small town rebellion. Outside influences. Rock music, dancing, and the end of the individual. The great rebellious spirit. Fuck the status quo. Fantastic Planet, a film from René Laloux. The human rebellion. Resist the leader. A sort of future on a play where large blue creatures are in charge, but now spoilers are approaching. Continue reading
From the Spanish Civil War to the 2016 Valley. But the other way around. Also, probably not 2016. Ti West returns, and inevitably there’s going to be some conversation about horror. The term ‘slow burn’ is sort of getting annoying. Ethan Hawke, John Travolta, and some other people your parents would recognize. Jakup’s imprisonment in The Devil’s Backbone. Wait, the Devil’s Backbone isn’t entirely in the Spanish civil war is it? Guillermo del Toro strikes back, but more like before. The constant reminder of peril. Also, drones! Continue reading
Prowlers meet up in a pairing of Nightcrawler with Smash and Grab: The Story of the Pink Panthers. In Dan Gilroy’s Nightcrawler, Louis Bloom (a driven man desperate for work) muscles into the world of L.A. crime journalism. There he blurs the line between observer and participant to become the star of his own story. Havana Marking’s Smash & Grab: The Story of the Pink Panthers. The world’s most successful diamond thieves take us into the dark world of the international jewel trade. Continue reading
Slasher marathon number thirty! Ghoulies 1-4. In the first Ghoulies, a young man and his girl friend move into an old mansion home, where he becomes possessed by a desire to control ancient demons. Then in Ghoulies 2 (Ghoulies II), the Ghoulies wreak havoc at an amusement park, disposing of those who mistake them for mere fairground attractions. Also, toilets. Ghoulies 3: Ghoulies Go to College (Ghoulies III) is a real movie. Well, mostly. John Carl Buechler directs a college teacher brings the little creatures back to his campus, where they proceed to terrorize the faculty and students. Finally, in Ghoulies 4 (Ghoulies IV) a retired occultist turned police officer must battle a former lover as she attempts to summon forth demonic forces after escaping an asylum. Continue reading
Pairing Tom Laughlin’s Billy Jack and Werner Herzog’s Aguirre, Wrath of God. In Biily Jack, ex-Green Beret hapkido expert saves wild horses from being slaughtered for dog food and helps protect a desert “freedom school” for runaway. Aguirre, Wrath of God! Everyone’s friend Werner Herzog. Do yourself a favor and follow @WernerHerzbot on Twitter. In the 16th century, the ruthless and insane Don Lope de Aguirre leads a Spanish expedition in search of El Dorado. This is the plot of Aguirre, the Wrath of God, but it really doesn’t prepare you for this shipwreck. Oh wait, that was the last Herzog movie. Spending some no-fucking-kidding time with Klaus Kinski. Continue reading
The ongoing war and peace series continues with American Sniper and The Man with the Golden Arm. Clint Eastwood brings the story of Chris Kyle in American Sniper. Navy S.E.A.L. sniper Chris Kyle’s pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can’t leave behind. Michael lives in Texas and has feelings about American Sniper. Otto Preminger’s The Man with the Golden Arm talks about the impact of drugs in a time when that wasn’t talked about. A strung-out junkie deals with a demoralizing drug addiction while his crippled wife and card sharks pull him down. Continue reading
Two really strange rides when R100 meets Brining Out the Dead. Hitoshi Matsumoto’s weird movie R100. Someone tried to describe R100 like this: An ordinary man with an ordinary life joins a mysterious club. The membership lasts for one year only and there is one rule: no cancellation under any circumstance. The man enters into a whole new exciting world he never before experienced where crazy love goes wilder and crazier. Is it an illusion or is it real? Welcome to the world no one has dared to explore until now! Martin Scorsese’s weird EMT movie Brining Out the Dead. Haunted by the patients he failed to save, an extremely burned-out Manhattan ambulance paramedic fights to maintain his sanity over three fraught and turbulent nights. Some real information from a real nurse might not be the expected. Continue reading
Horror filmmaker who keep audiences waiting. Michael: We’ve got two movies today by two directors who made me like movies. Eric: Very truly so. That is Lucky McKee and the great Eli Roth. I should say the great Lucky McKee and, you know I just get giddy. Michael: Right, right. Eric: When it turns out Eli Roth has a movie…but both of these guys are guys who put a good length of time between their masterpieces. Michael: This is true. So to start off, there’s a couple places you could start to really get the most out of the show today. The first place you could start is where the show started, which is the beginning of this year at Citizen Kane and The Godfather. That will teach you, here’s what that will teach you. That will teach you what the fuck we do and how we do it. That’s what you’ll learn from that. Continue reading
Works of art some some believe should not be available to other humans. Double Feature dives into the obscene and tasteless in a variety of ways in a conversation on the contrasting films Henry Fool and Harmony Korine’s Trash Humpers. What is cult and what is subversive? Where is the Underground? The people on these towns are asleep. We wake them up. Dirty, tasteless, taboo riddled cinema- Why does it exist and why is tasteless film vital to society? Continue reading
Come on, step inside, dead bodies everywhere. An hour long discussion about the problems those pesky corpses cause in one classic and one contemporary film. Explaining it only makes it worse. Exploring two movies with a common theme: whoops, I guess there’s a body now. Jim Mickle realized what you need. What’s the vision and what is expected. So, neo-noir and probably zombies. Sick mom, fucked dad, dealing with life. Nick Damici! Sam Shepard! Hedwig! Close one door, open the next. Hate. Alfred Hitchcock avoids prison as a good son. Strip the plain – not giving in. What is the Trouble with Harry? Probably unrelated: dreams never achieved and being fucked at dealing with your life. Still convinced no one reads episodes notes. “You want me to be something I can never ever be.” Free me of your life, inside my heart dies. Continue reading
Violence and Maternity. Inside and something else. Eric: It’s ok, you’re in a safe place. This is Double Feature. Michael: Is our show fairly traded? Eric: And uh…oh, I remember that. That’s good, that’s a good…Michael: Thank you. Thanks. Eric: I think that is the same voice actually. My name is Eric, and I’m in my last hope for a happy place, with Michael Koester. Michael: Yeah, well I’m sure these two movies helped you find that happy place. Eric: They really did, they really did. You’re referring to the David Lynch coffee commercial. Michael: I am. Yeah, David Lynch signature cup coffee. Continue reading
Man vs Lamp Double Feature. Eric: You feel that? There’s some spook in here. Feels like some spook in here Michael: A little bit yeah, little chilly. Little ghostly chill. Eric: Yeah. Some Ghost Cold. I feel that. I know what you’re talking about there. We’re doing a couple spooky fucking movies today – and you know, sometimes we talk about some themes on this show. Sometimes before we record I go: are there any specific points we’d like to make sure we hit? And then we just start doing the show before we record. Michael: I know, that’s the problem. Eric: I don’t know…Michael: And this Banshee Breeze in here just really like fired me up, we needed to talk about it. The Spirit Chill. Eric: There’s another one, isn’t there? It’s spirit something. There’s a third one. Michael: Spirit Chill. Eric: Ahh, is it? Banshee… Continue reading
Today in action. Can John Wick reclaim Keanu Reeves, or is he the property of the other six really hip movies he’s made this year? Those comic book poses have a name. How many dogs have to die before Double Feature being summoned to talk about the trope? Build a world, build a hotel to stay in, and invite Willem Dafoe. Maybe Willem Dafoe appears on set like some kind of summoned genie. It’s like Beetlejuice. Hardcore Henry leaps forward in action experimentation. Strap that GoPro into your mouth, it’s time for a ride. Ilya Naishuller teams up with hardcore Russians. Sharlto Copley, Sharlto Copley, Sharlto Copley, Sharlto Copley, Sharlto Copley – cue the music. You are the first person. Exploring Moscow with friends. Some crowdfunding later, two million dollars to change the world. An hour on the internet where no one regurgitates completes about handheld movies as if they’re some kind of unique voice in the critic world. Continue reading
Not everyone defeats their inner demons. Oswin Suicide kicks the fuck out of some recordings. A look at destruction and self destruction with the scapegoat of mental illness. Who or what is Adi Shankar? Finally, some answers. Unlikely color keys in The Voices. Finding yourself in the place of the psychopath. Ryan Reynolds does Deadpool before Deadpool is Deadpool. Tyrannosaur is not Rob Zombie’s ill-fated Tyrannosaurus Rex. One half of a really good Peter Mullan feature. Hurting animals is still a line in the sand with audiences. Joseph has a hard time with violence. Reality check on character flaws. Continue reading
Taking a break from civic duty to come in from the cold. The barrier between dystopian fiction and one of the darkest weeks in American history. Horror fans loved the fuck out of Room (2016), despite it’s non-horror trappings. Or was that Room (20156)? The brutality before and after Room. Lenny Abrahamson creates a world out of tiny details. My Dinner with Andre is decimating in a way you probably didn’t plan for. Look at your fucking life, kid. That meme where My Dinner with Andrew predicts modern times or whatever. Things stay warm and fuzzy as Double Feature re-ups the promise to delivery a safe haven every week. Continue reading
War and peace goes a step further. Herem Suicide clears up the previous Russian message. All Additional Content is now publicly available AND there is a brand new Double Feature store! Peace – still just a codeword for drugs. Two sober pacifist atheists talk about a war they weren’t alive for, then about drugs. Iraq crops up again. Taking the war home (some more). Oliver Stone gets a pass for helping tell the story of Edward Snowden. Obama still has a few days to fix that mess, by the way. Manning was a good start, come on POTUS. Platoon further reveals the emerging pattern in war films. Taking a trip with Fear and Loathing in Las Vegas. Michael does zero drugs and then freaks the fuck out. Eric’s adventures in bat country. Who was Hunter S Thompson? A primer on Gonzo journalism that Double Feature hopefully didn’t fuck up. Mmmm, Annathesia. Continue reading
The cinematic legitimacy of the romantic comedy. Ivylina Suicide brings an important message from on the ground in Russia. Don’t forget Intolerable Cruelty! Joel and Ethan Coen do a film noir (is what you can tell your friends when you watch their rom-com). What Billy Bob Thornton shares in common with a screaming goat. Was Double Indemnity a date movie? Soft motion chase montage! The psuedo-Cosmo magazine column How to Lost a Guy in 10 Days for Composure magazine. Fashion girls and sports guys. Films representing reality. The nightmarish cover of Carly Simon’s You’re So Vain. Politics and news coverage have basically become reduced to headlines Cosmopolitan would even take a pass on. Continue reading
Growing up in the empty shadow of military fathers. The great Erica Fett (aka Phecda Suicide) claims the role of happy warrior. What if the military was thought of as a job? Throwing yourself into something. Whiplash’s obsession in the name of greatness vs The Great Santini’s achievement of greatness. The consequences of leaving normal life behind. The most unnecessarily evil scene in Double Feature history. Everyone loves Vincent,A Little Princes as the unsuspecting film of now-colossal filmmakers. What an adult sees when childlike wonder fills the room. What kind of movie is A little Princess and what do those movies look like now? Erica Fett promises something is coming…but what is it? Continue reading
Man vs machine is never really about machines. Machines always teach us about humanity. Lots of details from Sid Suicide. One theme spirals into many trains of thought. The continuing history of struggles in art, technology, and humanity. Computer chess is what everyone but Michael thinks it is – or, the elaborate hoax of Andrew Bujalski. Old technology is funny whether it wants to be or not. People make terrible predictions about the future. Just your everyday average dystopia with Jean-Luc Godard. Lemmy Caution visits the distant space city of Alphaville. Von Braun hates what makes society feel alive. Parts of society, anyways. Machines teach us about ourselves. Continue reading
Alternative filmmaking through fact and fiction. The real, no fucking kidding Luci Suicide. A new quest for information. Who is Giuseppe, and isn’t it Adam Rifkin making a movie? Giuseppe Andrews as the unlikely horror folklore hero. Film making ethics, for fun and fix. A voice for the voiceless via no-hold exploitation. Is Giuseppe Makes a Movie celebration or tragedy or all of the above? Getting the shot at all costs. Gold Diggers of 1933. Gold Diggers of 1993. Gold Diggers of 1399. Gold Diggers of nineteen twenty, nineteen twenty-nine, nineteen Paris and other nineteens. London After Midnight and lost films. Petting in the Park and Who You Calling Ma’am! Continue reading
A completely serious look at two unsexy films about sex. Or sex-parts, at least. LuFae Suicide makes things feel like home again. Dead Ringers sets the level for subtle right at the title. Jeffrey Irons, alone with you. Love, drugs, and sex. Partner sharing somehow makes things whole again. Obsession, however far away. What’s the best one you’ve ever seen? Can’t spoil whatever words you say. Twenty four minutes later and clean again. The basket case. Frank Henelotter makes the audience feel young again. A single level of tact, however long it stays. Promising the best. Bad Biology feels like being free again. The producer’s end credits rap song. …howeverfaraway I will alway love you. Continue reading
The unique point of view kills it once again. Dallas Suicide puts the real world on hold to talk about what could have been the zeitgeist. An important public service announcement regarding beavers and whether or not they are good. Celebrity, privacy, and the second porn start on today’s episode of Double Feature: Sasha Grey! Elijah Wood makes more horror films. What’s justified, as if that matters? The internet destroys humanity, nihilism ensues. Everyone’s naked on the internet, so now what? A commentary about cops in America that doesn’t even seem possible today. Sympathy for the officer, lives of blue, and things End of Watch thankful got away with. The right time and place for preserving a conversation. The timeline of police brutality in the United States. This is still happening, even though everyone’s preoccupied with other forms of terrible now. Continue reading
Bottle films are starting to get a little ridiculous. Annasthesia Suicide begrudgingly delivers the episode and a few updates. No one is allowed to talk about Rope’s camera work today. What actually happen in Alfred Hitchcock’s film Rope, besides close ups of people backs? People fall off the dinner party bandwagon. Trapped forever by your own mind – bottle films go psychosomatic. Everything (that was) wrong with the world (before November 8th) can be solved with The Exterminating Angel. Double Feature delivers a fifty year old film that’s telling us how to move humanity forward but no one is listening. Watch The Exterminating angel, humanity. Please watch it. Please. Continue reading
Two movies to pause for personal reflection. Ruby True Suicide has some things to say about Double Feature. This episode contains spoilers. Eric says perhaps the single saddest thing in near decade history of the show. Michael helps find the best memories, all of which are made during the episode itself. A world so large you could live in it forever. Is becoming a lobster such a bad thing, just because of how your body is horrifically mutilated? A resistance that isn’t very good at being The Resistance. Continue reading
Storytelling without dialogue. Eric and Michael go underground in fear (or maybe denial) of the apocalypse. White God is the not the only movie about dogs, or even white dogs, this year on Double Feature. A first time event caused by the discovery of an all new empathy-box. How a non-human protagonist may be easier to relate to. The Tribe (also called Plemya) is entirely in sign language. There are no subtitles, do don’t look for them. Michael knows sign language, providing zero insight. Eric learns SDH captions are not the same as subtitles. Experiencing the must talked about ‘heightened senses.’ Continue reading
The next stage in war and peace accelerates the conversation at an alarming rate. Stanley Kubrick makes the best films. of at the best things, turn out. The two halves of Full Metal Jacket. Goddamnit Vincent D’Onofrio, you keep doing this. Two parts of the brain…are competing? Compartmentalization in war time. Winning over hearts and minds by shooting children in their hearts and minds. Where has the peace movement gone? That brief periods when all was quiet on the warfront of the United States of America. The Monkey find. their inner struggles running parallels to the endless cycles of Vietnams and Iraqs. Staying true to the art. Continue reading
Pumpkinhead films 1-4. Much much better than your ready for. The quick pre-30 run-throughs of Killapaloozas. A much quicker run through of how many pumpkinheads are in the Pumpkinhead franchise. Now playing: directorial debut of SFX artist Stan Winston! The shaft in KNB. A Quentin Tarantino effects secret. What Hodder? Kane Hodder! Lance Henriksen IS Ed Harley. Getting those Blood Wings. Some guy(s) made a Blood Wings video game! Has anyone played it? Pumpkinhead: Ashes to Ashes back to back with Pumpkin Blood Feud. Two films made for the Syfy channel. The release of the automobile. What fucking year is Blood Feud? Continue reading
Fever dreaming! Hausu goes back to back with Sisters! Look at that adorable orange cat. How serious is Katsuya Yorita with Hausu, or what kind of serious, or what the fuck. Getting the keys to the playground (or, the lunatics run the asylum). Revisiting The Room! Hausu is House but not The Room which is not Room. Who is the real Brian De Palma? Unrecognizing Alfred Hitchcock. Famous directors with an underground collection of early horror cult work. Yes, there’s several of them. Hot on the case of the plot of Sisters. What happens in Sisters is really complicated or really obvious. Continue reading
Monstertoberbloddyfeature. What is Atomic Zombies!!!? Pet Sematary as seen through various shared world’s. Michael’s retirement plan is not do go on that there hill, there’s a death curse. Eric is mean to children. Do the thing in the movie that would be the most interesting, unless it would make the movie worse. Performing experiments in the world of Pet Sematary – good science or bad science? Talking about sky pig. Everyone is entitled to their own false reality that you should blindly respect! Where did Atomic Zombies!!! even come from? Finally, someone does the thing we’ve been baiting. More independent than independent. This movie has more heart than half of the top grossing films this year. And it’s pretty late in the year. Continue reading
An ongoing discussion of dangerous art impacts a younger generation. Three O’Clock High turns out to be more challenging than it even knows it is. #blacklivesmatter, because why not push some more people’s buttons. From the western to modern politics. Solving injustice outside (or just within the boundary of) the law. Larry Clark continues to challenge with the highly controversial film Ken Park. The sketchy Terry Richardson debate. Audiences cringe as they find themselves witness to a crime. It’s probably not a crime though, everyone definitely signed a certified SAG waiver which has been filed in accordance with related paperwork. Also, on-screen masturbation. Continue reading
Women make their way into the spotlight with destructive results. The female force in cinema, then and now. The guerrilla skepticism effort to improve Wikipedia. Update on The Double Feature Movie. The flying Tom Tom returns in possibly the best use of the “how we got here” device. Obsessive, grinding repetition waiting for an opportunity. Mortality by way of performance. Art that vanishes like sand to time. Woah. What it takes to get to the circle. One more, with clarity! Nicolas Winding Refn finds a place in The Neon Demon. Gender roles are not what you think. Cats be hungry. An important moment in tearing open the year’s discussion on art and rape culture. Safe words on set. Art is not safe. Continue reading
New midnight movie Double Feature! Blood, guts, gore, scares and maybe a witch. Eric Thirteen, Double Feature host and executive producer of 31. More Zombie than Zombie. Seriously, maybe the most Rob Zombie film ever made. The 70s, a time when insane directors got away from the suits and made insane movies. The extremely memorable man of the hour in 31, and the rare memorable villain in recent films. Rolling around in the pit – the reason to go back to 31 and other Rob Zombie movies time and time again. It turns out Blair Witch is fucking amazing. Critics, proving to be full of it, now universally celebrate The Blair Witch Project when they just made their usual stupid puns at the time. Adam Wingard rules the universe. Blair Witch as probably the scariest fucking thing ever. See great horror being made today. Continue reading
A late night study session on human consciousness. The interactions between minds, the interactions between humans and machines, and the unnoticed social implications of each. The Wachowskis are probably into the Opera (or at least The Hunger Games), and thinking in those terms changes everything. An audience’s acceptance of mixing race and gender on screen. Double Feature goes even more broad into some heavy territory. What it’s like to spend every day two years in the future. Trends in personal technology and where it’s going. Her as an exceptional piece of both vision and prediction. Continue reading
One species manipulates another to do its bidding! The most important information presented in the PBS documentary Leave it To Beavers. Thinking about engineering. Complex questions at the end of evolution. Understanding animal lovers. Stop fucking eating fucking cows, you’re all killing the planet. John Carpenter unplugged in Village of the Damned. An alternate debatably cooler name for Village of the Damned. Imagining a world where this is a franchise – maybe even an AMC television series! John Carpenters interest in stories with great premises. Continue reading
Freethinkers are suddenly faced with mindless masses. Green Room is pretty much the greatest goddamn thing. The traveling punk band. When Nazis hijack your organization. Talking about punk rock, obviously. Generally mindless genre plus unique character equals suddenly amazing film. The niche need not apply to the audience. Needing to talk about Slither. Where and how does Night of the Creeps fit into the 50’s, the 80’s, and genre flicks? Iconography, lasting image, and how to ensure no one steals you icon. Connections to classic and modern horror. Today’s audiences like Night of the Creeps even if they don’t know they like Night of the Creeps. Knock knock, who’s there SCARE CAT. Continue reading
The bleaker (potentially advantageous) traits of human evolution as elicited by nefarious marathons. People do things for a long time and it goes bad. A great place to get Hands on a Hardbody. Hardbody is one word, probably. Just keep your hands on a truck, what could go wrong? Karl Pilkington rears his bald head again. What happens after Hands on a Hardbody – an update rarely discussed. Dark turns darker in They Shoot Horses, Don’t They? A movie that’s probably set in the time it says it is. How about two most awkward titles to type out double feature. Street Sweeper Social Club really wants to text you updates. Continue reading
Alternative therapy disproven through tapes as emotional disturbances reach violent conclusions. Or something else that’s made up. Brad Anderson returns as a pocket sized monster. Asbestos lead asbestos! Who’s crazy and what’s wrong with them? Confirmed: the audience of Session 9 is crazy. The sun and fresh air are terrifying. The unveiling of the formerly secret best film ever, Sun Choke. Is Barbara Crampton leading a new wave of horror revival? Sex and violence and going outside and bad times. Another opportunity to play Who’s the Worst? All of the goddamn imagery. Sara Malakul Lane rocks Sun Choke, but also rocks this other movie. Some information on Eric Thirteen’s new film. Continue reading
Christianity’s Satan mythology as riffed on by great new horror films. The Birthday Massacre plugs TBMChicago and The Birthday Massacre Broken Minds 2006 Bootleg! As Above, So Below’s terrifying equation. It’s time to fact check this found footage reception. The images, oh God the images. Things you see in a graveyard. Ok, that was just a Repo lyric. That guy with Horns. Backhanded compliments to the director! What Horns shares with Cosmopolis. Talking about the horns in the room. Bear or no bear, another chat about Kafka, and getting priorities straight. Hey, Alex Aja is back! Next time on Double Feature: the end of the tease. Continue reading
Unforeseen changes threaten women of long-held power. A return to Woody Allen with Blue Jasmine. A female-led Woody Allen film living outside of many exceptions. Andrew Dice Clay was a thing. Blue Jasmine’s portrait of mental illness. A particularly devastating moment. The Congress is more animated than the US cover wants you to know. Robin Wright as Robin Wright. The target-rich environment of Hollywood studios. The Congress does an acid trip. Maybe a few acid trips. Futurism and post-modernism make their first argument for running threads of Double Feature Year 9. Continue reading
Small towns with large personalities. The beginning of Christopher Guest, kind of sort of. Spinal Tap and the Guestmen. Guffman. Guestmen? Either way, what’s up with Waiting for Guffman’s Windows 95 looking cover? A cult following of a whole different kind. Who is really Waiting for Guffman? Living moment to moment in A Town Called Panic. The undertaking in creating a feature length film based on a season of five minute shorts. What’s the central conflict of A Town Called Panic? Change of scenery change of scenery change of scenery. Oh no, good news! Continue reading
Unexpected revelations while staying with friends in LA! Hey, you, don’t listen to this episode first. Go back and listen to the one before this, that’s a better episode to start on. Seriously, don’t just start here. Female directors and gender fluidity. Who gets to claim transgender bragging rights? The Invitation and the Los Angeles dinner party scene. Killing coyotes to kill time. Ethnic cleansing! Which one is insane (and is ‘all of the above’ an option?) Gas lighting and the Invitation. Ok, not really. Those people from television are in The Overnight! Of buttholes and art. Putting the kids to bed. Los Angeles Sex parties, or something more sinister? Or less sinister? Or a third option? Twenty-first century family values. Making friends with neighbors. Leaving the Overnight unscathed? Continue reading
The American Film institute’s top two films. Double Feature begins – The first episode in this year’s series, and the perfect place to start listening. Don’t be afraid of daunting films. Double Feature updates on the Year 8 Kickstarter for Year 9, the Double Feature Movie, and guidelines for Year 9 of the show. Citizen Kane as a meta commentary on film. Upping the ante on cinema. The infamous ending of Citizen Kane. What’s so special about The Godfather? Things to look for on a first time viewing. Appreciation can start on the surface. How great acting in The Godfather helps explain the craft of acting to people who don’t have the first clue about it. Continue reading
SPOILER FREE SHOW! Double Feature faces themes as real-world issues collide with fiction. Fuck count-downs. An episode with Little to no plot details. An episode not requiring having seen any Year 8 movies. As requested – a completely uncut live episode! How people get information in 2016. Everyone has a bubble. Reinforcing beliefs. The political result of the LA/Austin schism. 2016 US presidential politics. Racism is alive in we’ll in America. Michael has decided to embrace the Oscars. Eric learns the alternate title for “The Oscars.” Continue reading
Outside your element on this very special end of the year episode. Boldly leaping into unknown territory. The Brave Little Toaster, our little secret. At long last Michael becomes a test case. Looking back on an animated cult film. Unintentional character and notability. How the Pixar talent has changed as popular animation grows. The outstandingly successful Pixar formula. The most anticipated movie of Double Feature history. After ten long years, Eli Roth strikes back with The Green Inferno. The new iconography. The original impact of Hostel and the incoming impact of The Green Inferno. Perhaps the most inventive element of The Green Inferno, a brand new handle of feminism without the baggage of modern society. Continue reading
Two horror films tied by a secret thread. The last ever episode of Double Feature. Seminal werewolf film An American Werewolf in London. People said he brain was infected by devils. There’s probably Nazi wolves all over the place. Nightmarish prosthetics. The must-have werewolf transformation scene. An American Werewolf in London as a comedy, by way of music. Other werewolf movies covered by Double Feature. Clown destroys Eric’s cinematic legacy. An American Werewolf in Paris. Defying the odds. The history of scary clown films. Jon Watts takes over the world. Humor in premise, dead serious execution. The story of how Clown came to be, told using details that might be true. Convincing your audience you have a real movie! If you’re reading this, go watch the new 31 trailer. It’s such a good movie. It really is. The various forms of Clown! Child imagery that is not at Chuck E Cheese’s. A heavy decision required by legend. Continue reading
The final chapter in the saga of Jack Ryan and James Bond. Maybe not the final chapter in Double Feature, hopefully. Upon completion of Jack Ryan: Show Recruit, who is the real Jack Ryan? Continuity is finally solved. The long awaited information on Jack’s analytical character arc. Action where action is due. Casino Royale, the clearly best James Bond movie in the entire series come on really it is you know it don’t front. Hey look, it’s that guy from Hannibal again. James Bond in the 21st century. The much needed self loathing. Eric Thirteen on the set of an Eli Roth Clown thing. Continue reading
Concentrating on skill sets. Similar themes with differing points of voice on auteur theory. Disturbing news on the Double Feature Year 9 Kickstarter. Who creates a film? Holly on-set secrets. The hierarchy in a movie production. Thief compared to related films, both director and producer. What does Bruce Willis think about all this? Why auteurism matters (and why it can’t be ‘solved.’) The insane threads in the fabric of Thief. Enter Ghost Dog: The Way of the Samurai! When the insane name of insane movie does not serve to make it any more sane. Acting as a label and measure of a film. Filmset’s as playgrounds. Speculation on Ghost Dog: The Way of the Samurai. Continue reading
Pst. Get secret Double Feature episodes you didn’t know even existed. Tonight: heavy films on breaking points. A look at the psychotic from inside and outside. Keep that bagcat close by. News to no one but Michael Koester: Taxi Drive is fucking amazing! Robert De Niro doesn’t just put movie tickets on his face. As usual, the techniques of filmmaking area useful in making great films. A bit of a character study on Travis. What does Travis want, besides being a Taxi Driver? To clean up the streets or to accidentally clean up the streets, that is the exploitation-biased question. Hoping that no one else hears the fucking Godsmack song when they read the title I Stand Alone. Eric does not ask for an impression. What does Gasper really think? That goddamn Placebo video. Naked is good. Continue reading
A look into the headspace of those who are a little…off. Double Feature releases THE DOUBLE FEATURE MOVIE alongside the Year 9 Kickstarter. Out now! https://doublefeature.fm/members Fitzcarraldo in the making. Every film is also a documentary of the making of that film. Metaphors that aren’t metaphors. The line between crazy and genius (or, maybe there’s one). Fitzcarraldo could have just eaten a gum ball and avoided this whole mess. Used Cars as a screwball comedy. The time of Robert Zemekis that didn’t get enough breathing room. Getting down and dirty. The cringey feeling of watching screwball comedies (which have all but disappeared) at the height of the politically correctness in the last several decades. Revisiting – was it ok for people in backwards times to think backwards things? Staving off the full transition into socially conservative old person. Continue reading
The Exorcist films 1-5. A fresh, outsider’s guide to the Exorcist franchise. Five films, right? How many? A case for the popular appeal of a film that isn’t immediately effective to views out of the moment. Bloody Disgusting has a great series on slowing getting non-horror audiences into horror films. Rooting for the Devil in the Exorcist. Sad endings un stories about losing faith. A series of memorable set pieces. A tradition of single mother horror films. Defending the wrong underdogs. One more with strange feelings!` A horridly flawed and side-barred Alien comparison. The greatest Exorcist 3 that’s ever been. One of the greatest stand-alone films in Killapalooza history. Two films fight for forth film in the Exorcist franchise, but only one will win. Or maybe really neither will win. Continue reading
Kids on a rafter and what happens next. Trigger Warning: The last sentence about rafts was misleading because there are no rafts. If you are sensitive to audio programs that promote themselves as including rafts when they in fact do not include said rafts, there is a small possibility you will be negatively impacted by listening to the full show. To skip Stand By Me, skip to the twenty-four minute mark of the show and move directly to the film Sleepers. If you have not seen Sleepers, skip another 23.5 minutes to the so-called discussion regarding next week’s episode. Trigger Warning: if you are sensitive to upcoming episode discussions that are not really discussions but more a casual name drop of an upcoming special episode covering a horror franchise, blah blah trigger warning go fuck yourself. Continue reading
Degeneration and the need to overcome it. Really really no-kidding scary movies. Honeymoon: what the hell? A nice peaceful vacation into a terrible place. The hidden gem of Honeymoon. When things happen at the end, they are also very bad. A summary that refuses to spoil Honeymoon. The ending of Honeymoon, and that thing you seriously can’t believe (or understand). A time for scary faces – and that time is during The Taking of Deborah Logan. Deborah Logan is not Deborah Morgan (sorry about that!) Learning about Alzheimer’s. Determinations of a canonical natural in The Taking of Deborah Logan. Documentary handy-cam style spooky something. Credit where credit is due. The thing in that cave that is the worst thing. Continue reading
Contrasting portraits of success between decades. Super Fly and Shaft. One more job? There’s always one more job. A actual case of trying to get out of the business. Well, ‘a’ business anyways. Super Fly and the infamous score. Or Superfly soundtrack or whatever. If the Taco emoji wouldn’t destroy the feed or website or whatever, there would probably be one here. People who never update their phone wouldn’t be able to see the taco, so there’s also that to consider. HEY. What didn’t you see Dope? It was really, really great. The inevitability and unlikeliness of Dope. That 90s throwback film sort of happened, hooray! Michael defends a non-existant claim in an attempt to see what it all means. Continue reading
Stains on the American dream. Family life in the twenty-first century. The Gone Girl on David Fincher, Trent Reznor, and Atticus Ross down to a science. A terrible marathon of awful. Compliments to Tyler Perry. Missi Pyle on Fox News on Gone Girl. Selling the turns. No one will believe Rachel Getting Married is not awful, and, in fact, is a great Dogma95 style film. Blame the terrible cover. Not this cover, the one with Anne Hathaway’s smudged uncanny-valley face. The tragedy of no one seeing Rachel Getting Married because of this cover. Box office numbers that could have been better (had someone not fucked up the cover of Rachel Getting Married). Alright, really, look up the cover to this movie. You won’t believe it. Revisiting a conversation from Melancholia. Making time for twelve-step. Continue reading
Gender in the sixties and in the twenty-sixties. Daisies: not on the tv/film obscurity chart, but probably should be. Maybe it fell off the bottom. Black and white, definition, war and colors. Maybe-Robot girls do all the (bad?) things. Something about Daisies ladies and newspapers. Daisies provokes a very different kind of conversation about film, and Double Feature likes it. Bad Education requires taking notes, and then throwing them out and writing new notes. Fuck it, why not ditch these notes. Let’s Play Identity! Who does what as who and why are they doing that? Also, don’t forget, boohiss religion. Every time you squirm, known that’s because someone bumped the pretension knob. Really though, how about that Year 1? Continue reading
Jack Ryan and James Bond return with new faces. Trying to place The Sum of All Fears in the Jack Ryan universe. A movie that actually contains a sum of all of the fears. The continued look at analysts. The inner circles of analytics. Movie presidents then and now. The nuclear football. What happens with the bomb. Does mutually assured destruction still work? James Bond’s Goldeneye 64. Finally, actual hard evidence for the James Bond fan theory – it has to be one or the other. Or a third option. Pierce Brosnan becomes James Bond. Much love for the Alan Cumming. I’m invincible! Xena fills up her Hot Topic punch card (that’s ten skulls, by the way). Goldeneye as a progress Bond. Continue reading
Alternate history with very different backgrounds. The key differences between the multiple versions of Zach Snyder’s Watchmen. Another unlikely film. Watchmen at the perfect time a place. A perfect zeitgeist film that is unfortunately always in the zeitgeist. Extending the metaphor of mutually assured destruction. What does the end of Watchmen mean? Three term Nixon. Alternate history in the minds and hearts of the audience. Ah, that great ultra violence. Iron Sky. Nazis on the moon! Enabling WWII alternate fiction. How has Double Feature not see Iron Sky? Whoops Netflix. Choosing your racism carefully. The one and only excuse for anyone on earth to be racist. Alternate fiction as a writing tool. Iron Sky and the Internet! Be nice to Zach Snyder, maybe. Continue reading
Communities of faith. Finding Calvary in a sea of Calvaries. Bang! Introduction! The opening fiasco. Seven days in town. An excuse for slice-of-life. Is everyone a suspect? How suspicion taints perspective (or at least demands engagement and a careful eye). Calvary, beloved by atheists. Philomena and the weekly kick in the nuts. Hey, let’s go on a road trip! A different kind of brutality. A side of Steve Coogan we’ve actually always seen. Judi Dench wins everything always. Never trust a nun. An update on where all those Double Feature episodes went. Continue reading
Something is very wrong. How the comedy works. Anxiety, confusion, and an exercise in…what, exactly? How Magic Magic twists the audience in its palm. The birds, oh god the birds. Puppy metaphors, maybe. Michael makes many comparisons, none of which involve bead. To address Michael Cera in Magic Magic. A Field in England opens with an dark and amusing joke only Double Feature listeners get to experience. Stupefying through minimalism. Everything you need to know upfront doesn’t help you. A Field in England, the devil, and drugs. Two editors eat some evil. Continue reading
Four hundred episodes, one Elephant Man, and a Crimson Peak. One of those David Lynch episodes! Guillermo del Toro finally appears on Double Feature. The directors who forged your taste. Who is the true Guillermo del Toro? Crimson Peak as just the greatest. Is Crimson Peak a great example of the director’s work or some other odd thing? Finding love in a brand new thing. The ceremony of film. Death in cinema. Just how weird is The Elephant Man? How David Lynch is it? Are those things related? The time and place The Elephant Man came out.An extended sandwich metaphor. An unlikely recommendation. Joseph Merrick. Man’s inhumanity to man. No kidding class warfare. Don’t forget, food for thought: Frankenstein. Continue reading
Considering identity and withdrawal. Finally, a trip through Melancholia in another chapter of Lars von Trier’s Depression Trilogy. Hopefully that one guy still listens. Sometimes the obvious metaphor is the right metaphor. Who’s the real victim of the swell party? What Melancholia shows regarding the cognitive divide between those with depression and those without depression. Different backgrounds create different knee-jerk reactions. Naked Kirsten Dunst wins everything. Keifer Sutherland jumps into a tree. The von Trier kinship. Persona as that one film that inspired all student films. Just how obscure is Ingmar Bergman? An early example of taking advantage of / completely subverting the media of film. Persona as described to another human – or attempted, anyways. Continue reading
Taking the law into your own hands. Child abduction films. People may or may not listen to The Prodigy, but they totally should. Big Bad Wolves, from an unexpected place. Keeping up with the good old brutality. The jokes, they’re coming for you. Dark dark times, and things are only getting worse. The first films from the creators of Big Bad Wolves. Prisoners, a film that is really fucking good. Seriously, see Prisoners! Come on. A terrifying performance with interesting choices. Running those circles. The gift from an actor. Buy one Prisoners, get one Prisoners for free. Continue reading
Surgery, both domestic and foreign. #babysfirstsoska! Where does Eyes Without a Face fit into the history of cinema, and how can you know? Looking to more recent films that drew inspiration. True horror, even today. Timeless effects techniques. Eyes Without a Face and identity. Why the filmmaker’s intent is valuable, even if you don’t care about the filmmakers intent. American Mary. A personal journey through The Soska Sisters. Twisted Twins and Katherine Isabelle. American Mary and attempting to steal from the Canadians. The rest of the Soska twins’ discography. Continue reading
Some musical midnight movies that aren’t asking for approval. Another look at the Phantom of the Paradise. Returning to Chicago’s own Music Box Massacre. Death, Inc. A monster, a veiled threat and a whiney if not eclectic piano player. The Phantom of the Paradise’s iconography and depth as compared to Phantom of the Opera or Faust or other well-known works. Heading to the Forbidden Zone. Something something blackface! Richard Elfman hands down the Mystic Nights of Oingo Boingo. Danny Elfman borrows from his own Forbidden Zone pieces. The Oogie Boogie song originally appears in Forbidden Zone. Danny ELfman’s very first film score, sort of. Pseudo Satan, Oogie Boogie’s song and Dilbert Zone. The Freeway connection. The conspiracy of Forbidden Zone. Is Forbidden Zone satirical or just odd? Oh, also, the crowdfunding campaign for Forbidden Zone 2. Continue reading
Surreal tales of fear from a place that you dare not spoil. Eric goes to Sundance with his films Director’s Cut and 31. New details about Rob Zombie’s 31. The infamy of A Tale of Two Sisters. Spoilers and jokes about spoilers. Deconstructing a unforeseen development in the plot. Korea reveals things. Name that film. No, please, name that film. The era of Japanese ghost stories or some such country. Calvaire, also known at The Ordeal. Michael forgets what the fuck is going on. Double features that accidentally work anyways. Horrible, terrible things and the wonderful people who love them. Listeners do the craziest things. Continue reading
Rugged individuals resist society. The time and place of SLC Punk. Who to follow and how to follow them. Punks in Salt Lake City an Punks in the suburbs of Chicago. A young punk’s relationship with his parents. St. Charles Mall Goth. Selling out! Heroine Bob, heroine in general, and that awful social circle. SLC Punk as a companion to the film Mean Girls. How to pronounce Ayn Rand. the Ayn Rand controversy. Someone else’s problem. Comparing The Fountainhead to Atlas Shrugged. The pain and pleasure of long speeches regarding ideals. Books about architecture can be movies about architecture. Continue reading
Coming back to new and old faces in the worlds of Jack Ryan and James Bond. What a raw show without notes is like. Still an analyst at heart! Answering the cliffhanger you forgot about from Jack Ryan’s last film, Patriot Games. Obtuse and lingering danger. Batman as Jack Ryan. Respect the oval office. Is this a win for the hero? A new James Bond and the missing James Bond. The awareness of The Living Daylights. 007 and the other double-0’s. Michael Koester says some ridiculous things and some profound things. Well, maybe just one profound thing. The debunked James Bond fan theory. A little more behind the curtain talk on Double Feature. Continue reading
Coping with unbearable weight in both fact and fiction. Crime and awful. A newly discovered use of the great empathy machine. The privacy myth – it’s not what you think it is. Encrypt your business and fuck that Google! Avoiding services that steal your data as the center of their business model. The US government doesn’t realize Edward Snowden is a patriot. President Obama as a total jerk. Mysterious Skin may be the toughest film Double Feature has ever tried to cover. More pedophile jokes than you can shake a prison sentence at. Continue reading
Smuggling-ish adventure thing! Romantic adventures. Wait, what? Robert Zemekis shocks many by making more than one kind of film. Well actually, look at all this stuff. Where Romancing the Stone falls in the Zemekis chronology. Kurt Russell wants to sell you a car. Get that stone! That time Danny DeVito didn’t play that guy from that one film that isn’t real anyways. Sorcerer as a maybe-remake of The Wages of Fear. Is Sorcerer a remake and why does that matter? The end of auteurism. A broader conversation about studios, money, directors and the death of art. Is the video market to blame, or did video invent cult? The answers to everything are yes and no, all the time.. Continue reading
Personal stories through the bending of time and space, maybe. You probably don’t see Happy Accidents coming. What the fuck, this film. Vincent D’Onofrio does all of the things. Various ways to interpret the plot of the film. This description can’t contain spoilers. There’s another movie on the show. In K-Pax, Kevin Spacey is not Bono. Bono is not Bono. No one is Bono. Jeff Bridges has a fourth of July celebration with the family. Saul Williams is Gunshots by Computer on sunday, bloody sunday. More various ways to interpret a film, this time regarding a different film. Something happens at the end and it’s probably great. I hope you’re happy. Continue reading
The Omen films 1-4. Damien! The Killapalooza returns. The most insane listener thing yet. One take! Where does the name Damiem come from? That was the original Omen going for and where is it now? 20th Centuary Fox. The most horrible thing ever. The music in the Omen franchise. Characters embracing the mythology. Is watching Omen as a slasher franchise a good thing or a bad thing? Taking it to the next level, and then not pretending it didn’t happen. Omen 2: Less title articles. Puberty is a satanist’s best friend. Help out your local demon. Coming into power, which makes for a great film about having come into power. What billionaires what. What’s dogs got to do with it? Killing all the babies: a hole in your plan. Let’s just make more Omens. Come on everyone, to the manatee tank! Continue reading
Movies looking inside themselves. Arnold Schwarzenegger is the Last Action Hero.Wait a second, John McTernan? A criticism of the action genre by masters of the action genre. The little boy that could. Calling out escapism. Animated buddy cops and factual fiction characters. A-listers commit atrocities in This is the End. Calling into question the behind-the-scenes buddy element. How much of a real look into celebrity life is This is the End? The change in celebrity over time. The ‘what the fuck’ angle. So bizarre it’s hard to believe it is really a film. Hey James Franco, want to talk about Jesus? Continue reading
Gargantuan directors examine head problems. Untouchable darkness. Hitchcock and Vertigo. I’m demon speeding.Not talking about the shot by talking about the shot. It’s been a while, so just what are these Hitchcock things? A dirty black river to get you through this. A run down on Vertigo. An argument for madness. Hey, do you love me I’m a devil machine? Get into my world, all-american dream. John Carpenter’s In the Mouth of Madness. Down in the darkness there is no more tomorrow. Sam Neil gets locked in the hallow. Steven King shows up somehow. What really makes authors go crazy in the woods. Hey, do you love it when the kids are screaming? Wrecking on the road violate their dreaming. Hey, do you love to see the filth in the clean? Get into the gone, all american. Dream. Continue reading
Backdoor meetings and the powers that be. Catch that wikileak! Don’t steal movies. Michael Mann shows an insider getting out. Wag the Dog makes shines light into the darkness. Fist bumps a plenty. An incredible introduction to the risks of telling the truth. The lesser of two fucks. A return to the question of friend or pet. Speaking of pets, Wag the Dog is not about a dog. The president you want to changes horses in a stream with. The Internet both destroys and fosters insane lies. A real Hollywood conspiracy. The farce for the truth! Continue reading
Let’s spend a day in the wasteland! Boy there sure are a lot of women here. I hope they’re not savages. Then again, what is a savage when you really get down to it? Aren’t we all the future savages of the past, just living in the present? Progressive thinkers doomed to be made retroactively intolerant by a rapidly liberated society? All these questions are making me hungry. Say, you guys don’t have any pets do you? Man is there a lot of walking in the wasteland. It’s just so sandy for so long. You could really run out of things to talk about. So, has anybody here seen the new Mad Max? Continue reading
Making something of your final days in the west. Westerns where life outside the film has implication on the movie itself. John Wayne had cancer, but did 1890 have cancer? The large star of The Shootist fights for his role. Could The Shootist exist without John Wayne? Other self-referential fiction. Ron Howard has been around for a long time. Bone Tomahawk is the greatest fucking thing. Westerns for horror movie fans. Ultra violent westerns. Fuck you, foreshadowing. Foreshadowing as a crutch and foreshowing as a red herring. Continue reading
A unfamiliar return to the world of Jack Ryan and James Bond. People flipping out about actors playing characters. Jack Ryan comes back, sort of. The differences between the Jack Ryan of Patriot Games and the Jack Ryan of The Hunt for Red October. Samuel L Jackson pins things on people. What kind of Ted Raimi?! Why the change from A View to a Kill. James Bond goes to space in Moonraker. Exploitation! Bondsploitation! Star Warsploitation! Roger Moore. The most ridiculous moments of the James Bond franchise. Jaws and the return of Jaws. Action sequences then and now. Of gadgets and hamsters. #standWithDaniel Continue reading
Weird sex things. Some sex things are weirder than others. The treat that is Belle de Jour. The deal with these Luis Bunuel films. Double Feature wants more belle movies. Mixing fantasy and reality until you can’t tell the difference. Displaying an arc in more than just character. The never-failing allure of what goes on behind closed doors. Alright, it’s time to enter Moebius. Do you have your Bag Cat ready? The snip-and-toss festival. Slapping and talking and slapping. Narrative? Fuck that! Delivering a message without telling a story. Ok, I guess you could call that a story. Relentless commitment to the insanity at hand. Moebius showing an adorable amount of restraint. Michael has a dirty secret about Kim’s movies. Continue reading
Mothers and Monsters. Inter-relationship terror or something. Don’t get spoiled on We Need to Talk About Kevin or you will be the true monster. Eric finished directing his short film and will now become a crazy person. Female directed films! Jennifer Kent and Lars von Trier. How The Babadook terrifies. Children as warnings and also as annoyances both minor and major. The power of metaphor carries on. Don’t find out what We Need to Talk About Kevin is About. The impact of that moment. A difference in reads. Unraveling a mystery. Seeing red. Who holds the responsibility and what is to be done? The increased relevance of We Need to Talk About Kevin in the years since its release Continue reading
A celebration of the all-consuming spooky. ArieScope Pictures celebrates seventeen years! Eric attempts (and fails) to not worry about his film for one hour. Starting October with the festival favorite It Follows. Why people mention It Follows in the same breath as The Babadook. Creating tension out of nothing. Fighting production for a creepy, slow pace. The American Scream via American Movie. Are these Halloween enthusiasts crazy? The passionate genre fanatics of both metal and horror. Filmmaking as a project launch. Halloween down to the last perfect detail. Pragmatism vs idealism. Perfection in film vs perfection in music. Parkinson’s Principle: why you never have enough of what you need when you plan to do a thing. Continue reading
Off the 1980’s VHS shelf. Beloved filmmakers who very much love themselves. Special effects artists Sheila Mia Seifi and Rob Burman. Unraveling the magic of Brain Damage. An order of magnitude longer than necessary. Is there a secret meaning buried in Brain Damage? (Probably not). Getting right into The Stuff. What is the Stuff made of? More secrets never uncovered. I mean, sure, just light it on fire I guess. The cult appeal! The beauty of surface value. New information on why Paul Sorvino might be a thing. Those goddamn faces though. Continue reading
America’s evolving relationship with the police. The slasher documentaries. Buz Wallick joins Eric’s upcoming film. Straight Outta Compton is oddly relevant today. The theater experience. That goddamn Alamo Drafthouse. Knowing the NWA today. Dr. Dre’s new album Compton. Revisiting the ideal trailer. Cop Car builds the suspense out of nothing and it’s fabulous. Holy fucking awesome filmmaking. Where is this going? A return to mystery. Hey why not, let’s get some Director’s Cut news. Continue reading
A show about communism. Eric Thirteen announces the cinematographer of his next project, and it’s kind of unreal. No, really, that thing about communism from before is actually in there. Ok, fine, a show about women knowing what they want, not what they need. See, you don’t like that theme any better. So, communistic living in two female led films separated by the decades. Also, Gretta. Frances Ha, the most widely accepted totally-not-a-mumblecore-movie of all time. Joe Swanberg and Ti West. People who wander aimlessly through their 20s will soon be running the world. Ninotchka – don’t pronounce it, see it! Or you could do both, there’s really no harm in that. Melting the icy heart. Continue reading
The perils of human watching. Eric Thirteen is directing a new film. Finding the funding for your movie. David Cronenberg returns with Maps to the Stars. Actors who go for it without fear. Maps to the Stars is not a satire of Los Angeles. What makes LA tick? Determining the motivation of a crazy person. Or maybe she’s not crazy. No, she’s crazy either way. The curious case of LA’s medium income in a large number of neighborhoods. Voyeurism, or: Everything is a slasher film. The Alec Baldwin in the room. Peeping Tom, career destroyer. The impression of a pornographer. Continue reading
Waaah, American culture. Two comedians help audiences let it all out. Something’s happening and it shall not be talked about. The long overdue conversation about piracy, distribution, and the financial state of film. What is the David Cross directed film Hits actually about? Also, the value of Likes. The waxed mustached Etsy crowd. The price of fame. Does God Bless America represent Bobcat’s views? Surprise! Zero conversations about religion! Is reality TV still destroying everything or are we done with that? The next step in counterculture. Continue reading
Physical vs emotional character journeys, as brought to you by gigantic directors. A step outside the expected. Michael’s evolving relationship with Eyes Wide Shut. After Hours as a day in the life of. Everyone’s favorite third host of Double Feature, Franz Kafka. Martin Scorsese makes movies that aren’t After Hours. Citizens of Los Angeles tell each other secrets about Tim Burton. An odd time for the Coen brothers to make A Serious Man. Front-loaded magic and made up stories. A chain of character-driven events. The greatest trailer of all trailers. An introduction to the work of Roger Deakins. Attempting to explain cinematography without visual aids. Continue reading
Lady enigmas. Under the Skin, the challenging arthouse film staring a naked A-list celebrity. Like, actually. Impossible star power and the counterintuitive nature of film investment. What is Under the Skin even about? Surreal somethings. Contrast at many levels. ALEC BALDWIN FUN FACT. You’ve seen the Spring directors before, and they’re still amazing. The animal sacrifice no one has ever been able to pull off (until now). When hot Italian girls are suspect. Oh hi, skepticism. Using the language of science to take a crazy ride. Speculative fiction from by the science literature. Spring as a strange kind of HP Lovecraft romance film. Continue reading
Genres as plot points. Matthew Donnelly, the bucket machine. A common funding tactic that worked for Zombeavers. Also, come on, Zombeavers: the triumphant face-value monster horror feature! Animated zombie beavers. Animatronic zombie beavers. He came. She came. They came together. Is that even the tagline? David Wain makes more sense. Is it good to follow up? Michael falls in love with Paul Rudd. I’ll fucking say it until it becomes funny! An afterthought changes the entire movie, and probably for the better! Tearing apart in the edit. Eric Thirteen begins to open up about the thing that is happening. Continue reading
Finding a way out of your current life (from opposite sides of the bars). Eric reports in from downtown Los Angeles. Papillon, based on something that happened somewhere at some point, probably. Papillon’s instincts. The will to survive. The bad gets worse. To be labeled a survivor. Using money while in prison. Adam Rifkin has a Night at the Golden Eagle. More on Downtown Los Angeles. The financial district, the jewelry district, skid row and tent city. An old look for a new film. Fresh voyeuristic perspective. Miles Dougal’s yet to be made Night at the Golden Eagle spinoff. Finding an excuse for the b-story. A large, rapid update on Adam Rifkin and Penn Jillette’s film Director’s Cut. Continue reading
The beginnings of the Jack Ryan and James Bond universes. The Hunt for Red October as the first in a loose series of films. Another chance to talk about director John McTiernan. The unfortunate McTiernan incident. Continuing to ponder a director’s signature. Of sentimentality and submarines. The reluctant hero Jack Ryan! Dr. No in the first consideration of James Bond. The accidental Sean Connery double feature. Another book, another hero. The ability to geek out on Bond. Doctor No is not Blofeld. Another origin for petting the white cat. The dubbing of Dr. No. Talking about the ladies in the Bond franchise. An array of patriotism on display. What does the future hold for James Bond? Continue reading
Notable casts in absurd comedies. Seriously though everyone, The Movie Crypt. The moments before the Netflix series Wet Hot American Summer: The First Day at Camp. Older playing younger. An unremarkable reception. Two crazy approaches to humor. The shotgun method. The machine gun method. Foreign film invasion! Imagine Wet Hot American Summer with Jason Voorhees. What Have I Done to Deserve This? The blood lizard. Putting up the wallpaper. Spanish film trends and their influence on American films. Taking guess on What Have I Done to Deserve This? Continue reading
Unnecessary life-changing altercations as man hunt meets witch hunt! Pretending to understanding the impact Oldboy had on American cinema. Oldeuboi! The video market, or new video nasty, or the Nu-Nasty, or whatever it’s called. America looks to Asia. Something about a hammer. Eric and Michael’s nonexistant Sick and Twisted cinemation festival. It’s never too late for Spike Lee jokes. Hannibal is not the subject of The Hunt. Another secret episode theme. Where did things go wrong? Placing blame. Can a terrible deed go without fault? The game of telephone. The meaning behind the ending of The Hunt. Continue reading
Terror on the inside. Now Available: Double Feature Year 1 on iTunes. Remastered for iTunes, Year 1 of Double Feature is now available on the iTunes Store and Apple Music. The complete Let’s Play Alien Isolation is also online! Straw Dogs, Sam Peckinpah, and a checkmark on John Water’s Cecil B Demented list. That infamous complicated rape scene. Siege on the house. Gender roles! Straw Dogs and the censors. Human beings as animals. The star of the show in The Perfect Host. A Netflix survivor! Actors taking chances. Do we want to be surprised or pat on the head? Managing audience expectations. Let’s talk about Battleship Pretension. Even more Alien. Continue reading
Kicking off a fresh year with ArieScope pictures. Adam Green and Joe Lynch release brand new movies outside the Hollywood machine. Everly as a sample of 2015 independent film. It’s time to solve Joe Lynch. Basing your impression of a film maker on a new sample of work. Building your set and breaking your set. The return of the bottle film. Alex Pardee helps Adam Green uncover the marrow. Follow a bunch of real people who are interesting characters. Digging Up the Marrow as old school American horror. Double Feature teams up with the Battleship Pretension network. Continue reading
SPOILER FREE SHOW! The Year Seven retrospective. A new, chapter-less world. A more fluid, conversational year end format. Listener feedback, brought to you by tweets. What was the secret subtext 2014 and 2015 brought to Double Feature? Police and the black community by way of Spike Lee and Woody Allen. Feminism, the redefinition or rape, Repulsion and Compliance. Post-episode shockers. The best double features, supposedly. Films to revisit. The additional content reigns supreme. All the information you ever wanted about Double Feature: The Movie. Meeting people in Austin Texas. Continue reading
Relax and enjoy the last episode of the year. Building blocks! Not sorry. Well, a little sorry. How to get a movie on Double Feature if your name is Michael Koester and the movie is The Human Centipede. A movie everyone knows (and Rotten Tomatoes claims mostly love). Minds are blown. What do you make a Lego movie about? Think different. Tom Six has an obsession for obsessions (but can it match Michael’s?) The first sequence. When a Human Centipede finds itself on the wrong side of the law, it must think like a centipede in order to survive. That sweet three-dog. So you’ve got what you always wanted – now what? Continue reading
The final episode in the Woody Allen meets Spike Lee series. The journey’s conclusion begins with Whatever Works, the 2009 Woody Allen film with some head-on fourth wall crazy. Larry David as Boris as Woody Allen Himself as a guy who still loves that one girl at that one age. Evan Rachel Wood’s character Melody is a character unlike the others from the series, and at the same time most like those characters. A criticism of art, sort of, maybe. Spike Lee brings back Mookie for Red Hook Summer. A wooden horse painted with young Atlanta kid finding that good old time religion. Old time religion proves to be less about altruism and values, and more about covering up child rape conspiracies. How raping children has proven to actually be a bad thing for religion. The new 35%: millennials don’t have a god. Atheism doesn’t destroy religion (apathy is the greater cause). Continue reading
Bad men doing bad…for justice, or something. Revising the Double Feature format. What should change for next year? There is a force, and that force’s name is Harvey Keitel. Ms 45 herself, Zoe Lund. Abel Ferrara’s filmmaking secret: drugs! How does one make a film on drugs? Who secretly directed Bad Lieutenant. The Limey’s disjointed editing style. Soviet montage theory. Russian editing! Terence Stamp meets Peter Fonda. Barry Newman and the great roadsploitation. Steven Sodobergh teaches us Russian. Sodobergh’s recut of Stanley Kubrick’s 2001: A Space Odyssey. Just who is this guy? Continue reading
Scream films 1-4. Ghostface: the knife, the mask, and nineties television. Last hours to Kickstart Double Feature Year 8. A new spin on the slasher. The rules one must abide by. The Rose McGowan who won’t abide by the rules. Unexpectedly favorite characters. Coming back for the sequel. Let’s all pretend slasher trilogies are a real thing. Coming back later. No new information: studio executives are fucking liars. The idea of making Scream scary again. The return of slasher trivia! Remakes tell you which originals to go watch. Four new Wes Craven films have made it on the show. Continue reading
Fakers teach us about reality. The Kickstarter counts down! Bad Grandpa, a fictional film taking place in our reality. Johnny Knoxville and the award worthy makeup effects department. A continuation and possible reversal of ethics from The Idiots. Something more extreme than french extreme – or, “french extreme with giggles.” How to be an honest liar. The Imposter, a documentary using the visual and storytelling clues of narrative fiction. Checkerboard lighting. Cinematography makes a metaphor. The audience hires a private investigator. Filmmakers as storytellers. Drama versus reality. Continue reading
The Dogme95 primer pays off! Two films from an obscure movement. Official Dogme95 No. 1: The Celebration. A film that refuses to tell you how to feel. Fear of the unreliable victim. Justified breakfast. What happens when Dogme95 plays by the rules. The perfect conclusion. By the way, there’s totally spoilers in this show. Official Dogme95 No. 2: The Idiots. Lars von Trier re-enters a trilogy. Life with the soft of mind. A defense of being obnoxious. The future of America’s culture wars. If it feels good, do it. Attempting to evaluate someone’s life with minimal context. No one should suffer (an apparently controversial opinion). Let people do what they need to do. Continue reading
Uncover two documentary mysteries! Also – the Double Feature Year 8 Kickstarter launches! Tim’s Vermeer makes audiences wonder if Tim Jenison is an artist. What is painting, what is engineering, and what is art? Why Tim-As-An-Artist is an important question. Disruption in the art community, and the emotion that causes some artists to resist a leading theory. The art of engineering. User experience and the consequences of design. Tim Jenison is the greatest engineer ever filmed. Luddites in the art community. Is technology cheating? (No.) It is not invalid to enjoy art digitally! Resurrect Dead and the should be spooky but isn’t mystery of the Toynbee Tiles. Plan Jupiter from outer space. Continue reading
Old Italy meets some more oldish Italy. Gaillo exists outside of a bubble. Why Tarantino meets Rodriguez. Zombie, Zombie 2, Zombi 2, Zombie Flesh Eaters, and whatever else the fuck this movie is called. What is the makeup effects impact of Zombi 2? Choose your own sequel. Dario Argento returns with The Bird with the Crystal Plumage with a teeth a. Starting in your skin. A new voice defies Italian horror. Who wrote the title of this film? Continue reading
Harmony Korine and Todd Solondz come together again (whether they like it or not). Spring Breakers is a seriously amazing intellectual piece, even though you’d never believe it. News on the Cage Match, as the massive Nicolas Cage project draws to a close. Spring Breaks demonstrates criticism of a culture by letting the culture speak for itself. The most horrifying vantage point may be inside the party. Classics vs songs of the summer. The relatively short shelf life of particular artists and singles. Call for a dubstep do-over. Eric’s favorite film opening uses self-discovery to work on multiple levels. Who’s riding the Dark Horse? Todd Solondz makes a kid-friendly film. Not that kind of kid-friendly. Michael wants people to do things with their lives, for their own good at the good of those who surround them. Continue reading
What can you learn about writing method from exploitation films? Turns out, a lot. An unorthodox approach to writing theory. And Then vs Thereforre/But. The midpoint shift. Better knowledge of Star Wars through Starcrash. Spectacle films. Why ignoring all common thought regarding plot and character development was a great idea for Starcrash. The hero’s journey. Another stab at sword and sorcery. One thing leads to another. Orca: The Brutal Whale. Different take, same ends. Grotesque, mishandled imagery leads to profound feeling. Exploitation’s unintended consequences. All films are cash-ins (and that’s ok). Continue reading
Woody Allen and Spike Lee consider New York and the people who live there! Do you use chapters? Do you ignore chapters? Send an email! Dense apartments and nosey neighbors. Dull hobbies vs strange kinks. Immorality and its benefits! Suspicions before suspicions pay off. Drag the audience into an absurd game, then show them how absurd they are. Ermahgerd, wur mah durguns? Spike Lee watches people play basketball. The glorious 90s, a time of the Chicago Bulls dynasty and also Milla Jovovich. There’s magic in that there basketball. Who is the real he who hath game? Continue reading
Where comedy meets violence. Paul Andrew Williams’s The Cottage. Wait, what’s a cottage? Mutants fuck with people enjoying a perfectly good heist film. Shifting the scales – all film protagonists are not created equally. A series of proficient, grade-A maulings. Andy Serkis is going to be who Andy Serkis is going to be. The much popular Kill List and whispers on the films of Ben Wheatley. Finding a creative angle for an obvious scene. Continue reading
Territories familiar and not. Tonight: an exciting announcement! Heroes larger than expected…unless you were expecting superheroes and dwarfs, then heroes exactly the size you expected.First, who or what is Charles Crawford? Podmanity challenges Double Feature. The end of a six month full-time podcast job. The Marvel Studios release schedule. Why Chronicle is unlike the rest of the superhero genre. Independent directors making it big. Turn off the powers! Start small, get astronomical. We can watch any movie, as long as that movie is Even Dwarfs Started Small. When the obscure really is obscure. A thought experiment in the world of the film. Continue reading
Wrong Turn films 1-6. Mutant, possibly-cannibalistic types in various quantities fuck up your fun time in the woods. Finding the venue for a Wrong Turn 2 / Joe Lynch conversation. Rob Schmidt’s original Wrong Turn. All Eliza Dushku films could potentially be extensions of Dollhouse. The era of Jeremy Sisto. Wrong Turn 2: Dead end and the return of the Pepto-Bismol. The Declan O’Brien stretch. Prison Break, sometimes called Wrong Turn 3: Left for Dead. Origin story, prequel, or other? Wrong Turn 4: Bloody Beginnings. Doug Bradley and his rag-tag miscreants in Wrong Turn 5: Bloodlines. A new group takes over the franchise in Wrong Turn 6: Last Resort. Continue reading
Dune from the prospective of cinema. Considering the two Dunes. A film many wish never made it through production and a beloved film so crazy it never even went into production. Is cinema better off for these films taking the paths they did? When David Lynch doesn’t look like David Lynch. Wild speculation on how Dune was handled. A freshly-insider perspective on why movies are so goddamn difficult to get right. Who really controlled Dune. A conversation around the real Dune auteurs. Skepticism regarding Jodorowky’s version of Dune. Why Jodorowsky actually got what he wanted, even if he doesn’t realize it himself. How cinema benefited greatly from a film that never made it into theaters. Continue reading
The devil conjures up the single most random episode of Double Feature ever recorded. Did Gary Oldman really record the demon voice for the American dub of Baby Blood? What do Jennifer Tilly and Gary Oldman have in common? Hint: One more thing today than they did yesterday. Real time on-air detective work yields nearly the same results as the control group. A bunch of things about Race with the Devil that aren’t the ending. Peter Fonda and those goddamn expectations. Exploitation and the occult. The ending of Race with the Devil. Continue reading
Sex and violence double feature! The beginning of Lars von Trier’s depression trilogy. Joy and suffering. Shock value and what remains hidden under the surface. Notes on talking animals. Art as therapy. Willem Dafoe is once again a character that’s terrible at his job. Red White and Blue, straight out of Austin Texas. People in Los Angeles are bored of other people in Los Angeles. A different kind of color theory. Use a fucking condom! Meta through inventive filmmaking. The new crop of horror-inspired independent films. A brief followup on Lexi Love. Continue reading
The leading man is not who he seems. Why film lovers with film-love Alien: Isolation. The life and pronunciation of Adam Wingard. Roman Polanski’s The Tenant. Another look at Rosemary’s Baby and Repulsion. How does The Tenant fit into The Apartment Trilogy? Eric and Michael tell the story of The Man Upstairs. Invading sacred ground. Adam Wingard’s perfect mix tape known as The Guest. Commitment to brutality. 247 more days till Halloween. Drop the subtlety and take no prisoners. Continue reading
Cult films that disrespect their elders. Watch two movies that would otherwise be described as paying tribute completely disregard what has come before. Eric Thirteen spends time talking to Michael Koester. Los Angeles is destroying the film makers that work and live inside of it. A Double Feature fantasy. That goddamn red filter: who it has harmed and why it must be stopped. Attack of the Killer Tomatoes makes filmmaking look easy. What you can do vs what you should do. Tomatoes don’t have teeth, no matter how much you want them to. The tradition of Airplane before the tradition of airplane. Special thanks to Ben Last for helping edit this week’s episode! Continue reading
The Woody Allen meets Spike Lee journey continues with Crimes and Misdemeanors and Clockers. Breaking Woody Allen news! Only several weeks old! Amazon becomes Netflix. Leaving your audience no room for deviation. How Woody Allen has progressed in contrast with his New York centerfolds. Learning more about producers. Is Allen aware how dry the dry philosopher character is? Getting away with murder. A world where divorce hasn’t been invented. Why don’t the cops give a fuck in Clockers? White people problems and a disservice to Woody Allen on the part of Double Feature. Hipsters take Manhattan. Brick communities and the yard. Continue reading
Fantasy collides head first with reality. Watch Windy City Heat on YouTube. Who is Perry Caravello, really? Attempting to disassemble a single aspect of a film while determining if that aspect is even worth disassembling. Likability in reality. Roman Polanski’s demotion to hack comedian. Who’s in on it? That stupid summary thing film reviews do. Kevin Smith takes over the world with Tusk. How did we get here? Further proof of the all powerful low-brow director turned super villain. Podcasts are making films now. How Tusk’s very existence argues for a golden age of independent film making. Continue reading
And just who is Virginia Woolf, anyways? Being afraid of Virginia Woolf – you’re already talking about it and you don’t even know it. Classic Hollywood actresses terrify Michael Koester. Sex then, sex now. The power play. Oh, what language! What Who’s Afraid of Virginia Woolf has in common with Mortal Kombat 2. John Waters returns for Desperate Living! Eat some rats, change some sex, and roll around in garbage. Who’s having the most fun? A reminder on the topic of despicable cinema and human progress. A John Waters film without John Waters. Continue reading
A Double Feature episode for the records. Seriously, this is one of the best episodes. Go read Reunion at the Birthday Massacre on Medium. Tokyo Drifter’s punk rock style. The shifting landscape of the asian mafia film. The day petting the white cat doesn’t work like it should. Meanwhile, back in North America: the western. Competing ideas across an ocean. The look of the stage. Martin, the departed, and that big fluffy cat again. The infamous camera work. Who’s in the Departed, and what do they want? Ladies and the academy. Adam Rifkin shows Eric Director’s Cut. Continue reading
The Birthday Massacre! Eric has a new old concert film out now. The Earrings of Madame de who? The crazy adventures of two earrings that surprisingly doesn’t revolve around an absurd comedy plot. Let’s play Paris Wife Swap! The magical power real people give to real world objects. A shocking reversal on the Kubrick film you didn’t expect. Background on the real events that inspired Paths of Glory. Convincing insane people of their own insanity when lives are at stake. A repulsive, sad, beautiful scene to shake an audience to its core. Attempting to put a positive little button on World War 1. Continue reading
Films that prompted tremendous television. Forcing movies onto viewers using the old DVD bundle trick. A comparison of Hannibals throughout tv and film. Los Angeles changes light bulbs. Michael Mann as a genius amature? Tom Noonan. Hannibal Lector teaches moviegoers how hacking actually works. Who is Will Graham? Looking back on Manhunter from the vantage point of a modern Hannibal television introduction. A better fleshed-out version of the supernatural detective. Whedon’s well-known opinion on Buffy the Vampire Slayer. Subverting a cliche. Underestimating the television series Buffy like underestimating Buffy Summers herself. Buffy as the ultimate trojan horse. Mythology, lore and retcons. Breaking Bad style character development over a series. Continue reading
An exploration of Dogme95. The rules of Dogme95 are crucial. The rules of Dogme95 are as follows.
1. Very locate. Much local prop.
2. Wow! Such location. Very sounds.
3. Much shaky.
4. So colour! Wow. Much basics light.
5. Not filter. Much forbid.
6. Not action. Such no murder. Wow!
7. So forbid temporal displacement! Very believe.
8. Much not genre.
9. Wow! Very millimeters. Such 35.
10. Much direct. Not credit. Wow. Continue reading
Gateways to other worlds! Two films about world building – or are they? Programming, philosophy, and the late 90s zeitgeist. Shane Carruth’s participation in Looper remains a mystery. Joseph Gordon Levitt as Bruce Willis. Bruce Willis as Bruce Willis. Using an audience’s collective memory to pad extra detail into your film. The Hollywood makeup fx industry. What’s on the Thirteenth Floor? The results of going in cold. Michael’s Y2K theory. Globalization for the common man. René Descartes (because why the fuck not). Continue reading
Woody Allen meets Spike Lee in an ongoing conversation about New York…by two people who haven’t really been there. Tragedy propelling fulfilling lives. When a score conveys the entire movie. Nuwave b-sides. Religious parody. This is what atheists actually believe. What the fuck happened to feminism? Double Feature visits dating morality in its hosts. The brain tumor responsible for going out and living life. Spike Lee’s New York catches up to Woody Allen’s New York. Fun with aspect ratios. No one saw that coming. Continue reading
War commentary films. Covering war: satire, brutality, or a completely separate third thing. Two people try to have the world’s first conversation about Catch 22 without defining the term catch 22. Primary education in the United States of America. Mandatory reading! Young Martin Sheen returns to the government, once again. Portraying absurdity in wartime. Expect gore when armies are fighting! Sam Peckinpah taps in to exploitation for the sake of arthouse. The hidden secret of Orson Welles and Quentin Tarantino. Nazi bad guys make more interesting humans than cartoons. The cautious act of learning from the mistakes of the past. Continue reading
An unintentional double feature. Tesis: it probably means thesis! What is snuff film? Where does it come from? The mono exploitation film. Faces of Death and Mondo Cane (cah-nay). Who watches snuff, and why? Study as portrayed in film. Brad Anderson’s body of work. Trapped on a train, in the middle of trouble. Eric apologies says wonderful things about Kate Mara before accidentally ruining it all. A complicated more-than-reversal of gender roles. Upping the stakes. Continue reading
Cold war noir-era mystery thriller double feature. Eric Thirteen announces his new role as executive producer on Rob Zombie’s upcoming film 31. The Third Man’s deception. Orson Welles as the face and name of The Third Man. Everyone’s favorite ferris wheel speech. The impact of Alfred Hitchcock. The effect on expectations when repeatidly told someone is the master. A bizarre note in the career of an iconic filmmaker. North by Northwest and Richie Rich. Mount fucking Rushmore! Using a trope against the audience. Hitchcock, claustrophobia, and the wide open playground. Continue reading
Puppet Master films 1-10. Charles Band as the Puppet Master of Full Moon Features. The Bongy Westphall universe. What’s Demonic Toys have to do with this? Home video! Andre Toulon’s unexpected returns. The reluctant centerpiece. Nazi origin points. Toulon’s Revenge. Good guys and the demon. Deeper back in time. What is Puppet Master: The Legacy, and what’s the real reason it should upset everyone? Eric and Michael discuss the clipshow. A return to form. Once more, with Nazis. The greatest reason for the Puppet Master’s existence. Continue reading
Two films trap their lead actors. Forgotten tactics for portraying insanity in your movie. Roman Polanski’s apartment series. Rotting away in your own skin. Ms 45 makes an inevitable appearance. The new creepy-internet-dudes wave of feminism. Craig Zobel and all the information about Homestar Runner you never asked for. How an unbelievable story drivers viewers into blind rage. A film centering around actors’ reactions (and Pat Healy making sandwiches). Continue reading
Two very different looks at Disney. The Lion King as the pop-culture champion. How The Lion King stayed in popular consciousness. Disney creates a Top 40 soundtrack. How you remember films from your childhood differently. Escape from Tomorrow as the counter-culture Disney companion. The how-it-was-made story everyone wants to know. Is it possible not to have the viewing experience trained by knowing how a guerrilla film is made? What does the mouse actually think of Escape from Tomorrow? Continue reading
Stephen King vs the the visionary director. Two notable pin points in an ongoing discussion on auteurist director vs famous writer. Eric talks about the end of production on Director’s Cut (and the wrap party!) Working with Lin Shaye and Gilbert Gottfried. Thomas Jane strikes back! The gut punch that is The Mist. Expanding on John Carpenter’s The Thing. What the film says about religion probably isn’t what you expect it to say about religion. Martin Sheen plays the president in The Dead Zone, what more do you need? The irony in the final conclusion. Continue reading
Not even your home is safe from the terrors of techno horror. Michael meets James Gunn in Texas. Teller’s time on the set in Director’s Cut (featuring Nestor Carbonell). Donald Cammell’s “artificial intelligence” film Demon Seed. Science fiction as a community of homage. Impregnation, technology, and what’s changed since the 70s. Small device horror. Michael Haneke’s film Caché. Long takes as an invitation to study. Letting trouble into your home. Is the ending of Caché really up for debate? More interesting than “who.” Continue reading
New school slashers get you right where you least expect them. Two horror classic horror sub-genres. The creepiest moment of Eric’s life just happened on the set of Director’s Cut. You’re Next tackles home invasion. Independent horror that goes to the theater instead of direct to video. Getting to the bottom of the Adam Wingard, Ti West, Joe Swanberg, AJ Bowen, Lena Dunham, indie horror community. Hope for the future of horror. The Children as an exercise in movies about being murdered by packs of children. Continue reading
Netflix horror gems with misleading covers. Nearly trampled by Penn Jillette: A report on the first week of Director’s Cut. Seriously, there’s a lot of Director’s Cut stuff. Finally, someone will talk to Eric about religion. Could it be ? A fresh theme no film has tackled before! Coming to terms with ‘death in absentia.’ When someone goes missing. Back to the good old metaphorical horror monster. Satan’s Little Helper, a meme-worthy film of Garbage Day proportions. Finding signs of intention in cult film without a wink. Continue reading
An adventure through New York through two different perspectives – this time, the adventure continues with the poster-child of the Woody Allen meets Spike Lee journey. Attempting to separate the art from the artists. A love letter to Manhattan. Double Feature has a very frank discussion about the public perception of two controversial film makers, and how their personal lives may be viewed in connection with the previous films. Is Spike Lee a racist, or is it just his Twitter feed? The difference between a racially charged Do the Right Thing and a potentially racist film maker. Beats released a Do the Right Thing documentary and no one noticed. Continue reading
Individuals who are entirely consumed by their obsessions. Pursuing passions despite naysayers. Who and what is Patton Oswalt? An extended discussion on sports narrative. Magic thinking in sports. A dark turn fitting of the characters and story. Against the Wall aka Quality of Life. Just trying to make art, but the man’s keeping artists down. What is a quality of life charge? Two skeptics take on broken window theory. Everything everywhere ends. Continue reading
Popular first films from award-winning directors. Does the signature shine through this early in their careers? Blood simple as part noir, part movie that goes with Red Rock West. The Coen Brothers making a film before audiences knew and trusted them. A treasure trove of character actors in leading parts. The depressing comedy of Danny Boyle’s movie Shallow Grave. Just what is murder, anyways? Friends form units, but only one will win! Familiar questions of morality. Continue reading
Actors turned single-time-directors. What brings an actor to directing. The conventional wisdom on actors who direct (and reasons it’s not always accurate). The insane Nicolas Cage indie film you never knew existed. Changing who you are vs where you came from. Reform and the desire to go back to bad. Where do you see Nicolas Cage come through in Sonny? The Night of the Hunter as a tremendous monster film. Expressionism, scares, and religion. Child abuse may be hard to watch today, which makes our civilization a better place to exist. Continue reading
The Howling films 1-8. Eric shoots a scene from The Arisocrats in another Director’s Cut update. Joe Dante’s original Howling film. You didn’t know it, but these ridiculous movies are based on a series of three Howling novels. Christopher Lee apologizes to Joe Dante for making The Howling 2. Australia buys The Howling franchise, leading to the creation of the most insane movie you’ve never heard of. Finding value in seemingly impossible places. Themes covered by three of the most difficult movies to talk about in monster horror history. Werewolf line dancing. YouTube weighs in on The Howling. Present day! Present time! Spider-Man webs up another Howling sequel. Continue reading
Double Feature goes camping. The dangers of the great outdoors. Eric talks about filming screen tests for the upcoming movie Director’s Cut. Bobcat Goldthwait’s Willow Creek. Michael wants to talk about bigfoot. The emerging docudrama comeback. Horror based on audio. Why Willow Creek is much more upsetting the second time through. Don’t blame the victim. Grizzly Man as a nature documentary. Bears don’t care about you. Bears will totally eat you. Connecting to a nature enthusiast. Werner Herzog cuts through the magic. Continue reading
The two submarine keys to unlocking Joe Dante. One Joe Dante fanatic explains where his passion originated. Matinee, a film that’s totally not about William castle! Finally, a challenger to the Purge theory of why horror exists. William Castle and Alfred Hitchcock. Joe Dante’s present to cinema. Looney Tunes Back In Action, the sort of follow up to Space Jam. The little we know about the director’s opinion of Back in Action. Endless speculation: how do you know? Warner Brothers in the 90s. Branding, merchandise, and toys! Acme, the WB, and corporate culture. Joe Dante loves the Looney Tunes but did not enjoy making Back in Action. Continue reading
Conspiratorial yarns with cause for much introspection. Hot seventies grind house burns. Finding your ending. Jumping from plot to plot and checking in with the audience. Hate the crack, love the addict. Don’t fear the audience. Explain the ending of Resolution. Who or what is the monster? A string of viral mysteries. The revelation of John Carpenter’s They Live. Being predisposed to a cult film’s legacy legacy. Impact vs Futura Oblique Condensed. Shepard Fairey and Barbara Kruger. Andrew the Giant has a posse. OBEY. Roddy Piper, Keith David, and a totally bizarre Meg Foster. The infamous long fight scene in They Live. David Ike and the reptilian agenda. Also, David Ike is a fuckwad. Continue reading
Two sonic action sneak attacks. Hanna as more than you expect. The little details make all the difference. Hanna’s unexpectedly light town. The level of reality in Hanna. The Chemical Brothers and musical themes. Bone crunching action in The Raid: Redepmtion. The characters and unexpected turns. Chino and Deftones. Dredd vs The Raid: Redemption. How could the new Judge Dredd film have so much in common with The Raid? Wile speculation and a suspicious lack of information. Continue reading
New-beat comedies starting long running television personalities. Memes, YouTube and the age of Internet video. Clueless protagonists or masters of their craft? Hot Rod and The Lonely Island. A revisit on Saturday Night Live and SNL films. Digital shorts, whatever the fuck that means. Steve Coogan plays Alan Partridge. Creating tension by placing the audience in a siege. Stockholm syndrome as a film-goer. A twenty year running character makes his film premiere in Alan Partridge: Alpha Papa. Isn’t this the ending from Falling Down? Continue reading
The beginning of an adventure through New York through two different perspectives. Culture and generation. An extended consideration of the new adventure. Woody Allen’s nearly first film, Annie Hall – or first enough for Double Feature. First impressions of a well-known film maker. Asking the right questions. If you can’t spot the neurotic, you’re the neurotic. Spike Lee’s probably first film, She’s Gotta Have It. Challenging racial clichés of the era. Empowerment in more places than you’d expect. Have sex with whoever you want, as often as you want! Continue reading
Horrific family bonding time double feature. Do horror movies help us work out dark urges to rape and slaughter? The alterior motives of directors who claim they do. One man’s unexpected plans during The Purge. What James Gunn teaches us about Purging. What is the right thing to do, given the fiction of the world? We Are What We Are. The delicate balance of preserving a suprising viewing while enticing an audience into seeing the film in the first place. The road less traveled! Religion, dogma, and elders who command respect. Michael refuses to be desensitized. Common ground with The Lords of Salem. Continue reading
Character arcs despite their narratives! Narratives as complications of vignettes! Robert Pattinson, the obvious choice for David Cronenberg’s Cosmopolis. Pop fiction fans read cerebral novels and everyone wins. Following a movie with indecipherable dialogue. The relationship to Videodrome. When master lose grip. Economies collapse, characters collapse. The currency of dogecoin, er, rats. Economics and philosophy, with your host Paul Giamatti. Crypto-currency and Snapchat. What is to be gained through watching Holy Motors? Big questions, out of the gate. Monsieur Oscar is losing the fire. Drifting into the abstract. Trying on masks, metaphorically. Trying to pin down the jobs and tasks of characters in Holy Motors. Continue reading
SPOILER FREE SHOW! The Year Six retrospective. A look back at the last 52 double feature pairs. Taking a break from Filmspotting jokes to make love to Battleship Pretension. Revising the official position on movie reviews. A tangent on the insightful career of Roger Ebert. Double Feature made a short film (without the help of Russ Meyer). The challenges of making a six chapter short film for Kickstarter. More regarding Eric’s involvement in Director’s Cut. Hannah Carter’s prop magic. The growing genre of films designed by the Internet. A defense for the most unexpected film-of-the-year choice. A conversation around this year’s Additional Content. Continue reading
Auteurs just outside the arthouse. Grindhouse contributors Rob Zombie and Robert Rodirugez! Audiences clamoring: It’s not the way I would have done it!! Stop looking for validation and start appreciating surprise. See inside the minds of insane people. The hidden alternate history of The Lords of Salem. Why Rob Zombie is a fascinating human. Films changing as they’re being filmed. The Rodriguez-Box-Office relationship. Using Machete Kills as the control for the experiment Machete conducted. A different approach. One unique idea to recreate the trailer magic. A a cure for cinema predictibility. Continue reading
The desperate methods audiences go to when attempting to fit the bizarre into a neat little box. Art, humanity, mystery and animals. Determining the world of Quentin Dupieux (Mr. Oizo)’s Wrong. How Upstream Color differs from the complex mathematics of Primer. Films you need to take notes or maybe draw a little flowchart to follow. Intentionally crafting rewards for repeat viewings. A rare love letter to found sound, sampling, and ambience. Using sound to help an audience link scenes. Building a motif – from notable scene to rewarding callback to critical theme. The thief, the sampled, and other double meanings. Eric Thirteen just wants to give Shane Carruth money to produce movies. Continue reading
Two filmmakers who love similar themes but don’t get along with each other. Pretending all films are totally approachable and that you’re not worried people on the internet will think you’re an idiot. Every week, Double Feature talks about two films as if they’re the best films ever made. Truth and fiction in Storytelling. Every story-writing workshop that ever happened. Sexuality and youth. The return of American Movie. A life of impersonation in Mister Lonely. Looking too deeply into a film. Harmony Korine at face value. When a movie takes the right path. Continue reading
The Evil Dead films 1-4. How an indie film that wouldn’t pass the film-class final became one of the most ifluential horror properties of all time. The power of rhythm and repitition. Aggrivated industrial loops (and other secrets Trent Reznor already knows). Continuity. When and why a film would strive to make sure the audience is uncomfortable – even as far as actively having a bad time. The possessed camera. Evil Dead and the nature of evil. How do you reconcile Evil Dead 2 with the original Evil Dead? What’s canonical. An unpopular opinion on Army of Darkness. The Ash Factor. Wild horses. Using the power of the remake for good. Continue reading
Double Feature and anime. A continued attempt to learn about film purely through immersion. What Akira has in common with previous films Double Feature has covered. The influence of Akira on live-action American storytelling. Biological technology in a cyberpunk way instead of a body horror way. Doing new and unfamiliar things with body horror. The introduction of commercial Japanese animation to the American youth market. An obsession with power. Changing forms. Future Tokyo, animated. The animation breakthroughs unleashed by Akira. Keyframes, limited animation and sound. The Sky Crawler’s vision of corporate-sponsored warfare. Quenching the (probably not real) human need for violence. Modern-day gladiators. A surprisingly realistic depiction of a type of warfare not often seen. An element of mystery is revealed. Anime’s fixation on childhood. Inspecting youth in military. Foreign animation and eroticism. Continue reading
Slasher one-off (non-franchise) films with cult standing. Year One of Double Feature is returning! Details within! Studios marketing a film differently with each home video release, essentially telling audiences it’s about something different now. Prom Night is watching a slasher film before “slasher” became a genre. The red herring. Consider: if it’s worth doing, it’s worth over-doing. How the 80s slasher film disrespects its audience, and how its audience came to love that. Horror films based on events and holidays. Another return of Mean Creek kids being mean as pranks go wrong. Revising the group lie / cover-up. Peer pressure and the pack mentality. Why the memorable slashers (Freddy, Jason, Michael Myers, etc) are the least personal characters in their films. The all female cast of The House on Sorority Row. When you call for the police. Continue reading
Double Feature’s big announcement unveiled – an all new Kickstarter featuring a narrative Double Feature mini-series! An examination of show business through broken lenses. The success of Showgirls. Funneling the audience through embarrassment. NC17’s impact on marketability. The amazing things about Showgirls lost to time. How an audience boils a movie down to a single idea as years pass. A totally different perspective – why other audiences defend Showgirls today. Peter Jackson’s love of filth. Why Meet the Feebles should exist. The artistic role of an extreme. Making sacrifices to live at the end of a specturm. Continue reading
Blacksheep comebacks from horror giants. Continuing to find insight on two directors Double Feature knows front to back. John Carpenter’s enemies that can not be reasoned with. Loving a film the director himself can’t stand. Secret things you can do to get more fun out of a film. Pretending there’s a hidden scene where Jason Statham was put in a timeout. The space frigate genre. Pretending there’s an unreliable narrator. A flashback within a flashback. Audiences cheering on protagonists without thinking. Applauding for martian genocide. The real secret reason Ghosts of Mars is notable – Ghosts of Mars is the most accurate adaptation of the gaming franchise Doom. Revisiting Dario Argento’s influence on the giallo genre. Skeptics approach the elements of giallo, including the paranormal. Is Dario Argento’s film Giallo self-referential? A conversation about the sexual theme (or lack of) in the film. Where this killer falls in the pantheon of movie killers. The purpose Linda serves. Continue reading
Fuck you, rules! Convention-defying movies for the internet age. Trickle down auteurism. Going into a movie knowing nothing – how do you pitch films to people who don’t want to know about them before seeing them? The tendency of frequent movie-goes to develop a taste for the strange and extreme. Double Feature’s unconventional opinion is every movie is a “see it.” Revisiting Franz Kafka. Spoiling John Dies at the End. Appreciating the weirder path (scenic route!) to plot resolution. The Theseus Paradox. There’s no time to explain, aka Bear or no bear. Play along goddamnit; looking for plot holes ruins movies. The Balducci Levitation, SETI, and Deepak Chopra – tipping your hand to the Skeptical movement. Using the powers of skepticism for evil. The Internet is starting to write films. Eli Roth as a producer. Filmmakers pay filmmakers to proliferate auteurism. Hollywood gets out of the artist’s way. Larry Bishop, Quentin Tarantino, and The Man with the Iron Fists. The RZA plays pretend. The various clans and styles. Continue reading
The last of the Year 6 Universal horror and classic science fiction pairs. The cautious release of The Wolf Man in a post-war cinema. What did genre-horror look like the better part of 100 years ago? The metaphores of the Wolfman. An unlikely celebration of the inherit sexism in Universal monster films. Lon Chaney Jr, the lovable creep. Unintended meaning added over time. Today’s hippy fad-diets of California drive a culture to look more like the world of Soylent Green – no apocolyptic circumstances required. Human invention solves overpopulation. Nostalgia ruins human progress. Look forward. Things did not used to be better. Was the 70s better than today? No. No, it wasn’t. Celebrating cheery-picked memories. Modern cynacism is still cynacism. Continue reading
The consequences and triumphs of reducing human beings to caricatures. Fears of the midwest. Mark Borchardt’s process in American Movie. How first impressions, language, and appearance impact your impression of someone’s intelligence. Is Mark a skilled filmmaker or a hack? The best take-aways from filming Coven. What prevents Mark and Mike from being more noticed or successful? Mean Creek creates a challenging conversation. Eric would still turn Michael in to the police. Listeners request a reconsideration of the national bullying dialogue. Where is the line crossed in Mean Creek? What’s the morally correct position and why is it so hard to identify? Double Feature agrees to have an uncensored thought experiment that could change the fate of the podcast forever. Continue reading
Child-friendly stop-motion films that trick adults into being more succeptable. New and unexpected experiences adults can have while their guard is down. Appealing to adults without being a “dark” children’s film. Dark sensibilities and humor vs difficult subject matter. Paranorman tackles the salem witch trials. Tell a person they’re something often enough, they may just turn into that thing. The avoidance of stock characters in Paranorman. Judging books by covers (and other expansions on the Aesop learnings from Sharkboy and Lavagirl in 3D). Shooting on a Canon 5D DSLR camera. The next biggest innovation in filmmaking: 3D printing. The difference in filmmaking stop-motion techniques between Paranorman and Fantastic Mr. Fox. Wild speculation on Tim Burton and Roald Dahl. Exploring the theme of wild animals being true to themselves. Continue reading
On the 300th episode of Double Feature, Sharkboy and Lavagirl finally solve Mulholland Drive. First, a conversation about the Adventures of Sharkboy and Lavagirl (In 3D). Aesop’s fables! How to have the best conversation about Mulholland Drive. Right or wrong, do most people have the impression they understand this film? The David Lynch journey up to this point. Ground rules for the conversation. Bringing your prerequisits to the conversation. The alley person / the dumpster person / the bum behind the wall at Winkie’s. The tiny people. What we can learn from the espresso scene – do these guys know what they’re talking about? Shut it all down. The cowboy in a bible analogy. Seperating 50s loving David Lynch from a plot involving things from 1950. Challenging the endless loop / möbius strip conclusion. Rita and the most forgiven introduction of an amnesia device ever made. El silenco and the key. The vanish / switch scene. Revisiting the Sylvia North story. Michael proposes a theory. Using the film’s own rules mathematically for solving unknowns. A return to the dumpster person. Secular uses for biblical imagery in mysery solving. The David Lynch top ten clues. Another look at Club Silencio. Can Adam throw a wrench into an otherwise plausible theory? Adam is blow away by the world’s most talented actress, but other forces tie his hands. The ordered hit. Support for the fantasy. Continue reading
Men who are tanks box their way through cult genres when the original Conan the Barbarian squares off against Blood and Bone. Sword and sorcery takes on underground fighting! Arnold Schwarzenegger meets Michael Jai White! Exploring the early career of Arnold Schwarzenegger, bodybuilding governor extraordinaire. An earlier, stranger Arnold. Going on a quest to battle your way from orgy to orgy. When the time is right for Sword and Sorcery to return. Michael Jai White needs to take over the world. Viral acting and the YouTube generation. Blood and Bone as a genre experiment. Film writing games you can play at home. Continue reading
Two sequels from previous Double Feature franchises. Adam Green and all your friends from Hatchet return in Hatchet 3. Cameos become roles. The constant slasher resurrection. Adam Green’s thing (beside throwing blood on trees). Chucky out-lives the original slashers of the 80s. Surviving the remakes. The Curse of Chucky alternate realities. Choose your own adventure. Brad Dourif and franchise newbie Fiona Dourif. Modern horror in a conversation with classics. The practical doll. Chucky’s disadvantage. Gaining the upper hand. A scarier Chucky with each passing scene. Bold words about Curse of Chucky. No theatrical release. Continue reading
Midnight movies once again illuminate the room with their pale blue light. A listener request makes Michael sneaky. Stuart Gordon and the true third wheel. What about the lighting makes From Beyond feel like a midnight movie? Late night cinema warms the collective human heart. What we choose to address (and the importance of what is not addressed). Class of 1999, the followup to that other movie you didn’t see called Class of 1984. A future that never was. Double Feature considers what mankind’s bleak view of the future reveals now that we can look back on it. Continue reading
Darker dramas featuring protagonists played by actors Double Feature likes (but doesn’t often think about), who are in this particular instance obscured on the covers of their respective films by a thin brown material that is likely a fabric of some kind. Note: those are not necessarily the covers associated with this episode of Double Feature, as better selections may have been made. It’s also possible that this is being read in the future where cover art has somehow been deprecated, or in an environment that does not use art for some reason. Well, really the future is a kind of environment, so perhaps that’s redundant. If this is being listened to in a grim future where art is no longer a human concept, or is in some way banned, we’re glad you still have Double Feature. Hey, wasn’t Christian Bale in a movie like that? Continue reading
Paranormal Activity films 1-4. A premature Killapalooza, in hopes everyone comes along for the ride. The first in an already notable franchise. Another look at the low budget. The mysterious pool bots of Paranormal Activity 2. There is no Dunkin Donuts in California. Science and skepticism when facing ghosts and the sort. The amusing exercise of Imagining an actual demon. The Paranormal Activity Demand it! campaign. Prequels upon prequels. What are the scariest moments from the scariest installment? Back to the future. How to tell if the person using that MacBook is insane, every time. A somewhat spoiler-inclusive summary, and what the future holds. Continue reading
Cult films by female directors – two of them! Vampires and, well, Wayne’s World. A look at the non-romantic vampire movie. Trying to stay focused with so much Wayne’s World ahead. What’s so interesting about the absence of romance? The wile west, the road, and the Devil’s Rejects. Gangs. Teenagers and the family unit. The director of Near Dark. A look at the most successful SNL film of all time. Wayne’s World is pretty fucking fantastic, in all actuality. Everyone respects Garth, as they should. Building a setting you’d want to live in. An abundance of material. Continue reading
The internet’s favorite monster films! The Host, as in the Korean 2006 The Host. Pushing aside the usual monster treatment talk for politics and humanism. The confusing relationship between pacifists and the military. Understanding cultural comedy. Agent Orange and a more modern look into cautionary atomic commentary. Gareth Edwards’s 2010 shoe-string budget picture Monsters. Unintentional immigration commentary proves obvious to everyone but the filmmaker. How a tiny independent film dressed up as a blockbuster. Something you may have missed from the end of Monsters. Continue reading
Two television-first stars return in their back to back sequels. Unlikely stars for just as unlikely conversations about metaphysics and humanism. Cassandra Peterson refuses to take credit as Elvia in Elvira’s Haunted Hills, all these years later. Putting your newfound Universal Monster knowledge to the test. In the other feature, Paul Reubens follows up Pee-Wee’s Big Adventure just a few years later with Big Top Pee-Wee. Also, Penn and Teller Get Killed is on iTunes and Brendan Vance has things to talk about. Double Feature returns to the carnie with a non-drinking game and a variety of other more interesting things are discussed. How’s that sentence for a spoiler free plot synopsis? Continue reading
This insane thing called Cage Match brings you two Nicolas Cage films! Is Nicolas Cage a good actor? Is he in good films? Are bad films his fault? Someone does humanity a service by performing the experiment. Drive Angry and the death of 3D movies. The relationship between Drive Angry and Shoot em Up. The level of awareness. The less considered level of not giving a fuck about awareness. The Weather Man – even more subtle in context. Product placement and general airborne fast food items. What you’ve become while you weren’t looking. Can people amount to more than one thing? Continue reading
The Universal Monster and Classic Sci-Fi adventure continues! A longevity pair featuring two films about human vitality. What The Mummy’s really about. Boris Karloff and the skeptical eye. What a curse really means, and who’s afraid of it anyways. What sets The Mummy apart from Universal’s other classic monster films. Logan’s run, which is different than Silent Running and Blade Runner. The sex, the edits, and the Barbarella. Mortality and religion. There is no afterlife! A popular audience once again ignores the overt religious metaphor. Without God, who brings Cats to the Internet (answer: atheists). Continue reading
An icon of cinema gets paired up with the sequel you didn’t even know existed. Can what started as a cruel crowd-funding joke become more than Stanley Kubrick blasphemy? Spoiler: Yes! A newcomer’s take on 2001: A Space Odyssey. A contender for most parodied film of all time. Hal and Siri. Beauty, perfection, simplicity. The monolith as everyone’s favorite object. Everyone is afraid to talk about what the fuck happens at the end of 2001 – or, Double Feature is stupid enough to talk about what the fuck happens at the end of 2001. Analysis of the fetal acid trip. Previous, on what’s now a franchise. 2010: Is this really happening? Your options in creating the impossible. Popular opinion and the one line film review. Continue reading