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.
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!
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.
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.
Double Feature goes behind the movies! A look at the making, production, and intention of two movies with the name Michael Koester somewhere buried in the credits. Spot the hosts of this podcast within the background of these two movies. Eric Thirteen, executive producer of Director’s Cut, talks about a bunch of work other people did on Director’s Cut. After years of waiting for Penn Jillette and Adam Rifkin’s film, countless behind the scenes streams and footage, a multitude of festivals and various interviews, what’s still left uncovered? Results of the Director’s Cut experiment that you would never know by simply watching the film. Interesting artistic results discovered in editing. Michael explains what it’s like to be hired on as an extra for a movie. Petty film set issues that make it not that much different from your own job. The parts of film making that are truly magic, and how working a 16 hour day threatens to destroy them.
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.
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.
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.
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?
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.
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.
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.
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. It’s Continue reading
Iconic pairs of mis-understood law breakers speed away from long arm of the law. Or, it’s the end of the year, time for a really obvious double feature. First, The Blues Brothers as the ultimate Chicago movie. Cultural appropriation and the real life, no fucking kidding blues. Carrie Fisher is the fucking greatest and humanity is worse off without her. Not nearly enough can be said about her. She was in the beginning of a new act in the last few years because of Star Wars and people are now discovering all the work she did since the original series and she was just wonderful.Anyways, the musical comedy act. Is Thelma and Louise the feministic movie for 2017 or does 2017’s feminism not allow it? A debate. How audiences want to treat gross people of all walks of life (and why maybe that’s ok for a little while). 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. Watch these films for free at https://doublefeature.fm/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. Double Feature scores listeners a Shudder deal! https://try.shudder.com/doublefeature can get you Shudder movies free for a month. 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
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
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