Maybe Gaspar Noé and Harmony Korine can be friends.
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.