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