Dig! + Killing Bono

Dig! + Killing Bono

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

Destroyer + You Were Never Really Here

Destroyer + You Were Never Really Here

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

Killapalooza 40: Maniac Cop

Killapalooza 40: Maniac Cop

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

Elle + The Piano Teacher

Elle + The Piano Teacher

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

Bullitt + The Last Black Man in San Francisco

Bullitt + The Last Black Man in San Francisco

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

No Country for Old Men + Yellow Rose

No Country for Old Men + Yellow Rose

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. Continue reading

Grave of the Fireflies + Kubo and the Two Strings

Grave of the Fireflies + Kubo and the Two Strings

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

Birdman + Punch-Drunk Love

Birdman + Punch-Drunk Love

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

Cooties + Little Monsters

Cooties + Little Monsters

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

Horse Girl + Possessor

Horse Girl + Possessor

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