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.