New listener? Start here! A brand new year of Double Feature starts a fresh run with returning local heroes. Pay to rent these films! Victor Crowley as Hatchet 4. Returning to form. The slasher trajectory. The most misunderstood element of the Hatchet franchise – the humor! Top secret Hatchet 10 year anniversary. The impact of Adam Green’s series on two young horror fans. Felissa Rose gets the spotlight she deserves! The Endless is better if you’ve seen previous Justin Benson and Aaron Moorhead films. Remembering back to Resolution. 2018 makes joining a cult super easy. One of the most mind-blowing moments in Double Feature history. Intentional or not, The Endless as a metaphor for filmmaking. Expanding on an interpretation from previous Benson / Moorhead work.
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?