Father son pair Mario Van Peebles and Melvin Van Peebles have two movies that tells stories of very different times and places. First up, a trip back to the early 90s. Everyone is worried about crime, crack is a problem, and there’s an issue with the police that isn’t be talked about. Also people hadn’t even seen Pooka yet. Back in the 1970s, Melvin Van Peebles set out to prove there was an audience for a new kind of movie. Looking at the demand Sweet Sweetback’s Baadasssss Song capitalized on. What it takes to make in independent film when no one fucking believes in you. Creating an entire decades long genre just to prove your point. Continue reading
Television goes to the movies. A very broad conversation bout Twin Peaks, how it fits into David Lynch’s filmography, and various reactions to new entries over time. A conversation about Twin Peaks The Return because it’s basically a movie and someone really likes it. David Lynch and Mark Frost create Twin Peaks, the original series. Twin Peaks without David Lynch and Mark Frost. Lynch returns for a Lynch movie. Twenty five years and one really really long Skype call. Twin Peaks comes back in true form, but will anyone accept that? The Showtime network reacts to a bold power move. Michael wants to talk about something awkward. Twilight Zone: The Movie and the conversation no one is willing to have. How and if a movie survives a very public, very notable, very important news event. Continue reading
Hammer studios and Disney studios. A fresh look at two unique entities in different spaces. Unique marks on an otherwise crystal clear record. How The Witches is both quintessentially Hammer horror and something completely different. Voodoo vs magic vs whatever the fuck it is Eric’s silly witch friends believe in. The Black Cauldron is an adaptation of The Chronicles of Prydain without many chronicles or much Prydain but definitely still with a magic pig that can see the future or whatever. The evil guy with horns who wants nothing less than to get on everyone’s bad side. Continue reading
Death in the family. The fallout of grief, loss, loneliness and isolation. It turns out Michael likes Eric’s double feature. The courage of The Eyes of My Mother pays off in a lengthy 2016 festival run covering basically everywhere a film could ever want to play. Making the unsafe bets as a filmmaker (and winning). Grief and the grotesque. How The Eyes of My Mother uses counter-intuitive editing to deliver on horror in an innovative and brutal way. Don’t Look Now and the layers of symbolism. What symbolism feeds the tone and what feeds the narrative. Continue reading
A Double Feature Stockholm Syndome double feature. Dangerous cinema returns. When you put Helena in a box like you do (RIP Cubbiebear). The deeper issues actually at work in Boxing Helena are just regular issues but no one comes to movies where they live anymore. Helena the prop and the crazy man who has mommy problems. Between the panes strikes back. The central issues at the heart of the Patty Hearst story. Can Patty Hearst be both the victim of terrorism and herself a terrorist? Don’t miss the all new Additional Content.
A look at secret role China plays in big American films. Double Feature gets into the weeds on how blockbusters are assembled, from the creation of a bankable team to the financing and eventual distribution. America sees a martial arts niche and brings it to the United States. China loves American blockbuster action stars. Fake American films made by China. Imposter fake American films made by China that are actually made by Americans. The fake American companies funded by China that actually make the imposter fake Chinese rip offs of American films. Double Feature talks about The Meg because it’s easier. Where a cause or a symptom, streaming services play a role in the American devaluation of cinema.
Bear and Long Pig, together at last. Outrageously whimsically characters disrupt the system. No negative jokes about Jean-Pierre Jeunet’s art direction suffering after 1995. Michael feels the need to rant about his top ten list and then randomly namecheck Black Panther. Has Eric Thirteen’s heart changed in 2018? Delicatessen disrupts the system. A kindly speaking bear takes over England in Paddington. Only on Double Feature is Paddington the weirder movie. Continue reading
A cynical look at technological progress. Lo and Behold: Reveries of the Connected World. Just what kind of reveries is this about? A guy from Austin talks to an ex-Silicon Valley programmer about Werner Herzog questioning digital pioneers – and none of them have any answers. The problem of how to talk about future technological problems. An entire conversation about Idiocracy beyond “oh my god, it’s basically a documentary.” A society painted in shitty advertisements. The insane basic-income type ideas that will rule the future and how they compete with the vision presented in Idiocracy. Continue reading
Horror non-horrors (which, it should be noted, is different than non-horror horrors). Eric Thirteen spares everyone else his own depression. Addressing the brilliant, frustrating, vital experience of A Ghost Story. Time’s flat circle doesn’t make it any less fucking sad. Michael Koester is the guy at the party who ate all the pie. It turns out there’s other stuff in A Ghost Story besides self-indulgent millennials and vegan pie. Maybe not on this podcast, but at least in the movie. What We Do In the Shadows: ok, so what is it we do in the shadows then? The many types of vampires, all living in harmony. Making special effects special again. Layers of comedy. Continue reading
The contagion of madness. Blow Away, a film from a parallel universe where Jeff Bridges stars in Big Trouble In Little China and Tommy Lee Jones did time at The Rock. zMacro shots, they’re fucking everywhere. Being right inside the very bomb itself. Try to tell Blown Away it’s not getting away with exactly what it thinks it is. Go on, try it. Fatal Attraction spreads its wings. It varies but the smallest things. You never know how anything will change. The 90s erotic thriller by way of 1987’s Fatal Attraction. Warning: beware of falling mania. Unique traits of the erotic thriller genre, where that audience was before, and where the audience lives today. Continue reading