Cinecast Episode 397 – No Compass

The episode in which we fix some major audio problems plaguing the show for months of which you have no knowledge, so probably not even worth mentioning in the opening sentence to this week’s show notes but I just did anyway. With glitches fixed, our own Corey Pierce (aka Goon) helps Kurt and Andrew wrap our head around why we collectively really enjoyed Tomorrowland but scratch our heads at why no one else did. Westeros is constantly in turmoil but there seems to be some semblance of artfulness to the direction of the show this week and we parse out this “almost got rapey” episode scene by gratifying scene. Lastly, though Corey unfortunately must bail out, Andrew and Kurt press on into very well charted waters with a Steven Soderbergh double bill and some Master and Commander. Andrew checks in with Robert Redford “when he was young” as well as two animated films of the past decade. One went from mediocre to amazing and the other could be amazing but just ends up being mediocre. It’s quite the ride in this old fashioned show with lengthy rants as well as some brief tangents.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

 

 

 
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After the Hype #97 – Interstellar

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Hey guys, sorry for the delay! Had some technical difficulties in bringing the Interstellar episode your way. You might notice some sound issues, but do not be alarmed. That’s just Bryan altering the podcast through the time bookcase. HE’S NOT YOUR GHOST!

 

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Trailer: American Ultra

Is there hay to be made by combining The Pineapple Express (and a dollop of Clerks) with The Bourne Identity? Well, somebody thinks so, namely Project X director Nima Nourizadeh, and his team has gone through the trouble of assembling a pretty fine cast including Jesse Eisenberg, Kristin Stewart, John Leguizamo, Topher Grace, Bill Pullman and Nash Edgerton, and shooting just that: An Amnesiac Super-Spy Stoner Comedy. And an Adventureland reunion of sorts.

Your mileage may vary, but you’ll probably crave a lot of popcorn.

Trailer: Felt

“Based on the real experiences and art of co-writer/star Amy Everson, Felt doesn’t just point a finger at rape culture; it takes a full on swing at it, creating a feminist psychological thriller that audiences will be hard-pressed to shake off.”

In a film that looks to pull few punches, and yet retain a quite striking style, director Jason Banker’s sophomore effort (following his raw, effective debut, Toad Road) looks to be a major leap forward. The trailer suggests aggressive provocateur nature of early Bruno Dumont or Gaspar Noe.

Felt opens in limited release, June 26, and on VOD on July 21st. The trailer below is more than slightly *NSFW* so you have been warned.

Struggling to cope with past sexual trauma and the daily aggression of a male-dominated society, Amy creates grotesquely-costumed alter egos that re-appropriate the male form. While giving her the sense of power she craves, acting as these characters pushes her further into a world of her own making. When she begins a new relationship with a seemingly good guy, she opens herself up to him – but that vulnerability comes at a dangerous cost, and her alter egos threaten to lash out in explosive violence.

Trailer: Point Break (remake)

“See you in the next life!”

Remember when the James Bond franchise started taking its cues from the Jason Bourne Franchise? It appears that the remake of Katheryn Bigelow’s 1991 high-testosterone cheese classic, Point Break, is taking its cues from the film franchise that started off as in imitator, The Fast and The Furious. This may not be a complete surprise, as the director, Eric Core, was the cinematographer for the original F&F film from 2001.

An ever increasing set of heists are featured in the trailer look incredibly expensive and excellently staged, and I must admit, Édgar Ramírez is 100% convincing as surf and extreme sports guru, Bodie (originally played at the height of fame Patrick Swayze), and relative unknown beefcake, Luke Bracey strikes a radically different tone that the “Whoa” of Keanu Reeves who originally played undercover FBI agent, Johnny Utah (which outside of Snake Plissken is probalby the best movie name ever). Supporting stalwarts Ray Winstone and Delroy Lindo are on hand to lend a little character actor gravitas to the proceedings. It looks less unhinged (perhaps from lacking Gary Busey) than the original, and seemingly in line with the expensive-and-glossy-but-safe movie world we find ourselves in.

Fan of the original? Leave your thoughts in the comment section.

Review: Poltergeist

Director: Gil Kenan (Monster House, City of Ember)
Writer: David Lindsay-Abaire
Producers: Nathan Kahane, Roy Lee, Sam Raimi, Robert G. Tapert
Starring: Sam Rockwell, Rosemarie DeWitt, Saxon Sharbino, Kyle Catlett, Kennedi Clements, Jared Harris, Jane Adams
MPAA Rating: PG-13
Running time: 93 min.

 


Film remakes have a stigma marked against them that probably isn’t entirely deserved, but it’s hard to argue with the ratio of unnecessary ones out there to those that actually improve upon their predecessor. The horror genre is probably the most frequent producer of remakes, as most of them tend to adhere to one of about a half dozen basic formulas, so why not add a brand name to the mix if you’re going to be taking on such a similar story anyway. That’s the case with Poltergeist, director Gil Kenan’s recreation of the Tobe Hooper/Steven Spielberg hit from 1982. In the decades since that first film told the story of a quaint American family whose house was haunted by a group of disgruntled spirits, there have been countless horror entries offering up the same basic premise in slightly titled ways. Instead of trying for a new spin on the recycled formula, Kenan and writer David Lindsay-Abaire opted to just go back and redo the original so they can add an iconic title onto their prepackaged routine of generic thrills.

This Poltergeist doesn’t do nearly enough to justify its existence in the pantheon of pointless remakes, as it seems to have no interest in offering up anything fresh against what is still a heavily watched original picture. Tobe Hooper’s film is regularly played in homes all across the world, so what’s the point in making a new feature that’s essentially the same thing? Kenan and Lindsay-Abaire don’t bring a modern spin to this effort in any real way, instead just playing the exact same beats that worked before except this time there are iPads and plasma televisions. You can’t blame them for trusting an old standard, but what they failed to realize is that as nostalgic as people can be for the original Poltergeist, the concept itself is quite dated in terms of what audiences require today. Hooper’s film still works as a product of its era, but the premise of an overly generic white suburban family haunted by supernatural spirits in a PG-13 throwdown isn’t something that translates well to the modern age.

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Mondays Suck Less in The Third Row

Check out these links:
Not LAURA Palmer: The Catfishing game of LEAH Palmer
Precious Bodily Fluids and Ownership in Fury Road
RussellMania! (Toronto)
How To Fix Canadian Cinema
Why Does Nobody Talk About Avatar?


Some of the best David Letterman Bits

The Best David Letterman Guest Moments Compilation by worldwideinterweb


The wonderful world of Estonian sweets


John C. Reilly closes out Cannes like a Boss

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Review: Tomorrowland

Director: Brad Bird (The Iron Giant, The Incredibles, Ratatouille, Mission Impossible Ghost Protocol)
Writers: Damon Lindelof, Brad Bird
Producers: Jeffrey Chernov, Damon Lindelof, Brad Bird
Starring: George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy, Tim McGraw
MPAA Rating: PG
Running time: 130 min.

 

 

My original posting of this review can be found HERE

 


In addition to being loosely tied to a Disney theme park attraction, Brad Bird’s Tomorrowland attempts to bring back the science fiction of yesteryear, focusing on bright futures and the infinite imagination of man and our unwavering ability to reach for the stars.

In theory, a movie celebrating old-school sci-fi themes sounds refreshing and fun, especially given the Disney spin, but the film falters by constantly condemning modern sci-fi for its dire outlook on the future of civilization, all the while becoming the exact thing it’s criticizing.

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