Marvel’s rescheduling of Black Panther and Captain Marvel has one Matt calling shenanigans and the other Matt preaching patience on the subject of diversity in mass media. I think you’ll be pleasantly surprised which. Mamo assemble!
Tired of not being able to find anything on Hulu, Netflix, Amazon Prime, et. al? Well then you’re doing it wrong. But maybe you’re trying to save a few bucks and don’t have access to any of these services. If that’s the case, Paramount has seriously got you covered.
The Paramount Vault is a collection of dozens of full length films covering decades of material from the iconic studio. Classic Elvis to Clive Owen to Gene Wilder laughery to Noah Baumbach to black and white to guts and gore and everything in between, before and after – there’s something in here for everyone.
Our own Kurt Halfyard found this quick startup primer of the “best” and “worst” films available on the service if you’re looking for somewhere to start. For the record, I mostly agree with this list and being October, I highly encourage you to watch The Loved Ones this month. Myself? I’ll be checking out an early Robert Downey Jr picture, In Dreams; directed by Neil Jordan.
Have a look through the vault and you’re sure to find something to keep you busy for the rest of the next year or two. Enjoy!
We kick off our UNIVERSAL MONSTER MONTH with the iconic FRANKENSTEIN (1931). Each week in October we will take a look at one of the Universal Monsters by way of either the original film or a later adaptation – thanks to the votes of podcast guests and listeners alike! Voting is staggered to give us time to watch the film, so keep an eye over at AFTER THE HYPE’S FACEBOOK to get in on the voting action!
A spoiler-filled discussion of the narrative tricks of Denis Villeneuve’s Sicario and a brief consideration of the rightness and wrongness of bio-picking Steve Jobs make up this latest episode of Mamo…
I can hardly believe it but the festival is almost over. Where did it go exactly?!
It’s been a few days since we last talked and since then, Bill (@soundjam69) has seen a hundred more movies (exaggeration – but not by much) and I’ve seen a few more, most of them good which brings the good to bad ratio in the favour of good and that, at least, is something worth celebrating.
We will be returning later this week with a final wrap of the festival and to share our top picks but until then, this will keep you informed!
At the tail end of the show I mention a recent episode of the Talkhouse podcast though I picked the wrong genre icon! The episode features Ben Wheatley and Alex Cox (not Richard Stanley – who is also awesome) and you can listen to it here.
While many in the media and social media are spinning it otherwise, Matt Damon is Science Jesus. Who else better than to charm the pants off of Andrew and Kurt but Science Jesus, really? Ridley Scott’s The Martian is a straightforward crowd-pleaser to be sure, but there is a wisp of metaphor still to be had in the Wadi Rum valley.
October is here and the boys have decided to hit up a different first-run (ish) horror movie each week in the Cinecast for the month. This week is an Iranian black and white, vampire film shot in California mimicking Jim Jarmusch: A Girl Walks Home Alone at Night.
The Watch List offers balcksploitation, blood and guts in the Star Wars franchise, trailers as deconstructionist/reconstructions art, journeys to the centre of the earth, and the case for Jason Bateman getting an Oscar nomination this year.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
Director: Gez Medinger, Robin Schmidt
Screenplay: Andrew Ellard
Starring: Miranda Raison, Sam Keeley, Daniella Kertesz, Elarica Gallacher, Lorna Nickson Brown
Running Time: 97 min
BBFC Certificate: 18
October is upon us, which can mean only one thing to film bloggers. A month full of horror movies! My month probably won’t be ‘full’ of horror as I’m going to be hitting my usual mix of classic and cult titles from the glut of screeners I’ve greedily requested. However, for my first review of the month I thought I’d better join the early halloween celebrations my fellow writers revel in.
On October 19th, Icon Film Distribution and FrightFest, the UK’s leading genre film festival, team up to launch FrightFest Presents, an all-new expert driven social community-building label ready to deliver true shocks and scares straight into your home just in time for Halloween and beyond. FrightFest Presents will bring you the most unsettling feature films from the festival; a series of movies that wowed and earned critical acclaim, hand-picked by FrightFest directors Alan Jones and Paul McEvoy. Blueprint: Review plan to review the first six films being released on the label, starting with this, After Death
After Death (sometimes titled AfterDeath) sees five young adults wake up on a beach at night next to a small cabin. They soon realise they are actually dead after all being killed in a nightclub disaster. They’re now being held in purgatory or possibly even hell itself as it certainly isn’t heaven. They are regularly harassed by some sort of demon made of smoke and the harsh light of a neighbouring lighthouse triggers disturbing visions and pain in the entrapped group. Robyn (Miranda Raison), the last of the group to arrive, is convinced she can escape and get back to the world of the living so she tries to get to the bottom of what sins could have caused the five to be destined to hell and whether they can harness Onie’s (Daniella Kertesz) ability to randomly disappear. This investigation causes rifts amongst the group though, particularly with regards the one man, Seb (Sam Keeley), who is revealed to be a violent sexual predator.
Once again, October is upon us and a film fan’s fancy’s turn to horror. Though I’ll watch scary/creepy films any time, I like to pack October full of first time horror watches. My first four consist of: The Taking Of Deborah Logan, V/H/S: Viral, Creep and The Nightmare.
The Taking Of Deborah Logan (Adam Robitel – 2014)
I thought I would start my viewing with several “found footage” style horror movies – mainly because they are just so damn plentiful these days. Though many people are sick of them at this stage, I can usually still find something appealing in them if they make an effort to build atmosphere and don’t simply go for the cheapo jump scares. Much of The Taking Of Deborah Logan does indeed do the former we watch a documentary film crew slowly realize that the Alzheimer’s patient they are capturing on camera is not quite afflicted with the standard form of the disease. As the titular character starts to descend more and more into seeming madness and the supernatural angle becomes more apparent, the film loses a bit of steam – it forgets the basic premise of setting up an unsettling environment and goes for back story and plot. Neither of those are anywhere near as disturbing as, say, a simple shadow or an old woman’s unexpected appearance in an attic. Still, the film has its moments if you can get past some of the inherent problems these films typically have (e.g. the necessity to fabricate reasons to keep a camera running or the shells of characters that do little more than complain).
This little slice of nastiness from John Hillcoat (The Proposition, The Road), a director who knows his way around balancing bleak and heart, looks to be pushing the envelope of Sicario and Training Day as far as it can go.
Triple 9 has elements of the militarization of police, the war of attrition with crime and violence (severed heads abound), and everyone thrown into the blender. Props to whoever came up with the kids ‘this little piggie’ to score this trailer, because it is damn effective with the imagery on display.
The cast is beyond stacked: Woody Harrelson, Chiwetel Ejiofor, Norman Reedus, Casey Affleck, Aaron Paul, Anthony Mackey, Gal Gadot, Clifton Collins Jr., and somewhere in there is Kate Winslet. All stuck in John Hillcoat’s murky grime. I cannot wait to wade into this urban warzone in February 2016.