Cinecast Episode 236 – Ocular Coitus

While our friend Matt Gamble is still on the mend (not from a boating accident), Kurt and Andrew grew a bit tired of executing these shows together all alone and reached towards the heavens above for this episodes guest host: Aaron Hartung (aka the dude who lives upstairs). Aaron also happens to work for the best cinema chain in town, Landmark Theaters; not only does he seem to know his movie stuff, he’s got a voice for radio to boot.

We missed last week’s episode due to other obligations and illness, there is a LOT to get to this week. From Lars von Trier’s visually rich disaster/depression epic to the long awaited new Alexander Payne film (it has indeed been six years) we cover your auteur cinema-making-guys. But wait, there’s more: Fifties sex icons, furry-little-singing-nostalgia-engines(tm) and a whole lot of early cinema history enshrined in a Martin Scorsese ‘kids film.’ Enjoy this double-digest episode of the show: It’s time to start the music, it’s time to light the lights, it’s time to talk death, depression and the urgent need for knowing our history on the Cinecast tonight.

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



To download the show directly, paste the following URL into your favorite downloader:

Full show notes are under the seats…

  show content

  show content

  show content

Movie Club Podcast (Crash and Crash)
Director’s Club Podcast (Steven Soderbergh)
After the Credits (December preview)

The Descendants
The Muppets

My Week with Marilyn


The Game
The Mist (black & white version) – I also read the book

– “The Kevin Pollack Chat Show” (Damon Lindeof episode on YouTube)

An Education

Jandy’s DVD Triage

Bohemian Rhapsody Muppet Video


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22 Comments on "Cinecast Episode 236 – Ocular Coitus"

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[…] After what feels like a dog’s age, The Row Three Cinecast returned this week with a capital “E” epic episode. Before the dust settles, they carve up MELANCHOLIA, THE DESCENDANTS, and THE […]

Jim Laczkowski

I feel like my insane adoration for THE MUPPETS is purely based on nostalgia. I’ve heard a lot of criticisms, particularly from one member of the Film Junk crew… and they all sound like Charlie Brown’s teacher. I guess a good film critic would acknowledge those imperfections, but I enjoyed nearly everything about it. It was subjectively, my kind of comedy, even if I didn’t laugh out loud on a consistent basis.

I realize that my brain tunes out certain things that maybe a re-watch would bring out more to the forefront, but the smile never left my face. I can completely respect someone who did not get as much enjoyment out of it. My late great father and I watched The Muppet Show and loved the movies, so I attribute my love for the movie to fond remembrance of how much my family connected to that show. Plus, I also realized that most of my sense of humor (bad puns and all) clearly derives from The Muppets (and SCTV too). So if you listen to Director’s Club, and hear me making bad goofy jokes on occasion, blame The Muppets, Weird Al and John Candy.

THE GAME must come out on Blu-Ray soon. I pretty much want to own every Fincher on Blu-Ray (with the exception of Ben Butt).


The one critique driving me nuts is I heard someone say they were a “Muppets expert” and then posited that the new Muppets are not worth watching because they don’t sound the same. Kermit has been under Whitmire for 20 years now, almost as long as Henson now. Get it together.

It seems a little unfair that a true longtime (going back to the 70s) Muppet performer is treated like a piece of shit, because his voice just isn’t Jim. Caroll Spinney is going to die or retire not that far from now sadly, and then we will have adult nerds saying that Sesame Street should stop because Oscar and Big Bird don’t sound the same as the version they grew up with. Annoying nerd mentality.

Anyways, per the podcast. Muppets don’t do product placement etc?


Ok let’s rank em, this year I rewatched every David Fincher film, and this is what I have come up with

1. Zodiac
2. Se7en
3. Fight Club
4. The Social Network
5. The Game
6. Panic Room
7. The Curious Case of Benjamin Button
8. Alien 3


I bought the Alien Anthology blu-ray as part of the Cyber monday thing so over the holidays I am going to re-watch the studio version of Alien 3 to see if it has any value, but I really hated the Fincher cut.

Fight Club has lost some lustre but it is still a damn amazing film, even if I have seen it way too many times and know it beat for beat, I can still appreciate what it must be like to see for the first time, it belongs near the top.


Alien 3 is not David Fincher’s best film, but it is easily his most ambitious film.


1. Zodiac
2. The Social Network
3. The Curious Case of Benjamin Button
4. Fight Club
5. Panic Room
6. The Game
7. Se7en
8. Alien 3

I like old Fincher, but definitely prefer the newer stuff.


I was one of the defenders of Benjamin Button when it came out but on rewatch, despite having a lot of great individual scenes, it is a chore to get through. No joke, it feels like a lifetime.


In the time between rewatches I felt unsure about Button just because of other people ragging on it, but I am still with it.

The one I really don’t get is Se7en. it has some big scenes, but I find it such a slog until the last half hour.


None of David Fincher’s movies are what i’d describe as ‘fast paced’ even something a clear cut genre-y as Panic Room takes its sweet time.

David Brook

It’s a tough one as Fight CLub used to be one of my all time favourites, but it’s been a long time since I’ve seen it and I loved Zodiac and Social Network, but I’ve only seen them each once so struggle to place them higher than some of my all time favourites. Anyway, here goes:

1. Fight Club
2. Se7en
3. Zodiac
4. The Game
5. The Social Network
6. The Curious Case of Benjamin Button
7. Panic Room
8. Alien 3

Unlike Goon, I’m an old-school Fincher fan looking at my list. I loved Zodiac though and think that after a rewatch of that and Fight Club I might be tempted to switch the top 3 around.

As for the bottom 3, Benjamin Button just didn’t grab me. It felt like a bunch of interesting scenes strung together, there was no crux that kept me interested. Panic Room was just a disappointment when it came out after the strength of his previous films. It felt so generic. I’ve not seen it since release though. Alien 3 has it’s moments, but as a whole it doesn’t stand up against his other films.


Aaron was a really nice addition. Would love to hear him again on the podcast.


“Tap Matt Gamble…” Hahaha. Made my evening.

Rick Vance

Just so you know the Kevin Pollack chat show is on iTunes in video & audio form I think all the shows are in both versions. Also on the website for it for download.


Kevin Pollack stand up can be listened to on rdio as well


Do we not have a The Descendants review or discussion anywhere? Just watched it and itching to talk about how amazing it is.


It will easily be in my top ten. Then again, I am struggling to come up with a top ten. Regardless, there was some serious monster performances here, particularly from Clooney. Oscar number two, maybe?

I loved everything about the film and I really loved the unique way that the story was structured.

Kurt Halfyard

Salon’s Andrew O’Hehir viciously sums up THE DESCENDANTS:

” Let’s face it, the movie Payne wanted to make is kind of a mess, starting with that mind-bendingly awful opening narration, in which Clooney-as-Matt pretty much tells us the whole story, including exactly how he feels about it and how we should too. In fact, whenever we draw near a dangerous scene where we’re not quite sure what Matt’s thinking or how he will react, Payne halts the forward progress of the narrative (which is already leisurely in the extreme) in order to have him talk to us in that literary voice that’s not quite conversational and not quite internal. I have a hard time listening, though, over the Pounding Hammer of Obviousness. Payne is an experienced filmmaker who thinks, I guess, that he’s being mildly unconventional here, dosing his tropical Mai Tai with a little Brechtian potato vodka or something. But mostly it comes off as forced and indulgent and a little bit off — an attempt to create an Oscar moment — which is exactly what I was talking about in the big scene where George Clooney made me cry.”