Cinecast Episode 242 – Suburban Subversion

With an aversion to Polanski reminiscent of the plague, Matt Gamble has graciously bowed out this week which has allowed us to bring back our good friend Jim Laczkowski as guest co-host. One half of The Director’s Club Podcast, Jim brings lots of love for all things Cronenbergian and psyche-based. So fitting that this week Kurt, Andrew and Jim put on our psychology 101 hats as we look into the relationship between Freud and Jung as played by Viggo Mortensen and Michael Fassbender, respectively, in Cronenberg’s A Dangerous Method (SPOILERS!). These two potentially could’ve busied their entire careers analyzing the two couples in Polanski’s Carnage (SPOILERS!), which is the second movie we’re diving into in this episode. After that, we have a nice, diverse watch list the covers everything from 80s schlock (in a good way) horror, an overlooked #1 film of 2011, Sarah Polley’s sophomore effort, the best video game to film adaptation ever made and and a not so inglourious look at Tarantino’s masterpiece. All this and more in this week’s fantastic episode.

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

New Site Design (YAY!)

A Dangerous Method


Bigger than Life
The Gate
The Sunset Limited

– “Sherlock”
Take This Waltz

Air Force One
Meek’s Cutoff
Inglourious Basterds

Jandy’s DVD Triage

Free streaming of Jim’s album, “Warm Asylum” by Garden on a Trampoline
Synopsis for New York Lately at MUBI

Underworld: Awakening 3D
Red Tails

Leave your thoughts in the comment section below, or email us: (general)

Andrew: Twitter, G+
Kurt: Twitter, G+
Matt: Twitter
RowThree: Twitter, G+


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The dude from Lost: are we all talking about the same person? The one who was in Wolverine as the Blob? Because yeah he was in the last season, but that was because on the island he was the leader/big bad among the mercenary crew that came off the boat looking for Ben. He shot Alex. We’re talking teh same guy, right?

Sean Patrick Kelly

Yes, that’s Kevin Durard.

He was AWESOME as Martin Keamy, who was essentially the main antagonist of LOST’s fourth season, before returning for one scene in the final season.


As for Filmspotting and Carnage: They are undoubtedly the WORST podcast for reviewing comedy. Bar none.

Jim Laczkowski

I agree about that, Goon. Sometimes I love their show, and sometimes I feel like it’s too structured and dry. And sometimes they are way off. I’m not a huge fan of Carnage, but I also felt like their review didn’t really bring up any good points. Not that I did either, necessarily. It’s hard to review a comedy in general. I laughed sporadically and mostly at Waltz, so I’m barely giving this one a pass. But Kurt & Andrew laughed a lot, so hey, it’s all subjective.


I remember Matty going through a several month barrage attacking every comedy that came out, and then finally found one that he loved, and it was

Baby Mama


Andrew James

Just finished season 2 of Sherlock. The show has balls.

The actor who plays Moriarty (Ruffalo with downs syndrome) is fantastic. Kind of reminds me Pollux Troy from Face/Off. I don’t know what Kurt is talking about. Out to lunch to use the parlance of our time.

Sean Patrick Kelly

It was very interesting how you talked about the horror characteristics of Gremlins, since Chris Columbus actually scripted it as an R-rated horror film and Billy was supposed to discover his mother’s severed head rolling down the stairs. I believe it was Speilberg who wanted the film more family-friendly.


Gamble adds Film Junk levels of entertainment to your podcast.

I’m still looking forward to this ep as usual though.

Matt Gamble



Kurt — See The Skin I Live IN in the theater.

Sean Patrick Kelly

I also saw Take This Waltz during Canada’s Top Ten (though I think I went to a different screening, since there was a more younger crowd).

You can add me to the “liked the film” club, however I expressed absolutely no sympathy to the decisions of MIchelle Williams’ character. I was also not too keen about Luke Kirby’s character (who I thought was a bit of a scumbag for openly flirting with Williams in the first place), though he at least have the sense to ATTEMPT to try and stop things from going too far.

Kirby gave a Q&A after the film, which was one of the most cringe-inducing Q&As I ever experienced. Not only were a few of the questions idiotic (like they usually are from non-cinephiles), but Kirby (who apparently injured himself in the washroom) also spent most of the Q&A sitting (and later, lying) on the stage. He didn’t rub me the right way.

Anyways, one useful bit of information to come from Q&A is the fact that the film is currently planned to be released in June.

(BTW, if didn’t figure it out, I was listening to the podcast in chunks and posting comments as I went along)


I think a lot of the hate for Take This Waltz has to do with how unlikable Michelle Williams character is in the film because every outward sign that you recognize as cinephiles seems to be telling you this is your hero in the story, the visuals are bright and cheery, and you expect a simple rom-com to follow. This is why I think of Take This Waltz as the Canadian Closer, because they both have this superficial veneer which seems deliberate to antagonize the audience, and make the emotional impact of the stories all the more jarring. Also both talk about cum, and are explicit, and you just don’t think of a film like this doing that. There are no easy resolutions, I would say, yes in a way Luke Kirby in the movie is despicable but in a way he isn’t, each character has good and bad in them, which makes the problems in the story all the more complex. I have heard people say he is a cliche of the ideal mate from out of a Harlequin novel, and there is that aspect to him (we are seeing the story through Margot’s perspective), but he is a bundle of problems too and they come out in the incredible script which Polley also wrote.

Also I live a couple blocks from where this movie took place, and while there is some crazy geography at times (Ashbridge Bay walking distance?) it really felt like the Toronto I know, down to the sound of the streetcars passing in the background and the Portuguese neighbors talking loudly on the porch.

I want to know when the soundtrack comes out because Feist’s Closing Time is killer.


See also: Tilda Swinton in JULIA.

It’s daring to see an actress play a character that is the centre of the film and yet, very difficult for much of the audience to see eye-to-eye with her choices.

What should be on the poster:

This is EAT, PRAY, LOVE done properly and honestly.


I do not mind the last 10 minutes of the Ninth Gate. Even though it is an amazing, it is a cheesy, goofy film. The last 10 minutes just takes it up to eleven.

Rick Vance

Well one thing we do know is that if any Director has a chance and experience at filming a supposedly un-filmable book Cronenberg is the one to get because Naked Lunch and Burroughs is one of those things that people put on the can’t be filmed.

Also I think I may be a person who would fly his flag for the 80s. I mean especially from the context of Action & Science Fiction the 1980s is probably the Zenith. I mean the 80s was the best decade for Cronenberg, Cameron, Carpenter, McTiernan, Verhoven(Robocop is heads above his best movie), not to mention the rise of Woo. (Probably others I am missing.)

Every decade has its brights spots if you look for certain kinds of films.

Sean Patrick Kelly

Funny Story (kind of). I took a course on Cronenberg in university and the the main assignment was to write an essay on one of his films.

I picked Naked Lunch, because it was one of the Cronenberg films I most wanted to see (and it was one that was not screening in class). I almost regretted the decision when I watched the film and saw how utterly confusing the plot is.

I still managed to write the essay (mostly with the help of a 60-page analysis of the film in one my sources) and I ended up getting an A in the course.

Spongebob Scaredpants
Spongebob Scaredpants

Enjoyed the podcast. Really like the new site design.

Since you guys mentioned it… SOPA/PIPA. Isn’t it a wee bit ironic that film/entertainment focused podcasts such as this one are voicing their opposition against this (generally awful) legislation? We do all realize that the very industries we support through our consumption and further discussion of their goods (films, shows, etc.) are the ones responsible for pushing these bills via persistent lobbying, right? Going “dark” for a day isn’t nearly as powerful as not watching TV, not going to the theater, not buying discs, digital content, etc. But that hurts (us AND “them”) a whole lot more than turning off a site for a day or changing one’s social network avatars in protest.

Kurt Halfyard

It’s not ironic, these are massively complex problems that do not have easy answers, and when you step back, there are contradictions within contradictions.

We watch movies (and other forms of Audio/Visual medium) because we do love them. We want a solution to the problem, a balance of getting good popular cinema in a sustainable industry. We just do not think that SOPA/PIPA are good solutions.

A co-ordinated effort of millions doing a simple thing (An icon change, or a 24 hour black out) can have an equal or greater effect than a haphazard and nebulous “everybody vote with your wallet” which is of course, damn impossible to do – look at the umpteen failed ‘Gas Station’ embargoes in protest against Big-Oil – they are borderline futile.

We still want our content, but with a solution that works with changing technology, not aims to stifle all future progress (both from building art on the art that has come before, and a reasonable price-point in terms of consumer consumption/delivery.)

Sean Patrick Kelly

The website blackout helped to reverse many politicians stance on SOPA and I believe it’s now currently off the table.