Cinecast Episode 256 – We Stop at Pancake Haus


Please bear with us this week on three accounts: 1) we’re recording on an off day than usual (a Sunday). 2) It’s 8am and we’re operating on very few hours of sleep from a boozy Saturday night and 3) we have some new hardware in the studio and are still working out some of the hiccups. There is a bit of ambient noise when Andrew is speaking but it’s not entirely unlistenable; just a tad annoying at moments. Beyond that it is a solid show featuring both Kurt and Andrew smack dab in the middle of their subsequent festivals: HotDocs and M-SPIFF. We have a mainstream defense piece (aka ‘indulge Kurt’s taste for cheesiness) and a lot of homework to get to. So Monday truly does suck a little less as the Cinecast can be the first part of your week. Or something. Hope you enjoy!

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:
http://rowthree.com/audio/cinecast_12/episode_256.mp3

 
 
Full show notes are under the seats…


 

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IN-HOUSE BUSINESS:
– Thanks Sean
– Donation shout-out: Craig Isberg (North Vancouver)
– Hello to Eric Marchen!


MAIN REVIEWS:
Lockout


M-SPIFF REVIEWS:
God Bless America
Cafe de Flore
Kill List


GRADING HOMEWORK:
Rick Vance: Rosencrantz and Guildenstern are Dead and No Country for Old Men
Sean Kelly (LetterBoxd): Donnie Darko
Nat Almirall (LetterBoxd:) The Late Show and American Splendor
Robert Reineke: Legend of the 7 Golden Vampires
Courtney Small: Shaolin Soccer
Mike Langlie: The American Astronaut
Ian Loring: Escape From The Planet Of The Apes
Lennart Andersson: District 9
Dick Japowski: Kill List and The Prestige
Ryan McNeil: Man on Wire
Steven Beckley: Monsters
Jericho Slim: Sunshine
Aaron O’Banion: Westworld

full list on LetterBoxd
full GPA spreadsheet for this semester


HOTDOCS:
TheImposter
Beauty Is Embarrassing
Despite the Gods
Mechanical Bride
Ai Wei Wei
Tchoupitoulas


THE WATCH LIST:

Andrew
One Day
The Tempest
London Boulevard


DVDs/NETFLIX INSTANT NOW AVAILABLE:
Jandy’s DVD Triage


HOMEWORK ASSIGNMENT:
send us your best example of a documentary told in a “genre” style


OTHER STUFF MENTIONED:
Kurt at HotDocs (1-minute Critic vids)
Cafe de Flore discussion on RowThree
Movie Club Podcast: C.R.A.Z.Y. | The Thin Blue Line | Short Cuts


NEXT WEEK:
Monsieur Lazhar
The Raven
The Pirates


PRIVATE COMMENTS or QUESTIONS?
Leave your thoughts in the comment section below, or email us:
feedback@rowthree.com (general)
andrew.james@rowthree.com
kurt@rowthree.com

FOLLOW US:
Andrew: Twitter, G+, Letterboxd
Kurt: Twitter, G+, Letterboxd
Matt: Twitter, LetterBoxd
RowThree: Twitter, G+, Letterboxd

 

Andrew James
Podcaster. Tech junkie. Movie lover. Student. Also, beer.

26 Comments

  1. Even though I would agree the film gives away a bunch of the story in the first ten minutes, to really get the best experience of The Imposter, I would recommend skipping over Kurt’s mention of it on this Cinecast. All you need to know is it is awesome, it is a cinematic documentary, it is about a missing child and by the title alone there is something to do with an imposter.

    It is like Kurt says, a highly manipulative movie in the best way, and while it does have a lot of Morris/Marsh in its cinematic ambitions, as a piece of manipulation and just as a true story that gets stranger it feels, to me, a lot like Dear Zachary. I was talking with James McNally leaving the film and I know he was not a fan of Dear Zachary but a big fan of The Imposter, and his main criticism with Dear Zachary was just how manipulative it was. To me these films are both working from the same handbook, and both push into some potentially uncomfortable questions about how the filmmakers used people, and withheld plot points, in the process of telling their stories. I love both Dear Zachary and The Imposter and do not feel any kind of ill-feelings towards how the stories are told or how the people are treated.

    Reply
  2. I’d like to thank Cinecast for being a great way for me to spend my downtime at Hot Docs yesterday. :)

    Here’s my current top 3 at midway point of the festival:
    1) Her Master’s Voice
    2) The Imposter
    3) Beauty is Embarrassing

    It’s a very interesting one for me tonight (plan on seeing the James Franco doc)

    Reply
    • The Imposter is the best film I have seen at Hot Docs so far. I have watched the film twice now and I absolute agree with everything Kurt stated in the show. I think this film will be studied by documentary students/filmmakers for years to come. The thing I noticed the most on the second viewing is how wonderful the editing is in the film. Especially the subtle way the film cuts between the taking heads and the re-enactments based on simple body gestures.

      As for the other films Kurt mentioned:

      Beauty is Embarrassing – pure joy. I love the whole message of embracing whatever your passion is.

      Despite the Gods – A solid film that made me eager to seek out Hisss.

      The Mechanical Bride – I liked the film but I think it would have worked better as a three part television series. The film tries to shove in way too much stuff.

      Tchoupitoulas – Once I got beyond the blatant manipulation, which took a while, I was able to appreciate the film on the level the directors’ intended. It is quite a unique experience. Still, I wish the manipulative aspects were not so obvious.

      My top three so far:
      1. The Imposter
      2. The Invisible War
      3. (tie) Beware of Mr. Baker/ Beauty is Embarrassing

      Reply
  3. I was thinking about Kurt’s statements about the changes in music in the Donnie Darko director’s cut.

    It’s really not all that different:
    – Killing Moon switched for Never Tear Us Apart (most obvious change)
    – Killing Moon goes back to original location during the party scene, replacing Under the Milkyway Tonight
    – Under the Milkyway Tonight moved to Car Conversation
    – Stay by Oingo Boingo is added to the scene where Donnie’s sister announces she was accepted into college.

    That’s it. Everything else is exactly the same as in the theatrical cut.

    I actually like the director’s cut, though I would still recommend the theatrical cut for first viewings.

    Reply
        • Maybe that was only in my addled brain. I think that Kelly intended to use that song and never followed through with it…even in the Director’s Cut. My confusion.

          Add it to the growing errors in this particular 8am Cinecast.

          Reply
    • It’s hard to believe that I first saw the film 10 years ago this summer. I plan on both writing a retrospective blog post (since the film actually kicked off my desire to get into film studies) and upgrading the film to blu-ray.

      Reply
  4. CORRECTION: Guy Pierces Carl Winslow/Reginald Vel Johnson esqu contact in Lockout is not the same actor who played the projectionist in Inglorious Basterds, It’s Lennie James. A character actor who has appeared in the TV series Jericho, The Walking Dead, etc.

    Reply
  5. Neither Kurt nor Andrew were aware that Frank in God Bless America is Joel Murray, Bill Murray, John and Brian Doyle’s other brother?

    Reply
    • Bobcat did actually mention that in his intro to the film. I just forgot. It makes sense now that he reminds me so much of the Caddy Master in Caddyshack. Who is also Bill Murray’s brother.

      I love it when a plan comes together.

      Reply

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