Cinecast Episode 278 – Evolve or Die

After festival vacations took hold of both your respective hosts, we’re back for a whole lot of catch-up. We mix up the format a bit with a bit of Disney/Lucasfilm discussion before jumping into reviews of Cloud Atlas (SPOILERS!) and Lee Daniel’s even wackier The Paperboy (SPOILERS!), grading the homework assignments, recaps of said festivals and a further Watch List that jumps from goofy to subversive X-rated classics to gentle (yet badass) angels of doom. It all culminates lengthy show, you’ve been warned.

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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Full show notes are under the seats…




Opening:     :00
News:     0:15
In-house business:     18:12
Homework Grading:     1:14:17
The Watch List:     1:47:29
Festival recap (TAD):     1:47:29
Festival recap (Flyway):     2:12:50
The Watch List:     2:36:31
Next week:     3:38:40
Outro music:     3:40:23 – 3:45:25


Malcolm McDonald
A Clockwork Orange

“Main Title”
Vitamin String Quartet



~ NEWS ~





– Thanks to Ross for the header poster
– New, cleaner show notes
– Ideas for a Cinecast on the beach
– Subscribe to us on Google Currents
– We’re now taking voice mails! Call us: 612.367.ROW3




Cloud Atlas (Kurt’s review)
The Paperboy




(GPA spreadsheet – FALL 2012)

Rick Vance: Goodfellas
Thomas Wishloff: The Texas Chain Saw Massacre
Sean Kelly: The Amityville Horror | (Sean’s review of My Amityville Horror)
The Het: Raging Bull
Robert Reineke: Zodiac
Courtney Small: Bully
Nat Almirall: Krush Groove
Ryan McNeil: The Insider
Lennart Andersson: Zodiac
Ross Miller: Zodiac
Ian Loring: The Elephant Man




Game of Werewolves
A Fantastic Fear of Everything


Pubcasts w/ Matt Gamble
Journey to Planet X
Supporting Characters
Caroline and Jackie
How Do You Write a Joe Schermann Song




To Die For
The Innkeepers
The Dead Zone
The Devils

Tucker and Dale vs. Evil
The Pianist




Assignment: email us (or call in) with the best use of dialect in a film.
Examples: A Clockwork Orange OR Jar Jar in Episode I
DUE: Tuesday, NOVEMBER 6th by 5pm EST

New call-in feature! If you’d rather not type out your response, please feel free to call the row three homework hotline. From any touch tone telephone, please dial:
612-367-ROW3 or click the “call me” link below and we’ll call you; prompting you to leave a message for playback on the air. Thanks!




Soylent Green / The Insider Movie Club Podcast
Wrong poster
Panel at Flyway on “Indie Crowd Funding




Wreck-It Ralph
The Man with the Iron Fists




Andrew: Twitter | G+ | Letterboxd | Pinterest |
Kurt: Twitter | G+ | Letterboxd
Matt: Twitter | LetterBoxd | Where the Long Tail Ends
RowThree: Twitter | G+ | Letterboxd | Pinterest



~ COMMENTS or QUESTIONS? ~ (general)


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Rick Vance

That homework question was close to stumping me. It is a lot harder to find things that use English words in broken ways than it is to just find straight up made up stuff.

Jandy Hardesty

Just for clarification, is the homework asking for invented dialects like the two mentioned, or could it be a film that uses actual dialects, like Creole or Cockney or Yorkshire dialects (or varieties of pidgin English)?

Rick Vance

They want broken English / fantasy English not spoken languages in the world today, they ruled out stuff like Miller’s Crossing and Mamet speak in the episode (I love time tracks.)

Jandy Hardesty

Ah, thanks. I haven’t listened yet, was just going by the show notes, which didn’t specify. Because I was gonna go with Snatch. 🙂

Kurt Halfyard

We do like the Gypos in that film, but yea, we were going for stuff that doesn’t exist in the real world and had to be written basically from scratch for a film.

Jandy Hardesty

That does make it a lot harder to think of examples. 🙂 But also makes it fit in better with Cloud Atlas. Although that was written for the book, not the film.


Kurt, speaking of Pedro Almodovar and Halloween, when are you going to watch The Skin I Live In? I am curious to hear your thoughts.

Cody Lang

Kurt hasn’t seen The Skin I live In? Crazy.

Sean Kelly

I haven’t yet decided whether or not I’m going to squeeze Cloud Atlas in this weekend. I’m already seeing three special screenings, including a triple bill of Romero’s Living Dead trilogy, and I don’t know if I could fit (or handle) a 3 hour sci-fi epic.

Nat Almirall

I’m thinking Kurtis has it in for me.


Your in my sights, Nat. (*Does Finger pointing between eyes from across the internets*)

Nat Almirall

I knew it — was it my steadfast love of capitalism or my pithy rejoinders that offended? We may have to square off on trivia one of these days.

Anyway, you mentioned The Trojan Women on Vanessa Redgrave’s filmography, and you may want to check that out if you can. There’s not much direction-wise going on in it, but there’s some good performances. It’s a simple adaptation of Euripedes’s play (hence the lack of cinematic flair), and, much as I dislike Katharine Hepburn, she was born to play Hecuba. Even more so, it has the Mighty Brian Blessed (though his best stuff is, bar-none, Blackadder).

And I’m glad to hear the love for that series on here every once in a while; series three is some of the best television comedy anywhere, ever. (Though The Larry Sanders Show is the best tv comedy of all time.


Huge fan of Brian Blessed, but his best role is actually Caesar in “I, Claudius” (and guiltiest pleasure is in Flash Gordon as the leader of the winged men.)

Nat Almirall

However, he never bellows “Fresh horses!” in I, Claudius. Check and mate.

That series is an actor’s feast though — somehow everyone’s stealing the scene from everyone else and yet there’s more left than when they began.

Sean Kelly

If you disliked Rubber, chances are you will like Wrong even less.

Kurt was sitting a few seats away from me and could probably vouch towards my non-reaction to the film.

It actually made me feel quite bad hearing all these people around me laughing, with me just sitting there straight-faced.

Robert Reineke

FWIW, The Texas Chain Saw Massacre, like Psycho and Silence of the Lambs, is inspired by Ed Gein although obviously not literally based on Wisconsin’s Plainfield Butcher.

It also makes an awesome triple feature with Psycho and Tucker and Dale vs. Evil.

Sean Kelly

I quite like The Innkeepers and actually rewatched it last night.

P.S. Kurt, next time you see the film, look VERY closely at the window during the final few seconds.

Kurt Halfyard

This is cool (the ghost-Paxton), although if it were up to me, the ‘door slam’ ending of INNKEEPERS would be a quiet, slow closing of the door, a shot that would echo the ‘fake’ video that is shown on Pat Healy’s “EVIL INSIDE” laptop earlier in the film . A bit more symmetry, and really resonating with the theme of the lead character working herself into a state of hysteria, but nothing really going on in the Hotel other than a very overactive imagination (and *SPOILER* a man who commits suicide at a very inconvenient time.)

Rick Vance

First I have to delve deeper into the whole killing the critic = bad thing.

I mean unless you see yourself as the critic in question, or the person being upset as a rational member of society I don’t understand the ire, from Frank Herbert: “My son displays a general garment and you claim it’s cut to your fit?”

Clearly the comment made by Broadbent to Tom Hanks is something to appease him because his book is terrible and lying to make him feel better is the only way out of that situation.

Also from the filmmakers side, they are the same people who got 3 critics to do feature length commentaries of the Matrix trilogy knowing full well that the later two are not well liked by most people (AMAZING commentaries too).

So I think your comments say more about you then about the film or what the filmmakers think of criticism.

Jandy Hardesty

Agreed. I didn’t see the critic scene as a statement on criticism at all, at least not in terms of the film as a whole. The author is a boor, he wrote a bad book, and he lashes out in the way he’s accustomed to because he can’t take criticism. If anything, it’s the author that comes out poorly (although humorously, since that story is a farce), as well as the society that makes him a hero because he’s an asshole, not the critic. Also, the same thing happens in the book in the same way, and it’s even more clear that Knuckle Sandwich is a bad book, the critic was writing an honest and true review, and the author is acting out of turn – but with the satire suggesting how much our society loves a scandal, thereby making his book a success BECAUSE he acts badly. The point I got was that society is messed up because we will side, with our money at least, with a murderer instead of with a rational critic.

Andrew James

Yes but the critic in the film is played as a caricature to the Nth degree. Ridiculously snobby with a martini and a scarf. If I remember correctly they had him talking with his nose held highly and an exaggerated British accent. It was a bit much.

Rick Vance

On the movie as a whole I can’t disagree stronger that cutting the stories in order in their entirety would make the movie stronger, it would destroy all impact that film has. To me the way it is edited was one of the strongest parts of the film and if you were to do them chronologically more emphasis would be put on some over others which I think is the wrong way to look at the movie.

The movie doesn’t have an ironic bone in its body and I think the entire thing plays into that. That each segment feels like another movie to its core is deliberate because it plays into the overall theme of how art shapes the world, the make up is dodgy as a gesture of showing that they are not trying to pull one over on the audience and the characters may be a tad flat because it is supposed to be a thing of momentum and build more than any individual thread taking prominence. The fact that the movie is so obviously playing for comedy so much of the time also plays into this because humor is disarming.

It traffics in cinematic and visual ‘cliches’ the same way other films traffic in nostalgia for a time or a place. I can therefore totally understand why it doesn’t work on some people because the trafficking of nostalgia (say a Tree of Life) doesn’t tend to work on me.

This movie works on that line from Who Shot Liberty Valence which kinda relates it to Argo

“When forced to pick between truth and legend, print the legend.”

Finally Kurt as someone who doesn’t read comics could you possibly stop using comic booky as a derogatory term against a film.


I say you guys are stuck on the notes and can’t hear the music of Cloud Atlas. There is stuff there if you are able to let go of the analytic tic. Some movies are meant to be experienced (and the throwing off the building of the critic is to say as much)… this was the same thing with Avatar. It is fine if you don’t like the music, but at least accept it on those terms, not as individual notes.

some food for thought:

Andrew James

I tried Rot. I did. I went in to this thing really wanting (and actually expecting) to like it. I deliberately tried to shed any analytic or “criticness” chip I might have on my shoulder and just let the film take me for a ride. Let it sweep me away. But nothing in here did that. Ever. Music is a sum of its parts and if none of those parts are working or help to better each other, than the symphony isn’t going to work either.


I see Cloud Atlas as a pretty great pop song, sure it touches on these hot button issues throughout human history but they are done emblematic of some higher symphonic agenda. You may as well dissect a pop song. Pop songs are not necessarily shallow, they just resonate on a different frequency of long prose. They heighten the feelings, they depend on you hearing the whole, of allowing yourself to be caught up in it as something more then parts. Cloud Atlas is an experience first, everything else second. Even the positive deconstructions of what it means, it is just mildly amusing to me… the experience is the thing… and you either take it as that or not at all. The same with Tree of Life, Avatar, any kind of work that is clearly playing with form symphonically and as spectacle.

Jandy Hardesty

It’s weird that I loved Cloud Atlas and The Tree of Life, and didn’t much care for Avatar. Its experience didn’t ring as true for me, nor stick with me in any lasting emotional way, like the other two have (so far – I’m only a week gone on Cloud Atlas).


re: Tucker and Dale

Andrew, Tyler is in some other movies, ie. he’s the guy who lets the first ape out of its cage at the start of Rise of the Planet of the Apes, but you may be more interested to know that Tyler got his start as Ryan Gosling’s best bud character on Breaker High. he’s still “Hungry J” to me. (scroll to 1:50)

Sean Kelly

For those that watch genre TV, Tyler Labine had supporting roles in both the (short-lived) shows INVASION and REAPER.

I also remember him from Breaker High and the earliest film I remember him in is a small role in the cyber-thriller ANTITRUST.

Andrew James

I looked him up on Netflix and it looks like REAPER is available on Instant Watch.

Sean Kelly

You should check it out. It’s a decent supernatural comedy. Shame that it was cancelled in the second season.

Sean Kelly

I’ve been thinking how last year’s Toronto After Dark begun a chain reaction, which resulted in me becoming connected with the Toronto film blogger community (and Row Three) and how the differences (socially) between this year and last are astronomical.

Here is a rough timeline:
– I go to Toronto After Dark on my lonesome (for the third year) and I don’t know anybody. I’m somewhat amazed to learn that film bloggers like myself can get accredited for the festival (and they even linked to my reviews, even though I was not accredited).
– I was already following TheSubstream on Twitter for about a year (I guessing I started following them around TIFF10), but I decided to actually visit the site for the first time to check out their TAD coverage. It was actually one of the Two Minute Critic videos, which introduced me to Kurt (and an unrelated video on the site introduced me to the MAMO guys). I also begin posting on their (now defunct) forum
– MAMO posted the episode, in which they were critical of Toronto After Dark. Fans of the festival were encouraged via Twitter to come to the festival’s defense. That defensive post was my very first comment on Row Three and I’ve stuck around ever since (subscribing to both MAMO and, a few months later, Cinecast).
– In November 2011, TIFF held a special “80s Tweet-Up” at the Bell Lightbox, which I attended. Many of the Toronto Film Bloggers group also showed up and sat together. The only people I recognized at that time were Matthew Price and Ryan McNeil (whom I’ve actually known since childhood, since I went to elementary school with his brother). There were also a few people in attendance who I was already following on Twitter, but didn’t before put a face to. Being a typically shy person (with Asperger’s), I never really talked to anyone (face-to-face) at that Tweet-Up (though I was following them all on Twitter by the end of the night).
– In January, I get an e-mail from Kurt inviting me to the Toronto Film Blogger meet-up. Around the same time, I was offering my services to become a news contributor for TheSubstream (by pure coincidence, the Substream guys showed up at that first meet-up, yet I never talked to them. I started writing for the site a few days later. :P)
– Hot Docs in May was the first film festival, in which I regularly saw members of the blogger group at screenings.
– At TIFF I finally meet Mike Cameron of TheSubstream in person, despite me having been contributing for a few months at that point (I previously met Rajo at my second blogger meet-up, as well as Hot Docs).
– Finally, at Toronto After Dark this year, I got myself accredited and I hung out with the Toronto Blogger folks for the bulk of the 21 screenings I attended.

Here’s a Rough Tally of how I spent Toronto After Dark:
Sat in “Toronto Film Blogger Row” – 15 screenings
Sat with Friend from University – 4 screenings
Sat Alone in Balcony, only to have Kurt sit behind me – 1 Screening
Sat Alone – 1 Screening

It’s definitely interesting what a difference a year makes.

Kurt Halfyard

Social media tools and film festival enjoyment is indeed a synergistic combination! I cannot imagine doing TIFF ( with its scattered venues and huge amount in international friends coming to town) without Twitter anymore.

Glad to see you join the fold, Sean.

Rick Vance

Kurt you are 2 for 2 with the 5 hour epics.

Wasseypur is unreal.

Kurt Halfyard

EXCELLENT! I simply cannot wait to watch it again.

Sean Kelly

One more note about the Lightbox Bond screenings.

I saw FROM RUSSIA WITH LOVE and GOLDFINGER last weekend and they were BOTH digital restorations.

I’m not sure if that’s the case for ALL the Bond films or just the big ones.

David Brook

The UK DVD and Blu-Ray releases of all films have been polished up nicely with each subsequent release, so probably.

Sean Kelly

FYI: A Toronto After Dark Pubcast by The Liberal Dead, featuring John Allison and Kurt as guests (among others), is now up:

I was sitting to the side and watching the recording and it was definitely entertaining watching Kurt do his thing. (EDIT: After listening to the podcast, I realized Bob Turnbull shows up as well. I had gone home by the time he hit the mic).

BTW, if you want to hear my somewhat high pitched and very nervous-sounding voice, I appear during the first six minutes of the first pubcast:


I’m not 100% sure if I was SOBER when I went up to the MICROPHONE there…listen at your peril.

Sean Kelly

You sound fine Kurt….at least no different than you sound on Cinecast.

Matt Gamble

I think that was Kurt’s point.


In all fairness we are often tipsy or drunk while recording the Cinecast, so fair point indeed.