Cinecast Episode 310 – Demon Leeches

Back to two shows a week will hopefully continue to be the norm from here on out. This week’s b-side focuses on two episodes of “Game of Thrones” in which there is a lot to haggle over. The least of which is probably the sheer amount of boobs, butts and blue balls. A nice distraction from a voice mail from a regular listener has us evaluating the career of Leonardo DiCaprio and other that may or may not follow the same career path. From there it’s more on DiCaprio in the Watch List as we cover his latest, The Great Gatsby, as well as Kurt’s opinion as his best role in Catch Me if You Can. Spanish horror, Tom Cruise and Bruce Willis’ fall to mediocrity all round out a nice, even Watch List. We’ll be back next week with more NOS and Paul Walker.

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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[mp3player width=560 height=76 config=cinecast.xml file=]
DOWNLOAD mp3 | 92 MB
if player is not working, try alternate player at bottom of this post


Full video version and complete show notes are under the seats…




To download the VIDEO VERSION (347 MB) of the show directly, grab the URL from the first comment in the comment section below.




Leonardo DiCaprio
Revolutionary Road

“Bright Lights”
30 Seconds to Mars




– season 3, episode 7 & 8
– music provided by MrSolidSnake745 using eight floppy hard drives




– Leonardo DiCaprio question from Antho42

Email: Kurt | Andrew

Voice Mail: 612-367-ROW3

We’ll call you!:




The Great Gatsby
Jack Reacher

Catch Me if You Can




– Fast and Furious 6
– Frances Ha
– The Iceman




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



~ COMMENTS or QUESTIONS? ~ (general)


Cinecast Cinecast
Hosted by Andrew James, Kurt Halfyard, Matt Gamble and the occasional guest.


  1. In regards to Antho42’s question, I am surprised you guys did not list either Channing Tatum or JGL in your answer. In the span of the year Tatum as gone from teen heartthrob to respected actor. Levitt has always been good, but he has taken it to another level recently.

  2. I reread The Great Gatsby this week and Lurhmann’s movie is better than the book. That said, it is almost a carbon copy of it. The only change aside from the modern music is a minor part tacked onto the end of the book that the film breezes over; otherwise, down to what people are wearing, to the inflection of speech, to every single line, it is exactly the book. When Nick is first introduced to Daisy, you would think it was a Lurhmann indulgence that there would be this flowing white curtains and a sofa in the middle of the room and seeing only the women’s hands gesticulating from behind, but that is Fitzgerald’s image entirely. Slavish to the source to the point of having sequences where you are watching the words be slugged out on the typewriter at key moments of Fitzgerald’s prose.

    The problems of the film are the problems of the story. Daisy is not Helen of Troy, she is a slightly realized character that is magnified in Gatsby’s eyes and that is part of the tragedy.

    I liked the 3D a lot because it wasn’t in your face all of the time, but in creating the sense of space of the mansion, and Nick’s house beside it in the shadows it worked nicely.

    Also came to realize watching this DiCaprio for me is almost a sure thing of quality. I can’t think of another actor that consistently chooses work that I enjoy. It is not even him really that is the selling feature, but his taste in projects.

    • “Lurhmann’s movie is better than the book”

      The film is surprisingly faithful – if facile and simplified – to the book, but no way whatsoever is it a word-for-word adaptation. Luhrmann makes a few critical changes, the most egregious of which is the framing story which has Carraway in a sanitarium writing The Great Gatsby as part of his therapy!
      In fact, the movie is best when Baz is just doing his thing and throwing the camera impossibly around; when he’s sticking to the text it’s all so literal and, at the same time, stripped of meaning, and the movie drags as a result.

  3. Kurt your gushing about Catch Me If You Can makes me think even more you need to get started on Mad Men. Just finished Season 5 and that is one of the tightest, consistently well-written seasons of anything I have ever seen. The nostalgia-tinged look at the sixties that is evident in the Spielberg movie is soaked up beautifully in Mad Men.

    • I thought you were in the Mad Men is overrated camp? Anyways, Rowthree needs you, Rot. It has not been the same since you left.


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