Cinecast Episode 324 – Floating Fire

Better late than never right? We stick to the Thursday recording schedule for one more week. But it’s a good week; we get to review Alfonso Cuarón’s Gravity! And Dolby ATMOS. It ain’t all hugs and rainbows like on other podcasts; Andrew takes real issue with a few things and it might require a rewatch and possibly a three-watch to clear everything up. But we do offer up some unofficial, warm-up homework to kick of the 2013-14 school year (disaster movies and tears in space). The Watch List includes mumblecore, Italian horror, state of modern animation, Jim Jarmusch, found footage and Def Leppard. Settle in, it’s a pretty fun thrill ride with very little chance of debris.

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…




– Thanks to Ultimolee for time tracks!
– Mamo! Grosses contest winner information.
– Kurt on Film Junk podcast
– The Devils and Possession streaming the Movie Club Podcast
– Kurt’s kids talk Gravity
– Matt Brown on collective decreasing ‘Sense of Wonder’ when watching movies.

Micael Caine
Batman Begins

Def Leppard








Despicable Me 2
Twitch of the Death Nerve
Viva Hysteria: Def Leppard in Concert

Jeff, Who Lives at Home
Broken Flowers




Mission to Mars
Monster House, City of Ember (Gil Keenan)
The Dirties
– Matt Brown’s article on Gravity




– Captain Phillips
– Machete Kills



~ COMMENTS or QUESTIONS? ~ (general)


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Time tracks

Pre-show Chit-Chat
Gravity (SPOILERS!) 7:50
Watchlist 1:04:25
The Rap up 1:47:38

Matt Gamble

Yeah, we don’t charge extra for ATMOS or for it being a “Lie-max” screen.

Sean Kelly

Kurt was slightly mistaken on this front.

Cineplex has ATMOS installed in select AVX cinemas, which is Cineplex’s in-house premium screen. It’s pretty much the same type of cinema as “Lie-max,” except without the branding.

Sean Kelly

Also the term “Lie-Max” in general is becoming outdated.

70mm IMAX cinemas are slowly being converted to digital, so there will be soon no “true” IMAX experience to pine for.

Rick Vance

So I have an actual answer for your second nitpick about the stations and a lot of the geographic complaints people have had.

This movie is science fiction and not just in the fact that this event never happened the tech in the movie(specifically the HUD display on the glass of the helmets) is beyond what we currently have and no year is mentioned so the fact that the superpowers seemingly have their own space stations and the Russians coordinate a pretty effective chain reaction to wipe out all the satellites points to a bigger story at the fringes of this much smaller one.

Thomas Wishloff

Interestingly enough, everything that Andrew Liked about Chronicle was everything I hated about it…

Matt Gamble

One thing I should note about ATMOS, it actually isn’t any louder than a standard film, and Gravity isn’t all that loud either for an action film. It generally sits are the upper 60’s to lower 70 dB. Even the big show off sound moment at the start and end of the film doesn’t top 80 dB.

The big difference is it feels louder. You’ve got sound coming in far more directions, and the big difference is the subwoofers on the ceiling, which can pound you with bass from above. That alone represents a very different sensory experience for people and can convince them the sound is cranked.


Since it was brought up again…

– Style was making me feel light headed/motion sickness as I watched George putter around in his circle, as Andrew explained, to the point I was lifting my glasses to see if it was watchable without them, as some 3D movies are. (Answer: obviously not)
– As the debris was obviously gearing up their way and the music was ramping up, my panic buttons were getting pushed and that was the “Nope. Bye” last straw moment.
– I’m certain if I had endured it longer the latter stress element would have been the main thing putting me out the door. What’s lost in all this is that it’s not just the plot elements alone, its those plot elements in tandem with that full field of vision 3D and pounding sound.
– Still haven’t hit a 2D version. I need some distance as a) I’ve stupidly listened to enough podcasts talking about it that I’d be going through the motions watching plot points I know about play out. Need to forget.
b) The frustration and stress of this incident needs to die down a bit so it doesn’t psych me out again. I’m honestly even concerned that any other stressful theater experience (ie potentially Captain Phillips?) may psych me out right now, as I’m going to associate tense music or blah with that shitty feeling.

The only thing I know for sure is I could handle this thing in a home environment with its smaller scale and array of distractions at my disposal. But that’s obvious. I could even endure The Strange Colour of Your Body’s Tears at home, and that one actually DID make me puke.

But yeah, this awesome experience for everyone else has for me instead been first world problem traumatic.

Sean Kelly

Netflix has quite a few mumblecore offerings and I once binged on a number of them, including BAGHEAD (i.e. the Duplass brothers’ “horror” film) and THE PUFFY CHAIR.

Sadly Netflix (Canada) no longer has Joe Swanberg’s NIGHTS AND WEEKENDS, which was my favourite of the bunch I saw.

Sean Kelly

I looked up the image of Tilda Swinton in BROKEN FLOWERS. I don’t think the length of the hair is the issue here (I’ve seen Swinton with long hair plenty of times). However, what makes her nearly unrecognizable is the fact that she has BROWN hair, instead of her usual blonde (also, she is wearing more make-up than she usually does).

Kurt Halfyard

It might be the complete package there, yes.

(Forgot that Swinton has long hair in ONLY LOVERS LEFT ALIVE…)


saw Gravity in 2D with minimal stress and motion sickness…

I wasn’t very involved. Movie is still good but it was too far the other direction in immersiveness. Really did not care much about anyone on screen. No just right porridge for Mr. Goldilicks on this one.


I caught Jeff, Who Lives at Home last night and thought it was pretty darn good.  It’s a little weird and it feels like really nothing is happening until all of a sudden it’s the end of the movie and we just witnessed a pretty intense joy ride with these characters through one day. There are moments that feel a little treacly (the waterfall thing, ugh) but mostly it’s a pretty charming story – it takes a bit of time to get rolling, but I was quickly rolling with it.


Finally got to see this, and now listen to the podcast.
The dialogue in this was pretty good at giving exposition in its very short bursts, and as for the bit where Clooney asks Bullock where she’s from – yes, he would already know from reading the bios before takeoff above anything else, but in that scene he was totally just getting her to talk about mundane things to take her mind off the situation (in the same way that my dentist tries to do and I wished he wouldn’t) , and distracting her with his disarming Clooneyisms eg “my beautiful blue eyes” etc.  
The feotal/womb-pod, and the beach scene were probably my favourite moments.


Spoiler. Re: Clooney hanging on the line. I have queries about this scene, but there were forces taking Cloon away and they waere 1. propulsion from the final burst of spacewalk rig, and 2. they are actually rotating and there is some centrifugal force. I still think he would’ve been able to overcome this and pull himself back once the ropes were taut, though.
I didn’t see this as so much a disaster movie (Poseidon Adventure is terrific, btw), more a survival movie a la 27 Hours.