Cinecast Episode 335 – Gaslighting

Fairly straight forward show this week folks. We praise the Coens, tongue bathe Spike Jonze and talk about how awesome all of the stuff we watched is. Unless Disney is somehow attached. Beware, SPOILERS abound for our two main reviews. Outside of that, I don’t know what to say, sparks fly here, but not in the same way as last week. It’s all pretty much happy-go-lucky. Unless Disney is somehow attached. We also introduce a new segment coming to the Cinecast over the course of the next several episode. We’re pretty excited about it and think you’ll like it too. Unless Disney is somehow attached.

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…

 


 

~ IN-HOUSE BUSINESS ~

– CASTCast 2013 Now Streaming
– RowThree Top Ten music albums of 2013
– The 1984 Project (coming in the next few episodes)

OPENING QUOTE:
John Goodman
in
O Brother, Where Art Thou?

CLOSING BUMPER MUSIC:
“Fare Thee Well”
by
Oscar Issac & Marcus Mumford

 


 

~ MAIN REVIEWS ~

Inside Llewyn Davis
Her

 


 

~ LISTENER INTERACTION ~

Movie Titles for Those Who Have Possibly NEVER Seen A Film

Rick Vance
Jaws
Goodfellas
Terminator
Yojimbo

Anne Almirall
Unforgiven
The Birds
Big Trouble in Little China

Nat Almirall
Ghostbusters
The Shining
Dear Zachary
Alexander Nevsky
The Lady from Shanghai
Lust for Gold

Robert Reineke
Rashomon
Singin’ in the Rain
Lawrence of Arabia
American Movie
The Matrix

 


Email: Kurt | Andrew

Voice Mail: 612-367-ROW3

We’ll call you!:

 


 

~ THE WATCH LIST ~

Matt
47 Ronin
Smash & Grab: The Story of the Pink Panthers
The Spectacular Now
Saving Mr. Banks

Kurt
The F Word
Meet Me In St. Louis
Three Kings
Miami Vice

Andrew
The Secret Life of Walter Mitty
Sweetwater
The Lion King
Into the Wild

 


 

~ NEXT WEEK’S POTENTIAL REVIEW(S) ~


– Her
– August: Osage County
– The Past

 


 

~ COMMENTS or QUESTIONS? ~

Leave your thoughts in the comment section below, otherwise feel free to contact us:
feedback@rowthree.com (general)
andrew.james@rowthree.com
kurt@rowthree.com

 

Sort by:   newest | oldest | most voted
DavidMerryweather
Guest

I vaguely recall seeing Walter Mitty. All that I can remember about it is that it was such a colourless, wishy-washy anonny-indie that it just faded away like vapour as soon as it was over. The main problem is that Ben Stiller is naturally so emotionally blank – even during his wildest daydreams – that it’s difficult to empathise with him.

Sean Kelly
Guest

Didn’t I make a submission to that listener interaction question?

Schizopolis
Guest

I love listening to Kurt and Andrew double team Miami Vice every 6 months on the podcast.  I’m a huge Micheal Mann fan, but it took me a couple re-watches to really dig the movie, partly because Miami Vice seems like Michael Mann’s interpretation of a script that Tony Scott usually directs.  Compared to Heat, the Miami Vice script is a bit too superficial.  Either way, I still like Miami Vice a lot, especially the extended cut.  I’m curious which version you guys watched.

If I had one impossible wish, I wish that Heat and Miami Vice would have traded cinematographers. In my opinion, Dante Spinotti’s cool, vibrant but classic compositions would’ve been perfect for Miami Vice.  The cold, gritty, digital handheld shots would’ve been perfect for Heat.

KurtHalfyard
Guest

Schizopolis WHile I think the ‘original cut’ might be a bit tighter, I’m kind of cool with the loose strategy of this film, and now pretty much only watch the Director’s cut that opens with the GO FAST boats in the harbour, instead of going right into the nightclub.

Nat Almirall
Guest

The idea behind the first three movies is to elicit highlight, respectively, laughter, fear, sorrow. That’s fine if you don’t like Dear Zachary, but for someone who has seen many movies, it gets them gushing more than a vulgar metaphor involving a whale in heat.

ajames1
Guest

Sean Kelly I apologize Sean.  Indeed you did. It got mislabeled in my email folders.  Sorry.

Gerry
Guest

@Matt Gamble. Re your review of Saving
Mr Banks. The film was about a specific incident, it wasn’t a
treatise on the Disney corporation’s attitude to copyright.

One of the reasons I haven’t seen
Mandela, Long Walk To Freedom despite initially wanting to was
because it was said to be a sprawling mess that covered Mandela’s
whole life rather than a specific part of it.

If Saving Mr Banks had been a biopic
about Travers it would have been a totally different film. Maybe a
more skilled writer could have alluded to her sympathy for Native
Americans or her open bi-sexuality, but I thought the writers did a
pretty good job writing about this one incident from her life.

Fact of life re film making (which I
thought would be ingrained in you since you screen films for a living
and are part of a film podcast), when people make films or adapt
other media to be a film they add their own slant, politics, subtext.
Seriously, you’ve never noticed that? The amount of straight
adaptations are, I imagine, few. If Travers thought otherwise she was
deluded about this.

One example I can think of was the end
of No Country For Old Men, where at the screening I saw the audience
were laughing at Tommy Lee Jones’ last speech. The Coens were
supposed to be adapting the book into a film, not transcribing it.

The interesting thing for me about the
adaptation of Mary Poppins for the screen, which I got from Saving Mr
Banks as I haven’t seen Mary Poppins the film, is the socialist slant
the writer seemingly took which wasn’t in the book(s) Mary Poppins,
i.e. pro suffragettes and highliting the plight of the poor. This was
especially interesting given Walt Disney’s seeming anti communist
views. I’d like to actually see Mary Poppins because of this.

You also didn’t mention Hanks’
excellent performance. He’s such a consummate actor I think people
take for granted performances such as in Saving Mr Banks.

You like what you like and you’re
entitled to your views but I disagree with them. I liked the film, a
lot.

Ultimo Lee
Guest

Opening: 
In-house business: 0:53
Inside Llewyn Davis (SPOILERS!): 9:27
Her (SPOILERS!): 35:42
Listener Interaction 1:01:22
Watch List: 1:19:33
Next week: 2:53:44
Outro music: 2:57:34

Sean Kelly
Guest

RE: 1984
Yes some great films opened that year and I’m sure it has a personal connection to Kurt, but there is NO WAY 1984 beats 1982 (the year that I was born) for being one of the best all-time years for movies (to the point that the Alamo Drafthouse held retrospective screening in 2012).

I should also plug the Revisiting 1982 series I wrote for my blog, in which I watched and wrote about many of the top films from that year – http://www.skonmovies.com/search/label/Revisiting%201982

RE: The Lion King
Andrew, I don’t know if it’s the fact that you are a few years older than me, but I have to disagree with your opinions on The Lion King, which is a masterpiece (the VHS box I owned even says so).

I suppose I was in the perfect age range when the Disney Renaissance (i.e. their very successful animated films of the 1990s) was happening.  I was 12 years old when The Lion King came out and I have very fond memories (though I admit, it has been many years since I saw the film).

I can remember quite clearly how big a hit the soundtrack was back in the day (my family owned a copy).  The soundtrack album featured Elton John recorded versions of three of the film’s songs (all of which he wrote with Tim Rice).  Also, I should note that the score of the film was done by Han Zimmer.  I admit the film started a bit of Elton John phase for me, which lasted for a year or two, before I moved on to liking heavier music.

Finally, go here: http://www.snopes.com/disney/films/lionking.asp

ajames1
Guest

Sean Kelly Regarding the soundtrack… yeah that was truly disappointing for me.  Elton John is nowhere to be found in this movie.  Most of the singing is dreadfully ear-piercing to simply alright.  Elton John is only if you stay to halfway through the credits.

Sean Kelly
Guest

ajames1 Sean Kelly That’s the case with pretty much every animated Disney movie during the 1990s.  The songs within the film are sung by the characters (though they aren’t always the same actors), while a well-known pop artist would re-record a version for the credits.

The only exception would be 1999’s Tarzan, in which every song in the film is sung by Phil Collins.

Sean Kelly
Guest

ajames1 Sean Kelly  Here is a list of the big songs from each Disney film from the 1990s, along with who sung the pop version:
The Little Mermaid – “Part of Your World” performed by Jodi Benson (no pop version)
Beauty and the Beast – “Beauty and the Beast” performed by Angela Lansbury (pop version by Céline Dion & Peabo Bryson)
Aladdin – “A Whole New World” performed by Brad Kane & Lea Salonga (pop version by Peabo Bryson & Regina Belle)
The Lion King – “Can You Feel the Love Tonight?” performed by Joseph Williams and Sally Dworsky with Nathan Lane, Ernie Sabella and Kristle Edwards (pop version by Elton John)
Pocahontas – “Colors of the Wind” performed by Judy Kuhn (pop version by Vanessa Williams)
The Hunchback of Notre Dame – “Someday” by All4One*
Hercules – “Go The Distance” performed by Roger Bart (pop version by Michael Bolton)
Mulan – “Reflection” performed by Lea Salonga (pop version by Christina Aguilera)
Tazarn – “You’ll Be in My Heart” performed by Glenn Close & Phil Collins (pop version by Collins solo)

*The Hunchback of Notre Dame is an interesting film, since the pop sung during from the credits was cut from the actual film.  The soundtrack album also features a pop version of the song “God Help the Outcasts” performed by Bette Midler.

Sean Kelly
Guest

In fact, Disney is still following this rule.

In Frozen, the big song “Let it Go” is sung by Broadway star Idina Menzel in the film, however a pop singer named Demi Lovato recorded the version of the song that’s played during the credit.

In this case, I would argue that the film version is WAY superior.

dave_or_did
Guest

Sean Kelly I haven’t listened to the podcast so I shouldn’t really muscle in without hearing Andrew’s side, but I’m with Sean on the Lion King.  I’ve always thought of it as my favourite Disney movie of all time (although admittedly I’ve not seen it for a long time).  Most of my friends have a similar opinion too.  I was born the same year as Sean, so maybe it is an age thing though.

dave_or_did
Guest

Sean Kelly And the soundtrack for me is one of my favourites other than Jungle Book.  I watched Robin Hood recently and that soundtrack’s awesome too.

Voncaster
Guest

Inside Llewyn Davis felt meandering to me, and not in a mysterious or entertaining way. I was honestly pretty bored by Llewyn’s cyclical lifestyle. I can’t put my finger on why this movie didn’t work and a Serious Man did. I will say the Coen’s are far from bullet-proof for me. It seems like most film critics give any Coen film an immediate stamp of approval, with very little in the way of criticism. Because they make layered films perhaps critics feel its dangerous too criticize their films without repeated viewings. 

I’m going off of gut reaction, and my gut reaction was mostly boredom and a bit of confusion as to why I should be invested in Llewyn. I will admit his musical performances were all great, but as a character I was a bit frustrated with him. I can’t exactly put my finger on why.

**

Despite its massive box office receipts I think the Lion King is lesser Disney. To me the great Disney movies are: Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Cinderella, the Little Mermaid and Beauty and the Beast.

Oh and the Many Adventures of Winnie the Pooh; hands down my favorite Disney movie. I think the characters are superb. I would put the Pooh and Piglet relationship and the Rabbit and Tigger in the pantheon of great film relationships.

Gerry
Guest

@ Voncaster, I agree with the principle
of what you’re saying regarding the Coens.

I think that when a director /
directing team achieves high regard people are too scared of saying
the king isn’t wearing any clothes when they turn out a less than
stellar effort.

I thought True Grit was reasonably good
but I don’t think it would have got all the oscars but for the 9/11
subtext.

Along similar lines Primer seems to me
to be an example of a film maker who had greatness attributed to him
because of a film that was poorly made technically.

I saw it on TV and literally couldn’t
understand some of the dialogue because the low budget meant that the
audio was so poorly recorded that it was incomprehensible at points.
I think some reviewers filled in the audio gaps with gold that their
imagination wanted to be there instead of the probable bronze of the
reality of the dialoge.

From what I could understand it was a
run of the mill time travel film.

ajames1
Guest

dave_or_did Sean Kelly Well, to be honest, I don’t feel too strongly about it.  Mostly I don’t care. If I had my druthers (which I guess I do), I’d go back and rewatch Aladdin or Mermaid of B&B but I honestly don’t think I give much of a care.  Not that they’re bad, I just think I have too much other stuff to get to.

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