Cinecast Episode 362 – Primordial Dwarfism

Aafter nearly a three week hiatus, Weeeeee’re Baaaaa-aaack. In what is a true first on the Cinecast’s 8 year history, all three of Andrew, Kurt and Matt assembled in the same space to do a show with no telecommunications/web bridge. So, of course we pick a noisy bar and record over too many cocktails. With munchies and Montreal Smoked Meat, on the docket are three main reviews: Guardians of the Galaxy, Boyhood and Lucy which, oddly enough GotG gets the consensus favourite. Ever want to hear Kurt praise a Disney-Marvel production, now is your chance.

There is no 1984 project this week, but rest assured things will return to tomorrow with 2010: The Year We Make Contact next week, and Stop Making Sense after that.

Kurt does his annual 1+ hour recap of The Fantasia International Film Festival (which was also the source of the imported smoked meat) which is followed by a slew of titles from Matt (James Cameron Rape Sci-fi, Abortion Comedy, Punk Catharsis) and Andrew (Zach Braff, Heavy Metal, Alan Partridge and the last of Phillip Seymour Hoffman) with a little Terry Gilliam to round out the picture. LIVE FROM MINNEAPOLIS it is a lengthy, boozy, robust episode of the Cinecast, where bartenders, paramedics, rowdy billiard players, and the odd waitress all make for background character and salty language is tossed around in public spaces.

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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[tabtext]Opening Quote [/tabtext]
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[tabtext]About the Hosts [/tabtext]
[tabtext]Time Tracks [/tabtext]

[tab]Louis C.K. (“I Enjoy Being White”)


Chewed Up

[/tab] [tab]”Ain’ No Mountain High Enough”


Marvin Gaye and Tammi Terrell

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Cinecast (Andrew, Halfyard and Gamble show)

After the Credits (Marina and Co.)

Mamo! (Matt and Matt)

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Kurt: Twitter | G+ | Letterboxd

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voice mail: 612-367-ROW3

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Opening: :00

In-house business: 1:42

Guardians of the Galaxy [SPOILERS]: 8:43

Boyhood [SPOILERS]: 41:04

Lucy [SPOILERS]: 1:08:15

Kurt’s Fantasia: 1:27:11

Watch List: 2:35:16

Next Week: 3:29:34

Outro music: 3:31:56






– Andrew on The MatineeCast (episode 117)
– Midnight Run podcast (coming soon)







The Zero Theorem

Obvious Child
Galaxy of Terror
Alan Partridge

Wish I was Here
A Most Wanted Man
Fear and Desire
Alan Partridge



– I Origins
– Magic in the Moonlight



Leave thoughts in comment section below, or feel free to contact us: (general)

Voice Mail: 612-367-ROW3

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


  1. I walked out of Korean bullying OVA Hana-Dana: Origins, as well as micro budgeted Japanese School revenge movie, Puzzle. Also Canadian werewolf movie, WolfCop I only lasted 25 minutes. I should have walked out of Yasmine, but I endure its very painful 90 mins which felt like 120.

  2. Gotta love Gamble even when he hates movies I love. I also listen to WTLTE, where he candidly talks about his family life and I’ve concluded that his quick defense of feminists and other minorities is a result of his male white privilege guilt. With that said, he’s wrong about the “white people saving the day” scene in Boyhood. Simple words of encouragement don’t save the day. That guy did all the work himself. That scene was a small validation that her character deserved and also for her children to see their mother through different eyes. There is definitely a racial element to that scene. But I don’t think in a “saving the day” type of way. I found it more as a comment on multiculturalism, integration and most of all “white-people-problems”. Sitting in the theater waiting for Boyhood, I saw 3 obnoxious trailers about WPP (Laggies, Hector and the search for happiness and another with Jason Batemen & Tina Fey). With that restaurant scene, Linklater already schooled those movies.

    • Yeah, I have no white male guilt. It’s pretty fucking amazing being a white male in the US, let alone one with money. I simply think that people shouldn’t exploit that, nor any position of power. It’s dickish.

  3. Opening:
    In-house business: 1:42
    Guardians of the Galaxy [SPOILERS]: 8:43
    Boyhood [SPOILERS]: 41:04
    Lucy [SPOILERS]: 1:08:15
    Kurt’s Fantasia: 1:27:11
    Watch List: 2:35:16
    Next Week: 3:29:34
    Outro music: 3:31:56

  4. Gamble: “It’s not the first abortion comedy as far as I know..”
    Kurt: “Juno”

    Uh, what? What fucked up Director’s Cut of Juno does Kurt have own?

  5. As much as I loved Boyhood, I agree with Gamble that the “white people saving the day” moment rubbed me the wrong way. The only thing that smoothed it over, somewhat, for me was that it signaled her coming full circle from an educational standpoint. She spends most of the film idolizing, and falling for men, who are intellectually superior to her. However, as she starts improving herself through schooling, those same men begin to devolve into alcoholism. So the fact that someone would idolize her, or at least appreciate her educational advice, at the end made sense. Regardless, I think the film would have been better served without that moment.

    • Also not a fan of the “You changed my life moment” on the whole, even if I do appreciate the general idea of some validation moment existing for Arquette’s character after seeing what she’d gone through over 12 years, and the meta level of “They went back and got the same guy!”

    • I saw the irony of three floundering, kind of lost people sitting in table and the owner/manager walks up to them and thanks one for simple passing words of encouragement that changed his life. I think Linklater was very aware of that. To me that scene showed a cultural and socioeconomic divide about what makes a person happy. Maybe one day that successful immigrant’s children will reap his rewards and grow up with material things and have a college education and eventually have “white people problems” too. That’s why I love that scene.

        • No, it’s something the writer/director inserts the moment he has a white woman change the life of a minority in a 5 second conversation where she tells him what to do. It eliminates his agency in service of her character development.

          On top of it being overtly racist its Blind Side level lazy writing. There are far better ways you can write that scene that maintains the worker’s agency and builds her character, but that would take more than 5 minutes of writing a scene, something which Boyhood rarely seems ever interested in doing.

          • Señor Gamble, as a minority, I would like to thank you for showing me the light. I take back all my previous comments. What was I thinking?? You have changed my life. Gracias.

          • She’s a college professor giving a kid without a proper education some words of wisdom off-handedly as she walks away. Seeing it as a racist moment kind of makes the viewer racist.

  6. I’m fascinated with everyone pulling the race card on this issue. I guess I can kind of see it, but it’s still interesting to me from a sociological perspective. It’s kind of disappointing actually. We’re here in 2014 and instead of seeing these people as people, they’re white and Latino. Seeing a minority make something of himself through hard work and self-discipline, without speaking much English and starting from pretty much nothing, rubbed people the wrong way? Sorry, but I gotta agree with Arnold, this “kid” did this all on his own. It just took an adult or someone with some life experience (ya know, like a college professor for instance) to give him one sentence of encouragement. The fact that people are so hung up on the color of her (or in fact, either of their) skin is again, kind of disappointing.

    No one is offended at the notion that pretty much all white males are alcoholics and do drugs? Just about every white male in this movie fits that bill. Except the two uber-politically charged, older men. For the record, I’m not. Just pointing out the irony/hypocrisy.

    • When I say on the podcast that BOYHOOD still feels like a ‘movie’ a ‘written movie’ it is moments like that that underscore the feeling that this has no aim to be a documentary…

      • Totally agree. Which is why I love it. I like movies specifically because they are movies. I’m sure if this was a doc it would be far less interesting or entertaining. I do love a good number of documentaries, but it is for this reason that I’m not a huge fan of them. I like movies because I like movies – aka drama and absurd comedy and action, etc. etc.

    • See it from this perspective. If the straight white male is the “majority” or ruling class and everyone else (non-white, female, LBGT, etc.) is the minority, the majority group have been given the freedom to have any individual characteristic, whether positive or negative without it being attributed to being a straight white male. Whereas, the minority groups consistently get reduced into their own stereotypes. So it isn’t fair to claim hypocrisy that no one is reducing white males to being drunks in Boyhood. No one notices because straight white males have always been given their spectrum of identities in film, tv and all other forms of art. And in reality, it’s the same. We cannot exactly say the same for any of the minority groups I mentioned.

      • I didn’t consider the ‘white people problems’ vs ‘basic needs’ argument presented above, it’s interesting. I think both reads are valid. I think the biggest problem is the way he presents this information to her. It comes off like this white lady’s suggestion was this security blanket that he clung to to get something, like she was watching and he had to make her proud. Rather than just a push, a seed, for him to carry the ball going forward. If he came over and introduced himself and was more casual, laughing, rather than waiting there with this expression on his face like he was meeting His Creator. I can dig that he wishes to show respect for her, but there’s also a vibe that comes off like she’s still his boss, like he needs her permission to be proud of what he’s accomplished.

        • I could see how a viewer could interpret his behavior as subservient. But I could counter that by asking rhetorically, isn’t he now in a better financial position than she is? And isn’t he buying them lunch? I interpreted it as humility and gratitude or just maybe he was being extra nice coz let’s face it, he might wanna suck on Alabama’s titties…

          • “He might wanna suck on Alabama’s titties” is now the best explanation of this scene. Start writing the Criterion booklet.

  7. The race issue didn’t register with me, but I didn’t like the scene personally. It felt a bit forced and awkward. In fact, a couple of the more ‘movie like’ scenes were the very few moments that didn’t work for me in the film. By these I mean the bigger, more clearly dramatic moments which stood out compared to the more subtle naturalistic whole. In particular the later scenes of both the step dad stories when their alcoholism became most obvious. They just felt a bit clunky whereas everything else felt so effortless and natural.

    Don’t get me wrong, I loved the film overall and it’ll likely remain my favourite of the year, but those couple of more traditional movie drama moments took me out of the experience a little.

    • I can understand this. Though speaking personally, I can think of a few people in my life that if I ever ran into now, I would love to just walk up and say thank you to them for giving me a leg up or showing me something new or giving me an experience I’ll never forget.I wouldn’t actively seek them out, but if I ran into them somewhere it would be worth it to just say thanks and maybe buy em a drink or something.

      Working in a restaurant, I often imagine it would happen very similar to this scene and I imagine their reaction would be pretty similar to Arquette’s (mild surprise and a shoulder shrug). Maybe that’s partly why the scene works so well for me. And for the record, at least one of those people would be Ms. Morris, a black woman.


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