Cinecast Episode 480 – Gossip Interstitials

Despite Kurt’s protestations, there is a definite soap opera theme to todays show and its discussions. Asks Charlize Theron in The Fate of the Furious, “what’s most important in life?” The answer, for those in Monterey, West Texas and international nuclear arms thieves in the arctic is of course, “Family.” Besides the box office blow-out this week, we spend a good third of this episode on the greatness of HBO’s “Big Little Lies” (watch out for the read-between-the-lines (SPOILERS!). Andrew has forsaken film for the past couple of weeks to watch a Peter Berg television series about football in West Texas… perhaps that was a mistake? Kurt on the other hand has been taking in more Canadian genre cinema, some action from our man Steven Soderbergh as well as a pseudo-doc from the 60s and second visit of Japanese Animated, but this time dubbed (not subtitled) version of Your Name (period). This and more; sans Corona.

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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Trailer: Sophia Coppola’s The Beguiled

I am not sure how much of the trailer for Sophia Coppola’s new film is a spoiler or not. I’ve never read Thomas P. Cullinan’s novel, A Painted Devil, nor have I seen the Don Siegel/Clint Eastwood 1971 version of the film. I am guessing the marketing department figures with the existence of other properties, might as well sell the ‘turn’ to get butts in seats. Maybe. Either way, I am always interested in movies set in hermetically sealed boarding schools or orphanages, be in Picnic At Hanging Rock, Cracks, Melody, The Devil’s Backbone or If… And I’m all in with Sophia Coppola as a filmmaker, so when she assembles Nicole Kidman, Colin Farrell, Elle Fanning, Kristen Dunst and others to be in a highly sexualized Civil War pressure cooker, well, it’s a pretty easy sell, spoilers or no.

The Beguiled will be in competition at the Cannes Film Festival in May. Hopefully it will get booed, because, as everyone knows, the films that get booed at Cannes are the ones that end up being pretty amazing. Coppola herself would not be new to the experience, because her own Marie Antoinette (an superb bit of contemporary film-making applied to a period piece) was rejected by the Cannes intelligentsia, but went on to be great, in spite of it.

The story unfolds during the American Civil War, at a Southern girls’ boarding school. Its sheltered young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries./blockquote>

After the Credits Episode 207: Littlest Hobo Media Spew – March

Richard Simmons has totally made a come-back. Sort of.

As has become a sort of norm with the crew, this month’s what we’ve been watching is both chalk full of older titles and a whole load of TV, some new, mostly returning.

Join us this week as Colleen, Dale (Letterboxd) and I (Letterboxd) touch base on what we’ve been watching, reading and listening to and this month, both Colleen and I have fallen into the abyss of Richard Simmons and it’s fascinating stuff.

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Sean Bean @ 58

Sean Bean is alive and well and turns 58 today. We have watched him die on the big screen (and the small screen) for several decades now. While he was grinding away in the UK doing TV along the lines of the Sharpe’s series of telemovies, and small parts in arthouse features from Stormy Monday to How To Get Ahead in Advertising, before he slowly rose in popularity in the USA after a string of high profile movies such as Patriot Games, alongside 007 in GoldenEye, and his supporting but memorable role in the star-studded Ronin before landing Boromir in Lord of the Rings and headlining the iconic first season of HBO’s Game of Thrones.

It is a running meme that he dies in every movie or TV show he makes an appearance, and while (obviously) that is not entirely accurate, well, there is some truth to the internets collective sense of humour. He is not the most-dyingist actor out there, and has some way to go to catch Horror icons Bela Lugosi and Vincent Price for being killed on screen. (And surprising to me, the top of the killed-on-screen list was actually the often high-brow, Sir John Hurt.) But considering Bean is in fewer roles and still has presumably 25 years of his career left if he choose to work to the age of those other fine thespians, he could catch them.

Also, if are so inclined to do the math, Sean Bean dies across 32% across all of his TV and film credits, which, according to The Nerdist’s 2014 analysis, is actually the highest percentage, even though the older, more prolific guys have him beat with the raw numbers in the chart below.

Cinecast Episode 479 – In Camera

It’s Friday; welcome to The Cinecast! Yes with a holiday weekend coming up and some conflicting schedules outside of that, we’re doing an end of the week show. Ergo, no new, theatrical releases this week. But there are some pretty big titles that are eating up the bandwidth on VOD this week. First up is Clive Barkarpenter’s The Void – yeah, it doesn’t make much sense to us either, but yay practical effects. Also, M. Night Shyamalan has gone back to basics and has re-started making his brand of film, The ones the made him. That’s right, Split (spoilers!) is pretty damn good film making.

Aside from another Shyamalan tie-in, Andrew has no Watch-List this week and leaves it to Kurt to monologue for an hour about a whole slew of cinematic goodies (and one podcast). There’s a “mental health” marathon [insert joke here], some studio not-Ghibli Japanese animation, a Netflix stand-up comedy special, some Quentin Tarantino, a 1970s precursor to American Movie and much more.

We’re a pretty great show to listen to while shopping for pudding. Have a listen!

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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A Second Gorgeous Trailer For The Bad Batch

I was a fan, but did not fall full head over heals for, Ana Lily Amirpour’s The Bad Batch when I caught it at TIFF. The film bold and sure is beautifully brutal. There is no doubt, by following up her first film, A Girl Walks Home Alone At Night, that the director has a unique voice with her brand of film-making, but, like her first feature, this one left me emotionally flat; when I have no doubt the intention was to make emotions soar. But each time they cut a new trailer for this movie, the second of which can be found above, I itch to revisit the film. I hope I can find the emotional resonance among all the stylish bravado and hipster-cool (Keanu’s sunglasses and porn mustache alone!) that glue this dystopian cannibal romance together.

Much like her L.A. contemporary, Sophia Coppola, Amirpour certainly has a great sense of ambient soundtrack. And that doesn’t even get into the Ace of Base moment in the film.

Trailer: Katheryn Bigelow’s Detroit

Katheryn Bigelow has, since The Hurt Locker, been effectively upping her game for complex pictures out of hot-button American issues. Here in the midst of a particular sharp peak of racial outrage over the past two years, comes her retelling of the Algiers Hotel murders and Detroit race riots in 1967. Detroit features John Boyega (Attack The Block, The Force Awakens and is unquestionably a high calibre movie star at this point), Anthony Mackie, John Krasinski, Jack Reynor (’71) and Game of Thrones’ Gilly, Hannah Murray, among many, many others. Seriously, the number of credited actors here is massive, as it was in the exceptional Zero Dark Thirty. I have no doubt the resulting film will command the ongoing conversation on racism in America when it is released this August.

On a technical level, this of course looks astounding, but I am probably safe in guessing that Detroit is going to pack some big intellectual and emotional punches. Here is a loaded line of dialogue: “It’s just a starter pistol, it starts races.”