After the Hype #126 – Best of 2015



Welcome to the AFTER THE HYPE BEST of 2015 episode. Bryan, Jon, and Ryan sit down and take some calls from the guys over at DEUS EX COMICA, special guest JEFF, and even SPECIALER guest – THE HADUKEN FROM HOBOKEN HIMSELF – NICK FRIEDEMANN. The episode is jam-packed with 2015 goodness so get to listening!


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After the Credits Episode 184: February Preview


He becons many sequels. The role Ryan Reynolds was born to play

Sooooo we sort of missed December due to the festival craziness and then January… well, that was all my fault. That’s what a week of holidays will do to you. It made my brain so mushy I forgot that we were supposed to record and then regular January stuff happened and time just vanished!

It was probably for the best. January at the movies looked absolutely terrible. Good news is, Coleen, Dale (Letterboxd) and I (Letterboxd) are back just in time for some of the good stuff to start our year of podcasting off right!

Other stuff mentioned this episode:

– Entrance to the Salmar Theatre in Salmon Arm BC:


Cool right?

– Colleen and her swanky new mic:


What you don’t see in this photo: Marina’s microphone envy

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Cinecast Episode 427 – Stretching the Bubblegum

Was it the weather or is it the shitty inconvenient way films are released in theaters these days? Or does it depend on your geography or disposition? Or a little bit of everything? In short, we didn’t get to the “main releases” (of boats in storms or feminist westerns) this week and instead opted for some VOD experimentation with Vincent Cassell in Partisan. A solid film with problems is the verdict. The Watch List is fairly eclectic this week but a whole lotta witchin’ going on. From Winona Ryder to Vin Diesel, we cover the gamut. Andrew and Kurt also spend some time in the kitchen cooking up some spaghetti westerns before heading to Southeast Asia for a thriller and some kung-fu. Like a snake in the eagle’s shadow, there is no escape for the good the bad or the ugly; there most certainly will be blood inside Llewyn Davis.


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: Miles Ahead

It is trailer day here at Rowthree, and here we have Don Cheadle’s biopic of Jazz (er, social music) legend Miles Davis, which is seems to be retold as a heightened story of cool, crime and a wee bit of heist excitement. Not your run of the mill biopic, for sure, and Cheadle is on double duty as both the star and the director (his debut film after his adaption of Elmore Leonard’s Tishomingo Blues fell through a decade ago).

Miles Ahead apparently did not set the New York Film festival on fire when it debuted there last October, but it certainly looks like a fun time at the movies. Any movie where Ewan MacGregor is sucker-punched in the face can’t be all that bad. It gets a release via Sony Pictures in a couple months on April Fool’s Day.

Trailer: Creative Control

Here is the trailer for a black & white, nifty satire of the potential of google glass cum virtual reality. It is five minutes into the future of Brooklyn hipster-ism, and the first world’s worship of technology. Note how director Benjamin Dickinson shoots the unboxing of the Augmented Reality glasses at one point. One of the executives of the East Coast tech start-up conduct an affair with his best friend’s girlfriend…sort of. Creative Control was funded by Amazon Prime shinola, and it feels as if Noah Baumbach directed Her with Jim Jarmusch exec-producing. That is how it plays afterwards in my head, after watching this trailer, which, by the way, features a game Reggie Watts, doing his thing.

Trailer: Gods of Egypt

I only post this as a depressing indicator as to how low Dark City director Alex Proyas has fallen. (Creatively speaking, I’m sure the paycheck was wunderbar.) This is the logical boring & lazy end-point to CGI spectacle; a point I thought was hit with either I, Frankenstein or the Clash of the Titans reboots. But here we are, the most boring fucking spectacle that $100M can buy. Ladies and Gentlemen, Gods of Egypt.

Review: Jane Got a Gun

jane-posterDirector: Gavin O’Connor (Pride & Glory, Miracle)
Screenplay: Brian Duffield, Anthony Tambakis, Joel Edgerton
Producers: Zack Schiller, Scott Steindorff, Terry Dougas, Aleen Keshishian, Scott LaStaiti, Natalie Portman
Starring: Natalie Portman, Joel Edgerton, Ewan McGregor, Rodrigo Santoro, Noah Emmerich, Boyd Holbrook
MPAA Rating: R
Running time: 98 min.



My original posting of this review can be found on LetterBoxd


Jane Got a Gun is a film whose troubled production was so studiously documented in the press that its actual release at this point feels like nothing more than an afterthought. Between the firing of original director Lynne Ramsay after she failed to show up to the first day of shooting (promptly being replaced by Warrior director Gavin O’Connor), the rotating door of stars that saw Michael Fassbender, Jude Law and Bradley Cooper all sign on for roles and then drop out (not to mention Joel Edgerton switching from one role to another), and the bankruptcy of studio Relativity, it seemed like this little western that could was never going to see the light of day. Finally, it arrives in theaters in the doldrums of January, a clear sign that new studio The Weinstein Company didn’t really have much interest in giving it a proper push to the masses. Jane Got a Gun went from hot topic in Hollywood to a limp noodle, where its fifteen minutes of fame expired long before it was actually released a whopping three years after that notorious first day of filming. The irony behind all of this is that, were it not for the internet age allowing us such a detailed level of knowledge into the behind the scenes drama of every film, you would have had no idea that things weren’t business as usual in the making of the project, given the relatively ordinary result.

Usually when a film is plagued by as much production trouble as Jane Got a Gun, the result falls into one of two categories. On the one extreme, you get the kind of cinematic masterpiece that is Apocalypse Now, an indication that the madness behind the scenes was all part of the method to bring about something bold and original in a way we’ve never seen done before. On the other end of the spectrum, there’s something like last year’s attempted reboot Fantastic Four, where the trouble is pasted all over the final product, an inconsistent mess that puts a stain on the canon of everyone involved. Jane Got a Gun strangely doesn’t fall into either camp, instead existing more as the kind of mid-level genre picture that you’ve seen plenty of times before. If it weren’t for all the talk about what went into the making of the movie, you’d likely forget about it not too long after you finished watching. Which isn’t to say that it’s a bad film, because it’s far from that, just that it’s not a particularly noteworthy one, in either a positive or negative way. Gavin O’Connor came on board in the eleventh hour and brought his workmanlike grit and professionalism to help save this film from falling off the rails, putting together a perfectly acceptable picture that won’t be a blemish on anyone’s record, but won’t stand out either.

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DVD Review: The Fear of 13

Director: David Sington
Starring: Sammy Silverwatch, Nick Yarris
Country: UK
Running Time: 96 min
Year: 2015
BBFC Certificate: 15

I got into the Serial podcast late in the game, just before the second season came out in December last year, so I’m a new addict to the true crime boom that has been spreading with that and some recent hit TV series. Because of this, my ears perked up when I was sent a press release for The Fear of 13 as it featured a quote from Empire magazine, stating it was “guaranteed to reel in those recently obsessed with Serial and HBO’s The Jinx”. Added to the fact that I’m a huge documentary fan in general, The Fear of 13 sounded to be the perfect fix I needed after Serial, particularly as I don’t have access to Netflix or Sky to watch anything like The Jinx or Making a Murderer.

Well, The Fear of 13 ended up being quite a different kettle of fish to Serial, but in no way did it disappoint.

The Fear of 13 opens with a statement saying that; ‘after more than 20 years on death row, convicted murderer Nick Yarris made a final petition to the Pennsylvania courts. He requested that all appeals cease and his sentence of death be carried out. He agreed to be interviewed about the decision. His story has been independently verified.’ After this text appears on screen, the rest of the film consists solely of Yarris telling his own story to the camera. And what a story.

I don’t want to say too much as the power and joy of this film is hearing this tale play out, so apologies if this review ends up being a little short. All I can say is that it’s utterly captivating. I literally found my jaw agape towards the end and I couldn’t tear my eyes away from the screen. Listening to just one man talk for an hour and a half sounds tedious, but I can’t think of a more gripping film I’ve seen in recent years.

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Blu-Ray Review: The Friends of Eddie Coyle

Director: Peter Yates
Screenplay: Paul Monash
Based on a Novel by: George V. Higgins
Starring: Robert Mitchum, Peter Boyle, Richard Jordan, Steven Keats
Country: USA
Running Time: 102 min
Year: 1973
BBFC Certificate: 15

I love American cinema from the 70’s and I’m a fan of Peter Yates’ classic cop thriller Bulllitt, so it was a no-brainer for me to accept an offer to review Yates’ 1973 crime drama The Friends of Eddie Coyle. I must admit I hadn’t heard of the film prior to Eureka announcing their new Masters of Cinema Blu-Ray/DVD, but it sounded very much like my cup of tea and skimming online suggested that it’s highly regarded.

The Friends of Eddie Coyle tells the story of a group of criminals and a federal agent whose lives are intertwined around a low-rate crook named Eddie Coyle (Robert Mitchum). He’s looking at some jail time, but is advancing in years, struggling to make ends meet at home and doesn’t want to leave his wife and kids on welfare. His hope for redemption comes in selling guns to a busy group of bank robbers to keep the cash coming in, whilst shopping in his gun-runner contact Jackie Brown (Steven Keats) to convince the federal agent on his back, Dave Foley (Richard Jordan), to drop his prison sentence. Unbeknownst to Eddie though, Dillon (Peter Boyle), the bartender who set up the deal that got Eddie arrested in the first place, is also talking to Foley. So things can’t end well.

This is further proof, if it were needed, of what was great about 70’s American cinema (even if it’s from a British director). Gritty, dark and grim, it thrives on its characters rather than a particularly involving story or exciting set pieces. It was surprising for me to see such a low key drama after only knowing Yates for Bullitt, which is famous for its mind-blowingly good car chase climax. There are a handful of tense scenes in Eddie Coyle too, such as the cold and calculated bank heists and a stake out at a train station which ends in a brief flash of Yates’ car chase handling skills, but these aren’t what really make the film shine.

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