Cinecast Episode 420 – Nightmare Fuel

It ain’t quite April 20th, but it’s four-twenty in the Cinecast house. Christmas Terror and misogynous Teddy bears bookend this episode with some stoner comedy and Shakespeare and Stop Motion in between. If your hosts seem to ramble and get lost in the weeds once in a while, that is apropos the episode number! Also, Rest In Peace Robert Loggia. Onwards!

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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Weekend of Trash XIX

The Weekend of Trash is back for its 19th (recorded) celebration of all things gore-soaked, bullet-ridden and sleaze-imbued (previous write-ups can be found in the category archive). After a poor showing last time round with only 6 films watched, we decided to go all out this weekend and hit double figures for the first time in a while. It might be the last weekend for a good 6 months or longer too (due to my wife and I expecting another baby next year) so we thought we’d make the most of it.

So as usual, here are the reviews of everything we watched over a weekend of gratuitous nudity, violence and downright nonsense. The reviews are only brief (I’m not about to start writing notes whilst watching movies featuring dog-headed aliens) and ratings are largely based on entertainment value as much as quality, so take them with a pinch of salt. I’ve included clips and trailers when possible too.

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Friday One Sheet: The Nice Guys (*UPDATED with Trailer!)

Always advertise your movie stars. And why yes, I’d be happy to see a buddy movie starring Russell Crowe and Ryan Gosling. The typesetting and the clothing suggest period piece, early 1970s? (Google says, “yes” and indicates that the film is written/directed by Shane “Kiss, Kiss, Bang, Bang” Black.) On an unrelated note, do Studios still make these kind of star driven pictures anymore? Warner Brothers is behind this one, and it seems (outside of pure comedies) that this is becoming more of a rare bird outside the indie-Sundance sphere.


Lastly, a design grace note, a dark floor along the bottom gives things a hint of dimension to an otherwise simple and straightforward design. And, simple is best.

*Updated with 3 blissful minutes of violence and character comedy. It looks like The Nice Guys is aiming to be the populist, slaphappy don’t-think-too-hard version of Inherent Vice.

Mamo 431: Genresode


There was a lot of conversation in the comments for our previous episode regarding the genre of Marvel’s Jessica Jones – particularly, is it film noir? Is it a superhero show? Is it neither, or both? The Matts have opinions on what makes those genres genres, and what genre means, genre-ally. Listen in!

After the Hype #119 – Mad Max: Fury Road




Bryan and Jon go shiny and chrome as they take on MAD MAX: FURY ROAD. They’re joined by the “almost always” Ryan as well as fact-chucker Chris, who drops some serious factoids on the gang. Elliot takes some time away from his super rad podcasts BEYOND SCHOOL and SUPER HERO SAMPLER to join the fun, and Emily represents for the badass CHICKS WHO SCRIPT podcast.

Don’t be MEDIOCRE, listen to the episode now!


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2015 Movie Mashup Video #1 of 731


Fe’ll see a lot of these over the next few weeks and we’re not going to post them all. But this is the first one I’ve seen from the folks over at JoBlo and while it’s mostly all of the cineplex, populist stuff – about half of which I didn’t see – there are some really clever things going on in here. At least get to the action segment; the way it’s handled is pretty fun… if you’re into this sort of thing.


“I Saw the Light” – The Hank Williams Biopic [trailer]


They just don’t git much more cliche than this then do they? Love the cast, but unless something really strikes a fiddle chord with the folks out yonder, I think I’ll pass on this. I mean seriously, “I Saw The Light?” That’s your title?

John C. Reilly did it better

Having said that, one of the best things about 2005’s Walk the Line was the soundtrack; with music provided by Joaquin Phoenix and Reese Witherspoon. It ended up being one of the best albums of the year in my opinion. And here we are, a decade later, and apparently Tom Hiddleston does sing all of the songs himself for the film and if the trailer is any indication, it sounds like he’s nailed it.


Cinecast Episode 419 – One Take Only, Vasily

We completely failed at trying to do this all in one take. Can you spot the cuts? Creed and Victoria both have their moments when it comes to the long take cinema technique. Kurt and Andrew start with the latter and Matt Gamble signs on to talk the former. We dig into the Rocky legacy as a whole and more or less espouse our love for Stallone. Matt briefly (and very spoiler free) talks about his press screening of The Revenant. He’s pretty sure you’re going to like it. We conclude with more priest pedophilia this week as well as Marvel on Netflix and 86 hours(!) of reliving HBO.

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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Blu-Ray Review: Day of the Outlaw

Director: André De Toth
Screenplay: Philip Yordan
Based on a Novel by: Lee E. Wells
Starring: Robert Ryan, Burl Ives, Tina Louise, Alan Marshal, David Nelson
Country: USA
Running Time: 92 min
Year: 1959
BBFC Certificate: PG

2015 has been good for my western addiction/education with my two favourite home entertainment labels, Eureka and Arrow, releasing a decent handful of classic and cult oaters over the year. I reviewed Eureka’s Blu-Ray of the wonderful Shane only yesterday and I’m straight back with a look at André De Toth’s 1959 film, Day of the Outlaw.

On paper the early plot details sound fairly similar to Shane. Robert Ryan plays Blaise Starrett (the surname is even the same as the central family in George Stevens’ film) who is a cowboy that wants to graze his herd on land being fenced off by local farmers. So far, so Shane. However, we soon learn that Blaise’s anger for one farmer in particular, Hal Crane (Alan Marshal), isn’t just down to land. He’s in love with Hal’s wife Helen (Tina Louise) and wants to use the farming dispute as an excuse to kill him and have his wife and his land.

It’s this heartlessness from the man who appears to be the central character that quickly makes you realise we’re not in the realm of Shane’s mysterious guardian angel territory anymore. Then, just as Blaise and Hal’s dispute looks to be coming to a swift, violent conclusion, Jack Bruhn (Burl Ives) and his band of outlaws bursts into the film. They crash through the door just as the cowboy and farmers are about to draw. This totally flips things on their head.


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