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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RED BAND Trailer: The Overnight

This quite graphic trailer for Patrick Brice’s suburban sex comedy, has a lot of sex and a lot of foul language. With that warning out of the way, you can see Adam Scott, Taylor Schilling, and Jason Schwartzman behaving badly while their children are barely out of earshot, as a dinner party gets into some seriously weird, quite fast.

The Overnight is produced by the Duplass brothers, of which Mark Duplass was the title character in Brice’s previous underrated gem, Creep.

The film has been playing the festival circuit since Sundance and is getting a limited US release on June 26th.

Cinecast Episode 205 – See Thomas Howell

Welcome one, welcome all! The latest episode of The Cinecast sees the destruction of four things: Los Angeles (or a back-lot set) from invading aliens, in Battle: LA; Dartmouth Nova Scotia gets bloody and graffitied up, exploitation style, from gangs going to war with a Hobo With A Shotgun; Catherine Hardwicke’s career with the flirts-with-camp-total failure of Red Riding Hood (Gamble took one for the team on this); and finally the end of Robert Zemekis’s Mo-Cap technology with the Disney mega-bomb Mars Needs Moms. Furthermore, while it was more of a mild pummeling by release circumstances than the complete destruction of what is a very solid film, the unfair treatment of I Love You Phillip Morris is discussed. Then we dig deep into what we have been watching. On the menu are political British Gangster dramas, Nazi propaganda films, Art-Giallo hommages, silent comedies, a knuckle-biter suspense spectacular, the Bard with music ‘n guns, more 80s nostalgia and TVs Party Down. We are back to our usual tangents, in particular on a certain actor that has Matt losing it, in tears, mid-show, and an angry ranting-slash-bit-o’-tomfoolery regarding Robert Redford’s baseball movie to close things out. We cram a lot into this show. I hope you enjoy it in all of its shaggy glory.

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…
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Review: Passenger Side



[REPOST: You can soon catch this slacker comedy starting Friday, April 30th, in the following locations: AMC Yonge Dundas, TORONTO, ON; Cinemark Tinseltown, VANCOUVER, BC; AMC Forum, MONTREAL, QC). Also check out the trailer at the end of this post. For regulars, I am convinced Adam Scott is Jay Cheel’s onscreen alter ego, or could at least play him if Film Junk: The Movie ever takes off.]

Sadly, I missed Matt Bissonnette’s independent comedy, Passenger Side, at last year’s Toronto International Film Festival due to scheduling conflicts, but was able to catch it as part of this month’s Top Ten Canadian films of 2009, sponsored by TIFF, playing at the Cinematheque Ontario. Set in the greater Los Angeles area, in style and tone reminiscent of American independent greats like Two Lane Blacktop and Slackers, and with nary a Tragically Hip song to be heard, Passenger Side is a curious ‘Canadian’ film indeed. It is not until the name Theodore is dropped near the end of the movie (context momentarily withheld) that a knowing nod is made as to our heroes’ expatriate status. Though slight, there is something quintessentially Canadian in their absurdly deadpan views of each other and the world around them; as the title would suggest, they coast as passengers, lives and places kept at arms length from them.

THEY are brothers, Tobey and Michael, and this is a road movie, though more accurately, a slacker road movie, the distance travelled more circular than directional, more detours than destinations (a kind of West Coast Waiting For Godot). Their relationship, too, goes in fits and starts, bickering with a level of wit rarely encountered outside of a Tarantino screenplay, Olympic-grade verbal fencing at its finest. At times the clever quotient overburdens the narrative, but mostly its so damn funny that the indulgences are warranted. In between barbs, a crisis of sibling communication brews. You feel the history of the brothers in the very first ‘fuck off’ phone call. Tobey is the black sheep of the family, and yet the least hostile, as Michael, a noted Luddite and wallflower, plays offensive to a prior rift that makes this daytrip all the more awkward. The purpose of the trip is slowly revealed and the payoff at the end is both unexpected and fulfilling. Would you like to know more…?

Review: The Vicious Kind (with trailer)

Director: Lee Toland Krieger
Screenplay: Lee Toland Krieger
Producers: Neil Labute
Starring: Adam Scott, Brittany Snow, J.K. Simmons, Alex Frost
Year: 2009
Country: USA
Duration: 92 min

In the opening minutes of Lee Toland Krieger’s The Vicious Kind, Caleb Sinclaire (played grizzly by my new favorite actor, Adam Scott) imparts upon his little brother some unsolicited advice on the true nature of women. Steeped in misogyny, the monologue sets the stage for what we are to come to expect of Caleb: a chain-smoking, ball-breaking, sleep-deprived ‘vicious kind’ that on a bad day would make even Patrick Bateman wince.

As we come to learn during the film, the apple didn’t fall far from the tree; the Sinclaires are a family at war with themselves. Caleb’s nemesis and one-time father, Donald (played mostly straight by J. K. Simmons), bears his own vicious tendencies. Caught between them is Caleb’s younger brother, Peter, a timid Switzerland to their eight year Cold War. Not exactly the ideal family to introduce your new girlfriend to, but Peter is left with just such a task; the arrival of Emma into the mix makes what was already to be a dysfunctional Thanksgiving all the more toxic.
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