Cinecast Episode 395 – Have an Exit Strategy

The multiplex continues to bore Kurt and Andrew, who have no interest in costumed heroes or a uniformed Reese Witherspoon. So it is off to Argentina for the Oscar nominated anthology film, Wild Tales. Game of Thrones hits the half-way mark and Kurt may have finally convinced Andrew of a) just how tedious things in Meereen have gotten, b) how much Stannis Baratheon has come into his own this season, and c) the power of a good long shot.

The watch-list creates a divide in taste on music and documentary form with Brett Morgan’s Montage of Heck. The strengths and weakness of Wes Craven’s The New Nightmare are discussed, along with a tangent on lost concept over-spill resulting from sold out movies. Don’t Look Now, but there is more Nic Roeg discussion on the Cinecast. As is the case of Kevin Costner, Shawn Levy and the race to the middle(brow). Finally, Alex Gibney’s Scientology doc, Going Clear is compared and contrasted with PTA’s The Master, for dos and don’ts in filmmaking.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!




Would you like to know more…?

Cinecast Episode 389 – Apple Pie Enema

Kurt and Andrew discuss the filmography of Noah Baumbach in light of his latest midlife-crisis dramedy, While We’re Young. *SPOILERS* abound, but also there are many tangents on parenting and childless relationships, raising chickens indoors, cultural appropriation and a plea to stop with the ‘can a documentary be truth’ conversation that should have ended a decade ago. Otherwise, we like the movie.

“Game of Thrones” is back, and we break down the opening episode scene by scene (*SPOILERS*). Kurt flips out about how stagnant the Mother of Dragons thread of the show has become, but otherwise, we are immensely excited to have the HBO’s most popular show back on the table for weekly discussion.

Andrew is doing the Minneapolis/St. Paul International Film Festival, and discussions on a couple of the titles, including The 100 Year Old Man Who Climbed Out The Window And Disappeared (tangents on Forrest Gump and The Curious Case of Benjamin Button) as well as a quite detailed love-in for The Clouds of Sils Maria (with lengthy tangents on the career of Olivier Assays, Juliette Binoche and Kristen Stewart).

On the Watch List, Andrew watches both Gone In Sixty Seconds movies back to back, and we tangent briefly about Death Proof and the year 1974 as it applies to car-chase movies. While we are in the 1970s, we also take a long look at Nic Roeg’s Don’t Look Now and its lasting effect on horror, sex scenes and the fracturing of space and time through editing.

Kurt also talks briefly about Ardman Studio’s Shaun The Sheep as well as the Trevor Noah documentary, You Laugh, But It’s True (with a further tangent on the current South Africa injection into American culture.)

Message: There are lots of side-tangents in this free-flowing episode of the Cinecast. As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!



Would you like to know more…?

Review: Wake Wood

[Our theatrical review is being re-posted to coincide with the film’s DVD release this week, for those in North America, this will likely be the only way to see the film – which is well worth it]

Despite Let Me In having vampires and The Resident having Christopher Lee, the resurrected Hammer Film Production’s third kick at the can (at least by the standards of release dates) seems to find things feeling a bit more Gothic, rustic and, well, horrific. This is the real re-birth of the imprint, and it demonstrates it again and again with its icky-goopy rendering of this on-screen. The film is set in the eponymous small Irish town which has a supernatural secret or three which are only thinly disguised by modern wind turbines that seem to stand sentinel over over the the old forest. Enter grieving couple Patrick and Louise who desire to plant new roots in the small village after losing their 8 year old daughter to the vicious attack of a violent canine. He is a vet, she a pharmacist, and one read of the film could be a wacky horror take on Seducing Doctor Lewis, that is to say, how far the town in wiling to go to secure a good doctor for the local farmers. The devil’s pact is that the local reverend, a delightful yet restrained Timothy Spall (Britain’s national treasure in the humble opinion of this writer), has the ability to raise the dead, if only for three days to provide a sense of closure to those who lost someone under extreme circumstances. The couple, whose relationship remains quite strained by the death of their only child, jump at the opportunity, and seem to break each of the established rules with impunity and reap the consequences.

Would you like to know more…?

Cinecast Episode 218 – Coked Out with a Shitty Comb Over

Matt Gamble returns to give us a breakdown on the newest D.C. property, Green Lantern. But let’s not get ahead of ourselves just yet. It being the halfway point of the year, we all take a at the state of the first 6 months and proffer up a top 5 films of 2011… so far. There is plenty of agreement and disagreement to be passed round the table, particularly on a certain ‘Killer Tire’ movie. After that it is a cornucopia of the latest theatrical screenings (Hammer Horror, quirky gay-father dramedy, and Supervisericide) before digging into Indiana Jones’ goofiest adventure, mid-1990s era action films (that as it turns out is not so nostalgic) and another movie that shall go unnamed (literally.) Oh yeah, and Cher. All of the usual DVD and Netflix stuff rounds out the show along with prognostication of Pixar’s next film being released this coming weekend: Cars 2. Sit back and enjoy this bed time story of sorts, with Andrew, Kurt, Matt and Sam.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!



To download the show directly, paste the following URL into your favorite downloader:

Full show notes are under the seats…
Would you like to know more…?

Sunday Bookmarks: March 14-20


  • Why see ‘Don’t Look Now’?
    Coming to BluRay and rep screenings in the UK: “In hindsight, ‘Don’t Look Now’ is the perfect mixture of Roeg’s abilities as a teller of mysterious stories and as one of the most accomplished cinematic stylists ever to peep through a viewfinder. The film smashes up chronology and pieces it back together in a deviously strange order, so we get constant hints and suggestions of dark events to come. Donald Sutherland and Julie Christie are utterly convincing as the central couple who flee to Venice to retain a focus on their messed-up lives.”
  • Notes on Charlie Sheen and the End of Empire
    “No, what this moment is about is Charlie Sheen solo. It’s about a well-earned mid-life crisis played out on Sheen’s Korner instead of in a life coach’s office somewhere in Burbank. The mid-life crisis is the moment in a man’s life when you realize you can’t (won’t) maintain the pose that you thought was required of you any longer—you’re older and you have a different view of life and this is when the bitterness and acceptance blooms. Tom Cruise had a similar meltdown at the same age in the summer of 2005, but his was more politely manufactured (and, of course, he was never known as an addict). Cruise had his breakdown while smiling and he couldn’t get loose, he couldn’t be natural about it. He’s always essentially been the good boy who can’t say “Fuck You” the way Sheen can.”
  • An Interview with Greta Gerwig at SxSW
    Greta Gerwig is no stranger to SXSW. Her new film, “The Dish & the Spoon,” marks the sixth time she has had a movie in the festival in an film career that has stretched the same number of years. This new film, directed by Alison Bagnall, about a woman and a young man (Olly Alexander) who bond during a tumultuous time in their lives. Ms. Gerwig’s acting style, which A.O. Scott lauded for its “apparent absence of any method,” is employed in this intimate, primarily two-character study.
  • Bernardo Bertolucci has a 3D Project
    “Cult Italian film director Bernardo Bertolucci said in an interview for his 70th birthday on Wednesday that he will be making his first 3D film this year saying it was like riding on a “flying carpet” […] “I want to use 3D in a different way from what we have seen in films like ‘Avatar’ or other films characterised by special effects,” he said.”
  • Is Netflix Abandoning Its Business Model Again?
    With the production of David Fincher/Kevin Space HBO-styled TV DRAMA, It looks like a new strategy is here. In the great tradition of the network and cable game, make themselves a “must carry.” I wouldn’t be shocked to see them in the bidding for hockey or trying to make a deal to stream Major League Baseball or something like that before long. If they are going this way, no one show “airing” 13 times a year is going to keep customers paying $8 or more a month. If Netflix becomes a thrift shop, with content here and there and everywhere, the churn will get worse […] This choice, combined with the exit of Criterion and the abandonment of Red Envelope, their previously stab at original content, clearly tells us that Netflix sees no future in quality film lovers as a primary audience for the service. Fair enough. But it will be interesting to see when the cineastes get the message.”
  • Zediva – A Clever End Run Around the Movie-Streaming Gremlins
    “It lets you listen to the director’s commentary, turn on subtitles and change languages. It lets you enjoy your movie for two weeks instead of 24 hours, starting and stopping at will. It offers the 100 biggest movies for streaming on the very same day the DVD comes out. It sidesteps any meddling by the movie companies, HBO contracts and studio lawyers. And here’s the best news of all — are you sitting down on your favorite movie couch? The price is only $2 for one movie or $1 if you buy a 10-pack. There’s no signup fee, no monthly fee, no hardware to buy. Zediva’s secret is so outrageous, you may think it’s an early April Fool’s prank. But it’s no joke.”
  • Is Matthew McConaughey Really Shirtless in Every Movie?
    “Conventional wisdom likes to assume that Matthew McConaughey has taken his shirt off in every single one of his movies. True, McConaughey is not shy when it comes to going bare chested on-screen and in public, but is he really sans shirt in every one of his movies?” Yes, Movieline actually checks out each and every one of them to be sure.


You can now take a look at RowThree’s bookmarks at any time of your choosing simply by clicking the “delicious” button in the upper right of the page. It looks remarkably similar to this: