Cinecast Episode 488 – Hillbilly Protocol

Wonderful photography is all over the place; particularly in this episode. It’s a running theme through almost everything we discuss in today’s show. Elsa Dorfman uses “shed-size” Polaroids to inspire the beat poets of the day and contemporary family portraits alike in Errol Morris’ new documentary, The B-Side. Noah Hawley has stepped up his game big time in season 2 of “Fargo” – not only in cinematography but also pretty much every other aspect of a television season. The Watch List sees gimmicky gore fests, a silent three-hour progenitor for the James Bond films, underappreciated Coen Brothers fare, a new Netflix series about women’s wrestling and finally a .44 Magnum, the most powerful hand gun in the world and could blow your head clean off!

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

We’re now available on Google Play!



Would you like to know more…?

Trailer: Woodshock


Directed by the Mulleavy Sisters, Kate and Laura, who made a splash in the fashion world with their Rodarte collection, Woodshock, their first feature promises an impressionistic, acid-trip portrait off loss and grief. The film is getting a release from risk taking production/distribution label, A24. Starring Kirsten Dunst (in full Melancholia mode) shown in super-long-shot, her tiny form up against mighty Redwood trees and endless watery vistas. Woodshock, at first glance appears to be in the space between Sophia Coppola and Jean-Marc Vallee’s Demolition, all lovely anxiety. The ubiquitous Danish actor Pilou Asbaek (Game of Thrones, The Great Wall, Ghost in the Shell) co-stars.

Woodshock is getting a theatrical release on September 15, 2017.

Trailer: The Two Faces of January

Let the swath of Oscar Isaac leading roles begin! Kirsten Dunst and Viggo Mortensen also star in this sun-drenched thriller of American criminals abroad. Based on the novel of Patricia Highsmith (notable for all those ‘Ripley’ books that got also got turned into films) and from the fine folks who got Tinker Tailer Soldier Spy so handsomely made. The Two Faces of January seems to lack US distribution at the moment, but hopefully this swanky trailer will change all that. Another Highsmith adaptation, Ripley’s Game, was one of the finest films of 2002 and didn’t get US distribution either, but lets hope we get the opportunity to see this one on the big screen..

A glamorous American couple, the charismatic Chester MacFarland and his alluring younger wife Colette, arrive in Athens by boat via the Corinthian Canal. While sightseeing at the Acropolis they encounter Rydal, a young, Greek-speaking American who is working as a tour guide, scamming tourists on the side. Drawn to Colette’s beauty and impressed by Chester’s wealth and sophistication, Rydal gladly accepts their invitation to dinner. However, all is not as it seems with the MacFarlands and Chester’s affable exterior hides darker secrets.

Trailer: On The Road

A day or two late with this, but I was on the road myself (ba-ching!) Walter Salles’ adaptation of the famous and iconic Jack Kerouac beat-travelogue, “On The Road,” strangely keeps the name changes of all the characters; the book’s definitive republishing “The Original Scroll” loses all Dean Moriartys and Carlo Marxs and Sal Paradises and puts back in everyones real name.

Judging from the trailer and overall cast of the film it is certainly not anything like the faces and places that went through my brain upon reading the novel, but there is a hazy-dream quality that cinema imparts to these things that has in no way dampened my enthusiasm for the property. Not the showiest of trailers, but it gets the job done (in terms of fueling interest) better than, say, The Rum Diaries.

Sam “Control” Reilly, Garett “Tron” Hedlund star in the film, while Viggo Mortensen, Kristen Stewart, Kirsten Dunst, Terrence Howard, Steve Buscemi, Amy Adams, and Alice Braga all pop up over the course of Sal and Dean’s adventures.

Cinecast Episode 237 – One T or Two?

Well, Gamble’s Back. But after the Thanksgiving Weekend blow-out there is precious little in the way of new releases, making this show a Mega-sized “The Watch List” episode. Before we go there, we delve into our favourite female performances of 2011 (of all shapes and sizes.) One small observation: We talk a lot of documentaries this episode, and go over a lot of TV series; particularly Matt who was laid up with a sports injury for over three weeks and watched a metric tonne of TV/film/etc. The latest from Errol Morris, Werner Herzog, and another go around with Bellflower. Take it away Gamble.

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…?

Cinecast Episode 236 – Ocular Coitus

While our friend Matt Gamble is still on the mend (not from a boating accident), Kurt and Andrew grew a bit tired of executing these shows together all alone and reached towards the heavens above for this episodes guest host: Aaron Hartung (aka the dude who lives upstairs). Aaron also happens to work for the best cinema chain in town, Landmark Theaters; not only does he seem to know his movie stuff, he’s got a voice for radio to boot.

We missed last week’s episode due to other obligations and illness, there is a LOT to get to this week. From Lars von Trier’s visually rich disaster/depression epic to the long awaited new Alexander Payne film (it has indeed been six years) we cover your auteur cinema-making-guys. But wait, there’s more: Fifties sex icons, furry-little-singing-nostalgia-engines(tm) and a whole lot of early cinema history enshrined in a Martin Scorsese ‘kids film.’ Enjoy this double-digest episode of the show: It’s time to start the music, it’s time to light the lights, it’s time to talk death, depression and the urgent need for knowing our history on the Cinecast tonight.

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…?

The Most Unsurprising News of the Week…

Mallick takes home the big prize. Meanwhile, racing in with the antithesis to the title of this post, Kirsten Dunst takes best actress. Von Trier must’ve done something right.

The winner circle at Cannes:

Palme d’Or:
The Tree of Life (dir. Terrence Malick)

Best Director:
Nicolas Winding Refn for Drive

Best Screenplay:
Joseph Cedar for Footnote

Jury Prize:

Camera d’Or:
Las acacias (dir. Pablo Giorgelli)

Best Actress:
Kirsten Dunst for Melacholia (dir. Lars von Trier)

Best Actor:
Jean Dujardin for The Artist (dir. Michel Hazanavicius)

Grand Prix: TIE
The Kid with a Bike (dirs. Jean-Pierre and Luc Dardenne)
Once Upon A Time In Anatolia (Bir Zamanlar Anadoulu’da) (dir. Nuri Bilge Ceylan)

Short Film Palme d’Or:
Cross-Country (dir. Maryna Vroda)


The Vampyre Chronicles: Interview with the Vampire (1994)

Unlike Neil Jordan’s Interview with the Vampire, the majority of vampire films (at least those that achieved any level of notoriety) have been presented solely from mankind’s perspective. F.W. Murnau’s 1922 horror classic, Nosferatu, wasn’t so much the story of the evil Count Orlok as it was that of Hutter and his long-suffering wife, Ellen, who found themselves suddenly coping with the threat of having to live across the street from a monster. Tod Browning’s 1931 version of Dracula possessed a dual personality, mixing in equal parts the tale of Mina Seward’s fight for survival with that of Dr. Van Helsing’s quest to defeat the Dark Prince. Despite the fact that the vampires themselves were usually the title characters, their existence in these films was little more than a means by which to challenge the human condition. This is one reason I was so utterly fascinated by Interview with the Vampire, a film in which the bloodthirsty undead finally take center stage. Mankind is barely a supporting player in this film. In fact, we’re little more than the main course.

Louis (Brad Pitt), a 200 year old vampire, longs to tell his story to the world. To this end, he grants an interview to reporter Daniel Malloy (Christian Slater), during which Louis conveys the dramatic details of his plunge into darkness. The year was 1791, and Louis, a New Orleans plantation owner whose wife had just passed away, decided, in despair, to take his own life. Before he has a chance to end it all, however, he meets Lestat (Tom Cruise), a vampire who, with a solitary bite on the neck, grants Louis the gift of eternal life. Shortly after his transformation, Louis begins to question whether such an existence is indeed a gift…or a curse. Plagued by the memories of his life as a mortal, Louis can’t bring himself to kill another human being, and chooses instead to feast on the blood of rats and other small animals. Lestat taunts Louis for his “misguided” morality, yet Louis never forgets what it was like to be human, leaving his ‘life’ as a vampire depressingly unfulfilled.

In Interview with the Vampire, Brad Pitt delivers an extraordinary performance as the monster who can’t escape the memory of his life before the darkness. His Louis despises the fact that he must draw the blood of innocents in order to survive, a direct contrast to Tom Cruise’s treacherous Lestat, who takes pleasure in the kill. When Louis lures a wealthy socialite (Lyla Hay Owen) out into the darkness with the intention of attacking her, he instead winds up murdering the woman’s two poodles, drinking their blood as his intended victim screams for help. While the failure to ignore his own humanity works against Louis at the outset, this very quality will eventually make him the envy of others of his kind, including Armand (Antonio Banderas), the leader of a band of vampires whom Louis encounters one year in Paris. Armand recognizes that Louis, despite his feelings of inadequacy, is, in fact, the perfect vampire; a being who has achieved immortality, yet continues to maintain a very mortal frame of mind.

When it comes to movie monsters (in particular any of the ‘classic’ creatures), it’s usually the pathetic ones, such as Frankenstein’s monster, that gather up most of the audience’s sympathy, while vampires, symbols of the true harbingers of evil, are reviled the world over. In Interview with the Vampire, we get to know these children of the night who were once, and not long ago, mortals just like us. We discover that the craving for blood does not entirely wipe away the guilt for having to spill it, and that, even among the eternally damned, there remains a glimmer of humanity, no matter how many hundreds of years may pass.