Cinecast Episode 362 – Primordial Dwarfism

 
Aafter nearly a three week hiatus, Weeeeee’re Baaaaa-aaack. In what is a true first on the Cinecast’s 8 year history, all three of Andrew, Kurt and Matt assembled in the same space to do a show with no telecommunications/web bridge. So, of course we pick a noisy bar and record over too many cocktails. With munchies and Montreal Smoked Meat, on the docket are three main reviews: Guardians of the Galaxy, Boyhood and Lucy which, oddly enough GotG gets the consensus favourite. Ever want to hear Kurt praise a Disney-Marvel production, now is your chance.

There is no 1984 project this week, but rest assured things will return to tomorrow with 2010: The Year We Make Contact next week, and Stop Making Sense after that.

Kurt does his annual 1+ hour recap of The Fantasia International Film Festival (which was also the source of the imported smoked meat) which is followed by a slew of titles from Matt (James Cameron Rape Sci-fi, Abortion Comedy, Punk Catharsis) and Andrew (Zach Braff, Heavy Metal, Alan Partridge and the last of Phillip Seymour Hoffman) with a little Terry Gilliam to round out the picture. LIVE FROM MINNEAPOLIS it is a lengthy, boozy, robust episode of the Cinecast, where bartenders, paramedics, rowdy billiard players, and the odd waitress all make for background character and salty language is tossed around in public spaces.

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: Amigo

 
 

John Sayles has been traveling under the radar for over a decade now, his politically active dramas seemed to get more blunt and less well received critically (vide Honeydripper, Silver City, Casa De Los Babys, Sunshine State) than his quality run in the 1990s (Limbo, The Secret of Roan Inish, Lone Star, Passion Fish) But he keeps working (occasionally subsidizing by a work-for-hire screenplay) and keeps challenging what America is with his films.

Amigo looks to push all kinds of hot buttons, focusing on events during the Philippine-American War at the turn of the century and a fair bit of ugly Americanism. It looks gorgeous, and seems to balance scope and intimacy, and has Chris Cooper playing a nasty bit of hard-ass as only Cooper can do – such a major turn from the start of Cooper’s career, with Sayles no-less, in Matewan.

The trailer is tucked under the seat.

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