GUEST: Ryan Darbonne, the newly hired Director of the Film Department at Austin Film Festival. Ryan talks about his experiences at the 20th annual South by Southwest Film Festival and his preparations for the upcoming Austin Film Festival in the fall. The guys bat around a strange nostalgia for VHS and talk about having a Sinbad retrospective.
The guys recap the Academy Awards hosted by Seth MacFarlane and express a lack of understanding over the humorless reactions from much of the blogosphere. Then they discuss the new movie from Shane Carruth, UPSTREAM COLOR, and tell why you should definitely drink lots of coffee before sitting down for Abbas Kiarostami’s new film LIKE SOMEONE IN LOVE.
The guys discuss that disease that overtakes us all when we are really anticipating a new film: “Festival Fever.” It can strike at the Austin Film Festival or in your own home town theatre on a typical Friday night… it all depends on how great your expectations are.
The guys discuss Steven Soderbergh’s newest and possibly final theatrical film, SIDE EFFECTS, but not before talking about what movies they love that are universally hated and answering the latest question on the Arclight Cinemas’ Facebook page, “If you had to watch one film on repeat for the rest of your life, what would it be?”
Happy Valentine’s Day! In honor of “Singles Awareness Day” a.k.a. “SAD”, we bring you the Reel Fanatics review discussion of Michael Haneke’s 2012 Palme d’Or winning film AMOUR. Joe also tells you why he disliked GANGSTER SQUAD and Michael has PARKS AND RECREATION ruined for him on the air.
President Obama recently commissioned the CDC to do studies into the effects of entertainment violence as part of his plan to curb gun violence in the United States. In this episode, the guys discuss the effects of cinema violence, Quentin Tarantino’s recent comments to NPR, and all while Pudas broadcasts from the cozy confines of a bathtub.
The guys preview the 2012 Academy Awards and give their predictions for the winners. Jared goes on a spectacular rant about the fallacy of the Best Foreign Film category and Michael explains his problems with comparing ZERO DARK THIRTY and DJANGO UNCHAINED for Best Original Screenplay. If you’ve got money riding on an Oscar pool this year, listen to these guys and “bet the house!”
It’s an odd time for cinema.
On one hand, people are wringing their hands about the imminent “death” of the cinematic form, but on the other hand, Hollywood had a record year at the box office. Fewer and fewer big-budget event movies are made, yet this year boasted an impressive, varied crop of quality documentaries and independent projects. DVD sales and rentals have gone down, but there’s an unprecedented level of availability thanks to streaming services like Netflix, Amazon, and Hulu. Huge blockbusters like The Dark Knight Rises buckled under the weight of expectations, yet highly anticipated movies like Zero Dark Thirty managed to build and then surpass high expectations. Most filmmakers have converted to digital – even the mercurial Leos Carax – but 35mm purists like Christopher Nolan and Quentin Tarantino won’t give up celluloid until you pry it from their cold dead hands. Read More…