On the latest episode of CinemAddicts, Anderson Cowan really loved The Devil All The Time, a Netflix feature that he describes as a “sweeping epic.” Greg Srisavasdi’s big recommendation is writer-director Haroula Rose’s Once Upon A River, which marks Kenadi DeLaCerna’s acting debut. Films previewed on the episode include The Planters, The Projectionist and The Wolf Of Sleepy Hollow. Plus, Greg finally sees The Lighthouse and Anderson also recommends “Cuties.” Our bonus Patreon episode in October will have us review two films from 1973!
On the latest episode of Flick City I interview Aviva director Boaz Yakin (Fresh, Remember The Titans) and Shirley actress Odessa Young (she’s best known for the 2018 feature Assassination Nation). Yakin talked about his inventive, personal and creative approach in making Aviva. Young elaborates on working with co-star Elisabeth Moss and talks about why she loves the Baz Luhrmann flick Moulin Rouge.
Aviva hits Virtual Theaters starting June 12 and Shirley is available everywhere (I love both films!). Thanks again for supporting Anderson and I on CinemAddicts and please rate and review our podcast!!
This episode features my interview with Amy Goldstein, the director behind Kate Nash: Underestimate The Girl. I also talk about my love for that documentary, which is currently available via Alamo On Demand. My movie picks this week are the aforementioned film as well as the Penelope Spheeris flick Suburbia.
On this episode of Flick City I shower praise on the upcoming film The Vast of Night which hits Amazon Prime Video on May 29. I have audio from my interview w/ TVON actor Jake Horowitz as well. Rounding out the show is an old clip I have of Jamie Bell (he was promoting Teen Spirit at the time) talking about his love for The Silence of the Lambs. I also take a trip down memory lane once again, and by this time I have no idea if I’m freaking repeating myself!
Latest Flick City episode features my review of the Andrew Ahn directed Driveways (starring Hong Chau and Brian Dennehy). Feature is one of my favorites of 2020. Also included are my interviews with Castle in the Ground director/writer Joey Klein and Capole filmmaker Josh Trank (he delivers interesting insight on why he loves Barton Fink).
On the latest episode of Flick City I review the new films “Swallow” and “Hope Gap.” Both feature solid performances (Haley Bennett headlines “Swallow” and Bill Nighy and Annette Bening topline “Hope Gap.”
Also in the episode, “Hope Gap” writer William Nicholson talks about his love for the films “Lawrence of Arabia” and “It’s A Wonderful Life.” My full interview with Nicholson is available for our Patreon subscribers.
Lastly, I give two discs (Blu-rays or DVDs) from my collection to members of our CinemAddicts Facebook Group. Become a member to continue our movie talk conversations!
1969, the U.S. has launched Apollo 11 into deep space with a certain urgency to beat the dreaded Commies to the moon. A time when all the world’s events were seemingly galvanized by those reported on the grainy images we collectively called “the television set”. I was far from being born when we may or may not have landed on the moon. It’s difficult to get myself in the mindset of what witnessing that must’ve been like. The idea of not having a clue as to what might happen when Neil Armstrong first stepped foot on that spacely rock is lost on me. It’s been fact from day one of my existence. That’s where the value of history and movies come into effect. Moonwalkers, starring Ron Perlman and Rupert Grint is an example of that and might I say is utterly worth your time.
The film opens with Perlman deep, so very deep in the Korean jungle, facing off against a worthy adversary. We quickly move from that war to the war at home which is a populated with a starkly juxtaposed community, populated solely by war mongering weapon tech geek militants and their flower wielding, drug addled, artistic counterparts. We’ve all seen this before, but the richness of the scene and texture in Moonwalkers breathes new life into this otherwise tired trope. I haven’t even mentioned Kubrick yet. Christ! (more…)
I’m pissed. I’m angry. Not since learning about the sounds of turtle sex (click that link, you won’t be disappointed even if you’ve heard it before) have I felt so woefully in the dark about something as I have these last few days since learning about the 1981 movie Roar. More than a 120 big cats, 70 cast and crew members injured, over 300 stitches required, broken bones, a scalping, gangrene and Melanie Griffith ultimately required plastic surgery before the production of Roar was done with them. Described as the most dangerous film ever produced, yet somehow it has eluded me and most everyone I have yelled at about it. (more…)
One hundred and sixty-nine minutes to tell us E = mc Love? NO! I knew my theory was a long shot, but that didn’t prevent my mind from exploring the possibility that this advanced screening was a hoax. That those of us in the theater were being subjected to an alternative version, a rough cut that had since been altered to resemble something genius. As the end credits rolled, the lights would come up prematurely and Nolan himself would emerge from behind the screen with a smirk on his face and a logical explanation on his breath. I found myself searching the faces amongst me for possible plants who were watching us and our reactions rather than the 6 story high image that shawn impossibly brightly before us. All the faces looked forward though, some in awe, others confused and more than a few as annoyed as myself. (more…)
It’s time to enjoy something new, something different and refreshing, yet nostalgic and reflective all the same. It’s time to take in the ultra-meta and pop referential film that is sure to become part of the modern day zeitgeist as a reference point for years to come. Birdman marks not only the return of the dearly missed Michael Keaton, but also a piece of work that takes honest and albeit harsh and biting jabs at the state of current entertainment, both screen and stage alike. Alejandro González Iñárritu, director of the ultra gloomy 21 Grams, Babel as well as the under appreciated Amores Perros, has created a true masterpiece with this darkly comedic character study. (more…)
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