HOT, PRICKLY TOPICS: Mark Millar - threat or menace? Steve McNiven - evergreen classics? INSIDE the studio of Katsuhiro Otomo with **Genga**! Say, do any of us really like Orson Scott Card? EVERY ANSWER YOU'RE EXPECTING, THIS WEEK, NOW.
HOT, PRICKLY TOPICS: Mark Millar - threat or menace? Steve McNiven - evergreen classics? INSIDE the studio of Katsuhiro Otomo with **Genga**! Say, do any of us really like Orson Scott Card? EVERY ANSWER YOU'RE EXPECTING, THIS WEEK, NOW.
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00:00 - 01:43 - INTROS - This week we have a special Stunt Casting episode, with special guest Jeff Lester of the Wait, What podcast, which is the only comics podcast outside of Tucker, Joe, Chris, & Matt's respectable half of The Factual Opinion Podcast Network (TFOPN) that you should ever listen to.
01:44 - 24:23 - Jeff watched 56 Up (2012) directed by Michael Apted, latest entry in the Up series of documentaries. Also in this section we talk about the Simpsons/Eric Idle parody of the Up series, Nick Broomfield, Friday the 13th pt 4, Hostel 1 & 2, The Princess Diaries, Joss Whedon and Dollhouse, AICN, the Runaway Bride commentary, the Wire season 2 commentaries, Ryan's Daughter, and Logan's Run. We also make fun of Eli Roth for a while, because what are we not supposed to make fun of Eli Roth? We are human people.
24:24 - 34:10 - Jeff also watched Lincoln (2012), directed by Steven Spielberg, starring Daniel Day Lewis, Sally Field, Tommy Lee Jones, David Oyelowo, Jared Harris, S. Epatha Merkerson, Walton Goggins, John Hawkes, James Spader, and that dude with the face from Girls. Jeff also gives us his personal theory on Lincoln, which is the best thing you'll hear all day. And then we talk about Spielberg, a lot.
34:11 - 55:17 - HOMEWORK - Jeff's homework was The Seven Ups (1973) directed by Philip D'Antoni, starring Roy Schieder, Tony Lo Bianco, the dude from Maniac, other guys. In this section we also talk about The French Connection, Bullit (both produced by D'Antoni), Pauline Kael's piece on French Connection, Jean Pierre Melville's Le Samourai and Army of Shadows, On the Waterfront, Godfather, Michael Clayton, Jaws, 2010, and John Cassavettes.
55:18 - 1:17:57 - HOMEWORK - Sean's homework this week was All That Jazz (1979) directed by Bob Fosse, starring Schieder, Keith Gordon, Jessica Lange, Leland Palmer, Irene Kane, and Ben Vereen. The actor playing Lenny Bruce in All that Jazz is not the guy who played Roger Rabbit, but Cliff Gorman from Paul Mazursky's An Unmarried Woman. In this section we also talk about Cabaret, Lenny, Star 80, 8 1/2, Annie Hall, Manhattan, Deconstructing Harry, growing to hate Darren Aronofsky, American Horror Story, Val Kilmer, Howard Chaykin's Black Kiss, Cafe Flesh, Barbarella, and the unexplored possibilities of a porno musical.
1:17:58 - 1:28:15 - Both Jeff and Sean watched one of their favorite movies, The Killer (1989) directed by John Woo, starring Chow Yun Fat, Danny Lee (for real this time), and Sally Yeh. In this chunk we talk about Le Samourai again for a little bit, our discovering John Woo, and for Jeff how it got him into movies in general. Also Django Unchained, Michael Haneke, and Jeff seeing all the Oscar best picture films.
1:28:14 - 1:42:27 - Jeff watched Zero Dark Thirty (2012) directed by Kathryn Bigelow, and he is the first person to appear on this podcast and not be held agape by it (which is still four out of five Helens agreeing). We also talk about Bigelow's career, The Hurt Locker, believeable female characters, Bigelow's non-stylistic similarities to Kubrick, Ben Affleck's abs, Stray Dog, Carlos, and Ben Affleck's abs.
1:42:28 - 2:02:59 - To close out we watched the trailers for Shane Carruth's Upstream Color and Rob Zombie's Lords of Salem. Also in this section we talk about Primer, Looper, Shane Black on Predator, how Sean doesn't understand feelings, Terrence Malick as a disease, the Casshern trailer, more Stanley Kubrick, Tarkovsky, more Spielberg, the Coen Brothers, Michael Bay, Roman Polanski, the Final Girl concept, John Carpenter's Halloween (CARPENTER IS ALWAYS HERE), Rob Zomie's Halloween 1 & 2, and the perrenial podcast favorite The Devil's Rejects.
See you back here next week @ tha moviez.
By Samuel Beckett, 1938
There's a huge amount of Beckett's flavor that comes from him writing initially in French despite English being the language with which he got rolling in the first place, and it would be interesting to know if his decision to change his working method grew out of wanting to break away from the Joycean influence, an influence that stemmed both because he worshipped Joyce for awhile, and becuase he had a depressing, horrible affair with Joyce's daughter. That's not a subject I'm qualified to deal with, having only read Dubliners and Portrait of the Artist and some gossipy shit that was in a brochure they gave away at Beckett's old apartment, but it's there. What I can say is that Murphy has what seems to be an overuse of location specific notations, and any social criticism gets muted by the book's absentmindedness, the way it trips between mysterious, unknowable characters (like Murphy himself) and more abstract caricatures (most of the women are ciphers), making for a book whose best bits are whenever a characrer is granted a purpose with which to act. Murphy at a mental hospital, a landlady discovering a mess...these are the moments when Beckett seems almost unwillingly swept up in literature, when the words just pour across the page. It's a really good book, I just wish I liked it more than I do.
The Map and the Territory
By Michel Houellebecq, 2010
Although it doesn't posess the most exciting lead character of all time, the opportunity to watch Michel Houellebecq ruminate on the business of creation is an interesting one, even if the only maxim the book eventually rests on is "be really good". Featuring himself as an important supporting cast member, The Map and the Territory is Houellebecq treading some familiar ground (relationships are tough when your favorite person is yourself, dads are difficult) while also dipping a toe in crime fiction. It's a pleasant, fast read that gets really strange when you hit the plot twist, and then reverts back to form when the author realizes he doesn't have an ending. The pleasures of Houelllebecq are rarely his plots, it's in the nature of his sentences, the way he encapsulates the brutality of self-destruction, lust, sociopathy--that's what makes him such a nasty pleasure to read, and the brevity with which he delivers his amoral musings prevents the experience from becoming as self-centered as most descriptions might initially sound.
My feelings regarding Pauline Kael and this book in particular have been covered on this site's film podcast, but if you don't have the time, the Cliff's Notes are these: I find the experience of reading Pauline Kael to be an absolute pleasure. Sanford Schwartz seems to prefer Kael when she's at her most ponderous and positive. Getting that side of the woman is in no way a disappointment, even if it does mean I'll need to grab a separate book when I want to watch her tear into the terrified flesh of Sound of Music. If anything, seeing Kael at her more charitable makes me as a reader more negative, considering how much further down things have gone since her departure from the scene--not the quality of film, I don't think that's lessened at all, one thing all of Kael's criticism suffers from is that time period's lack of accessibility to anything that isn't American--but the quality of the audience and that audience's criticism. Nobody working at the top is as good at all the nuts and bolts of writing as she was, and very, very few people working online have her weirdly exciting taste level.
A bunch of stories, almost all of which could be mixed into either the LA Quartet or the Underworld Trilogy without too much tinkering. Each chunk is satisyfing, and one--two cops going full Die Hard against an entire town of scumbags--wouldn't have been harmed to have gone double the length. Brevity doesn't hurt Ellroy--take a look at the way he writes an action passage in any of his books for evidence of that--but it does lend these stories a bit of ambivalence that doesn't show up in his longer works.
The Baby Sleep Solution
by Suzy Giordano & Lisa Abidin, 2006
I finished this book, and it's the only book in this part of the bookstore I can say that about and not be lying. I liked it. It's very firm and direct, and extraordinairly specific to the point of obsession, which is also something I have a tendency to gravitate towards. It's about what it says it's going to be about in the title and it takes less than thirty minutes to read. I have no idea if it's claims are factual or if its program works; based off what I have heard from many, many people, most of them strangers, it is a book, and therefore "doesn't know what the fuck it is talking about."
-Tucker Stone, 2013
What The Hell Is This: Why, it's Superman's Girlfriend Lois Lane, issue number 106.
Why We Have A Copy Of This: Tom Spurgeon occasionally posts links to people who sell comics, usually because said people are in need of the kind of emergency funding only 70's comics can provide. This came from one of those times, and the idea behind the purchase was that TFO's own Nina Stone (who was actually Nina Miller during the hatching of the aforementioned idea) would read the comic and respond to it in some kind of pithy, I'm-a-woman observational fashion. (This was during the second major wave of female-front-and-center-super-hero-comics-blogging, a six week period that began approximately right after Valerie D'Orozio's fourth public retirement wherein one could earn thousands in Internet Dollars merely by adding the word "patriarchy" or "refrigerator" as keywords in banal recaps of Joe Kelly comics.) Having never gotten around to doing anything with it, July of 2011 seems like the time to shit or get off the pot. (And February 2013 seemed like the time to finish that...I don't like this metaphor.)
Hence: Ignoring for a second that this is a comic where Lois Lane submits to a Laurence Fishburne style Deep Cover for the purposes of ratting out the black experience in the Metropolis of 1970, the thing that most grabs me about this comic today is that issue number: 106. According to that Comic Book DB site, the series got started back in 1958, and it didn't finish up until 1974. While I'm sure that, like most Superman/Lois Lane stories, that means there were a lot of comics that feature Lois doing boneheaded shit that neccissitated a Super-save (saves that all but guarantee a healthy amount of shit-giving), I can't think of one non super-powered female character who has seen such a lenghty run of comics.
That Being Said: If all those 137 issues of Superman's Girlfriend Lois Lane were as boneheadedly off-base as this turkey, it doesn't really mean a thing that they existed at all. This fucker ain't helping nobody.
How So: Tasked with writing "the inside story of Metropolis Little Africa", an admittedly Pulitzer-hungry Lois checks her make-up and heads over to the "black community". And there, she finds nothing but rudeness! Black children walk away from her and her questions with a silent contempt that Werner Roth and Vince Colleta depict as fear, adults slam doors in her face...one woman even wheels her baby away from Lois "as if [she] were the plague!" See, look.
After being rejected by the black community in the form of white fiction's most sterotypically accepting black member (that would be a kindly old blind woman, who silently walks away from Lois the second she hears that braying white voice), Lois finds herself on the receiving end of some serious hate speech: she's "whitey", the biological wall of hate that keeps the black community entrenched in "rat-infested slums", the capitalist fatcat who employs them only in service positions. She's the enemy, and she'll never understand. That is, unless Superman happens to have a plastimold and transformoflux pack.
At this point, the comic becomes a sort of no-self-awareness parody of that Eddie Murphy sketch where he painted his face white and found out that the black people were missing out on all kinds of free shit. Lois immediately heads home to change into "beautiful afro attire", gets ignored by her white cabdriver friend (she refers to this as her "first lesson in the meaning of black", hops onto the subway (where all of the white people stare at her as if she is a "freak"), and then she walks into the first apartment building she can find. Which is on fire, of course, because the landlord decided not to have anyone take out the garbage anymore. Helping put out the fire, Lois finds herself invited into the same apartment by the same woman who, a scant few white pages ago, had slammed the door in her face. There, she finds out that black women are constantly on guard for invading rats, fending them off of the succulent eyes of their infant children with brooms and rage.
After a tearful goodbye, Lois finds herself in a meet-cute with the now-introduced Dave Stevens, the man who was previously seen wearing skin tight green jeans and calling Lois "whitey". Joining him in a poorly thought out attempt to reprimand a couple of drug dealers, Lois is there to catch him when he gets shot in the chest. That's "catch" in the literal sense, too. Take a look at what Lois is doing in this classic Superman-melts-some-guns-panel:
Now, if you were to guess that Lois Lane ends up in the hsopital, donating blood to a bullet ridden Dave Stevens, and that this led to a scene where Dave realized that white people and black people can help each other, because they're both just plain old people down at the circulatory level, well: you'd be a cynical S.O.B., but you'd pretty much be right. It's a silent scene of shock, realization, and then good old hands-across-America stuff that closes this issue, and considering the way anything racial usually gets handled in comic books...well, this method is pretty much not that horrifying, even though you probably assumed it was going to be.
And The Moral Of This Story: is that there isn't a neat and tidy one, and if there was, it most likely is going to show up some place other than a Lois Lane comic book with a title based around my least favorite installment in the Criterion Collection. And yes, I'm aware of the film Armageddon.
-Tucker Stone, 2013
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STUNT CASTING EDITION
00:00 - 2:23 - Hey everybody, Sean here, A few moments here of introduction. Tucker was unable to join us this week so we have a special guest on today's Travis Bickle on the Riviera, Jared Lewis - the other guy who I talk about movies all the time with (who can be found here and here on the internet). Please make a note of it.
02:24 - 10:51 - We both watched Playtime (1967) directed by Jacques Tati, starring Tati, Barbara Dennek, John Abbey. Also referenced in this section - the other films in Tati's Hulot series, the Mr. Heavyfoot sequences on The Kids in the Hall, the Dom & Nic directed video for The Chemical Brothers' "Setting Sun", Orson Welles' The Trial, The Master, Catch-22, The Hurt Locker, SWAT, and shooting in 70mm.
10:52 - 18:10 - We both watched Mr Freedom (1969) directed by William Klein, starring John Abbey, Donald Pleasance, Delphine Seyrig, and Serge Gainsbourg. In this section we also mention Zazie Dans Le Metro, Last Year At Marienbad, Jamie Hewlett, the Beck video for the song "Sexx Laws" which is based on the centerpiece of Mr Freedom, and Klein's Who Are You Polly Magoo. Also I wrote a little bit about Mr Freedom a few years back here, if you want to learn more.
18:11 - 39:36 - Jared watched both Cloverfield (2008) directed by Matt Reeves and produced by JJ Abrams, starring TJ Miller and Lizzy Caplan; and Super 8 (2011) directed by Abrams himself, staring Elle Fanning, Kyle Chandler, Ron Eldard, Bruce Greenwood. In this section we also bring up Yogi Bear, John Landis, the poster of Escape From New York, how much Lost sucks, the musical career of Brian Austin Greene, minor characters in Tony Scott's Domino, Hackers, Hobo With A Shotgun, Smoking Aces, Rutger Hauer, Seth Rogen's character in Paul, Signs, Empire of the Sun, Short Round from Temple of Doom, JJ Abrams as a director, Mission Impossible 3 and 4, Star Trek, and the "Dear Die Hard do you know Mad Max?" line from the Simpsons.
39:37 - 43:50 - Tucker and I have talked about this before, but we discuss Dredd (2012), directed by Pete Travis once again, as well as the earlier Judge Dredd movie, The Raid Redemption, Demolition Man, and the Chris Cunningham design for Mean Machine.
43:51 - 51:56 - Sean watched The Spy In Black (1939) directed by Michael Powell, written by Emeric Pressburger, starring Conrad Veidt, Valerie Hobson (not Virginia Lawson like I say on the podcast, duh doy. This is first of several name fuckups), and Sebastian Shaw. Also in this chunk of the show we talk about Fritz Lang's escape from the Nazis, Peeping Tom and slasher movies, The Cabinet of Caligari, and Powell's book A Life In Movies.
51:57 - 59:55 - Jared watched Branded (2012) directed by Jamie Bradshaw and Aleksandr Dulerayn, starring Ed Stoppard, Jeffrey Tambor, Leelee Sobieski, Max Von Sydow. Also referenced in this section - Ben Sach's review of the film, Demonlover, and Nighwatch.
59:56 - 1:17:01 - Jared watched Robot Jox (1990) directed by Stuart Gordon, starring Gary Graham, Paul Kosolo, Anne-Marie Johnston. In this section we also spend a lot of time discussing the novel The Forever War written by Joe Haldeman, which we both just finished reading. Haldeman also scripted Robot Jox. Also discussed in this section Heinlein's Starship Troopers, Haldeman's War Year, Cowboy Bebop, Bug Jack Barron, Takashi Miike's Dead or Alive: Final, Douglas Adams, Re-Animator, David Mamet, Paul Scheer, Rollerball, Running Man, Super Robot Red Baron, and Paul Verhoeven. And Carl Dreyer, even though the reference to him doesn't make any sense, at all.
1:17:02 - 1:34:36 - And finally, both of us watched A Better Tomorrow (1986) directed by John Woo. Starring Chow Yun Fat, Ti Lung (not Danny Lee who we keep saying. Sorry about that, but at this point you can tell we were recording this at 2 in the morning and confusing it with The Killer - even though we literally just watched A Better Tomorrow), Leslie Chung, Emily Chu. Also in keeping with our previous weird detour in science fiction novels being discussed on a movie podcast, we talk about who we would get to direct an 80s-period William Gibson Sprawl trilogy. Kind of geek out over it, and then we go into A Better Tomorrow proper, mostly lionizing Chow Yun Fat who we love more than everyone except maybe Tom Cruise. We also talk about Dario Argento, Tony Scott, Tsui Hark, the sequels, Miami Vice, Hard Boiled, Bullet to the Head, Hitchcock's Frenzy, Argento's Four Flies on Grey Velvet, more Cowboy Bebop talk, Jazz Maynard, Bad Boys 2, George Roy Hill, the opening sequence of Guy Ritchie's Snatch, Beerfest, and William Sanderson.
Comics of the Weak is up at The Comics Journal. Nate and me, doing the deal. America!
There was another movie podcast, it was about George Lucas and bad documentaries.
The first of a few no-Tucker comics podcast came down the pipeline, and Chris, Matt and Joe did such a great job that some actual pangs of fear and sadness were felt in their one non-attending member.
Around the world:
Okay, so Eddie Campbell wrote this thing about EC Comics and the way people respond to them, and then Ng Suat Tong wrote a response to it over at the Hooded Utilitarian, and I read both of them more than once. I have to say, one thing that comes out of reading old Journal's is a desire to read old comics--I'm looking forward to trying Captain Easy out again after reading Chaykin and Gil Kane write about it--whereas both of these articles make it seem less and less likely that I'll pick up Kurtzman's war comics again anytime soon. That's just me though, and we already know i've got problems.
My sister and brother-in-law got a little plug in this article about microloans for farming, but my favorite part by far is the picture of Brent posing against a tractor in a fashion that I can only imagine required him to be threatened with a gun to get into.
I was introduced to this Killer Mike video long after I fell for the album, I imagine I am alone in that, but in case I'm wrong: this. So over the top for no reason whatsoever. If only T.I. could be this great all of the time.
I feel like a big enough deal wasn't made for the completion of Douglas Wolk's Judge Dredd blog, but that could just be because I automatically assume no one cares despite the fact that I'm terrible at keeping up with the places where people would actually care. In other words, I've regressed to the mental age of 3, and I think the world ceases to exist when I'm not there to look at it. An amazing accomplishment, an invaluable resource, and for my money, the absolute best writing Wolk has ever done.
Nina gave me this thing for Christmas. It's the best thing in the world.
If you're near Brooklyn this Saturday, February 16th, swing by and meet Yuko Ota and Ananth Panagariya at the Johnny Wander release party.
Okay, go away now. This post is over.
1:00 Skateman was a comic created by Neal Adams in 1983 and published by Pacific Comics. It was dubbed the world’s worst comic by many people, including James Schumeister and Rich Larson, partly due to such bits of dialogue as, “We’re forming a union jerk: My foot and your face.” Copies for the curious are available very cheaply on Amazon.
3:15: The David Quinn interview Joe mentions is here, in which the comic in question is succinctly described as “an allegory about the death of heroism at Marvel, published by Marvel.”
4:20: The Brauva line included such titles as Breed and Dreadstar by Jim Starlin, and Power & Glory by Howard Chaykin. I was thinking of Sludge, an Ultraverse comic Steve Gerber did with Gary Martin and Aaron Lopresti. My bad. That Norm Breyfogle opus was Metaphysique... ooh!
8:03: I’m referring to these comics.
9:35 The first episode of the Ultraforce cartoon is up on YouTube, if you really want to subject yourself to that sort of thing.
11:27 Marvels was first published in 1994. Kingdom Come was first published in 1996.
12:39 Superman: Birthright, by Mark Waid and Lenil Yu, was a 12-issue comic book series published in 2003 and 2004. It replaced John Byrne’s rendition of the Man of Steel as the official canonical version. It looks like it’s out of print, but copies are available through Amazon re-sellers.
15:29 Hicksville by New Zealand cartoonist Dylan Horrocks was recently republished by Drawn & Quarterly. If you haven’t yet, you really need to buy this book.
16:48 Again, YouTube can provide you with everything you’ll ever need.
17:56 I can’t find the official homepage for Batman: Dark Knight Returns Part 2, but here’s a link to the Wikipedia page.
26:39 If you haven’t figured it out, this episode was recorded on the night the Grammy Awards aired. We are next anticipating the Oscars, where we are nominated in the category of Physical Beauty.
27:16 Superman Returns (2006) was directed by Bryan Singer and stars Brandon Routh and Kevin Spacey.
28:43 To wit: Jason’s lover, Medea, kills their kids when he leaves her for another woman (she also kills the other woman) and Jason ends up forgotten and alone, until he’s over the head with a piece of the Argo and dies. Gilgamesh travels to the land of the dead to bring his best friend back to life but fails (Gil does get a hero’s funeral when he dies though).
29:42 You could argue that Thor doesn’t have a particularly tragic back story, despite the initial love triangle with that nurse Stan Lee sets up. He’s arrogant, and is turned into Don Blake for his arrogance, but since that he eventually attains godhood again it’s seems difficult to argue he’s a particularly tragic character.
30:10 Galahad is taken up into heaven by angels after finding the Holy Grail. Not sure what happened to Jesus Christ.
34:48 There is basically only one book by Schrauwen easily available to North American readers through comic book stores, and that’s The Man Who Grew His Beard, a collection of short pieces. My Boy, which Joe really likes (that’s a link to his review there) seems to be unavailable these days, though you can always try contacting the original publisher, Bries. If you act now, Desert Island can probably still hook you up with their edition of Greys.
36:13: Here’s what we’re talking about:
40:29 Just look at this thing:
46:29 – I’m not the first guy to point out the troubling portrayal of black people in Asterix. You take a look and tell me what you think. And that’s not even mentioning the severely dubious insectoid oriental “nagmas” (ahem) from even the newer Asterix and the Falling Sky...
48:17 Joe is correct, The Freddie Stories by Lynda Barry was originally published in 1999 by Sasquatch Books.
57:39 “Sneaking Out” appears in Raw Vol. 2, No. 2. “The Most Obvious Question” appears in Raw Vol. 2, No. 3.
58:40 For more on Phoebe Glockner, I direct you to my Comics College essay on her bibliography. Cause I’m shameless.
1:00:00 Joe is referring to I Live Here, a collection of essays and comics about displaced and poverty-stricken people, edited by actress Mia Kirshner. The book also features work by Joe Sacco.
1:01:28 I’m not kidding. Most Outrageous by Bob Levin is one of the finest pieces of writing about any cartoonist ever. Copies are easily available.
1:04:14 The Dame Darcy drawn tales appear in Tomorrow Stories #9 and #10. Moore & Darcy also collaborated on a short story in issue #9 of Darcy’s Fantagraphics solo series Meatcake. “The Bowing Machine” by Alan Moore and Mark Beyer also appears in Raw Vol. 2, No. 3. Chris Ware’s “Thrilling Adventure Stories” is in there too. Man, that’s a great anthology.
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00:00 -09:07 - HOMEWORK IS BACK. Sean's Homework this week was GAMER (2009) directed by Neveldine and Taylor, starring Gerard Butler, Terry Crews, Michael C Hall, Logan Lerman, John Leguzamo, Keith David, Amber Valetta, Kyra Sedwick, and Ludacris. In this section we also mention Ashton Kutcher as Steve Jobs, Dennis Quaid in Innerspace, the awesome awesome casting in Robocop, and Fame.
09:08 - 20:41 - HOMEWORK. Tucker's homework this week was THX-1138 (1971) (1977 original directors cut - the LASERDISC version, motherfuckers) directed by George Lucas, written by Lucas and Walter Murch, produced by Francis Ford Coppola, sound design/editing by Walter Murch, score by Lalo Schriffin. Starring Robert Duvall, Donald Pleasance, Maggie McOmie, Sid Haig, and Don Pedro Colley. Also in this section we discuss Star Wars, Empire of Dreams.
20:42 - 27:40 - Both Tucker and Sean watched A Gun For George (2012), written and directed by Matt Holness, which you can watch online here at WarpFilms/Film4's website. Holness also wrote and starred in Garth Marenghi's Darkplace and it's spinoff Man To Man With Dean Learner, both of which are essential to living a complete and happy life. Also in this section we talk about about The Equalizer, the Brotherhood of War by W.E.B. Griffin, and Tucker talks about the Parker novels by Richard Stark.
27:41 - 32:26 - Sean watched Pitch Perfect (2012), directed by Jason Moore, starring Anna Kendrick, Skylar Astin, Anna Camp, Brittany Snow, Rebel Wilson, Elizabeth Banks, John Michael Higgens, Adam Divine. Also in this section - we discuss Girl Talk, Soulja Boy, and Up In The Air. And a Jay Z song was on, AND A JAY Z SONG WAS ON.
This segment we have a special pop-in guest appearance from Nina Stone, who also bring up our next topic -
32:27 - 41:12 - Tucker and Nina watched The Royal Tenenbaums (2001), starring Gene Hackman, Bill Murray, Ben Stiller, Owen and Luke Wilson, Anjelica Huston, Gwyneth Paltrow, Danny Glover, and Alec Baldwin; and Bottle Rocket (1996), starring Luke and Owen Wilson, Robert Musgrave, James Caan, both directed by Wes Anderson and cowritten by Anderson and Owen Wilson. Also in this section, we talk about the Peanuts influence on Anderson/Wilson, and an alternate version of the Before Sunrise/Sunset/Midnight trilogy that would be way way better.
41:13 - 47:53 - Sean watched Cabaret (1972), directed by Bob Fosse, starring Liza Minnelli, Michael York, Joel Grey. In this section we talk about Tucker actually being in Cabaret in college, Sam Mendes' version of the play, trying to get into showtunes, Darkman, The Phantom of the Opera, and Kirk Douglas.
47:54 - 55:56 - Tucker watched the After Porn Ends (2010) documentary, directed by Bryce Wagoner. Which he accurately describes as one of those documentaries that are just cranked out so they can get it on netflix. It is kind of exactly the movie you expect to be. Tucker really hated this one. Also in this section - Sean says "back when I was super obsessed with porn" like he isn't still constantly obsessed with porn. Not fooling anyone, jackass.
55:57 -1:03:43 - And finally, Sean watched The Thin Man (1934), directed by WS Dyke, starring William Powell and Myrna Loy, based on the novel by Dashiell Hammett.Also in this section, we discuss the Beyond Belief section of the Thrilling Adventure Hour with Paul F Tompkins and Paget Brewster, the difference between Raymond Chandler and Dashiell Hammett, more Bottle Rocket talk, the preview for The Last Supper, and Shallow Grave.
Homework next week is a surprise, because we don't know it yet. So, we'll see you next time AT THE MOVIEZ.