The picture is way cooler than anything that’s actually *in* THE PREDATOR
Two new big releases on the show this week. After Dave corrects a mistake he made in last week’s episode (re: whether TRESPASS by Genesis was released in 1970 or 1971), they get into THE WIFE (3:30), which features a fine performance by Jonathan Pryce and an EPIC Glenn Close performance. Kris and Dave disagree on how good it is (and Kris gets in a good dig at Dave at about 14:30), but they’re definitely on the same page about Close’s performance (also, Dave mixed up his pronouns at 20:59 and should have said, “He takes that from her,” not the other way around). Then it’s Shane Black’s THE PREDATOR (30:04), which everyone saw. Two-thirds of the guys hated it and one-third liked it. If you are a Patreon member (patreon.com/spoilerpiece), you’ll find THREE pieces of extra audio on the Patreon page over the next few days.
The gun that Myles Truitt wields in KIN is no BFG, but it wishes it could be.
This week, Kris kicks things off with one of his favorite movies from childhood, WAYNE’S WORLD (5:35). Sometimes revisiting films you loved in your youth is disappointing, but Kris found new appreciation for the subtler moments and supporting characters, and the authenticity of Penelope Spheeris’s direction. Then he segues into THE BOY (13:56), which is one huge letdown and a misuse of of good design, fine performances, and terrific cinematography. Then it’s on to new releases: OPERATION FINALE (23:05), which follows the abduction of Nazi war criminal Adolf Eichmann by Mossad to face justice. Unfortunately, they bent the worthwhile history lesson to fit a hokey template, devaluing both the story its potential impact. Last up is KIN (41:33), which is either instantly forgettable or utterly enraging; either way, its lack of coherent vision and overreliance on one specific pop culture reference means we certainly can’t recommend it.
We liked MILE 22 better the first time we saw it when it was called 16 BLOCKS.
Aerosmith has a Las Vegas residency and the guys have thoughts about it before they brainstorm more old-man-injury-themed bands. Evan opens with a Crewind where he recaps his epic double feature of MENACE II SOCIETY and CITY OF GOD (3:12), two excellent movies that make similar statements about the cyclical nature of poverty, crime and corruption. Then Kris takes over to discuss ALPHA (11:18), a film about the first human/canine companionship that he really wishes was better. Next Dave reviews CRAZY RICH ASIANS (26:11), a romantic comedy that largely fits the genre mold aside from the fact that the whole cast is Asian and the male lead is boring. After that Evan quickly covers NEVER GOIN’ BACK and SKATE KITCHEN (39:55), two films written and directed by women (yay) about high school girls cutting loose. Last, and certainly least, Dave and Kris wrap up with MILE 22 (44:47), the choppily edited Mark Walhberg/Peter Berg vehicle that’s too timid to identify the countries it maligns.
Adam Driver and John David Washington take on the KKK in Spike Lee’s BLACKkKLANSMAN.
It’s a whole heaping helping of Spoilerpiece this week! First up is Dave who catches us up on BLINDSPOTTING (2:51), which you absolutely must see before it leaves theaters. Next up, Evan describes his first time watching two very different movies: PSYCHO (10:59) and RAT RACE (16:39). Dave and Evan checked out two of the biggest Netflix exclusive flicks of the moment, LIKE FATHER and SET IT UP (22:55). Then it’s on to the new releases, as Kris reviews THE MEG (35:42), where Jason Statham fights an ancient, gigantic shark (you know what you’re getting into). Closing out the episode is Dave with BLACKkKLANSMAN (50:18), based on an incredible but true story that connects America’s current racial tensions to the past it refuses to acknowledge (even if you know the story, you have no idea what you’re getting into).
Mila Kunis and Kate McKinnon take cover in the funny, but surprisingly violent comedy THE SPY WHO DUMPED ME.
Hey, gang! Short show this week because we all had a lot of stuff to do outside the podcast. After a brief discussion of the merits of DMX, we get right into our one movie: THE SPY WHO DUMPED ME, starring Mila Kunis and Kate McKinnon. Let’s put it this way: Our reactions may surprise you (in a good way?)! And we all saw it! Yay!
Henry Cavill, Tom Cruise, and Rebecca Ferguson after one helluvah bathroom fight scene in MISSION: IMPOSSIBLE – FALLOUT
This week, Dave kicks things off with a palate cleansing Riedel’s Recaps after last week’s weedfest: the overlong yet charming NOTTING HILL (6:57), the award-winning sex, lies, and videotape (12:29), and the par creepy, part interesting, thoroughly ’90s BEAUTIFUL GIRLS (13:32). Next, Evan revisits romantic comedy, FOOLS RUSH IN (20:55) starring the then-newly famous Salma Hayek and Matthew Perry, which boasts some unexpected layers in its treatment of race, culture, and romantic independence. Then it’s on to the main event, MISSION: IMPOSSIBLE – FALLOUT (26:05). Full of terrific action but weighed down by twist after twist after twist, it’s still well worth your time.
Even a dual-wielding Denzel isn’t enough to make THE EQUALIZER 2 as good as its predecessor.
Just how old was the PEZ that Evan ate recently? Find out on this week’s episode! After the guys chomp through the answer, Evan and Kris share their most triumphant experience watching the Slaughterhouse Movie Club’s burlesque show and presentation of BILL & TED’S EXCELLENT ADVENTURE (5:15) on the big screen. Next Dave fills them in on his not-so-hazy adventure tracing the evolution pot films (8:37), where he saw cannabis classics like REEFER MADNESS, MARIHUANA, SHE SHOULD HAVE SAID NO, EASY RIDER, and 9 TO 5. Once the smoke clears, Evan digs into MAKTUB (20:46), the adorable Israeli film about two mobsters who attempt reform by granting people’s wishes…in their own way. Unfortunately following his glowing review, Dave must reveal why UNFRIENDED: THE DARK WEB (31:00), a movie Evan and Kris hoped to see, is a terrible sequel to its smart predecessor. Finally, Kris and Dave wrap things up with THE EQUALIZER 2, another sequel that doesn’t measure up, mainly because, as they point out, it doesn’t feel nearly as dangerous, and lacks cohesiveness with its pacing and plot.