CROWN HEIGHTS, I DO…UNTIL I DON’T, THE FRIENDS OF EDDIE COYLE, and REAL GENIUS on Episode #164

Ed Helms and Lake Bell sitting next to each other on the couch with disappointed looks in I DO...UNTIL I DON'T.

Ed Helms and Lake Bell reflecting on their marriage in I DO…UNTIL I DON’T.

This week the guys explore ideas for new expletives that are safe to use around children before they dig into the movies. Since it’s the end of August, there aren’t as many to discuss, although they do have a couple of recaps and two new releases, as well as some fun tangents in between. First, Dave recaps THE FRIENDS OF EDDIE COYLE (3:32), a Boston gangster movie from the 70s with Robert Mitchum that was actually shot in the city. Following a tangent on another Boston movie, THE DEPARTED, Evan Crewinds everyone to the 80s with REAL GENIUS (15:08), a cute comedy that causes the guys to wish Val Kilmer could be their college roommate too. Then all three guys review I DO…UNTIL I DON’T (24:36), the disappointing sophomore effort by Lake Bell, which has some sweet moments, and some misguided ideas about documentaries. Lastly, Evan and Dave spoilerpiece CROWN HEIGHTS (43:09), a wrongful conviction film that showcases great performances and makes excellent points about the American criminal justice system, but feels much longer than it should due to its shifting perspectives.

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ATOMIC BLONDE and HIS GIRL FRIDAY on Episode #159

Charlize Theron smoking a cigarette in ATOMIC BLONDE

Charlize Theron between ass-kicking scenes in ATOMIC BLONDE

This week Dave recounts his unique experience living in Annie Lennox’s old apartment before the guys talk about movies. Then he leads off with a recap of HIS GIRL FRIDAY (5:03), a film he’d seen before, but didn’t remember a thing about, other than it being a prime example of everyone involved with it at the height of their power. Next, the guys cover the week’s big release, ATOMIC BLONDE (13:55), an aggressively okay, hyper-stylized action film with Charlize Theron, where you’re either bored or you know what’s going to happen. You can totally see its big twist coming, unlike the Kevin Costner picture NO WAY OUT, which becomes the subject of a relevant tangent at 22:25. Lastly, Dave wraps things up with his quick thoughts on DUNKIRK (51:17), which he lauds for its flawless direction.

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JOHN WICK: CHAPTER 2, THE LEGO BATMAN MOVIE, and FLASHDANCE on Episode #135

Keanu Reeves in JOHN WICK: CHAPTER 2

Keanu Reeves has his work cut out for him in JOHN WICK: CHAPTER 2.

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Although Boston meteorologists predicted that Snowmageddon would decimate the area this week, the guys were still able to record their episode before disaster struck. The show starts with a first, Kris spoilerpiecing vinyl album covers, before Evan shares his experience watching the touchstone ‘80s film FLASHDANCE (at 5:20) for the very first time. He agrees that it’s crazy he hadn’t seen it before, as he discusses how impeccably lit it is, how fantastic its music is, and how sultry its epic dance numbers are under the direction of Adrian Lyne. Next, Dave reviews THE LEGO BATMAN MOVIE (at 18:10), which is exactly what you think it would be. Will Arnett is perfect as Batman and the movie is chock full of one-liners, but it doesn’t quite have the same impact as THE LEGO MOVIE. After that Dave and Kris join forces to review JOHN WICK: CHAPTER 2 (at 26:50), a movie that they both loved, and not just because it fulfilled one of three big criteria for good films declared by Dave’s uncle. It compellingly continues mythology established in the first picture without retconning, and features dynamite action scenes, as well as Keanu Reeves speaking multiple languages. Lastly, before they completely wrap, the guys take a moment to thank a fan for her kind email.

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SULLY, MORRIS FROM AMERICA, and SLEEPAWAY CAMP on Episode #113

sully

Tom Hanks as Captain Sullenberger and Aaron Eckhart as his trusty co-pilot Jeff in SULLY.

This week Kris shares the advantages to playing board games with Canadians, before he reviews Clint Eastwood’s latest movie SULLY (at 2:38). The mediocre film has a lot in common narratively with Eastwood’s last effort AMERICAN SNIPER, especially since the same things work well (a focus on the effects of trauma) and the same things don’t (artificially created villains). After Kris explains how the movie ends awkwardly on a joke, Dave delivers a quick “Riedel’s Recap” of DON’T BREATHE (at 19:57). Following the segment, Evan describes the coming-of-age film MORRIS FROM AMERICA (at 20:58), which has great music, and features the fantastic Craig Robinson in a rare dramatic role. Finally, the guys arrive at their main event: the ‘80s horror flick SLEEPAWAY CAMP (at 30:32). They describe its weird flashbacks, its endearing incompetence, and the craziness that runs in its blood as they dig into this time capsule, which 2/3 of them agree is good for what it is. Be sure to stick around post-credits for a completely unrelated bonus story.

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WAR DOGS, KUBO AND THE TWO STRINGS, and LO AND BEHOLD, REVERIES OF THE CONNECTED WORLD on Episode #110

War Dogs

Miles Teller and Jonah Hill wheeling and dealing as arms dealers in WAR DOGS.

The show opens this week with a conversation about director Werner Herzog’s very unique perspective on life. Following a shout out to one of Dave’s favorite YouTubers and a discussion about Evan’s book, Your ‘80s Movie Guide to Better Living, the guys dig into the week’s new releases. First up is Kris, who discusses Herzog’s documentary LO AND BEHOLD, REVERIES OF THE CONNECTED WORLD (at 9:09). The filmmaker is more aware of his personal brand, so he features himself prominently in it, but it’s still a fascinating piece about the integration between humans and machines. Next, Evan reviews WAR DOGS (at 19:32). Even though it obviously rips off of GOODFELLAS, the movie is worth seeing because it’s funny, has great music, and showcases a tremendous lead performance by Jonah Hill. Lastly, Kris concludes with KUBO AND THE TWO STRINGS (at 36:20), which captivates with its stop motion animation and its take on ancient religion. Every place the characters go in the film and everything they do is enjoyable to watch, even if you’re aware the journey that they’re on.

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SUICIDE SQUAD, BAD MOMS, and STRANGER THINGS on Episode #108

Suicide Squad

Don’t see SUICIDE SQUAD, shun it.

Unfortunately Dave needs to leave mid-episode this week due to a minor emergency, but don’t worry, he’ll be back next time! Before he takes off though, he gets to hear Evan talk about BAD MOMS (at 3:46). Evan describes why this unfunny comedy has a noble message that it stupidly undermines the entire time. He also describes why it can’t seem figure out how far to go with its jokes. Following that, Kris reviews the much-anticipated SUICIDE SQUAD (at 22:14). Sadly, he has more good things to say about the burger he ate after the movie than the movie itself. Over the course of his talk, he reveals why he upgraded his review from, “It’s stupid, don’t see it,” to “It’s toxic, shun it.” Finally Evan and Kris conclude with STRANGER THINGS (at 42:28), the Netflix series that everyone has been talking about. They delve into the show’s layered plot, sharing exactly why it resonated with them. And of course, because this is Spoilerpiece Theatre, they dig into some plot holes that got on their nerves in an otherwise tremendous series.

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Episode #70: BROOKLYN, LOVE THE COOPERS, COBRA, and BEVERLY HILLS COP

Rags the dog in LOVE THE COOPERS

Oh hey, it’s the narrator from LOVE THE COOPERS….Steve Martin…the dog.

Dave has a gift for Evan and Kris that’s really more of a present for himself, although it does offer a great set up for this episode of 80s Piece…er…Spoilerpiece Theatre. First, Evan shares his thoughts about the dog shit holiday film LOVE THE COOPERS, which features Steve Martin as a canine narrator. Next up is Dave, to talk about BROOKLYN, a movie that’s beautifully acted and looks wonderful, but has several Irish names that he can’t pronounce. However the episode’s main event is that all three of the guys have seen both COBRA and BEVERLY HILLS COP, two pictures that were made under very similar circumstances. In discussing COBRA Kris observes Marion Cobretti’s pornographic glee in dispatching bad guys, Dave sees how it rips off DIRTY HARRY, and Evan notices its odd product placement. They can all agree that BEVERLY HILLS COP knows exactly what kind of movie it is, has amazing improvisation, and features Eddie Murphy walking around, fuckin’ owning every place he goes.

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