Get ready for jump scares in THE NUN, you’ll be seeing a lot of them.
Somehow DMX comes up again in conversation this week, but this time it’s in the context of an animated show! Kris kicks off the episode’s movies by talking about POINT BREAK (3:40), which he and his fiancé accidentally watched on Keanu Reeves’ birthday. After the guys gush about Kathryn Bigelow’s directing and Reeves’ general awesomeness, Kris moves on to MOM AND DAD (11:38), Brian Taylor’s madcap thriller where Nicolas Cage and Selma Blair play homicidal parental units. Next, Dave covers SORCERER (21:00), one of the all-time great movies with one of the all-time most confusing titles, and THE AGE OF INNOCENCE (28:00), a Scorsese period piece that Dave forgot is really funny, yet also really sad. Evan jumps in to rave about SEARCHING (30:43), a smart, tense thriller starring John Cho as a father searching (see what they did there?) for his missing daughter. And finally to wrap everything up, the guys review THE NUN (42:00), a toothless, glacially paced horror movie brimming with bizarre accents and equally bizarre plot choices.
Chloe Grace Moretz, Sasha Lane, and Forrest Goodluck walk down a lonely road in THE MISEDUCATION OF CAMERON POST
This week on Spoilerpiece Theatre: All the way from Ireland, we thank listener and friend of the show Rory for his takes on ANT MAN & THE WASP (4:15) and CABIN IN THE WOODS (5:35)! (If you want our take on a film you saw, listen to the end of the show for the best way to reach us!) From there, it’s Crewind with the bold, stylish, and heart-wrenching BOYZ N THE HOOD (8:57). Then, Dave runs us through what makes Steve McQueen in PAPILLON (1973) (20:35) worth a revisit. Closing out the show, Kris recaps THE MISEDUCATION OF CAMERON POST (36:10), a movie about one of the worst abominations against developing minds that continues to be legal: so-called “gay conversion therapy.”
It may follow franchise conventions a little too closely, but OCEAN’S 8 is still a lot of fun.
This week, Kris teases with some tasty tidbits about HEREDITARY (2:58) that don’t give anything away, tabling that conversation for when all of the hosts have seen it. (Do see it yourself before then, though!) Then, Evan and Dave revisit old favorites: TOTAL RECALL (7:15) and HEAT (18:14) respectively, delivering some choice observations that come from repeat viewings. Was it all a dream in TOTAL RECALL? What exactly is this “cowboy” business all about in HEAT? Listen to find out! Then it’s on to the main event: OCEAN’S 8 (29:45), a totally fun heist flick full of terrific stars doing what they do best. Though technically a sequel to the OCEAN’S movies of yesterdecade, it charts its own path and will charm its way into your good graces thanks to its dedicated cast and solid screenplay. Could it have benefitted from Soderbergh’s direction? Maybe! Is it a blast anyway? Hell yeah!
Logan Marshall-Green stars as Grey, a paraplegic man given a second chance to walk so he can avenge his wife’s death in the sci-fi flick UPGRADE.
This week kicks off with a special edition of Riedel’s Crewind, as Dave and Evan talk WON’T YOU BE MY NEIGHBOR? (4:12), the Mr. Rogers documentary that has been charming critics and audiences the world over. Next up, Kris talks ADRIFT (14:18), a true story starring Shailene Woodley as a young woman left to fend for herself and her injured partner after a hurricane destroys their boat. It’s a tad uneven, but the sheer physicality of Woodley’s performance and the fascinating focus on just how taxing survival can be. This leads Dave to quickly recap DEAD CALM (25:08), before Dave and Evan wrap things up with gritty, violent, and inventive sci-fi flick UPGRADE (31:02).
As we suspected Alden Ehrenreich makes for a terrible Han Solo in SOLO: A STAR WARS STORY.
Here we are at episode 201, kids! We made it! Evan kicks the show off with a Crewind of GENTLEMAN’S AGREEMENT (3:04), a 1947 film about anti-Semitism starring Gregory Peck. Kris follows up with DEADPOOL 2 (11:14), a movie that Kris feels differently about from most critics. Then Dave and Evan go into DISOBEDIENCE (26:19), director Sebastian Lelio’s English-language debut starring Rachel Weisz, Rachel McAdams, and Alessandro Nivola, about, as New Order might say, a bizarre love triangle. Finally, Evan and Dave get into SOLO: A STAR WARS STORY (36:07). Who liked it? Who didn’t? By the way, there are tangents aplenty in this episode.
Melissa McCarthy kicks it old school in LIFE OF THE PARTY.
Hey everybody! It’s the 200th episode of Spoilerpiece Theatre! You may have noticed some different music at the opening to commemorate it. We also recorded on Kris’s birthday, so the opening muzak is doubly significant! We kick things off with an episode of KEEPING UP WITH THE JENSONS covering THE LOST BOYS (3:20). Following a spirited discussion of whether garlic works on these vampires a brief recap of Jason Patrick movies, the guys move on to BREAKING IN (13:00), a.k.a. GABRIELLE UNION KILLS SOME DUDES WHO THREATEN HER CHILDREN, which only Dave saw. (Note: This movie is super violent, and notice how Dave gets all the violent movies?) Next is Evan with LU OVER THE WALL (25:37), a weird mermaid tale that he struggled to watch (and Kris takes a detour to Tangent Street so he can talk about THE LURE, another mermaid movie). Finally, all three hosts saw the Melissa McCarthy vehicle LIFE OF THE PARTY (36:15).
Charlize Theron plays a mom struggling to maintain her sense of self in Jason Reitman’s TULLY.
This week, Evan runs us through his experiences with the best of IFFBoston (4:18) — EIGHTH GRADE, WON’T YOU BE MY NEIGHBOR?, many great docs. But it’s the not-so-best — THE THIRD MURDER — that intrigues Kris with its strange premise and stranger name. Kris then gushes about his experience hosting the Q&A for the new Agnostic Front documentary THE GODFATHERS OF HARDCORE (22:57). Then Dave and Kris try and fail to run out of nice things to say about TULLY (29:38) which is a damn good movie. This Diablo Cody-Jason Reitman team-up starring Charlize Theron and Mackenzie Davis is making news for its controversial depiction of mental health, but as a mature yet funny statement about reconciling your past self with your present reality, especially after having children.