Dave is still on vacation so friend of the show Charlie Nash fills in for him this week. First, Megan reviews THE PHOTOGRAPH (3:43), a delightful romance that celebrates black lives. Then she and Charlie delve into THE ASSISTANT (13:57), a timely, anger-inducing movie about a day in the life of a harassed Hollywood assistant. Lastly, everyone talks about THE INVISIBLE MAN (33:48), a horrifying film with a gripping lead performance that’s incredibly triggering for the way it sensationalizes abuse.
With Evan is back from his Florida honeymoon (!!), the guys have some catching up to do. First Dave gives us his take on ANNIHILATION (3:25), then it’s a whole heaping helping of Creancaps (7:42): CAPTAIN AMERICA: THE WINTER SOLDIER, DR. STRANGE, PATTI CAKE$, and COCO. Then it’s on to this week’s new releases, both of which are surprisingly radical: THE FIRST PURGE (17:30), which exceeds all possible expectations, and SORRY TO BOTHER YOU (38:27), which complete laughs at the entire notions of expectations. Both are worth your time!
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.