Kicking things off this week, we review Everardo Gout’s THE FOREVER PURGE (5:58), the latest entry in the PURGE franchise! It stars Ana de la Reguera, Tenoch Huerta, and Josh Lucas. Megan and Dave discuss its relevance to recent American political events and why they really dug its political commentary. Next, we all talk about Chris McKay’s long and disappointing sci-fi flick THE TOMORROW WAR (23:54), which has decent action, but a lot of bad writing and acting (especially from Chris Pratt). We wrap up with Cate Shortland’s much anticipated movie BLACK WIDOW (40:48), starring Scarlett Johansson in the second female-led superhero film in the Marvel Cinematic Universe. One of us loved it, but two of us had some mixed feelings about its performances and pacing. And in this week’s Patreon exclusive audio, we tackle Karyn Kusama and Diablo Cody’s 2009 horror comedy JENNIFER’S BODY!
Happy New Year Spoilerpiece fans! This week the guys start out by revealing their unconventional New Year’s Eve plans. For films, there are three on the docket, and everyone has seen them, which makes for lively discussion! First, the guys review THE FAVOURITE (4:48), a period piece by Yorgos Lanthimos that Kris and Dave loved, but Evan couldn’t stand. Next they cover IF BEALE STREET COULD TALK (17:37), the beautiful Barry Jenkins movie they all agree is fantastic because the theme of love permeates it. Lastly, the guys take on the much-discussed Sandra Bullock Netflix original BIRD BOX (30:17), a tense horror flick with good performances that is stunted by numerous flaws. If all that’s not enough, you can also hear exclusive audio of the guys discussing New Year’s Eve movies if you sign up and support them this week on Patreon.
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.
Dave is feeling under the weather so fan favorite Dede Crimmins joins Evan and Kris this week. She and Kris lead off by discussing the Massachusetts Independent Film Festival (at 5:02). They share a few of their favorite films, before Dede transitions into COMPLETE UNKNOWN (at 11:41). Dede finds Rachel Weisz’s character fascinating in it, but she wishes there was more to the movie’s simple plot. Next, Kris talks about how war leaves scars long after hostilities end in THE INNOCENTS (at 21:32), a heavy post-World War II film about rescuing babies. Then Evan and Dede review THE LIGHT BETWEEN OCEANS (at 35:46), a long, slow drama about babies and post-war tensions that also stars Rachel Weisz and features Michael Fassbender as a brooding lighthouse hunk. Dede wraps everything up with MORGAN (at 54:16) a mashup of SPLICE, EX MACHINA, and BLADE RUNNER that has the most wasted cast she has ever seen and an ending that thinks it’s clever without actually being clever.
This week Kris reveals an ad campaign that makes him irrationally angry. Then it’s onward to four movies! Dave finally watched TENACIOUS D IN THE PICK OF DESTINY (at 4:11), so he’s nervous to talk about with two “D-heads” like Kris and Evan. He shares why it’s objectively not great, while also digging into the parts of it that are fuckin’ hilarious. Evan delivers on a promise as well, by reviewing NEW JACK CITY (at 23:24), which he LOVES for its energy and the way its action scenes are shot. He admits that it’s heavy handed with its messaging and inconsistent in tone, however he lauds it for its important social commentary on race and class. After that Kris jumps in to spoilerpiece THE LOBSTER (at 41:04), which he wasn’t expecting to take him for such a ride. It’s framed, paced, and costumed like an awkward Sundance comedy riffing on Wes Anderson, yet more brutal than unrelenting horror movies. Lastly, Evan concludes with POPSTAR: NEVER STOP NEVER STOPPING (at 52:25). This movie by The Lonely Island is mostly “eh” with a few jokes that hit and a lot of jokes that miss. Plus, in the realm of showbiz mockumentaries it doesn’t really have anything new to say.