CHERRY, I CARE A LOT, THE VIGIL, and BILLIE EILISH: THE WORLD’S A LITTLE BLURRY on Episode #346

Tom Holland in the movie Cherry pointing a revolver right at the camera over a bouquet of flowers

Tom Holland takes aim at a more serious role, but CHERRY is a miss

Dave kicks off this week’s episode with a brief review of R.J. Cutler’s Apple TV+ documentary BILLIE EILISH: THE WORLD’S A LITTLE BLURRY (1:43), which examines the singer-songwriter’s life on the road and at home while she creates her debut album. Next, everyone reviews J Blakeson’s Netflix crime drama/dark comedy I CARE A LOT (8:20), where Rosamund Pike plays a queer woman con artist, a legal guardian whose scheme to take advantage of her elderly wards hits a snag when one of her marks turns out to be more than she seems. Then we talk about Keith Thomas’s unique Jewish horror film THE VIGIL (23:35), about a shomer (Dave Davis) who encounters a demon while providing overnight watch to a deceased member of his former Orthodox Jewish community. We wrap up with Joe and Anthony Russo’s Apple TV+ drama CHERRY (37:04), where Tom Holland is a soldier suffering from PTSD who turns to bank robbing after his drug addiction puts him in serious debt. And in this week’s Patreon bonus audio, we talk about John Landis’s 1988 Eddie Murphy film COMING TO AMERICA, in anticipation of its sequel, which comes out next week.

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THE BALLAD OF BUSTER SCRUGGS and A PRIVATE WAR on Episode #225

Tim Blake Nelson on a horse wearing white playing a guitar and singing in front of a picturesque landscape in the film The Ballad of Buster Scruggs

Kris was so enthralled by THE BALLAD OF BUSTER SCRUGGS that he could barely Spoilerpiece it

This week Kris proposes a new tactic for disposing of excess Halloween candy that involves a door-to-door Australian accent. Dave is still on paternity leave so Kris and Evan ride duo for this episode, but they keep a chair open in Dave’s honor. Before they get into the movies, Evan gives his quick impressions of the 80s musical ROCK OF AGES (4:34), discussing differences between the current tour and the 2012 film. Then Kris reviews THE BALLAD OF BUSTER SCRUGGS (8:31), the miniseries turned anthology film by the Coen Brothers, which lets you know that everything is on the table with its funny, violent, and tragic short stories. Kris is so captivated by them that he barely even spoils them, encouraging you to take everything in for yourself in theaters or when the film hits Netflix soon. After that both Kris and Evan cover A PRIVATE WAR (26:46), a compelling drama about real-life war correspondent Marie Colvin played by the incredible Rosamund Pike. The film directed by documentarian Matthew Heineman makes a compelling case for the value of journalism by embedding you with Colvin and exploring the impact of PTSD on journalists like her who report on the horrors of war.

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TOMB RAIDER, VERONICA (HORROR!), and 7 DAYS IN ENTEBBE on Episode #192

Alicia Vikander poised to fire an arrow in TOMB RAIDER.

Alicia Vikander is great, but TOMB RAIDER is not.

Hello from snowy Boston, MA! This week’s show begins with the very solid VERONICA (3:40), a horror movie from Paco Plaza, director of REC. It’s on Netflix now and people are buzzing about its atmosphere and terrifying set pieces. They’re mostly right, according to Kris, except that the scares stop halfway through once you become invested in the story in its own right. Next up, Dave saw 7 DAYS IN ENTEBBE (21:54), a new thriller based on a true story involving Israel, Uganda, and a hijacked plane. Despite a few interesting side characters, there’s nothing keeping ENTEBBE in the air. Last up is TOMB RAIDER (33:08), starring Alicia Vikander in the role of Lara Croft. She’s great, as are other members of the cast, but the movie around her is not for its go-nowhere plot, strange self-contradictions, and pointlessly preposterous twist.

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THE JUDGE AND GONE GIRL on Episode #13

The Judge 1

It’s time to talk Robert Downey Jr., Robert Duvall and THE JUDGE, and so much of the movie works but even more of it doesn’t. How many subplots can one film have? Well, how often can we break off into tangents (covering Van Halen, David Fincher’s body of work, how watching THE BIG LEBOWSKI is kind of like watching THE JUDGE except better, and the pros of having Evan AND Kris on this week’s episode) when discussing GONE GIRL? HOW MANY, WE ASK YOU? And somehow ANNABELLE snuck in for a moment this week, but that’s what evil dolls do.

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