Episoder
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“AND IT WAS HERE, IN THIS BLIGHTED PLACE, THAT HE LEARNED TO LIVE AGAIN.“
On this episode of the podcast we talk about one of the most influential post-apocalypse films of all time. One that’s legacy has just been extended in an incredible prequel film that hit theaters on this year’s Memorial Day weekend. We are talking about Mad Max 2, also known as The Road Warrior, directed by George Miller, starring Mel Gibson. We are also honored to have a guest, Nebula, who is a streamer, and a big Mad Max fan. In fact, Nebula was on our FIRST Mad Max episode: here. This is Jorge’s first time watching the film, having only seen Fury Road and the first Mad Max film, so we were curious to see how he would react to George Miller’s second attempt at depicting Australia at the end of the world.Sequels are often regarded as derivative, and “cash grabs“ of a previously successful movie. What makes Mad Max 2 different? We talk about how the film demonstrates how much George Miller has gotten as a film maker, being more deliberate with cinematography, making use of the bigger budget, and building a world without relying on heavy dialogue. There is so much to look at in this film, so much character, and for what little dialogue there is, some absolutely classic lines that we will remember forever. To this day, George Miller continues to grow as a filmmaker, challenging audiences and everyone crazy enough to be in his movies. And despite all of that, everyone seems to enjoy working with him.
We talk about the iconic look of this film. Mad Max 2 is often used as the blue print for how people dress in the apocalypse, and maybe how some depictions of the gang might not hold up as well when we consider the history of how queer characters are represented in film. We nerd out about the stunts and the effect of real danger being caught on film, and what steps they took to keep people safe. And of course, we talk about Dog, the Australian cattle dog that acted as Max’s companion in the Wasteland, but was rescued from an animal shelter in real life!
We hope you enjoy this episode, and if you haven’t yet, consider seeing Furiosa in theaters! Austin got a chance to see it and highly recommends to any one looking for a great theatrical experience by one of the greatest living filmmakers!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“YOU BETTER HOLD ON TIGHT SPIDER MONKEY.“
On this Valentine’s Day, we decided to cover a romance movie that captured the attention of an entire generation of girls, contributed to the YA adaptation craze, and gave us vampire baseball. Today, we are talking about 2008’s Twilight, directed by Catherine Hardwicke, starring Kristen Stewart and Robert Pattinson.
When the film franchise was making its rounds at the box office, we remember that this was a thing that was very popular for adolescent boys to hate on. Austin hasn’t even seen the film, despite being a fan of vampire films as we talked about on the Horror Movie Genre Tier List episode on our Patreon. We talk about how our tastes have evolved and why we might be more open to this film, despite not being in its target audience. Will we still find something to enjoy about it, or will we struggle to say nice things? Just in case, we will have a Twilight fan, Elle Parker as a guest to let us know what makes the film so special to her.
We talk about the films commitment to the moody, blue aesthetic. How Hardwicke opted to shoot on location in the Pacific Northwest to capture the rain and the greenery. We talk about how significant her absence was in the following films, and give her praise for her craftsmanship and dedication to translating the essence of Stephanie Meyer’s novel into a film. We also talk about the reasons she may not have been invited back to direct the sequels.
We talk about the way the camera moves, the on point musical cues and soundtrack, the attention to mise en scene, the comedy, the practical effects and the relentless commitment to telling the story of a boy and girl who feel so tortured despite having pretty great lives. Seriously, even the step dad has a good relationship with Bella.
Regardless of how you feel about Twilight, there is a reason why it had such an irrevocable hold on its fans. After watching the film and talking about it, it was very easy and fun to find out why!
We hope you enjoy this episode!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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Mangler du episoder?
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“KEEP THE CHANGE, YA FILTHY ANIMAL.“
On this episode, we are going to be talking about one of the most popular and beloved Christmas films of all time. We will be talking about 1990’s Home Alone, directed by Chris Columbus, starring Macaulay Culkin, Joe Pesci, Daniel Stern, and Catherine O’Hara. It is the first movie we have covered that was written by John Hughes, the second Chris Columbus movie, and believe it or not, the third movie we have covered to feature one of the Culkin brothers.
When someone mentions “Home Alone,” the first thing we think about is obviously Kevin McCallister (played by Macaulay Culkin) laying traps for a pair of burglars to fall for, and experience head trauma that would kill a normal person, only to get up to fall down more stairs. However, upon reviewing we discover that there was actually a lot more to the movie than over-the-top comedic violence, but a story of a young child’s growing resentment for his family and learning to take care of himself. It’s success in telling that story is up for debate between your hosts, but we both still enjoy the film, buy maybe one of us didn’t like it as much as he used to.
We talk about how successfully (maybe too successfully) the film gets us to hate the McCallister family along with Kevin. We talk about the strengths of the films inclusion of the mysterious scary neighbor who isn’t all that scary, admire the use of the fake noir film ‘Angels with Filthy Souls,’ and discuss the great charisma of Macaulay Culkins performance, and also how good Joe Pesci and Daniel Stern are at playing dumb.
Can you believe there are 6 films in this franchise? Why did they make so many, and why is it that the first film was the only film with a relatively positive reception from both critics and audiences? Why did Roger Ebert prefer Home Alone 3? Why did Macaulay Culkin stop away from acting a few years after Home Alone’s historic theatrical run? What’s he up to now? We get into all of that!
We hope you enjoy this episode!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“UNTIL THE BREAK OF DAWN..”
On this Halloween, we decided to cover one of the first horror films ever made. We cover the famous, German Expressionist film, The Cabinet of Dr. Caligari, directed by Robert Wiene from 1920. If you would like to watch the film before listening to us, the film is available for free on various sites, but we recommend watching the one that has fancy intertitles for the text and a blue tint in the beginning like this version here. The film is a “silent film“ so there is no spoken dialogue which we understand maybe might be a little intimidating for some audiences. However, we encourage you to give it a try so we can go on this adventure together. What does a horror film that is over 100 years old look like? How dated is it really? (Spoilers: It actually isn’t)
What is Expressionism? To put it simply, it is the artistic depiction of an emotional experience, rather than a realistic one. The set design of Caligari doesn’t resemble our own world, but a world that suits the content of the narrative. Caligari seeks to tell an emotional truth, how the characters feel living in this world, than present the world as it is. We talk about why we think this choice works and the film is rightly described as a classic, but also hope that if the film is ever remade, that this Expressionist theme isn’t lost in the translation to modern filmmaking sensibilities. The film’s strong style in its set design influenced the choices made for the actors, the costumes and even the previously mentioned intertitles. Some of the techniques used to generate audience anxiety in this film can be seen in films today such as Alien, It Follows, and even The Babadook!
We talk about how the film was made, and how not everyone agrees on how that went down. The film has a “frame story.” For this film, that means the bulk of the film takes place within a story told by one of the characters. The writers of the film were allegedly very upset about this, and stay they knew nothing about it, but 70 years later when the only surviving script was made available for public viewing, we find out that wasn’t 100% true. The writers talk about being on set, but the set designers say they were never there, there are conflicting reports on who actually was the producer for the film, etc etc. The narrative of the production of the film is almost as unreliable as the film’s narrator!
We also talk about the history of when this film came out. The world was different, and the expectations of what the experience of “going to the movies” was also very different. A close up on a giant screen hit different for those audiences, an authority figure taking advantage of ordinary citizens meant something different for a Germany that just got out on the losing side of a World War. Despite being 100 years removed from the intended audience, we believe the film can still resonate with a modern audience.
We hope you enjoy this episode!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“LEAVE ME ALONE!”
Due to recent events in the film industry, Retro Grade Podcast decided to take a different approach to the movies we will cover on the podcast until the strikes are over in support of the unions. We will be covering films that are not under the companies being struck, starting with one of the greatest anime films of all time: Akira, directed by Katsuhiro Otomo, from 1988. We talk about how this very strange, at times confusing, violent and beautiful film fits in the conversation of nuclear power in the minds of film goers today with Oppenheimer’s success at the summer box office. While Nolan’s film tells the story from the perspective of the man that invented the bomb, what about the perspective of the people that survived it? Through the cyberpunk, alternative future of a post-WW3 Neo-Tokyo, perhaps Otomo offers that through Akira.This is the third animated film we’ve talked about on the podcast, and the second anime film after our Totoro episode. Fun fact, Totoro also came out the same year Akira did! We talk about how this film uses extreme detail, slow motion, violence, sound, and silence to give us a unique, enthralling experience. Starting with a high octane motorcycle chase, and ending with one of the most disturbing images we’ve seen since our Hellraiser episode.
We talk about what makes Kaneda a different kind of protagonist. One that might not fit the hero archetype laid out by Joseph Cambell. We talk about the ensemble cast of characters whose individual actions (and even their names) are unknown to each other, despite them having so much screen time. Does Akira even have a main character? We don’t really agree on this one, but maybe the underlying issue is part of Akira’s DNA.
What is Akira’s DNA? Well, the film that was released in 1988, was based on the manga, (also created by Katsuhiro Otomo) that started in 1982 and ended in 1990. Yes, you read that right, the film came out while the manga was still in production. Although the film is a compromised version of the manga, Otomo was the one in charge of both. He chose what to change for the film, and in that process, likely changed how the manga would then end. We give a few examples on what the differences are, and maybe that might help us all understand what the film was trying to say.
Interpretation of film is a fun, and enriching exercise that we love here on Retro Grade Podcast. Given the setting of a post-war Japanese government rebuilding a city that has been destroyed by an atomic force, a militaristic police force violently suppresses protesters while Bosozoku gangs of disgruntled teenagers battle on motorcycles.. It’s safe to say this film is sort of about the reconstruction era of Japan post World War 2. However, there may be other things going on, and only looking at it through the lens of ‘post war trauma,’ might be selling Akira short. We go through some think pieces on what Akira was about, and then provide our own analysis of what it means to us!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“YOU CAME HERE PREPARED TO FIGHT A MAD MAN, AND INSTEAD YOU FOUND A GOD?“
On this episode of Retro Grade Podcast, we talk about an adaptation to one of the most beloved video game series of all time. One of Hollywood’s earliest attempts at adapting a video game movie, and the first financially successful one. We are talking about 1994’s Street Fighter, directed by Stephen E. de Souza, starring Jean-Claude Van Damme, Raul Julia, Ming-Na Wen, and Kylie Minogue.
We talk about our history with Street Fighter. Austin has been a fan of Street Fighter and fighting games in general for a while, and has been playing the newest Street Fighter 6 any chance he gets. Jorge knows Street Fighter is a fighting game with a character called Cammy, and that’s about it. Will our different backgrounds with the existing franchise change how we see the film? Does the film’s departure from the source material annoy Austin? Do the references to the video game feel lost on Jorge?
Although the film was a financial success for Capcom, the critics of 1994 hated the film. In fact, this film has the lowest Rotten Tomato score from all of the films we have covered up to this point. We talk about the film’s shortcomings but also talk about some of the things that make this film endearing almost 30 years after its theatrical release. We talk about the late Raul Julia’s final film role as the villain M. Bison, arguably one of the best video game character performances of all time. We go over some of the cheesy one-liners from Jean-Claude that range from “bad,” to “so bad it’s good,” and even to genuinely hilarious. And the overall campy feel to the film that makes it an enjoyable experience with the right perspective.
However, Street Fighter is far from a perfect film. In fact, it might not even be a very good film at all. Despite the fact that we like parts of it, there’s a lot of stuff that doesn’t work. We talk about the lackluster fight scenes, the nonsensical plot, the bloated roster of characters, and uneven performances. We also talk about the reason why the film may not have been the best it could have been. It feels unfair to blame every bad movie on the director, the lead actors, or even the screenwriter. Sometimes, movies are set up to fail from the very beginning, because the non-creative people funding the film have ultimate creative control.
We also have a fun section of the episode where Austin quizzes Jorge on Street Fighter trivia. Given that the only thing Jorge knows about the world of Street Fighter is the 1994 live-action film, how many of these multiple choice questions do you think he will get right? How many did you answer correctly?
We hope you enjoy this episode!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“THEY ARE THE BAD GUYS, WE ARE THE GOOD GUYS. UNDERSTAND?“
On this week’s episode of Retro Grade Podcast, we talk about a film from a genre we have never covered before. We talk about the 1983 Hong Kong Wuxia classic Zu Warriors from the Magic Mountain, directed by Hong Kong New Wave filmmaker Tsui Hark, starring Yuen Biao, Adam Cheng, Corey Yuen, Brigitte Lin, Moon Lee, Damian Lau, Mang Hoi, and Sammo Hung.We begin by talking about the story, breaking it down by what we thought of the characters, comedy, the philosophy depicted by the use of the Dual Swords, and whether there can be a connection between the story on screen with the real-life history of Hong Kong under rule of differing governments and how the film can be interpreted as a call for unity. We talk about the depiction of the elders and masters in the film, and how their inability to enact real change has thrown the world into conflict that the new generation must find a resolution for.
From there we get into the technical side of the film, from it’s impressive use of wire work during the fight scenes, to the in-camera techniques that were used to achieve the amazing choreography, to the film’s very dated visual effects (though ambitious may not have aged as well.) But the film’s editing becomes a larger focus in the episode, breaking down how the fast-paced editing helps the film, but also might be hindering it when compared to other wuxia films.
Lastly, we go into the multiple versions that exist of the film, calling into question whether Tsui Hark ever got the version of the film he wanted. We breakdown the elements that go into a wuxia film, and how well Zu Warriors follows it, and go briefly go into the history of the Hong Kong New Wave cinema, and how Zu Warriors was a huge success for the movement but also a source of inspiration for future filmmakers.
So sit back, relax, and enjoy this special episode of Retro Grade Podcast!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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On this special episode, we give a FREE preview of all the fun we have over at on the Retro Grade Podcast Patreon! We have our Modern Grade series where we review newer movies, our This Month In Movies series where we talk about current events in the industry, our Tier List Special where we make up tier lists for movie topics, and finally our Sequel Speed Pitch which is a little bit more complicated to explain.
We have covered a little over 70 movies over the years of doing Retro Grade Podcast. We started this show because we love movies but ultimately, someday we wish to make some ourselves. So we put our writing skills to the test, and both Austin and Jorge come up with their own sequels to a movie they have covered. One pitch from each of us, two pitches total. The catch is, we don’t know what movie we are doing until its time to record, and only get 45 minutes to write a pitch to that sequel. We must also follow four rules:
1) Each host must include the quote we picked for the movie when we covered it.
2) Decide whether or not this is going to be a sequel, or some kind of remake/reboot of the original film.
3) Include a previous actor from the film to be included in our sequel (can be just a cameo.)
4) If a sequel already exists, the host cannot just plagiarize the existing sequel.
5) We must mention the song that will inevitably be featured as a down tempo cover in our film’s trailer.
We spun the wheel and got Sam Raimi’s, Spider-Man (2002.) Later this month, we will be recording another Sequel Speed pitch JUST for our patrons. If you like this episode, let us know, and perhaps consider signing up for our Patreon where we do all kinda of fun stuff like this! We hope you enjoy!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“IN SHORT THERE’S SIMPLY NOT, A MORE CONGENIAL SPOT.“
On this episode, we return to the 1960’s to catch the beginning of the end of the big budget musical era. We watch the film adaptation of the Broadway musical, Camelot, starring Richard Harris, Vanessa Redgrave, Franco Nero, and David Hemmings. Although this was the 10th highest grossing movie of the year, neither Austin or Jorge have ever heard about it, and had a listener not requested it for their birthday, we may have never seen this 3 hour long musical of the Arthurian legend. Why was this film not a huge success despite the musical being so popular? Why did this drive Jack Warner of Warner Brothers, out of the company he worked hard to swindle from his surviving brothers? Will this break the streak of being the first musical Jorge doesn’t like?
Sometimes describing a film as “interesting,” can be interpreted as a nice way of saying “I don’t like it.“ However, in the case of Camelot, interesting is actually a very fitting description of the film. Even though it has its flaws, it is very entertaining to watch. It has a G rating, but it is one of the most sexually charged G ratings we have ever seen. Despite this film winning some Academy Awards, it was not very well received critically, possibly due to the aforementioned flaws, but perhaps also due to its content vastly differing from the rest of the films of this era. Perhaps one of the most interesting things about the film, is what part of the King Arthur story it chooses to focus on: his wife and his best friend falling in love.
We have different opinions on the quality of the music in this film, but the one thing we do agree on is how it deals with the love triangle trope. Sometimes we like to have sides to root for in the triangle, we want to see our character(s) make the correct choice and celebrate with them. Sometimes you need one or two sides of the triangle to hate, or at least sit back and watch them hate each other. Camelot takes the path less traveled, and presents the love triangle where there is no villain. Only three sides getting hurt, and feeling bad for hurting each other.
We talk about the shortcomings and personal gripes with the film. This is a three hour film with a pacing problem, some of the songs don’t hit as hard as songs from previous musicals we’ve covered, and there is a question of what the film meant to say in the first place. Musicals can afford to be very direct and throw subtlety out the window, but something about the riddles the mysterious Merlin leaves Arthur leave us thinking about what we just saw, and what we were supposed to make of it. It’s not a bad thing to think about a film’s message was, but this is also the same genre of film where we get direct insight on a characters internal thought process, so why be coy about the take away?
Regardless, this was an incredibly fun film to watch and talk about, and a piece of cinema history. They literally don’t make them like this anymore.
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“IT WON’T LET US LEAVE!“
On this week’s episode, we go back to another horror classic from the 1980s independent scene: The Evil Dead! Directed by Sam Raimi, starring Bruce Campell, Ellen Sandweiss, Richard DeManicor, Betsy Baker, and Theresa Tilly. Already having spoken about Sam Raimi in our Spider-Man episode, we were excited to re-watch the film that made him famous on the 40th anniversary of the film’s wide theatrical release. Originally being released in 1981, with a different title, the film has since grown to be an iconic horror franchise with multiple sequels, reboots, and a tv series on Starz. With both of us having already seen the film and being big fans of it and of Raimi, we were eager to re-visit the film and see how well the film has held up since it’s original release.
In the episode, we talk about the our thoughts on the story, and how while the film doesn’t do much too innovate or subvert the horror genre, it manages to not only be considered the definitive “cabin in the woods” film, but also influence future generations if filmmakers, from Eli Roth to Edgar Wright, to even some big time Hollywood directors like Francis Ford Coppola. We break down how some elements that were present in previous horror films, like the point of view shots from the killer’s perspective, to the blood and gore, to characterization of the villains, and how The Evil Dead managed to add it’s own spin on them. In that process, it created something that feels completely unique and recognizable.
We talk about the production of the film, and what a nightmare it was for the cast and crew. Dealing with one of the coldest Tennessee winters on record (at the time,) to uncomfortable makeup and prosthetics including glass contacts, and to the multiple injuries incurred on set, we look into all of the setbacks the production went through to finish the film. And lastly, we go into the reception of the film once released, from the cast and crew, horror fans, but also governments officials reactions to the film. The film got a lot of pushback from governments across the globe, including the United Kingdom, which classified the film as a “video nasty.” We go into that specific term and what it meant for many films that were considered too much for the general public.
So sit back and enjoy this new episode of Retro Grade Podcast!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“HERE’S LOOKING AT YOU, KID.”
On this episode of Retro Grade Podcast, we talk about one of the “greatest films of all time,” 1942’s Casablanca, directed by Michael Curtiz, starring Humphrey Bogart, Ingrid Bergman and Claude Rains. What makes this film so good? Is it still that good 80 years later? Is this movie just for movie nerds, or does this film still resonate with audiences today?
Since we both have a background of studying film in college, we are both familiar with Casablanca, both having sought it out after hearing it was one of the “best movies ever made.” Although it was in black and white, 4:3 aspect ratio, and filled to the brim with cheesy 1940’s dialogue, of all the films typically regarded as the best, Casablanca remains incredibly relatable and accessible to this day!
We talk about the legendary performances of Bogart and Bergman. Bogart, adding an emotional layer to an otherwise tough guy, no-nonsense actor and Bergman making us feel for a character that may have not had the most depth on the script. However, the script itself wasn’t too shabby either. There is something very charming about hearing characters speak in Classic Hollywood, where even (mostly) antagonistic characters like Claude Rains’ Captain Renault, add a delightful presence that makes you forget he’s playing a terrible person.
We take you back to the era of self-censored Hollywood, governed by the Production Code. How films were only allowed to portray marriage positively, crime always had to pay, and people of other nations were to be portrayed “fairly.’ The latter may not sound like a bad thing, but it doesn’t look so good when it also applies to Nazi’s. We talk about why a film with a love triangle with Nazi villains was so significant, and how the code was used to determine not only the content of films, but also the films that were even allowed to be made.
This is a good one, and we learned a lot of cool stuff about film history. If that sounds boring to you, we promise you, after 72 episodes we made this FUN!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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Continuing from out last episode, we go in the Behind the Scenes and making of for the 1996 classic, Scream, directed by Wes Craven. In the first part, we discussed our history with the film, how we familiar with the franchise and upon rewatching the film, how we felt about it now. We went over the writing, characters, structure, and reception of the film.
Now, we go over the actual process of making of the film, beginning with the writing process and inspirations for the films. We cover why Wes was initially reluctant to come back and direct another horror film, and what made him change his mind. We breakdown the decision and process in making the film’s first scene, with Drew Barrymore facing off against Ghostface and how the conclusion came about. We go into the casting of the main characters, from Neve Campbell to Rose McGowan, to supporting players like Jamie Kennedy and Matthew Lillard, and why they are each were an incredible addition to the cast.
We talk about various aspects of production leading into the editing of the film, and how for a while the film was at risk of receiving the notorious NC-17 rating, and how one of the executives stopped that from happening. Lastly, we talk about some of the controversies the film faced, from local school boards shutting down the productions request to film at their campus, to copycat killers that went on to cause serious harm to people after the film’s release. So sit back, relax, and enjoy the conclusion of our retrospect of Scream.
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“DO YOU LIKE SCARY MOVIES?“
On this week’s episode, we talk about the 1996 horror classic, Scream. Directed by the legendary Wes Craven, starring Neve Campbell, Courtney Cox, David Arquette, Skeet Ulrich, Drew Barrymore, Rose McGowan, Jamie Kennedy, and last but definitely not least, Matthew Lillard. In this first part, we get into our history with the film, and how even though Jorge hasn’t seen the film, he’s familiar with it enough simply because of how popular the franchise is.
Once we come back from watching the film, we get into our initial thoughts about, and break down some of the biggest story beats, starting with the amazing introduction with Drew Barrymore and the film’s amazing climax. We go into the cast, how they were all perfectly assembled and how each actor dons their respective character archetypes very well, from Neve Campbell being the virgin/final girl, Jamie Kennedy being the obsessive movie buff, to Matthew Lillard being the wild-card joker. We get into the film’s subversion of the horror genre, and how in a time when mainstream Hollywood films was not embracing meta storylines, letting audiences know that the film was one step ahead of them and that their best guesses wouldn’t cut it for this film.
We also talk about the use of music which Austin argues is very underrated, we talk about the overall structure of the film, the references to other horror films, and we hint at what the production of this film was like, getting more in detail in the second part. But for now, sit back, relax and enjoy part one of out deep dive into the horror classic, Scream!
(P.S. Can’t believe I called Monica Geller, Monica Beller. My bad)
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“YOU THERE, OGRE!“
On this episode, we cover the first film to ever take home the Best Animated Picture at the Oscars. We talk about the first film in the Dreamworks tent-pole franchise, Shrek, directed by Andrew Adamson and Vicky Jenson, starring Mike Myers, Eddie Murphy, Cameron Diaz and John Lithgow. What was it about Shrek that permeated throughout pop culture for over twenty years since its original release? Was it the fact that it was book-ended by two catchy Smash Mouth tracks? Because it lampooned all of the Disney films we grew up with and came out during the years where we wanted more edgy comedy? Or maybe because it provided the perfect meme template rivaled only by SpongeBob? Perhaps it’s a combination of everything above.
We talk about how the comedy in this film still works to this day. So much of the comedy comes from making fun of fairy tales made popular by Disney, and potentially making fun of people working at Disney, but some of the comedy is on a layer aimed for the adults in the audience. Watching the film 20 years later gives us a whole new level of jokes to notice that we might have missed as kids.We talk about how the comedy of the film doesn’t completely bury the story. While often times our entertainment media might indulge in meta humor, it might come at the expense of the sincerity of the story. Shrek is a little different. While a huge part of the movie is all the jokes made about the fairy tale genre, the film doesn’t forget about what it’s trying to say about it’s underdog characters.
We talk about the legacy of Shrek. While it was great box office success in 2001, spawned two movie franchises, it also meant a lot of different things to a lot of different people. The song All-Star became a hit (again) and inspired some creative people to create mashups and remixes. We talk about how the love story in the film has since become a source of inspiration for real life weddings. We also take a look at some fan fiction that ranges from bizarrely sincere and sweet, to criminally obscene. If you have never heard the phrase “Shrek is love, Shrek is life,” don’t look it up unless you want to revisit peak “no holds barred“ message board ‘humor.’ Seriously.. its gross.Joining us on this episode is Brittnie who chose to talk about Shrek. We love talking to people about their favorite movies, and we were very curious as to what she had to say!
We hope you enjoy this episode, and keep a lookout for our upcoming PATREON launch!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“LET THE DREAM BEGIN, LET YOUR DARKER SIDE GIVE IN“
On this Valentine’s Day, we decided to cover a romantic film for Retro Grade Podcast. Upon a listener’s birthday request, we are going back to 2004’s critically panned, audience adored, movie adaptation of the longest running show in Broadway history.. The Phantom of the Opera, starring Gerard Butler, Emmy Rossum, and Patrick Wilson, directed by the late Joel Schumacher.
We talk about Joel Schumacher’s reputation as a film director, and how he’s made some nostalgic, cult classics, but also a lot of movies people LOVE to hate. Perhaps one of the first directors to feel the unenviable vitriol of comic book fans after 1997’s Batman and Robin. We talk about how from the right perspective, we can find immense entertainment value in his gaudy, camp style. What does he bring to the table in adapting Webber’s widely successful show?
Listeners of the pod know about Jorge’s confession of not being into musicals. However, listeners also know this is probably one of the biggest lies in our show’s now 69 episode run. Like we said, this was by no means a critic’s darling film, but will the faults of the film be too much for Jorge to find Schumacher’s Phantom entertaining?
The casting of the film was also controversial. The vocals for Phantom’s music typically demands exceptional Broadway voices, particularly for the part of the titular Phantom.. and they cast a young, then-unknown Gerard Butler, with no singing background at all. We talk about how his singing (and age) differ from typical stage portrayals of the Phantom. Can Butler hit all those notes? Maybe not like a Broadway singer could, but we can’t help but appreciate the raw, unrefined emotive performance and exceptional cape twirls.
We also get into a bit of things that don’t hold up as well. Somethings that don’t really matter, like leaps in logic that require industrial grade suspension of disbelief. And then there’s somethings we can’t overlook, particularly one scene that unfortunately perpetuates a very harmful stereotype of Romani people. In revisiting older films, these kinds of things are very common, but part of the show is acknowledging those uncomfortable moments rather than glossing over them.
We do a bit of research on how this movie’s budget compared to other musical films of the era, why there was such a huge gap in time between the 1986 show and the 2004 film, some of the various adaptations of Gaston Leroux’s novel, and how one of our favorite scenes in the film was created.
We hope you enjoy this episode, and stay tuned for our upcoming PATREON!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.Artwork by @jannelle_o
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“TREES AND PEOPLE USED TO BE GOOD FRIENDS.“
On this episode of Retro Grade Podcast, we cover our first 2D animated film, Studio Ghibli’s My Neighbor Totoro, written and directed by Hayao Miyazaki from 1988. Although we both know Totoro from seeing that fluffy, grey creature, neither of us have seen the movie he comes from. We only know him as the mascot for Studio Ghibli. However, we are going to be joined by someone who LOVES this movie. Someone who calls My Neighbor Totoro, her favorite movie. Today, we are joined by Austin’s girlfriend, Leanna!
My Neighbor Totoro is a critically acclaimed film, but it is very different from what one might expect from an animated film made for children. We talk about the film’s story, and general lack of a plot, and how that is one of the film’s strengths. We also talk about the timeless, utopian setting, and the film relates to each of us, coming from three different backgrounds. How does a film strike that nostalgia chord that is all so popular now, in a way that doesn’t reference any popular IP?
We talk about how Studio Ghibli released the film as a double feature along with Grave of the Fireflies, and how looking at the two as companion pieces may add an extra layer to our Totoro viewing. Although the film is G rated and targeted for kids, the film is a lot deeper when considering the context of its theatrical run. The context may also opens up a sweet, cathartic scene to something much more meaningful, and can be interpreted as a hopeful response to national trauma.
We also talk about some of the things that get lost in translation between the English and Japanese versions of the film, Hayao Miyazaki’s relationship with his films being adapted for a Western audience, and figure out how you are ‘supposed’ to pronounce “Ghibli.”
This is the first episode we have ever done that isn’t marked “explicit” and we tried really hard to keep the entire episode “safe for work” and profanity free, because Totoro is for everyone! We hope you enjoy!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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On this week’s episode, we finish our retrospective on James Cameron 1997 classic, Titanic. In the previous episode, we summarized the entire story, going through Jack and Rose’s blossoming romance to the Titanic crashing into the iceberg and the aftermath of it all. We talked about our initial thoughts, what worked and what didn’t, mainly how some of the dialogue has not aged well. But as a whole, we all concluded that while not perfect, the story has largely has well enough to still get viewers invested in the love story and in the story of those on the Titanic, both in the wealthy and poor.
From here, we move into the production and reception of the film. We talk about the immense list of actors who were considered for this film, from Matt Damon and Paul Rudd for Jack, to Winona Ryder and Gwyneth Paltrow for Rose, and how Leonardo DiCaprio and Kate Winslet ultimately won out over everyone else. We talk about they’re experience filming, including Kate bruising a bone and getting hypothermia filming the climatic sinking, leading her to say that she would never work for James Cameron again unless she was paid a lot of movie.
We talk about the filming techniques used to film the movie, and how they combined visual and practical effects to bring it all together. We break down specific scenes from the film and how they were shoot using different techniques including using miniatures, building actual sets, using mirrors as set extensions, computer generated imagery being composed with real life elements to bring the early 1900s to life. And we go into how all these techniques were used to film the sinking of the ship, and all the techniques they used to sell the viewer that what they were seeing was actually real. So sit back, relax, and join us in this final episode of Titanic.
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“ITS BEEN 84 YEARS..”
On this week’s episode, we go back and revisit one of the highest grossing films of all time. The behemoth of a movie about the “unsinkable ship,“ Titanic. Written and directed by James Cameron, starring Leonardo DiCaprio, Kate Winslet, Billy Zane, Kathy Bates, and the late great Bill Paxton. We talk about our early memories of the movie, how it came in a two-part VHS cassette package because the film was too long, and how we reacted to seeing the romance between Jack and Rose and the destruction of the ship. We compare and contrast the multiple times we’ve seen the film throughout our lives and how each time we walk away resonating with something we previously didn’t.We cover the story, from the very beginning of Rose stepping onto the Titanic for the first time, and how that might be one of the scenes that hasn’t aged well, to the actual framing device for the film, with an older Rose recounting her experience on the ship before it collided with the iceberg. We go into the multiple ways this framing device not only allows James to creatively insert exposition in order to keep audiences from becoming confused, but also how it creates suspense in the story, every so often remind the audience that the ships inevitable doom is coming.
We go over different elements of the story, from and Jack and Rose’s growing romance, to Billy Zane’s Cal Hockley stealing the show with his incredible line delivery, to the social hierarchy seen in the ship and how that structure may have led to the death of many people on board when the ship finally sank. And there’s plenty that we still talk about, but just like the original VHS, this episode is just too long for one recording, so we decided to split up the entire episode into two parts. So join us, as we dive in on this classic film with out special guest, Aneesa!
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“YOU CROSSED THE LINE“
On this episode, we return to Pandora before the long awaited sequel of the highest grossing film “everybody forgot about.” We are talking about James Cameron’s Avatar, from 2009! We talk about how we weren’t super impressed first time we saw this movie, and how that may have changed 13 years later.
We talk about the new technology used to create the the luscious, flora and fauna paradise planet of Pandora, and pay respect to the artistry of the VFX work done in the film. Also bring up how influential the “performance capture“ technique has been in the films we see today, and how influential the film was for the video game industry. James Cameron himself actually showed up on G4 TV to explain how his camera rigs were able to shoot 3D better than the previous camera set ups!
We talk about James Cameron’s vision, and how time and time again he makes movies that change the way people make movies. We talk about how special the ability for filmmakers to be trusted (and funded) to pursue their crazy vision, without the studio pressure to make a certain kind of movie for a specific, unmovable date.
Avatar is often criticized for its familiar plot. We talk about its similarities with films like Fern Gully or Dances with Wolves, but also talk about how that doesn’t really hurt our enjoyment of the film this time around. Storytelling isn’t always about how it ends, and this story resonated with some people so strongly, there were waves of depression that hit audiences as the film left theaters. Why did people love this movie so much? What makes Avatar so special? That’s what we try to figure out.
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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“I HAVE CROSSED OCEANS OF TIME TO FIND YOU”
On this week’s episode, we talk about the classic 1992 film, Bram Stoker’s Dracula, directed by Francis Ford Coppola starring Gary Oldman, Winona Ryder, Anthony Hopkins, and Keanu Reeves. Celebrating its 30th anniversary this year, we revisit the film to see if what many people consider to be one of the definitive interpretations of Dracula stills holds up.
We talk about Francis’s goal with the film, wanting to be true to the original novel written in 1897, and to differentiate this story from the classic 1931 Bela Lugosi film from Universal Pictures. He wanted to create a grandiose telling, with sets and costume and visual effects that were nothing short of extraordinary and that would pay an homage to classic silent film era techniques but while using modern technology to make sure they had no limitations in what they could show.
We dissect the story, talking about why we liked the film, and trying to see what may be holding us back from loving it. Because for as grandiose as the film may be, that’s no guarantee that everything will work perfectly. Is this an example of style over substance? We talk about the A-list cast present, from young new talent like Keanu Reeves and Winona Ryder to Hollywood veterans like Anthony Hopkins and Gary Oldman, what is the chemistry like among them all and are there some actors we feel that might not well suited for the film?
Lastly, we go over the production of the film, from talking about costumes that were created by Eiko Ishika, who would win an Academy Award for her work in this film, to the visual and special effects created by Coppola’s son, Roman Coppola, and some of the things they had to do in order to get some of the more elaborate shots needed. And we go over some of the more controversial acting decisions Francis implemented on set in order to get the best possible performances from everyone, including having Gary Oldman whisper into the cast ears some potentially problematic things. So join us for our discussion of Francis Ford Coppola’s telling of Bram Stoker’s Dracula.
Music is from Triune Digital and audio clips pulled from movies we will be reviewing in other episodes.
Artwork by @jannelle_o
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