Episoder
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There are only a handful of directors whose films feel like events. From the 90's class of directors, there's Quentin Tarantino, Paul Thomas Anderson and Wes Anderson. The latter Anderson's films have only grown in popularity and mainstream appeal. For better or worse, along with Tarantino, Wes Anderson has a built a brand around his name. In 2004, Anderson experienced his first flop with his $50 million Disney swan song, "The Life Aquatic with Steve Zissou." Co-written by Noah Baumbach, the film remains his most divisive with its stoner vibes, curmudgeonly hero, and violent pirate shootouts.
Certified Wes Stan Nick Laskin returns to the podcast to show love to one of his all time guys and the underrated "Life Aquatic." Join us as we discuss the growing popularity of Wes Anderson's aesthetic, his early collaborations with Owen Wilson and Baumbach, the low-key beauty of Willem Dafoe's performance, accent debates, that great Seu Jorge soundtrack, and the influence Anderson has had on future generations of filmmakers.
You can find Nick's writing on his Substack.
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Danny Boyle and Leonardo DiCaprio head to Thailand to drink snake blood and cuck French guys in "The Beach."
In 1996, Danny Boyle was riding the success of "Trainspotting" and American studios were lining up to give him a shot at the big leagues. In 1999, Boyle teamed with Fox and Leonardo DiCaprio for his first big post "Titanic" role to bring Alex Garland's 1996 novel "The Beach" to the big screen. Unfortunately, "The Beach" failed to bring even the most die-hard DiCaprio fans to theaters, with critics giving Boyle the worst reviews of his career. Writer and filmmaker Alex Kolpan joins the podcast to break down the troubled production, as well as Boyle's beef with Ewan McGregor, Leo's early attempt to break out of teen stardom and into Serious Actor territory, underwater sex scenes, destroying beaches, and Moby.
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Mangler du episoder?
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James Gray has quietly made a name for himself as one of the most underrated modern filmmakers of the 21st century. From his 2000 breakout "The Yards" to last years "Armageddon Time," Gray's films have often been festival and critical darlings, but rarely had crossover appeal. After a 7 year hiatus, Gray reunited with Joaquin Phoenix and Mark Wahlberg for his first studio film, "We Own the Night." Unfortunately, the film once again failed to give Gray the crossover hit that some of his peers experienced, while leaving critics divided. Australian director John Hillcoat had a similar fate in the 2000's, adapting big literary works and garnering the support of some of our most beloved actors, without ever fully connecting with mainstream audiences. His 2016 dirty cop thriller "Triple 9" gave Hillcoat his biggest ensemble yet, led by Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Woody Harrelson, Aaron Paul and Kate Winslet auditioning to be Natasha in "Rocky and Bullwinkle." Like Gray's cop thriller, "Triple 9" failed to find crossover appeal.
Two certified Gray heads William Breen and Nick Laskin join the podcast this week to show love to Hollywood's best kept secret. We break down Gray's relationship with muse Joaquin Phoenix, the golden era of Mark Wahlberg as a legitimate actor, Anthony Mackie as one of our best shit-talkers, typecasting Aaron Paul post-Breaking Bad, Clifton Collins Jr.'s little ponytail, and Kate Winslet's misguided era of wacky accents.
You can find William's films on Vimeo and subscribe to Nick's writing on his Substack.
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Spike Lee tackles disco and serial killers in his 1999 flop “Summer of Sam.”
1999 was a landmark year for cinema with directors like Paul Thomas Anderson, David Fincher, Spike Jonze, Stanley Kubrick, David Lynch, Michael Mann and Martin Scorsese releasing new films. Often forgotten is Spike Lee’s kaleidoscopic vision of the Son of Sam’s 1977 summer of terror, “Summer of Sam.” Featuring an ensemble led by John Leguizamo, Adrien Brody and Mira Sorvino, Lee’s film captured a volatile, frightening moment in America with his usual chaotic flare.
Critic and co-host of The Good, the Bad and the What, Ryan Oliver, joins the podcast to break down Lee’s sweatiest film since “Do the Right Thing.” Did critics have a bone to pick with Lee after his hot streak in the early 90s? Why didn’t Leguizamo get the leading man career he deserved? Was the story’s lack of focus on the Son of Sam a detriment to the films success? Is the Son of Sam the most relatable serial killer? Find out now in our latest edition of Auteur Misfires.
Listen to Ryan’s podcast The Good, The Bad, and The What!? wherever you get podcasts!
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In the mid-90s, Tim Burton and Steven Spielberg were two of the most beloved directors in Hollywood. Spielberg was coming off his first Oscar for "Schindler's List" while Burton was riding the hot streak of Batman movies, "Edward Scissorhands," "Beetlejuice" and the Oscar-winning "Ed Wood." Burton's luck ran out with his first critical and financial bomb, "Mars Attacks!" featuring a stacked ensemble of actors like Jack Nicholson, Glenn Close, Natalie Portman, Pierce Brosnan and Sarah Jessica Parker. Meanwhile, Spielberg followed up the massive success of "Jurassic Park" with his first sequel "The Lost World," bringing Jeff Goldblum back to the franchise with rising stars Vince Vaughn and Julianne Moore in tow.
Musician and writer Devon Hansen joins the podcast for the first time to discuss the nostalgia of "Mars Attacks!" and Burton's fall from grace. In the second half of the episode, cinematographer Matthew Hayes returns to the podcast for a look back at Spielberg's 50 year career and how he phoned it in with "The Lost World."
You can find Devon on Instagram and Bandcamp and Matthew at his official website.
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We're back in action with a pair of political thrillers starring heavyweight stars of the 90's! That's right, there was a time when Hollywood produced big budget thrillers for adults starring bonafide movie stars! First up, it's Alan J. Pakula's return to the paranoia thriller with 1993's "The Pelican Brief," starring Julia Roberts and Denzel Washington as a law student and journalist caught up in a conspiracy to assassinate members of the supreme court, who definitely do not fuck at any point. After that, it's Richard Donner's aptly titled "Conspiracy Theory," which finds Julia Roberts falling in love with a paranoid cab driver who stores Tapioca pudding in a pad-locked fridge, played by Mel Gibson at the peak of his career.
Actor and writer Morgan Phillips returns to the podcast to break down the tonally confused madness of "Conspiracy Theory" and the sleepy thrills of "The Pelican Brief." Can the star power of Denzel and Roberts make up for a by-the-numbers script? Did Mel Gibson really improvise a conspiracy about the streets of New York being covered in cum? Why wouldn't Denzel agree to kiss Julia Roberts on screen? Is Stanley Tucci one our most underrated actors? Why didn't Hollywood produce more MKUltra themed rom-coms? Find out right here on the hottest podcast in America.
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Buckle your fucking seatbelts because it's time to go ballistic as Auteur Misfires enters the 90's.
Kicking things off, it's Clint Eastwood's return to the podcast with one of his forgotten cop thrillers, "The Rookie" starring Eastwood, Charlie Sheen and Raul Julia. After that, we're headed into the Wooniverse with John Woo's second American feature, "Broken Arrow" starring John Travolta, Christian Slater and Samantha Mathis.
Cinematographer and resident 9/11 correspondent Jake Ures returns to the podcast to unpack the complicated politics of Eastwood, the balletic action of Woo, Travolta as a virile American superstar, Eastwood getting raped(?) by Sonia Braga, and the failed action career of Howie Long.
"The Rookie" is currently streaming on Max. "Broken Arrow" is available to rent wherever you rent movies. You can find Jake's work on his official website.
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We're kicking off month 3 of Auteur Misfires with a pair of 1986 coke-noirs from two of the most iconic directors of the 20th century. First up, it's Hal Ashby's unlikely swan song, "8 Million Ways to Die" starring Jeff Bridges, Rosanna Arquette and a ponytailed Andy Garcia in Scarface mode. After that, it's John Frankenheimer's adaptation of Elmore Leonard's "52 Pick-Up" featuring Roy Scheider, Ann-Margaret and an all-timer villain performance from John Glover.
Why did Ashby's career decline so rapidly in the 80's? Was Frankenheimer one our most underrated filmmakers? What the fuck was going on in Ann-Margaret's career? Why is Roy Scheider rarely mentioned in the echelon of great 70's actors? Is this cinema's first and last snow cone showdown? Find out right now on this very scummy edition of Rotten Rewind.
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Just in time for the 4th of July, it's Alex Cox's radical, career-killing satire, "Walker."
It's hard to imagine a more radical film being made in the studio system than Alex Cox's "Walker." Shot on location in Nicaragua with a predominately Nicaraguan crew, "Walker" was Cox's scathing satire on William Walker, the man who colonized and attempted to rule over Nicaragua in 1853. Featuring a career-best performance by Ed Harris, "Walker" was nearly forgotten to time just as the real-life Walker was, until Criterion introduced it into its collection 20 years after Universal buried the film in a handful of theaters.
Writer and critic Olivia Willke joins the podcast to examine the film that effectively ended Cox's short-lived career as a filmmaker in the studio system. It was no surprise audiences didn't respond to a film this strange and uncompromising, but why did so many critics despise Cox's anti-biopic? Join us for a look back at Alex Cox's brilliant "Walker."
If you're in Chicago, don't miss Olivia's upcoming programming of "SexWorld." Tickets are on sale now and you can get a discount using the code LIV10.
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Ever listen to Simon & Garfunkel and wonder what Art Garfunkel's balls look like? Curious what an Austrian/Brooklyn accent would sound like? Then we have the perfect double feature for you.
Like so many other directors in the first part of this series, Nicolas Roeg had an incredible run of films in the 1970's. From the critically acclaimed "Don't Look Now" and "Walkabout" to the David Bowie-starring cult hit "The Man Who Fell to Earth," Roeg had prominently secured himself as the best cinematographer turned director of his time. Roeg's 80's output was far more divisive and obscure though. Today on the podcast, we're diving into two of Roeg's most controversial and critically maligned films with the Art Garfunkel/Theresa Russell meditation on obsession and possession, "Bad Timing," followed by the epic true story "Eureka," featuring Russell, Gene Hackman, Joe Pesci, Mickey Rourke and Rutger Hauer.
Writer and director Alex Kolpan joins us to unpack these X-rated thrillers and all things Roeg. We'll dive into his longtime creative and romantic partnership with Russell, the reason we keep returning to Roeg's work, Yassified Harvey Keitel, voodoo orgies, and the acting career of Art Garfunkel and his balls.
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It's rare that both the original and remake of a film are critically maligned, but that's exactly what happened to Lina Wertmüller's 1974 class satire "Swept Away." Wertmüller's 70's run with muse Giancarlo Giannini culminated in her becoming the first woman ever nominated for directing at the Academy Awards in 1977, but "Swept Away" was a rare critical misfire for the auteur. So what happens when the biggest popstar in the world and her in demand director husband decide to remake it nearly 30 years later? Well, it results in the lowest rated film we've ever covered on the podcast. Guy Ritchie and Madonna made what was essentially the CliffsNotes adaptation of Wertmüller's film, almost completely removing any political context, turning it into more of a standard romcom, but keeping many elements of the original that turned so many critics off at the time. What alienated American critics from the 1974 original and how could a Madonna-starring remake have gone so, so wrong? There's only one place to find out.
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On this week's double feature, we're taking on a pair of 1960's psychosexual thrillers featuring Elizabeth Taylor in the prime of her career. First up, it's the aforementioned "Reflections of a Golden Eye" featuring a pre-Godfather Marlo Brando as a repressed army captain who's being publicly cucked by his horny wife (Taylor) as he quietly longs for the mysterious new cadet riding riding horses naked on the base (a very young Robert Forster). After that, it's Joseph Losey's 1968 tale of two freaky women using each other to overcome their individual grief with "Secret Ceremony." Featuring Taylor alongside Mia Farrow and Robert Mitchum at his absolute filthiest, "Ceremony" was akin to a modern day A24 horror movie at the time, written off as another pseudo-horror film operating under a "Psycho" facade. Join us as we travel back the Hollywood in the late 60's for a pair of freaky Elizabeth Taylor thrillers from two Hollywood legends.
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In 1999, Time Magazine compiled a list of The 100 Worst Ideas of the 20th Century. "Ishtar" was on the list. So was Michael Cimino's career-derailing, studio-bankrupting "Heaven's Gate." Both films became synonymous with financial disasters. While Cimino continued to work, albeit not on the same scale as his previous features, Elaine May never directed another film again. And while "Ishtar" didn't bankrupt Columbia Pictures, it did result in the studio being sold to Sony after the $50 million dollar "Ishtar" crashed at the box office. The film became a punchline. A cautionary tale. It's commonly referred to as one of the worst films ever made. But is "Ishtar" really that bad? (Spoiler Alert: "Ishtar" is actually good.)
Filmmaker Andrew Jacobson returns to the podcast for a deep-dive on the most notorious bomb of the 20th century. We recount the red flags leading up to the torturous production, leaked stories of on-set turmoil, Warren Beatty's wavering commitment to May's vision, and the short, but brilliant directorial career of one of our finest directors.
You can find Andrew's work on Vimeo.
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Twenty-five years after Peter Bogdanovich's self-distributed critical failure "They All Laughed" was quietly released in a handful of theaters, Quentin Tarantino declared it one of his top ten favorite films of all time. Soon after, fellow 90's auteurs like Wes Anderson and Noah Baumbach reclaimed it as one of Bogdanovich's very best. Today, it's been mostly reappraised as an underrated entry in the prolific director's long career. But in 1981, the film was marred by controversy after the tragic death of one of its breakout leads, Dorothy Stratten. Like Coppola's "One From the Heart" (also barely released in 1981), the film caused its director to spiral both mentally and financially.
Podcast regular, writer and critic Nick Laskin, helps us unpack the complicated life and career of Bogdanovich, including his stellar early 70's run, his infidelity, and his broken streak after his divorce from Polly Platt. We also dive into Stratten's all too brief career, Audrey Hepburn being brought out of semi-retirement to act in a story that closely resembled her own off-screen affair with Ben Gazzara, and the criminally underrated scene-stealer, Colleen Camp.
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The Godfather. The Godfather Part II. The Conversation. Apocalypse Now.
It's hard to think of a director with a better consecutive run than Francis Ford Coppola in the 70's. The winner of five Academy Awards and nominee of 7 more during the decade, Coppola was quickly being hailed as the greatest American filmmaker of his generation. Sure, the "Apocalypse Now" shoot was notoriously troubled and nearly killed the director, but he was in the lucrative position to make whatever the hell he wanted in 1981.
Based on a desire to work within a controlled environment after the unwieldy "Apocalypse Now" shoot and to boost his burgeoning Zoetrope Studios, Coppola set his sights on the musical "One From the Heart." But what was supposed to be a $12 million love story shot exclusively on sound stages, soon became a $26 million fiasco that saw Coppola selling his beloved Zoetrope Studios and spending the next decade on studio hired jobs trying to pay back to his debts.
Critic and writer Logan Kenny rejoins the podcast for a look back at Coppola's first major disaster. Featuring an ensemble cast headlined by Teri Garr, Raul Julia, Natassja Kinski, and most forgettably, character actor Frederic Forrest in the leading role, "One From the Heart" was a near career-ending disaster at the time, but has been reappraised ever since its re-release in 2003. Was Coppola's love story overshadowed by his desire to push technical boundaries? Does Dean Tavoularis' ingenious set design and Tom Waits' gorgeous score salvage a paper thin love story? Is Frederic Forrest a leading man? Did anybody look better on screen during the 80's than Natassja Kinski? Join us now for a melancholic trip back to the artificial Las Vegas of Coppola's dreams.
You can find Logan's writing on The Film Stage and Letterboxd.
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In 1976, Martin Scorsese could make what ever movie he wanted to. Riding the success of "Taxi Driver" and the four Oscar nominations it brought in the following year, Scorsese was given his first real blank check. In an effort to showcase his range before getting pigeonholed as the guy who makes gritty New York crime movies, Scorsese cashed in his check by paying homage to the classic 1940's musicals of his childhood. What followed was one of the most tumultuous productions of its time. Going into production without an actual shooting script, the film inevitably went over budget, hindered by on-set affairs, the death of an editor, and lots of cocaine. Almost 50 years later, "New York, New York" has been reappraised for its unexpectedly devastating depiction of a toxic relationship. But why did the film fail to connect with audiences and critics at the time of its release?
Actor Hannah Zipperman joins us to discuss the sprawling love letter to MGM musicals, and her lifelong love of Hollywood's biggest star, Liza Minnelli. We dive into the toxicity of the central relationship, how modern audiences might reject it, and how the film might have failed Minnelli. Is "New York, New York" the rare misfire in the career of our most cherished American director, or a flawed, misunderstood masterpiece? Find out now as we begin our months long descent into the world of Auteur Misfires.
You can find Hannah on Instagram @hannahzipperman.
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The male and female gaze clash in this week's Gaslight/Gatekeep/Girlboss double feature as we look back on two critically trashed stories of female empowerment and revenge. Illustrator Ella Talkin returns to the podcast to break down the opposing visions of Annette Haywood-Carter's 1996 adaptation of Joyce Carol Oates's "Foxfire" and Zack Snyder's ultimate blank check fantasy "Sucker Punch." One is a sensitive portrayal of young women united by their abuse in 90's grunge-era Portland starring Angelina Jolie in a star-making performance. The other is a teenage boy's wet dream where institutionalized women work through their collected traumas by engaging in fantastical battles against steampunk nazis scored to hip-hop remixes of Queen.
Did the botched release date of "Foxfire" sink its chances of reaching a broader teen audience? Was Angelina Jolie ever not going to be a movie star? Hey, is that pre-Rilo Kiley Jenny Lewis in her big screen debut?! Is "Sucker Punch" Zack Snyder's misunderstood take-down of the male-dominated comic book culture or does it just become the very thing it's critiquing? Why is Jon Hamm here? Why is Emily Browning covering "Where is My Mind?" and "White Rabbit" in one movie? When is Scott Glenn going to play Robert Durst? We're answering all your burning questions with a special podcast shout-out to Dash Mihok and Peter Facinelli.
You can find Ella's amazing illustrations on her website and find her on Instagram @ellatalkin!
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It's Rotten history on the podcast today as we go all the way back to 1969 and 1971 for the two oldest films ever covered on the podcast. Generally it's hard to find many Rotten films made before 1980, so we're lucky we were able to find the perfect pair of gaslighting thrillers from the New Hollywood era.
First up, it's Robert Altman's sophomore feature "That Cold Day in the Park" starring Sandy Dennis as a lonely spinster who develops an unhealthy fixation with a mute teenage boy. After that it's the early 70's cult favorite "Let's Scare Jessica to Death" starring Zohra Lampert as the titular Jessica. Critic and writer Olivia Willke returns to the podcast to unpack the enduring horror of "Let's Scare Jessica to Death" and the prolific, versatile career of Robert Altman.
We also explore the origins of Rotten Tomatoes, the pornification of "spinsters," hippie communes, what 30-something men looked like in the 70's, and the counter culture's transitionary period in the late 60's.
You can find Olivia @littlebirdliv and read her latest piece on the beauty of Michael Bay and action films at https://observer.com/2023/02/action-movies-have-become-sterile-bores-and-need-more-human-vision/
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For our Gaslight/Gatekeep/Girlboss finale, we're paying tribute to our Rotten Queen Sandra Bullock and two of her most unhinged romantic comedies. First up it's the 90's sleepover cult favorite "Practical Magic" directed by Griffin Dunne (yes, that Griffin Dunnen), featuring Bullock and Nicole Kidman in purple shades as a pair of witchy sisters who use their powers to find love and murder a Bulgarian cowboy (twice). After that, it's Bullock's oft-forgotten pairing with Ben Affleck in "Forces of Nature." Directed like a Danny Boyle trip-hop video by Bronwen Hughes, the rom-com update of "Planes, Trains and Automobiles" saw Bullock as a free spirited party girl on an unexpected road trip with Affleck as a straight-laced husband-to-be.
Jean Yannarell joins us to unpack Bullock's late 90's run and why "Practical Magic" makes up at least 42% of her personality today. Have two studio comedies ever been so beautifully or daringly photographed? Did "Practical Magic's" jarring tonal shifts throw off critics and audiences at the time? Was Affleck fatally miscast in "Forces?" Has any actor-turned-director ever had a weirder filmography than Griffin Dunne? Does anybody remember Bran Van 3000? And can anyone ever replicate the magic of Sandra Bullock? Find out right here on our Gaslight/Gatekeep/Girlboss miniseries finale.
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Do you remember when Angelina Jolie and Brad Pitt spent their honeymoon making a movie about the disintegration of a married couple on the island of Malta? According to the movies box office and 35% score on Rotten Tomatoes, you probably don't. But in 2015, the couple formerly known as Brangelina quietly released the slow burn marital drama "By the Sea."
Dismissed by critics as an indulgent vanity project for the most beautiful celebrity couple alive, "By the Sea" has drifted into obscurity over the years, but has always kicked around in the back of your beloved hosts minds. Moving at an often catatonic pace with a whispery Angelina Jolie performance that mostly consists of her doing her make-up and lounging morosely in her gorgeous seaside villa, the film is hardly without its flaws, but there's a lingering sensation to its opaque meta-romance that's impossible to deny.
So join us for a trip down tabloid memory lane for the couple's last hurrah, as well as a rundown of the podcast's most obscure movies according to Letterboxd, as well as another special podcast shout-out to the 1999 air traffic control romance, "Pushing Tin."
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- Se mer
