Эпизоды
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Girl, Interrupted was the 70th-highest grossing movie of 1999, released in a very limited run just before Christmas to make it eligible for awards season. It would ultimately go on to earn $48 million worldwide on a $40 million budget.
Directed and co-written by Copland director James Mangold from the memoir "Girl, Interrupted" by Susanna Kaysen, the film was a longtime dream project for star Winona Ryder, who fought hard for years to get it made. It was presented as obvious Oscar bait, but the film had a mixed response from audiences and critics, who found it uneven and lacking a narrative core.
Still, Girl, Interrupted earned universal praise for its performances, including the breakthrough one from Angeline Jolie, who won the Best Supporting Actress Oscar for her performance as the sociopathic Lisa.
It was also praised for what at the time was an unusually nuanced and sensitive portrayal of mental health disorders. But how has Girl, Interrupted aged? Was it too ahead of its time, or is it too of its time to stand on its own today?
John and Julia welcomed Film Twitter superstar Jane Altoids for her take.
Jane is on Twitter @staticbluebat -
If there was a surprise critical and commercial failure for the year, it was Forman’s highly anticipated, Oscar-baiting Andy Kauffman biopic, Man on the Moon.
Among other things, Man on the Moon was touted as a second chance for Carrey to nab a best actor Oscar, following what had roundly been seen as an epic snub for his denial of the award for The Truman Show.
It had a lot going for it - an exploration of the tragic and mysterious life of an obscure but beloved cultural figure, directed by the Oscar-winning director of One Flew Over the Cuckoo’s Nest and Amadeus. Forman had just come off the critical and commercial success of The People Vs. Larry Flynt, written as well by Alexander and Karaszewski, who, with that film and 1994’s Ed Wood had developed a reputation as having cracked the elusive biopic formula, which they described as the “anti-biopic".
Unfortunately, while it did earn his his second consecutive Golden Globe, Man on the Moon was shut out from the Oscars, and the film seemed to find some way to disappoint basically everyone, even those who loved it.
This week, we invited cultural critic and giant Man on the Moon fan Sean Malin to talk about Carrey, Kaufman, and that most uneven of genres, the biopic.
Sean is on Twitter @cinemalins -
Пропущенные эпизоды?
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Payback was something of a surprise - and largely forgotten - minor hit, riding mostly on the coattails of Mel Gibson at the height of his popularity and box office appeal, having come off a string of hits, including 1994’s Maverick, 1995’s Oscar-winning Braveheart, 1996’s Ransom, and 1997’s Conspiracy Theory, as well as the prestige of Brian Helgeland, who had just won an avalanche awards, including the Oscar, for writing LA Confidential as well as the aforementioned Conspiracy Theory.
But the production of Payback also opened a window to some of the personal and professional issues surrounding Gibson that would become increasingly apparent in the years leading up to his career crash in the mid-2000s.
Unhappy with the direction of the film Helgeland wrote and director, Gibson had Helgeland fired and reworked and reshot much of the movie, adding Kristofferson's character to the story and changing much of the tone and arc of the main character Porter.
As a result, Payback is actually two movies - the theatrically-released Gibson vision released in 1999 and the Helgeland cut, released on Blu-ray 7 years later, officially titled Payback: Straight Up.
We had writer and Payback superfan Jim Woods on to talk about both!
You can find out everything you need to know about Jim on his website: Jim Woods Writes -
Spike Lee's Summer of Sam should have been the perfect 1999 movie.
After Lee’s breakthrough 1989 film Do the Right Thing, he was on a roll in the 90s, giving us 1990s’ Mo Better Blues, 1991’s Jungle Fever, 1992’s Malcolm X, 1994’s Crooklyn, 1995’s Clockers, 1996’s Get on the Bus, and 1998’s He Got Game.
And so a gritty, Scorsese-esque New York crime like Summer of Sam headlined by the rising star Brody and Leguizamo at his most popular seemed like a no-brainer. And maybe because its nearly two and a half hour run time just didn’t appeal to audiences in the middle of summer, for some reason SoS (which served as a near-perfect metaphor for the anxiety of pre-Y2K America) just never caught on with critics or at the box office.
But has our equally volatile (and true crime obsessed) 2024 America made the film newly relevant? And where does it stand in Spike Lee's oeuvre?
To discuss, John welcomed back film and culture writer and frequent guest Julia Sirmons to the show.
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For an end-of-summer special, Dan Colón, of CageClub's very own The Monsters That Made Us podcast, joins John to talk about the greed, mayhem, and madness that defined Woodstock 99.
The Woodstock that was just so great that it convinced everybody to never Woodstock again, 1999's 30th anniversary festival (inspired by the relative success of the 25th anniversary Woodstock 94) was...a lot of things. But mostly it was an epic disaster that somehow managed to take bad situations and terrible ideas and make them much worse.
What went wrong?? Well, aside from everything, John and Dan explore some of the specific problems that sent Woodstock 99 into a fiery tailspin, and discuss why this is such and important milestone in how our culture got to where it is today. -
John and Jenn take a crack at explaining the baffling summer 2024 box office. Why did PLANER OF THE APES and FURIOSA fail where INSIDE OUT 2 succeeded? Is the summer movie season a thing of the past? And why do people seem less inclined to go to the movie theater for just ANYTHING?
Covid? Prices? Capitalism? All of the above?
Find out what we have to say in this special summer episode about America's increasingly, depressingly empty cinemas. -
Arlington Road was 77th highest grossing movie of 1999, released 25 years ago last week on July 9th, unfortunately crowded out by some other big releases, namely American Pie, released the same day, as well as Wild Wild West, Tarzan, and The General's Daughter, all in their second weeks.
Directed by acclaimed music video director Mark Pellington (Pearl Jam's "Jeremy"), with a script from future Oscar nominee Ehren Kruger. a score by David Lynch’s personal composer Angelo Badalamenti, and starring two of the finest actors of their generation, Jeff Bridges and Tim Robbins, Arlington Road has a lot going for it.
25 years later, it's also turned out to be one of the most prescient and relevant movies of the year. At times unbearably tense, deadly serious, and eye-rollingly goofy, it's ambitious, uneven, and incredibly entertaining.
Lawyer, occasional movie producer, and writer Matt Belenky is probably the world's most biggest Arlington Road fan (prove us wrong!), so John and Jenn invited him on to look back on this very 1990s genre film.
Find Matt on Twitter @JagrWatch68 -
South Park: Bigger, Longer, and Uncut is...very funny.
It's also absurd, obscene, and one of the best movie musicals not called Moulin Rouge of the last few decades.
The humor of the show and the movie, though, has always been too things - edgy (bordering on shocking) and timely. South Park the series has produced some of the smartest, most incisive satire anywhere in its 25 years of existence, but that kind of humor doesn't always age well?
So how does this movie hold up in that regard? We asked someone who loved it at the time - John's friend George Freitag - if he would still rave to strangers about it at Denny's like he did 23 years ago.
Blame Canada, join La Resistance, and save Terrence and Phillip as we talk about South Park: Bigger, Longer, and Uncut, a title that refers solely to the the fact that the movie is bigger and longer than an episode of the show and did not have to be edited for television!
Find George on Twitter if it still exists @georgefreitag -
Disney’s Tarzan was, as the 6th-highest grossing movie of the year, a big hit. But it also had a giant budget. Made for $130 million, it grossed $171 million domestically and $448 million worldwide.
Tarzan did well with critics, as well. It was nominated for more than 2 dozen different awards, and won the Oscar and Golden Globe for best original song, Phil Collins’ “You’ll Be in My Heart”.
It holds a an 89 percent Rotten Tomatoes score with more than 100 reviews, and 79 Metacritic score with 27 reviews, putting it right in the middle of the pack of the so-called Disney Renaissance films.
But, oddly, this de facto grand finale of the Disney hand-drawn era just doesn't loom as large as the like of The Lion King, Aladdin, Beauty and the Beast, or even Hercules.
It will, however, always be in the heart (get it?) of our guest, artist and senior editor at IDW, Heather Antos. She joins John and Joey to talk about why Tarzan is great and deserves its seat in the Disney pantheon.
Heather is on Twitter @HeatherAntos -
Three to Tango was the 126th-highest grossing movie of 1999, sandwiched between two movies we have covered already, Drop Dead Gorgeous at 125, and Bats at 127.
It opened in 8th place (behind Bats, which it would ultimately outgross) on the very not rom-com season of October the 22nd, going on to gross 10 and a half million dollars worldwide on a 20 million dollar budget.
Three to Tango - which, we can't stress enough, features no tango or dancing of any kind - was written by Aline Brosch McKenna, who would go on to write romcoms like 27 Dresses and Laws of Attraction in addition to the likes of Morning Glory, Cruella, The Devil Wears Prada, and We Bought a Zoo, along with Rodney Patrick Vaccaro, who did not go on to write those things
Starring Matthew Perry, Neve Campbell, Dylan McDermott, Oliver Platt, John C. McGinley, Bob Balaban, Deborah Rush, Kelly Rowan, and (appropriately) Sue for Swingers Patrick van Horn, Three to Tango has a stellar cast, but it was not one of the highest grossing romcoms of the year.
She's All That, however, was. So we invited the writer of that movie, R. Lee Fleming Jr., to talk to us about Three to Tango.
Lee is on twitter @QualityShorts -
Never Been Kissed was the 43-rd highest grossing movie of the year, just edging out last week's Forces of Nature (though proving far more profitable) at the box office.
Never Been Kissed opened April 9th, pitting it against The Matrix in its second week, but still managed to post an impressive second place finish for the week, taking in 14 million dollars. This is largely thanks to the overwhelming popularity of star Drew Barrymore, coming off consecutive romantic hits in 1998 with Ever After and The Wedding Singer.
It's a strange movie with an, um, uncomfortable premise. It's part farce, part tragedy, part love story (all of which tends to be true of Shakespeare's plays, from which it draws its narrative template). Never Been Kissed also became a huge home video hit, watched a rewatched by its target demo for years after, as Barrymore's "Josie Grosie" became an Elder Gen-X/Millennial folk hero.
This week, John and Jenn welcome comedians, podcasters, and, as of recently, authors Trae Crowder and Corey Ryan Forrester to talk about high school trauma, inappropriate relationships, the ethics of the 1990s, and Drew.
Trae is on Twitter @traecrowder
Corey is on Twitter @coreyrforrester -
Forces of Nature was the 44th highest-grossing movie of 1999, opening at #1 at the box office on March 19th and taking in 17 million dollars in its first week, going on to make 94 million worldwide on a budget of (somehow) 75 million dollars.
Starring Sandra Bullock and Ben Affleck at a time when both actors' stars were at a high point and one of just a few features directed by accomplished television director Bronwen Hughes, Forces of Nature was the follow-up to her 1996 adaptation of Harriet the Spy, and written by Family Ties writing alum Marc Lawrence, who also wrote 1999’s The Out-of-Towners and would go on to reteam with star Sandra Bullock for Miss Congeniality 1 and 2 as well as Two Weeks Notice with Hugh Grant.
Forces of Nature has a weird and very 1999 visual aesthetic that flies in the face of rom-com tradition, and it dares to at least try something unique and different instead of adhering to genre conventions. It's a stranger, surprising movie. But is it a good one?
You can find Julia and her work on her website, juliasirmons.com -
Four special guests share their fond memories of the movie that (re)started it all: Star Wars: Episode One - The Phantom Menace.
This is followed by a rerelease of our Phantom Menace episode, the second in the podcast's history, with Brian Silliman and Matt Romano from the podcast RETURN OF THE POD: A Star Wars Podcast.
Enjoy. And may the Force be with you, always. -
Blast from the Past was 75th highest-grossing movie of 1999, opening at #4 at the box office on Valentine’s Day weekend and going on to take in $40 million worldwide on a $35 million budget.
The first of two 1999 collaborations between director Hugh Wilson and star Brendan Fraser, Blast from the Past included a stellar supporting cast, including Alicia Silverstone, Christopher Walken, Sissy Spacek, Dave Foley, Nathan Fillion, Joey Slotnick, and the legendary Jennifer Lewis.
Critics were pretty even split on it - partly because it was inevitably compared to 1998's Pleasantville - and none were especially effusive in their praise, but it went on to find a charmed audience on home video and has emerged as the quintessential "hidden gem" in the years since.
One if its fans is actor Samm Levine, who graced the small screen in 1999 in the beloved (and prematurely canceled) television series Freaks and Geeks. He joined John and Jenn to talk Walken, swing dance, and his most famous creation, the beloved character Zoot Suit Ryan. -
Pushing Tin was the 135th-highest grossing film of the year, grossing 8.4 million dollars on a 33 million dollar budget, opening April the 23rd, 1999 as the #4 movie at the Box Office behind The Matrix, Life, and Never Been Kissed.
Directed by Four Weddings and a Funeral and Donnie Brasco director Mike Newell and written by Cheers co-creators Les and Glen Charles, Pushing Tin felt like a sure thing, especially given its very of-the-moment core cast of John Cusack, Cate Blanchett, Billy Bob Thornton, and Angelina Jolie.
But it never left the runway (get it) with audiences or critics.
What went wrong? And is Pushing Tin a forgotten gem, or was everyone right about it 25 years ago?
This week, John and Jenn are joined by comedian Joe Kwaczala to talk about this weird, uneven, confused, and very pre-9/11 romcom-dramedy thing!
You can find Joe on most of the socials @joekjoek -
Mickey Blue Eyes was just the 61st-highest grossing movie of 1999. The only major US release of the weekend of August 20, 1999, Mickey Blue Eyes opened in third place while The Sixth Sense continued to dominate the box office. It would go on to make $54 million on a $75 million budget.
Directed by Kids in the Hall alum Kelly Makin and written by Robert Kuhn and Adam Scheinmann, it was ostensibly a romcom vehicle for Hugh Grant and Jeanne Tripplehorn but works better as a romcom between Hugh Grant and James Caan.
Critics were iffy, with most still praising Grant for carrying the movie with a pitch-perfect performance playing to all his strengths as both a comic and dramatic actor and acknowledging the fun of the premise as well as the strength of the jokes but faulting it for failing to carry those things through. Many also pointed to the fact that, upon release, Mickey Blue Eyes was already the inferior Hugh Grant movie after Notting Hill, and the inferior mob comedy after Analyze This.
Joining John and Jenn to talk about it this week is writer Meghan Leigh Paulk. You can find out more about Meghan on her website. -
We take a quick detour to discuss the 1999-adjacent Investigation Discovery series QUIET ON THE SET, which looks into the toxic, harmful atmosphere at Nickelodeon in the 90s and 2000s under showrunner Dan Schneider, as well as the subsequent instances of child sex abuse as detailed by DRAKE AND JOSH star Drake Bell.
You can find Jenn's coverage of the documentary and some of its fallout on Distractify, including this breakdown of what's been going on with Dan Schneider of late: https://www.distractify.com/p/where-is-dan-schneider-now -
This week, we take a look at one of 1999’s biggest surprise hits, the 38th-highest grossing movie, which took in a very impressive $103 million on a budget of just $10 million, She's All That.
She's All That opened at #1 on January 29, boosted by being nicely timed around Valentine’s Day and by coming out in one of the least-competitive box office periods of the year. Directed by Robert Iscove and written by friend of the show R. Lee Fleming Jr, She's All That boasts one of the most incredibly deep casts of 1990s icons, as well as launching the career of the titular "she" Rachael Leigh Cook.
It is the very definition of the nostalgic favorite, and it finds charm and humor in places not typical of the teen rom-com genre. So this week, we invited comedy writer Chase Mitchell to join us down by the broken treehouse to talk all about it, so bring your flowered hat as we see if, all these years later, this ugly duckling is still a swan.
You can find Chase on Twitter @ChaseMit
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Runaway Bride, the other 1999 Julia Roberts rom-com, was the 9th-highes grossing movie of the year, sandwiched between The Mummy at 8th and The Blair Witch Project at 10th.
And while Runaway Bride did far worse with the critics to the vastly superior Notting Hill, its box office performance was likely boosted by two factors: unlike Notting Hill, it didn't open against Star Wars, and - more importantly - it was billed as a spiritual sequel to the movie that put Julia Roberts on the map, 1990's smash hit Pretty Woman, reuniting stars Roberts and Richard Gere and director Gary Marshall.
Runaway Bride is a written-by-committee tonal, structural, and thematic mess. But it has its charms, and it boasts an insanely talented supporting cast (and a picturesque Maryland town) that keep the comedy and appeal afloat.
Jenn's person Greg Pilgrim joins the show to talk about eggs, lamps, and the scientific term for a group of orioles. -
Notting Hill was the 16th-highest grossing movie of 1999, opening Memorial Day Weekend, May 28th, and in 2nd place earning $27.7 million (behind #1, The Phantom Menace, which, then in its second weekend, earned $67 million).
It would go on to make $116 million domestically and $364 million worldwide on a $42 million budget.
Notting Hill was the second of several successful ventures between Grant and writer (and Mr. Bean creator) Richard Curtis, following 1994’s Four Weddings and a Funeral and predating 2001’s Bridget Jones's Diary (which Curtis adapted from Helen Fielding's enormously popular novel) and 2003’s Love Actually.
It has gone on to be one of the most revered and beloved romantic comedies of all time, so to kick off our round on 1999 RomComs, we give you our longest episode ever: A love letter to great comedy, peak Hugh Grant, and the joy of close friendships.
John's wife Courtney joins the show for the first time, and John and Jenn also talk to a very special guest - the iconic extra who Hugh Grant refers to affectionately as Cookie Monster in the opening voiceover. - Показать больше
