Bölümler
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Around the midpoint of 2024, as Tristen and Max reform the podcast you know and love, they take a look back at the first half of the year for some of the big swings and occasional misses of their cinema experience. Then, they turn towards the future and what they're most excited for in the latter half of 2024. Maybe this serves as recommendations, but Tristen and Max have some fun talking about what they love about movies.
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On the sixtieth episode of the Cinematic Odyssey, Tristen and Max dive into John Cassavetes's experimental indie film Opening Night. Through discussion of Cassavetes's unconventional storytelling, massive narrative undertaking, and relationship with the film's star, the guys try to decide whether the film is a masterpiece or lacking in some areas. Make the call yourselves, but please stay out of the street afterwards.
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On the fifty-ninth episode of the Cinematic Odyssey, Tristen and Max return from an extended alien abduction to discuss Wes Anderson's latest feature, Asteroid City. One of Max's favorites, he delves into why the content and substance of the film works so well, and Tristen uncovers why it might not be one of his better pieces. The ensemble cast receives praise and there are lots of laughs to go around, with the episode also including a sneak peek into what Tristen and Max have been able to see in the weeks absent on the alien ship. You won't want to miss it!
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On this bonus episode of the Cinematic Odyssey, Tristen and Max walk you through their picks, predictions, and thoughts on every award category. For insight on major awards like screenplay, acting, directing, and Best Picture, skip to the one hour mark of the episode. Max monologues about the shorts and documentary nominees while Tristen stews with the anxiety of his worst nightmare coming true this awards season. What might that be? Give it a listen and laugh along with us as we prep for the 96th Academy Awards.
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On the fifty-eighth episode of the Cinematic Odyssey, Tristen and Max take a look at Jonathan Glazer's Oscar-nominated film The Zone of Interest. Tristens walks you through why he believes this is the best film of the decade so far and Max provides insight on the acting value that the film has to offer. Both are chilled and in awe over the haunting nature of a film that features no on-screen atrocities, yet still provides the same repulsion. Even the sound and score are incredible, creating a terrifyingly quaint depiction of life next to a death camp.
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On the fifty-seventh episode of The Cinematic Odyssey, Tristen and Max dive into 2024 Best Picture nominee Past Lives, the feature directorial and screenwriting debut of Celine Song. Hear why they loved the film, what great secrets are hidden in the camerawork, and Max's next musical theatre history rant that actually has some merit. This is a film you'll want to see at some point in your life, one that's sweet and romantic and hopeful for this life, all the lives that came before, and every life that comes after.
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On the fifty-sixth episode of the Cinematic Odyssey, and special Valentine's edition, Tristen and Max uncover the beautiful mystery of Richard Curtis's Love Actually. One of Max's favorite rewatches come holiday season, Tristen enters with no expectations and the result does not shock you at all. Discussing the writing, performances of the ensemble cast, and even Richard Curtis's other works, this episode is sure to be one that captures that special feeling for you and a loved one, otherwise it probably would be creepy. Also, if you missed your seminar on workplace harassment, this is the place to be!
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On the fifty-fifth episode of the Cinematic Odyssey, Tristen and Max return from hiatus to their shortest episode ever! In it, both discuss thoughts and opinions on Soviet director Mikhail Kalatozov's 1960 adventure film Letter Never Sent, the same director that directed Tristen's top overall film of 2023. Tristen gushes on visual effects and technical capabilities, Max slams a man named Konstantin, and there are plenty of puns to go around.
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On the fifty-fourth episode of the Cinematic Odyssey, Tristen and Max take their first look at the extensive filmography of Masaki Kobayashi and his samurai tale Harakiri. A masterful philosophical discussion applicable to this day, several interlacing stories are told in a disgraced samurai's path to commit ritualistic seppuku or harakiri. Tristen and Max get into the ethical issues of the film and how it appears to American society, talk about the hairstyles that make men, and a bit of Oscar nomination buzz including Tristen's most shocking revelation on the podcast.
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On the fifty-third episode of the Cinematic Odyssey, Tristen and Max walk through both ends of the spectrum of their 2023 in film. A number of past episodes are referenced and some shock and awe is included while both lists are blind-revealed live on the podcast. Your hosts share their bottom 5 and top 15 films that they saw for the first time in the calendar year 2023 and reveal a few more honorable mentions that didn't get the light to make the list.
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On the fifty-second episode of the Cinematic Odyssey, Tristen and Max venture into Frank Capra's holiday classic It's a Wonderful Life. While wandering through the early failings of this movie, both comment on the story quality and the moral philosophy behind the film. Tristen provides his commentary on the Monopoly Man, Max has another game show up his sleeve, and both present the hidden theme of the film that goes over the heads of most viewers. Stick around, you won't want to miss this episode!
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On the 51st episode of The Cinematic Odyssey, Max and Tristen tackle the enigmatic, seductive, and oh so frightful final film from the cinematic legend Stanley Kubrick. As it was tradition with Kubrick and his work, Eyes Wide Shut was mired in controversy. Ranging from the taboo themes and scenes, the record-breaking filming period, Kubrick's untimely death, studio intervention, and a lot more. Max and Tristen discuss the wild ride that is Eyes Wide Shut, the final film to cap Kubrick's immaculate body of work and the film that he claimed to be his "greatest contribution to the art of cinema."
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On the fiftieth (!) official episode of the Cinematic Odyssey, Tristen and Max revisit Wong Kar-wai for the second time on the podcast, for In the Mood for Love, what many consider to be his masterpiece. Tristen rationalizes his lack of understanding of the piece and Max gets real for a moment while referencing musicals and more. Tristen makes a brilliant observation about cameras and there's more than one discussion about the soundtrack taking place! Plus, a fun game for the loyal listener with the opportunity to choose how the podcast plays out!
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On the forty-ninth episode of the Cinematic Odyssey, Tristen and Max venture into their first Scorsese film, his oft debated 2013 effort The Wolf of Wall Street. Max compares the film's heightened emotions to musicals and Tristen delivers a long-awaited monologue on the misinterpretation of the film and how people can love it for the wrong reasons. Also featured is a discussion on the morality of Belfort's efforts and new names for a 150 million dollar yacht, if one were owned by Max. All this and more in the brand new episode!
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On the forty-eighth episode of the Cinematic Odyssey, Tristen, Max, and special guest Mackenzie venture into their first of Ingmar Bergman's efforts on the podcast, 1978's Autumn Sonata starring Ingrid Bergman (no relation). Max takes a trip down a musical rabbit hole, Tristen relives the tension building in the first half of the film, and Mackenzie offers questions regarding the definition of a parent and caregiver. The episode culminates, much like the film, in an epic battle and the first game show ever hosted on the Cinematic Odyssey. You won't want to miss it!
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On the forty-seventh episode of the Cinematic Odyssey, Tristen and Max delve into their second of Ruben Östlund's social satires, The Square. This time, in the art world, Tristen discusses why he doesn't like the film as much and Max commends the physical behavior of each actor on screen while bestowing a title on Östlund with a Cinematic Odyssey first. Max also introduces a brand new segment to end the episode off and the discussion of which character has the best drip finds another agreement. All this and more inside this wonderful episode.
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On the forty-sixth episode of the Cinematic Odyssey, Tristen and Max break into what Tristen has called the best film of the 21st century: There Will Be Blood, from Paul Thomas Anderson. Max launches into his reasoning on why it's believed that Daniel Day-Lewis presents one of the great acting performances ever in this film and Tristen navigates the plot mentioning and explaining every symbol he can. Does Max actually like this Paul Thomas Anderson film? Is Tristen right about the film's timeless struggle and message? Find out, along with a brand-new closing segment introduced this week on the Cinematic Odyssey.
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On the forty-fifth episode of the Cinematic Odyssey, Tristen and Max investigate David Lynch's cult classic first feature film, Eraserhead. They explore the lengthy process of the creation of this film and how it ever got to the big screen in the first place and then each provide their own interpretation on the film's meaning. Max revels in the surreal and metaphorical language and imagery within the film and Tristen provides his commentary on the style of Lynch bleeding into his later projects. Features Hot Takes from both Tristen and Max.
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On this special bonus Halloween episode of the Cinematic Odyssey, Tristen and Max delve into what some have called the best horror film of the past few years: Hereditary. They have no shortage of kind words for the performance of Toni Collette and truly dive into every scare and strategy that made Max petrified. Plus, Tristen has a hot take on the lore and legacy of this film.
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On the forty-fourth episode of the Cinematic Odyssey, Tristen, Max, and special guest Judah delve into George Romero's pioneering horror cult classic Night of the Living Dead. Max brings up his feelings about gore and an unfinished script, Judah presents questions and about the nudity and gore present on screen, and Tristen contextualizes the film within the culture and time period of its creation. They ultimately rule on the lasting effects that the film has had on the horror genre but how that does not necessarily make it a masterpiece or an excellent movie.
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