Bölümler
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Morgan Gire and Erik Childress believe that this tale of loss and emotional heartbreak is deserving of a rediscovery. In this episode they discuss how it smartly handles grief and the downfalls of shielding children from the harsher realities of life; a ball which movies tend to drop. Plus at its center is one of the sweetest pre-adolescent friendship tales beautifully portrayed by Anna Chlumsky and Macaulay Culkin. This is one that all families should experience together. Hold onto your tears long enough to listen to this in-depth discussion.
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Is the friendship between Bill Murray and Scarlett Johansson in Sofia Coppola’s sophomore effort entirely on the up-and-up? Erik and Morgan discuss the implications of jealousy between friends as well as how survival instincts translate into relationships. Just what was Coppola trying to infer with her opening shot if anything? Disagreements over the film’s content range from her style of filmmaking to whether its leads are tolerable people. How much ambiguity is acceptable within friendships and does the cloud of sexual imagery and thought taint an otherwise chaste relationship between the two?
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Eksik bölüm mü var?
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Shane Black made a little Hollywood history with his script for this movie even it’s not entirely the one he delivered. One element certainly not in dispute is the relationship between Geena Davis and Samuel L. Jackson is the rarefied platonic dynamic that the hosts seek out. Could even a brief shift alter the nature of their friendship or does it signal growth under temptation? Is this one of Jackson’s most entertaining performances? Just how bad is Craig Bierko as the villain? What is the line that will forever make Morgan and Erik lose it? All these questions plus action tropes and a good time on this episode.
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The late Ted Demme’s ensemble relationship dramedy was and remains a favorite of Erik's, but is it by the end of this episode? The discussion with Morgan covers just how shallow its male characters may be and whether or not their female counterparts could do better with their lives. What constitutes average and our own sense of self-worth in a society that places emphasis on perfection and are these characters victims or perpetuators of it? Erik and Morgan discuss all this as well as delving into the complicated relationship between Timothy Hutton and Natalie Portman.
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There are not many films that attempt to deal with a collection of individual women’s stories and Morgan presents this as Exhibit A. Erik has his counterarguments but Morgan makes her case for a film pushing back on the societal norms thrust upon women from an early age from the damage of playground myths to the pressure of getting married. The cliches of romcom’s past are revisited by the hosts and how they are reflected with or without commentary by the film itself. As each relationship is examined, Morgan and Erik look at whether Ginnifer Goodwin and Justin Long’s friendship is “the exception” and who amongst the cavalcade of characters relate most closely to each other’s own personal beliefs and experiences.
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Spike Jonze's Her remains one of the more profound films about loneliness. Together, Erik and Morgan discuss the elements of perfection and instant gratification, the psychological implications of a technological-free world and the underappreciated privilege of listening.
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Horror films have always tested friendships and this personal favorite of Morgan’s certainly puts one into question. Her and Erik further break down the various genre tropes and archetypes, wondering how much more could have been explored if it had been franchised instead of messed with and delayed. Learn Morgan’s secret to watching horror while they wonder about the process in choosing the story’s victims. How does their pre-determined labeling mesh against everyday stereotypes of identity? Does the film’s approach towards sex fly in the face of a new generation’s attitude towards cinematic voyeurism? What conclusions do Morgan and Erik draw about the film’s climactic confrontation that questions just how great the film’s central friendship was to begin with. All these answers and more are put to the test by the two friends themselves.
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Jennifer Lawrence and Brian Tyree Henry star in this film about two broken people – mentally and physically – who find each other and begin hanging out. It is the beginning of a friendship examined by your hosts Erik and Morgan who look into the dynamics of casual invitations and the normally unexplored factor of comfortability that one partner can instill in another. Whether or not this manifests into a completely healthy relationship is for debate, but there is no dispute into the stellar performances by the two leads. Does the film pass the cheat test of the podcast’s inception by one of the hosts? Do indie film cliches undermine some of the dramatic beats? How many pool metaphors are too much? All this and more pressing issues are covered in this episode.
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Morgan Gire and Erik Childress teamed up with the hosts of Christmas Movies Actually, Collin Souter and Kerry Finegan, to take a look at the 2005 “love you like a brother, not a lover” Ryan Reynolds/Amy Smart comedy. Needless to say there were reversals on some of the one-time enjoyment of this film as they examine the portrayal of this friendship even without the hopeful romance. Does Smart’s woefully underwritten character willfully torture her high school bestie? Can a decade of regret overwrite the behavior of the physically-reformed nerds? Aside from an inspired comic performance from Anna Faris, the other lasting positive of this film are the new avenues of conversation it brought up in these all-familiar friendship tropes between men and women.
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Who said the friendships on this show had to be just between humans? Then again this classic sci-fi film is also about the humanity that makes us so or at least what we hope to evolve into? Therefore a friendship between a man and the female scientist who tries to save him is well worth exploring since there is still much we can learn. There may be a bone of contention in the most referenced scene between Charlton Heston’s Taylor and Kim Hunter’s Zira, but beyond being quite the wingman has she gotten the credit for being an iconic female character of the time? There is probably only one thing holding Taylor back, but sometimes it is those boundaries that draw deeper connections between the sexes that are still too often ignored in modern movies.
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Kevin Smith’s Clerks films may be known for the ongoing friendship between Dante Hicks and Randal Graves, but there’s another in play in the first sequel. Rosario Dawson’s Becky may be Dante’s boss but she is so much more than that as evidenced by their backroom banter and nail polishing. As most movie friendships between men and women, theirs evolves into much more if not already there at the beginning. Erik and Morgan share a mutual appreciation for this film and the often X-rated intimacy in the language of certain workplace relationships. Is the triangle with Dante’s fiancé a step above the average “bad fit” in romcoms? Does Becky have the dynamics that led to Dante’s impending nuptials down cold? All that and mouths and trolls and taking it back.
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The 1993 film may not be known for its depiction of the women of the Old West, Morgan (Gire, not Earp) has found something of value in at least one of them. Briefly. But this is actually one of the discussions that was the inspiration for this very podcast. What friendship in this movie (besides Wyatt & Doc) was Erik (and most every fan of this movie) overlooking? Does its momentary exchange say more about their relationship than the majority of male/female friendships we see throughout cinema? Is this film as good as the reputation it has developed since it was initially dumped on St. Crispin’s Day (actually Christmas Day?) And just what tier does this friendship belong to on the newly-formed scale by Erik and Morgan?
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After a decade of raunchy teen sex comedies with a pubescent mentality and a momentary elevation through the work of John Hughes, the 1980s graduated with a teenage romance that took things to a new level. In the middle of Cameron Crowe’s tale of love between a directionless good guy and a driven valedictorian was a friendship rarely seen before or even since in the movies. John Cusack’s Lloyd Dobler and Lili Taylor’s Corey Flood were besties who advised and looked out for each other through past pain and the potential for future greatness and sadness. Erik & Morgan love these characters and so much more from the directorial debut of the writer who would eventually bring us Jerry Maguire and Almost Famous. They admire how the film embraces the insecurities of its characters and remembers how important economics can be to a long-term relationship. Is Diane Court’s father really the bad guy the people remember him to be or is he just looking out for his daughter’s best interests? And listen as Morgan tries to fix one of the most iconic cinema moments of the last century.
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A perfect movie demands the perfect guests so Morgan Gire and Erik Childress invited colleagues Nick Digilio (of The Nick D Podcast) and Collin Souter (of the Christmas Movies Actually podcast) to join in their discussion of George Miller’s 2015 masterpiece. The central focus, as always, is on the evolving friendship of Furiosa and Max. How and when do they learn to trust each other? What silent communication is used to straighten their bond? How powerful is the bond between a woman and a man when not taken to the Hollywood standard of a final kiss? Beyond all that, the four of them go even further from the on-set relationship of the actors, the progressive nature of Miller’s vision, and what action films deserve mention in the same universe as this one. It is a packed episode that we hope only furthers your enjoyment of the film.
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The search for positivity in male and female friendships on this podcast takes a dark turn this week with Nacho Vigalondo’s 2017 film. This tale of monsters and alcohol is not the typical lovey-dovey tale of old friends finding romance. Though the relationship between Anne Hathaway and Jason Sudeikis starts off friendly, true feelings are not always manifested as a means for happiness. Erik and Morgan discuss the deceased toxicity inherent in trying to control a woman working through her own problems. Flowery proclamations are replaced by love-bombing and savior complexes in a film that does not always agree with the pair but whose personal experiences and inward examinations make some of the behavior all the more disturbing.
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Hugh Wilson’s tale of frenemies played by Nicolas Cage and Shirley MacLaine was once a favorite of Morgan Gire’s and it has been even longer since Erik Childress has seen it. Like VHS-long. So does their relationship stand the test of time for both of them or does the film’s mix of comedy, drama and, ultimately, thriller shortchange each other? A lot is devoted to some of the nonchalance of the big finale and the secret service’s inability to rise to the challenge. But what can be done to expand upon the film’s central relationship? Why do Morgan and Erik keep sidetracking into other movies? What does it have in common with Tommy Wiseau’s The Room? And the most important question of all – can Shirley MacLaine knock out Nancy Reagan? We all want to remember the best of Nicolas Cage and maybe this is part of it, but does that mean it is good?
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Kogonada’s debut film was a standout at Sundance in 2017. His rumination on grief, lost opportunities and the family members that contribute to them also feature a trio of friendships between men and women. Erik Childress and Morgan Gire break them all down while reconciling different opinions on the style of how their stories are told. Does a little go a long way or does the film’s meditative approach keep some of the hidden feelings too much at bay? John Cho and Haley Lu Richardson get an opportunity to shine here with first class performances along with nice supporting work from Rory Culkin and Parker Posey. Is this the rare film to elevate the absence of genuine male/female friendships in movies or does the emotional tension held within prevent these characters from being more than passing acquaintances?
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If there is a romantic comedy than Morgan Gire and Erik Childress can agree about it is James L. Brooks’ 2010 film, How Do You Know. While they may clash with those that dismissed it and audiences that turned it into a genuine bomb, the hosts have a lot to say about it that makes it worthy of a re-evaluation. Whether or not Jack Nicholson phoned his role in for his friend is up for debate, Morgan and Erik find a lot to appreciate in the unique way Brooks handles his romantic triangle again with Reese Witherspoon, Paul Rudd and Owen Wilson. Three characters far more interesting than your usual romcom shtick. Then, of course, there is the friendship between Rudd and his assistant, played by the great Kathryn Hahn which is a focal point of the show and while there are caveats to distance them from being romantically linked, it is another genuine, sweet relationship that the show is always on the lookout for.
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Peter Dinklage just brought new life to the tale of Cyrano de Bergerac, so Erik Childress and Morgan Gire went back and looked at the more comedic take on Edmond Rostand’s play that Steve Martin wrote in 1987. Fred Schepisi’s Roxanne put the big nose on Martin and cast Daryl Hannah as the titular character of his affection. His feelings are secret, but a friendship still develops that Erik & Morgan examine along with C.D.’s relationship with local business owner, Dixie, played by Shelley Duvall who may be a little closer to him than you might remember. As for C.D. and Roxanne, is it a friendship that could have survived unrequited emotions? Is Martin’s modern version of the legendary window scene creepy or romantic for the ages? Is the film itself one of the great romantic comedies of its era (or any) or is it just a lot of fluff with character motivations that do not ring true? Drink it all in and words do not fail either of your hosts on the 35th Anniversary of this film.
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James Cameron’s legendary sequel holds special places in the hearts of Morgan Gire and Erik Childress who look deeper within its mastery at one of the friendships within. Even deeper than Erik anticipated. Is Corporal Dwayne Hicks indeed a feminist or is he merely a piece of a greater tapestry around the film’s timeless heroine? Does an agreed-upon backstory by the actors provide insight into two of the films baddest asses? And is Bill Paxton’s Pvt. Hudson in fact the greatest character that has ever graced the silver screen. Don’t be fooled that two admitted nerds who will not stop quoting his lines can’t look beyond the action, the terror and its endlessly watchable characters to answer these questions.
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