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Filtering by Category: podcasts

Movie Death Match: "Inception" v. "Interstellar"

Chris Klimek

With just a week until the release of The Odyssey, two time-dilating Christopher Nolan joints go cowl-to-cowl in an IMAX melee so epic Homer could’ve written it. New York magazine / Vulture critic Bilge Ebiri rides for 2010’s Inception while Pop Culture Scientist (and University of Oxford scientist) Abigail James reps 2014’s Interstellar in an all-new, mostly-different Movie Death Match!

Movie Death Match: "Close Encounters of the Third Kind" v. "E.T. the Extra-Terrestrial"

Chris Klimek

New pod! We took the critical insight of Filmspotting and added the primal thrill of bloodsport to create Movie Death Match!

In our Disclosure Day themed debut episode, two "passionate and highly credentialed advocates" argue the relative merits of Steven Spielberg's two friendly-visitor classics. Representing 1977's Close Encounters of the Third Kind is Margaret Weitekamp, curator nonpareil! Pounding the table for 1982's E.T. the Extra-Terrestrial is Jen Chaney, critic extraordinaire!

I'm grateful to them both for their game participation and to Filmspotter-in-Chief Adam Kempenaar for the opportunity to administer firm-but-fair cinematic jurisprudence.

Pop Culture Happy Hour: "Deliver Me From Nowhere"

Chris Klimek

Stations of the Boss: Jeremy Allen White as Bruce Joseph Douglas Springsteen.

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Springsteen: Deliver Me From Nowhere, filmmaker Scott Cooper’s adaptation of Warren Zanes’ eponymous nonfiction book about the making of Bruce Springsteen’s album Nebraska, is pretty conventional. But there’s an odd moment near the end that Linda Holmes, Stephen Thompson and I did not discuss on our Pop Culture Happy Hour episode about the movie. While nothing in this barely-fictionalized account of a well-documented chapter in the life of one of the famous musicians in history could be called a spoiler, this is one of the few interpretive choices Cooper makes that’s all surprising or intriguing, so reader beware.

The scene is a coda to the film, following a title card that reads “Ten Months Later,” which I inferred meant that this post-concert scene was set on the opening night of the Born in the U.S.A. tour in June 1984. Springsteen’s father Doug (an underused Stephen Graham) is waiting in The Boss’s dressing room, and he invites his son to sit on his knee. Among his other gentle protests, Jeremy Allen White’s Springsteen says, I’m 32 years old, Pop. But Bruce Joseph Douglas Springsteen (b. Sept. 23, 1949) was 34 when that tour began. I’ve probably misstated my age at some point in my life, but I can’t imagine that film as rigidly researched as this one, derived from an excellent nonfiction book and with its subject a frequent presence on the set, could miss a detail like that. I don’t think it’s an error. As I was watching the movie I thought it might be a clue that this a dream sequence. I went back and checked Springsteen’s memoir Born to Run to see if he made any mention of an odd occurrence like this happening on the beginning of the biggest tour of his career. He did not.

If my voice sounds a little odd on the episode, that’d be because I accidentally recorded myself via my crappy computer microphone instead of my Shure SM7B, a professional mic used by, among others, Marc Maron, who has a small role in the film as studio engineer Chuck Plotkin, whose name will be familiar to you if you’ve pored over 30-plus years of Springsteen liner notes as obsessively as I have. It’s only fitting that I encountered a rare recording-quality problem on the episode where we discuss the making of Bruce’s perfectly imperfect 1982 outlier LP Nebraska.

Meanwhile, my City Paper review of the film — where I go on a bit without getting into the weeds about exactly how old the now-76-year-old Springsteen was when — is here.

Pop Culture Happy Hour: "Jaws"

Chris Klimek

Having done the dirty work of surveying all three Jaws sequels for the Paper of Record earlier this summer, it’s only right that three-fourths of the original PCHH cast had me back to talk about the titanic original. Which I’ve seen on the big screen twice this summer.