Pop Culture Happy Hour: "MIssion: Impossible — The Final Reckoning"

When you stare into The Abyss, etc., etc. (Paramount)

When you watch 2018’s Mission: Impossible — Fallout, you can see the shot wherein Tom Cruise breaks his ankle leaping across London rooftops.

When you listen to our new Pop Culture Happy Hour on Mission: Impossible — The Final Recknoning, you can hear the moment when I suffer an aneurysm. It’s when my friends Aisha Harris and Linda Holmes once again compare these films to the Fast & Furious movies. And they are like those, in the sense that the 1969 Rolling Stones and circa 2012 Aerosmith are both rock bands.

Pop Culture Happy Hour: "Dope Thief"

Wagner Moura and Brian Tyree-Henry in the Apple TV+ adaptation of Dennis Tafoya’s novel’s Dope Thief.

I was glad to join Aisha Harris and Cristina Escobar to talk about the new Apple TV+ adaptation of Dennis Tafoya’s crime novel Dope Thief.

Pop Culture Happy Hour: "Megalopolis"

Adam Driver and Nathalie Emmanuel, above the fray. (Lionsgate)

Aisha, Glen, Bedatri and I recorded this dissection of Megalopolis a mere 12 hours after the screening ended, which we all acknowledged is not time enough to process an overstuffed epic that Coppola has been working on in some capacity for more than half his life. Fun conversation, though.

Pop Culture Happy Hour: "Road House"

Look at what you can learn to do from watching Road House. (Laura Radford)

This week, I interviewed Pulitzer Prize winner and MacArthur “Genius” grantee playwright Suzan-Lori Parks and chopped up the new Doug Liman-directed, Gyllenhaal-headlined Road House with pals Linda Holmes and Aisha Harris. Like itinerant philosophy grad Dalton from Road House ‘89 , I contain multitudes. Or at least severalitudes.

"Outlaw Posse" and the Endurance of the Black Western

Melvin Van Peebles’ son can shoot in two directions at once.

For the day job, I wrote about Black westerns on the occasion of Mario Van Peebles’ new one, Outlaw Posse. No relation to his prior western, 1993’s Posse, except for the familial kind.

POP CULTURE HAPPY HOUR: "Creed III" and What's Making Us Happy

Director/star Michael B. Jordan confers with Jonathan Majors on the set of Creed III. (Eli Ade/MGM)

I was glad to join Aisha Harris and Shamira Ibrahim — and to reunite with Gene Demby from the Creed II episode of PCHH back in 2018 — for this hard-hitting dissection of the disappointing-to-me Creed III.

My review of the film is here, and the Smithsonian piece I plugged in the Happy segment is here.

Pop Culture Happy Hour: "The Gray Man"

Ryan Gosling did a lot of hahaha training for the not-so-colorful thrillerThe Gray Man. (Paul Abell/Netflix)

Look, I cohost a podcast about The Prisoner. When a new international espionage-themed thriller appears with a lead character named Six, I have to pay attention. The Netflick The Gray Man is one of two new releases this month containing what I believe to be a deliberate Prisoner reference. The other one is Marcel, the Shell with Shoes On.

I loved Captain America: Civil War and The Nice Guys and Blade Runner 2049 and Knives Out. I appreciated No Time to Die. I wanted to love, or at least appreciate, The Gray Man. I tried to.

Pop Culture Happy Hour: Going Back to "Titanic"

The great Aisha Harris hosted this conversation wherein I had the good fortune once again to join my old pal Linda Holmes and my new pal Roxana Hadadi. I had a whole digression when we recorded about The Abyss, James Cameron’s first seafaring disaster romance, released only eight years before Titanic, and from which Titanic derives a lot of its technique and one or two of its sinking-ship set pieces.

Titanic was not a film anyone other than Cameron was pushing to make when he pitched it to Fox Chairman Bill Mechanic in early 1995. (He wanted a movie studio to pay for his dives to the wreckage, which constitute the first footage he shot for this movie.) It’s not a film where Fox would have simply hired another director to make it had Cameron acceded to the prevailing wisdom and decided to focus his energies on anything else. Cameron is also the person who cast Leonardo DiCaprio and Kate Winslet, so the movie is a Cameron project from whatever the shipbuilding equivalent of “soup to nuts” would be. I think it makes sense to foreground Cameron in any discussion of it. Try to imagine Christopher Nolan making a movie now that adolescent girls embraced and returned to again and again. That’s what happened in in the last two weeks of 1997 and the first quarter of ‘98, when the gearhead writer/director of the first two Terminator films, and Aliens, and True Lies, and yes, The Abyss, turned in a romantic tragedy where in the big boat doesn’t hit the iceberg until an hour a forty minutes into the movie.