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Filtering by Category: movies
Gerry B. and Mikey C. get serious in Plane, a movie.
I heard that if you go to see Plane on Broadway, stars Gerard “Leonidas, King of Sparta” Butler and Mike “Luke Cage, Hero For Hire” Colter trade roles every night.
Pals Linda Holmes, Ronald Young, Jr. and I had a sublimely fun conversation about this somewhat fun passengers-in-trouble flick.
My man Big Jim Cameron isn’t just a vegan pea protein farmer, he’s a committed recycler. Hey, at least he’s got the good taste to steal from the best.
This exhaustive-and-yet-surely-incomplete list I made of his many self-homages in the new Avatar: The Way of Water is up at Vulture.
Kate Winslet, Cliff Curtis, Zoe Saldaña, and Sam Worthington shooting one of the current or forthcoming Avatar sequels at some point between late 2017 and early 2020. (Fox)
James Cameron only releases a new feature film every dozen or so years, so you’ll forgive me if I’m excited. My Avatar: The Way of Water media blitz kicks off with a fun PCHH wherein Stephen Thompson, whom I’d incorrectly predicted would hate this movie, Reanna Cruz, and I talk through our reactions, and I plug my holiday mixtape.
Colin Farrell and Brendan Gleeson in another Martin McDonagh joint. (Fox Searchlight)
I was happy to join Bedatri D. Choudhury and host Stephen Thompson on Pop Culture Happy Hour to talk The Banshees of Inisherin, playright-turned-filmmaker Martin McDonagh’s latest feature. I was one of the few defenders of his prior film the highly divisive Three Billboards Outside of Ebbing, Missouri five years ago, but I was mostly here as a stan for McDonagh’s plays, which are what Inisherin recalls far more than any of his prior movies. My reviews of some of his plays seem to have blinked out of existence, but I reviewed Constellation’s The Lieutenant of Inishmore in 2015, and Keegan’s The Lonesome West and Forum’s The Pillowman, both in 2016. When we got to the What’s Making Me Happy segment, I had several good candidates, but I chose — defaulted, really — the most Irish of them. Because McDonagh.
Aaron Taylor-Johnson and Brad Pitt can’t just get along. (Scott Garfield/Sony Pictures)
Bullet Train, director David Leitch’s strangers-on-a-fast-train-fight thriller, is way less diverting and way more confusing than it oughta be. Letich and Chad Stahelski made John Wick together, and Stahelski stayed on for the subsequent Wicks while his old creative partner went off to make Deadpool 2, Atomic Blonde, the hilariously double-ampersand-packin’ Fast & Furious Presents: Hobbs & Shaw, and now Bullet Train. Stahelski is fairing better, I reckon. Anyway, it was fun to talk Bullet Train with Glen Weldon, Aisha Harris, and Mallory Yu.
Our guest Keith Phipps is not just a sterling critic and a dad — an essential component when we cover a movie as openly paternal as 1978’s post-WWII espionage thriller Brass Target . He is also the author of new book examining the career of a singularly idiosyncratic actor. A Degree Absolute! endorses Keith’s book Age of Cage absolutely.
And Brass Target? Well, minute-for-minute, it has the most undiluted Patty McG purity rating of any film we’ve covered save perhaps for Braveheart. It’s much harder to find but worth the hunt for those such as we. Invest in physical media, people.
Brass Target
Screenplay by Alvin Boretz, adapted from Frederick Nolan’s novel The Algonquin Project
Directed by John Hough
Released December 22, 1978
Write to the Citizens Advice Bureau at adegreeabsolute dot gmail!
Leave us a five-star review with your hottest Prisoner take on Apple Podcasts!
Follow @NotaNumberPod!
Our song: "A Degree Absolute!"
Music and Lyrics by Chris Klimek
Arranged by Casey Erin Clark and Jonathan Clark
Vocals and Keyboards by Casey Erin Clark
Guitar, Percussion, Mixing by Jonathan Clark
Bass by Marcus Newstead
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.
Matty McC meets Patty McG, in the battle you didn’t know you wanted to McSee!
A Time to Kill, the fourth big-studio adaptation of a John Grisham legal thriller to hit theaters in a 37-month period during the first Clinton Administration, is not a great showcase for our man Patty McG. There are just too many high-caliber, high-profile, and high-maintenance players in its stacked cast, and probably too much studio pressure for him to get away with anything weird. (Braveheart, released 14 months earlier, was a long time ago.) Company-man director Joel Schumacher seems to have saved all his creative chits for putting nipples on Batsuits in this era, turning in a serviceable but unshowy piece of work the summer in between Batman Forever and Batman and Robin. He sure does like to spray his actors with baby oil, though.
The good news is that our friend Linda Holmes is back this episode, lending her quadruple-threat expertise as (in increasing order of significance) a Sandra Bullock expert, and Grisham expert, an actual-albeit-no-longer-practicing lawyer, and of course as a world-class critic to our examination of the picture. Join us, won’t you, on this jurisprudent journey back to nineteen-niner-six.
A Time to Kill
Screenplay by Akiva Goldsman, adapted from John Grisham’s novel
Directed by Joel Schumacher
Released July 24, 1996
Write to the Citizens Advice Bureau at adegreeabsolute dot gmail!
Leave us a five-star review with your hottest Prisoner take on Apple Podcasts!
Follow @NotaNumberPod!
Our song: "A Degree Absolute!"
Music and Lyrics by Chris Klimek
Arranged by Casey Erin Clark and Jonathan Clark
Vocals and Keyboards by Casey Erin Clark
Guitar, Percussion, Mixing by Jonathan Clark
Bass by Marcus Newstead
