Bald Move Pulp

Jim and I haven't finished The Punisher season 2 yet, but we've seen enough to tap out. The Punisher has the chief sin of these Marvel/Netflix collaborations; a bloated 13 episodes, and adds to it ludicrous character details and plot-points until this grimdark ultra-violent fantasy pushes through the drama boundary and hits unintentional comedy.

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Unfortunately, while it is clearly the second best DCU film after Wonderwoman, in our opinion it's not nearly that good, and is still trying to play catch up to their more marvelous competition. Like a lot of these DC properties, it feels equally rushed and bloated, as if they stuffed three Aquaman movies into one. Any one act of this movie would have made an excellent installment of a kickass Aquaman trilogy, given a chance to breathe and establish their characters our connection to them.

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Netflix and Hulu had dueling documentaries on Fyre festival. With slightly different focuses, the documentaries broadly outline how founder Billy McFarland built several ponzi schemes on the idea of selling a fictionalized "baller" lifestyle to young, naive, rich people and took them for a ride. We discuss influencing, the morality of excess, and engage in the kind of barely contained glee at seeing narcissists fall from grace that you'd expect in this discussion of all things Fyre.

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We take a look at the first few episodes of seasons two of both Netflix's The Punisher as well as CBS's Star Trek: Discovery!

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Woof. Jim and I really, really wanted to like Glass, the sequel to the terrific Unbreakable and Split. And it should work. Bruce Willis, Samuel Jackson, and Anya Joy Taylor are good, and James McAvoy does more incredible work as the Horde. But the script is just about the laziest damn thing we've ever seen. Tons of plotholes, characters succeeding not because of their brilliance but others' stupidity, and Shyamalan indulging the worst of his third act instincts. It's a genuine disappointment, ya'll.

This podcast is an abridged version of the full, spoiler-filled discussion available only to our club members. Check out our Club Bald Move page to find out how you can gain access to ALL of our premium content!

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Jim and A.Ron have explored the latest Black Mirror mindf$#%, Bandersnatch. Essentially a choose your own adventure book turned into an interactive Netflix app, Bandersnatch periodically pauses to ask you how the narrative should proceed as you attempt to guide a troubled young 1980's programmer on the cusp of creating an acclaimed video game of the same name. With branching storylines that can have outcomes that can be mundane, psychotic, or extremely meta, we ask if this is the future of television?

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We have seen Spider-Man: Into the Spider-Verse, and declare it to be one of, if not the best Spider-Men movies of all time. Amazingly fun, incredibly inspiring, spectacularly stylish, and endlessly imaginative, Spider-Verse expands the franchise in entirely new directions while maintaining the magic that makes Spider-Man great; the moral obligations of an average person who is blessed with great power.

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The Romanoffs arrives at the finish line in "The One That Holds Everything". If you were hoping that this would be the one that brings into focus Weiner's thesis for The Romanoffs, you'll probably be disappointed. An ambitious story framing device that doesn't quite work leads to a surprise ending that doesn't feel earned, and we're left at the end of it all confused and asking "why?" What is so fascinating about the Romanovs that justifies the time and expense that went into making this, or watching it?

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This, by our estimation, is the second best episode of The Romanoffs, but that's not saying much about "End of the Line". It features fairly engaging material involving a couple desperate to have a child engaging in grey-market adoption shenanigans in Russia, and the man and woman in question are appealing and sympathetic as leads. The script also approaches "crackling" in places, as these potential parents fight over how far they're willing to go and what compromises they'll accept for their child.

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Multiple viewings and hours of sober reflection have led us both to believe that Con Air is a bad movie. The plot is contrived, the accents are awful, and it's perhaps the least "Cagey" performance in Cage's entire career. And yet, maybe based on star-power alone, it remains a classic which simply must be watched.

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