Tom and Gage discuss John Patrick Shanley's Doubt from 2008.

Doubt (2008) is a dramatic film set in 1964 at a Catholic elementary school in the Bronx, during a time of social change in the Church and American society.

The story centers on Sister Aloysius Beauvier, a strict and traditional school principal, who becomes suspicious of Father Brendan Flynn, a progressive and well-liked priest. She believes he may be engaging in inappropriate behavior with Donald Miller, the school’s first African American student. Her suspicions are fueled by circumstantial evidence and her deep distrust of Father Flynn’s modern ideas and informal conduct.

Opposing Sister Aloysius is Sister James, a young, idealistic nun who is uncertain and conflicted, torn between faith, doubt, and obedience. As Sister Aloysius pursues the truth aggressively—despite lacking concrete proof—Father Flynn vehemently denies the accusations and ultimately leaves the parish under a cloud of suspicion rather than being definitively exposed or exonerated.

The film ends ambiguously, emphasizing its central theme: the tension between certainty and doubt, moral conviction versus evidence, and the consequences of acting on belief without absolute proof. Sister Aloysius is left questioning her own certainty, underscoring the film’s exploration of faith, power, and ambiguity.

Tom and Gage discuss Sydney Pollack's Jeremiah Johnson from 1972. 

Jeremiah Johnson (1972) is a contemplative Western that follows the journey of Jeremiah Johnson (played by Robert Redford), a veteran of the Mexican–American War who decides to abandon civilization and live as a mountain man in the rugged Rocky Mountains. Initially inept at wilderness survival, Johnson endures brutal winters, learns essential skills from an experienced trapper named Bear Claw Chris Lapp, and slowly adapts to his new life. Along the way he rescues and adopts a mute young boy, marries a Native woman, and briefly settles into family life. However, conflict with the Crow tribe—sparked by cultural misunderstandings and tragic violence—forces him into a long, violent feud that transforms him from a solitary woodsman into a legendary figure of frontier lore. The narrative blends survival drama, cultural encounters, tragedy, and mythic transformation.

One of the most striking aspects of Jeremiah Johnson is its authentic setting. Although Warner Bros. originally planned to shoot on a studio backlot, Redford and Pollack insisted on filming on real wilderness locations to capture the untamed spirit of the West.

The film was shot in nearly 100 locations across Utah and Arizona, with much of the dramatic mountain scenery coming from Utah’s vast forests and parks.

Key Utah locations included Zion National Park, Mount Timpanogos, Alpine Loop, Snow Canyon State Park, Wasatch-Cache and Uinta National Forests, Ashley National Forest, and areas around Sundance (Redford’s own property).

Some spring and summer scenes were also filmed in Arizona’s deserts and reservation lands, giving contrast to the snowy mountain sequences and illustrating the passage of seasons.

These rugged, on-location settings aren’t just backdrops—they shape the film’s mood and underline Johnson’s struggle against both nature and isolation.

Redford delivers a measured, immersive performance as Jeremiah Johnson. His portrayal emphasizes quiet resilience and introspection over bravado, making Johnson feel like a real person gradually shaped (and scarred) by the wilderness. Critics have noted that the role anchors the film’s emotional tone, with Redford evolving from an awkward tenderfoot to a hardened, introspective woodsman.

He carries much of the film’s narrative weight with minimal dialogue, relying on physicality and presence—his motion through snow, silence, and landscape becomes a language of its own. This grounded approach helps the viewer experience the isolation and hardship of frontier life firsthand.

Director Sydney Pollack takes a mood-driven, almost meditative approach rather than a strictly plot-driven one. Rather than conventional action beats, the film unfolds through rhythms of survival, solitude, and the harsh beauty of the landscape.

Pollack’s commitment to location shooting—even mortgaging his own home to keep the production authentic—reflects his belief that the natural environment is a character in itself.

He stages scenes with a careful, almost documentary eye, often letting nature dominate the frame. Technical challenges—like shooting in deep snow with limited light and no opportunity for multiple takes—meant Pollack and his crew had to embrace spontaneity and resourcefulness, which in turn gives the film its raw, immersive feel.

His direction balances moments of stillness with sudden violence, shaping a Western that questions mythic heroism as much as it celebrates survival.

Tom, Gage and Derrick discuss Akiva Shaffer's Hot Rod from 2007.

Tom and Gage discuss Christine Jeffs' Sunshine Cleaning from 2008.

Rose Lorkowski is a single mother in her 30s, struggling to make ends meet as a house cleaner while raising her energetic 8-year-old son, Oscar. Her younger sister, Norah, directionless and frequently unemployed, lives with their father, Joe, whose well-meaning schemes rarely pan out. When Oscar’s behavior at school puts pressure on Rose to find more money, she turns to Mac, a former high-school boyfriend who is now a police officer, for advice.

Mac suggests an unconventional opportunity: crime-scene cleanup. Rose convinces Norah to join her, and the sisters stumble their way into the unfamiliar and emotionally demanding work. After a rocky start, they gather proper equipment, name their company “Sunshine Cleaning,” and begin building a modest reputation. As the business grows, the job forces both women to confront unresolved feelings about their past, particularly surrounding their mother’s death.

Outside of work, tensions mount within the family. Rose feels the sting of comparing her life to those of her more successful former classmates, while her complicated relationship with Mac becomes increasingly strained. Norah forms an unexpected connection with someone they meet on the job, and Joe pursues yet another questionable business idea. Just as Sunshine Cleaning seems poised for a turning point, a major opportunity coincides with personal pressures, leading to decisions that put everything at risk.

The sisters are forced to confront the consequences of their choices, testing their relationship, their ambitions, and their sense of purpose.

Tom and Gage discuss Kenneth Lonergan's You Can Count on Me from 2000.

"You Can Count on Me" is a 2000 drama film that follows Sammy Prescott, a single mother living in the Catskill Mountains, who struggles to balance her responsibilities as a mother with her own desires. Her life is disrupted when her wayward brother, Terry, returns, leading to a reunion that reveals their shared past and the complexities of their relationship. As Sammy navigates her son's school writing assignment and her own personal challenges, including a relationship with an ex-boyfriend, the film explores themes of family ties, responsibility, and personal growth. The film received critical acclaim and features a strong performance by Laura Linney as Sammy.

Denis Leary stars as a down-on-his-luck cat burglar who’s ditched by his partner during a robbery and ends up holding a bickering Connecticut couple (Kevin Spacey and Judy Davis) hostage. What seems like a simple escape quickly spirals out of control when their manipulative son and unbearable in-laws get involved. Soon, the thief finds himself overwhelmed by nonstop arguments and family drama. To make it out before the police catch him, he has no choice but to play mediator and somehow bring the feuding family to peace.

Tom and Gage discuss Todd Field's Tár from 2022.

 Set against the rarefied and highly competitive international sphere of Western classical music, the film follows the formidable Lydia Tár—a world‑renowned composer-conductor celebrated for her technical brilliance, artistic daring, and commanding presence. At the height of her career, she has shattered long‑standing barriers to become the first woman ever to lead one of Germany’s most prestigious orchestras, a position that places her at the center of global cultural influence and intense public scrutiny. 

Tom and Gage discuss the Nelms' Brothers FATMAN from 2020.

A rowdy, unorthodox Santa Claus is fighting to save his declining business. Meanwhile, Billy, a neglected and precocious 12-year-old, hires a hit man to kill Santa after receiving a lump of coal in his stocking.

Tom, Gage and special guest Mary discuss Boots Riley's Sorry To Bother You from 2018.

In a dystopian near future, Cassius “Cash” Green lives in the garage of his uncle Sergio with his artist girlfriend, Detroit. Desperate for money, Cash takes a job as a telemarketer at RegalView, where he initially fails until an older co-worker, Langston, teaches him to use a confident, affluent “white voice” on calls. With this new persona, Cash quickly becomes one of the company’s top performers.

As RegalView employees organize a union led by co-worker Squeeze, Cash is torn between solidarity and ambition. After joining a protest, he expects to be fired but is instead promoted to the exclusive “Power Caller” division. There, he is instructed by the mysterious Mr. _______ to always use his white voice and learns that RegalView profits from selling weapons and supplying labor for WorryFree, a megacorporation that binds workers to lifetime contracts in factory housing—effectively legalized slavery.

Although disturbed by the company’s practices, Cash embraces the wealth and status the job provides. He moves into a new apartment, buys a luxury car, and saves Sergio’s home from foreclosure, preventing his uncle from resorting to WorryFree. As Cash withdraws from the union effort, Detroit quits RegalView and secretly joins the Left Eye Faction, an anti–WorryFree activist group. Their relationship deteriorates, and Detroit ultimately leaves Cash, accusing him of sacrificing his principles for success.

Tensions escalate when Cash crosses a union picket line and is injured by a thrown soda can. The incident becomes a viral meme, even benefiting the woman who attacked him. Cash later crashes Detroit’s art show, where she satirically adopts a white voice in her performance. His attempt to intervene backfires, leading to his expulsion and further emotional distance between them.

Cash is soon invited to a lavish party hosted by WorryFree CEO Steve Lift, where he is humiliated into performing for wealthy guests. In a private meeting, Steve reveals WorryFree’s true plan: transforming workers into obedient, super-strong human-horse hybrids called Equisapiens through a DNA-altering powder. Cash discovers one of these creatures imprisoned in the mansion and realizes his phone has captured a plea for help. Though Steve claims Cash only snorted cocaine, Cash refuses Steve’s offer of $100 million to become a manufactured revolutionary symbol.

Seeking to expose the truth, Cash exploits his viral fame by appearing on a popular humiliation-based TV show to broadcast the Equisapiens video. Instead, the plan backfires—Equisapiens are celebrated as a scientific breakthrough, Steve becomes a cultural icon, and WorryFree’s stock soars.

Ashamed, Cash reconciles with Squeeze, Sal, and Detroit, and recommits to the union. Using a security code from the video, he infiltrates Steve’s home. During a final protest, police attempt to suppress the strike, but the Equisapiens revolt and free Cash. Cash and Detroit reunite and return to Sergio’s garage, choosing solidarity and love over wealth.

However, the victory is short-lived. Cash begins transforming into an Equisapien, revealing that Steve lied about the drug. In the final moments, a fully transformed Cash leads a group of Equisapiens to Steve’s mansion, violently breaking down the door.

Tom and Gage discuss Harold Ramis' The Ice Harvest from 2005.

The Ice Harvest is a 2005 American neo-noir black comedy film directed by Harold Ramis, written by Richard Russo and Robert Benton, based on the 2000 novel of the same name by Scott Phillips. It stars John Cusack, Billy Bob Thornton, and Connie Nielsen, with Randy Quaid and Oliver Platt in supporting roles. It was distributed by Focus Features, and it was released on VHS and DVD on February 28, 2006. It is the last Focus Features film released on VHS format. The Ice Harvest grossed $10.2 million worldwide.

Plot

On Christmas Eve in Wichita, Kansas, lawyer Charlie Arglist and pornographer Vic Cavanaugh prepare to leave town after stealing $2 million from their boss, mobster Bill Guerrard. However, icy roads force them to postpone their getaway. Vic holds the cash when they split up, biding their time until the roads clear.

Charlie visits Sweet Cage, a local strip club owned by Vic and run by Renata Crest, a woman whom Charlie has long lusted after. She deduces he is hiding something. Charlie hints at the money, and she suggests they run away together. Taking advantage of the perceived situation, Renata asks Charlie to steal an incriminating photo of herself and a local politician from Vic and give it to her.

After talking to his friend Sidney, a bartender and bouncer at Sweet Cage, Charlie goes to another strip club owned by Vic, the Tease-O-Rama, and takes the photo from a safe. Before he can leave, Roy Gelles, one of Guerrard's enforcers, arrives looking for Charlie. Charlie hides in the men's restroom as Gelles enters. The enforcer reads aloud a graffito written in red sharpie on the wall above the urinal, "As Wichita falls, so falls Wichita Falls".

After evading Gelles, Charlie goes to a restaurant/bar, running into his friend Pete, who is married to Charlie's ex-wife Sarabeth. Pete is drunk and decides to tag along with Charlie for as long as it takes to pass out. Charlie calls Vic from a pay phone, where he sees the same red graffito written above the phone. Charlie says that Gelles is in town, but Vic dismisses this, as he knows Gelles has family in Wichita.

Charlie returns to Sweet Cage and gives Renata the photo. She says that Vic had called to warn Charlie that Gelles was indeed tailing them. Charlie takes Pete home, where he passes out on the living room floor. Charlie "borrows" a Mercedes Benz that Pete had bought for Sarabeth, because Pete had vomited in Charlie's car. He drives to Vic's home and finds Vic's wife shot in the head and lying next to the Christmas tree.

Vic arrives and reveals that he has locked Gelles in a trunk. They take Gelles and the body of Vic's wife in the Mercedes and drive to a lake. Gelles continues to yell at them from the trunk, claiming that Vic shot his own wife. Annoyed, Vic shoots into the trunk, silencing Gelles.

As Charlie and Vic get the trunk onto the lake dock, Gelles shoots it open from the inside, hitting Vic in the process. After Gelles gets out, a standoff ends with his death. Vic falls into the frozen lake as the dock collapses. Charlie realizes that Vic was going to kill him, so he drags Vic's wife to the collapsed dock and slides her into the lake, knocking the pleading Vic underwater. After discovering the money is not in Vic's bag, Charlie runs back to the dock to save Vic, but he has already drowned, entwined with his dead wife.

Returning to Sweet Cage, Charlie finds that Guerrard has come to town, and has tied up Renata. A struggle ensues, ending with Charlie stabbed in the foot and Guerrard dead. Charlie and Renata return to her place, where he finds the money hidden in her closet while she showers. It is revealed that Vic and Renata planned to run away together after killing Charlie. Charlie shoots her before she can cut his throat with a hidden straight razor.

While driving out of town with the money, Charlie sees Sidney on the side of the road with his kids in a motor home and stops to offer assistance. Sidney says that he is out of gas, so Charlie lets him siphon some out of the "borrowed" Mercedes. As Sidney tries to restart the RV, Charlie takes out a red sharpie and writes "As Wichita falls, so falls Wichita Falls" on the back of the motor home, revealing that he was the one writing the graffito all over Wichita. Sidney gets the motor home started and, after accidentally knocking Charlie down when the RV lurches backwards, he drives away.

Charlie gets up and returns to the Mercedes. Pete wakes up in the back seat, and the duo drive away together for breakfast and warmer weather.