What's good, homies! We're back with another Lazy Bird to share some updates on our lives and thoughts on what we've been listening to, playing, and watching. It's been a busy end to our summer as PALMREADER celebrated his birthday and Otis went to work at Comic Con again. We discuss his time at the convention, the fallout of continental breakfasts, the recent flood of AI-generated waifu vendors, why they shouldn't be allowed to sell at comic conventions, the ethical use of AI, and more. Plus, we're heading to the cottage to pretend that the world isn't on fire. How exciting!

Then, we talk about some stuff that we've been watching. Otis has been on a Darren Aronofsky kick after seeing his latest movie, "Caught Stealing," so we discuss his filmography and style with a particular focus on "The Wrestler", "Noah", and "Black Swan". We also discuss the star of "Caught Stealing", Austin Butler, and his career thus far (including his link-up with our guy Action Bronson). He also puts PALMREADER onto a Korean action film called "The Villainess," which apparently rips. PALMREADER has been watching Noah Hawley's "Alien: Earth" and is 1000% in on it. He explains what makes this show excellent and makes a passionate plea for Otis to check it out. Plus, "Mandy" still rips, and we talk about it.

Following this, we talk about Marvel's "Thunderbolts*" and why it is one of the best Marvel movies in a long time. Both Otis and PALMREADER thoroughly enjoyed it for a variety of reasons, from the performances to the villain to the tone. Yo, Feige, make more like this. Shake things up. Break the cycle. We also discuss Florence Pugh's performance, the anthropomorphized form of murderous depression being the true villain of the film, Marvel villains being habitually lacklustre, not needing to see everything else to enjoy and understand the film, the future of the MCU, and Jake Schreier being tapped to reboot the X-Men.

Then, we talk about video games for once! Wow! There are so many dope games coming out. Due to being so busy lately, we're just trying to catch up, but PALMREADER has been playing "Kingdom Come Deliverance 2" and is living his best medieval life. He discusses what they improved upon and made more palatable when compared to the first game, why he loves it, and what makes it such a deep and engaging RPG.

There's a bunch more ranting and raving in the episode for you to enjoy, so tap in with us and catch up with your favourite Bird Boys.

We’ll be back after our trip to the cottage!

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What's good, homies! We're back with another fresh review episode on one of the best movies of the year, Zach Cregger's genre-bending masterwork of a horror film, "Weapons". This movie rules. If you haven't seen it yet, we highly recommend you do before listening to this episode. Although we try not to spoil too much, it is inevitable, and there is a lot to talk about and unpack.

"Weapons" was directed, written, produced, and co-scored by Zach Cregger. It stars Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Toby Huss, Benedict Wong, and Amy Madigan. All of whom deliver outstanding performances that will make you laugh, recoil in disgust, and cheer at various points in this film. It is gory, eerie, menacing, and surprisingly funny. The filmmaking is kinetic. The editing is outstanding. The score is a banger. The narrative and filmmaking choices rule. It honestly might be the best of the year for us, so tap in and hear us talk about why.

We don't want to spoil too much of the movie, so we forgo discussing the plot in depth in today's episode. Instead, we talk about our immediate reactions to "Weapons", the critical response, our favourite moments, Cregger's history (and future) in film, WKUK, what we think this film is trying to say, the excellent moments of comedy, the masterful use of the various types of horror filmmaking, Gladys, and a whole lot more.

Again... you have to see this movie. It is thoroughly awesome. One of the best times we've had at the movie theater in a long time (and "Sinners" came out this year). We're excited to see where Cregger goes and can't wait to watch "Weapons" again.

If you're in the area, come to Revive Karaoke Bar on Tuesday to see the first of Otis' new open mic shows and say happy birthday to PALMREADER. Doors are at 7 PM in Uptown Waterloo. Come on out.

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The world was a strange place five years ago. It still is, but that’s beside the point. Some say it might be too soon to immortalize the insanity that was living through the pandemic and all the wild stuff we, as a society, were doing and dealing with. Not Ari Aster, though. He said, watch me straight up show you absolutely batshit everything and everyone was by creating a satirical dark comedy Neo-western set in the epicenter of the worst people imaginable (that we all probably know examples of in real life). Also, let’s throw in some Soros-coded ANTIFA assassins, tech companies, hyper-violence, and people being extremely and detrimentally online. It goes as well as you might imagine an Ari Aster film would go.

This week, we’re chatting about “Eddington”, a sensational and scathing indictment of the times and a greatest hits of the ills of modern man. Boy, does this movie rip. It’s so good that it might piss you off and make you feel a little (or very) uneasy. We think that was the whole point, and we love it. Written and directed by Ari Aster, “Eddington” centers around a mayoral race in a small town called Eddington, New Mexico, during the first few months of the pandemic. It quickly descends into a labyrinth of madness, grifting, identity politics gone overboard, greed, and cowardice. Essentially, everyone is either being manipulated, manipulating others, or simply being bad human beings. It’s also funny. Like, laugh-out-loud ridiculous. Because it was an insane time, wasn’t it?

Starring Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O'Connell, Micheal Ward, Austin Butler, and Emma Stone, all of whom give excellent and infuriating performances, this movie expertly dissects the rise of online political and conspiratorial manipulation, societal fear, greed, hyperbolic levels of virtue signaling, the faults of identity politics, and the divisions in our humanity. What starts as something familiar slowly evolves into a story of lies, betrayal, and violence. It’s wild. In this episode, we discuss the themes, characters, and performances of the movie, highlight what we love about the direction and script, share our favourite moments from the film, discuss the state of the world both now and then, and look back on how nuts that first year of the pandemic was. They say the best art causes you to look inward… and that might be why this movie got us yapping. It also might be why it had such a polarizing effect.

Later in the episode, we briefly talk about the new Chance The Rapper album, “Star Line”, the new “Alien: Earth” series on FX, the endearing and surprising “Sorry, Baby” from Eva Victor, and some other stuff we’ve been enjoying lately.

We’ll be back next week!

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Yo! It’s time for another Lazy Bird episode, which means you’re in for some raw, unfiltered thoughts from your favourite Bird Boys. So, strap in because we’ve got some praises to sing and some nits to pick as we cover some of the things we’ve seen, listened to, and done together over the last couple of weeks. 

To start things off, we recap a day of mini-golf with the homies and the pros and cons of the course. Pros? Alcohol, little to no oversight. Cons? No upkeep, wasps, nasty water in some of the holes, and no real vibe or novelty to the course. Not a lot of pizazz, which is necessary for the true mini-golf experience. Do we need more novelty mini-golf courses near us? Yes. Yes, we do. Preferably with dinosaurs. We had fun, though.

In this episode, we also discuss some stuff we’ve watched lately, including the new “Happy Gilmore”, Adam Sandler having fun, Bad Bunny’s rise, and our favourite Happy Madison movies. Plus, we both have a lot to say about “Jurassic World: Rebirth” and “Final Destination: Bloodlines” and the failings of studio-led (and rushed) franchise films. PALMREADER loves the Jurassic franchise but has some serious issues with “Rebirth”, and Otis doesn’t feel like “Bloodlines” hit properly due to many of the deaths being spoiled by the film's promotional materials. It’s doubly troubling when we compare these films to some of the other legacy sequels that did it right, so where do franchise films and studios go from here? Hopefully not nose-first into more ketamine. We also discuss a riveting rewatch of “Westworld” that PALMREADER is undertaking with his girlfriend. It still rips. Someone let Jonathan Nolan make season five because we need to know how the story ends. Plus, “Alien: Earth” is almost here, and PALMREADER is stoked. Hopefully, Noah Hawley has it in him to land the plane with this long-awaited passion project.

We also discuss some recently released music including “Alfredo 2” from Freddie Gibbs and The Alchemist (plus, The Alchemist’s generational run in the last 5-6 years), “Don’t Tap The Glass” from Tyler, The Creator, Russ’ “Wild” album and the wild DJ Lucas feature, Ovrkast., Benny The Butcher’s “Summertime Butch 2”, Moving Mountains’ “Pruning Of The Lower Limbs”, Aitch’s “4”, and more. Also, Chance The Rapper is back in two weeks... will his return be triumphant or the final nail in the coffin? PALMREADER anxiously awaits "Star Line" and, after the latest single and seeing the cover art, is cautiously optimistic.

That’s all for us! We’ll be back again soon. Until then...

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What’s good, homies?! We’re back with an episode about one of the most influential and important independent films of all time, which also features a man dancing while torturing a cop. That’s right, it’s time to revisit the genius of Quentin Tarantino and discuss his first film, “Reservoir Dogs”. This movie kicked down the door for Tarantino’s cinematic vision and language to enter the cultural and cinematic zeitgeist in ways that are still felt today. Furthermore, with the recent passing of frequent Tarantino collaborator Michael Madsen, we figured we should get two birds stoned at once and talk about a film with a great Madsen performance. This episode is basically a gush-fest, but with a movie as good as this, what do you expect?!

Written and directed by Quentin Tarantino, this small but deceptively smart and well-written heist film stars Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi, Lawrence Tierney, Michael Madsen, and Tarantino himself. All of whom deliver stellar performances in a kinetic film filled with pop culture references, witty dialogue, violence, non-linear storytelling, and exciting visual style. Considered by many critics to be one of the most important independent and cult films ever made, it is astounding that this is Tarantino's first film as writer and director. It’s like he walked into the game already an all-star (which is somewhat annoying, but damn, he really did that) and changed the trajectory of film. In this episode, we discuss all the things we love about this movie, including the soundtrack, the writing, the performances, the narrative structure, and the Tarantino-esque elements that make it all come together. It’s a banger.

Following this, we discuss a different yet equally outstanding music release that is likely to go down as one of the best of the year. “Let God Sort Em Out”, the new album from veteran rap duo Clipse, has landed, and we are beyond satisfied with it. The album is fantastic, the creative direction is perfect, the videos are killer, and the lead-up to its release was clinical. Exclusively produced by the one and only Pharrell (who reminds everyone with this project why he holds such reverence), “Let God Sort Em Out” marks the triumphant reunion of the brothers and their return to the forefront of rap. It’s opulent. It’s luxurious. It’s academic. The bars go crazy, and the beats are hard as hell. There’s no business like snow business, baby. We’ve got a lot to talk about.

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Ayo! It’s time to go on a post-apocalyptic coming-of-age journey through a fever dream fairytale land filled with giant muscled freaks that love to hang dong, a traumatized bald orange man, a temple of bones, brain cancer, crazy cinematography, the mighty morphin’ power violence street team, artisan DIY spinal cord removals, and weird fat baby zombies… yeah, this movie was a trip! It’s the “28 Years Later” pod! Be warned: SPOILERS AHEAD!

Danny Boyle and Alex Garland (our guys) are back together again after many years to direct the third film in the "28 Days" franchise, and boy, did they come to push the envelope. Taking the story in a totally new, bizarre, emotional, and gory direction that has our heads spinning, we can only salute them for having the minerals to flip the script and swing for the fences. This movie does not go the way you might expect it to, and is, in many ways, antithetical to the second film in the series. We loved it.

Released just last month, this hallucinogenic fever dream nightmare of a film sequel stars Jodie Comer, Aaron Taylor-Johnson, Alfie Williams (in his feature film debut), and Ralph Fiennes. With amazing cinematography, great performances, wild violence, excellent world-building, and innovative technical choices (much like the original), this sequel balances following in the thematic and narrative footsteps of the previous films while striking a unique mix of genres and paving the way forward in a new version of this world with new characters impeccably.

Does this film have some flaws? Yeah, no doubt. The ending will be decisive. There are some moments of glaring plot armour or a collection of odd choices from the characters that might require you to suspend your disbelief a little harder than normal. With that being said, it also has an Alpha ripping a deer’s head clean off with its bare hands and then displaying the skull and spinal cord on a tree. This sequence is shot in blood red night vision. Horrifying stuff.

This movie crackles with originality and intention that is often missing from legacy sequels and, as previously mentioned, swings for the fences even as the film comes to a close. We loved the fact that we had no idea where it was going as we were watching it, which made for one hell of a ride. Also, shout out to that couple that left because they couldn’t handle the copious amounts of Alpha hog being swung around on screen.

Anyway, we share our thoughts on the film, break down what we loved, explore some of its flaws, and discuss where we think the story will go in the upcoming sequel “28 Years Later: The Bone Temple”. This was an excellent time at the movies. Don’t sleep on it if you’re a freak like us.

We’ll see you next week!

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Ayo! We’re back with another episode of BIRD PROTOCOL and, this time, we get to talk about some things we love… grenade fights, flamethrowers, John Wick, and Ana de Armas beating ass. That’s right, we’re here to discuss the recently released John Wick spinoff "From the World of John Wick: Ballerina" (or just “Ballerina”) in all its explosive glory. We recently went and caught it in theatres and, boy, is it fun. It isn't without missteps and flaws, which we also unpack. With that being said, have you ever seen someone bodyslam a man into a table and then vaporize him with a grenade? It’s awesome. Worth the price of admission.

In this episode, we discuss our first reactions to the film, what makes it different from the main John Wick films, and some of the more bombastic choices and set pieces. The highs are some of the highest for the franchise, and even with the obvious structural and narrative changes due to reshoots, it still rips. We also discuss the continued expansion of the Wick lore and how smartly the film changes the rules when it comes to action and choreography based on the limitations of the Eve character.

Then, we pivot to the new songs from rap legends The Clipse, which are both truly excellent, and revel in how Push and No Malice are restoring a long-dormant feeling. There’s no business like snow business, you know? We also praise Pharrell for his production on both tracks, which serve as a reminder that he’s one of the best producers out there (since people seem to have forgotten that fact). Otis also gives his review of the new Turnstile movie that is meant to accompany their latest album, “NEVER ENOUGH”.

From there, we discuss some of our favourite badass ladies in cinema. From Ripley to Mystique to Furiosa to Rita Vrataski to Trinity to The Bride… there are so many confident, smart, and powerful women who kick ass on the big screen. We take a moment to show them some love and give them their flowers.

That’s all for us this week. We’ll see you next weekend.

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What’s good, homies? Fresh off a recent move and a short break, the boys are back to ruminate on things. The world is scary and stupid, which means it’s time for another gripe fest with a half-Bizarro Bird, half-Lazy Bird, all DOOM-lovin’ episode. Join us as we discuss all the insanity going on in the world, what we’re listening to and watching, and how much we love the DOOM franchise.

In this episode, we discuss many things including the state of the political discourse and the shortfalls of politics in Canada, social media getting even worse, Elon Musk's evolution into the worst human ever, how the oligarchs are destroying society, Alberta being in a perpetual state of ass-backwards thinking, and whatever the hell is going on down in the United States. We also discuss the current lack of media literacy and the need for people to seek out the truth instead of believing everything they see, hear, and read at first glance. Then, we turn to artificial intelligence and share our thoughts on the detrimental over-use of AI in people’s personal lives and the need for ethical discussion, intentionality, and regulation when it comes to generative AI. Whatever your opinion, it’s here, and it seems nobody is looking at it in a meaningful way. Otis hates it, while PALMREADER has a more nuanced take, but they both agree that we need to stop and think about how we’re using it and what it’s doing to society.

After that discussion, we talk about our love of the DOOM franchise, with PALMREADER currently playing the original "DOOM" (2016) and Otis currently playing “DOOM: The Dark Ages”, and what makes them so awesome. PALMREADER is also deep into his strategy bag with “Anno 1800”, “Crusader Kings 3”, and “Stellaris” due to his recent lack of a steady internet connection. Otis, on the other hand, has been playing “Lies Of P” and reading a bunch of books, including Mark Hoppus’ new biography. We also cover what we’ve been watching, which includes movies and shows like “Predator: Killer Of Killers”, “Long Way Home”, “Murderbot”, “The Studio”, “The Phoenician Scheme”, and more. On the music side of things, we discuss the new Turnstile album “NEVER ENOUGH”, the new Clipse track “Ace Trumpets”, the new Orthodox album, the re-released “Three Cheers For Sweet Revenge” from MCR, the new “Queens Of The Stone Age” live EP, and how disappointed we are with Lil’ Wayne’s confounding new album “Tha Carter VI”. Oof. Also, JPEGMafia comes in hot with one of the worst takes we’ve ever heard, and we share our thoughts.

There’s a bunch more ranting and raving in the episode, but this description is getting long, so tap in with your favourite Bird Boys to hear the episode in all its glory.

We’ll be back next week!

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We’re back with another semi-casual themed episode for y’all to enjoy while PALMREADER wades through the waters of an exciting move and Otis plays “DOOM: The Dark Ages”! This is the first of our ongoing series on some of our favourite auteur filmmakers and auteur theory in cinema. From big names to arthouse mainstays to lesser-known gems to a new class making their way in the world of cinema, we hope to cover the deep and evolving roster of filmmakers that intentionally inject their movies with a distinct creative and artistic voice and explore what makes them unique.

To kick things off, we give a little update on what’s been going on and how life’s been treating us. PALMREADER has been revisiting his past lives as he sorts through years of stuff, while Otis has been gaming hard. Summer is almost here, and the weather is improving, which makes things a little bit brighter for both of us. 

Then, we give you a basic overview of auteur theory in cinema, including where it started, what it means to be an auteur, and how the concept has influenced cinema as a business, an art, and an academic pursuit. From there, we cover six filmmakers and attempt to unpack what defines them as auteurs. To do so, we look at the style, vision, recurring themes/concepts, and formal techniques that make them who they are by looking at a selection of their films and their body of work as a whole. The filmmakers included in this episode are Michael Haneke, David Cronenberg, Harmony Korine, Richard Linklater, The Safdie Brothers, and Steven Soderbergh.

We’ll be back next week! INITIATE BIRD PROTOCOL!

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What’s good, homies?! This week, we’re talking about a recent release and a filmmaker who hasn’t missed yet. It’s our review of Ryan Coogler’s recent genre-bending vampire flick “Sinners” starring Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, and Delroy Lindo! Plus, a conversation about Coogler’s career, filmography, and skills as a filmmaker.

I’m gonna keep it short and sweet… we loved this movie. Its thematic richness is equal to its enjoyability on the big screen. It’s an example of someone taking a big swing artistically, commercially, and technically… and totally succeeding. Yeah, we have a few nits to pick, but overall it’s a GOOD ASS TIME at the movies that sits with you long after the credits roll (especially if you’re musically inclined). It’s fun, funny, thrilling, soulful, and surprisingly horny. It’s got Irish vampires, blues music, magic, the KKK getting wrecked, and two Michael B. Jordans… What’s not to love? Plus, it looks gorgeous, sounds amazing, and has a killer soundtrack. Join us as we share our reaction to the film and have a deeper discussion about why we loved it.

Furthermore, we take some time to discuss Ryan Coogler as a filmmaker and why he’s quietly becoming one of the most important and interesting people making movies. There are many reasons including the deals he made surrounding the release of this film, his ability to keep a creative vision and voice while remaining fresh with each release, his ability to merge American pop film with auteurism and independent filmmaking, his overall profitability, his ability to tell human stories, and his love for movies and understanding of the medium. We also talk about “Creed”, “Fruitvale Station”, “Black Panther”, and explore the themes/ideas/voice that tie them together.

That’s all for this week! Go see “Sinners”! It rips!

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