Blank Check with Griffin & David

Joe Garden (The Onion) joins Griffin and David this week to discuss the mo-cap animated action/mystery, The Adventures of Tintin. But what was Peter Jackson’s involvement in the project? How is the character Tintin like a fine sparkling wine? Is Will & Grace really coming back? Together, they compare the film to the original children book series by Hergé, examine the lessons children were taught in the 1930’s, again revisit Mystery Men and also suggest what actor would make a good Professor Calculus for any future sequels.

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David Ehrlich (IndieWire) returns to Blank Check to discuss 2008's polarized franchise reboot, Indiana Jones and the Kingdom of the Crystal Skull. But are the rumors true that there is a superior early version of this screenplay? Is George Lucas to blame for the most of the criticism? And is it clear that Mutt Williams is a greaser type character? Together they examine, the new old Harrison Ford movies slated for release, the culture around the death of celebrities, the many follies of Shia LaBeouf and also explore Ray Winstone impressions.

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Emily St. James (Vox) joins Griffin and David this week to discuss 2005’s Israeli espionage thriller, Munich. But is this movie’s lasting legacy being a reference in Knocked Up? What does it mean when Jeffrey Wells leaves behind his hat? What was with those sex scenes? Together, they go on the record with Oscar picks, examine Eric Bana’s career trajectory, ponder when Spielberg lost his virginity and go off on a tangent about the film Crash.

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J.D. Amato (My Brother, My Brother and Me) makes his third appearance on Blank Check, this week discussing 2005’s sci-fi doomsday The War of the Worlds. Why would this film mark the conclusion of the Cruise and Spielberg partnership? How much of tangent does Griffin go off on while discussing McG? Are we to be convinced Tom Cruise is a blue collar guy? Together, Griffin, David and J.D. delve into Dakota Fannings’ preciousness, the movie Mystery Men, the history of the actress who jumped onto the villain and with their legs snaps his neck and more. Plus, J.D. reaches out from the future and Producer Ben records ADR.

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This week’s guest, Jerah Milligan (Comedy Central), finally completes our trifecta of co-hosts from the excellent podcast Blank Men Can’t Jump In Hollywood joining Blank Check. The topic of discussion: 2004’s stranded at the airport dramedy The Terminal. But exactly how much Stanley Tucci does a movie need? What was behind the absurd Michael Douglas cancer story? Is it clear where exactly is Krakozhia? Together, Griffin, David and Jerah examine Catherine Zeta-Jones’ career trajectory, jazz photos, Shrek 3, saltine cracker sandwiches and more. Plus, Jerah shares a personal account of being trapped in the airport and Producer Ben is hungover AF.

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For their 100th episode Griffin and David decided to celebrate the occasion and finally deliver on the their listeners pleas to get meta and review their namesake movie, 1994's kid flick: Blank Check.

Music selection:

"東京 HAZE (extended tape version)" from SANDRAWAVE by 猫 シ Corp. (https://catsystemcorp.bandcamp.com/track/haze-extended-tape-version)Licensed under Creative Commons: By Attribution-NoDerivs 3.0 Unported (https://creativecommons.org/licenses/by-nd/3.0/)

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This week, Griffin and David discuss 2002's coming of age scammer drama based on a true story: Catch Me If You Can.

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Joanna Robinson (Vanity Fair) joins Griffin and David to discuss 2002’s dystopian thriller: Minority Report.

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David Rees (Going Deep with David Rees) joins Griffin and David to discuss 2001’s robot boy sci-fi: A.I. Artificial Intelligence.

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On this week's special episode, Griffin and David are once again joined by Joe Reid (The Decider) to present their personal nominations for the upcoming 89th Academy Awards. This roundtable discussion looks to all the major categories and offers engaging criticism, as well as, references deep cut cinema from 2016 you may have missed. With the “Blankies”, some winners are picked, Oscar snubs deservingly defended, but AGAIN as always most of the personal grudges continue.

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