Catching Up On Cinema

linktr.ee/CatchingUpOnCinema

It's once again time for Catching Up On Cinema's monthly, “Tales From the Shelf” episode!

In this installment, Trevor is once again joined by his good buddy Brad from the Cinema Speak podcast to discuss "A Dollop of D's"!

Spotlighted this episode, are noteworthy films from Trevor and Brad that have titles beginning with the letter "D".

Brad's Picks:

Dumb and Dumber (1994)

Don't Look Now (1973)

Dolls (1987) and Dolly Dearest (1991)

The Deer Hunter (1978)

Trevor's Picks:

The Darkman Trilogy (1990 - 1996)

Deep Cover (1992)

The Daimajin Trilogy (1966)

Doberman (1997)

And stick around for the "speed round," where Trevor and Brad quickly talk about a handful of their runner-up picks.

Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram.

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

This November is “No Nut November” at Catching Up On Cinema!

All month long, we'll be reviewing erotic thrillers from the 80's and 90's!

This week, Trevor and Kyle celebrate the 200th episode of Catching Up On Cinema with a review of John McNaughton's, Wild Things (1998)!

Released at a time when the erotic thriller genre was being phased out in favor of teen-focused sex comedies and Scream (1996) rip offs, Wild Things (1998) is a competent neo-noir that has since developed a minor cult following.

Benefiting massively from the charms of its charismatic and very game cast of players, Wild Things is nothing special from a writing or production standpoint, however it manages to keep the viewer engaged with a steady drip of smolder, sex, and plot twists.

Perhaps best remembered as the film featuring (executive producer) Kevin Bacon's penis in a brief, but essential cameo, Wild Things is a decent erotic thriller, that, perhaps unfortunately, also perhaps marks the transition point for the subgenres' trajectory towards hibernation/obscurity.

Special thank to Kyle's brother Nik, Trevor's brother Matt, and all our podcasting friends

Harrison and Jordan @GriefBurrito

Chase Keys and EmmyZero @snescapades

Chris @playcomicscast

Brian and Michele @MovieLifePod

Richie @SuperMediaBros_

And thanks to you, the listener, for tuning in and supporting us all these years!

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

This November is “No Nut November” at Catching Up On Cinema!

All month long, we'll be reviewing erotic thrillers from the 80's and 90's!

This week Kyle and Trevor review William Friedkin's, Jade (1995)!

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

This November is “No Nut November” at Catching Up On Cinema!

All month long, we'll be reviewing erotic thrillers from the 80's and 90's!

This week Trevor does a solo review of Phillip Noyce's, Sliver (1993)!

Released almost exactly one year after her star making turn in the massively successful Basic Instinct (1992), Sliver (1993) saw Sharon Stone return to the erotic thriller subgenre, albeit without the benefit of the one-two punch of Paul Verhoeven's slick and wildly excessive directorial flourishes, and Jan De Bont's sumptuous lighting and lensing.

Once again working from a screenplay penned by genre veteran and Hollywood sleaze maestro, Joe Esztherhas; Sliver sees Sharon Stone cast not a femme fatale as in case of the pairings earlier effort, Basic Instinct, but as a weirdly passive, shy woman that may be more sexually adventurous than even she would care to admit.

A murder-mystery whodunit that often feels utterly uninterested in detective work or suspense building, Sliver somewhat delivers on the eroticism and thrills one would expect from an erotic thriller, however the connective fiber between the elements, so essential to creating an effective and cohesive genre film, are sorely lacking.

Dull and aimless in instances where its handsome and talented cast still have their clothes on, Sliver is not bereft of interesting thematic content or compelling performances, though at the end of the day it all feels very slight and surface level, and sadly doesn't amount to a film that could be considered much more than “adequate” or “serviceable”.

Reportedly a troubled production in the form of the MPAA requiring massive reedits to avoid an NC-17 rating, and negative test audience reactions compelling the producers to insist on changing the identity of the killer and the entire ending well into post-production, Sliver is a film that was restructured within an inch of its life, such that its a small miracle that it was even able to limp its way into theaters as a coherent narrative at all.

Many point to Basic Instinct (1992) as being at or near the pinnacle of the erotic thriller boom of the era, and appropriately enough, Sharon Stone and Joe Esztheras' very next project together, Sliver (1993), would go on to represent the cresting of the wave for the genre.

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

This November is “No Nut November” at Catching Up On Cinema!

All month long, we'll be reviewing erotic thrillers from the 80's and 90's!

This week on Catching Up On Cinema, Trevor does a solo review of Paul Verhoeven's, Basic Instinct (1992)!

Working from a script penned by genre stalwart Joe Esztherhas, Verhoeven's Basic Instinct (1992) represents an acceleration in the ongoing evolution of the then booming erotic thriller subgenre.

Starring Michael Douglas and an up-and-coming Sharon Stone, Basic Instinct is a raunchy neo-noir whodunit.

Profane, explicit, and positively dripping with body fluids at every turn, Basic Instinct is thankfully more than just an expensive fuck film from the 90's.

Brilliantly shot and scored by Jan De Bont and Jerry Goldsmith respectively, and performed with intensity and verve by a who's who of recognizable names and faces, Basic Instinct's only true liability is its (reportedly) $3 million screenplay.

Robbed of momentum in its later stages by the necessity of the whodunit aspect of the narrative taking precedence over the fucking and fighting, Basic Instinct unfortunately allows itself to get bogged down with too many repetitive interrogation sequences in the lead up to its resolution.

A sexy, fun watch, Basic Instinct is not as consistently entertaining or as layered as many of Verhoeven's best mainstream American efforts, however it is effortlessly memorable, and easily a standout among the subgenre.

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

This November is “No Nut November” at Catching Up On Cinema!

All month long, we'll be reviewing erotic thrillers from the 80's and 90's!

This week we kick things off with a review Adrian Lyne's, Fatal Attraction (1987)!

A wildly successful erotic thriller from genre maestro Adrian Lyne, Fatal Attraction (1987) is by no means the first of its kind, however it can easily be pointed to as one of the most important and influential to the mainstream proliferation of the subgenre.

Featuring Michael Douglas, who would soon find himself occupying the enviable role of the poster boy for erotic thriller leading men, as well as the at the time surging Glenn Close, Fatal Attraction (1987) is an exceedingly handsome thriller, in terms of both the aesthetic charms of its cast, as well as in terms of its crisp lighting and cinematography.

In spite of the quality of performance and raw filmmaking talent poured into the film, Fatal Attraction is nevertheless a somewhat strange film to evaluate in 2022.

Featuring a vague portrayal of mental illness in the form of Glenn Close's, Alex, as well an adulterous protagonist in the form of Michael Douglas', Dan, Fatal Attraction's narrative arc and tendency to look up upon the character of Dan in a positive/sympathetic light, may be difficult pills for contemporary audiences to swallow.

In spite of its somewhat dated cultural perspectives, Fatal Attraction is a superior erotic thriller possessed of fantastic production values and engaging drama that never veers into disingenuous melodrama.

An exciting and highly profitable film that would ensure that director, star, and subgenre alike would occupy an important niche in Hollywood for years to come.

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

Happy Halloween from all of us here at Catching Up On Cinema!

In this, the first of a new series of bonus episodes that Kyle has proudly dubbed, “My Brother Pissed On Me,” Kyle and his brother Nik reminisce about the 90's phenomenon that was R.L. Stine's, Goosebumps.

Primarily focusing their discussion around the book series and the late-90's TV adaptations of The Werewolf of Fever Swamp and A Night in Terror Tower, the 2 brothers nevertheless find plenty of opportunities to verbally piss on one another throughout.

Happy Halloween!

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

It's once again time for Catching Up On Cinema's monthly Catching Up On Blu-Ray episode!

Join Trevor as he takes a look at the blu-ray and 4k releases for October 2022!

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

It's once again time for Catching Up On Cinema's monthly, “Tales From the Shelf” episode!

In this installment, Trevor is once again joined by his good buddy Brad from the Cinema Speak podcast for a "Rainbow Roundup"!

All the films discussed this episode bear spines featuring the colors of the rainbow (red, orange, yellow, green, cyan, blue and indigo).

Brad's Picks:

The Babadook (2014)

The Hunt (2020)

One Cut of the Dead (2017)

The War of the Worlds (1953)

John Wick (2014)

Small Soldiers (1998)

Fast Five (2011)

Trevor's Picks:

The Street Fighter Collection (1974)

The Last Dragon (1985)

Undisputed III: Redemption (2010)

Godzilla 1984 (1984)

To the Fore (2015)

The Wild Bunch (1969)

Arachnophobia (1990)

Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram.

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!

linktr.ee/CatchingUpOnCinema

In a very special, “Theatrical Edition” of Catching Up On Cinema, Kyle and Trevor review David Gordon Green's, Halloween Ends (2022)!

The third and final chapter of David Gordon Green's recent trilogy of films, Halloween Ends (2022) is yet another in a long line of highly divisive Halloween/Michael Myers sequels.

The 13th entry in the Halloween film series, Halloween Ends sees the franchise veer into unexpected territory, dedicating much of its screen time and characterization to elements that are potentially unwelcome by Michael Myers super fans.

Earnest (albeit ham-fisted) in its continued exploration of the themes of trauma and hysteria introduced in Gordon Green's own Halloween (2018) and Halloween Kills (2021), Halloween Ends is unfortunately a case of a film being possessed of fine ideas that are unfortunately not explored to the extent one would hope after an entire trilogy spent dog paddling in them.

Handsomely shot, and once again beautifully scored by the father son duo of John and Cody Carpenter, Halloween Ends is tonally and aesthetically in line with earlier entries in the series, though in some ways that may be to its detriment.

3/4ths of a bold and unique entry in the Halloween franchise, Halloween Ends is a well made slasher with strong performances and interesting ideas, though it unfortunately betrays itself in its final reel by concluding the story that franchise fans would likely demand, rather than the one that the film had been telling, quite ably, prior to the finale.

Alternatively, one could also view the film as an earnest conclusion of the Laurie Strode/Michael Myers story, effectively conveying the evolution of Laurie's struggle with her trauma.

Perhaps Halloween Ends' greatest liability comes in the form of effectively innovating, introducing ideas and characters that this reviewer was more interested in continuing to explore, amid a concluding chapter in a trilogy that's conclusion was near preordained by virtue of Ends needing to maintain symmetry with Gordon Green's earlier films.

A divisive film, to the point that this reviewer is still uncertain of its overall quality and enjoyability, Halloween Ends is a fine, if not somewhat uneven Halloween sequel.

Follow us on Instagram @catchinguponcinema

Follow us on Twitter @CatchingCinema

Like, share, subscribe, and we'll catch you next time!