NETFLIX's The Rip (2026), starring Matt Damon and Ben Affleck and directed by Joe Carnahan, raises the question: has the era of prestige filmmaking left Netflix?

In this episode, we look at The Rip and how Netflix’s increasingly familiar style of spoon-fed storytelling is responsible for dumbing down movies and shows. We also ask why Netflix keeps avoiding theatrical releases and whether The Rip would have been better served on the BIG SCREEN.

We are joined by returning guest Cinema Sleuth, author/podcaster Steve Hunt, host of The Boxing Movie Podcast and Desert Island Fights. 

Directed by: Joe Carnahan

Cinema Sleuths is produced by Luke Deckard & Matthew Booth 

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

Is Lanterns actually one of DC’s strongest new shows, or is the internet reacting to another divisive addition to the DC Universe? The investigation is on!

Lanterns is the latest WB/DC outing to ignite a fierce debate among fans. Some viewers love the new HBO Max show, while others have been deeply unimpressed. But does Lanterns really deserve the backlash — or has online fan discourse gone too far?

In this episode of Cinema Sleuths, we investigate Lanterns, the new DC series created by Chris Mundy, Damon Lindelof and Tom King. We look at what the show gets right in the pilot and whether the criticism surrounding Lanterns is justified

Created by: Chris Mundy, Damon Lindelof and Tom King

Cinema Sleuths is produced by Luke Deckard & Matthew Booth 

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

The Postman Always Rings Twice (1946) is widely regarded as one of the classic film noirs — but does this celebrated adaptation of James M. Cain’s iconic hard-boiled novel still deserve its reputation?

In this episode of Cinema Sleuths, we put The Postman Always Rings Twice to the test. We investigate Tay Garnett’s 1946 film and what made it a landmark of classic Hollywood and film noir.

Starring Lana Turner, John Garfield and Cecil Kellaway, The Postman Always Rings Twice is one of the defining examples of classic film noir. Based on James M. Cain’s influential novel, the film has remained a touchstone for crime cinema and hard-boiled storytelling for decades.

But how good is it really?

Joining us for this investigation is thriller author Regan MacArther, writer of the John Lash series.

Starring: Lana Turner, John Garfield and Cecil Kellaway

CREDITS

Cinema Sleuths is produced by Luke Deckard and Matthew Booth 

Edited by Luke Deckard 

Music by Luke Deckard 

Logo by Phil Dragash 

DISCLAIMER:

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

Cowabunga! Cinema Sleuths investigates Teenage Mutant Ninja Turtles (1990), the darker, grittier big-screen adaptation that arrived at the height of Turtle-Mania. But was this the perfect Teenage Mutant Ninja Turtles movie — or did audiences expecting the cartoon get something very different?

Released in 1990 after the phenomenal success of the 1987 Teenage Mutant Ninja Turtles cartoon series and the explosion in TMNT toy sales, Steve Barron’s Teenage Mutant Ninja Turtles brought Leonardo, Michelangelo, Donatello and Raphael to the big screen. But this wasn’t quite the colourful children’s adventure many fans expected.

The original Teenage Mutant Ninja Turtles comic book, created by Kevin Eastman and Peter Laird, was a much darker, stranger and more satirical creation. So when the 1990 film arrived, it drew heavily from that original comic — with a grittier tone, more serious characters and considerably more ninjas, crime and violence than the cartoon.

In this episode, we investigate whether Teenage Mutant Ninja Turtles (1990) was actually the perfect adaptation of the original TMNT comics. Did the filmmakers successfully balance the darker source material with the family-friendly popularity of the cartoon? And did audiences misunderstand the movie because they were expecting something else?

We look at the film’s production, its relationship with the original Mirage Comics, the influence of the 1987 animated series, the performances, practical effects, action sequences and the surprisingly faithful approach to the source material.

Joining us for this investigation is returning cinema sleuth, actor and Youtuber Julian De Backer.

Directed by: Steve Barron

Cinema Sleuths is produced by Luke Deckard & Matthew Booth 

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

THWIP! The summer blockbuster has swung into town — and it’s a giant Spider-Man-sized case for Cinema Sleuths.

Has Marvel finally moved on from Iron Man Jr and delivered a great Spider-Man movie again?  Does Spider-Man: Brand New Day capture what makes the character so special? And can this new chapter give Peter Parker the fresh start that the title promises? That's what we want to know.

In this episode, we review and investigate Spider-Man Brand New Day, how it juggles the inclusion of Frank Castle (AKA The Punisher), who Sadie Sink is playing, and how the film embraces the street-level side of the Marvel Cinematic Universe. We ask whether this is a genuine return to form for Spider-Man, whether our expectations were met or not, and if Sink's mysterious characters was the right choice.

Directed by: Destin Daniel Cretton

Cinema Sleuths is produced by Luke Deckard & Matthew Booth 

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

The Devil of Hell's Kitchen and The Punisher are BACK! And with them, Marvel's TV-MA violence! Has Marvel finally rediscovered what made these characters work? 

In this episode of Cinema Sleuths, we return to the darker side of the MCU to investigate Season 2 of Daredevil: Born Again and Punisher: One Last Kill.

We look at the return of Charlie Cox’s Daredevil and Jon Bernthal’s Punisher, the show’s TV-MA violence, the performances, storylines, action and darker tone. Has Marvel successfully recaptured the spirit of the original Daredevil and The Punisher series? And what does the return of these characters mean for the future of the MCU?

We also speculate about Daredevil and the Punisher’s potential involvement in Spider-Man: Brand New Day and what their presence could mean for Tom Holland’s Spider-Man.

Be warned: spoilers abound.

Daredevil: Born Again — Starring: Charlie Cox, Vincent D’Onofrio, Deborah Ann Woll and Wilson Bethe

The Punisher: One Last Kill — Starring: Jon Bernthal and Judith Ligh

Genre: Marvel / Superhero / Action / Crime / TV-MA

Cinema Sleuths is produced by Luke Deckard & Matthew Booth 

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

Dead or alive, you're coming with us.

Why is RoboCop an unbeatable masterpiece? With two sequels, various TV series, and one big-screen reboot, Verhoeven's original remains unbeaten! 

Paul Verhoeven's RoboCop is remembered as one of the great action films of the 1980s — but beneath the blood, guts, and violence lies something far more subversive than your standard Canon flick.

In this episode of Cinema Sleuths, we investigate Verhoeven's 1987 classic, exploring its savage satire of corporate America, privatisation, consumer culture, sensationalist news and a society increasingly obsessed with violence and entertainment, with special guest Skye, co-host and co-creator of FILM 89

Directed by: Paul Verhoeven

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

The game is afoot!

Between 2009 and 2012, Sherlock Holmes was everywhere. Robert Downey Jr. and Jude Law brought the world’s most famous detective to the big screen in Guy Ritchie’s Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011), while the BBC’s hugely successful Sherlock brought Benedict Cumberbatch and Martin Freeman to television under the direction of creators Steven Moffat and Mark Gatiss.

For a few extraordinary years, Sherlock Holmes had become a global phenomenon all over again.

Then, seemingly overnight, Sherlock Mania disappeared.

In this episode of Cinema Sleuths, we investigate the strange era when two wildly different Sherlock Holmes franchises became mega-hits at almost exactly the same time. We look at why audiences suddenly couldn’t get enough of Holmes and Watson, what made Guy Ritchie’s action-packed interpretation so successful, and why the BBC’s modern-day Sherlock became one of television’s biggest shows.

But what happened?

Why did both franchises lose momentum? Why did the Sherlock Holmes phenomenon seemingly collapse after dominating popular culture? And why has Hollywood and television struggled to recreate that same level of excitement around the world’s most famous detective?

We're joined by Dr Mark Jones from the podcast Doings of Doyle and Sherlockian expert and BSI member Monica Schmidt. 

Sherlock Holmes (2009)

Sherlock (BBC)

Based on the stories by: Sir Arthur Conan Doyle

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Use / Fair Dealing. No copyright infringement is intended.*

This week on Cinema Sleuths, we investigate the big movies that kicked off the summer movie season! We are looking at three major releases that arrived with very different expectations: Supergirl, Toy Story 5 and Steven Spielberg’s Disclosure Day.

We investigate Supergirl (2026), starring Milly Alcock, and ask whether DC has found the right formula for its next generation of superhero movies. Does Alcock’s Supergirl have what it takes to make the character a major cinematic star?

After four hugely successful films, does Pixar still have something worthwhile to say with another Toy Story sequel — or is this a case of a franchise that should have been left alone?

And then there’s Steven Spielberg’s Disclosure Day. With one of Hollywood’s greatest filmmakers returning to the big screen with a mysterious new sci-fi blockbuster, did Spielberg deliver another cinematic event or did it leave us longing to watch his older films?

Directed by: Craig Gillespie

Directed by: Andrew Stanton

Directed by: Steven Spielberg

Cinema Sleuths is produced by Luke Deckard & Matthew Booth 

Edited by Luke Deckard 

Theme song by Luke Deckard 

Logo by  Phil Dragash 

DISCLAIMER

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.

*All movie and TV clips used in this episode are the property of their respective copyright holders and are used here for the purpose of review and commentary under Fair Dealing / Fair Use. No copyright infringement is intended.*

Did Robert Altman misunderstand Chandler's iconic detective? Or did he create one of the most fascinating reinventions of the noir detective story?

Luke Deckard and Matthew Booth investigate Altman's The Long Goodbye, exploring Elliott Gould's brilliantly unconventional Marlowe!

CASE FILE: THE LONG GOODBYE (1973)

Starring: Elliot Gould, Nina van Pallandt, Sterling Hayden, and Mark Rydell

Written by Leigh Brackett

Based on the novel: THE LONG GOOBYE by Raymond Chandler 

Directed by Robert Altman  

CREDITS

Find Maxim's book here: https://maximjakubowski.co.uk/

Mean Streets is produced by Luke Deckard and Matthew Booth 

Edited by Luke Deckard 

Music by Luke Deckard 

Logo by Phil Dragash 

DISCLAIMER:

All content presented in this podcast episode is the property of the podcast creator and is protected under applicable copyright laws. Any copyrighted material used in this episode is used under the principles of fair use for purposes such as commentary, criticism, education, and review. No part of this episode may be reproduced, distributed, or transmitted in any form or by any means without prior written permission from the copyright holder, except where permitted by law.