Double Feature

Two exploitation landmarks with quiet protagonists. Unintentional Double Feature themes. The Man Who Killed God. The Driver and colors. Obligatory Drive conversation. Bruce Dern strikes back. The Driver, The Player, and The Detective. What tips you off? Authority, and those who resist it. A criminal adherence to the law. Us or them! The Briefcase of Failure. A fearless chase. Walter Hill and The Warriors. Heroes of franchises past. The man and the silence. Ms. 45 and Abel Ferrara. Those dirty New York films. Punk fucking rock. Thana also strikes back. Miss forty-five as the strong silent type. How to get the entire audience off the boat. Phil doesn’t need to come back. Men, everywhere. Arguments about whether rape is better or worse than death are frivolous. When is the line drawn? Ok, right away, but when is the cinematic line drawn?

A modern look at two classic Victor Flemming films. Brienna Krueger almost brought you a very different pair. One man’s involvement in two colossal cinema juggernauts. Gone With the Wind as an epic. Defining popularity in gross international profit adjusted for inflation. Maintaining precision and care for each individual scene. The color palette in Gone With the Wind. Scarlet O’Hara fights for independence – but will she know what to do with it when she gets it? Attempting to find themes in an epic. Independence, southern culture, and the evolution of struggles for equality. Ladies and land ownership. The imagination of the Wizard of Oz. The part no one talks about (but should). Creative first. Ignorance of the impossible. Painted backgrounds, practice effects, and a legacy still untouched today, the Flickchart problem. The perverse and dark humor. Munchkins! A perfect grindhouse film. The man behind the curtain. George Orwell meets Objectivism. Help your friends through a common cause by empowering yourself.

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Students discover the hidden truths of future and past. Alex Pardee, EL-P and Killer Mike. When things happened in 1984. Guns in the school! Why 1984 won’t be like 1984. A nation of criminals. Forgetting the growing left to do. Pacifists who don’t like spanking. Today’s children are tomorrow’s future. Where does a modern audience find the shock? The great twenty-first century bully awakening. Everyone was bullied, no one was the bully. Why kids are such little fucking assholes. Who is bad, and what kind of bad they are. Slipping into violence. Corruption via environment. How the ethical meet the unjustifiable. Marilyn Manson samples Prince of Darkness for his cover of Down in the Park. Alice Cooper gets more air time than Marilyn Manson. The old rock and roll. Classic carpenter? What you thought and what you get. Technology and religion. Donald Pleasence brings the gravity. Theoretical science for scams. Michael talks about quantum mechanics at a level he’s not supposed to comprehend. The quantum check. Counter-intuitive religious coverups. What’s the end game? Another bonus episode coming your way!

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Franchises be damned! The one-off slasher films. Michael does an awful thing. No one understands Double Feature. Joseph Zito. The Roger Corman Marvel films. Keeping the lights on (and other excuses to make art). World War 2. Advertising after the war. Parties? Not in my town! The identity of the slasher. How to not have a slasher franchise. The Prowler as a proper noun. Weapons. The look of The Prowler. When a Stranger Calls. The call is coming from inside the house, again. Karol Cane answers the phone. Implications of the camera. A breakdown of one of the most memorable and influential slasher scenes in the genre. A breed of scary films without scares. Eric finds yet another source of anxiety. Please, no one ruin vibration. When a Stranger Calls and genre-bending. The slow creep. Learning about your killer. Children return to ruin everything, but are thwarted the psychopathic anti-hero. The old cop and the sequel.

Universal Monsters once again meet Classic Science Fiction. Creation, control, and man made monsters. Eric Thirteen talks about being the Executive Producer of the upcoming horror film Director’s Cut. Two incredible names and one never before seen project. Just what are the Universal Monsters films – and why are they important? James Whale and Universal Studios. Hammer Horror. The great depression. Franchise, franchise, franchise! Boris Karloff vs Bela Lugosi, round three! Humanity and style. The design of Frankenstein’s monster. German expression rears its 45 degree head. Directors you see in a graveyard. Creating size. Crushed by the monster. Double Feature revisits man playing god, only to discover Frankenstein is actually doing something more interesting. What you already know about The Stepford Wives. 1975 means an absence of jokes on the top of Nicole Kidman’s forehead. Katherine Ross, independent female. The Stepford Wives and activist feminism. Creating a monster and changing public opinion. An ending to do seventies sci-fi proud.

Director’s Cut

Penn Jillette is going to play a bad guy in Director’s Cut, an edgy new film by Adam Rifkin. Eric Thirteen is an “Executive Producer,” whatever the fuck that means.

Make Penn Bad Director’s Cut Fundraising

A Werner Herzog warning. Trying to maintain accessibility. Invincible. Why Werner Herozog should be on Michael’s radar. A new troop. Someone listens to Eric about Udo Kier. Mixing Truth, fiction and documentary.. The New German Cinema via The French New Wave. Ah yes, the tv/film accessibility levels graphic! Can The Splat Pack teach us something about classy German cinema? What is Herzog known for? Unfair comparisons to filmmakers Double Feature is familiar with. The powerhouse that is Tim Roth. Another source of villainy. A unique look at pre-Hitler Germany on the cusp of WW2. Considering another aspect of are the sideshow. The supernatural! The important differences between frauds and the self-delusional. What if German had been lead by the occult? The VHS legend that is Mister Frost. What happens in the missing 1/3? Midnight video. Vincent Schiavelli! The brand new Double Feature Jeff Goldblum Crazy Chart graphic! Jennifer Jilbert, Jeff Goldblum historian. How crazy does the Goldblum get – and when. The devil or not. How do you know when the supernatural is real in a fictional world? Mr. Frost, tension, and the absence of violence. Science gets better, nonsense goes away, and the Earth is a better place for everyone.

Jeff Goldblum Crazy Scale

Comic book tributes by horror legends. The Additional Content is out! Getting in front of the camera. George A Romero and Stephen King. Tom Savini, comic books, and trashcan metaphors. The aesthetic. The lasting impression of Creepshow. Horror anthologies. The legacy. Eric talks about his time work on Marvel’s comics! Deciphering the relationship between Creepshow and Tales from the Crypt. A sequel, a bastard child, and 2009’s Creepshow Raw. Alex Pardee does things. The Specials. The increasingly popular works of James Gunn. Lollilove. Rob Lowe and Thomas Haden Church as people you recognize. Getting to the bottom of Doug. What’s up with the world’s smartest man? Comedic timing. Action figure unveiling. The state of superhero audiences. The game of heroes without powers.

Diving right in to the pairing experiment. John Waters and Wes Anderson, best friends forever. Michael and Eric get excited about introduction to color theory! Cecil B Demented takes back the cinema. That punk metal resistance. The man who fought dogma and taboo sets his sights on the film industry. Kidnap, torture, and farce. The problems of cinema yesterday. Don’t hold back! John Waters raps songs. Go on, read that sentence again. Jerome Dillon. The Royal Tenenbaums introduces the cast. This time, with Baldwin. Redemption, take two. The Wes Anderson color palette. How to learn. Why color is more important than how important you probably think it is. Color coded characters. Break your rules and make your point.

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Two films that dramatize secrets. Dario Argento does something different with Tenebre. The music! The meta! The future! Commentary on horror cinema and literature. Invoking themes. Inspired by Fritz Lang. Secret Beyond the Door’s real secret is how to remember the fucking title. When the truth begins. The Bluebird fable. Eric tells the real Bluebird tale. A cautionary fable of feminine curiosity. Double Feature hosts struggle to emulate terrible women jokes, only to makes themselves too sick to go on. You know what else is sick? The bible. Rooms + Psychology. Helping the audience open their minds. Encouraging critical thinking in a crowd.

Strange worlds via animation. The various versions of Alice in Wonderland. Inventing icons: how does Disney do it? Defining classics. The vault. Everything is a musical. Yesterday’s animation today. How escapism was once represented in animation. Former conventions in modern times. Franz Kafka. Being surrounded by death at all times. Building your blueprint around encounters. The pointlessness of living. Growing into adolescence. Appeasing a tyrant. American McGee’s Alice. Alice: The Madness Returns. Don Hertzfeldt’s It’s Such a Beautiful Day. Resistance to identification. The medium and the message. Do things with stick figures. Simplify! The intersection of minimalism and animation. What minimalism demonstrates. Changing perception instead of content.