Grace Jones, Christopher Walken and a near 60-year old 007—there is nothing more in life that I want. Home for Thanksgiving (who am I kidding, I live at home), I was able to persuade my wonderful and funny sister, Mollie into joining me to discuss the best film from 1985, John Glen's A View to a Kill. Was it a good idea to base my online film-writing persona around this gem? Probably not, but it certainly speaks to the state of that "career" today. 

The perfect end to another London adventure, the saddest man I know (you guessed it, it's Labeja) and I set our sights on Jean-Pierre Bekolo’s ARISTOTLE’S PLOT. One of the finest films about films, it was the number one takeaway from the year-long, and very expensive master’s degree I did in 2018. It’s just that good. And it’s available for free on Vimeo, so you should go watch it. And then listen to Labeja and I talk drunkenly about it, buy yourself some hot booze, and watch it again.

Third time's a charm. After a disappointing showing on CLUE (1985), and a cathartic venture into chaos with FADE TO BLACK (1980), it was this week's film and this week's guests that proved to be my salvation. A.P. Clarke (director of APOCALYPSE OF THE BLOOD FREAK and host of The Lost Cat Podcast) and Dr. George Crosthwait (fan of the show and budding Don DeLillo impersonator) join me to discuss one of the finest bad films I've ever seen. With a perfectly deadpan Jackie Vernon and dialogue written by madmen, MICROWAVE MADNESS is just one of those things that's impossible to describe; so we might have gone a little off the rails trying to figure out what Don DeLillo and Andrew Dice Clay would have been like as friends.

The blight from Episode 19.9 hanging thickly in the air, friends Labeja Kodua Okullu and Ian Mantgani join me to persevere over the cursed drink. We failed. Recording hours of painful, yet touching self-examination, there was only about 14 minutes of salvageable film talk. Deciding to reconvene, hungover and raw, we somberly recorded an addendum to our chat, tying up loose ends and correcting intoxicated errors from the previous night. What remains is a decent recap of a film that is nothing more than perfectly fine. Three men brought together by film to talk about a film about a man who watches film; this is what friendship looks like. 

This week's episode proved to be an embarrassing reminder of the dark side of any intoxicated adventure: sounding like a complete ass. For what was going to be episode 20, I decided on one of my all-time favorite films, Jonathan Lynn's 1985 murder mystery masterpiece, CLUE. Based on the board game of the same name (or of a different one if you live in not America), I was perhaps a little too excited for my own good. Whether due to stellar drinking rules, or the rushing back of fond memories, I consumed far more than was responsible, and recorded what I can only describe as the ramblings of a fool. Drink For... chopped and screwed, this non-episode is all that remains. 

As the year's best month continues, I venture into territory with which I am very familiar: Anna Biller's 2016 masterpiece, The Love Witch. Combining my twin loves for spookiness and sarcastic wit, Biller's unique film appeals to the very core of my being. No, seriously, this movie fucked me up. Listen for yourself, I'm a complete, babbling mess by the end. If I average .84 coherent thoughts per episode, this 19th instalment must be down damn close to zero. Even better than listening to this (not a high bar), why not just go watch The Love Witch? Do it.

Fresh off of a makeshift honeymoon, and back into the closet of shame, I battle a cold this week to bring you the first in a month-long series of horror-based boozers. Joined by DJ Shabbee Chic, and with hot toddies in hand(s), we explore the strange moral righteousness of Rusty Cundieff and Darin Scott's social-justice-anthology-horror (that is a lot of dashes).  

Big news this week, as guest DJ Shabbee Chic and I decide to get married. By way of an impromptu hen/stag-do, my favorite sad men Labeja Kodua Okullu and Ian Mantgani planned this special episode for us to become more-accustomed to American weddings. The film is utterly fine, if not an amber-frozen artifact of the early noughties, but the company? That's something that just can't be beat, brother. Love to all those who joined us on the day, both in person and digitally, none to deserters. Now I need to get back to our honeymoon. Goodbye.