Fifteen Minute Film Fanatics

A Serious Man (2009) may seem much different from the Coens’ adaptation of No Country for Old Men, which they released two years earlier. But they both concern a likable man who finds himself posing questions that the universe–or any of its weisest men–cannot answer. And even if there are glimpses of answers to the question “What does Hashem, or God, want,” neither late-thirties Larry or late-sixties Sheriff Bell can read the writing on the wall (or, in the case of A Serious Man, the writing on the teeth). The film begins with a quotation from Rumi, “Receive with simplicity everything that happens to you.” Join us for a conversation about one of the Coens’ best films and a terrific look at people to whom things happen and are forced to receive the will of a God who never tips His hand about His intentions.

There’s been a great deal written about Joel and Ethan Coen; if you want to hear them talk about their work in their own words, check out this collection of interviews.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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Actors win awards and gain our admiration when they convince us that they have “become” someone else–it’s what we mean when we say that so-and-so “inhabits” a role. But that’s not the only benchmark: a good actor is also someone whose statements are interesting to hear and whose voice engages the listener, whether or not we “believe” that he’s really Charles Foster Kane or Norman Bates. That’s how Mike approaches James Woods in True Believer (1989). He and Dan also talk about the title and how it reflects an element of the film more interesting than the mystery at the heart of its plot. So grab that hair tie, fix that ponytail, and give it a listen!

James Woods’s character, Eddie Dodd, is based upon the lawyer Tony Serra; you might be interested in this recent biography of him.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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Political noise is as American as baseball and apple pie and in this election season it’s impossible to tune it out completely: it’s on our televisions, radios, phones, and computers. Brian DePalma’s Blow Out (1981) follows a man who is able to hear something underneath all the noise: a perfect character to think about this election season. The real debate for Mike and Dan is whether or not the film makes a statement about the United States and each takes a different side. But they do agree that Blow Out is a wonderful downer and one of DePalma’s best.

In this episode, Mike mentions Don DeLillo’s Underworld, which offers a conspiratorial tone that contrasts with the one that marks Blow Out.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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There’s a moment in The Fly (1986) in which Seth Brundle–well into his transformation into Brundlefly–explains that he must vomit on a donut before eating it. The camera cuts away to show Geena Davis’s reaction, which is the same reaction David Cronenberg evokes in his viewers throughout the film. Grotesque yet surprisingly moving, The Fly is more than disturbing, wonderful makeup: it’s a look at a brilliant man who cannot understand the limits of his own vision, like his colleagues Drs. Faustus, Jekyll, and Frankenstien.

Interested in hearing what Cronenberg himself has to say about The Fly and his other films? Check out this collection of interviews.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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You can’t judge a book by its cover or a movie by its poster. When Mike suggested Manchester by the Sea (2016) for the pod, Dan hooted and derided his co-host as a lover of Hallmark Holiday Classics. But after he watched Kenneth Lonergan’s brutal and sobering examination of unquenchable grief, he admitted his mistake. Join us for a conversation about a film that was mismarketed as a Man Who Learns Life Lessons matinee but which offers some of the best and most restrained performances either has seen in a long time. IMDB describes it with, “A depressed uncle is asked to take care of his teenage nephew after the boy’s father dies,” but that’s like describing Citizen Kane with, “A wealthy media tycoon finds that money can’t buy happiness.”

Kenneth Lonergan’s screenplay for Manchester by the Sea can be found here; it includes an essay by Lonergan about the film.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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The second-best movie based on an Elmore Leonard novel, Out of Sight (1998) does what Netflix and other platforms try to do all the time: throw a bunch of stars together in an effort to increase the quality of the “content.” But those half-assed efforts never come close to Out of Sight, which has a roster of A-list actors, a terrific screenplay based on quality source material, a great score, and a director who makes us feel as cool as his characters. Like Mozart, Steven Soderbergh makes complicated artistic maneuvers look effortless–and like Elmore Leonard, Soderbergh knows the difference between good bad guys and bad bad guys.

Out of Sight was adapted by Scott Frank from Elmore Leonard’s 1996 novel, found here.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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Robert Benton’s 1979 interior drama turned out to be one of the biggest films of the 70s. While we might appreciate Dustn Hoffman now more often than we watch his movies, this marked another example of him owning the decade. It’s his movie, despite the attempt to give balance to the two Kramers fighting for the legal and moral right to raise their son. If you haven’t seen this since it played in theaters for months and then became a cable-TV staple, it’s worth rewatching; if you’ve never seen it, give it a look. Either way, be sure to listen to our conversation (and debate) about it once you finish.

Kramer vs. Kramer was adapted from Avery Corman’s bestselling novel, found here.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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For years, Dan avoided this movie, fearing it was like a Hallmark Holiday Classic or Very Special Episode of Mad About You. But after our episode on Broadcast News, Mike insisted Dan give it a watch. Join us as we talk about the ways in which the film surfs just above the sharks of sentimentality that threaten it at every plot point and offers a great combination of characters, problems, and new problems once original ones are solved.

Patrick McGilligan’s Jack’s Life: A Biography of Jack Nicholson and Marc Eliot’s Nicholson are good starting points if you’re interested in the life of the actor.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

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Strangers on a Train (1951) may not be an “obvious Hitchcock” like Vertigo, Rear Window, or North by Northwest, but it’s fascinating, rewatchable, and has everything we love in the Hitchcock canon. When Guy Haines (Farley Granger) meets Bruno Antony (Robert Walker), he learns that he might not know himself as well as he thought he did. The whole film is like a ride on the carousel at the end and we’re like the screaming kids, afraid and loving it. Hop on!

Strangers on a Train is based upon Patricia Highsnith’s novel, which you can find here.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material, including a recent essay and interview about Hitchcock, Coleridge, and Strangers on a Train.

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Has your day today been worth narating? If it were retold in the pages of a novel, would anyone read it? Are you worthy of narration? Most of us would say that we weren’t, but that’s not the case for Jack Manfred, the title character of Croupier, Mike Hodges’ 1998 film about authorship and narcissism. Jack thinks that one must be a gambler or a croupier: one can either try to bend the universe to do what he wants it to do–or know that that’s impossible and revel in watching the losers. But is there a middle way?

In the episode, Dan mentions Steven and Frederick Barthelme’s Double Down: a terrific memoir of gambling and loss. It’s a true page-turner.

Follow us on X and Letterboxd–and let us know what you’d like us to watch! Incredible bumper music by John Deley. Also check out Dan’s new Substack site, Pages and Frames, for more film-related material.

Learn more about your ad choices. Visit megaphone.fm/adchoices