Flixwise Podcast

Did you really think we'd do a series on female directed films and not talk about Amy Heckerling's Clueless? AS IF!!

Flixwise regular, Anne Marie Kelly, outlines why she thinks the seminal 1995 teen comedy is worthy of the Flixwise Favorites List. She'll have to convince Lady P, Kristen Sales, and Marya E. Gates that her fondness for the film stems not just from wardrobe envy or a '90s nostalgia trip, but from the film's formal attributes and cultural significance as well. Listen up to see if the panel agrees that Clueless is one of the Greatest Movies of All Time.

Along the way, they talk outfits (duh!), compare Clueless to Emma--the original Jane Austen text--and admire the film's progressive take on sexuality. Plus, Kristen offers a rousing sermon on awe of the teen movie genre, which is definitely not-to-be-missed.

Lady P and Anne Marie Kelly are joined by Ed Neumeier, the writer and producer of ROBOCOP and STARSHIP TROOPERS, to talk early science fiction films. Their discussion centers primarily on the 36th film on the Sight and Sound Greatest Of All Time List: Fritz Lang's 1927 German Expressionist classic, METROPOLIS. They give a brief overview of the socio-political environment at the time of production (yep, that means Hitler), and talk about how the film co-opts the styles and themes of several early-20th century art movements. Plus they discuss how Robot Maria has left her fingerprints on every subsequent android assembled since METROPOLIS' release.

For the second topic, they talk about Ed's personal cyborg creations. Ed details his path to becoming a screenwriter, and how he ended up a producer on ROBOCOP by his late-20s. He also talks about writing STARSHIP TROOPERS (a favorite around these parts), and the process of turning Robert Heinlein's ring-wing polemic into an anti-war satire. He also touches on the precariousness of early success, and what aspiring screenwriters should do if they want to follow in his footsteps.

For our 2nd entry in the "Flixwise Favorites: Female Filmmaker" series, Marya E. Gates tries to convince Kristen Sales and Lady P that Gillian Armstrong's 1994 feature, LITTLE WOMEN, is worthy of our canon.

Topics include: the film's rendering of Alcott's original text, the gorgeous set and costume design, the ageless beauty of Susan Sarandon, and stupid-Amy and her stupid limes. Plus, they tackle the issue that's been dividing our nation since the film's release: Laurie vs Professor Bhaer. 

Welcome back to the show Marya E. Gates and Kristen Sales!

Taking a cue from Marya's "A Year With Women" project, we've started running our own "Flixwise Favorites: Female Filmmaker" series. First up, Kristen tells us why she thinks Kathryn Bigelow's 1991 film, POINT BREAK, is totally radical and should be considered one the greatest movies of all time.

It turns out the film's tagline, "100% Pure Adrenaline", is a little misleading. According to Kristen, POINT BREAK is not just one of the most influential action movies of the 90s, it's also a sensitive portrayal of blossoming intimacy between a pair of beautiful men in wet suits.

Listen up to see if the rest of the panel thinks Bigelow's tale of high-stakes bromance is worthy of canonization.

It's a lady filmmaker podcast! With special guests Marya E. Gates of Cinema Fanatic and Kristen Sales of Sales on Film.

First, the panel methodically steps through the 36th movie on the Sight and Sound Greatest of All Time list: Chantal Akerman's 1975 feature, Jeanne Dielman 23 quai du commerce, 1080 Bruxelles. There's a lot to unpack in Akerman's meticulous rendering of the daily rituals of a Belgian housewife-turned-prostitute. For some, the film is a reverent tribute to motherhood and the domestic sphere. Others see the film as survey of existential despair. And plenty more just see the world's longest, most boring HGTV pilot. Listen up to hear our panelists' takeaways.

Then, the ladies talk about Marya's ongoing project called A Year With Women. Basically, for the entirety of 2015, Marya is only watching films directed by women. Marya talks about why she started this experiment, and why Hollywood still refuses to let women take the helm on big budget features.

Aaron West of the film blog Criterion Blues joins Lady P and Flixwise co-producer, Martin Kessler, to talk about whether or not the 1978 animated adaptation of Richard Adams' classic novel, WATERSHIP DOWN, is worthy of the Flixwise Favorites list. WATERSHIP DOWN has been favorite of Aaron's since adolescence. Listen up to see if he can convince his fellow panelists that his continued admiration is based on more than childhood nostalgia. Along the way, they discuss religious allegories, fascism--cuz it's the internet, and why animation rarely gets the widespread recognition it deserves.

On today's podcast, we're paying tribute to "The Master of the Macabre", Alfred Hitchcock. On-hand to assist Lady P in dissecting Sir Alfred's filmography is renowned film historian, author, and Professor Emeritus from Indiana University, James Naremore.

For our first topic, we have the Sight and Sound Critics' Poll's 34th Greatest Film of All Time: PSYCHO (1960). Our guest, James, originally offered up his in-depth take on Hitch's infamous feature in his 1973 book Filmguide to Psycho. However, that was not the first nor the last time that PSYCHO would be broken down and analyzed. It's a film that audiences, critics, and film theorists have repeatedly come back to over the years. But for today's analysis, James and Lady P make their own inspection of the Bates Motel. They parse through the publicity, the politics, and the aesthetics of the film to help explain its notoriety and its cultural and historical importance.

Then, lurking behind the next segment-break is... Sir Alfred Hitchcock, again! This Thursday (August 13th) marks Hitchcock's 116th birthday. And while it's been almost 35 years since his death, on this podcast--like all arenas of film discussion--the ghost of Alfred Hitchcock is ever present. So, to mark the occasion, Lady P and Jim list their favorite Hitchcock films, and talk about some of his lesser-known masterpieces. Plus, they discuss why his persona continues to loom so large in both academic circles, and in the public's imagination.

In an attempt to disprove the widely-held belief that all film critic's hate fun, the Sight and Sound folks voted Buster Keaton's hilarious silent picture, THE GENERAL(1926) as the 34th entry on the "Greatest Film of All Time" list. But is the film worthy of the 34th spot? Answering that question is your host, Lady P, Classicfilmfan.com editor Carrie Specht, and filmmaker/action-movie-connoisseur Jenna Payne. They take turns offering up takes on the film, and sharing in their admiration for The Great Stone Face (Ed. More like The Great Stone Cold Fox, amirite!).

Next, it's the 21st Century equivalent of THE GENERAL, George Miller's 2015 feature MAD MAX: FURY ROAD. Several critics have found similarities between the two films--someone even saw fit to create a mash-up. (Leave it to the internet!) The panelists give their thoughts on FURY ROAD, and they talk about whether the Keaton comparison is valid. Plus, they discuss the essential elements of a great chase sequence.

Lady P is joined today by Flixwise regulars Martin Kessler and Carrie Specht to discuss the 33rd entry on Sight and Sound's "Greatest Film's of All Time" list, Vittorio De Sica's BICYCLE THIEVES. Upon its release in 1948 BICYCLE THIEVES was immediately hailed as a classic and It even managed to snag the number 1 spot on the 1952 Sight and Sound critics poll.  While the film has dropped a few rungs on the Sight and Sound list, it is still considered by many to be the high-water mark of Italian Neo-Realist cinema. The panel discusses BICYCLE THIEVES enduring appeal, and the larger impact of the Neo-Realist movement in film history.

Then the panel gets a little verklempt talking about their favorite movie tear jerkers. BICYCLE THIEVES is a heart-wrencher to be sure, but does it bring our panelist to tears? If not, then what kinds of films do make them cry?

Our newly appointed co-producer, Martin Kessler, was recently shocked to discover that Paul Verhoeven's 1997 alien invasion film, STARSHIP TROOPERS, did not make the Sight and Sound Critics' Poll. His outrage might seem a little misplaced given STARSHIP TROOPERS' low to mediocre ratings on Rotten Tomatoes and other movie review aggregator sites. After all, this is a "Critics' Poll" we're dealing with. But Martin would not to be deterred by any silly critical consensus. He knew in his heart that the film that gave the world the immortal image of Doogie Howser in an SS uniform was, at the very least, deserving of reappraisal.

That's why, for today's episode, Martin is going to tell us why he thinks STARSHIP TROOPERS is a misunderstood classic that is worthy of entry into the Flixwise Favorite's List. But will Martin's fellow panelists, Lady P and Emma Guerard, be swayed by his arguments, or will they find them as unconvincing as Denise Richards' playing...well anything? Listen up if you want to know more...