Four Play

The timeless classic Casablanca from 1942 closes our Money Shot arc with one of Roger Ebert's top films of all time. Featuring iconic performances from Humphrey Bogart, Ingrid Bergman, and Claude Rains, the film deftly portrays the confusion and chaos of World War II even in a seemingly far-flung Moroccan city. Thorin, Richard, and Monte discuss the themes of self-sacrifice, lost love, and duty to a higher cause that permeate the movie as well as explaining important historical context.

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Our Money Shot Arc continues with Richard's pick of Martin Scorsese's Goodfellas. While this film borrows some ideas from The Godfather, it instead focuses on the lower-level underbelly of organized crime, showing the brutal and unglamorous side of organized crime. We also explore the connections between this film and HBO's The Sopranos, Joe Pesci's terrifically terrifying performance, and the film's controversial ending.

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The Godfather, an American epic gangster film which debuted in 1972, is Thorin's selection for the Money Shot arc. Hailed as one of the greatest films of all time, director Francis Ford Coppola weaves an engaging story centered around the transformation of Al Pacino's Michael Corleone into a hardened mafia boss. Marlon Brando stands out in his role as the titular "Godfather," but the rest of the ensemble cast deliver strong performances as well. The Godfather remains one of the best films ever created, even after over 50 years since its release.

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Our "Money Shot" arc features each of our hosts selecting a film that they believe the rest of the group will enjoy. We begin with MonteCristo's pick: Steven Spielberg's 1993 blockbuster Jurassic Park. Based on the Michael Crichton novel of the same name, this film opened to rave reviews and box office success. It also remains culturally relevant and memeable to this day. However, the film is not without its flaws, especially in the ways that John Hammond's character strays from the source material. How does this beloved classic hold up after over 30 years? Watch along with us and decide for yourself!

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We conclude our Four Play Spit Roast arc with a film that Roger Ebert inexplicably gave four stars, director Marc Webb's (500) Days of Summer from 2009. Richard, Thorin, and Monte all loathe this film for its poor writing, acting, and non-existent character arcs. A relic of hipster culture from the late 2000s, the hosts discuss the subculture from which this movie emerged and how it ends up as anti-art. Some consider this film a cult classic, we consider it absolute garbage.

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We conclude our Four Play Spit Roast arc with a film that Roger Ebert inexplicably gave four stars, director Marc Webb's (500) Days of Summer from 2009. Richard, Thorin, and Monte all loathe this film for its poor writing, acting, and non-existent character arcs. A relic of hipster culture from the late 2000s, the hosts discuss the subculture from which this movie emerged and how it ends up as anti-art. Some consider this film a cult classic, we consider it absolute garbage.

A campy werewolf murder mystery cut from the cloth of Agatha Christie's "And Then There Were None," 1972's The Beast Must Die mashes up blaxploitation and horror courtesy of Amicus Productions. Richard selected this movie for our Spit Roast arc and defends its virtues while acknowledging its awkward pacing, unnecessary scenes, and infamous "werewolf break." The casting of classic British actors like Peter Cushing and Michael Gambon strengthen the film, as does the standout performance of Calvin Lockhart in the leading role, but they can only do so much in a mess of a movie.

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Guy Ritchie's 2005 film Revolver is Thorin's selection for the Spit Roast arc, a film that tries to meld a British gangster caper with high-minded metaphysical themes. Allegedly caught up in spiritualism by his wife Madonna, Ritchie's creates an overloaded mess of a film that attempts to do everything at once and ends up doing it all quite badly. The criminal subplots overcomplicate a vapid and simplistic attempt at commentary on the importance of the subversion of the ego, often with direct and obvious footage and quotes forced upon the audience. Revolver never allows the viewer to form their own interpretation of the drama because Ritchie needs to spell out the film's meaning, leaving us a rather dull piece of art. Still, the film's style and performances give occasional glimmers and one can see the possibility of something greater not achieved.

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Four Play reviews "The 13th Warrior"

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Daniel Day Lewis' seminal final performance came in Paul Thomas Anderson's Phantom Thread from 2017. The film subverts expectations in the best possible way, appearing to be a 1950s period drama about a fashion designer and morphing into a bizarre love story that explores the darker sides of both masculinity and femineity. Phantom Thread is incredibly dense, nuances, and brimming with beautiful costumes and incredible performances. The movie demands multiple viewings and delves into themes of class distinction, the frivolity of high fashion, psychological needs, and more.

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