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Chris and Al debate the best episodes and worst person from the debut season of the seminal mob drama
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In which the Frame Work all-stars go to the hood, the future, jail, family reunions, space and back 2 tha hood.
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Brett Blake returns to talk about the most straightforward and most overlooked film, the dirty cop thriller INSOMNIA.
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A spoiler-full review of THE MANY SAINTS OF NEWARK leads the guys to feel nostalgic for the original run of THE SOPRANOS, and a lengthy consideration of the legacy of the show, its many imitators in the "peak TV" antihero mold, and whether those shows have anything to offer in the post Me-Too landscape.
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The Nolanoscopy gets into the swing of things with Nolan's breakthrough effort, the dazzling feat of reverse chronology MEMENTO.
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The Frame Work All-Stars assemble for the ultimate movie trivia challenge FRAME WORK PRESENTS: THE MOVIE SEQUEL TITLE GAME: VOL I.: NOMENCLATURE RISING.
How many DTV American Pie sequels can you name ? Who could possibly rattle off the entire Hellraiser franchise? Who has never seen Dirty Harry? How long will it take Al to explain the rules he made up, or read his own spreadsheet? Why does mentioning Dean Winters mean automatic bonus points? Listen and find out!
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Educator and artist Sybille Bruun joins the guys to talk about Stephen King's magnum opus (no, the other one) IT. We dive right in to the essential nature of horror and America, and how the recent adaptation managed to find an entirely different batshit, offensive coda for the material the book's, which was already so batshit and offensive that they and they knew not to use it in 1990.
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A new director series begins with Christopher Nolan's debut, the black-and-white noir exercise FOLLOWING. Although the guys can't seem to focus for too long on this extended short film, so there is just as much talk about what is to come when the stodgy Brit gets to stretch his wings to make MEMENTO, THE DARK KNIGHT, INCEPTION and others.
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We rank things out and try to figure out what we learned about the elusive Mr. Fincher.
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