Jon and Jason are back to discuss Sidney Lumet's "The Verdict." Released in 1982, Paul Newman and Charlotte Rampling star in this well-crafted court room drama adapted by one of Jon and Jason's favorite writers, David Mamet. Listen in to find out their verdict on this award winning movie. (Recorded in 2014)

Jon and Jason don their ugly sweaters and talk about Christmas movies, Christmas traditions, Christmas traditions and Christmas food. Listen in and find out about Jason's childhood obsession with Pizza Hut.

Jon and Jason discuss one of Jason's favorite Christmas movies, Die Hard. While it was released in July, 1988, this has been an off beat Christmas classic. Is it a dumb but fun action movie or is there more to it? And is Alan Rickman as Hans Gruber one of the best 80's action movie villains ever? Listen in for the answers. Ho Ho Ho.

Jason and Jon discuss the most successful Irish film ever made, The Guard, directed by John Michael McDonagh (In Bruges, Calvary) and starring Brendan Gleeson (Gangs of New York, In Bruges, Calvary) and Don Cheadle (Hotel Rwanda, Iron Man 2, Avengers) in this darkly comedic, action film about a corrupt but good-hearted Irish cop (Gleeson) and an uptight FBI agent (Cheadle) who are trying to bust up an international drug smuggling ring. Tune in and see if Jon can work in a reference to Fool's Gold or Howard the Duck.

Jon and Jason discuss Jim Jarmusch's art-house vampire film, "Only Lovers Left Alive." Is it something vampire-film lovers should sink their teeth into? Or are the vampires simply a lense through which to examine, history, art, beauty, and meaning? Are Jon and Jason cool enough to even talk about this movie? Listen in and find out.

Jon and Jason discuss the Chad Hartigan indie flick, This is Martin Bonner. One of them believes it's a subtle and poetic meditation on forgiveness and grace in the desert. And one of them mostly agrees. Download the podcast to see if they fight.

Jon and Jason talk about the David Gordon Green film, Joe. Is this a resurgence of Nicolas Cage's acting chops not seen since Moonstruck, Vampire's Kiss, or Red Rock West, or is this another phoned-in performance to pay off his debts and his castle in Europe?