Matt and I head back to the 1970s to chatter about The Poseidon Adventure, the seminal "disaster" feature from producer Irwin Allen.

You're trapped in an enormous cruise liner that has capsized. Do you wait and pray to be rescued? Or do you make a break for it?

We apply these questions to the unique bevy of characters who try to escape the SS Poseidon, and their various (but somehow also similar) motivations for why they try to escape instead of staying put.

Also, Leslie Nielsen plays a serious character in this movie. And that's important.

Hope you enjoy!!!

Matt and I take a plunge into The Man Who Would Be King, the rollicking and sometimes fuzzy and frustrating 1975 film from the great John Huston.

You've got Michael Caine and Sean Connery. You've got absolutely stunning cinematography, depth of field, costumes, interesting material, a captivating premise, great talent everywhere you look, all of the ingredients are there for a fantastic movie ... so why did watching it leave our stomachs vaguely churning like butter? And on top of that, why did we still sort of enjoy it despite the troubling aspects of how its colonizers are depicted?

WARNING: SPOILERS ARE DISCUSSED IN THIS EPISODE

Matt and I are once again joined by Kelly J. to give our instant reactions to The Batman. Our opinions of this movie were pretty much all over the map. What did we make of the performances, the storyline, and the story execution?

PSA: This is not a Star Trek podcast. Really, it's not. But Matt and I are such fans of the franchise that we can't seem to figure out how to stop chatting about it with a microphone turned on. This week is no different, as we break down one of Matt's favorite TOS episodes ("The Enemy Within") and follow that up with a chat about an early TNG episode that slipped past me and shouldn't have ("Peak Performance").

No teaser question. This is just a good chat that I thoroughly enjoyed. And I hope you do the same.

We do a three man weave with friend of the show Jared Russell on Foxcatcher, the 2014 film hybrid of amateur wrestling and true crime. Jared and Marcus spend this episode starting alot of sentences with "this is a good movie, but ..." and then nitpicking it to death. Matt spends this episode doing the same, except without the "this is a good movie" beginning part of the statement. This is a goofy episode that I hope the listener thoroughly enjoys.

We welcome Kenny Bishop back onto the pod to chat about Inland Empire, what it means to call something "Lynchian", and our views on the films of David Lynch in general.

Matt and I take a crack at Z, the taut 1969 political thriller that captivated both of us. What attributes did we appreciate about this movie? How much does the realism vs. entertainment debate play a role here? 

ALSO: Apologies for the tinny, uneven audio on this episode. That's my fault and it's why people do sound checks. I regret the error.

Touch of Evil is a very strange movie. It is doing (or attempting to do) many, many things at once. Does it succeed? Is the mastery of cinematography enough here to make up for the oodles of bizarre aesthetic choices that so many different actors in this movie are constantly making?

Let's go back to the 50s!

Matt and I hop on Shack's train and break down 1973's Emperor Of The North, a movie about train-hopping hobos set during the time of the Great Depression.

How fun is it to watch this movie? Does it suffer from under-describing some of the characters and trademark 1970's movie pacing, or do the performances and action sequences carry it into good movie status?

There are cult movies, and then there are movies about cults. We enjoy both, but this week, we have a conversation about a movie that falls into the latter category. It's called "Sound Of My Voice", and it's sort of a response pick to the podcast we did a few months ago on "The East".

How does Sound Of My Voice stack up against the bigger budget and more complicated plot of The East? Is depicting a cult leader in a nuanced way something to be praised, or something to be scorned? Just how full of shit is Maggie (Brit Marling) in this movie? And how does the central relationship in Sound Of My Voice play into the dynamics of a cult?