The Coens keep coming this week on Hell of a Picture as we dive into the ‘87 screwball comedy, Raising Arizona. The guys open the show discussing the comedic influences of the film and how it manages to make horrible crimes both funny and endearing. Andrew talks about the semi-fantastical setting, while Dave touches on the movie’s political leanings. They talk about the American dream, the baby-boom of 80’s film, and the movie’s message of hope. Before we begin, did you get your dip-tet shot? You’ve got to get the dip-tet shot. That’s this week on Hell of a Picture.

After much ado about Anora, we finally get into our Coen brothers series beginning with their 1984 debut film, Blood Simple. The guys open the show talking about how and from whom the movie got its startup money. Dave tells us about the title, while Andrew addresses the use of sight, sound, and objects in the picture. They praise the cast, debate red herrings, and agonize over the final scene. They say that in Texas, you’re on your own. But we only know about podcasting. And in podcasting you use the buddy system. That’s this week on Hell of a Picture.

Every time we think we’re out, the Oscars drag us back in. After seeing what went down at this year’s Academy Awards we decided to delay our Cohen brothers series and take some time to talk Anora, the 2025 best picture winner. They guys debate the comedic value of the picture, the motivation of the lead character, and the run time of the film. They praise Mikey Madison for her performance, argue over the quality of the dialogue, and wonder about Anora’s place in Oscar history. This episode is kind of like Adrian Brody, in that it doesn’t end on time and it’s mostly about gum. That’s this week on Hell of a Picture.

Our Oscar winning series continues into the 2010s, with the 2014 Best picture winner, Birdman. We open up the show this week by talking about the unexpected connection to our last best picture No Country for Old Men. We dive into the blurred lines between what’s real and imagined, we talk about the difference between love and admiration and wax poetics on the meaning of the title the unexpected virtue of ignorance. 

A thing is a thing, not what is said of that thing. Well in this case that thing is our podcast and it’s just pretty much a podcast. That’s this week on Hell of a Picture.

Our decade by decade series moves into the 2000’s, so to celebrate we’re taking it back to the 80’s with the Coen brothers best picture winner, No Country for Old Men. The boys open the show talking about tone in filmmaking, and just where it comes from. They discuss aging characters in a changing world, our lack of control, and the issues some people might have with the movie’s ending. How did we get here? Well, if you ask Anton Chigurh, he’d say something crazy about a coin. If you ask us, we’d say whatever Anton wanted us to because we’re scared of him. That’s this week on Hell of a Picture.

This week on HOAP our hearts and our Oscar series will go on as we discuss the 1997 phenomenon, Titanic. The guys open the show examining the technical achievements of the film. Dave tells us about lengths (pun intended) Cameron went to in recreating the ship, while Andrew talks about the film’s perfect blend of action and romance. They debate all the hotly contested points of the movie; like, “could Jack have fit on that door?” and “why does Rose throw the necklace away?”. Dave shares his beef with the character of Fabrizzio, and Andrew reminds us again that it’s ok to cry at the movies. 

We’ve never said this before, but these episodes contain spoilers. So, if you don’t know that the boat sinks…oh crap.

Rock us Amadeus! This week on HOAP we enter the 80’s with the somewhat irregular period piece, Amadeus. The guys have a long talk about the nature of genius and where it comes from. They each share a story from the ‘85 Oscars, talk about the film’s unusually modern portrayals, and discuss the absolution of the ending. Dave tells us why he’d rather be Salieri over Mozart, while Andrew takes a minute to rag on the Kansas City Chiefs. 

Can I play the piano anymore? 

Of course you can. 

Well, I couldn’t before. 

We love you Dr. Zaius.

Welcome to the jungle and welcome to the ‘70’s. This week on HOAP we’re going best picture hunting with the 1978 classic The Deer Hunter. Andrew opens the show talking about Michael Cimino, the film’s director, and his dubious war record, while Dave tells us about the difficulties of filming during a military coup. The guys debate the need for historical accuracy on screen, the central metaphor of Russian roulette in the film, and the significance of the ending.

This week on Hell of a Picture we enter the turbulence of the 1960’s with the world war one character study, Lawrence of Arabia. The guys open the show describing how the film embraces the wide range of opinions on Lawrence and how that branches out thematically in the picture. Andrew talks about the scope and scale of the cinematography, while Dave tells us about some of Lawrence’s most famous imitators.

Oscar season continues this week on Hell of a Picture with the 1955 best picture winner, On the Waterfront. Dave opens the show talking about the film’s director, Elia Kazan, and how art imitates life in the film, while Andrew tells us about Marlon Brando’s performance and the emergence of American realism in cinema. The guys talk about the movie’s veneration of the truth, original sin, and the influence of the film on Martin Scorsese.