Episode 103: Anemone 🎬 Principal Cast & Crew

• Director: Ronan Day-Lewis (feature debut)

• Writers: Ronan Day-Lewis & Daniel Day-Lewis

• Cinematography: Ben Fordsman

• Main Cast:

  • Daniel Day-Lewis as Ray

  • Sean Bean as Jem

  • Samantha Morton as Nessa Stoker

  • Samuel Bottomley as Brian Stoker

  • Safiya Oakley-Green as Hattie

🕰️ Episode Breakdown

00:00 – Intro & Overview Michael and Dave introduce Anemone, a moody psychological drama and feature debut by Ronan Day-Lewis, starring his father Daniel Day-Lewis. They tease the film’s atmospheric visuals, layered performances, and thematic heft.

01:25 – Plot Summary Dave summarizes the plot: Ray (Daniel Day-Lewis), a haunted recluse in rural England, is visited by his brother Jem (Sean Bean), prompting a confrontation with past traumas, estrangement, and the question of familial reconciliation.

02:50 – Visual Aesthetic & Cinematography The hosts explore the film’s striking use of natural light, magical realism, and “damp, green” Northern England landscapes, captured by cinematographer Ben Fordsman. The weather acts as a near-character in the story.

05:50 – Symbolism & Style Michael critiques some symbolic elements and magical realism as heavy-handed. Dave defends their emotional resonance. Both agree the film shows great directorial promise despite moments of overreach.

08:52 – Cast Discussion

• Daniel Day-Lewis: Praised for his intensity, though some monologues feel forced due to script limitations. Potential Oscar buzz.

• Sean Bean: Commended for nuance and believability in a rare emotionally rich role.

• Samantha Morton: Strong but underwritten role as the estranged wife.

• Supporting Cast: Critique of thinly developed side characters, including son Brian and friend Hattie—sparking a broader conversation on representation in modern cinema.

31:00 – Reviews

• Dave: ★★★☆☆ – “Solid film with strong performances; a bit drawn out but emotionally effective.”

• Michael: ★★★½☆ – “Visually compelling with a stacked cast. First-time director missteps but shows real talent.”

39:00 – Thematic Deep Dive: Masculine Emotional Suppression The second half focuses on the film’s central theme: male emotional repression—especially within British working-class culture. Ray’s emotional barricades, military trauma, and the generational consequences are dissected.

46:00 – Symbolism of the Anemone Flower Michael interprets the title’s metaphor: a subtle inheritance from the father, symbolizing buried emotion and unprocessed trauma blooming in isolation.

52:00 – Comparative Film Talk Mentions of The Lighthouse, Tree of Life, Phantom Thread, and The Witch as points of stylistic and thematic comparison.

59:00 – Closing Banter Discussion of upcoming episodes (likely Frankenstein by Guillermo del Toro), humorous talk of “OnlyVans” and critic calendars, and shoutouts to listeners and fellow reviewers.

 

Cast & Crew

Director: Paul Thomas Anderson Cinematographer: Michael Bauman Composer: Jonny Greenwood

Cast:

• Leonardo DiCaprio as Bob Ferguson

• Chase Infinity as Willa Ferguson

• Sean Penn as Colonel Lockjaw

• Benicio Del Toro as Sensei Luis

• Regina Hall as Mother Helena

Episode 102: One Battle After Another

Film Discussed: One Battle After Another (Dir. Paul Thomas Anderson) Hosts: Michael Cockerill & Dave Canfield Runtime: ~3 hours Theme: Resistance, legacy, generational change

⏱ Timestamps & Major Segments:

00:00–02:30 – 🎙 Intro & Film Overview Michael and Dave introduce PTA’s latest film, outlining the premise, setting, and stylistic tone.

02:30–10:15 – 🎥 Visual Style & Cinematography A deep dive into Michael Bauman’s kinetic visuals, PTA’s aesthetic trademarks, and how imperfections amplify tension.

10:15–17:00 – 🎶 Sound & Musical Trends Discussion on loud, eclectic music as a storytelling device and how this film navigates current audio mixing trends.

17:00–25:00 – 🌟 Cast & Performances Praise for Leonardo DiCaprio, Sean Penn, Chase Infinity, and Benicio del Toro. Emphasis on character depth and casting synergy.

26:00–33:00 – ⭐ Reviews & Final Verdicts Both hosts award 5 stars, highlighting rhythm, emotional weight, and thematic power.

33:00–56:00 – 🧠 Themes: Resistance & Generational Struggle (Spoilers) Exploration of resistance as a timeless cycle, the burden of political fatigue, and the promise of youth-led change.

56:00–End – 🧵 Closing Reflections Analogies to classic films (E.T., Pan’s Labyrinth), personal insights on activism, and why this is a capital “I” important film.

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Fifty boys start walking, three warnings get you shot, and somehow we are the ones out of breath. In this week’s Mindframes, Michael and Dave march into The Long Walk—where Cooper Hoffman broods, David Jonsson keeps the heart beating, and Mark Hamill cosplays as your least favorite PE teacher. Along the way we debate whether dystopias should come with better snacks, why America’s obsessed with televised misery, and if ★★★/5 means we survived… or just need new shoes.

Basic Facts

Role Name Director Francis Lawrence (Wikipedia) Screenwriter JT Mollner (Wikipedia) Producers Francis Lawrence; Roy Lee; Steven Schneider; Cameron MacConomy (Wikipedia) Cinematographer Jo Willems (Wikipedia) Editor Mark Yoshikawa (Wikipedia) Music / Score Jeremiah Fraites (Wikipedia) Production Companies Vertigo Entertainment; about:blank (Wikipedia) Distributor Lionsgate (Wikipedia) Chapters — Episode 101: The Long Walk

• 00:00:14 — Cold open & show intro

• 00:01:49 — Plot setup: rules of the Walk; Garraty & McVries

• 00:04:01 — “Keep the focus on cast”: stripped-down craft, performances lead

• 00:08:55 — Why Hoffman & Jonsson elevate “a tough adaptation”

• 00:12:22 — Michael’s review: the Walk as real antagonist; issues with the Major

• 00:21:01 — Michael’s rating: ★★★/5

• 00:21:12 — Dave’s review: resonance with present-day pessimism; skeletal dystopia

• 00:28:14 — Casting types, shifting identities on the road

• 00:30:40 — Mark Hamill thoughts vs. Life of Chuck praise

• 00:32:30 — Theme segment: “the spectacle of violence” in America

• 00:44:14 — Vietnam-era media, body-count reporting, long-walk parallels

• 00:48:08 — Phones, 24/7 news, desensitization

• 00:53:23 — Dignity stripped on camera; do we still see people?

• 01:01:13 — Film vs. book crowds; keeping focus on the walkers

• 01:03:53 — Wrap on causes vs. enablers of violence; no easy answers

 

The Roses is a 2025 satirical dark comedy–drama directed by Jay Roach (Austin Powers, Meet the Parents, Bombshell) and written by Tony McNamara (The Favourite, The Great). It is a modern reimagining of The War of the Roses, based on Warren Adler’s 1981 novel and the 1989 film adaptation.

✨ Cast

• Olivia Colman as Ivy Rose — a restaurateur whose career blossoms.

• Benedict Cumberbatch as Theo Rose — an architect whose career falters.

• Supporting cast: Andy Samberg, Kate McKinnon, Allison Janney, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, and Zoë Chao.

  🕒 Timestamps

• 00:32 — Intro & Guest Michael welcomes back contributor Tarek Fayoumi (Movies with Tarek, Positively Naperville, Movie Archer).

• 00:59 — Film Background Setting the stage: how The Roses reimagines The War of the Roses and where it sits in Jay Roach’s career.

• 02:47 — Themes Discussion of marriage, ambition, toxic competitiveness, and the cultural obsession with success.

• 05:12 — Performances Olivia Colman and Benedict Cumberbatch praised for layered portrayals; how their acting makes satire both biting and human.

• 09:45 — Ending Without spoilers, the group highlights the fiery, symbolic finale and how it compares to the 1989 version.

• 24:17 — Verdicts & Ratings

• 45:25 — Cinematography & Craft Talk of Florian Hoffmeister’s naturalistic cinematography, the symbolic house design, and connections to films like This Is 40 and Parasite.

🎧 Episode 99: Weapons – Horror, Mystery, and Institutions in Crisis

In this episode of Mindframes, Michael and Dave welcome special guest Tim Peebles—theologian, pastor, martial artist, and long-time film aficionado—for a deep dive into Zach Cregger’s new film Weapons.

Cregger, known for Barbarian (2022), returns with a multi-layered, genre-bending thriller where a small town unravels after its children mysteriously disappear into the night. With a Rashomon-style narrative, striking cinematography from Larkin Seiple (Everything Everywhere All at Once), and a cast led by Josh Brolin, Julia Garner, and Benedict Wong, Weapons pushes the boundaries of modern horror.

🔑 Topics We Discuss

• The intense bidding war for the film—why even Jordan Peele wanted it

• How the script stayed almost entirely intact from page to screen

• A Rashomon-inspired structure and its effect on pacing and suspense

• Cinematic homages: from Magnolia to The Shining to Italian giallo classics

• Performances: Brolin’s rugged father figure, Garner’s demanding lead role, and Wong’s unexpected turn as a school principal

• Themes of institutional failure (schools, police, community) and whether the film offers political commentary

• The balance of horror, comedy, and surreal mystery that keeps audiences hooked

🎬 Why It Matters

Weapons is more than just another horror release—it’s a cultural reflection on distrust of institutions, layered with dread, dark humor, and unforgettable imagery. Our conversation unpacks how Cregger masterfully controls tone, from the eerie to the playful, while still delivering an unnerving ride.

⭐ Ratings

• Dave: 4–4.5 stars – “A thrill ride you’ll want to rewatch.”

• Michael: 3.5–4 stars – “Ambitious, mixed-genre storytelling with a few tonal bumps.”

• Tim: Highly recommends – “Dreadful and beautiful, horrifying and humorous—Cregger’s step up from Barbarian.”

 

Film Overview

• Title: Eddington (2025) by Ari Aster

• Setting: Small-town New Mexico during the COVID-19 pandemic

• Premise: Tension and division between a local sheriff (Joaquin Phoenix) and the town's mayor (Pedro Pascal), reflecting broader cultural and social fractures in America.

• Themes: Polarization, the influence of social media, performative activism, the corporatization of crisis, and the psychological weight of 2020.

Cast & Performances

• Joaquin Phoenix (Sheriff Joe Cross): Widely praised for his layered, committed performance. Considered perfect for the role.

• Pedro Pascal (Mayor Ted Garcia): Serves as a foil to Phoenix’s sheriff. Also well-cast, though not a co-lead.

• Emma Stone: Mixed feelings about her casting due to age and tone. Some discussion of alternative casting.

• Austin Butler: Divisive but ultimately defended. His character is seen as representative of evangelical or conspiracy-driven youth.

• A recurring homeless man character is discussed as a possible metaphor for society’s ignored truths or the prophetic outsider.

Cinematography & Technical Merits

• Director of Photography: Darius Khondji (corrected after initially being misattributed to Bruno Delbonnel)

• Visuals praised as among the best of the year—shot in New Mexico using real locations, lighting used to evoke horror pacing and psychological tension.

• Stylistic comparisons to Hereditary and Seven.

• Return of Ari Aster's visual motifs: isolation, daylight-to-night transitions, and symbolic elevation (e.g., houses on hills).

Genre & Stylistic Notes

• Described as:

  • “Not quite a horror film, but horror-influenced”

  • A blend of satire, tragedy, psychological thriller, dark comedy, and drama

• Compared to:

  • No Country for Old Men (tone and landscape)

  • Robert Altman’s Nashville (ensemble structure and social chaos)

  • King of Comedy and Taxi Driver (Scorsese comparisons in the spoiler section)

• Rejection of Coen Brothers comparisons as too simplistic

Thematic Analysis (Spoiler Section)

• Fragmentation of Reality: The main theme is how social media algorithms and performative digital culture drive people apart.

• Bothsides-ism: The film avoids heroes or villains; it's more about the system manipulating everyone.

• Performative Activism: Especially embodied in the youth protest scenes—young people react to national injustices despite their local irrelevance.

• Corporate Exploitation: A data center being built in the town is the real power move while townsfolk are distracted by culture wars.

• The Sheriff as a Symbol: Joe Cross embodies both traditional authority and the poisoned populism of social media-age politics.

• Final Acts of Violence: Symbolize collapse under social pressure and loss of moral compass.

⭐️ Ratings

• Michael: 4 out of 5 stars – “Bold, sharp, close to perfect…”

• Dave: 4 out of 5 stars – “Difficult but essential viewing… very funny, deeply human…”

🗣️ Start of Reviews

⏱️ Timestamp: 40:50

• Michael opens the review section, defending the film’s boldness, satire, and visual style.

• Emphasizes how the film captures the chaos and performative energy of 2020.

• Strong praise for the thematic relevance and technical execution.

• Final rating: 4 out of 5 stars

⏱️ 46:31 – Dave’s Review

• Compares the emotional weight of Eddington to films like Civil War and No Country for Old Men.

• Praises the film for humanizing characters and confronting social disintegration.

• Final rating: 4 out of 5 stars

• Ends with a call for the film to be recognized as one of the most thought-provoking of the year.

🧠 Start of Thematic Discussion

⏱️ Timestamp: 50:34

“Let’s talk about the cacophony that is this film in our spoiler section…”

• 00:20 – Explores how Eddington portrays social media as a force of division, aligning with Ari Aster’s Wired interview.

• 01:11 – Aster’s quote about telling a coherent story from an incoherent miasma is discussed and praised.

• 02:15 – Dave references a protest scene and critiques performative activism in a majority-white town.

• 04:46 – Joe Cross as a stand-in for embodied social media, broadcasting manipulation via megaphone.

• 06:08 – Dave compares the film to Scorsese’s King of Comedy and Taxi Driver, especially in how antagonists are aggrandized.

• 07:26 – Michael analyzes characters like Sarah, pointing out value systems shaped entirely by online culture.

• 08:13 – Cross and the protesters mirror each other’s rhetoric but cannot communicate—highlighting echo chambers.

• 08:46–12:12 – The unhoused character is explored as a possible prophetic figure. The town ignores real suffering in favor of symbolic outrage.

• 12:25–14:11 – The sheriff’s arc from performative compassion to violence is unpacked. His choices reflect moral confusion and performative politics.

 

After some bad uploads and delays, for what is seems like 28 years after the release, Michael and Dave finally delve into the thematic and tonal complexity of 28 Years Later, a film they describe as both rich in ideas and somewhat disjointed. They focus on death, coming of age, and humanity in a post-apocalyptic world dominated by the infected.

🎬 Cast and Crew – 28 Years Later

Director:

• Danny Boyle – Returns to direct this sequel after helming 28 Days Later (2002), marking a major reunion with the original creative team.

Writer:

• Alex Garland – Screenwriter of 28 Days Later and now known for Ex Machina and Annihilation, returns to pen this installment. His writing is noted for rich worldbuilding and philosophical themes.

Main Cast:

• Aaron Taylor-Johnson – Plays Spike’s hardened father, a forager from the island community.

• Jodie Comer – Portrays Spike’s mother, whose illness propels much of the plot.

• Ralph Fiennes – A mysterious doctor living among the infected on the mainland, deeply tied to the film’s reflections on death and dignity.

• Jack O’Connell – Reportedly plays the adult version of Jimmy, whose storyline ties back to the film’s prologue and culminates in the cult-like finale.

• Spike (actor unconfirmed) – A young boy coming of age in a world overrun by the infected; the central emotional figure of the film.

Producers:

• Andrew Macdonald

• Bernard Bellew

Production Companies:

• DNA Films

• Searchlight Pictures

 

Cast and Crew – 28 Years Later

• Director: Danny Boyle

• Writer: Alex Garland

• Main Cast:

  • Aaron Taylor-Johnson as Spike’s father

  • Ralph Fiennes as the reclusive doctor

  • Jodie Comer as Spike’s mother

  • Spike (actor not confirmed, child lead character)

  • Jimmy (actor not confirmed, mysterious cult leader)

  • Supporting appearances from a Swedish soldier and numerous infected (some depicted as enhanced “alphas”)

 

Michael and Dave delve into the thematic and tonal complexity of 28 Years Later, a film they describe as both rich in ideas and somewhat disjointed. They focus on death, coming of age, and humanity in a post-apocalyptic world dominated by the infected.

 

Episode 96 – The Phoenician Scheme (Mindframes Podcast) Michael Cockerill and Dave Canfield discuss Wes Anderson's latest film, The Phoenician Scheme. The movie stars Benedict Cumberbatch, Michael Cera, Riz Ahmed, Meena Truppleton, and other regulars from Anderson’s filmography.

The story centers around Zaza Corda, a wealthy businessman played by Benicio del Toro, who makes the surprising decision to name his daughter—a nun—as his heir. He simultaneously launches a massive infrastructure project in the fictional country of Phoenicia (or Western Phoenicia), encountering opposition from terrorists, rival tycoons, and even his own brother.

 

Episode 95: The Life of Chuck

🔗 IMDb - The Life of Chuck (2025)

Cast & Crew:

• Director: Mike Flanagan

• Writer: Mike Flanagan (based on the short story by Stephen King)

• Cast:

  • Tom Hiddleston as Chuck

  • Mark Hamill

  • Chiwetel Ejiofor

  • Karen Gillan

  • Jacob Tremblay

  • Matthew Lillard

  • Harvey Guillén

  • David Dastmalchian

  • Mia Sara

  • Q'orianka Kilcher

  • Trinity Jo-Li Bliss

  • Benjamin Pajak

Show Timestamps

00:00:15 – Michael introduces the film The Life of Chuck, its limited theatrical release, and welcomes special guest Ian Simmons of Kicking the Seat.

00:02:15 – The hosts briefly reflect on Mike Flanagan’s prior Stephen King adaptations, especially Doctor Sleep.

00:04:00 – Ian discusses reading the original short story The Life of Chuck after seeing the film, praising its fidelity to King’s source material.

00:06:03 – Dave and Michael share their personal histories with Flanagan's work, including Dave’s admiration and Michael’s familiarity with Midnight Mass.

00:08:03 – They begin analyzing Chuck’s character, noting the film's openness to interior interpretation and emotional resonance.

00:10:13 – Michael points out how Chuck’s dance scene operates like a monologue in conveying depth without dialogue, comparing it to Midnight Mass.

00:12:11 – Dave reflects on the challenge of adapting writers like Bradbury vs. King, noting King’s folksy, conversational dialogue works well on screen.

00:14:11 – Ian praises Flanagan’s scriptwriting, which invents dialogue that feels authentically King-like, even though it wasn't from the short story.