Mostly Film

🎬 Mostly Film:

This week on Mostly Film, Jonathan and JP are back to break down the newest trailers, wildest headlines, and everything that’s been lighting up their screens lately — or at least confusing them just enough to keep watching.

🐒 LIST IT or NIX IT
We’re putting ten fresh trailers to the test: Primate, Rebuilding, Send Help, Merrily We Roll Along, The Pout Pout Fish, Young Washington, Stone Cold Fox, Icefall, Not Without Hope, and Wasteman. Will they make the Letterboxd watchlist or get the cold, heartless NIX?

📺 What We’ve Been Watching
Jonathan’s been knee-deep in epic storytelling — from Oz and Black Sails to Warrior and the never-ending puzzle of Task. JP’s been balancing the mood with a dose of dark mystery, diving into Cure and keeping up with Slow Horses and The Lowdown. Expect discussions on tone, tension, and the art of sticking with shows that reward patience (or don’t).

🗞️ The News
It’s been a busy week in Hollywood, with new projects, industry shifts, and a few eyebrow-raising headlines. The guys round up the biggest stories and share their takes — part insight, part chaos, all film nerd energy.

From prestige drama to primates with potential, it’s another week of sharp opinions, questionable takes, and pure love for the movies on Mostly Film.

🎥 In Review: Guillermo del Toro

This week, the Mostly Film crew dives deep into the beating heart of Guillermo del Toro’s Spanish masterpieces — The Devil’s Backbone and Pan’s Labyrinth. It’s a journey through haunted orphanages, fascist nightmares, and the fragile courage of children who see truth where adults see only power.

🩻 The Body: Building the Monster
We trace del Toro’s evolution from Mimic’s heartbreak to his creative rebirth in Spain. The Devil’s Backbone sets the stage — a ghost story framed by war, where the bomb in the courtyard is as much a symbol as it is a relic. Then comes Pan’s Labyrinth, its spiritual sequel, blending fairy tale and fascism into a seamless vision. We unpack the craftsmanship behind these films — from Guillermo Navarro’s glowing cinematography to del Toro’s camera that moves like memory itself.

💀 The Soul: What the Monster Means
For del Toro, monsters are moral mirrors. In The Devil’s Backbone, ghosts linger not for revenge but remembrance — “a tragedy doomed to repeat itself.” In Pan’s Labyrinth, the monsters of fantasy are merciful compared to those of reality. Ofelia’s rebellion becomes a prayer for imagination, for empathy, for survival. We talk Catholic humanism, compassion over dogma, and how del Toro finds holiness in the heart of horror.

👣 The Legacy: Footprints in the Dark
These two films didn’t just shape del Toro’s career — they defined his cinematic theology. The Devil’s Backbone earned him critical credibility, Pan’s Labyrinth earned him Oscars, and together they crystallized his belief that “fantasy is not an escape — it’s a way to understand reality.” Their influence echoes through Crimson Peak, The Shape of Water, and the growing field of “Spanish Civil War Gothic.”

From haunted courtyards to labyrinths of the soul, we explore how del Toro’s monsters teach us to see — not what’s hiding in the dark, but what’s been there all along.

🎬 Mostly Film

This week on Mostly Film, Jonathan and JP are back with another round of hot takes, questionable trailer opinions, and a few emotional curveballs.

LIST IT or NIX IT
We’re kicking things off with five fresh trailers — Mercy, Nuremberg, No Other Choice, Train Dreams, and Playdate. Which ones make the Letterboxd watchlist, and which ones get the swift “nope”? Expect chaos, disagreement, and at least one completely unjustified “LIST.”

What We’ve Been Watching
Jonathan’s been spending time in the world of Oz and Warrior, while JP dove into 2025 releases like Eennie Meanie and The Woman in Cabin 10 — plus Lurker, because of course he did. On the TV side, it’s a Task, Slow Horses, and Lowdown kind of week.

The News
Hollywood had one of those “everything’s happening at once” weeks. We reflect on the loss of Diane Keaton at 79, discuss M. Night Shyamalan’s Magic 8 Ball show (yes, really), and break down Paramount’s failed bid to buy Warner Bros. Also: Fear Factor is coming back — hosted by Johnny Knoxville — and Tron: Ares just pulled a box office debut that’s... well, not electric.

It’s movie news, mild chaos, and mid-tier predictions — all part of another week of Mostly Film. 🎥

🎥 In Review: Guillermo del Toro — The Body, The Soul, The Legacy

This week, the Mostly Film crew dissects the visionary world of Guillermo del Toro, starting at the beginning — when the monsters were still finding their form. Jonathan and JP walk through del Toro’s evolution from the studio-strangled chaos of Mimic to the full-blown creative freedom of Hellboy.

🧠 The Body: Building the Monster
We dig into the bones of Mimic and Hellboy — the science-gone-wrong of one and the supernatural swagger of the other. From Miramax meddling to monster suits, del Toro’s meticulous craft shines through even when the system fought him. Expect talk of subway tunnels, chiaroscuro lighting, Nazi occultists, and how Hellboy gave him the mythic canvas he’d been chasing since Cronos.

💀 The Soul: What the Monster Means
Del Toro’s monsters are never just monsters — they’re metaphors. We unpack the shared heartbeat between these two films: fear and faith, creation and corruption, found families and false gods. Whether it’s Mira Sorvino’s motherly instinct in Mimic or Professor Broom’s fatherly care for a demon son, del Toro reminds us that the things we call monstrous often just want to be understood.

👣 The Legacy: Footprints in the Dark

Mimic’s heartbreak led to a vow of creative independence — one that would reshape his entire career. Hellboy became his redemption arc, a cult favorite that proved sincerity and spectacle could coexist. We trace how these films set the stage for The Devil’s Backbone and Pan’s Labyrinth, marking the moment del Toro learned to fight — and film — for beauty.

From tunnels to underworlds, this episode kicks off a journey through del Toro’s monsters, metaphors, and masterpieces — and how they made us all believers in the beautiful grotesque.

🎬 Mostly Film

This week, the Mostly Film crew (Jonathan & JP) are back to break down the latest in movie news, AI ethics, and cinematic chaos — with a few hot takes along the way.

LIST IT or NIX IT
Would we add it to the Letterboxd watchlist or toss it in the bin? We give rapid-fire reactions to the latest trailers for Ballad of a Small Player, The Thing with Feathers, We Bury the Dead, The Roughneck, and Exit Protocol. Expect some disagreements, some hype, and maybe one regretful “LIST.”

What We’ve Been Watching
Jonathan’s been digging into 2025’s newest releases like The Man in the Basement, All the Devils Are Here, and Caught Stealing, while balancing it out with some TV heavyweights like Banshee and Task. JP’s lineup includes Altered States, All the Devils Are Here, and Caught Stealing — plus a binge of Banshee, Slow Horses, and The Lowdown. It’s a mix of crime, chaos, and psychological breakdowns… in other words, a normal week.

The News
From PTA’s One Battle After Another crossing $100M worldwide to Dwayne Johnson reflecting on The Smashing Machine’s soft opening, we’re covering the highs, lows, and headline chaos of Hollywood. Zelda Williams calls out AI’s exploitation of her late father’s likeness, David Ellison goes full mogul with media acquisitions and Paramount shake-ups, and Damien Chazelle’s new prison drama is already stacking stars.

It’s a packed episode of sharp takes, deep dives, and way too many side conversations about Banshee.

🎧 Mostly Film — where film talk meets friendly chaos.

🎙️ Cruise vs DiCaprio: Magnolia & One Battle After Another

This week, the gang (Jonathan, Garrett, Zach, and JP) is taking on two roles that flipped the script for our favorite stars. On one side, Tom Cruise ditches the aviators and takes the stage as Frank T.J. Mackey in Magnolia — a loud, chaotic, and surprisingly heartbreaking “guru” who yells about masculinity but crumbles when the lights go down. On the other, Leonardo DiCaprio teams up (finally!) with Paul Thomas Anderson in One Battle After Another, playing a washed-up revolutionary pulled back into the fight when his daughter is taken.

We’re talking:

• 🎤 Cruise going full unhinged with improvised rants, then breaking our hearts at his dad’s bedside.

• 🎬 Leo in survival mode, carrying a political thriller on his back with just the right mix of grit and heartbreak.

• 🤔 Who stretched further out of their comfort zone, and who delivered the performance that’ll be remembered in 20 years?

Expect plenty of hot takes, a little PTA lovefest, and probably some disagreements about just how good Magnolia’s frogs scene really is. It’s messy, it’s passionate, and it’s mostly about movies.

🎬 Mostly Film

This week the crew dives headfirst into a loaded lineup of trailers, thrillers, and industry shake-ups.

LIST IT or NIX IT
Would we add it to the Letterboxd watchlist or leave it in the dust? We break down new trailers for Anaconda, Greenland 2, The Mandalorian and Grogu, The Astronaut, The Bride, Violent Ends, Wolves, ZERO AD, and more. Expect strong opinions, side tangents, and at least one heated debate about snakes.

What We’ve Been Watching
Jonathan’s been on a run with 2025 releases (Splitsville, Elio, Simple Plan: Kids in the Crowd) and a full-on Muppet marathon (Haunted Mansion, Treasure Island, A Christmas Carol). He also tackled a stack of ‘70s & ‘80s thrillers (Mississippi Burning, The Conversation, Chinatown, All the President’s Men) and gave us his Paul Thomas Anderson power rankings (There Will Be Blood, The Master, Licorice Pizza, and more).
JP kept pace with Splitsville and Superman, then worked through his own set of ‘70s thrillers (Klute, Night Moves, The Anderson Tapes). He rounded it out with a deep-dive on Paul Thomas Anderson’s catalog and new TV favorites like Peacemaker, Slow Horses, and The Lowdown.

The News

• AI-generated “actress” Tilly Norwood sparks major backlash in Hollywood.

• Jeremy Irons joins Henry Cavill in the Highlander reboot.

• Trump floats a 100% tariff on foreign films, rattling global distribution chatter.

• One Battle After Another pulls in $53M worldwide.

It’s a packed episode of hot takes, deep dives, and cinematic chaos. Grab your popcorn—it’s Mostly Film.

🎙️ Mostly Film: Cruise vs. DiCaprio – Mission: Impossible & The Departed

This week on Mostly Film, we’re diving into two career-defining roles from two of Hollywood’s biggest names. First up: Tom Cruise in Mission: Impossible (1996), the movie that launched him not only as an action icon but also as a powerful producer. From dangling in the CIA vault to handpicking Brian De Palma as director, we unpack how Cruise turned a risky gamble into one of the longest-running franchises in movie history.

Then it’s Leonardo DiCaprio in The Departed (2006). We break down his turn as Billy Costigan, the undercover cop teetering on the edge in Scorsese’s Boston crime saga. From the intense prep work to that Oscar snub, we explore how this role cemented DiCaprio’s shift from teen idol to full-fledged dramatic heavyweight.

It’s Cruise vs. DiCaprio: vault drops vs. mob rats, star power vs. raw intensity. Grab your popcorn, because this matchup’s got just as many twists as the movies themselves.

🎙️ Mostly Film: Toy Story, Chinatown, and Hollywood’s Latest Wins

The Mostly Film crew is back! We kick things off with LIST IT or NIX IT, where we give the hot new trailers (Super Mario Galaxy, Christy, The Rip, Song Sung Blue) the only treatment they deserve—an instant thumbs-up for the Letterboxd watchlist or a one-way ticket to the nix pile.

Then it’s What We’ve Been Watching: Jonathan gets nostalgic with Toy Story (still a perfect movie, by the way) and checks in on Task. Meanwhile, JP takes a detour through the gritty ‘70s with Sorcerer, Chinatown, and Winter Kills. Plus, we chat about the recent success of Weapons and why it might just be setting the stage for one of 2025’s biggest conversation starters.

And of course, we wrap it up with The News, because the movie world never sleeps.... and neither do we

🎙️ Mostly Film: Cruise vs. DiCaprio – American Made & Killers of the Flower Moon

This week on Mostly Film, we’re stacking two Hollywood heavyweights against each other: Tom Cruise in American Made (2017) and Leonardo DiCaprio in Killers of the Flower Moon (2023).

We start with Cruise, who reunited with Doug Liman to play real-life pilot Barry Seal—a hustler caught between the CIA and the Medellín Cartel. From writing the role specifically with Cruise in mind to letting him do his own flying stunts, we dig into the wild casting backstory. Critics praised his charm and energy, calling it one of his most refreshing (and risky) roles of the 2010s.

Then we move to DiCaprio, who flipped the script—literally—in Scorsese’s Killers of the Flower Moon. Originally meant to play the heroic FBI agent, DiCaprio chose instead to embody Ernest Burkhart, a morally torn man complicit in the Osage murders. His decision reshaped the story into a darker, more intimate character study. Critics highlighted his unflattering physicality, emotional vulnerability, and magnetic chemistry with Lily Gladstone as the tragic heart of the film.

Two very different stars. Two true stories. Two performances that pushed each actor outside their comfort zone. The question is: who pulled off the greater risk?