Movies imo

A special mini-sode featuring Ben's reactions to the films he saw at #TIFF18!

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In episode forty-nine of movies imo., Ben, Brandon, and Daniel (tele-conferencing from quarantine) yell over each other about mumblecore maestro Andrew Bujalski’s slyly incisive SUPPORT THE GIRLS before going on to discuss his first film FUNNY HA HA and his recent physical fitness romcom RESULTS. Ben refuses to buy Bujalski’s brand but adores Junglepussy’s breakout performance, Daniel stans for the brilliant smelting in Regina Hall’s star turn, and Brandon single-handedly beats the drum for Haley Lu Richardson in Kogonada’s COLUMBUS.

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In episode forty-eight of movies imo., Ben, Brandon, and Daniel yell over each other about the super fun, swoon-filled box office sensation CRAZY RICH ASIANS. After getting down to the Michelle Yeoh of it all, they depart from the delightful romantic comedy in Singapore to explore a couple East Asian experiences around family in early aughts Taiwan with YI YI and post-WWII Japan with TOKYO STORY. Ben declares the greatest film ever made period, Daniel finds Yeoh’s characterization to reveal complicated layers beyond formulaic villainy, and Brandon feels the love across the room between Constance Wu and Henry Golding in a flooded church.

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In episode forty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Josephine Decker’s unconventional opus on cats and creative ownership, MADELINE’S MADELINE. Then they dig into other reflexive works on the artistic process and discuss Decker’s previous film THOU WAST MILD AND LOVELY, Jean-Luc Godard’s CONTEMPT, Charlie Kaufman’s SYNECDOCHE, NEW YORK, and Miranda July’s THE FUTURE. Ben compares the sly surrealist streak that runs through Decker’s work to Cassavetes’ approach of domestic disruption, Daniel trips over his own metaphor (which is what we’re all experiencing) while drawing a line around the auteur theory, and Brandon wonders whether Decker is reckoning with her own ethical onus as a director. They all agree that Miranda July is the Best Supporting Actress of the year so far!

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In episode forty-six of movies imo., Ben, Brandon, and Daniel yell over each other about Spike Lee’s electric and incendiary slice of Americana, BLACKkKLANSMAN, as well as previous SL joints DO THE RIGHT THING, MALCOLM X, BAMBOOZLED, and CHI-RAQ. Ben exalts Lee for his ability to capture crises of identity without passing judgment, Daniel admires his ability to disturbingly re-contextualize pillow talk as an act of white supremacy, and Brandon calls out Flip as an intersectional analog for conflicted identity, and Adam Driver as a potential Oscar player.

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In episode forty-five of movies imo., Ben, Brandon, and Daniel yell over each other about the single-screen(slaver) tech horror gem UNFRIENDED: DARK WEB, and its predecessor in spooky text bubbles UNFRIENDED. They also discuss the past and future of Moviepass, and whether the first or second UNFRIENDED better captures the terror of digital terrain. Ben wants to know who in the real world actually plays Cards Against Humanity over Skype, Daniel mourns the death of empathy in the dark web, and Brandon shares a collection of lush holiday illustrations and warm fuzzy memories from high school yearbook club.

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In episode forty-four of movies imo., Ben, Brandon, and Daniel yell over each other about stunt queen Ethan Hunt’s latest installment of globetrotting daredevilry, MISSION: IMPOSSIBLE - FALLOUT. While discussing the critical action-adventure darling they also pick apart the other five films in the franchise and determine what it is that makes for a perfect impossible mission at the movies. Ben exalts a new star in our midst of whom he’ll never have enough, Daniel dismisses the notion of plot completely when it comes to hanging off the sides of planes, and Brandon breaks down the triangulation between good and evil in which Tom Cruise stands in the middle.

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In episode forty-three of movies imo., Ben, Brandon, and Daniel yell over each other about David Lynch’s (continuation of, twenty-five years later) expansive and nightmarish trip through trauma in contemporary America, TWIN PEAKS: THE RETURN. Nearly one year since Lynch and Mark Frost wrapped up the latest chapters in the Laura Palmer saga - and changed television in the process - your fave film f*gz do their best to decode the multidimensional odyssey. Ben deconstructs the final episode according to Greek myths and classical Hollywood films, Daniel strings out the shattered structure to explore Lynch’s strategies of subjection, and Brandon finally has his wish come true of discussing television on the podcast - or is it a film? [disclaimer: it does not matter, it just exists]

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In episode forty-two of movies imo., Ben, Brandon, and Daniel yell over each other about Bo Burnham’s EIGHTH GRADE, and then they yell some more. Afterwards they move on to discussing other stories about adolescent growing pains in the lives of teenage girls, namely Marielle Heller’s THE DIARY OF A TEENAGE GIRL, Kelly Fremon Craig’s THE EDGE OF SEVENTEEN, and Catherine Breillat’s FAT GIRL. Ben cackles over axe murder, Daniel breaks down mentally while defending his love of Elsie Fisher, and Brandon disagrees with a fundamental direction where Burnham takes his protagonist.

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In episode forty-one of movies imo., Ben, Brandon, and Daniel yell over each other about LEAVE NO TRACE, Debra Granik’s long-awaited return to feature filmmaking/the woods. Afterwards they climb up the family tree to discuss three more daddy-daughter stories in Peter Bogdanovich’s PAPER MOON, Benh Zeitlan’s BEASTS OF THE SOUTHERN WILD, and Maren Ade’s TONI ERDMANN. Ben has little to say about the Granik but plenty of love for the way screenwriter Lucy Alibar weaves Hushpuppy’s childlike perspective into very adult situations throughout BEASTS, Daniel has trouble remembering the name of Dale Dickey’s character in WINTER’S BONE, and Brandon solves the lingering mystery of whatever happened to Woman Driver from LEAN ON PETE.

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