This is the second of two iconic Japanese filmmakers in a row.  Last week we went big with Kurosawa so that can only mean Yasujiro Ozu is next.  His Autumn Afternoon of 1962 brings us into the gentlest of domestic dramas.  But can it possibly be... too gentle?

If you'd like to watch ahead fro next week's film, we'll be reviewing and discussing František Vláčil's Marketa Lazarova (1967).

This is a big one. If we were to compile our top 10 most "classic" Criterion titles, this film would be somewhere on that list. Probably. At least that's what we are going to find out for sure in this weeks review of Akira Kurosawa's Rashomon of 1950. Our first foray into Japanese cinema!

If you'd like to watch ahead for next week's films, we'll be reviewing and discussing Yasujiro Ozu's An Autumn Afternoon (1962).

This is a big one. If we were to compile our top 10 most “classic” Criterion titles, this film would be somewhere on that list.  Probably.  At least that’s what we are going to find out for sure in this weeks review of Akira Kurosawa’s Rashomon of 1950.  Our first foray into Japanese cinema!

If you’d like to watch ahead for next week’s films, we’ll be reviewing and discussing Yasujiro Ozu’s An Autumn Afternoon (1962). 

What's the perfect follow-up to a gritty tale of crime in 1981 Chicago? Why, it could only be a 1964 Italian social satire of love, family, Sicilian customs, and the law! Pietro Germi's Seduced and Abandoned introduces us to our first Criterion comedy. Linen suits and dolly zooms!

If you'd like to watch ahead for next week's film, we'll be reviewing and discussing Akira Kurosawa's Rashomon (1950).

What’s the perfect follow-up to a gritty tale of crime in 1981 Chicago? Why, it could only be a 1964 Italian social satire of love, family, Sicilian customs, and the law!  Pietro Germi’s Seduced and Abandoned introduces us to our first Criterion comedy.  Linen suits and dolly zooms!

If you’d like to watch ahead for next week’s film, we’ll be reviewing and discussing Akira Kurosawa’s Rashomon (1950).

We jump forward 26 years to go on a caper with Michael Mann's Thief of 1981. It's got everything: perpetually wet city streets, magic hour danish, and an entirely non-comedic performance by Jim Belushi (some things never change...zing!)

We jump forward 26 years to go on a caper with Michael Mann's Thief of 1981. It's got everything: perpetually wet city streets, magic hour danish, and an entirely non-comedic performance by Jim Belushi (some things never change...zing!)

We're off to a truly grand start of our self-determined but entirely aimless journey through the Criterion Collection with Sir Laurence Olivier's 1955 filmed adaptation of William Shakespeare's Richard III. Come for the acting, but stay for the hats!

If you'd like to watch ahead for next week's film, we'll be reviewing and discussing Michael Mann's Thief (1981).

We're off to a truly grand start of our self-determined but entirely aimless journey through the Criterion Collection with Sir Laurence Olivier's 1955 filmed adaptation of William Shakespeare's Richard III. Come for the acting, but stay for the hats!

If you'd like to watch ahead for next week's film, we'll be reviewing and discussing Michael Mann's Thief (1981).

Quiet on the set! Before we start watching movies, come an meet your hosts: Mike and Charlie. We lay out the structure and rules of the podcast, discuss why we wanted to do this in the first place, and select our first film. Tune in next week for our inaugural review of Lawrence Olivier's Richard III (1955).