[School of Movies 2026]

One of the greatest thrillers of the 20th Century, we recorded this show on the 30th Anniversary of Michael Mann's crime epic. This is most definitely NOT a film to watch in twenty-minute chunks on your phone at work! It is a masterfully crafted presentation of the tension between professionalism and emotion, punctuated with ferocious gunfire and transcendant, eliptical music.

It is a one-time head-to-head between two of the most celebrated actors of that age, Godfather veterans Al Pacino and Robert DeNiro as a detective and a thief who keep themselves at peak focus to the detriment of their personal lives. It is lightning in a bottle, the kind of career-peak for all involved that you may not instantly adore, but it will linger nonetheless, and whenever you find yourself in a silver-blue pre-sunrise, it will come back to you.

[School of Movies 2025]

It has been ten years since Disney relaunched Star Wars in the cinema, delivering what felt like a special globally-unifying grand, historical event... that a bunch of Star wars fans complained felt too much like the 1977 original special globally-unifying grand, historical event.

J.J. Abrams has proved over the years that he is far better at restarting big, exciting new worlds off with a bang (as he did with Mission Impossible and Star Trek before this) rather than somehow closing them out with anything approaching that same level of satisfaction (as with Lost and The Rise of Skywalker).

But after all these years with all the Star Wars movies and TV and books and comics and video games that have played out since then, is The Force Awakens STILL my unlikely favourite of the whole series that has been with me since my life began in 1980?

Yes.

Put simply, this film transcends its own oversimplifications to become a joyful celebration of Star Wars, retreading many previous paths with a heartfelt energy the world badly needs again. And in this revisit show, Sharon and I talk about what has changed since we first recorded nearly four hours on it at the end of 2015 along with multiple guests at the opening of the gates to new adventure. That show can be found here, and since we also revisited the third film in the Sequel Trilogy back in 2024 after a serious re-edit allowed me to make peace, that leaves The Last Jedi for some point in the near future.

[School of Movies 2025]

Jim Carrey plays Ebeneezer Scrooge in this unsettling adaptation (sometimes intentionally so, sometimes not). Here, we get to talk about what was possible in this performance capture version that has been done nowhere else, making it strange and special and awkward and precious.

Continuing our season of going back to the start, we resurrected the Robert Zemekis incarnation of the perennial yuletide Dickens classic (which we covered back in December 2011 in conjunction with Muppet Christmas Carol... the froggy one we subsequently revisited in 2022).

This is also part of an ongoing series analysing the five very uneven performance capture animation films of Image Movers Digital, starting with The Polar Express in 2004, graduating to Monster House in 2006 and closing out with the death-rattle of Mars Needs Moms in 2011. All three of those will be featured on our After School Club over the next few weeks. The remaining oddball adaptation of Beowulf from 2007 is our personal favourite of the quintet and we will finally be talking about it next year. This sub-series is also a part of the overall Zemekis Season we are conducting. Coming next year we will also showcase Forest Gump, Here, The Witches and the riotous Death Becomes Her. Also for Carrey fans, we have his second-finest dramatic performance, The Truman Show, coming very soon (the first-finest being this).

[School of Movies 2025]

This is another revisit to one of the first films we ever covered, way back on Digital Gonzo at Christmas in 2010. The quintessential Holiday movie for those who want violence and swearing with their jingle bells. But if you go back and watch all five films (the final low-point didn't even exist when we covered this before) you will find some exceptional strengths in this one alone that all relate to precisely how it was constructed.

A creative team that didn't realise they were all at the top of their game, impeccable cinematography, editing, pacing, a red hot screenplay that fleshed out a rich supporting cast, a nervy, brooding score that builds and crescendos along with the perfect pacing, and two actors in the antagonistic lead roles of John and Hans who were hungry to prove themselves and turned in the most memorable big-screen performances on their first try.

But also, it had something the others lack, as did almost all other action thrillers of the era; The story is about a broken argument, and it weighs on estranged husband and wife for the duration. Also, in deciding that the villains be robbers rather than terrorists, director John McTiernan sealed the deal on this story being something it otherwise couldn't; colossal fun!

Guest: Matt Ramsey

Those early Digital Gonzo shows can be found on the School of Movies Archive podcast feed. They are rough as hell, amateur hour on my part and this one doesn't even break the sixty minute mark. The best bits are featured at the end, same as with Back to the Future. Many thanks to my vintage guests, Matt Ramsey, Nikki Taylor of GameBurst and Mike Philips of the Fanboys Lunchcast.

[School of Movies 2025]

We return to the format of the first film, trapped in a specific, focused time period, lovingly recreated for modern audiences. The big obstacles to be overcome are both based on the ticking clock point-of-no-return, and are unexpectedly and deeply personal for our protagonist.

This one is Emmet's movie. While Marty still has to learn a harsh lesson about whether other people think he's chicken or not, he is on a rescue mission and this third film puts Doc Brown front and centre. This is because being saved from temporal exile and murder-by-Tannen externally pales in comparison to the urgency in which Emmett must save himself internally, philosophically, and in key regard to his until-today strained relationship with the rest of the human race beyond Marty.

Christopher Lloyd brings it, in this sweetly tragic, broken-and-mended love story through time, opposite the luminous Mary Steenburgen as doomed schoolmistress Clara Clayton in the Hill Valley of 1885. This is a bittersweet goodbye that punctuates this madcap, majestic trilogy with a firm and definite full-stop, ending on the highest of notes that defies all modern conventions of the permanent strip-mining of exhausted IPs.

Guest: Jesse Ferguson @TheDapperDM from the Recorded Tomorrow Podcast

Those early Digital Gonzo shows can be found on the School of Movies Archive podcast feed. They are rough as hell, amateur hour on my part and each barely breaks the sixty minute mark. The best bits of all of them are featured at the end of each of these three new shows. Many thanks to my vintage guests, James Batchelor and Nikki Taylor.

[School of Movies 2025]

A sequel where the plot is hugely influenced by one of the original cast members playing hardball for a higher fee and getting left off the project should not be this great, and yet here we are. Likewise, the whole first act being set in the (then) faraway future of 2015 was almost entirely only there to fulfil promises from the end of the first film (even if Marty and Jennifer being in the timeline twice actually doesn't even make sense). How is it still wonderful?

A second film that utilises time travel to go back to the first from a new angle in such a singular and unique fashion that any subsequent occurrence is shorthand "doing a Back to the Future II", this also presents us with a nightmare dark alternate timeline where a gaudy, dangerous moron becomes so powerful that he pretty much ruins America. Thankfully none of us have to live in THAT reality.

Most of all though, of the three films this is the most lively, taking the form of a time-hopping adventure and allowing the two amazing leads to play off each other and the wildly up-for-it support cast, aging and de-aging across sixty changing years of Hill Valley.

Guest: Jesse Ferguson @TheDapperDM from the Recorded Tomorrow Podcast

Those early Digital Gonzo shows can be found on the School of Movies Archive podcast feed. They are rough as hell, amateur hour on my part and each barely breaks the sixty minute mark. The best bits of all of them are featured at the end of each of these three new shows. Many thanks to my vintage guests, James Batchelor and Nikki Taylor.

[School of Movies 2025]

Teenager from 1985 accidentally winds up in 1955 and meets his parents as teenagers, endangering his very existence. Bob Zemekis and Bob Gale made time travel immense and exhilarating, yet fun, intimate and personal, wisely choosing to focus (in a way that was rare at the time) on the everyboy hero's family relationships. And to illustrate quite how the alchemy of casting and crew was so key, they got several weeks into the original shoot with a completely different actor for Marty McFly. Things only finally clicked into place when Eric Stoltz exited the project and Michael J. Fox entered the scene, simultaneously filming day-shoots of the sit-com Family Ties.

Three of the greatest movies ever made, and perennial occupants of my most beloved top spots, Back to the Future, both as a trilogy, and as a stand-alone film is so close to perfect that it can be rounded up to perfect with minimal argument. It has been fifteen years since I first recorded a show on each of these, and more than any other previous show, they were in desperate need of a revisit.

Guest: Jesse Ferguson @TheDapperDM from the Recorded Tomorrow Podcast

Those early Digital Gonzo shows can be found on the School of Movies Archive podcast feed. They are rough as hell, amateur hour on my part and each barely breaks the sixty minute mark. The best bits of all of them are featured at the end of each of these three new shows. Many thanks to my vintage guests, Nikki Taylor and Giles Thomas

[School of Movies 2025]

This is a commissioned episode for our hardworking Pez-loving Discord moderator Mike Hasko. It's a relic from 1993, a period just after the Cold War and not too long before the War on Terror, and the focus is on a middle-aged, white, American, divorced, straight, cis, male office-worker who one boiling hot Los Angeles morning decides that he has had enough.

The man known throughout most of the movie by his personalised license plate as D-FENS (played with vigour by Michael Douglas in this memorable and divisive Joel Schumacher joint) steps out of the car he leaves stuck in traffic, walks across a city that is not designed for pedestrian travel, and clashes with everyone who gets in his way.

The creative team are really trying to have their cake and eat it by making the protagonist also the antagonist and how much they succeed or fail is very much down to the perception of the viewer. Pull up a breakfast 'Whomelette' and an ice-cold, aggressively-priced can of Coca Cola and we shall guide you through this eventful day.

[School of Movies 2025]

In an unprecedented show-type for us, what we have here began life as an After School Club commission by Tylor Long. Before it could be released it got upgraded to become a full Main Event show after this wonderful, darkly-funny, warm-hearted ghost story got included in our Discord Halloween watch-along.

The premise is familiarly bureaucratic, and simple enough for little kids to understand; In the afterlife ghosts must work to scare the living in order to be remembered. The results are what feels like the Taiwanese Beetlejuice, utilising the trappings of horror movies without ever actually being scary. It also seems to have a hell of a lot of things to say about the attention economy in a world where MrBeast is the highest aspirational figure for so many young people. What Dead Talents Society hints at is that there's so much more to existence than just being talked about by strangers.

Released straight to streaming in 2024, this movie is ironically virtually unseen and unheard of, but you should absolutely listen to this show and track this film down. It's going right at the top of our films of the year list.

[School of Movies 2025]

Several years ago, Sharon and I recorded an After School Club on this 1994 film, the botched production of which took the life of its young star Brandon Lee. We were scathing and derisory, having never much liked it (and the awful DVD transfer did it no favours) whilst expressing contempt for director Alex Proyas (I, Robot, Knowing, Gods of Egypt).

But this time (actually a year ago on its 30th anniversary) with Willow in tow, in conjunction with watching the appalling remake, we finally took in the 1080p blu ray, and I subsequently brought it to my editing bench to see if I could file off the sharp, jagged corners that bothered us so much and shape it into something worthier of the last screen appearance of the son of Bruce Lee.

And wouldn't you know it... now we LOVE The Crow.