Straight to LaserDisc

We're back with Bethan to discuss the Oscars in general and Lady Bird in particular. This is an extra thicc one, because time flies when you're having fun. We dive deep into of course the Oscars and Lady Bird (there's a lot to discuss in this movie and we all gush over it), but also Winston Churchill and portrait photography, crying during movies and Gears of War 3, and which Canadian city is the most like Sacramento. Kyle is somehow surprised to find out that The Force Awakens is like one of the highest grossing films of all time.

Straight to LaserDisc is back from a (totally planned and not in any way due to us being unorganized) break for the holidays with our first returning guest Sam Anderson for a very objective and professional review of Scott Pilgrim vs. the World. We talk about emo music, Ottawa radio jingles, and seeing movies in theater repeatedly, but mostly just spew Scott Pilgrim quotes at each other because we've all seen it like, 10+ times. 

This week, after like a half-hour mic check, Nick is back and we're joined by Aidan Mazerolle to get on somewhere between 1 and 6 layers of abstraction and talk about Cloud Atlas (pronounced "Cluh-dat-las"). Truly a 9/11 #2. We compare and contrast it unfavorably to some other postmodern classics. I know you're waiting for me to say something about the true-true. In any case, the hot takes are back in full force. Aidan is a natural shill by the way.

Time for another fun-filled episode kids. This week, Dave Keddy and Sam Granville filled in for Nick to join us in watching Inside Out, or as we like to call it "SHUT UP! I’m not crying, you’re crying!"

This time on Straight to LaserDisc, in light of Nick leaving Ottawa forever (well, indefinitely), we feature no guest and watch a movie we've all seen and love; Damien Chazelle's Whiplash. Having each seen it several times, we pick apart a lot of things, while Nick—and really everyone else as well—nerds out about jazz a bunch. Kyle's jealous of Damien Chazelle (but self-aware), and has some choice words for La La Land that he has probably already voiced. Watch for the extra dank intro cut. Let's get out there and have some fun!

This week we're once again joined by Bethan (RIP The Lobster) to pick apart a movie that straddles the line between cult classic and actual classic; Ridley Scott's Blade Runner. We talk about Tim Curry's space communism, who the real villain in Blade Runner is, and, of course, we touch on the question that everyone asks whenever Blade Runner is ever discussed. 

This week we're joined by the now-infamous Chris Lapointe (rip Bethan's episode), blasting all the way back to 1998 to take a look at The Truman Show. It is very much a product of its time, but there's definitely some nuance to the whole thing. We talk about some other gems (meant both sincerely and ironically) in Jim Carey's repertoire, and the current trend of making sequels that nobody asked for. Eventually we end up talking about the Mandela effect for some reason.

This week we're joined by Jake Pitre to discuss Harmony Korine's avant-garde and/or arthouse Spring Breakers, a movie that he's clearly used to defending. Let's just say some views are changed. The tables are turned when Kyle and Nick cannot keep from gushing over the new Arcade Fire record. Various kinds of "cred" are discussed and revoked. SPRING BREAK FO EVAH.

This week on the podcast we're joined by Jason Champagne, photographer (hit him up at jasoncliffordchampagne.com) and creative director of Behaviour Collective, but mostly just Nick's best friend, to talk about The Wolf of Wall Street. Jason brought a bottle of gin, so we get quite a bit louder and more opinionated as the episode progresses. The take home message is that we all need to watch more Scorsese, and Tanqueray should sponsor the podcast. Much like The Wolf of Wall Street itself, this one might offend (you'll see).

This week we're joined by Sam Anderson (the first guest of many to come) to deliver our hot takes on Jordan Peele's Get Out. Sam shows us why you take notes, Miller proposes an alternate alternate ending, and we contemplate the existence of the Cars franchise.