The Film Talk

Two very different movies raise a suspiciously similar question: can a film be exhilarating and leave you strangely empty? Jett and Gareth put Marty Supreme and Eephus into conversation, looking for the difference between cinematic energy and actual nourishment. Baseball may or may not provide the answer.

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It's the end of the year folks, so time for lists! Here's Jett and Gareth's Top 10 films of 2025.

Gareth: BLUE MOON, A LITTLE PRAYER, KÖLN 75, THE HISTORY OF SOUND, SENTIMENTAL VALUE, SINNERS, SORRY BABY, IT WAS JUST AN ACCIDENT, KISS OF THE SPIDERWOMAN and TRAIN DREAMS.

Jett: AVATAR: FIRE AND ASH, PLURIBUS, THE PHOENICIAN SCHEME, RIEFENSTAHL, 28 YEARS LATER, SORRY BABY, BUGONIA, TRAIN DREAMS, SINNERS and ONE BATTLE AFTER ANOTHER.

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One host saw Avatar: Fire and Ash in IMAX 3D. One did not. What follows is TFT's most divided conversation of the year and a useful experiment in what spectacle actually does: is Avatar a movie, an experience, or something that fundamentally changes when the screen gets smaller? Reconciliation remains uncertain.

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Remembering Rob Reiner leads Jett and Gareth back to a quality that ran through his work almost regardless of genre: kindness. From there, Train Dreams and Sorry, Baby open two different windows onto grief, vulnerability, survival, and the strange ability movies have to hold pain without reducing human beings to it.

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There have been hundreds of Frankensteins. So why another one? Jett and Gareth ask whether a filmmaker's obsessive need to tell a familiar story can itself justify the retelling—and what a new Frankenstein has to say about creation, responsibility, monsters, and the people who make them.

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Bugonia is one of those films best approached with as little protection as possible. Jett and Gareth discuss a movie they regard as a pinnacle of something they refuse to name because doing so would ruin one of its great pleasures. Watch first. Then return. Trust can occasionally be rewarded.

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A House of Dynamite is brutally effective at producing nuclear dread. But what responsibility does a film assume once it has frightened us? Jett and Gareth consider catastrophe cinema from Fail Safe and Dr. Strangelove onward, asking whether depicting the train coming at us is enough—or whether art can also help us imagine another track

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Tron: Ares, The Cat from Outer Space, and Diane Keaton may not seem like natural companions. TFT accepts the challenge. Jett and Gareth consider the latest Tron while remembering Keaton and the rare quality she embodied so completely: the courage to be unmistakably, gloriously yourself.

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Jett sees an all-time great. Gareth finds the experience almost unbearable—and may still agree. One Battle After Another opens a conversation about visual grandeur, political violence, white supremacy, resistance, vulnerability, and the difficult distinction between admiring a film and enjoying the experience of watching it.

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To contact Jett and Gareth go to:

[email protected]

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To see on Threads what Jett is getting up to:

Threads.net/@jett_loe

Gareth calls Weapons a lament that earns the right to call itself a true story. Jett and Gareth explore why this horror film feels disturbingly fitted to its moment, then remember the presence, mystery, and startling career of Terence Stamp. Horror looks backward, sideways, and directly at us.

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To contact Jett and Gareth go to:

[email protected]

Or leave a voicemail message at:

Speakpipe.com/TheFilmTalk

To see on Threads what Jett is getting up to:

Threads.net/@jett_loe