“Let’s be realistic. Now, sooner or later, they’re going to get around to offering me a plea deal, and you know that. That’s why you are here to kill me.”
Jackie Brown Rides High in Tarantino’s Homage to BlaxploitationQuentin Tarantino burst onto the film scene in the 1990s with unique stylistic choices and sharp dialogue. After achieving critical acclaim for Reservoir Dogs and Pulp Fiction, Tarantino turned to Elmore Leonard’s novel Rum Punch for his third directorial effort, Jackie Brown. Set in the seedy underworld of gun runners and bail bondsmen, Jackie Brown pays homage to 1970s blaxploitation films while putting Tarantino’s signature spin on the crime thriller genre.Join us – Pete Wright and Andy Nelson – as we continue our 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees series with a conversation about Tarantino’s 1997 film Jackie Brown.Fun With Time, Great Performances, and ControversyWe dive deep into Tarantino’s playful use of time jumps, split screens, and flashbacks to reveal the intricacies of the heist plot. The stellar cast shines, especially Pam Grier in the title role and Robert Forster as the bail bondsman helping her out, not to mention turns by Robert De Niro, Samuel L. Jackson, Bridget Fonda, and Michael Keaton. We also touch on the controversy around Tarantino’s use of the N-word. Overall, we find lots to love in this homage-filled film.More Topics From Our Chat

• Beautiful cinematography and lighting choices
• Forster and Grier’s heartbreaking final scene
• Keaton’s surprising but perfect casting
• The fantastic soundtrack
• Tarantino’s masterful directing skills on display
• Great discussion of awards snubs and box office numbers

Final Thoughts on Jackie BrownWith its loving homage to 1970s blaxploitation films, great soundtrack, and stellar cast, Jackie Brown shows Tarantino at the height of his powers. We have a great time talking about this underappreciated gem. Check it out, then tune in to hear our conversation. The Next Reel – when the movie ends, our conversation begins!Film Sundries

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“Memory is a selection of images, some elusive, others imprinted indelibly in the brain. The summer I killed my father, I was ten years old.”
Exploring the Layers of Eve's BayouWith her moody directorial debut Eve's Bayou, independent filmmaker Kasi Lemmons immerses us in a vividly realized Louisiana bayou community in the 1960s. Through the eyes of daughter Eve Batiste, we witness the complexity of her affluent African-American family as simmering secrets threaten to tear them apart. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1998 NAACP Image Awards Outstanding Lead Actress in a Motion Picture Nominees with a fascinating discussion about Lemmons’ 1997 film Eve's Bayou.Capturing the Complexities of FamilyAt its core, Eve's Bayou is a film about the intricacies of family - both its warmth and its darkness. We analyze the exceptional performances, particularly from Lynn Whitfield as the dignified matriarch and Debbi Morgan as the insightful aunt. The perspective from daughter Eve gives an intimate viewpoint on the shifting family dynamics.More to Explore in Eve’s Bayou

• Samuel L. Jackson's conflicted performance as the philandering patriarch
• The talented young cast, especially lead Jurnee Smollett
• Themes of adultery, legacy, memory and morality
• Magical realism elements with voodoo and psychic powers

Eve's Bayou offers no easy answers, only thoughtful examination of family bonds tested by adversity. We thoroughly enjoy analyzing this beautifully crafted and moving film. Check it out then tune in! When the movie ends, our conversation begins!Film Sundries

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Talking About Jean-Pierre Jeunet’s Amélie with our guest, Costume Designer Antoinette MessamOn this episode of Movies We Like, we speak with costume designer Antoinette Messam about her incredible career in film and one of her favorite movies, Jean-Pierre Jeunet's magical 2001 film Amélie.We have a fascinating conversation with Antoinette about her journey into costume design, including rebelling against family expectations, finding her way from fashion to film, and learning on the job. She shares amazing stories about her experience collaborating with directors like Ryan Coogler (Creed), F. Gary Gray (Lift), and Jeymes Samuel (The Harder They Fall, The Book of Clarence), and dressing icons like Sylvester Stallone and Michael B. Jordan.When it comes to Amélie, we dive deep into the stunning use of color and how it brings the whimsical world to life. Antoinette explains how the color palette was meticulously constructed through collaboration between the director, production design, costume, and more - truly effortless worldbuilding. We also discuss the joyful spirit of the film, Audrey Tautou’s masterful performance, and how the music perfectly complements the visuals.Our chat with Antoinette gives rare insight into the art of costume design and the magic of movies. Amélie is a vibrant, feel-good film with incredible attention to detail that we highly recommend. We have an amazing time learning from Antoinette's experiences and perspectives on this delightful movie.Film Sundries

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“He’s a wily one, that ichthy-demon.”
Waterworld: Sinking Budgets and Soaring SpectacleIn the early 1990s, Kevin Costner was riding high after hits like Dances with Wolves and Robin Hood: Prince of Thieves. He teamed up again with his Robin Hood director Kevin Reynolds for an ambitious post-apocalyptic aquatic adventure called Waterworld. With its massive scale and elaborate water-based sets, the production quickly sank into major budget overruns and production nightmares.Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Reynolds’ 1995 film Waterworld.Diving Into Our Waterworld ChatWe dive deep into the troubled production and how it still managed to deliver an entertaining aquatic spectacle despite going way over budget. The world building stands out, creating an immersive post-apocalyptic seafaring society even if some plot points strain believability.More Topics From Our Wide-Ranging Water Chat

• How the Hollywood sheen holds it back from grittier cult classics like Mad Max
• Dennis Hopper's gleeful villainy as the Deacon
• Appreciating the rich world building and visuals despite flaws
• The differences between the theatrical cut and extended Ulysses version
• How it stacks up to other Razzie nominees for Worst Director

In the end, we found Waterworld to be a pleasant surprise given its reputation - an ambitious and imaginative, if imperfect, seafaring adventure. Despite its behind-the-scenes troubles, it delivers aquatic action and world building that entertained us.Tune in to hear our full thoughts! The Next Reel – when the movie ends, our conversation begins!Film Sundries

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"Thrust it! Thrust it!”
Before the sequins and controversy hit the screen, Showgirls was a script that sparked excitement for its bold take on the glitz and grunge of Las Vegas life. Helmed by Paul Verhoeven and penned by Joe Eszterhas, the duo behind the provocative hit Basic Instinct, expectations were high for this journey into the world of Vegas showgirls. Yet, the resulting film would divide audiences and critics, becoming a cult classic for some and a cautionary tale of excess for others. The backdrop was set for a film that would be discussed and dissected for years to come. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Showgirls.Here's a hint at what we talk about.In this deep dive, Pete and Andy explore the contentious legacy of Showgirls, a film that's danced its way into infamy. They discuss the film's place in the 1995 Golden Raspberry Awards as a Worst Director Nominee, debating whether the film's over-the-top style was a misguided misstep or a misunderstood stroke of satirical genius. The hosts don't always see eye-to-eye, revealing a schism in their takes on the film's execution and its thematic intentions. They ponder whether Elizabeth Berkley's performance as Nomi was intentionally exaggerated to serve the film's satirical edge or if it was a misdirection that led to its critical panning. As part of their series on the Razzies, they delve into the broader conversation about what the nomination means for Showgirls and its place in cinematic history.Here are a few other points in our discussion.

• The Dickensian description of the film by some and the evolving public opinion over time
• The comparison of Verhoeven's direction in Showgirls to his work in RoboCop and other films
• The potential allegory of Hollywood and selling out as interpreted by Jonathan Rosenbaum
• The contrasting performances, particularly Berkley's and Gina Gershon's, and their impact on the film's tone
• The undercurrents of power and gender dynamics within the narrative
• Our personal reactions to the comedic elements and whether they hit the mark or fell flat

As we peel back the layers of this high-kicking, high-stakes drama, we find a film that's as polarizing as it is fascinating. Despite its Razzie nods and the debates it sparks, Showgirls remains an electrifying topic of discussion for cinephiles and critics alike. Whether you view it as a glittering satire or a cautionary tale of excess, there's no denying the film's unique place in the landscape of '90s cinema. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries

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“Why do you wait? Put it on for it is not a badge of my shame, but your own.”
Roland Joffé took on the challenge of adapting Nathaniel Hawthorne’s classic 1850 novel The Scarlet Letter for the big screen in 1995. With a passion for the source material and a vision to expand the story in ways he felt Hawthorne was restricted from doing, Joffé assembled an impressive cast including Demi Moore, Gary Oldman and Robert Duvall. However, despite his noble intentions, many critics felt Joffé’s reach exceeded his grasp. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about The Scarlet Letter.Here's a hint at what we talk about:We discuss how Joffé's ambitions to elevate the material and expand the story ended up making the film feel overstuffed and unfocused. The heavy-handed symbolism, like the constantly reappearing "red bird of passion," also didn't work for us. And we both found the new "happy ending" Joffé devised to be a disappointment compared to the novel's more downbeat conclusion. However, we do appreciate his attempts to incorporate more of the indigenous American perspective.Here are a few other points in our discussion:

• The overly sentimental score by John Barry... that’s still an amazing score
• Whether the principle cast was well-suited for a period drama
• The absurdity of Robert Duvall's unhinged performance that’s still undeniably entertaining
• The unnecessary Pearl voiceover narration

Overall, while we can appreciate some of what Joffé was trying to accomplish, we feel his reach exceeded his grasp in many ways, resulting in a film that feels messy and unsatisfying. But we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries

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“Congratulations, Morgan. There’s another town you’ve destroyed.”
After the success of Die Hard 2 and Cliffhanger, director Renny Harlin wanted to establish his wife Geena Davis as an action star. He sought out a swashbuckling pirate adventure script for her to lead. Screenwriters Michael Frost Beckner and James Gorman had written an initial draft, but extensive rewrites resulted in multiple additional credited writers. With Geena Davis attached to the lead role of pirate captain Morgan Adams, finding the right co-lead proved challenging. Michael Douglas was originally set to play opposite Davis but dropped out due to issues over equal screen time. Numerous major stars were offered the role including Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson and Daniel Day-Lewis before Harlin settled on Matthew Modine. With the stars finally set, cameras rolled on location in Malta and Thailand. But behind the scenes, the production was plagued with problems that led to massive cost overruns. Join us – Pete Wright and Andy Nelson – as we continue the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Harlin’s 1995 film CutThroat Island.Here's a hint at what we talk about:We discuss the issues with the constantly evolving script and poor dialogue, along with miscasting of the leads and lack of chemistry between Davis and Modine. We also get into the impressive practical effects and action set pieces, despite flaws elsewhere. And we talk about the legendary reputation of this box office bomb that sunk Carolco Pictures.Here are a few other points in our discussion:

• Renny Harlin's strengths and weaknesses as a director
• The great production design and cinematography
• How the film hasn't aged particularly well
• Our armchair casting for who could have been better in the lead roles

In the end, we found CutThroat Island to be a mixed bag with plenty of problems holding it back yet still quite entertaining and delivering a romping pirate adventure. It makes for an interesting case study in a big budget production gone awry. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries

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“Are you serving that ape a martini?”
In the early 1990s, following the massive success of Jurassic Park, studios were eager to adapt more of Michael Crichton’s popular novels to film. Congo had been published back in 1980 but no one had figured out how to bring the complicated story to the big screen. After the rights bounced around for years, Paramount finally secured them in 1994 and began fast-tracking production. Director Frank Marshall was fresh off hits like Alive and Arachnophobia when he signed on, along with an all-star cast including Laura Linney, Dylan Walsh, Ernie Hudson, and Tim Curry. But the difficult shoot on location in Africa plagued the production. Despite high hopes, the film flopped critically when it was released in 1995, earning Marshall a Razzie nomination for Worst Director. Join us – Pete Wright and Andy Nelson – as we kick off the 1995 Golden Raspberry Awards Worst Director Nominees series with a conversation about Marshall’s 1995 film Congo.Here's a hint at what we talk about.In this lively discussion, we dig into the pre-production and challenges behind adapting Michael Crichton’s 1980 novel to the big screen in 1995. We discuss the all-star cast and debate whether the directing, acting, or weak script led to poor character development and lack of chemistry. We also analyze the cultural portrayal and exploitation of Africa in cinema at the time.Here are a few other points in our discussion:

• Weak CGI and special effects that don’t hold up today
• The silly conceit of the genetically engineered “bad gorillas”
• Confusion over who the true protagonist is
• Enjoyable moments from Ernie Hudson and Tim Curry

Though we have some fun unpacking this Razzie-nominated film, we ultimately agree Congo fails to come together as an entertaining adventure. The story loses Crichton’s scientific edge and thought-provoking commentary on technology in the adaptation. We still have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries

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• NASA Streams Cat Video from Deep Space Using Laser

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“Life isn't like in the movies. Life... is much harder.”
Talking About Cinema Paradiso with our guest, Special Effects Supervisor Chris ReynoldsIn this magical episode, we chat with veteran special effects artist and supervisor Chris Reynolds about his storied career bringing movies to life through innovative engineering and technology. Our focus is the classic Cinema Paradiso, a nostalgic ode to the glory days of cinema that inspired Chris from an early age.Chris has built an impressive 40-year career in special effects, rising from technician to supervisor. He regales us with tales of his early days at the BBC, where he cut his teeth on classics like Blackadder. From blowing up haggis to sculpting giant lips, Chris learned to create imaginative practical effects on the fly across every genre. His passion for storytelling shines through as he discusses favorite projects, including some he worked on like Philip K. Dick’s Electric Dreams, and others he didn't, like Battle of Britain.Turning to Cinema Paradiso, we unpack the magic of this film that celebrates the power of cinema to transport us. We all agree the performances are fantastic, especially Salvatore Cascio as the young Toto. And Ennio Morricone’s iconic score ties it all together. The ending montage of kisses cut by the priest is pure movie magic. Chris gives the inside scoop on the fire sequence, rating its mixed effectiveness from a special effects supervisor's perspective. He also shares which version he prefers between the Director’s Cut and the international release.Overall, Cinema Paradiso captures a sense of childlike wonder and nostalgia for the romanticism of old Hollywood. Chris gives us an insider’s view into the art and craft of moviemaking. For any cinema lover, this is a must-listen episode.Film Sundries

• Visit Chris’ Website
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“Dead or alive, you are coming with me.”
In 1987, screenwriters Edward Neumeier and Michael Miner developed an original story idea while working on the set of Blade Runner. They envisioned a dystopian future where privatized police forces maintained law and order. After pitching the concept to studios, Orion Pictures greenlit the production of RoboCop, directed by Dutch filmmaker Paul Verhoeven. Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about RoboCop.Here's a hint at what we talk about:We dive into the amazing practical effects created by Rob Bottin and Phil Tippett, including RoboCop himself, ED-209, the toxic waste scenes, and more. We discuss Paul Verhoeven's unique directorial vision and how he used over-the-top violence to achieve a satirical tone. The film's sharp and funny social satire provides critical commentary on privatized policing and corporate greed that still resonates today.Here are a few other points in our discussion:

• Great performance from Peter Weller as Murphy/RoboCop, plus the rest of the cast
• The love/hate relationship with the corporate characters
• How the 2014 remake compared to the original

RoboCop is a classic sci-fi action film that struck a delicate balance between intense action and dark comedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries

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