"You are discarded. You are the refuse of the past."

Richard Matheson’s 1954 vampire horror novel “I Am Legend” helped influence the zombie genre (it was the inspiration for the ‘68 George Romero film “Night of the Living Dead”) and popularized the concept of a worldwide apocalypse due to disease. Yet for some reason, filmmakers haven’t been able to crack the story. It’s been made into three different films, and it doesn’t seem like any of them have gotten it right. Join us – Pete Wright and Andy Nelson – as we kick off our disease series with the second of these adaptations, Boris Sagal’s 1971 film, “The Omega Man.”

We talk about why this movie doesn’t work for us and try to figure out what the movie has that gives it that ‘guilty pleasure’ feel. We discuss the actors, notably Charlton Heston, Anthony Zerbe and Rosalind Cash, as they all work together and deliver some terribly written lines. Speaking of lines, we discuss the script written by John William Corrington and Joyce Hooper Corrington, our problems with it and why it feels a bit like a soap opera. We also talk about Sagal’s direction and why the whole film really feels like a TV production. And we have to bring up the crazy amount of 70s zooms in the movie – definitely a sign of the times. 

It’s not a film that we love, even if Andy could see some of the guilty pleasure enjoyment with it. Regardless, it’s an interesting film worth discussing and opening up our disease films series. So check it out then tune in to this week’s show!

Film Sundries

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"You have to know who you are and what you are. It’s the only way you’ll lead decent lives."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Alana Morshead joins us to talk about one of her favorite films, Mark Romanek’s 2010 film “Never Let Me Go” based on the book by Kazuo Ishiguro.

We talk about the science fiction nature of this story and how it really operates more as a minor element of the world-building, allowing the viewers to focus so much more on the three main characters in the film and their relationships. We discuss the choices made by Romanek in the look of the film, the way the camera moved, and the nature of the love story. We look at what Carey Mulligan, Andrew Garfield and Keira Knightley bring to the table as the three principal characters, and how they compare with their youthful counterparts. And we struggle with the fact that this film didn’t connect with its audience, leaving it in the red by the time it left theatres, which really is a disappointment considering how much we really enjoyed it. 

It’s a touching film and a fascinating glimpse at what strong writers can do with their science fiction. It’s something we enjoyed then found we connected to it more and more as time wore on. And it’s a thrill to have had it introduced to us finally as we’d both clearly missed it when it was released. So hopefully you’ll check it out, then tune in to the show!

Film Sundries

• Watch this film: iTunes • Amazon
• Screenplay
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• Never Let Me Go by Kazuo Ishiguro
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• Alana Morshead

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"Gentlemen, you can’t fight in here! This is the war room!"

Stanley Kubrick didn’t do comedy often which is a shame because “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” is arguably one of the funniest films ever made. What’s interesting is that Kubrick intended on making a serious film about one of his greatest fears at the time: the threat of nuclear war. But after several attempts at finding the right way to tell the story seriously (including one involving aliens watching us from above, discussing our penchant for destruction), he hit on the idea of making it funny. And his dark comedy classic was born.

Join us – Andy Nelson and Pete Wright – as we wrap up our brief vacation challenge with Andy’s choice of his favorite end-of-the-world comedy, Kubrick’s 1964 film “Dr. Strangelove.” We talk about how we were introduced to this film and why it may not be a film that one connects to immediately but a film that one has to find the humor over time. We discuss the actors – Peter Sellers, George C. Scott, Slim Pickens, Sterling Hayden, Keenan Wynn, even James Earl Jones in his first screen role – and the level of comedy brilliance they all achieve individually and how it ties to the overall film. We single out Sellers, of course, as we discuss the three roles he played in the film and what makes them all so unique. We touch on the look of the film, shot by Gilbert Taylor with impeccable production design by Ken Adam, pointing out just what it took to make the war room one of the most iconic sets ever made. We mention the sequel that Kubrick wanted to make with the help of Terry Gilliam. And we argue about its placement on our Flickchart, as we inevitably do every week. 

It’s one of the best films out there and well worth a discussion. Haven’t seen it? Give it a try. Just be aware that you may not connect on the first viewing. This is one of those movies that may need a few shots. But it’ll be well worth it. We promise you.

Film Sundries

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"Would’ve been a quiet night, too, if it hadn’t been for those meddling kids!"

Stop-motion animation has been a part of film since nearly the beginning, starting with a toy circus coming to life in 1898’s “The Humpty Dumpty Circus.” Since then, it’s undergone many critical changes and improvements as filmmakers have experimented with what they could do with it, and in 2012, Laika released the first stop-motion animated feature film to use a 3D color printer to create the character faces. The movie, “ParaNorman,” was a comedy horror for kids and certainly seemed to find its audience while also creating quite a bit of controversy.

Join us – Pete Wright and Andy Nelson – as we start off our brief vacation challenge series with Chris Butler’s and Sam Bell’s horror comedy for the kids, “ParaNorman.” We talk about why Pete picked this movie and what he loves about not just this film but stop-motion animation in general. We chat about the directors behind this animated film and what sort of the criticism the film received upon its release (and still to this day!) due to the violence it depicted, the sexual situations and the fact that it has an openly gay character. We discuss not just the actors that voiced the characters – from Kodi Smit-McPhee and Tucker Albrizzi to Anna Kendrick and Casey Affleck – but also Heidi Smith who designed the characters and the animators who brought them to life. We look at Butler’s screenplay and chat about why it’s such a strong script. And we marvel at the cinematography, production design, rigging, effects and everything else that goes into making a stop-motion animated film, thrilled with how well this team did at focusing and working together to create a wholly realized world.

It’s an absolute blast to watch and certainly one well worth talking about. Is it safe for the kids? We think so and argue the point but some people aren’t so sure so perhaps look into it a bit before watching with your own children. Regardless, tune in after you’ve seen it to hear our thoughts!

Film Sundries

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"I’m going to cause such a terrible stink in this Third Reich of theirs that thousands of troops that could well be employed at the front will be tied up looking after us!"

It’s time for another Listener’s Choice episode, and we’re talking about one of the all-time WWII classics. That’s right, listener Michael Cook decided that it was time for us to discuss John Sturges’ 1963 film “The Great Escape,” and man, was he right on the money. 

Join us – Pete Wright and Andy Nelson – as we chat about our eight listener’s choice with “The Great Escape.” We talk about how this script was shaped around the real escape in 1944 of 76 POWs from Stalag Luft III, what details were changed for the film and how we feel about those changes. We chat about Sturges and the style he brings to the film paired with the way he directs his actors, giving them the freedom they wanted/needed to create their performances. We discuss those actors – and there are a lot of them including Steve McQueen, James Garner, Richard Attenborough, James Coburn, Charles Bronson and Donald Pleasence, to name a few – and what they bring to the table. We look at the fantastic production design, cinematography and editing that really bring this movie, filmed on location in Germany, to life, and what it took to get away from filming it outside of Palm Springs. We touch on Elmer Bernstein and the incredibly memorable score he delivers and what it does for the feel of the film. And we mention artist Archibald Willard and the connection his painting The Spirit of ‘76 has with the film. 

It’s a fantastic film, one we’re truly thrilled to talk about, so definitely check it out if you haven’t seen it before, then tune in!

Film Sundries

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"We’ve been patriotically slaving for three years to help a spy ring!"

“Ministry of Fear” was Fritz Lang’s third film of four anti-Nazi movies that he made, but it feels less anti-Nazi and more just straight up Hitchcockian thriller. And while Lang didn’t like the final result of the film and Graham Greene, who wrote the novel on which the movie’s based, also didn’t like the film, it’s a very fun film to watch and feels a bit like Lang lite. 

Join us – Pete Wright and Andy Nelson – as we wrap up our Lang series with his 1944 film, “Ministry of Fear.” We talk about why this film works for us, even if it still has story problems like he’s had in all of his other films so far, and debate as to what it was that caused him and Greene to dislike it so much. We discuss Seton Miller, the screenwriter and producer of this movie, and look at the control he exerted over this film, forcing Lang to make the film Miller wanted, right down to the last shot. We chat about the performances from Ray Milland, Marjorie Reynolds, Carl Esmond, Hillary Brooke, Percy Waram and most notably Dan Duryea, and look at what they each bring to the table. We touch on the cinematography by Henry Sharp, a studio contract DP Lang had to work with but still someone who ended up making this film feel very noirish and Langian. And we discuss our feelings about Lang as a director, looking at what we got out of this series and analyzing Lang’s work compared with how he ran his sets.

It’s a fun film to watch, even if it doesn’t feel as important as some of Lang’s earlier films. We have a great time talking about it on the show this week, commenting that this certainly will be an easy movie to put on down the road to enjoy all over again. So check out the movie then tune in!

Film Sundries

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"Hasta la vista, baby."

The Next Reel’s Speakeasy is an ongoing series of ours in which we invite an industry guest to join us and bring along one of their favorite movies to talk about. In this month’s episode, costume designer Sarah Trost joins us to talk about one of her favorite films, Terminator 2: Judgment Day. 

We talk about why we all love this film so much and where this movie fits into our feelings for the entire franchise, and look at why James Cameron’s entries seemingly hold up so much better than the rest. We chat about the script that Cameron and William Wisher, Jr., put together here and the way they smartly chose to parallel elements from the first in the franchise. We look at how Cameron crafts films and why this film still holds up so incredibly well. We discuss the actors – Linda Hamilton, Arnold Schwarzenegger, Edward Furlong, Robert Patrick and Joe Morton primarily – and talk about what they all bring to the table, even commenting which of the actors delivers a performance that might have warranted an Oscar nomination. We look at the amazing cinematography, stunts, effects, makeup, costumes, models, music, editing – honestly, everyone involved in this film seems to be working at the top of their form and we talk about that. And we talk about the brilliant metal man effects work they did here bringing the T-1000 to life (and pushing this budget over $100 million, the first time a film cost that much). 

It truly is an action film that’s set a standard for all action films to follow and a film that hardly shows its age. We have a great time talking with Sarah about this one so tune in! (Oh, and be prepared for some explicit language in this one.)

Film Sundries

• Watch this film: iTunes • Amazon
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• T2 3D: Battle Across Time
• Sarah on Instagram
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"Good heavens, man, I never intended to shoot. I merely wanted to find out if it were possible."

1941 was an interesting time for the US as the country started the year off as a passive, neutral observer of what Germany and Hitler were doing in Europe and ended with the attack on Pearl Harbor, leading the US to officially enter WWII. And while Fritz Lang’s 1941 anti-Nazi film “Man Hunt” was rushed by Darryl F. Zanuck and 20th Century Fox into production then subsequently theatres to be current, they still had to contend with the Production Code and how the film would be seen by people while the Neutrality Act was still in effect. It’s a film that reflects the time in which it was made really well, giving us insight now not just how the filmmakers were thinking, but how society and the government were all thinking and working together (or against each other).

Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Man Hunt.” We talk about why this film is still such an interesting glimpse into what was going on in the late 30s/early 40s and how people were thinking. We chat about Lang and what he brings to the table paired with Dudley Nichols, the screenwriter, and how he adapted the source material, often in ways that make us scratch our heads. We look at the opening sequence of the film and talk about how powerful it is, likely even moreso at the time of its release. We discuss Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowall and the rest of the cast, deliberating on how well they did (or didn’t) do and whether any of them are any good at accents. We discuss the opening and closing shots of the film, looking at the imagery of the hunt and how it works in both contexts. And we look at the beautiful black-and-white cinematography by Arthur Miller and how well he worked with Lang here to give us some frightening urban night scenes that would fit perfectly in many of Lang’s films. 

The film may have story issues and some performances that we struggle with, but it’s still an interesting film to watch with some powerful moments that really stand out as pure Lang. Check it out then tune in!

Film Sundries

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"Just you wait, it won’t be long. / The man in black will soon be here / With his cleaver’s blade so true. / He’ll make mincemeat out of you!"

When “M,” Fritz Lang’s first sound film, opened in 1931, it was clear that Lang already understood how to employ sound to his advantage in telling his story. Unlike many early ‘talkies,’ “M” isn’t wall-to-wall talking; instead, Lang used it as a sparse tool to help catch a killer. He balanced quiet moments with abrupt sharp noises. He brought in off-screen noises that affected those on-screen. He had voiceover. And of course, there is the murderer’s whistling of Peer Gynt’s “In the Hall of the Mountain King.” Lang was a master of his craft, and certainly not a director who would be held back by the advent of sound. 

Join us – Pete Wright and Andy Nelson – as we continue our Lang series with “M.” We talk about the story of the film, the influences from the time on Lang, and what Lang may have been trying to say about the rise of Nazism. We chat about Peter Lorre in his breakout role and why his child murderer character is so compelling and, yes, sympathetic. We look at the way that Fritz Arno Wagner moved the camera and lit the scenes to capture Lang’s story (once again written by his wife at the time Thea von Harbou). We deliberate on von Harbou’s script and how well it worked in creating a fascinating police procedural but also how Lang’s research into killers may have affected some decisions in the character of Beckert. We talk about the sound and the lack of score with this movie and how the sound actually affected the frame size. We start a new segment called First Shot/Last Shot and look at how the director decided to start and end his story. And we discuss how the rise in Nazism helped some of the actors while hindering others.

It’s a film noted as a masterpiece, the best of German cinema, Lang’s finest film. We certainly see the quality here and have a great time talking about it on this week’s show. So give this one a watch – it deserves it – then tune in!

Film Sundries

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"You still don’t seem to know what I am capable of!"

Fritz Lang’s 1928 silent spy thriller “Spies” rarely gets brought up when people mention Lang and his filmography. Dwarfed by arguably two of his best made on either side of it – “Metropolis” and “M” – “Spies” was Lang’s first film outside the shell of Ufa, the German motion-picture company. It did well enough for itself, but not well enough to make a big mark in cinema. But if you watch it, you’ll see the birthplace for practically every spy movie trope that has been on screen since. 

Join us – Pete Wright and Andy Nelson – as we continue our Fritz Lang series with “Spies.” We talk about the spy tropes found in this film and what they led to in later films. We chat about the pacing of the film and why the length of this one at its mostly restored length of 143 minutes may be a bit too slow. We discuss Lang, what he was like as a director, and how his approach worked in the production of this film. We discuss the actors, notably Rudolf Klein-Rogge, Willy Fritsch and Gerda Maurus, and what they each bring to the table. We also touch on the affair Lang had with Maurus during the production of this film. We discuss Fritz Arno Wagner, the DP, and his role here as well as in German cinema in this period. And we chat about some of the filmmaking techniques used here, which work, and which are clearly still being developed. 

It’s a fun film, albeit a bit overlong, but definitely worth watching. Anyone interested in Lang’s filmography needs to see this one. So check it out then tune in!

Film Sundries

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