Ken and Todd discuss Ramin Bahrani’s At Any Price. Which family member did Todd want to see more of? What connections does Ken see between this film and Chop Shop? Is the film’s climactic sermon meant ironically? WARNING: Plot spoilers.

Todd and Ken discuss the films of Roberto Rossellini, focusing on Stromboli. How sympathetic is Karin? What does the film’s reference to the book of Isaiah mean? Is the ending positive, negative or ambiguous? WARNING: Plot spoilers.

Ken and Todd discuss Brian Helgeland’s hagiography of Jackie Robinson.

Todd and Ken look at Disney’s Wreck-It Ralph, and ponder whether or not being written into a computer program is an apt metaphor for predestination. Also, what makes Ken compare Wreck-It Ralph to Paradise Lost?

Todd and Ken discuss Martin Scorsese’s (in)famous imagination of the life of Jesus. Is it really blasphemous? Is it any good? Do you have to watch a movie to be able to boycott it? And how do you pronounce “Nikos Kazantzakis”?

Todd and Ken examine the morality of making stories about other people’s lives. What is the difference between “truth” and “accuracy,” and is accomplishing one ever an excuse for neglecting the other? Should historical fiction be judged differently from imaginative fiction? Why or why not?

Ken and Todd look at John Ford’s adaptation of John Steinbeck’s novel. What is the difference between poverty and destitution? Who is the audience surrogate? How is mythologizing the past different from arguing about the present?

Ken and Todd claim that Peter Jackson doesn’t really understand the material that he is adapting. Is there any way they can back up such a claim?

Ken and Todd tackle Ben Lewin’s The Sessions. Can a priest ever give you permission to sin? Does calling something therapy change what it is? Is God a bully who hates us and wants us to be miserable? Is it possible to be compassionate while still having standards?

Ken and Todd revisit William Friedkin’s horror masterpiece, The Exorcist, and use it as a springboard to talk about whether or not Christians should watch horror movies. Does the film imply that evil is stronger than holiness? Who is the main character? What does the film say about the spiritual condition of the late 20th century?