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The Wild Bunch breaks from tradition with the violence, but Matt notices newfound flaws. Despite our nitpicks, it holds up. In The Good, the Bad and the Weird, Matt has found a new favorite. This movie moves quickly, breaks genre norms, but still finds time for a whole lot of humor.
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One False Move is a hidden gem of southern noir. Young Billy Bob Thornton is still Billy Bob. Best movie of 1992? That's debatable. Fruitvale Station is full of life until it isn't. The budding talents of Ryan Coogler and Michael B. Jordan are undeniable.
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Patton provides a whole lot of Patton, which is great if you like that sort of thing. Adam was bored. In Dunkirk, Nolan manages to foreground the spirit of the Britain by obscuring the actual people. And of course, Nolan does his Nolan thing.
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Matt and Adam share their top ten comedies of all time. Spoiler: Caddyshack is not on either list.
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Midnight Run is full of 80's cheesiness....and helicopters. The chemistry between DeNiro and Grodin saves it. Matt is not feeling Anchorman...like at all, but Adam thinks it holds up well. Then we discuss our top ten comedies not named Airplane!
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We discuss what makes a good comedy before diving into the movies. Young Frankenstein deserves its classic status, but a modern viewer might wonder why. Matt thinks Friday has more to say than your standard comedy, but it isn't that funny.
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We dive into two under-appreciated British gangster movies. Sexy Beast is an anti-heist movie that yada yada's the actual heist. Layer Cake will give you a Daniel Craig fix in these Bond-less times, but it might require a study guide.
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Epidemic Week! Andromeda Strain is a little too heavy on the technical aspects but fails to explain the big ideas. Blindness is a tough hang but worth watching. How much Ruffalo is too much Ruffalo?
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Film Noir is bigger in Texas. We discuss the Coen brothers' debut feature film. Strong on story and style but light on character depth. Then we bust out a bucket of K-fried-C for Killer Joe and the beginning of Matthew McConaughey's epic comeback. The story intrigues and the acting satisfies despite a few leaps of logic.
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Blue Velvet is entry-level Lynch with uneasy weirdness. Bellflower impresses for its budget, but the characters are a little flat.
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From the publisher's feed
Wait, you haven’t seen that? Each week, two friends recommend movies to each other based on a common theme.