Oh Yeah! This week's Fresh double feature Lane's Frames are a blatant excuse to talk about the music of Daft Punk; we watched Interstella 5555: The 5tory of the 5ecret 5tar 5ystem (2003) directed by Leiji Matsumoto, Kazuhisa Takenouchi, Daisuke Nishio, and Hirotoshi Rissen AND Daft Punk's Alive 2007 Live Concert at Lollapalooza (2007), which has no director credits because it seems to have just been some footage that was never released until like 15 years later? Anyway, we have fun Burnin' through our gripes with these movies and show a bit of Emotion talking about the Daft Punk discography, Touch-ing on our childhood relationships to music. And, unlike some other episodes, this one is not Too Long.

Thanks again to NTRXMUSIC for help crafting this outro B)

The final entry in our WE WANNA WAIL series (no for real this time) was chosen in a somewhat snap-decision to be Smile 2 (2024) directed by Parker Finn. As a carryover from the days of Kino 101 with Ricky, the first Smile movie holds a special place in our canon, so it only fits that we would scare the shit out of ourselves in theatres with the sequel. I feel like you can really hear how nervous we sound in this one lmao. Plus: a special appearance by all five (5) cats, and a sneak preview of Ricky's upcoming movie "Psyche", in theatres 2025.

Surprise! WE WANNA WAIL ends (😏) with a special early Halloween drop for our discussion about The Exorcist (1973) directed by William Friedkin. Here's that e-boy content you ordered.

Much like the protagonist in the last 25 minutes of this movie, WE WANNA WAIL! This week is a very special Nick's Flick (or is it? watchers, get at us), The Texas Chain Saw Massacre (1974) directed by Tobe Hooper. Does this movie live up to its blood-soaked reputation? We all know Ricky hates women, but does Nick hate women more? Is this episode too long? How many movies did I say to Ricky, "we'll watch that someday" about during this? (Death Proof, Safe, May December, Black Christmas, Skinamarink, Licorice Pizza, so six...)

P.S. here's my review of Poltergeist with the offending comment.

We take a little breather during our WE WANNA WAIL series to watch this week's double feature of Rick's Picks, Monster House (2006) directed by Gil Kenan and ParaNorman (2012) directed by Sam Fell and Chris Butler. We talk about stop motion animation, creepy old people, and how "Prenderghast" doesn't really give Slav. Plus: a little detour to talk about THE SUBSTANCE (2024) directed by Coralie Fargeat.

WE WANNA WAIL continues as we enter the Forbidden Room with this week's Lane's Frame, Pulse (2001) directed by Kiyoshi Kurosawa. We talk about ghosts, existential dread, and how scary it would be to have some guy just pop up in our Discord call. Plus, are all the jokes online about people wanting to kill themselves desensitizing us to depictions of suicide in movies?

Continuing our WE WANNA WAIL miniseries (not We Wanna Whale, mind you), this week's Rick's Pick was a thematic double feature: Perfect Blue (1997) directed by Satoshi Kon and Black Swan (2010) directed by Darren Aronofsky. While we compare these two films' visual and story similarities, we come to the conclusion that the similarities are far outweighed by the differences in characterization, viscerality, and emotion - though Aronofsky is not beating the ripoff allegations, either. Plus: Oreo Coke Zero, Amazing Cultivation Simulator, and Creedence Clearwater Revival.

This week's entry in our WE WANNA WAIL series features TWO Lane's Frames: both the original Psycho (1960) directed by Alfred Hitchcock AND the remake Psycho (1998) directed by Gus Van Sant. We talk about the original movie's influence, the gay subtext in both films, and the fascinating endeavor of remaking a beloved classic. I'm very punchy and looking for a fight with Ricky during this episode, lol.

We're kicking off our WE WANNA WAIL miniseries with this week's Rick's Pick, Midsommar (2019) directed by Ricky's favorite director Ari Aster. Is this movie as scary as Hereditary? Does the boyfriend deserve it? How does white women loving true crime play into homestead-flavored racism? Plus: I sent Ricky a meme about calling all camera movement "panning" and now he wants to be an asshole about it on mic.

For this week's Lane's Frame, we watched Othello (1951) directed by Orson Welles. A strange adaptation that reduces the usual 3-hour play to just 90 minutes, the movie gets mixed reactions from us; we appreciate its cinematography and ambitious vision, but struggle to get past its sloppiness, character-limiting choices, and, yes, the horrible racism. Also, we talk about Jujutsu Kaisen and Zumba, we'll see if that does anything for the algorithm lmao.