Filmspotting

With Cruise back in ac-tor mode in Alejandro González Iñárritu's Digger, we're sharing our 2017 consideration of "the last movie star"'s long and storied career.  Unlock the full archive, Filmspotting Discord, ad‑free + bonus episodes, and more when you ⁠join the Filmspotting Family⁠. See omnystudio.com/listener for privacy information.

For the first show of Scare-tober, Jordan and Matt take a look at the Shudder Original Goody Goody, a low-budget home-birth horror tale from first-time feature director Raymond Creamer. For a seasonally appropriate streaming watch, you could do worse. You could also do better, which is why Matt and Jordan use this week’s “Rec Seg” to suggest a couple of titles inspired by Goody Goody — one which exploits the very real horror of childbirth for laughs, and another which brilliantly captures the horror of being the only one who knows something terrible has happened. Then, listener Matt (no relation to host Matt) writes in asking for an entry-level horror film for his 9-year-old. And Matt hosts another round of Portmanteau-to-Toe for this week’s game  Intro (00:00:00–00:04:32) Goody Goody (00:04:33–00:22:03) Rec Seg! (00:22:04–00:36:55) Listener Req Seg! (00:36:56–00:57:18) Game: Portmanteau-to-Toe (00:57:19–01:11:15) New to Streaming / Credits (01:

Chris Klimek convenes a showdown between arguably the two most influential slasher films ever made: John Carpenter's "Halloween" and Wes Craven's "A Nightmare on Elm Street." One helped define the modern slasher, introducing audiences to the silent, implacable force of Michael Myers and transforming suburban streets into sites of terror. The other revitalized the genre six years later with Freddy Krueger, a wisecracking dream stalker who turned sleep itself into a death sentence. Arguing for "Halloween" is Jason Zinoman (Shock Value, The New York Times), who contends that Carpenter's film remains the genre's most influential and enduring achievement. Defending "Nightmare" is Deirdre Barrett, a Harvard dream researcher, psychologist, and author, who makes the case that Freddy Krueger taps into some of our deepest and most universal fears. Choose your winner at moviedeathmatch.com. (Times will not be precise with ads.)Intro / Meet the Advocates (00:00:00-00:16:41)Rd. 1 – The Movies in Their Time (00:16:42

For the debut episode of their new sport and film podcast, Adam Kempenaar and University of Iowa Journalism and Mass Communication colleague Travis Vogan, PhD, are joined by scholar Seán Crosson, PhD, to discuss Harold Lloyd’s 1925 silent comedy The Freshman. Together, they explore the massive box-office hit’s treatment of masculinity and football, and how the film helped shape the underdog and American Dream narratives that remain central to the genre a century later. Next Episode: –Hoop Dreams with Samantha Noelle Sheppard, PhD, Cornell University Links: –Email the show at fos@filmspotting.net. –Learn more about Seán Crosson –Sport in European Cinema –Sport and Film (2nd Edition) Theme Music: –King of the Corpse Flowers by Oxykitten | SpotifySee omnystudio.com/listener for privacy information.

Two weeks after their Pantheon Project review of David Lynch’s Blue Velvet, Adam and Josh take on the director’s 2001 mind-bender, Mulholland Drive, to celebrate its 25th anniversary. For a film with a reputation for being impenetrable, they find it surprisingly rich with clues while retaining all of its singular power. Plus, a Golden Brick nomination for If I Go Will They Miss Me, and thoughts on the new doc You Had To Be There: How the Toronto Godspell Ignited the Comedy Revolution.This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits.⁠ Use code FILMSPOT26 to take 15% off.⁠(Timecodes will not be precise with ads.)Intro (00:00:00-00:02:28)Mulholland Drive (00:02:29-0:30:28)Filmspotting Family (0:30:29-00:32:31)Mulholland Drive, cont. (00:32:32-0:58:43)If I Go Will They Miss Me (0:58:44-01:03:44)You Had To Be There (01:03:45-01:13:54)Notes (01:13:55-01:24:52)Massacre Theatre (01:24:53-01:30:51)Credits / New Releases (

There’s a lot to enjoy about The Weight: the tactile 1930s Oregon setting, strong performances from Ethan Hawke and Russell Crowe, a premise that allows for multiple suspense sequences. But Padraic McKinley’s directorial debut is arguably lacking in thematic heft and visceral grit, particularly when compared to the other film in this pairing. So after considering how The Weight succeeds and struggles on its own terms, we bring William Friedkin’s 1977 cult classic Sorcerer back in to consider how these two films about desperate men given a deadly opportunity differ in their approach to flawed protagonists, bridge-based action scenes, and lone female characters of consequence, and the one plot hole they have in common. Then our returning guest, Vulture critic Roxana Hadadi, offers a Your Next Picture Show recommendation for another 2026 film involving the transportation of dangerous cargo, The Rivals of Amziah King. Please share your thoughts about Sorcerer, The Weight, or anything e

Ahead of December's Doomsday, Avengers: Endgame is back in theaters. Here's Adam and Josh with their original 2019 review—including spoilers. Unlock the full archive, Filmspotting Discord, ad‑free + bonus episodes, and more when you ⁠join the Filmspotting Family⁠. See omnystudio.com/listener for privacy information.

Starring Russell Crowe and an all-grown-up Jacob Tremblay (“Room” “”Wonder”), Netflix’s Unabomber was a promising title on the fall streaming slate. Unfortunately, director Janus Metz’s exploitative biopic about the notorious domestic terrorist (and manifesto author) comes up well short of expectations. But Matt and Jordan use the film as an excuse to recommend a couple of films as alternatives—one, an underseen, decade-old indie about a controversial mid-20th century social scientist; the other a stone-cold classic from the ‘90s. Plus, a listener request for contemporary films that look like the period in which they take place. And a ‘90s crime thriller game hosted by Jordan.   Intro / Blumhouse Cheetos (00:00:00–00:07:44) Unabomber (00:07:45–00:32:46) Rec Seg! (00:32:47–00:51:27) Listener Req Seg! (00:51:28–01:06:25) Game: LLLE (01:06:26–01:23:58) New to Streaming / Credits (01:23:59–01:39:02) Show Note

Film critic and author Marya E. Gates joins Michael to explore perhaps the simplest, most influential direction ever given to an actor: "Be natural."The phrase is associated with pioneering filmmaker Alice Guy-Blaché, who posted the reminder in her New Jersey studio more than a century ago. As one of cinema's earliest storytellers, Guy-Blaché helped establish film as a distinct art form, separate from the theatrical traditions that shaped many of its first performers.From Guy-Blaché's silent shorts to the work of Greta Garbo, Janet Gaynor, John Garfield, Nicolas Cage, and Lupita Nyong'o, Michael and Marya examine what "natural" acting really means, and why some of the most truthful screen performances can also be the most stylized. Links:-"Cinema Her Way" | Marya E. Gateshttps://maryaegates.com/cinemaherway/-Be Natural: The Untold Story of Alice Guy-Blaché | VODhttps://www.justwatch.com/us/movie/be-natural-the-untold-story-of-alice-guy-blache -There is one Murnau, Borzage, and Fox

Adam and Josh welcome Filmspotting SVU co-host Matt Singer for the Top 5 Comedy Boom Movies. Singer’s new book, “Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever” documents the Frat Pack era of studio comedies that dominated the box office from the early 2000s to the mid-2010s—and gave a generation a lifetime’s worth of movie quotes. Plus, reviews of Zach Cregger’s Resident Evil and the new Scottish indie The Incomer.  This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off. (Timecodes will not be precise with ads.) Intro (00:00:00-00:02:17) Top 5 Comedy Boom Movies (00:02:18-1:01:58) Filmspotting Family (1:01:59-01:05:34) Top 5, cont. (01:05:35-01:38:31) Polls (01:38:32-01:52:09) Resident Evil (01:52:10-02:23:50) The Incomer (02:23:51-02:27:36) Credits / New Releases (02:27:37-02:32:25) Notes:  Matt S

With Ethan Hawke back in theaters in the period adventure The Weight, we're sharing Adam's 2018 interview with the always thoughtful and insightful actor. Unlock the full archive, Filmspotting Discord, ad‑free + bonus episodes, and more when you ⁠join the Filmspotting Family⁠. See omnystudio.com/listener for privacy information.

The new Netflix comedy Best of the Best introduced Matt and Jordan to the world of collegiate competitive Bollywood dance, and they left converts: to the dancing, to stars Maitreyi Ramakrishnan and Priyanka Kedia, and to director Lena Khan’s winning movie (which has a joke-filled script written by comedian Hassan Minhaj and writing partner Prashanth Venkataramanujam). In the Best of the Best-inspired Rec Seg, they recommend an entry-level Bollywood classic and an obscure NYC-set dance movie. Then it’s a pair of single-setting (“bottle”) movies for listener Steven, and Producer Sam hosts a “Let’s Dance!” round of trivia.  Intro (00:00:00–00:02:28) Best of the Best (00:02:29–00:20:55) Rec Seg! (00:20:56–00:36:45) Listener Req Seg! “Bottle Movies” (00:36:46–00:52:14) Game: Let’s Dance! (00:52:15–01:08:55) New to Streaming / Credits (01:08:56–01:26:39) Show Notes For what film should Alison Willmore make her trium

Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin’s 1977 cult favorite Sorcerer technically isn’t a Wages remake, either — Friedkin insisted it was his own adaptation of the original Georges Arnaud novel — though it’s similarly difficult to watch without thinking about its predecessor. So you’ll forgive us if this week’s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put his own distinctive stamp on this juicy premise, whether the film’s extended prologue works toward or against its narrative momentum, and how much of Sorcerer’s notoriously arduous production comes across on screen. Then in Feedback, a listener provides a recommendation for a recent under-the-radar road movie that follows in the tire tracks of Paris,

Film critic and author Alonso Duralde joins Michael Phillips to explore a piece of filmmaking wisdom from Vincente Minnelli: that a picture which stays with an audience is built from “a hundred or more hidden things.”Drawing on films ranging from Meet Me in St. Louis, Some Came Running, If Beale Street Could Talk, and Teenage Sex and Death at Camp Miasma, they consider how production design, performance, music, camera movement, and seemingly minor visual choices accumulate into something lasting. Notes: "I Wake Up Screening: What To Do Once You've Made That Movie" by John Anderson and Laura Kim https://www.amazon.com/dp/0823088987?lv=shuf&channelId=500&plpRedirect=mhFallback Books by Alonso DuraldeHollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film https://www.hachettebookgroup.com/titles/alonso-duralde/hollywood-pride/9780762485895/?lens=running-press I'll Be Home For Christmas https://www.hachettebookgroup.com/titles/brandon-gray/ill-be-home-for-christmas-mov

PV & FRANNY A girl with a glockenspiel. A boy with a guitar. A high school full of weirdos, mascots who may or may not be unhinged, and a mystery that isn’t what anyone thinks it is. A dead-serious love story… that refuses to behave like one. One flier turns into a band. One band turns into obsession. And before they ever play a real set, everything is already ridiculous. ACT TWO If Act One is about starting a band, Act Two is about what happens when everything immediately gets in the way. Franny does what any rational person would do. He writes a love song. Which would be fine… except for the rule. No romance. Ever. And PV means it. What follows is a series of perfectly logical decisions that somehow make everything worse. A love song that says too much. A date that shouldn’t exist. A plan to fix things that only complicates them further. Because if PV won’t date a bandmate, there’s only one solution: Make the competition part of the band. Which works. Until it doesn

As David Lynch's Blue Velvet turns 40, Adam and Josh revisit the film that shocked audiences and helped define modern American cinema. Is it Lynch's masterpiece? Plus: Massacre Theatre and Josh’s thoughts on Practical Magic 2 and Paul Greengrass's The Uprising.  This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off. (Timecodes will not be precise with ads.) Intro (00:00:00-00:03:09) Pantheon Project: Blue Velvet (00:03:10-01:16:00) Filmspotting Family (01:16:01-01:19:03) Practical Magic 2, The Uprising (01:19:04-01:27:11) Massacre Theatre (01:27:12-1:33:05) Credits / New Releases (1:33:06-1:37:01) Notes:  - Feedback: -Email us at feedback@filmspotting.net⁠⁠ ⁠⁠⁠⁠-⁠Ask Us Anything⁠⁠⁠⁠⁠ and we might answer your question in bonus content. Support: -Join the Filmspotting Family for bonus shows, archive access, and more. http://filmspottingfamily.com -Filmspotting Shop for T-shirts a

Blue Velvet turns 40 this month—Adam and Josh have a Sacred Cow review coming later this week—so we're going back to 2014 for our Top 5 David Lynch Scenes.See omnystudio.com/listener for privacy information.

Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their characters are bringing with them, and how each movie uses its genre premise to explore a big central metaphor. Then for Your Next Picture Show, we take a quick look at how Steven Soderbergh’s 2002 version of Solaris compares to Tarkovsky’s. Please share your thoughts about Solaris, It Ends, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leav

For a few days in the summer of 2024, the world’s attention was focused on Dr. Rachel Gunn — and not for anything good. Gunn, aka “Raygun”, was representing Australia at the Paris Olympics in the inaugural breakdancing competition, when her infamous performance became the subject of mockery, outrage, and even conspiracy theories. That’s the subject of the new Netflix documentary Untold Raygun: Breaking Badly. Matt and Jordan have a review, and use the film as an opportunity to recommend a film from the dawn of on-screen breakdancing and a sports doc about a ‘90s-era rivalry. Plus, streaming recommendations for a listener looking for movies with adrenaline-rush-inducing twists.   Intro (00:00:00–00:07:20) Untold Raygun: Breaking Badly (00:07:21–00:23:38) Rec Seg! (00:23:39–00:40:27) Listener Req Seg: Movies With Twists (00:40:28–00:52:47) New to Streaming / Credits (00:52:48–01:00:16) Show Notes For what film should Alison Willmore mak

Film noir expert Rachel Walther joins Michael Phillips to test a quote commonly attributed to Jean-Luc Godard. But whether it belongs to Godard, Howard Hawks, or someone else entirely, it points to a persistent question about what audiences really want from movies. From Gun Crazy and Double Indemnity to Jackie Brown, No Country for Old Men, and the James Bond franchise, they consider the enduring appeal of sex and danger and whether the famous formula still holds up more than a century after it was first proposed. Join the conversation by emailing themovieracket@filmspotting.net.See omnystudio.com/listener for privacy information.