In this episode, we put a bow on Clooney/Pitt Fixer Month with Wolfs, the streaming double-team they put out this week through Apple TV+.
This week, friend of the show Gerik Gooch joins us to discuss the much beloved George Clooney fixer film Michael Clayton. It’s director Tony Gilroy’s debut in the director’s chair, though the film’s note-perfect script is far from his first. We discuss that and a whole lot more.
This week we take a break from Clooney/Pitt Fixer Month to return to our Rewatch & Reconsider series where we make a case for a film that’s generally considered to be “bad,” but at least one of us thinks is still a lot of fun. We’re discussing Nicolas Cage’s 2007 entry into the Marvel world, Ghost Rider.
Clooney/Pitt Fixer Month continues this week with the Coen Brothers’ 2016 Hollywood satire Hail, Caesar!
This week we kick off Clooney/Pitt Fixer Month with Andrew Dominik’s Killing Them Softly from 2012. It’s one of only 22 films to ever get an F rating from Cinemascore, and in the episode we try to get to the bottom of what made audiences dislike it so much.
In anticipation of this month’s release of Wolfs on Apple TV, we decided to take a look at “fixer” films through the years. These are stories where someone is hired to come in and clean…
This week we wrap up M. Night Shyamalan month with Old, his tale of a mysterious beach that affects its visitors’ aging speed. We also look back on the entire month of films and discuss what we learned about the writer/director and his approach to filmmaking.
This week we continue M. Night Shyamalan month with his latest film, TRAP. It’s more of the same from the writer/director, but with some fun new ideas (at least according to one of our hosts).
M. Night Shyamalan month continues with UNBREAKABLE, the film many consider his best work to date. In the episode we discuss the comic book aspects of it, how it’s photographed so beautifully, the great performances, and much more.
It’s M. NIGHT SHYAMALAN MONTH! We’re kicking things off with one of the director’s more recent films, KNOCK AT THE CABIN, which we hope might be one of the titles that prove he’s settled into being the director we hoped he could be. There’s no twist, but there are still a lot of the better hallmarks of his filmmaking.
