Hanksgiving continues with what might be Tom Hanks’ longest movie (don’t quote me on that), The Green Mile. We dive into its Steven King origins and how director Frank Darabont has been one of King’s more successful adaptors, even if he can’t seem to get a movie made these days. We also have a little bit of Tom Hanks trivia to take the place of John’s Rogue’s Gallery after sprinkling plenty of Green Mile trivia throughout the podcast, which includes imagining a considerably worse film that starred John Travolta and Shaq. Continue reading
Happy Hanksgiving, everyone!
That’s right. Throughout the month of November, we’ll exclusively be reviewing Tom Hanks movies on The Pick, since why not spend some time with America’s Dad before you’re forced to do the same with your own family in a few weeks? We start things off with The ‘Burbs, a movie that came at the end of Hanks’ shaggy ’80s, where he was still finding his footing as a leading man. We talk about the “hang-out” quality of the movie, as well as our various ideas that could’ve made it a little better, which includes giant two-headed dogs, an underground society of mole people, and recasting that includes George Wendt and Ray Charles. Continue reading
Well, it finally happened. We’ve finally arrived at the release of Denis Villeneuve’s adaptation of Dune, a film we’ve been waiting for ever since the three of us (plus Matt Carstens) did a Dune book club during the early days of the pandemic and then did an episode of The Pick talking about the book in relation to the 1984 version of Dune. Matt joins us for an in-depth discussion covering this new Dune as we once again get into how this movie compares to the book while also learning to let go and accept the movie as its own thing. Also, we forgo our Little Picks with a little discussion of No Time To Die, which we were planning on doing a full podcast on, but it just kinda got away from us.
If you’re a horror fan then you’re familiar with the “Video Nasties” movement of the 1980s. If not, let me take you across the pond. In the early ‘80s, VHS exploded. Anything and everything was coming out on videotape, but in the UK there was a loophole in film classification laws. Videos could bypass a review process and be sold regardless of content. Panic ensued.
In response, the British Board of Film Certification (BBFC) set out to not only censor films but outright ban titles. The “Video Nasties” was a list of 72 titles that were banned and deemed the most explicit. This list included some now classics like; The Evil Dead, Possession, Tenebrae, and pretty much any movie by Lucio Fulci or Joe D’Amato. Censor is a film that dives into the phenomenon.
I chose this movie basically to see whether I would want to check out Titane, the other recently released Julia Ducournau film, before the end of the year. While I don’t regret seeing Raw, it pretty definitively gives me my verdict that I do not want to see Titane. Raw is a movie that is certainly effective and pushes your buttons in all sorts of ways, but it’s just not what I want out of a movie. I mentioned in my review of Goodnight Mommy that there was a specific scene in which I had to put my hands over my eyes, and I probably spent a quarter of Raw’s running time doing that. I know that’s a pretty pathetic thing for a grown man to be doing, but Jesus Christ this movie got under my sweet delicious skin. Continue reading
What year should I attribute Saint Maud to? It was an unusual COVID casualty, originally playing at TIFF in September 2019, where it was picked up by A24 and scheduled for an early 2020 release. That obviously didn’t happen, but A24 did optimistically postpone its release to July 2020, but… let me check my notes here… thing were still really bad then, so it was pulled entirely from their schedule. To add one additional wrinkle of complexity, it was released theatrically in the UK last October, but it didn’t come out here until late January. So you could make a case this is a 2019, 2020, or 2021 movie! I split the difference and went with the UK theatrical release, but don’t be surprised if I reconsider and make it a 2021 movie when list-making season comes. That is to say this whole preamble was just leading up to me admitting that I thought Saint Maud was quite good.
Familial Horror has been a dominant force in the horror genre sinces the success of Hereditary. I watched The Lodge earlier this month, which shares similar themes and ideas with Hereditary as does today’s film. What ties these films together is they highlight the fact that we are all bound by blood to our families. Which in a way means we are trapped by our families. Because no matter what you do, or say, or think about your family, they are always your family.