Awful childhoods seem to be a bit of a common theme, but at least we’re not headed back into Ratcatcher territory this week. Instead we get to follow young Cyril (and his bike) on an adventure to find a home despite a deadbeat father, a drug-dealing conman, and his penchant for wild actions involving scissors. Join us for the previously lost (but now found) episode where we look at The Kid with a Bike.
We’re heading into the final frontier and leaving behind the Criterion Collection for the first time. Welcome to Off Correction, a chance for us to enjoy (or loathe) movies currently screening in theaters.
For this inaugural side project, join us as we raise our shields and head Warp Factor 1 into Star Trek Beyond. At least there’s no Khan this time around…
Some movies are so great that you don’t even need to see them to know the twist! This week we’re cheating once again and headed toward the Criterion Laserdisc collection. Having hit our 25th weekly episode, we wanted to watch a true classic. A story of such epic proportions that no one can possibly deny it’s artistic value for the ages. So join us for what many proclaim to be the best American movie ever captured on film. No, it’s not Spaceballs (though good guess). We’re taking on Orson Welles’ Citizen Kane.
Anyone know where to find a lightly used toboggan? Just asking for a friend.
Who you gonna call? This week we’re cheating a bit and looking at a movie that Criterion put out on Laserdisc once upon a time. It’s got ghosts, guns, guys, girls and Gozer. And for our part we bring one set of fresh eyes and one pair of rose-colored glasses to a viewing of the 1980s classic, Ghostbusters.
Remember: when someone asks if you’re a god, you say yes!
What is a camera? Is it an un-filtered eye that captures the world? Or is it an insidiously warped lens that shapes the beliefs of the viewer through it’s unnatural gaze?
Eh, a little of column A, a little of column B…
This week we take a look at a powerful film that questions what it means to capture the world through a camera, and we also peer back in time to another moment of political uncertainty. Join us for a quasi-movie quasi-documentary that probes at the boundaries of art and journalism: Medium Cool
It’s the end of the world as we know it. But we don’t feel fine, because the only people standing in the way of an enormous asteroid are a group of misfit oil drillers. Although misfit might be understating it. Felons might be more appropriate. Come along with us on a fantastic adventure where oil barons are really just down-to-earth guys with hearts of gold and women are plot devices. You’ll also stand witness to the role that makes Liv Tyler’s Arwen in Lord of the Rings look positively overdeveloped as a character. Ben Affleck joins in, completely destroying any good will gained from his performance in Chasing Amy, and Owen Wilson (reprising his Royal Tenenbaum’s role) has a few lines before becoming a casualty of Michael Bay’s frenetic cinematography.
By the end of the movie, you may just be wondering if you should have been rooting for the asteroid all along! It’s loud, brash, and—somehow—part of the Criterion Collection. Join us for Armageddon.
What do you get when you bring together a chauvinistic, sleazy, divorce-chasing private dick with a plot to do <insert bad things> to the world with a nuclear McGuffin? You get Kiss Me, Deadly, the passionate tale of Mike Hammer’s heartfelt desire to be a total ass to everyone he knows. Along the way we meet female corpse and plot device #1, emotionally abused secretary #2, ethnic mechanic (doubling as ethnic mechanic corpse) #3 and a the personification of a whole lot of manly swagger.
If you like guns, girls, and nuclear holocaust, then something tells me you’re going to love Kiss Me Deadly.
This week we return to the masterful work of Akira Kurosawa. No, it’s not samurai, but rather the depths of post-WW2 Japan and the shady dealings of the Yakuza. Join us as we follow the exploits of a doctor with the bedside manners of…well, a drunken angel. Merciful? Check. Angry? Check. Bottle throwing quack? Yeah, check.
First world problems are the worst! I don’t know about you, but if my caviar isn’t direct from the Republic of Miranda, then it’s cat food. The subjects of our movie this week feel my pain, though. All they want is to have a nice dinner party where they can relax, smoke cigars, drink martinis, and lament the coarse nature of the lower classes. You just can’t teach manners to some people, right? Along the way we pick up the sordid tales of dead parents, lost loves, and awkward tea-time conversations.
After all, life is just a metaphorical walk down a long road to nowhere. And so is The Discreet Charm of the Bourgeoisie.
It’s a Battle Royale between the sexes, complete with singing flowers, scratchy millipedes, and the ungodly spawn of a donkey and a unicorn. Meanwhile Troy is sacked by those tricksy Greeks and hawks are murdered with axes. Children frolic, pure and innocent, through the meadows with lambs and hogs, all while military combatants infiltrate the secure borders of this peaceful, pastoral retreat from the world. Rather than speech, let movements and touch be your language—unless you’re stuck in bed, in which case you should just stick to your HAM radio.
Are you a bit confused? Thinking that the authors of the Correction are somehow chemically impaired as they write this introduction? Fear not! You’re just not ready for the masterclass in cinema that is Louis Malle’s Black Moon.
No, seriously, that donkey/unicorn hybrid will haunt your dreams!