Salutations applications, and welcome to a new episode of The Awesome Friday Podcast. We’re back after a two-week hiatus and talking about two of the year’s most anticipated movies. First up, freshly t streaming services and premium rental, Matt Reeves’s noir-inspired take on the caped crusader, The Batman. Following that, the newly released to cinemas film The Unbearable Weight of Massive Talent, in which Nicolas Cage plays the role he was born to play: Nicolas Cage.
There are JustWatch powered streaming links to each film here on this page, and the episode is live wherever you listen to podcasts. Join us!
Tenet was one of the most anticipated movies of the year. Delayed multiple times due to the ongoing COVID-19 pandemic, it was finally released to theatres late in the summer in an effort to save the cinema business but need up only proving that the world still wasn’t safe enough for that to happen. Not a flop at the box office exactly, but not a moneymaker either, there isn’t a movie with a more interesting story behind it this year.
Now, finally, it has arrived on home video, and I have finally had a chance to see it. So, how is it? Well, it’s a visually stunning and completely frustrating mess of a movie.
There are a lot of no good sons of bitches out there. This is the message that Willard Russell (Bill Skarsgård) imparts to his son immediately after brutally beating two men who had made lewd comments about his wife.
Willard teaches his young son Arvin (Michael Banks Repeta) that the world is full of no good sons of bitches, and that using violence against them is not so much a question of if as it is when. Years later, an adult Arvin (Tom Holland) finds himself surrounded by no-good sons of bitches; he remembers his father’s lessons.
The Devil All The Time is a story of generational pain and violence in 1950s Ohio. It is bleak, and unflinching, and also incredibly uneven. If it weren’t anchored by two brilliant performances I’m not sure that I would recommend it. Luckily, it is, so I am.
Robert Eggers has made two movies now. Both with predominantly natural light, confident eye and camera, and period set using actual dialogue from sources contemporary to said setting.
The man has a style, is what I’m saying. But whereas The Witch was a good old fashioned horror movie about a family terrorized by their own inadequacies and a witch, The Lighthouse is something different altogether. It’s a chronicle of two men descending into madness, tortured by their utter solitude but also each other’s persistent company.
It’s tense, absurd, it features two powerhouse performances, it’s overwhelming, and it’s an absolute must-see.
Yes, both of you. Here’s a new experiment to get me writing a bit again. Sans the time to write up each bit of movie news there is (guys there is so much news every week, it’s nuts) I’m going to try to keep a digest on a weekly basis. Hopefully this works and hopefully you like it. Let’s hop right to it, shall we?
David Cronenberg makes two kinds of films: Great ones and weird ones. I’m honestly not sure which category _Maps to the Stars_ falls into. On the one hand, it’s a biting indictment of Hollywood and the stars who live there and featuring some completely amazing performances, but on the other, it’s a muddled mess of slow-moving plots, some of which are never resolved.
Nobody does post apocalyptic like the Aussies. Maybe that’s because they live in a place located 3/4 of a mile from the surface of the sun/*? Probably not, but either way here comes another post apocalyptic film from Australia starring Guy Pearce and Robert Pattinson, written and directed by David Michod (the guy who wrote and directed _Animal Kingdom_ which if you haven’t seen go see).
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