Thor: The Dark World marks Marvel Studios‘ biggest cinematic disappointment since Iron Man 2 (2010). It is a goofy, clunky film more interested in fitting with the rest of the Marvel Universe than in telling its own fully developed story. While I was not a fan of the first Thor (2011), I do give it credit for being self-contained, where this is concerned with what came before it and certainly with what’s coming down the pipeline. It’s less a standalone film and more a segue point in this rapidly increasing universe. Marvel often includes little hints referencing other characters and events in their movies, but this is the first time I felt I was watching a two-hour advertisement. They could’ve just put up a title card reading “Hey kids! Make sure to go see Captain America: The Winter Soldier, coming to theaters next year!”
In honor of its release, Spencer and Greg take a look at RED 2, its director Dean Parisot and stars Bruce Willis & John Malkovich.
In 2010, Summit Entertainment scored a surprise hit with their comic adaptation RED, a story about a group of older former spies (RED = Retired Extremely Dangerous) getting thrown back into the action. The film looked hokey from the trailers, but ended up being quite charming, with a nice blend of comedy and action, aimed at a demographic outside of the traditional 18-35-year-old males. Ultimately earning almost $200 million worldwide, it surprised nobody when a sequel, RED 2, was greenlit.
If screenings of clips from Star Trek Into Darkness and Fast & Furious 6 weren’t cool enough, we still had two days worth of studio presentations (Disney, Sony, 20th Century Fox, and Lionsgate) at CinemaCon 2013. Generally the presentations went two ways: either the presenters would briefly mention a bunch of projects but not show anything from them and then show more extensive clips from a few select projects, OR they would show brief clips (or trailers) for many different projects.
In honor of the release of Side Effects, Spencer and Greg discuss Catherine Zeta-Jones.
If I had to name the three directors most responsible for my love of movies, I would list Alfred Hitchcock, John Carpenter, and Woody Allen. (You can throw in Ernst Lubitsch and Michael Curtiz to round out the top five, if you’d like.) Hitchcock is always at the top. Shadow of a Doubt is probably my favorite, but the film I go back and forth on the most is Psycho. I love it, but that last scene at the end just drives me crazy. I did, however, have the wonderful experience of watching it with my daughter when she was about 15 and had no knowledge of the story’s plot. About a third of the way in, when the person she assumed was the protagonist dies a grisly death, my daughter turned to me and asked “What the freak [not the word she used] kind of movie is this?” An awesome one, Little Bug. Upon watching the new movie Hitchcock, directed by Sacha Gervasi, I asked myself the same question. “What kind of movie is this?” I’m not sure I know the answer to that.
In honor of the release of Killing Them Softly, Spencer and Greg discuss Ray Liotta.
In honor of the release of Rise of the Guardians, Spencer and Greg discuss Alec Baldwin.
Spencer is joined for the second episode of audio-only podcasting by MacGuffin team member Ed.
Topics include: the success of Titanic 3D, Transformers the Ride, debating the best James Bond, looking forward to Anthony Hopkins in Hitchcock, and thinking about the most annoying TV characters.
“It places the lotion in the basket.” – Buffalo Bill
I once took a course in college named “Murder: The Psychology of The Serial Killer.” In it, we learned a brief history of some of the more notorious murderers in U.S. history. We studied their backgrounds, methods, and obsessions, trying to get a glimpse into their patterns and see how authorities were able to track down and apprehend a number of these people. One of the more interesting stories was that of The Green River Killer, a serial murderer based out of the Pacific Northwest, and how the lead investigator conducted a number of interviews with another famous criminal, Ted Bundy, in an attempt to catch the killer before he struck again. This fascinated me, as I remembered the exact same process done in Jonathan Demme’s great, tense thriller The Silence of the Lambs (1991).