Tuesday, July 8, 2025
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Podcast: Hamilton – Extra Film

On this week’s Extra Film, Ryan and InSession Film writer Daniel Brillant review the musical film phenomenon, Hamilton.

With Jay out this week, the David Lean series takes a break for a week with a single review of the biggest release on Extra Film in quite some time. Debuting on Disney+, Hamilton has become available to all they have wanted to watch it. Following the life of one of America’s Founding Fathers, Hamilton might be the most culturally relevant and popular property to be reviewed on the show. With our fellow writer Daniel, Ryan discusses the musical best songs, performances, if it’s a film and its place in society right now. It was a really great single review episode.

Thanks for listening!

– Movie Review: Hamilton (2:56)
Director: Thomas Kail
Screenplay: Lin-Manuel Miranda
Stars: Lin-Manuel Miranda, Leslie Odom Jr., Daveed Diggs, Renée Elise Goldsberry, Anthony Ramos,
Phillipa Soo

– Music

My Shot- Lin-Manuel Miranda
The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes, Spotify or Stitcher, and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

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Hamilton – Extra Film

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Glory Days: Documentaries Of The Olympiad

While the Olympics has been postponed for a year, I still got into watching (or rewatching) full-length feature works about the entire spectacle. It always captures the imagination to see one play for their country, everyone in one city, jammed for two weeks seeking either five seconds of recognition or going for the medal stand. Documenting the Olympics has existed in every one since 1896 in Athens, although the first few Olympics have little footage that survives to this day. Thanks to Criterion in collaboration with the International Olympic Committee, a set of documentaries from 1912 to 2012 was released with footage that exemplifies the Olympics motto, “Faster, Higher, Stronger.”

One movie that has already been covered is Tokyo Olympiad (1965) from Kon Ichikawa; another has been Olympia (1938) from Leni Riefenstahl that shows the evil genius of Nazi Germany is documenting and showcasing their athletic and artistic talents. And the Olympics’ go-to man from 1984 to his passing in 2010 for full coverage of the Games was Bud Greenspan, who Stories of Olympic Glory series personalized key Olympians in their pursuit of victory and what they’ve had to overcome. I’d recommend his first film, 16 Days of Glory (1986) to follow his specialized treatment of the 1984 Olympic Games in Los Angeles.

Here are some of these great Olympic pieces to check out, especially since most are online with the official Olympics YouTube channel.

La Grande Olympiad (1961)

https://www.youtube.com/watch?v=Kx8mGG7KYBk

The first Olympics documentary to receive an Academy Award nomination, it follows the 1960 Summer Olympics in Rome, just fifteen years after the war ended and was rebuilt following the downfall of Mussolini. In beautiful color, from the opening shot of St. Peter’s Square to the last event following Abebe Bikila of Ethiopia winning the marathon while running barefoot. In between American Decathlon winner, Rafer Johnson edged out C.K. Lang in a brilliant duel, Wilma Rudolph’s amazing feat of victories captivated the spectators, and, within Ancient Rome’s Baths of Caracalla, the gymnastics events could not have been more perfectly suited for.

13 Days In France (1968)

Claude Lelouch was the hottest film director in the country thanks to his recent Oscar wins for A Man And A Woman back in 1966. A product of the New Wave, he decided to make his own documentary, one of two films on the ’68 Winter Olympics in the town of Grenoble (the other, Snows of Grenoble, can be found on YouTube as it’s the official Olympics documentary). Lelouch and group of filmmakers were in place to catch everything, from the Opening Ceremonies involving President Charles de Gaulle to nighttime bobsled runs to the skiing events that produced a national hero in Jean-Claude Killy, who won three golds in alpine skiing. Besides nifty handheld camera work, the documentary captures the simpler things during the Games: kids playing the snow, adults having a pint of beer, and tourists getting into the Olympic spirit.

The Olympics in Mexico (1969)

Alberto Isaac was an Olympian swimmer in the 1948 and 1952 Summer Games before moving to direct features in his home country, making perfect sense that he was called to make a documentary on Latin America’s first-ever Olympics on home soil. It captures the records that befell during the Games thanks to the city being in high altitude, as well as seeing the first female to ever lit the cauldron, and, in one of the Olympics most controversial moments, captured Tommy Smith and John Carlos wearing a black glove and giving the Black Power salute on the medal stand. Two things to note: this is a shortened version of the original documentary and, as a propaganda film, it glossed over the tragedy where the government killed hundreds of protesters days before the Olympics to stifle its opposition.

Visions Of Eight (1973)

Eight noted film directors, each from a different country, were hired and given a task to capture certain themes that happen in the events. Miloš Forman, Kon Ichikawa, Claude Lelouch – again, Yuri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, and Mai Zetterling brought something different to the film that measured each depth of speed, pain, strength, length, and sensation to athletes watched in all of the events. Watching every athlete give express satisfaction or not in track & field, gymnastics, and, for those who know basketball, that infamous Gold Medal game between the USSR and the USA. Only at the end of the film, directed by Schlesinger, is there any reference to the Munich Massacre where the Israeli wrestling team was killed by terrorists during the games.

White Rock (1977)

For the Winter Olympics of 1976 in Innsbruck, Austria (one that was supposed to be in Denver until economic factors forced them to pull out), James Coburn was brought in to be the presenter in the documentary and from the first scene, where Coburn rides down the bobsled with the camera on them, viewers are in the middle of the danger that comes with motor racing on ice – bobsledding, luging, speed skating – skiers flying from above into the main stadium, and ice hockey at its physical peak. In between Coburn’s own commentary is the illustrious score by Rick Wakeman from the band Yes.

Marathon (1992)

When the 1992 Summer Olympics came around to Barcelona, so much had changed and for the best. Barcelona hosting showed how far removed they were from the vicious dictatorship that existed twenty years earlier and the city went under a massive overhaul with projects that remains today a high standard of infrastructure in Europe. The opening ceremony was serenaded by the late Freddie Mercury and opera singer Montserrat Caballé with their song titled, “Barcelona,” and was a welcoming gift for IOC President Juan Antonio Samaranch. Months earlier, the Soviet Union dissolved and 12 of the 15 newly formed states came in as, “The Unified Team,” a reunited German squad, and South Africa was back in the Games after a 32-year ban for their apartheid laws. The Dream Team in USA basketball captivated fans, the cauldron was lit by a flaming arrow and director Carlos Saura made a two-hour feature that captured a bit of everything in a nutshell.

Follow me on Twitter: @brian_cine (Cine-A-Man)

Movie Review: ‘Miss Juneteenth’ is a familiar but resonate film


Director: Channing Godfrey Peoples
Writer: Channing Godfrey Peoples
Starring: Nicole Beharie, Alexis Chikaeze, Kendrick Sampson

Synopsis: A former beauty queen and single mom prepares her rebellious teenage daughter for the “Miss Juneteenth” pageant.

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Channing Godfrey Peoples’ directorial debut Miss Juneteenth is the story of a single mom and her teenage daughter. Nicole Beharie stars as single mom and former Miss Juneteenth, Turquoise (Turq) Jones. The film focuses on the relationship between Turq and her teenage daughter Kai (Alexis Chikaeze). Turq wants her daughter to have a better life than she can provide. To her, winning the Miss Juneteenth pageant seems like the perfect opportunity that would allow Kai to achieve bigger and better things.

Miss Juneteenth is not your stereotypical “pageant” movie, it focuses more on family dynamics, the struggles of single parenting, and the differences between what parents want for their kids versus what they want for themselves. Turq encourages her daughter to participate in the local Miss Juneteenth pageant, a pageant she won herself shortly before giving birth to Kai. Participating in and winning the pageant would guarantee a full-ride scholarship to any historically Black college. Kai is willing to participate to make her mom happy, but her interests lie elsewhere. Turq isn’t your stereotypical “reality tv” or “stage mom”- she is a bit pushy, encouraging her daughter to do things as she did, but is never excessive or overbearing.

As the child of a single mother, this film hit home for me. My situation was not identical to Turq and Kai’s, but seeing a mom on screen willing to fight and work hard for whatever she thought was best for her child reminded me so much of my mother. We often don’t appreciate what our parents do for us until we are older and this movie reminded me of how amazing my mom is. I appreciate that the film shows that Turq isn’t perfect, but shows she has good intentions for what she does. Nicole Beharie is fantastic as Turq and a clear standout in the film. I hope to see her in more dramatic roles in the future.

The only flaws in Miss Juneteenth are it’s not an entirely unfamiliar story. It’s a plot we’ve seen before, but the settings and characters make this film stand out enough to encourage people to see it. I was also disappointed in how little the film addresses Juneteenth. Many people may have been unfamiliar of what Juneteenth is and its importance until very recently. In many areas of the country there is no widespread mention of it, it’s not taught in schools, and/or it’s not celebrated publicly. I figured a film with “Juneteenth” in the title would have included a little more background for viewers unfamiliar with the holiday. Miss Juneteenth does provide a little history on the holiday, but it isn’t integral to the main story. The movie would have been very similar if the pageant was not associated with Juneteenth.

Miss Juneteenth is a familiar but important film. Any movie willing to highlight the challenge of single parenting and the resilience of those families – not in an overdramatized setting – is one that should be acknowledged. Channing Godfrey Peoples’ Miss Juneteenth is real and both heartwarming and heartbreaking. It’s available to rent on multiple platforms such as Amazon, YouTube, and AppleTV in the US and Canada.

Overall Grade: B

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https://www.youtube.com/watch?v=oZgFBeTyg0U

One Shot: The Unexpected Gay Love Story that is ‘The Deer Hunter’

**Spoilers Ahead for The Deer Hunter**

“What’s your favorite movie?” It’s a question that we’ve all been asked many times in our lives. Some answer with The Godfather, others with Jurassic Park, or maybe even Battlefield Earth (okay, maybe that one is a HUGE stretch). But when I’m asked this question my number one has always been Michael Cimino’s The Deer Hunter. Additionally, when asked about your favorite romantic movie, you could name obvious films like P.S. I Love You or Love Story, but for me, what if I told you that it’s actually The Deer Hunter as well. Confused? It’s okay, I’m here to explain how the infamous war movie and Best Picture Academy Award winning film is actually not only a war movie about Vietnam, but also a love story. And not just any love story, it’s a gay love story.

Released for Academy qualification on December 8, 1978, but wide-released in the United States on February 23, 1979 (my birthday, just thirteen years before me), The Deer Hunter was met with a lot of controversy due to the treatment and “exploitation” of the Vietnam War. It may be revered today, and it had its praise at the time as well, but it also came with a significant amount of criticism. That year, Jane Fonda called the movie a “racist film that represented the Pentagon’s view of Vietnam” (whether this was her actual feelings or her attempting to tear down the film’s chances to win Best Picture that year is up to you to decide. Her film Coming Home, ironically another Vietnam War themed film, was its biggest competition that year). However, on the other end of that coin, my grandfather is a Purple Heart Vietnam-vet and listening to him talk about the war growing up will forever stick with me. He’s spoken about how The Deer Hunter is an accurate representation of what actually happened in the war (ahem, Jane). But I digress. The film starred Academy Award Winner Robert DeNiro, Christopher Walken, Meryl Streep, John Savage, John Cazale, Rutanya Alda, Chuck Aspegren and George Dzunda. It was directed by Michael Cimino and went on to garner nine Academy Award Nominations, including Best Picture, Director, Actor ( DeNiro), Supporting Actress (Streep, her first of many), and Supporting Actor ( Walken). It eventually won five Oscars, including Picture, Director and Supporting Actor (although, in my opinion, it deserved Actor and Supporting Actress as well). It became a critical and financial success, and it’s the single greatest Best Picture winner ever in my opinion (followed by Amadeus).

My love for The Deer Hunter came to me about 10 years ago while working for Blockbuster (remember that old relic). I watched the film and fell in love with it instantly. The 3-hour long film boasted a great story that’s dissected into three distinct acts as it relates to the Vietnam War. The first hour is pre-Vietnam, while the second hour is the actual war itself, and the final hour is post-Vietnam. It’s a great structure that truly encompasses the experience of the war as a whole, and what it can do to an individual. I was fascinated with the concept of war, the human psyche and the long term effects it can have on someone. I think what Cimino did here in terms of storytelling and characterization is one of the most fascinating aspects of this film. The first hour alone is entirely dedicated to character development. That’s insane. And after years of revisiting the film and dissecting it frame by frame, you start to notice new things that come as result of the film’s methodical approach. Specifically, I’ve noticed an an underlying theme, and a possible second plot that has been hidden in the direction of Cimino for almost 50-years. I’ve grown to love it like a child of mine, like my first born. The Deer Hunter is a film about the Vietnam War, but it’s also a gay love story between the characters of Michael (DeNiro) and Nick ( Walken). Let me explain why.

For the record, I am a 28-year-old gay man, but don’t let that fool you into thinking that this is a biased perspective. It’s more fundamental of what it’s like to love through gay eyes.

The movie starts off with a group of buddies getting out of work and getting ready for their friends wedding. They also embark on a final hunting trip before a few of them go off to fight in the war. Right away it’s established that Michael & Nick are very close friends, in addition to the fact that they live together as well. As the guys are packing for their hunting trip, Michael is very soft spoken with Nick and teases him for yet again forgetting something for the trip. It’s here where you’ll notice the playful back and forth between them. Michael is soft spoken yet stern, and Nick responds playfully and flirty. It should be noted as well that the term “One Shot” comes into play. As Michael explains, it’s a notion that describes all it takes to kill a deer. However, its symbolism carries further beyond hunting and the idea becomes a bonding mechanism between the two as Michael only mentions this to Nick.

During the wedding, there’s a moment when Michael is drinking at the bar and looks out onto the dance floor towards Nick and Linda (the pair are dating at this point in the film). While he’s looking at them, we see a woman who tries to flirt with Michael with big “fuck me eyes,” yet his gaze is never towards her, it’s just a mistake on her part. Cimino frames this moment on Michael smiling with love towards, you guessed it, Nick. Following that, there’s a moment where Linda catches his gaze and he instantly turns around smirking. The second female gaze by mistake on the female’s part.

After the wedding, the newlyweds (Alda & Savage) are driving off and the gang runs along beside them in their “JUST MARRIED” mobile. Michael begins to strip off his clothes and everyone laughs along as Nick runs after him. Eventually Michael is buck naked and laying down on a basketball court. Nick runs up to him and covers him up and sits down on the ground next to him, prompting Michael to sit back to back with him. They have a heart to heart conversation about going to war, but at least they’ll be together.

During the hunting trip, there’s a moment of hostility with Stan (Cazale, although to be honest every moment with Stan is hostile) where he forgets his boots, and after Michael denies him an extra pair to teach him a lesson, Stan calls Michael a faggot. A sentiment that Stan is believing more and more because no matter how many times he’s hooked Michael up with women, “nothing ever happens.” This causes Nick to be the only one to step in and defend Michael.

When the boys get back from the hunting trip, there’s a scene at the bar when Michael & Nick have a deep flirtation with their eyes. They are literally screaming for each other through their stares as they hide who they are from the group.

In Vietnam we find Nick, Michael, and Steven (Savage) kidnapped by the Vietnamese as they fight for survival through a game of Russian roulette. A pact is made to get out by Nick and Michael in the form of – one shot.

Eventually Nick finds himself on the streets of Saigon where he mistakes a soldier for Michael. Note that this is the happiest we have seen Nick since the bar where they had “fuck me eyes” for each other. In his disappointment and what feels like abandonment from him, he runs off into the night as Michael chases him down from a back alley Russian roulette game.

Michael finds himself back home and talking to Linda as she asks him if he’s seen Nick and vice-versa. It’s here that I feel one of two things – either Linda knows about Nick and Michael and is understanding her place as the “beard.” Or she truly doesn’t understand, and despite her attempts to get closer to Michael, he just sees her in the best friend role. I honestly want to say it’s the former and here’s why. There comes a point, as both of them leaning on each other for emotional stability, where Linda suggests they go to bed with each other to feel comfort in one another. Why would she offer that? Simply, she understands the love they share for Nick. Michael wants Nick because he loves him. She loves Nick and understands the time period they are in therefore she feels that she can be a sexual proxy of some sort, and thus provide comfort to them both. Michael denies her and understandably so.

At a bowling alley with the group of friends, Stan asks Michael what he thinks of the woman he just picked up. His response is uncomfortable as he doesn’t want to answer the question, yet Stan pushes him to and out comes his denial of thinking she’s pretty. Stan, I do believe at this point, realizes what type of person Michael is as his whole demeanor softens with him from here on out.

Michael makes his way back to Vietnam to find his love and bring him back home. Only now Nick is barely recognizable and has become a legend in the underground Russian roulette world. Michael tracks him down and tries to convince him to come home, and it’s here where the final piece of the love puzzle comes together. He professes his love for Nick, and tries to show him how he’s still here and needs him at home. “One shot” was used as a metaphor this whole time for the love they are supposed to share, but alas Nick is too far gone in his heroin and risk addiction that the bullet that has made him a legend takes his life. It’s here where we see Michael completely break down while holding the love of his life in his hands as Nick bleeds out and dies. The loss DeNiro brought to Nick is visceral and beyond the loss that I felt Heath Ledger demonstrated in Brokeback Mountain.

Nick’s body is brought back to the states where Michael is head pall-bearer at his funeral. He says his final good-byes to his love once and for all.

There’s way too much underlying here in tone for this not to be a pure coincidence. It took me a few years to notice it, but it makes sense given the arguments I laid out and the always evolving rumor mill that director Michael Cimino was gay. A few years ago I brought all of this up to actor Rutanya Alda who said she had never heard of this idea, the subplot that Michael & Nick were together, but that upon thinking about it, it wouldn’t be surprising. I dare anyone to revisit the film, looking at the points I have marked out and tell me I’m making this up. You can’t, it’s too obvious. Of course we’ll never know if Cimino did this with intention as he died four years ago, so this analysis could be completely fiction, but I don’t believe so.

I have a special love for this movie, I think it’s perfect film making and it’s one of only two “perfect” movies ever made – the other being Terrence Malick’s The Tree of Life. From the direction, the story, the acting, the score, the editing, everything is impeccable and it truly is my favorite movie of all time. It’s also my favorite love story, and that’s how I intend to watch it as well from now on – a love story about a forbidden love at a time when you couldn’t be your true self in the public. A love story about two men where one literally died because he felt lost without his man, and wound up in a rabbit hole with no way out. A gay love story that preceded the likes of Brokeback Mountain and Call Me By Your Name by decades. A tale that I hope can be beloved by the LGBT community as a story of true love.

Movie Review: ‘Relic’ houses a magnificent horror tale


Director: Natalie Erika James
Writers: Natalie Erika James, Christian White
Stars: Robyn Nevin, Emily Mortimer, Bella Heathcote, Chris Bunton, Jeremy Stanford

Synopsis: A daughter, mother and grandmother are haunted by a manifestation of dementia that consumes their family’s home.

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Who are you — the person who would describe a house as “well-constructed” or “has good bones?” Yours truly won’t be a part of the “good bones” club, that’s for sure, having been effectively unnerved by cinematic yarns where the abode is alive, both as a vessel and as its entire self, such as Poltergeist, The Changeling, original Amityville, Crimson Peak, mother!, et cetera. Monster House, too; chandeliers have been blacklisted ever since the film morphed it into an uvula…

Without a doubt, then, watching Natalie Erika James’ Relic is identical to reentering the fray, to again inspect creepy corridors and go up the scary stairs (and meet someone who wasn’t there). Just as soon as the film starts, the elderly Edna (Robyn Nevin, exuding The Visit vibes even with the more-restrained screen time) discovers that an unknown plus-one is in her home — a darkened, unmerry humanoid gift on Christmas night. This is also the only sequence where colors, borne out of the Yuletide lights, don’t want to escape the frame. Shortly after, Edna disappears. When her daughter Kay (Emily Mortimer, captivating) and granddaughter Sam (Bella Heathcote, reactive and thankfully being a character with more agency than the governess in Dark Shadows) pay a visit and no one returns their “hello”s, they carry out a search. Then, Edna reappears. Big Question time: Is the family matriarch still who she is, or is she now under the influence of the plus-one that is still playing resident (and is breathing moldy life into the residence)?

Kudos to James for making the “d” in the film she directed and co-wrote not (another) demon but dementia. It’d also be correct to say that the demon is dementia. No matter the thought, though, entertained is the notion that Relic will at one point transform, specifically from the conventional to the conceptual, or from the familiar kind of horror to one that is the stuff of fever dreams (but is the heart of the matter). Think Hereditary or Midsommar, with the major difference being James manages to hide when and where the transition happened. As a result, all that is proven when the setting that Edna, Kay and Sam are in mutates from a haunted dwelling into a rotting mind — testament of Steven Jones-Evans’ inspired production design — the unpleasantries stay charged in impact and relatable in nature. Also key in securing this outcome are Mortimer and Heathcote’s performances, particularly Mortimer who stays authentic as, initially, the as-designed prey for fear and, ultimately, a person whose eyes are now open to the burdens of caretaking (remember this, Edna is fine with Sam but frayed with Kay). The actress is why the ending shot of Relic is beautifully devastating and devastatingly beautiful; it’s been a while since a horror film draws a tear.

But let’s just assume you are the “heartless horror hound” type, and the reason you’ve knocked on Relic’s door is to — firstly — experience the scares. Although James doesn’t opt for loudness or tinker with the elements that often, her stealthy approach is the better, and best, call. Using patience, and with it, the moments that give the film its horror designation evoke a tangible sinister energy, at times to the point where its spikes or drops dictate the behavior of d.p. Charlie Sarroff’s camera. The choice is a smart nod to, and therefore an extension of, the black mold that is used to denote menace in the frame. And since this remains the choice until the end, there’s little difficulty in opening yourself up and validating the newer, truer and more human meaning behind the house that James has built.

“Decay is a certainty for all” is not a new subject matter in films, or horror films, but it’s rare to see it coming through successfully via tact. Relic is horrific and poetic, and for a debut it is simply a stunning one. And for people who have seen what dementia can do — in a brief phone call last Februrary, my 90-year-old grandmother did not recognize me — it may offer some comfort for what is to come. What a construction with great bones!

(And, yes, all the moldy and moldy-mentality symbolism provide more reason to not grant human properties to a house. Those are studs, not bones, OK?)

Overall Grade: A-

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Movie Review: ‘The Old Guard’ exhibits fascinating characters


Director: Gina Prince-Bythewood
Writer: Greg Rucka (screenplay by), Greg Rucka (based on the graphic novel series by), Leandro Fernandez (comic book co-creator)
Stars: Charlize Theron, KiKi Layne, Matthias Schoenaerts

Synopsis: A covert team of immortal mercenaries are suddenly exposed and must now fight to keep their identity a secret just as an unexpected new member is discovered.

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Gina Prince-Bythewood is back and in a big way with her latest directorial effort, The Old Guard, which hits Netflix this weekend (July 10). Best known for Beyond the Lights and Love & Basketball, The Old Guard is quite the change of pace for Prince-Bythewood. Leaving beyond romance and drama, she jumps head first into a genre exercise that’s full of mysticism, action and thought-provoking tension.

The Old Guard tells the story of a covert group of immortal mercenaries who become entangled in betrayal and corporate greed after a mission goes awry. Yes, you read that right, immortal mercenaries. Andy (Charlize Theron), along with her comrades Booker (Matthias Schoenaerts), Nicky (Luca Marinelli) and Joe (Marwan Kenzari), have been around for centuries. For reasons unknown, at various points in history, they garnered the power of immortality and have the ability to find each other through dreams. Soon after a mission early on the film goes sideways, they learn of a new immortal, Nile (KiKi Layne), a marine who was thought to be killed in Afghanistan. While Nile and the group get to know each other, a pharmaceutical company learns of the group’s existence and hunts them down in order to monetize whatever is keeping them alive.

The Old Guard is based on a series of graphic novels by Greg Rucka and Leandro Fernández, with Rucka also having a hand in the screenplay. The script here features plenty of lore and world building, which is admittedly quite fascinating, even if it does get bogged down in exposition at times. To be fair though, much of the film’s backstory carries thematic and emotional heft, keeping things from plodding and being mundane. The writing isn’t seamless, especially in its plotting and it fails to give its antagonist nuance, but in many ways the script is also the strength of the film. At least with how it builds its characters.

Andy is so old that she doesn’t even know how old she is. She can’t remember what her family looks like and grief has taken a stronghold on her due to past failures. Failures that are strikingly visceral when they are revealed to us. Similarly, Booker is wrestling with past regrets and how much he misses his family, which he loved deeply. Joe and Nicky on the other hand have each other. They’ve been around for a long time as well, and before being immortal, their countries were enemies. But as time passed, they looked to each other for redemption and hope. And as for Nile, well, all of this is still very new to her. She struggles to accept her new reality, and weighs whether or not to spend time with her family while she can, or does she use her gifts to do good in the world. What The Old Guard gets right, where many action films fail, is that it takes its time in building character and theme. We truly get to know each of our central heroes, what they struggle with, and how they’re coping in the modern world. The conflict in all of that is truly breathtaking.

Those nuances also work because of the performances in this film. Theron is fantastic as always, and she gives Andy a rugged exterior that matches her tired interior. Schoenaerts is also captivating as he taps into the deep poignancy of Booker and the weight he carries on his shoulders at all times. Same with Layne, who does a wonderful job portraying the tug of war that’s battling Nile. And not enough can be said about Marinelli and Kenzari, who are endlessly endearing and have a chemistry that is palpable. The way they depict action in their physicality, but love and empathy in their emotions, is nothing short of sublime.

The Old Guard may not always get it right, but its characterization is strong thanks to great performances and a script that takes time to focus on what’s beneath the surface. A few contrivances and a thin villain keeps it from being even better. But hey, I’ll take a film trying to be something more rather than relying on safe mediocrity any day.

Let’s talk about Gina Prince-Bythewood’s direction for a brief moment. At times, she does exhibit qualities of a first time helmer of action, which comes off as manufactured in a few places. But for the most part the film is well staged, well shot and the violence is guttural. In order for the film’s themes to hit home, we need to believe Andy’s elite abilities as a warrior, and it works in big part because of Prince-Bythewood’s direction. In particular, the scene where Nile is astonished at what Andy is capable of when she takes on a group of soldiers by herself. Watching that sequence unfold is riveting. What’s brilliant about the action here, though, is the film’s dualing perspectives on violence. On one hand, it isn’t always glorified as Nile watches on in horror in some scenes. On another hand, the film certainly has fun with how our central heroes use it to gain an advantage. It’s an approach that makes Prince-Bythewood’s vision even more textured.

All in all, The Old Guard is a gripping experience. It has its issues for sure, but it’s a film aiming to transcend convention and it mostly succeeds. Netflix has solid ground here for a series that could go on for at least a couple of more films. And I’m curious to see where they go with it.

Overall Grade: B

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Poll: What is your favorite summer comedy?

This weekend on Episode 386 we’ll be talking about Hulu’s latest film Palm Springs, which could end up being one of the best summer comedies we’ve seen in some time if its Metacritic score is any indication. Either way, we wanted to use it as inspiration for our poll this week. The summer comedy has been a staple of cinema for decades, and boy have we been privileged to experience some funny comedies over the years. There’s of course a lot to choose from here, so feel free to use the write in option if we missed your pick.

With that said, what is your favorite summer comedy? Vote now!


Movie Review: ‘Disclosure’ is essential viewing for trans allies


Director: Sam Feder
Stars: Laverne Cox, Bianca Leigh, Jen Richards, Alexandra Billings, Lilly Wachowski

Synopsis: An in-depth look at Hollywood’s depiction of transgender people and the impact of those stories on transgender lives and American culture.

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We ought to always be doing homework—the more privileged and less marginalized among us especially. But it’s not just straight white cisgender men. Staking claim to a letter of the LGBTQIA community does not excuse one’s ignorance when it comes to the unique struggles the rest of the alphabet face. Because in order to form that “more perfect union” that this American experiment supposedly never stops striving toward, we must firstly acknowledge and learn about the lived experiences of our fellow humans who also make up this beautiful tapestry of ours. It’s import to keep in mind, though, that it is not the duty of any member of a minority group to educate the unenlightened. Do your own research, folks; there are tons of books, articles, and films rife with information. And, thankfully, filmmaker Sam Feder, executive producer Laverne Cox, and the rest of their team have created a wonderful new resource for those seeking answers.

Netflix’s documentary Disclosure: Trans Lives on Screen covers the history and impact of transgender representation in media. Cinema has existed for more than a hundred years, and trans figures have been embodied on celluloid for nearly as long. So of course expecting a 100 minute documentary to be able to cover an entire century’s worth of material is unrealistic, however the film does an admirable job. Going all the way back to the silent film days, even directors like the notoriously racist D.W. Griffith included gender nonconforming characters in his work. Narratively, the documentary moves in chronological order from then to now, examining how trans issues have been featured and addressed in American motion pictures over the years.

In addition to Laverne Cox, director Sam Feder assembled a fantastic bunch of individuals to give context to the movies and TV shows discussed in the documentary: film critic Tre’vell Anderson, Transparent actresses Alexandra Billings and Trace Lysette, activist Chaz Bono, Dirty Sexy Money actress Candis Cayne, Transparent producer Zachary Drucker, Shameless actor Elliot Fletcher, Oscar-nominated documentarian Yance Ford, The 40-Year-Old Virgin actress Jazzmun, Transamerica actress Bianca Leigh, media consultant Tiq Milan, Mrs. Fletcher actress Jen Richards, Pose actress Mj Rodriguez, Queen Sugar actor Brian Michael Smith, Survivor contestant Zeke Smith, ACLU attorney Chase Strangio, professor Susan Stryker, and The Matrix director Lilly Wachowski. Just to name a few.

Along with providing an academic context to the content, the contributors offer personal anecdotes, too. Stories about seeing trans depictions on screen and on television for the first time—the good and the problematic. The funny thing about under-representation, though, is that even when the portrayal in question is less than favorable, marginalized persons can still find themselves thankful for them despite the obvious shortcomings. Like the groundbreaking works of art mentioned, the trailblazers responsible for them are not impervious to censure. The funny thing about progress is that in order to move forward, what came before is sometimes rendered outdated. And holding debatable casting and production choices accountable is an important step in making progress.

It ought to go without saying, and yet it must be said. Representation matters. Until recently, trans characters were almost always played by cisgender actors with box office appeal, even if there were trans actors perfectly capable of playing the role. The documentary specifically addresses the casting of Chris Sarandon in the role of Leon, a character inspired by real life trans woman Elizabeth Eden, in Dog Day Afternoon. Little known fact, turns out there was a trans actress in Hollywood vying for the role back in the 1970s. But she was ultimately denied for looking too much like a woman. Looking too much like a woman. To put it another way: a masculine cisgender man was cast in the role of a feminine trans woman over a trans actress who too closely resembled the gender that she and character she’d be playing actually were. Go ahead and look up Elizabeth Eden and ask yourself if looking like a woman would’ve been a bad thing. Instead, Chris Sarandon played the part and ended up receiving an Oscar nomination. In the years since, several more actors have been recognized by the Academy for playing trans characters, and Jen Richards has a theory that both interesting and troubling about the harm that comes with continually casting cisgender actors in trans roles beyond simply taking away work from marginalized artists. She suggests that recognizable cisgender actors in trans roles is related to a lot of the prejudice and violence that trans people experience. I’ll let her speak for herself, but know that Richards’ pitch is compelling, and it would make for a great essay.

Despite the flaws that many of the films and TV shows discussed possess, the speakers reference how important it was to see themselves represented in media nevertheless, even if a better suited actor could’ve played the part instead. Or if the visibility happened to be in the form of a real life trans person guesting on a trashy daytime talk show with an insensitive host or audience. Not all representation is positive. But that’s why there needs to be more of it, period. Because then the problematic depictions wouldn’t feel quite so painful. And thanks to Disclosure: Trans Lives on Screen there’s going to be a whole new generation of trans persons watching this film and seeing the commentators as people they can relate to positively. Trans folks shouldn’t be this film’s sole audience, though. This documentary is essential viewing for trans allies as well.

Overall Grade: A

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Podcast: The Truth / Modern Times – Episode 385

This week’s episode is brought to you by Grammarly. Download the app for free today!

This week on the InSession Film Podcast, we discuss Hirokazu Koreeda’s latest film The Truth and we continue our Charlie Chaplin Movie Series with his 1936 film Modern Times! Plus a few thoughts on this little film/musical called Hamilton.

This show may go down as one of JD’s favorites of all-time. Given his love for Koreeda and the fact that Modern Times is in his Top 10 of all-time, you can imagine his excitement as we dove into both of these reviews. Additionally, the timing of Hamilton coming out over the weekend couldn’t of been better as that added further excitement to the conversation. And let’s not forget Brendan either, who is also a big fan of Koreeda and Modern Times. So, yeah, we had a lot of fun this week.

On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

Movie Review: The Truth (5:35)
Director: Hirokazu Koreeda
Writer: Hirokazu Koreeda (screenplay), Ken Liu (film in film based on short story by)
Stars: Catherine Deneuve, Juliette Binoche, Ethan Hawke

– Notes / Hamilton / Disclosure (50:06)
As mentioned above, and as you already know, Hamilton dropped on Disney+ over the weekend and we had to talk about it. JD had already seen it live in a theater, but he also had to give his thoughts on the film version as well and how it translates to cinema. Spoiler alert, it’s still great. JD also gave his thoughts on Disclosure (available on Netflix), one of the better films of the year and perhaps the best documentary of 2020 so far.

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RELATED: Listen to Episode 379 of the InSession Film Podcast where we discussed Fast Five!

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Charlie Chaplin Movie Series: Modern Times (1:13:16)
Director: Charles Chaplin
Writer: Charles Chaplin
Stars: Charles Chaplin, Paulette Goddard, Henry Bergman

Show Sponsor: First Time Watchers Podcast

– Music

The Truth – Alexei Aigui
Opening / Sheep – Charlie Chaplin
Shoplifters – Haruomi Hosono
The Return of the Eagle – Atli Örvarsson

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InSession Film Podcast – Episode 385

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Next week on the show:

Main Review: Palm Springs
Top 3: TBD

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Help Support The InSession Film Podcast

If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!

VISIT OUR DONATE PAGE HERE

Movie Review: ‘Hamilton’ lives up to the hype and then some


Director: Thomas Kail
Writer: Lin-Manuel Miranda (book), Ron Chernow (inspired by the book Alexander Hamilton by)
Stars: Lin-Manuel Miranda, Daveed Diggs, Phillipa Soo, Leslie Odom Jr.

Synopsis: The real life of one of America’s foremost founding fathers and first Secretary of the Treasury, Alexander Hamilton. Captured live on Broadway from the Richard Rodgers Theater with the original Broadway cast.

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For the last five years, there might not be anything more important in American culture than the musical Hamilton. From the moment it hit Broadway in 2015, there was nothing else like it, a hip-hop inspired musical about the United States First Secretary of the Treasury. Tickets were hard to come by, with the pricing in the thousands and a lottery established to give away free seats. It made creator Lin Manuel Miranda and his cast members stars overnight. The songs were performed across the world. With the help of the streaming service Disney+, everyone can have the opportunity to experience the event of our lifetime in the comfort of their living rooms with the original Tony-winning cast.

Hamilton is based on Ron Chernow’s biography about the American Founding Father. Told through the lens of his friend turned rival Aaron Burr (Leslie Odom Jr.), we see Hamilton’s (Miranda) rise and fall of his political career. We also explore the complications of his personal life, and the legacy he is fighting to perceive. The first act tackles his time during the American Revolution, where he helped George Washington (Christopher Jackson) and America’s allies secure our independence. At the same time, we’re introduced to Hamilton’s wife Eliza (Phillipa Soo), and her sister Angelica (Renée Elise Goldsberry). Both women are intricate in Alexander’s life, inspiring him to chase the version of America he wants for all of us.

In the second act, we follow Hamilton and the nation after the Revolutionary War and the start of our country. We also see him go toe to toe with Thomas Jefferson (Daveed Diggs) and James Madison (Okieriete Onaodowan) within Congress during the Washington administration. As every event plays out, Burr’s frustration towards Hamilton grows by becoming jealous of his rise to power, destined to see his foe fail. Lastly, throughout both acts, we are given little snarky opinions from England’s King George (Jonathan Groff), gleefully watching America’s adolescent leadership from afar.

In this 160 minutes’ journey, we not only take a glimpse into the life of a great man, but we take a look at the beginning of our country, told by actors and artists that represent our time. In an era where representation across all media needs to improve, Miranda bestows his beautiful lyrics into the hands of men and women who we’ve never seen in parts like this. Refreshing to see, “Hamilton” can branch out to every human being because of this initiative inclusion. When people are young and see someone on stage or screen that looks like them, they can believe in their dreams. Then they can take a shot at becoming the next great individual in the field they are pursuing. They embody the American dream.

Beyond this message, Hamilton is also a beautiful, insightful look into America’s History. For the most part, Alexander Hamilton isn’t mentioned a lot in our history classes when we are young. To learn more about him from a musical than in our local school systems is downright embarrassing and proves we all need to do a better job in learning our countries history. Miranda’s battle cry throughout his music is for Americans to maximize their knowledge of everyone and everything within its history. With this, we can understand our past to fix our current politics and society. Everyone has a story to tell, and it can be just as fascinating as someone like George Washington or Thomas Jefferson.

All these ideas and issues are conveyed even more powerfully on film than watching it in a theater. When director Thomas Kail zooms his multiple cameras around, we catch the stage production’s true humanity. Every emotion is heightened, from smiles to tears, looking at the hard work it takes to portray characters in the creative style Miranda has written them. You can see how every word flows beautifully from memory as it goes and conveys the heart of a revolution and a love for a country they want to live in freedom. In terms of cinematic experiences, Hamilton is right up there with anything you will see in 2020.

Each performance shines with many moments to make you cheer and get misty-eyed over. While Miranda and Odom Jr. are great leads, “Hamilton” is elevated over other musicals due to its supporting casts. From the infectious fun of Digg’s Thomas Jefferson’s “What Did I Miss?,” to Jackson’s encouraging “One Last Time,” to the heartbreaking solos from Goldberry and Soo with “Satisfied” and “Burn,” they’re the performances you will remember when the end credits start to roll.

In the end, Hamilton is excellent no matter how you see it. Whether it’s on stage or film, there is no way you can say it’s not one of the best art pieces of all time. As humans, we want to nitpick and deconstruct things that are universally loved. But with this material and all the talent involved, it’s clear Hamilton is too damn perfect.

Overall Grade: A

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Podcast: Great Expectations / Eurovision Song Contest: The Story of Fire Saga – Extra Film

On this week’s Extra Film, Ryan and Jay continue their David Lean Movie Series with Great Expectationsand then review the latest Netflix comedy, Eurovision Song Contest: The Story of Fire Saga.

After a wonderful conversation on Brief Encounter , the boys take a look at his acclaimed follow-up based on the beloved Charles Dickens novel. Though considered one of the best British films of all time, and the definitive version of the Dicken’s classic, the boys came out strong against this entry in the movie series. While Lean’s direction is strong as always, something was missing in this project for both hosts, leading to a very mixed reaction.

After that, the conversation turns to Eurovision Song Contest: The Story of Fire Saga, the newest Will Ferrell comedy streaming on Netflix. While Ferrell is known for making great comedies, it’s been a while since he made one that is one the level of his great work from the 2000s. And even though Rachel McAdams and Dan Stevens give it all they can, Eurovision Song Contest: The Story of Fire Saga is brought down by Ferrell and left a lot to be desired. But even though it wasn’t a hit, this review is a lot of fun for the tangents Ryan and Jay go on along the way.

Thanks for listening!

– Movie Review: Great Expectations (4:12)
Director: David Lean
Screenplay: David Lean, Anthony Havelock-Allan, Cecil McGivern, Ronald Neame, Kay Walsh
Stars: John Mills, Anthony Wager, Jean Simmons, Valerie Hobson, Alec Guinness

– Movie Review: Eurovision Song Contest: The Story of Fire Saga (38:26)
Directors: David Dobkin
Screenplay: Will Ferrell, Andrew Steele
Stars: Will Ferrell, Rachel McAdams, Dan Stevens, Pierce Brosnan

– Music

Brief Encounter – Sergei Rachmaninoff
Diamond Day – Vashti Bunyan
The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes, Spotify or Stitcher, and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

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Great Expectations / Eurovision Song Contest: The Story of Fire Saga – Extra Film

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Mobile App

To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and for listening to our show. It means the world to us!

Featured: Four (Or 5) Films For The Fourth of July

As we hit the second half of 2020 with Independence Day, we may be able to celebrate outside our homes (or not) and someone will still put on a fireworks display to the annoyance of our pets. COVID-19 certainly cannot stop July 4th from being recognized, even if it is still a streaming event. At home, for the cinephiles, there is putting on a marathon of movies that recognizes our independence a little more differently. War is common, but it also can be musical as well as dangerous from other areas. No, I will not go for the low hanger that is Independence Day from Roland Emmerich (or its trash sequel); it’s entertaining, but I’m gonna go with alternatives.

Yankee Doodle Dandy (1942)

George Cohan, also known as “the man who owned Broadway” during the 1900s and 1910s, was born on July 3rd, but he took it to heart as if he was born on July 4th with his legendary patriotic songs including, “Over There,” “You’re A Grand Old Flag,” and “Yankee Doodle Boy.” Months before his death, the biopic about Cohan was released to acclaim, featuring James Cagney as Cohan, which won Cagney the Best Actor Oscar. It’s a musical film that takes you on a nostalgia trip to Cohan’s time with his vaudeville hits that set the bar top what a Broadway musical is and should be and produced during the Second World War, the film is a perfect tribute to a figure who embodied Broadway musicals and its patriotic jingles during the First World War.

Blow Out (1981)

Brian DePalma wrote and directed this neo-noir set in his hometown of Philadelphia, home of the Liberty Bell, where a sound effects editor (John Travolta) is in post-production of a slasher film and, while going outside to record more sound, witnesses and records a car accident. However, he finds out through his sense of hearing that it was not an accident and the woman he has saved (Nancy Allen) is in a lot of danger. The film’s climax comes at the Fourth of July parade, under the layers of celebrations. Blow Out is among the top movies about moviemaking because it uses sound so cleverly and as the driving force to investigating what happened and the danger the lurks for his snooping.

Born On The Fourth Of July (1989)

Oliver Stone was still on his hot streak of acclaimed, Oscar-winning films and did win Best Director for the second time in four years. One of Tom Cruise’s best performances came in his portrayal of Ron Kovic, an All-American boy from Long Island who signs up with the Marines, seeing it as his duty to fight for his country while they are in Vietnam. But after he is seriously wounded and left in a wheelchair, Kovic becomes disillusioned and turns to activism to declare his independence from a belief system that he followed since birth. Stone, whether you dislike him or hate him personally, made emotional gut-punches during this era that provided the opposite side to what patriotism is, aside so obvious today.

Glory (1989)

The climax of the film took place on July 18, 1863, and being that it is set in the middle of the Civil War, it is a great film to insert about freedom. In this case, the Massachusetts 54th Infantry Division led by the young abolitionist Robert Gould Shaw, taking the first all-black regiment into battle and show Black soldiers are worthy in the battle to fight for their own freedom and protect the Union. I understand why the film gets a downtick because of the white savior lead involved Col. Shaw. Also, the number of inaccuracies was noted such as that the 54th actually being made up of Northern-born free men and not former slaves and the flogging scene didn’t happen because it was banned in the military. But in comparison to other films with complaints, I say Glory is not that high or offensive compared to other films involving the same narrative. Plus, with the demand for Confederate names and statues being requested to be removed, the film is a reminder that the Confederacy lost and to have symbols of it still be around is to keep inflicting the pain of racism and treason in this nation.

Follow me on Twitter: @brian_cine (Cine-A-Man)

Movie Review: ‘The Truth’ confronts the truth about family and memories


Director: Hirokazu Koreeda
Writer: Hirokazu Koreeda (screenplay), Ken Liu (film in film based on short story by)
Stars: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Ludivine Sagnier

Synopsis: A stormy reunion between scriptwriter Lumir with her famous mother and actress, Fabienne, against the backdrop of Fabienne’s autobiographic book and her latest role in a Sci-Fi picture as a mother who never grows old.

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Hirokazu Koreeda is a filmmaker whose always been interested in the truth about humanity. Whether it be about family, memories, how our past effects us in the present, the things that define us as people, whatever the case may be, he’s always examining the fundamental truth of our day to day lives. So, it’s apt that his latest film is simply called The Truth.

But JD, how does this differ from his previous films? Well, I’m glad you asked. For one, this is Koreeda’s first non-Japanese film. It’s spoken in French and English, and it stars legends Catherine Deneuve, Juliette Binoche, and Ethan Hawke. That in and of itself separates this film from the rest of Koreeda’s filmography.

Secondly, it’s Koreeda, in a somewhat meta way at times, exploring the film industry. The Truth is a movie about the movies. Well, a specific movie. A sci-fi film even. Which couldn’t be further from what has defined Koreeda’s own career. The Truth is centered on the relationship between Lumir (Binoche) and her mother Fabienne (Deneuve), an older actress who recently published a book about her acting career. The problem, though, is that Fabienne has seemingly manufactured certain events involving Lumir. “I won’t tell the naked truth, it’s not interesting,” Fabienne rebuttables at one point. It becomes clear early on that the two have a wedge between them.

A plight that becomes further highlighted when Fabienne begins shooting this sci-fi film that she’s been cast in. The movie is about a mother/wife who decides to live in outer space (aging is reduced drastically in zero gravity environments) as she’s been diagnosed with cancer. However, she does come home every seven years to see her daughter and husband. This, of course, leads to emotional conflict as the daughter becomes distant from her mother, despite her deep love for her. Sure, that’s an obvious metaphor for Fabienne and Lumir, but in the hands of Koreeda it’s poignantly effective. Especially thanks to Deneuve and Binoche, who offer captivating performances and tap into those emotional nuances effortlessly.

But it’s not just time and distance that The Truth is interested in as it relates to familial relationships. Koreeda is equally fascinated with memories and questioning if they can be trusted. From scene to scene, characters offer up memories that effect them deeply, only for the film to then question the validity of those memories. “You liked your mother’s acting as a child,” Luc (Alain Libolt) tells Lumir at one point. “I don’t remember that,” replies Lumir. Of course it’s ironic as Luc is also recalling that from his own memory. So, whose memory do we trust in that moment? What is the truth in that one sentiment alone? That’s just one example. The film is littered with textured sequences that similarly provoke the raw way in which we cling to memory and emotion.

I, obviously, don’t want to give anything away, but it’s quite breathtaking in how all of that culminates in the final scenes. There’s so much about love, heartbreak, brokenness, running from the truth, re-connection and forgiveness that threads together in such provocative ways.

Y’all, Ethan Hawke is in this film. If you’re a fan of Koreeda and Hawke like I am, this was truly a treat. Hank ultimately has a small role, but an intriguing one. He’s the husband of Lumir and a small time TV actor, which lent itself to some funny meta jokes about his abilities to act. He does tether to The Truth’s larger themes, given one scene he has with Lumir that reveal’s his true character, but mostly Hank is there to offer some welcomed levity to the film.

All in all, The Truth is everything that we typically love about Koreeda. Its ideas on the truth, why we’re afraid of it, how we can embrace it again, is nothing short of sublime. Perhaps the film’s metaphors and parallel storylines are obvious at times, but when conjured together in Koreeda’s calm rigorousness, it makes for a riveting experience. As usual, Koreeda doesn’t do anything flashy with his direction. It’s pragmatic and shot with assiduous diligence. In short, it’s about his characters. What they are experiencing and how they’re evolving. Not only will you be able to handle The Truth, but you’ll be wanting more by the time the credits roll.

Overall Grade: A-

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Poll: What is your favorite Hirokazu Koreeda film?

This weekend on Episode 385 we’ll be talking about the great Japanese director Hirokazu Koreeda and his latest film The Truth. For those who have listened to the show for awhile, you’ll know that we are big fans of Koreeda and we thought this would be a great opportunity to talk about Koreeda’s great filmography. He’s made some great films over the years and we’re curious to hear from you as to your favorite.

With that said, what is your favorite Hirokazu Koreeda film? Vote now!


Podcast: Miss Juneteenth / City Lights – Episode 384

This week’s episode is brought to you by Patreon and our awesome listener’s like you. Sign up today and get some fun rewards!

This week on the InSession Film Podcast, we discuss Channing Godfrey Peoples’ directorial debut in Miss Juneteenth and we continue our Charlie Chaplin Movie Series with his 1931 film City Lights! Brendan also gives his thoughts on 7500 while JD sobs talking about Babyteeth.

June has been a wonderful month for us and we ended things with a pair of films that we had a blast talking about. Miss Juneteenth is no doubt one of the better directorial debuts this year and City Lights is considered an all-time classic. So, there was no shortage of content to get into.

On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

– Movie Review: Miss Juneteenth (4:58)
Director: Channing Godfrey Peoples
Writer: Channing Godfrey Peoples
Stars: Nicole Beharie, Kendrick Sampson, Alexis Chikaeze

– Notes / Babyteeth / 7500 (46:30)
As mentioned above, there were two films that we needed to talk about this week in addition to our main reviews. Last week on the show, JD gave his thoughts on 7500, the latest movie starring Joseph Gordon-Levitt. Well, this week it was Brendan’s turn. And he did not hold back his punches at all. As for JD, well, he did his best to not #JDTears his way through Shannon Murphy’s Babyteeth.

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RELATED: Listen to Episode 375 of the InSession Film Podcast where we discussed The Godfather: Part II

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Charlie Chaplin Movie Series: City Lights (1:20:13)
Director: Charles Chaplin
Writer: Charles Chaplin
Stars: Charles Chaplin, Virginia Cherrill, Florence Lee

Show Sponsor: First Time Watchers Podcast

– Music

Lift Every Voice and Sing – Chantal Harris
The Flower Girl – Charlie Chaplin
Till The End of Time – DeVotchKa
The Return of the Eagle – Atli Örvarsson

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InSession Film Podcast – Episode 384

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Next week on the show:

Main Review: The Truth
Charlie Chaplin Movie Series: Modern Times

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Help Support The InSession Film Podcast

If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!

VISIT OUR DONATE PAGE HERE

Podcast: Brief Encounter / Babyteeth – Extra Film

Sound the alarm! It’s time for a new director series on Extra Film! With Robert Altman in the books, the show begins its exploration of David Lean with Brief Encounter and reviews the Australian film, Babyteeth.

Brief Encounter is considered David Lean’s first great film and it was even voted the second-best British film of all-time by the British Film Institute. Before this series began, Jay had (sadly) never seen a David Lean film before. He briefly discusses Lean’s earlier films before singing the praises of Brief Encounter. Ryan does the same, making it one of the most universally beloved films at InSession Film, after Brendan and JD each called it a “masterpiece” in the preview of the episode on the Main Show.

After that, the conversation turns to Babyteeth, the first film from Australian filmmaker Shannon Murphy. This small film has received great reviews and features a stellar cast. Is it a VOD gem as theaters remain closed? Listen to find out!

Thanks for listening!

– Movie Review: Brief Encounter (4:12)
Director: David Lean
Screenplay: Noël Coward, Anthony Havelock-Allan, David Lean, Ronald Neame
Stars: Celia Johnson, Trevor Howard, Stanley Holloway, Joyce Carey

– Movie Review: Babyteeth (47:00)
Directors: Shannon Murphy
Screenplay: Rita Kalnejais
Stars: Eliza Scanlen, Toby Wallace, Essie Davis, Ben Mendelsohn

– Music
Piano Concerto No. 2 – “Brief Encounter” 
Vashti Bunyan – “Diamond Day”
The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes, Spotify or Stitcher, and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

Subscribe to our Podcasts RSS
Subscribe to our Podcasts on iTunes
Listen on Spotify
Listen on Stitcher
Brief Encounter / Babyteeth – Extra Film

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Mobile App

To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and for listening to our show. It means the world to us!

Podcast: Academy Date Changes for the 2021 Season – Chasing the Gold Ep. 22

On Episode 22 of Chasing the Gold, Ryan is joined by Next Best Picture contributor Josh Parham and Awards Circuit contributor Griffin Schiller, to discuss the Academy’s date changes for the 93rd Oscar Season.

In the midst of COVID-19, the Academy announced changes for this year’s Oscar ceremony and when films will be cut off for this year’s eligibility. This also means that many of the other award shows had to change their dates as well. With all of this recent news, Ryan thought it would be a perfect time to bring back Chasing the Gold for its third season and bring on two great guests in Josh and Griffin to break down the recent news as well as talk about the year in film so far.

On that note, have fun with this week’s Chasing the Gold and let us know what you think in the comment section below. Thanks for listening!

– Music

The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes, Spotfiy or Stitcher, and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

Subscribe to our Podcasts RSS
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Listen on Spotify
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Academy Date Changes for the 2021 Season – Chasing the Gold Ep. 22

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To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and listening to our show. It means the world to us!

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Criterion Releases: July 2020

We’re past the midway point of the year and there are signs of the virus slowly going away – or so I think – but in the midst of the crisis under another hot summer, some things go on as planned. And, for Criterion, it is time for their next round of movies. All take a different route in the genius of their storytelling and acting, coming from the early 40s all the way to just last year. Here are the movies.

The Lady Eve (1941)

The first re-release from Criterion is Preston Sturges’ screwball comedy about a rich, naive man (Henry Fonda) who is targeted by a beautiful con artist (Barbara Stanwyck) who ends up falling for him, but under an alias, she keeps focusing on the con. Sturges was one of the first to direct his own screenplay in the Hollywood system and maintain his independence from studio scrutiny through the 1940s. Fonda has just done The Grapes of Wrath, and to go from the realism of Tom Joad to being a klutz in this charmer was remarkable. And Stanwyck, who had her first Oscar nomination playing a sacrificial mother in Stella Dallas, she plays this sensual snake who has Fonda wrapped up but cannot allow herself to constrict him.

The War Of The Worlds (1953)

Based on H.G. Welles’ famous sci-fi novel, the film was put in California 1950s over London in the 1890s. It’s two doomed characters, played by Gene Barry and Ann Robinson, discover the large object that has fallen from the sky and finds Martians have Heat-Ray visions that the military cannot stop them at all. The film deviates quite a bit from the novel, but the fear of the mysterious being is still present, and at the time, was a hit with audiences thanks to some special effects that made it all look too real.

Bruce Lee: His Greatest Hits (1971-78)

Bruce Lee’s stardom was a short as his life, dying suddenly from cerebral edema, aged 32. Yet, the movies he made in Hong Kong put kung fu on the map and made Lee a cultural hero that stands to this day. Five movies he made at the height of his fame are now in one collection – The Big Boss, Fist of Fury, The Way of The Dragon, Enter The Dragon, and released five years after his passing, Game of Death. The quintuple of movies all gives us the lightning strikes that shook up cinema and made Hong Kong films a permanent fixture of global respect for future stars.

Taste of Cherry (1997)

The second re-release from Criterion is Abbas Kiatrosami’s Palme d’Or-winning story of a man named Mr. Badii who approaches three different people for a simple, yet delicate, taboo job. It’s about theories of life and the value of it and each different person who is approached for the task, driving around the man’s car all over the city, which is why you hardly see Mr. Badii anywhere else but behind the wheel of the car. It’s minimalist, it’s self-reflexive, and, while some people may find it, “excruciatingly boring,” per Roger Ebert, others may be very receptive to Kiatrosami’s philosophical approach to living and dying.

Marriage Story (2019)

Noah Baumbach’s astounding family drama, whether it being on Netlfix or not, deserves its major recognition after Frances Ha got the treatment a few years ago. It’s moving, everybody around pours their heart out, particularly Adam Driver, and it feels human. It is a modern Kramer vs. Kramer and, in my opinion, it really doesn’t give a side to who’s bad. This film ranks highly on the #JDTears list, especially with the monologue Driver has in the beginning, and in the end, reading Scarlett Johannson’s message. I don’t think you can really hate this film being on Criterion.

Follow me on Twitter: @brian_cine (Cine-A-Man)

Poll: What is your favorite beauty pageant movie?

This weekend on Episode 384 we’ll be talking about Channing Godfrey Peoples’ directorial debut Miss Juneteenth, a film about a former beauty queen who prepares her daughter for her own beauty pageant. From all accounts, it’s pretty damn good and arguably one of the best films of 2020 so far. So, we are very excited to dive into it on the show. But it’s also inspiration for our poll this week as we talk about beauty pageant movies. There may not be a ton of them, but there are certainly some memorable films.

Let us know the film you enjoy the most. Vote now!


Podcast: Robert Altman Movie Series

The first Extra Film director series is here, and it will be covering the films of Robert Altman! Altman is one of the most revered and influential directors of all-time, so this deep dive should be incredibly rewarding. His cynical nature seems to be right up Jay’s alley, and he has enjoyed every Altman film he has seen, prior to the series. Ryan, while not a complete neophyte, has not seen many films. Join us for a series of discovery and masterful craftsmanship!

M*A*S*H, 1970

Listen to our review below as heard on Extra Film.

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Brewster McCloud, 1970

Listen to our review below as heard on Extra Film.

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McCabe & Mrs. Miller, 1971

Listen to our review below as heard on Extra Film.

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The Long Goodbye, 1975

Listen to our review below as heard on Extra Film.

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Nashville, 1974

Listen to our review below as heard on Extra Film.

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3 Women, 1977

Listen to our review below as heard on Extra Film.

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Popeye, 1980

Listen to our review below as heard on Extra Film.

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The Player, 1992

Listen to our review below as heard on Extra Film.

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Short Cuts, 1993

Listen to our review below as heard on Extra Film.

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Gosford Park, 2001

Listen to our review below as heard on Extra Film.

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