This weekend features one of our most anticipated films of the year in David Lowery’s A Ghost Story, starring Casey Affleck and Rooney Mara. Lowery’s directorial resume isn’t too dense as of yet, but it’s a pretty great start. Ain’t Them Body Saints – also starring Affleck and Mara – was the film in 2013 that launched Lowery into the spotlight a little bit. The success of that indie led him to Disney’s doorsteps where he was able to direct Pete’s Dragon, one of the more underrated films of last year. You may remember that it even made Brendan’s Top 10 of 2016. The film didn’t crack my Top 20, but that’s no slight against Pete’s Dragon, as I still really liked that film. And now here we are with A Ghost Story, and by all accounts so far, it’s one of the better indie films of the year so far.
Coming off the heels of 2016, which featured some incredible films about loss and grief (such as Affleck’s masterful Manchester by the Sea), its appears that Lowery’s latest will keep that snowball rolling. The one thing I’ve loved about all of Lowery’s films so far, is the emotional core that is at the center of his stories. He’s a director that firmly strives for character intimacy and so far he’s succeeded quite well. A Ghost Story is a film centered around loss and romance, which seems ripe for Lowery.
Additionally, it’s hard to not be excited for this film given its cast. Casey Affleck gave the most potent performance of last year in Manchester by the Sea, and while his presence in this film is remarkably different, I’m still excited to see what he brings here. Rooney Mara is cinematic beauty personified. I have no doubt that she will carry the film in great ways and I can’t wait to see how Affleck and Mara work together here. Ben Foster also has a role here, and I’m hoping for a more subdued Foster, something we don’t always see from him.
Lastly, I wouldn’t be me if I didn’t mention the composer here, Daniel Hart. Hart is the composer that Lowery has used for each of his films so far, and he’s delivered some really powerful work. The scores for both Ain’t Them Body Saints and Pete’s Dragon were great, and terribly underrated. I’m expecting Hart’s score for A Ghost Story to be more visceral and meditative compared to something like Pete’s Dragon, but either way, it should be very effective.
What about you? Are you excited for A Ghost Story?
[divider]
Here’s what else is coming to theaters this weekend:
Atomic Blonde
The Emoji Movie Detroit (limited) An Inconvenient Sequel: Truth to Power (limited) Brigsby Bear (limited) The Incredible Jessica James (Netflix)
This week for our Episode 231 InSession Film Podcast: Bonus Content, Brendan gives us his thoughts on War for the Planet of the Apes after missing out on that discussion originally. Check it out!
We offer our bonus content for free, but we do encourage and appreciate a small donation of $0.99 as a way to help support the show. Click on the PayPal button below to donate and thanks so much for your support. You can also hear all of our Bonus Content via our mobile apps. See the information at the bottom of the post for more details.
[divider]
Mobile Apps!
Listen to all of our bonus content on our apps for just a one-time fee! Whether you have an iPhone, Android or Windows phone, our apps are available in many different ways that is convenient for you. With our mobile app, not only can you listen to all of our bonus content, but our main shows and our Extra Film podcasts as well. Click here for more info!
If you don’t want to purchase our bonus content, but still want to support us, there are other you can help us out. Click here for more info.
This week’s poll is inspired by David Lowery’s new film, A Ghost Story, starring Casey Affleck and Rooney Mara. It’s one of our most anticipated films of the year and it will be rolling out to more theaters this weekend. And while A Ghost Story may not be a “horror” film per se, it does feature a ghost as its core as the film deals with similar themes that ghosts tend to bring in film. With that in mind, what is the best ghost movie that you’ve seen?
This week on Episode 231 of the InSession Film Podcast, inspired by Christopher Nolan’s new film Dunkirk, we decided to talk about our favorite “Nolan-isms” – or the scenes the best reflect his directing style. Nolan has made some inventive films that are immersive in so many ways, especially as it relates to time, something he is obsessed with in his movies. The experiences he conjures may not be for everyone, but he certainly has distinctive qualities that make him a unique filmmaker today, and hopefully our lists represent that well.
On that note, what “Nolan-isms” would make your list? Here are the one’s that made ours:
**Please keep in mind that we each had different criteria for our selections**
JD
1) Ending Scene with Cobb – Inception
2) Docking Sequence – Interstellar
3) Interrogation Scene – The Dark Knight
Brendan
1) Leonard / Bed Scene – Momento
2) Cobb / Ariadne Elevator Scene – Inception
3) Docking Sequence – Interstellar
Honorable Mentions (Combined)
Cooper / Murph Embrace Before Mission – Interstellar
Cooper’s Catharsis – Interstellar
Angier Takes Bow Under Stage – The Prestige
Borden Sabotages Angier’s Transported Man Trick – The Prestige
Elevator Fight – Inception
Ferrior Glides Spitfire Onto Beach – Dunkirk
Car Chase – Batman Begins
Car Chase – The Dark Knight
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. If you’re a fan of Nolan like we are, this list was pretty difficult to narrow down. There are so many great scenes that reflect his directing style, depending on what speaks to you the most. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
This week’s episode is brought to you by Hearts Want, a female produced romantic comedy. Check out their Kickstarter page today and let’s help get this film off the ground!
This week on the InSession Film Podcast, we discuss Christopher Nolan’s new film Dunkirk, starring the great Tom Hardy and Mark Rylance. We also talk about our favorite Nolan scenes and how that reflects his directing style overall. And finally, we continue our Satyajit Ray Movie Series with the 1956 film Aparajito.
A shout out to our good friend Dana Buckler, host of How Is This Movie podcast, who was supposed to join us on this episode. However, if you know Dana at all, you’ll know that he is notorious for having some crazy theater stories. Well, this weekend as Dana was prepping to join us for this show, he was able to add another story to that list. It’s pretty amazing, and you can hear the entire story on his most recent episode. At any rate, we had a lot of found discussing Dunkirk and the elements that make Nolan a fascinating director.
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!
– Dunkirk Movie Review (5:43) Grades
JD: A+
Brendan: A
– Top 3 “Nolan-isms” (45:43)
Inspired by Christopher Nolan’s Dunkirk, we decided to talk about our favorite “Nolan-isms” – or the scenes the best reflect his directing style. Nolan has made some inventive films that are immersive in so many ways, especially as it relates to time, something he is obsessed with in his movies. The experiences he conjures may not be for everyone, but he certainly has distinctive qualities that make him a unique filmmaker today, and hopefully our lists represent that well. That said, what would be your top 3?
Main Review: Atomic Blonde or A Ghost Story
Top 3: TBD
Satyajit Ray Movie Series: Apur Sansar
[divider]
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!
This week on the InSession Film Podcast: Extra Film segment, we discuss the romantic comedy The Big Sick, based off of the true story of Kumail Nanjiani and Emily V. Gordon’s real-life relationship. In anticipation for Dunkirk hitting theaters this weekend, we also talk about Christopher Nolan’s 2006 film, The Prestige.
This week’s show also features some fun trickery of its own, as one of us uses some slight of hand as it relates to our thoughts on The Prestige. It was a bit unexpected, but an interesting turn of sorts.
On that note, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!
– The Big Sick Movie Review (6:51) Grades
JD:A-
Brendan: A-
– The Prestige Movie Review (36:51) Grades
JD:A
Brendan: A
We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and 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.
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!
[divider]
Help Support The InSession Film Podcast
If you want to help support us, we would greatly appreciate it! For more info, CLICK HERE.
Director: Christopher Nolan Writers: Christopher Nolan Stars: Fionn Whitehead, Damien Bonnard, Aneurin Barnard, Tom Hardy, Cillian Murphy, Mark Rylance
Synopsis: Allied soldiers from Belgium, the British Empire and France are surrounded by the German army and evacuated during a fierce battle in World War II.
[/info]
War stories have an inherent weak link to them when told in these (mostly) peaceful times: All in the room will heed the gravity, horror, defeat and glory, but only the reciter can relate to the events that transpired. Mastery is required to lead those consuming the tale today into the hours no longer embraceable, to transport a soul of this moment to sites of conflict alive through memories and journals. Long has it been, 19 years to be exact, since filmdom accomplishes this feat with Saving Private Ryan; the wait for a comparable production withers in importance as time ticks on.
And then, Dunkirk arrives.
“We Surround You!” screamed the leaflets in the Nazis’ propaganda torrent drenching young soldier Tommy (newcomer Fionn Whitehead, graceful intensity) and his mates while pacing through the now-deserted town of Dunkirk. As with all films from Christopher Nolan, the peacefulness during the opening minutes are fleeting — deceiving, even — and momentarily some (literally) jolting shells from unknown directions are cutting down the squad. Before we realize it, our senses have been conditioned to wrap on-screen’s tumultuous 1940 as reality, futile in rejecting the pull of this hell of high water where hundred thousands are waiting to be delivered from a scenic kill box. “Bon voyage” is the film’s first line, an appropriate expression to send to Tommy and the other two leads who complete the script’s triptych structure: civilian skipper Mr. Dawson (Mark Rylance, everyman again) and fighter pilot Farrier (Tom Hardy, masked again but extremely audible).
Again, with Nolan being Nolan, the stories aren’t conventionally told; the unfolding of “the mole” (Tommy), “the sea” (Mr. Dawson) and “the air” (Farrier) weaves, plays catchup and continues in unpredictable beats. That might sound needlessly complicated in telling a fact-based narrative, but this is how Dunkirk finds its stride. Despite the difference in duration for each person, per the helpful titles, time overall becomes deadly no matter which way the clock looming the beach is ticking. Should this omnipresent timer expires, bombs from above will plow up sand or down ships; if it goes on, the Fuhrer’s ground troops creep closer, and the 22 miles between here and home drift further. The purposeful-yet-expertly controlled jumbling also connects the markedly different settings and distances of the stories, to better reflect the scope and respect the diverse backgrounds who lent their efforts. This is not a dream, but apparent is a paradox where the more (seemingly) sprawling the film becomes, the more intimate it turns out to be. Perhaps the most thus far in the auteur’s career.
In return, Dunkirk becomes the best entry point to Nolan’s filmography — no need to rearrange events from back to forward (or vice versa?), convince the self that the late Robin Williams is villainous, see comic-book people, drown in illusions, figure out dream levels or comprehend dimensions. Even within these elaborations, there is a relatable emotional core. Now without it, the filmmaker is serving desolation and hope in their rawest forms.
Helping with linking every fiber of the viewer to the frontline, too, are Dunkirk’s strivings toward silent-film grounds. Planes wail, ships creak and people cry out in pain regularly in these waters, which in a well-equipped theater should quake hearts as much as Hans Zimmer’s ticking-timer score. The sounds, musical or ambience, are sparse in design, as if to not drown out some crucial character notes. Feel the pressure Tommy is under when his compassionate nature doesn’t sit well with a hot-headed fellow private (Harry Styles, believably selfish here). Sense the tug-of-war between responsibility as a citizen and that of a father in Mr. Dawson as he sails his son (Tom Glynn-Carney) and his son’s friend (Barry Keoghan) straight into a war zone. Be the passenger in Farrier’s fuel-thirsty Spitfire, enemies close on his tail. Together with Hoyte van Hoytema’s outrageously immersive photography, the elements of Nolan’s war are capable of haunting the subconscious and deserves a showing in the best format possible, if possible, in times of fleeting serenity or prolonged chaos. There is just as much impact in that shot of the Shivering Soldier (Cillian Murphy) forlornly sitting on a floating fragment of a ship’s stern as those nail-biting dogfights that Farrier will find himself in.
Regarding weakness, Dunkirk has just one that it can’t help but share with other war films: a Google search away from knowing the resolution. So be it — but don’t let that top search and highlighted YouTube video conclude your research into what is branded as a historical miracle, now also a marvel of both the genre and contemporary cinema.
Saving Private Ryan has finally found a friend.
Overall Grade: A+
[divider]
Hear our podcast review on Episode 231, coming soon.
Way back in January when we did our initial Most Anticipated films of 2017, I had Dunkirk in my Top 10, but it was more in the back half of my list. However, if I had seen the trailers for Dunkirk prior to making that list, there is no doubt it would have been my #1. Christopher Nolan’s latest film has me excited on levels that few films have matched over the last few years.
Subjectively speaking, most of my excitement comes down to two aspects of what we’ll see in Dunkirk. For one, I’m a big WWII air war aficionado. All I wanted to be growing up was an Air Force pilot, and most of that came from my fascination of world history, the innovations of aerial combat in WWII and the immensely gripping heroism that American and British pilots displayed with their feats during the campaign. It truly inspired me on deep levels. Secondly, Tom Hardy is my favorite actor working today. From Locke to Warrior to Mad Max: Fury Road to an Oscar nomination in The Revenant, everything he does is magnificent. And for Dunkirk, Nolan went out and combined those two passions of mine into one experience!!!!!!! In the film Hardy plays Farrier, an RAF pilot, who I’m guessing will fly either the Supermarine Spitfire or the Hawker Hurricane, the two most prominent British fighters of the time. Either way, the images of Hardy in the cockpit of one of those fighters gives me goosebumps.
On top of that, WWII dogfighting in cinema has been very hit or miss in terms of quality. Great films like Twelve O’Clock High, Midway, Tora! Tora! Tora! and Memphis Belle feature some excellent dogfighting sequences for their time. However, modern cinema and the technology of today has the ability to enhance dogfighting sequences by expanding outside the cockpit and showcasing the beautiful ballet that WWII pilots would have emulated, but we haven’t seen much of that sadly. Michael Bay’s Pearl Harbor and the Japanese film The Eternal Zero are two of the best examples of exhilarating dogfighting sequences, but there’s not much else outside of that from a WWII film standpoint. Red Tails, as much as I adore that real-life story and those great heroes, featured some disappointing action sequences (for me) and the film overall I sadly found frustrating. All of that said, again in addition to Hardy and my WWII expertise, it looks like Dunkirk will finally rival Bay/modern cinema as the best film to feature WWII dogfighting. From the few shots we see in the trailer, it looks incredible. I’m not sure how much of it we’ll see in the film from an action standpoint – as I’m anticipating introspection and character to be a main focal point here – but I’m still through-the-roof excited for the few sequences that we will get in the film.
Another reason to be excited for Dunkirk is that it explores a critical event in world history that many people may not be familiar with overall. Dunkirk was a major turning point in the war, and if had gone another way, we would all be living in a different world today. The argument can be made that Dunkirk, along with D-Day and the Battle of Britain, are the three most vital moments of the war. So to see this event on screen is exciting from a historical learning standpoint, especially in the hands of a great filmmaker like Nolan.
Lastly, I’m also looking forward to Dunkirk because it will be scored by Hans Zimmer, who arguably does his best work when collaborating with Nolan. While I didn’t love Interstellar, Zimmer’s score for that is emotional and exhilarating. Equally his work on the Dark Knight films are instantly memorable and arguably some of the best from that genre. And don’t get me started on Zimmer’s work for Inception, perhaps my favorite score from him to date.
What about you though? Are you excited for Dunkirk like I am? Let us know.
[divider]
Here’s what else is coming to theaters this weekend:
Valerian and the City of a Thousand Planets Girls Trip First Kill (limited) Landline (limited) Paris Can Wait (limited)
This weekend features the release of Christopher Nolan’s new film Dunkirk, a film that we are crazy excited for and cannot wait to discuss on the show. I’m in particularly excited because the air war of WWII is something that I’ve historically always been fascinated with, and that is a major part of the events that happened at Durnkirk. On top of that, Nolan cast Tom Hardy – perhaps my favorite actor working today – as a British pilot who helps dogfight the Luftwaffe in the film. He put two of my favorite things on the planet into one film! Fangirls may go crazy over Harry Styles in the film, while I will be busy losing it over Tom Hardy in a British Spitfire. Using that as inspiration for our poll this week, which WWII film features the best dogfighting – air to air combat – action scenes?
We offer our bonus content for free, but we do encourage and appreciate a small donation of $0.99 as a way to help support the show. Click on the PayPal button below to donate and thanks so much for your support. You can also hear all of our Bonus Content via our mobile apps. See the information at the bottom of the post for more details.
[divider]
Listen!
This week for our Episode 230 InSession Film Podcast: Bonus Content, we bring back our good friend Matt Neglia from Next Best Picture to discuss Andy Serkis’ chances at an Oscar for his work in motion capture – in particular his performance this year as Caesar. Check it out!
Listen to all of our bonus content on our apps for just a one-time fee! Whether you have an iPhone, Android or Windows phone, our apps are available in many different ways that is convenient for you. With our mobile app, not only can you listen to all of our bonus content, but our main shows and our Extra Film podcasts as well. Click here for more info!
If you don’t want to purchase our bonus content, but still want to support us, there are other you can help us out. Click here for more info.
Director: Michael Showalter Writers: Emily V. Gordon, Kumail Nanjiani Stars: Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano
Synopsis: A couple deals with their cultural differences as their relationship grows.
[/info]
Laden with gluttonous lashings of acerbic wit, this spell-casting romcom co-written by Kumail Nanjiani and Emily V. Gordon hits all the right notes. Mostly. A true account of their fledgling relationship spanning two hours and a near-fatal illness, The Big Sick earns every right to halt Hidden Figures’ reign as feel-good movie of 2017. A first turn behind the camera since 2005’s The Baxter for Michael Showalter (better known for his thespian work in Wet Hot American Summer), the drama is efficiently steered through waters that could so easily capsize into ripe melodrama; the heavy lifting here, though, is in the writing. Like the indestructible screenplays of Paddy Chayefsky (Network, The Hospital), it’s not a great leap to suggest even the salacious sensibilities of Michael Bay couldn’t harm this tale.
Kumail (Nanjiani) spends evenings delivering stand-up routines in a seedy Chicago comedy club, a passion subsidized by nocturnal Uber fares. A chance meeting with Emily (Zoe Kazan) during one of these performances sparks an immediate romance, despite the early reservations of graduate student Emily. It’s in these moments; these minutiae, that The Big Sick works its magic. Contrasted with beautifully observed dinner sequences Kumail shares with his devout parents, in which his mother, Sharmeen (Zenobia Shroff), conspires to introduce Kumail to prospective brides, there develops an air of truthfulness I can’t say I can recently recall. It may even be that, were it not based on actual events, I’d dismiss the eventual narrative arc as utterly unnecessary. The sudden onset of a supposedly innocuous lung infection renders Emily comatose, hastening a series of fractious interactions with Emily’s parents, Beth and Terry (Holly Hunter and Ray Romano). Racial prejudice is given the comic floor in some of these moments, as indeed are those with Kumail’s parents, a particular line referencing 9/11 with sardonic nous drawing fits of stifled laughter from the audience. That we’ve spent long enough in the company of Emily and Kumail to recognize the absurdity of their parents’ inclination yet retain an appreciation for it, is quite brilliant. We are in no doubt of whose side we’re on, but everyone’s sympathetic.
It can’t be understated just how many laughs Nanjiani and Gordon have skillfully weaved into the script without lessening the drama. Going into the film we know the real events can’t have played out amidst such incessant levity, yet here they are, as naturally woven into the plot as anything else. I did feel, coming out of the screening, that the playful tone did challenge my expectations less as the film wore on (a minor final-scene misstep eliciting a reticent groan), but such is the writing that I’d have forgiven next to pretty much anything. These two families, afflicted by sickness, infidelity and pride, are simply a pleasure with whom to spend an evening.
Brian Burgoyne’s cinematography is both unobtrusive and patient, detaching itself from what, for all the world, feels an ardent retelling. It’s tempting to consider his work here passive, given that so very little of the story is told by the camera, but our distance is the actors’ intimacy.
The Big Sick is an easy sell. The screening I attended flew in the face of any notion of a target demographic, the laughs endearing us all to a love story with the warmest of hearts. A complex examination of its characters, all of whom are afforded the time to earn their sometimes partisan, sometimes ambivalent views, will likely reveal more with repeat viewings. And it’s from DVD shelves that I expect further viewing will catapult this relative box office smash to modern indie classic.
Overall Grade: A
[divider]
Hear our podcast review on Extra Film, coming soon.
This week on Episode 230 of the InSession Film Podcast, inspired by War for the Planet of the Apes and the greatness of this new Apes trilogy, we decided to talk about our favorite moments or scenes from the entire franchise. So, this list included the original Apes films as well, for better or worse. Despite the quality of some of those original films, they still feature some memorable scenes, and the first film is iconic for good reason.
On that note, what Apes scenes would make your list? Here are the one’s that made ours:
**Please keep in mind that we each had different criteria for our selections**
JD
1) Apes Together Strong gesture – War for the Planet of the Apes
2) Caesar speaks at human colony – Dawn of the Planet of the Apes
3) Caesar refuses Will – Rise of the Planet of the Apes
Vince
1) Ending revelation – Planet of the Apes
2) Koba steals guns – Dawn of the Planet of the Apes
3) Golden State Bridge sequence – Rise of the Planet of the Apes
Nguyen
1) Opening hunting sequence – Dawn of the Planet of the Apes
2) Maurice meets Nova – War for the Planet of the Apes
3) Caesar protects Charles – Rise of the Planet of the Apes
Honorable Mentions (Combined)
Caesar watching camera footage – Dawn of the Planet of the Apes
Koba points out scars to Caesar – Dawn of the Planet of the Apes
Campfire discussion between Koba / Blue Eyes – Dawn of the Planet of the Apes
Koba on tank – Dawn of the Planet of the Apes
Taylor / Zera kiss – Planet of the Apes
Ending doomsday sequence – Beneath the Planet of the Apes
Caesar drawing window in cell – Rise of the Planet of the Apes
Opening battle scene – War for the Planet of the Apes
Family reunion – War for the Planet of the Apes
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. This list is obviously going to differ based on your own personal resonance with this franchise, and your list could be different than ours. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
This week’s episode is brought to you by Movie Pass. Sign up today and get 40% of your first month’s subscription!
This week on the InSession Film Podcast, Vince Leo fills in for Brendan as co-host and guest Nguyen Le joins us as we discuss War for the Planet of the Apes, arguably the best summer movie of 2017 so far. Going off of that, we also discuss our Top 3 moments/scenes from the entire Planet of the Apes franchise. Additionally, we had originally planned to continue our Satyajit Ray Movie Series this week, but due to time, we decided to push our second film in the series to Episode 231.
A special thanks to Vince for filling in as co-host this week, he certainly brought some spunk to this show and offered a perspective on War that rendered an interesting debate. Also, thanks to InSession Film writer Nguyen for guesting this week as well. He was equally as great and together we all had a lot of fun!
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!
– War for the Planet of the Apes Movie Review (5:15) Grades
JD: A
Vince: B
Nguyen: A
– Top 3 Scenes in Planet of Apes Franchise (56:53)
Inspired by the greatness of this new Planet of the Apes trilogy, we decided to talk about our favorite moments or scenes from the entire franchise. So, this list included the original Apes films as well, for better or worse. Despite the quality of some of those original films, they still feature some memorable scenes, and the first film is iconic for good reason. That said, what would be your top 3?
– Satyajit Ray Movie Series
As noted above, our review for War for the Planet of the Apes ran a bit long, so for time purposes we decided to move Aparajito to next week’s show.
Main Review: Dunkirk
Top 3: TBD
Satyajit Ray Movie Series: Aparajito
[divider]
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!
This week on the InSession Film Podcast: Extra Film segment, in preparation for War for the Planet of the Apes hitting theaters this weekend, we dive back into the first film of the trilogy, Rise of the Planet of the Apes. We also talk about the new indie, The Hero, starring the great Sam Elliott.
We also give some brief thoughts on Dawn of the Planet of the Apes, the film that launched the Andy Serkis-Oscars discussion that will no doubt continue this year as well. If you want to hear our full review of Dawn, be sure to check out Episode 73.
On that note, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!
– Rise of the Planet of the Apes Movie Review (5:29) Grades
JD:A
Vince: A
– The Hero Movie Review (50:56) Grades
JD: C+
Vince: B+
We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and 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.
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!
[divider]
Help Support The InSession Film Podcast
If you want to help support us, we would greatly appreciate it! For more info, CLICK HERE.
Director: Bong Joon Ho Writers: Bong Joon Ho (screenplay) (as Bong Joon Ho), Jon Ronson (screenplay) Stars: Tilda Swinton, Paul Dano, Seo-Hyun Ahn, Jake Gyllenhaal
Synopsis: Meet Mija, a young girl who risks everything to prevent a powerful, multi-national company from kidnapping her best friend – a fascinating animal named Okja.
[/info]
Okja is a beautiful, heartfelt tale and another smash hit for Netlfix. With brilliant direction from Bong Joon-Ho, an absolutely stellar ensemble cast and a film that is clearly filled with a lot of heart and soul, Okja is a unique glimpse into the modern world. Proving to be not only socially relevant but also emotionally challenging, this film will make you even question some of your own beliefs.
Taking place in an altered version of our modern reality, the company Mirando has devised a devious plan to sell food to their consumers. Advertising it as non-GMO, completely organic and all the other white lies that current corporations offer up, Mirando claims to raise 26 super pigs that are guaranteed to basically end world hunger while simultaneously satisfying their consumers. What they aren’t telling everyone is that they are practically creating every one of these super pigs in a lab and slaughtering them to produce a mass food product. However since they sent out the 26 super pigs, to keep up their public image, they must now round up all of these pigs. This includes stealing Mija’s best friend, Okja, an adorable super pig who is also her best friend. After stealing her pig, Mija must fight desperately to get Okja back through the help of animal friendly freedom fighters.
The plot for Okja remains relatively simple and easy to keep up with since it feels so familiar. Not familiar in the sense of we’ve seen this in a film before but that we are actually living this reality. We are in this world of corporations consistently lying to us about the products they are selling and how they either craft or obtain said product. The film is such a topical and intelligent glimpse into our own reality that its almost terrifying just how accurate it is. Bong Joon-Ho not only perfectly exemplifies this american corporation problem but he also gives us a catalyst for how we should be feeling about said issue.
Through the main character of Mija and the relationship she has with Okja, we get a glimpse into the thought process we should be having. The two have a deep friendship that we as an audience connect with on a deep emotional level. But the dedication Mija has to rescuing Okja, the innocence Mija has in terms of her exposure to corporations all fits this puzzle of how we should feel in our own lives. We are living in this fabricated world that Bong Joon-Ho has created and he gives us the clear straight cut answer for how we should react to our own world. The subtext that is so clear cut in this film is sheer genius and further proves what an incredible director Bong Joon-Ho is.
Another thing that he does so effectively as a director is his use of the ensemble. He proved his mastery of this approach in Memories of Murder in 2003, and he is continuing to execute on this talent to this day. Every character plays a part in the bigger picture, not only the adorable pig that is Okja, but the twisted CEO that is Tilda Swinton, the bubbly yet simultaneously poignant Jake Gyllenhaal, and the freedom fighter leader Paul Dano, and of course the heart and soul of the film, Seo-Hyun Ahn. Each character is their own piece of the puzzle, each one of them fitting perfectly into the grand scheme. Bong Joon-Ho knows how to perfectly make each character possess a specific trope or ability and then use to the advantage of the overall film. For example, Swinton is the dirty, rotten CEO, Gyllenhaal is the yes man who is regretful, Dano is the voice of reason and voice of hope, and Ahn the heart and soul of the entire puzzle.
Okja is a heartfelt, beautifully crafted film that will make you feel every emotion under the sun. With a beautiful visual style, a stunning score and brilliant direction from Bong Joon-Ho, this film is not worth missing. The only disappointing thing about Okja is that most of us will not be able to experience it on the big screen. With a brilliant ensemble cast and a perfect glimpse into our own reality, Okja is easily one of the smartest and greatest films of 2017.
We’ve been writing these “Anticipating” posts for a couple of years now, and this is the first one where I’ve struggled to find the words to articulate my excitement and anticipation. The hype surrounding War for the Planet of the Apes is simply on another level, especially with critics, and it’s almost overwhelming. A big part of that comes down to my subjective love to the previous two movies in this trilogy, Andy Serkis’ portrayal of Caesar and the emotion of this series – all aspects I’ve adored. On top of that, the action has been stimulating and everything about these films thematically have been potent. If War is as good as critics say, this trilogy will go down – in my humble opinion – as one of the best trilogies we’ve seen in the last 20-30 years, especially in regard to mainstream Hollywood filmmaking. So with that context, perhaps you can sympathize with why it’s hard to contain my excitement.
One aspect that I’m sure we’re all eager to see in War is what Serkis brings to the screen this time around. His first two outings as Caesar were absolutely remarkable, and no doubt he will be great once again. The question is; will The Academy be willing to recognize him for his efforts? You can’t keep ignoring the greatness of Serkis and what he’s done for the mo-cap industry. If you’re not going to recognize him traditionally speaking, an honorary Oscar has to be in his future, right? I hope so anyway.
I also want to give props to Matt Reeves, who did a great job of building momentum off of Rise of the Planet of the Apes and amplifying the stakes of this series in Dawn of the Planet of the Apes, something I expect again here with War. There’s a level of measured control in his direction that I love, aiming for emotion and humanity, rather than mundane Hollywood mediocrity. Even the action sequences in Dawn feel inspired, using inventive camera techniques and editing that keep its human elements in the forefront. Let’s also not forget the stunning animation. The CGI in these films are some of the best we’ve ever seen on film. Weta deserves a lot of credit here as well.
War for the Planet of the Apes looks great for a million reasons, and I may be setting myself up for disappointment, but maybe War truly is one of the best blockbusters of the decade so far. We’ll see soon enough and I cannot wait to join the thunderous praise this film has been receiving.
Are you excited for War for the Planet of the Apes this weekend?
[divider]
Here’s what else is coming to theaters this weekend:
Wish Upon (limited) Lady Macbeth (limited) The Big Sick (expanding)
This weekend could be one of the most exciting, if not *the* most exciting weekend of the year so far with the release of War for the Planet of the Apes coming to theaters. We are big fans of both Rise of the Planet of the Apes and Dawn of the Planet of the Apes, so our anticipation for War is already high. And then the early reviews / buzz came out for the film and…wow…this film cannot get here fast enough. If War is as good as critics say, this trilogy will end up being one of the best blockbuster trilogies of all-time (at least, if you ask us).
However, the Planet of the Apes franchise goes far beyond Andy Serkis and Caesar. The original 1968 Planet of the Apes is a classic in its own right, with one of the most iconic endings ever captured on film. The sequels to follow are more hit or miss, but we decided to leave them in the poll in case there are individual who do love them for what they are.
All of that said, be sure to cast your vote and leave any further comments in the comment section below.
Director: Sofia Coppola Writers: Thomas Cullinan (based on the novel by), Sofia Coppola Stars: Nicole Kidman, Kirsten Dunst, Elle Fanning, Colin Farrell
Synopsis: At a girls’ school in Virginia during the Civil War, where the young women have been sheltered from the outside world, a wounded Union soldier is taken in. Soon, the house is taken over with sexual tension, rivalries, and an unexpected turn of events.
[/info]
Sofia Coppola’s The Beguiled is a slow burning drama that offers up quite a bit erotic subtext. With a film centered around themes of temptation, sexual desires, and romance, The Beguiled is a smaller film that will dazzle those looking for something different during the summer movie season. Stunning cinematography, an outstanding ensemble cast and brilliant direction from Coppola, the movie’s only weakness lies within its plot or lack thereof.
The Beguiled takes place at a girls only school in Virginia during the Civil War. When the girls’ peaceful existence is disturbed by the unwanted arrival of a wounded Yankee soldier, the women must quickly decide whether they try and save him or leave him for dead. Choosing to follow in the steps of God, the woman assist the soldier and allow him to regain his strength at their school. But he is not there long before the women and the soldier’s sexual tensions begin to rise, leading to bad blood among them.
The Beguiled relies heavily on its subtext, focusing on how the film is edited, as well as how the characters interact in order to deliver a deeper meaning. The plot of the movie consistently remains as basic as possible in order for Coppola to fully immerse her audience into the psyche of the characters. Which isn’t a bad thing, it is incredibly refreshing to see something so nuanced in this modern age of film. The film is adapted from the novel of the same name and also technically a remake of the Clint Eastwood film from 1971. However Coppola’s approach is told through the lens of the women in the school versus the wounded soldier. Coppola and her team masterfully recreate the subject matter for an incredibly indulgent viewing.
Besides its deep metaphorical subtext, the visual style is actually the movie’s biggest strength. Not only is this project shot on film but it actually is shown in a different aspect ratio than most films, with the black bars on the sides versus the top. This just slaps us over the head with even more subtext because the movie has now metaphorically and literally trapped its character into a physical space. The Yankee soldier feels imprisoned by these women in the third act of the movie and the framing is a visual representation of that. Despite its framing the film overall is just incredibly pleasing to look at. The sets are recreated stunningly, all of the costumes are accurate and drop dead gorgeous and the lighting of the exterior sets is immaculate. Coppola has been in the directors chair for quite sometime but this project is easily her greatest achievement.
The film is slow moving but that does not hinder the overall enjoyment. The runtime and pacing is built around the script and story, making it all the more effective. This effect is sold even further through the fantastic ensemble cast. Nicole Kidman, Colin Farrell, frequent Coppola collaborator Kirsten Dunst, Elle Fanning and many other up and coming actresses, each performance in the movie is brilliant. Not only are everyone’s accents spot on but also their mannerisms and inflections. From Farrell’s sleek and charming performance that quickly switches to intimidating and ferocious, to Kidman’s relaxed and powerful performance, each actor delivers new career bests.
The Beguiled is an incredibly slow burn that focuses and relies heavily on its subtext. However, catered with an abrasive visual approach and a brilliant ensemble cast this does not hinder the film. Serving as Coppola’s best directing job yet The Beguiled is a summer movie that does not quite feel like a summer movie. If you are seeking something small scale and not as epic or grand as every other movie this summer, this film is totally worth your time.
This week on Episode 229 of the InSession Film Podcast, inspired by Spider-Man: Homecoming, we discussed our favorite adolescent heroes in film. As mentioned on the show, our criteria this week sparked some really fun conversation as to what “adolescent” really means when it comes to movie characters and some of the complicated journeys they go through. Regardless of how you define it, we conjured some interesting lists that we hope you enjoy, one way or another.
On that note, what adolescent heroes would make your list? Here are the one’s that made ours:
JD
1) Harry Potter – Harry Potter
2) Juno – Juno
3) Marty McFly – Back to the Future
Brendan
1) Elliott – E.T. the Extra-Terrestrial
2) Pinocchio – Pinocchio
3) Dash / Violet – The Incredibles
DJ
1) Ferris Bueller – Ferris Bueller’s Day Off
2) Mattie Ross – True Grit
3) Agu – Beasts of No Nation
Honorable Mentions (Combined)
Short Round – Indiana Jones and the Temple of Doom
Mathilda – Leon: The Professional
Katniss – Hunger Games
Carrie – Carrie
Luke Skywalker – Star Wars
T.C. Williams High School Football Team – Remember the Titans
USA Hockey Team – Miracle
Brendan – Brick
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. This list is obviously going to differ based on your own personal definition of adolescence and what you’re looking for in that context with various movie characters. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
Want to win a Blu-ray of your choice and an InSession Film t-shirt? Subscribe to the show today, leave us some feedback on the show (on iTunes or social media) and you’ll be entered to win! We’ll pick a winner at random in a few weeks.
This week on the InSession Film Podcast, DJ Valentine from Simplistic Reviews joins us to discuss the latest film to hit the Marvel Cinematic Universe in Disney’s (& Sony’s) latest Spider-Man: Homecoming. Inspired by that film, we also talk about our favorite adolescent heroes in film, which led to a fun debate over the definition of “adolescent” and what it meant for our Top 3 this week. And finally, we start our Satyajit Ray Movie Series with the first film in the Apu Trilogy, Pather Panchali.
Big thanks to DJ for joining us once again, it’s always a huge pleasure to have him on the show. We were very excited to see what both Disney and Sony had up their sleeves with this film and how it would play out. It should be fun to see where this partnership goes in the future. Additionally, we hope you enjoy our Satyajit Ray series which kicked off in spectacular fashion. It should be a lot of fun.
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!
– Spider-Man: Homecomin Movie Review (5:44) Grades
JD: A-
Brendan: B+
DJ: A
– Top 3 Adolescent Heroes (48:10)
As mentioned above, our criteria this week sparked some really fun conversation as to what “adolescent” really means when it comes to movie characters and some of the complicated journeys they go through. Regardless of how you define it, we conjured some interesting lists that we hope you enjoy, one way or another. That said, what would be your top 3?
Main Review: War for the Planet of the Apes
Top 3: TBD
Satyajit Ray Movie Series: Aparajito
[divider]
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!
