Director: Nicolas Winding Refn Writers: Nicolas Winding Refn Stars: Elle Fanning, Abbey Lee, Bella Heathcote, Jena Malone, Keanu Reeves
Synopsis: When aspiring model Jesse moves to Los Angeles, her youth and vitality quickly gains the attention of others leading to some rather unexpected circumstances.
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If one were to look up Nicolas Winding Refn in the dictionary, more than likely you’ll come across the words “acquired taste”; his films blister with loud and colorful pompousness, you either love him or hate him. Is it possible to fall on both ends of that spectrum? I know I do. Films such as Only God Forgives reek of selfish, inconsistent, and unnecessary narcissism, while Drive still remains as my favorite film of the 2010’s thus far. I can’t help but feel fascinated by Refn’s work, even when it fails, but when it works it certainly rewards, even when those rewards are not that rewarding.
Hence is the case with The Neon Demon, a modern horror fairytale about the inner workings of the Los Angeles modeling industry, a film whose arduous ambitions feel more than welcome and well-earned. We follow innocent 16-year old Jesse (Elle Fanning in a terrific performance), a sort-of L.A. runaway with desires of becoming a top model herself. Jesse functions as the princess of this fairytale, much like her very own Cinderella, and like those central figures she has a lot of growing up to do. Unfortunately, Jesse’s growth may not quite lead to her prince charming (or does it?).
Throughout her adventure, Jesse meets Ruby, Gigi, and Sarah (Jena Malone, Bella Heathcote, and Abbey Lee respectively), a makeup artist and two models who may have an agenda of their own. Their dreams of grandeur become further rooted in jealousy, anger, loneliness, and most importantly, narcissism. Their view of Jesse, a young nobody from out of nowhere, whose undeniable beauty and talent sweeps up the competition without ever having to even compete, is at the root of their lust for permanent beauty. This raises the important question of what one is willing to do to be beautiful, and stay beautiful in the view of the public eye; this task becomes even more complicated when your first audience member to please is yourself, hence the film’s central theme of narcissism and self-importance.
The intrigue is how this changes Jesse herself, and soon our heroine becomes a little less Cinderella and a little more Little Red Riding Hood (as if the lingering shots of the full moon weren’t a dead giveaway). Jesse was innocent and lacked confidence, that is until she realized what she truly had, beauty that everyone else wanted. Her transformation (visualized magnificently in a neurotic strobe-lit sequence) brings her down to Ruby, Gigi, and Sarah’s level, arguably no better than them by this point, yet Fanning’s performance maintains a surprising depth and even heartbreak as her innocence slowly diminishes and her narcissistic wolf begins to howl.
But the biggest narcissist of them all is never directly shown on screen, even though his techniques light up every single frame. I’m of course talking about Nicolas Winding Refn himself, whose filmmaking (loud and full of itself as it may be) becomes almost symbolic in nature. Refn is intentionally calling attention to himself, even amplifying Cliff Martinez’s haunting electronic score in any way he can (thankfully, the score is magnificent). But unlike Only God Forgives, there is consistency with the way The Neon Demon is shot, nor does it sacrifice dramatic or thematic resonance in favor of its directorial pride. It’s all incredibly self-important and over the top (even going as far as to create specific yet obvious jabs at the modeling industry itself, so on the nose it can’t even be called satire), but it is also recognizably attempting to be self-important for a specific reason, and I can’t argue against it here.
In case you couldn’t tell, I quite loved this movie, and it’s possible my affection for it was unclear amidst this narcissistic review I have just written (and that was the point, hopefully Refn would be proud). Granted, this is not for everyone, and as a warning there are incredibly arduous scenes that are going to put many viewers off (a chaotic strobe-lit dance act sure to cause epilepsy, a near vomit-inducing act committed by Jena Malone’s character, and a third act that truly veers into horror territory). The Neon Demon is not perfect, as much of its symbolism and satire is so on the nose it could be seen as self-parody by some, but Refn is not going for subtle; this is a world that is anything but subtle, and to approach this material in any other way would have defeated the purpose. Take that for what you will, just don’t sue me for saying that I thought this was a great film.
This week on Episode 179, we discussed Star Trek Beyond and the latest adventure with Captain Kirk and the Enterprise crew. Inspired by the great Captain Kirk, we decided to discuss movie captains, which was a bit unique and fun to think about the different kinds of “captains” depicted in film. Whether it be a sports film, a space opera or a military drama, movie “captains” have graced the big screen many times. And many of them have gone on to become some of the most iconic characters of all-time.
On that note, which movie captains would make your list? Here are the one’s that made ours:
*Keep in mind we have different criteria for our lists as well*
JD
1) Gerry Bertier – Remember the Titans
2) Tom Hanks – Capt. John H. Miller (Saving Private Ryan) / Capt. Richard Phillips (Captain Phillips) / Jim Lovell (Apollo 13)
3) Capt. Rafe McCawley / Capt. Danny Walker – Pearl Harbor
Brendan
1) Capt. Quint – Jaws
2) Capt. Benjamin L. Willard – Apocalypse Now
3) Capt. Clarence Oveur – Airplane!
Nick
1) Capt. Lionel Mandrake – Dr. Strangelove or: How I Learned to Stop Worring and Love the Bomb
2) Captain America – Captain America Trilogy
3) Capt. Jack Sparrow The Pirates of the Caribbean
Honorable Mentions (Combined)
John Biebe – Mystery, Alaska, Capt. Hook – Peter Pan, Han Solo – Star Wars, Capt. Kirk – Star Trek, Don “Wardaddy” Collier – Fury, Lincoln – Lincoln, Capt. Haddock – The Adventures of Tin Tin, Capt. Marko Ramius – The Hunt for Red October, Capt. Steve Zissou – The Life Aquatic with Steve Zissou, Malcom Reynolds – Serenity, Capt. Jason Nesmith – Galaxy Quest, Capt. Dallas – Alien
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. There are obviously some other great movie captains that we didn’t mention that could make your list, depending on your own tastes and criteria. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
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This week on the InSession Film Podcast, we review the latest film in the rebooted Star Trek series, Star Trek Beyond. Inspired by the the great Captain Kirk, we also discuss our Top 3 Movie Captains and we continue our French New Wave Movie Series with François Truffaut’s The 400 Blows.
For this episode, we are joined by the very young, but very talented, Daniel from Get Reel Movies. There aren’t many young men his age that are as articulate and smart as Daniel, something he proves this week as our guest. He’s also a big Star Trek, so having his input on this week’s show was a great addition to the conversation. We also had a blast discussing, The 400 Blows, which may have re-shifted the course of our French New Wave series.
On that note, check out the show and let us know what you think in the comment section. Thanks for listening and thanks for supporting the InSession Film Podcast!
– Star Trek Beyond Movie Review (7:21) Grades
JD: C+
Brendan: A-
Daniel: A-
– Top 3 Movie Captains (39:49)
This week’s Top 3 was a bit unique and fun to think about the different kinds of “captains” depicted in film. Whether it be a sports film, a space opera or a military drama, movie “captains” have graced the big screen many times. And many of them have gone on to become some of the most iconic characters of all-time. On that note, what would be your top 3?
Main Review: Jason Bourne
Top 3: TBD
French New Wave Series: Hiroshima mon amour
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It’s not often, in fact never, that indie films crossover with one another but on this week’s show we propose two great indies from 2016 do some sort of crossover sequel. Why you ask? Well because it would be amazing and it’s never been done before. It will never happen, but hey, we can dream.
That said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Hope you enjoy and thanks for listening!
– Born to Be Blue Movie Review (5:17) Grades
Brendan: A-
JD: A
– The Infiltrator Movie Review (34:31) Grades
Brendan: B-
JD: B
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Last week I was pleased to once again guest on the latest Quadcast where I gave a recap on the first half of July. We discussed some of the bigger films, but we spent most of our time on The Neon Demon and Swiss Army Man, two indies that people need to see if they get the chance. We also spend a few minutes talking Ghostbusters and Jason Bourne as well.
For decades, Star Trek has allowed us to boldly go where no one has gone before. Sometimes those were great and wondrous experiences, other times…well, not so much. Now, I wouldn’t call myself the biggest Star Trek fan; I never grew up with either television show (or one of the many spinoff shows), but I have seen a few episodes and can certainly see the appeal. But the films, those I have seen, and both the lore and social commentary (in its truest sci-fi form) have always been a fascinating one for me. It is safe to say, I am a bit of a fan of the films, and am always excited when a new Star Trek film is announced.
So in preparation for Star Trek Beyond this weekend, I’ve decided to look back on all twelve Star Trek films and rank them from worst to best, reliving both the pains and the prospers. And keep in mind, this is my subjective and personal opinion, not an objective one, so if I upset any Trekkies or Trekkers, you know where to find me.
And even though it pains me not to do so, I will not be including Galaxy Quest (even though I could certainly argue that it is a Star Trek film). Because let’s face it, if we were including Galaxy Quest, it would be one of the best. So with that said, let’s boldly go!
Star Trek: Insurrection (1998)
In truth, Insurrection is not really a terrible film; it has an interesting story, worthy themes, and an incredibly solid villain played by F. Murray Abraham. But it also plays like an extended version of a boring Next Generation television episode, and as a result becomes such a forgettable slog. At a brisk 103 minutes, it feels twice as long, and is incredibly inconsistent in its tone. While other Star Trek films are objectively worse, none are as forgettable as Insurrection.
Star Trek: Nemesis (2002)
Nemesis is objectively a bad film, and arguably worse than Insurrection. But Nemesis does at least take chances, and even in its failures has a few fascinations. Seeing a young Tom Hardy as the villainous Shinzon (a “Picard clone” of sorts) was both strange and silly, in the best yet worst ways. And Data’s sacrificial action at the end was fairly ballsy (despite its obvious mirroring of The Wrath of Khan). But Nemesis ultimately becomes a murky dirge, a complete miscalculation, and evidence the saga was really beginning to run out of gas.
Star Trek V: The Final Frontier (1989)
Sometimes a movie is so bad you just have to see it, just so you can fathom that it was actually made. The Final Frontier is widely considered the worst of the series, and objectively speaking it is; with Shatner himself in the director’s chair, the film replaces all its worthy “Trekkie” themes with pure selfish ego, centering on a preachy story about meeting an alien claiming to be God. It honestly doesn’t get any worse than this one, but its awfulness is so ridiculous that I just can’t put it at the bottom spot.
Star Trek: Generations (1994)
Generations finds itself mostly saved by goodhearted nostalgia; seeing both Picard and Kirk onscreen together was a thing of beauty in its own way (despite Kirk’s nearly embarrassing finale). Where Generations falls apart is in its horrendous balancing of tone, and delivers some of the worst “funny” bits of the franchise. Although, having a villain played by the great Malcom McDowell was a slight added charm. As a result, Generations is simply just another entry in the franchise, nothing more or nothing less.
Star Trek VI: The Undiscovered Country (1991)
The Undiscovered Country sees the return of Wrath of Khan director Nicholas Meyer, and to many this one is considered one of the best films in the franchise. I can see why many feel this way; it recaptures what objectively made some of its earlier films so great, features a heartfelt sendoff to our original cast, and is very thematically relevant without being too on the nose, as it parallels the at-the-time Cold War conflict between the U.S. and Russia. My issue with the film is that I just never found the Klingon Empire (in this film specifically) all that interesting, and always saw them as rather dull and lifeless; even with a great actor like Christopher Plummer at the helm, it never reaches the heights of the better Trek villains (though, not really sure you can call them villains in this one, which does add to its social charm). As a result, the film just feels like a smaller entry, and one I don’t necessarily come back to as often. Nevertheless, the film is well paced and keeps your attention using its “who done it” mystery structure, and that fitting farewell is full of heart. Not to mention Kirk’s infamous “Let them die” moment is quite riveting.
Star Trek Into Darkness (2013)
Into Darkness is almost interchangeable with my ranking of The Undiscovered Country, but Into Darkness just edges out for me in pure exhilaration and fun. But everything it has in pure joy, it loses in what is arguably one of the most bloated scripts of the entire franchise. The truth is, Into Darkness has no idea what it wants to be, and instead chooses to be too much; it is a fun new adventure, a festival of Trekkie Easter Eggs, and a brief remake of The Wrath of Khan (seriously, they need to stop doing this). As a result, it is the messiest of the Trek films, one whose messiness even renders Cumberbatch into a nearly useless villain (I wonder how much of this can be attributed to co-writer Damon Lindelof). But returning director J.J Abrams still understands these newly realized characters, and both the action and humor is so on point that you can’t help but still have fun with this more than solid entry.
Star Trek III: The Search for Spock (1984)
In some ways The Search for Spock has become a rather divisive film in the franchise, some who really appreciate it for embracing its fascinating weirdness and others who find it rather dull and undoing. I tend to fall on both ends of that spectrum, but can’t deny that when the film is good, it’s incredible. The best moments revolve around the exploration of the new alien world of the “Genesis Planet”, formed at the end of The Wrath of Khan. And one cannot forget the wonderful stealing of the Enterprise scene, and Kirk’s own sacrifice to the Enterprise itself, a powerful act with poignant nostalgia. But the “resurrection” of Spock’s soul and the Klingon villains (including a pre-Back to the Future Christopher Lloyd) bog the film down at times, creating a sometimes disjointed experience. Not to mention, it essentially undoes one of the best character deaths in science fiction, but in a truly oddball way which deserves a slight bit of credit. It’s one of those films where the good moments mostly outweigh the bad, and as a result I find it a slightly underrated film in the franchise.
Star Trek: The Motion Picture (1979)
Okay I’ll admit, I’m a defender of this film. And to be honest, this is where I would start calling the Star Trek films great. Yes, it is incredibly slow, self-indulgent in its visuals, and sometimes hard to get through (it is nicknamed “The Motionless Picture” after all). But in all its bland imperfections, I find this to be the most fascinating film in the franchise, and for mostly good reasons. Like the original series, The Motion Picture is thematically all about human discovery, especially through the eyes of old age, further reflected in what director Robert Wise and crew were attempting to do in its filmmaking. The vibrant and colorful effects not only create a sense of wonder as to what is truly out there, but it also juxtaposes the bland and colorless day-to-day view of Starfleet (it is a job after all), and its plodding pace makes for a sense of methodical contemplation; it has much more in common with 2001: A Space Odyssey and Tarkovsky’s Solaris than anything else. Sure, a lot of these visuals don’t hold up anymore, but those that do I still find myself lingering on with absolute wonder. Plus, it’s an added charm seeing the entire Enterprise crew getting back together. Not to mention, Jerry Goldsmith’s score is arguably the best of the entire franchise.
Star Trek: First Contact (1996)
First Contact is widely considered the definitive Next Generation film, and I have to agree. Unlike Generations and Insurrection, First Contact utilizes its film budget accordingly, creating a pulpy, thrilling, and exhilarating thrill ride; it almost plays out like a sci-fi horror film at times. Not to mention, it gives us one of the Enterprise crew’s most threatening adversaries in the Borg, whose Borg Queen (Alice Krige) is truly frightening. First Contact also starts off with a literal bang, and a risky one, in which the Borg actually win and destroy Earth (now that is daring). And speaking of “bang”, First Contact surprisingly holds up very well visually, which was exciting to see. This is the film where Picard and his Next Generation crew really gel and come together, it’s just too bad the following films couldn’t follow suite.
Star Trek (2009)
This is the film that gives me the incentive to make this list today. After Nemesis, it was clear that Star Trek had boldly came and went, until J.J. Abrams gave us what I consider to be one of the finest reboots in modern cinema. With modern visual splendor, a wonderful sense of fun and charm, and a brilliant new cast, Star Trek completely resurrected the franchise. Easily the most action-packed film in the saga (it almost plays like Star Wars instead of Star Trek), the film was also a divider amongst the most loyal Trekkies, who say the film was not true to Star Trek. While they may be right, that doesn’t make the film any less enjoyable. On top of that, the film’s unique approach to an alternate timeline allowed this film to act as both a sequel and a reboot for the franchise (until Into Darkness came and got too caught up in fan service). Yes, there are some script issues, narrative contrivances, and a villain played by Eric Bana who just isn’t given enough to do, but all that is replaced by genuine heart, drama, and excitement, with an ultimate desire to see even more of these new films with this new cast. Great work Abrams.
Star Trek IV: The Voyage Home (1986)
It’s no question; The Voyage Home is ludicrous, on the nose, and downright silly. But it knows it. As a result, it is easily the most joyful Star Trek film ever made, and the most unique. This is the film where Kirk and his crew travel back in time to save the humpback whales, who have since gone extinct in the 23rd Century, and only the whales can communicate with a strange alien probe that is threatening Earth. Yes, that is really its plot. And for a movie about whales, it’s ironic that this is one of my all-time favorite “fish out of water” entertainments (yes, I realize whales are actually mammals). Watching Kirk and his crew navigate through 1980’s San Francisco makes for not just the most hilarious moments of the franchise, but of any science fiction film, and continues in the Star Trek tradition of addressing contemporary social issues. Leonard Nimoy’s direction is so playful, and as Spock he nearly steals the show (“What do they mean by Exact Change?”). Plus, the relationship that forms between Kirk and Gillian is purely charming. Sure, its allusions to the then Saves the Whales campaign is quite obvious, but credit must be given to a blockbuster film willing to address social commentary like this in such a positive way. Plus, it’s just so damn fun!
Star Trek II: The Wrath of Khan (1982)
What else could it be? Not only is The Wrath of Khan objectively the best and most important Star Trek film, it’s one of my favorite sci-fi adventures of all time. Working on a much smaller budget than its predecessor The Motion Picture, director Nicholas Meyer makes use of its lighter visual splendor in favor of character, story, drama, and thematic heartbreak. The Motion Picture only briefly touched on the notions of old age, but The Wrath of Khan embodies it fully; Kirk constantly questions his purpose, and soon realizes his flaws in choosing to always cheat death rather than face it. Khan himself (arguably the best Trek villain played by the great Ricardo Montalban, returning from his appearance in the episode “Space Seed”), is an understandably multi-dimensional villain, one whose anger and hatred for Kirk is actually earned. He represents the mistakes of Kirk’s past, and Kirk’s inability to face death properly, and only Spock’s sacrifice at the end can give Kirk the spiritual rebirth he needs. As a result, The Wrath of Khan is one of the best science fiction movies made about old age and sacrifice, and it remains untouched. Lump in the joy, humor, heart, and action that makes Star Trek what it truly is, and it becomes the best in the franchise.
Synopsis: A 27-year-old office worker travels to the countryside while reminiscing about her childhood in Tôkyô.
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Studio Ghibli has been one of the most underrated movie studios we’ve seen over the last 30+ years, at least in the west. If you ask us, Hayao Myazaki and Isao Takahata have not only created some of the best animated films over the years, they’ve created some of the best films, period. Takahata in particular has been criminally overlooked, even within the Studio Ghibli bubble. It’s easy to talk about the masterpieces of Myazaki (Princess Mononoke, Spirited Away, The Wind Rises), but Takahata has some master class animation films under his belt as well. Pom Poko, The Tale of Princess Kaguya and Grave of the Fireflies are phenomenal films and some of the best of Studio Ghibli. Personally, Grave of the Fireflies is my favorite Ghibli film and one of my favorite animated films of all-time.
The other notable film from Takahata is Only Yesterday, a Studio Ghibli film from 1991. However, due to distribution restrictions, Only Yesterday never found its way to U.S. theaters until *this* year. Yes, it was a 25-year wait but it was worth being patient. Only Yesterday is absolutely beautiful and further showcases the prowess of Studio Ghibli.
Only Yesterday begins with Taeko (Miki Imai), who is now 27-years-old and decides to go on holiday to the Japanese countryside to visit a farm, something she’s always wanted to do. Before getting on the train to begin her trip, she begins to reflect about her experiences when she was a child, in particular the 5th grade. These nostalgic memories start to overwhelm Taeko as she starts to realize how influential these childhood experiences were for her. Eventually she boards the train and makes it to the farm where she meets Toshio (Toshirô Yanagiba), a young man who works at the farm and shows her around the countryside. As the two continue their venture, her childhood keeps making its way back to her, eventually paving the way for some big decisions near the film’s climax.
Unline Takahata’s other film’s, Only Yesterday will require some patience from the audience. The first ten minutes are rather jarring as the action shifts from 1982 (current day) to the 1960’s when Taeko was a child grappling with family and school. These shifts jump quickly, making the establishment of the film’s timeline, as well as the characters, a bit muddled in the beginning. However, after the first act, the pieces come together and things start to make sense. The emotional groundwork is laid and it methodically starts to fertilize. You won’t realize it at first but Only Yesterday sneaks up on you, slowly finding a poignancy in Takeo’s milestones as well as her ordinary moments. Takahata’s gradual build is very intentional and cultivates a richer understanding of who Taeko is over time, which beautifully comes to fruition with a literal tug of nostalgia.
The flashback sequences not only provide pivotal exposition but it wonderfully demonstrates the power memories have and how they eventually shape us over time. Takahata masterfully cuts back and forth between Taeko on the farm and her childhood, showcasing how these childhood experiences lead to who she is now at 27. Takahata is perhaps too calculated in parts but overall he acutely interweaves these notions into the larger scope of the film, which pays of massively in the final shot of the film and especially the scene in the movie’s end credits.
The animation of Only Yesterday is meticulously crafted with expert precision. Takahata uses two styles of animation to reflect the different time periods we see narratively. The flashbacks have a watercolor feel that uses more whites and brighter color schemes. The scenes in “current time” are more vivid, darker and modern in its animation style. The depth of the imagery in the countryside, showcasing Japanese landscapes, is utterly remarkable. There are a few shots in Only Yesterday that will make your jaw drop. Simply, the animation is exactly what you would expect from Studio Ghibli.
Studio Ghibli has its fair share of animated films directed more at children, but like The Wind Rises and Princess Mononoke, Only Yesterday is a film aimed more at adults. One could even argue young-adult women to be more specific. Much like those films, along with other work from Ghibli, Only Yesterday is mature in its content and honest in depicting relationships. Takahata isn’t interested in tying up Taeko’s story in a nice and neat bow. The ending isn’t dour by any means (Takahata did that once with Grave of the Fireflies and it still guts me to this day) but it is honest. Only Yesterday isn’t a perfect film, but that truthful and methodical storytelling makes for some powerful imagery as the film closes that is very moving.
Director: Terence Davies Writers: Lewis Grassic Gibbon (novel), Terence Davies (screenplay) Stars: Peter Mullan, Mark Bonnar, Agyness Deyn
Synopsis: The daughter of a Scottish farmer comes of age in the early 1900s.
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Each year there are films that go completely under the radar, yet end up as one of the most underrated films of the year. Sunset Song is one of those films in 2016. Terence Davies’ iteration of the Lewis Grassic Gibbon novel is simply breathtaking. Regardless of how you feel about the story in Sunset Song, the one thing you can’t take away from this film is its gorgeous cinematography. Davies paints the screen with rich, lush imagery that creates a full and visceral yearning for more of Scotland. In a word, the visuals are evocatively mesmerizing.
However, Sunset Song is more than just eye candy, it’s also emotionally very satisfying. The story centers around a young Scottish woman named Chris, who is forced out of school to help with the family farm, run by her strict and brazen father. Chris (Agyness Deyn) sees her family fall into turmoil, which eventually leads to her brother escaping the family and moving to the city. Taking that as inspiration, Chris makes decisions of her own that lead to her escape for a better life. She meets a charming lad named Ewan (Kevin Guthrie), who has his eyes set on her, but before the two can create happily ever after, WWI comes to Europe changing Scotland forever.
There is a pathos at the core of Chris’ story that sneaks its way through every turn of Sunset Song. Chris struggles to cope with her familial upheaval and no matter what she does, life has a way of repeating itself. In her teen years, she saw her mother go through some rather arduous events that she would eventually face herself. The men in her life have a way of leaving her isolated, even if it wasn’t their intention. Tradition and culture in Scotland keep her from living the lavished life she could have, and definitely deserved. Despite being hindered by these harsh cycles, Chris continues moving forward with strength and it’s really moving when it all comes to fruition.
Davies’ pacing and deft command creates an engaging experience that resonates beautifully. Sunset Song is structured similarly to Richard Linklater’s Boyhood, in the sense that it works like a series of memories. The film covers huge swaths of time with narration of Chris looking back at her life and reflecting on how her family, as well as Scotland, has changed her for better or worse. This structure creates convenient irony but the way Davies plays with it, and again frames it visually, amplifies the film’s themes and emotion.
There’s something to be said about how the exquisite imagery juxtaposes the dreariness of the film’s conflict. The beautiful landscapes depicted in Sunset Song do a wonderful job demonstrating Chris’ adoration for where she comes from and why that is important to her, despite the terrible things she had to endure. Davies’ exploration of that is just masterful and it makes for a riveting 90-minutes that is sure to elegantly remind you of how your family and culture made you who you are.
Agyness Deyn is another reason those notions resonate so powerfully. Deyn depicts these hardships, as well as her joyful times, with complete magnetic prowess. She gives arguably the best female performance of the year so far. Peter Mullan is always terrific and Kevin Guthrie is one of the unsung heroes of Sunset Song. The ambiguity surrounding his character is vital to the film and he delivers it impeccably.
Sunset Song is a film that won’t speak to general audiences necessarily but for those who are patience with this film, you’ll be rewarded with an emotional wallop that is sure to justify your time with these characters.
It feels like it’s been forever since we discussed Star Trek: Into Darkness all the way back on Episode 13, but the long awaited sequel Star Trek: Beyond finally hits theaters this weekend. Despite J.J. Abrams leaving and the rather stale marketing for the film, we are still looking forward to seeing what Beyond has to offer. With that as our inspiration for the poll this week, we are simply asking; what is your favorite Star Trek film?
We acknowledge that some of these Star Trek films were heavily criticized but simultaneously we understand those films have their defenders as well. Star Trek fans are a loyal fanbase and even the franchises “lesser” films have their following, so we left in all of the motion picture films as options on the poll.
Last week on The Lambcast, I was lucky enough to join Jay and the fellas to discuss The Towering Inferno, starring Paul Newman and Steve McQueen. If you missed it, The Towering Inferno made my Top 3 Disaster Movies on Episode 119, so I was very excited to discuss it further on this episode of The Lambcast. We also did a segment of Rants and Raves and a game of Last Lamb Standing. We had a lot of fun, check it out!
This week on Episode 177, we discussed the Ghostbusters remake from director Paul Feig, which has caused a frenzy with online haters. While some sects on the internet aren’t fans of female-driven comedies (we will never understand the hate on Ghostbusters), we at InSession Film are big fans of those movies. Comedy is very subjective but women are just as capable of delivering some great comedy punches and have proven so through the years. We had a great time sifting through the best of those films and discussing them on this week’s show.
On that note, which female-driven comedy movies would make your list? Here are the one’s that made ours:
*Keep in mind we have different criteria for our lists as well*
JD
1) Annie Hall
2) The Lady Eve
3) Trainwreck
Jay
1) Pitch Perfect
2) A League of their Own
3) In A World…
Nick
1) Bridesmaids
2) Obvious Child
3) Sister Act
Honorable Mentions (Combined) Bringing Up Baby, Juno, Mean Girls, Easy A, Clueless
Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. There are obviously a ton of other great female-driven comedies that we didn’t mention that could make your list, depending on your own tastes and criteria. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].
This week on the InSession Film Podcast, we discuss Paul Feig’s Ghostbusters remake and why all the hoopla around the film wasn’t quite necessary. We also discuss our top 3 female-driven comedies and we finish off the show with another edition of This or That.
No Brendan this week, but he will be back next week and we’ll continue our French New Wave Movie Series on Episode 179. For this show, we were joined by Jay Cluitt from Life Vs. Film and Nick Rehak from French Toast Sunday, who were both absolutely terrific. And a big thanks to both for being flexible when we ran into a few scheduling hiccups this week. Despite those issues, the show turned out pretty great, or at least we’d like to think so.
On that note, check out the show and let us know what you think in the comment section. Thanks for listening and thanks for supporting the InSession Film Podcast!
– Ghostbusters Movie Review (7:24) Grades
JD: B
Jay: C
Nick: C-
– Top 3 Female-Driven Comedies (38:30)
While some sects on the internet aren’t fans of female-driven comedies (we will never understand the hate on Ghostbusters), we at InSession Film are big fans of those movies. Comedy is very subjective but women are just as capable of delivering some great comedy punches and have proven so through the years. We had a great time sifting through the best of those films and discussing them on this week’s show. On that note, what would be your top 3?
– This or That (1:13:17)
If you’re not familiar with this segment, it works similar to the game “Would You Rather”, in the sense that we bring up a few movie-related topics, and we give you two options to choose from for each topic. Here are the scenarios we talked about this week:
This: A Back to the Future remake but you get to choose the director and cast
That: No Back to the Future remake
This: John McClane rescues you from captives
That: John Rambo rescues you from captives
This: Matt Damon in a superhero film
That: Matt Damon in Jason Bourne 6
Main Review: Star Trek: Beyond
Top 3: TBD
French New Wave Series: The 400 Blows
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This week on the InSession Film Podcast: Extra Film segment, we discuss the original Ghostbusters, the film that has etched its way into the deepest pockets of our culture and is the reason for all the polarizing discussion we are seeing around the new Ghostbusters. In the second half of the show, we discuss a little indie starring Ethan Hawke (surprise, surprise) called The Phenom.
No JD this week but Brendan and Negs do their best to discuss the “classic” nature of Ghostbusters and the nostalgic power it holds as well as the objective criticisms they have about the film. We had a lot of fun and it was nice to re-visit this iconic piece of cinema.
That said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Hope you enjoy and thanks for listening!
– Ghostbusters Movie Review (5:17) Grades
Brendan: A-
Negs: A
– The Phenom Movie Review (27:24) Grades
Brendan: C-
Negs: C+
This week’s show is brought to you by our good friends at True Bromance Film.
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Director: Paul Feig Writers: Katie Dippold, Paul Feig Stars: Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones
Synopsis: Following a ghost invasion of Manhattan, paranormal enthusiasts Erin Gilbert and Abby Yates, nuclear engineer Jillian Holtzmann, and subway worker Patty Tolan band together to stop the otherworldly threat.
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Racial biases, misogynist ideas and unhealthy hatred are significant challenges that director Paul Feig had to deal with for Ghostbusters. You should never write off a film for issues such as race or your misogynist ideas that woman can’t kick ass as good, if not better than men. The original Ghostbusters was a classic and was some of the most fun the 80’s had to offer. Did this series need a re-imagining? Of course not, but Hollywood is fresh out of ideas, maybe they should try the Pokémon Go approach. I have said this many times, but it’s important that we have female characters as the heroines and not just the damsels because it sends a powerful message to the young ladies in the world. Ghostbusters delivers a message that an ordinary woman and their passion for what you do can make a huge difference, you don’t need to be Katniss or Trish.
When you think of the old Ghostbusters, adjectives associated with that film still applies to the new Ghostbusters, except the laughs are primarily coming from characters that lack a Y chromosome. The Ghostbusters kick ass, so lets’s meet them, shall we. Erin Gilbert (Kristen Wiig) is an uptight college professor whose ghost hunting past threatens her tenure. Erin learns that old college friend Abby Yates (Melissa McCarthy) has been selling their book online. Julianne Holtzmann (Kate McKinnon in a standout role) joins the ladies as they investigate a call about a ghost. Eventually, MTA worker Patty Tolan (Leslie Jones) rounds out the group.
Paul Feig was the best choice to direct this film as he has a proven track record of handling female-led ensemble films. Feig knows how to get the best out of McCarthy, and for the second time in her career, she is not playing the same type of character. McCarthy surprised me in this film and was serious more times than not, and it worked for her. Kristen Wiig is one of those actresses that can do no wrong no matter what she takes on. Leslie Jones does an excellent job in her film debut, but the star of this movie is hands down, Kate McKinnon. McKinnion’s Holtzmann is smart, witty, and kicks some serious ghost butt. For everyone complaining about them being women, by the film’s end, it doesn’t matter if they are female or not. The cast is not the issue here.
The movie villain, if you want to use that term, is completely ineffective. Rowan (Neil Casey)is a creepy hotel custodian and his character will be forgotten as soon as the credits hit. All this leads to a lack of real conflict that the Ghostbusters face, their biggest battle isn’t with Rowan but rather with the media that belittles them.
Is Ghostbusters worth it? Yes, because although it was written off by everyone including a few retail stores that placed these toys on clearance before the movie releases, it’s a much better film than I thought. It stood up against the bullying it faced, which is ironic because the ladies in the film deal with bullying as well. I re-watched the original after viewing this one and if you haven’t seen the original with an adult eye, I would suggest you do so. The times are obviously different but to chastise the 2016 version because of your affection for the original is absurdly ignorant. Give this movie a chance.
Overall Grade: B
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Hear our full review of Ghostbusters coming soon on Episode 178!
Director: Steven Spielberg Writers: Melissa Mathison (screenplay), Roald Dahl (based on the book by) Stars: Mark Rylance, Ruby Barnhill, Penelope Wilton, Rebecca Hall
Synopsis: A girl named Sophie encounters the Big Friendly Giant who, despite his intimidating appearance, turns out to be a kindhearted soul who is considered an outcast by the other giants because, unlike them, he refuses to eat children.
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In hindsight, it’s kind of crazy how The BFG snuck up on us this summer without it getting much hype. I understand it isn’t a superhero movie or Star Wars, but it is Steven Spielberg. You would think his name, as iconic as it is, would be enough to create discussion. However, The BFG didn’t get much play leading up to the film’s release, which is kind of sad because The BFG features Spielberg re-teaming with writer Melissa Mathison (Rest in Peace), who also wrote the screenplay for E.T. Yes, that E.T. Yet, The BFG still got lost in the summer movie schedule somehow.
The BFG, based on the novel by Roald Dahl, starts off in London where we meet an orphan named Sophie (Ruby Barnhill) who struggles to sleep and instead sneaks around the orphanage where she lives. Soon after accidentally witnessing something she shouldn’t have, she snatched away by a giant hand that takes her to a strange place. She soon realized it was a giant that has taken her but this giant isn’t like what she expected. He’s, well, a friendly giant. The BFG (played by Mark Rylance in motion capture) and Sophie start an endearing relationship that leads them on an adventure of discovery and overcoming some rather (ahem) giant obstacles in their way.
After a long string of dramatic and Oscar-nominated films in War Horse, Lincoln and Bridge of Spies , it was great to see Spielberg back in the world of fantasy and adventure. Some would argue his best work in this genre and it would be hard to discount that argument. However, the word that best describes The BFG is; unfortunate. Let’s be clear though, The BFG isn’t a bad movie but it lacks an energy that breathes in the classic Spielberg adventures we’ve seen before. The dynamic between The BFG and Sophie is compelling on paper, as well as the action, but it’s unfortunate that the final product on screen is actually dull, with little sense of wonder and awe, making the experience mostly mundane. It’s not often you hear that sentence as it relates to a Spielberg fantasy/adventure film.
The BFG often feels uninspired and the film’s themes of acceptance, open-mindedness and coping with bullying end up shallow by the film’s end. There are some interesting notions surrounding The BFG, who is a dream catcher by day, and by night he releases good dreams to people in London. The result of that is superbly affable and thematically alluring. However, the film doesn’t do enough to make that idea resonate as it should. Instead, we spend time having a silly breakfast with The Queen (one of Spielberg’s worst scenes) or worrying about The BFG’s fellow giants and how they may harm him. Understandably, the story needs drama but it’s the execution of implementing that drama that fails here. The lack of narrative focus, along with the film’s pacing, make the climax rather unsatisfying when those fellow giants become more involved, and inserted in a way that crystallizes with almost zero tension.
That said, this is a Spielberg film after all. Meaning, the craftsmanship of The BFG is still worth noting. The blend of CGI and real life characters isn’t completely seamless but the color palette used here is quite lush and evocative, especially during a scene where The BFG shows Sophie how to catch dreams. It’s one of the more breathtaking moments of 2016 so far. There’s another great moment at the beginning of the film depicting The BFG and how we strolls though the streets of London without being seen, and it’s the cinematic achievement you’d hope this film would deliver.
The seeds planted in the film’s first half and how it establishes the relationship between The BFG and Sophie is moslty good. It is perhaps a little rushed but the conversations are charming. The second half, unfortunately, is where the film meanders and loses focus of what it had established. I haven’t read the book by Dahl, and perhaps Spielberg and Mathison were sticking to the source material, but The BFG felt like it could have used some more flexibility in creating its own story that fit Spielberg’s vision and style. Regardless, the lack of versatility really hindered this film from being anything other than mediocre.
Whenever anyone muttered the words “Ghostbusters” and “remake” in the same breath, it has caused some rather extreme reactions from some people over the last year or so. Now, some of it has been understandable as for some audiences, the original Ghostbusters is a childhood classic that should just never be touched. I get that and I can respect that. If Hollywood ever touched Independence Day…oh wait, yeah I definitely sympathize with that notion. Alright, so that idea does have some validity to it but the people who are out to get this film, whether it’s because the film is a classic to them or that it stars four women in the iconic roles, are reacting in a way that is insanely unnecessary. The misogyny on Reddit is simply absurd and I hate to burst their bubble (actually I enjoy it), but the studios don’t pay critics for their reviews. The reaction from these “fanboys” is simply based on pride and hatred, and it’s an unwarranted distraction from the real problems our country is facing currently. That said, let’s all take a second to thank “Mudron” for bringing logic to these insane Reddit comments.
Okay, now that I’ve purged out my frustration on that, back to the film. I’m personally excited for the new Ghostbusters film. I think the original Ghostbusters is a lot of fun, but looking at the film objectively, it’s not a masterpiece by any means. In fact, I’m curious as to how it would be perceived today with modern audiences and critics. I’m not so sure it would be received with open arms. Nostalgia makes it hard to envision that, but if you take an honest step backwards, there are pacing issues, the exposition of the film is poorly handled and as iconic as the climax is, the tension is released rather quickly. Don’t get me wrong, I’m not saying it’s a bad film. As I mentioned above, it’s a great time, most of the jokes land hard and the characters are a riot. I also love Rick Moranis’ commitment to his character, it wonderfully juxtaposes the “cool” of the Ghostbuster characters and honestly, their performances as well. You can’t forget that soundtrack too. There’s a lot about this film to appreciate, but I wouldn’t call it a classic.
At this point, a lot of you are probably ready to polarize me with your proton packs but for the reasons mentioned above, it’s why I’m excited for the new Ghostbusters. I’m genuinely curious to see what director Paul Feig does with the material and how they modernize some of the iconice sequences of the original. I also really like this cast. Yep, I said it. Kristen Wiig is an actress that has proven her worth, even outside of comedy, over the last several years. Say what you want about Melissa McCarthy, and yes she can be hit or miss, but I do find her really funny in films that suit her well. Leslie Jones isn’t as well known in the general public but she is hysterical. She’s also been the best part about the trailers too. And the one consistent thing you’ll read in all the reviews, is that Kate McKinnon steals the show. It seems like this could be a star-making role for her. Oh, and there’s Chris Hemsworth, who is actually pretty funny. His jokes in the Marvel films are some of the best and his little role in Vacation was pretty good as well.
I would agree that the marketing for the new Ghosbusters hasn’t been terrific but the reviews are alluring. Given Feig’s history, it doesn’t surprise me either. Spy, The Heat and Bridesmaids were all critically praised films. Personally, I wasn’t the biggest fan of Spy but I would say that I enjoyed all three of those films though. It doesn’t surprise me one bit that the critics have gone for another Feig film when he’s proven himself over and over again. And I don’t buy for a second the “critics have an agenda to prove the haters wrong” argument. Critics don’t get paid by the studios and they aren’t out to get the fans either. They just do their job. End of story. Of course, you don’t have to agree with the critics (I still don’t understand the love for Cheap Thrills) but if the majority of them say it’s good, and you don’t want to believe them, that’s on you. It’s perfectly fine to disagree with critics, we do all the time on our show, but to say they have an agenda is kind of silly to me.
All of that said, and maybe I’ll regret asking this, but what about you? Are you excited for the Ghostbusters remake?
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Here’s what else is coming to theaters this weekend:
The Infiltrator
Cafe Society (limited)
Equals (limited)
Well, it’s finally here. It’s Ghostbusters week! This week has sparked a lot of debate and conversation about the new Ghostbusters, most of it silly and absurd, but it hasn’t stifled our anticipation for the film. We will be discussing the film on Episode 178 this weekend and we look forward to it. Regardless of how the new film turns out, we are still fans of the original Ghostbusters and it is our inspiration for our poll this week. We are simply asking; who is your favorite Ghostbuster from those original films?
Vote now and leave further comments in the comment section below!
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This week for our Episode 177, InSession Film Podcast: Bonus Content, JD catches up on a few films he missed out on while he was on vacation last month, specifically Pixar’s Finding Dory and the indie film A Bigger Splash. He and Brendan have a few disagreements about Finding Dory which was especially fun. Check it out!
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