The Next Reel

The Bank Job

shows@rashpixel.com (Rash Pixel) — Fri, 14 Jun 2013 08:00:14 -0700

There's something interesting about heist films because, generally, you're rooting for criminals to pull off a heist and criminals usually aren't who you'd expect to be your protagonist. But watching Roger Donaldson's 2008 heist film The Bank Job, based on the real Baker Street Robbery in London 1971, you can't help but root for Terry Leather and his imperfect gang as they not only rob the bank and pull off one of the biggest scores in London's history, but actually get away with it too. Maybe that's because the people after them are all much worse, and maybe that's because you can't help but side with Terry played wonderfully by Jason Statham. Join us — Pete Wright and Andy Nelson — as we start our Heist series with this great movie. We discuss the story and how it fits within the true story — and what truth means in a film based on a true story anyway. We chat about the great cast and the complex script and how it all ties together perfectly. We touch on Donaldson and his career, looking at him as an effective filmmaker. And we discuss the look of the film — the cinematography, the costume design, and the production design — and how it plays an important role in bringing the swinging world of 1971 London to life. It's a fun if raunchy film to start off our series. Tune in!

Scoop

shows@rashpixel.com (Rash Pixel) — Fri, 07 Jun 2013 09:59:25 -0700

Woody Allen has made some great films and he's made some stinkers, but he is a man who consistently cranks films out year after year. In 2006, his film "Scoop" happened to have a stage magician in it and, because of that, we felt it was important to include in our series about films made about stage magic in 2006. But paired with the other two films in this series — "The Prestige" and "The Illusionist," this film falls flat. But that doesn't mean we don't have a great time talking about it. Join us — Pete Wright and Andy Nelson — as we wrap up our magic series with one of Allen's worst films, "Scoop." We talk about the magic, the murder mystery and the comedy in this film and how none of them particularly stand out. We discuss the actors — Scarlett Johansson, Hugh Jackman, Ian McShane and Woody Allen in particular — and what, if anything, they bring to their roles. And we chat about what works in Allen's films and why this film feels so slight and forgettable. It's not one of our favorites, but we still have a great conversation about it. Tune in!

The Film Board Presents: Now You See Me

shows@rashpixel.com (Rash Pixel) — Mon, 03 Jun 2013 08:15:44 -0700

It's a Very Special Episode for this month's Film Board gathering. Today on the show, Steve Sarmento and Chadd Stoops join Andy Nelson and Pete Wright to take on the great Next Reel Crossover with *Now You See Me* — a magical heist film of skeptic proportions. Director Louis Leterrier takes The Four Horsemen Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco and manufactures the epic stage show. Does it hold up to scrutiny? Is this finally the Morgan Freeman/Michael Caine match-up to end all Morgan Freeman/Michael Caine match-ups? Is Mark Ruffalo still super-angry all the time? All these questions, and the answer to whether or not *you* are the smartest person in the room on this week's Film Board. Listen in!

The Illusionist

shows@rashpixel.com (Rash Pixel) — Thu, 30 May 2013 07:06:41 -0700

2006 was quite the year for movies about stage magicians, and as our series continues, we've decided to focus solely on the 3 films dealing with prestidigitation that came out that year. Neil Burger's The Illusionist came out a few months before Christopher Nolan's The Prestige, but it dealt with an entirely different story. True, they both take place in the world of magicians, but while Nolan's film dealt with a strong professional rivalry, Burger's dealt with an unrequited love and the fight the two lovers struggle through to be together. Join us — Pete Wright and Andy Nelson — as we talk about The Illusionist and the magical year of 2006. We chat about the performances in the film — Edward Norton, Paul Giamatti, Rufus Sewell, and Jessica Biel primarily — and how they work for us. We chat about the nature of the ending of the film and how the nature of the end works — or doesn't. We discuss the actual magic tricks performed in the film, all based on actual tricks of the period, and how the CG embellishments actually may detract from the power of the story. And we talk about the cinematography and score and the strengths and weaknesses in them. We have a great time revisiting this film. Tune in!

The Prestige

shows@rashpixel.com (Rash Pixel) — Fri, 24 May 2013 08:00:32 -0700

Right after the amazing success of Batman Begins and right before the brilliance of The Dark Knight, Christopher Nolan switched gears completely and made a fascinating period piece about two rival magicians duking it out to be the best. The Prestige wasn't the most popular film of his but certainly garnered its share of positive acclaim and audience draw. Join us — Pete Wright and Andy Nelson — as we begin the next series on The Next Reel: this time, a series about films that deal with magicians. We start with what we feel is an absolutely amazing film — The Prestige. We talk about the nature of magic tricks as defined within the film — having the pledge, the turn and the prestige — and how the film itself is structured as if it's a magic trick. We discuss the fascinating characters portrayed by Hugh Jackman and Christian Bale and the nature of what their characters need to do in order to become the best. We chat about the nature of a film structured in a nonlinear style like this one is, how that ties into the original source novel by Christopher Priest, the nature of the unreliable narrator, and why it all works so well in a film about magicians. And we contemplate the nature of rivalry and how the film not only emphasizes that aspect of competition in everything done by the two principal characters but also by the real-life scientific duelists Thomas Edison and Nicola Tesla. The Prestige is a fascinating film that is meticulously structured in a deliberate way so as to create its own magic trick and get the audience every time. We find it extremely effective and have a great time watching it as well as talking about it this week. Check it out!

Marty

shows@rashpixel.com (Rash Pixel) — Fri, 17 May 2013 09:27:50 -0700

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!

The Hospital

shows@rashpixel.com (Rash Pixel) — Fri, 10 May 2013 07:49:49 -0700

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!

Network

shows@rashpixel.com (Rash Pixel) — Fri, 03 May 2013 11:27:47 -0700

It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!

The Outlaw Josey Wales

shows@rashpixel.com (Rash Pixel) — Fri, 26 Apr 2013 08:00:23 -0700

For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in!

Carrie

shows@rashpixel.com (Rash Pixel) — Fri, 19 Apr 2013 08:00:14 -0700

Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming writer at the time, Stephen King, and turning it into a very effective and frightening psychological horror film, De Palma created a classic that is nearly as effective (if a bit dated) as it was when first released. Join us -- Pete Wright and Andy Nelson — as we continue our 1976 series with Carrie. We talk about De Palma and his filmmaking style, particularly how he uses the film tools at his disposal to enhance the genre in which he's working as well as to explore the boundaries of what he can with the medium. We chat about the wonderful actors, from Sissy Spacek and Piper Laurie all the way to down to Edie McClurg, and how wonderful they all are, if not quite frightening in how they represent roles in our collective bad high school memories. We discuss the nature of the filmmaking style, balancing the worlds of innocence with that of horror — good versus evil. And we talk about some of De Palma's regular collaborators and what they bring to the table, from composer Pino Donaggio to art director Jack Fisk. It's a great horror film that has stood the test of time and we have a great time chatting about it. Tune in!

The Film Board Presents: 42

shows@rashpixel.com (Rash Pixel) — Sun, 14 Apr 2013 12:17:57 -0700

The Film Board gathers to take on this weekend's new release, "42". This Jackie Robinson biopic comes with some misgivings, not the least of which comes in writer-director Brian Helgeland's script. The Board is moved somewhere between "stark and emotionless" to "Lifetime Movie of the Week" with this entry into cinema baseball-dom, with a few noted highlights: Chadwick Boseman and Nicole Beharie offer stand-out performances in this otherwise middling sports fare. Join Andy Nelson, Steve Sarmento, Mike Evans, and Pete Wright for a conversation about baseball, great movie posters, and a little bit of Windows 8. Because of Andy.

Taxi Driver

shows@rashpixel.com (Rash Pixel) — Fri, 12 Apr 2013 08:00:40 -0700

We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene with Travis Bickle as the antihero in a gritty, grimy New York full of sex and violence, very much establishing Scorsese as a filmmaking force to be reckoned with. Join us — Pete Wright and Andy Nelson — as we discuss the fascinating filmmaking techniques Scorsese employs in making this film, taking elements of experimental filmmaking and mixing it with a vibrant and alive camera to create an amazingly visual film. We talk about the performances — Robert De Niro, Jodie Foster, Albert Brooks, Cybill Shepard, Harvey Keitel — and what the actors bring to the table. We chat about the nature of a film essentially about a psychopath and how that affects its audience, and in particular Pete who now hates himself for not liking the movie (despite still appreciating it). And we expound on the majestic score by Bernard Herrmann — his last — and what it brings to the film, even if Andy can't remember his name. We have a great conversation about the film with just the right amount of disagreements thrown in for your listening pleasure. Tune in!

Marathon Man

shows@rashpixel.com (Rash Pixel) — Fri, 05 Apr 2013 08:00:09 -0700

In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into Dustin Hoffman's teeth (the healthy ones because it'll hurt more, naturally). Join us — Pete Wright and Andy Nelson — as we start a new series digging into great films from 1976, a great year for cinema, and we start it off with Marathon Man. We chat about the tonal shift in films in the 70s (and mention the great documentary about 70s films, A Decade Under the Influence), and how that change affects this thriller. We discuss the nature of a world in crisis, where this film's world is after WWII, the psychology of people as passive witnesses, and the nature of paranoia itself and how all of these themes play important parts in the film. We chat about Hoffman, Roy Scheider (our favorite 70s actor), Olivier, Bill Devane, and Marthe Keller in the film, and examine what they bring to their performances, particularly in this grittier period of filmmaking. And we talk about the famous torture scene and how it holds up by today's standards. We're thrilled to be talking about 1976 and have a great conversation about this film. Check it out and tune in!

Gattaca

shows@rashpixel.com (Rash Pixel) — Fri, 29 Mar 2013 08:00:00 -0700

We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the four films from this series — Dark City, Sunshine, Moon, and Gattaca — together. We chat about the nature of science fiction films set close to where we are now and how those stories use the tools of science fiction to explore the dangers of where we could end up. We discuss the concepts of genetic manipulation as it is in the world of the film, what actual geneticists think of it, and what the filmmakers are trying to say. We talk about the great performances in the film, from Uma Thurman and Ethan Hawke to Alan Arkin to Xander Berkeley, and how they're all bringing great stuff to the table. We get into the look of the film, from the stunning production design and costume design to the marvelous cinematography, and how all of these elements came together to create an original future that certainly feels believable. And we look at the nature of being an original science fiction film and what that actually means — not just how it fits within the genre, but how those films tend to fare at the box office. It's a great film that poses interesting questions and certainly is worth watching and discussing. Tune in!

Moon

shows@rashpixel.com (Rash Pixel) — Fri, 22 Mar 2013 07:01:10 -0700

Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story that makes you think while also being a great story. Sure, it has its problems, but it's easy to forgive when it's as fascinating to watch as Moon is. Join us — Pete Wright and Andy Nelson — as we talk about it on this week's episode of The Next Reel. We talk about the low budget production of this film and what they were able to pull off to create a compelling piece of sci-fi. We chat about Sam Rockwell playing opposite Sam Rockwell, how well it works technologically-wise, how well he performs it, and what it means to the story. We delve into what the filmmakers are saying with this film and how well the message is pulled off. And we chat about the effects, both digital and physical, and how well they're blended. It's a great film, even with the issues that come up in Act 3, and one well worth talking about. Check it out!

Sunshine

shows@rashpixel.com (Rash Pixel) — Fri, 15 Mar 2013 12:41:13 -0700

We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most people seemed to never hear about or avoid as it was a big box office disappointment. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our series with this film. We talk about the fascinating discussions and explorations that arise out of this film regarding the nature of man vs. God as well as science vs. nature. We hash on the end of the film and why Andy has a problem with Danny Boyle's directing choices. We discuss the brilliant special effects and how they help the film ground us in the reality of this world and journey. And we throw in some scientific facts about the sun for good measure. It's an episode full of information, debate and fun. We have a great time talking about Sunshine. Watch the film and join us!

The Film Board Presents: Oz the Great and Powerful

shows@rashpixel.com (Rash Pixel) — Sun, 10 Mar 2013 20:40:06 -0700

The Film Board gathers to take on Disney's latest trip to the Emerald Kingdom. This week on the show, Steve Sarmento and Tom Metz join Andy and Pete to pull apart Oz The Great and Powerful, and pull it apart they do. Clumsy scripting? Trouble with the protagonist? Witches that can shoot lightening from their fingers throwing away everything because of a crush on a boy? All that, and we're still swept away by the magic of the final act. Listen in for why we think this is a great what-coulda-been film that ends up near the very bottom of our list.

Dark City

shows@rashpixel.com (Rash Pixel) — Fri, 08 Mar 2013 13:18:45 -0800

With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas created a fantastic and wholly unique science fiction film, Dark City, that unfortunately bombed at the box office but has since proven to be a cult hit in the after markets. This film, a neo-noir sci-fi with a very mysterious twist, follows a man with amnesia as he tries to uncover who he is, why nothing seems to make sense, and why he woke up at the scene of a murder. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we begin our Original Sci-Fi series with Proyas' Dark City. We talk about the nature of the world, a place of puppets and puppetmasters, and what happens when a puppet realizes the world it's in. We discuss the great cast — Rufus Sewell, Jennifer Connelly, William Hurt, and Keifer Sutherland in particular — and what they bring to the table. We chat about the stunning production design and effects, as well as the shadowy noir cinematography style. And we cover the script and how it seemed to come out at a time when many stories with this similar theme were being released, like The Matrix and The Thirteenth Floor. It's a great sci-fi and we have a great time talking about it. Tune in!

The Sandlot

shows@rashpixel.com (Rash Pixel) — Fri, 01 Mar 2013 08:05:00 -0800

There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certainly define childhood memories. Perhaps it's just that it was one of those things you did as a kid that helped shape who you would become. Regardless, David Mickey Evans tapped into this connection for 1993's The Sandlot, his directorial debut, and ended up creating a cult favorite that will stand the test of time because of it. This week, join us — Pete Wright and Andy Nelson — as we wrap up our current baseball series with this fantastic movie that tells a simple childhood baseball story yet seduces the audience into reconnecting with their own childhood. We talk about the nature of this story and how its episodic coming-of-age nature connects it to other great films like A Christmas Story and Stand By Me. We chat about the great cast and how these Sandlot kids really work well together as a group of friends. We discuss how the film really does seduce you, as Roger Ebert said in his review, "with its memories of what really matters when you are 12." And we hit on the interesting and opposing views of baseball that this film and our last film in this series, Moneyball, take. It's a very easy and enjoyable film to watch and we have a great time talking about it. Tune in!

Moneyball

shows@rashpixel.com (Rash Pixel) — Fri, 22 Feb 2013 08:00:24 -0800

It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manager Billy Beane decided to use a new statistical approach nicknamed moneyball to buy players, bucking all tradition within the game. The film was a critical and commercial success, and received numerous awards and nominations including 6 Oscar nominations. This week, join us — Pete Wright and Andy Nelson — as we begin this year's baseball series with this amazing film. We talk about the brilliant performances, from the key performances by Brad Pitt and Jonah Hill to the supporting performances by Robin Wright and Spike Jonze (and even Derrin Ebert!). We discuss Pete's fascination with the nature of moneyball and the use of statistics to essentially better control the destiny for a team, and how that balances with the unpredictable magic that happens in the game. We chat about the amazing Wally Pfister and what he brings to the table with his cinematography. And we also chat about the struggle the screenwriters had in getting the script adapted from Michael Lewis' nonfiction book, why the film took so long to get made and who had been involved at various points in getting it made. It's a deeply engrossing film that we love, and we have a great time talking about it. Tune in!

Prizzi's Honor

shows@rashpixel.com (Rash Pixel) — Fri, 15 Feb 2013 08:00:40 -0800

It's Valentine's Day, and what better way to end our current John Huston series than with his 1985 romantic mafia comedy, Prizzi's Honor? Huston was struggling with his health in the 80s but still a vibrant and essential director when he made this film that garnered 8 Oscar nominations. Join us — Pete Wright and Andy Nelson — as we celebrate love and death in this quirky film. We chat about what works and what doesn't with the performances in the film, particularly Jack Nicholson's and Anjelica Huston's, and how essential they are in a film with such a variety of characters like this film has. We discuss what Huston was trying to say with the film and how it fits into his body of work. We talk about the amazing crew and what they bring to the table as well as the kudos they received for their work. And we chat about the nature of the story — a mafia comedy — and what Richard Condon, who wrote the novel on which it was based, was saying with the story. It's a fun film and we have a great time talking about it. Check it out!

The Film Board Presents: Side Effects

shows@rashpixel.com (Rash Pixel) — Sun, 10 Feb 2013 20:47:04 -0800

The band is back together! And this month, the illustrious TNR Film Board gathers ranks to take on Steven Soderbergh's "final" film, "Side Effects". Haven't seen it yet? Don't worry, we'll spoil it for you, but it won't matter — you won't understand it anyway. Chadd Stoops, Steve Sarmento, Mike Evans, and newcomer Tom Metz join Andy and Pete to hash out just how Soderbergh this film really is, the overwhelmingly satisfying performances from the key actors throughout this complex thriller, and if "sleep murder" is a thing we should all be more concerned about, actually.

The Asphalt Jungle

shows@rashpixel.com (Rash Pixel) — Fri, 08 Feb 2013 08:00:45 -0800

When people list off caper films, it's a long list that comes to mind — Ocean's Eleven, Rififi, The Killing, The Ladykillers, Kelly's Heroes, The Italian Job, The Usual Suspects, even more recently Inception — but the film that really kicked it all off was 1950s masterpiece, The Asphalt Jungle. John Huston co-adapted W. R. Burnett's novel and turned it into one of his greatest directorial achievements, a story of a group of criminals working hard to pull off the perfect heist only to have everything fall apart in the end. It's not only the start of the caper subgenre, but also a master work of character development and taut filmmaking.

Join us — Pete Wright and Andy Nelson — as we continue our John Huston series with this fantastic film. We talk about how the film looks at the criminal's heist and how that balances with the character development. We chat about the amazing actors who bring the film to life — from Sterling Hayden to Marilyn Monroe. We discuss where the film fits in MGM's body of work and how it felt different for what the studio was churning out at the time. And we revel in the gorgeous black-and-white cinematography shot by Harold Rosson that gives the film a haunting, gray film noir vibe and helps define this jungle — this city beneath the city.

It's a film that quickly shot up our list of favorite films upon rewatching and is definitely worth talking about. Tune in!

Key Largo

shows@rashpixel.com (Rash Pixel) — Fri, 01 Feb 2013 08:31:18 -0800

In 1948, John Huston managed to crank out two of his most well-known films — The Treasure of the Sierra Madre, a masterpiece that received many accolades but took a while to warm up at the box office, and Key Largo, a noirish crime film that takes place during a hurricane on the Florida Keys which did great at the box office but didn't create a big splash in the awards circles. Join us — Pete Wright and Andy Nelson — this week as we continue our series about John Huston with Key Largo, a film that works in many aspects for us but doesn't work in others. We talk about the actors and what we think of their performances — Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, even an appearance of Jay Silverheels who most famously played Tonto on "The Lone Ranger." And we definitely don't forget to chat about Claire Trevor, a fantastic actress who won the film's only Oscar for Best Supporting Actress, along with why we felt she won that award. We discuss the origins of the script, how Huston and his co-writer Richard Brooks reworked the original material to create something with more political subtext, and how that works for us. And we talk about the film's relationships w/both the film noir genre as well as the crime genre, and how the cinematography really works advantageously to create vibes from these genres. It's a film that, while we like it, doesn't hold up as well this go around. That being said, it's still worth watching if you haven't seen it before, and it's fun to talk about. Listen in!

The Treasure of the Sierra Madre

shows@rashpixel.com (Rash Pixel) — Fri, 25 Jan 2013 06:24:44 -0800

It's a classic (and oft misquoted) line from one of the greatest films of all time, John Huston's classic film from 1948, "The Treasure of the Sierra Madre." This week, join us — Pete Wright and Andy Nelson — as we delve into this fascinating and tragic film, once considered a difficult film that received more praise from critics than it did from audiences at the time even though now it's considered one of the best films ever made. We talk about the fantastic trio of actors heading up the film—Humphrey Bogart, Tim Holt and the unforgettable Walter Huston—John's dad—who rightfully won an Oscar for his performance. We dig into the troubles of location shooting and why it was such a challenge back then. We talk about the nature of man and what the story is saying about what happens to men when large quantities of money (or in this case gold) come into play. And we chat about the mysterious B. Traven, author of the original novel, and the strange theories about who he really is. It's an absolutely fantastic film and one well worth talking about. Join us and listen in!

The Maltese Falcon

shows@rashpixel.com (Rash Pixel) — Fri, 18 Jan 2013 08:57:09 -0800

That's right, ladies and gentlemen, this week join us — Pete Wright and Andy Nelson — as we talk about one of the most unforgettable films in the history of cinema, "The Maltese Falcon." As a part of our periodic and ongoing John Huston series, this is a film we've looked forward to talking about for a great long while. We have a wonderful time discussing the importance of this film.

It's John Huston's directorial debut, the film that gave Humphrey Bogart his leading man status, and it's considered to be the first film in the film noir genre, a style known for its dark, gritty look; its cutting dialogue; its dark protagonist; and the lovely femme fatale. We talk about what marks this film as the first film noir. We discuss the brilliant dialogue in the film and how well the actors are suited to their parts, saying the dialogue so perfectly that it still zings today. We chat about the great cast and crew on the film and their contributions. And we talk about how edgy this film was for 1941, yet how that somehow still carries over today, keeping it relevant as a film even if its script wouldn't pass muster in today's Hollywood. It's a fantastic classic and a must-see, and we have a great time talking about it this week. Join us!

Zero Dark Thirty

shows@rashpixel.com (Rash Pixel) — Fri, 11 Jan 2013 23:09:53 -0800

Divisive before it even opened, Kathryn Bigelow's film Zero Dark Thirty depicts, in a very procedural way, the steps it took to find Bin Laden after the 9/11 attacks. While you can argue whether Bigelow should have received a Best Director nomination in the recent Oscar announcement, it's clear that she's a filmmaker at the top of her form making a film that tracks this decade-long manhunt through the eyes of one dedicated woman, and what it does to her in the process. It's a fascinating film and one that certainly is worthy all of the nominations and accolades it's currently receiving. Join us on this week's episode of The Next Reel as we — Pete Wright and Andy Nelson — close out our series on Bigelow with this amazing film. We talk about the context of this film in relation to what really did — or did not — happen, and how that affects audience members' interpretations of the events as depicted. We discuss the amazing performance by Jessica Chastain and the haunting portrait of Maya, the CIA operative behind this mission, as well as the rest of the crew the Bigelow brings on board, including screenwriter/producer Mark Boal, her partner on The Hurt Locker. We delve into the issue of torture as depicted in the film, how it's created a controversy, and what our opinions are on it. And we chat about the depiction and reality of the clinical (mostly) insertion of Seal Team Six into the compound, how well it was put together yet how surprised we were by how loud they were. It's a film that truly deserves its mark as one of the top films of the year and another definite high mark for Bigelow. We have a great time talking about it (and spoiling it heavily). Watch the movie then listen in!

The Hurt Locker

shows@rashpixel.com (Rash Pixel) — Fri, 04 Jan 2013 11:38:21 -0800

Kathryn Bigelow made a big change in her career direction as a film director when she made 2009's "The Hurt Locker." While it still had the adrenaline action sensibilities she displayed in her prior films, this film was less of a Hollywood action movie and more of an honest portrayal of soldiers in a war. This week on The Next Reel, join us — Pete Wright and Andy Nelson — as we delve into Bigelow's independent war film that made her the first woman to win a Best Director Oscar. We talk about how Mark Boal discovered the story while embedded as a journalist in the war and how well it works as a film, yet also is a script not structured in typical Hollywood fashion. We discuss the actors and what they bring to the table in what is ostensibly a psychological study of these characters. We chat about how the film was shot and what it does for the feel of the film. And we talk about the reception of the film and how disappointing it is that more people haven't seen it. Truly one of our favorites, we have a fantastic time talking about this film. Listen in!

Strange Days

shows@rashpixel.com (Rash Pixel) — Fri, 28 Dec 2012 08:00:20 -0800

Based on a dream James Cameron had in 1985, Strange Days came out in 1995 and strangely took place only 4 years in the future — during the 48 hours leading up to the year 2000. Cameron's ex-wife Kathryn Bigelow, helmed the film, bringing her skills at directing action to the forefront to create what at the time was a wild, mind-bending, noirish tale that looked at people in LA dealing with the latest "drug" craze — living other people's experiences through futuristic recording devices. Join us — Pete Wright and Andy Nelson — as we ring in the New Year with the first of our Kathryn Bigelow series on this week's episode of The Next Reel in which we talk about Strange Days.

We talk about what we thought of the film at the time and compare that with how we feel about the film now, noting how much the film doesn't hold up and how many problems it really had. We chat about the script and the vast amounts of expository dialogue and how clunky Cameron can often be when writing scripts. We discuss the performances, particularly Ralph Fiennes, Angela Bassett, Tom Sizemore, Vincent D'Onofrio and William Fichtner, and whether they were used effectively or not. We discuss the story elements that worked for us, notably the rape scene, and how effective it is yet how unfortunate it is that the team didn't focus solely on that element rather than force it to tie into the New Year's party story. And we praise the outstanding achievements Bigelow, DP Matthew Leonetti and their team of camera operators, stuntmen, technicians, etc. who worked hard to create — pioneer, really — the stunning work done on the POV shots throughout the film. It's a bit of a disappointment returning to it for us, but we have a great time talking about it. Tune in!

Christmas in July

shows@rashpixel.com (Rash Pixel) — Fri, 21 Dec 2012 15:05:20 -0800

Happy holidays, everybody! It's time for our annual holiday episode here on The Next Reel. This year, we — Pete Wright and Andy Nelson — are talking about a film that doesn't actually take place at Christmas time. In fact, it's a movie that doesn't even really have anything to do with the holiday except that the name's in the title. It's Preston Sturges' 1940 forgotten gem, "Christmas in July."

Okay, so it's full of the spirit of giving — therefore it still fits in our books as a holiday film. But it's also full of some of the best and zingiest dialogue that we've heard in ages. There's nothing like the crackling dialogue that Sturges writes, and he gets the right actors to deliver it. Join us this week as we talk about this wonderful (and brief) movie! We chat about the nature of satire in films of the time and how it came to be used, as well as who's writing the same biting satire today. We look at Preston Sturges and his wild up-and-down life. We discuss the themes of the film, from dealing with the poverty of the depression to the nature of belief in one's talent. And we enjoy laughing about the great and hilarious performances by the very talented cast. It's a simple, funny, earnest and joyous film that celebrates giving and believing in one self. We love it and know you will too. Listen in!

The Film Board Presents—The Hobbit: An Unexpected Journey

shows@rashpixel.com (Rash Pixel) — Sun, 16 Dec 2012 15:07:12 -0800

The Hobbit had landed in HFR 3D glory! Join us for this special episode of The Next Reel Film Board as we take on Peter Jackson's latest contribution to Middle Earth. This month's contributors Steve Sarmento and Chadd Stoops join Andy and Pete for a conversation on the tech, the tools, and the people that bring this beloved children's classic to life. Listen in!

The Fifth Element

shows@rashpixel.com (Rash Pixel) — Fri, 14 Dec 2012 08:00:45 -0800

There's something about the wacky sci-fi fantasy eye-gasm The Fifth Element that is very divisive. On one side, it's a bizarre, nonsensical, mess that hardly has a story worth talking about. On the other, it's groundbreaking in its visual effects, inventive in its production and costume design, and a romping, mind-numbing good time. While the characters who aren't weird muppet-y aliens would be better served by actually being cartoons, they're played by big-name actors who all get into their roles with undeniable fervor and relish. It's amazing how much of a mess the film is, yet a lot of people really dig it.

Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we conclude our Luc Besson series with this film that Pete really enjoys and Andy really doesn't. We talk about what doesn't work in this film, which is really a lot, yet how for so many, the film is still an utter joy to watch. We chat about all the actors, including Bruce Willis, Milla Jovovich, Ian Holm, Gary Oldman, and Chris Tucker, and what they bring to the table. We talk about the gorgeous visuals and how they really stood out at the time and still stand out as an amazing world created by a visionary director who knows how to craft images. And we talk about how this film came out of a 16-year-old Besson's imagination and really feels like that original vision he had is probably not too far from what we ended up seeing on the screen. It's an interesting mess and we have a great time talking about it. Listen in!

Léon: The Professional

shows@rashpixel.com (Rash Pixel) — Fri, 07 Dec 2012 08:12:49 -0800

It's the perfect description of the awkward yet touching relationship between a simple 40-something assassin and a wise-beyond-her-years pre-teen girl, and it's at the heart of our next pick in our Luc Besson series, his first foray into English-language cinema, 1994's Leon: the Professional, or more simply just Leon. Join us — Pete Wright and Andy Nelson — as we talk about this fascinating film that we both quite enjoy, a film that is possibly Besson's best.

We discuss the fascinating hitman story and what Besson brings to the table, including his Besson-isms that aren't as prevalent as they were in Nikita but still show their face. We deliberate on the difficult waters the filmmakers were treading when telling this love-story-buried-within-a-crime-story between Natalie Portman's Mathilda (in her first movie role) and a much older hitman (the always awesome Jean Reno). We talk about the amazing talent — Reno, the amazing turn of 12-year-old Portman, and the ridiculously over the top and meme-inspiring performance of Gary Oldman as a corrupt and evil DEA agent. We chat about the powerful cinematographic moments that Besson and his DP Thierry Arbogast used to capture a few of the most powerful scenes in the film. And we again wonder why Besson feels it necessary to continue employing a composer as bad as Eric Serra. It's a film that Pete has always loved and Andy only just recently realized he likes it a lot more than he thought, and we have a great time talking about it. Listen in!

Nikita

shows@rashpixel.com (Rash Pixel) — Fri, 30 Nov 2012 08:47:27 -0800

We're starting off our Luc Besson series with a film that fascinates us, even if it sometimes devolves into a cartoonish atmosphere. This week, we chat about Besson's 1990 film Nikita, or La Femme Nikita if you're so inclined. Join us — Pete Wright and Andy Nelson — as we start off this series with this Pygmalion-like tale of a young woman trained to be a government assassin.

We discuss what works and what doesn't in the performances, particularly focusing on Anne Parillaud's performance of the title character. We chat about Besson and what he brings to the table, for better or for worse. We talk about the nature of this French government assassin program and why it creates an interesting idea, though that is pretty ridiculous when you think about it too long. And we talk about the amazing visual style that Besson uses to tell this story, even if the script and the direction aren't always on par with it. He's a wild director and we have a wild romp in this, the first of our Luc Besson series. Listen in!

Drive

shows@rashpixel.com (Rash Pixel) — Fri, 23 Nov 2012 11:06:20 -0800

Ryan Gosling plays such a mysterious, quiet character in Nicolas Winding Refn's 2011 film, "Drive," that he's never even given a name — he's simply credited as Driver. The film has shades of noir and of 80s crime films, creating a dreamy neon quality interrupted by horribly violent outbursts that wake you up. It's a fascinating film that critics really took notice of when it was released. Join us — Pete Wright and Andy Nelson — as we talk about it in this week's episode of Movies We Like, wrapping up our Great Car Chase series.

We talk about the car chases in this film and what they bring to the story. We chat about Gosling as well as all of the other great actors, particularly Albert Brooks who's darker than we've ever seen him before. We chat about the camera used to shoot the film and what that brings to the table. And we mull over the violence as it's depicted in the film, and question what Refn could be saying by making it so violent. It's a great finish to a fun series. Listen in!

Ronin

shows@rashpixel.com (Rash Pixel) — Fri, 16 Nov 2012 07:49:38 -0800

One of John Frankenheimer's best films came late in his career — 1998's Ronin. A seemingly simple story about a group of mercenaries who take a job trying to get a mysterious case is twisted around with double-crosses and plot twists, and becomes a perfect example of Hitchcock's MacGuffin. Join us — Pete Wright and Andy Nelson — on this week's episode of Movies We Like as we continue our great car chase series. We talk about the great car chases in this film and how they were executed, as well as why Frankenheimer chose to film them the way he did. We discuss the script and the writers, most notably David Mamet, and how he ended up deciding to get credited as co-screenwriter under an alias. We chat about the great actors and what they bring to the film, yet how one of them never has felt right to us in his role, as great of an actor as he is. And we chat about the title of the film, the nature of ronin warriors, and what it means in context of this film. It's a great action thriller with amazing car chases and definitely a film worth talking about. Listen in!

The French Connection

shows@rashpixel.com (Rash Pixel) — Thu, 08 Nov 2012 19:30:56 -0800

It's our ONE YEAR ANNIVERSARY, everyone! That's right, we've been doing the "Movies We Like" podcast for one year now, and what better way to celebrate than with the next in our Great Car Chase series—William Friedkin's 1971 Best Picture Oscar-winner, "The French Connection." Join us—Pete Wright and Andy Nelson—as we celebrate one of our absolute favorite films. We talk about the fantastic car chase in this film and how Friedkin and his producer Philip D'Antoni—who also produced "Bullitt"—worked hard to come up with a way to kick it up a notch and create what is now regarded one of the best car chases in cinema history. We chat about Friedkin's documentary background and what he brought to the table, creating a gritty vibe and a new style of filmmaking that would change the nature of cop films for years to come. We discuss the fantastic performances all through the film—Gene Hackman, Roy Scheider, Fernando Rey, etc.—and how they tapped into this gritty realism by working with their real-life counterparts. We also, of course, talk about the real French connection case that this was based on, who was involved, how they helped with this film, and how the film and the real story differ. And we look at 1971's other cop films and Oscar nominees to see how this film compares. It's top-notch filmmaking and certainly a movie we like. We have a blast talking about it and hope you enjoy listening.

Bullitt

shows@rashpixel.com (Rash Pixel) — Fri, 02 Nov 2012 08:00:20 -0700

Steve McQueen was one of the coolest actors out there. He brought amazing performances to the screen time and time again. The Magnificent Seven. Papillon. The Thomas Crowne Affair. The Great Escape. The Getaway. The Sand Pebbles. The list goes on. In 1968, he played Frank Bullitt in Peter Yates' film Bullitt, and brought incredible realism, sensitivity and intelligence to the role of a San Francisco policeman. He also brought his desire to create realistic car chases, and because of this ended up a part the granddaddy of all car chases put on film.

Join us—Pete Wright and Andy Nelson—for this week's episode of Rash Pixel's "Movies We Like" as we begin our Great Car Chase Series with this fun film. We talk about what works in the film (performances, real locations, stunts) and what doesn't (the story). We chat about the great performers all through the film, as well as the amazing crew helping put it together. And we chat about the car chase, what it's done for the world of stuntwork, as well as what the cars were that were involved in the dramatic 10-minute chase. It's a fun chat starting us off in a new series. Listen in!

The Film Board Presents—Cloud Atlas

shows@rashpixel.com (Rash Pixel) — Mon, 29 Oct 2012 07:13:55 -0700

The Film Board gathers to take on "Cloud Atlas", the epic journey of a whole lot of Toms Hanks and Hallies Berry. Join Andy Nelson, Pete Wright, and Chadd Stoops as they share what worked, what didn't, and what makes this film a passionate, beautiful mess.

The Descent

shows@rashpixel.com (Rash Pixel) — Fri, 26 Oct 2012 07:56:07 -0700

"Hey, there's something down here."

These aren't words you want to hear when you're stuck on a spelunking trip, particularly when you find out that the "something" that's down here wants to eat you. That's what happens to the cast of six ladies on an adventure trip in Neil Marshall's 2005 film, "The Descent." It's the final episode in our month of horror series, and what a way to end! Join us—Pete Wright and Andy Nelson—as we talk about one of the greatest horror films of the last decade on this week's episode of Rash Pixel's "Movies We Like."

We chat about why this movie works so well, both as a horror movie and as a metaphor for someone descending into madness. We discuss the great cast and how well they work within Marshall's smartly written script. We talk about the crawlers, the monsters in the film, hypothesize their origins and discuss why they are so effective. We talk about the amazing look of the film (dark is the key word) and the haunting music. And we break down the two different endings and what the original/extended ending really adds to the film with its presence. It's a fantastic film and DEFINITELY a movie we like. Listen in!

Dawn of the Dead (2004)

shows@rashpixel.com (Rash Pixel) — Fri, 19 Oct 2012 09:11:44 -0700

"Is everyone there dead?"
"Yeah, in the sense that they all sort of fell down, and then... got up and... started eating each other."

Zack Snyder's 2004 "Dawn of the Dead" remake of George A. Romero's 1978 zombie classic may not be trying to say much, but it sure provides a good, fun scare. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series with this film. We talk about the differences between the original and this remake, what works in the remake and what doesn't. We talk about the great effects work, as well as Snyder and his career. We discuss the great actors in this film and the inherent problem of having too many characters for us to have to pay attention to, as well as what characters and relationships ended up being the ones we latched onto. We chat about the interesting connection Heather "A Nightmare on Elm Street" Langenkamp has to this film. And we talk about our favorite moments in the film—the ones that always work and create great zombie moments, regardless of how ridiculous they may be. It's a fun and scary film, and the penultimate in our month of horror movies. Listen in!

28 Days Later

shows@rashpixel.com (Rash Pixel) — Fri, 12 Oct 2012 11:06:01 -0700

"This is what I've seen in the four weeks since infection: people killing people, which is much what I saw in the four weeks before infection and the four weeks before that and before that as far back as I care to remember. People killing people."

Zombies had notoriously been slow entities—let's face it, the walking dead just don't move so fast. But then Danny Boyle came along and, with writer Alex Garland, injected the zombie sub-genre with speed in their film "28 Days Later." The zombies became fast creatures. And all the more terrifying because of it.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we continue our October Horror series by delving into this 2002 film that revolutionized zombie films to come. We talk about how the movie not only altered what people think of zombies and zombie movies, but also how the filmmaking style has since influenced countless low-budget horror filmmakers, including many who shoot projects in the first person film style. We chat about the great actors inhabiting the film, as well as some of the fabulous production people involved. And we also talk about the shift in the third act, how that works for us and really what the filmmakers are trying to say with the story taking the direction it does. It's a bloody and bloody brilliant film, and definitely a movie we like. Listen in!

The Thing

shows@rashpixel.com (Rash Pixel) — Thu, 04 Oct 2012 23:27:12 -0700

In 1982, John Carpenter's "The Thing" was released but had a tough time competing against other big sci-fi films released at the same time—E.T. the Extra Terrestrial and Blade Runner. It also was viewed by critics as being overly gory and wretched. With time, however, the film has gained a big cult following, big enough to warrant a prequel, a comic book series, a video game and a potential sequel. Now, it's considered by many to be one of the great horror films of all time.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" (our 50th!) as we start our October horror series with this fantastic film. We talk about why it's one of our favorites and the memories of seeing it for the first time. We chat about the amazing cast and the stellar "thing" designed by FX master Rob Bottin. We talk about Ennio Morricone's music and why this film has gained popularity over time, becoming such a staple in horror, and how that's lead to all of the subsequent spin-offs. It's a marvelous horror film and a great one to start our horror series. Listen in! Oh, and did you know that The Thing is regularly viewed by members of the winter crew down at the Asmundsen-Scott South Pole Station after the last flight out? How fittingly morbid of them...

Sweeney Todd: The Demon Barber of Fleet Street

shows@rashpixel.com (Rash Pixel) — Fri, 28 Sep 2012 08:00:12 -0700

"You are young. Life has been kind to you. You will learn."

With these words early on in Tim Burton's 2007 film adaptation of Sweeney Todd: The Demon Barber of Fleet Street, we instantly get a sense of the dark place that the character of Sweeney Todd, played marvelously by Johnny Depp, has come from. This isn't your typical happy-go-lucky musical. No, this is dark and bloody and beautifully grim. It's the perfect story for Burton and ends up being one of our favorite films of his, the final film in our Richard D. Zanuck series. Join us—Pete Wright and Andy Nelson—for this episode of Rash Pixel's "Movies We Like" as we delve into everything about this film.

We chat about the stellar performances by Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall and everyone else. We discuss the amazing Stephen Sondheim and the surprisingly long history of the story of Todd. We chat about the blood and the grand guignol style Burton uses for the film, but also about the melancholy and heartbreak present in the story. We bring up Depp's singing and what it does for the film and talk about the rain of blood in the title sequence and how it perfectly sets us up for the film. And, of course, we talk about Zanuck, his involvement in the film, and how challenging it was to get the film made. It's a horror and it's a marvel, and it's definitely a movie we like. Listen in!

Big Fish

shows@rashpixel.com (Rash Pixel) — Fri, 21 Sep 2012 11:14:43 -0700

"You know about icebergs, Dad?"

"Do I? I saw an iceberg once. They were hauling it down to Texas for drinking water. They didn't count on there being an elephant frozen inside. The wooly kind. A mammoth!"

The only thing better than a great story is a great storyteller, and Edward Bloom certainly fits the bill. Not a moment goes by in Tim Burton's 2003 film "Big Fish" when young Edward, played by Ewan McGregor, isn't living one of his fantastical stories or old Edward, played by Albert Finney, isn't spinning one of his wild yarns, and that's the hook that pulls us so readily into the film.

Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we dive into this quirky and personal story by Burton, the next in our Richard D. Zanuck series. We talk through things that work for us and things that don't within the film. We discuss screenwriter John August's role in bringing the film to light, latching onto it before Daniel Wallace's original novel that it's based on was even published, as well as what we think of August in general. We talk about Burton and his crazy, auteur style. We discuss the great performances in the film—McGregor and Finney certainly, but also Jessica Lange, Alison Lohman, Robert Guillaume, the late Matthew McGrory, Steve Buscemi... the list goes on and on. We chat about Danny Elfman's music for the film and his connection with Burton. And we also talk about Zanuck and how he came to the film with Burton after they worked on "Planet of the Apes" together. It's a touching film dealing with the relationship between parents and their children, and certainly a movie we like. Listen in!

Rush

shows@rashpixel.com (Rash Pixel) — Fri, 14 Sep 2012 09:33:35 -0700

"Pretty soon you be feeling all unnecessary."

In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, "Rush," a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).

Join us—Pete Wright and Andy Nelson—this week on Rash Pixel's "Movies We Like" as we talk about this financial failure for the Zanucks. We talk about the troubles with the script and how it may have been a better film if they stuck to the truth of the story it was based on. We chat about the actors, particularly the leads Jason Patric and Jennifer Jason Leigh, and how she really is the one who grounds the film, providing something to latch onto. There's also Sam Elliott and Max Perlich providing great moments and Gregg Allman looking very serious. We chat about the camera work, particularly the long shots that Lili uses periodically, and how they work for the story. And we discuss where this falls in the Zanuck line-up and where they go from here.

Despite the movie not being everything we remember from 1991, we have a great time talking about it. Listen in!

Driving Miss Daisy

shows@rashpixel.com (Rash Pixel) — Fri, 07 Sep 2012 09:00:20 -0700

Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars.

But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what's wrong with the Oscars because it came out the same year as Spike Lee's Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.

Regardless of your position on which is the better film or which should have won, Bruce Beresford's film Driving Miss Daisy, written by Alfred Uhry based on his Pulitzer prize-winning play, is a beautiful, simple, and sweet story of two people who are the most unlikely to develop a friendship, yet they do just that. And it's heartwarming.

Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's Movies We Like as we discuss the amazing performances — Morgan Freeman, Jessica Tandy, and Dan Aykroyd are all fantastic. We chat about what the film is saying about race and look at in context of the 25 years over which the story takes place. We look at the films it was up against at the Oscars that year (as well as those that weren't nominated). And we discuss the amazing or horrible Hans Zimmer music, depending on your taste for his 80s synthesized scores. It's a discussion that ranges all over the map as we talk about this wonderful film, the fourth in our Richard D. Zanuck series. We have a great time talking about it, and hope you have a great time listening to it. Listen in!

Jaws

shows@rashpixel.com (Rash Pixel) — Fri, 31 Aug 2012 07:45:57 -0700

"I used to hate the water."

"I can't imagine why."

When someone says the word 'jaws' to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg's 1975 thriller masterpiece. It's hard to imagine a time when the word 'jaws' didn't do this. But that's what Spielberg's film "Jaws" did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean.

Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we chat about this film, the next in our Richard D. Zanuck series. We talk about why this film works so well and how it tapped into people's natural fears. We discuss the unfortunate repercussion this film had on people's understanding of sharks and how Peter Benchley, the author of the book and co-screenwriter, now wishes he hadn't written the book for that very reason. We talk about the great cast headed up by Roy Scheider, Richard Dreyfuss, and Robert Shaw, and what they bring to the table as well as the technical mastery the crew added to this film, from the amazing cinematography to the sound and, of course, John Williams' unforgettable score. And we discuss the amazing new Blu-ray that Universal just released, creating a finished product that looks like it could have been shot yesterday. It's one of the greatest films out there and well worth talking about. Listen in!

The Sting

shows@rashpixel.com (Rash Pixel) — Fri, 24 Aug 2012 08:32:43 -0700

After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written -- David S. Ward's "The Sting" -- got George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes "The Sting" great. We chat about David S. Ward's amazing script and why it works so well, as well as the world of con men and how this film does such a stellar job of welcoming us into this world. We talk about George Roy Hill and what he brings to the table, particularly with Newman and Redford, two amazing actors with whom he worked a few years earlier in "Butch Cassidy and the Sundance Kid." We discuss the rest of the team and their invaluable contributions as well as the 7 Oscars the film took home for those contributions. And we revel in the amazing Scott Joplin ragtime tunes that fill the film from beginning to end, wonderfully arranged by the late, great Marvin Hamlisch. It's a fantastic film -- one of our favorites -- and one that really put Richard D. Zanuck on the map as an independent producer in his own right, helping him get out from under his father's immense shadow. Listen in!

Compulsion

shows@rashpixel.com (Rash Pixel) — Thu, 16 Aug 2012 23:50:58 -0700

"Murder's nothing. It's just a simple experience. Murder and rape. Do you know what beauty there is in evil?" It's the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959's "Compulsion." Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule. It's a fascinating story about two young geniuses who are convinced they can commit the perfect crime and they do -- except one of them accidentally drops his glasses at the scene of the crime. The true story is horrifying, and it's equally so in this honest film depiction. With neither of us having seen this film before preparing for this episode, we stumbled upon a rare gem that deserves more viewers. We chat about the incredible cast headed up by Dean Stockwell and Bradford Dillman as the two murderers, Orson Welles as their lawyer, E.G. Marshall as the DA prosecuting them, Gavin MacLeod as his assistant, and Diane Varsi and Martin Milner as the friends caught up in the whole mess. We discuss Fleischer and what he brought to the table, along with William C. Mellor, the DP. We also discuss the interesting homosexual and sadomasochistic subtexts the film broaches, as well as rape and capital punishment, which for 1959 was a pretty big deal. It's an amazing film to stumble across and the perfect start for our Richard D. Zanuck tribute series. Check the movie out on Amazon and listen in!

The Film Board Presents—The Bourne Legacy

shows@rashpixel.com (Rash Pixel) — Sat, 11 Aug 2012 23:35:11 -0700

Join the goodly Chadd Stoops, Mike Evans, Steve Sarmento, Andy Nelson, and Pete Wright to talk Bourne. We talk Chaos Cinema. We talk Jeremy Renner and the Brothers Gilroy. At one point, Steve gets so mad he disappears. And then Andy overloads the Internet. Finally, we talk about The Hobbit and the 48 fps wonder 3D future in store for us all. So if you missed the live chat, check out the previously live recording of The Film Board for August 2012!

The Bourne Legacy

shows@rashpixel.com (Rash Pixel) — Sat, 11 Aug 2012 09:05:32 -0700

"Jason Bourne was just the tip of the iceberg."

We always knew there were other operatives out there, and when the producers couldn't get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who's been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, "The Bourne Legacy."

Tony Gilroy opens up the world of these supersoldier spies and builds on the already complex levels of secret government programs to bring us another operative from one of Treadstone's sister programs. This time, it's Aaron Cross played with intensity and intelligence by Jeremy Renner. Join us—Pete Wright and Andy Nelson—on this week's episode of Rash Pixel's "Movies We Like" as we delve into the complex and globetrotting story.

We discuss what the new actors to the franchise—Renner, Rachel Weisz, Edward Norton, and Stacy Keach—bring to the table. We talk about the fascinating way Gilroy makes a film that actually takes place in parallel to "The Bourne Ultimatum" and how that enhances the size of this universe. We chat about the stunts and chase sequences in the film and how the work and don't work, and we cover the elements that work for us as well as those that don't. On the whole, it's a great entry into the Bourne franchise and one that we're happy to talk about. Listen in!

The Bourne Ultimatum

shows@rashpixel.com (Rash Pixel) — Fri, 03 Aug 2012 12:16:07 -0700

"You start down this path, where does it end?" "It ends when we've won." Frightening words coming from a CIA agent more intent on keeping his team's illegal program under wraps than in saving American lives. And that's the man intent on preventing Jason Bourne from learning about his past, because that man, Noah Vosen -- played wonderfully by the ever-brilliant David Strathairn -- knows it will lead to his own downfall. It's time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it's not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It's a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we -- Pete Wright and Andy Nelson -- talk about it this week on Rash Pixel's "Movies We Like!" We chat about Jason Bourne's and Matt Damon's character growth/performance over the course of these three films and how it matures. We discuss the nature of the camerawork and how it seems to get progressively shakier as the series progresses. We discuss the top notch editing and stuntwork in this film. And we talk about its place in the Bourne franchise. We have a great time discussing this film as we lead up to the release of The Bourne Legacy. Join us!

The Bourne Supremacy

shows@rashpixel.com (Rash Pixel) — Fri, 27 Jul 2012 07:51:30 -0700

"Word in the ether was you'd lost your memory."

Jason Bourne's back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we're covering the 2004 film, "The Bourne Supremacy", the second in the Bourne franchise. Paul Greengrass took over as director after Doug Liman's struggles with the studio brass on the first film, and he does a bang-up job -- quite literally, in fact. He brings a much more in-the-action style to the story, making it feel like you're in the fights with Jason Bourne. Or for some people, just making them nauseated -- there's a reason some people call this style "queasicam". Join us as we -- Pete Wright and Andy Nelson -- talk about the movie this week on Rash Pixel's "Movies We Like". We discuss the directing styles of Greengrass vs. Liman and the cohesiveness of the two styles in the series. We chat about the amazing stuntwork and how it really brings a level of reality to the story. We cover the amazing actors and performances in the film, as well as talk about the amazing crew who brought it all together. We talk more about Bourne versus Bond. We discuss the complicated plot twists in the overall story, even if they don't entirely work. And we also give props to a few people we forgot to mention in the last episode, other key players who helped make "The Bourne Identity" what it was. Listen in!

Late Night G+ Hangout—The Dark Knight Rises

shows@rashpixel.com (Rash Pixel) — Sat, 21 Jul 2012 23:59:37 -0700

The Board Gathers! In this week's special Movies We Like Google Hangout, Andy Nelson and Pete Wright are joined by regulars Chadd Stoops and Steve Sarmento to talk through the final chapter in Christopher Nolan's contribution to the Batman universe: The Dark Knight Rises.

This is the audio version of this MWL Special. For the full video of our conversation, visit http://rashpixel.co/Oe4NVd.

The Bourne Identity

shows@rashpixel.com (Rash Pixel) — Thu, 19 Jul 2012 23:28:12 -0700

"I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?"

This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman's 2002 film, The Bourne Identity. Born from Robert Ludlum's classic spy thriller, this movie came out a time when the spy film genre was feeling a little... overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story. Join us—Pete Wright and Andy Nelson—as we build to the upcoming The Bourne Legacy with this week's episode of Rash Pixel's Movies We Like. We chat about the Bourne series and Robert Ludlum who created it. We discuss the theory of the modern action filmmaking style, Chaos Cinema, and how it plays into the series. We also touch on this film as compared to the James Bond film of the same year, Die Another Day. It's a fun film and well worth watching. Join us as we begin digging into the empty pockets of Jason Bourne's mind!

The African Queen

shows@rashpixel.com (Rash Pixel) — Fri, 13 Jul 2012 08:14:58 -0700

"What a time we had, Rosie. What a time we had." This week on Rash Pixel's "Movies We Like," we're finishing up our far-too-short series on cinematographer Jack Cardiff with the wonderful 1951 film, "The African Queen". John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn't be done -- shooting a story on location about two characters typically considered much too old for a love story -- John Huston proved them wrong. His choice of Jack Cardiff as cinematographer goes a long way in showing all of the reasons why shooting in Africa was right for the story, and his decision to cast Humphrey Bogart and Katharine Hepburn as Charlie Allnut and Rose Sayer allowed the story to be played authentically by actors who knew what they were doing and made it real. The film went on to earn buckets of money, critical praise, and award recognition. It's truly a film that has stood the test of time as well, and we -- Pete Wright and Andy Nelson -- have a great time talking about it. Join us as we talk about Jack Cardiff's role in making cinematography what it is today. We chat about the rough time everyone had on the production, not to mention the pre-production. We discuss the story and the wonderful actors in it, and we talk about why it still works so well. It's a fantastic film and we love talking about it. Listen in!

The Red Shoes

shows@rashpixel.com (Rash Pixel) — Thu, 05 Jul 2012 12:06:57 -0700

"You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never." And thus sums up the battle within Michael Powell's and Emeric Pressburger's 1948 film, "The Red Shoes" -- the battle between love and art. Can the two exist together? Or will one always win out and destroy the other? It's a fascinating question posed in a beautiful and sumptuous film that we -- Pete Wright and Andy Nelson -- talk about this week on Rash Pixel's "Movies We Like." Join us as we talk about the movie and what it's come to mean in the world of film. We talk about the fans of this film, particularly Martin Scorsese, and how they came together to restore this film into the mindbogglingly gorgeous version we have today. We chat about the amazing performances led by Anton Walbrook as the dark and controlling ballet impresario and Moira Shearer as the prima ballerina torn between love and dance. We discuss the amazing look of the film, focusing primarily on Jack Cardiff's stunning 3-strip technicolor cinematography. We talk about the realism and how it turns almost magical after the ballet of the Red Shoes midway through the film leading us to the inevitable and heartbreaking conclusion. And we talk about the nature of Hans Christian Andersen's original fairy tale and how it enhances and defines this film. It's an amazing film to watch. Join us this week as we catch up on this classic!

Up in the Air

shows@rashpixel.com (Rash Pixel) — Thu, 28 Jun 2012 19:53:35 -0700

"We are here to make limbo tolerable, to ferry wounded souls across the river of dread, and to point where hope is dimly visible. And then we stop the boat, shove them in the water and make them swim." This week, ladies and gentlemen, we -- Pete Wright and Andy Nelson -- talk about Jason Reitman's third, and arguably best, film: 2009's Up in the Air. It's an amazing film that deals in a heavy issue of our time -- the economic downturn and widespread downsizing. What's even more amazing is how the film ends up, for the most part, leaving you with a feeling of hope. Sure, there are tragic elements, but overall, it's the message of connection with others that resounds by the film's end. Join us this week as we chat about all the great performances in the film led by George Clooney, Vera Farmiga, and Anna Kendrick, as well as the amazing technical hands working behind the scenes. We talk about the unique decision to cast all those let go in the film with real-world people who had, in fact, recently been let go. And we cover the themes of the story and what Reitman and before him Walter Kirn, upon whose 2001 novel the film is based, are getting across in the film. It's a beautiful film, well deserving of all the accolades it received upon its release. Connect with us this week as we talk about it!

Thank You For Smoking

shows@rashpixel.com (Rash Pixel) — Thu, 21 Jun 2012 22:29:53 -0700

"Michael Jordan plays ball. Charles Mason kills people. I talk. Everyone has a talent." It's a movie about spin and the spin doctors who spin it -- Jason Reitman's fantastic 2006 satire Thank You for Smoking. Join us -- Pete Wright and Andy Nelson -- as we talk about it this week on Rash Pixel's Movies We Like. It's a fantastic film and we both love it. We chat about how the film was received and what people likely thought when comparing it to the book it was based on -- the 1994 novel of the same name by Christopher Buckley. We talk about the nature of satire and the nature of spin. We chat about the role the son plays in this film and the direction -- if any -- that Nick Naylor grows as protagonist (or is he an antihero?). And we chat about how Jason Reitman, Ivan's son, managed to get this -- his first -- film made. It's an absolutely fabulous film, especially as a first film, and we have a great time talking about it this week. Join us!

Prometheus

shows@rashpixel.com (Rash Pixel) — Thu, 14 Jun 2012 23:06:57 -0700

"Big things have small beginnings."

Well, not when envisioned by Ridley Scott and written by Jon Spaihts and Damon Lindelof. "Prometheus," the non-prequel to "Alien" is anything but a small beginning to this universe and, while ambitious, leaves us with a lot of unanswered questions and problems that shouldn't have been there in the first place. It's a frustrating film to talk about, movie lovers, but one that we have a great time discussing. Join us -- Pete Wright and Andy Nelson -- in this week's episode of Rash Pixel's "Movies We Like" as we really dig into this film and discuss everything about it, from the stunning visuals to the problematic script. We talk about the team who put together these visuals and who rightfully should all receive numerous accolades. We talk about the cast, particularly the stand-out performance of Michael Fassbender as David. We also look at his relationship with the other androids in the Alien anthology. We chat about the fundamental script problems in this film and the trickle-down effect they have on the rest of the film. We also talk about how, despite those problems, the script and the film still pose some fascinating questions that are worth talking about long after the film's been watched. It's a fascinating film, albeit problematic, and one worth discussion -- preferably over a slice of pie -- so join us this week on "Movies We Like" to listen in!

Alien: Resurrection

shows@rashpixel.com (Rash Pixel) — Thu, 07 Jun 2012 23:33:33 -0700

It's the end of our conversation about the Alien anthology, ladies and gentlemen, and this week, we discuss Alien: Resurrection, a tough film to watch and an unfortunate end to the anthology (that took a further unfortunate turn by leading the franchise into the Alien Vs. Predator films). And while it's a hard to film to categorize as a movie we like, we still have a great conversation about what worked, what didn't, and a great many other things tangentially (or not) related to the franchise. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we chat about the great actors, the director, the writer, and others on the crew who we love but who somehow ended up tied into this mess. We chat about our overall thoughts of the anthology, how we think it ties into Prometheus and the nature of making films that take place in the same universe but don't tie together necessarily (Marvel, anyone?). Finally, we touch on some fun bits of trivia from the franchise. It's a fun conversation about a movie that doesn't really work but that had a lot going for it. Listen in!

Alien 3

shows@rashpixel.com (Rash Pixel) — Fri, 01 Jun 2012 10:00:45 -0700

"When they first heard about this thing, it was 'Crew Expendable'. The next time, they sent in marines. They were expendable too. What makes you think they're gonna care about a bunch of lifers who found God at the ass-end of space?" The third time may not be a charm for the Alien anthology, movie lovers, but it turns out to be a better film than many people gave it credit for back in 1992. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we talk about David Fincher's first film, Alien 3 (also conveniently and belatedly finishing up our Benjamin Button-style Fincher Fest). In this episode, we talk about what we thought of the film back then versus what we think now. We chat about the immense script and production problems this film went through all along its journey to theaters, and also talk about what was cut out and eventually put back into the 2003 Assembly Cut. We talk about the troubles David Fincher had, yet contrast that with what he was still able to get up on screen. We hash through the special effects, discussing how great they were back then but how they certainly haven't aged well. We touch on the fantastic cast and debate whether there was enough new story for the Ripley character to play out in this or if she'd already run her course. We talk about the budget and how, even with all of its immense overages, the film still managed to rake in a healthy chunk of dough. We touch on Elliot Goldenthal's music, creating a haunting, eerie score that fits the film well. And are you curious as to what Meryl Streep's connection is to this film, movie lovers? Listen in to find out!

Aliens

shows@rashpixel.com (Rash Pixel) — Fri, 25 May 2012 11:00:40 -0700

"Game over, man! Game over!" There are few sequels that can stand up to the originals as well asAliens can to its predecessor, and it's clear that we -- Pete Wright and Andy Nelson -- really like this film. Join us this week on Rash Pixel's "Movies We Like" as we talk about why we truly like this film and what it means to us. We chat about the relationship this 1986 James Cameron film has with Ridley Scott's original Alien, how Cameron got the job to do it and what his vision for the film was. We also talk about the differences between the original cut and the director's cut that came out under a decade later. We chat about the amazing cast, the incredible crew, and the ALIENS -- damn, they're impressive in this film. We talk about the lengths Cameron, Stan Winston and the rest of the team went to so that they could create what appears to be hundreds of aliens, and none of them moving like they're just a man in a costume. We talk about the nature and possible controversy of the Alien Queen, and how the addition of the character messes up the intentions of the additional footage in the Alien director's cut (if it does at all). We also talk about why this film works so well and how it fits as a partnership pairing with the first film. It's a great movie and we love talking about it this week on "Movies We Like!" Listen in!

Alien

shows@rashpixel.com (Rash Pixel) — Fri, 18 May 2012 06:54:04 -0700

"You still don't understand what you're dealing with, do you? A perfect organism. Its structural perfection is matched only by its hostility." This week begins our journey into the Alien franchise, dear listeners, which ends with our discussion of Prometheus on June 15th. We start with the amazing beginning of it all, 1979's Alien. Ridley Scott and his team -- from the writers Dan O'Bannon, Ron Shusett, Walter Hill and David Giler, to the incredible production design of H.R. Giger, Ron Cobb and Michael Seymour, to Jerry Goldsmith's haunting and terrifying score, to the incredible performances led by Sigourney Weaver, to the amazing sound editing by Jim Shields, to the cinematography by Derek Vanlint -- took the science fiction and the horror genres and found a way to merge them in a way that redefined both those genres as well as many cinema conventions aftrward. It's a stunning film and one we're happy to talk about with you. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we discuss the origins of the story as well as the importance of bringing H.R. Giger on board. We chat about what this film did for its two genres (and we don't even mention how much it still influences sci fi and horror films to this day -- anyone remember who did the voice of Mother in WALL-E?). We cover the amazing cast and their roles in all of the pivotal scenes that stand out still to this day. We chat about the battles between Jerry Goldsmith and Ridley Scott over the score, and more. Listen in!

Field of Dreams

shows@rashpixel.com (Rash Pixel) — Fri, 11 May 2012 08:00:10 -0700

It's the end of our baseball series, movie fans, and what a better way to end it than by talking about Phil Alden Robinson's fantastic fantasy film from 1989, "Field of Dreams." Considering Pete's disdain of Kevin Costner (at least in Bull Durham), it's a refreshing surprise to hear that he really likes this movie. On the other hand, it's a bit disturbing to hear Andy talk about why he loves it so much. Regardless, it's clearly a great movie with a fascinating script about a character who is a grownup on a hero's journey to becoming a man. Powerful stuff. Join us -- Pete Wright and Andy Nelson -- this week on Rash Pixel's "Movies We Like" as we discuss the great Oscar-nominated script by Robinson and why it has such an interesting structure, setting us up right out of the gate for this fantasy world we're in. We talk about the mythos it creates, both in the film and in the real world. And we chat about the crew, the great actors and James Earl Jones' amazing speech. It's one worth talking about, so listen in! In addition, we touch on the amazing week The Avengers has had and what it could mean for Joss Whedon. We also discuss Captain America's possible strange tie to Ronald Reagan. We discuss some pretty-bad-but-entertaining-nonetheless movies, and we talk about the possibility of maybe doing an episode in the future using Google+ hangouts. It's a great week! Come on in!

Bull Durham

shows@rashpixel.com (Rash Pixel) — Fri, 04 May 2012 09:37:02 -0700

"Man, that ball got outta here in a hurry." It's time for more 80s baseball movies, ladies and gentlemen! This week, we're talking about Bull Durham, Ron Shelton's 1988 tribute to the minor leagues. If there ever was a film to compare religion to baseball to sex, this would be that film. Join us -- Pete Wright and Andy Nelson -- as we talk about what works (the script), what doesn't (the actors, at least two in particular for Pete), and why this film goes down in the pantheon of greatest sports films made. Aside from Pete's problems with Susan Sarandon in this film and Kevin Costner in most films, we discuss the great Tim Robbins and how much he's really bringing to the table as "Nuke" Laloosh. We discuss Ron Shelton, how he got to the point where he was able to make this film, and where he is now. We also chat about where this film fits as far as genre and what Shelton's really doing with this film -- it's much more a character piece than a story about a team trying to win the big game (or a romantic comedy sports movie -- romcomspofi -- as Wikipedia claims). While we're at odds about the43 acting, we both think the script is solid, and are happy to discuss it this week. Listen in!

Major League

shows@rashpixel.com (Rash Pixel) — Fri, 27 Apr 2012 07:51:42 -0700

"Juuuuust a bit outside." That's right, ladies and gentlemen -- we're switching things up a bit this week on Rash Pixel's "Movies We Like" -- instead of "Bull Durham" as promised, we're pulling a switcheroo and flipflopping that with 1989's baseball comedy classic, "Major League." Sure, it's a bit dated, but man, it's still a fun and funny film. Join us -- Pete Wright and Andy Nelson -- this week as we talk about this comedy gem from David S. Ward, Academy Award-winning writer/director. We jaw about the importance of casting actors who know how to play the game -- and how it's not just something they can "act" their way through. We chat about the backgrounds of Ward and his all-star (at the time) cast as well as discuss Ward's lifetime love of the Cleveland Indians and why he chose to write and direct this movie. We talk about the Indians and their long and sordid history (and yes, Andy even works his great-great uncle back into the conversation). And we discuss why this film still works so well, but also why some of it doesn't work, namely the music that dates it. It's a blast to reconnect with old memories and talk about this movie again. Listen in, baseball and baseball movie lovers!

The Natural

shows@rashpixel.com (Rash Pixel) — Fri, 20 Apr 2012 09:00:06 -0700

Baseball. Just like apple pie, it's an intrinsic part of America. Movies about baseball, on the other hand, didn't really become popular forms of entertainment until 1984's "The Natural", which is what we're talking about this week on Rash Pixel's "Movies We Like" podcast. Join us -- Pete Wright and Andy Nelson -- as we expound on the mythos of this film and what makes it so great. Is it the amazing (and surprisingly dark) source material written by Bernard Malamud? Or the brilliant performances headed up by Robert Redford? The stunning and timeless score by Randy Newman? Or is it the nature of the game itself? It's hard to say, ladies and gentlemen, but we cover all of it. We talk about the amazing and Oscar-nominated cinematography and art direction. We talk about what makes baseball movies great -- possibly better than other sports movies as a whole (except Caddyshack). We chat about how Barry Levinson and his team came together to make this, the first film for Tri-Star Pictures, a brand new studio (until Sony swallowed it up). We touch on the history of baseball movies, and even mention Andy's tie to the history of the sport itself (even if he can't get his facts straight). It's a wonderful film about a true hero's journey that can make grown men cry. It's a great film to kick off our 80s baseball movie series. Listen in!

Joe versus the Volcano

shows@rashpixel.com (Rash Pixel) — Fri, 13 Apr 2012 09:00:07 -0700

What does a flibbertigibbet, bubaru, a set of artificial testicles, a luggage salesman, a brain cloud, and a volcano hungry for human sacrifices have in common? They're all part of the vastly underrated and misunderstood existential comedy from 1990, Joe Versus the Volcano. A film much beloved by Pete Wright and Andy Nelson, join them as they chat about it this week on Movies We Like. They'll talk about what the film is really all about and why it may have not connected with audiences when it came out. They'll hash through the plot and all its fine points, discussing the amazing writer/director John Patrick Shanley, as well as all the wonderful performances led by Tom Hanks and Meg Ryan. They'll talk about Bo Welch's amazing production design and Georges Delerue's beautiful score (along with all the stellar songs used throughout). And they'll discuss the problems the script and film have, particularly in the 3rd act. Despite those problems, it's a standout film with a message about not sleeping through life but standing up and taking a leap of faith. Andy and Pete love it and challenge you to revisit it with a fresh mindset this week. Listen in—you may walk away with a new favorite movie!

All the President's Men

shows@rashpixel.com (Rash Pixel) — Fri, 06 Apr 2012 08:00:32 -0700

And thus begins the twisted journey, movie fans, that Woodward and Bernstein have to take to track down the truth behind one of the biggest scandals our country has ever faced, which led to the President's resignation. This week on Rash Pixel's "Movies We Like", join us—Pete Wright and Andy Nelson—as we talk about the third film in Alan J. Pakula's unofficial paranoia trilogy.

The Parallax View

shows@rashpixel.com (Rash Pixel) — Fri, 30 Mar 2012 07:32:34 -0700

We're neck-deep in conspiracy this week, movie lovers, as we're talking about one of the 70s great conspiracy theory thrillers -- Alan J. Pakula's The Parallax View from 1974, the second film in his unofficial paranoia trilogy. It's dark, it's full of paranoia, and it's got a crazy montage film in the middle that's possibly being used by a secret government organization that's trying to determine if you're good material for an assassin. Join us -- Pete Wright and Andy Nelson -- on this week's episode of Rash Pixel's "Movies We Like" as we rattle on about the nature of paranoia and conspiracy, and how this film so brilliantly plays into them. We'll talk about how the film was designed to put people in large environments, giving a sense that these characters have no power in this world. We'll talk about the nature of voyeurism and how the way the film is shot plays into this as well, which also plays well into the role of the Parallax Corporation in the story. And we, of course, talk about the montage in the middle of the film and what it's doing there. It's a fantastic -- and not really dated -- film that's worth talking about. Listen in!

Klute

shows@rashpixel.com (Rash Pixel) — Fri, 23 Mar 2012 14:43:37 -0700

Hey, movie lovers! We're taking a leap back to the 70s with this next series—Alan J. Pakula's paranoia trilogy. First up, 1971's "Klute," a dark and gritty character study/thriller about a small town detective trying to get information from a call girl about his missing friend. Join us this week as we talk about this fantastic film! We chat about the nature of 70s films and why they feel so dark and gritty. We talk about the amazing and dark cinematography of Gordon Willis. We discuss the nature of paranoia in the 70s and how this film plays into it, whether through the script, the acting, the directing, or the cinematography. And we talk about the performances, particularly Jane Fonda's Oscar-winning turn as Bree Daniels. She stands out in this film so much that we didn't give enough kudos to the brilliantly underplayed performance by Donald Sutherland in the title role. It's a great film that stands out as a movie we like (and tying it into previous podcasts, it's one of David Fincher's faves as well). So check out the movie and listen in!

Hot Fuzz

shows@rashpixel.com (Rash Pixel) — Fri, 16 Mar 2012 09:00:59 -0700

Helllooooooo! Tonight, we're talking "Hot Fuzz", the perfect comedy homage to every cop action film ever made! The second and last film made thus far in the Three Flavours Cornetto Trilogy, this film was again written by Simon Pegg and Edgar Wright, directed by Wright and starring Pegg. Join us as we talk about the fantastic filmmaking style that Wright brings to this film, particularly the ever-so-perfect Tony Scott-style series of shots, which we aptly name the "Jiggly Monkey". We also faun over the stellar cast, particularly the Daltonator in all his 'stache glory. We chat about the intense over-the-top violence and how it works in the film. We discuss the nature of parody or spoof films vs. homage films, and we rattle off all the cliches that this film employs so perfectly. It's an action film that features the shortest car chase in film history, a cuddly monkey and a Japanese Peace Lily, with a bit of impaling thrown in for good measure. Listen in! And by the way, did you know that NASA named the Japanese Peace Lily one of the top 10 air cleaning plants? Good to know.

Shaun of the Dead

shows@rashpixel.com (Rash Pixel) — Thu, 08 Mar 2012 20:00:12 -0800

Hellooooooo! Time for a break from all those heavy films, movie fans. Tonight, join Pete and Andy as we discuss the first of the Three Flavours Cornetto Trilogy (despite the fact that there are only two films thus far). Yes, we're going to be chatting about Edgar Wright's hilarious ode to zombie cinema, "Shaun of the Dead," a film he co-wrote with star Simon Pegg. It's a hilarious film that also works wonderfully as an homage to every zombie convention you can imagine. We talk about why it works so well, how it came to be, the hilarious cast (particularly our fave Bill Nighy), British manners, Edgar Wright's filmmaking style, and the endlessly quotable lines. And yes, we quote them. Endlessly. Join us for a laugh. Now how's that for a slice of fried gold? Yeeeee-aaahh, bo-iiieeee!

The 84th Academy Awards Recap Show

shows@rashpixel.com (Rash Pixel) — Sun, 26 Feb 2012 21:30:37 -0800

Gobsmacked. We made our picks, and we stand by 'em. Join Andy Nelson and Pete Wright for a quick roundup of The 84th Academy Awards telecast, a summary of all 24 of the awards, and a split appraisal of Billy Crystal's work as usher. And caterer.

Se7en

shows@rashpixel.com (Rash Pixel) — Thu, 01 Mar 2012 20:00:56 -0800

Well, movie lovers, it's that time. We've hit the end of our Benjamin Button style Fincher Fest. This week, Pete Wright and Andy Nelson talk about David Fincher's knock-you-out-of-your-seat detective thriller Seven, or Se7en if you prefer. Join us as we talk about how we feel about this film now that we've worked backward through Fincher's oeuvre. We talk about all the wonderful performances (though we get sidetracked on Brad Pitt and don't give Morgan Freeman enough attention) and how Fincher really from the start knew how to work with his actors as well as his technical partners. We discuss the script and how it found its way to Fincher. We hash through the ending and what other endings it could have had. And we chat about the bleach bypass process that Fincher used to give the film its look. It's a stellar film that stands out as a highlight in Fincher's career and we look forward to you joining us this week as we talk about it on "Movies We Like!"

The Game

shows@rashpixel.com (Rash Pixel) — Thu, 23 Feb 2012 20:00:30 -0800

Greetings, movie lovers! This week, we continue our Fincher Fest with a discussion about "The Game," a dark and twisting tale that Pete finds he doesn't really like anymore while Andy still connects with. Join us as we chat about why this film doesn't seem to work for Pete anymore and how Blake Snyder's book "Save the Cat!" may give us the answer, particularly as it relates to the current 99% movement and possibly also to some extent previous roles Michael Douglas has portrayed. We dig into why some people bought into this elaborate hoax that the story sets up and others didn't. We discuss how this movie came to be and who was originally slated to star in it, and we really get off on some of the great language in the script. It's a gloomy ride that satisfies some and leaves other pining for later and greater Fincher efforts, but we still have a great time talking about it so join in!

Fight Club

shows@rashpixel.com (Rash Pixel) — Thu, 16 Feb 2012 20:00:30 -0800

Greetings, movie lovers. This week, we hit David Fincher's film "Fight Club." Is it just an anarchic, pugilistic sensation or is Fincher really working at tapping into a dark zeitgeist affecting the average person at the turn of the century? Join us as we talk about this tale of an everyman narrator struggling to find sense in his Ikea life and how his dark counterpart, Tyler Durden, helps him find himself. We hit on the brilliant performances by Edward Norton and Brad Pitt, as well as the always wonderful Helena Bonham Carter. We discuss the message Fincher is saying and how this is, possibly, the only real film that Fincher's made that is more than just a genre film of some sort. Listen in, and let us know what you think of this wild ride!

The Oscar Pick Show

shows@rashpixel.com (Rash Pixel) — Sun, 29 Jan 2012 15:43:30 -0800

Hey there, movie fans! Oscar nominations came out this past week and as movie lovers, we thought we'd offer up our first special podcast episode weighing in with our thoughts on what was nominated, what wasn't, what should have been, what shouldn't have been, and what we want to see win. Join us for a special Oscar nomination episode on "Movies We Like!"

Panic Room

shows@rashpixel.com (Rash Pixel) — Thu, 09 Feb 2012 20:00:52 -0800

We've made it to the middle of the Fincher-Fest, movie lovers! This week, join us as we talk about his one-location movie, "Panic Room." Falling right between "Fight Club" and "Zodiac", this movie really marks a turning point for David Fincher's films -- starting here, he moves into the land of digital cinema (mostly) and finds a more controlled approach to his storytelling. Join us as we talk about the trials and tribulations that went into getting this film made -- an impending writers' strike, last minute actress and supporting actress replacements, a seemingly simple script that redefined complexity of camerawork on the set, and a six-month production schedule that had to work around not only Jodie Foster's pregnancy going from 1st to 3rd term, but also Kristin Stewart -- then not so famous for being Bella in "Twilight" -- growing from being shorter than Jodie Foster to being taller than her. This in a film that takes place over the course of one night for the most part. It's a tense, claustrophobic, well-paced thrill ride that's worth taking, and we have a blast talking about it. Listen in!

Zodiac

shows@rashpixel.com (Rash Pixel) — Thu, 02 Feb 2012 20:00:52 -0800

Back in 2007, David Fincher created what many consider his best film, Zodiac. Hailed by dozens of critics as one of the best films of the year, it unfortunately never found its audience and ended up a financial failure. This week, movie lovers, join us as we delve into this meticulously crafted, haunting and sometimes scary film that details the obsession one man had in solving the Zodiac killings in the San Francisco area in the late 60s. From a script by James Vanderbilt based on Robert Graysmith's doggedly detailed books "Zodiac" and "Zodiac Unmasked", Fincher's pursuit to create as accurate a portrayal of the truth as possible give us a beautifully restrained look at how the police and newspaper reporters worked hard to try to find an answer to the killings yet never did so. We talk about how this potentially is the reason the film didn't fare well at the box office. We also discuss the film's impeccable cast (let's all give a hand to John Carroll Lynch's unforgettably creepy portrayal of Arthur Leigh Allen!); chat about the amazing (and invisible) visual effects used to recreate the San Francisco area from 1968 to 1991 that truly take us back in time; and cover how this film was the first film to shoot with the then new digital camera, the Viper, and what that allowed Harry Savides, the cinematographer, to do. It's a drastically underwatched film, in our opinion, and we think you ALL need to go rent it right now then listen in!

The Curious Case of Benjamin Button

shows@rashpixel.com (Rash Pixel) — Thu, 26 Jan 2012 20:00:52 -0800

Our third stop on the Fincher Fest train brings us to David Fincher's 2008 drama, "The Curious Case of Benjamin Button." Fincher outdid himself on this film, combining all elements available to him from tried and true practical elements through state-of-the-art digital effects -- not to mention countless top-notch performances -- to create an astounding period film about an astounding person who is born old and ages backward. We discuss the journey this F. Scott Fitzgerald story took to get to the silver screen -- a long one that at one point had Frank Oz slated to direct it and Martin Short to star as Benjamin! We chat about watching Benjamin Button, played by Brad Pitt in one of his best performances, age backward and the unreal makeup work done to pull it off, not just for him but for all the characters in the film. We talk about the themes this story is hitting upon and why it works so well, and we discuss the immense amount of money put into getting this film made and how Fincher managed to pull it all off and still turn it into a profitable film. The film won 3 Academy Awards and was nominated for an amazing 13 Academy Awards (though it should have been 14 as Cate Blanchett, who didn't get a nomination as Best Actress, has never been better!). Join us as we dig into this gorgeous film!

The Social Network

shows@rashpixel.com (Rash Pixel) — Thu, 19 Jan 2012 21:00:52 -0800

Greetings and salutations, movie aficionados! Welcome to the second episode of our Benjamin Button-style David Fincher-fest! Tonight, we discuss arguably his greatest film—certainly his most critically acclaimed. It's "The Social Network," from Aaron Sorkin's script that is simply on fire. Joining us tonight as a special guest is Chadd Stoops: actor, longtime friend of Pete and Andy, and HUGE fan of this film. In this episode, we discuss the realities of the movie's reality—was it fair for the filmmakers in telling this story to change the truths in order to make a more compelling film? We talk about the spot-on performances all around as well as the amazing magic Fincher worked to double Armie Hammer as the Winklevoss twins. We look at what this film is really saying about social networking and the people behind Facebook, and we discuss how "Fincher" this film really is. We also chime in on our opinions as to why it didn't win Best Picture at the Oscars. It's a spirited conversation about an incredibly relevant and hugely important piece of modern history. Listen in! Oh, and since we're talking about a movie about Facebook, make sure you go to the Rash Pixel page on Facebook and Like us! That way you can be a part of OUR social network! Happy listening!

The Girl with the Dragon Tattoo

shows@rashpixel.com (Rash Pixel) — Thu, 12 Jan 2012 21:00:52 -0800

It's the start of the Benjamin Button-style Fincher-Fest, movie lovers! And what better way to kick it off than to take a look at David Fincher's current film, "The Girl With the Dragon Tattoo," based on Stieg Larsson's first book in his internationally best-selling "Millenium" trilogy. It's already racking up end-of-the-year accolades and incredible buzz about Rooney Mara's knock-your-socks-off performance of Lisbeth Salander (all well-earned), even though some contingents of fans of the original Swedish films (great films in their own right that only came out last year) question why Hollywood felt it so necessary to adapt the books again so quickly after the others were made. The Swedish films certainly put Noomi Rapace and Michael Nyqvist -- who play Lisbeth Salander and Mikael Blomkvist, respectively -- on the map in international casting circles (Rapace has since appeared in Sherlock Holmes: A Game of Shadows and just wrapped in Ridley Scott's Prometheus while Nyqvist appeared in John Singleton's Abduction earlier this year and currently can be seen in Mission: Impossible -- Ghost Protocol.) In this episode, we talk about the various iterations of this first of Larsson's stories -- did the Americans need to make their own version, what works in each version and what doesn't, what did Fincher and his team bring to the table, etc. We work to put in context what the Swedish film is to Swedish audiences by comparing similar statistics with American films. We discuss the performances -- Rooney Mara's brilliant work as well as the amazing Daniel Craig who we both feel isn't just playing James Bond in Sweden. We discuss the change in the end of the story and how we feel about it as well as all of the sequences that come after the climax. We chat about the team behind this -- Steven Zaillian who is having a great year with this and Moneyball, Jeff Cronenweth, Ren Klyce, Kirk Baxter, Angus Wall, Trent Reznor, Atticus Ross -- and that's just some of the crew! Robin Wright, Stellan Skarsgard, Julian Sands and the always amazing Christopher Plummer all give brilliant performances. One actor we don't mention in this episode but who is worth mentioning here is Yorick van Wageningen, the poor actor stuck with playing the brutal role of Nils Bjurman. He was so traumatized after filming his pivotal rape scene with Mara that he locked himself in his hotel room for a day and cried. Obviously his choice to take the role, but it's always good to be reminded that an actor is not the character they portray. So if you haven't had a chance to read the book or watch either film version, go do so before listening in because we have some spoilers, then tune in and join us as we take on this fascinating murder mystery with one of film's most intriguing characters in years.

When Harry Met Sally...

shows@rashpixel.com (Rash Pixel) — Thu, 05 Jan 2012 21:00:06 -0800

It's a new year, movie lovers, and in this episode, we take on an incredible film with crisp, spot-on, endlessly quotable dialogue, a cast that is absolutely perfect, and not one but two fantastic New Year's Eve scenes. That's right, we're talking about Rob Reiner's 1989 romantic comedy classic When Harry Met Sally.... We talk about how the film sprang from the real lives of Rob Reiner, his producing partner Andrew Scheinman and the Oscar-nominated writer Nora Ephron. We discuss the nature of the filmmaking process for this film and how smart it was to let the storytelling stand out front even though they could have easily brought out an arsenal of cinematic tools to use. Restraint can be a good thing! We laugh about the neverending lines from the film that are still quoted to this day. And we report on the truth of those cute old couples who pop up throughout the film to recount their own tales of falling in love. It's a magical, heartwarming tale of love, friendship, and the constant struggle between men and women to try to understand each other. Tune in and join us to start 2012 off right!

Notes & Links

Daniel Craig Interview at TimeOut London

Eternal Sunshine of the Spotless Mind

shows@rashpixel.com (Rash Pixel) — Thu, 29 Dec 2011 09:00:06 -0800

Greetings and salutations, movie lovers! In tonight's episode, we'll wrap up 2011 and our Charlie Kaufman trilogy with 2004's Eternal Sunshine for the Spotless Mind, directed by Michel Gondry. Kaufman won the Oscar for Best Original Screenplay for this film, along with Gondry and Pierre Bismuth with whom he shares story credit, and they certainly deserved this award along with every other accolade they received for this incredible film. We discuss how this story about relationships fits in Kaufman's canon. We talk about all of the amazing tools of filmmaking, both digital and practical, that Gondry and his team employ to create this disintegrating world within our protagonist's head as his memories of his girlfriend are erased. We cover Gondry and what he's bringing to the table. We also discuss the actors and how much they all bring to the table, whether its Kate Winslet in her Oscar-nominated performance as Clementine, Jim Carrey in one of his greatest serious performances ever, or Elijah Wood in maybe the creepiest role he's played. It's an incredible film about love, loss, destiny, memory and identity. Listen in as we end the year with a bang!

We're No Angels (1955)

shows@rashpixel.com (Rash Pixel) — Thu, 22 Dec 2011 21:00:06 -0800

Merry Christmas and happy holidays, movie nerds! Tonight, in the spirit of the season, we talk about Michael Curtiz's curious gem of a Christmas comedy from 1955, "We're No Angels." We look at the film's story—which certainly has charmed both of us—and how it fits in the holiday film genre, despite being a tale of criminals on the lam. We talk about the history of the studio system and how this comes during its decline. We discuss Michael Curtiz, his place within that system, and what he brought to the history of film. We also chat about the fantastic actors, and give our two cents on adding this to the annual list of Christmas movies worth watching. So put on your ugliest Santa sweater, sit back by the fire (where you're roasting chestnuts, no doubt) and join us with a hot peppermint latte as we delve into this wonderful, and to some extent forgotten, Christmas treat!

Adaptation

shows@rashpixel.com (Rash Pixel) — Thu, 15 Dec 2011 21:00:06 -0800

Andy & Pete talk about "Adaptation"

Being John Malkovich

shows@rashpixel.com (Rash Pixel) — Thu, 08 Dec 2011 21:00:06 -0800

Andy & Pete talk about "Being John Malkovich"

Crystal Skull

shows@rashpixel.com (Rash Pixel) — Thu, 01 Dec 2011 21:00:02 -0800

Andy & Pete talk about The Kingdom of the Crystal Skull.

Last Crusade

shows@rashpixel.com (Rash Pixel) — Thu, 24 Nov 2011 21:00:57 -0800

Andy & Pete talk about "The Last Crusade"

Temple of Doom

shows@rashpixel.com (Rash Pixel) — Thu, 17 Nov 2011 21:00:57 -0800

Andy & Pete talk about Temple of Doom.

Raiders of the Lost Ark

shows@rashpixel.com (Rash Pixel) — Thu, 10 Nov 2011 21:00:13 -0800

"Throw me the idol, I throw you the whip!"

Everything about Steven Spielberg's 1981 adventure film, "Raiders of the Lost Ark," is iconic. From the unforgettable lines that are so easy to quote, to the brilliant characters saying them and the pitch-perfect actors playing them, to the countless scenes full of adventure and danger, to John Williams' score, to Jones' hat and whip. Join us — Pete Wright and Andy Nelson — on this week's episode of Rash Pixel's "Movies We Like" as we start our Indiana Jones series and talk about the influence this film had on our childhoods and how it still plays an important role in our moviegoing sensibilities. We talk about the origins of the story with George Lucas and Philip Kaufman, how it transitioned to Lawrence Kasdan, and how Spielberg joined in. We discuss the script and how well it works, particularly because of the great characters that all feel fully fleshed out, as well as how some of those characters unfortunately get a short shrift in the sequels. We discuss the special effects and how well they work, even if the techniques are a bit dated for today's audiences. And we chat about the interesting nature of the protagonist and antagonist, and how similar they, in fact, are in this film. It's one of the greatest adventure films out there, one we've seen innumerable times, and certainly a movie we like. Listen in!