Fun Size Episode 25 – Fuck You, It’s Hitler!

We continue our chat with friend Patrick Johnson to chat about some actor faces’ leave them with little choice but to be cast as villains, and how sometimes playing against type can be great.

We debate the merits of the new Duncan Jones Netflix feature, Mute. And then, we take a critical look at the new Bruce Willis-helmed Death Wish remake, and why this probably isn’t the best time to release it.

And finally, we are puzzled by the weird surge of conservative media voices and fans being horribly offended by what they see as the unfair treatment of Nazis, the KKK and racist characters as villains in popular entertainment. Our hot take? Nazis are fucking assholes.

Fun Size Episode 22 – Practical Porgs: It’s Not a Sex Thing, Yet

We sit down with our friend Todd Maxfield-Matsumoto to drill into pop culture ephemera and random nonsense.

Mike revels in the schadenfreude of having a movie theater rewards card and we all wonder when Johnny Depp became box office poison for us.  We touch on the recently released Blade Runner 2049, and how it stacks up against both the original, and other recent attempts to resurrect once-great franchises.

We ponder whether the Last Jedi‘s porgs are the next coming of the Ewoks or Jar Jar Binks. And we speculate about whether we actually want to see Jerry Lewis’ intentionally-lost Holocaust clown movie, the Day the Clown Cried.

Episode 17 – Steven Spielberg

spielberg

Hold on to your butts!

Mike and Casey are stocking up on Reese’s Pieces and heading to Devil’s Tower to compare scars with sound engineer Scott Kramer (the Expendables, Transparent) and the composer of our show’s theme song, Todd Maxfield-Matsumoto! We’re talking about the filmmaker whose influence defined big budget cinema for an entire generation, Steven Spielberg!

From Jurassic Park to E.T., and Jaws to Raiders of the Lost Ark, few filmmakers have had the impact on movies as both an art and an industry like Spielberg. We discuss his evolution as a storyteller, director and producer. We debate his legacy among film purists, mainstream audiences and critics.

Music: 
“End Credits” from E.T. the Extra-Terrestrial  by John Williams

Previously titled: “A Childhood Sense of Wonder”