Jack is newly hitched and back on the BingeCast! Together with Law they join forces to battle the many evil films and television series that look to destroy them. Google voice shows up for comedic value and there’s even everybody’s favorite, Drunk Seg. He’s so crazy. The BingeCast is filmed in front of a live studio audience (it’s not).
Head over to Patreon.com/BingeMedia to sign up for the Full Binge! This week the boys spark up another ridiculous round of Marry/Fuck/Kill. It’s gloriously stupid.
00:00:00 Intro / Wedding recap with Jack 00:17:20 What You Missed This Week on the Binge Media Podcast Network
00:26:10 GOOGLE VOICE 00:27:08 Billy Goodtimes reviews the Backyardigans 00:31:10 Billy Goodtimes has a Would-You-Rather 00:38:43 TM lets the boys know the BingeCast makes Mondays bearable 00:41:09 Nate P. recommends Line of Duty to Law 00:46:38 Billy Goodtimes hopes this week’s show is 12 hours and comes out on Saturday 00:48:21 Alex recommends Sound of Metal, digs Loki, and has a time travel question
00:59:58 DRUNK SEGMENT
01:05:39 TV ROUNDUP 01:07:38 Handmaid’s Tale (Law) 01:10:55 Broadchurch (Law) 01:15:57 Mythic Quest (Law) 01:16:35 Loki (Jack, Law) 01:38:15 Star Wars: The Bad Batch (Jack) 01:43:10 M.O.D.O.K. (Jack)
01:50:00 WHAT DID YOU WATCH THIS WEEK 01:52:19 The Conjuring: The Devil Made Me Do It (Jack) 01:55:37 Bo Burnham: Inside (Jack) 02:06:14 Blue Code of Silence (Jack) 02:08:36 Luca (Jack, Law) – SPOILERS 02:29:50 F9 (Law)
While I’m a little late this year as I tried to squeeze in a few more films, here’s my Year in Review for 2017. There’s a lot of familiar stuff here as 2017 may have been the year I appeared on more podcasts than ever, but still this is a nice signpost of my year in film and I felt like I had to do it, so hopefully you get something out of it. Of course, it’s always impossible for me to see everything, and there are still a few big films I have yet to check out, but at this point it’s either do or die, so I chose to write this now. Anyway, on with the list.
Alien Covenant – 2/10
While it was close, I don’t think there was a movie I disliked more than Alien Covenant this year. An utter failure from top to bottom, that you can hear about right here, Covenant seems to be made by a director that didn’t give a rat’s ass about basic logic. I didn’t expect much from this, so I wouldn’t call it a disappointment per-se, but this is likely my last time watching a film in the Alien franchise (which should be dead now anyways).
It Comes at Night – 3/10
A decent premise, some good atmosphere, but utterly pointless by the end, for a micro-budget character drama this film had no discernible meaning, theme or point to me. The acting performances were decent enough but they really don’t amount to much. Boring, poorly paced with an interesting idea for an ending (that’s completely un-earned), this is a strong pass from me.
Justice League – 3/10
Trash. Absolute trash. I honestly don’t know why I didn’t give this a 1/10. Terrible in every way.
Split – 5/10
This was hailed as the great return of M. Night Shyamalamadingdong to good filmmaking. I found Split to be slightly better than Shyamalan’s recent efforts but still a clunky script with some bad casting. McAvoy, the more I thought about it, was good for most of his performance but can’t sell his transformation into *SPOILER* The Beast during the finale. While part of me is excited for the sequel, it’s because of its ties to Unbreakable and not Split.
The Fate of the Furious – 5/10
These movies tend to be big, lound, dumb and, most of all, fun. I didn’t find this one to be all that much fun. Charlize Theron doesn’t really add much to the equation and the cheesy, 4th-wall-breaking references to Paul Walker didn’t do the movie any favors. At the same time, my favorite aspects of the flick were any time The Rock and Jason Statham were on screen together, saving what would have otherwise been a super cringey suckfest.
Jim & Andy – 6/10
I think a lot of film nerds find Milos Forman’s Man on the Moon and become somewhat obsessed with Andy Kaufman for a time. Clearly no one got more obsessed with Kaufman than Jim Carrey preparing for this performance. While that’s all well and good, Carrey expounding upon his life beliefs, spiritual values and methodology is grating and idiotic. This is a guy who believed that vaccines cause Autism in young children, so I won’t be taking anything he says with any seriousness. That all being said, there’s some interesting insight into the behind the scenes of Moon, but at the end of the day Carrey’s “method” acting seems exploitative, especially to Kaufman’s family. Not a horrible documentary, but if you don’t enjoy Carrey’s perspective you’re going to have a tough time getting on this movie’s wavelength.
Kong: Skull Island – 6/10
This is your standard, disposable action flick. The design of Kong is cool in a sense that they brought back the original Kong design from 1933 and made him look great. Some of the CGI on screen here is pretty solid and there are some genuinely colorful, great action sequences, but there’s not enough here to care. The supporting cast is far superior to the finished product.
Beauty and the Beast – 6/10
I don’t have anything negative to say about this movie…other than the fact that it is nearly a shot-for-shot remake of the animated film. Disney clearly knows how to make money, with this being another example of their business acumen. I just find myself not really caring about this movie. I like almost everyone involved, the music is snappy and it looks shot well enough, but I don’t love the fact that all Disney has to do is remake their animated films and make another boatload of money. Sorry but it’s annoying and bad for film in general.
Wonder Woman – 6/10
The outpouring of support for this film was, and continues to be, ridiculous. This film isn’t all that interesting, does nothing fresh and becomes a huge CGI brawlfest by the end. Gal Gadot is charming in the role, but if all anyone had to do with the first big female superhero film was remake Captain America then Patty Jenkins shouldn’t be praised as a visionary but an opportunist. This movie is the best DC has released since The Dark Knight Rises…but that’s not saying much when you’re comparing it to Batman V Superman, Justice League and Suicide Squad.
1922 – 6/10
Tom Jane is one of the great, criminally ignored actors of our time. His work speaks for itself, and when he’s given quality material, like The Mist, he really knocks it out of the park. 1922 may not be truly great material, but Jane is playing a great role nonetheless, and one worthy of some recognition. Basically a reworking of Poe’s Tell Tale Heart, the atmosphere and direction of 1922 set it apart, slightly, from other Stephen King adaptations, but it suffers, in the end, from familiarity of this kind of story. One of the better King adaptations of 2017, but not the best (more on that later).
Logan Lucky – 6/10
I’ve always liked Soderbergh’s filmography, despite not having seen all of it. I feel like he doesn’t typically make the same movie twice, Ocean’s trilogy excluded. That makes Logan Lucky all the more weird, since it is, essentially, a remake of his previous heist films. It has a cadre of celebrity cameos, revolves around a heist and wraps up with a sequence of scenes that the audience never could have seen coming. It’s oddly manipulative and, for me, only really worked well once (the original Ocean’s Eleven remake). Adam Driver and Daniel Craig are both good here, but my personal distaste for Nascar made this fairly dull.
Star Wars The Last Jedi – 6/10
While I originally gave this a 7/10 because of the series, I’m settling on a 6/10. I likely won’t ever watch this again and have trouble seeing past the plot holes. I respect the idea of taking Star Wars in new, bold directions, but I disagree with many of Rian Johnson’s choices. I also have problems with the nonsense of the script at times, going places that only make sense because the script says they have to. Definitely a disappointment.
The LEGO Batman Movie – 7/10
Making Batman a spoiled man-child who gets off on being a loner was such a funny take on the character, and while the flick is aimed at children I still had a good time. The voices were a big odd to adjust to, with Zach Galifianakis’ voice for Joker being the strangest of the bunch, I really dug the amount of references to Batman lore across all incarnations of the character. My big gripe from the flick is the fact that the movie’s message doesn’t resonate the same way the one from The Lego Movie does. Still a good time, and a decent addition to the Batman film saga.
Spider Man Homecoming – 7/10
Tom Holland is easily the best Spider Man and Peter Parker we’ve had. His performance takes all the aspects of the character fans have been pining for and puts them together in a solid representation of the character. As the Vulture, Michael Keaton also puts in great work here, harkening back to some of his best work. Homecoming’s strength comes from its focus on Parker’s experience as a high school student, both to the movie’s strength and detriment. Marvel continues to kill the comic book competition and this is another great addition to their cinematic universe, if an at times familiar one.
Good Time – 7/10
Another movie mired with hyperbole, Good Time was a raw look into the life of a supreme “f***-up”. Robert Pattinson likely gives a career-best performance as Connie Nikas and it’s clear the directors, the Safdie brothers, knew the streets they were shooting on as the whole movie has a very home-grown feel to it. I can’t deny the craftsmanship that went into this one but I simply found this to be average. I couldn’t connect with the characters and had some issues with the tone. All that being said, I think others may find more to like here, so I’d definitely recommend it.
The Trip To Spain – 7/10
The third film in Michael Winterbottom’s trilogy, Steve Coogan and Rob Brydon are still great as caricatures of themselves. The threadbare plot of two successful actors traveling the countryside reviewing restaurants is good enough where it allows the leads to improve relentlessly and keeps me, as a viewer, invested in their performances. If I had any issues with the film they’re simply from the fact that the ending is much more weird than the previous two entries. I have a feeling we’ll see more from this team in the near future, so if you liked the last two films you’ll like this one.
Kingsman The Golden Circle – 7/10
While there are some seriously weird messages in this flick the fact remains that I really liked this movie. The first one was a pleasant surprise and this one pretty much matched it in terms of quality. Taron Eggerton is an incredibly likeable lead and I hope we get to see a lot more from him in the future, but Matthew Vaughn still has the chops to direct quality action scenes. I’m also a mark for Elton John so seeing him on screen was great. The low point of the film for me is likely Julianne Moore as she really just seems like a copy/paste of Sammy J from part 1, but otherwise I dig this movie.
Brigsby Bear – 7/10
If you told me at the start of the year that Star Wars would be my second favorite Mark Hamill movie of the year I’d call you insane, but here we are and Brigsby Bear is a nice little flick. Kyle Mooney, a current member of the SNL cast, wrote and stars in a film about a guy who loves the show Brigsby Bear to the point of obsession. Saying anything else is in and of itself a spoiler for this movie, but without delving too deep this is a pretty wholesome, strange look at creativity through extreme positivity. This is an admittedly weird movie and I would warn anyone that takes a look that if they aren’t buying into the premise by about 15 minutes in then shut it off as it really doesn’t get any more normal than that.
Ingrid Goes West – 7/10
A dark story about social media and how it is at once pathetic and disturbing, Ingrid Goes West has a very standard, familiar trajectory. Hell, even a character in the movie references the Singel White Female-ness of it. Aubrey Plaza is good as the manic and obsessed Ingrid, but you do have to suspend disbelief a bit to go with her on this journey. A plot point very conveniently delivers an unnamed sum of money into her lap, allowing her to go on this journey, without much logic. It’s a minor quibble but since the entire movie is built upon it it’s a little annoying in retrospect. Worth a look for sure, but not as hard-hitting as it could have been (think Nightcrawler).
Call Me By Your Name – 7/10
There are films that stay with you long after you’ve seen them, and this one just does not seem to leave my mind. The story of an emerging romance between two young men in 1980’s Italy seems like it would be boring and uninteresting, but just like Moonlight last year this film has an odd knack for capturing the viewer in a complex tapestry of emotions. I find this movie at times frustratingly tense while also profoundly moving, something that can’t be said for a lot of films I saw this year. While it does stray, briefly, into the camp of “rich white people doing rich white people shite”, the emotional undercurrent of the flick is undeniably relatable. This is one that may increase in score as time goes on, and a definite recommendation from me.
Gerald’s Game – 7/10
Described to me as the “scariest book I’ve ever read” by a friend of mine years ago, Gerald’s Game sounded like a crazy premise. The idea of a woman handcuffed to a bed while her husband dies of a heart attack in front of her is horrifying, but the possibility of the lead hallucinating, or becoming insane, gives the story an entirely unique cerebral edge that I didn’t see coming. Carla Gugino and Bruce Greenwood are both good in their respective roles, but it’s Henry Thomas as Gugino’s Jessie’s father in some flashback scenes that will really mess any viewer up. Good story, unexpected turns and solid acting make this a solid effort from Netflix.
Wheelman – 7/10
Another Netflix film, Wheelman tells the story of our lead, the Wheelman, as he goes to do a job. As the job is happening, however, things go south and the Wheelman has to react to what’s happening around him. The film, in a somewhat bold move, takes place 90% inside the car with the Wheelman, something I didn’t notice until a good half-hour into the flick. This makes for some interesting shots and perspectives, some of which reminded me of Drive. Frank Grillo is well cast as the lead and sells the movie in a way that a lesser talent couldn’t have. Again, Netflix does the script here right and delivers exactly the kind of movie they need to.
It – 7/10
The It mini series has always been a weird intersection of great character design and poor storytelling. This version takes everything about that mini series and essentially gives it the finger. Tim Curry is iconic in the role of Pennywise, but Bill Skarsgard’s performance, somewhere between pedophile creepiness and serial-killer insanity, is an entirely different animal. What really makes this film work, however, is the strength of its cast, consisting of mostly child actors. Had these roles not been filled by competent performers the movie would have failed, but the movie has enough halfway decent scares and great belly laughs that make it a very entertaining flick.
Get Out – 8/10
With some distance (after a truly miserable theater experience) Get Out has emerged as one of the better films I saw this year. While the premise borrows heavily from Being John Malkovich, there’s no denying the social commentary and perspective of Get Out is unique, fresh and genuine. This film was so interesting that I really can’t wait to see what else Jordan Peele has up his sleeve.
Wind River – 8/10
A surprise favorite of mine when considering the year’s releases, Wind River expands upon the gritty realism of Hell or High Water by telling the story of a murdered daughter on Native Reservation land. Jeremy Renner is great, as is Elizabeth Olsen, but the standout for me is heavy-hitter Jon Bernthal in a supporting role. Wind River works well because the story being told doesn’t flinch. Hollywood films rarely get the ending as right as this one does, so that alone makes it a must-watch.
Logan – 8/10
A swan song for a performance spanning two decades, Logan, building off the momentum created by Deadpool the year prior, is a successful affirmation of both the mythos of Wolverine and a summation of Jackman’s commitment to the role. By taking the template of the western and applying it to this character, James Mangold does a very solid job making what could have been lame into something great. As a fan of Jackman this has everything you’re looking for.
Baby Driver – 8/10
A fun time at the movies and one of the most creative uses of music in a film that I’ve ever seen, Baby Driver is Edgar Wright at the height of his powers doing what he does best; entertaining at the highest level. While I have a couple issues with the movie, specifically regarding the fact that there aren’t a whole lot of great car stunts in a movie with the word DRIVER in the title, this is an infectiously charming movie with maybe my favorite soundtrack of the year. Highly enjoyable.
Score: A Film Music Documentary – 8/10
I love film scores, and I love hearing composers talk about their perspective on scoring a film. It’s such a foreign thing to me, being able to create music to accompany the mood of a film, that I really have no way to relate to these people, yet I find their process fascinating. Seeing people like Thomas Newman, Hans Zimmer and John Williams talk about their most famous work, and hearing their opinions of their peers, makes for a very entertaining documentary. I could have watched another 4 hours of this with ease.
Hired Gun – 8/10
Another music documentary, this one taking a look at the idea of the “hired gun”, defined as studio musicians who may not have started with a particular band but were called in to fill a specific role and, potentially, move on to bigger and better things. Multiple interviews are conducted with guys like Billy Joel’s drummer, Alice Cooper and, one of the most famous hired guns, Jason Newsted and his perspective on the opportunity to join Metallica. There’s also a lot of hard truths in the film, like some musicians banking on stars touring only to find out at the last minute that the tour won’t happen. It’s an overlooked piece of rock culture that I’m happy got a little exposure with this doc.
A Ghost Story – 8/10
In a world where Star Wars was the most divisive film of the year not directed by Darren Aronofsky, I can’t imagine recommending this to anyone. Having said that, A Ghost Story is a truly unique, sad and moving story about the ghost of a widow’s husband not being able to move on. Casey Affleck should get some credit here for acting in a silent performance beneath a sheet for most of this film, yet somehow he finds a way to sell this character. You could throw the word “pretentious” at this film but I found it mesmerizing.
War for the Planet of the Apes – 8/10
A fitting end to one of the best modern trilogies of our time. Caesar the Ape has quickly become one of the most complex, nuanced characters in cinema history and Serkis delivers the goods with this third performance. While some aspects of the film are a little convenient, and Woody Harrelson’s character in particular has some cringeworthy villain monologuing near the end, this is a movie that is far better than it has any business being, making all three of these films into one, complete whole.
Detroit – 8/10
The story of the 1967 Detroit riots is one that I had never heard of until watching this film. I’m not a huge Kathryn Bigelow fan but I can recognize her talent, despite not being a huge fan of either The Hurt Locker or Zero Dark Thirty. Detroit follows a similar visual style in that it looks as though the cameras are put in the middle of the situation with very little additional visual flair or style. Without getting into spoilers the situation that unfolds in this film is incredibly screwed up and should have had more attention before now. Whenever the subject of racism comes up it seems that people cannot fully grasp the real weight of it. Detroit does a great job displaying the effect of direct racism on a group of somewhat innocent people.
The Killing of a Sacred Deer – 8/10
It’s been a long time since a movie truly creeped me out but The Killing of a Sacred Deer is like a tick that gets under your skin and stays there. Everyone from Colin Farrell to Nicole Kidman to Barry Keoghan give standout performances, but my hat is tipped to director Yorgos Lanthimos for so effectively expanding on Stanley Kubrick’s visual style, not truly seen in this way since The Shining. Another film that needs to be seen to be believed, Deer continues the trend of truly strange films released in 2017.
Thor Ragnarok – 8/10
A few years ago my favorite film of the year was a tie between Mad Max Fury Road and What We Do In The Shadows. Those are still two of my favorite films, with Shadows being directed by the great Kiwi Taika Waititi. Waititi is back directing Thor Ragnarok, and once again delivers a funny and altogether awesome film, complete with inter-universe callbacks, a phenomenal score from Mark Mothersbaugh and, most importantly, Korg, a rock-monster being with a fresh Kiwi accent who utters comedy gold at almost every moment he’s on screen. I loved Thor Ragnarok and can’t wait to see it again.
I, Tonya – 8/10
In what might be the surprise of the year for me, I, Tonya kicked me in the balls and came back for seconds from minute 1. Margot Robbie and Sebastian Stan are both fantastic as Tonya Harding and Jeff Gillooly, but Allison Janney absolutely steals the show as LaVona Golden, Tonya’ s mother. The best way I can describe her is as the female version of JK Simmons’ character in Whiplash…but with a 4 year old figure skating daughter. This was honestly an out of nowhere favorite of mine and I strongly recommend everyone see it as the poster looks like it’s for a really lame film…something that couldn’t be farther from the truth.
The Disaster Artist – 8/10
I’ve never been a huge fan of The Room in the way that some other people, and celebrities, claim to be. The strangeness of The Disaster Artist, however, demanded to be seen. Franco absolutely delivers in what I believe to be his best performance to date. While not quite miming Tommy Wiseau he finds this weird middle ground between himself and a caricature of Wiseau, much the same way Frank Langella didn’t quite nail Richard Nixon but played a great version of him in Frost/Nixon. I’ve watched this twice so far and see repeat viewings in my future with this as well.
The Shape of Water – 8/10
Having a filmmaker like Guillermo Del Toro is a great thing. Here is a guy who doesn’t give a damn what the “conventional” thing to do is in a film. Del Toro’s defiant, counter-intuitive choices in his films are the things I find myself enjoying most about them, which is again the case with The Shape of Water. Where other filmmakers might find reason to relate this story to an audience through familiar messages and motives, Del Toro trusts his audience to go with him, something I found myself willing to do. Sally Hawkins turns in a great performance as the mute “princess”, and Doug Jones again brings a unique creature to life, but I was most surprised with Rhode Island native Richard Jenkins and his subtle, nuanced performance. This is another film on this list that may increase in rating over time as there was so much to see in it that repeat viewings will no doubt reveal more and more from this great flick.
Guardians of the Galaxy Vol 2 – 9/10
Marvel does a lot right (big if true, right guys?), but this year they didn’t do anything better than Guardians 2. From the story staying relatively small and inward to Michael Rooker being given much more to do, I loved and appreciated all the choices made with these characters in this flick. Kurt Russell remains one of my all time favorite actors (suck it Nate) and I can’t wait to see these characters again this May in Infinity War.
The Big Sick – 9/10
Some films just seem to be made at a charm factory, and The Big Sick is one of them. With the perspective of a Pakistani/American comedian and his struggles to live his own life while also respecting his family, Sick won me over with its wit and candor. The performances across the board were uniformly excellent, with specific mention of Holly Hunter and Ray Romano being justified. Of all the Apatow produced comedies we’ve seen over the past decade and a half this has to be one of the most enduring and best.
mother! – 9/10
Described as a roller coaster ride of a movie, mother! never ceased to impress me. With its bold camerawork and spirit of confrontation present in every frame, Aronofsky rebounds from Noah with a film that I absolutely loved. While the parable and metaphor on display here are somewhat simple, the “fever dream of a film” we got is so much more interesting than any one person’s interpretation can pin it down to. Another film I’ve revisited several times this year.
Blade Runner 2049 – 9/10
Alongside other films such as Apocalypse Now, the original Blade Runner took me years to truly enjoy. I remember being underwhelmed by it initially but after seeing more and more films, and getting a bit older, I grew to love the film. 2049 comes out the gate very much as its own thing, not using Harrison Ford until we’re deep into the third act of the film, yet the story still feels like Blade Runner. You have replicants, neon lights in Los Angeles, the rain, and a score that is somewhat reminiscent of the Vangelis score from the original, but 2049 is deeply concerned with the spirit of the original film and not just copying what was done before. Ryan Gosling , while again slightly wooden in the role, does enough with the material to make you feel for him by film’s end, catering to his character’s portrayal. I specifically liked the character of Joi and everything that came along with her (avoiding spoilers for now). One of the year’s best.
Three Billboards Outside Ebbing, Missouri – 9/10
While Shakespeare’s prose is pretty annoying, there’s no denying many of his stories are still powerful. Case in point, there’s a reason why every few years someone tries to make another version of MacBeth. One such story, The Merchant of Venice, deals with morality and justice in an age of racism and poverty. The story presents a complicated moral conundrum between a character who owes a debt and the debt collector, demanding a pound of flesh from the borrower. I mention this because Three Billboards, by story’s end, leaves the viewer with some similar moral conundrums. If your film is evocative of Shakespeare without once referencing his work, you’re doing something right, and boy oh boy does McDonagh get a lot right. The acting in this film is some of the year’s best, with it being almost impossible to not bring up that tired “should get an Oscar” statement and apply it to pretty much everyone in the film. A modern classic.
John Wick Chapter Two – 9/10
It might be a bit of a high score but screw it: I loved this movie when I saw it and I still love it today. The goofy nature of the plot, Keanu’s overacting and the sublime gun-fu fight scenes and action setpieces set this apart from all the other action flicks I saw this year. A fun ride that leaves something on the table for a sequel…couldn’t ask for any more than that. Plus, a role for our boy LARRY FISH?!?! 9 on 10, yep just justified it, fight me.
Dunkirk – 10/10
No surprise here since I talk about it pretty much every podcast I’m on these days but Dunkirk is still impressing me. Even after seeing it so many times I can’t help but be in awe of how Nolan filmed this beast. I especially love the time aspect of the film and how on repeat viewings you spot things earlier than the film presents them to you. Great filmmaking from one of our modern masters, nothing better than that.
SYNOPSIS: 25 years after the final episode of Twin Peaks left viewers wondering what the show’s mysteries meant, David Lynch and Mark Frost return to the world of Twin Peaks for a third season. It is happening again…
The first two parts of The Return went in directions that no one could anticipate. Agent Cooper back in the Black/White lodge, the Man From Another Place is now a tree with an Eraserhead-like…thing…for a head, and Doctor Jacoby is living in the woods somewhere. Parts 3 and 4, however, somehow go to an even more insane place. Within the first ten seconds of the episode I knew we were in for something wholly unique, and I enjoyed every minute of it.
From the outset, Peaks began as an investigation-centric series but eventually became the journey of Special Agent Dale Cooper. Cooper, caught somewhere between the Lodge and reality, starts this episode traveling through space, encountering some classic Lynchian nightmarish characters and situations before eventually being squeezed out of a power outlet in a wall in reality somewhere. At the same time, a third Cooper is revealed to be a man named Dougie, whom swaps places with Agent Cooper in this moment, arrives at the lodge and disappears for…some reason. Concurrently, evil Coop almost crashes his car off the highway at what we assume is the same time Agent Coop arrives, but can continue doing what he is doing. If the description sounds vague, that’s because it is. Throughout these reviews I fully anticipate struggling to explain the plot, but that also qualifies this story as one you absolutely must experience yourself.
We get a bit more time with Hawk, Lucy and Andy, even getting an introduction to Sheriff Harry Truman’s brother Frank Truman (now acting sheriff of Twin Peaks) as well as our first look at Bobby, now an officer with the Sheriff’s department. While we get some of the classic Twin Peaks cheesy tragedy, I found myself oddly nostalgic for that schmaltzy garbage. Yeah, Bobby is clearly hamming it up when breaking down in tears at the mere look of a photo of Laura Palmer, but Peaks was always cheesier than it should have been, trading in a certain measure of the story’s menace for some of that “aww-shucksiness”. It works here and reminds us that the show still remembers all the pieces of what made it so tantalizing a quarter-century ago.
Without question, though, the funniest thing Twin Peaks has ever done has to be Michael Cera’s turn as Wally Brando, biker and son of Lucy and Andy Brennan. Cera, sporting an incredible lisp that must have been his attempt at mimicking Brando’s iconic speech pattern, is flat out hilarious. With lines like “My dharma is the road…”, you know you’re in for some comedic gold. I hope we see him again but if that is his one moment in the series then so be it, it was magical.
As far as Agent Cooper goes, things pick up with some woman. Coop is off his game, however. Simple tasks like responding using his words and putting his shoes on are clearly a struggle. As the episode progresses, Coop uses the few phrases he has banked in his memory (“Call for help”) to try and progress forward. Coop eventually ends up at a casino where, for some reason, he hits 30 jackpots in a row. Each slot machine he sees with a floating image of the Black Lodge above it he plays, and wins. There is no explanation given, so don’t ask. Eventually, Coop has a run-in with the Casino manager who tries to implore him to stick around and spend some money in Casino. Coop, still completely out of his mind, is given a limousine ride home. Home, it turns out, is behind a red door, from which Naomi Watts appears as Dougie’s wife. Somehow, Coop and Dougie have switched places. Did Evil Coop orchestrate this to happen, and if so, to what ends? I hope we get an answer, but your guess is as good as mine.
Agent Cooper then tries to live like a normal person, mimicking what Dougie’s son, named Sonny Jim, does during breakfast, but clearly has no idea what he is doing, being almost catatonically non-verbal. While all this is happening, the return of Albert and Cole, played by Miguel Ferrer and David Lynch, is simply awesome. These scenes, including Cole’s conversation with David Duchovny’s Denise Bryson, now in charge at the FBI, are pure entertainment in the Peaks-iverse. Seeing David Lynch screaming at people again due to his failed hearing is just the best. Eventually, Evil Coop is found in a prison in South Dakota. Cole, Albert and newcomer Agent Tamara Preston visit Evil Coop there. We get the indication that Coop has been gone or off the grid for a long time as both Cole and Albert seem eager to recover Coop from wherever he is. What ensues is a strange conversation, with Evil Coop behind bars speaking as if from a dark script, repeating some of his lines and making a slight mockery of the situation. Again, where this goes, is difficult to know, but the fact that these characters are back and progressing the situation forward is enough for me to be fully invested going forward.
Parts 1 and 2 had a lot of great setup for the more sinister and surreal aspects of Twin Peaks. Parts 3 and 4 dove headfirst back into the sci-fi roots of the writing and, ultimately, brought back a thick layer of smalltown-cheese that had been absent in the beginning of this run. The show is still, consistently surprising me and I’m finding a lot to love, even if I don’t know the direction of where this is headed. Check back next episode for my thoughts and reactions.
SYNOPSIS: 25 years after the final episode of Twin Peaks left viewers wondering what the show’s mysteries meant, David Lynch and Mark Frost return to the world of Twin Peaks for a third season. It is happening again…
Twin Peaks has been, and likely always will be, a frustrating piece of art. On the one hand, it was an innovative and truly unique TV show made in a time when quite literally no one was filming anything like it. On the other, it was a bit of a mess, with a specific stretch of season 2 showing the problems that Lynch and co-creator Mark Frost had in executing their unique vision clashing with what the network wanted from them. Time has been good to Peaks as its popularity and the mysteries contained within the series have only intensified with time. It’s not only been 25 years since Twin Peaks was last on the air but also a solid decade since David Lynch directed a film. In that time, franchises have become more prevalent, streaming services have begun to erode Hollywood and stories heavy on nostalgia dominate the landscape. To someone who doesn’t know the show, Twin Peaks coming back would seem like a cash grab. To the fans, that couldn’t be farther from the truth. After all, Laura Palmer herself said she’d see Agent Cooper “in 25 years”, and here we are.
This all begs the question, is the series even good anymore? After watching the first two parts of the return, the answer is a resounding yes. Lynch is at his most Lynchian here, putting together a piece of work that feels utterly comprehensive. Those of you who watched Peaks for its quirky small-towniness will find a bit of that “aww shucks” demeanor, but it’s clear that Showtime let Lynch run rampant on the material. This is much more in line with Eraserhead or Lost Highway than it was previously, which is a great thing. The original series left so many questions unanswered that The Return feels like it was in the cards all along, even if it may not have been. Lynch himself has described his work as “dreamlike” in the past, and I think if you keep that in the back of your mind his films make much more sense.
We open on a black and white shot of the, coincidentally enough, Black/White Lodge where Special Agent Dale Cooper sits in conversation with the Giant, the first of many familiar faces we see throughout the episode. The Giant provides some cryptic clues to Cooper then Cooper departs. From there, we visit a young man sitting in a building in New York City monitoring a glass box with cameras fixed on it, clearly waiting for something to appear. One of the more surprising turns here, Kyle MacLachlan’s doppelganger from the end of the second season is out, playing by his own rules and sporting the cheesiest spray tan/mullet combination you can imagine. We get pieces of the citizens of Twin Peaks, including Dr Jacoby, Andy, Hawk, Log Lady, Shelly, James, and even the one-armed man. That’s not to even mention all three members of the Palmer family in various places/states of consciousness. None of these appearances are treated special, but rather the show doesn’t assume seeing any of these people is a big deal; they’ve always been here, they’re not special, and Lynch doesn’t want to waste the audience’s time reintroducing people to an audience who already knows who they are.
To call the first two parts of The Return confusing would be the very least of it, but you must expect that going in. Lynch, for me, has always been about the mood. Few filmmakers can create such a sinister and off-putting mixture of sound and image as David Lynch does. So many times, throughout his career, whether it be the man behind Winkies in Mulholland Drive or Robert Blake in Lost Highway, Lynch has gotten way under my skin and freaked me out. He does it here, with several moments of out-of-left-field fuckery that can’t be explained without having seen it. To me Lynch’s work is about the mood and atmosphere, and here he’s on top of his game. Even small, quiet scenes, such as the one of two characters staring at a glass box, carry a sense of dread and fear with them. Something about the camera in conjunction with the usually menacing score combine to make for an unsettling and disturbing experience for reasons I can’t quite describe.
Twin Peaks was never a favorite series of mine, but more one that just refuses to leave my brain. After a recent re-watch in anticipation of The Return, I think I appreciated the series for what Lynch tried to do with it. Look, it’s not perfect. Entire plotlines and stories in parts of season 2 are atrocious, but when Lynch’s influence is felt the show is amongst some of the best TV ever made. Having this new series on Showtime where there are no rating restrictions just feels right for this series, with Lynch taking full advantage of being able to go further than he had before. I find myself less concerned with answering questions and more intrigued by where this is going to lead. I think with Twin Peaks the interest was always meant to be on the tone, mood and feeling more than the overally “point” of it all. I’m happy Twin Peaks is not only back but looking even better than it did when it first aired and plan on keeping you updated as the season progresses here on Binge Media.
There’s just no other way to put this, so here it is: Bostonpalooza exceeded every expectation. If you were there, you know. If you weren’t, you better get your ass to Lawlapalooza because if this weekend was any indication of what is to come then…well…we’re gonna need some serious liver conditioning between then and now. So, for those of you who need it, here’s a recap of what happened from my perspective. Granted, we’ll probably talk about this on a pod, but this is worth getting out there now, so here it is.
On Friday Meg and I arrived in Boston a little after noontime and got settled at the hotel. Once we were ready, we took off towards the guys’ place. When we get in the area, the fantastic Liz and the enigmatic Boston Jess met us with their key to the garage, and we parked and headed up to the room. A few wrong elevator rides and walks later, the moment arrived: the meeting of Valley, Law, Moreno and Ammon. In a word, surreal. There’s something weird about walking into a room of people you know well but have never met, but within minutes and a couple mojitos (based off a great recipe from the Laws) we were soon killing time with Liz while watching at least ten hours of HGTV. After nap time, we got together, had some REDACTED and took off towards the venue.
Then, it was on to The Harp, the type of place none of us would ever be caught dead in regularly. But this is The Kicks, so we were there in full force. Walking through the door and seeing the familiar face of PeteMC was awesome. The (maybe) piss-drinking drummer was every bit as excited to see us as we were to see him, and we posted up to order some drinks and food. Soon after the rest of the band joined, including TM and KariTM. The band was working, but they squeezed in a little time between sets to have a drink and eat some food with us, which was great. At a certain point in the night, between some serious giggling and shit talk, REDACTED. I can’t describe this any other way, but for me time seemed to slow down to a crawl. For a good 10-15 minutes I could not speak at a normal speed, all the while Law couldn’t stop giggling at everything I said. We made it out of night one without any fights or injuries, so that was at least something. We all headed back to the apartment but Meg and I peace’d out early – at 230AM – so we’d have energy for the next day.
We wake up and get going at around 12ish for some brunch back in Boston. We are then joined by the singularly cool Eric King, a guy whom came prepared with some fantastic jerky…but more on that later. At this point Ammon clearly had gone too far over the edge earlier that morning and headed back to the hotel for some much needed recovery and rest. We break from the tavern and go with the Laws, Liz, Meghan and myself for a walk to Boston Commons and, eventually, the original Cheers bar. Place was awesome. I managed to negotiate a quick visit to the set bar, which was closed for a private function, with the host despite the fact I was decked in my TB12 gear since he was a Falcons fan. I thanked the guy and told him “They’ll be back, don’t worry”. We head back downstairs to the real bar that the set bar was based on (got that?) and drink beers in the famous Cheers dimple glasses. It was the tits, and I went for a Sam Adams, because of course I did.
After Cheers, aka the Bull and Finch, we headed down Newbury Street to visit the famous Newbury Comics. Newbury is our version of Amoeba Records, or even the famous Tower Records, and worth checking out if you’re ever in Boston. I had to grab a Rick and Morty shirt and then we took the T back to North Station. Upon arrival, we realized that North Station was right next to the guys’ apartment, and we headed back to kill some time before returning to The Harp. At this point, Meg and I got to sit down and talk with Ammon for a bit, which was pretty great.
After a while, Meg and I left to meet our friends Brian and Val for dinner at Boston Beer Works before hitting The Harp. Maybe we were being too judgy but the busboy/host at the Beer Works was totally eyeing me during the meal. Not sure if he was offended or wanted a piece of this, but by the end of dinner we needed to get lost. Que The Harp for round 2. REDACTED, but drinks-a-plenty. We get there and The Kicks are holding down tables for us near stage-right, which is fantastic since we can cut through the Jock McF&*#face douchebros all over the dance floor. We chill for a bit and meet some more friends (JFernandes and his chick) and some family (Meg’s cousin and girlfriend). Soon after, the rest of the podcasters arrive and we get going. Hendricks and tonic galore, Eric King almost sleeping through the Kicks set and a PeteMC bighead punctuated the night that, unbelievably, topped the night before on every level. I got to take a piss with Jim Law twice, and we didn’t even plan it. I mean what more is there to life now that I’ve achieved this?
The night ends and a few of us go back to the apartment to sober up…until someone pours me a rum and coke that forces me to keep going. Three or four drinks later we’re eating the previously referenced Eric King jerky, learning all about Kingologists and their beliefs, talking on Facebook Live and doing Boston accents with Boston Jess. I think we ended up heading home around 430/5AM and grabbing a few hours sleep before noontime checkout and breakfast with Binge to cap the weekend.
We arrive in Cambridge and hit some bar. To be honest, I don’t remember the name, only that the waiter had no clue what he was doing and that both the freshly squeezed Grapefruit juice and the Huevos Rancheros were delicious. At this point, it’s Eric King, all of The Kicks, the Laws, ‘Reno and Liz, Ammon, Meghan and myself, and it couldn’t have been a better sendoff. We walk back to our cars, go our separate ways and end the weekend the way it began, with a drive back to reality.
Bostonpalooza felt like the goal for a long time. This week was special for a lot of reasons for me and something I really worked hard towards. While Binge seems to be this nebulous thing where a group of people got together to talk movies with one another, this weekend reminded me that the people behind all these podcasts are what matter, and I’m (Logan) ultimately thankful they’re all a part of my life. There is nowhere to go but up for Binge, and I hope that Lawlapalooza finds a way to somehow surpass Bostonpalooza. So, to Law, Boston Jess, Moreno, Liz, PeteMC, MC, TM, KariTM, Pat, DP, Ammon, Eric King, JFernandes and everyone who came out of the woodwork to see us, it’s great to know all of you, and thanks for one of the truly legendary weekends.
Certain films can oftentimes have hidden layers of meaning to them. Fight Club, for all its machismo stuff and “fighty-fighty” is really a story about a man grappling with his own sexuality. Inception can be looked at as a massive allegory for the filmmaking process, as can something as comically out of left field as Inglourious Basterds. There are other films, however, that wear their metaphorical heart on their sleeve, not only partaking in a comparison to their lofty ideals but forcing the audience into areas of discomfort to make their point all the more strong. Silence is a film of the latter ilk, taking cues from Ingmar Bergman’s Winter Light and even some shades of Cavalry from a few years back. What you get from the film is ultimately for you to decide, but for myself I simply cannot shake the feeling of this movie from my mind.
Silence is the story of two Jesuit missionaries in the 17th century, Father Rodrigues (Andrew Garfield) and Father Garrupe (Adam Driver), whom receive word while living in Macau that their mentor and leader of the last Jesuit mission into Japan, Father Ferreira, has renounced his faith and is lost to the cause. This prompts action from the young priests to enter the hostile country and find out what happened to the man. If this sounds familiar, that’s because on the surface it is. This is the exact setup of Joseph Conrad’s Heart of Darkness, and the subsequent film adaptation Apocalypse Now. It is the journey into darkness to find truth. What that truth is remains a mystery for almost ninety percent of the runtime of the film, examining the trials and tribulations of Rodrigues and Garrupe as they attempt to sneak through Japanese villages and renew the faith their predecessors worked so hard to impart on the Japanese people.
Silence is the type of film that you have to be prepared to reckon with. There is no easy entertainment here. There is no real recourse from the brutal and stark reality of the situation. The odds of the situation going well are low from the outset, which is painfully obvious as an audience member. However, this is a film about faith, whether that faith be true or blind. To be honest the questions that arise in this film are so diverse and thought provoking that even while writing this I have trouble deciding where I stand. Good and bad are relative terms here. Yes, the Japanese seem to have a brutal side to their way of life, but maybe the Jesuits should not have been imposing their culture on the Japanese in the first place.
Scorsese has touched upon these ideas several times throughout his career, even baking some religious subtext into the less obvious ones like Raging Bull and Casino. Silence is Scorsese’s attempt at understanding what this all means. A friend of mine, in a review for A Serious Man, referenced that film as the Coens’ attempt at doing the same. Filmmakers, I think, largely come to the same conclusion that whether or not God exists, or is even listening, is sort of irrelevant to the fact that what truly matters is how we treat one another. This idea is central to the film and something that has no easy resolution.
If this review sounds meandering, that’s because it is, just like this movie. The plot meanders down a road with a conclusion you can likely see coming miles away, yet the implications of what occurs are what really get my mind racing. Is faith something that can be held onto without showing it outwardly, or is it something that must be publicly asserted in order to be valid in God’s eyes? What is the point in peoples’ suffering if ultimately it leads to no logical resolution? Is there God, or is God the illusion of morality deep inside one’s own mind? All of these concepts are explored, and all of them challenge you as an audience member to determine their ultimate meaning.
I did not like Silence, I was captivated by it. The film did not let me love it, it forced me to confront it. Scorsese has made a film about faith for anyone who has ever questioned theirs, but it also welcomes those who are likely affirming their own faith to observe and consider their position. In contrast to pandering and useless films like God’s Not Dead that try to rally the Bible-Belt into a message of Scripture-toting bullshit, Silence never attempts to tell the audience what is right, what is wrong or how faith should correctly be observed. Scorsese is confronting mortality and trying to parse out what faith is, and ultimately why it is, but he leaves the answers up to the audience.
So the big question: do I recommend the film? Again, like the film, not an easy answer. If you are prepared for a film that skirts just beneath the surface of three hours about Jesuit priests grappling with the meaning faith in a hostile land, then get ready to see something special. If none of that interests you, stay away. This film is not a crowd pleaser and ultimately was not made to be one. It may feature some of the biggest stars in the game with Neeson, Driver and Garfield but it is by no means meant for the masses. Personally, I was engaged by the film and am still considering it as I finish writing this review. If a film can get this kind of reaction out of someone as critical of religion as myself then Scorsese must have done something right.
Well guys and gals, here it is. Something I started doing a few years ago is back by absolutely NO demand. Everyone does top 10 lists, so instead I just rank everything I saw. Is it efficient? Yep. Is it easy? Not really. But everything I do, I do it for you (Binge), so here’s what I’ve got so far. Also, keep in mind several films pull that BS around this time of year where they are not available in my neck of the woods yet qualify for awards. So, if there’s something not on this list that is looking like a big flick dropping soon, I just haven’t seen it yet. Deal with it. On to the list.
Suicide Squad – 2/10
It has been a long time since I saw such a complete and utter disappointment as Suicide Squad. Fundamentally flawed, reeking of studio interference and featuring the worst on-screen depiction of Joker we have yet seen, this movie is a tragic misstep in the DC Movie Universe’s ultimate plan going forward. The only thing about the movie that works moderately well is Harley Quinn’s performance by Margot Robbie, but even that is marred by awful writing. Also, any time Batman allows a child to stand in the way of a bullet means that you don’t understand that character, or his fundamental values, on any level.
Batman V Superman: Dawn of Justice – 3/10
Incredibly the two DC entries sit next to each other in my rankings. You can pretty much just copy/paste my thoughts on Suicide Squad and apply them here. The saving grace of this film is Affleck’s portrayal of Batman. It is not perfect, but it is unique and, I think, shows promise for a more well-rounded, better directed film. Zack Snyder and the producers are holding this series back in a big way.
Ghostbusters – 4/10
There is only one question to answer when considering this movie: is it funny? The answer is no. It’s not funny. This is a comedy that isn’t funny. In fact, the one time I laughed throughout the runtime was before any of the Ghostbusters even appeared on screen. This is a film full of funny ladies, made by a funny director that, simply put, isn’t funny.
Batman: The Killing Joke 4/10
For a Batman fan this year was a real test. This was the third in a series of disappointing Batman films that DC gave us this year. I guess this will be the norm from here on out. A poorly conceived introduction fleshing out Batgirl and Batman with a really misguided romance, the entire first third of this film has been wiped from my copy of it. The animation does not serve the original work at all and, despite having Mark Hamill and Kevin Conroy, the direction does nothing for the material. Another missed opportunity.
Blair Witch – 4/10
Oh boy did the hype train derail quickly for this one! I’ve been on record on the site saying that The Blair Witch Project is a favorite of mine. It endures as a horror film and as an independent feature. This film does neither of those things. It has no redeeming qualities, aims for jump scares and makes no real sense. The best plot point of the film, dealing with a misconception of time, is almost completely ignored. What a shame.
X-Men Apocalypse – 5/10
X-Men will always have a soft spot in my heart. I was 9 when the first film was released and X2 still stands up as one of my favorite action movies out there. All that being said, the franchise is dull and needs some new blood. Apocalypse should have been awesome. I mean, Oscar Isaac, my OG boy goin way back, should have knocked this out of the park, but ultimately the flick just doesn’t really have anything interesting to offer. Many of the action beats are riffs on previous scenes from Days of Future Past and the muddled timelines of the series are more of a hinderance now than they ever were before. Also, if you’re going to do Weapon X, please give him the correct costume. We’re at a point where we are going to see Spider Man with web wings. Just give us what we want.
Blood Father – 5/10
Blood Father is Mel Gibson’s Taken. It’s fine, but it’s nowhere near as good as his heyday of Mad Max or Lethal Weapon. Hell, even Hacksaw Ridge, his directorial effort, is miles above this. That being said, if you want a “Dad Movie”, this is perfect. I can’t really recommend this to anyone with confidence.
Mascots – 5/10
Mascots is exactly the movie you’d expect the director of Best in Show to make. That’s the biggest problem with it. Almost joke for joke, Mascots is a rehash of Best in Show. This might sound great on paper, but there’s a lack of silliness in this movie, basically just going for the awkwardness over the laughs, that makes it seem like its trying too hard. There’s also a horribly wasted cameo that I won’t spoil here, but when the credits roll you wonder whether it made any sense shoehorning that character into this film. Really disappointing, but I hope it does well on Netflix so Guest gets to make more films, because even when they’re not great the world is a better place when Christopher Guest is making movies.
Keanu – 6/10
I love my cats. No shame. Sawyer and Sadie, they’re great, and as a cat owner Keanu was a must see. It’s not horrible, but it is very familiar. There’s nothing in this movie you haven’t seen before, save for maybe the hot cat-action scenes. As a Binge listener, I do have a soft spot for George Michael, so all the references to him and his work were fantastic. You could do a lot worse than Keanu when it comes to comedies, but you can absolutely do a lot better, too.
Yoga Hosers – 6/10
This is probably the most hated movie of the year, but I’m just not there on this one. Yeah, I’m a Kevin Smith fan. Yeah, I like Hollywood Babble-On. That probably factors into this. This flick is something that I felt like I had to tolerate once, and I’ll never watch it again, but I find it far from the worst movie ever made. So Smith decided to make a home movie with Johnny Depp and his kid, big deal. I get the hate but I think it’s a bit much in this case. That being said, I can’t recommend anyone to watch this movie. Take that as you will.
Hail, Caesar! – 7/10
I am now and always will be all-in on a Coen Brothers movie. This one pairs really nicely with Barton Fink as both films deal with the early days of Hollywood and concern some existential questions about faith and control. This isn’t the movie that it was advertised as, and I’m sure that annoyed a lot of people, but from the moment Michael Gambon’s narration begins I was hooked. Is it a Lebowski-level masterpiece? Nah, but I think this movie will find its audience in time.
Zootopia – 7/10
Zootopia is a very strong Disney animated film. That’s great, and I hope they continue making these, but for me I just didn’t really care that much. The voice acting is great, the animation is fantastic and the characters are well written. The movie has a great message for kids to hear and the jokes, for the most part land. And yeah, the sloth is kinda funny, but if you saw the trailer then you already got that one for free. This just isn’t a favorite of mine. Sue me, dickhead.
Green Room – 7/10
Green Room was good, but I wanted it to be great. A fantastic premise, good music, solid casting and some really economic filmmaking made this a really interesting story, but I didn’t feel that the movie was viscious enough. At no point did Patrick Stewart, playing the heel here, feel intimidating or scary. This movie is supposed to be a punk-fueled nightmare, but it ultimately felt half-baked. I still look forward to whatever this director has coming next, but I hope he takes more chances in his next outing.
Popstar: Never Stop Never Stopping – 7/10
Speaking of Christopher Guest movies, it looks like The Lonely Island did Guest-level parody better than Guest himself. Popstar is the cinematic equivelant of throwing everything against the wall and hoping something sticks. You’ve got every kind of joke in here and a TON of cameos to speak of. Add in to that a bunch of catchy parody songs and you’ve got a pretty solid comedy.
Sausage Party – 7/10
For whatever reason people went into this movie expecting something more than dick and fart jokes. I understanding wanting more from your comedy, but I’m gonna go ahead and suggest that y’all check yourself before you wreck yourself with that one. I was giggling thoroughly throughout the runtime, especially during that glorious finale scene. If you want to see a Pixar movie gone wrong, then this is for you. Just don’t expect anything more. Literally. nothing more. Just that.
Don’t Breathe – 7/10
I love films with a good moral conundrum, and man does Don’t Breathe give you a good one. In the face of someone truly reprehensible, are you justified in vilifying that person despite your own muddy values? It’s an interesting idea that gets explored fairly well, although the conclusion of the story leaves a lot to be desired. Stephen Lang is a true movie monster in this and the film had its share of well-earned and effective jump scares. I would have liked a little more from this but at the end of the day I think Fede Alvarez has proven that he has a bonafide classic film in him just waiting to be made.
Man Down – 7/10
Shia LeBeouf needs to be in more movies. There, I said it. From a guy who I only knew as the male lead in X,Y and Z tween action flicks I did not expect something like this. The story of the effects of PTSD on a soldier and his family, Man Down does a lot right, so don’t let the Tomatometer sway you. During conversations with writer Adam Simon, he describes the film as a “political cartoon”, which is accurate. The film really plays in the pocket and has a third act that goes to some unexpected places, but upon reflection I think it earns the moves that it makes. Definitely worth a watch.
13th – 7/10
13th makes an interesting argument about slavery and the prison systems, although I left the film slightly unconvinced. The style of this documentary is strong, and everything from the personal anecdotes to the presentation are very well thought out and good looking, but I just left the film feeling like this was an interesting student thesis about the subject, not a fully-fledged indictment of the system and how we enforce the law. There are strong points here, but I think the parts are greater than the sum total in the end. Still, this is worth a watch if only to get the discussion going in your mind.
Tickled – 7/10
Chalk this up as one of the strangest films of the year. Tickled is the story of Competitive Endurance Tickling, a sport that a New Zealand journalist comes across one day and begins to investigate. While going down the rabbit hole of this strange and mildly disturbing sport, a series of events occurs that can only be described as “aggressively weird” starts happening. By the end of the film there is serious doubt about what you watched and the validity of it, but in terms of just having to see something for fear of not having it described correctly to you, I would recommend this flick wholeheartedly. Just expect the unexpected.
My Scientology Movie – 7/10
As a mark for Scientology and all its wackiness, I found this Louis Theroux documentary to be a bit too farcical in comparison to Going Clear or the new Leah Remini series. Theroux is an outsider, being from the UK and quite obviously not a member of the Church, yet the angle he takes to tell this story is fascinating. Rather than interview his subjects and film them telling their stories, he enlists the help of one of Scientology’s former higher-ups to stage theatrical recreations of incidents he describes using young actors in Hollywood. The result is a bit weird, but at times has shades of brilliance, especially during a scene where the actor hired to portray David Miscavidge is instructed to abuse a room full of Sea-Org members. While what is staged is obviously not true, the fact that after the intense performance we are told that Miscavidge would be even worse in person makes this mysterious “religion” even more dangerous, in my eyes.
Holy Hell – 7/10
In a simlar way to the recent forays I’ve had with Scientology documentaries, Holy Hell is very much in the same vein, telling the story of the Buddahfield cult in West Hollywood. Essentially this is your standard cult story featuring a charismatic leader that promises the world to his disciples, yet when it comes time to deliver makes excuse after excuse as to why it won’t happen. The psychological warfare played upon members of this cult is really bothersome to see, and something that happens continually as we see in incidences such as the Jonestown Massacre and the Heaven’s Gate cult. While the documentary paints an odd picture of the man at the center of the cult, including a face-to-face with an ex-member, I feel like the documentary doesn’t do enough to drive home the idea that this organization is evil.
The Witch – 8/10
Tone is really important to me in a film, and God DAMN does The Witch have an unsettling tone. Using early Puritan-English to tell the story of colonists making their own homestead in the wilderness, The Witch does just enough to get under your skin and stay there. Ever get a chill in the Winter-time that just won’t leave? That’s how The Witch felt days after I had seen it. One of my favorites on the year.
Deadpool – 8/10
Proof positive that staying true to character and years of backstory can pay off, Tim Miller’s Deadpool was maybe the biggest surprise of the year. Ryan Reynolds was, in my estimation, spot-on casting. He truly gets Deadpool and plays into his hand very well. The flick itself was standard superhero fare, but by using the 4th-wall-breaking jokes and references, it transcends and becomes much more unique. The hard R rating for the film also proves that being faithful to the material, regardless of the content, can pay off if done right. Deadpool is a blast, despite what GC may tell you.
10 Cloverfield Lane – 8/10
John Goodman is a national treasure.
The Jungle Book – 8/10
For a flick that I had no interest in this was especially impressive to me. I loved the kid who played Mowgli, this year’s GOAT voice actor Idris Elba and all the visuals. I thought the film was a great update of the original Disney film, infusing the right level of fun and adventure to keep my attention. Jon Favreau does not get enough respect as a filmmaker.
Sully – 8/10
Sully is an example of a master filmmaker just doing his thing. Sully plays with conventions right from the beginning, investing you in the story of Sully’s confrontation with TSA over the “Miracle on the Hudson”. Tom Hanks is amongst the greatest living actors, and his performance here is indicative of that. It would be difficult for two heavyweights like Hanks and Eastwood to not deliver a great film. Add in the most majestic moustache of the year from Aaron Eckheart and you’ve got something special here.
Doctor Strange – 8/10
You have to respect a film that shows you things that are, quite literally, indescribable. Doctor Strange does that. Is there standard superhero fare? For sure. Do the jokes land well? Not really. However, there are moments in this film that I cannot describe to you because I don’t know where to begin. In an example of the power of visual storytelling, there are a few moments that I will never forget but can’t begin to tell you about. Plus, there’s a fantastic finale that challenges the conventions of what most of these movies offer. I think this movie serves as an example of how far Marvel wants to stray away from their own formula, and I can see this as the beginning of a new phase of Marvel Studios.
Hacksaw Ridge – 8/10
Mel Gibson should be directing more movies. The man has a talent that is too strong to allow to sit dormant, and Hacksaw Ridge proves that his style is almost impossible to imitate. Telling a story about a guy who wouldn’t fight by juxtaposing that with some of the most gruesome and violent scenes ever put on film is a ballsy move, but it’s signature Mel Gibson and I kind of love him for doing it. Garfield proves why he keeps earning strong roles and Hugo Weaving even gives one of the more complex roles in recent memory, given his limited screentime.
Swiss Army Man – 8/10
Probably the most creative film of the year, Swiss Army Man is an interesting film at the very least. Utilizing farts, boners and a dead guy’s bowel movements to tell a story sounds awful, but surprisingly Swiss Army Man is an emotional and meaningful film that makes you think. And fart. Mostly fart.
Deepwater Horizon – 8/10
In a way, Deepwater Horizon acts as a nice compliment to a film like Sully in that both stories are about disasters and the way people deal with them. In Sully’s case, we see the actions of someone who did something incredible and saved the lives of everyone on board his plane. With Horizon, there is a much more grim picture, whose tragedy is clearly fueled by the evils of capitalism and big business. The dramatization of the largest oil spill in US history isn’t without its contrivances, especially during the first third which features scenes of Mark Wahlberg’s daughter explaining his job through the use of a straw with some soda, but much like Rogue One the third act of the flick, providing you are still along for the ride at that point, goes a long way to forgiving some of those writing gaffes. Also, Kurt Russell is the man, and he continues to be the man in this flick. No reason not to like this one.
Rogue One: A Star Wars Story – 8/10
To say there were lofty expectations for this flick is a severe understatement. Some of us (and we know who those people are) had it out for this film from day one, never really willing to give it a fair shake for arbitrary reasons. Others have taken a more positive look at these films, hoping that out of sheer volume that eventually we would get some good-maybe-great Star Wars films. Last year, The Force Awakens was a great primer to get the franchise back in the spotlight, but for my money I think I enjoyed Rogue One more. Yes, there are flaws in the film and the marketing is mildly manipulative due to the massive reshoots, but I’ll be damned if the filmmakers didn’t push all the right buttons by the end of the film. There are some writing conventions that hurt aspects of the film, and admittedly I walked out of the movie not knowing the names of more than half the cast, but I found most of the “member berries” in the film to be justified in their inclusion (save one specific cameo with a pair of very recognizable characters). Couple that with the fact that this film completely and utterly reclaims Darth Vader as one of the great cinematic villains of all time and you have yourself a fun, unique film full of great callbacks and moments of absolute glee.
Team Foxcatcher – 8/10
Since the film Foxcatcher a few years back I’ve been intrigued by this story. For those unaware, Team Foxcatcher was the name given to a group of Olympic athletes, with a focus on Olympic wrestling, headed by millionaire John DuPont. DuPont was a weird guy, to say the least, and the story of his interaction with Mark and Dave Schultz, two of the premiere wrestlers in the world, is one of those stranger-than-fiction stories. This is the third piece of filmmaking I’ve seen based on the story, with this documentary focusing intently on DuPont and Dave Schultz moreso than anything else (you may remember these two were played by Steve Carell and Mark Ruffalo in the film, respectively). True crime stories are fascinating, but this one has a twinge of oddity to it that makes it all the more disturbing to read and see about all these years later.
Batman: Return of the Caped Crusaders – 8/10
If you had laid out The Killing Joke and Return of the Caped Crusaders for me and asked which one I’d bet on being better, I would have went for Killing Joke 10/10 times. Joke was, actually, a bit of a joke, but Return was a blast to watch. Combining all the cheesy, goody-two-shoes elements of the original series, allowing Adam West and Burt Ward, alongside original Catwoman Julie Newmar, to voice the roles that made them famous was a lot of fun. There is a bit of fan service here too, from referencing the three different actresses who played Catwoman on the series to adding in some choice lines from both the Tim Burton and Frank Miller iterations of Batman, but nothing that detracts from the finished product. I wouldn’t recommend this if you hate the Adam West era Batman series, as this is quite literally an extended episode, but for those of you who enjoy the self proclaimed “Bright Knight”, this is a home run.
Captain America: Civil War – 9/10
When superhero movies are good, they’re amongst my favorite experiences in the theater. I LOVED Civil War. Loved it. I saw it three times in the theater and have watched it four or five times at home since. Black Panther is great. Spider Man is great. Giant Man is a moment of pure movie magic. I loved this film and its willingness to end the film with the bad guy winning. I know superhero fatigue is a real thing for some of us, but not for me. I can’t wait to see the next time all these guys are on screen together again.
The Nice Guys – 9/10
Kiss Kiss Bang Bang is a sorely underrated flick. Val Kilmer as a gay private investigator should be enough to get you in if you haven’t seen it, but it was the re-birth of Robert Downey Jr in the years just before Iron Man that make the flick really fantastic. Oh, and by the way, Shane Black ended up working with Downey again on Iron Man 3, so clearly these two guys have chemistry. Black takes his signature style, changes the setting to the 70’s, swaps Kilmer and Downey for Gosling and Crowe and voila, another bonafide comedy classic. Gosling is fantastic as a complete dope, Crowe kills it as a past-his-prime PI and the writing is razor sharp. This flick deserves more love.
The Conjuring 2 – 9/10
A good ghost story is somewhat hard to come by these days, but thankfully James Wan still knows what makes them great. The Conjuring 2 is fantastic for a lot of reasons, but chief amongst them is the relationship between Ed and Lorraine Warren. Patrick Wilson and Vera Farmiga are a perfect movie couple, and if you were to just have a story with those two characters and no supernatural elements I’m convinced it would be great. Conjuring 2 does all the great things that the original did and then takes them a bit further. Maybe some of the subtlety of the first film is gone, but I loved the direction this sequel took their story in.
Star Trek Beyond – 9/10
I have been a Trek fan since I can remember, same as Star Wars. My uncle showed me Star Wars, and my mom showed me Star Trek. Trek was always something that I cherished, despite some of the cheesiness. I always liked the intrinsic nature of the best of Trek, where the conflict came out of the crew’s own choices (The Wrath of Khan) or a fundamental foil of who they are (First Contact). Star Trek Beyond rights all the wrongs of Into Darkness by doing a lot of things right. Firstly, the script finds something for the entire crew to do, an element that the last two films sort of ignored. The enemy in the film, without spoiling anything, is a more closely tied antagonist than you would expect, and the nature of the film utilizing the past to preserve the future all works for me in a big way. Are there some member berries at work here? Sure there are, but in this case I don’t see a problem with that.
Sing Street – 9/10
I was lucky to not get one but two amazing films revolving around a love of music. Sing Street, Jon Carney’s follow-up to Begin Again proves once again the man understands the emotion behind music better than most filmmakers. The simple story, about boy meets girl and starts band to impress girl in 1980’s Dublin, is what it is, but the secondary plotlines about divorce, sibling understanding and high school life are what make the film what it is. Hilarious, heartwarming and reflective, Sing Street is a must-see flick.
Kubo and the Two Strings – 9/10
The Nightmare Before Christmas and the Corpse Bride are films that I really love because of how weird and wacky they are. Both feature the mind of Tim Burton at work, and both utilize the fantastic stop-motion animation work that make those films so iconic, particularly in the case of Nightmare. Kubo and the Two Strings comes from the guys who made Paranorman, Coraline and The Boxtrolls, and for my money this is far and away their best work. I loved, LOVED, the story here about a young boy’s quest to defeat his evil grandfather. The voice acting was good, the special effects are astounding and the music is wonderful. I do not know how Laika can ever top this for me.
Arrival – 9/10
Children of Men marks the last time a sci-fi movie left me completely dumbfounded by its conclusion. Not out of misunderstanding, but out of sheer appreciation for what I had just seen. Arrival took a good twenty-four hours before it cemented itself as a phenomenal film for me. Amy Adams, while typically a strong performer, is fantastic here. Playing a linguist recruited to help communicate with visitors from the beyond, Arrival represents the best elements of true sci-fi stories. There is no big action scene, no war with the aliens and no misguided love-interest subplot forced in. There is, however, an interesting and fairly unique story about communication that, at its core, deals with so many other facets of life. Arrival is the kind of movie that will confuse many, aggrivate others but entertain and excite a special few. Count me amongst the latter.
La La Land – 10/10
As I get older it takes a movie more and more to earn a perfect 10 score. This is a comfortable 9 for me, but one of the year’s best.. Damien Chazelle is clearly one of the next big auteurs, with his focus and love of music being the square fascination of his creative career thus far. Emma Stone and Ryan Gosling are the best either of them ever has been. The music is emotional, meaningful and entertaining throughout. The cinematography is maybe the best I’ve seen since Mad Max Fury Road. Everything about this film is fantastic, and even the old-timey Hollywood member berries do their job. This is the kind of movie that will be a critical darling come awards season but despite all the praise you’ll see thrown its way it deserves all of it. If you can’t deal with musicals, then you’re doing yourself a big disservice not seeing this film as it has more narrative integrity than most of the straight dramas I’ve seen this year.
2016 has been full of ups and downs. For a lot of people, the downs have seemed to be at their lowest, with celebrity deaths (wtf Leia too?!?!), corrupt elections and Justin Bieber still touring the world at the forefront of everyone’s attention. Much like some drunk Mexican before me, I’d like to take a look at some things that I dug this year. Keep in mind, my annual Year In Review will be dropping on New Year’s Day for you Bingers, so keep an eye out for that soon.
Making a Sassquatch
It would be easy to look back on that experience with some bitterness, but I can’t deny that I had a blast doing the show. From Moreno and PeteMC’s involvement to the insanity that ensued from the mystery of who Sass was, I thought it was a rousing success and also, like Moreno, appreciated how organic it was. Stuff like Making a Sass reminds me that the best ideas are sometimes also the dumbest ones, and there’s nothing wrong with that.
Horace and Pete/Louis CK Live at Foxwoods
If there’s one singular experience that sums up 2016 I think it’s probably Horace and Pete. Likely now finding a new audience due to the fact it just premiered on Hulu, Horace and Pete was the story of Horace and Pete, owners and operators of Horace and Pete’s bar in New York City. Horace, played by CK, and Pete, played by Steve Buscemi, play the two cousins doomed to live out the lives their fathers pre-ordained for them. The series features show-stopping performances across the board and moments that come completely out of left field, but the resolution is where I think the story mirrors this year really well. Nothing is easy, and happiness is a commodity that comes with a price for many folks. I think that this series will stand as not only a great piece of art but a meaningful one, and it stands out as one of the great experiences I’ve had watching anything this year. Couple this with the fact that I got to see Louie a few months later, with Kurt Metzger opening for him as a kicker, makes this one of my highlights of the year.
Dark Souls III
I play a few games now and again, and one of the great ones this year was Dark Souls III. DSIII provides a level of challenge that most games shy away from, but anyone who has beaten their first boss after several frustrating failures can tell you that there is possibly no better feeling in all of gaming than what this series gives you. From the opening moments avoiding dormant dragons to finding an imposter wearing the sacred Havel armor, DSIII delivers the goods and then some. Absolutely one of the great games of 2016.
Completing my Associate’s Degree
Most of you know I’m still in school. While my Bachelor’s degree is finishing up at the end of March, it’s easy to forget that I also completed my Associate’s Degree this year. It was a big step, and something that I did not dwell on for too long as the Bachelor’s was always the ultimate goal, but it was a milestone in 2016 that I am quick to overlook.
Wake & Bake with Bob Ross
I was lucky enough to start up two pods this year, with both being equally rewarding and tons of fun. As a casual idea that I threw out one BingeCast, the concept of sitting around, chilling the FUCK out and letting Bob Ross paint a god-damned masterpiece seemed like a great morning activity. So, as one does, we recorded it, wrapped it up in a bow and made for you, the listeners, Wake & Bake. Supka, myself and the occasional guest host dish on all the Pthalo Blue and Permanent Red you can shake your medium-length knife at. This is another example of stupidity being the mother of invention, but if there’s one thing I’ve learned over the course of this year in Binge it’s got to be that no idea is useless, and this show is a good example of that.
Meeting Joe Fernandes & The Kicks
With the big meetup this past summer, some of you may recall my meeting with “Sass”. The Kicks, consisting of TM, KariTM and PeteMC, came to Boston and I was lucky enough to meet the crew. Add in Joe Fernandes, native of New Bedford, and we had ourselves a great time listening to some dulcet tones in a Jock-McFuckFace Sports Bar in Beantown. It’s great to have met all of them and I can’t wait until our reunion in March.
Meeting Bruce Springsteen/Seeing Bruce Live
Four years ago, I saw Springsteen live at Gillette Stadium. That night it ignited a passion and love for his music that has only strengthened over time. I remember seeing a show that cracked a three-hour runtime with no breaks. This year, he came back to Gillette and played for over four hours. The madman brought his A-Game and did not disappoint. That would have been enough, but a few short weeks later I was afforded the opportunity to meet the man. It was brief, maybe all of 40 seconds, but one blurry picture marks the occasion for all time. Autographs are nice, but I felt it was an honor to shake the man’s hand and say “Thank you”. I got to do that this year. It was pretty awesome.
New England Patriots
As I write this the Patriots are sitting at 13-2. Our Quarterback was unjustly and unfairly persecuted and despite his absence we found a way to go 3-1. We beat the Broncos. We beat the Ravens. The Seahawks…well they beat us, but we played a well fought game. Who knows, that may still be the Super Bowl preview when all is said and done. Each year the Pats are an absolute joy to watch and I am always looking forward to the next thing our dark overlord Coach Belichick and TB12 are cooking up next. See you in Houston.
Tracy Morgan Live at the Comedy Connection
One comedy show would have been big, but thanks to Meg’s keen eye we got to see Tracy Morgan this year too. In what must be his first tour since the accident, Morgan was on fire. They had us lock up our cell phones, so I imagine some iteration of this show will be available online at some point, but it was great to see Morgan not only on his feet and enjoying himself but finding the humor in the situation he’s been forced into. A great time and a great performance, Tracy Morgan, if he comes to your town, should be a priority.
Titanfall 2: Effect and Cause
Gaming has been good to us this year, no more so than this wonder of a mission from TItanfall 2’s brilliant single player campaign. The story at this point establishes that you are on a colony where something bad happened, and you’re looking for spare parts. As you’re traveling through, however, you begin to see people who look like they are halfway through a wall. Soon thereafter, you find an item with the ability to “jump” between two different times. This creates an interesting piece of strategy in an otherwise straightforward level, propelling this game into the must-play lists of 2016. Levels like this show you things that even at this stage in gaming you can’t believe you haven’t seen before. Here’s to more of this in 2017.
OJ Made in America
Easily the most powerful and fascinating documentary of the year, OJ Made in America aims to tell the story you know in a way that you don’t. By taking a few steps back and really examining the racial implications of the OJ Simpson murder trial you begin to see the flaws in not only the criminal justice system but also in ideas about racial prejudice and fairness. This five part documentary, totaling a little over seven hours, is essential viewing for anyone and everyone.
The Greasy Strangler/The Greasy Strangler Soundtrack
Thank you, thank you, thank you Jim Law. This was absolutely not on my radar in any way until Law brought it up during a BingeCast. This is the type of movie that you watch 5-10 minutes and decide whether or not you’ll be in for the long haul. This movie is hilarious, the soundtrack is batshit catchy-insane and it’s full of awkward dicks, smoothies and bullshit artists. You at least should give this a try if you’re at all curious. I don’t know what it says about me that I love this flick as much as I do. Probably nothing healthy.
That’s it for me. There was plenty of other good shite this year but I’ll let the others cover that stuff. As for myself, it’s an honor and a privilege being a part of Binge Media and I cannot wait to see what this year brings us. Binge On!
Entertainment media is starting to get a little ridiculous. TV shows are being produced so frequently that before you know it shows like Ash Vs Evil Dead already have a second season rolling out, even though it feels like the series just premiered a month or two ago. This isn’t a bad thing, but it does require us, as film nerds, to be a little more selective with what we watch. It’s not a matter of picking out what is good or not, because the baseline of quality is now so high that more often than not a new series is going to be pretty good. Now it has really become a matter of seeking out the entertainment you really want to see. We’ve moved past the point of requiring everyone to watch Seinfeld and Mad About You every Thursday night. Now I find myself in need of some serious convincing before I pick up a new show or movie. Typically if the guys review something favorably on one of the podcasts, I’ll seek it out. If you, like me, look towards Binge Media for your weekly recommendations, then let me be the first to tell you this; of all the TV pilots I’ve seen in my life, I don’t know that I’ve seen one better than Westworld.
For those unfamiliar with the movie from which this series is based, here’s the synopsis; Jurassic Park with cowboys instead of dinosaurs. Got it? Good. The boys reviewed the movie on a recent podcast and we all agreed at the time that this is the type of story that should be remade since the first pass was lacking some depth. Not a bad flick, just could have been expanded upon. From the first five minutes of this pilot, it is clear to me that the creative team behind this series has a firm grasp on what they want this show to be, and I am in 110%.
Westworld starts as the story of Dolores, a woman living on the frontier with her parents who lives her days keeping positive and looking for the good in her world. She goes about her daily chores, riding into town to get supplies for the family where she runs into Teddy, the clear love of her life who has been away for some unidentified amount of time. Upon returning to her homestead with Teddy, Dolores sees an attack of some sort going on, prompting Teddy to ride in and save the day. As he does, he bests the two bandits who have murdered Dolores’ mother and father. However, a man dressed in all black, who is impervious to bullets (played by Ed Harris) starts talking about how he’s been doing this for “30 years”, then shoots Teddy and drags Dolores into the barn to have his way with her.
Cut to the next day, where the cycle repeats as if nothing happened, and we get the wider scope of what’s going on. Westworld is a playground for the wealthy and well off. Have the cash? Come on down for a totally immersive theme park experience, complete with prostitutes, guns, bandits, Indians and cowboys to help you live out your fantasy of having an adventure in the old American west. The operation, being run by Jeffrey Wright as a lead programmer and Anthony Hopkins, the doctor who first devised the idea of Westworld, operate from a technologically advanced control center located somewhere within the land that the park resides in. From here, they have complete control of the park, from the androids, or as they call them hosts, to the storylines going on in the world. From here the show takes us to some interesting places, not wasting any time in setting up both the conflicts in Westworld and also the more global plotlines revolving around the park management.
I like a story that finds a lot of rich thematic questions to present and expound upon. It’s part of the reason why Lost was so intriguing in those early episodes, what with not only the mystery of how the plane crashed but also how’s and why’s of who those people were. Westworld brings out the big guns, literally and figuratively, with some very solid action scenes featuring shootouts reminiscent of stuff we’ve seen from modern westerns 3:10 To Yuma, The Assassination of Jesse James or even The Proposition. That being said, there were some much more intriguing and surprising scenes where we get to see and understand the characters. My favorite moment in the pilot was when Anthony Hopkins, playing Dr. Robert Ford, questions a host whose software has clearly malfunctioned. The pervading question on my mind throughout the episode was whether or not these machines are becoming self-aware. The question doesn’t get answered, but I’m interested to see how the writers are going to deal with it. Ed Harris, stepping into the role of the Gunslinger/Man in Black role that Yul Brynner made famous in the original film, is pretty fantastic as the show’s current wildcard. We’re not sure what he’s doing or why but it’s clear he knows more than anyone else in Westworld, even seemingly operating outside the view of the park managers. It will be interesting to see where they take him before the series’ end.
From top to bottom, everything here is working flawlessly in the opener, so much so that I don’t know how I couldn’t be disappointed with what’s to come. The cast is chock-full of phenomenal talent across the board, from the aforementioned Anthony Hopkins to famous character actors like Michael Wincott and, of course, Evan Rachel Wood with maybe the most nuanced performance of her career. I know there is an overabundance of stuff these days to keep up with, but you need to be watching this show. It is thematically interesting, well written, action packed and well made. I can only hope the show runners have the gusto to keep this going for a full season.