After doing full career retrospectives on Michael Mann and Quentin Tarantino last year, it didn’t take long to figure out whose directorial career the Aftertaste was going to tackle next. An influencer, and someone whose films can be dissected to death, Christopher Nolan is someone who has a firm grasp on what kind of vision he wants to display. From Batman to focused World War II stories, Nolan has certainly run the gamut of what kind of stories he has to tell. But with the only Nolan related things covered in this podcast being his Dark Knight Trilogy, as well as him having a film called Tenet scheduled to come out this summer, we felt it was time to tackle the rest of his career. So join myself, Jack, and Matt as we look at what his career outside of the cowl has consisted of, while leading up to a review of Tenet.
While Memento was a massive hit with critics and mini hit with audiences, Christopher Nolan still had a lot to prove. Enter Steve Soderbergh. After seeing and helping Memento get distribution, the fellow indie director saw a lot of potential in the British import. He ended up attaching him to Insomnia, a movie that was a remake of a 90s Norwegian thriller that he thought Nolan could do a lot of good things with. So with Soderbergh and George Clooney attached as producers and then doing an uncredited rewrite on the script himself, he was set to go with his first of many Warner Bros projects. Oh, not to mention the acting clout of Oscar winners Al Pacino, Robin Williams, and Hilary Swank starring in huge roles in his first big studio project. So how’d he do?
Join myself, Matt, and Jack as we dissect the movie that launched Nolan’s relationship with big studio fare, and wonder if it is anything close to his best work.
There’s no question that George Romero’s looks at the zombie apocalypse influenced a high number of filmmakers. There is also no question that these filmmakers did what they did in what they felt were nicely done homages. How Tom Savini, Zack Snyder, and Steve Miner did with the foundation Romero laid out is what is discussed in this podcast.
I’m not going to lie. As dire as the last podcast in this series was, there has probably been no movie as bad as one that is discussed here. After talking about all three of these movies, my co-host Mik Duffy and I talk about just how high Romero’s reach was, how his vision of zombies is still in use today, and what to expect in future Aftertastes. One of which involves Duffy coming back.
This has been a good series to revisit. I have had a blast dissecting these movies, and want to take this time to thank that annoying Bruce Springsteen fan Jack Falvey, who provided a lot of behind the scenes aspects of making this series of podcasts possible.
Listen to our concluding Romero Aftertaste, and stay tuned for the Indiana Jones Retrospective with Jim Law and Nate Peterson, starting next week!
Welcome to Part III of our three part look at the entire Karate Kid franchise. If you have come this far, you have looked back at the first two films fondly, and wondered where the last two went wrong. Ok, MOST of us think the last two were wrong. Specifically, the last one.
Nonetheless, this week we look at one movie, and one movie only. That being the 2010 Karate Kid remake starring Jaden Smith and Jackie Chan. Just a few of the things me, Nate, and Moreno bring up during the podcast:
Why are most of these movies so damn long?
What are the main differences between the original and remake? Hell, who are we kidding. Why is it almost Psycho 1998 type emulation instead of making a new identity for themselves?
Why is the ‘romance’ in this movie so damn creepy?
What is Nate’s nickname for Mr Han (hint: it is once again amazing)?
Why are the bad guys of this film so….bland?
How the hell did that oil get on the bullies if it was thrown by 60 lb Jaden Smith?
Why is original writer Robert Mark Kamen’s name given story credit for this film?
What is coming soon on the Aftertaste?
I want to thank Moreno and Nate for a nice time through the Karate world of these films. We are all already talking about what we will review together next. Until then, enjoy some impossible kicks from one Jaden Smith.
Some things are just a part of life. Air is what we breathe, barbers will always have return business and Hollywood is going to keep producing remakes. While a small percentage of remakes are good, I’d like to turn our attention to some films that acutally could benefit from being remade. Constantly there are reminders of the failure of Hollywood remakes, from Black Christmas to Arthur, but here’s a list of ten films that I think could and should be improved upon.
300 – 300 was and continues to be a fairly popular film and there is precedent for that. Without straying from the source material, 300 was a retelling of the Frank Miller graphic novel that gained a lot of traction due to the success of Sin City before it. Zack Snyder, a guy who I do not particularly like as a filmmaker, does an adequate job here making one of the great “hoo-rah” pump-up movies of the past few years, and films like this will always have a place with a certain audience. For me, 300 was a massive let down, but it was my own fault for letting the hype get to me. The trailers are still phenomenal, but the movie around them is incredibly one-dimensional and anti-climactic. The real tragedy is that the real story behind the 300 Spartans is MUCH MORE EPIC than what was put to page here. For example, did you know that the Spartans actually fought off the Persian army for three days AFTER Leonidas was killed, just to recover his body? There’s a really great action-drama in the vein of Apocalypto waiting to be made here and it is a shame that we haven’t gotten it yet. If ever there was a story that needs a fresh take on the big screen, I think it’s this one. Possible Directors – Peter Jackson, Mel Gibson, George Miller
Fire In The Sky – When your movie is famous for a terrifying alien probe scene you know you have something special. The unfortunate reality of Fire in the Sky is that outside of that one horrifying scene the movie suffers from being pretty average. There is not a surplus of great alien horror films out there from the perspective of people being abducted and in the right filmmaker’s hands this could be a modern classic, almost like the anti-Close Encounters.
Slaughterhouse-Five – One of the strangest time-travel stories ever, the movie simply struggles to capture what the book conveys so well. Without spoiling the story, Slaughterhouse-Five is about a man caught in time named Billy Pilgrim. Pilgrim seems to experience all moments of his life at once, only pausing occasionally in different times of self-awareness. Time travel is a tricky subject and especially so when you have a concept as abstract as this one, but intelligent science fiction is not too common so I think there is a place for this in the cinematic landscape. Possible Directors – Terry Gilliam, David Lynch, Shane Carruth
Soylent Green – There have been a ton of suggested gritty reboots over the past few years but Soylent Green is one that needs to happen. The entire idea of this film is ripe with social commentary, and like Slaughterhouse-Five could be the next great science-fiction concept. While the original film is a classic product of the 70’s, the themes of this film could be expanded upon and made into something even more meaningful and special with some quality writing.
Spawn – At some point, Spawn is coming back, so maybe this is an easy target. That being said, Spawn was always a really dark and intriguing character to me. A guy who dies and sells his soul to the devil in exchange to see his wife again is something that is pretty primal and ridiculous. The Michael Jai White film was largely a failure due to timing and execution. In a world where Deadpool is getting a fair shake, I think the odds of seeing a good Spawn film are higher now than ever before.
Star Trek The Final Frontier – I think we all have certain films that no matter how bad they are we just don’t care. For me, Star Trek The Final Frontier is one of those films, most likely due to the fact that I saw it so young. Despite that, the search for God is something that Star Trek is uniquely positioned to examine, it just seems that Shatner was not the guy to pull it off whatsoever. While Abrams was abjectly wrong for trying to remake The Wrath of Khan, my vote would have been to rework this story and run with it.
Super Mario Brothers – Let’s face it, Super Mario Brothers doesn’t have much in the way of redeeming qualities. In fact, I don’t know the name of the director who could have done this justice, but I do know who could knock this out of the park: Pixar. Whether it’s Pete Docter or any of the other phenomenal talent they have, I’d vote Pixar on this all day. While the licensing might be a challenge it would be well worth the investment.
The League of Extraordinary Gentlemen – Superhero team-ups are all the rage these days so I think now is as good a time as any to take another crack at this one. Granted, Alan Moore is not kind to anyone who adapts his work, but I don’t think his approval is needed to make something great out of this. Who wouldn’t want to see an R-rated superhero team-up with famous literary characters? The League of Extraordinary Gentlemen is a must-remake if ever there was one.
The Odyssey – This movie is largely the entire reason why I created this article. To date, no one has made an effective or competent cinematic version of The Odyssey. The Hallmark channel Armand Assante production was ok, but it’s nowhere near as expansive or adult as I believe the story calls for. Greek mythology has not fared too well in recent years with there being an interesting opportunity for something innovative to be done. The Odyssey is one of the world’s oldest stories and I think it’s high time someone gives us a take on the material.
The Stunt Man – One of the coolest movie plots I know of, The Stunt Man is a criminally underseen film about a convinct on the run from the police who stumbles onto a movie set. The director hires him on the spot to use as a stunt man in the film he is directing and the stunts get more and more deadly as the shoot goes on. Peter O’Toole absolutely kills it here but this is an often overlooked film in the pantheon of 70’s thrillers. This is the kind of concept that is so wacky you can take it in a bunch of different directions, but I’ll keep my fingers crossed that someday we get an update.
Going without Jason Morris this week, Johnny Moreno and I take the reigns of Binge Movie Aftertaste by ourselves. And even though we certainly missed our lovely co-host, we ended up with one of the most interesting conversations we have ever had, this being with the director of Synapse, Kenlon Clark.
We start things off by catching up and talking about what we have seen this week, and I reveal that Insidious Chapter 3 didn’t exactly float my boat. In fact, I felt the boat sink after that horrible film was over. I also mention that I saw San Andreas, which I had a much better time with. And then the constant mentions of Inception begin, as Moreno and I both talk about how much we cannot get enough of this movie.
We keep the Inception conversation going when we get music video/film director Kenlon Clark on the line. Clark doesn’t waste any time out Inception-ing us by revealing he owns the film’s script and studies its intricacies on a regular basis. Yeah, we suck. Clark spends some time talking about his music video career, and how obsessive he is about storyboarding. Past Aftertaste guest Adam Simon is brought up, and Clark talks about how he met Synapse writer Simon, and subsequently ended up with the Synapse directing gig. He then mentions we can expect some exciting stuff from this duo in the future.
Moreno and I then bring up the Keanu Reeves hosted documentary Side By Side, which looks at the the debate between the uses of film versus digital in filmmaking. Some interesting points are made, and Clark even says that he attended a screening in LA that featured a Q&A with Reeves himself. No, he did NOT apologize for the Matrix sequels.
All this plus some scattered King of Hollywood talk, when people can expect to see Synapse….and did I mention the Inception talk? After Clark hangs up, Moreno and I get into a conversation about what the existence of these so-called Big Trouble in Little China remake rumors mean for the future of our favorite childhood films. Hint: It’s only a matter of time before everything you grew up with gets re imagined. I then question the lack of judgment I had by hanging up on Clark before getting into this conversation. Once again, we suck.
We would like to thank Clark for coming on the podcast, and you can bet both he and Simon will return to the Binge airwaves very soon. Check out the trailer to Synapse below.
Well, they have finally done it. After years and years of me being a huge proponent of remakes, and defending their existence, a few select instances in movie watching have finally pushed me over the edge. To the dark side, if you will. I think a big part of the existence behind two of these three remakes is they did not pounce on the possibility of making a sequel before it passed them by. In a way, that has to be commended. But if future filmmakers are gong to take advantage of these absences by just making one of their own. Now how productive is that?
The first major faux pas I’m going to cover has to do with remaking a beloved classic like Poltergeist. You are not trying to capture lightning in a bottle as much as lazily rehash scenes in a way that showcases new methods of visual effects more than the emotions that came with them to begin with. Case in point being last month’s remake of the seminal 1982 film Poltergeist. As I said in my review of the film, producer Sam Raimi and director Gil Kenan thought placing fan favorite Sam Rockwell in a family setting much like Craig T Nelson in the original would make you care just as much for him and his family. Guess what? They were wrong. They would have had just as much, if not more success putting Rockwell in this type of setting without plastering the Poltergeist namesake on the film’s title. What remakes like this and 2009’s The Stepfather do is place new characters in the exact same situations as before. Instead of us caring, we are thereby distracted by questions of why they exist in a familiar world to begin with.
I’m not going to spend too much time dissecting this second faux pas because the boys already did a fantastic job of doing so on the most recent edition of the Binge Cast. But I was about knocked out of my seat a week or so ago when I sat down with my soda and popcorn…and the brand new trailer to a remake of 1991’s Point Break appeared. Now, besides the fact that 1991 does not seem to be as long ago as it actually is, the announcement of a remake to it started pushing the side of my brain that starts revolting. Now the stunts in the trailer look phenomenal. But when all was said and done, the end of this trailer left me with just as sour a taste in my mouth that I had after the entire Poltergeist film. Why? What is the…point? See what I did there? What Point Break -which is not a brilliant movie by any means- was about was heists and some kick ass stunts, all nullified by an early 90s slickness. What can we expect from this? Hopefully, with it coming out the week after Episode VII, major floppage.
And I end this rant with the worst of the worst. Now, this ‘news’ is not stamped in stone by any means. But earlier this week, it was ‘reported’ that Dwayne Johnson is in talks to star in and produce a remake of 1986’s Big Trouble in Little China. What makes this bit of news ironic is just a month and a half ago I wrote an article about remakes which I am shocked have not happened yet. My reasoning was that film would seem like the perfect fodder to do so, with all genres mixed into one. But then again, that film sometimes quite literally captured lightning in a bottle. and everything I have detailed about what remakes do to dilute what they are trying to redo is a huge part of why I do not want this film to happen. Nothing against Mr Johnson, but could you imagine what would happen if he shot rocks onto his head? It would feel forced. Kind of like how Hollywood is looking nowadays.
The good news is we always have the originals to watch.