A couple guys (Al Schwartz and John Bernhard) talk all things movies and TV.
Send us a textWe finally reach the (fairly abrupt) end of INQUISITION, and the extensive DLC expansions.
Send us a textWe continue to examine the influence and imitations of our anointed directors' signature styles. In Fincher's case, this mainly takes the form of reviewing the attempts of his various collaborators to recreate the magic without him.
Send us a textIn which we offer very tepid defenses of Ethan Coen's tepid new lesbian detective yarn
Send us a textChris Prentice drops in to talk about the cottage industry of Tarantino knock-offs that arose in the 1990s (and beyond). Why do they have long, tortured titles full of numbers and locations? Why do they all end on the same boat? These questions and more will be answered in digressive, non-linear fashion on this week's Frame Work.
Send us a textBrett Blake returns to dig into Zach Cregger's ambitious sophomore effort.
Send us a textIn which oh my god this game never ends
Send us a textIs the fifth time the charm for the famous foursome?
Send us a textIn which we finally, definitively fix all the Academy's mistakes.
Send us a textAlex Fletcher returns to talk over James Gunn's re-re-re-envisioning of the grandaddy of superheroes
Send us a textBecause in the end, maybe the real way was the brothers we made along the Coen.
Send us a textHinterlands Ahoy!
Send us a textWhat is the difference between Best Picture and Best Director? No, I mean, obviously WE know. I was asking you.
Send us a textWe have a look through the not-quite-official Coen Brother films, from SUBURBICON and BRIDGE OF SPIES to DRIVE-AWAY DOLLS and THE TRAGEDY OF MACBETH.
Send us a textThe Pope has been exploded by demons! Are you a bad enough dude to collect 250 Spindleweed?
Send us a textAfter several movies with increasingly loose plot structures, the Coens say "f*** it, we're just doing an anthology". And it kind of rules.
Send us a textWill there be any more Star Wars like this? Probably not, but that just makes it shine all the brighter
Send us a textIn which we talk about the limits of Danny McBride's satirical ambitions, and how grounded one can make a star war
Send us a textAlso, Syril is a super-spy and Kleya turns a screw
Send us a textJohn and Al go over everything they've seen recently, starting with Alex Garland's WARFARE (1:50) and Ryan Coogler's SINNERS (14:00), a brief touch on DAREDEVIL: BORN AGAIN (38:00), THE LAST OF US's big episode (40:50), before kicking off weekly coverage of ANDOR season 2 (48:00).
Send us a textTyler Jakes returns to talk about the the mother of all deck-building games, its current state of play, and lessons it offers for game design in general.
Send us a textThe Frame Work All-Stars reconvene to highlight some of the Oscars' biggest blind spots in the Best Actress and Best Supporting Actress categories.
Send us a textBrett Blake returns to examine the Coen's final theatrical collaboration, the psuedo-satirical, psuedo-anthology, psuedo-religious allegory HAIL, CAESAR!
Send us a textIn which we look at the DLC expansions, and prospects for adapting DA2 to the screen
Send us a textGwen Sisco returns to the program to talk about failure. And some other stuff, but mostly failure.
Send us a textWe wrap up the main game of DA2, discussing the demands of the Qun, and the worst RPG romance of all time.
Send us a textMichael Martin returns, bearing a writ of replevin
Send us a textThe Frame Work All-Stars assemble to select some of the greatest whiffs in the Academy's history, starting with the Best Actor and Best Supporting Actor awards.
Send us a textRonny Abraxas joins the guys to delve into the most Coen-y Coen movie of all.
Send us a textin which we debate recent comments by Tarantino and Scorcesse about the death of cinema, and speculate what bizarre mutant forms it might take in the future.
Send us a textIngenious narrative concepts run aground on botched and broken gameplay decisions in Bioware's rush job of a follow up to DRAGON AGE.
Send us a textIn which we grapple with one of the best, bleakest endings in movie history
Send us a textWe dig in deep on the Coens' masterful adaptation of Cormac McCarthy's lean, crushing, American epic.
Send us a textBrett Blake returns to review the smash hit of the Christmas season
Send us a textIn which we consider the various DLC expansions and ponder the prospects for a straming version.
Send us a textIn which we the real Age was the Dragons we made along the way
Send us a textDavid Sarnecki joins us at the waffle hut to talk about what is widely considered the Coen's worst film, the madcap-yet-sluggish remake of an Ealing Studios classic.
Send us a textIn which John proselytizes about a new Christmas classic.
Send us a textIn which we both do and do not forget about about Kershner
Send us a textWe probe the Deep Roads, don't skip the Fade, consider the theology of fantasy realms and the complicated sexual politics within our group of digital puppet friends.
Send us a textLee Ngo returns to talk over the Coen's forgotten noir-riff, the aptly named Man Who Wasn't There
Send us a textWhich villain-centrice streaming spin-off is worth the effort?
Send us a textDamn, we're in a tight pod
Send us a textDon't let your babies grow up to be podcasters
Send us a textIn wich we wrap up talking about a man...sometimes there's a man, who for his time and podcast...hell, I done lost my train of thought.
Send us a textDan Shea returns for a meandering talk about the Coen's meandering neo-noir masterpiece.
Send us a textBrett Blake returns to examine what exactly elevates horror to high-falutin' status.
Send us a textJohn and Al pack their bags for Ferelden and struggle mightily not to make jokes about taints
Send us a textJoon Kim is here for, whoa daddy, stand back man, that's a, a fountain of conversation, man.
Send us a textIn which we talk about surprise in stories, and the various ways that they can give themselves away.
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