Hell of a Picture

The Coens keep coming this week on Hell of a Picture as we dive into the ‘87 screwball comedy, Raising Arizona. The guys open the show discussing the comedic influences of the film and how it manages to make horrible crimes both funny and endearing. Andrew talks about the semi-fantastical setting, while Dave touches on the movie's political leanings. They talk about the American dream, the baby-boom of 80's film, and the movie's message of hope. Before we begin, did you get your dip-tet shot? You've got to get the dip-tet shot. That's this week on Hell of a Picture.

After much ado about Anora, we finally get into our Coen brothers series beginning with their 1984 debut film, Blood Simple. The guys open the show talking about how and from whom the movie got its startup money. Dave tells us about the title, while Andrew addresses the use of sight, sound, and objects in the picture. They praise the cast, debate red herrings, and agonize over the final scene. They say that in Texas, you're on your own. But we only know about podcasting. And in podcasting you use the buddy system. That's this week on Hell of a Picture.

Every time we think we're out, the Oscars drag us back in. After seeing what went down at this year's Academy Awards we decided to delay our Cohen brothers series and take some time to talk Anora, the 2025 best picture winner. They guys debate the comedic value of the picture, the motivation of the lead character, and the run time of the film. They praise Mikey Madison for her performance, argue over the quality of the dialogue, and wonder about Anora's place in Oscar history. This episode is kind of like Adrian Brody, in that it doesn't end on time and it's mostly about gum. That's this week on Hell of a Picture.

Our Oscar winning series continues into the 2010s, with the 2014 Best picture winner, Birdman. We open up the show this week by talking about the unexpected connection to our last best picture No Country for Old Men. We dive into the blurred lines between what's real and imagined, we talk about the difference between love and admiration and wax poetics on the meaning of the title the unexpected virtue of ignorance. A thing is a thing, not what is said of that thing. Well in this case that thing is our podcast and it's just pretty much a podcast. That's this week on Hell of a Picture.

Our decade by decade series moves into the 2000's, so to celebrate we're taking it back to the 80's with the Coen brothers best picture winner, No Country for Old Men. The boys open the show talking about tone in filmmaking, and just where it comes from. They discuss aging characters in a changing world, our lack of control, and the issues some people might have with the movie's ending. How did we get here? Well, if you ask Anton Chigurh, he'd say something crazy about a coin. If you ask us, we'd say whatever Anton wanted us to because we're scared of him. That's this week on Hell of a Picture.

This week on HOAP our hearts and our Oscar series will go on as we discuss the 1997 phenomenon, Titanic. The guys open the show examining the technical achievements of the film. Dave tells us about lengths (pun intended) Cameron went to in recreating the ship, while Andrew talks about the film's perfect blend of action and romance. They debate all the hotly contested points of the movie; like, “could Jack have fit on that door?” and “why does Rose throw the necklace away?”. Dave shares his beef with the character of Fabrizzio, and Andrew reminds us again that it's ok to cry at the movies. We've never said this before, but these episodes contain spoilers. So, if you don't know that the boat sinks…oh crap.

Rock us Amadeus! This week on HOAP we enter the 80's with the somewhat irregular period piece, Amadeus. The guys have a long talk about the nature of genius and where it comes from. They each share a story from the ‘85 Oscars, talk about the film's unusually modern portrayals, and discuss the absolution of the ending. Dave tells us why he'd rather be Salieri over Mozart, while Andrew takes a minute to rag on the Kansas City Chiefs.  Can I play the piano anymore?  Of course you can.  Well, I couldn't before.  We love you Dr. Zaius.

Welcome to the jungle and welcome to the ‘70's. This week on HOAP we're going best picture hunting with the 1978 classic The Deer Hunter. Andrew opens the show talking about Michael Cimino, the film's director, and his dubious war record, while Dave tells us about the difficulties of filming during a military coup. The guys debate the need for historical accuracy on screen, the central metaphor of Russian roulette in the film, and the significance of the ending.

This week on Hell of a Picture we enter the turbulence of the 1960's with the world war one character study, Lawrence of Arabia. The guys open the show describing how the film embraces the wide range of opinions on Lawrence and how that branches out thematically in the picture. Andrew talks about the scope and scale of the cinematography, while Dave tells us about some of Lawrence's most famous imitators. Can more than one thing be true? For example, can you have relevant commentary on a film while mispronouncing an actor's name? Decide for yourself, this week on Hell of a Picture.

Oscar season continues this week on Hell of a Picture with the 1955 best picture winner, On the Waterfront. Dave opens the show talking about the film's director, Elia Kazan, and how art imitates life in the film, while Andrew tells us about Marlon Brando's performance and the emergence of American realism in cinema. The guys talk about the movie's veneration of the truth, original sin, and the influence of the film on Martin Scorsese. Don't be a pigeon, a rat, or a canary. Watch Hell of a Picture and be….some kind of noble animal, I guess…a squirrel, maybe. Your call. That's this week on Hell of a Picture.

We're back, baby! With the holiday season behind us, HOAP looks ahead to the next big season, Oscar season. And to do that, we're examining one best picture winner from each decade leading up to the present day. First up, Casablanca. The guys open the show talking about the film's little known origins as a failed play, and how much they love the bar setting of the picture. They examine the message of Casablanca and why the character of Rick makes it such effective propaganda. Andrew describes the synergy of the film's romance, suspense, and humour, while Dave shares a story about the Red Scare in Hollywood. If you've got the post-holiday blues, we've got the cure: Casablanca. That's this week on Hell of a Picture.

It's Christmas!!!!! So, to celebrate we're rounding out our run of atypical Christmas movies with the 1992 Tim Burton film, Batman Returns. The guys open the show talking about the marketing snafu that had McDonald's selling toys for this grisly story of attempted child murder and how the backlash led to the Joel Schumacher years - a much scarier place by some people's reckoning. They break down the ensemble cast a piece at a time and ask if this is the best we've seen in a Bat pic. We hear a couple of Walken impressions, raise some brows at the sexual content, and have a laugh at Batman's office supplies. We're a little bummed that this Christmas run is over. It could be worse though, our nose could be gushing blood. Don't believe what the happy meal tells you, this movie is not for kids. Merry Christmas, from Hell of a Picture.

The season of giving rolls on, so we're gonna give ‘er with the 1987 Richard Donner cop classic, Lethal Weapon. The guys open by discussing the Christmas elements of the film and why it feels less Christmasy than Die Hard. They talk about the movie's dark leanings, its unusual lead characters, and the effect they both had on the genre. We hear some speculation on Mel Gibson's stylist, some questions about bath time, and a lot about nog.  It's very tempting to say “we're too old for this shit”, but podcasting is fairly low impact, so we've probably got some good years left in us. That's all this week on Hell of a Picture.

‘Tis the season for mayhem, so Hell of a Picture is getting into the spirit with a look at the Christmas action classic, Die Hard. The guys open the show talking about what makes something a Christmas movie and if Die Hard qualifies. Dave tells us about the bottled-up format of the film, while Andrew introduces us to John McClane: everyman. They have a merry old time laughing at their favourite parts of the film, including the insubordination of Al Powell and the irresponsibility of not taking John to the hospital. You want to know how to survive air travel? Watch great movies. That's this week on Hell of a Picture.

This week on Hell of a Picture we wrap up the Scorsese, De Niro, and Pesci quartet of films with the 2019 epic, The Irishman. The guys open the show talking about the movie as part of a mob trilogy with Goodfellas and Casino, and whether or not this is Scorsese's most personal film. Andrew tells us about the de-ageing process used in the production, while Dave asks if Frank is the most sympathetic lead of the three films. They discuss the long run time, a regrettable grocery scene, and wonder how many more Scorsese films there might be. How long do you wait for someone who's late? If this movie can be believed, Jimmy Hoffa didn't wait long. Thankfully, podcasts don't work that way so you can just listen whenever's good for you. That's this week on Hell of a Picture.

This week, Hell of a Picture continues their run on the shared works of Scorsese, De Niro, and Pesci with a rare double-feature that discusses Goodfellas and Casino as sibling films. The guys ask each other if they think Casino suffers primarily for being second chronologically, or if Goodfellas is actually just the better picture. They talk about the film's similarities, how they differ, and where the endings leave their characters. Andrew tells us about an all-time cinematic moment, while Dave lauds Sharon Stone in her best performance since Total Recall.  As far back as we can remember, we always wanted to be gangsters…but somehow we ended up doing a podcast. Probably for the best. We'll just watch gangster movies instead. This week on Hell of a Picture.

This week, Hell of a Picture stays inside the ropes for another look from the fighter's perspective with Scorsese's Raging Bull. They guys open the show talking about the partnership between Scorsese, De Niro, and Pesci before exploring Jake LaMotta the man and the character. Andrew takes us through the sight and sound of the film, while Dave grouses over some of the dialogue. The guys debate the ending by dissecting a Biblical quote and a Brando reference before looking ahead to the three remaining films in the trio's quartet. "This podcast could have BEEN somebody." Or is it "This podcast could have been SOMEBODY"? These kind of things matter, this week on Hell of a Picture.

Dust off your boxing gloves and ready your log cabins because this week on Hell of a Picture we're talking Rocky IV! That's right, the guys take a deep, montage-laced dive into arguably the most iconic film of an iconic franchise. They continue their discussion on propaganda in cinema and talk about Rocky as an expression of cold war rhetoric. Both Andrew and Dave rock out (pun intended) to the soundtrack, marvel at the impossible poundings of the fight scenes, and ask if Rocky IV could be considered a Christmas movie.  Is your heart on fire? Ours are burning and there's no easy way out. It's been said that soundtrack puns are the highest form of artistic expression. They are this week, at least, on Hell of a Picture.

This week Hell of a Picture is making a u-turn. Wait, should it be “an u-turn”? It starts with a vowel but it definitely doesn't sound right. Anyway, however you say it, we decided to revisit an idea we had a few weeks ago and talk about the Chinese historical epic, Hero. The guys consider the source as they examine the movie as a piece of propaganda, albeit a stunning one. They praise the film's use of colour for its beauty and utility, talk about their favourite fights and shots, and wonder about separating the medium and the message. So, Machiavelli, Mao, and McLuhan all walk into a tea house...Sorry, there's no punchline. But there is a rousing, quasi-academic discussion on the subject…this week on Hell of a Picture.

It's Halloween, and it's horror movie time. Andrew convinced Dave to curb his fears and watch the 60s classic, “Rosemary's Baby” and analyze how the film creates tension and hysteria. The guys question: does the film still work today? And where does it fall in the horror grand scheme of the horror genre? Hail Adrian? Or maybe just Hail Hell of a Picture!

Warning. This episode contains reference to sexual violence. It may be upsetting to some listeners.  Once you go noir, you never go far. Ok, that sucked. And you know who also sucks? Roman Polanski, that's who. The guys open the show by ripping on Roman a while before setting aside the artist to try and objectively analyze the art. They talk about “Chinatown” as an ever present force in the film and the events which might mimic that in our own history. They wonder about the climate in which noir thrives, pay homage to the lost art of practical detectivery, and have a long chat about Jack.  Why do they call it Chinatown? They should call it Ovaltine. Kenny Bania, everyone. Let's hear it for him.

We liked 1997 so much last week we've decided to hang out there a little longer by watching the ‘97 film noir hit, L.A Confidential. Dave and Andrew open the show with a throughline for all the noir and noir adjacent films they've done to date and examine the characters as people struggling to find their identities. The guys look at the movie as a faithful depiction of a genre rather than an era, and wonder at the film's stance on justice and if anyone really finds it. We here at Hell of a Picture strive to bring you just the facts, Jack. But somehow we always devolve into wild speculation and Red Scare tactics. Ah well, it makes for good copy.

Our Tarantino trio comes to an end this week with the 1997 blaxploitation homage piece, Jackie Brown. The guys open the show talking about the film's reception at the time of its release and how opinions have since evolved. They discuss the film not only as a take on exploitation cinema, but also as a commentary on exploitation at large. Dave looks at the movie as a story of survival, while Andrew speaks about Tarantino's ability to cast the right people for the role. They rave about the dialogue while also weighing an aspect of the script's diction that people take issue with.  Will Tarantino be the first director to go three for three? Wouldn't that blow your mind this time? Wouldn't it? It's a Delfonics reference. Watch the movie, you'll get it.

The Tarantino campaigns have just begun, and this week we marshall our forces for one thing and one thing only: killin' nazis. That's right, it's Inglourious Basterds; Tarantino's 2009 episodic historical-fiction-fairytale. The guys begin the show talking about the erosion of humanity in war, and the film's twisting of the typical fairy tale formula. They discuss heroes and monsters, good and evil, bearded filmmakers, and all that lies between. We were kinda hoping to do this movie. Watching movies is the closest thing we get to goin' to the movies. Go yard, this week on Hell of a Picture.

In a highly contrived pivot, the guys begin their Tarantino series with the filmmaker's most recent effort, Once upon a time…in Hollywood. Dave opens the show asking if the great ones are ever judged fairly. Andrew talks about the seemingly bottomless bag of tricks in Tarantino's repertoire and where it came from. The guys look at the film as a celebration and lamentation of things coming to an end, and talk about its depiction of past, present, and future.  How many whiskey sours have you had today? Unless you're Rick Dalton, probably not enough. Pour another one, this week on Hell of a Picture.

Had enough Dune, yet? You have? Well, too bad cause we haven't. The guys went purposely long last week in their discussion of Dune, parts one and two, so this week we wrap up our own two-parter with the finale of that talk. As everyone knows, the superior part of any to-be-continued episode of television was the second half, which means today we present you with the best of the rest of Dune: colonialism, prophecy, villains, and laughter. Andrew and Dave both revel in the stark, gladiatorial motif of the Harkonnen homeworld, while the debate rages on about if Dune is two movies or one; and, if the former, which is better? How's that spice treating you? Take another hit, this week on Hell of a Picture.

Strap on your stillsuit and brush up on your sandwalk ‘cause it's Dune time, baby! That's right, the boys sit down together for a long talk on the 2021 and 2024 films, Dune part one and Dune part two. Dave opens the show with a record setting rundown and tells us about Frank Herbert, author of Dune and all-around interesting dude. Andrew notes that HOAP seems to have a type, and that type is novel adaptations. The guys, once again, discuss the difficulty of going from page to screen and wrestle with the idea of Dune being two films or a film in two parts.  Dune was not adapted in a day. Nor will the discussion be contained to one episode. So, get ready for part one of our two part talk on Dune parts one and two. Confused? Just take a hit of spice and it'll start to make sense.

Arachnophobes beware, this week on HOAP the guys are talking about the 2013 Denis Villeneuve surrealist picture, Enemy. Andrew and Dave open by talking about the rarity of surrealism in feature films and why a movie sometimes shouldn't give us what we want. They discuss the cyclical nature of despotism, the penchant we all have for repeating our mistakes, and how all that relates to giant spiders and voyeurism. Dave thinks that as weird as this movie is, it could stand to be weirder. Andrew, meanwhile, applauds the film for maximizing its minimalism. Are you ready to have all of your questions left unanswered? You better be, this week on Hell of a Picture.

You thought we were done questioning what's real? Pffft, get real. Andrew and Dave enjoyed talking Blade Runner so much last week they decided to get right back on the unicorn with the 2017 sequel, Blade Runner 2049. They open the show talking about the burden of the original and the thin line a legacy picture must walk. Andrew gushes over the cinematographer he never knew was always his favourite, and questions his own conclusions from last week. Dave talks about how the advancement of tech we see in 2049 both mimics and presages our own, and then goes gaga for Ana. The guys discuss the film's continuation and expansion of the original's most burning questions and wonder where, if anywhere, the series should go from here.  We do our best to keep it real here at Hell of a Picture, but sometimes these movies don't make it easy. Tune in and join in on all platforms and socials.

Hell of a Picture is coming to the end of this rabbit hole. But no discussion on what is real would be complete without a dip into the 2007 final cut of the 1982 Ridley Scott classic, Blade Runner. Confused yet? The guys open by giving some background on cyberpunk and how Blade Runner became the visual benchmark of the genre. Andrew lays out the painstaking efforts of the prop and set team forced to try and satisfy the whims of madman-Ridley and why it was all worth it, while Dave tries to check all the boxes of the movie's criteria for being real. They both take a stab at interpreting the film's imagery and decide, once again, that ambiguity is the answer.  Are you ready for retirement? We're not. Too many unicorn dreams left to dissect. So, get ready to chop it up on Hell of a Picture.

Continuing on their mind bender, Andrew and Dave are off to Mars with the 1990 Paul ver Hoeven and Arnold Schwarzenegger picture, Total Recall. They talk about the film as a last bastion of (almost) pure practicals, with heaps of praise lauded on the character effects team. Dave tells us about the vast network of tunnels connecting the soundstages, and goes big on the film's use of miniatures. Andrew, meanwhile, keeps banging out pitch perfect Arnie impressions. The guys philosophize on the things that define our reality and whether or not they think Quaid and/or Howser is dreaming.  Jeff Goldblum may want you to forget about the fat lady, but we say she's unforgettable. Check her out this week on Hell of a Picture.

Get ready for a soft turn as the boys ease out of 90's summer blockbusters and into reality-benders with the blockbusting, reality bending, 90's classic The Matrix. The guys discuss the ways in which the movie has evolved since its release, with Andrew talking about how the film's comments on identity have expanded, and Dave lamenting the misappropriation of its ideas and imagery. They opine on what is real and if it matters; what Friedrich Nietzsche would say about it all; which pill they would choose, and if they sympathize with Cypher.  You think our being stronger or faster in here has anything to do with our muscles? You think that's a podcast you're listening to? Huh. 

Hold on to your cows and let go of your damn doors ‘cause it's Twister time, baby! That's right, with Twisters hitting theatres, Andrew and Dave figured there was no better time to talk Twister, the 1996 Jan de Bont disaster flick (as if there's any other kind of Jan de Bont flick). The guys open with some clarifying thoughts on last week's decision regarding the Rock, admitting to some misgivings but standing by their call. Andrew tells the tale of a near brush with his G.O.A.T and who he blames for the missed opportunity. Dave, meanwhile, can't get over the taboo surrounding the F5 and wonders why Jo's dad didn't just let go. The guys also take time to salute two Seinfeld alum and struggle to pronounce one of their names. Hint, it's not Jami Gertz, the world's richest actor.  Gas up your Dodge Caravan and grab those divorce papers, we're gonna chase some storms and promptly run away from them this week on Hell of a Picture. 

The boys are back in town! Well, one of them is. The other one actually lives in the town in question, and the one who doesn't is home for a holiday and - forget it. It doesn't matter. Andrew and Dave are in the same room this week and they're talking about The Rock. That's right. Rock talk!  Andrew drops a bomb on us about who was initially slated to play the role of Stanley Goodspeed, Chemical Weapons Superfreak. Dave marvels at the tensile strength of hotel shower rope and teaches us the key to a Sean Connery impression (it's all in the molars). The guys crackwise about the ineptitude of mercenary and agent alike, and reaffirm the show's love for the journeyman actor.  GLASS OR PLASTIC? GLASS OR PLASTIC? Find out this week on Hell of a Picture. 

The boys of summer are back and so are their movies. This week, Hell of a Picture kicks off a series of 90's summer blockbusters, and we're busting the block wide open with the 1996 mega-hit, Independence Day. The guys reminisce on the VHS days of yore and don't even try to hide their sentimental relationship with the movie. We are treated yet again to a dose of the craft as both Andrew and Dave give us a few choice impressions from the deeply imitable cast of characters. They find plenty of nits to pick in the narrative and the dialogue, and even more to love in how the two are populated and delivered by an adorable cast.  Andrew asks the question, “what qualifies success in cinema?”, while Dave talks about expectation and intent in film, and why this movie succeeds in meeting both. Is there room in the hall of HOAP for this armada-sized blockbuster? Tune in and find out.

This week Andrew and Dave conclude their three act examination of Greta Gerwig with the 2017 film Lady Bird. The guys lavish praise on our lead character played by the extraordinary (and finally pronounceable) Saoirse Ronan. They laud her performance as a refreshing contrast to the usual archetypes of teen movies and place the film's depiction of adolescence among the all time greats. Andrew looks at the movie as a love story in two layers, while Dave frets over the thought that he may be a “Kyle”.  The boys talk about the way the film talks about the way we all talk to each other (wait, what?), and wonder if Lady Bird as well as Little Women offer us a dose of absolution for some of our indulgences. Lady Bird may have come up short at the Oscars, but will it come away with a greater honour, the HOAP? Tune in and find out this week on Hell of a Picture. 

After the sensory overload that was Barbie, the boys take a sharp turn on the Gerwig superhighway with the comparatively muted, Little Women. Dave laments his reticence to watch this type of movie and finds an odd joy in a period piece that isn't entirely British, while Andrew gives masterclasses in both Meryl Streep impersonation and the pronunciation of Saoirse (Sur-shuh).  The boys talk about marriage as an economic proposition, the tragedy of female artists, and wonder if they have to watch all the adaptations of Little Women to properly judge this one. Can Gerwig keep the streak alive? Will the movie live up to the novel? And just how little are these women, really? Tune in to find out on Hell of a Picture.

With Nolan in the books, Andrew and Dave start a new directorial series with Greta Gerwig and the 2023 phenomenon, Barbie. Like the rest of the internet, the guys can't help but discuss the movie as a contrasting piece to Oppenheimer, noting the wild disparity in tone, colour, as well as bespoke song and dance numbers. Dave goes wild for the unrelenting satire of the film, and finds a lot of himself in the Allan character. Andrew brings his best Kenergy and draws a lot of parallels to golden era musicals, while reminding us to buck the patriarchy and let ourselves cry at a movie if it feels right. The guys discuss the radically different experiences of men and women in both the real world and Barbieland, the dubious concept of corporate ethics, and the power of absurdity to make us question norms. Will Gerwig bust up our boys club? Will Barbie do what its contemporary, Oppenheimer, could not? Find out this week on Hell of a Picture.

This week Andrew and Dave round out the Nolan trio with the 2023 film Oppenheimer. Andrew tells us about the lengths Nolan went to in shaping the technical mould of the film and, in doing so, reveals that Kodak still exists. Dave wishes that Oppenheimer had listened to his wife, Kitty, and told people to piss off (like Tiger should have) while lamenting what could-have-been with the performance of the great Emily Blunt. The guys wrestle with the ethics of creating and dropping the bomb, and struggle to keep the names of scientists, actors, and directors of photography all straight and correctly pronounced. Andrew remarks on the movie's ability to mesh genres over three acts, while Dave gets into the historiographical weeds and speculates on how and why storytelling tends to take a particular view of the past. Will 2023's Best Picture Oscar winner also be a Hell of a Picture winner? Or will it all blow up in our faces like a communist sex scandal? Or, I guess, a bomb. Find out this week on Hell of a Picture.

This week, after the claustrophobic grit of Following, Andrew and Dave find themselves in a whole different dimensional bookshelf with Interstellar. Dave opens talking about how his experience with the movie has changed since he last saw it based on shifting cultural tides, while Andrew speaks candidly and shares a moving personal story about why, for him, Interstellar will never change. The guys talk about the film's commitment to scientific authenticity and its equally admirable resolve where the use of practical effects are concerned.  They're each over the moon with the performances, discussing Michael Caine as a wrestling villain, Mattew McConaughey as a great explorer and a not-as-great dad; Jessica Chastain as the hero, and Matt Damon as Gollum. Dave finds new meaning in a Dylan Thomas poem, but – sadly - no one named Cobb; and Andrew marvels at the power of love to transcend time, space, dimension, and death. Will Interstellar crack the formula for what makes a hell of a picture? Or will rage not be enough to counter the dying light? Tune in and find out.

After the thrilling conclusion of their Spielberg trio, the guys get into a treble from the director many consider the heir apparent: Christopher Nolan. To get to the heart, they start from the start (shoutout to rock legends Loverboy) with Nolan's first feature film “Following”. Andrew and Dave ask if a despicable lead character can still be sympathetic, wonder to what extent this film is based on the director's own experience, and hope that experience doesn't include the burgling of underpants. Andrew waxes technical and thematic on the film's use of light and shadow; it's deliberate handling of objects, and how so much was done with so little. Meanwhile, Dave is fixated on Nolan's fixation with the name Cobb. Is it a corn thing? Or maybe, just maybe, a Seinfeld thing? You'll have to break into the episode to find out. But don't worry, like everyone in London, we left a key under the mat.

This week Dave and Andrew round out their three-part Spielberg series with the semi-autobiographical film The Fabelmans. They revel in the joy of a young man making his first movies, talk about life as a series of pictures in motion, and wonder “what's the deal” with sexy Jesus? The guys pontificate on the power of film, its ability to say what we sometimes can't; its truth, its lies, and its awesome facility for thwarting bullies.  Will Spielberg go three for three? Will The Fabelmans be enshrined in the pantheon of Hell of a Picture? Or will the whole thing fall apart like a Greek tragedy? We're looking at you Oedipus Rex. 

In episode two, Andrew and Dave tour Jurassic Park. They take opposing views on its merits as a companion piece to Jaws, talk about who Spielberg is in 1993 versus 1975 and how that informs his choices as a filmmaker; and wonder who the real villain in all this is. Spoiler alert, for once it's not peer pressure.  The guys give props to the practical effects and opine on the movie as a commentary on making movies. Will Spielberg go two for two? Or will chaos reign on this perilous Costa Rican Island that for some reason is Hawaii. Be like the scientists of Jurassic Park and don't waste time wondering if you should, just listen to a Hell of a Picture.

This week the guys are watching Jaws. They praise a mechanical shark and deride the real ones; discuss the impact of Jaws on how, and when, movies are released; and ruminate on what the shark means to each of us. It's like a Secret Garden thing, we think.  Andrew lauds Spielberg's manipulation of tension and slow reveal of the monster, whilst Dave blows the whistle on fake harmonica playing in film. All this and more, as they try to determine if Jaws really is…a Hell of a Picture.

Have you ever wondered what makes a Hell of a Picture? No? We're willing to bet that you have, just probably not in those terms. A Hell of a Picture is a movie or film that is truly unforgettable. But what makes them that way? Why do they stand out amongst the panoply of cinematic history? Why do we love them so much? And is there really any distinction between a picture, a movie, and a film? Tough to say. But fear not dear listener, because two old friends are about to undertake a sacred mission to bring clarity to the people. To define the hereto indefinable, to articulate the indescribable, to…watch a ton of movies and talk about them. All of this in the hopes of figuring out what makes a Hell of a Picture.