Paul and Corey Cross the Streams

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. Corey takes us back to the heady days of 2013 with "arguably the last good Woody Allen movie," Blue Jasmine (2013). Between Woody, Alec Baldwin, and Louis CK, it's a real Murderers' row of the canceled. Cate Blanchett also returns with another great performance, but is it enough to look past...everything?

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. It's a big discussion today. Martin Scorsese's Killers of the Flower Moon (2023). Adapted from the nonfiction book of the same name, the film opens up a discussion of the consciousness-raising of the 2010s. Paul and Corey have a fairly in-depth discussion of the over four hundred years genocide of the Indigenous people's of the Western hemisphere (most specifically what became the United States of America) and their resistance and struggle throughout that period (and up to today). Much of the information comes from Roxanne Dunbar-Ortiz's book, An Indigenous Peoples' History of the United States. There is a LOT to cover. It's an excellent film with incredible performances, score, editing, and representation and celebration of the Osage nation's culture.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. In today's episode, Paul and Corey look at the (mis?)adventures of an old man, a boy scout (Not capitalized! Some other organization!), a talking dog, a big weird bird, and... a thinly-veiled crypto-N@zi. Yes, it's Disney's Pixar's Up (2009). What's to say here, folks? Not great. Structure messy, YIMBY politics, Disney being Disney. Paul disliked it more, but both he and Corey were on the same page. The balloons look pretty. Sorry if you love this.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. In today's episode, we leave the hustle and bustle of the old US of A and relax in a little village two hours outside of Tokyo. The film is the follow-up to the Academy Award-winning Drive My Car - Ryusuke Hamaguchi's Evil Does Not Exist (2023). Equally beautiful, stark, and subtle in its storytelling, as well as performances, the film is a meditation on how the logic of capitalism respects neither the environment nor people (not so coincidentally the sources of its value). And within that system, how do all of us find a sense of meaning and peace? 

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. In today's episode, we discuss 12 of those 25 years - 12 years during which Richard Linklater and co. shot the film, Boyhood (2014). Not only does the film exist as a series of snapshots of the actors' lives as they age, but it also (in retrospect) becomes a sort of swan song of life before the omnipresence of smartphones and social media. Lots to discuss, so put on your Beatles Black Album and enjoy.

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. Now, if you came here expecting us to discuss The Avengers (2012), we apologize. Both Corey and Paul only made it about 40 minutes in before they tapped out. If you'd like to hear their thoughts, stick around at the end of the episode. With that said, Wes Anderson's third feature film The Royal Tenenbaums 2001)! What a treat this was. It's the first Anderson film we've covered, and so we dive into what makes him...him. And obviously Gene Hackman's passing made us want to celebrate one of his great roles. From cinematography, to set design, cast, soundtrack, writing, and all the rest, this is a perfect film.

As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. For Corey's first choice, we take a look at Sofia Coppola's second feature, Lost in Translation (2003) - an impressionistic meditation on loneliness, alienation, jetlag, and Tokyo. The film also allows for a deepdive into nepotism in Hollywood and America; friendship across generations and genders; and racism as a product of colonial imagination. It's (Suntory) time for a great conversation!

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?” This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. First up, Paul has chosen Clint Eastwood's Juror #2 (2024), a film whose distribution by Warner Brothers Discovery is as fraught as the experience of the titular juror himself! Lots to discuss from the gig economy to Daniel Bessner's article The Life and Death of Hollywood to personal ethics in the face of neoliberal decay. Because the film is so new, we do recommend you watch before listening.

IT'S THE FINAL EPISODE OF THE YEAR! Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Corey closes out this year with number 54, Ridley Scott's Blade Runner (1982). This is the first time this season that Paul and Corey both did not quite enjoy the film. They discuss Phillip K. Dick, the cast, the effects (which kinda left them cold), and why the hell we should care about Deckard at all! Thank you so much for joining us on this year's journey. We had a blast and can't wait for next year! Happy Holidays and see you in February 2025!

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 21, Carl Th. Dreyer's The Passion of Joan of Arc (1927) is a masterpiece (unless you're Corey). With over 1500 shots, whereas most American films of the time had 100-500; unrelenting close-ups throughout; and ahead-of-its-time naturalistic performances; the film feels completely alien if you've ever watched other silent films. Paul and Corey discuss what works for them and what doesn't; the history of Joan of Arc and the Hundred Years' War; and whether this story (and the story of the Passion of Jesus) is even interesting. Whether you watch this film at 20 or 24 fps, Paul thinks you're in for a treat. 

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 211, which Paul and Corey agree is too low, is Joseph L. Mankiewicz's All About Eve (1950). From the zippy, witty, infinitely quotable dialogue to the brilliant performances (minus one?) to its nuanced and edgy discussions of women's oppression and queerness, All About Eve is a must-watch. 

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   We did it, folks! With this episode, Paul and Corey have now watched all of Paul's Letterboxd Top 4 - and this, his favorite-favorite. Ranked 133, Frank Capra's It's a Wonderful Life. The ex post facto Christmas classic (thanks to copyright issues).  Paul and Corey dive deep into the frozen pond of the film to figure out just why Paul loves it so much and (spoiler!) why Corey didn't.  Honestly, don't even know what else to say other than this is a great episode, so go listen!

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 169, Sergio Leone's The Good, the Bad and the Ugly (1966) wasn't the first Spaghetti Western (In fact, it's the third installment in Leone/Clint Eastwood's Dollars Trilogy.), but it catapulted the genre onto the American and international stages. Starring Eastwood, Lee Van Cleef, and Eli Wallach in the respective Good, Bad, and Ugly roles, the film is a total vibe. Dudes rocking. Closeups. Gorgeous masters. Ennio Morricone's incredible soundtrack. It's so good and fun, Paul nearly (nearly!) couldn't think about the film's themes/politics. Go watch all three films as soon as you can.

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 54, Sergei Eisentstein's Battleship Potemkin (1925) is one of the rare films on the list to have appeared on every Sight and Sound Poll since its creation in 1952. Eisenstein was one of a collection of Soviet filmmakers who studied and theorized over this new artistic medium of cinema in order to unlock its singular potential for communication. Eisenstein himself was a proponent of montage, which Paul and Corey discuss in terms of its impact on the film and on all films that followed. They also dive deep into the historical events that surrounded the Russian Revolution of 1905 (the subject of the film), which Vladimir Lenin famously referred to as the October Revolution of 1917's "Great Dress Rehearsal."

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 8, Mulholland Drive (2001) is the first film directed by David Lynch that we've discussed on PACCTS. It's been touted as the greatest American film of the 21st century, and half of the show's hosts agree! Paul and Corey discuss Lynch the artist - his methods, styles, and themes - and try to discuss what the hell the film is about. 

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 41, Rashomon (1950) is perhaps the most influential of the Sight and Sound films we've tackled this season - to the point that its famous narrative structure has become an adjective in storytelling. Directed and co-written by Akira Kurosawa, the film is a slow-burning mystery, which tackles the nearly-unattainable nature of truth...

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 114, John Cassavetes' A Woman Under the Influence (1974) is a tour de force. With astounding performances from Gena Rowlands and Peter Falk, Paul and Corey have a new favorite film.

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 243, Andrzej Żuławski's Possession (1981) has only recently gotten the attention it deserves. A difficult and overwhelming examination of divorce (and tentacles), the film was banned in countries, highly edited in America, and labeled as a Video Nasty in the UK. It's been difficult to find, and only recently has Possession been readily available in its entirety in the US, streaming on Shudder. Sam Neill and Isabelle Adjani play a married couple in West Berlin. The film begins with him returning home from a spy mission, only to learn his marriage is over. Things don't get better from there. Both Neill and especially Adjani give some of the most intense performances committed to film. You've never seen anything like this...

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked at 25, Charles Laughton's first and only(!) directorial feature, The Night of the Hunter (1955). The film was so ahead of its time, critics and audiences could not wrap their heads around its blending of genres, style, and themes. The Night of the Hunter has become a true American classic, influencing countless filmmakers.

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked at 60, Federico Fellini's La Dolce Vita (1960) launched him onto the world's stage as an artistic force to be reckoned with. Coming from the Italian neorealist movement, Fellini began to make dreamlike, expressionist art films that were glamorous and yet explored the rot at the center of that glamor. La Dolce Vita is structurally inventive, dense with meaning, and even intimidated Paul as to how well he'd do in discussing it. (Spoiler: Paul and Corey did a great job.) Ciao!

Ranked at 15, John Ford's The Searchers (1956) has been generally touted as the best American western. German journalist Andreas Kilb called The Searchers, "The essence of American Myth in one film," and Paul (but maybe not Corey) agrees - with the caveat that that's not exactly a good thing. Ford had already made 100 films by this point in his career and worked with star John Wayne in a great number of them. The Searchers marked a maturation of the genre for Ford in which he wanted to tackle the topic of racism through an anti-hero for the ages, Ethan Edwards. Even within the film and in the context of the time of its relief, there's a feeling of deep ambivalence in how to feel about Ethan Edwards. And in 2024, the feeling has only grown more complicated (or perhaps clearer than ever). It all leads to an excellent discussion of America, settler colonialism, and racism as the ideology that allowed/s for the creation of them both.

Sara Gómez's first and only feature, De Cierta Manera / One Way or Another (1977), is ranked at 196. Gómez was a revolutionary filmmaker in Cuba who spent her career examining and highlighting the struggles of the Afro-Cuban community, women, and the marginalized as they dealt with continued inequalities after social revolution. De Cierta Manera combines documentary footage and fictionalized narratives; professional and amateur actors as well as people playing themselves; and facts and argumentation. Agnes Varda, who worked with Gomez, once characterized her work as "didactic films," and Paul and Corey wholeheartedly agree - to the film's credit and limitations. Because of...the whole America-Cuba thing, De Cierta Manera is not readily available for streaming. You can watch a rough copy here on YouTube. It's a great discussion of an interesting film. Enjoy!

*At the outset, we advise anyone who feels uncomfortable listening to a frank appraisal of Woody Allen, his alleged crimes, and his work to skip this episode. The purpose of this show is to entertain and inform, and we have complete sympathy for anyone who may find this topic too much to endure. We will see you in two weeks. Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones. Our goal is to examine the films that are considered great, and why that may be the case.   Welp, Corey finally did it. We had to discuss Woody Allen. Annie Hall (1977) ranked at 243. A lot to discuss.

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   For this episode, Paul jumped right to the head of the class: the number one film on the list, Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). Never are Paul and Corey ones to give spoiler warnings, but due to the experiential nature of how this film communicates with the viewer, they highly recommend that listeners watch it before listening to the episode. Jeanne Dielman follows three days in the life of a widow who lives with and dotes upon her teenage son. We watch her disciplined schedule of cooking, cleaning, running errands, and engaging in sex work slowly...falter. Paul and Corey discuss the topics of slow cinema, Chantal Akerman and Delphine Seyrig's lives and politics, feminism, reproductive labor, and why this film may have "dethroned" Citizen Kane from the number one slot on the list. A great discussion. Enjoy!

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Corey went back to an old PACCTS favorite for this week's episode: Billy Wilder. Ranked at number 54, The Apartment (1960) might just be one of the first American dramedies. The Apartment really is a tricky film. It's a film about office politics, sexual politics, and the process of dehumanization endemic to capitalism, but at the same time, none of that is discussed overtly or didactically. Just really well-rounded characters in tough situations doing the best they can (for the most part). A lot to discuss, so shut up and deal! (famous last line)

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   (fanfare) For our hundredth film, Paul chose the film that made Abbas Kiarostami an international star, Where Is the Friend's House? (1987), ranked at number 157. A simple, yet profound, story of an eight-year-old boy trying to return his friend a notebook, Where Is the Friend's House? can only be described as a perfect film. Paul and Corey discuss Kiarostami and his place within the Iranian New Wave and themes of duty, obedience, and love. You simply have to watch this film.

Welcome back for Season 6, everyone! Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   For the first episode, Corey chose the Chaplin classic – and arguably the greatest romantic comedy of all time – City Lights (1931), ranked at number 36. From a Dickensian childhood to becoming the most recognizable character on earth, Charlie Chaplin was able to mine his personal demons and interests into comedy that has transcended space and (ultimately) time. City Lights is his masterpiece, and we had a blast discussing it.

Based on Corey's Being There (1979), Paul said, "To hell with connecting movies to each other," and picked Carol (2015). Directed by Todd Haynes and starring Cate Blanchett and Rooney Mara, Paul and Corey close out the year talking about Haynes' career, the 1950s as a period of reaction and the Closet, Patricia Highsmith, and more. Thank you very much for listening this year. Happy Holidays, and Paul and Corey Cross the Streams will return in February of 2024!

Based on Paul's I Was a Communist for the FBI (1951), Corey decided to stay in Washington, DC (??) and watch a film he absolutely adores: Being There (1979). Directed by Hal Ashby and starring Peter Sellers and Shirley MacLaine, this classic satire of American culture (especially television), politics, and human interaction in the '70s is infinitely watchable and discussable.

In solidarity with SAG-AFTRA, Paul and Corey have decided to change things up: For the duration of the TA voting process, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Corey's choice, Norma Rae (1979), Paul wanted to make a right turn. Look at things from another perspective. So, the idea was to journey back to the Red Scare and watch some anti-Communist fare. I Was a Communist for the FBI (1951). Based on the true (lol okay) story of Matt Cvetic, the film follows his life as he acts as an informant for the FBI while he pretends to be a proud member of the Communist Party (CPUSA) in Pittsburgh. Hooooooo boy, comrades! This thing sucked. What makes propaganda effective or at the very least enjoyable? Was this guy the biggest jagoff in Pittsburgh? The answers to these and more lie within...

In solidarity with SAG-AFTRA, Paul and Corey have decided to change things up: For the duration of the TA voting process, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Paul's choice, 9 to 5 (1980), Corey wanted to talk about another labor film of the era - Norma Rae (1979). Starring Sally Field, Ron Leibman, and Beau Bridges, this film packs a wallop. Paul and Corey have a wonderful time discussing this one.

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up: For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Corey's choice, Harlan County, USA (1976), Paul decided for a fun one. 9 to 5 (1980). Starring Jane Fonda, Lily Tomlin, and Dolly Parton, and featuring the Oscar-nominated title song, the film was a colossal success.  There is a lot to discuss - from the stars' careers to Second-Wave Feminism to the War on Drugs. Enjoy!

Following Paul's choice, The Grapes of Wrath (1940), Corey wanted to choose a film they both knew they'd get to eventually – Harlan County, USA (1976). The film is a documentary which focuses primarily on the Brookside miners' strike in 1973, against Duke Power Company-owned Eastover Coal Company's Brookside Mine and Prep Plant in Harlan County, Kentucky. The film won an Academy Award for Best Documentary, and Corey himself declared it "one of the best documentaries ever made." There is a lot to discuss, from the career of director Barbara Kopple to the 1968 and 1972 UMWA elections to the ins-and-outs of a strike to the heroism of the strikers and their wives to Marx's Law of Value (a.k.a. Labor Theory of Value).

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up: For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Corey's choice, Billy Elliot (2000), Paul wanted to take it back to the Dust Bowl - The Grapes of Wrath (1940). There is soooo much to cover: the novel, John Steinbeck, John Ford, Henry Fonda, the Great Depression, the Dust Bowl, even...Sanora Babb?

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up. For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Paul's choice, The Killing Floor (1984), Corey wanted to lighten the mood a little and picked Billy Elliot (2000). A beloved film when it came out and adapted into an equally successful musical, Paul and Corey were excited to dive in. But... it doesn't quite hold up as well as they remembered. THERE'S A LOT TO LOVE in the film, but it's definitely a film of its day (and not quite in the way you might guess!).

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up: For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. First up, Paul was able to connect this film with Corey's previous Babe (1995). This is a film about race relations in the attempt to organize a Chicago slaughterhouse in 1918-19, it's The Killing Floor (1984). The film was made for PBS as a sort of pilot for a (n abandoned) 10-part series on the American labor movement. It was heavily researched by the producer, Elsa Rassbach; written by Obie-winning playwright, Leslie Lee; and directed by Bill Duke (of whom, the Pakler family has a connection...). There's a lot to cover, so put on your union pin and enjoy!

Based on Paul's JFK (1991), Corey looked at Kevin Bacon, and chose… Babe (1995)! (ba-dum-bum) From Aristotle to Wittgenstein to factory farming to Animal Farm to Temptation Island, this is one of the most free-wheeling episodes in a while.

Based on Corey's Charade (1963), Paul took out his red string and connected the dots: 1963. Walter Matthau. The CIA... Oliver Stone's JFK (1991)! One of Paul's favorite films, which he's been threatening Corey with for the past five years, finally makes its appearance on the podcast. Controversial even while the film was barely into production, a conversation about JFK has a lot to unpack. A cast loaded with stars. Editing. The Cold War and Vietnam. Deep and parapolitics. Conspiracy theories and the material conditions that allow for them to flourish. Why does Paul care so much? Why doesn't Corey? So, sit yourself down on the closest grassy knoll and enjoy.

Based on Paul's One Sings, The Other Doesn't (1977), Corey also wanted to keep it in Paris. And so... Charade (1963). Famously known as "the best Hitchcock movie Hitchcock never made," Charade was actually directed by another movie god: Stanley Donen. (Look at his filmography and deny it.) Charade is a romantic screwball comedy mystery - about as 1960s as a film can get. Gorgeous locations (Paris), gorgeous costumes (Givenchy), and gorgeous stars (Audrey Hepburn, Cary Grant, Walter Matthau)! Audrey Hepburn plays Reggie Lampert, an unhappy wife who longs for a divorce from her secretive husband. When she finds out he's been murdered, the thrills...I don't know, man. These '60s comedies are so boring... Paul and Corey talk about what works and what doesn't in the film, the incredible careers of all involved, and only barely talk about the CIA! Enjoy, or as the French would say "Enjoy." (This was a French person who knows English.) 

Based on Corey's The 15:17 to Paris (2018), Paul wanted to keep it in Paris. And so... One Sings, The Other Doesn't (1977).  The film is directed and written by "one of the Gods of cinema" Agnès Varda - preeminent member of the Left Bank/French New Wave film movement. Varda's style wove documentary and narrative storytelling in an intuitive and overtly feminine way. One Sings, The Other Doesn't tells the story of two friends - Pomme/Apple (nee Pauline) and Suzanne - as they make their way into and through adulthood. It spans the course of 14 years of their lives together, following the Women's Liberation movement and the legalization of abortion in France. As Varda put it, "My message sounds better when it's sung," and the film is sort of a dreamy musical, with lyrics also written by Varda.  You should absolutely watch this film.

Based on Paul's Richard Jewell (2019), Corey wanted to keep it simple: What else does Clint Eastwood have to say about heroes? And so... The 15:17 to Paris (2018). Directed by Eastwood, written by Dorothy Blyskal(!), and starring the three men at the center of the story as themselves(!!!), The 15:17 to Paris is definitely...something. Largely derided at the time of its release, there's lately been a small reappraisal of it across Film Twitter. Lots to discuss!

Based on Corey's Waiting for Guffman (1996), Paul wanted to take a deeper look at people who struggle with being deluded (in so many words). And so... Richard Jewell (2019). Directed by king Clint Eastwood and written by Billy Ray - who brought us the "We Make Movies Better" campaign with Nicole Kidman, Richard Jewell tells the true story of Richard Jewell. He was working as a security guard at the Atlanta Olympics in 1996, discovered a bomb on the grounds, saved hundreds of lives, became a hero in the media, and then... The film is packed with amazing performances. Paul Walter Hauser is simply stunning in the title role. The film garnered a fair amount of pushback around its representation of journalist Kathy Scruggs, and there's a lot to discuss there. A great film, and a great episode of PACCTS. Take a listen!

Based on Paul's In the Mood for Love (2000), Corey was swept up into the world of Chinese cuisine and figured, "We need a movie with a great scene in a Chinese restaurant." And so... Waiting for Guffman (1996). Directed by Christopher Guest and co-written by Guest and Eugene Levy, Waiting for Guffman is the mockumentary that kinda started it all. With a Murderers' row of improv performances, infinitely quotable dialogue, and catchy showtunes, Guffman is a brilliant comedy that holds up nearly 30 years later.  What am I telling you for? If you've ever done theatre, someone has made you watch this.

In the Mood for Love (2000) - written, directed, and produced by Wong Kar-wai - takes a loving look back at his parents' generation: Shanghainese professionals who immigrated to Hong Kong following the Revolution. In 2022, In the Mood for Love placed 5th in Sight & Sound's "Greatest Films of All Time" critics' poll, and it's tough to argue with that. Gorgeous art direction, costuming, set design, cinematography...if you have the chance to see this on the big screen, do. With all that said, the film's non-linear storytelling can be a hurdle, and Paul and Corey talk about how and why the film feels more like an improvisation at times than a story. There's a lot to discuss!

So, in this episode, the boys discuss All That Jazz (1979) - Bob Fosse's thinly-veiled fictionalized autobiography. For good and for ill, Bob Fosse, through his art, made a hell of a case for the celebration of the auteur. With All That Jazz, he grapples with the fallout of it. But is this unrelenting examination of his own failures courageous or further manipulation?

Based on Corey's Amsterdam (2022), Paul figured, "Let's keep the FDR-train rolling!" and so he chose Annie (1982). Once again set in 1933, Annie asks the question we thought Paul McCartney had answered, "Can I buy me love?" From the classic right-wing comic strip to the inscrutable decision to have John Huston direct to the Michael-Mann-esque climax to Corey's teenage infatuation with Ann Reinking in Pippin to even (leapin' lizards) Bolsheviks, this episode has it all.

Welcome back to season five of Paul and Corey Cross the Streams! To start things off, Corey chose last year's Amsterdam (2022) - the star-studded, post-canceling-ish film from auteur David O. Russell. Just a baffling, horrid piece of trash. The worst film Paul and Corey have watched yet? Why did Corey choose it? What are Paul's deep thoughts on Tár? You'll have to listen to find out!

This month, *both* Paul and Corey decided to get into the holiday spirit with something Christmas-ish: The Hudsucker Proxy (1994). Enjoy!

This (elongated) month, Paul and Corey decided to expand their horizons a bit and talk about Animation: a style of filmmaking they don't generally watch for good and ill. Paul chose the... content that is The Emoji Movie (2017). Loaded to the brim with cancelled stars and n'er-do-wells, The Emoji Movie may be the most evil thing that Paul and Corey have watched for the podcast. Enjoy!

This month, Paul and Corey decided to expand their horizons a bit and talk about Animation: a style of filmmaking they don't generally watch for good and ill. This time, Corey chose a stop-motion project written and co-directed by Charlie Kaufman – Anomalisa (2015). Adapted from a play(!) he'd written, Anomalisa is the simple story of a man flying into Cincinnati for a business conference but quickly escalates into an examination of loneliness, desire, alienation, fantasies, and mental illness. There's a lot to discuss in this one!

This month's theme is an easy one: A Long One and a Short One. Clocking in at a tight 68 minutes, Paul picked the Marx Brothers' Duck Soup (1933). The film was their fifth and final with Paramount before moving on to a new contract with MGM. While the film was greeted with a lukewarm reception from critics and audiences, Duck Soup is today broadly considered their best film and one of the best (albeit idiosyncratic) political satires of American cinema. This episode was a real treat to record.