Podcasts about cianfrance

Robert Winfree, Alexis Hejna and Mark Radulich present their Wolf Man 2025 Movie Review!Wolf Man is a 2025 American horror film directed by Leigh Whannell from a screenplay he co-wrote with Corbett Tuck. A reboot of The Wolf Man (1941), the film stars Christopher Abbott, Julia Garner, and Sam Jaeger. The plot follows a family man seeking to protect his wife and daughter from a werewolf, only to become infected and slowly transform into the creature. Jason Blum produces alongside his Blumhouse Productions banner.The film was announced in 2014 and was to be part of the Dark Universe, a shared cinematic universe centered on the Universal Monsters. Aaron Guzikowski and David Callaham were attached to write the script. After the failure of The Mummy (2017), Universal shifted its focus to standalone films. The success of Whannell's The Invisible Man (2020) rekindled Universal's interest in the Monsters franchise. They accepted a pitch by Ryan Gosling, who was also set to star, for a new Wolf Man film with Derek Cianfrance to direct. However, Cianfrance left the project in 2023 and Gosling dropped out of the role, remaining as executive producer while Whannell took over as director with a new cast. Principal photography occured in New Zealand in early 2024.Wolf Man was released in the United States by Universal Pictures on January 17, 2025. The film received mixed reviews from critics and has grossed $16.8 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

Derek Cianfrance (Produced) Film (5 of 5). Henry goes deaf in the Darius Marder-directed drama, Sound of Metal. Get the full Cianfrance show -- uninterrupted -- now @ FilmBuds.Bandcamp.com!Note: Because recorded prior as a regular bonus podcast, this episode serves as Daily #123.Original Recording Date: January 26th, 2024.Subscribe / Buy Bonus Shows / Contact

Derek Cianfrance Film (4 of 5). Henry faces tragedy in I Know This Much Is True. Get the full Cianfrance show -- uninterrupted -- now @ FilmBuds.Bandcamp.com!Note: Because recorded prior as a regular bonus podcast, this episode serves as Daily #122.Original Recording Date: January 26th, 2024.Subscribe / Buy Bonus Shows / Contact

Derek Cianfrance Film (3 of 5). Henry tries to find peace with The Light Between Oceans. Get the full Cianfrance show -- uninterrupted -- now @ FilmBuds.Bandcamp.com!Note: Because recorded prior as a regular bonus podcast, this episode serves as Daily #121.Original Recording Date: January 26th, 2024.Subscribe / Buy Bonus Shows / Contact

Derek Cianfrance Film (2 of 5). Henry crashes like thunder for The Place Beyond the Pines. Get the full Cianfrance show -- uninterrupted -- now @ FilmBuds.Bandcamp.com!Note: Because recorded prior as a regular bonus podcast, this episode serves as Daily #120.Original Recording Date: January 26th, 2024.Subscribe / Buy Bonus Shows / Contact

Derek Cianfrance Film (1 of 5). Henry fights for his family in Blue Valentine. Get the full Cianfrance show -- uninterrupted -- now @ FilmBuds.Bandcamp.com!Note: Because recorded prior as a regular bonus podcast, this episode serves as Daily #119.Original Recording Date: January 26th, 2024.Subscribe / Buy Bonus Shows / Contact

Alex and Nick dive deep into Derek Cianfrance's “Blue Valentine.” The guys discuss the film's lengthy development, its use of heavy improvisation, juxtaposing two narratives, the respective careers of Cianfrance, Ryan Gosling, and Michelle Williams, the great John Doman, why the MPA is dumb, and much more.Follow @WAYW_Podcast on Twitter and Instagram and Letterboxd.Watch Alex's films at http://alexwithrow.com/Watch Nick's films at https://www.nicholasdostal.com/Send us mailbag questions at whatareyouwatchingpodcast@gmail.com

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture Our 2010 retrospective is continuing with Derek Cianfrance's devastating, emotional relationship drama, "Blue Valentine," starring Michelle Williams and Ryan Gosling. A small indie film that garnered massive critical acclaim for its performances, naturalism captured by Cianfrance, and its brutal honesty, how does the film hold up today? Please tune in and listen to Ema Sasic, Nadia Dalimonte, Alyssa Christian, and me discuss our thoughts on the writing, performances, editing, direction, its awards season run, controversial initial NC-17 rating, and more in our SPOILER-FILLED review. Thank you for all your support, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

Get the full episode (and 65 more premium bonus shows) NOW @ FilmBuds.Bandcamp.com! On this bonus episode of the Film Buds Podcast, Henry tackles the films of director Derek Cianfrance! This episode covers Blue Valentine, The Place Beyond the Pines, The Light Between Oceans, and I Know This Much Is True, plus a bonus review of the Cianfrance-produced (Darius Marder-directed) music drama, Sound of Metal.Total Runtime: 2:58DONATE & SUBSCRIBE: FilmBuds.Bandcamp.comMEMBERSHIP: Patreon.com/FilmBudsFollow Film Buds:Film Buds on InstagramFilm Buds on TwitterFilm Buds on FacebookFilm Buds on Bandcamp (Bonus Shows & Donations)Send Us Suggestions/Questions/Comments: TheFilmBudsPodcast@gmail.comOur Other Podcasts:Music BudsFrankenFilmsElle DeWeese Photography:Instagram: @ElleDeWeesePhotographyLLCFacebook: @ElleDeWeesePhotographyLLCWebsite: Elle DeWeese Photography LLC

We're going bank robbing and exposing police corruption with Allison Picurro (Boy Movies, TV Guide) and Cassidy Olsen (The Boston Globe, filmmaker) join us for Derek Cianfrance's crime drama but really about fathers and sons in The Place Beyond the Pines! Together we examine the big canvas Cianfrance had after Blue Valentine, how its so 2013 to end your movie with Bon Ivor, the muddled third act and the start of our Double Date month --- Send in a voice message: https://podcasters.spotify.com/pod/show/exitingthroughthe2010s/message Support this podcast: https://podcasters.spotify.com/pod/show/exitingthroughthe2010s/support

Lost and Found - The Place Beyond the Pines - Episode 61The Place Beyond the Pines (Free on MPlayer, also available on Hungama Play, Apple TV, Google Play, YouTube, and VI Movies)Welcome to OTTplay Lost and Found, one podcast that talks about critically acclaimed films and shows but lesser-known. I'm your host NikhilFilmmaker Derek Cianfrance is probably not one of the biggest names in Hollywood, but he is regarded as one of the best indie filmmakers in recent years. Some of his most notable films include Blue Valentine, starring Ryan Gosling and Michelle Williams, and he is also credited with co-writing the story for the acclaimed 2019 film The Sound of Metal by Darius Marder, starring Riz Ahmed and Olivia Cooke. However, Cianfrance's best film is also one of most lesser-known films of the past decade, The Place Beyond the Pines and it's our Lost and Found film for today. It was released in 2012 and features a star-studded ensemble of Ryan Gosling, Bradley Cooper, Eva Mendes, Emory Cohen, Dane DeHaan, and Ben Mendelsohn. It also features a stacked supporting cast of Mahershala Ali, Bruce Greenwood, Rose Byrne, and Ray Liotta. The plot is set in two timelines, the first of which revolves around Ryan Gosling's character Luke Glanton, a motorcycle stuntman working at a traveling carnival, who hopes to win back his former girlfriend's affections and to be a good father to his baby boy. However, circumstances force him to commit crimes in order to build a future for his loved ones. This puts him on a collision course with a policeman named Avery Cross, played by Bradley Cooper Years later, Luke and Avery's sons become best friends, unaware of the tragic history surrounding their fathers. Director Cianfrance has constructed the narrative taking inspiration from Shakespearean plays with themes surrounding destiny, revenge, and the complicated relationship between sons and fathers. The film is also a sombre reflection of a rotten society destroying the lives of its unsuspecting civilians. This slow-burner is undoubtedly one of the best films of the past decade. If you haven't watched The Place beyond the Pines yet, do so its streaming on MPlayer, also available on Hungama Play, Apple TV, Google Play, YouTube, and VI Movies.Well that's the OTTplay Lost and Found for today, until the next episode it's your host Nikhil signing out.Aaj kya dekhoge OTTplay se poocho

Exploring guilt and forgiveness today while analyzing the The Place Beyond the Pines. The Place Beyond the Pines is a 2012 American crime drama film directed by Derek Cianfrance, and written by Cianfrance, Ben Coccio, and Darius Marder. The film tells three linear stories: Luke (Ryan Gosling), a motorcycle stunt rider who supports his family through a life of crime, Avery (Bradley Cooper), an ambitious policeman who confronts his corrupt police department, and lastly, two troubled teenagers (Emory Cohen and Dane DeHaan) who explore the aftermath of Luke and Avery's actions fifteen years later. The supporting cast includes Eva Mendes, Ben Mendelsohn, Rose Byrne, Mahershala Ali, Bruce Greenwood, Harris Yulin, and Ray Liotta. < < < < S P O I L E R A L E R T > > > > If you haven't seen the movie turn back now! Don't forget to follow Juncture on Spotify (https://spoti.fi/3fy9DCm) or any place you listen to podcast. You can also find me on Twitter @juncturepodcast.

This week, our Focus Features miniseries brings us to The Place Beyond the Pines, Derek Dianfrance’s epic, novelistic tale of fathers and sons. The film reunited Cianfrance with his Blue Valentine star Ryan Gosling as a motorcyclist who turns to crime, with consequences that will reverbate across households and generations. After launching at TIFF in 2012, Focus Features … Continue reading "146 – The Place Beyond the Pines (Focus Features – Part Four)"

On today's belated Valentine's Day episode, we're getting dark with Derek Cianfrance's 2010 anti-romantic drama, Blue Valentine, starring Michelle Williams. Cianfrance wrote this film as a way to process his parents' divorce when he was twenty years old. As bleak as it is, this film promotes two healthy things that are rife with stigma: abortions and divorce. We also touch on the very real emotions Williams brought to the role, the difficulties of changing tax brackets for the better, and how Shel Silverstein's "The Giving Tree" is actually a rose-colored abusive relationship. The tree was NOT happy. PS: Get your "The tree was not happy" merch here!

Listen to Collider.com editor-in-chief Steve Weintraub's 90 minute conversation with Derek Cianfrance, director of Blue Valentine, The Place Beyond the Pines, and the HBO limited series I Know This Much Is True. Cianfrance explains in great detail the ups and downs of crafting the six-hour series, starring Mark Ruffalo as twin brothers.

Temperaturerne er dalet, og himlen er blevet 50 shades mere grå – ikke bare udendørs, men i den grad også indenfor i ugens podcast, hvor filmredaktør Jacob Ludvigsen og filmskribent Lise Ulrich har taget hver deres stærkt deprimerende streaming-titel med.  Men lad dig ikke afskrække! Først skal det nemlig handle om Mark Ruffalo og Derek Cianfrances (’The Place Beyond the Pines’) længe ventede nye HBO-serie ’I Know This Much is True’, baseret på den bedstsælgende roman af samme navn. Ruffalo spiller en krævende dobbeltrolle som traumatiserede tvillingebrødre, men er det hele død og ulykke, eller kan han og Cianfrance også skabe lys i mørket? Jacob og Lise diskuterer, og vender så blikket mod Tasmanien anno 1825, hvor den australske instruktør Jennifer Kents nye film udspiller sig. ’The Nightingale’ er et ultravoldeligt drama om en kvinde på hævntogt, og flere af filmens scener er så barske, at man får lyst til at kigge væk. Det ville dog være en skam, for ’The Nightingale’ har overraskende meget mere at byde på – og så trækker den visse tematiske tråde til Kents første film, den fremragende gyser ’The Babadook’. Hvilken grum titel skal du kaste dig over først? Og hvad er den nye tjeneste Spamflix for en fisk...? Få svaret i Soundvenue Streamer, der hver uge dissekerer de mest interessante titler i streamingdybet lige nu.

Derek Cianfrance sat down to speak with HFPA journalist Ana Maria Bahiana about how Covid-19 has (or hasn't) changed his routine while he edits the miniseries I Know This Much Is True. They also dig into the recurring motifs of his career, including his views on family, his life growing up, how his Italian heritage has informed his writing, what he has found bonds him to Mark Ruffalo, the idea nuggets he can use to fuel the stories he wants to tell, and more.

Derek Cianfrance's The Light Between Oceans is something of an epic, operating on quite a small scale but still putting its characters through some formidable challenges. It's based on TL Stedman's novel of the same name, one that suggests both intimacy and profundity. This story does eventually deliver on both, but in the film at least, the intimacy is there pretty much from the get-go. It sets itself up to be a charming love story about a mild-mannered lighthouse keeper (Michael Fassbender) and his lovely wife (Alicia Vikander) who live on the Island of January between two oceans. It is December, 1918. Tom Sherbourne was a lucky survivor of the Great War, though with no loving family to come home to and no reason to believe that he has any right to be alive after so many have died. As he is first getting to know the sweet young Isabel Haysmark, he tells her he has done some unspeakable things in the years he spent on the front, though he doesn’t go into any detail. For him, the noble occupation of a lighthouse keeper is a way to give something good to the world, to help others when they most need it, but to do so from afar, without having to look into their eyes and receive undeserved gratitude. He never envisioned sharing this new life with a wife and child, but almost immediately after she meets him, Isabel is determined to court him, marry him and give him a family. She manages the first two of those easily enough, but after two miscarriages that final dream of hers is looking unlikely to come true. Cianfrance doesn't spend too long on their burgeoning romance. He mostly just shows them sharing their different experiences of the war. Isabel lost all three of her brothers, and is now an only child. She notices how, unlike a wife who might tragically become a widow after the war, there is no special name for what a parent becomes if they lose their children, or for what a sister becomes if she loses her brothers. To her, it is a connection that cannot be severed, the kind of love that never dies, even if the person it was for is now dead, or never even had a chance at life. Conversations like this one are peppered throughout the film, particularly in the initial stages of the plot. This is one of the more well-written deep and meaningful dialogues to be seen here. Others are markedly more on-the-nose, such as Tom explaining all of the mythological symbolism of the island, or one that has a certain crucial supporting character reciting one of the morals of the story: “You only have to forgive once. To resent, you have to do it all day, every day.” These are all very worthy, weighty sentiments, but some of them are gratingly overstated and seem to arrive just in time for some not-so-subtle foreshadowing. Unsurprisingly, the film is at its most effective when it communicates its ideas through sounds and images - especially one striking shot that makes the ocean feel just like a desert - and when it simply trusts the strength of its story. After a generous amount of romantic and tragic setup, the real story is carried over the waves towards the little island with those two tiny graves. The couple spot a dinghy drifting near the shoreline, with a dead man and a crying baby girl lying inside it. Isabel is desperate to keep her. For all they know, she has no one. If Tom puts this in the log book, she'll probably be sent to an orphanage. Isabel convinces him to pretend that she's theirs, to Christen her Lucy Sherbourne and literally raise her as their own, an apparently victimless crime that might just rescue all three of them. Years later, however, when Tom discovers there that there is indeed a victim still suffering from what they did to her, he fears that they have damned themselves to a lifetime of punishment. It turns out that the dead man in the boat, the girl’s biological father, was a German man named Frank Roennfeldt (Leon Ford), the one who later espouses the virtues of forgiveness in a romantic flashback. Unfortunately, his new overseas neighbours weren’t quite as willing to bury the hatchet so soon after the war. He got into that boat out of blind fear for his own life, and even more so the life of his tiny daughter, who he had named Grace. Meanwhile, his wife, Hannah (Rachel Weisz) was left behind to erect a tombstone for both of them on the mainland of Australia. Strangely enough, that is where the film is set, even though its three main actors are Irish, English and Swedish and use more or less English accents. Cianfrance has tried to create a believable sense of place by shooting some of the scenes in Tasmania and filling the supporting cast with well-known Australian actors like Jack Thompson and Bryan Brown, who all act in their native accents. It’s a pretty discordant mix, but it still amounts to some very evocative cinematography and many solid performances. Unsurprisingly, Fassbender imbues the world-weary war survivor with a genuine sense of humanity, Vikander brings an unexpected dark streak to the loving mother with no child to love, while Weisz is consistently engaging as the wounded wildcard who stirs things up to an exceptional level of moral complexity. There are an awful lot of films that start with an excitingly unique premise that then just tapers off into cliché, but, interestingly, The Light Between Oceans begins in a fairly predictable way and becomes more interesting and sure-footed as it goes along. Written by Christian Tsoutsouvas.See omnystudio.com/listener for privacy information.

Derek Cianfrance's The Light Between Oceans is something of an epic, operating on quite a small scale but still putting its characters through some formidable challenges. It's based on TL Stedman's novel of the same name, one that suggests both intimacy and profundity. This story does eventually deliver on both, but in the film at least, the intimacy is there pretty much from the get-go. It sets itself up to be a charming love story about a mild-mannered lighthouse keeper (Michael Fassbender) and his lovely wife (Alicia Vikander) who live on the Island of January between two oceans. It is December, 1918. Tom Sherbourne was a lucky survivor of the Great War, though with no loving family to come home to and no reason to believe that he has any right to be alive after so many have died. As he is first getting to know the sweet young Isabel Haysmark, he tells her he has done some unspeakable things in the years he spent on the front, though he doesn’t go into any detail. For him, the noble occupation of a lighthouse keeper is a way to give something good to the world, to help others when they most need it, but to do so from afar, without having to look into their eyes and receive undeserved gratitude. He never envisioned sharing this new life with a wife and child, but almost immediately after she meets him, Isabel is determined to court him, marry him and give him a family. She manages the first two of those easily enough, but after two miscarriages that final dream of hers is looking unlikely to come true.   Cianfrance doesn't spend too long on their burgeoning romance. He mostly just shows them sharing their different experiences of the war. Isabel lost all three of her brothers, and is now an only child. She notices how, unlike a wife who might tragically become a widow after the war, there is no special name for what a parent becomes if they lose their children, or for what a sister becomes if she loses her brothers. To her, it is a connection that cannot be severed, the kind of love that never dies, even if the person it was for is now dead, or never even had a chance at life.   Conversations like this one are peppered throughout the film, particularly in the initial stages of the plot. This is one of the more well-written deep and meaningful dialogues to be seen here. Others are markedly more on-the-nose, such as Tom explaining all of the mythological symbolism of the island, or one that has a certain crucial supporting character reciting one of the morals of the story: “You only have to forgive once. To resent, you have to do it all day, every day.” These are all very worthy, weighty sentiments, but some of them are gratingly overstated and seem to arrive just in time for some not-so-subtle foreshadowing.   Unsurprisingly, the film is at its most effective when it communicates its ideas through sounds and images - especially one striking shot that makes the ocean feel just like a desert - and when it simply trusts the strength of its story. After a generous amount of romantic and tragic setup, the real story is carried over the waves towards the little island with those two tiny graves. The couple spot a dinghy drifting near the shoreline, with a dead man and a crying baby girl lying inside it. Isabel is desperate to keep her. For all they know, she has no one. If Tom puts this in the log book, she'll probably be sent to an orphanage. Isabel convinces him to pretend that she's theirs, to Christen her Lucy Sherbourne and literally raise her as their own, an apparently victimless crime that might just rescue all three of them.   Years later, however, when Tom discovers there that there is indeed a victim still suffering from what they did to her, he fears that they have damned themselves to a lifetime of punishment. It turns out that the dead man in the boat, the girl’s biological father, was a German man named Frank Roennfeldt (Leon Ford), the one who later espouses the virtues of forgiveness in a romantic flashback. Unfortunately, his new overseas neighbours weren’t quite as willing to bury the hatchet so soon after the war. He got into that boat out of blind fear for his own life, and even more so the life of his tiny daughter, who he had named Grace. Meanwhile, his wife, Hannah (Rachel Weisz) was left behind to erect a tombstone for both of them on the mainland of Australia.   Strangely enough, that is where the film is set, even though its three main actors are Irish, English and Swedish and use more or less English accents. Cianfrance has tried to create a believable sense of place by shooting some of the scenes in Tasmania  and filling the supporting cast with well-known Australian actors like Jack Thompson and Bryan Brown, who all act in their native accents. It’s a pretty discordant mix, but it still amounts to some very evocative cinematography and many solid performances. Unsurprisingly, Fassbender imbues the world-weary war survivor with a genuine sense of humanity, Vikander brings an unexpected dark streak to the loving mother with no child to love, while Weisz is consistently engaging as the wounded wildcard who stirs things up to an exceptional level of moral complexity. There are an awful lot of films that start with an excitingly unique premise that then just tapers off into cliché, but, interestingly, The Light Between Oceans begins in a fairly predictable way and becomes more interesting and sure-footed as it goes along. Written by Christian Tsoutsouvas.

This week on the Curzon Film Podcast we discuss Derek Cianfrance's sweeping period romance 'The Light Between Oceans'Following up the intense and refined brace of 'Blue Valentine' and 'The Place Beyond the Pines', Cianfrance's new film is adapted from the best selling novel by M L Stedman, which finds a stoic lighthouse keeper and his wife go through emotional turmoil, only to have a heartbreaking, life changing, moral dilemma thrust upon them. Discussing the film this week are Sam Howlett, Jenna Hobbs and Helen SeymourProduced and edited by Jake CunninghamStudio services by CSRFM.comMusic supplied by incompetech.com Hosted on Acast. See acast.com/privacy for more information.

Do you smell what Derek Cianfrance is cooking? Well, Christopher Cross and Dylan Schwan sure can and they're here to talk about his new recipe for making you cry. The director of Blue Valentine and The Place Beyond the Pines returns with The Light Between Oceans, starring Michael Fassbender, Alicia Vikander and Rachel Weisz. We discuss its place in the Oscar race and the pantheon of Cianfrance (which is admittedly fairly small at the moment). On top of that, Dylan saw Don't Breathe, the new thriller from Fede Alvarez who previously directed the Evil Dead remake. He also took the time out to watch The Rundown, starring The Rock, and provides a passionate explanation as to why the film might very well be up Chris's alley. Both Chris and Dylan saw Hell or High Water and talk about what makes it stand above most films that came out this summer. Then Chris also went to Fan Expo Canada this year and saw two horror shorts: Invaders and Static. There's no lack of content this week as we also discuss our top five films that came out this summer, as well as the typical news stories (RIP Gene Wilder) and the blu-ray releases of the week. Next week, tune in to hear us discuss Clint Eastwood's latest film, Sully.

"Tragedy, when’s its necessary, or not even necessary but part of the changing season, isn’t really tragedy. When it’s just part of the story instead of it being the whole story, we can breathe a little easier, hope a bit more hopier.  Cianfrance’s movies never feel tragic, never too..."

"Crazytown is where way too many things are solipsistically linked to my consciousness. Dogs bark? Refrigerator is left open? Can’t find the remote? All are linked to hidden meanings within my consciousness, putting my subjective experience as the driving node for all occurrences. And, although I don’t necessarily feel..."

In this episode, Michael and Ben discuss the teaser for Machete Kills, The Place Beyond the Pines, and whether or not The Hangover Part III is an improvement over the second one. SHOW NOTES: 00:57 - Machete Kills 04:00 - The Place Beyond the Pines 09:04 - We talk about Bradley Cooper's weirdly fat neck 10:48 - The Hangover Part II 14:10 - The Hangover Part III

This week on the show... First we speak with our Kickstart Sunday feature project director Tony Shaff on his film Hotline (Click here to learn more and donate) Then we have a conversation with Letterboxd creator Matthew Buchanan (Go to Letterboxd.com to sign up) We talk about some of what we've been watching including The Hunt, Post Tenebras Lux, Towheads, The Dirties, No One Lives, The Kings of Summer, Errors of the Human Body, Manborg, To The Wonder, Pale Flower, Dark Shadows, Trance, The Angel's Share, and This Sporting Life We then do a feature review of Derek Cianfrance's The Place Beyond the Pines And finally we go over this week's movie predictions and DVD and Blu Ray releases We want to hear your suggestions and feedback! Send us an e-mail at feedback@filmpulse.net or leave us a message on our voicemail line at (850) 391-6071 and we'll feature your comments on the show!

Gosling? Motorcycles? Bank heists? You bet that in this week's episode Lindsay and Jesse review Derek Cianfrance's The Place Beyond the Pines. *Spoiler Alert* We do give away a few plot points in this episode, so listen with caution! Check us out @MovieheadCast and subscribe to us on iTunes!