Podcasts about IMAX

Join Johnny Spoiler and Jordan Savage for a whirlwind binge-worthy podcast! From the wild anime world of Black Lion OVA (1992) and Fist of the North Star, to HBO's hilarious rebranding antics, we cover everything from R-rated TMNT possibilities to Interstellar's IMAX return.We dish on Keanu Reeves in Shadow for Sonic 3, Amy Adams' Nightbitch transformation, Pamela Anderson in The Last Showgirl, and live-action Masters of the Universe. Plus, we roast comedy with Tom Segura and Nikki Glaser while rating anime adventures with our signature humor.Perfect for movie buffs, anime fans, and pop culture enthusiasts craving laughs, insights, and epic binge discussions!Bonus Episode – Fist of the North Star Review: https://youtu.be/ytaqgKr4fRY?si=YSVA6PeRHWfVDehr

Frank and Jonathan catch up after a busy con season and dig into the biggest geek stories they've missed. We react to the Mandalorian & Grogu trailer and its old-school adventure vibe, talk through why a Game of Thrones one-two punch in 2026 could work (and where House of the Dragon still needs to land), and break down the first real look at the Wolverine game from Insomniac. We also map out what the Peaky Blinders movie and sequel series might cover, debate the point of The Simpsons Movie 2, and line up a sharp October watchlist. Plus: Jordan Peele's Him hits digital with bonus content, and we're giving away copies today. Timestamps & Topics 00:00–02:24 • Catch-up and con season recap (Crocker Con, LA Comic Con, highlight video) 02:24–11:08 • Mandalorian & Grogu poster + trailer reactions, practical effects, scale, IMAX plans 11:08–19:12 • Game of Thrones 2026: House of the Dragon S3 expectations, big battles, “movie-episode” idea; A Knight of the Seven Kingdoms tone and Dorne 19:12–23:21 • The Simpsons Movie 2: why now, scope, and what would make it worth theaters 23:21–29:19 • Wolverine (Insomniac) gameplay: combat feel, Omega Red stakes, Mystique story tricks, scent-tracking 29:19–39:51 • Peaky Blinders: WWII film setup, Tommy vs. fascism, the 1953 sequel series and what shifts after the war 39:51–40:23 • What we're rewatching: Invincible 40:23–40:51 • Ad: Jordan Peele's Him now on digital + bonus content 40:49–40:51 • Giveaway: Free copies of Him dropping on our socials today 40:51–48:14 • October Watchlist: Solar Opposites, Hazbin Hotel, Star Wars: Visions, It: Welcome to Derry, The Witcher's final season 48:14–52:18 • Horror picks, Tron rewatch plans, final recs (Reading Rainbow with Mychol the Librarian) Key Takeaways Mandalorian & Grogu looks like classic adventure cinema with modern polish, and the scale finally feels “Star Wars movie” again. House of the Dragon S3 needs payoff right away; A Knight of the Seven Kingdoms works best if it stays grounded and character-driven. Wolverine aims for weighty, tactile combat; villains like Omega Red can raise stakes by limiting healing. Peaky Blinders is set up for a strong WWII film handoff to a 1953 sequel series that explores post-war power shifts. The Simpsons Movie 2 needs a big, timely hook to justify the leap back to theaters. October TV is stacked, and It: Welcome to Derry has room to dig into the town-wide effects of Pennywise. Memorable Quotes “There's something about a Star Wars movie where the budget is just whatever they wanted to do.” “Make the season climb, then drop a theater-only battle movie the very next weekend.” “Star Wars tech feels bolted together in the best way. You can almost hear the click of every panel.” “He operates perfectly in the gray area where politics can't see.” “The best horror makes you think about it long after the scare.” Call to Action If you enjoyed this episode, follow and subscribe, rate us 5 stars, and share the show with a friend. Drop a review and tag your post with #GeekFreaks so we can shout you out next week. Links & Resources GeekFreaksPodcast.com — the source of all news discussed on our podcast Follow Us Facebook: https://www.facebook.com/thegeekfreakspodcast Threads: https://www.threads.net/@geekfreakspodcast Twitter: https://twitter.com/geekfreakspod Instagram: https://www.instagram.com/geekfreakspodcast/ Patreon: https://www.patreon.com/GeekFreakspodcast Listener Questions What did you think of the Mandalorian & Grogu trailer? Which October show are you most excited for? Send questions and topic requests for future episodes, and we'll feature them on the show. Apple Podcast tags: Geek Freaks, Geek Freaks Podcast, Mandalorian and Grogu, Star Wars, Game of Thrones, House of the Dragon, A Knight of the Seven Kingdoms, The Simpsons Movie 2, Wolverine game, Insomniac Games, Peaky Blinders, Tommy Shelby, Invincible, It Welcome to Derry, Solar Opposites, Hazbin Hotel, Star Wars Visions, The Witcher, Tron Legacy, Reading Rainbow, Jordan Peele Him, October watchlist

Editor - Andy Jurgensen One Battle After Another editor Andy Jurgensen came into his new film already "battle" tested with director Paul Thomas Anderson's unique film-based workflow.  Shoot film.  Print film dailies.  Screen film dailies.  Create digital workprint.  Cut in Avid.  Conform negative.  But Paul loves a challenge, so he decided to not only make "One Battle" the first IMAX film presented entirely in the 1.43:1 ratio, but he also resurrected the VistaVision format for the first time in sixty years.  Luckily, Andy loves a challenge too. One Battle After Another stars Leonardo DiCaprio as Bob, a washed-up revolutionary who lives in a state of stoned paranoia, surviving off-grid with his spirited and self-reliant daughter, Willa. When his evil nemesis, Colonel Lockjaw (Sean Penn), resurfaces and Willa goes missing, the former radical scrambles to find her as both father and daughter battle the consequences of their pasts. ANDY JURGENSEN Andy Jurgensen has worked with director Paul Thomas Anderson since their time together on Inherent Vice (2014).  At that time, Andy was first assistant editor to Leslie Jones ACE.  From there Andy served as associate editor to Dylan Tichenor ACE on Anderson's Phantom Thread (2017).  Andy finally got his big break as a lead editor for Anderson's Licorice Pizza (2021). In addition to his work with Paul Thomas Anderson, Andy has also served as an assistant editor on a number of films with director Jay Roach, including The Campaign (2012), Trumbo (2015) and Bombshell (2019). The Credits Visit Extreme Music for the new Extreme Music panel for Avid Media Composer Hear Andy's interview on Licorice Pizza See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

We don't know what the fate of Ophelia is, but we know that your fate is to listen to the best damn podcast out there! This week, we talk about a robber who found himself on the wrong end of a samurai sword, a man who jumped from a cruise ship to avoid a gambling debt, and how the execs of Rick's Cabaret allegedly bribed a tax auditor! A Texas woman butt-dialed a murder confession, the head of IMAX parties too hard to get life insurance, and a zoo in China wants you to stop showing viral videos to a baby chimp. We drink, we beef, we talk about how drag queens really aren't the problem...and, oh yeah, we congratulate Oliver North and Fawn Hall on their recent wedding!

Remembering Jane: a conversation with Jane Goodall on her storied careerScience lost a unique pioneering figure this week. Jane Goodall — primatologist, conservationist and activist — died at the age of 91. In 2002, she visited the Quirks & Quarks studio to talk with Bob McDonald ahead of the Canadian launch of her IMAX film Jane Goodall's Wild Chimpanzees. Bob and Jane spoke about how a girl growing up in urban England developed a love for animals, why scientists critical of her work were wrong, and how she was able to get close to the wild chimpanzees in Gombe Stream National Park. Scientists can predict what colour a person is looking at based on brain activityScientists can predict what colour a person is looking at based on brain activityDo you see what I see? New research says you do. Using brain imaging technology, scientists were able to predict what colour a person was looking at by reading their brain activity. This suggests that everyone responds essentially the same way to certain colours. Michael Bannert, a postdoctoral student at Tuebingen University in Germany, led the research published in the Journal of Neuroscience.A Mars rover spots strong evidence of ancient life on the red planetEarlier this month, NASA revealed that their Perseverance rover gathered what could be the strongest evidence yet that life may have existed on Mars. Using the rover's scientific instruments, scientists identified two minerals in an ancient river that they say are most often found as a result of microbial life here on Earth. They also set aside a sample for a future return mission. Joel Hurowitz, a geologist at Stony Brook University, says he can't wait to get the sample back to Earth to find out if it truly is a sign of life. It was published in the journal Nature.Life at the limits: searching for 'Intraterrestrial' life deep within the Earth's crustA new book explores the latest research into the search for life deep inside the Earth, where the sun doesn't shine and oxygen doesn't reach. Scientists travel to some of the most geologically dangerous regions of our planet to understand how life forms in extreme environments, and answer deep questions like the origin of life on Earth and what life might be like off of our planet. Karen Lloyd, a subsurface biogeochemist from the University of Southern California, is the author of Intraterrestrials: Discovering the Strangest Life On Earth.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Ignite your inner bounty hunter as Analytic Dreamz unleashes a gripping reaction to the official trailer for Star Wars: The Mandalorian and Grogu, unveiled September 22, 2025, and blasting into IMAX theaters May 22, 2026. Directed by Jon Favreau and co-written with Dave Filoni, this high-stakes sequel to the Disney+ saga thrusts Din Djarin (Pedro Pascal) and Grogu into the fray of a fractured galaxy: the Empire's remnants clash with the fragile New Republic, enlisting the armored warrior and his pint-sized Force-sensitive apprentice for a pulse-racing mission that promises epic dogfights, lightsaber skirmishes, and clan-of-two loyalty tested to the brink.Analytic Dreamz breaks down the trailer's visual feast—the resurrected Razor Crest slicing through hyperspace, Grogu's adorable yet potent Force feats like levitating foes and zapping monsters with green sludge, and heartwarming glimpses of Baby Yoda swimming or tinkering with Anzellan allies under Din's watchful beskar gaze. He spotlights triumphant returns: Garazeb "Zeb" Orrelios (voiced by Steven Blum) in full live-action glory, the irrepressible Babu Frik delivering "Good shot, baby!" quips, and a shadowy tease of Sigourney Weaver as enigmatic Colonel Ward, alongside Hutt cartel intrigue and rancor-like beast brawls that evoke classic practical-effects menace. Ludwig Göransson's score pulses with thematic thunder, bridging TV intimacy to cinematic spectacle.Does this trailer signal Star Wars' theatrical renaissance, weaving Rebels lore into a multiverse-ready epic, or does the post-Rise of Skywalker shadow demand bolder risks? Analytic Dreamz debates box-office potential, Grogu's evolving Jedi path, and how Favreau's vision elevates Mando's lone-wolf arc amid Imperial warlords' chaos—questioning if it outshines Ahsoka crossovers or sets up Rey's trilogy. For Mandalorian and Grogu trailer breakdowns, Star Wars movie reactions, Pedro Pascal updates, and Disney+ spinoff analyses, this segment is your beskar-clad essential. Subscribe to Notorious Mass Effect for more Analytic Dreamz deep dives into galactic adventures that redefine heroism and heart. Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week we examine the Riyadh Comedy Fest, Jackie Chan, the pinnacle of technology, Imax, Bardcore and med beds.Listen to the Jortscenter playlist: https://open.spotify.com/playlist/2ioAsKKw7AhdJ0cCrasqfH?si=6c2cef121c3a4a9aJoin our Peloton!   https://www.patreon.com/JortsCenterFacebook group: https://www.facebook.com/groups/342135897580300Subreddit: https://www.reddit.com/r/jortscenterFollow us on Twitter:@JortsCenterPod Will is @wapplehouse Josh is @otherjrobbins Ryan is @ryhanbeard Vic is @DokktorvikktorZack is @ZackVanNus

Send us a textWe start the show by giving our thoughts on HBO's ‘Task'. From the same creators of “Mayor of Kingstown', how do feel it matches up against the long running HBO franchise? This leads us into a discussion as to whether we grade shows differently based on if we know the area it takes place in.Kimmel and Colbert had a joint simulcast on each other shows the other night. This leads us into a discussion about the overwhelming uproar on Kimmel and Colbert‘s suspensions. From our conversation last episode, is the recent Jimmy Kimmel situation (and the outcry that occurred from it) a clear indication that the first amendment is here to stay due to the self policing by the American people? Likewise, whatever happened to the late night host hating each other? Do we miss this and, most importantly, do we want it back?Despite filming not finished, Christopher Nolan's new movie, The Odyssey, has already has begun selling out in IMAX theaters across the country. This leads us into a short discussion on whether the screen size affects our movie going experiences. Are movies being made today even worth seeing in bigger screens, such as IMAX? Our answers might surprise you.THEN: British Corner. Rhea reviews the sixth season of ‘Unforgotten' on Acorn. As one of her favorite British shows of all time, why did she wait until the whole season came out to review it? What does this have to say about how Acorn, and British shows as a whole, release their content? Why is this murder mystery, in particularly this season, so intriguing and such a must watch in Rhea's eyes?Angelo reviews Netflix's 'Black Rabbit'. What about Jason Bateman‘s performance in this show makes it a must watch? He also give a cliff hanger for a British Rom- Com for Rhea to review next week.Jay finishes up the show by giving us, what he believes, is the best movie of this decade. What movie is it and why must you go see it this weekend? How does the director play into this glowing review?LISTEN NOW to stay up to date on all you need to know regarding the latest and greatest in television and the big screens.MAKE SURE TO VISIT OUR SPONSOR: Steven Singer Jewelers!The TV Show is a weekly podcast hosted by Jay Black, with regular guests Angelo Cataldi and Rhea Hughes. Each week, we dive into the new Golden Age of Television, with a discussion of the latest shows and news. 

Geoff and Kevin embark on an epic IMAX adventure, Kevin quizzes the guys on more stupid stuff he's Googled and a fallen Poominati legend is remembered in an unearthed voicemail.

What's Up Cinemaniacs! Welcome to The Box Office Report with Duane and Larry! WE'RE BACK! As always this is the show where we will dive into the weekend's box office! This week we catch up on what we missed, Larry's time at TIFF, the box office stories of the month, and why Paul Thomas Anderson's latest movie One Battle After Another was DOA due to IMAX. Follow us: Website Facebook Twitter Instagram Apple Podcasts Spotify Google Podcasts Stitcher Castbox Blubrry Amazon Music TuneIn Audible Follow Duane: Twitter Instagram Letterboxd Follow Larry (Chilly Boy Productions): Twitter Youtube Letterboxd Cinemania World Merch: Teepublic

Frank checks in with a quick status update, then dives into five big topics from the week. You'll hear first impressions of Marvel's Wolverine for PS5, thoughts on Marvin Jones III joining Spider-Man: Brand New Day as Tombstone, reactions to the first full Mandalorian and Grogu trailer, a review of Alien Earth's season one finale, and an early read on Gen V season two. We wrap with a Geek Freaks Network roundup and what's coming next after L.A. Comic Con. Timestamps and Topics 00:00 Welcome and quick update on the solo episode and injury progress 00:13 L.A. Comic Con plans and Crocker Con audio hiccup 01:05 Marvel's Wolverine preview Insomniac's tone and combat vibe Omega Red, Mystique, Sentinel prototype Locations: Canadian wilderness, Tokyo, Madripoor Fall 2026 window 07:14 Spider-Man: Brand New Day casting Marvin Jones III as Tombstone Why Tombstone fits a grounded street-level story July 31, 2026 release window mention 10:11 The Mandalorian and Grogu trailer reactions Old-school adventure tone, IMAX tease Jabba's son, Razor Crest, Zeb, big set pieces May 22, 2026 theatrical date 13:30 Alien Earth season one finale review Atmosphere, performances, pacing issues Strong build but an ending that feels incomplete 22:08 Gen V season two premiere thoughts Handling of Chance Perdomo's character, new Dean Cipher Social media propaganda thread, Starlight cameo Character beats for Marie, Emma, Kate, Jordan, Sam 30:23 Network roundup Challenge Accepted, Fandom Portals, Distance Nerding, Anime Plus, Disney Moms Gone Wrong, Outlast Podcast 32:38 Closing and what's next Key Takeaways Marvel's Wolverine aims for a tight, visceral action experience with God of War-style pacing and a clear M rating. Expect meaningful counters to Logan's healing and a global thriller feel. Tombstone casting locks in Marvin Jones III, a performer with the presence to anchor Spider-Man's street-level stakes without tipping into pure fan service. Mandalorian and Grogu looks like a pulpy, planet-hopping romp built for IMAX with classic imagery and bigger set pieces. Alien Earth nails mood and performances but ends the season too abruptly, landing closer to incomplete than cliffhanger. Gen V season two returns with sharp ideas about image and control, a compelling new dean, and messy human beats that set the table for a stronger mid-season run. Quotes “You're going to feel like you're playing a God of War-ish game.” “There are definitely things that can slow him down, and they're setting this game up to make every decision feel impactful.” “This looks like old adventure energy, the kind of poster that sparks your imagination.” “There's a difference between cliffhanger and incomplete. This felt incomplete.” “It's a bold but messy return for Gen V.” Call to Action If you enjoyed this episode, follow the show, rate us 5 stars, and leave a short review to help more geeks find us. Share your thoughts on the topics using #GeekFreaksPod and tag us with your takes on Wolverine, Tombstone, Mando and Grogu, Alien Earth, and Gen V. Links and Resources GeekFreaksPodcast.com — Source for all news discussed on our podcast, plus weekly reviews and network updates. Follow Us Website: GeekFreaksPodcast.com Instagram: https://www.instagram.com/geekfreakspodcast/ Twitter: https://twitter.com/geekfreakspod Threads: https://www.threads.net/@geekfreakspodcast Facebook: https://www.facebook.com/thegeekfreakspodcast Patreon: https://www.patreon.com/GeekFreakspodcast Listener Questions What did you think of the Mandalorian and Grogu trailer? Are you in on Marvel's Wolverine day one? And did the Alien Earth finale work for you or feel unfinished? Send questions or voice notes for next week's mailbag using #GeekFreaksPod or via GeekFreaksPodcast.com/contact. Apple Podcast Tags Geek Freaks, Marvel's Wolverine, Insomniac Games, PS5, Spider-Man Brand New Day, Tombstone, Marvin Jones III, Star Wars, The Mandalorian and Grogu, Alien Earth, Gen V, The Boys, L.A. Comic Con, Crocker Con, Geek Freaks Network, Podcast Review

Tonight on Triple Feature, we peel back more than just plot—this episode explores how each film was built, the bold choices behind them, and what makes them tick both on screen and in the cutting room.First, Sinners, the ambitious 2025 hybrid of Southern Gothic horror, musical, and supernatural thriller from Ryan Coogler. Coogler not only directed but wrote and produced, putting this deeply personal project through his Proximity Media banner. It was rumored to have sparked a fierce studio bidding war early on. The film was shot over spring and summer 2024 on location in Louisiana, and it pushed technical boundaries by being shot on 65 mm film—including IMAX 15-perf and Ultra Panavision 70 formats—allowing Coogler and cinematographer Autumn Durald Arkapaw to shift between widescreen and immersive aspect ratios. Coogler also consulted real-life twins to help Michael B. Jordan ground his dual roles—Smoke and Stack—with distinct emotional and physical nuances. The production even reused costumes originally designed for Blade after that project shifted direction, thanks to designer Ruth E. Carter.Sinners is more than a genre film: it's built with weight, history, and intention, demanding you think about racially charged myth, redemption, and community as much as it scares you.Next up is Drop, directed by Christopher Landon and co-written by Jillian Jacobs & Chris Roach. On paper, it's a taut thriller: a widowed mother on her first date in years suddenly receives chilling anonymous messages via “DigiDrop” threatening the lives of her son and sister unless she follows orders—including committing murder. But behind that premise, the film draws from a real-life anxiety: the idea of unexpected AirDrops in public spaces. Production began in Ireland in April 2024, and the movie's contained setting (almost entirely within a restaurant and tied intimately to a digital device) turned constraint into tension. The director even explained that the final act's identity reveal and pivot underwent dramatic changes deep into post-production. The villain behind “Let's Play” commands the narrative with digital terror—a modern twist on classic “phone call from nowhere” horror tactics.Lastly, Echo Valley brings us out of the city and into Pennsylvania farmland, where Julianne Moore plays a horse trainer whose life becomes entwined with the state of her daughter, played by Sydney Sweeney. The screenplay, penned by Brad Ingelsby, layers in addiction, familial secrets, and the quiet violence that festers in isolated communities. Moore anchors the emotional ground, imbuing her character with both grief and steely resolve, while Sweeney provides the restless, volatile counterpart. The tension in Echo Valley often breathes through landscape and silence—what's not said becomes as dangerous as what is. The film has been praised for allowing Moore and Sweeney to take the emotional reins and carry scenes with minimal exposition, trusting the actors and the visuals to convey the weight.Three films. Three different modes of storytelling: Sinners with its genre-bending ambition and technical daring; Drop with its high-concept, digital-age suspense and careful spatial design; Echo Valley with its character-driven brood and sense of place. All three ask us to lean in—not just watch, but feel the mechanics behind them. Strap in.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 

Kelsi and Trey's Mailbag 2025 episode is here: we talk pod origin lore, real vs. fake IMAX, and the movies that defined the year - Black Bag, 28 Years Later, Sinners, Weapons, and more. We get into the biggest disappointments (Mickey 17, Highest 2 Lowest), the actors everywhere in 2025 (Pedro Pascal, Chalamet, Butler), plus our scariest horror moments and best theater experiences. Next up: PTA's One Battle After Another, and for a limited time free listeners can hear our 3-hour Phantom Thread deep dive on Patreon.⁠The Extra Credits YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Become a member of The Extra Credits+ on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd: ⁠The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Reddit: r/TheExtraCredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Send requests, questions, and thoughts to our email: extracreditspod@gmail.com

RIGHT OUT OF THEATER REVIEW!! One Battle After Another Movie Review - Paul Thomas Anderson returns with his biggest, boldest film yet — a mix of action, satire, thriller, and dark comedy inspired by Thomas Pynchon's Vineland. Leonardo DiCaprio (Once Upon A Time In Hollywood, Django Unchained, Inception) stars as Bob Ferguson, a former revolutionary forced to reunite with his old comrades when his daughter is kidnapped. Sean Penn (Mystic River, Milk, Dead Man Walking) plays Colonel Lockjaw, the menacing antagonist who resurfaces after 16 years. Benicio del Toro (Sicario, Traffic, Guardians of the Galaxy) is Sensei Sergio, Bob's unpredictable ally, while Regina Hall (Girls Trip, Scary Movie, The Best Man) and Teyana Taylor (Coming 2 America, A Thousand and One, White Men Can't Jump) round out the revolutionary crew. Rising star Chase Infiniti takes on Willa Ferguson, the daughter whose disappearance sparks the story. The supporting cast includes Alana Haim (Licorice Pizza, Women Talking, Haim music fame), Wood Harris (Remember the Titans, Creed, The Wire), Tony Goldwyn (Ghost, Scandal, Tarzan), and more. With a score by Jonny Greenwood (There Will Be Blood, Phantom Thread, The Power of the Dog) and Warner Bros. releasing it in IMAX, VistaVision, and 70mm, this is an epic cinematic experience critics are already calling “cinema at its purest.” Themes include generational conflict, extremism, father-daughter bonds, and the messy fallout of idealism. Packed with big action sequences, wild tonal shifts, and emotional performances, this might be Anderson's most personal film yet. Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

We discuss the hottest topics from the week!Happy Batman Day!Gu's Getting Even OlderWeekend Box Office‘The Mandalorian & Grogu' Trailer'The Chair Company' Trailer'Anaconda' Trailer‘Sinners' Heading Back to IMAX?SNL Opening HostsTom Holland on New Suit DesignMatt Reeves Confirms DC ElseworldJames Gunn Got "Terrible" AdvicePeacemakers COnsequencesJoin the conversation... FacebookInstagramTwitterTikTokYouTubeRate/Review/Subscribe:Apple PodcastsSpotifyYouTube

Before “Drive to Survive,” before Lewis Hamilton made Formula One fashionable, and long before IMAX cameras were strapped to carbon-fibre rockets, there was just a snorbs reporter with a dream… and Brad Pitt behind the wheel. In our F1 The Movie (2025) Review, we will unpack it all.It's 2025. The team at Born to Watch trades nostalgia for noise as they deep dive into one of the year's biggest cinematic engines: F1 The Movie. With Pitt playing Sonny Hayes, a one-time F1 star turned paddock has-been, and Damson Idris as the cocky rookie you'll want to punch with a wrench, this week's episode is a fast, furious, and occasionally feral take on a film that tries to be Top Gun: Maverick on four wheels.Whitey sets the pace with a bold take: Is F1 even about the story, or is this Avatar-level immersion with fuel and friction? He breaks down how this one's less about the emotional arc and more about tech flexing at 300km/h. Gow, never one to pass up a pit stop, steers us through Morgz parallels, real-life F1 credentials, and why Brad Pitt is still Hollywood's smoothest operator, even when he's getting screamed at by a 38-year-old playing a 60-year-old's mum.Dan on the Land delivers one of the pod's all-time greatest analogies: F1 The Movie is the tale of a man returning from back surgery and bourbon benders to coach a team of year-nine canoeists. Add Damo's unexpected "this is about me” speech, and you've got a review that's half cinema, half confession.The pod delves into the cry-o-meter (0%), the popcorn meter (full), and how the audience ultimately comes to like the car more than the characters. There are debates over whether Kerry Condon was miscast, who should've punched JP first, and whether Javier Bardem's surgically-enhanced nose deserved its own credit. Bonus points for the Han Solo theory. Double bonus points for calling JP the most punchable character since Bob Sugar.Also: Damo reveals his Snorbs report special, a future film starring Jennifer Lawrence and featuring full-frontal nudity. Naturally. Dan shares a story about custom condoms and splashdowns that we cannot print here. And Whitey invents a new Oscar category: best use of tennis balls in a montage.And just when you think it's over, someone brings up Chuck Norris, and the podcast goes sideways in the most Born to Watch way possible.JOIN THE CONVERSATIONWas this just Top Gun: Maverick with gear changes?Is JP the worst teammate in movie history?Should Brad Pitt be allowed to keep that hair at his age?Drop us a voicemail at https://www.borntowatch.com.au and tell us whether this movie deserves a podium or a pit lane penalty.Listen now on Spotify, Apple Podcasts, or wherever you get your pods. Don't forget to LIKE, SUBSCRIBE, and always yell “PLAN C” when walking into a bar.#F1TheMovie2025Review #BornToWatch #BradPitt #FormulaOneMovie #IMAXExperience #SnobsReport #MoviePodcast #RacingMovies #FilmReview #DriveToSurvive

We pay tribute to the late, great Robert Redford with some recommendations from his illustrious filmography and discuss the phenomenon of MIA movies - films which completed shooting but never made it to the big screen.ReferencesWorld of Reel's MIA movies articleScience Museum's IMAX 70mm season-----------If you love what we do, please like, subscribe and leave a review!Edited and produced by Lily Austin and James BrailsfordOriginal music by James BrailsfordInstagram TikTokLetterboxdEmail us

VistaVision is back—and you won't believe how epic it looks on the big screen! In this episode of Perf Damage, we break down every way you can watch Paul Thomas Anderson's new film One Battle After Another: the ultra-rare 8-perf horizontal VistaVision screenings (only four theaters in the world!), massive 70mm, towering IMAX 15-perf film, and DCP. Charlotte—recently quoted as the VistaVision expert—explains why this is a historic film event that hasn't happened since Strategic Air Command in 1955, and what makes VistaVision different from every other format. Adam shares his favorite line from the movie, we compare formats head-to-head, and we give you the inside scoop on the best way to see this must-watch release.Charlotte's "VistaVision Expert" IndieWire Article:https://www.indiewire.com/features/craft/how-to-watch-one-battle-after-another-vistavision-1235151416/Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

This is Derek Miller, Speaking on Business. Since 2003, the Clark Planetarium has sparked curiosity and a love of learning about space and science. Through immersive theaters, a variety of exhibits, and engaging programs, it invites visitors of all ages to explore and better understand the universe. Director, Duke Johnson, joins us with more. Duke Johnson: At Clark Planetarium, we believe the universe belongs to everyone. That's why we open our doors wide with free exhibits, affordable dome and IMAX shows, and hands-on experiences that welcome every curious mind. We've seen the magic that happens when a child holds a moon rock or watches Saturn's rings appear through a telescope for the first time — it's the moment learning becomes a passion. Memberships help make moments like that possible. Our work stretches far beyond our walls, partnering with schools, community groups, and neighborhoods to bring science into daily life. Because science isn't just about stars and planets — it's about problem-solving, creativity, and understanding the world around us. The Planetarium is a gathering place for inspiration and connection. When you become a member, you help to keep science accessible for everyone — while enjoying special opportunities to explore even more of the universe with us. Derek Miller: To check out current exhibits and upcoming events visit SaltLakeCounty.gov/Clark-Planetarium. Explore membership options to enjoy exclusive perks while helping inspire curiosity and lifelong learning about space and science in our community. I'm Derek Miller, with the Salt Lake Chamber, Speaking on Business. Originally aired: 9/22/25

President Trump seems to be enjoying his time with England's royal family, childhood vaccination rates are backsliding during RFK Jr.'s tenure, the U.S. and China are working on a deal to license TikTok's algorithm to a group led by Oracle, and a company from Finland purchased rights to mine helium on the moon. A doctor walked out of an operation to have sex with a nurse, more Americans are using cocaine as the price per gram has plummeted, and new research suggests that chimpanzees and other primates enjoy drinking alcohol in the wild. wo-time Oscar-winning filmmaker and actor Ron Howard admits, for the first time in public, that he embarrassed himself in front of “Apollo 13” star Kevin Bacon while the two were participating in a NASA physical during the making of the film. Catch a screening of “Apollo 13” which returns to IMAX this Friday for one-week-only.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

It's finally happening!!!! Join me and guest Danny Webster as we discuss Jordan's Furniture, the furniture store/IMAX/eatery/ropes course/birthday party location (yup, normal) and local icon. Cooper deJean endorses Cooper Sharp. Have feedback on this episode or ideas for upcoming topics? DM me on Instagram, email me, or send a voice memo. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we sit down with acclaimed cinematographer Autumn Durald Arkapaw, the first woman ever to shoot on IMAX for the film Sinner. She discusses her unique journey into filmmaking, including her work in 16mm on The Last Showgirl and her credits on major studio projects like Black Panther: Wakanda Forever and Marvel's Loki. Autumn highlights the vital importance of finding a creative community and emphasizes how her career has been built on trust and collaboration with fellow artists. Autumn also dives deep into the dynamic (and sometimes frustrating) relationship between cinematographers and visual effects artists. Using her experience on Sinner as a prime example, she advocates for a more collaborative approach, stressing the need for on-set decisions and in-camera solutions to create more authentic and emotionally resonant images. The conversation is a masterclass in filmmaking, exploring everything from the subtle power of light and shadow to her experience as the first woman to shoot on IMAX for a narrative feature film. Autumn Durald Arkapaw's website > Autumn Durald Arkapaw's wikipedia > Autumn Durald Arkapaw's IMDB > Autumn Durald Arkapaw's Instagram >

Tin tức mới về các phim: Đồi hành xác: Tà thuyết đen trở lại, Tử chiến trên không, Cải mả, Tay Anh Giữ Một Vì Sao và Lật mặt 8: Vòng tay nắng---------------------------------------------------------#8saigon #tuchientrenkhongg #phimcaima #tayanhgiumotvisao #latmat8vongtaynang #doihanhxac

Show Open 09.13.25 ⚠️ Political violence has to stop 

This Is Spinal Tap ushered in a new wave of genre films with its satirical, mockumentary style. It is hailed as a classic, having found its way into the U.S. Library of Congress' National Film Registry. And if that isn't proof enough, the Criterion Collection is releasing a director-approved 4k restoration of the film. Now, over forty years later, the band is back together for one last show. Spinal Tap II: The End Continues finds bandmates David St. Hubbins, Nigel Tufnel, and Derek Smalls (all reprised roles by Michael McKean, Christopher Guest, and Harry Shearer) reuniting on stage after much time apart. Along with documentarian Marty DiBergi, the band tries to recapture the magic that was in the original This Is Spinal Tap. Today on FilmWeek, Larry Mantle is joined by Rob Reiner, co-writer and director of both films to talk about the legacy of the original This Is Spinal Tap for both film and music, and the unique task of continuing that legacy four decades later. SPINAL TAP II: THE END CONTINUES is in Wide Release and available in IMAX theaters. A Director-Approved 4K UHD edition of THIS IS SPINAL TAP will be released from the The Criterion Collection on Tuesday, September 16. Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!

And that's a wrap – of the Summer. Which means the big blockbuster season, lasting seemingly for ever, is over for another year.  However, we couldn't let this moment pass without having our say on some of the key movies of the hot months.  For this discussion we have unleashed Graham, Jeff and Phil to do the honours.  Phil of course watches just about everything with the other two rather in his wake.  We made sure that for the main four films included in this review, all three lads have cast their critical gaze over them. Only four films I hear you say? Look, at our combined ages getting to see even four was pushing it! But seriously, we wanted to focus on four of the hits and try to remain positive.  In fact, it's all so positive Jeff and Phil hardly disagree on this show!  So what are the four films: F1: The Movie – Apple finally have a monster hit on their hands, but in amidst all the sports cliches and the stunning IMAX visuals, is it any good?  Jurassic World: Rebirth – Forget the end of the last movie, a new dinosaur age is about to dawn.  Are we all dinosaured out or does this movie bring fresh thrills to old fossils?  Superman – The Man Of Steel is back, this time under the auspices of James Gunn and new Superman star David Corenswet.  Just how does it compare to the Zack Synder films and Rochard Donner's 70's classic?  Fantastic Four: First Steps – Speaking of Superheroes returning with new actors and a new premise.  Marvel promises that this one is different – is it?  And as an added bonus, Phil and Jeff discuss (spoiler free) **Weapons**.  Needless to say Graham won't watch it unless someone pays for his dry cleaning!  Was it a great Summer? Box office takings may have been down and there may have been too many sequels or reboots, but was the all-important quality good? We will give you our answer in the show.  As always please tell us what you think. For now, we are getting our notebooks out for the Fall (Autumn) season.  Watch out for us scribbling At The Flicks. Bye for now. 

My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

Welcome back ragers to the best movie review podcast on the planet. The rage rolls on from the Film Rage Studio. This week the Film Rage Crew review five films. First Up the 20th Conjuring sequel. Then we review Lurker. Next up is Splitsville staring Dakota Johnson. Then we get a Vietnamese drama called Leaving Mom. Finally Jackie Chan stars in an all out action flick called The Shadows Edge. Introduction-0:00 The Amazing Murman Predicts-1:45. In Cinema The Conjuring: Last Rites (2025)-5:55 Lurker (2025)-13:29 Splitsville (2025)-21:53 Leaving Mom (2025)-33:33 The Shadow's Edge (2025)-39:44 Murman Minute-48:00 Open Rage Jim's open rage-Conjuring in IMAX?-54:15 Bryce's open rage-Too much to choose from-57:20 Outro-59:07 Thanks Ragers for listening to our film review podcast. Rage On! https://www.filmrageyyc.com/ https://filmrage.podbean.com/ https://www.facebook.com/filmrageyyc https://nerdyphotographer.com/social/ https://www.leonardconlinphotos.com/

This week, J.B. and Eddie take on a double feature with Disney's Eight Below (2006), the heart-pulling survival story of sled dogs in Antarctica, and the IMAX documentary Roving Mars. They discuss Paul Walker's performance, the emotional punch of the dog-led drama, and how Roving Mars captured NASA's bold spirit during the early 2000s rover missions.They also catch up on the latest Disney news and close the episode with a family story that will leave you smiling.

Learn five powerful lessons for achieving big, difficult goals that I took away from watching Girl Climber -- the new film that chronicles Emily Harrington's incredible, multi-year journey to free-climb El Capitan's Golden Gate route in under 24 hours. For me, this isn't just a film about climbing—it's about resilience, will power, and the triumph of human spirit, Furthermore, it serves as a bold reminder of what it takes to stay committed to a dream in the face of fear, doubt, setbacks, and even failure. As Emily's journey shows, greatness isn't built on talent alone. It comes from disciplined training, uncommon courage and toughness, and the willingness to keep showing up for a goal that feels just out of reach. I had the chance to see Girl Climber on its IMAX theatrical release date, August 24th, and I'll tell you—it was excellent! Truly a must-see for anyone passionate about climbing…or simply fascinated by what it takes to push the human mind and body to their limits in pursuit of a big goal. Podcast Rundown 0:15 – Intro to T4C podcast and my initial thoughts on the Girl Climber film 1:30 - If you missed it in IMAX theaters, don't worry. The film is now playing on the Indy Movie Theater network, with larger chain theaters scheduled to pick it up in the coming months. And starting this October, Girl Climber will be available online as a paid download from jolt.films.  Watch trailer >> 2:00 - Intro to the 5 powerful lessons on display in Girl Climber. 2:35 - Emily's backstory and diverse climbing accomplishments 4:35 - 5 powerful lessons for pursing audacious goals 7:00 - Definition of "BHAG" (big hairy audacious goals), as popularized by Jim Collins 9:00 - Lesson #1: Commit for the Long Haul 11:45 - Lesson #2: Embrace the Bruising Process

Anne Rice's Talamasca: The Secret Order Trailer, TRON: Ares IMAX Trailer, DC's C.O.R.T. Teaser, New Comics This Week. Hosted on Acast. See acast.com/privacy for more information.

046 - The Conjuring: Last Rites, Dir. Michael Chaves The Conjuring universe has been going strong for over a decade now.  The Warrens have been famous for their insight on Witchcraft and Demonology and have done battle with Annabelle, Valek and many other unsavory demons that haunt our world.   The Conjuring: Last Rites is the 10th movie in the franchise and, so far, has had the strongest opening of them.  It's a high recommend to see on the big screen, especially in IMAX.   Let us know in the comments how you felt about it. 0:00:00 - Introductions and Banter 0:13:30 - Box Office  0:18:50 - Trailer: 28 Years Later: The Bone Temple  0:29:30 - Movie Recommendation- The Ring, Dir. Gore Verbinski (2002) 0:40:00 - The Conjuring Universe: Our Thoughts  1:04:00 - The Conjuring: Last Rites, Dir. Michael Chaves   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Also hosted by Christopher Boughan. Visit the new Youtube channel, "Post Credits Podcast" to watch the video version.   Thank you for listening! Check us out on many podcast services: Apple Podcasts, Amazon Music, Google Podcasts, Spotify, Podbean. Check is out on YouTube for the full video each week: https://www.youtube.com/@Postcreditspodcast1

Hi, everybody. All our cohosts are here this week! IMAX films! Jaws! KPop Demon Hunters! Plane spotting! George gets a physical! All this plus Rich gets a gift and so much more! If you are not familiar with Prince's classic album Sign O' The Times, do yourself a favor and remedy that immediately! Treat yourself and purchase the album physically and/or digitally. Thank you for listening. Connect with Meanwhile At The Podcast on social media. Don't forget to #livetweet (we're still calling it that)! Share the show, subscribe so you don't miss an episode, and rate us on your podcast apps. Those much coveted five stars are always appreciated. Stay safe out there. NOW ON BLUESKY @MeanwhileATP https://x.com/meanwhileatp https://www.meanwhileatthepodcast.libsyn.com Rodney (AKA Art Nerrd): https://x.com/artnerrd https://www.instagram.com/theartnerrd/ https://facebook.com/artnerrd https://shop.spreadshirt.com/artnerrd Kristin: https://www.facebook.com/kristing616 https://www.instagram.com/kristing616 Rich: https://x.com/doctorstaypuft

This is a preview of the Weekender. Get full access to the entire episode on our Patreon: http://patreon.com/muckrakepodcast Co-hosts Nick Hauselman and Jared Yates Sexton unpack a wild week: The Epstein survivors speak and the right tries to launder Trump's proximity. RFK Jr. does the “don't trust experts” routine, while Florida moves to end school vaccine mandates. The U.S. blows up a Venezuelan boat with 11 people on board, insisting they were drug smugglers with no evidence. They talk about how manufactured uncertainty keeps power unaccountable, why shredding public health is the point, and what it means when even Rand Paul sounds like due process. Plus: Oasis in Chicago, beer showers, and why Jaws in IMAX still rips. Learn more about your ad choices. Visit megaphone.fm/adchoices

In our age of surround sound and IMAX theaters emphasizing the importance of sound effects and mixing in movies, it’s easy to forget that for film history’s first thirty years, movies were silent. A new film festival is aiming to fix that. In partnership with the American Cinematheque, Retroformat Silent Films and Mount Saint Mary’s University are hosting the first annual Los Angeles Silent Film Festival. The festival will take place at the American Cinematheque Los Feliz theater from September 12 to September 14, and include the world premiere of the World Restoration Premiere of ‘He Who Gets Slapped’ (1924) starring Lon Chaney, Sr., John Gilbert and Norma Sheare and the Los Angeles Restoration Premiere of ‘Kid Boots’ (1926) starring Clara Bow and Eddie Cantor. Each of the screenings will be accompanied by a live score selected and played by Musical Director Cliff Retallick and guest artist Andrew Earle Simpson. The festival will allow audiences to experience silent films as they were originally intended. Joining us on FilmWeek to talk about the festival and the importance of silent film preservation is Thomas Barnes, president of Retroformat Silent Films and one of the co-founders of the Los Angeles Silent Film Festival. You can find out more about the festival and purchase tickets here. Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!

2025 has been a breakthrough year for AI video. In this episode of the MAD Podcast, Matt Turck sits down with Cristóbal Valenzuela, CEO & Co-Founder of Runway, to explore how AI is reshaping the future of filmmaking, advertising, and storytelling - faster, cheaper, and in ways that were unimaginable even a year ago.Cris and Matt discuss:* How AI went from memes and spaghetti clips to IMAX film festivals.* Why Gen-4 and Aleph are game-changing models for professionals.* How Hollywood, advertisers, and creators are adopting AI video at scale.* The future of storytelling: what happens to human taste, craft, and creativity when anyone can conjure movies on demand?* Runway's journey from 2018 skeptics to today's cutting-edge research lab.If you want to understand the future of filmmaking, media, and creativity in the AI age, this is the episode. RunwayWebsite - https://runwayml.comX/Twitter - https://x.com/runwaymlCristóbal ValenzuelaLinkedIn - https://www.linkedin.com/in/cvalenzuelabX/Twitter - https://x.com/c_valenzuelab FIRSTMARKWebsite - https://firstmark.comX/Twitter - https://twitter.com/FirstMarkCapMatt Turck (Managing Director)LinkedIn - https://www.linkedin.com/in/turck/X/Twitter - https://twitter.com/mattturck(00:00) Intro – AI Video's Wild Year (01:48) Runway's AI Film Festival Goes from Chinatown to IMAX (04:02) Hollywood's Shift: From Ignoring AI to Adopting It at Scale (06:38) How Runway Saves VFX Artists' Weekends of Work (07:31) Inside Gen-4 and Aleph: Why These Models Are Game-Changers (08:21) From Editing Tools to a "New Kind of Camera" (10:00) Beyond Film: Gaming, Architecture, E-Commerce & Robotics Use Cases (10:55) Why Advertising Is Adopting AI Video Faster Than Anyone Else (11:38) How Creatives Adapt When Iteration Becomes Real-Time (14:12) What Makes Someone Great at AI Video (Hint: No Preconceptions) (15:28) The Early Days: Building Runway Before Generative AI Was "Real" (20:27) Finding Early Product-Market Fit (21:51) Balancing Research and Product Inside Runway (24:23) Comparing Aleph vs. Gen-4, and the Future of Generalist Models (30:36) New Input Modalities: Editing with Video + Annotations, Not Just Text (33:46) Managing Expectations: Twitter Demos vs. Real Creative Work (47:09) The Future: Real-Time AI Video and Fully Explorable 3D Worlds (52:02) Runway's Business Model: From Indie Creators to Disney & Lionsgate (57:26) Competing with the Big Labs (Sora, Google, etc.) (59:58) Hyper-Personalized Content? Why It May Not Replace Film (01:01:13) Advice to Founders: Treat Your Company Like a Model — Always Learning (01:03:06) The Next 5 Years of Runway: Changing Creativity Forever

My Top 10 Fruits! Plus thoughts on Alien: Earth, listener emails, fighting a cold, Regal’s Month of Movie Masterpieces and a ton more! Plus The Tribune! A bonus for Premium Subscribers, I talk about seeing Jaws in IMAX and my review of Weapons!Thank you to Aaron Brungardt for engineering, mixing, and production expertise, Geoffrey Tice for artwork, Bobby TBD for theme music, and All Things Comedy for their support, production, and distribution. Email the show at themidnightmailbag@gmail.com!

This week, we return to our series on the films of Christopher Nolan by diving headfirst into The Dark Knight — the movie that convinced an entire generation that growling equals gravitas. From Heath Ledger's chaos-icon Joker to a Batman so serious he makes taxes look fun, we're dissecting the film's themes, IMAX spectacle, and how Hans Zimmer's score is a nerve-shredding symphony of dread.  Is it a superhero movie? A crime epic? A two-and-a-half-hour TED Talk on moral ambiguity? Maybe all of the above. One thing's clear: The Dark Knight isn't just another cape flick — it's a cinematic flex that made critics panic, rewrote Oscar history, and left us all quoting a clown in face paint like he was Shakespeare. ----more---- Thank you so much for listening! Please help us spread the word by leaving us a 5-star review!    Hosts: Craig Dickinson: x.com/CraigMDickinson Corey Heitschmidt: x.com/HeitSolo Justin Eldon: x.com/justineldon7   Connect with us:  Website: readingbetweenthereels.podbean.com X x.com/ReadBtweenReels Facebook: facebook.com/ReadBtweenReels Email: ReadingBetweenReels@gmail.com SpeakPipe: speakpipe.com/ReadingBetweentheReels   You can also join our Facebook group. It's a safe place to share your thoughts and discuss all things related to movies. You can find us at facebook.com/groups/readbtweenreels   Visit our TeePublic store for t-shirts, hats, hoodies, mugs, and more!   If you are interesting in advertising on this podcast, please go to: podbean.com/advertiseonRBR   The following music was used for this media project: Music: "Neon Fury" by Sascha Ende Link: https://filmmusic.io/song/12190-neon-fury License: https://filmmusic.io/standard-license

Web development is constantly evolving, and so are the tools we use to build. In this episode, Amy and Brad chat with the organizers of Squiggle Conf about the future of web dev tooling, how conferences shape the developer experience, and why community matters just as much as code.Chapters0:00 - Intro0:34 - Meet the Guests: Squiggle Conf OrganizersSquiggle Conf1:19 - What Makes Squiggle Conf Unique3:19 - Tooling and Developer Experience3:30 - Penguins, IMAX, and the Conference Venue4:18 - Who Should Attend Squiggle Conf5:31 - How Talks Are Selected and Curated6:51 - Social and Community Aspects of the Conference12:19 - Behind the Scenes of Organizing a Conference17:46 - Lessons Learned from Running Events23:30 - The Role of Tooling in Modern Development27:21 - Browser-Based Tools and Their Impact28:51 - Shoutout to Astro and Other FrameworksAstroStarlight - Astro's template for documentation33:51 - Comparing Different Conference Experiences38:55 - Building Momentum in the Developer Community40:45 - Looking Ahead: The Future of Squiggle Conf42:02 - Final Thoughts from the Organizers43:43 - Picks and PlugsAre the Types Wrong? — a package & CLI tool by Andrew Branch from the TypeScript teamThe Harry Potter movie seriesCloudflareOne Switch - Mac Menu Bar AppRedwoodSDK

The Host [a] is a 2006 monster film[b] directed and co-written by Bong Joon Ho. It stars Song Kang-ho as food stand vendor Park Gang-du whose daughter Hyun-seo (Go Ah-sung) is kidnapped by a creature dwelling around the Han River in Seoul. Byun Hee-bong, Park Hae-il, and Bae Doona appear in supporting roles as Gang-du's father, brother, and sister, respectively, who help Gang-du escape quarantine against an alleged virus derived from the monster and search for his daughter. Considered a co-production between South Korea and Japan, the film was produced by independent studio Chungeorahm Film and presented by its South Korean distributor Showbox and the Japanese investor Happinet.Also discussed: Wes Anderson, Simone Weil, Kevin Smith, Mallrats, Allan Moyle, Pump Up the Volume (1990), Times Square (1980), Empire Records (1995), The Toxic Avenger (2025), IMAX and A24 ai ventures, and more.  NEXT WEEK: Who Killed Teddy Bear? (1965),  Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/https://letterboxd.com/bloodhaus/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/‪@sisterhyde.bsky.social Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

Send us a textJump in the car and join Ed and his sister Beth as they head to one of the best little towns in PA, Lititz, to experience Prince's Sign O' The Times concert film in IMAX! Support the showA deeper dive into Prince than you probably wanted

  Caught Stealing is a story of pure chaos that matches the energy cinematographer Matthew Libatique brings to it on screen from behind the camera.  It's Run Lola Run in phantom HD shot for IMAX and is well worth an evening or matinee ticket.  It just might finally answer the question "Does Austin Butler have the chops to carry a whole film on his back". Check out our review to find out if his charisma makes the cut.     Streaming now on Youtube, Apple TV, FandangoAtHome, Amazon Video, etc ♦♦   Director: Darren Afronosky Writers:  Charlie Huston Starring: Austin Butler, Zoe Kravitz, Liev Schreiber, Regina King, Vincent D'Onofrio, Bad Bunny, Action Bronson Runtime:   107 Minutes Synopsis:  When different groups of mobsters and crime syndicates randomly start showing up and kicking the crap out of Hank looking for something they think he stole from them after he's caught in his neighbor's apartment, he realizes not just he and everyone close to him is in danger and has to run long enough to find and give back when they think he's stolen.   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

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Bernard MacMahon is a filmmaker, most recently directing Becoming Led Zeppelin, a music documentary that holds the record for the highest-grossing opening weekend across IMAX theaters worldwide and is currently the highest-grossing documentary of 2025. He gained international acclaim with the American Epic series, which chronicles the origins of American roots music and the revolutionary impact of early sound recording technology. MacMahon has been recognized for his groundbreaking approach to documentary filmmaking, blending historical research, rare archival footage, and innovative audiovisual storytelling. His work has earned multiple prestigious awards, including audience honors at major film festivals, Emmy, BAFTA, and Grammy nominations and wins. Becoming Led Zeppelin was released in IMAX on February 7, 2025, with a wider cinema release following on February 14, 2025. The film is streaming now on Netflix, Apple TV, and Amazon Prime Video. 

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This week on the MalloryBros podcast the Bros are back on the east coast and dive straight into the "reekend recap". Terrell went to see WEAPONS this week and speaks about how unique the film was and how IMAX didn't have a huge impact on the experience. The bros Talk about the new Instagram features recently added and if people are over reacting or taking necessary precautions. They dive back into film conversations like "Are all movies better in IMAX?" and AMC's new mission to shorten previews before start times at theaters.Terrance gives his take on Terry Mclaurin's contract situation. They speak about Lil Baby's viral clip asking to split the income of one of PlaqueBoyMax's stream, and finally the Sheduer argument has come up yet again after him having a great preseason opener and this time the argument ends up ending the podcast to soon. Not the bros best week, but the 9 continues. S/o Anguilla! 264