Podcasts about Keith Lyons

Paul Byrne talks to spider researcher Keith Lyons about the so-called "Zombie Spiders" in Cavan/Fermanagh and to C103's Ken Tobin who has a surprising phobia! Hosted on Acast. See acast.com/privacy for more information.

On our latest show we have a super conversation with Keith Lyons. This wouldn't look out of place on 'The Whole Person - Life Beyond The Stages' and we got some incredible driver and business insight here.We bring you the class winners from the Circuit of Kerry.We take a look at The Circuit of Ireland.And we release a statement following on from our West Cork Review show.Shoutout to all our partners and use the promo code 'irishrallypodcast' on www.murraymotorsport.com and www.techntools.ie for a 10% discount on a big range of products!Thumbnail credit - D Harrigan Images ★ Support this podcast ★

Meet Russ Harper. He works at Burger Barn. While working the drive-thru one day, he hears a voice through the headset that doesn't belong to the person in the car trying to place an order. Who is this mysterious voice on the other end and how can he help her? Find out in Mike Murphy's May I Help You? “May I Help You?” was written and directed by Mike Murphy. Post production by Timm Gillick. CAST {in order of appearance) Timm Gillick as the Customer H. Keith Lyons as Mr. Caruthers Michael Liebmann as Russ Harper Katie Dehnart as Amanda Wellington Dave MacIver as Sean Cindy Swanson as the Narrator Diane Havens as Mom Katie Dehnart as the Old Woman Emilie Gillick as Anna Chris Barnes as Cop #1 Lyn Cullen as Cop #2 Bryan Session as Frank Hagman Joe Stofko as Rocco Darren Marlar as Stevie MUSIC Supernatural – Kevin MacLeod (Incompetech.com) El Magicia (as Metal Mamas) – Kevin MacLeod (Incompetech.com) Sneaky Snitch – Kevin MacLeod (Incompetech.com) Not As It Seems – Kevin MacLeod (Incompetech.com) Meditate – Kevin MacLeod (Incompetech.com) Fingered Bass – Kevin MacLeod (Incompetech.com) Classic Horror 3 – Kevin MacLeod (Incompetech.com) Classic Horror 1 – Kevin MacLeod (Incompetech.com) Mystery Sting – Kevin MacLeod (Incompetech.com) Mistake the Getaway – Kevin MacLeod (Incompetech.com) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/circus13/support

Five Minute Fears Season 2:  Ep 010: Closing Time Written by Noel Rainford Featuring: H. Keith Lyons as JackM. Sieiro Garcia as SamanthaSirena Carrol as GemmaJames Leeper as Newscaster and ZombiesandShane Harris as the announcer. The music is this episode was by Kevin McLeodPost Production by Lee James SandsThe executive producer for Darker Projects is MJ […] The post FMF: S2 – Ep 10: Closing Time first appeared on Darker Projects.

Let's step it out with Mary and the Irish & Celtic Music Podcast. Kennedy's Kitchen, Stringer's Ridge, Merry Wives of Windsor, The Kissers, The Boston Harbor Bhoys, The Jeremiahs, The Selkie Girls, An Lar, Clover's Revenge, The Whiskeydicks, Onde, Moonrakers I hope you enjoyed this week's show. If you did, please share the show with ONE friend. The Irish & Celtic Music Podcast is here to build our community and help the incredible artists who so generously share their music with you. If you hear music you love, buy the albums, shirts, and songbooks, follow the artists on Spotify, see their shows, and drop them an email to let them know you heard them on the Irish and Celtic Music Podcast. Remember also to Subscribe to the Celtic Music Magazine. Every week, you will get a few cool bits of Celtic music news. It's a quick and easy way to plug yourself into more great Celtic culture. Plus, you'll get 34 Celtic MP3s for Free, just for signing up today. VOTE IN THE CELTIC TOP 20 This is our way of finding the best songs and artists each year. Just list the show number, and the name of as many bands in the episode as you like. Your vote helps me create next year's Best Celtic music of 2020 episode.  Vote Now! THIS WEEK IN CELTIC MUSIC 0:03 - "Paddy Fahey's" by Kennedy's Kitchen from The Whiskey of Truth 3:22 - WELCOME 3:56 - "Jerry's Beaver Hat / Scatter the Mud / Kitty's Wedding" by Stringer's Ridge from Handmade 8:12 - "The Bird Song" by Merry Wives of Windsor from Happy Endings 11:26 - "Malt House Jigs (The Humors of Tralibane / The Boys of Comanore / Castle Donovan)" by The Kissers from Three Sails 15:35 - "Step It Out Mary" by The Boston Harbor Bhoys from ...And We'll All Go Together 18:12 - CELTIC FEEDBACK 21:14 - "Spring Fling" by The Jeremiahs from The Femme Fatale of Maine 27:34 - "The Final Trawl" by The Selkie Girls from Running With the Morrigan 31:12 - "Gäbelbachiana" by An Lar from Deception 36:56 - CELTIC PODCAST NEWS 39:35 - "The Lakes of Pontchartrain" by Clover's Revenge from Truants and Absolution 45:50 - "Johnny Brown" by The Whiskeydicks from United We Stumble 49:20 - "Rise Your Bones" by Onde from Maelstrom 55:10 - CLOSING 56:25 - "The Ploughman" by Moonrakers from Tides The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. To subscribe, go to Apple Podcasts or to our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME TO CELTIC MUSIC * Helping you celebrate Celtic culture through music. My name is Marc Gunn. I am a Celtic musician and podcaster. This show is dedicated to the indie Celtic musicians. Please support these artists. Share the show with your friends. And find more episodes at celticmusicpodcast.com. You can also support this podcast on Patreon. CELTIC PODCAST NEWS Get your Celtic Tree of Life Shirt. THANK YOU PATRONS OF THE PODCAST!Because of Your kind and generous support, this show comes out every week. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow. As a patron, you get to hear episodes before regular listeners. When we hit a milestone, you get an extra-long episode. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. Your contribution also allows us to support the Texas Scottish Festival on October 16-18. A super special thanks to our newest patrons: Stephen R, IndigoOwl, Mark D, Anthony W, Mary Ann N, David Y, Emily W, Greg S, Andy W You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. Email a voicemail message to celticpodcast@gmail.com Elle Clark emailed a photo: "Hi again Marc! I’m so excited and happy about the pride episode, thank you! Here is a photo of me listening to it at work, graveyard shift at the hospital" Jackson Shinn replied to the Celtic Music Magazine: "i wood carve while listening to your podcasts, working on a caricature bear wearing bib overalls." Mark Long commented on Patreon: "As a gay man you don’t know how much this means to me to see our community highlighted and to see and find new artists to support." Emil Volcheck emailed: "Hello, Marc, I've finally signed up after listening off and on for a few years.  I really like your choice of music.  I actually first learned about you from the Celtic Christmas podcast and listened to that during the holidays for a few years before I ever subscribed to your main podcast.  It was from your Christmas series that my wife and I learned about Burning Bridget Cleary.  We have so many favorite bands, I couldn't tell you a favorite.  Probably Altan, Battlefield Band, Reid and Van Sante, Solas, Andy Irvine, Silly Wizard, Triona, Afro-Celt Sound System, the Maggie's Music gang are near the top for us.  My other favorite music podcast is the Sing Out! Radio Magazine." Keith Lyons emailed: "Just a note to say how much I’ve enjoyed your Celtic Music podcast, particularly during the lockdown in New Zealand, as I go out for my daily walk listening to an episode, sometimes the highlight of my day. " Jesse Ferguson emailed a photo: "Hi Marc, Thanks for including me in the latest episode. My son, Brennan (age 10) and I are listening to the episode while he's doing home school, and I'm working from home."

Hi everyone! Today we’re welcoming back Keith Lyons for another review. We’re batting cleanup this month with a few Oscar and Golden Globe nominations. PORTRAIT OF A LADY ON FIRE was recently re-released in US theaters, and we’re lucky to have Keith on the case. Of course, we’ll just have to forget about that whole finding Keith an English-language film thing from last time. For a few other recent reviews from Keith, check out HONEYLAND (Episode #715), LES MISERABLES (Episode #680), and ATLANTICS (Episode #669). Before the review, we’ll have a promo from our good friends Aicila and Erik at Bicurean. Every episode, they explore a different topic, looking for the underlying issues, and finding common ground whenever possible. You can find them on Twitter, Facebook, and Instagram @bicurean, or check them out at bicurean.com. Be sure to like, follow, rate, and subscribe! And don’t forget to check out their recent guest review for FROZEN II (Episode #685). They’ve been huge supporters of One Movie Punch over the past year, and we cannot recommend them enough! A promo will run before the review. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is PORTRAIT OF A LADY ON FIRE(2019), the 18th century French drama written and directed by Céline Sciamma. I wasn’t able to catch PORTRAIT OF A LADY ON FIRE when it played the Philadelphia Film Festival but I’m delighted to be catching up with it now. No spoilers. Since its debut at Cannes, where it won Best Screenplay and a Queer Palm, PORTRAIT OF A LADY ON FIRE has continued to rack up awards, nominations, and accolades, including Best Foreign Language nominations at the Golden Globes and BAFTAS. It was also nominated for 10 Césars (France’s equivalent to an Oscar) but only managed one win for cinematography. The top prize went to LES MISÉRABLES (Episode #680) and if you’d like to hear my review of that film, check out episode 680 of One Movie Punch. But the big headline from this year’s César Awards was definitely the announcement of Roman Polanski’s win for best director, immediately followed by Adèle Haenel leading the entire PORTRAIT OF A LADY ON FIRE team as they walked out of the theater in protest. Haenel has been an outspoken critic of the French film industry’s tepid response to the #MeToo movement and Roman Polanski drugged and raped a 13-year-old child. You might be wondering: What is wrong with the people in charge of the César Awards? And while we don’t have time to get into that now, I can tell you that the entire board of directors resigned a month ago. PORTRAIT OF A LADY ON FIRE begins on a rowboat, with Marianne (Noémie Merlant) making a journey to a small island off the coast of Brittany in France. Marianne is an artist and she has been commissioned to paint a portrait of Héloïse, played by the aforementioned Adèle Haenel. But when Marianne arrives she discovers that Héloïse refuses to sit for a portrait, and that Marianne must pretend to be Héloïse’s companion, in order to observe her, then retire to her room to paint Héloïse’s face by memory. This is all necessary to marry Héloïse off to a Milanese nobleman, a scheme concocted by Héloïse’s mother, La Comtesse (Valeria Golino)... you know, from HOT SHOTS! ...and BIG TOP PEE-WEE! ...and HOT SHOTS PART DEUX! The relationship between Marianne and Héloïse is central to PORTRAIT OF A LADY ON FIRE. Héloïse is a member of the nobility, but her privilege comes at a price. She is treated by her mother like a helpless child, and is not even permitted to go for a walk unsupervised. Héloïse’s entire life has been mapped out for her, and she must marry a man she has never even met because it is her duty to strengthen her family’s position. Marianne, on the other hand, is a woman of modest means, but she has the freedom to pursue her career as an artist. This job requires her to closely observe Héloïse, so that she can capture her essence on canvas. Héloïse is accustomed to being watched by the help, but before Marianne arrived she had never really been seen. As the two get to know each other, an intimacy develops between them and here, on this sparsely inhabited island, practically at the ends of the earth, they create a space where they feel like the only two souls in the world. PORTRAIT OF A LADY ON FIRE is a gorgeously photographed film about two women forming an intense bond. And, like all the best romances, it is tinged with the sadness of knowing that our time here is limited, and that all things must come to an end. But melancholy is a much deeper emotion than happiness could ever be. Rotten Tomatoes: 98% (CERTIFIED FRESH) Metacritic: 95 (MUST SEE) One Movie Punch: 9.0/10 PORTRAIT OF A LADY ON FIRE (2019) is rated Rand is currently playing in theaters. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #366Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening.

Hi everyone! Welcome to March! Things have been super busy around here at One Movie Punch as we begin to wrap up first quarter. This week we’re coming in with a slate of five Certified Fresh films, including tomorrow’s review for THE INVISIBLE MAN, Tuesday’s review of LONG SHOT from One Movie Spouse, Thursday’s review of PORTRAIT OF A LADY ON FIRE from Keith Lyons, Saturday’s review of THE BATTLE OF ALGIERS from your truly, along with today’s review of THE ASSISTANT. Andrew will be back on Friday with his review of recent VOD release AFTER MIDNIGHT as part of his Fantastic Fest coverage. And on Wednesday, I’ll be reviewing ALIVE, a short film from Swedish filmmaker Jimmy Olsson, with interview clips. We’re so busy, in fact, that we actually won’t have a Patreon episode today. But don’t let that stop you from heading on over to patreon.com/onemoviepunch to check out our exclusive content, including interviews with filmmakers, update episodes, and series like “One Movie Punch Presents: Zero Percent”, where I review films which have achieved the lowest possible score at Rotten Tomatoes. And if you sign up to become a patron, you will become eligible for Sponsor Sundays, where I’ll review a film of your choice, with just a few exceptions. A promo explaining things will run before the review. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Today’s movie is THE ASSISTANT (2019), the slice of life drama written and directed by Kitty Green. The film follows a day in the life of Jane (Julia Garner), an assistant to a high-power media executive, as she navigates the mundane and the horrific aspects of her entry-level position. No spoilers. However, a content warning for sexual harassment, abusive work relationships, and toxic work environments. Toxic work environments abound in our society. It doesn’t matter whether it’s private or public, for-profit or non-profit. It can be a minimum wage job, or in the case of THE ASSISTANT, a high-power corporate environment managing a great deal of money. Wherever you have an organization with a hierarchical structure, some percentage of those who are promoted into managerial positions will let that power go to their head, and will begin to cultivate toxic environments. Because unless you have a strong union contract, chances are you are employed at will, and no matter how much your boss wants to be your friend, they will always choose to fire you if it becomes necessary. At-will workplaces tend to have the most toxic environments and we get to see it on full display in today’s film. Whereas BOMBSHELL (Episode #701) was clearly focused on the three leading actors, and covers the highlights and major events of the Fox News scandal, THE ASSISTANT takes a more mundane and grounded approach with its slice of life framing. Jane’s story unfolds before our eyes, from catching a ride to work to open the office, all the way through closing up for the night, at her employer’s insistence. Jane has been an assistant for two months, so she still has to deal with the scut work, not just making copies or picking up lunches, but even washing dishes and taking out trash and whatever someone else doesn’t want to do, including her fellow assistants with more experience. This perspective alone provides incredible insight into toxic work environments, but THE ASSISTANT also explores the effects of sexual harassment and abusive bosses, which is where it really takes off. It’s pretty obvious the target of THE ASSISTANT is Harvey Weinstein, or any number of highly paid media moguls who hold unspeakable power over their companies, if not their industries. We actually never get to see Jane’s boss, which allows us to insert whatever toxic boss we may have had in our past. But we do get to hear his voice, an effective technique as Jane gets dressed down after getting sucked into the general chaos of the day. She’s not in control of any of her environment, a fact she learns painfully when she seeks assistance, because toxic work environments have an inertia that’s tough to break, legally speaking, especially when checks can be written to guarantee silence. This abusive environment also engenders a sense of solidarity in the office, especially among the assistants. Despite getting scut work, both assistants help Jane with apologizing after getting chewed out. Jane is still learning her environment, not as it should be, but as it is. And we are as well. Julia Garner absolutely carries Jane from beginning to end, adopting a character familiar to anyone who has worked in toxic environments, and delivers what will be one of the best performances this year. Kitty Green nails the drab tones of the stale, mismanaged office environment, along with a more hive-minded, cacophonous cubicle farm. The stark, sharp angles of the corporate environment are leveraged to draw our eyes to all the important details, as we get to observe Jane observing others. THE ASSISTANT develops tension slowly, then manages it all the way to the thematically unsatisfying, but exceptionally realistic ending. A feeling that anyone who has worked in a toxic work environment will appreciate when they’ve left for the day. We get less spectacle and more realism, and the film is all the better for it. I just wish the film had the courage to market the film it actually was, instead of what the trailer made it seem. Honestly, I hadn’t heard much about the film before it hit the marquee of our local independent theater, so when One Movie Spouse and I were looking for a date night film, we checked out the trailer. As you might have noticed during this review, it’s pretty intense, giving the sense that something massive and dramatic happens. And that’s not the film you’re going to get in the theater. It’s actually better than the film that’s advertised, to be honest. THE ASSISTANT is a slice of life drama looking at a day in the life of one assistant for a powerful media mogul. Julia Garner anchors this think piece, which oscillates between the mundane and the stressful, against a well-chosen and well-paced backdrop. Drama fans, or folks looking for a more realistic, less sensationalized look at toxic work environments driven by sexual harassment and abusive relationships, will definitely enjoy this film. Rotten Tomatoes: 90% (CERTIFIED FRESH) Metacritic: 77 One Movie Punch: 8.0/10 THE ASSISTANT (2019) is rated R and is currently playing in theaters.

Hi everyone! We’re continuing our Oscar cleanup week with a review from Keith Lyons, aka Philly Film Fan, covering HONEYLAND, a nominee for Best Documentary Feature, all the way from Macedonia. He’ll be up in a minute with his thoughts, but don’t miss his recent reviews for LES MISERABLES (Episode #680), ATLANTICS (Episode #669), and I LOST MY BODY (Episode #646). I should probably get him an English-language film to watch here at some point. Before the review, we’ll have a promo from the Top 5 from Fighting podcast. Every episode, Greg and Mike discuss a wide range of topics, and when they disagree, you know they’re gonna fight about it! Always fun, but always contentious, you don’t want to miss a single episode. You can find them on Twitter, Facebook, and Instagram @Top5forFighting. They have been some of our biggest supporters from last year. Shout out to their Marketing Angel. You know who you are! Oh yeah, speaking of that Marketing Angel, One Movie Spouse and I will be guesting on the Honey, You Should Watch This podcast. We’re recording this weekend, covering easily the best new to me film I saw last year, and made my family sit through twice afterwards. More on that via social media as details emerge. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is HONEYLAND(2019), the film directed by Tamara Kotevska and Ljubomir Stefanov. It is an extraordinary film that has already made history by becoming the first film nominated for both Best Documentary and Best International feature at the Oscars. These are also the first two Oscar nominations ever to go to a Macedonian film. Mild spoilers ahead but this isn’t the kind of film you can ruin with spoilers. HONEYLAND introduces us to Hatidze Muratova, a woman who seems to be displaced in time. She lives less than 35 miles from the capital of Macedonia but she may as well be living in another century. She shares a small hovel with her elderly mother, Nazife, who is nearly blind. They have no electricity or running water and providing basic amenities, such as light and heat, seems like a monumental task for Hatidze. Her only source of income is the sale of wild honey, which requires her to make an arduous journey to her customers in the capital. All of this is captured by the filmmakers in beautiful shots, unencumbered by narration, which gives us the illusion that we are right there with them. Clumsy documentaries often feel like propaganda. They use narration or talking heads to make an explicit argument that the filmmaker wants to convey. But the best documentaries feel like they’re showing you the truth without trying to convince you of anything. Of course, every film has a point of view, but the great ones allow you the space to come to your own conclusions. HONEYLAND doesn’t need to make any bold statements about how short-sighted industrialization is depleting our planet of limited resources and poisoning the land to make those resources even more rare. It only needs to show us an old woman scaling a treacherous cliff to access a wild beehive and, once there, proclaiming her philosophy of “Take half, leave half.” This is how she has always survived, taking only what she needs while leaving enough for the bees to survive the winter and produce a new batch next year.  Unfortunately, Hatidze’s message of sustainability is completely lost on her new neighbor. Hussein is a father of seven and clearly struggling to provide for his family. He needs money now and sees an opportunity in honey. Hatidze warns him to only take half of the hive’s honey, leaving the other half for the bees to feed on. But Hussein is a stubborn chauvinist and he ignores the advice of a woman. His actions will end up threatening both of their livelihoods, as well as the survival of the bees. If this was a fictional film, I’d probably complain that this conflict was a too “on the nose” metaphor for industrialization and climate change. But this is just a documentary capturing a small-scale example of a much larger trend. The whole situation would feel hopeless if it wasn’t for Muzafer, Hussein’s sensitive son. He is fond of helping Hatidze and listens reverently as she imparts her wisdom. Watching his face, you can tell that he will be a different man than his father. And that is reason enough to be optimistic. HONEYLAND is a beautifully photographed documentary that tells one story about little people, but its narrative deals with universal themes. It’s a quiet film that not everyone will have the patience for, but if you’re able to sink into its rhythms, you’re in for a transcendent experience. Rotten Tomatoes: 99% (CERTIFIED FRESH) Metacritic: 86 (MUST SEE) One Movie Punch: 9.0/10 HONEYLAND (2019) is unrated and currently streaming on Hulu. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #366Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening!

Hi everyone! Welcome back for another week of reviews! Tonight’s the big night! The 92nd Academy Awards will be held today at 5:00pm PST, and we’ll see just how the Academy distributes their praise. We’re also catching up on a number of Oscar nominees this week, including today’s review for one of the more insightful documentaries from last year, and an Oscar nominee for Best Documentary Feature. I’ll be up in a minute with my thoughts on 2019’s THE EDGE OF DEMOCRACY. Be sure to stay tuned with us all week! Tomorrow I’ll be reviewing perhaps the most unknown of the nominees, 2019’s BREAKTHROUGH, which is not my usual cup of tea. On Tuesday, Jon-David returns with his review of 2019’s MALEFICENT: MISTRESS OF EVIL. On Wednesday, I’ll be reviewing a low-budget adaptation of an H.P. Lovecraft story, in a film titled THE DARK SLEEP. On Thursday, Keith Lyons returns with his review of Oscar nominee HONEYLAND. On Friday, Andrew has another Fantastic Fest offering, this time a challenging and thought-provoking French film. And on Saturday, I’ll be reviewing TO DUST, a dark comedy about dealing with loss, as part of our Under the Kanopy series. Over on our Patreon page, at patreon.com/onemoviepunch, we just put up our full interview with writer/director Alex Goldberg, where we discuss his low-budget daytime noir film CLOSURE (2019), starring his spouse Catia Ojeda. We also talk about his extensive work as a playwright and what it’s like working with your spouse. The interview will be publicly available for a limited time, but you can maintain access by contributing to One Movie Punch at any level. All contributors become eligible for Sponsor Sundays, where you can force me to review a film for the podcast, as long as we haven’t reviewed it, with just a few exceptions. Check back next week for a Sponsor Sunday episode reviewing 2008’s THE DARK KNIGHT, thanks to the generosity of the Ocho Duro Parlay Hour. A promo for Sponsor Sundays will run before the review. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Today’s movie is THE EDGE OF DEMOCRACY(2019), the political documentary directed by documentarian Petra Costa, and written for the screen in collaboration with Carol Pires, David Barker, and Moara Passoni. The film reviews the rise and the current fall of Brazilian democracy, looking at how media moguls divided the population in two, which allowed a far-right government to take power, all from Costa’s unique perspective and with her unique access to top government officials. No spoilers. About a year ago, I had to stop taking in the daily news. I used to listen to two plus hours of news, mostly Democracy Now and The Intercept, along with a handful of commentary shows, and a couple anarcho-communist podcasts specifically about community organization and resistance. I was a political animal, tracking elections, major news stories, evaluating sources, and coming to three very clear conclusions: (1) we spend way too much on the military and not enough on social programs; (2) massive wealth inequality, if not addressed, will become a massive social flashpoint; and (3) if we don’t address the impending climate collapse in due time, our entire civilization will be put at risk. All of these conclusions come from a combination of scientific consensus and common sense, but this reality-based outlook has been under assault by the billionaires who control most of our media. And most people are media illiterate, generally believing that media literacy is hearing a bunch of different opinions and making up your own mind. Very few people will take the time to consider the sources, sift through rhetoric, examine data, and all the other parts of media literacy. Very few people also acknowledge that their favorite news programs have billionaire-driven agendas, or at the very least, advertising-driven agendas. Cable news is a for-profit venture, and we should all be careful, regardless of political persuasion. Once you realize that, listening to the stories their channels choose to cover becomes nauseating, across the spectrum. Especially when they unjustly stoke the flames of social unrest through creating divisions. It’s why I still mostly rely on the fact-based journalism of Democracy Now and The Intercept, both of which are featured heavily in today’s documentary, even if they have a so-called “left-leaning slant”. It’s also why watching THE EDGE OF DEMOCRACY is so important, because Petra Costa documents the very destructive power of the media in Brazil, which could easily be a template for similar governmental takeovers. I came into THE EDGE OF DEMOCRACY with a distinct advantage over most people, given my past media consumption. Costa calmly lays out all the major events, from the first fights for democracy by her parents under the US-backed military dictatorship, all the way to the present day. Most of the major events featured in the documentary were stories I heard live on Democracy Now as they happened. And each of those major events, at the time, came with a host of political analysis from journalists and pundits, most of which are arguing comfortably from studios for a mostly myopic audience. Each event is generally taken out of its important context, and abstracted into some argument about “liberty” or “freedom”, usually with more than a few lies from the more deceptive news outlets. The real value of Costa’s work is that it places all of these individual events back into their necessary context. Lula isn’t reduced to some alleged criminal politician, but also a long-time labor organizer who brought in Brazil’s great economic prosperity through sensible policies. Dilma Rouseff isn’t just another alleged criminal politician, but a former revolutionary who endured torture at the hands of the military dictatorship. We don’t get the headlines that shocked the populace and the world; we get the actual trumped-up charges and corrupt actions of politicians and judges. We get a full, complete, and consistent story – which completely shreds nearly all the mainstream political analysis in the United States. THE EDGE OF DEMOCRACY may not be able to stop the rapid descent into Brazilian fascism, but it will serve as an important addition to the historical record. THE EDGE OF DEMOCRACY should also serve as a warning tale for our own political situation in the United States. Just as media literacy requires much more than evaluating opinions, media criticism needs to be a lot more than simply calling things “fake news”. I am most definitely an advocate for both freedom of speech and freedom of the press, but I am not an advocate for the ability to lie, whether directly or by omission. The United States used to have a fairness doctrine in place for the media, but that was mostly revoked under Reagan, which gave rise to the cable news of today. They yield enormous power, can drive public opinion, and receive regular injections of capital every four years from our election process. I don’t want to disband the press, or censor anyone, but a re-instatement of the fairness doctrine would be a good first step towards bringing sanity back to our new media. Towards the end of THE EDGE OF DEMOCRACY, and as we get closer to the present day, we see the full force of the Brazilian media begin demanding that corruption is rooted out from the Brazilian government. We see their readership rise and their pundits get more air time, and government officials compromising themselves and their colleagues to survive the bloodletting. We see the same kind of political power of the press in the United States, because conflict sells. We also see the power of billionaires buying advertisements on those same stations and papers, which lead to stories attacking progressive populist candidate Bernie Sanders. And rest assured, those same media outlets will attempt to have a field day with Sanders should he win the presidency, likely using the same tactics documented in THE EDGE OF DEMOCRACY, because his policies run counter to their bottom lines. We need to be literate and critical if we want to prevent what happened in Brazil from happening here, assuming it’s not already too late. THE EDGE OF DEMOCRACY is a powerful documentary that documents the rise and near collapse of Brazilian democracy, from the revolution against the dictatorship through the present rise of the far-right fascist government. While expertly placing each major event into a consistent context, the film also serves as a warning tale for other media-driven societies, and a plea for real media literacy and criticism. Documentary fans, or folks who want a succinct, if depressing look at recent Brazilian politics, should definitely check out this film. Rotten Tomatoes: 97% Metacritic: 81 One Movie Punch: 8.5/10 THE EDGE OF DEMOCRACY (2019) is rated TV-14 and is currently playing on Netflix.

Hi everyone! Today’s the return of Keith Lyons to the podcast, aka Philly Film Fan, who will continue covering films from the Philadelphia Film Festival here at One Movie Punch. And it just so happens that today’s film not only played at the festival, but was also nominated for a Golden Globe for Best Foreign Language film. He also covered another Golden Globe nominee recently, ATLANTICS (Episode #669), which you’ll definitely want to check out. For a couple other reviews from Keith, check out I LOST MY BODY (Episode #646) and his guest review during Reign of Terror 2019 for SON OF FRANKENSTEIN (Episode #622), where he also gave some ghostly assistance to yours truly. Before the review, we’ll have a promo from the Top 5 from Fighting podcast. Every episode, Greg and Mike discuss a wide range of topics, and when they disagree, you know they’re gonna fight about it! Always fun, but always contentious, you don’t want to miss a single episode. You can find them on Twitter, Facebook, and Instagram @Top5forFighting. They have been some of our biggest supporters from last year. Shout out to their Marketing Angel. You know who you are! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi! Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is LES MISÉRABLES, the French crime film directed by Ladj Ly and written by Giordano Gederlini, Alexis Manenti, and the director. I was able to catch this at the Philadelphia Film Festival, but it also played Cannes where it shared the Jury Prize with “Bacurau” (another film I saw at PFF). So far, it’s been nominated for a Golden Globe in the Foreign Language category and made the Oscar shortlist for Best International Feature, so more awards could be in its future. No spoilers. Okay, the first thing that you need to know about LES MISÉRABLES is that it is NOT based on the novel by Victor Hugo and it is definitely not a musical. However, the title is an obvious allusion to the famous literary work about the corrosive effects of poverty on society. Hugo’s novel tells the story of a failed revolution in 19th century Paris but Ladj Ly’s film takes its inspiration from the 2005 French riots. Although the film is fictional, it draws its plot from the actual events leading up to the riots: Police, responding to reports of a break-in, came upon a group of black kids who, seeing the police, scatter. Three of these kids took refuge in an electricity substation where two of them were electrocuted, causing a blackout. This incident ignited the already high tensions between the community and the police, sparking the riots. That’s the TL;DR version of what happened but obviously it’s a complicated situation that’s outside the scope of this movie review. LES MISÉRABLES follows Ruiz, played by Damien Bonnard, as he joins the elite Anti-Crime Brigade. Ruiz is teamed up with Chris, a white officer played by Alexis Manenti (also one of the screenwriters), and Gwada, a black officer played by Djibril Zonga. Ruiz isn’t exactly new to being a police officer but he does seem a bit naive about the realities of policing a neighborhood primarily inhabited by African migrants and their descendents. Ruiz has a moral compass and a belief in the fair application of the law. But his principles are immediately called into question as he sees how Chris and Gwada do things. They are jaded veterans and think of the Anti-Crime Brigade more like an army occupying an enemy nation than an institution devoted to upholding law and civil liberties. This might be set in France but any American will recognize the conflict between a black community and the police force assigned to maintain order. Ruiz and the Anti-Crime Brigade are on the hunt for Issa, a black kid played by Issa Perica, who is suspected of committing a rather unusual crime, which I will not spoil. Issa, who is only a child, finds himself desperate and on the run seeking protection from the two pillars of his community. But his situation is complicated by the fact that these pillars are trying to pull the community in opposite directions. The first is Salah, played by Almamy Kanouté, the owner of a kebab shop and a Muslim leader. Salah sees the destructive role that the Anti-Crime Brigade plays in his community and sees protecting Issa as his responsibility. But the other power player is a local gang leader known as “The Mayor”, played by Steve Tientcheu, who has his own reasons for keeping the police at bay. This is a dangerous political situation and Issa finds himself trapped between these powerful forces. LES MISÉRABLES is a gritty crime thriller that unfolds with heart-pounding suspense. Yet, at the same time, it manages to tell the story of a corrupt police force patrolling a neighborhood plagued by poverty and racism. It’s a highly political drama about inequality that’s also a fast-paced action film. It’s a must-see! Rotten Tomatoes: 84% Metacritic: 75 One Movie Punch: 9.0/10 LES MISÉRABLES (2019) is rated R and is currently playing in selecttheaters. But it’s being distributed by Amazon, so I expect that Prime members will be able to stream it soon. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #366Movies challenge (it’s going to be a big year). That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening.

Hi everyone! Welcome back for our first full week of reviews for 2020. And it’s going to be a very busy week, I can tell you that much. We’re continuing our catchup weeks, reviewing films recently released in theaters, with a special focus on Golden Globe nominees. I’m sure you are all anxiously awaiting the results this evening as much as we are, not to mention the rest of Film Twitter. This week we’ll have the return of two more regular contributors. Ryan L. Terry will be reviewing JUDY tomorrow in place of Matinee Mondays, and Keith Lyons will return on Thursday with his review of last year’s LES MISÉRABLES. The Book of Lies Podcast will be returning with their review of ROCKETMAN. We’ll have our first special interview episode with Irish filmmaker Robbie Walsh looking at his microbudget feature EDEN. Andrew Campbell will return on Friday with his review of A24’s THE DEATH OF DICK LONG. And Saturday, I’ll be reviewing the Safdie Brothers’ latest film, UNCUT GEMS, if my heart can take it. All of this content is currently a labor of love, but you can help us grow! Head on over to patreon.com/onemoviepunch and contribute to the podcast at any level. All sponsors become eligible for Sponsor Sundays, which you’ll hear about in a little bit. You’ll also find exclusive content, including interviews, audio dramas, special episodes, and much, much more. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Today’s movie is FORD V FERRARI, the historical drama directed by James Mangold, and written for the screen by Jez Butterworth, John-Henry Butterworth, and Jason Keller. In the 1960s, Lee Iacocca (Jon Bernthal) proposes to Henry Ford II (Tracy Letts) that Ford should design a car to compete in the 24 Hours of Le Mans, a grueling race dominated year after year by the Ferrari company. After Ferrari rejects Ford’s offer to purchase their company, Lee reaches out to car designer Carroll Shelby (Matt Damon) and an irascible driver named Ken Miles (Christian Bale) to defeat them on the track. No spoilers. America has a love/hate relationship with the automobile, carefully nurtured as a status symbol during the rise of the Ford Motor Company, then becoming a mainstay of rural and suburban life. Entire cities have been designed around the automobile, making their ownership, or at least their availability a necessity for many, and bringing pollution, rising gas prices, and gridlock traffic. Automobiles are tools like any other, but there is a subset of cars that make the transition from tools to toys, whether that’s the classic car clubs across the world, or the minor league racing circuit. FORD V FERRARI is a film about boys working on their toys, in this case, the incredible and innovative Ford GT40. Ford wasn’t the only company targeting Ferrari in that time period. At General Motors, John DeLorean was pushing the Pontiac LeMans and offering a GTO package, the first commercially available mainstream muscle car in the United States. In fact, the GTO signifier was inspired by the successful Ferrari 250 GTO. You can find out more about that particular car in FRAMING JOHN DELOREAN (Episode #648), along with a general look at the rise of the muscle car. Each character involved on the Ford team exemplifies the different types of boys and their toys. For Ford, played very arrogantly by Tracy Letts, this challenge was about pride in the once great Ford Motor Company, and after Ford fails to buy Ferrari, about wounded pride. For Iacocca, it’s about making a path for himself at Ford, and an episode in the often-contentious relationship with Ford II. For Shelby, the challenge is about the challenge itself, and his own wounded pride about failing to win at Le Mans before needing to retire. For Miles, it’s about the pride in being the best racer, and knowing cars better than anyone else. And for the supporting cast around them, it’s about dealing with all the emotions and fallout surrounding the entire journey, leaving metaphorical and literal wreckage in its wake. FORD V FERRARI borrows a great deal from classic racing movies. We’re introduced to the characters early on, laying the groundwork for each character, and for the corporate intrigue surrounding Ford’s attempt to buy his way into racing. Once the conflicts are established, not just between Ford and Ferrari, but also internally on the Ford team, we begin the journey to Le Mans ’66. The writing team plays a little fast and loose with the actual history, all crafted to make sure the viewer is firmly on the Ford side, and within the Ford team, firmly on the side of Shelby and Miles. Ferrari is made out to be arrogant enough to want to see them fail. The road to Le Mans 66 shows us not just the development of the Ford GT40, but also the development of the two lead characters. We learn a lot about Shelby and Miles, and their relationships outside of their obsession with cars. We also get a sneak peak into the absolutely ridiculous and childish corporate politics that get played, especially by boys playing with their toys, whether that’s a car, a division, a career, or an entire corporation. We want the team to win, even if it seems composed entirely of assholes. Even Shelby and Miles, played as good old boys from a forgotten era, can be assholes from time to time, which is contextually accurate, but also feels incredibly privileged, especially with how petty many characters act when that much money is at stake for what is ultimately a frivolous honor. Now, I may not like the characters in this film, but that doesn’t mean they aren’t played well. Christian Bale absolutely deserves the nomination for Best Actor in a Drama, turning in a full and consistent character performance from start to finish. He’s almost a perfect asshole at times, sometimes justifiably so, sometimes aggravatingly not. Damon’s portrayal of Shelby feels much smaller next to Bale’s performance, which is also reminiscent of the relationship between Shelby and Miles at the time. The supporting cast is above average, working to support either the team’s efforts or the individuals on the team. Miles’ relationship to his spouse Mollie (Caitriona Balfe) and his son Peter (Noah Jupe) provide a nice break from, or at least a reduction of, the testosterone of the other scenes. I do have some criticisms for the overall film. The film clocks in at two and a half hours, roughly cut up as a half-hour introduction, an hour to make it to Le Mans, about thirty minutes at Le Mans, and closing up afterwards. The film does a great job of managing the focus of Ford vs Ferrari, but doesn’t manage the character’s stories nearly as well. Aside from Miles, and maybe Shelby, every other character has very little development, either acting as a force of nature in Ford and Iacocca, or acting in reaction to Shelby and Miles. I feel like at least thirty minutes could be cut from the film, although I’m not entirely sure where. Taking out the extra scenes involving Miles would lessen Bale’s performance, and with Shelby narrating portions of the film, it’s hard to know where else to cut. While I was never bored by the film, I did get impatient waiting to get to the racing, then wondered how much was left at the end. FORD V FERRARI is an extensive look at the journey to Ford’s victory at the 24 Hours of Le Mans in 1966, focused on the rivalry between Ford and Ferrari, but also on the car that won the race, and the people who took that car to victory. Bale turns in an excellent performance, buoyed perhaps by scenes which might have pumped the brakes a little too much along the way. Muscle car and racing fans, or fans of films about cars, will definitely enjoy this film. Just allocate enough time to properly enjoy it. Rotten Tomatoes: 92% (CERTIFIED FRESH) Metacritic: 81 (MUST SEE) One Movie Punch: 8.0/10 FORD V FERRARI (2019) is rated PG-13 and is currently playing in theaters.

Hi everyone! We’re just about done for the year, but we couldn’t close out the year without one more review from Keith Lyons. Netflix is just dropping Oscar bait after Oscar bait this month, including today’s film that’s likely to be Senegal’s entry for Best Picture. We’ll definitely let you know if it gets nominated, but the film is definitely well worth seeing if not. For a few other recent reviews from Keith Lyons, check out his reviews for BIRDS OF PASSAGE (Episode #571), SON OF FRANKENSTEIN (Episode #622), and I LOST MY BODY (Episode #646). Before the review, we’ll have a promo from our friends at the Book of Lies podcast. Every episode, Brandi and Sunni investigate a fraud case or con job, to see what signs were missed, and to help you protect yourself. You can find them on Twitter @bookofliespod, Facebook/Instagram @bookofliespodcast, and subscribe to their podcast on all major platforms, but especially Soundcloud. Don’t miss their incredible assistance during their guest review for Reign of Terror 2019 for 28 DAYS LATER (Episode #624), where they shed some much needed light on a different con job. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is ATLANTICS, Senegal’s submission for the (recently renamed) Best International Feature Film Award at next year’s Oscars. The film is directed by Mati Diop and co-written by Olivier Demangel and the director. ATLANTICS made history when it premiered at Cannes because it was the first film by a black woman to screen in competition, where it was awarded the Grand Prix (Second Place). It also played the Philadelphia Film Festival, which is where I was able to catch it. Mild spoilers ahead. ATLANTICS begins as a neo-realist drama before becoming... something different. The film opens in Dakar where Souleiman (Ibrahima Traore) is engaged in a heated argument with his boss. Souleiman and his fellow construction workers have gone without pay for three months and they are at a breaking point. The workers demand the back pay they’re owed but the boss is conveniently out of town and the foreman claims his hands are tied. The laborers get together and collectively walk off the job. This is a moment that has the potential to be triumphant, “Workers of the world, unite!” and all that, but the film plays it as a tragedy. The men ride silently on the back of a truck as they head back home and you see the deep pain underlying their stoic faces. They have wasted three months performing back-breaking labor without a penny to show for it. The men return home broke and newly unemployed. It is clear that Senegal has no opportunities for them so they decide to find work in Europe. This will entail a treacherous sea voyage to Spain and for Souleiman it will also mean leaving his lover, Ada (Mame Sane). Ada is inconveniently engaged to Omar (Babacar Sylla), but it’s an arranged marriage and she doesn’t love him. Her heart has always been with Souleiman. At this point a more traditional film would follow the men as they cross the ocean and try to make their way in a new land. But Diop makes an interesting choice to switch perspectives and focus on the women who are left behind. When I do these reviews, I try to avoid spoilers as much as possible but sometimes they are unavoidable. This film takes a turn about half an hour in and, while this change is heavily implied (possibly given away?) in the marketing, I’ll still try to keep a little mystery. So, Souleiman and the men leave for an uncertain fate on a ship to Spain and then things start to get... weird. Ada goes into a depression now that her lover is gone and her marriage to Omar is approaching. We are presented with a disorienting sequence in the middle of which we get a long shot of the ocean and we hear Ada give an ominous monologue. But the way the sequence is edited we can’t be sure if her words are Ada actually speaking or part of a dream. Things only get more muddled from there and you really need to view the film to sort everything out. So, I have a general rule about African films and that is “If you have the opportunity to watch one, take it!”. Africa is a huge continent with a tremendous amount of diversity, but it is rare to find African films playing theatrically in the US. Even at art house theaters, which are no strangers to foreign films, African films are uncommon, and when they do screen one, it’s probably from Egypt. Thankfully streaming services like Netflix can bring films like ATLANTICS to your home, so go ahead and take advantage of it! Rotten Tomatoes: 95% (CERTIFIED FRESH) Metacritic: 84 (MUST SEE) One Movie Punch: 7.0/10 ATLANTICS (2019) is rated TV-14 and is currently streaming onNetflix. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m currently participating in (and failing) the #365Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening!

Hi everyone! Welcome back for our last Takeover Tuesday for this year! We’re super excited to have the Friends N Flayers podcast guesting today, for YOUNG FRANKENSTEIN, the classic film from Mel Brooks and Gene Wilder. You can find them on Twitter @FriendsNFlayers and can subscribe to their podcast on all major platforms. A promo will run before the review. I’ve been noticing a lot of great films that came out in 1974 which we’ve reviewed, including THE TEXAS CHAIN SAW MASSACRE (Episode #035), THE CONVERSATION (Episode #091), CHINATOWN (Episode #271), and most recently, Jon-David’s guest review for Takeover Tuesday of THE TOWERING INFERNO (Episode #653). Also, don’t miss Keith Lyons’ review of SON OF FRANKENSTEIN (Episode #622), which introduces quite a bit of lore used for today’s film. Think you have what it takes to guest on One Movie Punch? Head over to onemoviepunch.com/takeover-tuesday to check out the requirements. If you’re interested, reach out to us using the contact form or over social media, and we’ll see if we can place you on the calendar. We have eleven spots in Q1 2020 just looking for guests. We’ll even run your promo before the review. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi there! I’m Joel Anderson; I play the barbarian duo of Gorem and Reginald Thistlewhite on the Dungeons and Dragons actual play podcast Friends and Flayers. You can find us on all major podcasting platforms, and connect with us on Twitter @FriendsNFlayers, Facebook at Friends and Flayers, Instagram @Friends_and_Flayers, and email us at friendsandflayers@gmail.com. Today’s movie is YOUNG FRANKENSTEIN, the comedy film directed by Mel Brooks and written for the screen by Gene Wilder and Mel Brooks, based on the novel by Mary Shelley. Gene Wilder stars as Frederick Frankenstein, the descendent of famed scientist Victor Frankenstein. Fredrick heads back to Transylvania after inheriting the family estate. Along with Igor (Marty Feldman), and Inga (Terri Garr), Fredrick rediscovers his grandfather’s secret laboratory and continues his research of bringing life to the dead. Spoilers ahead! Coming off the success of BLAZING SADDLES, another comedy classic from Mel Brooks in 1974, Wilder and Brooks team up again to spoof the Frankenstein movies of the early 30’s. This would be the pair’s third and final collaboration. This is a carefully crafted parody, with strong writing and amazing attention to detail. They were able to use to the same laboratory set from the original Universal Frankenstein movies of the era. The movie’s premise is centered on the relationship Frederick has with his famous grandfather, Victor Frankenstein. The first third of the movie shows Frederick distancing himself as far away as possible from the family name, using the pronunciation of Fronkonsteen and calling his grandfather’s research doo doo. Over the course of the movie, not only do we see Frederick embrace his family name, but the research he dismissed earlier in the movie as well; taking inspiration from the family estate he inherits and the discovery of his grandfather’s research. Frederick’s change of identity is mirrored in his romantic relationships in the movie. At the beginning we are introduced to Frederick’s fiancée, Elizabeth, played perfectly by Madeline Kahn, a self-absorbed, socialite whose only concern is how she’s viewed by other’s and material wealth. By the end, Frederick marries his assistant Inga, the Transylvanian native who shows Frederick true compassion and care during his time at the castle. Elizabeth marries Frederick’s creation, falling in love with the side Frederick denied his whole life. This movie covers all the Frankenstein movie tropes, but without making them feel stale. There are the fearful townsfolk, who later mob Frederick for unleashing his monster to society. There’s the monsters love of music and his fear of fire. The inquisitive inspector who’s trying to figure out what’s going on inside the Frankenstein castle. And finally, the mad doctor and his deformed assistant. The humor is still funny to this day and many of the scenes have entered the pop culture lexicon. Abby Normal, Setagive, Putting on the Ritz, and the aforementioned Frokonsteen. I love this movie. I grew up with this movie, but I didn’t always love it. When I first saw it, perhaps around the age of 6 or 8, I didn’t understand it was supposed to be a comedy. Peter Boyle’s monster scared me. To my young brain, this was a straight horror movie and nothing else. It wasn’t until I watched it as a teenager, when I discovered Mel Brooks, did I realize this was comedy gold. Gene Wilder is a master of the dramatics. No one can act like a maniac with poise and humor like Wilder could. The rest of the supporting cast is also incredible. Marty Feldman nearly steals every scene he’s in; Kenneth Mars’ Inspector Kemp is one of those oddball characters you don’t see much in comedies these days. And if they are in them, they’re often used for gross out humor. Even Gene Hackman, in his cameo of the blind man who tries to befriend the monster, is hilarious in his short scene. YOUNG FRANKENSTEIN is,on the surface a funny movie about man brining a dead man back to life and having him dance to Putting on the Ritz. But upon closer inspection, is an interesting study about relationships, both familial and romantic. This is a must see for any comedy fan. Rotten Tomatoes: 94% (CERTIFIED FRESH) Metacritic: 80 One Movie Punch: 10/10 YOUNG FRANKENSTEIN (1974) is rated PG and is available on Amazon Prime.

Hi everyone! Today, we’re welcoming back Keith Lyons to the podcast, to begin an occasional series of reviews for films featured at the Philadelphia Film Festival. Today he’ll be covering “I Lost My Body”, an animated offering currently streaming on Netflix. For a few other films reviewed by Keith, check out “Birds of Passage” (Episode #571), “Maria” (Episode #514), and his guest review for Reign of Terror 2019, covering “Son of Frankenstein” (Episode #622), along with his spectral assistance to help me escape. Before the review, we’ll have a promo from the Fab Figmentals podcast. Every episode, Lindsey Morse delivers all sorts of lore about mythical and magical creatures. Don’t miss their recent episode on the Legend of Sleepy Hollow. And definitely make sure to catch One Movie Punch Episode #598 for Lindsey’s review of “Scream” and her best scary movie phone call voice during Reign of Terror 2019. You can find them on Twitter @figmentals and on Instagram @fabfigmentals. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is “I Lost My Body”, one of the films nominated for the Archie Award for Best First Feature at the Philadelphia Film Festival (also, I hear it won an award at Cannes but I didn’t make it out to that festival). The Philadelphia Film Festival began 28 years ago and I’ve been attending for the last 17. The first year I went, I wound up seeing 25 films and every year after I’ve exceeded that number. I can’t express how important this festival has been in developing my tastes as a cinefile and the important role it played in introducing me to modern filmmakers from all around the world. In the coming months I hope to share with you more of the films that I was able to see this year but for now I’m going to focus on just one: “I Lost My Body”, directed by Jérémy Clapin and based on the novel by Guillaume Laurant. The screenplay was co-written by the author and the director. No spoilers. First of all, I should note that I saw this film in French with English subtitles, where the role of Naoufel, the hapless pizza boy, is played by Hakim Faris; Gabrielle, his potential love interest, is played by Victoire Du Bois; and Gigi, a kindly old carpenter, is played by Patrick D’Assumçao. However, an English dub of this film also exists with Dev Patel as the guy, Alia Shawkat as the girl, and George Wendt as the old man. But in any language the beautiful 2D animation will be the same and that’s the real draw here. The film oscillates between a creepy sci-fi tale and a sweet coming-of-age story and the 2D animation works beautifully for both, tying them together with a melancholy string. This is a bifurcated film but its heart rests in the relationship between Naoufel and Gabrielle. Naoufel’s north African heritage has made him a bit of an outsider in his native Paris and this has clearly resulted in a shy, thoughtful young man who never seems to catch a break. He works for a pizza parlor that offers free pies for late orders and Naoufel never seems to be able to make his deliveries on time. On one particularly bad night, after riding his scooter through the rain he rolls up late to yet another address. It’s a large building and when he pushes the button for the call box, Gabrielle answers. She gently chastises him for the delay and tries to buzz him in, but Naoufel can never get the timing right for the door. The two continue to talk through the intercom and although their conversation isn’t particularly flirty, the two do manage to make a genuine human connection. Naoufel leaves without ever seeing her but Gabrielle has clearly made an impression. Not content to have this encounter simply be one of “two ships passing in the night”, Naoufel begins a naive (and somewhat misguided) attempt to rekindle their brief spark. Okay, I’m afraid that I have buried the lede here. Everything I have just described unfolds in flashback but this film has a framing device, which tells a story about, well, a severed hand. The hand has apparently been separated from Naoufel’s body but we are given no clues as to what has become of the rest of him. Oh, and this is no ordinary hand. It has sprung to life and crawls around using its fingers in a manner very reminiscent of Thing from the 90s “Addams Family” films. After awakening in a shady looking medical facility, the hand makes a daring escape and then begins a quest to reunite with the rest of its body as the film becomes a macabre version of “Homeward Bound: The Incredible Journey”, starring a severed body part. It’s a strange journey full of imaginative encounters that are perfectly captured by the animation. “I Lost My Body” is certainly an unconventional film. The flashbacks of Naoufel’s attempted courtship of Gabrielle, which make up most of its runtime, could actually stand on their own as a non-supernatural drama about young people finding their way in this world. But what really makes this film unique is the bizarre odyssey undertaken by a disembodied hand desperately seeking to be made whole again. And while the hand’s expedition on its own could make for an intriguing short film, it really needs the flashbacks to add depth and meaning to these events. These seemingly disparate parts were truly meant to be together and woe be to the editor who tries to cut the hand from the rest of the film. Rotten Tomatoes: 92% Metacritic: 81 One Movie Punch: 8.0/10 “I Lost My Body” (2019) is unrated and is currently playing in select theaters. It will be available to stream on Netflix starting November 29th. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #365Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening.

Keith joins Rusty in the kitchen for coffee and a chat!

Tim talks The Format with guests BWK and Keith Lyons over beers by Notch and Dogfish Head.

Keith talks about a fundraiser for Books, Bands and Bourbon, a fundraiser for Dolly Parton's Imagination Library.

We had the opportunity to sit down with Richard Dine and Keith Lyons of the Dead Lizard Brewing Company. We talked about the vision for the brewery and how to create awesome cream ales. Of course, we talked about the beers that they have. We had a great time.

Listen(33:52, 32.7 MB mp3, released 2013.02.04)It all comes down to this: Nash and his co-workers, having received warnings of something big and spooky about to happen, are unable to enjoy the Museum's big Halloween party. Their worried minds are soon made worrieder by the appearance of several ghosts, a medium and a strange mix of highly sinister characters. It soon becomes apparent that there is a turf war in progress - and the Battle For The Museum has already begun...Is it this boring in YOUR office?Written by Charles RussellPerry Whittle as Keith Nash Amanda Fitzwater as Helene Mancuso Captain John Tadrzak as Professor Stein Alasdair Stuart as Casey M. Sieiro Garcia as Mala Monroe April Sadowski as Angie/Adrienne Rebecca Thrasher as Jane Marleigh Norton as Alexis Jon Specht as Damien H. Keith Lyons as Larry Audio Élan as Miranda/Volka Chip Joel as various goons and David Ault as Argus Original music composed by Joey Stuckey and Kevin MacLeodThis series is produced by Elie HirschmanPost-production work by Greg Wilkinson"Every man is a warrior inside. But the choice to fight is his own." - John Eldredge

Host Brian Quain sits with Co-Founder/Head Brewer Richard Dine and Dead Lizard's "jack of all trades" Keith Lyons and talk their beers, jam bands, 10 barrels and too many films, so little time. Producer Jeff Brennan is on vacation, so Brian and a special guest record the intro and outro at their house...the Quain Zoo is open to record.

Keith Lyons is August's honorary guest on "Awakening with Marla." Tune in to hear him speak about his journey into a spiritual life full of meditation and spiritual counseling, as well as his award winning film "Raw for 30 Days." You won't want to miss this one!

Download (30:46, 42.6 MB mp3, released 2011.09.27) Have you never wondered what would have befallen all those lives and worlds if the Doctor had never existed? Written by Eric L. Busby and Miles Reid Featured in the cast were: David Ault Julian Bane Peter Walsh Jeff Niles and Kurt Bergeron as the Doctors Also featured were: Caroline Morahan as Sam Tegan Harris as Ace M. Sieiro Garcia as Emma GGG as Rose Eric L. Busby as the Engineer George S. Nader as Pilot Elie Hirschman as Logan Philip Webber as the Master H. Keith Lyons as the Silurian Matthew Kopelke as Daleks and Viktor Aurelius as the Narrator with special appearance by Gareth Preston This episode was directed by Eric L. Busby Music conducted by Murry Gold Sound design by Eric Busby and Chris Snyder

The Byron Chronicles 3.05: The Eternal Graveyard (27:24, 37.7 MB, released 2011.09.01) Written by Eric Busby Featured in the cast were: David Ault as Byron Natalie Van Sistine as Sam Beal H. Keith Lyons as Luther the Knight Philip Weber as Death This episode was written and produced by Eric Busby Sound design by Eric Busby Music Performed by Midnight Syndicate Byron Theme by Kai Hartwig Announcer is Darren Marlar

Written by Eric Busby “It’s quite simple really… I want you to replace me.” Featured in the cast were: David Ault as Byron Natalie Van Sistine as Sam Beal H. Keith Lyons as Luther the Knight Philip Weber as Death … Continue reading →

Written by Eric Busby “It’s quite simple really… I want you to replace me.” Featured in the cast were: David Ault as Byron Natalie Van Sistine as Sam Beal H. Keith Lyons as Luther the Knight Philip Weber as Death … Continue reading →

Jim Nolan Private Eye  “Jim Nolan is contemplating a major purchase: a first home for himself and his fiancée, Trudy Williams. But nothing ever goes as planned for our private eye..” Jim Nolan, Private Eye was created by Mike Murphy and Arlene Osborne. Featuring the voice talents of: RUSSELL GOLD as Jim Nolan JOYCE BENDER as Gladys Nolan BRIAN BEDARD as Lt. Walter Carmichael TRACY HALL as Trudy Williams KATIE DEHNART as the Narrator Special thanks to our guest stars: Kim Gianopoulos as Lillian Reynolds, H. Keith Lyons as Ernie Fowler, Bernadette Groves as Sergeant Palladino, Deb Adams as Officer Morgan, and Paul Lavelle as the Station Officer. “A Killing in Real Estate” was written by Arlene Osborne. Producer: Capt. John Tadrzak Assistant Producer: Arlene Osborne Mixer: Jon Specht Script Editor: Mike Murphy Webmaster: April Sadowski The Jim Nolan, Private Eye theme was composed and performed by Vivian Doskow. Please hear more of her wonderful music at myspace.com/viviandoskow. We would also like to thank Capt. John Tadrzak of Misfits Audio for airing this show. Arlene Osborne, the author of this story, gratefully acknowledges the inspiration of Mike Murphy in the creation of this series and his continued friendship. This production […]

Jim Nolan Private Eye (AD-Parental Guidance 13) A priest seeks Jim’s help when someone starts passing counterfeit bills at his church. Jim Nolan, Private Eye was created by Mike Murphy and Arlene Osborne. Featuring the voice talents of: RUSSELL GOLD as Jim Nolan JOYCE BENDER as Gladys Nolan BRIAN BEDARD as Lt. Walter Carmichael TRACY HALL as Trudy Williams KATIE DEHNART as the Narrator Special thanks to our guest stars: Joe Stofko as Father O’Malley, H. Keith Lyons as Woodrow Davis, Jon Specht as Howard Grant, and Peter Katt as Manny Petrillo. “The Counterfeit Collections” was written by Mike Murphy. Producer: Capt. John Tadrzak Assistant Producer: Mike Murphy Mixer: Jon Specht Script Editor: Arlene Osborne Webmaster: April Sadowski The Jim Nolan, Private Eye theme was composed and performed by Vivian Doskow. Please hear more of her wonderful music at myspace.com/viviandoskow. We would also like to thank Capt. John Tadrzak of Misfits Audio for airing this show. Mike Murphy, the author of this story, gratefully acknowledges the continued help of Arlene Osborne in the betterment of his scripts. This production is for enjoyment purposes only. This is an original production by Misfits Audio, © 2010.