American film critic
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16 episodes with Manohla Dargis
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6 episodes with Manohla Dargis
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2 episodes with Manohla Dargis
2 episodes with Manohla Dargis
Ep. 294: Manohla Dargis on Sorry Baby, Atropia, If I Had Legs I'd Kick You, BLKNWS, Omaha Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest Sundance 2025 podcast, I was fortunate again to discuss the festival and its movies with Manohla Dargis, chief film critic of The New York Times. In addition to reflecting on Sundance's planned move and the backdrop to the festival, we talked about a whole selection of films from this year's edition: Sorry, Baby (directed by Eva Victor), If I Had Legs I'd Kick You (Mary Bronstein), Atropia (Hailey Gates), BLKNWS: Terms & Conditions (Kahlil Joseph), Omaha (Cole Webley), The Alabama Solution (Andrew Jarecki and Charlotte Kaufman), The Ugly Stepsister (Emilie Blichfeldt), Rebuilding (Max Walker-Silverman), and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
As we approach the end of 2024, critics, reporters and editors at The New York Times are reflecting on the year in arts and culture, including television and film.The Times's chief television critic James Poniewozik and chief film critic Manohla Dargis talk with Melissa Kirsch, the deputy editor of Culture and Lifestyle, about why recent entertainment offerings may feel a little “blah,” and also recommend shows and movies that stand out.Guest: Melissa Kirsch, the deputy editor of Culture and Lifestyle for The New York Times.James Poniewozik, the chief television critic for The New York Times.Manohla Dargis, the chief film critic for The New York Times.Background reading: Best TV Shows of 2024Best Movies of 2024For more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.
The third episode of our special retrospective 20th season looks back to the awesome movie year of 1999 with the first of two Christmas episodes, on Stanley Kubrick's Eyes Wide Shut. Directed and co-written by Stanley Kubrick (adapted from the novel by Arthur Schnitzler) and starring Tom Cruise, Nicole Kidman, Sydney Pollack and Todd Field, Eyes Wide Shut was the final movie that Kubrick directed before his death.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/eyes-wide-shut-1999), Manohla Dargis in The New York Times (https://archive.nytimes.com/www.nytimes.com/library/film/071699eyes-film-review.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/1999/07/23/eyes-wide-shut-5/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at
The American musical is in a state of flux. Today's Broadway offerings are mostly jukebox musicals and blatant I.P. grabs; original ideas are few and far between. Meanwhile, one of the biggest films of the season is Jon M. Chu's earnest (and lengthy) adaptation of “Wicked,” the origin story of the Wicked Witch of the West that first premièred on the Great White Way nearly twenty years ago—and has been a smash hit ever since. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss why “Wicked” is resonating with audiences in 2024. They consider it alongside other recent movie musicals, such as “Emilia Pérez,” which centers on the transgender leader of a Mexican cartel, and Todd Phillips's follow-up to “Joker,” the confounding “Joker: Folie à Deux.” Then they step back to trace the evolution of the musical, from the first shows to marry song and story in the nineteen-twenties to the seventies-era innovations of figures like Stephen Sondheim. Amid the massive commercial, technological, and aesthetic shifts of the last century, how has the form changed, and why has it endured? “People who don't like musicals will often criticize their artificiality,” Schwartz says. “Some things in life are so heightened . . . yet they're part of the real. Why not put them to music and have singing be part of it?”Read, watch, and listen with the critics:“Wicked” (2024)“The Animals That Made It All Worth It,” by Naomi Fry (The New Yorker)“Ben Shapiro Reviews ‘Wicked' ”“Frozen” (2013)“Emilia Pérez” (2024)“Joker: Folie à Deux” (2024)“ ‘Joker: Folie à Deux' Review: Make 'Em Laugh (and Yawn),” by Manohla Dargis (the New York Times)“Hair” (1979)“The Sound of Music” (1965)“Anything Goes” (1934)“Show Boat” (1927)“Oklahoma” (1943)“Mean Girls” (2017)“Hamilton” (2015)“Wicked” (2003)“A Strange Loop” (2019)“Teeth” (2024)“Kimberly Akimbo” (2021)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices
“How do you make the monster clearly monstrous without seeing what he does?” One of the greatest living film critics and one of my favourite people, Manohla Dargis, is on MINHUNTER. Get out your case file and get ready to take notes.Manohla DargisManohla Dargis is a chief film critic for The New York Times and has been a repeat nominee for the Pulitzer Prize for Criticism.WEBSITE: NY TIMESJoin our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
This week, we profile Harlem with an ode to black motherhood. We're offered a complex look at the damaged foster care system, the power of a chosen family, and a damning portrait of gentrification in New York City. Manohla Dargis of The New York Times called it, “A New York love story.” It's A. V. Rockwell's Sundance winner A Thousand and One.Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media
EPISODE 44 - "THERESA HARRIS: HOW OLD HOLLYWOOD STOPPED HER STAR FROM RISING" - 07/15/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** When THERESA HARRIS appears on screen, you cannot take your eyes off of her. Beautiful, talented, and a skilled singer and dancer, she lights up any scene she's in. Despite appearing in over 100 films, she rarely received screen credit and most often played a maid, waitress, or other types of domestic servant. Her parts were small, but her charisma and presence on screen were enormous! As a black woman in the early days of Hollywood, she was limited in the roles she could perform by the restrictive Hayes Code of 1934 and the horrible Jim Crow laws of the South. Still, she is a welcome presence in so many classic films. This week, we look at the extraordinary life and career of the talented THERESA HARRIS. SHOW NOTES: Sources: “Theresa Harris, Credited and Uncredited in Over 100 Films,” March 28, 2024, by Herb Boyd, New York Amsterdam News; “Just a Maid in Movies, But Not Forgotten,” April 21, 2011, by Manohla Dargis, The New York Times; “The Underrated Charms of Theresa Harris,” July 11, 2020, by Constance Cherise, TCM.com; “Theresa Harris: Television and Film Actress of the 1930s,” August 18, 2023, by Jae Jones, BackThen.com; “Actress Theresa Harris Hollywood Vixen Turned Servant,”September 2, 2011, by Veronica Wells, Madamenoire; IMDBPro.com; Wikipedia.com; Movies Mentioned: Thunderbolt (1929), starring Fay Wray and George Brent; Hold Your Man (1932), starring Jean Harlow and Clark Gable; Baby Face (1933), starring Barbara Stanwyck and George Brent; Professional Sweetheart (1933), starring Ginger Rogers, Norman Foster, and Zasu Pitts; Horse Feathers (1932), starring The Marx Brothers and Thelma Todd; Gold Diggers of 1933 (1933), starring Joan Blondell, Dick Powell, Ruby Keeler, and Ginger Rogers; Morning Glory (1933), starring Katharine Hepburn and Douglas Fairbanks, Jr; Flying Down to Rio (1933), starring Delores Del Rio, Gene Raymond, Ginger Rogers, and Fred Astaire; Broadway Melody of 1936 (1935), starring Jack Benny and Eleanor Powell; Banjo On My Knee (1936), starring Barbara Stanwyck and Joel McCrea; Bargain With Bullets (aka The Gangster's On The Loose) (1937), starring Ralph Cooper and Theresa Harris; Jezebel (1938), starring Bette Davis, Henry Fonda, and George Brent; Tell No Tales (1939), starring Melvyn Douglas and Louise Platt; Buck Benny Rides Again (1940), starring Jack Benny, Ellen Drew, Eddie “Rochester” Anderson, and Theresa Harris; What's Buzzin' Cousin? (1943), starring Jack Benny and Ann Miller; Blossoms In The Dust (1941), starring Greer Garson, Walter Pidgeon, and Marsha Hunt; Our Wife (1941), starring Melvyn Douglas, Ruth Hussey, and Ellen Drew; Cat People (1942), starring Kent Smith, Simone Simon, Jane Randolph, and Tom Conway; I Walked With A Zombie (1943), starring Frances Dee, Tom Conway, Darby Jones, and Christine Gordon; The Dolly Sisters (1945), starring Betty Grable, John Payne, and June Haver; Three Little Girls In Blue (1946), starring George Montgomery, Vera-Ellen, and June Haver; Miracle on 34th Street (1947), starring Maureen O'Hara, Edmund Gwenn, John Payne, and Natalie Wood; Out of the Past (1947), staring Robert Mitchum, Jane Greer, and Kirk Douglas; Angel Face (1952), starring Robert Mitchum and Jean Simmons; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
The twelfth episode of our season on the awesome movie year of 2000 features the Academy Awards Best Picture winner, Ridley Scott's Gladiator. Directed by Ridley Scott and starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Djimon Hounsou and Oliver Reed, Gladiator won five Oscars, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/gladiator-2000), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2000-may-05-ca-26670-story.html), and Manohla Dargis in LA Weekly (https://www.laweekly.com/saving-general-maximus/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2000 installment, featuring our producer David Rosen's pick, Bret Easton Ellis adaptation American Psycho.
Ep. 254: Cannes 2024 Finale: Manohla Dargis on The Seed of the Sacred Fig, Anora, The Apprentice, Marcello Mio, and more Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It's become an annual tradition on the last day of Cannes to sit down with Manohla Dargis, the chief film critic for The New York Times, and take stock of the festival, some selected highlights, and other points of interest. For our 2024 chat, in a corner of the Palais starting to buzz with activity before the awards ceremony, we discussed a number of titles including: The Seed of the Sacred Fig (directed by Mohammad Rasoulof), Anora (Sean Baker), The Apprentice (Ali Abbasi), All We Imagine as Light (Payal Kapadia), On Becoming a Guinea Fowl (Rungano Nyoni), Wild Diamond (Agathe Riedinger), Marcello Mio (Christoph Honoré), Megalopolis (Francis Ford Coppola), and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
CW: mild profanity Dave and Alonso welcome Robert Abele (LA Times), Justin Chang (The New Yorker), Manohla Dargis (The New York Times), and Peter Debruge (Variety) to talk about awards, the state of the cinema, and more. Subscribe (and review us) on Apple Podcasts, follow us @linoleumcast on Instagram, Bluesky, and Facebook, and never brought to mind. Join our club, won't you?
We're going a little bit out of order in our dive into the films of Hal Hartley. On this episode, we look at The Henry Fool Trilogy: Henry Fool, Fay Grim, and Ned Rifle. The first two films, especially, constitute Hartley's apotheosis. We also discuss Jonathan Glazer's new film 'The Zone of Interest,' a haunting, important film (despite what Manohla Dargis might say). Keep in touch and read more at whydoesthewilhelmscream.com on instagram @whydoesthewilhelmpod and twitter @whywilhelm Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_
Ep. 223: Manohla Dargis and Amy Taubin on Sundance 2024 Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my final (?) episode on Sundance Film Festival 2024, I am pleased to present a grand finale with Manohla Dargis, chief film critic of The New York Times, and the inimitable Amy Taubin (who will be filing a report for Screen Slate). They discuss the role of Sundance, what felt different about this year's edition (and what didn't), and the question of story. And we discuss a number of films: A Real Pain (directed by Jesse Eisenberg), God Save Texas: Hometown Prison (Richard Linklater), Presence (Steven Soderbergh), Rob Peace (Chiwetel Ejiofor), War Game (Jesse Moss and Tony Gerber), Exhibiting Forgiveness (Titus Kaphar), Black Box Diaries (Shiori Ito), Will & Harper (Josh Greenbaum), and Love Lies Bleeding (Rose Glass). Also included: Porcelain Wars, Sugarcane, Gaucho Gaucho, Desire Lines, and Freaky Tales, Kneecap, and a special recommendation for cats. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
In the second of two special holiday episodes for this year, we're looking back to our season on the films of 2003, to talk about Japanese animated movie Tokyo Godfathers. Directed and co-written by Satoshi Kon and starring the voices of Toru Emori, Yoshiaki Umegaki and Aya Okamoto, Tokyo Godfathers was Kon's third feature-length animated film.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/tokyo-godfathers-2004), Manohla Dargis in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2004-jan-16-et-dargis16-story.html), and Tasha Robinson in the AV Club (https://www.avclub.com/tokyo-godfathers-1798199284). Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the premiere of our new season on the films of 1939, featuring the box office champion, The Wizard of Oz.
Ep. 197: Manohla Dargis on Summertime Viewing (and possibly Barbie) Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I catch up with a very special guest, Manohla Dargis, chief film critic of The New York Times. Instead of comparing festival notes or discussing recent reviews, this is a glimpse at what Dargis happens to have been watching recently. So in the interest of preserving the surprise, I'll leave out the usual viewing list, though I can say we get some final thoughts on Barbie. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
Ep. 186: Cannes #14 with Manohla Dargis of The New York Times Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. The 2023 Cannes Film Festival series joyously concludes with our traditional grand finale: a discussion with Manohla Dargis, chief film critic of The New York Times, live from Cannes. Dargis reveals what might be her favorite film of the festival, and then we discuss too many titles to list here in full, ranging from Catherine Breillat's Last Summer and Wang Bing's Youth to Wes Anderson's Asteroid City and Sean Price Williams's The Sweet East. Thank you to all our listeners! And please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass
[NB: Due to file-corruption issues, this episode's sound isn't stellar; apologies for any inconvenience!] For a third-choice star in a first-draft action movie, Dennis Quaid's quite good in 2008's Vantage Point, a fridge-magnet-poetry "thriller" script whose "what if In The Line Of Fire + 24 + Dave gave DQ the adrenaline trots" logline invited multiple weary comparisons to Rashomon in (uniformly negative) reviews. Despite dialogue some film student shook out of the Michael Bay Presents: Boggle cup, a Frogger algorithm used as a car chase, inconsistent blocking, an inert title, and Quaid adopting the wrong posture for a Secret Service agent, we did find a handful of things to enjoy, like William Hurt doing an imitation of that flappy dude outside the car wash while getting shot, and imagining Niles Crane listing budget rental-car models. The president is a clone, but there's a Quaid In Full episode to distract you, so: who cares! Overall score: 4 QQQ score: 6.5 Days since a lost Kuffs accident: 419 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Stephanie Zacharek's review at Salon (https://www.salon.com/2008/02/22/vantage_point/) Kipp Gonzalez LLC's at Slant (https://www.slantmagazine.com/dvd/vantage-point-dvd/) Manohla Dargis does a bit at NYT (https://www.nytimes.com/2008/02/22/movies/22vant.html)
The eleventh episode of our season on the awesome movie year of 2012 features our producer David Rosen's pick, Harmony Korine's Spring Breakers. Written and directed by Harmony Korine and starring Vanessa Hudgens, Ashley Benson, Selena Gomez, Rachel Korine and James Franco, Spring Breakers premiered at the 2012 Venice International Film Festival and was the third theatrical release from A24.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2013/03/15/movies/spring-breakers-directed-by-harmony-korine.html), Robert Abele in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-xpm-2013-mar-14-la-et-mn-spring-breakers-20130315-story.html), and Guy Lodge in Variety (https://variety.com/2013/film/reviews/spring-breakers-1117948216/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our future cult classic pick, comic book adaptation Dredd.
The tenth episode of our season on the awesome movie year of 2012 features the Academy Awards Best Picture winner, Ben Affleck's Argo. Directed by Ben Affleck from a script by Chris Terrio and starring Affleck, Bryan Cranston, John Goodman, Alan Arkin, Scoot McNairy and Tate Donovan, Argo was nominated for seven Oscars and won three, including Best Picture.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/argo-2012), Manohla Dargis in the New York Times (https://www.nytimes.com/2012/10/12/movies/argo-directed-by-ben-affleck.html), and Peter Bradshaw in The Guardian (https://www.theguardian.com/film/2012/nov/08/argo-review).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our producer David Rosen's pick, Harmony Korine's Spring Breakers.
We're thrilled to welcome This Had Oscar Buzz co-host (and TWoP Idol co-recapper emeritus) Joe Reid to the podcast to dig into American Dreamz, a satire of both competitive singing shows AND mid-aughts American politics that does one thing quite a bit better than the other -- and puts all three of us in mind of better movies like Dr. Strangelove and Dick. Cheney slapstick, peak Chris Klein, when Hugh Grant's doing more than he should, the custody battle over the set's one Dick Casablancas wig, Quaid as figurative Ken doll, the return of positive Ebert, and great galoot work all figure in our discussion of a movie we didn't hate...but also barely remember watching. Grab a golden ticket and some freedom fries and cue up an all-new Quaid In Full! Overall score: 6.17 QQQ score: 6.17 Days since a lost Kuffs accident: 398 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) S06E10: In Good Company (https://quaidinfull.fireside.fm/55) S04E02: Postcards From The Edge (https://quaidinfull.fireside.fm/31) Roger Ebert's review (https://www.rogerebert.com/reviews/american-dreamz-2006) Manohla Dargis's review (https://www.nytimes.com/2006/04/21/movies/paul-weitzs-american-dreamz-an-idol-clone-with-a-presidential-aura.html) Nathan Rabin's review (https://www.avclub.com/american-dreamz-1798201668) Joe Reid on Twitter (https://twitter.com/joereid) This Had Oscar Buzz's 200th episode (https://fightinginthewarroom.com/THOB/2022/06/27/200-gloria-bell/) Special Guest: Joe Reid.
On this special edition, we take a look at the impact of women in film. We sit down with The New York Times' Manohla Dargis to discuss women's roles in front of and behind the camera — and we also dive into Oscar predictions. Timestamps 0:00 - Introduction 3:00 - Overview of women in film 26:00 - Ava Duvernay making more opportunities 30:00 - Movies where women made a big impact 35:00 - Abortion in film 40:00 - Real diversity in film 42:00 - Nominees for Oscars 45:00 - International Film Friday on Political Rewind: A special conversation with the University of Georgia's Chuck Bullock.
The fifth episode of our season on the awesome movie year of 2012 features our documentary pick, Sarah Polley's Stories We Tell. Written and directed by Sarah Polley, Stories We Tell premiered at the 2012 Venice Film Festival.The contemporary reviews quoted in this episode come from Manohla Dargis in The New York Times (https://www.nytimes.com/2013/05/10/movies/stories-we-tell-written-and-directed-by-sarah-polley.html), Peter Howell in the Toronto Star (https://www.thestar.com/entertainment/movies/2012/10/11/stories_we_tell_review_family_secrets_universal_truths.html), and Stephen Whitty in the Newark Star-Ledger (https://www.nj.com/entertainment/2013/05/stories_we_tell_review_sarah_p.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring Josh's personal pick, Zal Batmanglij and Brit Marling's Sound of My Voice.
The fourth episode of our season on the awesome movie year of 2012 features the Cannes Film Festival Palme d'Or winner, Michael Haneke's Amour. Written and directed by Michael Haneke and starring Jean-Louis Trintignant, Emmanuelle Riva and Isabelle Huppert, Amour went on to receive five Oscar nominations and one win.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/amour-2013), Manohla Dargis in The New York Times (https://www.nytimes.com/2012/12/19/movies/michael-hanekes-amour-with-jean-louis-trintignant.html), and Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/movies/la-xpm-2012-dec-18-la-et-mn-1219-amour-20121219-story.html).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2012 installment, featuring our documentary pick, Sarah Polley's Stories We Tell.
Dave and Alonso, better late than never, look back at the tumult and the triumphs of 2022 with some distinguished friends of the show: Robert Abele (LA Times), Justin Chang (LA Times), Manohla Dargis (NY Times), and Peter Debruge (Variety). Join our club, won't you?
This week: why New York Times film critic Manohla Dargis is optimistic about women in the film world, for the first time… Plus, does female success have to come at the cost of male ego? That's the premise of a movie, Fair Play, which sold to Netflix for 20 million dollars at Sundance. I talk to its writer/director, Chloe Domont But first, there was some pretty big news this week about Alec Baldwin and the fatal shooting on the Rust set in 2021. I spoke about it in my weekly entertainment news chat with LAist Morning Edition host Susanne Whatley. Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live.
The NC-17 Blonde has hit Netflix, and boy, are people fired up (“necrophiliac entertainment” wrote Manohla Dargis at NYT). At nearly three hours, the fictionalized version of Marilyn Monroe's life is tough to watch — unrelentingly bleak, a bit disjointed, with a camera that can be as vulturous as the vultures it critiques — but damn if that movie didn't haunt us both, and Ana de Armas gives an incandescent performance that has both of us thinking of cutting and bleaching our hair (which Sarah promised to do if we get enough paid subscribers). We talk about the fame trap, whether the film is “anti-abortion,” and if Hollywood will ever stop feeding on Marilyn's corpse. The fame trap came for Anthony Bourdain, the restless wanderer and beloved chef who gets the unauthorized biography treatment later this month with Down and Out in Paradise. How did the man generally regarded as having the best job in the world end up taking his own life? Can a book sourced only by the people left behind by “the Tony train” possibly give a full account? We talk addiction, how journalism can turn ghoulish, and the very complicated figure of Asia Argento.A kiss on the hand may be quite continental, but don't you think it's better to become a free or paid subscriber?Episode Notes:Friday Night Lights on Hulu and Bloodline on NetflixGratuitous photos of Kyle Chandler and Taylor Kitsch (Ed: What is this, Tiger Beat? NR: Hush! Dibs on Chandler. SH: Fine, he's yours. Tim Riggins, let me fix you.)Blonde official trailerMarilyn, by Gloria SteinemBaz Lurhmann's ELVIS (2022) and Elvis Presley: The Searcher (2018)“‘Blonde,' ‘Elvis' and the challenge of telling the truth about icons,” by Sonny Bunch (Washington Post)“What's Fact and What's Fiction in Blonde, Netflix's Marilyn Monroe Biopic,” by Ellin Stein (Slate)“Intentional or Not, Blonde Has an Anti-Abortion Message,” by Tess Garcia (Glamour)Bobby Cannavale in The Station Agent, a really good little movie…… and Boardwalk Empire, a great series“The Last Painful Days of Anthony Bourdain,” by Kim Severson (New York Times)“Author Responds to Family's Unrest Over Controversial New Anthony Bourdain Book,” by Nardine Saad (Los Angeles Times)Down and Out in Paradise: The Life of Anthony Bourdain, by Charles LeerhsenRoadrunner: A Film About Anthony BourdainKitchen Confidential Updated Edition: Adventures in the Culinary Underbelly, by Anthony Bourdain“Asia Argento's Time is Up,” by Nancy Rommelmann (Reason)Chef Reactions will bring you joy with more than a little of that Bourdain vibeWhat's in your hotbox?Nancy: Dr. Loretta Intense Replenishing Serum, available widely and at Heyday, and Arcana Holocene Intense Lipid Repair Balm, at Beauty Heroes for a very good price!Sarah: The Elton John double-album “Goodbye Yellow Brick Road” (Spotify)Outro song: “Love Lies Bleeding” by Elton JohnDon't let the sun go down on you before you become a free or paid subscriber.To commemorate the 1973 double album Yellow Brick Road, Nancy went looking for a teen pic of herself in Seventies garb but instead found one in which she appears to be dressed in someone's shower curtain. Sarah found a pic of herself dressed the way a 15 year old in 1990 thinks people looked in the Seventies. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit smokeempodcast.substack.com/subscribe
The HBS hosts chat with A.O. Scott about the role and responsibilities of the critic.The critic is frequently seen as a parasite who lives of the creative life of others but not producing a work of art through their criticism. In this episode, we are honored to be joined by A.O. Scott to discuss the role of the critic, the creativity of criticism, and the mutual dependence of art and criticism.A.O. Scott is chief film critic (along with Manohla Dargis) for The New York Times. He also write for The Book Review as well as The Times Magazine. He is the author of Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth (Penguin Books, 2016). In addition, he is currently a distinguished professor of film criticism at Wesleyan University.Full episode notes available at this link:http://hotelbarpodcast.com/podcast/episode-71-critics-and-criticism-with-a-o-scott-------------------If you enjoy Hotel Bar Sessions podcast, please be sure to subscribe, submit a rating/review, and follow us on Twitter @hotelbarpodcast.You can also help keep this podcast going by supporting us financially at patreon.com/hotelbarsessions.
This episode hosts Katie Walsh and Blake Howard join one of our most sought-after guests - the world's greatest living film critic, the senior film critic at the New York Times, Manohla Dargis. Manohla breaks down Miami Vice, as only Manohla can.GUEST: MANOHLA DARGISWEBSITE: NY TIMESNot for the Faint of Heart or Lazy of ThoughtONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Cannes #12 with Manohla Dargis: Broker, Hollywood at Cannes, Leila's Brothers, Mother and Son, Triangle of Sadness Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. My Cannes Film Festival series in conversation with critics has its grand finale with the return of the one and only Manohla Dargis of The New York Times. We discuss Hirokazu Kore-eda's Broker, Saeed Roustayi's Leila's Brothers, Leonor Serraille's Mother and Son, the tradition of Hollywood at Cannes, Kelly Reichardt's Showing Up, and, briefly, Triangle of Sadness, among other topics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass
23 de mayo | Nueva YorkLeer esta newsletter te llevará 11 minutos y 12 segundos.¿Has conocido a Anne? Bienvenido a La Wikly.🇺🇸 ¿País de oligarcas?Lo importante: una nueva decisión judicial del Tribunal Supremo este mes volvió a dejar claro el papel protagónico del dinero en las campañas electorales en Estados Unidos. Es solo un capítulo más de la política de un país cada vez más influenciada por los ricos.Muchos de los cuales son congresistas y senadores, como bien veremos más adelante.Explícamelo: el Supremo de mayoría conservadora dictaminó que los políticos en el cargo pueden reembolsar dinero que hayan prestado a sus campañas incluso después de haber ganado las elecciones; sin límites en la cifra.La decisión es controvertida, pero no sorprende vistas las decisiones que ha tomado el Supremo en ese contexto, especialmente ahora que seis jueces conservadores tienen el control ideológico de la corte.Contexto: la decisión más importante en ese término se remonta al año 2010, cuando el caso Citizens United v. Comisión Electoral Federal abrió la veda a que empresas, fundaciones o sindicatos tuvieran el poder de influenciar elecciones a golpe de talonario.A grandes rasgos, Citizens United permitió que grupos conocidos como Super PAC pudieran recibir cantidades ilimitadas de dinero que después invertir en campañas políticas de la forma en la que quisieran.Principalmente, los gastos van dirigidos a publicidad de defensa y ataque para ayudar o perjudicar a los candidatos de la elección de esas Super PAC. A veces, algunos grupos gastan decenas de millones de dólares para catapultar o enterrar a un candidato.La única condición importante es que esos grupos tienen prohibido coordinarse con las campañas de los candidatos, pero es algo que ciertos políticos están ignorando con iniciativas tan creativas como marcar en rojo en sus páginas web aquel contenido que quieren que sus grupos afines destaquen en sus inversiones publicitarias.¿Y ahora? Cada vez es más habitual ver a candidatos millonarios entrar en carreras políticas con el apoyo de su propia cuenta bancaria. Y si no son sus cofres, lo son los de sus socios millonarios que invierten millones de dólares en Super PAC paralelas.Lo vimos en las primarias republicanas al Senado por Ohio y por Pennsylvania, donde o bien había millonarios firmando cheques para sus campañas (Mike Gibbons, Mehmet Oz, Dave McCormick) o bien los firmaban otros por ellos (Peter Thiel, cofundador de PayPal, con J.D. Vance).Pero entonces, ¿qué es lo último que ha pasado?⚖️ Nueva ayuda judicialLa Corte Suprema de Estados Unidos avaló este mes la eliminación del límite que impone la normativa federal a los candidatos para recaudar fondos después de sus elecciones para devolverse el dinero que prestaron a su campaña.Es decir, los candidatos adinerados que prestan millones de dólares a sus propias campañas pueden obtener un cargo público y luego acudir a sus principales donantes para reponer las sumas que se prestaron en un primer lugar.La normativa hasta hace poco vigente se aprobó en 2002 como parte de la Ley Bipartidista de Reforma de Campañas. Lo que hacía era poner un tope de 250.000 dólares en la cantidad de dinero recaudado después de unas elecciones que las campañas pueden usar para pagar préstamos personales de los candidatos.El senador Ted Cruz, demandante en el caso, había argumentado que el límite de 250.000 dólares violaba la Primera Enmienda, restringiendo la libertad de expresión política sin preocupaciones de corrupción quid pro quo legítimas que la justifiquen.“El gobierno no puede identificar un solo caso de corrupción quid pro quo en este contexto. […] Y como asunto práctico, los préstamos personales a veces pueden ser la única forma en la que un candidato desconocido que desafía a alguien en un cargo público y conexiones limitadas puede potenciar el gasto de su campaña desde un primer momento”, escribió el presidente del Supremo John Roberts, de ideología conservadora, en su opinión mayoritaria.La defensa explicaba que los políticos pueden tener conflictos de interés una vez en el cargo. Si quieren recuperar el dinero prestado a su propia campaña antes de ganar su escaño, tienen la opción de pedir donaciones a cambio de votar de una forma u otra.“Reembolsar el préstamo de un candidato después de haber ganado unas elecciones no puede servir a los propósitos habituales de una contribución: el dinero llega demasiado tarde como para ayudar a cualquiera de sus actividades de campaña. Todo lo que hace el dinero es enriquecer al candidato personalmente en un momento en el que puede devolver el favor —por un voto, un contrato, un nombramiento. No hace falta ser un genio político para ver el riesgo elevado de corrupción”, escribió Elena Kazan, miembro progresista del Supremo, en su opinión minoritaria.Con esta última decisión, la Corte Suprema impulsa la capacidad de los donantes adinerados para enriquecer personalmente a los candidatos de su elección, incluidos a aquellos que invirtieron millones en sus propias campañas y siempre que acaben prevaleciendo el día de las elecciones.Si bien los donantes individuales todavía están sujetos al tope de contribución por elección (2.900 dólares por campaña en 2022), la decisión de la Corte Suprema significa que los candidatos pueden recaudar mucho más de ellos en conjunto para pagar sus propios préstamos.La decisión del tribunal es retroactiva, lo que significa que las campañas de este ciclo que tengan préstamos de candidatos podrán aprovechar las nuevas reglas después de sus elecciones. 95 candidatos a la Cámara y al Senado ya han prestado a sus campañas más de 250.000 dólares, según los registros de la Comisión Federal de Elecciones.En las primarias senatoriales de Pennsylvania, el famoso médico Mehmet Oz se enfrenta al financiador de cobertura David McCormick y a la exfuncionaria de la administración Trump Carla Sands. Oz ha prestado casi 15 millones de dólares a su propia campaña, mientras que McCormick prestó 11 millones y Sands aportó otros 3,9.En Arizona, el empresario republicano Jim Lamon le ha prestado a su campaña para el Senado 13 millones.En Alabama, el republicano Mike Durant prestó unos 2,6 millones a su campaña para el Senado.Y en Wisconsin, el demócrata Alex Lasry prestó a su campaña para el Senado más de 7 millones. Su principal oponente, Sarah Godlewski, ha prestado casi 3 millones a la suya.💸 Políticos acaudaladosQue haya candidatos con mucho dinero para poder desafiar a políticos en un cargo público, o acaso para optar a nuevos escaños abiertos por una jubilación o muerte, está lejos de ser novedad.Un estudio de Open Secrets reveló que el año pasado los candidatos a elecciones invirtieron un total de más de 100.000 millones de dólares en sus propias campañas electorales.Según estos datos, la mayoría de los candidatos autofinanciados de 2021 son republicanos. Registraron un total de 85,6 millones de autofinanciación en el año, en comparación con los 22,7 millones de los demócratas.En 2020, otro estudio de Open Secrets señalaba que más de la mitad de los miembros del Capitolio eran millonarios. La mediana del patrimonio neto de congresistas y senadores que presentaron declaraciones en 2019 es de poco más de 1 millón de dólares.Sin embargo, la enorme riqueza de algunos miembros del órgano contrastaba con la carencia de otros. Mientras que algunos legisladores todavía adeudaban préstamos estudiantiles, otros estaban pagando su tercera o cuarta hipoteca.Los líderes de ambas cámaras forman la lista de los 10 principales. La presidenta de la Cámara de Representantes, Nancy Pelosi (D-Calif.), ha visto aumentar su riqueza a casi 115 millones de dólares desde los 41 que tenía en 2004, el primer año en el que OpenSecrets comenzó a rastrear las finanzas personales.El líder de la mayoría del Senado, Mitch McConnell, vio aumentar su patrimonio neto desde 3 millones a más de 34 durante ese mismo periodo.🔭 ¿Y adónde vamos?Con la decisión de Citizens United y varias posteriores como la que nos trae aquí hoy, el Supremo estadounidense ha determinado que decidir dónde invertir dinero es una cuestión de derechos fundamentales. En concreto, de libertad de expresión.Por tanto, invertir dinero en campañas políticas, que es la cumbre del debate público, debe estar protegido a nivel constitucional.Esa perspectiva es y sigue siendo controvertida, sobre todo en un país donde la desigualdad económica es cada vez más rampante y el 1 por ciento acumula cada vez más riqueza.Y aunque ambos partidos han sabido aprovechar la proliferación de las Super PAC, ya hay estudios que han determinado que es el partido republicano el que mejores resultados ha logrado tras la decisión de Citizens United.La pregunta es, ¿será capaz Estados Unidos de entender y solucionar los problemas de la clase trabajadora cuando sus políticos son más ricos a cada ciclo electoral que concluye?¿Desea saber más? En The Atlantic tienen una columna interesante sobre lo que el movimiento progresista puede hacer para contrarrestar estas decisiones judiciales que juegan en contra de sus sueños por políticas más redistributivas. Y esta entrevista al catedrático Jeffrey Winters especializado en el estudio de la oligarquía es un buen plus a esta newsletter.🎬 Una recomendaciónCon la colaboración de FilminCosmópolis es una película canadiense de 2012 dirigida por David Cronenberg. Sigue el trayecto en limusina de un ejecutivo que quiere cortarse el pelo en su barbería de confianza, situada en la otra punta de la ciudad de Nueva York. Durante el recorrido, el capitalismo que lo enriqueció se desmorona a su alrededor.Robert Pattinson encabeza el reparto en el papel de Eric Packer. Fue la primera película puramente de autor del actor lejos de su periplo comercial con Harry Potter y Crepúsculo —uno que agradecemos hasta el día de hoy por habernos dado interpretaciones geniales en títulos como The Rover, La ciudad perdida de Z, Good Time o High Life.Cronenberg adapta la novela homónima de Don DeLillo, no exactamente su trabajo más aclamado pese a la reputación que le precede en Estados Unidos. Y esta película sufrió casi el mismo destino, pues la crítica la desplumó tildándola de aburrida, anodina y evidente.Pero por esa misma razón creo que Cosmópolis es tan interesante y puede disfrutarse desde una perspectiva menos analítica. No es tanto la ambición ni las pretensiones lo que fascina, sino la forma en la que lo presenta (qué forma de rodar en interiores) y la forma en la que lo narra (esas interpretaciones y esos diálogos desprovistos de vitalidad; esa comicidad seca y cruel).Me quedo con esta cita de Manohla Dargis para The New York Times, muy relevante en los tiempos que corren:“Tomada como un comentario sobre el estado del mundo en la era del tardocapitalismo (para empezar), Cosmópolis puede parecer obvia y casi banal. Pero estas banalidades, que están acompañadas por miradas vidriosas, también son la clave: el mundo está quemándose y todo lo que algunos de nosotros hacemos es ver las llamas con una familiaridad exhausta”.Cosmópolis está disponible en Filmin.🌐 Facebook concreta planesBy Marina EnrichLo importante: Nick Clegg, el presidente de asuntos globales de Meta, escribió un artículo la semana pasada exponiendo en unas 8.000 palabras qué significa el metaverso y por qué es relevante. Sí, igual no es la forma más efectiva de hacerlo cuando tienen como misión “acercar a la gente”, lol.Contexto: en octubre, Facebook anunciaba que iba a cambiar su nombre a Meta para representar el nuevo rumbo de la empresa hacia el metaverso.Es importante recordar que ese cambio se hizo en medio de una muy mala racha de imagen por falta de transparencia.Wait, ¿qué era el metaverso? El metaverso es una experiencia más inmersiva de internet. Incorpora la realidad virtual, pero no solamente eso. Hoy en día quienes más han desarrollado ideas del metaverso son juegos online como Roblox o Minecraft. Emilio tiene un vídeo hablando del tema.Las claves: Durante estos últimos meses, tanto Clegg como Mark Zuckerberg han desarrollado las siguientes ideas sobre el metaverso:El metaverso no es un producto como lo es Instagram. Es una infraestructura que no posee nadie y en la que todo el mundo debería poder desarrollar ideas —y es ahí dentro donde Meta desarrollaría productos.Meta no gobernará el metaverso, “igual que no hay un internet de Google, o un internet de Microsoft”, dice Clegg. Aunque con el poder que tienen estas grandes tecnológicas, es fácil argumentar que sí tienen un papel importante en la futura gobernanza.Los problemas de moderación continuarán. En el metaverso habrá los mismos problemas que tenemos en la vida real y Meta sigue sin plantear soluciones. Las reglas que habrá dependerán de la “sección” en la que estés dentro del metaverso.En 10-15 años, o quizá más, veremos el metaverso tal y como lo imaginan Clegg y compañía.El Presidente de Asuntos Globales de Meta ha planteado muchas preguntas sobre el metaverso y no ha resuelto tantas dudas. Está claro que es un gran reto, pero visto el pasado (y presente) de Meta, no se pueden permitir no ser más transparentes con sus planes de acción para lidiar con esos problemas.Además, tampoco ha hablado sobre los planes de monetización de Meta en el metaverso, pero como ya los sabemos (i.e. rastrear y elaborar perfiles para comercializar los datos), es muy difícil que no nos genere desconfianza.Pero bueno, como dice Clegg al acabar el artículo, el metaverso va a llegar, queramos o no. 🙃En otro orden de cosas, hoy ha vuelto Lunes por el mundo con novedades sobre la gira de Joe Biden en Asia, la caída de Mariúpol en Ucrania o los temporales que han devastado ciudades en India y Bangladesh, entre otros titulares internacionales.Puedes volver a ver el directo completo en Twitch.Feliz semana, This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit www.lawikly.com/subscribe
Defector.com's David J. Roth returns to talk about The Day After Tomorrow, which was marketed as an Important Must-See back in 2004, and almost uniformly savaged by critics who seem not to have understood the point of AN ACTION MOVIE. But your commentators all quite enjoy it, despite all the Hollywood Sciencing, the lonesome death of a Law & Order-verse stalwart in a Paramus mall court, direwolf Colorforms, protagonists stopping to look at the special effect that's trying to kill them for a full ten count, and a baffling chapeau choice from our boy DQ. How many actors were asked before Quaid? What exactly happens to the English royal family? And could this movie make Dick Cheney's heart grow one size? Slip into a 78-lb. snowsuit and join us for an all-new Quaid In Full. Overall score: 7.67 QQQ score: 7.17 Days since a lost Kuffs accident: 21 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Ebert's review (https://www.rogerebert.com/reviews/the-day-after-tomorrow-2004) Anthony Lane's for TNY (https://www.newyorker.com/magazine/2004/06/07/cold-comfort-4) David Edelstein's for Slate (https://slate.com/culture/2004/05/the-day-after-tomorrow-is-apocalyptic.html) Manohla Dargis's for NYT (https://www.latimes.com/archives/la-xpm-2004-may-28-et-dargis28-story.html) Defector.com (https://defector.com/) It's Christmastown (https://daveandjebarentmean.libsyn.com/) Don't use an indie ruler to measure an action flick (https://tomatonation.com/culture-and-criticism/transformers-revenge-of-the-fallen/) Special Guest: David J. Roth.
Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. The Village Voice loomed large for me as a critic and an editor. The Voice I grew up with may be long gone, but it's been a joy to continue reading my favorite critics who wrote there. For this episode, I'm honored to bring together three all-star alumnae of the Village Voice to talk about movies. Manohla Dargis, the co-chief film critic of The New York Times, started writing about avant-garde cinema at the Voice early in her career. Lisa Kennedy has written for The New York Times, Essence, American Theatre, Variety, and the Denver Post, on both film and theater, and she was an editor at the Voice for a decade, editing pieces by Manohla Dargis and Amy Taubin. Amy Taubin is a contributing editor at Artforum and Sight & Sound, who wrote full-time at the Voice for 14 years; This episode is something like a dream come true for me, and so I had to ask a little about their memories of the Voice, before we talked about some recent highlights from their viewing. And I encourage everyone to spend some quality time with the Village Voice archives. My deep thanks to Amy, Lisa, and Manohla for taking the time to talk. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass
Welcome to MASTADQ: Mark And Sarah Talk About Dennis Quaid! Mark Blankenship slid into the guest chair (not a euphemism) to discuss Far From Heaven, the line between melodrama and tragedy, and how Todd Haynes's 2002 homage to Douglas Sirk and "women's pictures" lets the paintings that are Cathy and Frank Whitaker become real. Sarah revisits a ten-year-old review that wasn't fair to Quaid's performance; Jeb files his ratings from his score-poisoning sickbed (and unearths another DQ-blocking runner); and we all wonder how to rate a performance that won awards, but isn't very Quaidy. Take a break from sourcing the Whitakers' living-room furniture and listen to an all-new Quaid In Full. Overall score: 7 QQQ score: 8.33 Days since a lost Kuffs accident: 112 SHOW NOTES Follow us on Twitter (http://twitter.com/quaidinfullpod) Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) "Hey, was that the Dan Cassino sound drop from Extra Hot Great?" 'Twas. (https://extrahotgreat.com) Stephen Hunter's review in WaPo (https://www.washingtonpost.com/wp-dyn/content/article/2002/11/15/AR2005033116900.html) We'll have what Manohla Dargis was having (https://www.latimes.com/archives/la-xpm-2002-nov-08-et-dargis8-story.html) Ebert's review (https://www.rogerebert.com/reviews/far-from-heaven-2002) SDB's from 2012 (https://tomatonation.com/culture-and-criticism/the-crushed-film-festival-presents-far-from-heaven/) Mark Blankenship at Primetimer (https://www.primetimer.com/about/mark_blankenship) and on Mark And Sarah Talk About Songs (https://markandsarahtalkaboutsongs.com) Special Guest: Mark Blankenship.
Dave and Alonso look back at the year just past with a stellar panel of guests: Robert Abele (TheWrap, LA Times), Justin Change (LAT), Manohla Dargis (NYT), and Peter Debruge (Variety). We all managed to find films to love even in a year when the pandemic hurt the already-struggling world of theatrical distribution. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram, and Facebook, sitting by the window watching the snow fall. Join our club, won't you? This episode of Linoleum Knife is sponsored by Amber Petty: Sign up for her Start Writing Now & Get Your First Byline workshop; there are six opportunities Jan. 7 and Feb. 4. Sign up at AmberPetty.com/Linoleum
Episode 13 of Season 2! Host, Gratton Conwill and special guest, Matt Fields discuss The Invisible Man (2020). Day 13 The Invisible Man 2h 4m Released on February 28th of 2020, The Invisible Man was written and directed by Australian filmmaker Leigh Whannell. This film is the most recent reboot in a series of films based on the Invisible Man Novel by H.G. Wells. This film had a particularly long development dating all the way back to 2006. Originally David S. Goyer was set to write the script for Universal, but by 2011, after no real progress, he was out of the picture. In 2016, the idea was revived as part of a new cinematic universe featuring several classic universal monsters. Ed Solomon was brought on board to write the new script, and Johnny Depp was cast as the titular invisible man. After the financial and critical failure of 2017's The Mummy, the first film in the aforementioned cinematic universe, Universal pictures trashed all plans for subsequent films, opting to release stand alone reboot films for each character with no connected universe. By this point, Jason Blum came on board as producer, and Leigh Whannell was hired to write and direct. This team would finally see the film release 14 years after the reboot was initially proposed. Upon release, The Invisible Man made its money back in just one day, and would gross over 20 times its budget at the box office during its theatrical run. Reviews were overwhelmingly positive, among the movie's fans was respected film critic Manohla Dargis. The film may have enjoyed even more success had it not been moved to streaming services three weeks after its theatrical debut as a result of Covid-19 theater closures. Director Whannell has stated that the film was created as a standalone film with a definitive ending, however due to the unprecedented success of The Invisible Man, more follow up movies are not out of the question. Today The Invisible Man has: 3.6/5 on Letterboxd 7.1/10 on IMDb 91% on rotten tomatoes 84% on google 72% on Metacritic 7.8 average CTS score From the creators of Giant Monster BS: Gratton Conwill and Matt Fields bring you Only In Amityville season 2: Escape from Amityville! Escape from Amityville is a limited series podcast event happening exclusively during October of 2021! Starting October 1st, we will review one movie every other day. Each movie will be a lesser known or appreciated, but culturally significant, horror movie made within the past 100 years. None of these movies have anything to do with the original tale of America's most haunted house, but in the spirit of the Amityville story, we promise to review chilling and horrifying movies featuring demons, monsters, and various ghouls! 15 episodes in total! The series finale takes place on Halloween night with a special mystery review. Fans of Giant Monster BS and/or Horror films will be right at home with this podcast. Vulgar, brutally honest, scary as hell, oh yeah... it's Escape from Amityville time Baby! Only In Amityville is an ad-free, self funded podcast hosted by Gratton Conwill and Matthew Fields. If you would like to support the show, you can donate to us at: https://anchor.fm/giant-monster-bs or buy our merch at: https://www.teepublic.com/user/cheesemouse2/albums/39997-giant-monster-bs-merch Follow us on twitter at: https://twitter.com/GiantMonsterBS
(0:00) The Watching Film podcast has a theme song! (8:29) Radiohead as a phase of early life (10:50) RED ALERT (is Manohla Dargis a Trekkie?!!) (13:50) "Your ego must die to hear the sounds you can't yet play or play again." (18:30) How THE DISCIPLE reminds us of hot streaks in the NBA (i.e. Lou Dort and Jeremy Lin) (39:15) “To want a guru is just a search for someone to disembody.” (41:10) How the fact of the teacher's body enters the experience of learning in different models of universities (1:11:00) The categorical difference between a film and a movie (spoiler: one of them stars Tom Hanks)
This week Kris and Donna take a hack at Xavier Gens’ “Frontier(s)” (2007), a rollercoaster of a movie about a group of thieves escaping Paris only to find themselves in the clutches of cannibalistic neo-Nazis. Also, the vaccination station, Big Titty Goth Girlfriend Wife, A George Bush of Their Own, real bacon hours, and the evolution of modern French Fascism.CONTENT WARNINGS: Nazism/Fascism, Eugenics, Racism, Homophobia, Islamophobia, Antisemitism, Ableism, Claustrophobia, Gun violence, Abduction, Forced Captivity, Forced Marriage, Torture, Cannibalism, Excessive Blood/GoreGot questions, comments, stories, or movie suggestions? Hit us with them at info@shtlstpod.com! Don’t forget to follow us on Twitter and Instagram @shtlstpod for all your gross movie updates!SHOW NOTES:Watch “Frontier(s)”: Prime, Youtube, Google Play, iTunes, Vudu“Frontier(s) (2007),” IMDB.“Frontier(s),” Wikipedia.“Horror’s new Frontier(s),” Darren Amner, Eye For Film.“A Look Back at Xavier Gens’ Frontier(s),” Brian Fanelli, January 29 2019.“After Making It Out of Paris, Finding There’s No Escape,” Manohla Dargis, The New York Times, May 9 2008.“Behind the Insurrections - The French Capitol Insurrection,” Behind the Bastards, iHeartRadio, February 2 2021.“France mandates masks to control the coronavirus. Burqas remain banned.,” James McAuley, The Washington Post, May 10 2020.“Islamophobic attacks in France increase by 53% in 2020,” Daily Sabah, January 29 2021.“National Rally,” Wikipedia.“Marine Le Pen compare les "prières de rue" des musulmans à une "occupation",” Le Monde, December 11 2010.“Marine Le Pen, Islamophobia, and the polarization of French society,” Lowell Turner, ILR School, Cornell University, May 09 2017.RECOMMENDED READING:““Break Their Lineage, Break Their Roots” China’s Crimes against Humanity Targeting Uyghurs and Other Turkic Muslims,” Human Rights Watch, April 19 2021.“The Rohingya Crisis,” CNN, Retrieved May 11 2021.“Rohingya,” Human Rights Watch, Retrieved May 11 2021.“India’s Muslims: An Increasingly Marginalized Population,” Lindsay Maizland, Council on Foreign Relations, August 20 2020.“Israel and Occupied Palestinian Territories 2020,” Amnesty International, 2020.“World Report 2020: Israel and Palestine, Events of 2019,” Human Rights Watch, Retrieved May 16 2021.“The Israel-Palestine Crisis: Causes, Consequences, Portents,” International Crisis Group, May 14 2021.
Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This week I talk with the one and only Manohla Dargis, a chief film critic at The New York Times. We chose a couple of movies to watch in advance -- one by a pioneering French female filmmaker who should be better known, another a Hollywood small-town picture with an intriguing pair of stars -- and discuss. We also talk about television aesthetics, life under the pandemic, and, taking a fresh audiovisual angle, AOC's historic use of Instagram Live. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass
Dave and Alonso are joined by Justin Chang (LA Times), Manohla Dargis (NY Times), and Peter Debruge (Variety) to look back on the year that was so very 2020. (Robert Abele was otherwise engaged but will guest very soon.) We talk about how streaming changed the movies in general as well the way that critics see film. Subscribe (and review us) on Apple Podcasts, follow us @linoleumcast on Twitter, Instagram, and Facebook. Join our club, won't you?
We discuss Ted Lasso (2020) and Industry (2020), two series about lone Americans navigating unknown waters across the pond — in one case, a football field, in the other, an investment bank. 02:34 Ted Lasso, one of Apple TV+'s first true word-of-mouth sleeper hits, sits at the intersection of cheesy, surprising, heartwarming, and pure, unadulterated vibes. 17:22 Industry, out on HBO, is like if Skins were a cutthroat, hypercapitalist workplace drama, complete with sex, drugs, and P&Ls. 29:50 Plus, culture notes about an ingeniously controversial "25 Greatest Actors of the 21st Century" list from New York Times critics Manohla Dargis and A.O. Scott. Who said criticism was dead?? ... Follow us on Twitter and Instagram. For extended show notes — including links that we reference, plus bonus bullshit — subscribe to our Substack. Inquiries, complaints, and recs for what to watch can go to criticismisdead@gmail.com. Music: REEKAH Artwork and design: Sara Macias and Andrew Liu Special thanks: Dan Geneen Find out more at https://criticism-is-dead.pinecast.co
Details, credits, errata: Episode 7, An Extra or a Principal, is written by Sam Thielman and Alissa Wilkinson, produced by Sam and distributed by Alissa, with our very special guest, A.O. Scott—Tony, to his friends. Tony is the co-chief film critic at the New York Times and does not have to be nearly as nice as he is. Please go read his wonderful book Better Living Through Criticism at once; you can buy it here. Our film for the week is the Coen Brothers’ 2016 Hollywood comedy Hail, Caesar!, a favorite of, it turns out, everybody on the pod this week, so a certain amount of it is Sam quoting the lines and laughing at himself, but Tony and Alissa are good. Tony and his co-chief critic Manohla Dargis interviewed the Coens a couple of years before this film came out; we commend the interview to anybody who likes the Coens, which is basically anyone who likes movies.Our episode art for the week is a still from the very, very end of The Robe, the movie Hail, Caesar! A Tale of the Christ is travestying. It’s directed by Henry Koster, incidentally, who also brought last week’s film, The Story of Ruth, into the world. Some significant figures in our discussion beyond the Coens: The Marxist philosopher Herbert Marcuse figures prominently in the film; feel free to read about him here, at a website run by one of his grandkids. Edgar Mannix, the Josh Brolin character and the hero of the film, was a real guy: Here’s his obituary from the September 9 issue of Boxoffice Magazine. American Cinematography has a good feature on Busby Berkeley’s synchronized swimmers here, including a delightful video. The Channing Tatum character owes a lot to Gene Kelly, as does the musical number “No Dames!”, especially Anchors Aweigh. See for yourself below.Our theme song is Louis Armstrong and His Hot 5’s Muskrat Ramble, made freely available by the Boston Public Library and audio engineering shop George Blood, LP through the Internet Archive. Hail, Caesar! is copyright 2016 Universal Studios. Brief audio clips are used herein for review purposes. All other content is copyright 2020 Sam Thielman and Alissa Wilkinson. This is a public episode. Get access to private episodes at yammpod.substack.com/subscribe
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
New film release models, cinemas in a post-COVID world, and opening night vibes at Magic Mike XXL all arise in this conversation about moviegoing during a pandemic between New York Times film critic Manohla Dargis, Art House Convergence managing director Alison Kozberg, and UC-Santa Barbara professor Ross Melnick. In this video, the three reminisce about favorite movie theater memories and find hope in the potential for revitalized public cinema going after the current health crisis. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 36064]
In an article in The New York Times, the critic Manohla Dargis wrote about what we're missing right now: “There is nothing like watching a movie, leaving the world while being rooted in it alongside friends, family and everyone else.” It's a feeling that means so much to all of us, and on this podcast, we've been doing our best to stay virtually connected with each other and with movies. We've had the pleasure of welcoming Manohla Dargis on the podcast in our festival editions, and in these extraordinary times, she joins us once again. For this episode, Film Comment Editor-in-Chief Nicolas Rapold and Assistant Editor Devika Girish talked to Manohla about the impact of the cinema shutdown, what's unique about the movies, and why old Hollywood movies can hold a special pleasure. We discuss Hollywood classics like 42nd Street and The Great McGinty as well as more recent films including Bong Joon Ho's Okja and Sudanese documentary Talking About Trees. Please note that our necessarily remote connection may mean some variable audio quality If you're a longtime Film Comment subscriber, listener, or reader, or are just tuning in now, please consider becoming a member or making a donation to our publisher, Film at Lincoln Center, during these unprecedented times: purchase.filmlinc.org/donate/contribute2
The 2020 Academy Awards made history after Bong Joon Ho's film Parasite became first foreign-language film to win Best Picture. Adnan is joined by Manohla Dargis, one of the chief film critics for The New York Times, to break down all the biggest moments, surprises and snubs from this years award ceremony! Adnan also reviews the films Good Boy, Queen & Slim, Glorida Bell, and the wonderful documentary Making Waves. Plus, in honor of Queen & Slim, the guys give their picks for the greatest heist movies ever made!
As you may have noticed, Film Comment went to the Sundance film festival in Park City, Utah. We recorded a series of podcasts and now at last we have our thrilling conclusion. For our final episode in Park City, FC Editor-in-Chief Nicolas Rapold was joined by Manohla Dargis of The New York Times; Amy Taubin, contributing editor at Film Comment; and Devika Girish, our assistant editor. We talked about several movies including Eliza Hittman's Never Rarely Sometimes Always, Lee Isaac Chung's Minari, Benh Zeitlin's long-awaited Wendy, and the documentary On the Record about accusations against hip hop mogul Russell Simmons. Plus, Miranda July's Kajillionaire, Michael Almereyda's Tesla, and more. For more on Sundance, be sure to listen to our previous podcasts and check our website for features. Let's go now to our conversation.
Dave and Alonso are joined by Manohla Dargis of The New York Times, Robert Abele of the Los Angeles Times and TheWrap and Peter Debruge of Variety to discuss 2019 in film. Cats is discussed. Subscribe (and review us) on Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, someone keeps moving my chair. Join our club, won't you?
For our maiden voyage on Cinematalk, we are pleased to bring you a conversation with Manohla Dargis, co-chief Film Critic of the New York Times and one of the most widely read film journalists in the country. Prior to her current position, she wrote film criticism for The Village Voice, L.A. Weekly, and The Los Angeles Times. On October 31, Manohla Dargis visited our Communication Arts Department to speak with Graduate Students and to present a Cinematheque program that she personally curated, highlighting the works of pioneering women filmmakers from the silent era, a subject she’s been dedicated to celebrating in her New York Times columns. She also took the time to sit down and chat with Ben Reiser. They spoke about her time spent at SUNY Purchase, her moviegoing childhood, how she became a film writer, the joys of second-run cinemas, and much more. Here’s their conversation:
Alison is an award winning film director and journalist. Her new short movie Flower Punk about Japanese artist Azuma Makoto, who has sent his floral sculptures into space and sunk them to the bottom of the ocean, premieres in New York City on November 7th. Her latest feature, The Brink, where she followed Steve Bannon around for over a year up to and through the 2018 midterm elections, is available on Hulu. We talk about workaholics, inspiration, starting projects and finishing them, relationships as part of a busy and successful life, getting out of your comfort zone, impostor syndrome and much more. Read more about Ali on her website, and follow her on twitter @aliklay. If you enjoyed listening to this, click here to support the podcast and help me keep making this stuff. --- Alison Klayman was the youngest director named by the New York Times chief film critics A.O. Scott and Manohla Dargis on their international list of 20 Directors to Watch. Alison’s documentary work has been recognized with awards and box office success, and she also directs nonfiction series and commercials. Her debut feature AI WEIWEI: NEVER SORRY, about the Chinese artist and activist Ai Weiwei, premiered at the 2012 Sundance Film Festival where it was awarded a US Documentary Special Jury Prize for Spirit of Defiance. It had its international premiere at Berlinale and went on to be shortlisted for an Academy Award, nominated for two Emmys, and earn Alison a DGA Award nomination and an appearance on The Colbert Report among other honors. NEVER SORRY has now been translated into over 26 languages and had major theatrical releases around the world, including on over 200 screens with IFC Films in the United States. It was also one of the highest grossing films of 2012 directed by a woman. Her newest documentary THE BRINK was theatrically released in 2019 by Magnolia Pictures. In it she takes on former White House chief strategist Steve Bannon, following him for over a year as he tries to promote his brand of extreme nationalism and unite the far-right anti-immigrant parties of Europe. After its Sundance premiere, Variety called the film "impeccably crafted...an engaging and enraging, disturbing and highly revealing movie." In his Critic's Pick review, A.O Scott wrote "it's a fast-moving, tightly packed, at times unnervingly entertaining documentary.” Alison’s other films include the Netflix Original feature documentary TAKE YOUR PILLS about the role of prescription stimulants in a hyper-competitive, overly medicated America. The Emmy and BAFTA-nominated film was executive produced by Maria Shriver and had its world premiere at the 2018 SXSW Film Festival. She is also the director of THE 100 YEARS SHOW about 103-year-old Cuban-American painter Carmen Herrera, who worked in obscurity for decades until finally receiving recognition late in life. The film was a festival favorite and five-time winner of “Best Documentary Short.” It had a theatrical run at New York’s Film Forum, and screened at the Whitney and other museums before being released worldwide on Netflix.
The end is nigh! For our final salvo from the Riviera, we welcome guest Manohla Dargis, critic for the New York Times, for a wrap-up of all the festival goings-on. Film Comment Editor-in-Chief Nicolas Rapold sat down with Dargis to discuss a Cannes line-up that was widely considered a success. The two run through their highlights of the festival, including Kleber Mendonça Filho and Juliano Dornelles's phantasmagorical Bacurau, the fascinating flawed jewel that is Tarantino's Once Upon a Time... in Hollywood, and Mounia Meddour's Algerian '90s coming-of-age drama Papicha. They also discuss the lowlights, including Abdellatif Kechiche's much maligned three-and-a-half-hour ogle Mektoub, My Love: Intermezzo. Other topics include TV Westerns of the '60s and '70s, movie stars and press junkets, the politics of what plays in competition, and much more.
Dave and Alonso are joined by Manohla Dargis of The New York Times for this special episode to discuss some legends of "off-Hollywood" cinema we have lost in recent months. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Facebook and Instagram, your face so pretty. Join our club, won't you?
In episode 14, Jen and Nilo are joined by New York Times film critic Manohla Dargis to discuss bunnies on film, from The Rules of the Game to Night of the Lepus to Us, along with a few true stories of rabbit attacks.
Carlo Aquino and Nadine Lustre in Ulan Irene Villamor’s latest film, Ulan, is profoundly different compared to her previous work. A mix of romance and magical realism, the film’s quite unlike anything we’ve ever seen. In this episode of Third World Cinema Club, the gang talks about Ulan, among other things. Did we like it? Bakit kami biglang lumihis sa Elise ulit!? Notes: Spoilers are present in this episode (Spoiler talk begins around 18:08). We recorded this episode at Think Spot along Maginhawa. Manohla Dargis’ article on women in movies
Carlo Aquino and Nadine Lustre in Ulan Irene Villamor’s latest film, Ulan, is profoundly different compared to her previous work. A mix of romance and magical realism, the film’s quite unlike anything we’ve ever seen. In this episode of Third World Cinema Club, the gang talks about Ulan, among other things. Did we like it? Bakit kami biglang lumihis sa Elise ulit!? Notes: Spoilers are present in this episode (Spoiler talk begins around 18:08). We recorded this episode at Think Spot along Maginhawa. Manohla Dargis’ article on women in movies
The Film Comment Podcast returns with another update from Park City. FC Editor-in-Chief Nicolas Rapold is joined this time by New York Times film critic Manohla Dargis and FC contributor Amy Taubin for a rundown of standout films from the festival, both fiction and documentary. These include Joanna Hogg's The Souvenir, Nisha Ganatra's Late Night, Rachel Lears's documentary Knock Down the House, Chinonye Chukwu's Clemency, Julius Onah's Luce, Joe Talbot's The Last Black Man in San Francisco, and Nanfu Wang and Jialing Zhang's One Child Nation.
Dave and Alonso are joined by Robert Abele (LA Times, TheWrap), Peter Debruge (Variety) and Manohla Dargis (NYT) for a look back at 2018. After a discussion of "Green Book" and Netflix, we offer lots of recommendations of smaller films from last year you might have missed -- grab a pen. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, do the tighten up. Join our club, won't you? (Now for as little as $1/month!)
In today's episode, your hosts grapple with the Danny Boyle-directed, Alex Garland-written 2007 science-fiction horror-thriller SUNSHINE. A commercial failure at the time, with a mixed reception among critics, the film has over the past decade gained an appreciable cult following. But what do your hosts think? Is it a spooky, contemplative outer space film with some third act troubles? Is it a stylish but conceptually thin entertainment that needed a major rethink? Maybe both! You'll just have to listen and find out. Also discussed: which story elements worked and which ones didn't; how much we should care about scientific accuracy, the career arcs of Boyle and Garland; and whether it's ever a good idea for smart characters to do dumb things. Episode links: Sunshine on IMDb Sunshine on Wikipedia Roger Ebert 2007 film review Manohla Dargis 2007 reivew AV Club 2007 film review Anthony Lane 2007 review Mark Kermode 2007 review Vanity Fair 2009 essay on Sunshine Popular Mechanics Brian Cox interview IFC Danny Boyle interview Eye for Film Danny Boyle interview The Dissolve Alex Garland interview TechCrunch 2017 film retrospective Empire Online 2017 feature story "Sunshine (Adagio in D Minor)" on YouTube Show links: Subscribe: Apple Podcasts Discuss: ETV Podcast Club Follow: Facebook + Twitter Archive: enterthevoid.fm
In today's episode, your hosts grapple with the Danny Boyle-directed, Alex Garland-written 2007 science-fiction horror-thriller SUNSHINE. A commercial failure at the time, with a mixed reception among critics, the film has over the past decade gained an appreciable cult following. But what do your hosts think? Is it a spooky, contemplative outer space film with some third act troubles? Is it a stylish but conceptually thin entertainment that needed a major rethink? Maybe both! You'll just have to listen and find out. Also discussed: which story elements worked and which ones didn't; how much we should care about scientific accuracy, the career arcs of Boyle and Garland; and whether it's ever a good idea for smart characters to do dumb things. Episode links: Sunshine on IMDb Sunshine on Wikipedia Roger Ebert 2007 film review Manohla Dargis 2007 reivew AV Club 2007 film review Anthony Lane 2007 review Mark Kermode 2007 review Vanity Fair 2009 essay on Sunshine Popular Mechanics Brian Cox interview IFC Danny Boyle interview Eye for Film Danny Boyle interview The Dissolve Alex Garland interview TechCrunch 2017 film retrospective Empire Online 2017 feature story "Sunshine (Adagio in D Minor)" on YouTube Show links: Subscribe: Apple Podcasts Discuss: ETV Podcast Club Follow: Facebook + Twitter Archive: enterthevoid.fm
What does Bradley Cooper’s remake starring Lady Gaga say about the pop music business — and the film industry — today? Guests: The New York Times's Joe Coscarelli, Manohla Dargis, Caryn Ganz, Wesley Morris and Jon Pareles
In this unbelievable season finale, promises are broken, insults fly, and lives are forever changed…well, not really. New York Times co-chief film critic Manohla Dargis joins FC Editor-in-Chief Nicolas Rapold in this final Cannes 2018 episode to discuss Lee Chang-dong's Burning, snipers, Alice Rohrwacher's Happy as Lazzaro, why auteur love should stick around a bit longer, Nuri Bilge Ceylan's The Wild Pear Tree, interviewing Lars von Trier, Gaspar Noe's Climax, and what it means to attend the festival.
Dave and Alonso welcome Manohla Dargis (The New York Times) and Robert Abele (Los Angeles Times, TheWrap) to talk about the year just past in movies, from the best to the biggest disappointments. Subscribe for free (and review us) on Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, I'll take the fall. Join our club, won't you?
Before anything else, films are objects that present a sensorial experience. To understand how they function—as industrial products, as societal mirrors, as ideological machines—we must understand how they interact with our minds and make us think. For the five year anniversary of The Cinephiliacs, Manohla Dargis joins the cast to talk exactly that. The New York Times critic discusses her childhood movie love of watching objects without inhibition and her writing as a form of translating the way of watching films. She also chats about the past and future of the Times, and how the institutional changes have affected the practice of criticism in a digital age. Finally, Manohla and Peter examine Charles Burnett's independent masterpiece Killer of Sheep, examining how the filmmaker's stark portrayal of impoverished black life resonates to today through poetic realism. Plus, a brief chat with James N. Kienitz Wilkins and Robin Schavoir, whose new film, The Republic, is currently streaming on MUBI. 0:00-3:09 Opening 4:23-14:00 Establishing Shots — Five Years of The Cinephiliacs 14:46-47:15 Deep Focus — Manohla Dargis 48:28-1:07:42 Sponsorship Section — An Interview with The Republic team, James N. Kienitz Wilkins and Robin Schavoir 1:09:00-1:23:28 Double Exposure — Killer of Sheep (Charles Burnett) 1:23:32-1:28:38 Close / Outtake
A.O. Scott--also known by his nickname, Tony--is one of the two chief film critics for New York Times. However, he is also a journalist, author, and former television show host. In this interview he and Sam begin with the controversial NYT "The 25 Best Films of the 21st Century So Far" list that he and Manohla Dargis authored together. Then they dive into the TV vs. Movies debate, the state of film criticism, a peculiar "Wonder Woman" review, and a lot more. ---------------------------------------------------------------------------------------------------- Music for the show is by Dylan Peck. Original illustrations by Krishna Shenoi: www.krishnabalashenoi.com. Learn more about Talk Easy with Sam Fragoso at www.talkeasypod.com
Dave and Alonso are joined by Manohla Dargis of The New York Times to discuss her and A.O. Scott's recent list of the century's best films to date. We also dig into some very loud and very quiet new releases. Subscribe (and review us) on iTunes, follow us @linoleumcast on Facebook, Instagram and Twitter, no one has ever known. Join our club, won't you? Dave's DVD pick of the week: THE MAGIC BOX: PROJECT SHIRLEY, V.4 Alonso's streaming pick of the week: THE GLEANERS & I Manohla's list-topping pick of the week: THERE WILL BE BLOOD
Last week, The New York Times sent the internet into a frenzy with their list of ‘The 25 Best Films of the Century So Far’. To get the story of how you even attempt to compress 17 years of cinema into an essential 25 films, Rob and Geoff sit down with one half of the duo behind the list, NYT Chief Film Critic, A.O. Scott. A.O. discusses why he and his partner, Manohla Dargis, thought the time was right to reflect on this century’s best films (4:05), the surprising controversy that comes with championing Clint Eastwood (11:40), and why ranking 'There Will Be Blood' #1 was one of the easier choices they made (14:35). He also talks about why 'Inside Out' stands out in Pixar’s incredible library (18:00), what national cinema he could see rising over the next 17 years (21:20), and why he feels Steven Spielberg might be one of this century’s most underrated filmmakers (24:15).
Hello everyone and welcome to the first episode of "Cross.Culture.Critic." This is a jam-packed first episode and there's a lot of ground to cover, including: Just what is "Cross.Culture.Critic"? What's up on the Chrisicisms blog lately? Thoughts on "Wonder Woman." Thoughts on A.O. Scott and Manohla Dargis' list of the 25 best films of the 21st century Interview with comic book artist Ted Woods (Please note: The interview was held in a crowded bar and the audio is a bit rough in parts) For more information: Chrisicisms Blog Facebook page Chris' Twitter Email the show at crossculturecritic@gmail.com
Manohla Dargis of The New York Times joins Dave and Alonso to talk about documentaries, Pauline Kael, emotional responses, resetting your internal rhythms and much more. Follow us @linoleumcast on Twitter, Instagram and Facebook. Join our club, won't you?
Dave and Alonso welcome Robert Abele (LA Times, TheWrap) and Peter Debruge (Variety) to discuss the year just past. (Manohla Dargis was stuck at the San Francisco airport; we'll have her on again soon.) Some arguments, some revelations and some wishes for 2017. Follow us @linoleumcast on Instagram, Twitter and Facebook, subscribe (and leave us a nice write-up) on iTunes, derriere un Kleenex je saurais mieux, comment te dire adieu. Join our club, won't you?
At last it is the final episode of the fourth season of Enter The Void. And to mark the occasion we're not just talking about Wong Kar-wai's 2046 (2004) but also the two films with which it forms a loose trilogy: 1990's Days of Being Wild and especially 2000's In the Mood for Love. Better still, Bill and Renan are joined by Wong aficionado Samarth Bhaskar from the New York Times. In this, they cover: lucking into a theatrical screening of Wong's films; a valiant attempt to describe what happens in 2046; how the three films relate to each other; what exactly the number "2046" is supposed to represent; how the films relate to Hong Kong's precarious political situation; which camera angles Wong favors for his actresses; what Quentin Tarantino thought about 2046, and why TF is this movie so damn hard to find? Film links: 2046 on IMDb 2046 on Wikipedia In the Mood for Love on IMDb In the Mood for Love on Wikipedia Days of Being Wild on IMDb Days of Being Wild on Wikipedia Film Comment on 2046 Manohla Dargis on 2046 Fran Kranz in The Dissolve about 2046 Analysis of the three films as a trilogy One country, two systems at Wikipedia Guest links: Samarth Bhaskar on Twitter Samarth Bhaskar on Letterboxd Show links: Rate us on iTunes! Friend us on Facebook! Reblog us on Tumblr! Follow us on Twitter! Email us at void@enterthevoid.fm!
At last it is the final episode of the fourth season of Enter The Void. And to mark the occasion we're not just talking about Wong Kar-wai's 2046 (2004) but also the two films with which it forms a loose trilogy: 1990's Days of Being Wild and especially 2000's In the Mood for Love. Better still, Bill and Renan are joined by Wong aficionado Samarth Bhaskar from the New York Times. In this, they cover: lucking into a theatrical screening of Wong's films; a valiant attempt to describe what happens in 2046; how the three films relate to each other; what exactly the number "2046" is supposed to represent; how the films relate to Hong Kong's precarious political situation; which camera angles Wong favors for his actresses; what Quentin Tarantino thought about 2046, and why TF is this movie so damn hard to find? Film links: 2046 on IMDb 2046 on Wikipedia In the Mood for Love on IMDb In the Mood for Love on Wikipedia Days of Being Wild on IMDb Days of Being Wild on Wikipedia Film Comment on 2046 Manohla Dargis on 2046 Fran Kranz in The Dissolve about 2046 Analysis of the three films as a trilogy One country, two systems at Wikipedia Guest links: Samarth Bhaskar on Twitter Samarth Bhaskar on Letterboxd Show links: Rate us on iTunes! Friend us on Facebook! Reblog us on Tumblr! Follow us on Twitter! Email us at void@enterthevoid.fm!
Dave and Alonso are joined by a blue-ribbon panel of critics -- Manohla Dargis of The New York Times, Robert Abele of the Los Angeles Times, and Peter Debruge of Variety -- to discuss the highlights of the year just past. Haynes vs. Tarantino, the joys of Mad Max and documentary ethics are just some of the subjects that pop up in a rousing conversation. Like our Facebook page, review us on iTunes, follow us on Twitter and Instagram @linoleumcast, but there is no easy way around it. Follow Manohla on Twitter: @ManohlaDargis Follow Robert on Twitter: @raabele Follow Peter on Twitter: @askdebruge
[We sincerely hope this version makes it easier to hear our wonderful guests.] Dave and Alonso are joined by a blue-ribbon panel of critics — Manohla Dargis of The New York Times, Robert Abele of the Los Angeles Times, and Peter Debruge of Variety — to discuss the highlights of the year just past. Haynes vs. Tarantino, the joys of Mad Max and documentary ethics are just some of the subjects that pop up in a rousing conversation. Like our Facebook page, review us on iTunes, follow us on Twitter and Instagram @linoleumcast, but there is no easy way around it. Follow Manohla on Twitter: @ManohlaDargis Follow Robert on Twitter: @raabele Follow Peter on Twitter: @askdebruge
Award winning Director and Co-writter of the Award Winning Movie, White God, Kornel Mundruczo join's us this week. Winner of the Prize Un Certain Regard Award at this year’s Cannes Festival, Kornel Mundruczo’s newest film is a story of the indignities visited upon animals by their supposed “human superiors,” but it’s also an brutal, beautiful metaphor for the political and cultural tensions sweeping contemporary Europe. When young Lili is forced to give up her beloved dog Hagen, because it's mixed-breed heritage is deemed 'unfit' by The State, she and the dog begin a dangerous journey back towards each other. At the same time, all the unwanted, unloved and so-called 'unfit' dogs rise up under a new leader, Hagen, the one-time housepet who has learned all too well from his 'Masters' in his journey through the streets and animal control centers how to bite the hands that beats him … “FIERCE AND BEAUTIFUL. Extraordinarily choreographed.” – Manohla Dargis, The New York Times "REMARKABLE AND RIVETING. This surprising movie is perhaps the most memorable of all the films I saw at this year's Cannes Film Festival. It's haunting, and quite extraordinary." - Pete Hammond, Deadline Hollywood "Emotionally rousing and technically masterful." – Guy Lodge, Variety “A triumphantly idiosyncratic film with smarts and visceral impact in equal measure.” – Jessica Kiang, The Playlist on Indiewire “A potent metaphor for everything from immigration to the abuse of power, with it’s striking finale serving as stark warning about our own arrogant belief that we’ll always be at the top of the food chain.” – Alistair Harnkess, The Scotsman
Manohla Dargis (The New York Times), Peter Debruge (Variety), and Robert Abele (Los Angeles Times) join Dave and Alonso to discuss the best films of 2014, but in the way these conversations tend to do, things go in interesting and unexpected directions. Subscribe (and review us) on iTunes, like our Facebook page, follow us @linoleumcast, S Club gonna show you how. Dave's DVD pick of the week: SAFE www.amazon.com/Criterion-Collection-Blu-ray-Julianne-Moore/dp/B00NMUCLDO/?tag=alonsoduralde-20 Alonso's DVD pick of the week: THE IDENTICAL www.amazon.com/Identical-Blu-Ray-DVD-Combo/dp/B00OHLR7BS/?tag=alonsoduralde-20
Dave and Alonso are joined by Manohla Dargis (The New York Times) and Robert Abele (Los Angeles Times) to stick a fork in 2013. Like us on Facebook, follow us @linoleumcast & subscribe and leave us a nice review at iTunes. I know my chicken, you got to know your chicken.
Dave and Alonso are on their A-game, what with the very fancy (and hilarious) Manohla Dargis, film critic for The New York Times, dropping by to talk about holiday movies. (And did we mention that Alonso is the author of HAVE YOURSELF A MOVIE LITTLE CHRISTMAS? http://amzn.to/b444F8 ) Like us on Facebook, follow us @linoleumcast, just hear those sleigh bells ring-a-ling, jing-ting-ting-a-ling too.
It's the 30th episode of ONE HEAT MINUTE, the podcast examining Michael Mann's 1995 crime opus HEAT minute by minute (29:00-30:00). Host Blake Howard is joined, in his opinion, by the world's greatest living film critic Manohla Dargis. Blake and Manohla discuss the figure of the 'romantic gangster' and how we allow our favourite filmmakers their fantasy, even when it comes to rent. Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations
In the penultimate episode of the series I join - in my opinion - the world's greatest living film critic, The New York Times co-chief film critic, Manohla Dargis. Manohla confesses that she fell in love with Michael Mann's work watching The Last of the Mohicans. And to close, I join co-author of THE SOPRANOS SESSIONS, TV and film critic for Vulture and Editor-at-Large of RogerEbert.com - the equally legendary - Matt Zoller Seitz. Matt tells me that Magua is one of his favourite characters in the history of movies, and so much more.ABOUT MANOHLA DARGIS Manohla Dargis grew up in the East Village in New York, where she attended public school and was a frequent attendee at both St. Mark's Cinema and Theater 80. She started writing about movies professionally in 1987 while earning her M.A. in cinema studies at New York University. A class with the longtime Village Voice critic J. Hoberman led to her being hired to write about avant-garde cinema for the Voice. She has been the co-chief film critic for The New York Times since 2004. She lives in Los Angeles with her husband. (Bio via The New York Times)To read her great work go hereTwitter: @ManohlaDargis ABOUT MATT ZOLLER SEITZBio via Roger Ebert Dot ComMatt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine, the creator of many video essays about film history and style, a finalist for the Pulitzer Prize in criticism, and the author of The Wes Anderson Collection. His writing on film and TV has appeared in The New York Times, Salon, New York Press, The Star-Ledger and Dallas Observer.Twitter: @mattzollerseitzAbout the show: THE LAST (12 minutes) OF THE MOHICANS is a twelve-episode limited podcast series focusing on the climax of the Michael Mann's 1992 epic The Last of the Mohicans. The format of the podcast, which slightly differs from ONE HEAT MINUTE, utilises the entire final twelve-minute climax of Mohicans as a portal to explore the themes of the movie. The show examines the cross-section of political apparatuses, colonial superpower wrangling, and Mr Mann's riff on the "great American hero." The final episode - once again will feature Mr Mann to unpack his intentions with the film in the conception and orchestration of its grand ending.Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations
All The President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute twenty-two host, Blake Howard joins, in his opinion, the greatest living film critic, Manohla Dargis. Blake and Manohla get so involved in the sprawling dissection of the scene that we forget to watch the minute at hand.About Manohla DargisManohla Dargis grew up in the East Village in New York, where she attended public school and was a frequent attendee at both St. Mark's Cinema and Theater 80. She started writing about movies professionally in 1987 while earning her M.A. in cinema studies at New York University. A class with the longtime Village Voice critic J. Hoberman led to her being hired to write about avant-garde cinema for the Voice. She has been the co-chief film critic for The New York Times since 2004. She lives in Los Angeles with her husband. (Bio via The New York Times).To read her great work go hereTwitter: @ManohlaDargis Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations
It's the 60th minute of ONE HEAT MINUTE, the podcast examining Michael Mann's 1995 crime opus HEAT minute by minute (59:00-1:00:00). Host Blake Howard is joined AGAIN by, in his opinion, by the world's greatest living film critic Manohla Dargis. Blake and Manohla discussing the bridging of two worlds, the implicit connections between Vincent and Waingro, and Vincent being pulled away from the world of women and into the underworld.Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations
To say a profound thank you to the amazing followers and supporters of ONE HEAT MINUTE, I'm launching a a twelve episode limited series talking the epic finale of 1992 epic THE LAST OF THE MOHICANS.Guests include: Kris Tapley, Matt Zoller Seitz, Walter Chaw, Bilge Ebiri, Manohla Dargis, Joe Lynch, Sean Burns, Travis Woods, Brendan Hodges, Carly Severn, Jen Johans, JR Hennessy, Cameron Williams and more.Finale: Michael MannSupport this podcast at — https://redcircle.com/one-heat-minute-productions/donations
ONE HEAT MINUTE is the podcast examining Michael Mann's 1995 "magnum opus" HEAT minute by minute. It's the 89th minute (1:28:00-1:29:00) - host Blake Howard joins the world's greatest living film critic, The New York Times co-chief film critic, Manohla Dargis. Blake and Manohla discuss the sensational orchestration of the ACTUAL first time that Pacino and De Niro share the screen, foreshadowing the finale with Vincent holding a gun and Neil literally boxed in his car, the first glimpse of the iconic Kate Matalini's diner scene and SO MUCH MORE. What do you say I buy you a cup of coffee and you have a listen?Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations
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