Podcasts about Owen Gleiberman

Merriam-Webster's Word of the Day for June 26, 2026 is: symbiosis • sim-bee-OH-sis • noun Symbiosis is a formal word that refers to a relationship between two people or groups that work with and depend on each other. In biology, symbiosis refers to the relationship between two different kinds of living things that live together and depend on each other. // The new playground is the result of symbiosis between multiple stakeholders, including residents, donors, and town officials. // The bacteria exist in symbiosis with the plant's roots. See the entry > Examples: “In the old days, which weren't that long ago ... there was that ritual moment when a rock ‘n' roll idol, in the midst of delivering a classic anthem, would point the mic away from himself and into the arena, indicating that it was time for the audience to take over and sing the lines. It might be Springsteen doing ‘Thunder Road,' or Madonna doing ‘Holiday.' ... The loving symbiosis of pop star and pop audience doesn't get much more reverent than that.” — Owen Gleiberman, Variety, 7 May 2026 Did you know? Symbiosis was adopted by the scientific community in the late 1800s, coming ultimately (via German) from the Greek symbíōsis, meaning “living together, companionship.” Of course, there are a lot of ways to live together and, accordingly, several flavors of symbiosis. When a biological symbiosis between two organisms is mutually beneficial, it is termed mutualism. For example, oxpeckers are birds so named because they “peck” ticks off of infested cattle and wild mammals, a likely satisfying arrangement for both parties, and textbook mutualism. When one organism lives off another at the other's expense, however (as, for one icky instance, head lice do), it's called parasitism. If only parents of elementary school students could call upon an equivalent of oxpeckers to engage in mutualistic symbiosis when the need arose, but alas.

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

With only 14 film credits, River Phoenix has left an indelible mark in Hollywood and beyond. In “The Icon,” the fourth episode of Variety and iHeart Podcasts’ “Variety Confidential,” host Tatiana Siegel talks to Variety’s Owen Gleiberman and Brent Lang about the phenomenon of a Hollywood life taken too soon while Dr. Drew Pinsky explains how River’s untimely death reshaped the conversation around addiction. For a full list of sources and citations for this episode, visit https://variety.com/h/variety-confidential/. See omnystudio.com/listener for privacy information. See omnystudio.com/listener for privacy information.

What if YouTube bought the broadcast rights to the Academy Awards? We discuss the latest rumors via Bloomberg. Otherwise, we also break down trailers for Marty Supreme, It Was Just An Accident, Ballad of a Small Player, Keeper, etc. We discuss the Lineup for Fantastic Fest & other movie news before reviewing / revisiting some new releases from Highest 2 Lowest & Freakier Friday to Superman & Weapons. OSCAR NEWS: Bloomberg report on YouTube vying for the rights to broadcast the Oscars - 1:46 Best International Feature Selection Announcements begin - 10:36 TRAILER REVIEWS: Marty Supreme enters the race with our allegiance - 13:33 It Was Just An Accident seems like an tense thriller - 19:08 Ballad of a Small Player from Mr. Burger & starring Colin Farrell - 23:23 Peter Hujar's Day featuring the beautiful words of Owen Gleiberman - 27:38 The History of Sound from Oliver Hermanus + Paul Mescal & Josh O'Connor - 30:22 Steve stars Cillian Murphy ala Half Nelson & Stand and Deliver - 32:55 Keeper proves we love Osgood Perkins & Neon's trailers for Oz Perkins films - 35:11 Good Boy deserves all the Oscars because he is such a good boy!!! - 37:36 FILM FESTIVAL NEWS: Wicked 2 buzz as Cynthia Erivo set for the Santa Barbara Kirk Douglas Award - 40:11 Fantastic Fest Lineup Highlights - 44:25 FUTURE MOVIE NEWS: Frankenstein, Fairyland & Urchin Release Date Updates - 49:00 Sandra Huller to star in Pawel Pawlikowski's 1949 - 52:32 Guy Pearce may play Rupert Murdoch for Danny Boyle - 53:50 BOX OFFICE UPDATE & WHAT WE'RE WATCHING: Weapons Rewatch & 2nd Week atop the Box Office - 55:02 A positive Freakier Friday Review - 57:33 Nobody 2 disappoints - 58:35 The Rest of the Top 10 include a Fantastic Four disappointment - 1:00:30 M1's catches up with Superman - 1:02:23 Sydney Sweeney's Jeans controversy & Americana bomb - 1:05:18 AM reviews East of Wall - 1:07:31 The brothers' road trip to see Highest 2 Lowest - 1:09:22 Alien: Earth early review - 1:14:22 OUTRO: Hopefully you heed these words of wisdom as we head into film festival season. Plus, we refuse to jinx ourselves. Please sprinkle some salt. Also, if you enjoy our work, do please feel free to join us in our movie conversations this fall via our social media, and you can also help us by spreading the good word about our podcasts with positive ratings, reviews, likes, and subscribes. Here's a linktree: https://linktr.ee/mikemikeandoscar

River Phoenix’s upbringing not only shaped his worldview but also ignited his artistic passions early on, laying the groundwork for his future career in Hollywood. The 1986 film "Stand By Me” catapulted him into the spotlight and established him as a household name. In “Rising Star,” the first episode of Variety and iHeart Podcasts’ “Variety Confidential,” host Tatiana Siegel speaks with River's “Stand By Me” co-star Corey Feldman and Variety’s chief film critic Owen Gleiberman about River’s early career and rise to fame. For a full list of sources and citations for this episode, visit https://variety.com/h/variety-confidential/. See omnystudio.com/listener for privacy information. See omnystudio.com/listener for privacy information.

Merriam-Webster's Word of the Day for May 22, 2025 is: voluble • VAHL-yuh-bul • adjective Someone may be described as voluble if they are talking a lot in a rapid, energetic way. // Bri knew something was bothering her normally voluble friend when he was reluctant to talk about his day. See the entry > Examples: “The movie is built around an interview with the legendary 91-year-old actor, still vigorous and voluble, with a seize-the-day cornball glow to him. In ‘You Can Call Me Bill,' Shatner sits under the hot lights, with the camera close to his face, talking, talking, and talking—about life, death, acting, fame, love, desolation, and trees.” — Owen Gleiberman, Variety, 16 Mar. 2023 Did you know? In a chapter titled “Conversation,” from her 1922 book Etiquette in Society, in Business, in Politics, and at Home, Emily Post offers her trademark good advice for the loquacious among us: “There is a simple rule, by which if one is a voluble chatterer ... one can at least refrain from being a pest or a bore. And the rule is merely, to stop and think.” Voluble, as is clear in this context, describes someone or something (as in “voluble personality/prose/presence”) characterized by ready or rapid speech. Voluble traces back to the Latin verb volvere, meaning “to set in a circular course” or “to cause to roll.” Another volvere descendant, volume, can also be a help in remembering voluble's meaning, not because someone described as voluble speaks at a loud volume, per se, but because they have volumes to say.

Merriam-Webster's Word of the Day for May 22, 2025 is: voluble • VAHL-yuh-bul • adjective Someone may be described as voluble if they are talking a lot in a rapid, energetic way. // Bri knew something was bothering her normally voluble friend when he was reluctant to talk about his day. See the entry > Examples: “The movie is built around an interview with the legendary 91-year-old actor, still vigorous and voluble, with a seize-the-day cornball glow to him. In ‘You Can Call Me Bill,' Shatner sits under the hot lights, with the camera close to his face, talking, talking, and talking—about life, death, acting, fame, love, desolation, and trees.” — Owen Gleiberman, Variety, 16 Mar. 2023 Did you know? In a chapter titled “Conversation,” from her 1922 book Etiquette in Society, in Business, in Politics, and at Home, Emily Post offers her trademark good advice for the loquacious among us: “There is a simple rule, by which if one is a voluble chatterer ... one can at least refrain from being a pest or a bore. And the rule is merely, to stop and think.” Voluble, as is clear in this context, describes someone or something (as in “voluble personality/prose/presence”) characterized by ready or rapid speech. Voluble traces back to the Latin verb volvere, meaning “to set in a circular course” or “to cause to roll.” Another volvere descendant, volume, can also be a help in remembering voluble's meaning, not because someone described as voluble speaks at a loud volume, per se, but because they have volumes to say.

PopaHALLics #138 "I'm Still Standing"As the Who said: "People try to put us d-down" ... whether the "us" is Elton John, British gangsters, or a smartypants movie critic. But guess what: We're still standing, yeah, yeah, yeah!Streaming:"Elton John: Never Too Late," Disney +. As his final American concert approaches at Dodger Stadium, Elton John looks back at his meteoric rise to success in the 1970s and his 50-year career in this warts-and-all documentary."A Thousand Blows," Hulu. Two best friends from Jamaica (Malachi Kirby and Francis Lovehall) fight for survival in the melting pot of Victorian London. This crime drama series comes from the creator of "Peaky Blinders." "Freud's Last Session," Netflix. On the eve of World War II, Sigmund Freud (Anthony Hopkins) and C.S. Lewis (Matthew Goode) have a charged conversation about family, love and God. Based on a stage play.Books:The David Blake crime fiction series, by Howard Linskey. Blake, a smooth, intelligent white-collar criminal working for a British gangster, tells himself he's not really a bad guy. Until he is. Gripping crime fiction."Movie Freak: My Life Watching Movies," by Owen Gleiberman. The longtime movie critic for Entertainment Weekly explores the movies that shaped him and the ups and downs of his personal and professional lives."Blood in the Tracks: The Minnesota Musicians Behind Dylan's Masterpiece," by Paul Metsa and Rick Shefchik. Dissatisfied with the New York session recordings of five songs on his "Blood on the Tracks" album, Bob Dylan went back to Minnesota to have local musicians re-record them."I'm Mostly Here to Enjoy Myself: One Woman's Pursuit of Pleasure in Paris," by Glynnis MacNicol. After a hermit-like existence in NYC during the pandemic, MacNicol journeys to Paris for friendship, sex, food, sex, etc.Music:Our PopaHALLics #138 Playlist includes Elton John, Bob Dylan's "Blood on the Tracks" songs recorded in Minnesota, and "Vegetable Soul," catchy, soulful songs about produce by Louie Zong.

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 first episode of our special retrospective 20th season looks back to the awesome movie year of 1996 with the first of Jason's three picks, Steve Buscemi's Trees Lounge. Written and directed by Steve Buscemi and starring Buscemi, Mark Boone Junior, Chloë Sevigny, Anthony LaPaglia and Elizabeth Bracco, Trees Lounge was Buscemi's debut feature as a writer and director.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/trees-lounge-1996), Owen Gleiberman in Entertainment Weekly (https://ew.com/article/1996/10/11/trees-lounge/), and Marjorie Baumgarten in The Austin Chronicle (https://www.austinchronicle.com/events/film/1996-10-25/trees-lounge/).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:

The finale of our season on the awesome movie year of 2000 features our audience choice poll winner, Stephen Frears' High Fidelity. Directed by Stephen Frears (based on the novel by Nick Hornby) and starring John Cusack, Iben Hjejle, Jack Black and Todd Louiso, High Fidelity defeated two other music-themed dramas in our audience choice poll.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/high-fidelity-2000), Stephen Holden in The New York Times (https://archive.nytimes.com/www.nytimes.com/library/film/033100fidelity-film-review.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2000/03/24/high-fidelity-8/).Thanks to special guest Rich Rosen of Wax Trax Records in Las Vegas for joining us. Check out Wax Trax at https://www.waxtraxonline.com/ and https://www.facebook.com/waxtraxrecords.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 installment, the epilogue to our...

The thirteenth episode of our season on the awesome movie year of 2000 features our producer David Rosen's pick, Mary Harron's American Psycho. Directed and co-written by Mary Harron and starring Christian Bale, Willem Dafoe, Samantha Mathis, Justin Theroux and Chloë Sevigny, American Psycho is adapted from Bret Easton Ellis' controversial 1991 novel.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/american-psycho-2000), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-2000-apr-14-ca-19332-story.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2000/04/14/american-psycho-6/).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 cult classic pick, Ben Younger's Boiler Room.

In a continuing series meant to chart SPEED's place in '90s cinema, Variety film critic Owen Gleiberman joins in to discuss the decade's greatest directorial debuts. From David Fincher and the Wachowskis to Quentin Tarantino and the Hughes brothers, find out where Jan de Bont's electric first outing figures in.

The second episode of our season on the awesome movie year of 2000 features our pick for a notable filmmaking debut, Jonathan Glazer's Sexy Beast. Directed by Jonathan Glazer from a screenplay by Louis Mellis and David Scinto and starring Ray Winstone, Ben Kingsley, Ian McShane, Amanda Redman and Cavan Kendall, Sexy Beast was nominated for an Oscar for Kingsley's supporting performance.The contemporary reviews quoted in this episode come from Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2001/06/22/sexy-beast-5/), Desson Thomson in The Washington Post (https://www.washingtonpost.com/wp-srv/entertainment/movies/reviews/sexybeasthowe.htm), and Derek Elley in Variety (https://variety.com/2000/film/reviews/sexy-beast-1200464166/).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 the year's biggest flop, L. Ron Hubbard adaptation Battlefield Earth.

The first episode of our season on the awesome movie year of 2000 features the highest-grossing film at the box office, John Woo's Mission: Impossible II. Directed by John Woo from a screenplay by Robert Towne and starring Tom Cruise, Thandiwe Newton, Dougray Scott, Ving Rhames, John Polson and Anthony Hopkins, Mission: Impossible II topped the worldwide box office and firmly established the series as a blockbuster franchise.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/mission-impossible-ii-2000), Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2000/06/02/mission-impossible-2-3/), and Dennis Harvey in Variety (https://variety.com/2000/film/reviews/mission-impossible-2-2-1200462090/).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 pick for a notable debut from a major filmmaker, Jonathan Glazer's Sexy Beast.

Merriam-Webster's Word of the Day for September 28, 2023 is: fervid • FER-vid • adjective Fervid is a somewhat formal word describing people or things that express, or are expressive of, strong feelings. // Many of the movie franchise's most fervid fans camped outside of theaters for days leading up to the new installment's opening night. See the entry > Examples: “Unabashed pop groups with fervid teenage followings tend to get trivialized, at least in the media. They're dismissed as being slick and calculated and superficial. But there's a story in ‘Wham!,' the new Netflix documentary about the quintessential pop duo of the 1980s, that testifies to what a chancy and audacious artist George Michael was even back in his teen-idol days.” — Owen Gleiberman, Variety, 8 July 2023 Did you know? If you've ever felt as if your emotions were going to boil over, whether you were overly bubbly or, less happily, you needed to simmer down over something, you should have no trouble understanding the roots of fervid. Fervid comes from the Latin verb fervēre, meaning “to boil” or “to glow,” as well as, by extension, “to seethe” or “to be roused.” In English, this root gave us not only fervid but the similar-sounding and practically synonymous word fervent. But while fervid usually suggests warm emotion that is expressed in a spontaneous or feverish manner (as in “fervid basketball fans”), fervent is reserved for a kind of emotional warmth that is steady and sincere (as in “a fervent belief in human kindness”). Fervid fans of kimchi or sauerkraut (or fervent followers of anything fermented), may appreciate that fervēre is also the root of ferment.

It's nice to see you again! Who is Owen Gleiberman? CJ now has a growing media server (thanks to Josh) Josh is angry about another list! Brian found a list of blockbusters nobody remembers Don't forget to follow "That Kind of Nerd" on ⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Mastodon⁠⁠⁠⁠⁠ Thank you for tuning in to "That Kind of Nerd" and being a part of our nerdy community. Remember to subscribe, leave a review, and spread the word about the podcast. We appreciate your support! --- Send in a voice message: https://podcasters.spotify.com/pod/show/thatkindofnerd/message Support this podcast: https://podcasters.spotify.com/pod/show/thatkindofnerd/support

The finale of our season on the awesome movie year of 2012 features our audience choice pick, Colin Trevorrow's Safety Not Guaranteed. Directed by Colin Trevorrow from a screenplay by Derek Connolly and starring Aubrey Plaza, Mark Duplass, Jake Johnson and Karan Soni, Safety Not Guaranteed prevailed over two other Mark Duplass movies in our 2012 audience choice poll.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/safety-not-guaranteed-2012), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/entertainment/la-xpm-2012-jun-08-la-et-safety-not-guaranteed-20120608-story.html), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2012/06/08/safety-not-guaranteed/).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 installment, the epilogue to our 2012 season.

The third episode of our season on the awesome movie year of 2012 features the year's biggest flop, Andrew Stanton's John Carter. Directed and co-written by Andrew Stanton and starring Taylor Kitsch, Lynn Collins, Willem Dafoe, Samantha Morton, Dominic West and Mark Strong, John Carter was meant to launch a franchise based on Edgar Rice Burroughs' classic novels.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/john-carter-2012), Owen Gleiberman in Entertainment Weekly (https://ew.com/article/2012/03/09/john-carter/), and Todd McCarthy in The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-reviews/john-carter-film-review-297041/).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 the Cannes Film Festival Palme d'Or winner, Michael Haneke's Amour.

After Jeff, John, and Dave rant about how critics are doing film-goers a great disservice (Owen Gleiberman, click-baiting Avatar haters), the boys discuss Avatar: The Way of Water. Despite this movie having pretty favorable reviews among critics and incredibly favorable reviews among audiences, it pains us to be haters since we love movies so much and people aren't supporting new films the way we used to. It's led Dave to drink. He didn't get drunk because he turned 50, it's because an actual critic called Avatar: TWOF a "Smurfahontas Stodgeathon", which is horesheet. And because it eases the pain of being alive as a human, as opposed to a Na'vi. Anyway, our job is to keep it positive, and we mostly do! We get critical- with love- in the spoiler section, but crack a tinny and spend some time with us. Find all of our Socials at: https://linktr.ee/theloveofcinema Additional Cast/Crew: James Cameron, Sam Worthington, Zoe Saldana, Rick Jaffa, Amanda Silver, Sigourney Weaver, Stephen Lang, Kate Winslet, Edie Falco, Jemaine Clement, Jack Campion, Bailey Bass, Trinity Jo-Li Bliss, Brendan Cowell, Weta Digital, Weta FX, Josh Friedman, Shane Salerno. Cliff Curtis, CCH Pounder Hosts: Dave Green, Jeff Ostermueller, John Say. Edited and produced by Dave Green. Music: soundcloud.com/dasein-artist Beer: @cbarrozo.beer

This week we're going back to 1990s West Virginia with Dark Waters! Join us as we learn about forever chemicals, the EPA, DuPont's court settlements, and more! Sources: Sharon Lerner, "The Teflon Toxin: DuPont and the Chemistry of Deception," The Intercept, 11 August 2015 Mariah Blake, "Welcome to Beautiful Parkersburg, West Virginia," HuffPost https://highline.huffingtonpost.com/articles/en/welcome-to-beautiful-parkersburg/  https://www.epa.gov/enforcement/reference-news-release-epa-settles-pfoa-case-against-dupont-largest-environmental  Sharon Lerner, "The Teflon Toxin," https://theintercept.com/2015/08/20/teflon-toxin-dupont-slipped-past-epa/  Nathaniel Rich, "The Lawyer Who Became DuPont's Worst Nightmare,"  https://www.nytimes.com/2016/01/10/magazine/the-lawyer-who-became-duponts-worst-nightmare.html "Weinberg Memo," https://www.documentcloud.org/documents/2289501-weinberg-memo.html  Chicago Tribune, Farmer Wilbur Earl Tennant's Historic Video Shows Mysterious Cow Disease: https://www.chicagotribune.com/9a272e0c-2b50-4dc7-8f14-04432c04e948-132.html Jeff Mordock, "Dupont denied retrial in $1.6M chemical cancer case," Delaware Online 17 February 2016, https://www.delawareonline.com/story/news/2016/02/17/duponts-motion-void-16m-jury-verdict-denied/80530306/   Mariah Blake, "Welcome to Beautiful Parkersburg, West Virginia," HuffPost https://highline.huffingtonpost.com/articles/en/welcome-to-beautiful-parkersburg/  Glynis Board, "DuPont Offers $670M Settlement for "Teflon" Chemical Contamination of Water," WV Public Broadcasting (13 February 2017)  http://redirect.wvpublic.org/post/dupont-offers-670m-settlement-teflon-chemical-contamination-water  Monica Amarello, "DuPont, Chemours and Corteva Reach $4 Billion Settlement on ‘Forever Chemicals' Lawsuits" Environmental Working Group (January 2021) https://www.ewg.org/news-insights/news-release/dupont-chemours-and-corteva-reach-4-billion-settlement-forever-chemicals Rotten Tomatoes: https://www.rottentomatoes.com/m/dark_waters_2019  Owen Gleiberman, "Film Review: 'Dark Waters'" Variety (13 November 2019). https://variety.com/2019/film/reviews/dark-waters-review-mark-ruffalo-todd-haynes-1203402923/  VICE News, "Mark Ruffalo Takes Us Inside the Making of 'Dark Waters'" YouTube; https://youtu.be/JyE4_7j6UdQ  The Daily Show with Trevor Noah, "Mark Ruffalo - Playing a Real-Life Hero in True Horror Story "Dark Waters" | The Daily Show" YouTube; https://youtu.be/5pWFJPyyPAw   GQ, "Mark Ruffalo Breaks Down His Most Iconic Characters | GQ" https://youtu.be/Q-Kt-6joSns  Wiki: https://en.wikipedia.org/wiki/Dark_Waters_(2019_film)  Mark Eichmann, "DuPont execs react to villain role in 'Dark Waters' film," WHYY (1 November 2019). https://whyy.org/articles/dupont-execs-react-to-villain-role-in-dark-waters-film/      

In the first of three special Halloween episodes this year, we're continuing with 1992, the year we covered in our most recent season, to talk about Robert Zemeckis' Death Becomes Her. Directed by Robert Zemeckis from a screenplay by David Koepp and Martin Donovan and starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini, Death Becomes Her won an Oscar for its pioneering special effects. The contemporary reviews quoted in this episode come from Rita Kempley in the Washington Post (https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/deathbecomesherpg13kempley_a0a2cd.htm (https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/deathbecomesherpg13kempley_a0a2cd.htm)), Kenneth Turan in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1992-07-31-ca-4212-story.html (https://www.latimes.com/archives/la-xpm-1992-07-31-ca-4212-story.html)), and Owen Gleiberman in Entertainment Weekly (https://ew.com/article/1992/08/14/death-becomes-her-2/ (https://ew.com/article/1992/08/14/death-becomes-her-2/)).  Visit https://www.awesomemovieyear.com/ (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 (http://www.facebook.com/awesomemovieyear) and follow us on Twitter https://twitter.com/awesomemoviepod (@Awesomemoviepod) You can find Jason online at http://goforjason.com/ (http://goforjason.com/), on Facebook at https://www.facebook.com/JHarrisComedy/ (https://www.facebook.com/JHarrisComedy/), on Instagram at https://www.instagram.com/jasonharriscomedy/ (https://www.instagram.com/jasonharriscomedy/) and on Twitter https://twitter.com/JHarrisComedy (@JHarrisComedy) You can find Josh online at http://joshbellhateseverything.com/ (http://joshbellhateseverything.com/), on Facebook at https://www.facebook.com/joshbellhateseverything/ (https://www.facebook.com/joshbellhateseverything/) and on Twitter https://twitter.com/signalbleed (@signalbleed) You can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com/ (https://www.piecingpod.com), on Twitter at https://twitter.com/piecingpod (@piecingpod) and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod (https://www.facebook.com/groups/piecingpod). You can also follow us all on Letterboxd to keep up with what we've been watching at https://letterboxd.com/goforjason/ (goforjason), https://letterboxd.com/signalbleed/ (signalbleed) and https://letterboxd.com/bydavidrosen/ (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/bydavidrosen (https://www.patreon.com/bydavidrosen) All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.com/ (https://www.bydavidrosen.com) Please like, share, rate and comment on the show and this episode, and tune in next time for our second special Halloween episode for this year, featuring one of the finalists from our 1999 audience choice teen movie tournament, Idle Hands.

Bryan is joined by film critics Ty Burr and Owen Gleiberman to break down Entertainment Weekly dating back to the '90s. They discuss the evolution of the magazine, the environment and culture that Entertainment Weekly fostered, and of course, the letter-grade reviews (0:33). Later, Bryan is joined by The Wall Street Journal's Jason Gay to discuss his experience covering the Winter Olympics in Beijing. They touch on preparations prior to flying to China, what it's like covering the Games in the middle of a pandemic, and weigh in on why it's important for reporters to be on site (50:51). Additional information: Ty Burr's Watch List (https://tyburrswatchlist.substack.com/) Host: Bryan Curtis Guests: Ty Burr, Owen Gleiberman, and Jason Gay Associate Producer: Erika Cervantes Production Assistance: Isaiah Blakely Learn more about your ad choices. Visit podcastchoices.com/adchoices

The desolate plains of west Texas serve as the setting to 2016's Hell Or High Water, a bank-heist movie about family, desperation, and the inevitable end of everything. Author Taylor Moore--himself a west Texan--sits down with Baker and Jason to discuss how this very specific region of America runs through both the film and his own 2020 debut novel, Down Range. https://taylormoorebooks.com (Connect with Taylor Moore, author of Down Range) https://variety.com/2016/film/reviews/cannes-film-review-hell-or-high-water-chris-pine-jeff-bridges-1201775089/ (Owen Gleiberman's review, Variety, May, 2016) TLS on the web https://twitter.com/LongShadowPod (TLS on Twitter) TLS on Instagram https://www.facebook.com/longshadowpod/ (TLS on Facebook) https://ginnyrobbins.square.site (Ginny Robbins (original artwork)) https://ryanculwell.com/home (Ryan Culwell (theme music))

This time we invited Guest Larry E Jones, Actor, Wrestler, & Law Enforcement Officer to help us take a look at "Copshop" and list our 5 favorite police portrayals in film.The recent movie was limited release and only Kelly had the opportunity to see it before it disappeared from our local theaters. We instead talk more on the Review by Owen Gleiberman found on Variety.https://variety.com/2021/film/reviews/copshop-review-gerard-butler-frank-grillo-alexis-louder-joe-carnahan-1235066865/Larry can be found:On Facebook: https://www.facebook.com/THARBADBLOOD23 at https://mciwwrestling.com/ Save 15% on your Order at Aventino Watches with the Code: hohen15http://www.aventinowatches.com/ Podcasting isn't hard when you have the right partners, and the team at Buzzsprout is passionate about helping you succeed. Join over a hundred thousand podcasters already using Buzzsprout to get their message out to the world.Let's create something great, together!https://www.buzzsprout.com/?referrer_id=1466452  Support the show

On review aggregator Rotten Tomatoes, the film has a rating of 92% based on 88 reviews and an average rating of 7.87/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar." Another review aggregator, Metacritic, gave the film a score of 77 out of 100 based on 23 critics, indicating "generally favorable reviews". Todd McCarthy of Variety wrote, "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways." James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure." Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill." Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar." Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level". Richard Corliss of Time wrote, "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance." Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with." Paul Clinton of CNN wrote, "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids." Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits." On the contrary, Stephen Hunter of The Washington Post wrote, "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."

Rotten Tomatoes, a review aggregator, reports that 20% of 113 surveyed critics gave the film a positive review; the average rating was 4.20/10. The critical consensus states: "A nonsensical plot and an absurd amount of violence make this revenge pic gratuitous and overwrought." The film has a score of 36 out of 100 on Metacritic based on 24 critics, indicating "Generally unfavorable reviews". Roger Ebert of the Chicago Sun-Times gave the film 2+1⁄2 stars out of 4. He compared Death Sentence to the Death Wish films starring Charles Bronson, saying: "In the Bronson movies, the hero just looked more and more determined until you felt if you tapped his face, it would explode. In Death Sentence, Bacon acts out a lot more." Ebert called Death Sentence "very efficient", praising "a courtroom scene of true surprise and suspense, and some other effective moments", but concluded that "basically this is a movie about a lot of people shooting at each other". Scott Tobias of The A.V. Club contends the film is "certainly never boring"; he felt that director James Wan was "too busy jamming the accelerator to realize that his movie's spinning out of control." Matt Zoller Seitz of The New York Times said, "Aside from a stunning three-minute tracking shot as the gang pursues Nick through a parking garage, and Mr. Bacon's hauntingly pale, dark-eyed visage, Mr. Wan's film is a tedious, pandering time-waster." Owen Gleiberman of Entertainment Weekly felt that "[t]he morality of revenge is barely at issue in a movie that pushes the plausibility of revenge right over a cliff." Conversely, Justin Chang of Variety called the film "well-made, often intensely gripping". Similarly, Bill Gibron of PopMatters felt the film was "a significant movie" and "a wonderfully tight little thriller". Darren Amner of Eye for Film also gave the film a positive review, praising Bacon's performance in particular: "[H]is portrayal is emotional, sympathetic and highly aggressive. As a father he is touching and as a stone-cold killing machine he is even more convincing." Author Brian Garfield, who wrote the novel the film is loosely based on, said of the film: "While I could have done with a bit less blood-and-thunder, I think it's a stunningly good movie. In the details of its story it's quite different from the novel, but it's a movie, not a novel. In its cinematic way it connects with its audience and it makes the same point the book makes, and those are the things that count." He also liked that, like his novels, but unlike the Death Wish film series, it does not advocate vigilantism. Garfield further explained in an interview: "I think that, except for its ludicrous violence toward the end, the Death Sentence movie does depict its character's decline and the stupidity of vengeful vigilantism," adding, "As a story it made the point I wanted it to make."

Were Live In July, Raising Money for Breast Cancer as we bring in People from all around the film industry for interviews and discussions on all of our favorite pop culture topics! We kick the month off With Chief Film Critic Owen Gleiberman From Variety, Who is coming back for a 2nd Time, & this time, we have even more planned! Big Budget Films Vs Indie Films, Left Vs Right, Critics Vs Consumers and Filmmakers. A fund and educational discussion. of film, movies and streaming. Is Streaming Going to be the final Straw that broke the camel's back? find out by listening! Subscribe to this channel: www.youtube.com/c/popculturecorner Join this channel to get access to perks: https://www.youtube.com/channel/UCy2Cra7aLAAMVxkA9rSYCxg/join Take a look at our Other Platforms, Social Medias and Links! Check Them All out Below! Head over to The OFFICIAL POP! Culture Corner Store and Get YOUR POP! Themed Merch & Support the Channel(Members Receive 15% Discount on all orders): https://teespring.com/stores/pop-culture-corner-store Check out our Podcast and find your platform whether its Apple, Spotify, Google play or Something else! Find yours HERE! https://anchor.fm/popculturecorner20 Listen to the Podcast On Spotify (Also Available on all major Podcast platforms): https://open.spotify.com/show/0Yq6Iceyh7o24DG8tq4kvO Follow Us On Twitter: https://twitter.com/POP_Culture2020 Follow Us on Tik-tok for Behind the Scenes content, funny videos, updates & More https://vm.tiktok.com/ZMeq5HF56/ Follow us on Facebook: https://www.facebook.com/pop.culturecorner/ Follow us on Instagram: https://www.instagram.com/pop_culturecorner2020/ Sponsored by Showcase Cinemas this week! Head out and See BLACK WIDOW the Way it was meant to be seen, on the largest possible Screen, Get your tickets for Showcase Cinemas XPLUS large premium format, and not only see and hear the film, but become a part of it as well. Visit www.showcasecineams.com to find your nearest theater! Sponsored By “KYE CBD”: Based out of Las Vegas, These CBD products Were created with love, and for a reason! Made by a 20 Year Massage Therapist for her Husband who suffers from Chronic Pain, these hand crafted Wellness products do the trick Visit KYE CBD at https://www.facebook.com/kyecbd & Mention POP! Culture Corner for 10% off your order. WEBSITE COMING SOON! Sponsored By Smooth My Balls, Your Number One Source For Male/Female Grooming Products, Use CODE [CODE: POP] AT Checkout or Click Link: www.smoothmyballs.com/pop to apply 15% OFF your ENTIRE ORDER! Your Partner will thank us! Austin Lien: Twitter.com/StarkLien1023 Jack Sharaf AKA Producer Jack: Twitter.com/GetJacked141 FAIR USE DISCLAIMER: Fair Use: We DO NOT OWN or Control some of the Video material in this video, For each Movie we Educate The Audience on, We used some Promotional Material that the studio/film dropped in order to spark people's interest in heading to the movie theater for said film. THE STUDIOS that are making these films own the videos and Intellectual property, and thus control said material, we only seek to Educate The General Audiences on what is coming to theaters near them. If you own any of the material in this video, and think that we used it inappropriately, or with malice, please email the show at pop.culturecorner2020@gmail.com so we can resolve these issues. we do not seek to hurt or render loss to any studio, or film. THANK YOU! We Do It For You! We Do it For The Culture! A Special Thank to our PATRONS Of the @POPCultureCorner -CAIDEN REED- -ODD- -NICK DEPALMA- -THATONECARLOS- -BILLY ROBERT- -ADAM SILVESTRI- -JOSH ROBERTSON- -SHAWN ADAME- -RUEBEN "KS" RIVERA- -SUSANA SIDERI- --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/popculturecorner20/message

In this episode we FINALLY have good reason to look at "Birds of Prey" the Harley Quinn spin-off movie that was received with mixed impressions. As Harley Quinn is originally a side character, and Margot Robbie's portrayal had everyone gushing, the spin-off side character movie made it an easy choice for our main topic to center around our favorite side characters.The Review in Variety by Owen Gleiberman on "Birds of Prey" https://variety.com/2020/film/reviews/birds-of-prey-review-margot-robbie-1203492101/The bulk of this episode has Josh giving 5 TV characters he believes deserves a spinoff, and Kelly delivering his picks for 5 Movie characters who deserve a spin-off. Some rehashes off old favorites and a LOT of obscure side characters for Kelly. Find our selection on eBay of Coffee Mugs and (now vintage) video games!https://www.ebay.com/usr/geekchicmugs Podcasting isn't hard when you have the right partners, and the team at Buzzsprout is passionate about helping you succeed. Join over a hundred thousand podcasters already using Buzzsprout to get their message out to the world.Let's create something great, together!https://www.buzzsprout.com/?referrer_id=1466452Support the show

Madea's Witness Protection, while it seems like a worthless comedy meant solely for entertainment, is actually a deep reflection on the decay of our Western Capitalist society. It is a layered masterpiece of comedy genius, which requires deep thought to comprehend even just one of the many levels of a single 'joke'. For example, George asks the titular character for WiFi, and she agrees to make George a waffle. While uneducated fools like Owen Gleiberman may see the line as a throwaway gag, it really is a statement on the disconnect between the wealthy suburban community and the urban lower class community. George, as a wealthy person, has a greater access to essential technologies such as WiFi. When he asks Madea for WiFi, Madea does not understand, and instead offers to make waffles. Madea represents the working class, who due to fiscal differences is culturally drifting away from the American upper class. Her offering of waffles, which creates a humorous misunderstanding due to the phonetic similarity between the words 'WiFi' and 'Waffle', demonstrates the intent of working class individuals attempting to move up in society, but are inhibited by their divide with the rest of society. This is also a beautiful allegory to the decay of Western society due to class divisions, which Tyler Perry masterfully wraps up with multiple allusions to Marx's works throughout the film. In conclusion, Madea's Witness Protection is in reality a beautiful allegory for our society, which is ingeniously disguised as a meaningless comedy film.

Actress, producer, and publisher Sarah Jessica Parker introduces this week’s Film Forum Presents. The episode features excerpts from two special events from our recent run of WHAT SHE SAID: THE ART OF PAULINE KAEL, a fascinating documentary about the life and enduring legacy of the New Yorker film critic. In the first excerpt, Director Rob Garver and Composer Rick Baitz discuss the origins of the film and the making of its score; in the second, we have Premieres Programmer Mike Maggiore in conversation with Variety Chief Film Critic Owen Gleiberman. WHAT SHE SAID is currently available for home viewing in our Virtual Cinema, at www.filmforum.org. All rental fees support Film Forum.

Would you feel comfortable going out to eat when restaurants open back up? What about movie theaters? The new Judd Apatow film starring Pete Davidson is going straight to VOD. Variety film critic Owen Gleiberman joins us.

The geeks speak! Gobbledygeek has been resurrected via cloning or Force magic or some shit, and to kick off season 11, Broken Magic author and The Deli Counter of Justice co-creator Eric Sipple has lightspeed-skipped on over to discuss Star Wars: Episode IX - The Rise of Skywalker. After adoring The Last Jedi, the gang approached this supposed final film in the Skywalker Saga with heavy amounts of skepticism--well-earned, depending on who you ask. They discuss the mystical, magical malarkey behind Palpatine’s return; how director J.J. Abrams and writer Chris Terrio are uniquely suited to not deliver a satisfying conclusion; the oodles of fan service; what the film’s final scene means for the legacy of Star Wars; and more. Plus, they talk about The Baby Yoda Show AKA The Mandalorian.   Next: it is January 29, 2020. Paul and Arlo are discussing Alan Moore and Dave Gibbons’ Watchmen for a Four-Color Flashback. I am tired of this world; these people. THE BREAKDOWN Total Run Time: 02:35:50 00:00:00  - Intro 00:02:35  - The Mandalorian 00:28:52  - Star Wars: The Rise of Skywalker 02:31:20  - Outro / Next THE MUSIC “Fanfare and Prologue” by John Williams, Star Wars: The Rise of Skywalker (Original Motion Picture Soundtrack) (2019) “Finale” by John Williams, Star Wars: The Rise of Skywalker (Original Motion Picture Soundtrack) (2019) THE LINKS “Why ‘Star Wars: The Last Jedi’ Pissed Off Fans” by Matt Singer, Screencrush “The Last Jedi dared to put the philosophy of Star Wars in the foreground” by Siddhant Adlahka, Polygon   “The Rise Of Skywalker, And How Star Wars Is Junk” by Chuck Wendig, Terribleminds   “Rey's revelation in 'Rise of Skywalker' changes Star Wars for the worse” by Chris Taylor, Mashable “How ‘Star Wars: The Rise of Skywalker’ Failed Kylo Ren and What It Could Have Learned from ‘Avatar: The Last Airbender’” by Hoai-Tran Bui, SlashFilm  “Rote and Cowardly, The Rise of Skywalker Sets a Dangerous Precedent” by Jeffrey Zhang, Strange Harbors “STAR WARS: THE RISE OF SKYWALKER Has A Ben Solo Problem” by Lindsey Romain, Nerdist     “There's No Such Thing as a Great Star Wars Movie” by Edoardo Ranaboldo, CBR   “The Rise of Skywalker Makes It Clear Star Wars NEEDS Rian Johnson” by Anthony Gramuglia, CBR   “‘Star Wars’: Still With Us, but No Longer Above Us” by Owen Gleiberman, Variety “Proof That Luke Skywalker’s Story Got the Proper Ending: King Arthur” by Eric Diaz, Nerdist “Dark Star Rising: How Adam Driver’s angst and brooding intensity made the world fall in love with a ‘Star Wars’ supervillain” by Brian Hiatt, Rolling Stone “The Rise of Skywalker Allowed Toxic Fandom to Win” by Sergio Pereira, CBR “Star Wars: Did The Skywalker Saga Bring Balance to the Force in the End?” by Hannah Collins, CBR     “The Greatest Trick Star Wars Ever Played Was Making Us Think It Was About Redemption” by Susana Polo, Polygon  

I offer some thoughts on Owen Gleiberman’s Most Overrated Movies of the Decade List.

Adam talks with American author and academic, Shoshana Zuboff whose book The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power is about how the big tech companies (Google and Facebook especially) are employing increasingly sophisticated methods to watch how we behave on line and using that data not only to sell us things, but also to make predictions about our future behaviour and even the kind of opinions we 're likely to have. This predictive data is some instances then traded to other companies and organisations seeking to gain a financial or a political advantage by knowing how customers, or voters, might behave.Thanks to Séamus Murphy-Mitchell for production support and Matt Lamont for additional editing. RELATED LINKSTHE GREAT HACK (VARIETY REVIEW by OWEN GLEIBERMAN)https://variety.com/2019/film/reviews/the-great-hack-review-cambridge-analytica-1203277059/THE PERIL AND POTENTIAL OF THE GENERAL DATA PROTECTION REGULATION (FROM CENTRE FOR GOVERNANCE INNOVATION WEBSITE, JULY 2019)https://www.cigionline.org/articles/peril-and-potential-gdpr?gclid=CjwKCAjwusrtBRBmEiwAGBPgE3kVYBBy06B_MCO2nR74oy1ikeYrQXaq79C6feEQZWhd4NmUwDbrnxoCaJYQAvD_BwETHE AGE OF SURVEILLANCE CAPITALISM (GUARDIAN REVIEW by JAMES BRIDLE, FEB 2019)https://www.theguardian.com/books/2019/feb/02/age-of-surveillance-capitalism-shoshana-zuboff-reviewTALKING POLITICS PODCAST - THE NIGHTMARE OF SURVEILLANCE CAPITALISM https://www.talkingpoliticspodcast.com/blog/2019/144-the-nightmare-of-surveillance-capitalismRECODE DECODE PODCAST - SHOSHANA ZUBOFFhttps://www.stitcher.com/podcast/vox/recode-decode/e/58889787?autoplay=true See acast.com/privacy for privacy and opt-out information.

Quentin Tarantino is releasing a new movie at the end of July, so we decided to chat about every Tarantino-directed film in a new series we're calling Inglorious Podcasts.The first film we're discussing is Tarantino's impressive directorial debut, Reservoir Dogs. But before we give our sizzling hot takes, we talk about the last movies we've seen, what we've been consuming on the streaming platforms and the most delectable meals of late. We break down all of the craziness that is Reservoir Dogs and hopefully your ears love what we have to say (and hopefully both are still in-tact after listening). The colorful characters and even more colorful language are just a few things we discuss in this first episode of Inglorious Podcasts.We end the show with a little trivia game we like to play and our Patrons over at www.patreon.com/theavidindoorsmen get to hear an extended version where we break down the Top 5 Best Uses of Song in Films...spoiler we end up making it a Top 10. Enjoy this new series as we take a look at the works of Quentin Tarantino.1:14 Extremely Wicked, Shockingly Evil and Vile5:00 Shazam!7:03 Wedding Crashers8:42 Justified10:25 Hilton Moscow12:22 Bob's Downtown Restaurant13:50 Plugarooni's 16:54 Coming Attractions: Pulp Fiction17:45 Main Attraction: Reservoir Dogs17:46 Plot Synopsis18:15 Rotten Tomatoes19:15 Kathleen Caroll from the New York Daily News20:04 Owen Gleiberman from Entertainment Weekly20:55 Buegs' Hot Take23:30 Rob's Hot Take28:10 The Dude Award32:25 The Tucci Award37:20 Favorite Scene (Sophie's Choice)44:45 Show Me The Money49:12 Buegs Boo Hoo Moments51:22 Movie Trivia59:51 Judgement Day1:01:22 Blast From the Past Movie Game1:13:11 Top 5 Movies with Best Use of Songwww.patreon.com/theavidindoorsmen www.theavidindoorsmen.comwww.facebook.com/theavidindoorsmen Twitter: @AvidIndoorzmenInstagram: @TheAvidIndoorsmen

Owen Gleiberman is the Chief Film Critic for Variety. He and I discuss the major films that are contenders for awards, most significantly the Oscars. This episode is dedicated to the memory of Jonas Mekas who passed away today at the age of 96.

This week, we discuss Margaret Atwood’s The Handmaid’s Tale. In this episode, we read and watched: Margaret Atwood’s original novel, published in 1985. Buy on Amazon or iBooks. The Handmaid’s Tale (1990), directed by Volker Schlöndorff, written by Harold Pinter, starring Natasha Richardson, Robert Duvall, and Faye Dunaway. Watch on Amazon or iTunes. The Handmaid’s Tale (2017), the first season of the Hulu original, starring Elizabeth Moss. Watch with a Hulu subscription or buy on Amazon or iTunes. Some of the stuff we talked about in this episode: That one very negative review of the film and the book, written by Owen Gleiberman, published in Entertainment Weekly in 1990. The 2012 audiobook, read by Claire Danes. Buy on Amazon or iTunes. “Sending a Man to Do a Woman’s Job: How the 1990 Handmaid’s Tale Film Became an Erotic Thriller,” by Natalie Zutter, from Tor.com. “One Reason The Handmaid’s Tale Won Emmys Best Drama,” from The Nerdwriter. Here’s a link to his YouTube channel.

Today ENTER THE VOID considers its first (and maybe last?) Coen Brothers film, 1991's BARTON FINK, starring John Turturro and John Goodman. Examined in detail: how this movie swept Cannes and is somewhat overlooked today; what it has to say about about writers and writing; Barton Fink's real-life influences and Hollywood wrestling pictures; its amazingly detailed Wikipedia page; and, is this a classic mind-bender of the sort this podcast is supposed to be about? Barton Fink links: Barton Fink on IMDb Barton Fink on Wikipedia Roger Ebert favorable review Vincent Canby very favorable review Owen Gleiberman semi-favorable review The Atlantic unfavorable review Coenesque on Barton Fink Barton Fink film script Piotrowski essay on Barton Fink and writing Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter

Today ENTER THE VOID considers its first (and maybe last?) Coen Brothers film, 1991's BARTON FINK, starring John Turturro and John Goodman. Examined in detail: how this movie swept Cannes and is somewhat overlooked today; what it has to say about about writers and writing; Barton Fink's real-life influences and Hollywood wrestling pictures; its amazingly detailed Wikipedia page; and, is this a classic mind-bender of the sort this podcast is supposed to be about? Barton Fink links: Barton Fink on IMDb Barton Fink on Wikipedia Roger Ebert favorable review Vincent Canby very favorable review Owen Gleiberman semi-favorable review The Atlantic unfavorable review Coenesque on Barton Fink Barton Fink film script Piotrowski essay on Barton Fink and writing Show links: Subscribe: Apple Podcasts Archives: enterthevoid.fm Follow us: Facebook + Twitter

On their final episode of the year, Rob and Geoff look back on a sometimes unreal year in film and television, and reflect on the trends and themes that shaped the industry by revisiting some of their favourite TIFF Long Take conversations from 2017. Excerpts include: IndieWire’s Anne Thompson on the death of the old studio system (2:10); Variety’s Owen Gleiberman on Netflix and Amazon’s negative reception at Cannes (6:40); Vanity Fair’s Katey Rich, Mike Hogan, and Richard Lawson on how the Oscars view streaming services (9:25) Franklin Leonard on the importance of Moonlight (14:50) BFI Southbank’s Gaylene Gould on reframing the context of classic films (17:00); Los Angeles Times’ Tre’vell Anderson on why are studios are reluctant to finance diverse films (20:50); IndieWire’s Tom Bruggeman on what film studios could learn from the Mayweather vs. McGregor fight (24:45); The Ringer’s Adam Nayman on franchise fatigue and the decline of Summer blockbusters (29:00); Jason Blum on the economics of the genre films (36:25); TIFF’s Peter Kuplowsky and Faculty of Horror’s Alex West on why horror has thrived while the greater box office is on the decline (40:20); USC’s Professor Stacy Smith on the the data behind Hollywood sexism. (47:35); Ashley Mckenzie on working in a male created system (51:35); and Christine Kleckner and Steph Guthrie on where the film industry goes after #MeToo (54:40).      

  New Podcast with Actor Matt Czuchry!   In this episode of "Kahnversations," we interview Matt Czuchry. After graduating college in May of 1999 with B.A. degrees in History and Political Science from College of Charleston, Matt was set on law school as his next life path.  But when thinking of his true passion, he was brought back to the indelible memories of his childhood.  Moments etched on his heart such as exiting a dilapidated movie theatre crying inconsolably after experiencing E.T.: THE EXTRA-TERRESTRIAL, or running around in his purple dyed underwear smashing couches while watching THE INCREDIBLE HULK on TV.  When thinking of his adult life, Czuchry could not ignore the magical moments captured through story, imagination, and character that had impacted his youth with such pure happiness. This childlike love of movies and television, combined with his horrible Law School Admission Test scores, pushed Matt’s gut towards an unexpected career choice.  In September of 1999, Czuchry took one of the most important risks of his life and decided to pursue a profession in acting.  On a perfectly nondescript Wednesday morning, Matt filled his car with everything he owned and left his hometown in Tennessee for a new life in California.  Since completing that life changing drive from Johnson City to Los Angeles, Czuchry has worked with Oscar® winners, Emmy® winners, and Tony Award® winners, while establishing himself as a leading man through credits spanning theatre, television, and film. Just one month after arriving on the West Coast, Matt found himself working with actor James Franco and writers Paul Feig, Mike White, and Judd Apatow in a small role on the critical darling FREAKS AND GEEKS.  Czuchry’s work on the classic fan favorite would turn into a major guest starring arc in the DAWSON'S CREEK spinoff series titled YOUNG AMERICANS, starring actress Kate Bosworth.  Although this show itself was short lived, Matt’s work on the project would garner the necessary attention to further his early career with the best creative minds in the business on television shows such as David E. Kelley’s THE PRACTICE and films like EIGHT LEGGED FREAKS, starring Scarlett Johansson. Two key television series, HACK and GILMORE GIRLS, would propel Czuchry’s early career towards leading man status.  While playing swindling thief Jamie Farrel on the series HACK from 2003-2004, Matt was able to hone his craft by learning from the show’s stars, Drama Desk Award winner David Morse and Emmy® winner Andre Braugher.  His work on HACK readied Czuchry for his breakout performance on the critically acclaimed hit GILMORE GIRLS.  From 2005-2007 Matt embodied the role of billionaire newspaper heir Logan Huntzberger.  For his work on the beloved series, Czuchry would go on to be nominated for three Teen Choice awards while gaining press in countless magazines and popularity on television sets across the globe. After completing his three year run on GILMORE GIRLS in 2007, Czuchry matured in his craft by choosing work in different genres spanning theatre, television, and film.  In September of 2007, Czuchry was on stage in the title role of Third, alongside Oscar® winner Christine Lahti, in Wendy Wasserstein’s West Coast premier of the play by the same name.  He followed this performance at the Geffen Theatre with a recurring arc on the Emmy® winning series FRIDAY NIGHT LIGHTS.  In 2008, Matt took on the controversial lead character of Tucker Max in the movie adaptation of the New York Times best selling book, I HOPE THEY SERVE BEER IN HELL.  Although the public’s response to the comedy was divisive, Czuchry’s performance was lauded by critics such as Owen Gleiberman in Entertainment Weekly who wrote, “Matt Czuchry, in a star performance, plays Tucker like a Ferris Bueller who bloomed into a charming sociopath.” Czuchry’s varied performances and choices across all genres in different mediums from 2007-2008 led to an offer to play the role of a manipulative lawyer in the two-time Emmy® nominated THE GOOD WIFE. Matt's seven seasons as Cary Agos on CBS Television’s THE GOOD WIFE (2009-2016) firmly established him as a leading man and a rising star while also earning him prestigious recognition from both The Hollywood Reporter and Variety’s annual Emmy® Contenders lists in 2015. Prior to these honors Czuchry won the Entertainment Weekly Best Supporting Actor EWwy Award (2011), received nominations for three consecutive SAG Ensemble Awards (2009-2011), and also garnered the highest praises from numerous critics such as David Hiltbrand of The Philadelphia Inquirer who wrote “Czuchry may be the best young actor on TV.”  Matt Richenthal of TV Fanatic further affirmed those sentiments by stating, “Cary is played brilliantly by Czuchry with the right combination of swagger, confidence, and vulnerability.”  Matt’s tireless dedication to his craft on THE GOOD WIFE, and over the course of his career, led to a defining performance on one of TV’s best shows while working alongside multiple-award winners Archie Panjabi, Christine Baranski, Julianna Margulies, Chis Noth, Josh Charles, Alan Cumming, Michael J. Fox, Matthew Perry, and F. Murray Abraham. In 1999, Matt Czuchry took a life changing risk by following his passion and gut to pursue his love of story, imagination, and character.  Today, Czuchry surrounds himself with the great talents of stage, television, and film on some of the most desirable projects in the entertainment industry, in an effort to make his own indelible mark on the hearts of others.  As Matt continues to tirelessly study his craft, he sets his sights on even greater career heights.  Knowing that his past work has laid the groundwork for future success, but each new performance and project choice demands an even better excellence. You can download or subscribe to the podcast for FREE by clicking below. If you like “Kahnversations,” please leave a rating or review on our iTunes page!     There are so many inspiring podcasts with fabulous stars out there. But their careers feel light years away from ours, don’t they? Wouldn’t it be great to hear from the guy who just booked his first pilot? Or the kid finally doing a studio pic after a bunch of low budget indies? Or the woman who’s been a series regular a few times but is only now becoming a name? What about the guy who’s been on a show for years and you know his face but what’shisnameagain? Or that actress who is now a freakin’ showrunner???? How’d THEY do it, right? How did they transition from relative obscurity, bartending and bottle service, to buying that house in Brentwood? We’re producing “Kahnversations,” a podcast that provides access to THOSE people -- your immediate predecessors -- so that you can learn from them while their battle scars are still fresh. In “Kahnversations,” our own Ryan Bailey interviews some of Lesly Kahn & Company’s working actors, directors, and writers in order to learn how they got started in Hollywood, the challenges and hurdles they faced, and how they overcame the odds. (They also dish out some crazy stories!) Listen in and enjoy as these entertainers speak candidly about their paths, processes, and experiences. You might even hear a bit about how Lesly and the Kahnstitute have influenced and shaped their careers.

Before Geoff heads out for Cannes, he and Rob sit down with Owen Gleiberman, Chief Film Critic at Variety, to talk about how this year's slate of films is pushing the boundaries of what people expect from the highly influential, but famously traditional festival. The three discuss the impact of bringing Jane Campion's TOP OF THE LAKE and David Lynch's TWIN PEAKS to the festival (3:30), the significance of increasing the number of female filmmakers represented in the lineup (11:25), and why this is such an important festival for Netflix (17:20). They also wonder why there are no major Hollywood studio films in competition this year (23:05), question if worlds of artistic film and popular film are further apart than ever (27:05), and make their extremely premature predictions for this year's Palme d'Or (31:05)

Adnan reviews Silence (3:05), La La Land (15:01), and Fences (19:26) and chats with Oscar nominee Mark Wahlberg (25:25) and esteemed film critic Owen Gleiberman (39:12).

Film critic Owen Gleiberman and Bret Easton Ellis discuss fanboy culture, Carrie, Jonathan Demme and criticism functioning as marketing.

Jake Hampton and Chad Durham discuss Chad's self-made "actor spectrum," which aims to put representative actors and actresses from Hollywood on a timeline that moves from less talented to most talented. Jake adds his two cents on Chad's miscalculations and suggests other actors and actresses that would fit on the spectrum. Also, they discuss Knight of Cups, Whiskey Tango Foxtrot, the Looking movie on HBO, and Owen Gleiberman's memoir Movie Freak. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/chad-durham8/support

OWEN GLEIBERMAN podcast excerpt: "When I first saw 'Spotlight,' I was, 'Yeah, this is great! It's feeding my nostalgia for 'All The President's Men'! It's about when newspapers mattered!' It touched all of my key passion points. But the more I thought about it, I thought it was a good move, but it wasn't great. And I did watch it a second time; if anything, it looked a little less good. The major characters could have been developed more; it's not All The President's Men."Key interview moments:• 8:30 Owen Gleiberman talks about the impact of scary, horrific movies on the souls of 12-year-old children (himself included);• 29:30 Legendary film critic Pauline Kael was an early supporter of Gleiberman's -- she recommended him for the job at 'Entertainment Weekly' -- but she was not an enduring friend to those who disagreed with her film criticism;• 54:00 "Spotlight" was a good movie, he says, but it didn't hold up upon repeat viewing.Subscribe to Mr. Media for FREE on YouTube: http://www.youtube.com/subscription_center?add_user=MrMediaRadioFor more interviews like this one: http://www.MrMedia.com What is Mr. Media® Interviews? The calm of Charlie Rose, the curiosity of Terry Gross and the unpredictability of Howard Stern! Since February 2007, more than 1,000 exclusive Hollywood, celebrity, pop culture video and audio comedy podcast interviews by Mr. Media®, a.k.a., Bob Andelman, with newsmakers in TV, radio, movies, music, magazines, newspapers, books, websites, social media, politics, sports, graphic novels, and comics! Twitter: http://www.twitter.com/andelmanFacebook: http://www.facebook.com/MrMediaRadio

Film critic Owen Gleiberman visits The Treatment to discuss his roots in film analysis as movies helped him feel "connected" during childhood. He explains this and more in his new book Movie Freak.

Today's Guest: Owen Gleiberman, author, Movie Freak: My Life Watching Movies, film critic, BBC.com, Entertainment Weekly, Boston Phoenix   Watch this exclusive Mr. Media interview with Owen Gleiberman by clicking on the video player above!  Mr. Media is recorded live before a studio audience full of movie fans who agree with me that The Hollywood Knights is the most underrated movie of the last 40 years and that Robert Wuhl deserves the Kennedy Honors… in the NEW new media capital of the world… St. Petersburg, Florida! If you thought that Straight Outta Compton was an at times brutal account of the entertainment business, ready yourself for the all-out brawl that is Owen Gleiberman vs. Pauline Kael and Her Acolytes. Okay, I’m kidding. Mostly. OWEN GLEIBERMAN podcast excerpt: "As a college kid, I was intimidated to be around Pauline Kael, this writer that I admired. She had a personality that was domineering. From the moment I was first talking to her, I felt pressure to agree with her. She was incredibly insinuating. She gave you a sense that she believed completely and had a kind of contempt for what anyone else would think." You can LISTEN to this interview with former ENTERTAINMENT WEEKLY film critic OWEN GLEIBERMAN, author of MOVIE FREAK: MY LIFE WATCHING MOVIES, by clicking the audio player above! Movie Freak: My Life Watching Movies is a compelling memoir of an accidental movie critic, a young man who discovered comfort in dark theaters as a boy and never left it even as an adult. What struck me about Movie Freak was the parallel between Gleiberman’s film experiences from adolescence on to high school and into college—and my own. Part of that is our similarity in age; part is having had the good luck to be mentored and steered at critical times in our early careers. As I was reading the book, I kept telling my wife, “Replace Michigan (where Gleiberman grew up) with New Jersey and University of Michigan with University of Miami and this might as well be my life through being a freshman in college.” To which my wife would shrug, roll her eyes, and return to “Top Chef.” OWEN GLEIBERMAN podcast excerpt: "When you're at a certain age, horror can certainly scare the the sh!t out of you. There are probably 12-year-olds that sneak in to see 'Saw 4' and I can't imagine what that does to them--probably something far worse than 'Rosemary's Baby' or 'The Boston Strangler' did to me. In hindsight, the films I saw at the drive-in with my parents might have been pretty extreme but there was a certain humanity to them. It was less about the gore." Gleiberman is best known to film fans as the first film critic at a little magazine named Entertainment Weekly, a position he held for more than two decades – even though he trashed Pretty Woman. Not that I loved it either, but I wasn’t in a position to influence millions, just tens. I especially loved the backstage editorial anecdotes and sniping he shares from his time at the predominant entertainment zine in the country. The book also doesn’t shy from revealing the author’s porn addiction in college, love of cocaine as a young adult, and – for many years – his inability to commit to any woman for longer than six months. By the way, you gotta respect a man who admits his job ain’t exactly tough. Key interview moments: • 8:30  Owen Gleiberman talks about the impact of scary, horrific movies on the souls of 12-year-old children (himself included); • 29:30 Legendary film critic Pauline Kael was an early supporter of Gleiberman's -- she recommended him for the job at 'Entertainment Weekly' -- but she was not an enduring friend to those who disagreed with her film criticism; • 54:00 Spotlight was a good movie, he says, but it didn't hold up upon repeat viewing. Owen Gleiberman Facebook • Twitter • LinkedIn • EW archive • IMDB • Rotten Tomatoes • Goodreads • ...

Martha Frankel’s guests this week are Barney Hoskyns, Tracey Helton Mitchell and Owen Gleiberman. They will be appearing as panelists at the Woodstock Writers Festival April 7-10, 2016.

Erin and Paul review two comedy-dramas set in Hawaii: Cameron Crowe's 2015 flop ALOHA, starring Bradley Cooper; and Alexander Payne's 2011 Oscar-winner THE DESCENDANTS, starring George Clooney. Plus: our quick takes on GODS OF EGYPT, ZOOTOPIA, THE BATTERED BASTARDS OF BASEBALL, MARINA ABRAMOVIC: THE ARTIST IS PRESENT, A.O. Scott's BETTER LIVING THROUGH CRITICISM, and Owen Gleiberman's MOVIE FREAK.

Hey Kiddo,  Your Uncle Noah loves you.  Thanks for stopping by! Tonight, we're reading from Entertainment Weekly Issue #1289.  It's the Ultimate Best Of 2013 list issue!  Plus, a black kid calls your uncle Noah a Honky this week.  No lie!