Podcasts about reel rap

It’s that time again, a new season is here. Lend us your shitty little ears for the premiere of Season 8: Mario Van Melvin. This exploration of Mario and Melvin Van Peebles will once again find your hosts discussing a range of genres and exploring the myriad sins and shortcomings of Hollywood gatekeeping. Episode 1 focuses on the lone co-directorial effort from one of cinema’s few father-son directing pairs: Gang in Blue. It’s an ultra-timely story of police brutality and systemic racism, featuring white supremacist antics that look all too familiar in 2020. The boys welcome Danny Benson of the Not So Macho Fans podcast who offers an overview of the elder Van Peebles’ career as well as his thoughts on this intermittently thrilling made-for-tv drama. Reel Rap Recommends A.) a film from the same year as the film discussed on micB.) a film featuring one of the same actors as the film discussed on micC.) a film that’s connected to the film discussed on mic in some other wayA.) Scream (1996, dir. Wes Craven)It might be my favorite horror movie. You don’t like it? Well I guess you don’t like thrills, spills, and chills. All of the sequels are good too. B.) Nixon (1995, dir. Oliver Stone) ft. J.T. WalshFolks, it’s a goddamned shame that we’re being subjected to Adam McKay’s bullshit while Oliver Stone is still with us. Nixon is one of those three-hour-plus movies that I could watch every day.C.) The Wolf of Wall Street (2013, dir. Martin Scorsese) ft. a reference to GrenadaOne of the lawyers prosecuting Jordan Belfort refers to him as “a Grenada.” He means that Belfort doesn’t stand a chance in court. The same actor shows up in The Irishman and The Trial of the Chicago 7. Besides maybe the guy from Burn Notice, I don’t think there’s ever been someone with a more insufferable face. In WoWS, it’s nearly (but not quite) enough to make you root for Belfort. Annotations and ApologiesEternal apologies to Danny for getting the name of his podcast wrong. Bennett used the term “neck-bearded” to describe the roving bands of white trash who “defended” Fishtown back in June. This was not only inaccurate, but completely insulting to all of the fine neck-bearded people in Philadelphia and across this country.Meanwhile . . . On the latest Patreon-exclusive episode, the boys discuss Kelly Reichardt’s 2013 masterpiece Night Moves. Give the Gift of Reel Rap Why not share Reel Rap with the Reelheads in your life?Become a ReelheadWhat are you waiting for? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelrap.substack.com

A Brief History of Reel Rap Shane and Bennett started Reel Rap in the summer of 2017. Bennett became a professional podcaster and a “Chicken Guy” at the local supermarket on the same day. In Boston, Shane was growing mushrooms in his apartment and was oft mistaken for a mentally ill escapee of the local hospital, moonlighting as a barback at an upscale hotel bar.Reel Rap has its origins in the middlebrow fare that most filmgoers have forgotten. Bennett and Shane have shared formative film experiences, but they haven’t centered on blockbusters and big hits. On the big screen (the Silver), the boys have paid to see slop like The Descendants and nodded politely side by side. On the small screen (the silver), they’ve idly yipped and hollered through all manner of would-be Oscar bait and mid-budget action movies.The first season found the boys working in familiar middlebrow territory. A fascination with How the Grinch Stole Christmas (2000) led to their snout-to-tail look at the career of Ron Howard and stretched over more than a year. After focusing on Hollywood’s nicest guy, they pivoted with a season on one of its absolute worst. Mel Gibson provided the perfect opportunity to settle on a theme. After all, he represents the actor-turned-director at their most grandiose. Actors-turned-directors (more on them below) have provided Reel Rap with opportunities to discuss some of Hollywood’s biggest Ls as well as their own personal shortcomings. They’ve also discussed some of the great works of American independent cinema, some foreign gems, and even the rare transcendent Hollywood effort. To recap, here’s where the boys have tracked their mud-soaked galoshes: Season 1: Screwball Right Down the Middle of the Plate: The Films of Ron HowardSeason 2: God’s Angry, Racist Man: Mel Gibson the DirectorSeason 3: Cassavetes v. CassavetesSeason 4: A Chip on His Shoulder and a Song in His Heart: Jon Favreau’s HollywoodSeason 5: A Rich Diet: Sofia Coppola’s Substantive StyleSeason 6: Nichols & May & Reel & Rap Season 7: Pardon My French! It’s the Complete Works of Jacques Tati!That’s not including one-offs, holiday specials, and other miscellaneous episodes.Today, Shane rarely watches movies and Bennett only watches movies. It’s a match made in hog heaven. They’ve covered good movies (Symbiopsychotaxiplasm: Take One, A Star is Born, the works of John Cassavetes and Sofia Coppola), they’ve covered bad movies (The Grinch, The Dilemma, the works of Nick Cassavetes), but mostly they’ve covered anonymous movies. Some of the best episodes of Reel Rap episodes focus on movies that no one has thought about — let alone discussed at length — in years or decades. Subscribing to Reel Rap is an opportunity to hear the definitive conversations on films like Ransom, Charlie Wilson’s War, and The Man Without a Face. Hit the button above to hear the latest episode of Reel Rap. This time around, the boys provide a quick overview of their shared history and reflect on the show’s past, present, and future.A Poem for Reel HeadsBy ShaneGrand theft and the heat’s on, mayorsAnd Everyone showing their assTom Cruise too. Washed up before he’s in the wash tubNo weeping for Willow, and Gung Ho to thoseWho narrowly adored Howard’s ransom, over our heartsThere is no evidence of survivors, drafts of backdraft hopelessly hopefullyBurned. His studio imagines and breathes moneyed breaths in its chrysalisParenthood is anything but easy, splashes of mermaid’s wake on our Cocoon. EDtv, woah, who me? Im not a cinderella man, I’m a cinderella, man.  brave old heart, fuck you. I have no mind not beautiful unwise. Mel Gibson freedom, The missing. Missing out and strike anywhere matches on the lipOf poor Glenn Close's Paper. No code but Da Vinci’s for the man without a faceWho steals his passion from Christ. We never knew what happened on hack ridgeProbably where they make mince meat out of a guy who looks like Jesus.Angels and Aliens re-addressed their longstanding beef with cowboys and demons.Who’s frankenstein? OUR FRANKENSTEIN! Call me Ishtar’s monster, Five cent mike with none of the early sense that made him a primary colorWho’s afraid of a woman under the influence? Tom hanks, if I hazard a guess.Yellow does not run in this parade. Willow still weeps thought the water diviner creepsSomewhere I’m sure. A missing ransom that got lost in translation in a Chinese bookie’s car factory, here lies a far and away dream of licking a star. You were supposed to die at the bookie’s house, but you didn’t. You are amazing. Zathura’s birdcage shakes. Its your big day. And shadows of my uncle as he curled threats like husbands at our faces. Playtime, he called it. We knew he would be on holiday, and maybe for good. We’d commit to a sisterly suicide for our little christ and this pitiful alter serves less as a notebook and more as an Apollo, built with twigs and bound to guidance by brotherly voices. You are my man of iron, twice. On new leaves this elf found neverFound that nostalgic green in the heart of the sea, or in another woman. Queen Marie Would be without her beguiled chef who, wolflike, careened through a hospital lobby, looking for a new heart to break in traffic. Past interviews, beyond the satellite of blood beverages and apologies. The vampire doctor will see you now. Rescheduled for sinai. The test audience hates it, and here it is in two stoned tablets the Irish warrior finally shouted along with the country:Symbolic psychos like Mr. Sophistication rode the last taxi out into plasmatic sanguine sunsetAnd just before the credits became shadows and special thanks and all curtains,A skywriter in debt on borrowed time cashed in amidst the cosmos to sing one last time to no one in particular“That’s a Reel Rap!”What’s a Reel Head?For the Reel Head, cinema is a buffet (pronounced boo-fay) that can only give you diarrhea of the mouth. Reel heads gorge themselves at this buffet like a pig at the trough. It’s all slops, in a good way. If you miss getting pretzel nuggets before a 10:00AM matinee, you might be a Reel Head. If you’ve got Criterion discs behind lock and key, you might be a Reel Head. If your neckbeard has a neckbeard, you might be a Reel Head.Reel Head Viewing ListWhat are a Reel Head’s favorite flicks? Buddy, I’m glad you asked. Excluding the films they’ve covered on-mic, here are just a few that the boys would recommend to any would-be Reel Head: Archipelago (Joanna Hogg, 2010)Certain Women (Kelly Reichardt, 2016) Miami Vice (Michael Mann, 2006)Monterey Pop (D.A. Pennebaker, 1968)Ordet (Carl Theodore Dreyer, 1955) Safe (Todd Haynes, 1995)Sherman’s March (Ross McElwee, 1985)Sink or Swim (Su Friedrich, 1990)Toni Erdmann (Maren Ade, 2016)Maidstone (Norman Mailer, 1970)Why Actors-Turned-Directors?No character in Hollywood is more interesting than the actor who decides to direct. For some, the career change comes when roles dry up. For many others, however, it’s not a retreat but a bold, even hubristic, step in a new direction. If you’ll forgive me, I think Reel Rap’s own co-host Bennett said it best:The beret and jodhpurs confer entry into a new, higher sphere, the Pantheon of Keaton and Chaplin. The role of director validates the actor’s every pretension and, for many, provides an opportunity to affirm (or, more often, reaffirm) for the entire world just how hot and multi-talented they are.Did Bradley Cooper have to lower his voice, learn an instrument, and write his own songs to make A Star is Born? Of course he did, for the same reason he had to open a scene with a shot of his own bare ass. He’s an actor-turned-director and that’s what they do. 3 Reasons to Subscribe to Reel Rap The hosts have a genuine rapport: Bennett and Shane met in a high school gym class. Their relationship was incubated in a world of towel slinging and ass slaps. It began in earnest years later, feeding on new insecurities and giving birth to bit after bit. Listening to Reel Rap is like watching a blind-drunk Jackson Pollock at work, or like living inside the moment where Rip Torn swung a hammer at Norman Mailer for an hour or so every week. Shane and Bennett meld the high and low: Reel Rap Season 3 juxtaposed the transcendent films of John Cassavetes with the work of his beefy son Nick. John’s work practically invented American independent cinema as we know it, Nick’s is a strange blend of the maudlin and the hyper-masculine. The episodes covering both directors provide a picture of Reel Rap in microcosm, it’s a mix of high and low, a show with its nose pointed toward the trough and its eyes pointed toward the stars. Reel Rap’s hosts are a lot like Shrek. They wear crappy little vests and they’ve got layers. You’ll get into heaven: Shane promised indulgences duringReel Rap’s episode on The Da Vinci Code. That wasn’t some empty cash grab. Subscribing to Reel Rap’s Patreon at the $10/month level will earn you an indulgence and a spot behind those Pearly-ass Gates.Meet the HostsShane is an actor and writer living in Austin, Texas. He does 99.9% of Reel Rap’s behind-the-scenes work. At 12, he chopped his toe off with an axe while splitting wood barefoot at his home in Yardley, Pennsylvania. His first book of poetry Sliding into First is slated for release in January 2022. His influences include Norman Mailer, Francis Scott Key and Marianne Moore.Bennett coined the phrase “my man” and is an authority, perhaps the preeminent one, on “shitboy cinema.” He once swallowed over a pound of sunflower seed shells in one sitting. It required two surgeries over four days to remove them and, even still, he had to pass a bunch of shells the old-fashioned way for several days afterward. His favorite directors include Terence Davies, Joanna Hogg, and Tobe Hooper. How to Become a Reel Head Want to realize your lifelong dreams of becoming a reel head? You’re in luck, it’s easy!1. Subscribe to the Reel Rap Hit subscribe and you’ll get each of our free episodes delivered directly to your mailbox. You’ll also get essays, lists, poems, one-liners, and other such crap from the internet’s preeminent prize pigs. 2. Become a PatronWant more Reel Rap content? Become a Patreon subscriber for extra posts and musings from the greasiest, sweatiest hosts you know. 3. Read Shane and Bennett on the World Wide WebIn addition to the occasional Reel Rap special, Split Tooth Media continues to share essays from both Reel Rap hosts. Stay tuned for Bennett’s upcoming piece on the “wife guy” in Eric Rohmer’s Moral Tales. Reel Rap subscribers may even get an early look at upcoming essays and interviews. 4. Follow the Boys on Letterboxd and TwitterReel RapLetterboxd: https://letterboxd.com/reelrap/Twitter: @ReelRapPodcastShane Letterboxd: https://letterboxd.com/slake4/Twitter: @OvasenyaseBennettLetterboxd: https://letterboxd.com/B_Glace/Twitter: @FilmPilled5. Tell Your FriendsIf Reel Rap is about anything, it’s about sharing. In that spirit, why not share Reel Rap with friends who like good films, bad vibes, Hollywood gossip, and indie charm? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit reelrap.substack.com

The Reel Rap boys are howling into the mics this time around as they discuss Mike Nichols’ baffling 'Wolf.' I know what you’re thinking, “Jack Nicholson going wolf-mode?” That’s gotta be good!” Think again, buddy! Sometimes a movie’s cast, crew, and premise are just too good to be true. That’s definitely the case with 1994’s Wolf. The film not only promises lycanthropic, Tex Avery antics from Jack Nicholson and James Spader, but features a Michelle Pfeiffer performance, an Ennio Morricone score, sets from Academy Award winner Bo Welch, and uncredited rewrites from the one and only Elaine May. Somehow, all these great chefs cook up a pretty dismal pot of bisque. Instead of subjecting yourself to Wolf, listen to Shane and Bennett discuss Jack Nicholson’s lackadaisical run, Rick Baker’s worst stab at creature effects, and the several eras of James Spader’s career.

Mary Shelley’s Frankenstein is too wonderful for words, a movie that perfectly encapsulates the unique appeal of an “actor-turned-director.” You probably think of Victor Frankenstein as a mad scientist. Kenneth Branagh is capable of reading more deeply. He recognized that Dr. Frankenstein, while mad, was also always half nude. Come rain, shine, blood, or amniotic fluid, Branagh’s Victor Frankenstein is stripped to the waist and soaked to the gills. In the first of two creepy, scary October Reel Raps, Bennett and Shane discuss Tom Hulce’s slide into obscurity, the thrills of belligerent academia, and the acceptable level of gothness. They don’t often recommend the movies they discuss, but this one is definitely a must-see.

Reel Rap is back in the business of making sense of the film landscape. We might not mention a single movie in this episode, which is a big relief to some of you, I know. The voicemail line is always open and we are standing by!

Reel Rap returns to address the protests going on around the globe and discuss William Greaves’ experimental documentary 'Symbiopsychotaxiplasm: Take One.' One time, during a job interview, Bennett said it was his favorite movie and had to try to explain the “plot.” He didn’t get the job! That’s just one of the wacky anecdotes shared on this week’s Reel Rap.

It’s goodbye for real this time as the boys discuss the controversial animated film that began life as a script by Jacques Tati. American critics generally welcomed Sylvain Chomet’s The Illusionist in 2010. Based on a script by Tati and featuring his likeness, the film earned an Academy Award nomination, several Annie Award nominations and, best of all, a Golden Globe nomination. Purists and members of Tati’s family were decidedly less fond of the film. Jonathan Rosenbaum and Roger Ebert both received emails from one of Tati’s grandchildren calling The Illusionist an affront to his legacy and “a sabotage” of his original script. Tune in to this week’s Reel Rap to hear Shane and Bennett discuss that legacy, wonder aloud about that original script and express mixed feelings about Chomet’s film.

Jacques Tati's final feature, Parade, gets the classic Reel Rap side-eye on this week’s episode. Shane and Bennett aren’t the only clowns on this week’s Reel Rap. For his final feature, Jacques Tati focuses on a Stockholm circus and dusts off the pantomime routines that made him famous. Listen in to hear the boys discuss the Cirque du Soleil industrial complex, three card monty schemes and that episode of 'King of the Hill' where Bobby joins the rodeo.

Bennett and Shane say goodbye to Monsieur Hulot and discuss Jacques Tati’s penultimate film, 'Trafic.' Trafic is often considered one of the great director’s “minor” works. While it’s definitely not PlayTime, the Reel Rap boys find a lot to love in his penultimate film. Does the film validate Bennett’s fear of driving? Is Shane a certified gearhead? You’ll have to listen to find out! Original Reel Rap theme music by John Lettieri.

Shane and Bennett discusses Jacques Tati’s masterpiece, 'PlayTime,' one of the most ambitious and excellent films ever made. This week, it’s down to brass tacks as Reel Rap explores a film that’s overwhelming in every sense. 'PlayTime' (1967) may have disappointed contemporary audiences and landed Jacques Tati in director jail, but history has more than vindicated it. The boys try not to drag its fine name through the muck as they discuss shallow cultural experiences, tactile comedy and the value of good ol’ American loudmouths. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap. Reel Rap's theme song is composed by John Lettieri.

In 1959, 'Mon Oncle' won the Academy Award for Best Foreign Language Film. A few days ago, it won Shane and Bennett’s hearts. With their first episode recorded in quarantine, listen in as the head Reelheads discuss neoliberal architecture, unclehood and one of the best comedies they’ve ever seen. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Bennett and Shane discuss Jacques Tati’s debut feature, Jour de Fête, in the latest Reel Rap. Recorded more than two weeks ago, the latest episode of Reel Rap takes us back to simpler, pre-quarantine times. Bennett opens with perhaps the best joke of his life and it’s all uphill from there! With Jacques Tati’s Jour de Fête (The Big Day) in the hot seat, your hosts discuss the three deadly sins of men’s fashion and, once again, marvel at Tati’s detailed physical comedy.

Legendary French comic Jacques Tati takes the hot seat for Reel Rap's first season on an international actor-turned-director. In the Season 7 premiere, the Reel Rap boys are sending good vibes your way. Sick of living in a DeLillo novel? Listen to Shane and Bennett discuss legendary French funnyman Jacques Tati and his signature brand of whimsy. This week, they’re slathering on the zinc oxide and pouring up a hot white wine to talk Monsieur Hulot’s Holiday. The film, Tati’s second feature, introduced the director to a wider audience and welcomed his signature character into the world. The boys break down Tati’s intricate gag construction and the hard work that goes into relaxing. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

For Reel Rap Season 7 Shane P. and Bennett G. cross international waters to discuss the film's of one of the most important comedic figures in film history. Who is this illustrious actor-turned-director, you ask? Listen in for the reveal, and to find out what masterpiece Bennett plans to watch on his phone. New episodes begin Friday, March 27. Featuring music by Dana Boule. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

After wrapping up Season 6 on Elaine May and Mike Nichols, Reel Rap moves to Russell Crowe's lone directorial effort. In 'The Water Diviner' Crowe plays a semi-mystic farmer who searches the stereotyped streets of Turkey for his three sons who are missing after the Battle of Gallipoli. In this episode Shane eats banana bread, Bennett demonstrates his Australian accent and shares how The Simpsons and Mary-Kate and Ashley informed Reel Rap's sense of Australian history. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Ryan McCloskey returns to the Reel Rap studio to talk Charlie Wilson's War, Mike Nichols' 2007 collaboration with Aaron Sorkin. Our hosts pull very few punches on Nichols' final film, pointing out crucial mistakes in casting and how much the film resembles a Ron Howard movie. And, of course, they squeeze in some of Bennett's beloved Oscars talk. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Shane and Bennett give three cheers for the red, white and blue on Nichols' underwhelming political late-Nineties comedy. This week's Reel Rap looks back at Mike Nichols’ 1998 feature 'Primary Colors.' Shane and Bennett find little of value in the folksy rendering of the American electoral landscape. Shane shares his Kathy Bates story, Bennett measures the value of John Travolta and they express disappointment that this film, penned by Elaine May, was better received than Ishtar (1987). A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Reel Rap is taking a break from Elaine May and Mike Nichols to discuss their favorite films of the 2010s, and, most importantly, to point out how great their taste is. Bennett selects 11 inscrutable films that he couldn't shake, films that introduced him to new favorite filmmakers and made him invest in the people's careers who made them. Shane, with his admittedly small sample of films seen last decade, picks the movies that embedded themselves in his head for years and forged a permanent place in his life. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

After an extended stretch through Elaine May's filmography, Reel Rap jumps back to Mike Nichols' films with 1996's The Birdcage. With an Elaine May-written screenplay, the comedy features Robin Williams and Nathan Lane as a gay couple pretending to play straight when Williams' son brings his fiancee's family to meet them. Bennett also talks smoking cigarettes off the ground and ponders if John Travolta is the worst actor in the world. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

"Telling the truth can be dangerous business/ Honest and popular don't go hand-in-hand." Shane and Bennett do a lot of truth-telling in their examination of Elaine May's Ishtar famously misunderstood comedy. They express great admiration for the film and relate heavily to Rogers and Clarke — Warren Beatty and Dustin Hoffman's bumbling singer/songwriter characters — even trying their hand at crafting their own pop tunes and singing a few Rogers/Clarke standards. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Ancient daggers, inexplicable dream logic and the scariest sound of all — Shane’s impression of a burping crow. Reel Rap stands divided on this 1973 experimental blaxploitation vampire film and reflects on a letter from director Bill Gunn to white critics about how black art is received by mainstream media. Links: https://www.nytimes.com/1973/05/13/archives/to-be-a-black-artist-a-black-artist-.html https://www.austinfilm.org/2018/07/bill-gunns-holy-grail-of-film-personal-problems-presented-in-2-parts/

Reel Rap makes its triumphant return to the films of Sofia Coppola. After taking a short break for Split Tooth Media‘s 31 Days of October Horror series, Shane and Bennett resume their deep dive into Sofia Coppola’s filmography. Episode 4 covers 2010’s Somewhere, her subdued follow-up to the critically maligned Marie Antoinette (2006). They also share stories about bad bar experiences and discuss the gossip surrounding Benicio del Toro’s elevator cameo.

Reel Rap concludes their journey through the filmography of Sofia Coppola In the finale of Reel Rap’s season devoted to Sofia Coppola, Shane and Bennett discuss her 2017 remake of the Civil War drama ‘The Beguiled.’ The film tells the story of a wounded Union soldier (Colin Farrell) being taken in by a group of women (including Nicole Kidman, Kirsten Dunst and Elle Fanning) in a boarding school. They also give their final rankings of Coppola’s filmography.

In the freshly reupholstered hot seat for Reel Rap Season 6: Elaine May and Mike Nichols Legendary comedy-duo-turned-filmmakers Elaine May and Mike Nichols are the subject of the sixth season of Reel Rap. Shane and Bennett kick things off with Nichol’s directorial debut, Who’s Afraid of Virginia Woolf? Adapted from Edward Albee’s hit 1962 play, Nichols’ sharp-tongued, star-studded 1966 film lets the booze flow and the insults fly between Elizabeth Taylor, Richard Burton, George Segal and Sandy Dennis. Shane and Bennett also share their favorite insults in the film, discuss how cleaning products have evolved and relive the craziest tears they’ve gone on.

Elaine May’s second film is another relationship comedy that fires on all cylinders Charles Grodin, Jeannie Berlin and Cybill Shepherd star in Elaine May’s second film — an all-time-great comedy — The Heartbreak Kid. In this episode Bennett also reveals the official Reel Rap opinion of Alec Baldwin and they debate the prospect of swallowing chewing gum.

Shane and Bennett discuss Elaine May’s masterpiece John Cassavetes and Peter Falk star in May’s 1976 film that reflects the chaotic nature of life and teaches about film in a way that no class or textbook could ever convey. Bennett and Shane declare Mikey and Nicky one of the best films ever made and May an unrivaled genius — a far cry from previous Reel Rap films and directors. They also discuss smoking on trains, belt hygiene and drinking out of tiny glasses. "TV sucks. Movies mostly suck. Write from the heart and don’t take a writing class" — Shane

Reel Rap revisits the film that provided Nichols his only Oscar win for Best Director Everyone’s favorite sophomoric philosophers tackle Mike Nichols’ best-known, Oscar winning effort with 1967’s The Graduate. Along with special guest Ryan McClosky, Shane and Bennett discuss how their appreciation for the film has shifted through the years and how the leads —Dustin Hoffman, Anne Bancroft and Katharine Ross — and various side characters read differently more than 50 years later.

Reel Rap welcomes you to 2020, the year we are existing in! We have compiled a best of the pre-Split Tooth Cassavetes and Cassavetes series focusing on the disparate films from John Cassavetes and Nick Cassavetes. We appreciate you listening, laughing with us and supporting us, and we will resume Season 6 on Elaine May and Mike Nichols shortly. Enjoy this look at the highs and lows of our Cassavetes and Cassavetes episodes, and find more past episodes on Soundcloud. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

John Cassavetes and Peter Falk star in May's 1976 film that reflects the chaotic nature of life and teaches about film in a way that no class or textbook could ever convey. Bennett and Shane declare Mikey and Nicky one of the best films ever made and May an unrivaled genius — a far cry from previous Reel Rap films and directors. They also discuss smoking on a train, belt hygiene and drinking out of tiny glasses. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Elaine May's second film is another relationship comedy that fires on all cylinders. Charles Grodin, Jeannie Berlin and Cybill Shepherd star in Elaine May's second film — an all-time-great comedy — The Heartbreak Kid. In this episode Bennett also reveals the official Reel Rap opinion of Alec Baldwin and they debate the prospect of swallowing chewing gum. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Shane and Bennett discuss the third most important event of 2001, Bill Paxton’s directorial debut in Frailty When similar murders to “The God’s Hand Killer” begin again, Adam (Matthew McConaughey) recalls his childhood with his father (Bill Paxton) who claimed to be killing demons in order to prevent Judgement Day. But when Adam’s brother, Fenton (Levi Kreis), also begins seeing the demons, new questions arise. Reel Rap dives into this thriller that blends wholesomeness and religious extremism with a dash of humor. Shane also tells the story of how he cut off a toe as a teenager.

Reel Rap pivots to Elaine May's filmography in this week's episode. May stars in her 1971 directorial debut, A New Leaf, alongside Walter Matthau in the high-society comedy about a rich man who goes broke and decides the quickest way to rebuild his fortune is marry a rich woman (May) and kill her. Shane and Bennett marvel at May's near-perfect comedic timing on script and screen, the film's ability to bounce between beats and how quickly May and Nichols both became technically advanced directors. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Everyone's favorite sophomoric philosophers tackle Mike Nichols' best-known, Oscar winning effort with 1967's The Graduate. Along with special guest Ryan McClosky, Shane and Bennett discuss how their appreciation for the film has shifted through the years and how the leads —Dustin Hoffman, Anne Bancroft and Katharine Ross — and various side characters read differently more than 50 years later. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Actor Charles Laughton’s first and only directorial effort, The Night of the Hunter (1955), follows a mysterious preacher with “LOVE” and “HATE” knuckle tattoos on the hunt for $10,000 hidden in a little girl’s doll. Reel Rap puts on their best southern accents to dig into the strange Gothic fantasia and rate the Bible an 8 out of 10. Also in this episode: smelling salts, reviews of weird and peculiar film reviews and an ice cream-serving family named the Spoons.

Legendary comedy-duo-turned-filmmakers Elaine May and Mike Nichols are the subject of the sixth season of Reel Rap. Shane and Bennett kick things off with Nichol's directorial debut, Who's Afraid of Virginia Woolf? Adapted from Edward Albee's hit 1962 play, Nichols' sharp-tongued, star-studded 1966 film lets the booze flow and the insults fly between Elizabeth Taylor, Richard Burton, George Segal and Sandy Dennis. Shane and Bennett also share their favorite insults in the film, discuss how cleaning products have evolved and relive the craziest tears they've gone on. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

After taking a short break for Split Tooth Media's 31 Days of October Horror series, Shane and Bennett resume their deep dive into Sofia Coppola's filmography. Episode 4 covers 2010's Somewhere, her subdued follow-up to the critically maligned Marie Antoinette (2006). They also share stories about bad bar experiences and discuss the gossip surrounding Benicio del Toro's elevator cameo. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

After a brief break for Split Tooth Media's 31 Days of October Horror series, Shane and Bennett are back in top form to continue talking through Sofia Coppola's filmography. In this episode they discuss the Civil War drama of a wounded Union soldier (Colin Farrell) being taken in by a group of women (including Nicole Kidman, Kirsten Dunst and Elle Fanning) in a boarding school in what Bennett calls a high-brow horny film. They also talk about the satisfaction of slamming shades shut, the possible Cassavetes housing connection and the incredible performances turned in by the entire cast. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Ancient daggers, inexplicable dream logic and the scariest sound of all — Shane's impression of a burping crow. Reel Rap stands divided on this 1973 experimental blaxploitation vampire film and reflects on a letter from director Bill Gunn to white critics about how black art is received by mainstream media. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

A crossover episode with Reel Rap host Shane Pfender ends the only way it possibly could — in a podcast feud. A heavy-set man is cursed to grow forever thinner after he runs over a Gypsy man's daughter. Cinesthesia hosts Jason and Jim trek through Richard Bachman's horny portrayal of cosmic revenge in what Jason calls the King film that comes closest to encapsulating the feeling of reading a trashy paperback. Reel Rap host Shane Pfender guest stars and deems Jason and Jim's eyeballs are unhealthy after 24 days of Stephen King films. Join a filmmaker (and sometimes film teacher) and a film teacher (and sometimes filmmaker) as they venture into the dark heart of their own befuddled relationship to culture, the youth, the internet, friendship, love, hate, time, space and, of course: *m*o*v*i*e*s*. Come hear what we see.

Shane and Bennett discuss the third most important event of 2001, Bill Paxton's directorial debut in Frailty. When similar murders to "The God's Hand Killer" begin again, Adam (Matthew McConaughey) recalls his childhood with his father (Bill Paxton) who claimed to be killing demons in order to prevent Judgement Day. But when Adam's brother, Fenton, also begins seeing the demons, new questions arise. Reel Rap dives into this thriller that blends wholesomeness and religious extremism with a dash of humor. Shane also tells the story of how he cut off a toe as a teen. A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap.

Reel Rap is taking a break from Sofia Coppola films to jump into Split Tooth's 31 Days of October Horror series. Actor Charles Laughton's first and only directorial effort, Night of the Hunter (1955) follows a mysterious preacher with "LOVE" and "HATE" knuckle tattoos, looking for $10,000 hidden in a little girl's doll. Reel Rap puts on their best southern accents to dig into the strange Gothic fantasia and rate the Bible an 8 out of 10. Also in this episode: smelling salts, reviews of weird and peculiar film reviews and an ice cream-serving family named the Spoons.

Posted on https://www.splittoothmedia.com/reel-rap-lost-in-translation/ on 9/20/19 Most best of the 2000s lists include Lost in Translation (2003), often near the top. The film garnered four Oscar nominations and Sofia Coppola took home the award for Best Original Screenplay. Coppola’s definitive style is on full display in this film and Reel Rap examines the interplay between Bill Murray and Scarlett Johansson and how their secondary relationships help define their characters. In this episode Shane and Bennett also discuss superfluous self-care products, the repulsive act of drinking milk and how our relationships to film change over time.

Reel Rap eats their cake and likes it while talking about Coppola's divisive third film. In this episode they discuss the initial reception to the film's historical inaccuracies, how its style emphasizes the story and Rip Torn's portrayal of a disgusting, decadent monarch. Also in this week's episode, Bennett contemplates quitting his job, Shane talks like a pirate and they argue the value of fireworks.

Most best of the 2000s lists include 'Lost in Translation' (2003), often near the top. The film garnered four Oscar nominations and Sofia Coppola took home the award for Best Original Screenplay. Coppola’s definitive style is on full display in this film and Reel Rap examines the interplay between Bill Murray and Scarlett Johansson and how their secondary relationships help define their characters. In this episode Shane and Bennett also discuss superfluous self-care products, the repulsive act of drinking milk and how our relationships to film change over time.

In the first episode of Reel Rap Season 5, Shane and Bennett discuss Sofia Coppola's directorial debut film, 1999's 'The Virgin Suicides.' They discuss how Coppola's signature style began to make itself known in everything from the costumes and casting, to the acting and its portrayal of youth. Also in this episode, they discuss the perennially underrated Kirsten Dunst, taking pride in work and the how film both employs and deconstructs the male gaze. Coming next week on Reel Rap: Lost In Translation.

A comedy duo straight out of William Penn’s backyard, Bennett Glace, an adult Disney fan, and Shane Pfender, an ordained minister, have for years lent a critical eye to Hollywood’s most tedious auteurs. They are a comedy duo for film snobs and slobs alike. Exhausted by the current uninspired landscape of film criticism, the two work to find a new language with which to understand and interact with the films they cover on their inimitable podcast, Reel Rap. This Fall, Reel Rap is jumping out of the “baby pool” to join the Split Tooth Podcast Network in a landmark merger. Reel Rap will begin weekly new episodes that focus on the works of a single director who has changed the way they view the world. Buckle up for their upcoming season on Razzie-winning actress and Oscar-winning screenwriter Sofia Coppola. In this introductory episode, Split Tooth Media Founder/Editor-in-Chief Craig Wright sits down with Shane and Bennett to discuss how this hilarious and irreverent film podcast began, where it’s headed and why you should not listen to the first 20 episodes. Seriously. We’d like to extend a warm welcome to the newest member of the Split Tooth Podcast Network, Reel Rap.

Inferno Teaser, out later today by Reel Rap

This week on Reel Rap, your two favorite pseudo-intellectuals are taking America's favorite man-children out to f*** ballgame. Vince Vaughn is fully torqued for torque, Kevin James has internal bleeding for 90 seconds, and both of their wives are normal! Pucker up! Thanks to Scott Joplin for the intro song, "Ragtime Dance" found here:http://freemusicarchive.org/music/Scott_Joplin/Piano_Rolls_from_archiveorg/ScottJoplin-RagtimeDance1906 Suggestions for Films: Kustom Kar Kommandos (1965) Young Adult (2011) Tiger Tail in Blue (2012) Foxcatcher (2014)

1. Dad Fashion is BACK! 2. Spelling Bee is getting absurd 3. Who's Listening? 4. 7a What's Trending? 5. Best of the Brazos!! Vote FnK!! 6. Bailing on an RSVP 7. 8a What's Trending 8. National Donut Day 9. Celebrity Stripper Game 10. 9a What's Trending 11. Reel Rap 12. Stories We Almost Missed

1. Dad Fashion is BACK! 2. Spelling Bee is getting absurd 3. Who's Listening? 4. 7a What's Trending? 5. Best of the Brazos!! Vote FnK!! 6. Bailing on an RSVP 7. 8a What's Trending 8. National Donut Day 9. Celebrity Stripper Game 10. 9a What's Trending 11. Reel Rap 12. Stories We Almost Missed

The Brontë sisters fart into the bunsen burner with this latest performance where they discus papacy, dysentery, and piety. We are selling commemorative advent calendars filled with 24 hour energy and cum vitamins (Legalize it) this December. If you're in the mood to throw the proverbial baby out with the proverbial bath water in regard to your social life, tell your friends, relatives and colleagues about Reel Rap! We are in extreme legal hot water with Lisa Marie Presley and need the listeners more than ever! Music by Johann Sebastian Bach. --Shane P, Bennett G, and Jakob.

The boys kill a praying mantis on this week's Reel Rap; and when the boys do it - that means it's not illegal. Gather round the grease trough as Ronnie takes on history's sweatiest war criminal. No more mayors for ol' Ronnie! This time, he's got his sights set on the bozo in the oval. He called it "Rocky for people with a head on their shoulders," so you know the twins have kicked it into high gear for this one. Don't miss the media event of the century. Part one of two.

The truth is out there! Tom Hanks is woefully miscast and the masters of disas[s]ter are dangerously hype on this installment of Reel Rap. For their 18th trip to the rodeo, your two favorite sweat-soaked investigators put "Da Vinci Code" under the electron microscope. You come for the laughs, but you'll stay for the condescending lessons in art history from America's hottest incel.

I heard you like the bad girls Ronnie, is that true? Better than I ever even knew, 4 Academy Awards later, Brian holds me in his big arms, showing me umbrella stars, this is what he thinks of. Watching Russell Crowe fall, in and out of old palls, this is Ron's idea of fun. Play your hollywood games. It's you, it's you, everything we do. I'll tell you all the time, Reel Rap is a place on earth with you. Thank you WFMU and Johnny Nobles Hawaiians for the music.

As Bennett and Shane rest with much to think about, the Reel Rap team presents a letter written to us which describes the experience of listening to Reel Rap and remarks on the podcasts objectives. Wishing you all a loving and happy holiday from the Reel Rap team.

Shane and Bennett G simmer "Gung Ho" into a fine brown demi-glaze on this week's episode of Reel Rap! In this 1986 romp, Hollywood sinks its crooked teeth into culture clashes and cup checks. Norm from Cheers falls into a potato chip display, Annie weighs in for a New York Minute, and Bennett rips nearly as much as he roars.

Reel Rap gives the old Philly side-eye to Ronnie's directorial debut.

Screwball Right Down The Middle of the Plate: The Films of Ron Howard. Shane and Bennett tackle The Grinch for the first episode of Reel Rap. Special Guest Carter weighs in. Bennett coins the term "Sh*tboy Auteur."

Reel Rap is a podcast by Bennett and Shane.