Podcasts about ro 2020 reviews

Over the past decade, Pixar's excelled at building deep existential dilemmas into touching animated feature films. Director Pete Docter (Inside Out, Up), in particular. Docter's known for his skill in blending weighty themes into emotionally charged, yet charmingly joyful, treks through the human psyche. So, it only makes sense that Pixar paired him with Kemp Powers (One Night in Miami) as co-director and co-writer on his passion project Soul.  You'll be pleased to discover that Soul leans into what Pixar's best known for, creating an immersive world of visual and sensory delights woven into a thoughtful and emotional journey.  Teaching, Dream Chasing, and all that Jazz  Joe Gardner (Jamie Foxx) is a jazz musician making his living as a middle school music teacher. Jazz feeds his soul but it doesn't pay his bills. Gardner dreams of performing onstage. But it's starting to look like that's a dream he'll never realize. His mother, Libba (Phylicia Rashad), wants him to accept an offered permanent position teaching and give up on pursuing jazz as a career.  Jamie Foxx voices Joe Gardner in Soul. Photo Credit: Disney/Pixar Just as he's losing hope, a call from Curley (Questlove), a former student leads to an unexpected audition. Gardner secures a spot playing with renown jazz musician Dorothea Williams (Angela Bassett). It's his chance to play at the world-famous Half Note jazz club. On the cusp of realizing his dream, he rushes towards home. One moment of inattention leads to an accident that jettisons him out of his body and on his way to the Great Beyond.   Gardner comes to in his spirit form and, upon realizing he's no longer among the living, refuses to accept his fate.  Refusing to Give Up and Discovering Your Spark The meat of this film encompasses Gardner's attempt to avoid going into the Great Beyond. The visuals for the hereafter, by the way, are startling and more than a touch mesmerizing. The blend of a soft color palette and sharp angles creates a stark contrast to an Earth pulsing with life in such bold color it's almost tangible.  Rachel House voices Terry in Soul. Photo Credit: Disney/Pixar Gardner's escape efforts land him as accidental mentor to a seemingly cynical 22 (Tina Fey), an unborn soul, in the Great Before. As 22's latest mentor, it's Gardner's job to help them discover their spark and earn their pass to a life on Earth. From this point on, expect hilarity, tear-jerking moments, and pithy banter.  Shortcut Back to Earth Gardner just knows his reason for living is jazz. It's hard for him to see his life from any other perspective. Until he's forced to. Inspiring 22 to want to have a life proves a daunting task. But guiding the reluctant soul to their own "spark" is secondary. It only matters as a means to get him a pass back to Earth in time for his gig. Jamie Foxx and Tina Fey voice Joe Gardner and 22 in Soul. Photo Credit: Disney/Pixar And this is where Soul really finds its footing (and will lose a bit of ground with some). Watching as this pair blunder their way through life's turns, is both hilarious and ironically enlightening.  Throughout, a non-corporeal Joe is still distinctly himself. He's also still self-involved in a way that's well past obsessive. The bedrock conviction that jazz is his life blinds him to the fact he's not really been living. A never-been-born 22's convinced they've seen enough of life to skip it altogether. What each discovers, about themselves, and each other, along the way highlights how very easy it is to miss the point of it all.  Revelations occur naturally in this world through secondary characters that work to build a version of life in New York that practically screams the creators love at every turn. Jamie Foxx and Tina Fey's chemistry makes for a captivating duo navigating the highs and lows of Gardner's life. The secondary characters are also well developed story essentials that add their own flavor and color to the action.

Over the past decade, Pixar's excelled at building deep existential dilemmas into touching animated feature films. Director Pete Docter (Inside Out, Up), in particular. Docter's known for his skill in blending weighty themes into emotionally charged, yet charmingly joyful, treks through the human psyche. So, it only makes sense that Pixar paired him with Kemp Powers (One Night in Miami) as co-director and co-writer on his passion project Soul.  You'll be pleased to discover that Soul leans into what Pixar's best known for, creating an immersive world of visual and sensory delights woven into a thoughtful and emotional journey.  Teaching, Dream Chasing, and all that Jazz  Joe Gardner (Jamie Foxx) is a jazz musician making his living as a middle school music teacher. Jazz feeds his soul but it doesn't pay his bills. Gardner dreams of performing onstage. But it's starting to look like that's a dream he'll never realize. His mother, Libba (Phylicia Rashad), wants him to accept an offered permanent position teaching and give up on pursuing jazz as a career.  Jamie Foxx voices Joe Gardner in Soul. Photo Credit: Disney/Pixar Just as he's losing hope, a call from Curley (Questlove), a former student leads to an unexpected audition. Gardner secures a spot playing with renown jazz musician Dorothea Williams (Angela Bassett). It's his chance to play at the world-famous Half Note jazz club. On the cusp of realizing his dream, he rushes towards home. One moment of inattention leads to an accident that jettisons him out of his body and on his way to the Great Beyond.   Gardner comes to in his spirit form and, upon realizing he's no longer among the living, refuses to accept his fate.  Refusing to Give Up and Discovering Your Spark The meat of this film encompasses Gardner's attempt to avoid going into the Great Beyond. The visuals for the hereafter, by the way, are startling and more than a touch mesmerizing. The blend of a soft color palette and sharp angles creates a stark contrast to an Earth pulsing with life in such bold color it's almost tangible.  Rachel House voices Terry in Soul. Photo Credit: Disney/Pixar Gardner's escape efforts land him as accidental mentor to a seemingly cynical 22 (Tina Fey), an unborn soul, in the Great Before. As 22's latest mentor, it's Gardner's job to help them discover their spark and earn their pass to a life on Earth. From this point on, expect hilarity, tear-jerking moments, and pithy banter.  Shortcut Back to Earth Gardner just knows his reason for living is jazz. It's hard for him to see his life from any other perspective. Until he's forced to. Inspiring 22 to want to have a life proves a daunting task. But guiding the reluctant soul to their own "spark" is secondary. It only matters as a means to get him a pass back to Earth in time for his gig. Jamie Foxx and Tina Fey voice Joe Gardner and 22 in Soul. Photo Credit: Disney/Pixar And this is where Soul really finds its footing (and will lose a bit of ground with some). Watching as this pair blunder their way through life's turns, is both hilarious and ironically enlightening.  Throughout, a non-corporeal Joe is still distinctly himself. He's also still self-involved in a way that's well past obsessive. The bedrock conviction that jazz is his life blinds him to the fact he's not really been living. A never-been-born 22's convinced they've seen enough of life to skip it altogether. What each discovers, about themselves, and each other, along the way highlights how very easy it is to miss the point of it all.  Revelations occur naturally in this world through secondary characters that work to build a version of life in New York that practically screams the creators love at every turn. Jamie Foxx and Tina Fey's chemistry makes for a captivating duo navigating the highs and lows of Gardner's life. The secondary characters are also well developed story essentials that add their own flavor and color to the action.

2017’s Wonder Woman felt like a game changer for WB’s DCEU. After several misfires with Batman v Superman and Suicide Squad, it felt like maybe, just maybe, the DCEU was getting back on track. The film wasn’t perfect (by any means) but Patty Jenkins was able to bring the icon that is Diana Prince to the big screen. To this day the No Man's Land scene is still talked about and the way that Gal Gadot embraced the role solidified her as Wonder Woman. That’s what makes Wonder Woman 1984 such a disappointment. It’s hard to understand how we went from an extremely competent first solo outing to a convoluted mess that looks like it has unfinished special effects, lackluster fight scenes, underused performances from Pedro Pascal and Kristen Wig and most importantly, a script that should be an embarrassment to all those involved. And don't get me started on how this film is set in 1984 and yet doesn't have a memorable soundtrack. How is that even possible?  Where to begin? Let’s start with how this film looks. WW84 reportedly had a budget of $200 million and I’ve been spending the last 24 hours trying to figure out where it was spent. There’s an awkward looking scene in the trailers (one of the first clips ever released) of Wonder Woman running where you can clearly tell they put Gadot on a treadmill then edited the background to look like she’s running in the streets. It looks very weird but we all thought it would be fixed. It wasn’t. Not only was it not, but scenes like that are throughout the entire movie. In the first 20 minutes of the film there’s a scene where Wonder Woman is stopping some criminals in a mall. The scene is shot so awkwardly and poorly, I thought they were doing it on purpose to suggest that it was really a cheesy, 80’s movie someone was shooting. What's worse is EVER big action set piece is like this. It feels like you're not watching a 2020 blockbuster but a 1980's film on VHS. What’s frustrating is that, we’ve seen so much better from the DCEU. The fight scenes in Birds of Prey from earlier this year are so much better than WW84. The special effects and CGI of Aquaman blow this film away. If you go all the way back to 2013’s Man of Steel, we’ve seen a female super-powered character use speed in fights and it look amazing. Yet in this film, watching characters run and fight gives you the feel of watching a 70’s Superman film. The movie looks so bad at times you may pause it and then start messing with your TV's settings thinking it's something on your end. It's not. The film just looks bad. Like it’s predecessor, WW84 doesn’t do the film’s antagonists any justice which is a shame considering Kristen Wiig as Barbara Minerva and Pedro Pascal as Maxwell Lord are actually pretty good. If you’re looking for the comic book versions of these characters you’l be disappointed but at this point in the DCEU, it’s to be expected. Where this film fails is that it doesn’t give them enough time to shine (because it’s too busy focusing on a love story between Diana & Steve) and then completely removes all of the stakes by the end of the film. There may have been some worry about how Wiig would pull off this role and I can happily report that those worries were unfounded. She does an excellent job in the role and honesty should have been the main antagonist of the film and really leaned on the bond then eventually conflict between Diana and Barbara. Unfortunately that doesn’t happen because WW84 seems to have forgotten one of the biggest appeals of the first film: Men aren’t necessary for this story. Both Diana and Barbara are inexplicably tied to male characters that could have easily been cut out of the film. Pascal’s performance is good but the audience also isn’t given the motivations behind the character to actual care about him until nearly the very end. Chris Pine’s Steve Trevor was completely unnecessary and felt like a reaction to the fact that Pine & Gadot had such great chemistry in the first film that they ...

2017’s Wonder Woman felt like a game changer for WB’s DCEU. After several misfires with Batman v Superman and Suicide Squad, it felt like maybe, just maybe, the DCEU was getting back on track. The film wasn’t perfect (by any means) but Patty Jenkins was able to bring the icon that is Diana Prince to the big screen. To this day the No Man's Land scene is still talked about and the way that Gal Gadot embraced the role solidified her as Wonder Woman. That’s what makes Wonder Woman 1984 such a disappointment. It’s hard to understand how we went from an extremely competent first solo outing to a convoluted mess that looks like it has unfinished special effects, lackluster fight scenes, underused performances from Pedro Pascal and Kristen Wig and most importantly, a script that should be an embarrassment to all those involved. And don't get me started on how this film is set in 1984 and yet doesn't have a memorable soundtrack. How is that even possible?  Where to begin? Let’s start with how this film looks. WW84 reportedly had a budget of $200 million and I’ve been spending the last 24 hours trying to figure out where it was spent. There’s an awkward looking scene in the trailers (one of the first clips ever released) of Wonder Woman running where you can clearly tell they put Gadot on a treadmill then edited the background to look like she’s running in the streets. It looks very weird but we all thought it would be fixed. It wasn’t. Not only was it not, but scenes like that are throughout the entire movie. In the first 20 minutes of the film there’s a scene where Wonder Woman is stopping some criminals in a mall. The scene is shot so awkwardly and poorly, I thought they were doing it on purpose to suggest that it was really a cheesy, 80’s movie someone was shooting. What's worse is EVER big action set piece is like this. It feels like you're not watching a 2020 blockbuster but a 1980's film on VHS. What’s frustrating is that, we’ve seen so much better from the DCEU. The fight scenes in Birds of Prey from earlier this year are so much better than WW84. The special effects and CGI of Aquaman blow this film away. If you go all the way back to 2013’s Man of Steel, we’ve seen a female super-powered character use speed in fights and it look amazing. Yet in this film, watching characters run and fight gives you the feel of watching a 70’s Superman film. The movie looks so bad at times you may pause it and then start messing with your TV's settings thinking it's something on your end. It's not. The film just looks bad. Like it’s predecessor, WW84 doesn’t do the film’s antagonists any justice which is a shame considering Kristen Wiig as Barbara Minerva and Pedro Pascal as Maxwell Lord are actually pretty good. If you’re looking for the comic book versions of these characters you’l be disappointed but at this point in the DCEU, it’s to be expected. Where this film fails is that it doesn’t give them enough time to shine (because it’s too busy focusing on a love story between Diana & Steve) and then completely removes all of the stakes by the end of the film. There may have been some worry about how Wiig would pull off this role and I can happily report that those worries were unfounded. She does an excellent job in the role and honesty should have been the main antagonist of the film and really leaned on the bond then eventually conflict between Diana and Barbara. Unfortunately that doesn’t happen because WW84 seems to have forgotten one of the biggest appeals of the first film: Men aren’t necessary for this story. Both Diana and Barbara are inexplicably tied to male characters that could have easily been cut out of the film. Pascal’s performance is good but the audience also isn’t given the motivations behind the character to actual care about him until nearly the very end. Chris Pine’s Steve Trevor was completely unnecessary and felt like a reaction to the fact that Pine & Gadot had such great chemistry in the first film that they ...

Sylvie’s Love is  a beautifully shot film that  centers healthy, non-toxic black love that we sadly don’t get enough in films. As audiences we’re used to black love stories not centering black women or when they do, it's inevitably still surrounding some trauma involving a man. That’s what makes Sylvie’s Love such a refreshing watch. Eugene Ashe put together    The first thing that hits you about Sylvie’s Love is the aesthetics. One of the best trends in movies lately has been how vibrant period films starring Black people have been. This film is visually gorgeous.From the way it’s shot all the way to the outfits. When telling a story about black love, aesthetics can go a long way. Sylvie’s Love could absolutely work as a silent film and could tell its entire story with just the looks of the characters and the soundtrack. There’s an “old school” romance film vibe to Sylvie’s Love that has part of me want to see this film in black & white. I have no doubt it  could pull this off.   Of course it helps to have a lead like Tessa Thompson. She’s absolutely fantastic as Sylvie. Black women aren’t typically given the chance to play a character like Sylvie and so it’s a joy to see someone as talented as Thompson get the chance. The film’s title “Sylvie’s Love”  is just as much about Sylvie finding and achieving what she loves and loving who she is as much as it about her love with Robert. Nnamdi Asomugha puts in an incredibly solid performance as Robert. Again, it's refreshing to see a character like Robert who has suffered trauma and disappointment but never takes that out on the Black woman he loves. We really do need more films that normalize non-toxic,  normal love between men and women, particularly Black men  and women.    This is Eugene Ashe’s second feature film as a writer-director. If this is the quality we can expect from Ashe’s work then my hope is that we see  much more from  him and soon. Sylvie’s Love is a must see. The film premieres on Amazon Prime Video on December 23rd and shouldn’t be missed. You can listen to Kriss, Ro and Brandon talk about this film on the Movie Trailer Reviews feed.   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Sylvie’s Love is  a beautifully shot film that centers healthy, non-toxic black love that we sadly don’t get enough in films. As audiences we’re used to black love stories not centering black women or when they do, it's inevitably still surrounding some trauma involving a man. That’s what makes Sylvie’s Love such a refreshing watch. Eugene Ashe put together a beautiful offering about love, sacrifice, and purpose.    The first thing that hits you about Sylvie’s Love is the aesthetics. One of the best trends in movies lately has been how vibrant period films starring Black people have been. This film is visually gorgeous. From the way it’s shot all the way to the outfits. When telling a story about black love, aesthetics can go a long way. Sylvie’s Love could absolutely work as a silent film and could tell its entire story with just the looks of the characters and the soundtrack. There’s an “old school” romance film vibe to Sylvie’s Love that has part of me want to see this film in black & white. I have no doubt it could pull this off. NNAMDI ASOMUGHA as ROBERT HALLOWAY and TESSA THOMPSON as SYLVIE PARKER in SLYVIEÕS LOVE   Of course it helps to have a lead like Tessa Thompson. She’s absolutely fantastic as Sylvie. Black women aren’t typically given the chance to play a character like Sylvie and so it’s a joy to see someone as talented as Thompson get the chance. The film’s title “Sylvie’s Love”  is just as much about Sylvie finding and achieving what she loves and loving who she is as much as it about her love with Robert. Nnamdi Asomugha puts in an incredibly solid performance as Robert. Again, it's refreshing to see a character like Robert who has suffered trauma and disappointment but never takes that out on the Black woman he loves. We really do need more films that normalize non-toxic,  normal love between men and women, particularly Black men  and women.    This is Eugene Ashe’s second feature film as a writer-director. If this is the quality we can expect from Ashe’s work then my hope is that we see much more from him and soon. Sylvie’s Love is a must see. The film premieres on Amazon Prime Video on December 23rd and shouldn’t be missed.   You can listen to Kriss, Ro and Brandon talk about this film on the Movie Trailer Reviews feed.   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

On the surface, Promising Young Woman might seem like another rape revenge film but Director Emerald Fennell's film has a lot more depth to it than the torture porn the sub-genre has unfortunately become. A lot of films that fall into the "rape revenge" category, particularly those made by men, end up focusing more on the brutality of the rape or the revenge and in doing so, tend to still make these films that should center on women, more about the men. Where Promising Young Woman succeeds is that it never really takes the focus off the victim. It also explores what a victim really is in these situations, showing that there are a lot more victims that are affected than just the direct victim and the long lasting affects of this violation. Promising Young Woman also doesn't let anyone "off the hook". Any time we see news about a rape or sexual assault that has occurred, we also see that the accused has a lot of enablers and defenders. And those people and systems that help these men get away with their crimes only leads to more bad behavior by "good guys". This film makes sure to call out the enablers and show how they all the sudden change tunes when they're the ones in the hot seat. To put it nicely (and without spoilers), let's just say there are a lot more people that are Dean Walkers and Madisons than want to admit. This cast works very well together. Carey Mulligan is perfectly cast as Cassandra Thomas. She's perfectly blends humor, sarcasm, anger and vulnerability. Clancy Brown and Jennifer Coolidge are a great combination of loving parents who are also ready for their child to get out of their house and try to move on. The rest of the cast also works very well together and most do a lot with very little screen time. Molly Shannon has what can best be described as a cameo but it's a pretty impactful and more serious performance than one would expect. The cast doing so much with  so little screen time is also what might disappoint some. Laverne Cox plays Gail, Cassandra's boss and she's great. But because she's Laverne Cox audiences might be expecting more. This is not to say that this is a film plagued by an underused cast. Rather its in the much better position of leaving an audience wanting more instead of needing more. Promising Young Woman is by no means a perfect movie. No film really ever is. But it is a great blend of humor and seriousness that explores survivors guilt just as much as it does revenge. Listen to Ro, Brandon and Kriss discuss this film (Plus the current state of 'Award Season' during COVID and more). Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

On the surface, Promising Young Woman might seem like another rape revenge film but Director Emerald Fennell's film has a lot more depth to it than the torture porn the sub-genre has unfortunately become. A lot of films that fall into the "rape revenge" category, particularly those made by men, end up focusing more on the brutality of the rape or the revenge and in doing so, tend to still make these films that should center on women, more about the men. Where Promising Young Woman succeeds is that it never really takes the focus off the victim. It also explores what a victim really is in these situations, showing that there are a lot more victims that are affected than just the direct victim and the long lasting affects of this violation. Promising Young Woman also doesn't let anyone "off the hook". Any time we see news about a rape or sexual assault that has occurred, we also see that the accused has a lot of enablers and defenders. And those people and systems that help these men get away with their crimes only leads to more bad behavior by "good guys". This film makes sure to call out the enablers and show how they all the sudden change tunes when they're the ones in the hot seat. To put it nicely (and without spoilers), let's just say there are a lot more people that are Dean Walkers and Madisons than want to admit. This cast works very well together. Carey Mulligan is perfectly cast as Cassandra Thomas. She's perfectly blends humor, sarcasm, anger and vulnerability. Clancy Brown and Jennifer Coolidge are a great combination of loving parents who are also ready for their child to get out of their house and try to move on. The rest of the cast also works very well together and most do a lot with very little screen time. Molly Shannon has what can best be described as a cameo but it's a pretty impactful and more serious performance than one would expect. The cast doing so much with  so little screen time is also what might disappoint some. Laverne Cox plays Gail, Cassandra's boss and she's great. But because she's Laverne Cox audiences might be expecting more. This is not to say that this is a film plagued by an underused cast. Rather its in the much better position of leaving an audience wanting more instead of needing more. Promising Young Woman is by no means a perfect movie. No film really ever is. But it is a great blend of humor and seriousness that explores survivors guilt just as much as it does revenge. Listen to Ro, Brandon and Kriss discuss this film (Plus the current state of 'Award Season' during COVID and more). Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

There are certain movies that automatically make the Halloween marathon, or at least they should. For years, cult classic The Witches, based on Rolad Dahl's book by the same name, starring Anjelica Huston has landed somewhere on that list between Hocus Pocus and Nightmare on Elm Street.  Now, HBO hopes you add the Anne Hathaway-led remaking directed by Robert Zemeckis to that watch list. This film - still geared towards children (allegedly) - offers a few unsettling chills and plenty of campiness wrapped in sly humor.  Leaning into Dahl's The Witches It's 1967, a young boy (Jahzir Bruno) and his Grandma (Octavia Spencer) find themselves trapped in a hotel during a convention of witches plotting to bespell the world's children turning them into mice. The duo - along with some unlikely accomplices - must outwit the Grand High Witch (Anne Hathaway) and thwart her master plan. Viewing audiences grew up with the child-friendly version this story (this is a lie, Huston's coven of witches scared the bejeezus out of plenty). It's a wicked adventure of a boy left unexpectedly orphaned - who's then attacked by a wicked witch - learning to persevere.  For the most part, the main plot points remain unchanged. And while Zemeckis tries to (re)capture the darker undertone of Dahl's forty-year-old tale, the Kenya Barris and Guillermo del Toro crafted script updates time, place, and the ethnic origins of several main characters along with reworking certain key story elements. (L-r)OCTAVIA SPENCER as Grandma, JAHZIR BRUNO as Hero Boy, and STANLEY TUCCI as Mr. Stringer in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release. Photograph by Daniel Smith The costumes are stellar, the cast and location (Alabama) add just the right touch of macabre, and the practical effects and CGI work together to create the right edgy if uptight notes.  So, the really question is will it appeal to today's audience? Listen as Ro gives a quick breakdown of The Witches and how she thinks it stacks up against the source material and 1990 Roeg adaptation.  The Witches premieres on HBOMax October 22, 2020 Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

There are certain movies that automatically make the Halloween marathon, or at least they should. For years, cult classic The Witches, based on Rolad Dahl's book by the same name, starring Anjelica Huston has landed somewhere on that list between Hocus Pocus and Nightmare on Elm Street.  Now, HBO hopes you add the Anne Hathaway-led remaking directed by Robert Zemeckis to that watch list. This film - still geared towards children (allegedly) - offers a few unsettling chills and plenty of campiness wrapped in sly humor.  Leaning into Dahl's The Witches It's 1967, a young boy (Jahzir Bruno) and his Grandma (Octavia Spencer) find themselves trapped in a hotel during a convention of witches plotting to bespell the world's children turning them into mice. The duo - along with some unlikely accomplices - must outwit the Grand High Witch (Anne Hathaway) and thwart her master plan. Viewing audiences grew up with the child-friendly version this story (this is a lie, Huston's coven of witches scared the bejeezus out of plenty). It's a wicked adventure of a boy left unexpectedly orphaned - who's then attacked by a wicked witch - learning to persevere.  For the most part, the main plot points remain unchanged. And while Zemeckis tries to (re)capture the darker undertone of Dahl's forty-year-old tale, the Kenya Barris and Guillermo del Toro crafted script updates time, place, and the ethnic origins of several main characters along with reworking certain key story elements. (L-r)OCTAVIA SPENCER as Grandma, JAHZIR BRUNO as Hero Boy, and STANLEY TUCCI as Mr. Stringer in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release. Photograph by Daniel Smith The costumes are stellar, the cast and location (Alabama) add just the right touch of macabre, and the practical effects and CGI work together to create the right edgy if uptight notes.  So, the really question is will it appeal to today's audience? Listen as Ro gives a quick breakdown of The Witches and how she thinks it stacks up against the source material and 1990 Roeg adaptation.  The Witches premieres on HBOMax October 22, 2020 Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Idris Elba as a cowboy? I mean who wouldn’t be sold? Overall, Concrete Cowboy is a solid film based on the real life Fletcher Street Urban Riding Club in Philadelphia. It’s a mix of fictionalizing the club with a (sometimes stereotypical) story of a young teen reconnecting with his father. Caleb McLaughlin plays Cole, a troubled teen that is sent by his mother to live with his father Harp (Idris Elba), in a last ditch effort to get Cole to turn his life around.  Image credit: Courtesy of TIFF Concrete Cowboy is one of those films that is solid but could have been so much more if given to directors and writers with a bit more lived experience with the subject. There are times where it feels that this film tries to handle more complex issues and the script just wasn’t equipped for that. Where this film works is when it focus on the story of Fletcher Street and the riding community. This film uses actual members of the community in some of the roles and they such a good job that it might not be until the end of the film when they do a montage of some of them and their real names that you realize they weren’t actors at all. It works because Concrete Cowboy leans on seasoned actors like Elba, McLaughlin, Lorraine Toussaint and Method Man to help flesh out the story. Yes you read that right. Method Man is quietly rises in my rankings of rappers turned actors. What’s actually impressed me about Clifford Smith (gotta use his government for this one) is the roles he’s taking. We know he can do the silly and ridiculous (The How High films are still hilarious). But we’re seeing him in more roles like the one he plays in Concrete Cowboy where he’s taking a more serious and balanced role. I’m here for it. He’s clearly good at it and he has the range.  Unfortunately, Concrete Cowboy doesn’t stick to what it's good at. The film decides to go the route of Cole being “pulled back in” by a friend, played by Jharrel Jerome, in the neighborhood. A lot of time is wasted on this storyline that could have been better served really going into more details about the neighborhood, the history of Fletcher Street, urban cowboys and more. Instead  it feels that we get just parts of these stories and not the whole picture. It also takes the audience away from its strong suit (the actors and chemistry). While we do get enough of the turmoil between Harp and Cole, there could have been more. We also only get hints of the relationship/friendship between Harp and Leroy (Method Man) and Lorraine Toussaint is criminally under used. Image credit: Courtesy of TIFF All in all, Concrete Cowboy is worth checking out but it will leave audiences feeling a bit empty and wanting more. Now if that feeling of wanting more leads to more people looking up and supporting the Fletcher Street Urban Riding Club then it still ends up being a net positive. Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Rape revenge movies can be hard to review and after watching Violation during the Toronto Film Festival, I'm still not  sure if it's a good movie or not. The problem with reviewing rape revenge movies is that that there are two ways to look at them. On one hand, you can treat them just like every movie and grade them one acting, coherent plot, the way they’re  shot, etc. The other way to review them is to grade them on a curve based on how good the revenge is. If you’re lucky, the movie will both be traditional good, with a fairly deserving dish of revenge being served. Unfortunately for Violation, I’m less sold on it as a good movie than I am on giving it a pass for the way the revenge was enacted. Without spoiling I’ll just say, this is why you never eat Karen’s homemade ice cream at the company pot luck. Image credit: Courtesy of TIFF The first 40 minutes of this movie works. Madeleine Sims-Fewer plays Miriam, a woman that is a trying to reconcile with her sister (Anna Maguire) on a weekend retreat with their significant others, who is raped  by her sister’s husband Dylan (Jessee LaVercombe). Violation tells the story of Miriam not only getting revenge one Dylan but also how she was gaslit by both Dylan and Greta after revealing to Greta that she was raped. This is where Violation succeeds. The way this film handles rape and the subsequent shaming and gaslighting of victims is one of the more realistic depictions in a film. Rape typically isn't the "stranger danger" kind but rather a true violation by someone the victim trusts. Follow that up with the immediate shift in blame by the abuser and the betrayal of family and Violation can hit really close to home. Image credit: Courtesy of TIFF Unfortunately, this film can't stick to where it's good at. Where Violation goes wrong is its non-linear, barely coherent story. This pains me to say this because I love a non-linear story. It's clear that Dusty Mancinelli and Sims-Fewer (who also co-directed the film) got a bit in-over-their-heads with their first feature length film. While I love a non-linear story, the key to making  them work is making sure the audience is aware of anchor points in the story so they know where in the timeline they are. on top of that, Violation jumps between time points almost too frequently to let key scenes sink in for the audience. This is the real tragedy of this film since its theme of not only rape but gaslighting is done really well, yet the audience doesn’t get a chance to digest some very important moments because the film hops to the next scene in a different point in time.  Violation is a film that should have been better and more. It's worth checking out for the revenge sequence but when it's all said and done, you'll just wish there was a bit more focus to make it a complete film. Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Rape revenge movies can be hard to review and after watching Violation during the Toronto Film Festival, I'm still not  sure if it's a good movie or not. The problem with reviewing rape revenge movies is that that there are two ways to look at them. On one hand, you can treat them just like every movie and grade them one acting, coherent plot, the way they’re  shot, etc. The other way to review them is to grade them on a curve based on how good the revenge is. If you’re lucky, the movie will both be traditional good, with a fairly deserving dish of revenge being served. Unfortunately for Violation, I’m less sold on it as a good movie than I am on giving it a pass for the way the revenge was enacted. Without spoiling I’ll just say, this is why you never eat Karen’s homemade ice cream at the company pot luck. Image credit: Courtesy of TIFF The first 40 minutes of this movie works. Madeleine Sims-Fewer plays Miriam, a woman that is a trying to reconcile with her sister (Anna Maguire) on a weekend retreat with their significant others, who is raped  by her sister’s husband Dylan (Jessee LaVercombe). Violation tells the story of Miriam not only getting revenge one Dylan but also how she was gaslit by both Dylan and Greta after revealing to Greta that she was raped. This is where Violation succeeds. The way this film handles rape and the subsequent shaming and gaslighting of victims is one of the more realistic depictions in a film. Rape typically isn't the "stranger danger" kind but rather a true violation by someone the victim trusts. Follow that up with the immediate shift in blame by the abuser and the betrayal of family and Violation can hit really close to home. Image credit: Courtesy of TIFF Unfortunately, this film can't stick to where it's good at. Where Violation goes wrong is its non-linear, barely coherent story. This pains me to say this because I love a non-linear story. It's clear that Dusty Mancinelli and Sims-Fewer (who also co-directed the film) got a bit in-over-their-heads with their first feature length film. While I love a non-linear story, the key to making  them work is making sure the audience is aware of anchor points in the story so they know where in the timeline they are. on top of that, Violation jumps between time points almost too frequently to let key scenes sink in for the audience. This is the real tragedy of this film since its theme of not only rape but gaslighting is done really well, yet the audience doesn’t get a chance to digest some very important moments because the film hops to the next scene in a different point in time.  Violation is a film that should have been better and more. It's worth checking out for the revenge sequence but when it's all said and done, you'll just wish there was a bit more focus to make it a complete film. Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Kriss,  Ro and Brandon are back to review episodes 5  to 7  of  Lovecraft Country. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Kriss,  Ro and Brandon are back to review episodes 5  to 7  of  Lovecraft Country. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

The first 25 minutes of Pieces of a Woman should be enough to tell you that you’re  not prepared for the emotional toll of this movie. It should absolutely come with a trigger warning but at the same time  is a must watch. At first this film seems like it’s about loss and grieving after Martha (Vanessa Kirby) and Sean (Shia LaBeouf) lose their child after a difficult  home birth. However, what director Kornél Mundruczó and writer Kata Wéber really do is tell the story of how society dictates to women how they should feel and behave. This film really exposes how selfish people can be even when it appears (even to themselves) that they're being selfless. Losing a child is a tragic, heartbreaking experience for parents. But only one of those parents carried the baby inside their own body and that's the reality we have to life with. A woman who loses a child should be able to grieve (or not) how they want and shouldn't have to shoulder the emotional baggage of everyone else's grief and expectations.  Pieces of a Woman works because of the two leads in the film, Shia LaBeouf and Vanessa Kirby. As I said in my capsule review, I want someone to give Shia LeBeouf a hug. I'm worried about him. Although maybe I shouldn't because he's come such a long way. From screaming "OPTIMUS!!!!" every 2 seconds in those terrible Michael  Bay Transformers films to that weird stretch as a battle rapper, he’s had some rough patches. But with Honey Boy, The Peanut Butter Falcon and now Pieces of a Woman, he’s put together not only the 3 best performances of his career, but three roles that at least put him in the conversation during Oscar season. We can make all the jokes we want but LeBeouf has more than proven that he's a damn good actor. To be honest, part of my concern for his well being comes from the fact that he plays these roles so damn well,  I start to question if he's even acting. When it's hard to discern where the fictional character begins and where the real person is, particularly when its different roles with their own  unique traits and quirks, then it's safe to say, that's some damn fine acting. But the real  star of Pieces of a Woman is Vanessa Kirby. LeBeouf  puts in a great performance but this is Kirby's movie. Whatever your feelings about Pieces of a Woman are, the one thing that should be agreed upon is that Vanessa Kirby is absolutely fantastic in this film. If you weren’t a fan of Kirby before, you should leave this film as one. I’ve seen some reviews that suggest that Kirby didn’t really connect because at times she felt too stoic and emotionally detached. The irony of that is how meta that critique is. Martha spends most of the film having to defend herself from her mother and husband who think she’s not showing enough emotion after what happened and therefore must need their help  or that something is wrong with her. To complain that Kirby isn’t showing enough (or the correct emotional reaction) as Martha really does miss the whole point the film is trying to make. Pieces of a Woman was one of my favorites of TIFF 2020, coming in second to One Night In Miami. It's a film that will definitely generate more conversations as more people see it. Netflix picked this up to distribute which makes sense. This film fits well in the conversation like Marriage Story did and is definitely worth checking out. Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

If there was any doubt if Marvel’s The Eternals was in good hands with Chloé Zhao at the helm then Nomadland should be all the evidence you need. Nomadland is a slow burn, but the journey it takes the audience is worth it. This is a gorgeous, well-acted film but it might actually be too subtle with some of the themes for the average viewer. The film follows Fern (Frances McDormand), a widow who has settled into a nomad lifestyle living out of her van as she follows seasonal work throughout the midwest. McDormand plays Fern in typical McDormand fashion and it works extremely well here. Not only is Fern dealing (or rather not dealing) with the loss of her husband but also the loss of her  entire way of living. When the factory in her town went out of business, so did the town (even losing its zip code). Fern has all that remains of her life left in a storage unit and her utility van that she lives out of as she travels from seasonal job to seasonal job. McDormand really captures Fern's internal struggles as someone who can't completely let  go of her past but also doesn't want to ask for help or seem dependent on others (even her remaining family). Image credit: 01 Courtesy of TIFF This film also explores several reasons why so many live the nomad life. This film does a good job of telling those stories or rather, making the audience aware of these through the other people Fern interacts with. It  really comes down to some people choosing the life while other are forced. Some have sold everything they own and decide to live on their own terms. Others are forced into this life due to their economic situation. And that distinction between choice and being forced are where some of my issues with the film surface. There are times when I wish this film hit a bit  harder. Sometimes it feels as though when Nomadland peels back the layers on what happens with these forgotten towns in America, it doesn’t completely go down the path. Nevertheless this  is a solid, well-made film. It's no real fault of the film that I wanted more from it, if anything it's a sign that it did it's job. While fiction, there's a lot of truth and reality in it and if at the end it made me want more and ask more questions, then it's done its job as a film. Follow more of our Toronto Film Festival 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Anyone who saw Train to Busan in 2016 (or any time after), was very excited to hear about a sequel to that film. The first film not only had zombies that made the fast zombies from Dawn of the Dead seem like amateurs but there was also a tight, emotional story about survival wrapped in the action. Unfortunately the sequel, Peninsula, leans more into being about action and CGI than being a more grounded, emotional story.  There is definitely an entertaining film here. The zombies are just as terrifying as they were in the original. Feral, contortionist, fast zombies are a fear of everyone and Peninsula doesn't disappoint in that aspect. There's a scene on a boat where an infected is discovered and it's creepy and brutal and terrifying. Had Peninsula kept with that setting,  it would probably have rivaled Train to Busan. Unfortunately that was not the decision made. Where Peninsula comes up short is the story. This film takes place four years after the first film and sets up the Korean peninsula as being completely isolated from the rest of the world. Apparently the rest of the world was able to contain the virus/infection while leaving South Korea (particularly Busan) completely abandoned to the infected. A compelling story might have really focused on those left behind to survive for 4 years against the zombie hordes, but instead this film focuses on Jung Seok sneaking back into Busan with his brother-in-law in order to smuggle a truck loaded with cash back out for some seedy individuals. The film tries to reconcile this plot with a lukewarm explanation about how Korean survivors of the outbreak living in Hong Kong are treated as second class citizens and that Jung Seok and his brother are desperate to find a way to get out of their current situation. What follows is then a mash up of several other movies from Tokyo Drift to Mad Max to any number of dystopian zombie movies. There's a young girl who probably should be in the next Fast and Furious movie who drifts around corners and runs over zombies (because apparently Toyotos are built to run over zombies with no actual damage to the car). There's also a cadre of ex-military (I think they're ex-military) soldiers that were left behind who now hunt down survivors and pit them against zombies. It's all just convoluted and honestly doesn't feel like Train to Busan at all. No one can deny that Train to Busan Presents Peninsula is entertaining. It's just a bit disappointing if you were expecting the same quality and impact as Train to Busan. This sequel is sadly easily forgettable.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

If you’re looking for a ground breaking alien creature-feature, Sputnik may leave you a bit disappointed. However, if you’re looking for a film that puts a unique spin on the typical “astronaut brings some alien life form home with them” trope, then Sputnik will be right up your alley. One of the problems with a typical alien creature feature is that they all follow pretty much the same themes. Sputnik takes a slightly different path and straddles the line between trying to contain a deadly alien creature and determining the line between man/alien. By doing that, it differentiates itself enough from other films and makes Sputnik a highly effective film.   One of the key elements of a good creature feature film is obviously, the creature. An effective creature can turn a typically mediocre film that could easily be forgotten into a memorable one. Sputnik starts off a bit slow bu that makes The first time the creature appears even more jolting. The more that’s revealed about the creature (what it eats and how it comes out of astronaut Konstantin Veshnyakov are only made more intriguing by the questions that aren’t answered (Is it a parasite or some other symbiotic creature, can it be controlled, etc).   Borrowing from The Thing, Sputnik leans heavily into using the personalities of the human characters to drive the conflict. The "who is really more of a monster?" trope has been done plenty of times before so again, this isn't ground breaking. That said, the film does a great job developing Oksana Akinshina's Tatyana and contrasting her character against the men she's having to deal with.  Overall Sputnik is a Sci-Fi horror film worth checking out. The creature alone is enough to give you nightmares and the performances also help keep the audience engaged. Watch Sputnik now on Amazon Prime. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

If you’re looking for a ground breaking alien creature-feature, Sputnik may leave you a bit disappointed. However, if you’re looking for a film that puts a unique spin on the typical “astronaut brings some alien life form home with them” trope, then Sputnik will be right up your alley. One of the problems with a typical alien creature feature is that they all follow pretty much the same themes. Sputnik takes a slightly different path and straddles the line between trying to contain a deadly alien creature and determining the line between man/alien. By doing that, it differentiates itself enough from other films and makes Sputnik a highly effective film.   One of the key elements of a good creature feature film is obviously, the creature. An effective creature can turn a typically mediocre film that could easily be forgotten into a memorable one. Sputnik starts off a bit slow bu that makes The first time the creature appears even more jolting. The more that’s revealed about the creature (what it eats and how it comes out of astronaut Konstantin Veshnyakov are only made more intriguing by the questions that aren’t answered (Is it a parasite or some other symbiotic creature, can it be controlled, etc).   Borrowing from The Thing, Sputnik leans heavily into using the personalities of the human characters to drive the conflict. The "who is really more of a monster?" trope has been done plenty of times before so again, this isn't ground breaking. That said, the film does a great job developing Oksana Akinshina's Tatyana and contrasting her character against the men she's having to deal with.  Overall Sputnik is a Sci-Fi horror film worth checking out. The creature alone is enough to give you nightmares and the performances also help keep the audience engaged. Watch Sputnik now on Amazon Prime. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Kriss, Ro and Brandon are back to discuss the last 3 episodes of Lovecraft Country (Whitey's on the Moon, Holy Ghost, A History of Violence). This show continues to impress and is also a perfect example of what (good) happens when Black people (particularly Black women) are allowed to tell stories involving Black people from our lens. Honestly, the best parts of Lovecraft Country have been the parts that lean on the horror and harassment Black people face more than the traditional fantastical horror elements. This once again proves that the horror Black people face is terrifying. Lovecraft Country is also doing a great job of (sadly) showing how evergreen racism is in this country. You can't watch Leti get taken on a "rough ride" in the back of that police car in Holy Ghost and not think of Freddie Gray. The fact that the cops only showed up after Leti got fed up with the harassment and decided to lash back out reminds us of the way cops only show up when Black people are fed up and in many cases were part of the original harassment. Watching the cops drive past the mob of angry white people and not do anything is right up there with police in riot gear fist bumping white militiamen and vigilantes at Black Lives Matter protests. Even the more subtile things hit hard. Ruby rejecting the notion that she could still apply for the job at the department store because there's no way they'd hire two Black women, much less a Black woman with a larger figure is still something Black people feel. We constantly feel like we're in competition with each other because of how few opportunities we're given. It's not only surreal but infuriating to see how little things have changed.  Out of the last three episodes, Holy Ghost is the strongest. This is due to the focus and story revolving around Leti. Jurnee Smollett is putting in one fantastic performance through the whole series, but particularly with this episode. There was something cathartic about seeing Leti take a baseball bat to those racist white people's cars then later on seeing the three racist white dudes meet their end in the haunted house. Between all that and her literally leaning on the power of the ancestors to cleanse the house of evil, this was a powerful episode.  Listen as we discuss these three episodes. We talk about: How each of the three main characters (Atticus, Leti and Montrose) have their own demons to face  The use of color and music to really make Black people pop on the screen Reckless vs Impulsive aka Atticus vs Leti Following the story through the eyes of the female characters and more Oh and Ro & Brandon hint at the fact that no one is prepared for episode 5. So strap in. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Kriss, Ro and Brandon are back to discuss the last 3 episodes of Lovecraft Country (Whitey's on the Moon, Holy Ghost, A History of Violence). This show continues to impress and is also a perfect example of what (good) happens when Black people (particularly Black women) are allowed to tell stories involving Black people from our lens. Honestly, the best parts of Lovecraft Country have been the parts that lean on the horror and harassment Black people face more than the traditional fantastical horror elements. This once again proves that the horror Black people face is terrifying. Lovecraft Country is also doing a great job of (sadly) showing how evergreen racism is in this country. You can't watch Leti get taken on a "rough ride" in the back of that police car in Holy Ghost and not think of Freddie Gray. The fact that the cops only showed up after Leti got fed up with the harassment and decided to lash back out reminds us of the way cops only show up when Black people are fed up and in many cases were part of the original harassment. Watching the cops drive past the mob of angry white people and not do anything is right up there with police in riot gear fist bumping white militiamen and vigilantes at Black Lives Matter protests. Even the more subtile things hit hard. Ruby rejecting the notion that she could still apply for the job at the department store because there's no way they'd hire two Black women, much less a Black woman with a larger figure is still something Black people feel. We constantly feel like we're in competition with each other because of how few opportunities we're given. It's not only surreal but infuriating to see how little things have changed.  Out of the last three episodes, Holy Ghost is the strongest. This is due to the focus and story revolving around Leti. Jurnee Smollett is putting in one fantastic performance through the whole series, but particularly with this episode. There was something cathartic about seeing Leti take a baseball bat to those racist white people's cars then later on seeing the three racist white dudes meet their end in the haunted house. Between all that and her literally leaning on the power of the ancestors to cleanse the house of evil, this was a powerful episode.  Listen as we discuss these three episodes. We talk about: How each of the three main characters (Atticus, Leti and Montrose) have their own demons to face  The use of color and music to really make Black people pop on the screen Reckless vs Impulsive aka Atticus vs Leti Following the story through the eyes of the female characters and more Oh and Ro & Brandon hint at the fact that no one is prepared for episode 5. So strap in. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

The Mortuary Collection, a 2020 Fantasia Festival Official Collection, is an horror anthology collection available in the on-demand library.  Written and directed by Ryan Spindell, this anthology offers four twisted tales of the dead. Between the striking cinematography leveling up the visuals and the meta storytelling it's one not to miss.  Spindell's love letter to the past is a cohesive narrative that sets the stage (hopefully) for more. Montgomery Dark (Clancy Brown) caretaker and mortician at Raven’s End Mortuary, knows the histories of the dead. Their stories fill the countless books on Dark's shelves. When a woman shows to answers his help wanted add she challenges him to share macabre stories so she "knows what she's getting into."  Caitlin Custer as Sam in The Mortuary Collection Ro said it after finishing and stands by, The Mortuary Collection is a brilliant blend of all the best elements from 70s/80s horror comics/movies, & pulp fiction. It's lush, goulish, and delightfully twisted anthology. If you like the Creep Show or Tales From the Crypt then this one's definitely for you. It entertains, disturbs, and is at turns, flat out creepy.  Ro and Kriss dug all four stories and the wraparound narrative that make up the mixtape that is The Mortuary Collection. Listen in as they dig into this Fantasia Film Festival Official Selection.  Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

The Mortuary Collection, a 2020 Fantasia Festival Official Collection, is an horror anthology collection available in the on-demand library.  Written and directed by Ryan Spindell, this anthology offers four twisted tales of the dead. Between the striking cinematography leveling up the visuals and the meta storytelling it's one not to miss.  Spindell's love letter to the past is a cohesive narrative that sets the stage (hopefully) for more. Montgomery Dark (Clancy Brown) caretaker and mortician at Raven’s End Mortuary, knows the histories of the dead. Their stories fill the countless books on Dark's shelves. When a woman shows to answers his help wanted add she challenges him to share macabre stories so she "knows what she's getting into."  Caitlin Custer as Sam in The Mortuary Collection Ro said it after finishing and stands by, The Mortuary Collection is a brilliant blend of all the best elements from 70s/80s horror comics/movies, & pulp fiction. It's lush, goulish, and delightfully twisted anthology. If you like the Creep Show or Tales From the Crypt then this one's definitely for you. It entertains, disturbs, and is at turns, flat out creepy.  Ro and Kriss dug all four stories and the wraparound narrative that make up the mixtape that is The Mortuary Collection. Listen in as they dig into this Fantasia Film Festival Official Selection.  Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

Clapboard Jungle: Surviving the Independent Film Business Life as a creative in a world not suited to supporting art in the mainstream is a struggle. It takes more than having a dream. You've got to be ready to hustle. That hustle requires skill, multi-tasking, business savvy, and luck. When it come to being an independent filmmaker, the grind has unique challenges.  In Clapboard Jungle: Surviving the Independent Film Business, screening on-demand during Fantasia Film Festival 2020 filmmaker Justin McConnell shares his struggle to take his film projects to the next stage. The goal? Secure enough funding to bring them to the screen. But, Clapboard is far more than just a snap shot of the hustle. This documentary follows McConnell as he learns to navigate the production side of the film festival circuit all while writing, directing and working gigs to keep the lights on. McConnell, bookends his journey between interviews with others in the film industry in ways that highlight that his struggles aren't new or likely to end for anyone looking to climb that ladder. Stories from Insiders  Clapboard broadens the conversation and shifts the energy from just being a personal diary to a real behinds-the-scenes look at what trying to get in the room (literally) where the deals happen is like. The sheer number of people including George A. Romero, Larry Cohen, Paul Schrader, Justin Benson, Larry Fassenden, Barbara Crampton and Guillermo del Toro sharing advice and giving the honesty is on its own impressive.  Listen as Kriss and Ro discuss exactly how invested they became in McConnell's years-long journey and the highs and lows of grinding indie film style. The utter tenacity of it all is kind of incredible to witness. We felt stressed watching McConnell repeatedly tested.  https://www.youtube.com/watch?v=IlJ9M_H0rGU Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

Clapboard Jungle: Surviving the Independent Film Business Life as a creative in a world not suited to supporting art in the mainstream is a struggle. It takes more than having a dream. You've got to be ready to hustle. That hustle requires skill, multi-tasking, business savvy, and luck. When it come to being an independent filmmaker, the grind has unique challenges.  In Clapboard Jungle: Surviving the Independent Film Business, screening on-demand during Fantasia Film Festival 2020 filmmaker Justin McConnell shares his struggle to take his film projects to the next stage. The goal? Secure enough funding to bring them to the screen. But, Clapboard is far more than just a snap shot of the hustle. This documentary follows McConnell as he learns to navigate the production side of the film festival circuit all while writing, directing and working gigs to keep the lights on. McConnell, bookends his journey between interviews with others in the film industry in ways that highlight that his struggles aren't new or likely to end for anyone looking to climb that ladder. Stories from Insiders  Clapboard broadens the conversation and shifts the energy from just being a personal diary to a real behinds-the-scenes look at what trying to get in the room (literally) where the deals happen is like. The sheer number of people including George A. Romero, Larry Cohen, Paul Schrader, Justin Benson, Larry Fassenden, Barbara Crampton and Guillermo del Toro sharing advice and giving the honesty is on its own impressive.  Listen as Kriss and Ro discuss exactly how invested they became in McConnell's years-long journey and the highs and lows of grinding indie film style. The utter tenacity of it all is kind of incredible to witness. We felt stressed watching McConnell repeatedly tested.  https://www.youtube.com/watch?v=IlJ9M_H0rGU Follow more of our Film Festival  Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @TheMTRNetwork

Nikola Tesla is one of the most influential and yet obscure inventors in modern history. A lot of the technology that we enjoy today can be traced back to his ideas, patents and inventions. Yet most people still don't know much about the man. Unfortunately, Michael Almereyda's Tesla isn't going to do much to expand people's understanding of the man.  Tesla is frustrating 102 minutes. This is a film that suffers from an identity crisis due to Almereyda's uncertainty of the film he was trying to make. Was this film supposed to delve more into who Nikola Tesla was and give a historical background? Was it supposed to focus on his historical achievements and why they were so important? Was it supposed to tie Tesla's inventions and genius with today's technology? Amazingly, the film sticks its toe in each of those things yet does nothing to make them compelling or interesting. Ethan Hawke is not a bad actor but was not the right choice for Tesla. While Tesla might have been a bit awkward, he was still a presence that attracted people to him. Hawke's portrayal is void of any real emotion or charm or charisma. Eve Hewson does what she can but the script does her and her character (Anne Morgan) no justice. Tesla essentially turns Morgan into an inconsequential character whose sole purpose is to be a sometimes narrator for the story and a way to introduce Tesla to more powerful men.  Tesla is a wasted opportunity. At least with Nikola Tesla, his inventions and impact on the world will be remembered. The same cannot be said for this film   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Nikola Tesla is one of the most influential and yet obscure inventors in modern history. A lot of the technology that we enjoy today can be traced back to his ideas, patents and inventions. Yet most people still don't know much about the man. Unfortunately, Michael Almereyda's Tesla isn't going to do much to expand people's understanding of the man.  Tesla is frustrating 102 minutes. This is a film that suffers from an identity crisis due to Almereyda's uncertainty of the film he was trying to make. Was this film supposed to delve more into who Nikola Tesla was and give a historical background? Was it supposed to focus on his historical achievements and why they were so important? Was it supposed to tie Tesla's inventions and genius with today's technology? Amazingly, the film sticks its toe in each of those things yet does nothing to make them compelling or interesting. Ethan Hawke is not a bad actor but was not the right choice for Tesla. While Tesla might have been a bit awkward, he was still a presence that attracted people to him. Hawke's portrayal is void of any real emotion or charm or charisma. Eve Hewson does what she can but the script does her and her character (Anne Morgan) no justice. Tesla essentially turns Morgan into an inconsequential character whose sole purpose is to be a sometimes narrator for the story and a way to introduce Tesla to more powerful men.  Tesla is a wasted opportunity. At least with Nikola Tesla, his inventions and impact on the world will be remembered. The same cannot be said for this film   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Black Boys is Humanization in Context   Black Boys focuses on Black young boys and men in America. It' explores how they're dehumanized as a group. It unravels the ways in which society deliberately limited and then blamed for failing to excel.  “As much as we try to hold on to our humanity, you realize you live in a world where your humanity is constantly being challenged and constantly being questioned.” - Tyrone Howard It's a timely and necessary documentary that does more than simply help people see beyond their own experience to that of others living in the same society. Director Sonia Lowman centers real people and real struggles in ways that bring the humanity of Black boys into sharp and inescapable focus. The documentary's savvy in it's approach. Breaking the discussion up into sub-sections. This allows for a focused discussion that feeds into the greater whole in ways that inform and capture the humanity of the people sharing their stories and lives. Black Boys is a reminder that these young boys and men are more than the sum of their physical parts.  Listen as Kriss and Ro discuss this 2020 Bentonville Official Selection and how the documentary poignantly demonstrates the importance of changing the way we think about the humanity of Black boys, talk about inequity, and never forgetting that heroes are the last thing anyone needs.    Director(s): Sonia Lowman Writer(s): Sonia Lowman Producer(s): Sonia Lowman, Chad Williamson, Elliot Kotel Editor(s): Evald Ridore Cinematographer(s): Jeanne Tyson Production Designer(s): N/A Music Composer(s): N/A Cast: Malcolm Jenkins, Carmelo Anthony, Malcolm London, Vic Mensa, Cris Carter, Jemele Hill, Greg Scruggs, Howard Bryant Follow more of our Bentonville Film Festival Foundation 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Subscribe: Follow us on Social Media: MTRNetwork    MTRNetwork    @TheMTRNetwork   Want more podcast greatness? Sign up for a MTR Premium Account!  

Black Boys is Humanization in Context   Black Boys focuses on Black young boys and men in America. It' explores how they're dehumanized as a group. It unravels the ways in which society deliberately limited and then blamed for failing to excel.  “As much as we try to hold on to our humanity, you realize you live in a world where your humanity is constantly being challenged and constantly being questioned.” - Tyrone Howard It's a timely and necessary documentary that does more than simply help people see beyond their own experience to that of others living in the same society. Director Sonia Lowman centers real people and real struggles in ways that bring the humanity of Black boys into sharp and inescapable focus. The documentary's savvy in it's approach. Breaking the discussion up into sub-sections. This allows for a focused discussion that feeds into the greater whole in ways that inform and capture the humanity of the people sharing their stories and lives. Black Boys is a reminder that these young boys and men are more than the sum of their physical parts.  Listen as Kriss and Ro discuss this 2020 Bentonville Official Selection and how the documentary poignantly demonstrates the importance of changing the way we think about the humanity of Black boys, talk about inequity, and never forgetting that heroes are the last thing anyone needs.    Director(s): Sonia Lowman Writer(s): Sonia Lowman Producer(s): Sonia Lowman, Chad Williamson, Elliot Kotel Editor(s): Evald Ridore Cinematographer(s): Jeanne Tyson Production Designer(s): N/A Music Composer(s): N/A Cast: Malcolm Jenkins, Carmelo Anthony, Malcolm London, Vic Mensa, Cris Carter, Jemele Hill, Greg Scruggs, Howard Bryant Follow more of our Bentonville Film Festival Foundation 2020 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Subscribe: Follow us on Social Media: MTRNetwork    MTRNetwork    @TheMTRNetwork   Want more podcast greatness? Sign up for a MTR Premium Account!  

More Than the Sum of Its Parts It's time. Lovecraft Country episode one debuts tonight August 16th on HBO, 9 PM ET. Set your DVR, get that streaming access ready. This is one limited series you don't want to miss.  Based on the Matt Ruff book by the same name, Lovecraft Country brings the saga of Atticus Freeman (Jonathan Majors) and his family and friends as they attempt to unravel a dangerous supernatural mystery buried in the roots of his family lineage.  Showrunner Misha Green centers the Black family, the everyday and mundane nature of striving for more in a world designed to keep you dispossessed. The cast lead by Majors also includes: Courtney B. Vance, Jurnee Smollett-Bell, Michael Kenneth Williams, Aunjanue Ellis, Jada Harris, and Wunmi Mosaku and trust and believe, no one is ready for what's about to go down. And that's a good thing.   Lovecraft Country Episode One: Sundown  Life in this 1950s setting has a pulse and vibrancy not often incorporated in the visual elements where Black life in all its many facets lie at the heart of the storytelling. Expect glorious fashion and vibrant settings as the backdrop to the gritty realities of living and moving under segregation and that's before you ever get to the gore, magical, and other horrific story elements. Family Matters This story opens with Atticus traveling from Florida to Chicago. He's heading home after receiving an alarm-raising letter from his father. This Korean War veteran is a much changed man from the awkward skinny kid who left to go to war. But regardless of all else, Atticus loves his family and intends to find his father and see him safely back in the family fold.  There's no importing "contemporary" sensibilities into the world-building of Lovecraft Country. Instead these writers deliberately reflect life in Jim Crow America. Starting with dispelling the myth that anti-Black sentiment stopped once you crossed into the North. We meet Atticus along his journey just before his bus home breaks down leaving him with no option but to finish the walk into the city with the other Black person seated in the back of the bus.  Jonathan Majors in Lovecraft Country. Photograph by Elizabeth Morris/HBO Right out the gate, Lovecraft Country leaves no doubt its that interrogating trauma on multiple levels. Just as Watchmen forced people to recognize the banality of racism and white supremacy in America. Every bit of dialogue between characters is insightful, the soundtrack purposeful, and the lead-in to the horror riddled with historical Easter eggs and multi-level fantastical storytelling.  Listen as Ro, Kriss and Ava's Daddy (formally known as Phenom) sit down for the first of many conversations to discuss Lovecraft Country's episode, Sundown.  This is Misha Green's Lovecraft Country now.  Lovecraft Country meets at the intersection of life in the 1950s Jim Crow America and cosmic horror. Expect the veil between the horrors of the everyday and the supernatural to thin. It's anthology-style is a perfect framework to continuously set it off. Every moment will raise questions about which horror is ultimately more damaging to the psyche. Prepare because Lovecraft's lens is unapologetically conscious, undeniably Black, and absolutely to here to challenge as it entertains like nothing else coming to the lineup.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

More Than the Sum of Its Parts It's time. Lovecraft Country episode one debuts tonight August 16th on HBO, 9 PM ET. Set your DVR, get that streaming access ready. This is one limited series you don't want to miss.  Based on the Matt Ruff book by the same name, Lovecraft Country brings the saga of Atticus Freeman (Jonathan Majors) and his family and friends as they attempt to unravel a dangerous supernatural mystery buried in the roots of his family lineage.  Showrunner Misha Green centers the Black family, the everyday and mundane nature of striving for more in a world designed to keep you dispossessed. The cast lead by Majors also includes: Courtney B. Vance, Jurnee Smollett-Bell, Michael Kenneth Williams, Aunjanue Ellis, Jada Harris, and Wunmi Mosaku and trust and believe, no one is ready for what's about to go down. And that's a good thing.   Lovecraft Country Episode One: Sundown  Life in this 1950s setting has a pulse and vibrancy not often incorporated in the visual elements where Black life in all its many facets lie at the heart of the storytelling. Expect glorious fashion and vibrant settings as the backdrop to the gritty realities of living and moving under segregation and that's before you ever get to the gore, magical, and other horrific story elements. Family Matters This story opens with Atticus traveling from Florida to Chicago. He's heading home after receiving an alarm-raising letter from his father. This Korean War veteran is a much changed man from the awkward skinny kid who left to go to war. But regardless of all else, Atticus loves his family and intends to find his father and see him safely back in the family fold.  There's no importing "contemporary" sensibilities into the world-building of Lovecraft Country. Instead these writers deliberately reflect life in Jim Crow America. Starting with dispelling the myth that anti-Black sentiment stopped once you crossed into the North. We meet Atticus along his journey just before his bus home breaks down leaving him with no option but to finish the walk into the city with the other Black person seated in the back of the bus.  Jonathan Majors in Lovecraft Country. Photograph by Elizabeth Morris/HBO Right out the gate, Lovecraft Country leaves no doubt its that interrogating trauma on multiple levels. Just as Watchmen forced people to recognize the banality of racism and white supremacy in America. Every bit of dialogue between characters is insightful, the soundtrack purposeful, and the lead-in to the horror riddled with historical Easter eggs and multi-level fantastical storytelling.  Listen as Ro, Kriss and Ava's Daddy (formally known as Phenom) sit down for the first of many conversations to discuss Lovecraft Country's episode, Sundown.  This is Misha Green's Lovecraft Country now.  Lovecraft Country meets at the intersection of life in the 1950s Jim Crow America and cosmic horror. Expect the veil between the horrors of the everyday and the supernatural to thin. It's anthology-style is a perfect framework to continuously set it off. Every moment will raise questions about which horror is ultimately more damaging to the psyche. Prepare because Lovecraft's lens is unapologetically conscious, undeniably Black, and absolutely to here to challenge as it entertains like nothing else coming to the lineup.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Hitmen, streaming service Peacock's latest addition, not only hits all the right comedic notes, it keeps the episodes short, the drama high and the relationship between the main characters as ridiculous as it is relatable.  While the humor (dry and pithy) won't be to everyone's taste, this show about best friends Jamie (Mel Giedroyc) and Fran (Sue Perkins) as the most unlikely pair of hitmen makes the most of its talented leading ladies. HITMEN -- "Birthday" Episode 101 -- Pictured: (l-r) Mel Giedroyc as Jamie, Sue Perkins as Fran -- (Photo By: Sky UK Limited)     The plot is a blend of sweet and silly as this comdey duo shows it's possible to build a buddy comedy around to women without ever making them the but of the joke. Misadventure Is The Name of The Game  Jamie and Fran are the prefect odd couple. Each supports the other - even when perhaps that's not the best move - through relationships, clashing personality quirks, and mishaps that seem to plague them at ever turn. The laughs are often unexpected but always earned by the end. It shouldn't be possible to describe a pair of contract killers as adorable..and yet here we are.  The script makes the most of Giedroyc and Perkins (The Great British Baking Show) long relationship and obvious chemistry to build a great launching point for a show about women of a certain age whose lives are clearly a hot mess making their way in the world by applying their unconventional skill-set. It shouldn't work but their oddball antics and clear love for one another keeps it all together.  Finding the comedic sweet spot on a television show is no small feat. Not only does the timing need to be right, the characters often need to be just this side of unbelievable. Listen to Kriss and Ro discuss why Hitmen is not only worth a watch but is a savvy addition to the lineup of Peacock's original shows. Hitmen, the six episode series debuts on Peacock August 6, 2020.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

P-Valley (a.k.a Pussy Valley) premiered July 12th on Starz with a whisper campaign already in progress. What many thought would be -at best- a higher class episodic version of the Player's Club was instead, a vividly nuanced world built on the Mississippi Delta region's nightlife and strip clubs wrapped in a crime-novel-worthy mystery.  P-Valley is far more than just a look beyond the pole and into the dressing room. It's the slow burning - gorgeously lit - journey of women on a hustle to fund (or save) their own lives.  This show has LEVELS. Just as soon as one twists unravels there's a turn to keep it unpredictable.  When Film Noir and Strip Culture Collide... Creator and Showrunner Katori Hall (Tina: The Tina Turner Musical) assembled an all-women team of directors and writers to develop her stage play into a dynamic neon-drenched drama. P-Valley pours the moral ambiguity and cynicism of sex work into a gritty film noir mold. The end result is a intricate plot-driven by the titillating and traumatic (with a side of ambition) all set to a mood-altering blend of the blues and trap music. And with that decision, Delta Noir was born. With every reveal from inside The Pynk, the more riveting each club performer's subplot becomes.    The Pynk  The writer's room gave a subtle hat-tip to noir archetypes, like the girl-next-door, the femme fatale, and the good-bad girl crafting characters that subvert narrative expectations with a hefty dose of existential angst. The savvy story direction and spot-on casting infuses each character with trope-defying authenticity. The women of P-Valley are the living embodiment of "classy, bougie, ratchet, sassy, moody, and nasty" in the best and most savage of ways (Megan would be proud).  These aren't, however, hollow caricatures as is often the case when a story centers Black women. The P-Valley writers built these women with depth. Each capable and fully embracing their agency. Crafty writing shows them leveraging their personal power at work then juxtaposes those moments with the complicated personal lives each struggles with daily. Each theme-driven episode runs the gambit of family issues, domestic violence, colorism, racism, betrayal, and other oft mishandled issues festering within portrayals of the Black community. Hrere, every story arc's told with an eye always towards honesty and handled with a deft touch. P-Valley constantly up-ends presumptions about what "kind" of woman dances for a living (and why).  But, this Delta Noir set to destigmatize more than just stripping. Although it definitely accomplishes that with wit and gritty honesty. So, expect P-Valley to put subtly center body-positivity, addiction, PTSD, toxic mother-daughter dynamics right next to deconstructing masculinity, and embracing one's sexuality. The apologeticness of it all is gratifying. Like In Any Good Noir Drama, Trouble Comes To The Delta...  Life in a small town is never simple. And in Chucalissa, the same people throwing dollars until dawn at The Pynk on Saturday are seated in the pews of churches on Sunday. The hypocrisy is real.  Club owner Uncle Clifford (Nathaniel Nicco Annan) needs revenue streams to ensure The Pynk survives. He's determined to preserve his family land and see his club thrive. So he plays the game. Clifford's (and The Pynk's) place in the community (and importance to the plot) is constantly evolving. Because thankfully, in P-Valley, The Pynk doesn't exist in a vacuum. This former(ish) plantation town is due a massive face-lift. Enter the mysterious Andre Watkins (Parker Sawyers) and his client gobbling up real estate all around town. Watkins believes he's on the cusp of breathing new life (and jobs) into the area. But his interests are certain to clash with Uncle Clifford's. As this story unfolds and overlaps with the drama inside The Pynk it's increasing obvious Uncle Clifford's land is seriously in play. It's an refreshing way to approach the complicated relat...

The Boundary Breaking Go-Go's  Ro and Joi freely admit to liking documentaries. They're a great way to dip a toe in to messiness without the need to invite it into real life. Documentaries also provide an meaningful way to expand the elements of history to properly capture the zeitgeist of a decade.  The latest entry in documenting music history on film is The Go-Go's from director Alison Ellwood (History of the Eagles). Ellwood gathered all the members of the ground-breaking girl group together for open honest discussion about their rise to fame. This group created an entire zeitgeist altogether. It's worth knowing about.  The women were frank about their ambitions, honest about their missteps, and real about the challenges to breaking into the music scene.  Respect the Game But Smashing the Mold  Prepare for a rather comprehensive oral history. Ellwood's directorial style blends live interviews and archival footage to present a seamless look at the journey of a rock band. There's sex, drugs, grit, grime and glamour.  (L-R): Charlotte Caffey, Gina Schock (drums), Belinda Carlisle, Kathy Valentine (bass, behind Belinda Carlisle's head), Jane Wiedlin. 1981. Photo credit: Cassy Cohen/Courtesy of SHOWTIME. The Go-Go's hold the title as the first (and last) all female rock group to play their own instruments, sing original songs (that they wrote) to have a number one album. It doesn't take more than a downbeat to identify a song by The Go-Go's. Their style was distinct and trendsetting. Learning what it took to get them to the top and what toppled them reveals the strange chemistry likely at the heart of every successful group.  Watching this band of badasses grow from punk devotees into stadium-filling rock stars was a wild and engaging ride. The pieces slowly fall into place as they grow into themselves (and out of the punk scene). Their coming of age crashed through the gates of the industry; swiftly dispelling the longstanding belief that 'girl bands don't sell records.'  This clear-eyed look back chronicles a journey that's unparalleled in terms of success and unflinching (for the most part) in terms of confronting the band's weaknesses and egos. The darker side of fame, personal demons, and crushing schedules only touches on the subjects discussed. It's a raw look behind the curtain that informs, entertains and sends you away wondering:  What exactly will it take to get The Go-Go's into the Rock and Roll Hall of Fame?  "The Go-Gos" premieres July 31 at 9 p.m. on Showtime. Listen as Ro and Joi's spoiler-free discussion about this documentary about a group that paved the way for generations of musicians.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Dave Franco makes his directorial debut by stepping into the horror/thriller genre with The Rental. The Rental is a solid directorial debut for Franco as it weaves together a pretty simple but engaging plot, messy characters that aren't annoying and a short runtime (88 minutes).  The characters in The Rental "have it coming" to them for their messy and terrible decisions throughout this film. There's a lot of "unintentionally  funny" moments of this film. This is mainly because as the audience, we get to be voyeurs into the lives of two couples that are keeping secrets from each other that are later exposed leading to their downfall.  Let's be honest, having an affair with your business partner is never a good idea. Having an affair with your married business partner is an even worse idea. Having an affair with your married business partner who is the brother of your boyfriend while you all are all staying at the same remote Airbnb is just a recipe for disaster. Throw in a murderous voyeur who has the Airbnb rigged with hidden cameras and now we have a movie. The Rental isn't a perfect film but in the age of Covid with a VOD release, this is just what the doctor ordered. Franco avoids some of the pitfalls first time directors have when they jump into the horror genre and is able to keep things simple and safe (maybe too safe). Still, this is worth checking out.  Listen as Ro, Joi and Kriss discuss and review this film. We also talk about the state of films in general during Covid, the indefinite delays of some film releases (Tenet) and the upcoming virtual film festivals as an interesting award season starts to come into view. The Rental opens in over 250 drive ins and theaters (where allowed) as well as Digital and Cable VOD Friday July 24th. For a list of theaters and available rental platforms check out therental.movie     Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Kriss and Ro are back to review TNT's Snowpiercer. This time we're reviewing episodes 5 - 7 or  as we like to  call it: Melanie you fucking up. With these three episodes we start to see glimmers of how Snowpiercer devolves into the truly dystopian world we see from the movie. The show is doing a good job of showing us "behind the curtain" and what Melanie is trying to do to maintain not just order but the survival of the human race.  On the surface it may look as if  they're trying to condone her actions but its really showing the audience how good intentions aren't an excuse for evil behavior. We see Melanie spiraling more and more out of control (which is making her more brutal). Melani is making a lot of short term decisions that  give her an immediate benefit but are harming her (and the train) more in the long run. Her decision to override the tribunal's verdict did nothing to put her in the good graces of the Folgers and made her look weaker in front of 2nd & 3rd class. Bess offers a good contrast to Melanie. Whereas Melanie thinks the ends justify the means to keep her secrets, with Bess we see someone who is starting to make decisions that put her at great risk while benefiting others. Listen as we review these episodes as well as give some theories on where we think this show can go in relation to the movie. We also discuss how these episodes tie very well into what we're seeing in the world today.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Kriss and Ro are back to review TNT's Snowpiercer. This time we're reviewing episodes 5 - 7 or  as we like to  call it: Melanie you fucking up. With these three episodes we start to see glimmers of how Snowpiercer devolves into the truly dystopian world we see from the movie. The show is doing a good job of showing us "behind the curtain" and what Melanie is trying to do to maintain not just order but the survival of the human race.  On the surface it may look as if  they're trying to condone her actions but its really showing the audience how good intentions aren't an excuse for evil behavior. We see Melanie spiraling more and more out of control (which is making her more brutal). Melani is making a lot of short term decisions that  give her an immediate benefit but are harming her (and the train) more in the long run. Her decision to override the tribunal's verdict did nothing to put her in the good graces of the Folgers and made her look weaker in front of 2nd & 3rd class. Bess offers a good contrast to Melanie. Whereas Melanie thinks the ends justify the means to keep her secrets, with Bess we see someone who is starting to make decisions that put her at great risk while benefiting others. Listen as we review these episodes as well as give some theories on where we think this show can go in relation to the movie. We also discuss how these episodes tie very well into what we're seeing in the world today.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Giving John Lewis His Due John Lewis: Good Trouble, like The Pieces I Am did with Toni Morrison, explores the richness of the Elder Statesman's public life through archive footage and present day interviews. This is a look through his eyes at his days in the civil rights movement and beyond. It couldn't come at a better time.  "we are in a much better place. when I hear people say nothing has changed. I just want to say, come and walk in my shoes..."  In 2014, the National Center for Civil and Human Rights opened an exhibit focused on the life of John Lewis. It was the chronology of his life as a timeline of change in the United States. In the same vein, this documentary directed by Dawn Porter is about giving Lewis his flowers while he's still walking among us. But don't expect Porter to cross the line into his personal life.  In terms of a documentary storytelling, leaving the personal costs out unexplored makes for a bit of unevenness. There's plenty of humor, a few glimpses behind the veil, and definitely a broader contextual understanding for his continued optimism to be hand. However, very little - even in this non-linear narrative- that delves into the unknown or unexpected. This documentary raises as many questions as it answered when it comes to John Lewis. Focus on any less favorable events or periods in his life is few, far between and given very little screen time. Lewis has always carefully protected his home and family. So, it's unsurprising that Good Trouble's lens remains  focused squarely on his public life and persona.  It also silently demonstrates that when John Lewis doesn't wish to be moved, he won't be.  Which in a way, tells its own story.  A Legacy Still In The Making  In 2016, Lewis explained his decision to get involvement in the civil rights movement with, “I was inspired [by doctor King and Rosa Parks] to get in trouble. I was inspired to get in the way.”  So this film stands as a sharp highlight of what it means to get in "good trouble" and why John Lewis continues to answer the call...and why we as a community need to be ready to collectively get in the way as well.  Shortly before his assassination in 1968, Martin Luther King Jr. said: "Now our struggle is for genuine equality, which means economic equality. For we know that it's not enough to integrate lunch counters. What does it profit a man to be able to eat at an integrated lunch counter if he doesn't have enough money to buy a hamburger?"  As the progressive veneer many state's boast about shreds to nothingness, the severe lack of equity and continued socio-economic vulnerability of Black people in the United States is abundantly clear. John Lewis: Good Trouble is a reminder (or lesson for the unaware) that the steps that lead to change are always deliberate and and methodical. And the next steps to retaining and expanding our rights and protections must be as well.  John Lewis was more than a man who "marched with King" and Good Trouble does a more than fair job of bringing that fact into focus. It's also clear by the end that this man is far from done putting in work.  The Evolution of an Activist By examining Lewis' life and his choices, Porter brings new perspective to not only the path of a movement but the thoughts driving the man. Good Trouble humanizes Lewis in ways that'll send you in search of more information (this well is deep and there is mess), thoughtful about crafting further ways forward, and hopeful about recapturing the mindset that this is a battle for liberation.  This isn't the usual direction of a documentary nor is it the expected focus on a life lived.  Given the positive focus of the present day interviews, you'll came away with a potentially deeper understanding of why the man garners so much respect. And to the people Porter's truly aiming Good Trouble at, it's message will be clear. The archival footage and glimpses of Lewis with his chief of staff, Michael Collins,

Giving John Lewis His Due John Lewis: Good Trouble, like The Pieces I Am did with Toni Morrison, explores the richness of the Elder Statesman's public life through archive footage and present day interviews. This is a look through his eyes at his days in the civil rights movement and beyond. It couldn't come at a better time.  "we are in a much better place. when I hear people say nothing has changed. I just want to say, come and walk in my shoes..."  In 2014, the National Center for Civil and Human Rights opened an exhibit focused on the life of John Lewis. It was the chronology of his life as a timeline of change in the United States. In the same vein, this documentary directed by Dawn Porter is about giving Lewis his flowers while he's still walking among us. But don't expect Porter to cross the line into his personal life.  In terms of a documentary storytelling, leaving the personal costs out unexplored makes for a bit of unevenness. There's plenty of humor, a few glimpses behind the veil, and definitely a broader contextual understanding for his continued optimism to be hand. However, very little - even in this non-linear narrative- that delves into the unknown or unexpected. This documentary raises as many questions as it answered when it comes to John Lewis. Focus on any less favorable events or periods in his life is few, far between and given very little screen time. Lewis has always carefully protected his home and family. So, it's unsurprising that Good Trouble's lens remains  focused squarely on his public life and persona.  It also silently demonstrates that when John Lewis doesn't wish to be moved, he won't be.  Which in a way, tells its own story.  A Legacy Still In The Making  In 2016, Lewis explained his decision to get involvement in the civil rights movement with, “I was inspired [by doctor King and Rosa Parks] to get in trouble. I was inspired to get in the way.”  So this film stands as a sharp highlight of what it means to get in "good trouble" and why John Lewis continues to answer the call...and why we as a community need to be ready to collectively get in the way as well.  Shortly before his assassination in 1968, Martin Luther King Jr. said: "Now our struggle is for genuine equality, which means economic equality. For we know that it's not enough to integrate lunch counters. What does it profit a man to be able to eat at an integrated lunch counter if he doesn't have enough money to buy a hamburger?"  As the progressive veneer many state's boast about shreds to nothingness, the severe lack of equity and continued socio-economic vulnerability of Black people in the United States is abundantly clear. John Lewis: Good Trouble is a reminder (or lesson for the unaware) that the steps that lead to change are always deliberate and and methodical. And the next steps to retaining and expanding our rights and protections must be as well.  John Lewis was more than a man who "marched with King" and Good Trouble does a more than fair job of bringing that fact into focus. It's also clear by the end that this man is far from done putting in work.  The Evolution of an Activist By examining Lewis' life and his choices, Porter brings new perspective to not only the path of a movement but the thoughts driving the man. Good Trouble humanizes Lewis in ways that'll send you in search of more information (this well is deep and there is mess), thoughtful about crafting further ways forward, and hopeful about recapturing the mindset that this is a battle for liberation.  This isn't the usual direction of a documentary nor is it the expected focus on a life lived.  Given the positive focus of the present day interviews, you'll came away with a potentially deeper understanding of why the man garners so much respect. And to the people Porter's truly aiming Good Trouble at, it's message will be clear. The archival footage and glimpses of Lewis with his chief of staff, Michael Collins,

"Snowpiercer:" A Procedural Gateway to 1001 Cars Just as in Bong Joon-Ho's feature lengthy film "Snowpiercer," the new TNT series takes place aboard the Great Ark Train in perpetual motion around a globe frozen in the second Ice Age. The survivors are seven years into their trek into the future. The rigid class system, so brutally authoritarian in the film, exists beneath a glossy sheen of orderliness. Jennifer Connelly, Alison Wright in TNT's Snowpiercer. Photograph by Justina Mintz   But, beneath the surface, the rumblings of revolution, from the tail, are growing louder as train operations begin to strain under catastrophic set backs. To make matters worse, there's been a murder.  This may seem like a far cry from Joon-Ho's grimy allegory about class but that's only true if you've never stop to ask, how did the conditions on the train get to such a brutal point. Once you do, then this step back in time makes sense and ups the tension to a whole new level. The Weather May Have Changed, But People Didn't  As a way to introduce life on the Great Ark, the flow and dynamics between the classes and among the stowaways living in the tail of the train, as well as the challenges of sustaining life in a closed ecosystem, a murder in need of solving isn't a bad choice. It creates a logical opening into a complex world built on dirty politics.  The head of hospitality, Melanie Cavill (Jennifer Connelly) calls on the last surviving homicide detective Andre Layton (Daveed Diggs) to solve the murder threatening to force the bubbling unrest to the surface.  There's just one problem with her choice, Andre lives in the tail and is the head of the brewing rebellion.  Katie McGuinness, Daveed Diggs in TNT's Snowpiercer. Photograph by Justina Mintz   Layton swiftly realizes he's this investigation puts him in a position to not only see more of the train that anyone else from the tail but try to capitalize on tension between the classes and build strategic relationships the rebellion needs. Story Within A Story While Layton's making his moves, Melanie's intent on keeping the train's inhabitants turned firmly on what she wants. The class divide plays out to create a different kind of drama. In this lux world there's excitement, danger, and twisted machinations intertwine. It's also where this series deviates from it's film roots.  If you're familiar with show-runner Graeme Manson (Orphan Black) then you know he's never just talking on one level. So, you can take it as read that this seemingly straightforward police procedural isn't anything so uncomplicated.  Taking advantage of the vivid production design to turn the train into a ever-evolving character critical to the plot, the serialized "Snowpiercer" builds on the strength of this dynamic universe to best leverage some of the themes from the original graphic novel  Le Transperceneige to create a ten-episode slow-building thrill ride.  Settle in for secrets, lies, violence, betrayal, and twisted relationships certain to push things to a tipping point before it's all over. By the end of episode four (and the first full story arc) murder mystery "Snowpiercer" viewers will be primed. There's a murderer set to go to trial and third class workers demanding equal representation.  Things are just getting started and order may not survive a murder trail.   A Show Worth Discussing If you're a premium subscriber of the MTR Network, the crew's recent re-watch discussion makes it clear, we're are fans of "Snowpiercer." So it's hardly a surprise we're re-caping the series. TNT's Snowpiercer launched on May 17, 2020. While the plot and paced would've been best served by a two-hour premiere, this show's definitely worth watching. Listen in as we discuss the series introduction and story arc that unfolds in episodes one through four.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork  

"Snowpiercer:" A Procedural Gateway to 1001 Cars Just as in Bong Joon-Ho's feature lengthy film "Snowpiercer," the new TNT series takes place aboard the Great Ark Train in perpetual motion around a globe frozen in the second Ice Age. The survivors are seven years into their trek into the future. The rigid class system, so brutally authoritarian in the film, exists beneath a glossy sheen of orderliness. Jennifer Connelly, Alison Wright in TNT's Snowpiercer. Photograph by Justina Mintz   But, beneath the surface, the rumblings of revolution, from the tail, are growing louder as train operations begin to strain under catastrophic set backs. To make matters worse, there's been a murder.  This may seem like a far cry from Joon-Ho's grimy allegory about class but that's only true if you've never stop to ask, how did the conditions on the train get to such a brutal point. Once you do, then this step back in time makes sense and ups the tension to a whole new level. The Weather May Have Changed, But People Didn't  As a way to introduce life on the Great Ark, the flow and dynamics between the classes and among the stowaways living in the tail of the train, as well as the challenges of sustaining life in a closed ecosystem, a murder in need of solving isn't a bad choice. It creates a logical opening into a complex world built on dirty politics.  The head of hospitality, Melanie Cavill (Jennifer Connelly) calls on the last surviving homicide detective Andre Layton (Daveed Diggs) to solve the murder threatening to force the bubbling unrest to the surface.  There's just one problem with her choice, Andre lives in the tail and is the head of the brewing rebellion.  Katie McGuinness, Daveed Diggs in TNT's Snowpiercer. Photograph by Justina Mintz   Layton swiftly realizes he's this investigation puts him in a position to not only see more of the train that anyone else from the tail but try to capitalize on tension between the classes and build strategic relationships the rebellion needs. Story Within A Story While Layton's making his moves, Melanie's intent on keeping the train's inhabitants turned firmly on what she wants. The class divide plays out to create a different kind of drama. In this lux world there's excitement, danger, and twisted machinations intertwine. It's also where this series deviates from it's film roots.  If you're familiar with show-runner Graeme Manson (Orphan Black) then you know he's never just talking on one level. So, you can take it as read that this seemingly straightforward police procedural isn't anything so uncomplicated.  Taking advantage of the vivid production design to turn the train into a ever-evolving character critical to the plot, the serialized "Snowpiercer" builds on the strength of this dynamic universe to best leverage some of the themes from the original graphic novel  Le Transperceneige to create a ten-episode slow-building thrill ride.  Settle in for secrets, lies, violence, betrayal, and twisted relationships certain to push things to a tipping point before it's all over. By the end of episode four (and the first full story arc) murder mystery "Snowpiercer" viewers will be primed. There's a murderer set to go to trial and third class workers demanding equal representation.  Things are just getting started and order may not survive a murder trail.   A Show Worth Discussing If you're a premium subscriber of the MTR Network, the crew's recent re-watch discussion makes it clear, we're are fans of "Snowpiercer." So it's hardly a surprise we're re-caping the series. TNT's Snowpiercer launched on May 17, 2020. While the plot and paced would've been best served by a two-hour premiere, this show's definitely worth watching. Listen in as we discuss the series introduction and story arc that unfolds in episodes one through four.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork  

This Shirley Audio Review Definitely Went Left...  Once again, Kriss agreed to talk to Ro about a film without first watching the trailer. This time we're talking upcoming release from Neon, "Shirley" starring Elizabeth Moss. Listen in because we had thoughts and feelings galore.  A young newlywed couple - new to the college town - find themselves entering the lively, yet strangely regimented, home of Shirley Jackson during a party. Shirley's husband, Stanley Hyman (Michael Stuhlbarg) invites them to stay with the couple.    Rose (Odessa Young) the supportive wife and her quickly neglectful husband Fred (Logan Lerman) arrive just as the writer begins writing her considering her next project. It quickly becomes clear, something is off about the abrasive Shirley. Despite that, Rose is curious about the woman behind the horror stories.    When Things Take A Strange Turn Sometimes It's a Good Thing... Rose's hope to audit classes while her husband establishes himself swiftly falls by the wayside in service to Fred's ambition. In an effort to gain Stanley's favor, Rose ends up nursemaid and house wife to the eccentric Shirley. She and Rose slowly bond. As time seems to give way to the story Shirley's writing, Rose exists less and less away from her. She's sucked into Shirley's process completely. Stanley a toxic, serial philander with an inflated sense of importance who soon comes to resent the young couple's presence despite initially demanding it. What follows is a surreal day-in-the-life look into the abyss. It's never clear what's really happening and what amounts to falling into Shirley's mind. One one level, it just so well crafted you don't care. But beneath this atmospheric glimpse into these women's lives there's a certain emptiness that shouldn't be.    Shirley Should've Been the Center  Based on Susan Scarf Merrell's novel Shirley and directed by Josephine Decker, this adaptation makes the most the fictional character Rose. Odessa Young gives an ever-increasingly haunting performance that shines even as it doesn't entirely make sense.  This is a gothic tale about a young woman lured into Shirley's orbit in a way that seals the two together in an captivating and manipulative dance. It's a story Jackson definitely would've written. There's betrayal, gas-lighting, bitter rivalry, back-biting and twisted love  What "Shirley" isn't is a biopic and it absolutely should've been. Shirley Jackson was a deeply complex whose deep issues manifested in her writing. She wrote horror. The insidious kind that lingered in the psyche and unbalances the unsuspecting. Elizabeth Moss gives an unparalleled performance as a woman ostracized by the establishment, celebrated among the bohemian and utterly tormented by her own mind. Who is Shirley Jackson? This world that lacks proper context. Had Decker incorporated a broader array of details (like the fact Jackson's husband made her agree to accept his infidelities as a condition of marriage) about her, the story we're given would've feel so...niche.  There are flashes of brilliance in how "Shirley" weaves her issues into the story we're given. There's not-so-silent commentary about docility and expectation that's downright engrossing to watch play out. Moss's portrayal comes with a twitchy-witchy edginess that most definitely could've carried a gritter, fuller look at Shirley Jackson. This agoraphobic, paranoid about her work, overtly hostile, wicked smart yet decidedly lacking in "womanly" charm woman is a walking metaphor in need of unpacking all on her own. So, without the how-and-why of Shirley Jackson - and what makes up her unorthodox life  - consistently centered this film is a sadly less coherent. Watching a soon completely enraptured Rose fall victim to Shirley's selfishness and the machinations of her toxic life could've (and should've) carried a deeper meaning and greater impact.  If this all carries a heavy whiff of "Who's Afraid of Virginia Woolf" to you well,

This Shirley Audio Review Definitely Went Left...  Once again, Kriss agreed to talk to Ro about a film without first watching the trailer. This time we're talking upcoming release from Neon, "Shirley" starring Elizabeth Moss. Listen in because we had thoughts and feelings galore.  A young newlywed couple - new to the college town - find themselves entering the lively, yet strangely regimented, home of Shirley Jackson during a party. Shirley's husband, Stanley Hyman (Michael Stuhlbarg) invites them to stay with the couple.    Rose (Odessa Young) the supportive wife and her quickly neglectful husband Fred (Logan Lerman) arrive just as the writer begins writing her considering her next project. It quickly becomes clear, something is off about the abrasive Shirley. Despite that, Rose is curious about the woman behind the horror stories.    When Things Take A Strange Turn Sometimes It's a Good Thing... Rose's hope to audit classes while her husband establishes himself swiftly falls by the wayside in service to Fred's ambition. In an effort to gain Stanley's favor, Rose ends up nursemaid and house wife to the eccentric Shirley. She and Rose slowly bond. As time seems to give way to the story Shirley's writing, Rose exists less and less away from her. She's sucked into Shirley's process completely. Stanley a toxic, serial philander with an inflated sense of importance who soon comes to resent the young couple's presence despite initially demanding it. What follows is a surreal day-in-the-life look into the abyss. It's never clear what's really happening and what amounts to falling into Shirley's mind. One one level, it just so well crafted you don't care. But beneath this atmospheric glimpse into these women's lives there's a certain emptiness that shouldn't be.    Shirley Should've Been the Center  Based on Susan Scarf Merrell's novel Shirley and directed by Josephine Decker, this adaptation makes the most the fictional character Rose. Odessa Young gives an ever-increasingly haunting performance that shines even as it doesn't entirely make sense.  This is a gothic tale about a young woman lured into Shirley's orbit in a way that seals the two together in an captivating and manipulative dance. It's a story Jackson definitely would've written. There's betrayal, gas-lighting, bitter rivalry, back-biting and twisted love  What "Shirley" isn't is a biopic and it absolutely should've been. Shirley Jackson was a deeply complex whose deep issues manifested in her writing. She wrote horror. The insidious kind that lingered in the psyche and unbalances the unsuspecting. Elizabeth Moss gives an unparalleled performance as a woman ostracized by the establishment, celebrated among the bohemian and utterly tormented by her own mind. Who is Shirley Jackson? This world that lacks proper context. Had Decker incorporated a broader array of details (like the fact Jackson's husband made her agree to accept his infidelities as a condition of marriage) about her, the story we're given would've feel so...niche.  There are flashes of brilliance in how "Shirley" weaves her issues into the story we're given. There's not-so-silent commentary about docility and expectation that's downright engrossing to watch play out. Moss's portrayal comes with a twitchy-witchy edginess that most definitely could've carried a gritter, fuller look at Shirley Jackson. This agoraphobic, paranoid about her work, overtly hostile, wicked smart yet decidedly lacking in "womanly" charm woman is a walking metaphor in need of unpacking all on her own. So, without the how-and-why of Shirley Jackson - and what makes up her unorthodox life  - consistently centered this film is a sadly less coherent. Watching a soon completely enraptured Rose fall victim to Shirley's selfishness and the machinations of her toxic life could've (and should've) carried a deeper meaning and greater impact.  If this all carries a heavy whiff of "Who's Afraid of Virginia Woolf" to you well,

Turn Off The Lights For "The Vast of Night"  If you like audio plays and ever wondered what it would look like if someone who loved them made a film, then Amazon Prime's latest, "The Vast of Night" a tailor-made fit for you.  This sci-fi story combines the best of intimate character byplay, an atmospheric intensity uniquely suited to a 1950 small town setting, and the driving need to know. It's a story worthy of a campfire and a starless night.  The "Twilight Zone" and "The Outer Limits" Had A Love Child "did you hear that sound?"  This beings with a classic B-movie starting point. A young woman Fay (Sierra McCormick) is the switchboard operator who meets up with radio DJ Everett (Jake Horowitz) and swaps snappy conversation and shares random facts as they each head to work. The town's all gathered in the school gym for the basketball game. So the two walk through empty streets. It sets the right tone and look. It's a dark foggy night. If something odds going to happen, well the right two inquisitive minds are paying attention.  Set at the dawn of the race into space and when it wasn't unheard of for someone to call in sightings of unidentified flying objects, "The Vast of Night" is the best kind of a riddle wrapped in a mystery.   Listen as Ro discusses "The Vast of Night" with Joi about why it should make your watch queue.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

A “betty” is known as a woman who dresses like a skateboarder but doesn’t skate. Her sole purpose is to be a hanger-on in the often male represented skate community. HBO’s BETTY, a comedy created/directed by Crystal Moselle, takes this concept and kick-flips it on its head. We follow the all-female Stake Kitchen collective throughout their misadventures in New York City.  The "Skate Kitchen" Cinematic Universe BETTY is a continuation-slash-reboot of 2018’s Skate Kitchen, with the origin story of Skate Kitchen getting remixed to fit the series. Camille (Rachelle Vinberg) served as the protagonist of Skate Kitchen. But in BETTY, the other girls - Indigo (Ajani Russell), Kirt (Nina Moran), Janay (Dede Lovelace), and Honey Bear (Kabrina Adams)  - pull equal weight in character development. The first three episodes of the series lay the bricks of the girl’s arcs. The hard pivot of the story from the film takes a while to calibrate in your mind if you’ve seen the film before. But once it does, their love of skating paired with their story growth ends beautifully. At its core, the series works because it lets the girls from Skate Kitchen be themselves at their best. The originality of these characters - loosely based on the girl’s personalities -  make the story engaging. The camaraderie of the group was the strongest aspect of Skate Kitchen. In BETTY, this camaraderie continues, albeit in smaller groups. The goal seems to give the girls space to get micro-moments together. But there’s an opportunity for later seasons to deliver the visual group shots we received in the film.  More Girls Means More Skating There also needs to be more highlights of the girls skating in the series. Vinberg does the lion share of skating tricks, and it’s not due to lack of talent of the other members. Outside of casually gliding on their boards, we don’t get slow and sweeping vignettes from the other main casts. These are young women with enormous skill. To under utilize is unfortunate, and makes you hope for improvement if there’s a season 2.  Effortlessly cool, BETTY grounds itself in its rebellious roots. The lives of skaters are one of intrigue and adventure. Adding the complexity and sisterhood of teenage girls to this mix elevates it to another level. With unpredictable but delightful moments, BETTY grabs a hold of you and takes you on this magical journey.   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

We're Here is a six-part unscripted series that follows three former Rupaul's Drag Race favorites, Bob the Drag Queen, Eureka O’Hara, and Shangela Laquifa Wadley as they travel to small towns staging drag shows with local recruits. Yes. Three of the biggest personalities in the drag world are bringing drag culture to small town USA. The local participants bring a mixed bag of motives. Some want to celebrate themselves, others want to make amends for past homophobia, many hope to foster tolerance and inclusion by standing up to take a walk in someone else's shoes...literally.  Connection and Community  Right out the gate, you know We're Here intends to be very on brand for it's three queens. Arriving in town in unforgettable buses and dressed to make the populous gag, Bob, Eureka and Shangela are on a mission to discover what lies at the hearts and in the minds of the town's people while inviting them to share in the fun. But it's not all hearts and rainbows. Some of these towns are confederate flag waving, civil war monument celebrating, evangelical "silent majority" strongholds. Pain and discomfort often lies just beneath the surface. We're Here gives faces and stories to the awkwardness and isolation that daring to live as your best self can cause. Leading up to a one-night-only drag show, this trio of drag queens guide their newly minted drag daughters through crafting an image, selecting a name, and learning choreography. At the same time, viewers will learn more about the participants home lives and communities. Dancing aside, these participant profiles will keep you invested and wondering about these towns long after the last scene fades to black.  A New Day In the Life One Hour at a Time  With just the right touch of Queer Eye, but stripped down to the essence of what makes television shows like this really interesting, We're Here advocates for greater community and love by highlighting the struggle to accept family members, friends, neighbors and often one's self. The documentary-style format is familiar. The stories unique. The participants willingness to pull back the veil on their lives captivating. We're Here is one hell of a teaching moment wrapped in diva attitude, humor, unsettling encounters, and much needed emotional honesty.  Tune In Because This is a Ride Worth Taking  We're Here premieres on Thursday, APRIL 23 (9:00-10:00 p.m. ET/PT). Viewers can catch the premiere episode for free to all via the YouTube Premieres platform. This is the first time that HBO will make debut content available for free. Ro and Joi sat down to discuss the new series, what sets it a part and what about it has them set to tune in until the end.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!  

Selah and the Spades writer and director Tayarisha Poe created something special. And not just because her film left Joi, Ro and Shanna collectively thinking Rian Johnson's Brick and Roger Kumble's Cruel Intentions had a baby. And that kid's a special kind of rowdy. Selah and the Spades has style, movement, and grace. It reorients common issues like, power and loyalty, into a contemporary high school setting perfect for playing out its themes.  Selah and the Spades, "the kids party different now"  Set in an elite Pennsylvania boarding school, Selah and the Spades introduces its audience to a high school underworld fraught with dangers; seen and unseen. This boarding school has five dominant factions within its student body, The Prefects, The Sea, The Skins, The Bobbies, and The Spades, that control the social strata. Selah Summer (Lovie Simone) leads the Spades with her second-in-command, Maxxie (Jharrel Jerome). With a the market on illegal drugs and alcohol, the Spades feed the student body's need to indulge it's vices. At seventeen years old, this outwardly poised young woman runs the most powerful faction in the school.  Lovie Simone stars in SELAH AND THE SPADES Photo: Courtesy of Amazon Studios The Spades rule through a liberal application of fear and strategic displays of power planned by Selah. Maxxie balances her edge with physical enforcement and building inter-faction relationships. Their efforts keep the Spades at the top of the social pyramid. She's proud of her achievements and had no intention of slipping.  (L-R) Lovie Simone and Jharrel Jerome star in SELAH AND THE SPADES Photo: Courtesy of Amazon Studios But it's her senior year and the time's come to pick a successor to her thrown. She's determine to secure her legacy and ensure the future dominance The Spades.  After meeting Paloma (Celeste O'Connor), a new-to-the school sophomore, Selah think's she's found a worthy protege. Now, if she could just commit to giving up power, everything will stay on track.   Celeste O'Connor stars in SELAH AND THE SPADES Photo: Courtesy of Amazon Studios Dirty Business Everywhere After quickly acclimating to this close environment, viewers are set for a ride through teenage angst that is likely to change the narrative landscape for these stories. Selah's struggling internally with unwanted changes in her future, her combative relationship with her mother, and a escalating conflict between the factions, Paloma watches and learns. What begins as a simple matter of grooming slowly changes as the sharp-witted Selah realizes her influence on Paloma isn't as complete as she'd like.  And as Maxxie's commitment and loyalty come into question as  he focus shifts, Selah's surface charm cracks and her unabashed ruthlessness comes to the forefront. Feeling threatened, Selah takes steps to tighten her hold. Used to doing as she pleases, being forced to confront her limitations trigger to dire consequences for the people around her. This Ain't the Wonder Years Although there may be fair comparisons between Selah and the predecessor films of its ilk, particularly Cruel Intentions, this is truly a character study unlike any other.  Poe developed a narrative that leaves room for thought provoking examination even as it lures you in with its high drama and messiness. The dynamics in this school highlight a social imbalance that creates a unique vacuum where strength of will can make you a power broker. No one fits the mold or falls into a stereotype. It makes for intrigue and underhandedness in ways that are unsettlingly contemporary. There's almost too much to unpack; which, of course, is good since there's currently a series in development.  Listen in as Ro, Joi, and Shanna talk about Selah in the Spades (and how being surprised with a contemporary mob film is a good thing) then keep an eye on the feed for an interview with Celeste O'Connor.  Selah and the Spades premiers on Amazon Prime. April 17. 2020.