Podcast appearances and mentions of Trey Edward Shults

Send us a textBrothers Paul & Pete review "Mission: Impossible - The Final Reckoning", starring Tom Cruise, Hayley Atwell, Ving Rhames, and Simon Pegg.Next, they review "Karate Kid: Legends", another installment in the franchise starring Jackie Chan, Ben Wang, and Joshua Jackson.Then, they review the live action remake "Lilo & Stitch", starring Maia Kealoha,Sydney Agudong, and Chris Sanders.Next, they review "Fountain of Youth", the Guy Ritchie Action adventurestarring John Krasinski, Natalie Portman, and Eiza Gonzalez.Then, they review "Thunderbolts*", the latest Marvel film of the MCU, starring Florence Pugh, Sebastian Stan, and Julia Louis-Dreyfus.Next, they review "Nonnas", the heartfelt comedy starring Vince Vaughn, Lorraine Bracco. Talia Shire, and Susan Sarandon.Then, Pete reviews "Another Simple Favor", directed by Paul Feig and starring Blake Lively and Anna Kendrick.Next, Paul reviews "Hurry Up Tomorrow", written and directed by Trey Edward Shults and starring The Weeknd, Jenna Ortega, and Barry Keoghan.Then, Paul reviews "Friendship", the awkward comedy starring Tim Robinson and Paul Rudd.Next, they review "Fight or Flight", the action comedy starring Josh Hartnett.Lastly, Pete reviews "Bring Her Back",  the horror starring Billy Barratt and Sally Hawkins.To listen on Apple Podcast:https://podcasts.apple.com/us/podcast/aaaction-podcast/id1634666134To listen on Spotify:https://open.spotify.com/show/1L78fn3C6RlKKdUihtiLyR?si=f31450db95724290Please make sure to like and subscribe to the Aaaction Podcast:https://www.youtube.com/channel/UCzJFoiUHvdbaHaiIfN37BaQ#aaactionpodcast #podcast #film #movie #moviereview #moviepodcast #newmovie  #amc #amctheatres #alist #amcpass #missionimpossible #missionimpossiblethefinalreckoning #tomcruise #karatekid #karatekidlegends #liloandstitch #disney #fountainofyouth #thunderbolts #marvel #nonnas #anothersimplefavor #hurryuptomorrow #friendship #fightorflight #bringherback

Una vez más, no sabemos bien por qué, ustedes nos pidieron una película y nosotros la vimos. Se suponía que además de ser "la de The Weeknd" era un "thriller psicológico". Bueno, dale play y enterate. Se llama Más Allá de los Reflectores (Hurry Up Tomorrow, 2025) y la dirige Trey Edward Shults, el de Viene de Noche (It Comes at Night, 2017).Por otro lado también debatimos si es posible abrir portales infernales viendo películas de terror y alguna cuestión más.Si querés y podés pasate por hoytrasnoche.com. Ah, sos un amor, gracias.

Josh is joined by recurring guest Daniel Lima to talk about one of the most perplexing films of 2025, "Hurry Up Tomorrow." They attempt to parse the blame between writer/director Trey Edward Shults and co-writer/star The Weeknd allowing such a nothingburger of a story to make it to the screen, whether the film had anything interesting to say about the downside of celebrity, if Barry Keoghan and Jenna Ortega's performances provided any silver lining and much more! Produced and Edited by Daniel Lima.

This week, I review the new Tim Robinson/Paul Rudd film from Andrew DeYoung, Friendship in a feature review and then, in this week's secondary review, I share my thoughts on The Weeknd's movie, Hurry Up Tomorrow. I also discuss recent movie news, screenings around Indianapolis, and more.   Timestamps Show Start - 00:28 Screening in Indy - 04:07 News Before the Reviews - 09:40 Feature Review Friendship (2025) - 14:02 Spoiler - 37:08 Secondary Review Hurry Up Tomorrow (2025) - 1:12:25   Closing the Ep - 1:36:36 Patreon Clip - 1:37:43   Related Links Tomato Paste: My Excommunication from Rotten Tomatoes Max Changing back to HBOMax this summer   My 2025 Podcast and Writing Archive Patreon Special - 28 Days Later (2002) at Alamo Drafthouse - May 23, 2025 Immediate Reaction - Clown in a Cornfield (2025) - May 16-21, 2025 Patreon Companion Episodes Collection Companion Ep - OV477 - Final Destination 1-5 Retrospective - May 24-25, 2025 Patreon - Severance Episode Reviews   Indianapolis Theaters Alamo Drafthouse Indy Kan-Kan  Living Room Theaters Keystone Art  Flix Brewhouse   Ways to Support Us Support Us on Patreon for Exclusive Content Official OV Merch Buy Me A Coffee Obsessive Viewer Obsessive Viewer Presents: Anthology Obsessive Viewer Presents: Tower Junkies As Good As It Gets - Linktree Start Your Podcast with Libsyn Using Promo Code OBSESS   Follow Us on Social Media My Letterboxd | YouTube | Facebook | Twitter Instagram | Threads | Bluesky | TikTok | Tiny's Letterboxd   Mic Info Matt: ElectroVoice RE20 into RØDEcaster Pro II (Firmware: 1.5.4)   Episode Homepage: ObsessiveViewer.com/OV476   Next Week on the Podcast OV477 - Final Destination: Bloodlines (2025) & Fear Street: Prom Queen (2025) - Guest: Keegan King

Send us a textIn Episode 4 of Building Halloween Gory Nights, we explore the surreal and psychological depths of Hurry Up Tomorrow, the upcoming genre-bending film directed by Trey Edward Shults and co-written by The Weeknd, Reza Fahim, and Shults himself. Starring The Weeknd, Jenna Ortega, and Barry Keoghan, the film follows an insomniac musician's descent into a reality-bending mystery after a chance encounter with a stranger. We break down how this stylish, mind-warping narrative could be reimagined as a multi-sensory haunted house, blending dreamlike horror with emotional dread. Can Hurry Up Tomorrow become one of the most ambitious mazes in Halloween Gory Nights history? Let's find out. Get The Best Energy Drink On The Market Today: Dubby! It gives us Energy We Need to battle all the Ghosts and Demons! Use Code "HORRIFIC" to save 10% https://www.dubby.gg/discount/HORRIFIC%20?ref=yfafejid Make Your Car or House Smell Like a Disney or Universal Park with Magic Candle Company! Use Code "THNETWORK" at checkout and save 10% https://magiccandlecompany.com?sca_ref=8499280.CVzaCEZ7Ko Ghost Executioners and Halloween Gory Nights Merchandise! https://www.teepublic.com/user/thehorrificnetwork?utm_source=designer&utm_medium=social&utm_campaign=horrificnetwork Follow All Things Horrific Network Here https://linktr.ee/thehorrificnetwork

In this episode we are covering It Comes at Night (2017), a psychological horror film written and directed by Trey Edward Shults. Set in a post-apocalyptic world ravaged by a deadly disease, the story follows Paul (Joel Edgerton), his wife Sarah (Carmen Ejogo), and their son Travis (Kelvin Harrison Jr.) as they isolate themselves in a remote house to avoid infection. Their fragile sense of security is disrupted when another family seeks refuge, leading to escalating tension and mistrust.We explore the film's themes of fear, grief, and the breakdown of trust, highlighting its atmospheric tension and strong performances. The narrative's ambiguity and focus on internal horrors over external threats have sparked diverse reactions, with some praising its cerebral approach and others critiquing its lack of clear resolution. Join us as we dissect It Comes at Night, examining how it subverts traditional horror tropes to deliver a haunting exploration of human nature under duress.Follow Us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @horrorhourwiththehannasMusic by Aries Beats - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/watch?v=DPpnxLYrzVA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

"Hurry Up Tomorrow", le premier long-métrage de The Weeknd (Abel Tesfaye), réalisé par Trey Edward Shults est un thriller psychologique qui nous entraîne dans l'esprit tourmenté d'un musicien insomniaque, incarné par The Weeknd lui-même et qui entame une odyssée avec une mystérieuse fan, Anima, jouée par Jenna Ortega. Le film explore les thèmes de la célébrité, de l'identité et de la dépression, le tout sur fond de musique co-composée par The Weeknd et Daniel Lopatin. Il peut paraitre sexy dit comme çà mais, on va le voir dans cet épisode, c'est un énorme film de m*rde qui est surtout là pour faire une bonne campagne de communication autour de son album du même nom sorti il y a peu de temps !A vos avis dans les commentaires :) Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week, we dive deep into the emotionally intense and stylistically bold world of Trey Edward Shults, discussing his brand-new release Hurry Up Tomorrow and his powerful debut feature, Krisha. From fractured families to spiraling tension, Shults knows how to shake an audience—and we brought in a guest who knows how to analyze the media behind the mayhem: Ethan Thompson (author, professor, and all-around pop culture brainiac) joins us for this rich double feature. To pair with the emotional highs and lows, we sipped on:

Welcome back to this weeks episode where we are taking a deep dive into Trey Edward Schults. We are discussing Waves, Krisha and It Comes At Night, his three films prior to his 2025 release, Hurry Up Tomorrow. Listen in as we discuss the process of filming, fun facts and our own personal opinions on this movie, whether that is good or bad. As always we are not doing it alone, we brought on very special guest Fabian AKA CineSpider to help us break down these movies for you.Always remember if you disagree with our takes, leave us a comment, let us know what you disagree with or what you did agree with. We always love to hear your opinion.If you would like more from your hosts and the guests that we bring on, go check out our social media to hear even more.Stone Social MediaTikTok: Stone | Medical Movie ManInstagram : medicalmoviemanConor Social MediaTikTok: MovieSharkInstagram: MovieShark18YouTube: movieshark18Dan Social MediaTikTok: Reel TakesInstagram: reeltakesreviewsYouTube: Ree.TakesYTFabianTikTok: cinespiderInstagram: cinespiderfilmsGood Will PodcastingTikTok: goodwillpodcastingInstagram: goodwillpodcastingYouTube: Good Will PodcastingTable of Contents:00:00 (Intro)00:05 (Krisha)23:07 ( It Comes at Night)45:03 (Waves)

With his first feature film in six years indie director Trey Edward Shults is back in movie theaters with a collaboration with musician The Weeknd. We've got a review of HURRY UP TOMORROW and some news from the Cannes Film Festival.   Recommendation from our hosts in this episode- MouseHunt   Footcandle Film Society

Hurry Up Tomorrow (2025), the newest film from Trey Edward Shults,  is getting completely panned. Naturally, as fans of his previous work, we had to see what went wrong (or right) in this flop spearheaded by The Weeknd. Enjoy! Cinema Spectator is a movie podcast founded by Isaac Ransom and Cameron Tuttle, co-hosted by film expert Juzo Greenwood. The show is executive produced by Darrin O'Neill and recorded & produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Isaac and Cameron have been podcasting since 2018, and are now focused on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer who majored at SFSU Film School to collaborate with corporate, private, and creative productions. Cameron is an expert. Isaac Ransom works full-time as an experienced creative, digital marketer, and product manager. Isaac is an outside opinion. Juzo Greenwood is a working filmmaker, film critic, and movie appreciator, known for his incredible understanding of all things cinema. Juzo is the critic. The podcast is a passion project between three longtime friends; we hope you can enjoy our project with the limited time we have! Thank you for your time, your generosity, and support.  

“It was a lot of empathizing. I would do long phone calls with Abel (Tesfaye, aka the Weeknd) after we had met, just basically talking to him and finding out more of his history, where he was at in different phases of his life, where he's at today, and using those to create a character. And part of creating that character is I'll find my own personal stuff to attach to it… Portions of his life I can relate to very much. And past all of that, I think this is the deepest I've gone with my therapy background and my mom and stepdad being therapists. I tried to make the movie work to where if you just want to watch the movie at surface value and go on a ride with it and experience it and not think about it again, hopefully it works on that level. But also if you want to look at it and interpret it on a whole deeper, hopefully richer level, there's a lot going on,” says Trey Edward Shults, director and co-writer of the new film Hurry Up Tomorrow on how he took Able “the Weeknd” Tesfaye's story and made it personal to him.  On today's episode, we sit down with writer/director Trey Edward Shults to discuss his new film Hurry Up Tomorrow that stars the Weeknd, Jenna Ortega and Barry Keoghan, about a rock star who goes on an existential odyssey after losing his voice on stage.  Shults shares his journey to becoming a filmmaker, working with visionary director Terrence Malick, making the highly biographical film Krisha (2014), and the shockingly ominous horror film It Comes at Night (2017).  He also shares this advice for writing your first film: “It has to be something you are so hungry to tell. And it has to be something you would die to make. You know what I mean? At least to me, my approach was I like to make stuff personal and they always say like, write what you know, write the personal thing. But I just think it needs to be something you're crazy hungry to do no matter what,” says Shults.   To hear more, listen to the podcast.  

One of our regular guests is back on the Filmmaker Toolkit, and is pushing the bounds of cinema yet again. For his newest film, Trey partnered with The Weekend to make a film surrounding his final album under that stage name. But this is not your typical, sanitized musician produced film. Trey had complete control to probe the dark parts of The Weekend's life and career, and the film builds a dark mythology around his last album and his greatest hits. Listen to Trey unpack a film unlike any you've seen! Learn more about your ad choices. Visit megaphone.fm/adchoices

JOIN TSL WORKSHOPS: https://tslwokshops.circle.so Trey Edward Shults is an inspiration to directors everywhere — including Jeff. His debut feature, KRISHA, was a no-name psychological drama shot in his own home on a shoestring budget under $30K. Against all odds, it won SXSW, screened at Cannes, and eventually sold to A24. KRISHA stands as a beacon for anyone looking to make a personal, ambitious feature with limited resources. Now Trey is collaborating with The Weeknd, and even though their new film HURRY UP TOMORROW feels bigger in scale, Trey's storytelling ethos remains unchanged: center the character, prioritize emotion, and use the camera as a tool to highlight the story — not to distract from it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Trey Edward Shults https://www.imdb.com/name/nm4099092/ has been called a visionary film director. Matt and Oren chat with Trey about his bold leap into auteur filmmaking—what it means to claim that title and how he made it happen.What did he learn as a nineteen-year-old loading IMAX film for Terrence Malick on the edge of a live volcano? And is going to Cannes or winning at SXSW really enough to eventually land Hollywood's most sought-after actors for your film?His latest film, "Hurry Up Tomorrow" (@hurryuptomorrowmovie on Instagram), opens Friday, is a collaboration with The Weeknd (Abel Tesfaye), and stars Jenna Ortega.---Matt's Endorsement: Breaking and Entering on LinkedIn. https://www.linkedin.com/company/breakingandentering/posts/?feedView=all It's basically "Everything You Need to Know in Advertising in 60 Seconds."Oren's Endorsement: Amazing AI art that defies the horrifically bad tells of AI art. Humanly artistic and possessing a sense of authorship and voice. @voidstomper on Instagram. He has millions of followers, but hasn't figured out how to monetize it. So help him out and watch his new videos.Trey' Endorsements: Chicken Joe's aka CJ's in Santa Teresa, Costa Rica https://www.tripadvisor.com/Restaurant_Review-g635538-d2041184-Reviews-Chicken_Joe_s-Santa_Teresa_Province_of_Puntarenas.html Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

El nuevo filme de Trey Edward Shults no va a ser del agrado de todo el mundo y será visto como otro proyecto de vanidad de Abel Tesfaye (The Weeknd) , sin embargo, hay una sustancia dentro de su vibra errática y agresiva que la encontré interesante como honesta. El filme está exhibiéndose en cines.

"Hurry Up Tomorrow" is the new film from Trey Edward Shults, the filmmaker behind films such as "Krisha," "It Comes At Night" and "Waves." The film acts as a companion piece to Abel "The Weeknd" Tesfaye's sixth studio album of the same name, which was produced in conjunction with the film. It stars Tesfaye as a fictionalized version of himself, an insomniac musician on the verge of a mental breakdown who is pulled into an existential odyssey by a mysterious stranger, with actors Jenna Ortega and Barry Keoghan also starring. Shults was kind enough to spend some time speaking with us about his work and experience making the film, which you can listen to below. Please be sure to check out the film, which will open in theaters on May 16th from Lionsgate. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

In celebration of this holiday, I re-released one of my favorite episodes of last year: my conversation with Jake Fallon & Nick Craven. Their film, CRYING ON COMMAND, is hitting the festival circuit over the next few months. I had a blast re-listening to this episode. Enjoy.In this episode, we talk about...how the duo got involved in filmmaking;whether you can start out just making films or if you can start high-minded;the reasons behind the success of their Seed & Spark campaign(s) for CRYING ON COMMAND;the watershed (see what I did there) short v. feature debate;Brett Kavanaugh (you have to listen);the run time of Martin Scorsese' latest film (again...makes sense after you hear);the importance of improv in indie film;and the depths of their new film, which packs a lot into nine minutes.As you can see (or hear) from their indie film highlights, these two are ingrained into the independent film community and spend a good part of the episode supporting other peoples' projects. These are the kind of people I want to find for the show.Jake's Indie Film Highlight: Cameron Gallagher, director; Armon Mahdavi, director, MOSS BEACH; Liza Renzulli ; Alexander Spenser Gould; Greg Case; Lee SchatzmanNick's Indie Film Highlight: Dillon Schohr; Taylor Silk; Ricardo Burgos; Christian Petzold's AFIRE; Annie Baker; Eliza Hittman; Trey Edward Shults, dir. WAVES (2019)Links:CRYING ON COMMAND Seed and Spark CRYING ON COMMAND InstagramNick Craven's InstagramJake Fallon's InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

     This week- two films about types of masculinity and finding your way.     Tyler Williams is a popular senior on the wrestling team. Learning he has a severe SLAP tear that requires surgery as soon as possible to repair, Tyler decides to hide it from everyone, especially his domineering father. When his injury is revealed, Tyler spirals to tragic results. The aftermath of which will test the Williams family and those around them. The third film from critically acclaimed writer-director Trey Edward Shults, Waves.     Romeo and Gavin have been best friends and neighbors as long as either can remember. When Romeo gets beaten up for defending Gavin from bullies, he is assisted by the slightly strange and aggressive Morrell. Morrell tries to romance Romeo's sister and drives a wedge between the boys, leading to a violent confrontation. The third film from beloved UK cult filmmaker Shane Meadows, as well as the screen debuts of both Paddy Considine and Vicky McClure, A Room for Romeo Brass.     All that and Dave gets REALLY ranty, Tyler rolls around his happy place, and Kevin might have forgotten something but it probably isn't important. Join us, won't you?   Episode 377- Dat Florida-Midland Flow 

Alex and Nick discuss their love for Trey Edward Shults' modern masterpiece, “Waves.” The guys break down the film's use of music, aspect ratios, and colors, the power of Kelvin Harrison Jr. and Sterling K. Brown, the grace of Taylor Russell and Renée Elise Goldsberry, the force of Alexa Demie, text fights, losing parents, finding love, and so much more. Watch Alex and Nick's film, “I Am Alive.”Follow @WAYW_Podcast on Twitter and Instagram and Letterboxd.Send us mailbag questions at whatareyouwatchingpodcast@gmail.com

David Garelik was in Trey Edward Shults' “Waves,” Peter Berg's “Mile 22,” and recently finished a run of an Off-Broadway 2-hander at the WP Theater, co-produced with Colt Coeur. Now you can see him as the bad guy/enucleator, opposite Liana Liberato, on this season of “Criminal Minds: Evolution” on Paramount+. On this epic episode, he recounts his journey from moving to New York with zero acting experience and “being a bad auditioner”, to making naivety work for him and “changing the game” by refusing to play it. It's a story of perseverance, endurance, and growth, fueled by focus on the work, Conor McGregor quotes, and an unwavering belief in himself as an actor, told with bold rawness and refreshing honesty, sure to inspire. Currently, Garelik teaches Sensory Based Acting Process and Dramatic Improv at adultfilm.nyc  Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

In this episode, we discuss Trey Edward Shults' It Comes at Night, including the film's marketing, our interpretations of "it", and the film's use of traditional horror conventions and iconography.See where It Comes at Night is available to watch.Supplemental Material:It Comes at Night Blu-rayAnatomy of a Scene: Trey Edward Shults Narrates a Scene From ‘It Comes at Night'Trey Edward Shults & Cast Interview with BUILD SeriesIt Comes at Night DP Drew Daniels on New Lenses, Old Dogs and Using Actors as Bounce Cards by Matt MulcaheyWhy the Director of 'It Comes at Night' Hopes Audience "Don't Catch On" to his Technological Tricks by Tasha RobinsonDeeply Personal 'It Comes at Night' is the Anti-Horror Film of Summer by Patrick RyanCinematography Techniques: Cinematic Flattening in Profile by David GoodmanAdditional Audio Sources:It Comes At Night Official TrailerIt Comes at Night Blu-rayTrey Edward Shults & Cast Interview with BUILD SeriesIf you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

Brendan and Zach discuss Trey Edward Shults' debut feature KRISHA. We deep dive into the movie, discuss listener feedback and decide the suggestion for the next movie rung in the Ladder. The next movie discussion begins at 1:07:35. So (re)watch the film (currently streaming on MAX and Kanopy) and listen along to the discussion. Then stay tuned to hear what connected film we pick for next week. Submit your questions, comments, rating and suggested connections for next week's movie to themovieladder@gmail.com. You can find the podcast on Letterboxd (@TheMovieLadder), Twitter (@LadderMovie) and Instagram (@laddermovie).  Check out our Watchlist to see all the movies suggested on this podcast. You can find each of us individually on Twitter (@FitzyBrendan and @brooksza) and Letterboxd (@FitzyBrendan and @brooksza).  And join us for the Ladder Library Movie Challenge in 2023! --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-movie-ladder-podcast/message

Hello and welcome to an all new episode of Some Like It Scott! On this week's episode, the two Scotts rewind to a little earlier in the summer to talk about one of the indie films of the first half of the year with the biggest buzz: Celine Song's romantic drama, PAST LIVES. After discussing whether it lives up to the hype, how it compares to recent great works in the romantic genre, and how it expertly weaves both a story of immigration and a story of love so soulfully, the co-hosts turn their attention to the news of Neon acquiring the distribution rights to Michael Mann's new film, FERRARI, as well as the announcement that the Weeknd is co-writing and co-starring in Trey Edward Shults's (of WAVES fame) next film. See time codes below:   4:09 - PAST LIVES review 58:02 - Neon acquires FERRARI distribution rights 1:05:02 - The Weeknd joins Trey Edward Shults's next film   Next week: MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE (Theaters)   Patreon: www.patreon.com/MediaPlugPods

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Martin Scorsese dijo que Ari Aster es "una de las nuevas voces más extraordinarias del cine mundial". En un mundo en el que existen Robert Eggers, Trey Edward Shults, Jordan Peele, entre otros, nos parece que su comentario (y los muchos otros que ha hecho sobre Aster) es profundamente exagerado. Entre decir que Marvel no es cine y que Ari Aster es comparable con Kubrick, cada día nos tomamos menos en serio las opiniones de Scorsese.    Por eso decidimos conversar sobre la filmografía del director más sobrevalorado de todos los tiempos: Midsommar, Beau Is Afraid y The Strange Thing About the Johnsons. Omitimos Hereditary porque ya conversamos bastante sobre ella en nuestro episodio #53.   Timecodes:  0:00 Intro 4:02 Presentación del tema 24:10 Juanki hace standup comedy por primera vez, otra vez 01:08:43 ¿Ari Aster es un fraude? 01:42:21 Midsommar 02:06:49 Beau Is Afraid

On this weeks episode host Ygraine chats with Matt Glasby about apocalyptic horror. They discuss 2009s [Rec] 2 directed by Paco Plaza and Jaume Balagueró and 2017s It Comes At Night directed by Trey Edward Shults.

Happy Birthday, Allen! For Allen's birthday, he chose to review Trey Edward Shults's third film Waves. Considering he's seen the film over 10 times, what makes Waves so special and one of the biggest snubs by the Oscars according to Allen? Join Corbin and Allen for a special review of Waves. Question after the show: What's the best song in the movie? ►Email me at silverscreenguide95@gmail.com   Find Out What We're Watching Every Week: ►Corbin's Letterboxd: https://letterboxd.com/cwriley95/ ►Allen's Letterboxd: https://letterboxd.com/rankineugallen/   Birthday Reviews ►Latest Weeks Review: Die Hard 2 (1990) https://silverscreenguide.podbean.com/e/die-hard-2-die-harder-1990-movie-review-second-in-die-hard-review-series/ ►Allen's Birthday Picks https://silverscreenguide.podbean.com/category/allens-birthday-picks/ ►Corbin's Birthday Picks https://silverscreenguide.podbean.com/category/corbins-birthday-picks/ ►Read Allen's written review of A Ghost Story https://silverscreenguide.wordpress.com/2017/07/30/a-ghost-story-2017-movie-review/ ►And much more in the archives at https://silverscreenguide.podbean.com/ --------------------------------- Upcoming reviews: *Due to COVID-19 episode release dates are subject to change* Subscribe to the podcast to hear these exciting upcoming reviews! ►Support the podcast | Get bonus content: https://www.patreon.com/silverscreenguide   Follow SSG on your favorite platforms! ►OFFICIAL WEBSITE ►SUBSCRIBE ON iTunes ►SUBSCRIBE ON YouTube ►FOLLOW ON Spotify ►FOLLOW ON FACEBOOK ►FOLLOW ON TWITTER ►SUBSCRIBE ON STITCHER ►SUBSCRIBE ON Listen Notes ►SUBSCRIBE ON TuneIn + Alexa Also available on Deezer, Overcast, Pocket Cast, Castro, and Castbox   Timestamps: 00:00:00 - Introduction 00:10:31 - Plot Summary 00:12:12 - Discussion 00:59:37 - Ratings/Recommendations 01:08:05 - Closing   Silver Screen Guide is dedicated to delivering the best guides and reviews for movies, TV shows, and video games. Follow our podcast for a new movie review every Monday and follow our YouTube channel for reviews and guides of brand new movies along with classics. We love talking about movies and we love talking about them with you. When you follow us on your favorite platforms and share with your friends you'll never miss your guide to the silver screen.

Il secondo dei Post Atomici è dedicato a It comes at night, film del 2017 di Trey Edward Shults.In un mondo sconvolto da un misterioso morbo che ha sconvolto la società come la conosciamo, Paul vive in una casa immersa nella boscaglia insieme al figlio Travis e la moglie Sarah. La famiglia si è isolata dal resto del mondo appena ha capito che la situazione stava degenerando. . Bud, il padre di Sarah è stato colpito dal morbo e i famigliari sono stati loro malgrado costretti a ucciderlo e bruciarne il corpo. Nella notte però un estraneo irrompe in casa sconvolgendone gli equilibri. Shults ci mette davanti a una domanda piuttosto diretta: fino a che punto è giusto barattare la sicurezza della propria famiglia in cambio di fiducia verso gli altri?A quanto pare sembra che lui abbia un'idea chiara a riguardo.

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we're talking about Trey Edward Shults drama, Waves. The film is about a young man who experiences a career ending sports injury and his familial bonds are eventually placed under severe strain by an unexpected tragedy. It stars Kelvin Harrison Jr, Taylor Russell, Renee Elise Goldsberry, Sterling K. Brown, Lucas Hedges, and Alexa Demie.   Next Episode: This is Not a Film YouTube: http://www.youtube.com/c/WrinkledRabbitProductions Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrabbit/

A special mish mash episode. We talk movies AND Animal Collective. Trey Edward Shults' 2019 film Waves is the topic this week. Why this flick? It features 3 Animal Collective songs, of course! We lay into the feature for a bit with the ever effervescent Isa, and in the second half continue on to talk AC, diving into the colourful bleeps and bloops of the 2016 record Painting With. Highlights include: An opening sequence for the ages Funny needle drops 2016 in music

Writer/director Trey Edward Shults and actor Kelvin Harrison Jr.

Isaac and Cameron are joined by Juzo Greenwood to discuss an underground masterpiece. Directed by Trey Edward Shults, Waves follows teenage siblings struggling through stresses in relationships, family, and health. That the most we can give away without taking from the movies drama! The experts discuss what makes this movie special and Isaac talks about the causal viewers experience.  Cinema Spectator is a movie podcast hosted by Isaac Ransom and Cameron Tuttle. The show is executive produced by Tim Smith and Darrin O'Neill. The show is recorded and produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. You can follow us on Youtube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Thank you for your generosity and support. 

Dax and Mary Beth continue their examination of addiction in film by discussing Trey Edward Shults' KRISHA. But first... Thanksgiving food. CW: Addiction, substance abuse, pills, alcohol, brief mention of child abandonment/mistreatment, brief mention of animal mistreatment. Follow us on Twitter: @WONApodcast @mbmcandrews @DaxEbaben Dax's essay on Krisha and sobriety through the holiday season: https://film-cred.com/krisha-addiction-a24-thanksgiving/

This week we cover Trey Edward Shults' breakout 2015 film, "Krisha."  We talk about the unorthodox ways in which the movie was made, how much was planned/improv'd, and a riveting refresher on aspect ratios.  After we break the movie down, we each pair another film with Krisha.  Thanks for listening!Created by Spike Alkire & Jake Kelley Theme Song by Breck McGough

Tim and Tay discuss Trey Edward Shults' feature debut Krisha, its expert use of horror tropes and its endlessly frugal composition. Krisha is a 2015 family drama about a recovering addict and alcoholic in her sixties attempting to reconnect with her family over Thanksgiving. Directed by Trey Edward Shults, Krisha stars his real-life aunt Krisha Fairchild in the eponymous lead role, and was produced on a crowd-sourced, shoe-string budget.  Krisha is available as a digital rental on iTunes. Scene (51:39 — 55:18)Starring Krisha Fairchild as Krisha, Robyn Fairchild as Robyn, Bill Wise as Doyle & Trey Edward Shults as Trey.After a series of seemingly traumatic encounters with her mother and Trey, Krisha relapses, unceremoniously uncorking a bottle of wine with a pair of scissors in her bathroom. She guzzles back the bottle, entering an almost dream-like, euphoric state. Returning to her family downstairs for final dinner preparations, Krisha attempts to remove the giant family-sized Thanksgiving turkey from the oven. Her hands tremble and the turkey falls to the floor, creating an enormous mess and ruining the family dinner.Links3:00 — Krisha's many awards3:30 — Krisha as a short & following production25:30 — “playful chaos”27:00 — Anatomy Of A Scene with Trey Edward Shults30:25 — Rules Of The Game (Jean Renoir, 1939)32:00 — Paying for Nina Simone's “Just In Time”40:00 — Composer Briann McOmber on scoring Krisha43:32 — Krisha, improvised44:30 — Edward Shults' grandmother in KrishaRecommendationsTim: Ponyo (Hayao Miyazaki, 2008) — available on NetflixTay: Exotica (Atom Egoyan, 1994) — available on The Criterion ChannelAll links verified at the time of publication and based on availability in Canada.

For Episode #003 of Sounds Seen, our guest is music supervisor Meghan Currier. Meghan is a music supervisor for film, television and advertising based in New York. She worked closely with renowned music supervisor Randall Poster at his company Search Party Music. Together they've worked on a number of Wes Anderson films including The Grand Budapest Hotel and The French Dispatch (coming out later this year), and other pop culture phenomena including The Joker, Boyhood, Skyfall and Wolf of Wall Street. Meghan has also supervised the likes of Tiger King and the forthcoming feature film Swansong starring Mahershala Ali. On the podcast, Meghan and I discuss the music in the beautiful film WAVES by Trey Edward Shults - including what it takes to clear 5-6 Frank Ocean songs for one film, and how a final product differs depending on when music supervisors are brought onto a project. We also discuss her work alongside Randall Poster and Wes Anderson. You can watch WAVES here: bit.ly/Waves_WatchNow Find out more about Meghan at searchparty-music.com and reach her on Instagram at @meghan.currier Follow Sounds Seen on Instagram and Twitter @sounds_seen

On this week's very brief and breeze episode, we force Ryan to watch a movie and listen to an album in the "White People with their Ankles out in January" genre. We discuss Waves (2019) from A24 and Trey Edward Shults, a movie seemingly about "good vibes", although there are certainly much more "bad vibes". This is a spoiler discussion, so if you don't want to know everything about the movie, skip to 39:47.After that, we discuss the masterful Currents by Tame Impala, a revolutionary neo-disco/psych album that is both catchy and contemplative. 

This week we are joined by Matt Howsam, a production coordinator in the VFX industry and a film critic. We mention the hilarious and highly original One Cut of the Dead (2017) by Shin'ichirô Ueda, a Japanese Zombie comedy in the style of some of the best mockumentaries out there and a homage to low budget filmmaking. Depending on where you are you can watch it on Shudder or buy the DVD. Abla also highlights the Netflix series Unwell (2020– ), which looks at the dark side of the wellness industry and some of the products and concepts currently being flogged on the market through – yet again – more MLM initiatives.  For our festival picks, this week we recommend Visionmaker's Indigenous Filmmakers Festival, which runs from 31 August to 5 October, the Encounters Short Film Festival, one of the world's best short ff, which runs from 18 September to 11 October and is offering a £10 pass! A few films to highlight are Mahdi Fleifel's 3 Logical Exits, Clermont-Ferrand Grand Prize winner Anthony Nti's Da Yie and Morad Mostapha's Henet Ward. Matt recommends Women Make Films (2019), a 14-hour doc series and the Japanese cinema season, both on BFI Player.  Matt chose to discuss Trey Edward Shults's Waves (2019), a dizzying and theatrical film about a family dealing with the aftermath of a tragedy. We discuss the highly cinematic and aesthetic qualities of the film, the impact that has on the emotional punch of the story and the portrayal of the characters, and the somewhat problematic or baffling portrayal of family dynamics that are very personal to the (white) director through the prism of a black family.  We briefly mention the Chinese drama So Long, My Son (2019) in our conclusive remarks.  If you like our work, you can support us at mydy.link/support.  Follow us @mydylarama on Twitter & Facebook   Follow us and comment!

This week we're joined by the writer-director of Waves, Trey Edward Shults. Waves stars Kelvin Harrison Jr. as Tyler, and 18 year old under pressure to excel from his domineering father, played by Sterling K. Brown. When an injury threatens Tyler's future career, he goes off the rails, and his family struggle to deal with the consequences. Hosted on Acast. See acast.com/privacy for more information.

Love is Patient, Love is Kind In this episode, Andrew talks with film critic Philip Price (of Tavern Talk by Initial Reaction) about the latest film from Trey Edward Shults entitled Waves, a family drama told in two halves. Andrew is also joined by friend of the show James Basham to talk about his upcoming film premier for The Yankee (ticket details below). LINKS The Yankee on facebook (includes ticketing details) Trailer for The Yankee James Basham on Instagram Tavern Talk by Initial Reaction on YouTube Andrew's episode of Tavern Talk Philip Price on Twitter CONNECT WITH US Instagram Facebook Twitter Letterboxd (Andrew Sweatman) Email us at Andrew@ArthouseGarage.com

Only on the "CBS This Morning" podcast, filmmaker Trey Edward Shults joins CBS News contributor Jamie Wax to discuss his new movie, "Waves," and his personal connection to the story of a suburban family navigating love, grief and forgiveness in the wake of a tragedy. He explains how the themes of addiction, parental and societal pressure on teenagers to succeed, and forgiveness of oneself and others are woven into each of the characters to create this complex family drama. Shults also shares the camera techniques used to help the audience understand what the characters are feeling. Plus, Shults explains how as a white man, he was able to script a black family drama with the help of one of the film's stars, Kelvin Harrison Jr.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's time to celebrate Episode 30! The first film of the week is Noah Baumbach's much-acclaimed MARRIAGE STORY, starring Adam Driver and Scarlett Johansson. Find out if the guys are in the same camp that consider this one of the essential films of the year. From there a double segment of FIVE GOOD QUESTIONS begins. Noah asks Andy about the latest film from Trey Edward Shults, WAVES, while Andy shoots questions Noah's way regarding Shia Labeouf's long-gestating passion project, HONEY BOY. The newest PICK SIX revolves around one of Noah's personal favorite guilty pleasures...the SINGLE LOCATION film. We rank our absolute favorites within this specific genre. Closing out the show is another current-decade-centric THROWBACK CHALLENGE. Andy sat down with the 2014 German film, PHOENIX, while Noah completes his Steve McQueen odyssey with a watch of the 2011 film, SHAME. Noah is enjoying Clausthaler NA Dry Hopped, and Andy partakes in one of his favorite winter seasonals, Blackout Stout by Great Lakes Brewing. Cheers! --- Support this podcast: https://anchor.fm/the-film-harmonic/support

What's Up Cinemaniacs! Join Duane and special guest Sarah Buddery from Jumpcut Online and the Jumpcast Podcast as they review "Waves" from A24! If you don't know already, the critically acclaimed film follows the story of a suburban African-American family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. The masterful film was written and directed by Trey Edward Shults and stars Kelvin Harrison Jr, Taylor Russell, Sterling K Brown, Alexa Demie, Renée Elise Goldsberry, and Lucas Hedges. This was a very emotional film so get prepared for a hard review! #Waves  Follow us: Facebook Twitter Instagram YouTube Spotify Stitcher Messy  Follow Duane: Twitter Instagram  Follow Sarah: Twitter  NEW Cinemania Merch: Teepublic

This one may officially stump Dustin and Mallie, as this ending is so dark, it may be the heaviest movie they've covered to date. It's none other than 2017's It Comes at Night. Paranoia, fear, and failure combine to make this one of the best horror movies of all time. But could this be the first episode where there is no silver lining? Tune in to find out. It Comes at Night stars Joel Edgerton, Riley Keough, Christopher Abbott, Carmen Ejogo, Kelvin Harrison, and Griffin Robert Faulkner. Directed by Trey Edward Shults.If you enjoy what we do, please subscribe to our show. Leave us a rating in the iTunes Store and Stitcher. You can also listen on Spotify, Google Play, or YouTube as well.Like us on Facebook Discuss the film on our subreddit Join us on YouTube Subscribe on Spotify Find us on Stitcher Listen on Google Play Brought to you by HOLY Propaganda

This week we peek through our fingers to try and watch 'It Comes at Night', the new psychological horror from Trey Edward Shults, who we spoke to about the film. As well as talking to the director about the film, we discuss all of its twists and turns in our comprehensive review. Discussing the film this week are Jenna Hobbs, Sam Howlett and Jake Cunningham Produced and edited by Jake Cunningham Studio services by CSRFM.com Music supplied by incompetech.com Hosted on Acast. See acast.com/privacy for more information.

In Episode 52 of the Crooked Table Podcast, Robert Yaniz Jr. uncovers director Alex Kurtzman's new take on The Mummy, starring Tom Cruise and Sofia Boutella. The film is, of course, intended to kick off Universal's monster-centric Dark Universe. We'll investigate whether The Mummy provides a solid foundation for what's to come as well as how it stacks up against the 1999 edition, which saw Brendan Fraser and Rachel Weisz bring the classic tale to the modern age. Also: Rob reviews A24's latest, director Trey Edward Shults' It Comes At Night starring Joel Edgerton, and discusses his thoughts on the latest news surrounding X-Men: Dark Phoenix. It's a jam-packed episode of the Crooked Table Podcast. So let's get to it before a certain Egyptian princess catches up with us. We're excited to hear your feedback as the show continues to evolve. As usual, the podcast does feature explicit language and, as such, is best considered NSFW. Synopsis for The Mummy, courtesy of Universal Pictures: Tom Cruise headlines a spectacular, all-new cinematic version of the legend that has fascinated cultures all over the world since the dawn of civilization: The Mummy. Thought safely entombed in a tomb deep beneath the unforgiving desert, an ancient princess (Sofia Boutella of Kingsman: The Secret Service and Star Trek Beyond) whose destiny was unjustly taken from her is awakened in our current day, bringing with her malevolence grown over millennia and terrors that defy human comprehension. From the sweeping sands of the Middle East through hidden labyrinths under modern-day London, The Mummy brings a surprising intensity and balance of wonder and thrills in an imaginative new take that ushers in a new world of gods and monsters. Cruise is joined by a cast including Annabelle Wallis (upcoming King Arthur, television's Peaky Blinders), Jake Johnson (Jurassic World), Courtney B. Vance (TV's American Crime Story: The People V. O.J. Simpson), Marwan Kenzari (The Promise) and Oscar®winner Russell Crowe (Gladiator). The creative team on this action-adventure event is led by director/producer Alex Kurtzman and producer Chris Morgan, who have been instrumental in growing some of the most successful franchises of the past several years—with Kurtzman writing or producing entries in the Transformers, Star Trek and Mission: Impossible series, and Morgan being the narrative engineer of the Fast & Furious saga as it has experienced explosive growth from its third chapter on.  Sean Daniel, who produced the most recent Mummy trilogy, and Sarah Bradshaw (Maleficent) produce alongside Kurtzman and Morgan. Thanks for listening! SHOW NOTES Previously on the Crooked Table Podcast: http://www.crookedtable.com/2017/06/09/podcast-wonder-woman/ Podcast review of A24's Free Fire and other films: http://www.crookedtable.com/2017/04/21/podcast-free-fire-a24/ Video review of X-Men: Apocalypse: http://www.crookedtable.com/2016/05/28/x-men-apocalypse-video-review/ Podcast review of Logan: http://www.crookedtable.com/2017/03/10/podcast-logan-hugh-jackman-x-men/     The Crooked Table Podcast is now on Stitcher! Listen to all past episodes NOW! Subscribe to the Crooked Table Podcast on iTunes so that you never miss a moment! Robert Yaniz Jr. can be reached on Twitter at @crookedtable.   Connect with Crooked Table on social media:   Facebook  |  Twitter  |  Tumblr

The Horror Junkies are back in the studio this week with their good friend Jorge. The Florida sky is turning black and the winds begin to pick up, which means that the conditions for recording our episode are perfect. On this week's episode we discuss Infection movies and finally tackle the underrated hit It Comes At Night by Trey Edward Shults. In the first half of the show, Patrick drags us through what felt like an eternity of Horror News. Bringing up some really anticipated Horror themed games from the E3 conference that was this past week. Such titles include: The Last of Us part 2, The Evil Within 2, Wolfenstein II, and Days Gone, which feels like it was influenced by World War Z. Be sure to check out those games if your into survival games or if you just want to cry with the lights off. We also had a pretty intense Horror History segment with Mike. Before digging into his topic, Mike brought up a painting from It Comes At Night. This particular painting is titled The Triumph of Death and was painted by Pieter Bruegel the Elder in 1562. Depicting mass death, walking skeletons, and destruction. The topic of Horror History today was the Bubonic Plague that decimated Europe in the 14th century, wiping out one-third of its population. The second half of the show is our short Spoiler Free conversation about It Comes At Night, followed by a longer spoiler filled conversation about what our thoughts are and the questions we have after watching the movie.  This movie got a really solid rating from the Horror Junkies, and it really makes the viewer think and pay attention.  But don't take our word for it, go see It Comes At Night and tell us what you think. As always.... Stay Weird! --- Support this podcast: https://anchor.fm/horrorjunkiespodcasts/support