Filmspotting

With The Dog Stars in theaters, Adam and Josh invited Vulture’s Roxana Hadadi to the show for a Ridley Scott Draft. Picks one and two are easy: Alien or Blade Runner. But what about the third pick? And will divisive Scott films like Prometheus and Kingdom of Heaven get any love? Plus, a Golden Brick nomination for the new Filipiñana, thoughts on the passing of Dolly Parton and Tim Curry, and Massacre Theatre.
This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off.
(Timecodes will not be precise with ads.)
Intro (00:00:00-00:02:08)
Ridley Scott Draft, Pt. 1 (00:02:09-01:05:14)
Filmspotting Family (01:05:15-01:11:14)
Ridley Scott Draft, Pt. 2 (01:11:15-01:42:50)
Brickspotting: Filipiñana (01:42:51-01:46:50)
RIP Dolly Parton, Tim Curry (01:46:51-01:53:04)
Massacre Theatre (01:53:05-01:59:42)
Credits / Releases (01:59:43-1:48:48)
Notes:
-"Eva Green rules the much longer, much better director’s cut of Kingdom of Heaven"
https://www.avclub.com/eva-green-rules-the-much-longer-much-better-director-s-1846466625
-"Alexander Siddig Answers Every Question We Have About Kingdom of Heaven"
https://www.vulture.com/article/alexander-siddig-tells-us-everything-about-kingdom-of-heaven.html
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With Ridley Scott's The Dog Stars in theaters and our own Ridley Scott Draft (with Vulture's Roxana Hadadi) coming Friday, we're sharing this 2017 Sacred Cow review of Scott's sci-fi classic. Michael Phillips joined Adam and Josh.
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When the story of a movie’s financing and troubled post-production are more compelling than the movie itself, you’ve got problems. And in this case, you’ve got Desert Warrior, a 7th-century, Saudi Arabia-set — and financed — epic starring Anthony Mackie along with Sir Ben Kingsley and Sharlto Copley. Matt and Jordan review the Rupert Wyatt-directed curiosity, and use the film to recommend an American desert-set indie from the early 2000s and another (undeservedly) unloved Rupert Wyatt film. Plus, a listener request for “sad man” movies on the Criterion Channel, and a game that has Matt and Jordan remembering — or trying to remember — summer movies from the year 2012.
Intro (00:00:00–00:04:10)
Desert Warrior (00:04:11–00:31:57)
Rec Seg! (00:31:58–00:48:14)
Listener Request Seg! (00:48:15–01:08:01)
Game: Mark My Words! (01:08:02–01:32:32)
New to Streaming / Credits (01:32:33–01:42:15)
Show Notes
Now Streaming on Bazooga - A Filmspotting: SVU Archive⁠ https://letterboxd.com/samvanhallgren/list/now-streaming-on-bazooga-a-filmspotting-svu/⁠
Pre-Order Matt's book "Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever" (Coming October 6th):⁠ https://www.penguinrandomhouse.com/books/790241/funny-business-by-matt-singer/⁠
The Best and Worst Movies of Summer 2012 (According to Us)
https://screencrush.com/best-worst-movies-summer-2012/
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The Platt family is barely surviving, and that’s before their neighborhood is inexplicably dropped millions of years into the past and overrun by hungry dinosaurs. The End of Oak Street isn’t nearly as concerned with explaining that premise or exploring its characters as it is with facilitating dino mayhem and nostalgia for the films of writer-director David Robert Mitchell’s youth. That can be to the film’s benefit and detriment, both of which we cover in this week’s discussion, before bringing Steven Spielberg’s War of the Worlds back in to see how these two family survival narratives compare in their respective ideas about flawed parents, imperiled children, and the universal human desire to not get eaten. Then in Your Next Picture Show we consider a couple of possible alternate pairing for Oak Street, one featuring aliens, one featuring dinosaurs, and both underrated.
Please share your thoughts about War of the Worlds, The End of Oak Street, or anything else in the world of film, by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.
Next Pairing: Alexander Ullom’s It Ends and Andrei Tarkovsky’s Solaris
This episode is presented by⁠ ⁠⁠⁠⁠⁠⁠⁠Regal Unlimited⁠⁠⁠⁠⁠⁠⁠⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code NEXTPIC26 for 15% off.
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Film critic Robert Daniels (⁠RogerEbert.com⁠, The New York Times) joins Michael Phillips to test one of Hollywood's most enduring bits of studio wisdom, attributed to producer Samuel Goldwyn: "Pictures are for entertainment, messages should be delivered by Western Union." From I Am a Fugitive from a Chain Gang, High Noon, and The Best Years of Our Lives to Origin, Don't Look Up, and Triangle of Sadness, Michael and Robert discuss why some films are elevated by their ideas while others collapse under them, and whether the most effective message movies are the ones that never look like message movies at all. Join the conversation by emailing ⁠movieracket@filmspotting.net⁠.
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