Filmspotting

Film critic Bilge Ebiri (Vulture, New York Magazine) joins Michael Phillips to test one of Alfred Hitchcock's most famous assertions: "There is a distinct difference between suspense and surprise."

Drawing on Hitchcock classics including Sabotage, Rear Window, Notorious, and Psycho, Michael and Bilge explore why the 'Master of Suspense' believed audiences should dread an explosion more than simply be startled by one. They discuss Hitchcock's notorious "grave error" in Sabotage, the enduring power of the night-vision sequence in The Silence of the Lambs, the unresolved terror of Zodiac, and what contemporary filmmakers such as Jordan Peele and Z...

How do you reimagine a beloved novel like Jane Austen’s Sense & Sensibility without losing what people love — and expect — from an Austen adaptation? Whatever it is, director Georgia Oakley appears to have figured it out. Adam and Josh praise Oakley’s earthy and unfussy film. Plus, a recap of their weekend at the Chicago International Film Festival, which included a screening of Pawel Pawilkowski’s Fatherland, and — for Josh — a 30th anniversary screening of Cheryl Dunye’s Watermelon Woman. Also, Josh’s review of Whalefall, and listeners rank the most anticipated movies of the fall.  

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Aaron Sorkin has said his new The Social Reckoning is not a sequel so much as a companion piece to David Fincher’s The Social Network, which Sorkin also scripted. Whatever you call it, though, these two films are undeniably linked, not just by Sorkin’s involvement, but especially by their interest in the tech-bro enigma that is Facebook founder Mark Zuckerberg. So this week we’re returning to 2010 and The Social Network to consider how the film’s depiction of Facebook’s then-recent origin story plays from our social-media-saturated present; how Sorkin’s script and Jesse Eisenberg’s performance as...

Sofia Coppola's Marie Antoinette is back in theaters this week for its 20th anniversary. In 2017, along with a review of Coppola's The Beguiled, Josh and guest host Angelica Jade Bastien shared their Top 5 Sofia Coppola Scenes.

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From none of the people who brought you Barbie comes a new film inspired by (or mandated by?) the Mattel corporation. It’s Matchbox: The Movie! And it stinks. But in what ways exactly does it stink? The answers may surprise you. Matt and Jordan discuss. Plus, Jordan’s thoughts on the conclusion of Prime Video’s Carrie limited series, which was reviewed on last week’s show; a Rec Seg featuring titles — one adapted from a video game, the other from a toy — that fare better than Matchbox; a listener request for slow-burn horror movies; and the return of Portmante...

Can a movie change your life? In a 1960s interview, Stanley Kubrick posed a deceptively simple provocation: "I wonder what percent of people ever actually encounter a work of art that changes them."

This week, New York Times Chief Film Critic Manohla Dargis joins Michael Phillips to test this proposition against a lifetime of moviegoing. Together, they reflect on films that expanded their sense of what cinema could do — from Jean-Luc Godard's Breathless and Every Man for Himself to Kubrick's own 2001: A Space Odyssey — and discuss the difference between a movie that alters your life and one that...

With the fall film festival season (mostly) in the rearview and release dates set through the end of the year, Adam and Josh hold a Fall Movie Preview Draft that sees them largely ignoring obvious picks like Avengers: Doomsday and Dune: Part Three in favor of battling over some of the most intriguing indies still to come. Plus, a review of Aaron Sorkin's The Social Reckoning 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.

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Primetime is a far-from-straightforward take on a true story, using the mid-aughts TV phenomenon To Catch a Predator and especially its host, Chris Hansen, for a darkly comic exploration of the morally murky place where ambition and justice overlap. It’s a tonal high wire act that gets a lot of mileage out of Lance Oppenheim’s expressively stylized direction and strong performances from Robert Pattinson, Merritt Wever, and Skyler Gisondo, but whether that all adds up to a satisfying film is up for debate this week. Then we bring 1957’s Sweet Smell of Success back in for Connections to disc...

The 1991 movie year turns 35 this year. T2, Barton Fink, Boys in the Hood. In 2014, Adam and Josh looked back a mere 23 years for their Top 5 of '91.

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Stephen King’s Carrie has been adapted for film twice, has endured a sequel and even a Broadway musical, and now Mike Flanagan has brought the writer’s debut novel to the small screen in a limited series for Prime Video. Flanagan is a peerless adapter of King’s work, but does any version of Carrie need to be eight hours? Matt and Jordan discuss. In the Rec Seg, recommendations for a classic of ‘70s German cinema and an underseen King adaptation from the ‘90s. Plus, a listener writes in for some under-the-radar horror comedies, and Producer Sam hosts a King-the...

Hollywood has been dying for more than a century. At least, that's what people keep saying.

This week, Michael Phillips explores one of the industry's favorite prophecies of doom: producer David O. Selznick's famous comparison of Hollywood to ancient Egypt, "full of crumbled pyramids" destined to disappear into the sands.

Joining Michael are Rep. Laura Friedman, whose congressional district includes many of the major studios and who helped author the bipartisan Motion Picture, Television, and Entertainment Revitalization Act, and film historian Ron Falzone. Together, they examine Hollywood's latest existential crisis: runaway production, empty soundstages, corporate...

Not everyone hates Digger. The big swing from star Tom Cruise and director Alejandro González Iñárritu was met with chilly box office and hostility from critics, but Adam and Josh (yes, even Iñárritu skeptic Adam!) found lots to like — especially after the film’s bold transition from politically-charged farce into something completely different. Plus, Josh on Primetime, previews of two regional fests, and listeners pick their favorite “Comedy Boom” movies.        

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.

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Lance Oppenheim’s Primetime paints problematic TV phenomenon To Catch a Predator — and especially its host, Chris Hansen — as an enterprise fueled by ambition, amorality, and a tenuous grasp of journalistic ethics. Those qualities put us in mind of the cursed collaboration between desperate press agent Sidney Falco and influential columnist J.J. Hunsecker in 1957’s Sweet Smell of Success, so this week we’re digging into the twisted loyalties and razor-sharp dialogue of Alexander Mackendrick’s blisteringly cynical portrayal of a very different era in tabloid journalism. Then in Feedback, a listener helps flesh out a bit of William Frie...

With Cruise back in ac-tor mode in Alejandro González Iñárritu's Digger, we're sharing our 2017 consideration of the long and storied career of "the last movie star."

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For the first show of Scare-tober, Jordan and Matt take a look at the Shudder Original Goody Goody, a low-budget home-birth horror tale from first-time feature director Raymond Creamer. For a seasonally appropriate streaming watch, you could do worse. You could also do better, which is why Matt and Jordan use this week’s “Rec Seg” to suggest a couple of titles inspired by Goody Goody — one which exploits the very real horror of childbirth for laughs, and another which brilliantly captures the horror of being the only one who knows something terrible has happened. Then, listener Matt (no relation...

Chris Klimek convenes a showdown between arguably the two most influential slasher films ever made: John Carpenter's "Halloween" and Wes Craven's "A Nightmare on Elm Street."

One helped define the modern slasher, introducing audiences to the silent, implacable force of Michael Myers and transforming suburban streets into sites of terror. The other revitalized the genre six years later with Freddy Krueger, a wisecracking dream stalker who turned sleep itself into a death sentence.

Arguing for "Halloween" is Jason Zinoman (Shock Value, The New York Times), who contends that Carpenter's film remains the genre's most influential...

For the debut episode of their new sport and film podcast, Adam Kempenaar and University of Iowa Journalism and Mass Communication colleague Travis Vogan, PhD, are joined by scholar Seán Crosson, PhD, to discuss Harold Lloyd’s 1925 silent comedy The Freshman. Together, they explore the massive box-office hit’s treatment of masculinity and football, and how the film helped shape the underdog and American Dream narratives that remain central to the genre a century later.

Next Episode:

–Hoop Dreams with Samantha Noelle Sheppard, PhD, Cornell University

Links:

–Email the show at fos@fi...

Two weeks after their Pantheon Project review of David Lynch’s Blue Velvet, Adam and Josh take on the director’s 2001 mind-bender, Mulholland Drive, to celebrate its 25th anniversary. For a film with a reputation for being impenetrable, they find it surprisingly rich with clues while retaining all of its singular power. Plus, a Golden Brick nomination for If I Go Will They Miss Me, and thoughts on the new doc You Had To Be There: How the Toronto Godspell Ignited the Comedy Revolution.

This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for i...

There’s a lot to enjoy about The Weight: the tactile 1930s Oregon setting, strong performances from Ethan Hawke and Russell Crowe, a premise that allows for multiple suspense sequences. But Padraic McKinley’s directorial debut is arguably lacking in thematic heft and visceral grit, particularly when compared to the other film in this pairing. So after considering how The Weight succeeds and struggles on its own terms, we bring William Friedkin’s 1977 cult classic Sorcerer back in to consider how these two films about desperate men given a deadly opportunity differ in their approach to flawed protagonists, bridge-based action...

Ahead of December's Doomsday, Avengers: Endgame is back in theaters. Here's Adam and Josh with their original 2019 review—including spoilers.

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Starring Russell Crowe and an all-grown-up Jacob Tremblay (“Room” “”Wonder”), Netflix’s Unabomber was a promising title on the fall streaming slate. Unfortunately, director Janus Metz’s exploitative biopic about the notorious domestic terrorist (and manifesto author) comes up well short of expectations. But Matt and Jordan use the film as an excuse to recommend a couple of films as alternatives—one, an underseen, decade-old indie about a controversial mid-20th century social scientist; the other a stone-cold classic from the ‘90s. Plus, a listener request for contemporary films that look like the period in which they take place. And a ‘90s crime t...

Film critic and author Marya E. Gates joins Michael to explore perhaps the simplest, most influential direction ever given to an actor: "Be natural."

The phrase is associated with pioneering filmmaker Alice Guy-Blaché, who posted the reminder in her New Jersey studio more than a century ago. As one of cinema's earliest storytellers, Guy-Blaché helped establish film as a distinct art form, separate from the theatrical traditions that shaped many of its first performers.

From Guy-Blaché's silent shorts to the work of Greta Garbo, Janet Gaynor, John Garfield, Nicolas Cage, and Lupita Nyong'o, Michael and...

Adam and Josh welcome Filmspotting SVU co-host Matt Singer for the Top 5 Comedy Boom Movies. Singer’s new book, “Funny Business: The Old-School Wedding Crashers and Knocked-Up Virgins Who Changed Comedy Forever” documents the Frat Pack era of studio comedies that dominated the box office from the early 2000s to the mid-2010s—and gave a generation a lifetime’s worth of movie quotes. Plus, reviews of Zach Cregger’s Resident Evil and the new Scottish indie The Incomer. 

This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use cod...

With Ethan Hawke back in theaters in the period adventure The Weight, we're sharing Adam's 2018 interview with the always thoughtful and insightful actor.

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The new Netflix comedy Best of the Best introduced Matt and Jordan to the world of collegiate competitive Bollywood dance, and they left converts: to the dancing, to stars Maitreyi Ramakrishnan and Priyanka Kedia, and to director Lena Khan’s winning movie (which has a joke-filled script written by comedian Hassan Minhaj and writing partner Prashanth Venkataramanujam). In the Best of the Best-inspired Rec Seg, they recommend an entry-level Bollywood classic and an obscure NYC-set dance movie. Then it’s a pair of single-setting (“bottle”) movies for listener Steven, and Producer Sam hosts a “Let’s Dance!” round of trivia. 

Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Friedkin’s 1977 cult favorite Sorcerer technically isn’t a Wages remake, either — Friedkin insisted it was his own adaptation of the original Georges Arnaud novel — though it’s similarly difficult to watch without thinking about its predecessor. So you’ll forgive us if this week’s revisitation of Sorcerer takes a few detours into Wages as we consider how Friedkin put h...

Film critic and author Alonso Duralde joins Michael Phillips to explore a piece of filmmaking wisdom from Vincente Minnelli: that a picture which stays with an audience is built from “a hundred or more hidden things.”

Drawing on films ranging from Meet Me in St. Louis, Some Came Running, If Beale Street Could Talk, and Teenage Sex and Death at Camp Miasma, they consider how production design, performance, music, camera movement, and seemingly minor visual choices accumulate into something lasting.

Notes:

"I Wake Up Screening: What To Do Once You've Made That Movie" by J...

PV & FRANNY

A girl with a glockenspiel. A boy with a guitar. A high school full of weirdos, mascots who may or may not be unhinged, and a mystery that isn’t what anyone thinks it is.

A dead-serious love story… that refuses to behave like one.

One flier turns into a band. One band turns into obsession. And before they ever play a real set, everything is already ridiculous.

ACT TWO

If Act One is about starting a band, Act Two is about what happens when everything immediately gets...

As David Lynch's Blue Velvet turns 40, Adam and Josh revisit the film that shocked audiences and helped define modern American cinema. Is it Lynch's masterpiece? Plus: Massacre Theatre and Josh’s thoughts on Practical Magic 2 and Paul Greengrass's The Uprising. 

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.

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Intro (00:00:00-00:03:09)

Pantheon Project: Blue Velvet (00:03:10-01:16:00)

Filmspotting Family (01:16:01-01:19:03)

Practical Magic 2, The Uprising (01:19:04-01:27:11...

Blue Velvet turns 40 this month—Adam and Josh have a Sacred Cow review coming later this week—so we're going back to 2014 for our Top 5 David Lynch Scenes.

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Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despair, about the afterlife, about the human condition, or all of the above, is up for discussion this week, as well as how It Ends fits into this current moment in independent horror cinema. After that, we bring Andrei Tarkovsky’s Solaris back in for Connections to discuss these two films’ respective existential journeys, the baggage their charac...

For a few days in the summer of 2024, the world’s attention was focused on Dr. Rachel Gunn — and not for anything good. Gunn, aka “Raygun”, was representing Australia at the Paris Olympics in the inaugural breakdancing competition, when her infamous performance became the subject of mockery, outrage, and even conspiracy theories. That’s the subject of the new Netflix documentary Untold Raygun: Breaking Badly. Matt and Jordan have a review, and use the film as an opportunity to recommend a film from the dawn of on-screen breakdancing and a sports doc about a ‘90s-era rivalry. Plus, streaming recommendations for a listen...

Film noir expert Rachel Walther joins Michael Phillips to test a quote commonly attributed to Jean-Luc Godard. But whether it belongs to Godard, Howard Hawks, or someone else entirely, it points to a persistent question about what audiences really want from movies.

From Gun Crazy and Double Indemnity to Jackie Brown, No Country for Old Men, and the James Bond franchise, they consider the enduring appeal of sex and danger and whether the famous formula still holds up more than a century after it was first proposed.

Join the conversation by emailing [email protected].<...

PV & FRANNY

A girl with a glockenspiel. A boy with a guitar. A high school full of weirdos, mascots who may or may not be unhinged, and a mystery that isn’t what anyone thinks it is.

A dead-serious love story… that refuses to behave like one.

One flier turns into a band. One band turns into obsession. And before they ever play a real set, everything is already ridiculous.

ACT ONE

Overton High is chaos in a controlled environment.

The mascot smokes. The journalist think...

When Coyote vs. Acme was shelved in 2023 for a corporate tax write-off, the response from film fans was as swift as a roadrunner and as explosive as a pile of TNT. When it was picked up by another distributor (Ketchup Entertainment), the outrage turned to anticipation – justifiably so, say Adam and Josh. Plus, they honor the late Tim Curry with a review of The Rocky Horror Picture Show, and listeners weigh in with their favorite ‘90s movie villains, and more.

This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two vi...

With the new Oasis doc Don't Look Back in Anger coming soon to theaters—and inspiring this month's ⁠Movie Death Match⁠ (The Last Waltz vs. Stop Making Sense)—we're sharing Adam and Josh's Top 5 Music Docs from 2023.

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From the writer/directors of Game Night and Dungeons & Dragons: Honor Among Thieves, Apple TV’s Cold War comedy Mayday was a promising title on the 2026 streaming movie calendar. Unfortunately, Matt and Jordan agree that the film isn’t the equal to those earlier films (no thanks to a phoned-in performance from Ryan Reynolds), despite a clever premise and the presence of Kenneth Branagh, who is having the time of his life. Matt digs into Branagh’s strange career in the Rec Seg, suggesting an early Branagh effort (as both director and star) as an alternative, and Jordan answers with a...

Alexander Ullom’s feature debut, It Ends, has been billed as a horror movie, but it’s more of an existential exercise wrapped inside a genre premise. That same description could be applied to Solaris, though Andrei Tarkovsky’s 1972 science-fiction classic takes nearly twice as long to ponder the nature of life in a situation where death has no meaning anymore. So this week we’re discussing whether Solaris’ deliberate pace and opaque symbolism work toward or against its emotional core, its relative accessibility compared to Tarkovsky’s other work, and what about the film invites its reputation as the “anti-2001...

Chris Klimek convenes a battle of the bands between two of the most acclaimed concert films ever made: Jonathan Demme's Stop Making Sense and Martin Scorsese's The Last Waltz.

One is a lean, propulsive document of Talking Heads at the height of their powers, transforming a live performance into something theatrical and strangely transcendent. The other is a star-studded farewell to The Band that expands beyond a single concert into a sweeping elegy for an era of rock and roll itself.

Arguing for The Last Waltz is Steven Hyden (Is This It: The Never-Ending Rise a...

SUBURBAKNIGHT: Act Three

Walter Knope has spent most of his life avoiding confrontation.

That is about to become difficult.

Walter, Samantha and Bobby Joe cross the street armed with a sword, a crossbow, a mace, a revolver and one deeply impractical suit of medieval armor.

Richard is waiting.

So is the rest of the neighborhood.

Inside Richard's house they discover the party has evolved into something considerably less HOA-approved. Music. Neon. Blood. An orgy full of succubi. Richard sitting above it all like Satan's sexiest homeowners association...