A discussion of cult films by two guys located in a basement somewhere in the Pacific Northwest. Matt holds a B.S. and M.S. in physics, and works as an aerospace engineer. Mark holds a B.S. in biochemistry and works as a research technician... both are graduates of Snohomish High School Class of 91/92 respectiviely, none of which qualifies them to discuss film in any meaningful way... so... "caveat emptor" and all that.
"Not dead yet!!" This week we review the quintessential Monty Python classic Monty Python and the Holy Grail. As opposed to the typical quotes and rehash of scenes, Matt and Mark attempt to rate the top bits from this sketch comedy classic and arrive at the same number one. Can you, dear listener, guess which one? Comedies are always a challenge to review, but unlike Sir Robin, we do not run away!
This week we review the classic British crime film Get Carter released in 1971. A view into the gritty proletariat British underworld, this groundbreaking film dispenses with the flash of previous British efforts, likening itself more to American detective stories. Mark feels its influences may have come full circle however, with directors like Guy Ritchie emulating Get Carter but unfortunately falling into a stylized glammy traps. A classic anti-hero feast, Michael Caine is the definition of the "smooth criminal."
This week we review the sketch comedy adaptation Strangers with Candy. A lukewarm response from both Matt and Mark, Matt tries to dissect why 30 minute sketch comedy shows tend to limp into mediocre 90 minute films. It could be that while Amy Sedaris's Jerri Blank is funny for a 10 minute block, stretching this unlikable character to film length becomes challenging. Anyway, Mark has declared this the summer of 'funny', so let this be the vanguard.
This week we review the evocative Krzysztof Kieslowski swan song Red from his Three Colors Trilogy. A universally praised movie, its themes focus on the ideas of chance relationships and redemption. Mark brings up an interesting point however: while the main character is female, her story and character seem to take a back seat. Why? I don't think we'll ever know. A beautiful film of masterful detail, regardless.