AotD presents Blockbasterds: 06/24/19

If you haven’t seen the announcement, Bryan has decided not to be a regular part of the podcast anymore, but before that, we got a couple episodes in the can which have been desperately begging to be edited. Here’s the first, with the guys talking lots of movie news that is now undoubtedly outdated, but how can we not post it when we talk about such scintillating subjects as Glenn Danzig’s horror film Verotika, which is already being called one of the worst horror anthologies ever made in a genre that is renowned for a low bar? Plus, there’s trailer talk and more!

AotD presents Blockbasterds: 01/11/19

So much to talk about in the first Blockbasterds of 2019! Bryan has a winter movie recommendation to help with your crippling seasonal depression. We talk the slates for Turner Classic Movies’ Fathom Events series and the DC Animated films from Warner Bros. Plus, casting news, film announcements, a few new trailers and more. Then, we talk our recent views as Bryan has finally seen the majesty that is RAW FORCE! And Kent runs through his frantic catch-up for the Best of 2018 episode. Join us for the fun!

AotD presents Blockbasterds: 11/30/18

If this episode had a title, it would be “The Enigma of Bikini Frankenstein.” Regardless of that fact, Kent and Bryan have some news and a metric ass-ton of trailers for you. Join us as they look at the mystifying world of movies while blizzards and rainstorms rage outside the confines of their respective homes. We pay our respects to the great Stan Lee, we talk found Disney films and wonder just what is the deal with that Detective Pikachu movie? Who are these people? Then it’s on to what they’ve been watching for the least few weeks, with another film in the Rambo series. Listen while you stress eat your Christmas ham early!

Aisle of the Damned: 06/29/18- Flying Toasters

It’s a big slam-bang two-fer as Kent and Bryan tackle Incredibles 2 and Jurassic World: Fallen Kingdom. How do they stack up? I guess you’ll just have to listen! Kent also takes a look at Hearts Beat Loud with Nick Offerman, and it has all the makings of an indie delight.

While they’re at it, they discuss the Star Wars implosion and the emergence of MoviePass competitors. Plus, they both do bad Sylvester Stallone impressions.

All this and less on Aisle of the Damned!

MUSIC:
The Aquabats- Stuck in a Movie!
The Tiki Tones- Lava Flow

 

PLP – V3E4 – Shoulda, Coulda, Woulda Episode 4

In this episode we continue the theme Shoulda, Coulda, Woulda with a discussion on the 2012 film, John Carter.

As a reminder, we still have our Amazon affiliation so if you wanted to help out the podcast, you could either head over to our wish-list or you could support the show via a free trial from Audible.  Thank you for listening and we’ll be back next week with a discussion on the film The League of Extraordinary Gentlemen.

Audible 30-Day Trial

Plain Label Podcast Amazon Wish-List!!

Music: Peter Gabriel – My Body is a Cage

Facebook: Plain Label Podcast

Twitter: @EricWilliams79  @PlainLabelPod

Instagram: PlainLabelPodcast

Kent’s 25 Favorite Damned Movies of 2017 (#15-11)

15. I, TONYA- A movie that chronicles the first 25 years or so in the life of Tonya Harding could have really gone one of two ways: either the self-serious Lifetime Movie route, or embracing the story’s inherent ridiculousness. Having Margot Robbie, who is “Hollywood pretty” by any standard, portray Tonya Harding at age 15 by giving her a short haircut and some braces pretty much shows right off the bat that the film intends to go the second way. But in addition to the requisite goofiness one can expect for a figure skating film full of rednecks, assholes, half-wits, and dim-wits, the movie itself plays things pretty smart. It’s been simultaneously praised and derided for taking inspiration from the work of Martin Scorcese. Goodfellas in particular is name-dropped in the advertising. But in order to put together a tale in which not one, but multiple unreliable narrators regularly refute each other, sometimes even turning to the audience and breaking the fourth wall to dispute the action occurring onscreen, it likely couldn’t have worked as well any other way. Ultimately, the film’s view of Harding is a sympathetic one (her POV is understandably the most prevalent), but it never lets her off the hook, as she is represented as throwing regular tantrums, making constant excuses, and usually only taking minimal responsibility for her actions. The storytelling has pop sensibilities through and through; in fact, I would go so far as to say it’s technically brilliant. However, there’s always some sadness around the edges to remind you that, no matter how absurd the plot gets, these are real people. The end credits even show excerpts from archival footage to try to drill home how surprisingly unexaggerated this whole circus is.

14. COCO- It’s possible that Coco may seem better than it is by virtue of having a truly bad Frozen special programmed before it. However, even if we assume that’s the case, it still comes across as a total winner for Pixar. The story, which follows a music loving Mexican boy through the mythological underworld on Dia de los Muertos, may have some plot holes, but it’s hard to worry about them when it’s so much fun and has a lot of great touches that remind us how Pixar really cares about the details. So in a lot of ways it’s more or less par for the course for the Lamp, but even then, Coco manages to elbow its way into the higher tiers of their films thanks to the humor on display and the main character being pretty endearing. Beyond that though, there’s some really mystifying stuff for anyone who wants to really dig, like how it takes place in an afterlife where fame is an even more valuable commodity than in our own world. The music is catchy (and, since at least one tune is repeated ad naseum, that is very, very important. See also: That Thing You Do.) The visuals are full of a Halloween splendor, with a walking tour of the most unique setting they’ve put on the screen since Monstropolis. But even in a movie this visually striking, Mama Coco herself stands out, at once creepy, heartbreaking and… even almost cute on occasion; truly great character design. While I’m glad animation has slowly been evolving and there are seemingly more voices in the features game than ever before, there’s a reason Pixar continues to stand out in their field.

13. BLADE RUNNER 2049- It’s hard to believe that Denis Villenueve pulled off a sequel that not only managed to keep from sullying the lustre of its now-regarded-as-a-classic progenitor, but may even improve upon it, leaving its moral relativism and complex plotting while forgoing a lot of the overcooked dialogue and adding something that the original only flirted with: genuine pathos. Ryan Gosling makes a surprisingly good lead, channeling his leading man status to serve as part of his replicant nature. Harrison Ford keeps up his “greatest hits” tour, following up his fun turn as Han Solo with another return to form, this time as Rick Deckard, the runner that took off with Sean Young’s experimental Rachel model of the original. But the real MVP is Ana de Armas, who is heartbreakingly good as various forms of an artificial intelligence named, appropriately enough, Joi. The plot twists here are not small, and the risk they undertook is definitely rewarded. While the visuals overall may not be as idiosyncratic and downright awesome (in the truest sense of the word) as the original, there are some bits here and there that certainly come close, especially a visit to an abandoned city that looks like it was rezoned to Mars. Plus, I can’t think of a recent film with a scene which has sucker-punched me in the gut like this one has, outside of Pixar. As time goes by, I predict 2049 will find itself having a very long shelf-life, just as the first film did.

12. COLOSSAL- I’ve heard a lot about the controversy surrounding Colossal. Personally, I think it’s one of those movies where the biggest messages one interprets are ones you’re bringing into the screening with you. Which, if we’re being honest, is often a hallmark of interesting sci-fi and art in general. I didn’t see it as some huge statement of empowerment, or a screed for misandry, despite advertisers and critics telling me what to expect. I saw a movie about a terrible, manipulative person having to make better decisions, because she’s surrounded by other people who are also varying degrees of manipulative and/or terrible (or at the very least, allow that sort of behavior to continue.) So rather than focus on the controversy, or the politics, how about I point out that it’s an incredibly clever, and original movie. That it is genuinely funny and engaging. That Jason Sudeikis puts in the best performance of his career so far, at times seething under the surface with genuine menace that belies his usual charming demeanor. That Anne Hathaway continues to impress me and puts in a wonderful effort as the main character of this stealth genre film. (I’ll never understand the relatively small, but intense, cult of public disdain that follows her like a dark cloud.) That, even with a doofy explanation for why what’s happening is happening, I found it to be a wholly satisfying experience. Colossal is small, but mighty. It is thoughtful, provocative, and absolutely worthy of your time.

11. THE BIG SICK- Telling people something is “a _____ for people who don’t like _____” is not one of my preferred descriptors. It feels reductive in most respects, to both the film being recommended, and the genre which contains it. But I would definitely recommend The Big Sick to people, even if they typically don’t enjoy Hollywood romantic comedies, because it doesn’t feel like a typical, ridiculous romantic comedy. Not only that but, perhaps because it’s based on a true story, it avoids the common clichés of them while keeping the basic tenants. Yes, there’s a big secret that keeps them apart. No, that secret isn’t something ridiculous or something that makes the main character seem like a complete sociopath for piling lie upon lie. Star Kumail Nanjiani manages to come across as natural and charming, while Zoe Kazan manages to take what would usually be a thankless role, pumping the brakes when we’re rooting for them, and is actually allowed to be sympathetic. Most importantly, director (and The State alum) Michael Showalter make it feel like a character piece first, and it never loses sight of that second word in its descriptor. It’s a movie that is genuinely funny throughout, despite tackling some heavy topics. These heavy topics, like family friction created by breaking with tradition and a large dose of medical drama, even result in fully-formed character arcs. It never even feels exploitive the way a tear-jerker would, milking the hospital scenes for all their emotional worth, despite the title. See it with someone you care about (who doesn’t like to be bored.) You’ll be glad you did.

<The Best of 2017 (#20-16)                                                       The Best of 2017 (#10-5)>

Aisle of the Damned: 12/01/17- Like a Bat-Kid on Christmas

Howdy, folks! As the holiday season bears down on us, Justice League has been unleashed upon us. Does this Frankenstein monster of a film fly like Superman or sink like Aquaman? We will discuss the particulars! Meanwhile, Kent has seen Coco and is dying to tell you about it.

Plus, we discuss some Marvel developments, some trailers and less, on Aisle of the Damned!

Music:
The Aquabats- Stuck in a Movie
Amazing Transparent Man- Holding Out for a Hero

Aisle of the Damned: 08/18/17- The Back to Skull Special

Art Repurposed for a Reason

Kent and Bryan are ready for fall, but is your local multiplex? The Damned boys discuss what we have to look forward to in the next few months with their annual Back to Skull Fall Preview and there are a few places on the calendar which feel like a wasteland.

They also take a look at some Kevin Smith news straight from Boston ComicCon, discuss some big news from Movie Pass and talk some Bond.

All this and less on Aisle of the Damned!

Music:
The Aquabats-
Stuck in a Movie
The Hives- Fall is Just Something Grown-Ups Invented

Aisle of the Damned: 06/23/17- It Has to Wash Its Sheets in the Morning

Transformers: It Comes on a Rough Night

Two weeks ago saw the opening of It Comes at Night. Last week, we had the bachelorette comedy Rough Night. This week we get Transformers: The Last Knight dropped on us like a 10-ton anvil. Coincidence?

Probably.

Regardless, Bryan and Kent are here to slice and dice films for your pleasure and It Comes at Night and Rough Night are both on the chopping block. So which is worth your dollars? The divisive psychological horror film or the gender-bent Very Bad Things? Find out in this episode! Plus, we have Pixar’s latest: the inevitable Cars 3. Does it handle better than the second entry?

PLUS, we have some movie news, including some superhero stuff. All this and less on Aisle of the Damned!

Music:
The Aquabats- Stuck in a Movie
Richard Cheese and Lounge Against the Machine- Down with the Sickness

Aisle of the Damned: 06/16/17- Atomic Batteries to Power

Who's the monster?

We’re back for more punishment from Tom Cruise’s to-do list. Actually, we talk 2017’s new version of The Mummy after a discussion of the Aubrey Plaza vehicle The To Do List sparks a little conversation over 90’s nostalgia.

Before we talk about the Dark Universe though, we talk about the legacy of the great Adam West of Batman: The Movie and so much more.

All this and less on Aisle of the Damned!

Music:
The Aquabats- Stuck in a Movie
Nelson Riddle- To the Batmobile
Nelson Riddle- Hi-Diddle Riddle
Link Wray and his Ray Men- Run Chicken Run