Filmspotting

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 ci...

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 ...

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...

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&rsq...

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...

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 stalk...

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...

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...

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 ter...

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 alternat...

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 traditi...

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 Zac...

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 a...

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 —...

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, ...