Flixwise Podcast

Did you really think we'd do a series on female directed films and not talk about Amy Heckerling's Clueless? AS IF!! Flixwise regular, Anne Marie Kelly, outlines why she thinks the seminal 1995 teen comedy is worthy of the Flixwise Favorites List. She'll have to convince Lady P, Kristen Sales, and Marya E. Gates that her fondness for the film stems not just from wardrobe envy or a '90s nostalgia trip, but from the film's formal attributes and cultural significance as well. Listen up to see if the panel agrees that Clueless is one of the Greatest Movies of All Time. Along the way, they talk outfits (duh!), compare Clueless to Emma--the original Jane Austen text--and admire the film's progressive take on sexuality. Plus, Kristen offers a rousing sermon on awe of the teen movie genre, which is definitely not-to-be-missed.  

Lady P and Anne Marie Kelly are joined by Ed Neumeier, the writer and producer of ROBOCOP and STARSHIP TROOPERS, to talk early science fiction films. Their discussion centers primarily on the 36th film on the Sight and Sound Greatest Of All Time List: Fritz Lang's 1927 German Expressionist classic, METROPOLIS. They give a brief overview of the socio-political environment at the time of production (yep, that means Hitler), and talk about how the film co-opts the styles and themes of several early-20th century art movements. Plus they discuss how Robot Maria has left her fingerprints on every subsequent android assembled since METROPOLIS' release. For the second topic, they talk about Ed's personal cyborg creations. Ed details his path to becoming a screenwriter, and how he ended up a producer on ROBOCOP by his late-20s. He also talks about writing STARSHIP TROOPERS (a favorite around these parts), and the process of turning Robert Heinlein's ring-wing polemic into an anti-war satire. He also touches on the pre

For our 2nd entry in the "Flixwise Favorites: Female Filmmaker" series, Marya E. Gates tries to convince Kristen Sales and Lady P that Gillian Armstrong's 1994 feature, LITTLE WOMEN, is worthy of our canon. Topics include: the film's rendering of Alcott's original text, the gorgeous set and costume design, the ageless beauty of Susan Sarandon, and stupid-Amy and her stupid limes. Plus, they tackle the issue that's been dividing our nation since the film's release: Laurie vs Professor Bhaer. 

Welcome back to the show Marya E. Gates and Kristen Sales! Taking a cue from Marya's "A Year With Women" project, we've started running our own "Flixwise Favorites: Female Filmmaker" series. First up, Kristen tells us why she thinks Kathryn Bigelow's 1991 film, POINT BREAK, is totally radical and should be considered one the greatest movies of all time. It turns out the film's tagline, "100% Pure Adrenaline", is a little misleading. According to Kristen, POINT BREAK is not just one of the most influential action movies of the 90s, it's also a sensitive portrayal of blossoming intimacy between a pair of beautiful men in wet suits. Listen up to see if the rest of the panel thinks Bigelow's tale of high-stakes bromance is worthy of canonization.

It's a lady filmmaker podcast! With special guests Marya E. Gates of Cinema Fanatic and Kristen Sales of Sales on Film. First, the panel methodically steps through the 36th movie on the Sight and Sound Greatest of All Time list: Chantal Akerman's 1975 feature, Jeanne Dielman 23 quai du commerce, 1080 Bruxelles. There's a lot to unpack in Akerman's meticulous rendering of the daily rituals of a Belgian housewife-turned-prostitute. For some, the film is a reverent tribute to motherhood and the domestic sphere. Others see the film as survey of existential despair. And plenty more just see the world's longest, most boring HGTV pilot. Listen up to hear our panelists' takeaways. Then, the ladies talk about Marya's ongoing project called A Year With Women. Basically, for the entirety of 2015, Marya is only watching films directed by women. Marya talks about why she started this experiment, and why Hollywood still refuses to let women take the helm on big budget features.

Aaron West of the film blog Criterion Blues joins Lady P and Flixwise co-producer, Martin Kessler, to talk about whether or not the 1978 animated adaptation of Richard Adams' classic novel, WATERSHIP DOWN, is worthy of the Flixwise Favorites list. WATERSHIP DOWN has been favorite of Aaron's since adolescence. Listen up to see if he can convince his fellow panelists that his continued admiration is based on more than childhood nostalgia. Along the way, they discuss religious allegories, fascism--cuz it's the internet, and why animation rarely gets the widespread recognition it deserves.

On today's podcast, we're paying tribute to "The Master of the Macabre", Alfred Hitchcock. On-hand to assist Lady P in dissecting Sir Alfred's filmography is renowned film historian, author, and Professor Emeritus from Indiana University, James Naremore. For our first topic, we have the Sight and Sound Critics' Poll's 34th Greatest Film of All Time: PSYCHO (1960). Our guest, James, originally offered up his in-depth take on Hitch's infamous feature in his 1973 book Filmguide to Psycho. However, that was not the first nor the last time that PSYCHO would be broken down and analyzed. It's a film that audiences, critics, and film theorists have repeatedly come back to over the years. But for today's analysis, James and Lady P make their own inspection of the Bates Motel. They parse through the publicity, the politics, and the aesthetics of the film to help explain its notoriety and its cultural and historical importance. Then, lurking behind the next segment-break is... Sir Alfred Hitchcock, again! This Thursday

In an attempt to disprove the widely-held belief that all film critic's hate fun, the Sight and Sound folks voted Buster Keaton's hilarious silent picture, THE GENERAL(1926) as the 34th entry on the "Greatest Film of All Time" list. But is the film worthy of the 34th spot? Answering that question is your host, Lady P, Classicfilmfan.com editor Carrie Specht, and filmmaker/action-movie-connoisseur Jenna Payne. They take turns offering up takes on the film, and sharing in their admiration for The Great Stone Face (Ed. More like The Great Stone Cold Fox, amirite!). Next, it's the 21st Century equivalent of THE GENERAL, George Miller's 2015 feature MAD MAX: FURY ROAD. Several critics have found similarities between the two films--someone even saw fit to create a mash-up. (Leave it to the internet!) The panelists give their thoughts on FURY ROAD, and they talk about whether the Keaton comparison is valid. Plus, they discuss the essential elements of a great chase sequence.

Lady P is joined today by Flixwise regulars Martin Kessler and Carrie Specht to discuss the 33rd entry on Sight and Sound's "Greatest Film's of All Time" list, Vittorio De Sica's BICYCLE THIEVES. Upon its release in 1948 BICYCLE THIEVES was immediately hailed as a classic and It even managed to snag the number 1 spot on the 1952 Sight and Sound critics poll.  While the film has dropped a few rungs on the Sight and Sound list, it is still considered by many to be the high-water mark of Italian Neo-Realist cinema. The panel discusses BICYCLE THIEVES enduring appeal, and the larger impact of the Neo-Realist movement in film history. Then the panel gets a little verklempt talking about their favorite movie tear jerkers. BICYCLE THIEVES is a heart-wrencher to be sure, but does it bring our panelist to tears? If not, then what kinds of films do make them cry?

Our newly appointed co-producer, Martin Kessler, was recently shocked to discover that Paul Verhoeven's 1997 alien invasion film, STARSHIP TROOPERS, did not make the Sight and Sound Critics' Poll. His outrage might seem a little misplaced given STARSHIP TROOPERS' low to mediocre ratings on Rotten Tomatoes and other movie review aggregator sites. After all, this is a "Critics' Poll" we're dealing with. But Martin would not to be deterred by any silly critical consensus. He knew in his heart that the film that gave the world the immortal image of Doogie Howser in an SS uniform was, at the very least, deserving of reappraisal. That's why, for today's episode, Martin is going to tell us why he thinks STARSHIP TROOPERS is a misunderstood classic that is worthy of entry into the Flixwise Favorite's List. But will Martin's fellow panelists, Lady P and Emma Guerard, be swayed by his arguments, or will they find them as unconvincing as Denise Richards' playing...well anything? Listen up if you want to know more...

Lady P is joined by Carrie Specht and Anne Marie Kelly to talk about Martin Scorsese's 1976 feature TAXI DRIVER. TAXI DRIVER is tied for the 31st spot on the Sight and Sound Critics' Poll with another "Golden Age" cornerstone: Francis Ford Coppola's THE GODFATHER PT. II. Yes, two of the darkest entries in the 1970's cinema canon landed side-by-side on the "Greatest Films of All Time" list. A coincidence? Perhaps. But nevertheless, while one may forever be the loneliest number, 31 is now officially in the running for broodiest. And speaking of Coppola, a few weeks ago, during an off-air conversation, Carrie casually mentioned that she thinks Francis Ford Coppola is the "greatest living American director." We felt this statement deserved greater unpacking, so this week we hit the record button and talked in detail about it means to be a "uniquely-American" filmmaker.  Then the panelists each offer up their picks for top auteur.

It's the rootinest tootinest hoedown in the west! Filmmaker and friend of the show, Caroline Golum, is on hand to tell us why she thinks Nicholas Ray's JOHNNY GUITAR should be included in the Flixwise Favorites List. She's gotta convince her fellow panelists, Lady P and Anne Marie Kelly, that Joan Crawford's turn as a reluctant gunslinger is more than just campy fodder for the midnight movie crowd. JOHNNY GUITAR wasn't a great commercial or critical success upon its release, but the years have been kind to Nicholas Ray's alternative cowperson picture. Much has been written and said about its queer subtext and overt feminist themes. Our panel tackles these subjects and they deliberate over whether JOHNNY GUITAR is worthy of entry into the great movie canon.

On today's show, Anne Marie Kelly and Carrie Specht join Lady P to talk about the 31st feature on the Sight and Sound Critics Poll: Francis Ford Coppola's THE GODFATHER PT II. Regular listeners will recall that Lady P was less than totally ecstatic about the previous GODFATHER entry; and any criticism of THE GODFATHER series qualifies as heresy amongst some cinephiles--movie people have ways of taking care of heretics. Find out if Lady P's changed her tune for Part II, or if she'll soon find herself on a moonlit boating trip. And since GODFATHER PT II is the only sequel on the Sight and Sound Poll, the panelists take the opportunity to talk about Hollywood's recent proliferation of series and franchises. Then they each list some their favorite movie sequels.

...It's a free radio show that you can download and listen to at your leisure (and all the producers ask in return is that you go and rate it at iTunes)...But that's not important right now!  This July marks the 30th anniversary of the release of the Zucker Abrahams Zucker disaster parody AIRPLANE!. We know we're a little early to this party, but we feel it is never too soon to commemorate the great sacrifice of one Lt. George Zip (RIP!). And so we've decided to Striker while the iron is hot, and get one Oveur the competition.*  Flixwise regulars, Martin Kessler and Gary Lampert, join host, Lady P, in reciting as many AIRPLANE! jokes as they can cram into a 40 minute time-span. And incidentally, they also attempt to determine if the film is worthy of inclusion in the Flixwise Favorite's List. Is Ethel Merman correct? Is everything indeed coming up roses? Or is AIRPLANE! as tasteless and gross as well... airplane food? Calm down and get a hold of yourself! All you have to do is hit play to find out. *Editors N

Lady P is joined by film historian Professor Joseph McBride to celebrate the centennial birthday of Orson Welles(1915-1985). For some, Welles is known strictly as the man who wrote, directed, and starred in what many consider to be the greatest film ever made: CITIZEN KANE. Others have come into contact with Welles as a television personality with guest appearances on shows like I LOVE LUCY and THE DEAN MARTIN CELEBRITY ROASTS. However, while the popularity of his first feature film--and his public persona--may steal a lot of the spotlight, the truth is Welles had a long and fruitful film career that continued until the day he died. Today's guest, Joseph McBride, in addition to being a renowned Welles scholar and author of three books on the director, also worked with Welles for six years as an actor on one of his independent projects, the still-unfinished feature: THE OTHER SIDE OF THE WIND. Lady P talks with Joe about his experience being on the set, taking direction from Mr. Welles, and what viewers can ex

Our Holocaust Remembrance continues, as we take a look at the 1989 documentary WEAPONS OF THE SPIRIT. Last week, we talked about Claude Lanzmann's 1985 landmark film SHOAH: a film which chronicles, in great detail, the process by which the German Nazis went about planning and executing the horrors of the genocide of the European Jewry. This week's film looks at The Atrocity through a very different, but no less important lens. WEAPONS OF THE SPIRIT focuses largely on the inhabitants of a small French village called Le Chambon-sur-Lignon. These inhabitants, while under Nazi occupation, made it their collective mission to shelter any Jew that came through their township. It is estimated that the citizens of the area of Le Chambon managed to save the lives of approximately 5,000 Jews. For today's episode, Lady P is joined by WEAPONS' director, Pierre Sauvage, to talk about his approach to the subject. They discuss how he went about putting together this documentary, and his commitment to historical accuracy. And

The evening of Wednesday April 15th, 2015 marks the start of Yom HaShoah, or Holocaust Remembrance Day. In recognition of this occasion we thought it would be appropriate to discuss the 29th entry on the Sight and Sound List: Claude Lanzmann's 1985 film, SHOAH. On today's episode, Lady P is joined by her friend, Michael Adams, to talk about Lanzmann's 9 and a half hour documentary, which details the process by which Nazi Germany went about extinguishing the European Jewry. In the discussion they talk about Lanzmann's interview techniques, the way the film is structured, and why SHOAH remains one of the greatest testaments to the power of both journalistic and elegiac filmmaking.

On today's show, worlds have collided and humankind is doomed. It's the long-awaited Wrong Reel/Flixwise collaberation! James Hancock and Mikhail Karadimov, two-thirds of our favorite east coast podcasting team, are on hand to talk about the 29th Greatest Movie of All Time: Andrei Tarkovsky's STALKER aka The Jean Grey Origin Story. And, speaking of X-Men, we will also be discussing the recent proliferation of Apocalyptic entertainment. X-MEN: DAYS OF FUTURE PAST is just one of many contemporary examples of the surging post-civilization genre. The panel attempts to explain the appeal of watching humanity cast-off its societal restraints, and offers a few reasons why these End-of-the-World myths have become so prevalent in our current media landscape.

It's a cinematic tour through The City of Angels, and Lady P's at the wheel. Riding shotgun is film scholar, and Professor Emeritus from Indiana University, James Naremore. Together they're going to try to navigate the twists and turns of the 28th movie on the Sight and Sound Critics' Poll, David Lynch's MULHOLLAND DRIVE. James wrote about Lynch's nightmare-ish take on the Hollywood fantasy in the most recent edition of his landmark book, More Than Night: Film Noir in Its Contexts. James revisits his analysis of the film, and talks about why he feels justified in calling MULHOLLAND DRIVE a "Neo-Noir". Next up, they talk about a couple of films with a very different take on life in Los Angeles. James is currently writing a book on Charles Burnett. Burnett is an African American filmmaker, best known for his vérité-style depictions of everyday life in Watts--an impoverished neighborhood in South Central Los Angeles. James gives listeners a primer on Burnett's work. He covers everything from his earliest films (

On today's show, it's two unconventional biopics about two unconventional artists. Lady P is joined by guests, Emma Guerard and Martin Kessler, to talk about the 27th Greatest Movie of all Time, Andrei Tarkovsky's ANDREI RUBLEV. This is the second Tarkovsky entry on the Sight and Sound Critics' Poll (We've talked about MIRROR in a previous episode). But is Tarkovsky worthy of two appearance in the top 30? Next, the panel goes from Tatars to Turners, with Mike Leigh's 2014 feature film, MR. TURNER. 2014 saw an onslaught of biographical movies about troubled-geniuses (See: THE THEORY OF EVERYTHING and THE IMITATION GAME--Or better yet, don't). But MR. TURNER somehow manages to stand out above the fray. The panel talks about how Leigh was able to avoid all the tired "based on a true story" tropes, while still conveying what made JMW TURNER's work so extraordinary.