Be Reel

As the baseball season heats up, Chance and Noah step up to the plate to discuss three films that explore the often-alienating nature of America's pastime: "Million Dollar Arm," "A League of Their Own" and "The Natural." Don't miss Noah rambling on about the importance of chastity in the American hero myth, Chance's monologue about drunk-watching the beloved children's film "Angels in the Outfield" and a lightning round of "Fair or Foul" reviews for other baseball films.

In this episode, Chance and Noah discuss the morality and complications of willing life back into the decaying corpses of once-successful film ideas 20 years after their initial release: "Mad Max: Fury Road," "Indiana Jones and the Kingdom of the Crystal Skull," and "The Color of Money."

They may be right, they may be crazy — but they definitely want to show you something. Noah and Chance watched 1986's "The Fly," 2000's "Finding Forrester" and 2015's "Ex Machina" for an episode about reclusive geniuses taking an outsider into their beds, lairs and labs.

Don't mind all those weapons in the corner — we're covering scientific expeditions gone awry in this week's trio of movies. Noah and Chance watched "Prometheus," "Stargate" and "Sphere."

Noah and Chance shift into high gear for an episode about movie characters living through their cars. Press play for a discussion of "Drive" and "The Fast And The Furious," plus a spirited debate about whether "Gone In Sixty Seconds" is the perfectly-mapped action movie or a drug tweaker's nightmare.

Recorded in Brooklyn after a few cocktails, Chance and Noah discuss films dealing with people returning home after a loved one has died. In the cross-hairs this week are "This is Where I Leave You," "The Big Chill," and "Garden State." With specific mentions for Zach Braff's vanity, Tina Fey's seriousness and Dax Shepard's penis.

Noah and Chance watch "In The Line of Fire," "White House Down" and "Murder at 1600." Then, they ask the tough questions. Like: "Does Clint Eastwood have hip sockets?" and "Is this Roland Emmerich's best movie in 15 years? What does that even mean?"