School Of Movies

[School of Everything Else 2017] NOTE: This is an archival episode from many years ago.  Recently the excellent YouTube series Every Frame a Painting asked members of the public if they could hum any of the music from the Marvel films. Unsurprisingly they couldn't come up with anything. There are a few reasons for this, that I go into on the show, but this presentation right here is crafted to allow everyone to explore the music that has come so far. We laser-focus on the core melodies, the hero themes that were left by the wayside as the series evolved and we showcase the wide range of actually rather brilliant musical moments that have punctuated the Marvel Cinematic Universe. Join me for an epic, three hour musical journey, run through the filter of my brain. By the end, if I've done my job, you'll be able to hum at least one piece of Marvel music. 1.   Marvel Logo (Thor: The Dark World) 2.   Back in Black – AC/DC (Iron Man) 3.   Mark II/Driving With the Top Down/Gulmira - Ramin Djawadi (Iron Man) 4.   Iro

[School of Movies 2025] The second and third parts of the original Trilogy of Muppet movies made while Jim Henson was alive, voicing Kermit and taking a heavily active role in production. The former from 1981 is a jewel heist that brings the anarchic furry ones to England, populated by only polite people (a trope which causes the two of us endless amusement) and very much concerns itself with pushing puppetry magic tricks on the big screen to their limits. This one, directed by Jim was in the immense shadow of the original Muppet Movie. The latter, from 1984 brings them back to New York as college graduates who want to put on a big Broadway musical and run up against the gritty realities of real life (along with a cloyingly cute debut for The Muppet Babies. This more grounded take was directed by Frank Oz and for us it is a commissioned show by Dean R. Guests: Mackenzie Eastram  @KenziePhoenix of Rainbow Connection @MuppetsPod   Nathan Eastram @bertnerdtram These two are also part of DiceWeave @DiceWeavePod

[School of Movies 2025] We round off Groundhog Month with a time loop movie that explores with even more depth how being stuck in a single day would effect a person's outlook on life, their philosophy and their actions. Taking its cue from the early script idea for what became the Bill Murray classic, we begin by observing a man named Niles, already locked in his time loop, from the point of view of Sarah. She then gets dragged into a loop of her own and finds herself trapped as Maid of Honour for her sister's wedding every single day, a scenario made so much worse due to Sarah's shameful secret. To make matters worse, Niles is also being stalked by the last person he blunderingly marooned in Today; a steaming-mad J.K. Simmons. It's blackly comic, filthy and thought-provoking with things to say about our existence, and it makes for the ideal existential closer on this topic (for today at least). Guest Jesse Ferguson @TheDapperDM from the Recorded Tomorrow Podcast

[School of Movies 2025] This is not a Horror movie (or rather, it qualifies enough for that genre in terms of certain expected tropes and elements, but that is not its mode of conduct, and for people expecting conventional Horror, there's a lot more there in its place). That's what should have been on the poster and promotional artwork, and in the trailers, and threaded through the interviews and general marketing speak surrounding this film. Though doing so might have hurt its 25x multiplier as yet another Blumhouse success story. That misdirection helped it THEN, in 2017, I'm thinking more about helping it NOW in the 2020s, when viewers who do not like Horror genre movies (in particular cruel slasher movies) would almost certainly steer clear of what is actually one of the freshest, funniest star features in recent years, spotlighting Jessica Rothe, an actress of insane range with serious comedic chops. It is superficially Groundhog Day with a stalking masked killer, but concerns itself less with the gory s

[School of Movies 2025] One of history's abiding classics, and one of the oldest films we have ever covered on this show, the 1939 Wizard of Oz starring Judy Garland is joined here with several key points of comparison to establish why it really hold up. We've already recorded a whole episode on the dark, late sequel, Return to Oz (1985) though it does get mentioned here, as well as Jon M Chu's 2024 cinematic adaptation of the first act of the Wicked stage musical. But we also invoke the original book, written by L. Frank Baum in 1900, reference the tumultuous filming process by MGM, the toll it took on Judy Garland, as seen in the 2019 biopic Judy. And finally we sing the praises of The Wiz (1978) a valiant effort to make this story relevant to black America. One thing is clear, this is the most I've ever enjoyed talking about Wizard of Oz, and a lot of that comes from having the ever-insightful Willow on as a guest. Next week it's Happy Death Day (2017). You can listen without watching the movie but definit

[School of Movies 2025] We’ve been holding this episode back for a special occasion and it seems like 2025 'The year of Joy' is the time to finally crack into one of the richest and most universally gratifying films in history. A hundred years from now, people will still be watching this film, It’s a Wonderful Life and The Shawshank Redemption. Accompanying us in this time loop journey from mundane resentment to confusion, to panic, to exploitation, to emptiness, to the nadir of self-destruction, to the revelation of reflection, to the zenith of living to enrich the lives of others, and thus experience repletion is Jesse Ferguson. Jesse is one of the few guests we know who can comprehend the knottiest of time-travel conundrums whilst fully understanding that the story at the heart of what's being told is far more important than any speculative, temporal shenanigans. Plus Bill Murray is a hoot, this is his best film, as well as being the finest offering from his friend and director Harold Ramis. It is endlessl

[School of Movies 2025] The first Dungeons & Dragons movie emerged in the year 2000, wildly underachieving in every department; characters, story, screenplay, costumes, technical proficiency, directorial flair, casting, scope, music, awareness of what it was adapting, sense of humour and dragons! All of these things were straight-to-video grade. It was, in effect the anti-Lord of the Rings, a year before that masterpiece-containing-masterpieces raised the bar impossibly high. 23 years later, on the 49th anniversary, Honour Among Thieves emerged to empty theatres for various reasons I will be going into in my opening monologue. Among other notions broached, there is an imperative upon us to redefine success. And our packed adventuring party are all here to do just that, and gush about this hidden gem, this buried treasure that knocks it out of the park in all the departments named above. This is a special episode where we get to talk about exactly why Honour Among Thieves is precious, and the unseen, Lego

[School of Movies 2025] In the name of joy, this year we are looking back across every Muppet movie we haven't yet covered, starting right here with the original 1979 film. For perspective, Jim Henson had made two successful TV shows up to this point, the well-known Muppet Show, which began in 1976 and was in the middle of its third season when this was being made, but before that, a weird series of little black and white skits called "Sam and Friends" which aired beginning in 1955. We recruited Muppet experts Mackenzie and Nathan Eastram to delve into the story of how Henson and company got to this place, as well as extolling the copious virtues of this instantly melancholy little tale about fame and dreamers, and money-men, crammed with celebrity cameos, none of which your five year old will recognise. Some of which are legendary comedy figureheads of the 20th century that I had to look up, and I'm in my mid-40s! Guests: Mackenzie Eastram  @KenziePhoenix of Rainbow Connection @MuppetsPod   Nathan Eastram @b

[School of Movies 2025] An extremely long-awaited show on a game-changer of a blockbuster movie. The first Pirates film, released in 2003 before Lord of the Rings had completed brought the world many things: A fantabulous extravaganza of practical effects, combined with a surprisingly light smattering of digital VFX that would be leaned into a lot harder later down the line, The notion that the swashbuckler could still do big business (the hidden caveat was that Johnny Depp being strange absolutely must be present) Keira Knightley as a leading lady, Gore Verbinski as a major director, the supposition that audiences would flock to cinematic adaptations of Disney park rides (they won't, just this one. See above regarding Johnny Depp) and Geoffrey Rush as an all-time iconic big-screen presence embodying the most consistently enjoyable pirate of all time. But there's more going on, beneath the frothing surface, a fantastically witty, urbane and efficient script by Terry Rossio and Ted Elliott, one of the greatest

[School of Movies 2025] We begin the new year as we mean to go on; joyfully. This is a commissioned episode for Alejandra Vargas. Back in 1994 Jim Carrey was having the most amazing year in cinema that he would EVER have, pretty much redefining what people wanted with madcap comedy for that era. Rubber-faced and bellowing catchphrases. This thing should have aged terribly after more than thirty years. But it hasn't, in fact it feels like a key precursor to the superhero boom round the corner, whilst challenging the contemporary crop of Batman and his imitators. It's also genuinely funny and eminently quotable (with gusto, when you're doing it) and pulls off a neat double-reversal of feminine characters in a way that doesn't feel cynical at all. A 'Nice Guy' story that didn't make us grimace, a bit with a dog... and that flippin'. toe-tappin' swing soundtrack!

[School of Movies 2024] You don't need to know a single thing about Ultraman to love this film. We brought in Kaiju and Sentai expert Dan Hoeppner to educate us along with you, regarding the history and cultural background of this character, but the film itself, viewable on Netflix is an absolutely perfect starting point. It is a smashing standalone story about the son of Ultraman, who grew up to be not especially great in the role himself, and instead pursued his mother's passion, becoming a baseball player. He's selfish and arrogant, not a team player, and has estranged himself from his widowed father, Hayao, with neither of them finding fulfilment. Then Kenji had an adorable, ginormous baby space dragon dropped into his lap, and he's about to find out that being a Dad is harder than it looks. It also sits confidently alongside the most gorgeous, dynamic and thrilling animated films of recent years, including Teenage Mutant Ninja Turtles: Mutant Mayhem, The Sea Beast and even the hallowed Spider-Verse. This

[School of Movies 2024] Mostly overlooked when released in cinemas in 1983, it took nearly a decade for Ted Turner to realise this thing was funny as hell, authentic, heart-warming, and a little dark and twisted, only to then screen it hundreds of times on his many networks until America was both in love with the movie and thoroughly sick of it! Meanwhile the rest of the world is unaware of its existence, and Sharon and I as the only two Brits in on this Yankee secret would like to both illuminate its qualities for the listening world outside of North America and Canada, AND remind you folks who do live there and groan every time you hear that another 24-hour marathon of screening this thing back to back is due, quite how good it really is. It's not often we cover straightforward comedies on this show. It's tricky to explain how or why something is funny without stepping on the gag itself, so think of this as a testbed for potential future episodes on comedies. To folks on Patreon; I finished the Winnie the P

[School of Movies 2024] A story ripped straight from the pages of Golden Age comic books, as dastardly gangsters and Nazis on the rise seek out a secret rocket pack that has fallen into the hands of a well-meaning, square-jawed chap who accidentally becomes something of a superhero. Starring a moustache-twirling Timothy Dalton, a luminous Jennifer Connelly, along with Billy Campbell, Alan Arkin and Paul Sorvino, this is a favourite of many of our listeners and was commissioned by Sarah Montgomery. We kick off a Christmas season of commissions, and considering how stressful November was for everyone, we have decided to set the tone for 2025 by seeking out pure joy. They will be movies we will love talking about enthusiastically, and focusing on to bring you folks a measure of weekly happiness in a dark time. The ones we have chosen for this December all seem to have that joy in common, as well as an old fashioned sensibility. We have A Christmas Story coming up next week, then Ultraman Rising, then at New Year

[School of Movies 2024] This is an exceptionally long-awaited episode for us. One of the very first films discussed on our very first episode, way back in April 2007, mentioned repeatedly in the intervening 17 years, and promised over and over. Now we finally reach it, one of the most special and meaningful films to us. It was directed by Danny Boyle after 28 Days later but before Slumdog Millionaire. It very overtly draws inspiration from Aliens and 2001, it stars Cillian Murphy, Chris Evans, Michelle Yeoh, Rose Byrne, Hiroyuki Sanada Cliff Curtis, Benedict Wong and Mark Strong. It was written by Alex Garland, scored by John Murphy and Underworld, it made one twentieth the box office of Christopher Nolan's Interstellar. ...and it is quite literally BRILLIANT.

[School of Movies 2024] Nolan-Vember comes to a close as we handle possibly his most emotionally-driven film. Drawing heavily from 2001: A Space Odyssey and Contact (two films we've already covered) Nolan presented the most populist blockbuster version of the speculative possibilities of what happens when a human being goes tear-assing into a black hole. This is very much our wheelhouse when it comes to the philosophical quandary of Stay or Go, regarding an increasingly uninhabitable planet Earth. So, the conclusions reached in this grand, cosmic, time-dilating cathedral of a smash-hit matter a great deal. And there are definitely elements we love about this one... but in consequence of Nolan's handling and points of focus there are also things that drive us crazier than HAL 9000 speed-dating GLaDOS. Fortunately, there is a film that forms a perfect sparring partner with this one; Danny Boyle's Sunshine (2007). One twentieth as successful with general audiences, but it handles very similar techno-philosophica

[Digital Gonzo 2012] NOTE: This is a reissued episode from over 12 years ago. Please forgive the lower production values and boneheaded things I say. The epic conclusion to Christopher Nolan’s game-changing Dark Knight Trilogy. It’s definitely not as straightforward as film two in the series because many people hate this film already, and an equal amount adore every inch of it. It’s a tricky balancing act since so much of the most well-crafted and exceptional elements have already been discussed over three and a half hours reviewing Batman Begins and The Dark Knight. Neither did I want this turning into a hail of disproportionate vitriol over perceived flaws. Guests: Sharon Shaw of School of Movies Taylor Nova of TheKiddDogg James Carter of Cane and Rinse Jerome McIntosh of GameBurst Aquila Edwards of Eyrie City Paul Gibson of Gonzo Planet

[School of Movies 2024] Nolan-Vember evolves to a whole new stage of the man's career, as following the billion-dollar success of The Dark Knight in 2008 he became a household name. This 2010 film, after The Prestige, just four years earlier garnered a mere $109m at the box office totally flipped the landscape of possibility in cerebral blockbuster cinema. It netted an astonishing $839m, signalling to Hollywood that here was an auteur who could open a summer movie that wasn't based on comics or toys, wasn't a remake or a sequel, a reboot or a prequel or even an adaptation of a book, a play, a fable a video game or a TV show. This was a standalone tale written by the director himself, and that a huge audience now wanted to be taken to the places they recognised him as capable of taking them, mentally, emotionally, and in terms of how intense Hans Zimmer's BWAAAAAAAAAAAAA got; physically. But that doesn't mean that this evolution of Christopher Nolan works for Sharon and I. In fact, from this point on he royall

[Digital Gonzo 2012] NOTE: This is a reissued episode from over 12 years ago. Please forgive the lower production values and boneheaded things I say. Part two of Christopher Nolan’s Dark Knight Trilogy. Following the powerful set-up of Batman Begins, the production team pulled out all the stops to deliver an epic crime thriller in the style of Michael Mann’s Heat. This is a story of a city in turmoil and a police force struggling to keep order, up against the ruthless mob. At the center are Batman and The Joker, forces of nature representing order and chaos. The only hope for Gotham may in fact be the White Knight, district attorney Harvey Dent. But you all know this, because everybody and his dog saw this movie back in 2008. I just wanted to set the scene a little. Much is discussed, especially Heath Ledger’s extraordinary performance, but not forgetting the brilliant turns from Aaron Eckhart and Maggie Gyllenhaal and the possible career-high score from Hans Zimmer and James Newton Howard. Guests: Sharon Sha

[School of Movies 2024] Nolan-Vember continues with Christopher's fifth film. Now, you would think, following the momentous success of Batman Begins, his period piece about feuding magicians that remains one of his best tricks to date would have been a stellar success... Wolverine's Hugh Jackman versus Dark Knight Christian Bale, and for the low, low price of $40 million; this is a recipe for insane box office gross from the man who would eventually go toe to toe with the plastic pink lady and save cinema in 2023. However, it garnered a paltry $109m from a general audience who in 2006 would far rather go see The Da Vinci Code, Night at the the Museum and the dancing penguins of Happy Feet (also Borat was popular; my wife). This means the odds are a high percentage of our listeners have not seen this film. We would urge you all to do so at once. Spend a proper evening with a big TV in a darkened living rom with the volume high and intense. This is not a film to catch in ten minute chunks on your phone, nor to

[Digital Gonzo 2012] NOTE: This is a reissued episode from over 12 years ago. Please forgive the lower production values and boneheaded things I say. Finally we get to Christopher Nolan’s Dark Knight Trilogy. After eight years away from cinema screens, and multiple stalled attempts at relaunching the franchise, Warner Bros knocked the Bat out of the park with the best film so far and arguably the most compelling and mature adaptation of Bruce Wayne and his alter-ego. Many aspects are discussed and deconstructed including Christian Bale’s intense portrayal, ace cinematographer Wally Pfister’s erotic endeavours and why Hollywood on paper is a senile, avaricious old psychopath. Guests: Sharon Shaw of School of Movies Taylor Nova of TheKiddDogg Joshua Garrity of Cane and Rinse Jerome McIntosh of GameBurst Aquila Edwards of Eyrie City Paul Gibson of Gonzo Planet