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**F This Movie!**

Movie love for movie lovers.

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**Weekend Open Thread** Sep 12, 2026
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**Review: PRACTICAL MAGIC 2** Sep 11, 2026
Show notes

by Rob DiCristino
Midnight Margaritas, anyone?
1998’s Practical Magic is the cinematic equivalent of a boozy Galentine’s Day brunch: Like 9 to 5, Thelma & Louise, and Mystic Pizza before it, the Griffin Dunne-directed comedic fantasy/romance is far more interested in celebrating the indefatigable power of sorority than with building any complex drama or character intrigue. Believe it or not, that’s a compliment! We love to celebrate female relationships in cinema! We love watching brassy, foul-mouthed dames climb the corporate ladder! We love romantic shenanigans set in a quirky New England pizza parlor! We love suicide pacts with bisexual overtones! And you’d better believe we love a seaside Victorian lousy with horny witches! While it may have been a critical and commercial disappointment upon its original release, it’s that very same Ladies Being Gals energy that has solidified Practical Magic’s place in cult cinema history for nearly thirty years. The Owens sisters’ story is one of empowerment. Of sisterhood. Of the singular satisfaction that comes with burying an abusive fuckboy in your aunts’ garden.So, fuck it! Practical Magic 2! Why the hell not? Here we go: A generation has passed since Sally (Sandra Bullock) lost her husband to an ancient curse that dooms each and every one of the Owens’ true loves to a brutal death. Determined to conquer her grief and safeguard her family’s future, she’s sealed off her magic and deceived her daughters (Joey King as Kylie and Maisie Williams as Antonia), both of whom have grown up in the shadow of rumors about their aunts’ (Stockard Channing returning as Frances and Dianne Wiest returning as Jet) supernatural predilections. It’s all smoke and mirrors until Kylie confesses her love to college hunk Gideon (Blue Beetle standout Xolo Maridueña), who — as if by otherworldly decree — immediately gets pancaked by a car and put into a coma. Now, with the help of an ancient text that might hold the key to dismantling the Owens family curse, Sally and her tequila-loving, ride-or-die sister (Nicole Kidman as Gilly) must reveal their darkest truths and free themselves from the shackles of this deadly spell once and for all.
But, look. I’m going to be honest with you: That couldn’t matter less. Sure, Practical Magic 2 — based on Alice Hoffman’s 2021 novel The Book of Magic and co-written by Georgia Pritchett, Kelly Marcel, and, as was the case with the first film, Academy Award-winning screenwriter Akiva Goldsman — technically has a plot. It’s about Kylie’s quest for answers, a quest that will lead her to an ancient English witch burning site and into the clutches of the duplicitous scion of a hidden Owens bloodline (Solly McLeod as Thomas Lockland). Sally and Gilly will follow her, of course, enlisting the help of charming demonology professor Ian Wright (the impossibly tall Lee Pace) with whom — and you’ll be shocked to hear this — Sally will develop a romantic relationship. But, come on. You don’t care about that at all, do you? I didn’t! My eyes started glazing over every time Gilly explained the left-handed magic that haunts the Book of the Raven or Whatever the Fuck It’s Called. I think there’s a needle that will open the cursed pages? Maybe? I’ve already forgotten.That’s because Practical Magic was never about witchcraft. It was never about spells. It was never about the sort of convoluted technical lore that would make your local dungeon master cream in his pants. Not a single person showing up for a sequel to the “midnight margaritas” movie gives a flying fuck about Wiccan arcana, sacred incantations, or the Book of the Raven’s Beard (I swear, I saw this movie last night and I can’t remember what that thing is called). No, the people who religiously rewatch Practical Magic every fall when the leaves turn know that it’s all about the feminine vibes. It’s about the effortless chemistry between Sandra Bullock and Nicole Kidman. It’s about the endless warmth — and fabulous fits — from Stockard Channing and Dianne Wiest. It’s about dancing around the kitchen in spaghetti-strapped tops because, for crying out loud, no one understands you like your sister. Why do these movies even bother featuring men? They’re always the most annoying part! Why kiss a stupid boy when you can hide under the covers with your best girlfriend?Anyway, this is supposed to be a review: Is Susanne Bier’s Practical Magic 2 a quality exercise in filmmaking craft? It is not! It’s haphazardly directed, poorly edited, and features a second act so mind-numbingly boring that you’ll resent the entire British commonwealth for forcing a pair of toe-headed douchebags into your estrogen extravaganza. But none of that matters when Sandra Bullock is dropping double — sometimes triple — entendres under her breath. None of that matters when Nicole Kidman is slinking around the margins of every shot like a sex-crazed poltergeist. None of that matters when we’re reminded that sometimes a movie is just about a bunch of women who love each other. Women who support each other in moments of fear and doubt. Women who recognize that growth is the fruit of ambition, of reckless whimsy and dogged self-confidence. Practical Magic 2 celebrates the unbridled joy of connection, the confidence that comes with leaning on the people who know and love you best. That’s what you wanted, isn’t it? Here it is. You’re welcome.
Practical Magic 2 is in U.S. theaters now.

**2K Replay: FINAL DESTINATION 3** Sep 10, 2026
Show notes

by Adam Riske
Nominated for “Highest Body Count” at the Fangoria Chainsaw Awards. It lost to Slither.
• Best Scene/Moment: The Devil’s Flight rollercoaster derailment at the beginning.
• Best Song: “Tribal Dance” by 2 Unlimited.• Best Merch: A “Final Destination 3 Movie Promo Portable Fan…” which you can bid on for $19.99. On one hand, a portable fan always comes in handy. On the other hand, it seems obvious this will be the cause of your death if you buy it.
• Director Grade: Final Destination 3 was directed by James Wong.
Great Movies: N/A
Good Movies: Final Destination, Final Destination 3
OK Movies: N/A
Bad Movies: N/A
Unseen By Me: The One, Dragonball Evolution
Overall Grade: B
• Double It with This 2006 Movie: Saw III
• Year 2006 Movies to Trailer Before Them: The Grudge 2, The Texas Chainsaw Massacre: The Beginning, Underworld: Evolution
• Ella McCay or Final Destination 3? Ella McCay• Mall Movie? Yes. Horror sequels are almost always mall movies.
• Only in 2006: A character brings a Panasonic PV-GS39 MiniDV camcorder on a rollercoaster.
• Scene Stealer (tie): Kris Lemche (who looks a little like The Trickster in Brainscan in this) and Tony Todd (RIP).
• I Miss (tie): James Wong-directed Final Destination movies and Tony Todd.
• I Don’t Miss: The lovefest for Final Destination Bloodlines. I don’t get it. It’s cool if you’re a fan, but yeah, I must have missed something there.
• 2006 Crush: Mary Elizabeth Winstead.
• 2026 Crush: Mary Elizabeth Winstead.• What I Thought in 2006: I liked it. Up to that point (in 2006), Final Destination 3 was my favorite of the franchise. I didn’t understand why it was considered bad when it was first released (maybe it was just by the critics, but I thought fans didn’t like it either initially). At least that’s what my memory of it is. I’m pretty sure its reputation improved in subsequent years.
• What I Think in 2026: I’m not the biggest fan of the Final Destination franchise but I still like Final Destination 3 (it’s now my second favorite in the franchise after the original). I think it suffers from a weak finale, but Mary Elizabeth Winstead gives maybe the best performance across the whole series and the opening sequence with the rollercoaster crash is suspenseful and the rest of the set pieces are fun, too.

**FTM 837: MUPPET TREASURE ISLAND** Sep 09, 2026
Show notes
Patrick and Rosalie got no strings.
Download this episode here.
Listen to F This Movie! on Apple Podcasts.
Also discussed this episode: The Sweet Smell of Success (1957), The Man With the Golden Arm (1955), Kansas City (1996), King Creole (1958), Love Me or Leave Me (1955), Pete Kelly's Blues (1955), Gilda (1946), Videoheaven (2026), Buddy (2026), The Sun Never Sets (2026)

**Fifty Before ’50: Four by Méliès** Sep 08, 2026
Show notes

by JB
A few (extremely) short subjects for a boring Tuesday morning.
George Méliès is, by popular acclaim, the father of fantastic cinema. Born to a wealthy family in 1861, he eschewed his family’s boot business for a life in the theater. He invented dozens of illusions for the Theater Robert-Houdin in Paris, named for the French magician who would later supply young American Eric Weiss with his “nom de magic.” Méliès eventually bought the theater.In 1895, he attended the Lumiere Brothers’ first public film exhibition. The Lumieres refused to sell Méliès a camera and projector, so Méliès travelled to London and persuaded Robert Paul to sell him the equipment he needed. The theater Robert-Houdin soon started showing short film programs between magic acts; most of the films directed by Méliès himself. Méliès was prolific: he made 78 short films in 1896 and 52 in 1897. He continued to make films until 1912 when a bad confluence of events essentially ended his film career.Today, only about 200 of 500 Méliès's films still exist. Méliès destroyed most of his original negatives, thinking them worthless; the French army confiscated many of his prints during WWI; and the delicate nitrate film was subject to deterioration and fire. The majority of Méliès’ films that were preserved can be found at the Library of Congress. Méliès’ brother Gaston submitted paper prints of each frame of the “Star Films” in order to preserve copyright when he set up an American branch in 1902.
Gugusse and the Automaton (1897)
This one is the star of the show. Long thought lost forever, it resurfaced just this April and was restored by the Library of Congress. Besides being a hoot, it is the first example of a robot on film in cinema history. NOTE: Many is the day I wish I had a big sledgehammer like the one Méliès wields in the film.

Four Troublesome Heads (1898)
Yes, it seems at times that Méliès was in love with the head, specifically his own. In this film and in others like 1901’s The Man with the Rubber Head, the chief action of the film revolves around magic with the director’s own noggin. Strange.NOTE: I love how the background music here is played on a banjo, as Méliès himself is shown playing/wielding a banjo here when his strange quartet starts singing.

The Mermaid (1904)
More magic shows. My one quibble with Méliès is that, although his films got longer and more elaborate, he never really progressed as a filmmaker. The camera is always in the fifth-row center; he is always simply duplicating the theatrical experience. He never tires of making objects and people disappear and change into other people and objects, as in a magic show. Still, its impressive that his audience never tired of these “old tricks” for some fifteen years. NOTE: The mermaid presented here longs to be part of your world.

Satan in Prison (1907)
Not the most entertaining of Méliès’ trick films, but this one rounds out our program simply because of its odd title. NOTE: That is not the actual Satan in the film. It is an actor. Enjoy.

**Happy Labor Day!** Sep 07, 2026
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**Weekend Open Thread** Sep 05, 2026
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**Review: ONSLAUGHT** Sep 04, 2026
Show notes

by Rob DiCristino
In which Adam Wingard gets back to basics.
You know what? Let’s just cut to the chase on this one: Onslaught is not a very good film. It’s a crass, empty, and juvenile actioner, a reheated John Carpenter riff that sorely lacks the gritty authenticity and cynical defiance of Carpenter masterpieces like The Thing, They Live, and Assault on Precinct 13. Unlike those films, Onslaught is forced and overeager, bending over backward to be transgressive in a laughable, 2010 sort of way. Co-written with longtime partner Simon Barrett, Adam Wingard’s first independent effort since 2014 is an impotent temper tantrum from a filmmaker venting his frustration over the decade he’s spent trapped in the IP hellscape of Godzilla vs. Kong (a vibrant franchise with a real impact on pop culture; surely you have a number of favorite scenes from those memorable films!). And I sympathize, Mr. Wingard. I really do. After the critical success of The Guest and the commercial breakthrough of You’re Next, I’d have taken the big sack of money, too! But by returning to his genre roots, Wingard proves that money might not buy creative happiness.But hang on. We’ll get there. Onslaught is the story of retired Army sniper Celeste (Adria Arjona), whose post-traumatic stress disorder has destroyed her marriage (to Jacob Scipo’s Griffin), made her a stranger to her young daughter (Blake Kennedy as Daisy), and doomed her to ownership of a run-down trailer park on the desert outskirts of a mysterious military facility. When a work emergency forces Griffin to leave Daisy with Celeste unexpectedly — interrupting an afternoon of target practice that Sarah Connor would find excessive — the struggling veteran must put on a brave face and play the part of “Mommy.” Meanwhile, in the aforementioned mysterious military facility, a trio of hulking, undead supersoldiers engineered by a third-generation Nazi scientist (Dan Stevens in elderly makeup as Dr. Kammler) and his wife (Thundering Badass Rebecca Hall as Frau Kammler) have murdered their caretakers and escaped. Guess where they’re heading? No, really. Guess. I’m going to give you three guesses. Remember, Celeste’s a sniper, and this movie is called Onslaught.
You get it. Gaudy, brainless, and deeply uninspired, Onslaught is the kind of back-to-basics passion project that recalls Zack Snyder’s Army of the Dead, M. Night Shyamalan’s The Visit, and Kevin Smith’s Chasing Amy. Here’s how it works: Fed up with the machinations of major studio filmmaking — machinations that led to either commercial embarrassment or critical dismissal (and occasionally both) — an artist attempts to reassert their street cred with a project that recreates the circumstances of their original success. In this case, Wingard trades the bottomless pocketbook of Warner Brothers for the bespoke chinos of A24 and films a screenplay so low-concept that it appears almost foolproof. How could Wingard possibly fumble a gory siege thriller, especially one that boasts supporting roles from genre luminaries like The Terminator’s Michael Biehn (as Dr. Kammler’s government handler) and Die Hard’s Reginald VelJohnson (as Celeste’s irascible neighbor, Josiah). Guts? Guns? Gore? Some leather fetish bondage porn for good measure? Is this not the definition of cinema?Perhaps it is. And perhaps I should cut Wingard some slack for at least trying to layer in the occasional theme — the big chunguses are all vets whose trauma drove them to violence; they represent who Celeste might become if she doesn’t check her anger and rediscover her humanity before it’s too late — but those half-hearted attempts are so clumsy and underdeveloped that it might have been better if he hadn’t bothered with them at all. He might not also have bothered with an entirely unnecessary subplot involving Cyrus (Drew Starkey), a Molly-loving special agent charged with mopping up the bloody messes that the big chunguses — led by UFC’s Alex Pereira as “The Butcher” — leave in their wake. He’s in an entirely different movie about a speed-addicted failson with a fauxhawk who makes no tangible contribution to anything we care even the slightest bit about. His screen time comes at the expense of meaningful development for Celeste and Daisy, neither of whom grow or change in any way whatsoever. But hey, at least that one guy got his leg sawed off!I’m probably being too hard on Adam Wingard and Onslaught, which is ultimately a perfectly serviceable and good-looking ode to one of our great directors — the interstitial titles use the Carpenter Font, just in case you weren’t sure — anchored by an effective performance from Adria Arjona. It features enough gnarly kills to hit your #ScaryMovieMonth rotation this year, and one imagines that the experience of making something this down-and-dirty after two CGI blockbusters about a gorilla must have reinvigorated Wingard’s love for his craft — he’s notably not attached to 2027’s Godzilla x Kong: Supernova — and reminded him that good art is born of adversity. With that said, I hope Onslaught’s piss-poor screenplay and lack of any real dramatic propulsion also reminded him that just because a film is “simple” doesn’t mean it’s “easy.” Halloween is simple. That’s what makes it brilliant. The Fog is simple. That’s what makes it brilliant. Big Trouble in Little China is…well, fairly convoluted, actually, but you understand what I’m trying to say.
Onslaught hits U.S. theaters on Friday, September 4th.

Friday Night Double Features Vol. 70 Sep 03, 2026

Show notes

by Adam Riske and Patrick BromleyTen new double features to watch while you drink your Pumpkin Spice Matchas.Double Feature 1:Adam: #1: Midnight Run (1988)Patrick: #2: Meet the Parents (2000)Patrick: Trailers/Shorts: Showtime, Dirty Grandpa, The Adventures of Rocky and BullwinklePatrick: Theme: Funny De NiroPatrick: I went obvious for our first Cinemarink double this month. Midnight Run is a pretty unassailable classic and I didn’t want to be too cutesy with the pairing. I know the trailers are a shit show but I stand by this double, having revisited Meet the Parents during FTMF 2000 month and finding it better and funnier than I remember it being and featuring a super locked-in De Niro performance. It’s become shorthand for a kind of mainstream, corporate bullshit comedy over the last 25 years – the DVD owned by the person who only owns this and The Hangover – but I liked it more than I thought I did.Adam: That’s great. I wish they stayed with just the original. I’m not a fan of the sequels, although I like Ariana Grande so I’m looking forward to the new one a little more than I should. I’m always fascinated by Funny De Niro because he’s either totally locked in like in Meet the Parents or I’d even argue Dirty Grandpa (which is a bad, bad, bad movie) but other times at sea (have you seen The Comedian?). There’s very little in-between.Double Feature 2:Patrick: #1: Rhinestone (1984)Adam: #2: The Best Little Whorehouse in Texas (1982)Adam: Trailers/Shorts: 9 to 5, Steel Magnolias, Straight Talk, “Islands in the Stream” Live Performance VideoAdam: Theme: Dolly Parton TributeAdam: I considered the idea of doing a joint Dolly Parton-Tim Curry tribute here (note: Curry passed away after I initially chose these pairings but before this column ran), but they each deserve their own and we can do a proper Tim Curry themed one in the future. Why are so many cool celebrities dying? Anyways, this is probably my double feature pick of the month because I’ve always liked Dolly Parton from afar but haven’t really dived deep into her work, musically or cinematically. I think the only movie of hers I’ve seen is Steel Magnolias, but that’s too sad to program here so I just had it as a trailer. This double will give me an excuse to finally catch up with a couple of her classics (Is Rhinestone a classic? I know it’s often discussed but as a guilty pleasure). I had to throw in her and Kenny Rogers “Islands in the Stream” into the night’s programming too because it’s a great song written by my boys The Bee Gees. P.S. I paired Rhinestone with The Best Little Whorehouse in Texas because she sings in both!Patrick: I wanted to say that both of these movies rule but that’s probably not true even though I love Rhinestone. Best Little Whorehouse is legit great and she’s incredible in it so I’m glad you picked another musical, especially one that pairs her opposite a male co-star who a) is a symbol of onscreen masculinity at the time and b) has to sing. These movies pair so well. I should have more shame about my affection for Rhinestone but I refuse because Dolly Parton is so great in it and even Stallone’s best efforts to ruin it are unsuccessful. Losing her and Tim Curry in the same two-day span is unthinkable. All I can think to do to honor their memories is to watch their movies.Double Feature 3:Adam: #1: The Driver (1978)Patrick: #2: Hickey & Boggs (1972)Patrick: Trailers/Shorts: The Getaway, Hard Times, The WarriorsPatrick: Theme: Early Walter HillPatrick: I’ve kind of wanted to re-run all the Walter Hills lately so this might be the kick in the dick I need to do it. I know I mixed movies that he wrote with movies he directed but I wanted to focus on some of his lesser-known early work. Have you seen Hickey & Boggs? I know it has Bill Cosby in it, which is unfortunate in 2026, but it rules. Great buddy cop stuff. I decided to go with that over The Warriors because I assume that’s a movie everyone has seen even though I could literally watch it anytime. The Driver is so amazing, too. I never count Walter Hill among my guys because I don’t feel masculine enough to do that (same reason I don’t count John Carpenter) but he’s kind of one of my guys.Adam: No, I’m pretty lacking in my early Walter Hill watches, too. I haven’t seen anything before The Warriors. Laughing at you saying you don’t feel masculine enough to consider Walter Hill as one of your guys. I kind of have the same thing too but maybe didn’t realize it. I like a lot of Walter Hill movies I’ve seen but it’s never occurred to me to be more than a tourist in his filmography. I’d never be so bold to claim residency. In any event, I’m looking forward to watching more unseen Walter Hills!Double Feature 4:Patrick: #1: Back to School (1986)Adam: #2: Summer School (1987)Adam: Trailers/Shorts: Better Off Dead, Ferris Bueller's Day Off, Bill & Ted’s Excellent Adventure Adam: Theme: Classroom HijinksAdam: There’s something a little extra fun about programming ‘80s comedy double features. I haven’t seen all of Back to School (I remember diving board stuff from when I watched it on cable as a kid but that’s it) so I’m looking forward to finally seeing the whole thing. I paired it with Summer School, which I watched ALL THE TIME on cable in the late ‘80s. I think it’s one of my first experiences seeing something with horror elements with that Chainsaw & Dave sequence. I’m surprised that part never scared me. I was intrigued. Summer School is gateway horror is what I’m trying to say. Patrick: If I didn’t already want to do the Dolly double this would for sure be my pick of the month. I love a Classroom Hijinks comedy, and even if I don’t love Back to School (the fact that it was one of highest-grossing movies of its year will forever confound me the same way the success of Crocodile Dundee confounds me) I find it incredibly watchable. Here’s why this is a sneaky brilliant double: I have been listening to nothing but Oingo Boingo lately and programmed Back to School because it’s an early Danny Elfman score (and Boingo performs live). Guess what else is an early Danny Elfman score? Summer School! Very well done, Adam! Also, Summer School is total gateway horror. Rick Baker did the effects! I was obsessed with that scene when I was 10. I would just watch that part over and over again. It’s one of my favorite ‘80s comedies.Double Feature 5:Adam: #1: Made (2001)Patrick: #2: Ticker (2001)Patrick: Trailers/Shorts: Soul Survivors, Novocaine, ‘R XmasPatrick: Theme: 2001 ArtisanPatrick: I always associate Artisan Entertainment with shitty DVDs but they had some good movies too. Made is one of them. Ticker isn’t, but it’s an Albert Pyun starring Steven Seagal, Tom Sizemore, Jaime Pressly, Ice-T, and Kevin Gage. How can we not see it on the big screen at the Cinemarink? It’s one of the most Us movies ever made.Adam: This is in the running for our FNDF episode in November because I feel like rewatching Made (the Casino to Swingers’ Goodfellas), and the cast of Ticker is insane, and I must see this unseen Pyun! Plus, we haven’t done our Ice-T episode of the year. This is lining up like the Da Vinci Code or something. Double Feature 6:Patrick: #1: They Live (1988)Adam: #2: Society (1989)Adam: Trailers/Shorts: The Stepford Wives (1975), Invasion of the Body Snatchers (1978), The StuffAdam: Theme: Conform or ElseAdam: This theme is on the nose. I mean, sure, but it doesn’t excite me. I dunno. The pairing is good, though. They Live is the ultimate conformity horror movie, and I think Society would be a fun movie on the back leg of a double feature with it since it ends so crazy. I love that conformity horror makes everyone in the audience align to it but then immediately un-radicalize most of them the moment they leave the theater. Maybe I’m just speaking for myself. Patrick: LOL you’re totally right. We’ll get all mad and worked up and then leave and go get Taco Bell and forget all of our righteous rage. Society is a great pick to play on the back end of this double because it offers a totally different flavor of horror.Double Feature 7:Adam: #1: Teenage Sex and Death at Camp Miasma (2026)Patrick: #2: Seekers of Infinite Love (2026)Patrick: Trailers/Shorts: North Hollywood, Multiple episodes of HacksPatrick: Theme: OMG Marry Me Hannah EinbinderPatrick: I never watched Hacks but then I saw Teenage Sex and Death (currently my favorite movie of the year) and immediately fell madly in love with Hannah Einbinder. We have since watched all of Hacks. This double is a cheat because she only stars in one other movie and it hasn’t come out yet but we will cheat and play it at the LC. Maybe she will show up and be my friend.Adam: I’m excited to see Teenage Sex and Death at Camp Miasma and see how I fare in Einbinder Crushing (which could’ve been the name of a Star Trek: The Next Generation episode). You and I usually have a lot of crossovers in our top 10 lists each year and not much crossover outside of the top 10, so if you say it’s your current favorite movie of the year then it shoots up my must-see list. Plus, I really liked I Saw the TV Glow, so I really want to see the follow-up by Jane Schoenbrun.Double Feature 8:Patrick: #1: Pale Rider (1985)Adam: #2: Cocoon (1985)Adam: Trailers/Shorts: The Goonies, St. Elmo's Fire, Perfect, Lifeforce, Music Video block - “Everything She Wants” (Wham!), “Everybody Wants to Rule the World” (Tears for Fears), “Heaven” (Bryan Adams)Adam: Theme: June 1985Adam: I sort of selfishly put this together as an excuse to watch two ‘80s movies I’ve never seen but have always been on my radar. Hell, I’ve even seen Cocoon 2 (which I remember nothing about) but not the original. I’ve been meaning to see Pale Rider, but I get decision fatigue every time I try to figure out which unseen Clint Western I should watch next (e.g. Pale Rider, The Outlaw Josey Wales, Hang ‘Em High). This should be a really fun, time capsule kind of night between the features and trailer block. Patrick: As much as I’m allergic to naked nostalgia this night sounds AMAZING and I’m all in just for the trailer block if nothing else. I’m not the biggest Cocoon guy but maybe it will hit differently now that I’m probably the age of all the old people in the movie. You can’t really go wrong with any of those Clint Westerns, but you should watch them in this order: Josey Whales, Pale Rider, then Hang ‘Em High is if you have time and get to it but there’s no rush.Double Feature 9:Adam: #1: Eddie (1996)Patrick: #2: The Associate (1996)Patrick: Trailers/Shorts: Call Me Claus, Sister Act 2: Back in the Habit, Fatal BeautyPatrick: Theme: She’s Making the Decisions NowPatrick: This one is for my friend Adam because it’s his new favorite subgenre. I’d probably want to watch Fatal Beauty the most of all of these but The Associate clearly pairs best with Eddie because it came out the same year and because she’s making the decisions now.Adam: If you would’ve asked me at the beginning of the summer if I’d 100 percent sit down for a 1996 Whoopi Goldberg double feature, I would’ve said no but after her making the decisions now became one of our (and Rob’s) running jokes of the summer, it makes me want watch all (scratch that…one) varietals of Whoopi. I’ve seen Eddie but not for a very long time (and it might be fun to check out following the Knicks’ recent championship) and I’m currently in the mood to watch The Associate, which has never happened before. This is an interesting feeling that I’m feeling. All because of an offhand joke I made out of nowhere. Double Feature 10:Patrick: #1: I Love You, Beth Cooper (2009)Adam: #2: Scream IV (2011)Adam: Trailers/Shorts: A Bug's Life, Remember the Titans, Ice Princess, Heroes Pilot Episode, Music Videos - “Telescope” and “I Still Believe”Adam: Theme: Hayden Panettiere Tribute Adam: I didn’t keep up with Hayden Panettiere’s career much in recent years, but I remember her being a natural in early roles like Remember the Titans and on Heroes (I didn’t continue past the first season). And of course, she’s a spark plug in Scream VI and Scream IV, especially, which is why I wanted to pair it with I Love You, Beth Cooper (which I haven’t seen despite it having local ties and directed by my boy Chris Columbus). I’m glad we got to do a tribute night to Panettiere, but I wish we didn’t have to under these circumstances. This is a case where I didn’t appreciate someone’s work enough until they were gone and that sucks. Patrick: It’s all so sad. I just rewatched I Love You Beth Cooper and it’s much more of a Paul Rust vehicle than a Hayden Panettiere one. She’s just saddled with “generic dream girl,” which she does well. I am excited for you to check off an unseen Columbus, though. She pops way more in Scream IV, so that’s a great call. I wish she had been in more movies and that she had an easier life. Now I’m sad. Time to put on Summer School again.

Full show notes at the publisher

**FTM 836: F THIS SUMMER (2026)** Sep 02, 2026
Show notes
Patrick, JB, Rob, and Adam Riske talk about a good summer at the movies.
Download this episode here.
Listen to F This Movie! on Apple Podcasts.

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