movies imo. is a pop culture podcast where Daniel Crooke (@danielcroooke on twitter), Ben Empey (@realtoddhaynes), and Brandon Kirby (@bkkirby) talk about the week in film and television.
Hosted on Acast. See acast.com/privacy for more information.
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movies imo. is a pop culture podcast where Daniel Crooke (@danielcroooke on twitter), Ben Empey (@realtoddhaynes), and Brandon Kirby (@bkkirby) talk about the week in film and television.
Hosted on Acast. See acast.com/privacy for more information.
Desperate times call for even more desperate measures, and your three fav film f*gz needed an excuse to catch up on a Z**m call! In this Very Special Quarantine Edition of movies imo., Ben, Brandon, and Daniel get together virtually to share and discuss three of their favorite films watched while sheltering in place amidst the global pandemic, and maybe share a few laughs while they’re on the line. Ben takes the celestial escalator down to Earth in Michael Powell and Emeric Pressburger’s A MATTER OF LIFE AND DEATH, Daniel rides the Eurostar through purgatory in Chantal Akerman’s THE MEETINGS OF ANNA, and Brandon cuts a rug with Ingrid Bergman at a groovy nightclub in Gene Sak’s CACTUS FLOWER. Together, they enjoy friendship and film f*ggotry from a safe distance apart.
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They say film fagz don’t belong in hot air balloons, and yet here they are flying high and yelling over each other for part two of their special year-end review of the top twenty movies of 2019. Ben mourns the inevitable death coming for us all, Daniel brandishes bourgeois objects in class warfare, and Brandon survives a miserable hangover to celebrate the bliss of watching a movie four times without becoming immune to it charms. The end!
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The dead speak! In part one of a special year-end review episode of movies imo., Ben, Brandon, and Daniel yell over each other about their collective twenty favorite movies of 2019. But first they discuss abstention from the internet, cinematic shames of the decade, and how it feels to see each other for the very first time since the podcast’s cancellation. Ben cries from the soul while celebrating two late auteur masterpieces, Daniel celebrates a great moment of onscreen con artistry, and Brandon takes the film fagz to school on his favorite directorial debut of the year.
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In episode one hundred of movies imo, Ben, Brandon, and Daniel yell over each other about three movies they’d wished they’d had the chance to discuss on the podcast: Ben offers up Lars von Trier’s devastating death penalty musical DANCER IN THE DARK, Brandon brings Steven Spielberg’s bleak dystopian fantasia AI: ARTIFICIAL INTELLIGENCE to the table, and Daniel serves to the group Alan J. Pakula’s paranoid thriller/podcast outro feature KLUTE. On this final episode of the podcast, they also list their ten individual favorite new-to-me films discussed while on the mic. Ben makes the case for Jane Fonda as one of the ten best Best Actress winners in Academy history, Daniel celebrates the seemingly askew coverage of Björk’s dance numbers, and Brandon debuts (and edits) his Spielberg ranking live on the air. From the bottom of our hearts, thank you for listening - and we looking forward to meeting you all at 23 Commerce Quay, 1080 Bruxelles for an ice cold Anchor Steam!
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In episode ninety-nine of movies imo., Ben, Brandon, and Daniel yell over each other about Phoebe Waller-Bridge’s sublime comedy series FLEABAG. Ben swiftly denounces the cast and crew of THE SQUID AND THE WHALE between analysis of the show’s sly visual scheme, Daniel makes a declarative statement about YOU CAN COUNT ON ME while appreciating Waller-Bridge’s structure around psychology, and Brandon stands behind THE SAVAGES after worshipping at the altar of wit and wisdom in the final scene between Fleabag and her father.
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In episode ninety-eight of movies imo., Ben, Brandon, and Daniel yell over each other about Richard Linklater’s Cate Blanchett-led adaptation of the bestselling novel WHERE’D YOU GO, BERNADETTE? before discussing two other Linklater comedies with a magnetic movie star lead: SCHOOL OF ROCK and BERNIE, both starring Jack Black. Ben finds much to relate to in Blanchett’s breakdown of creative deprivation, Daniel remembers the first time he ever flirted with a man, and Brandon grapples with leaving off a Pixar from his best of the decade list.
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In episode ninety-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Lynn Shelton’s provocative new comedy SWORD OF TRUST before going on to discuss three more of her signature films: HUMPDAY, YOUR SISTER’S SISTER, and OUTSIDE IN. Ben believes Jay Duplass to be one of the finest actors of his generation, Daniel celebrates Marc Maron being born in a trunk, and Brandon shares inside intel on Shelton’s delightful demeanor offscreen.
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In episode ninety-six of movies imo., Ben, Brandon, and Daniel yell over each other about Quentin Tarantino’s penultimate feature film ONCE UPON A TIME IN... HOLLYWOOD before discussing three of their other favorite QT films: PULP FICTION, JACKIE BROWN, and KILL BILL VOL. 1. Ben seconds his teenage Livejournal opinions regarding Uma Thurman’s Bride in the pantheon of great performances, Daniel rewinds on memories of secretly watching Tarantino movies on VHS, and Brandon breaks down the formative impact this collection of bloody pastiche had on him as a young film f*g.
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In episode ninety-five of movies imo., fellow film f*g Cameron Scheetz (@cameronscheetz) steps into Daniel's seat while he's toiling away at the Outfest Los Angeles Film Festival to discuss Jon Favreau’s THE LION KING with Ben and Brandon. They also yell over each other about Beyoncé’s music video SPIRIT and the original 1994 THE LION KING. Ben makes a case for why Caleb Deschanel will certainly win the Oscar for Best Cinematography, Brandon tries but struggles to say something—anything—nice about the film, and Cameron explains why he does not wish to sleep with Zazu in the remake, despite that nerdy bird being a lifelong childhood crush.
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In episode ninety-four of movies imo., Ben, Brandon, and Daniel yell over each other about Lulu Wang’s fake wedding and looming funeral family dramedy THE FAREWELL. They also discuss two other matriarch-near-death films with Michael Haneke’s AMOUR and Chris Colombus’ STEPMOM. Ben delivers a keynote address on the incongruous yet deeply felt ridges of STEPMOM’s emotional landscape, Daniel stans some smoke in the wind, and Brandon declares Wang’s latest to be his favorite film of the year.
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In episode ninety-three of movies imo., Ben, Brandon, and Daniel yell over each other about Ari Aster’s pagan group therapy retreat MIDSOMMAR before discussing two other cult-based horror films with an emphasis on divine authority in Robin Hardy’s THE WICKER MAN and Ingmar Bergman’s THE VIRGIN SPRING. Ben draws a parallel between Aster and the music of celebrated conductor Harold Hill, Daniel opines upon the purgatory of graduate school, and Brandon finds the film of the week to be not quite his tempo.
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In episode ninety-two of movies imo., Ben, Brandon, and Daniel yell over each other - in the shadow of July 4th - about movies that have fireworks in the background (of the shot). Ben brings Kenneth Anger’s FIREWORKS back to the conversation while celebrating the fairground firecrackers in F. W. Murnau’s SUNRISE: A SONG OF TWO HUMANS, Daniel hears the perfect scream in the background of Brian De Palma’s BLOW OUT, and Brandon takes his family on a picnic below pyrotechnics on BROKEBACK MOUNTAIN.
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In episode ninety-one of movies imo., Ben, Brandon, and Daniel discuss TOY STORY 4 in relation to the three previous entries in the TOY STORY franchise. Ben vows to throw this new installment in the trash where it belongs while championing the bittersweet virtues of TOY STORY 2, Daniel wants to hold hands while arguing for the emotional and action-packed stakes of TOY STORY 3, and Brandon sees himself represented in the existential plasticware known as Forky while swearing the toys never got better than the inaugural TOY STORY.
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In episode ninety of movies imo., Ben, Brandon, and Daniel yell over each other about Jim Jarmusch’s zombie movie THE DEAD DON’T DIE before diving into a couple of his earlier genre exercises: the psychedelic western DEAD MAN and the existential vampire romance ONLY LOVERS LEFT ALIVE. Ben feels that Jarmusch leaves too much slack in his intellectual exercises, Daniel compares his dissolve-forward climaxes at the end of the world, and Brandon takes the film f*gz on a tour of Detroit as the podcast’s native Michigander.
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In episode eighty-nine of movies imo., Ben, Brandon, and Daniel yell over each other about Joe Talbot’s Park City sensation THE LAST BLACK MAN IN SAN FRANCISCO before discussing a few other recent films to win the Directing prize from the Sundance Film Festival: Eliza Hittman’s BEACH RATS, Daniels’ SWISS ARMY MAN, and Sean Durkin’s MARTHA MARCY MAY MARLENE. Ben responds to Talbot and lead actor/collaborator Jimmie Fails’ stylish evocation of Fails’ personal narrative, Daniel hails Durkin’s sense of parallelism, and Brandon mounts a vociferous argument for the destruction of a beloved Disneyland attraction.
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In episode eighty-eight of movies imo., Ben, Brandon, and Daniel yell over each other about Olivier Assayas’ talky lit-crit comedy NON-FICTION before discussing two other Juliette Binoche-Assayas films: CLOUDS OF SILS MARIA and SUMMER HOURS. Ben wonders whether this latest film even counts as cinema while sexting out some non-fiction of his own, Daniel passes time pondering the passage of time, and Brandon stakes the claim for FRANCES HA as one of the top ten films of the decade.
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In episode eighty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Olivia Wilde’s BOOKSMART before discussing fellow last-day-of-high school comedies DAZED AND CONFUSED and SUPERBAD. Ben wonders whether the film may be a sedative for liberal audiences, Daniel takes a bite from the CRAWL trailer and likes the way it tastes, and Brandon appreciates the hope Wilde gives to a panicked nation in crisis.
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In episode eighty-six of movies imo., Ben, Brandon, and Daniel yell over each other about Joanna Hogg’s exquisitely shattering THE SOUVENIR before discussing her three previous and quite substantial features UNRELATED, ARCHIPELAGO, and EXHIBITION. Ben would risk it all for Tom Hiddleston’s haughty upper crust twink, Daniel responds to the Martelesque attention to sound, and Brandon revs up his Harley to lead the film fagz’s first official meeting of the Wild Hoggs.
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In episode eighty-five of movies imo., Ben, Brandon, and Daniel yell over each other about the Anne Hathaway-Rebel Wilson con woman comedy THE HUSTLE and they also discuss a couple fellow diva pictures in Stephen Frears’ THE GRIFTERS and Preston Sturges’ THE LADY EVE. Ben celebrates the GRIFTERS’ self-sabotage, Daniel admires its headscarves on display, and Brandon makes sure we mention one fantastic shot between Barbara Stanwyck and Henry Fonda.
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In episode eighty-four of movies imo., the film fagz are joined by their first ever very special guest host. Fellow film fag TJ Slipko (@teejslipko) steps into Daniel's seat while he's booked and busy to join Ben and Brandon as they travel back in time to the 48th Academy Awards -- a palette cleanse of an Oscar year. They yell over each other about Milos Forman's five-time winner ONE FLEW OVER THE CUCKOO'S NEST, Fedrico Fellini's AMARCORD, Sidney Lumet's DOG DAY AFTERNOON, Steven Spielberg's JAWS, Akira Kurosawa's DERSU UZALA, Hal Ashby's SHAMPOO and finally, Robert Altman's NASHVILLE. Ben presents a thesis on all these films' commentary on toxic masculinity, TJ admires the incredible acting ability of Jack Nicholson's eyebrows and Brandon reminds us DETECTIVE PIKACHU is now in theaters.
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In episode eighty-three of movies imo., Ben, Brandon, and Daniel yell over each other about Alex Ross Perry and Elisabeth Moss’ scorched earth punk odyssey HER SMELL before stage-diving into two more stories about performers on the brink of psychological collapse under the public eye in John Cassavetes’ OPENING NIGHT and Brady Corbet’s VOX LUX. Ben breaks down Papa John’s play-within-a-play, Daniel ponders the true meaning of pop music, and Brandon compares Lizzie Moss’ possessed tour-de-force to the Kool-Aid Man.
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In episode eighty-two of movies imo., Ben, Brandon, and Daniel yell over each other about David Robert Mitchell’s long-delayed L.A. neo-noir picture UNDER THE SILVER LAKE. They also discuss three (assumedly) major influences David Lynch’s MULHOLLAND DR., Robert Altman’s THE LONG GOODBYE, and John Carpenter’s THEY LIVE. Ben draws a personal comparison to Naomi Watts letting loose, Daniel quibbles with the price of tea, and Brandon cements his status as the ultimate UNDER THE SILVER LAKE apologist with a deep dive theory on dreams.
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In episode eighty-one of movies imo., Ben, Brandon, and Daniel yell over each other about Claire Denis’ latest picture, the black hole of the soul space odyssey HIGH LIFE. They also discuss a light triptych of other sci-fi masterpieces about what it means to be human in a mysterious and unforgiving universe: Andrei Tarkovsky’s SOLARIS, Jonathan Glazer’s UNDER THE SKIN, and Stanley Kubrick’s 2001: A SPACE ODYSSEY. Ben admires Denis’s joy in death, Daniel admits that he might be the baby, and Brandon lets his hair down to break down the fuckbox.
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In episode eighty of movies imo., Ben, Brandon, and Daniel yell over each other about Mike Leigh’s PETERLOO before jumping into two more of his class-conscious, character-driven period pieces: MR. TURNER and VERA DRAKE. Ben performs a dramatic reading of his favorite tweet of all time, Daniel admires the way the sun hits Mr. Turner’s paint hand, and Brandon pivots to the written word with an all-new, very special lit crit segment.
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In episode seventy-nine of movies imo., Ben, Brandon, and Daniel discuss Harmony Korine‘s zonked-out new picture THE BEACH BUM, but not before discussing his first feature GUMMO and his previous film SPRING BREAKERS. Ben isn’t buying the mean and condescending tone that Harmony is selling, Daniel finds some of it cheap but buys it wholesale anyway, and Brandon buys two and gets TRASH HUMPERS for free. All three drink a bottle of wine next to Mike Leigh!
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In episode seventy-eight of movies imo., Ben, Brandon, and Daniel yell over each other about Jordan Peele’s sophomore slice of surreal horror US. Then they discuss two other family invasion flicks with more to say beyond their premise than meets the eye: Martin Scorsese’s CAPE FEAR and Sam Peckinpah’s STRAW DOGS. Ben sheds a tear over Lupita Nyong’o’s self-reflexive tête-à-tête, Daniel digs Scorsese’s excoriation of American surfaces, and Brandon falls under Peele’s directorial spell from the first moment we go under the boardwalk.
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In episode seventy-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Sebastián Lelio’s near shot-for-shot remake of his own film GLORIA (2014): GLORIA BELL starring Julianne Moore in the titular role first brought to life by Paulina García. They discuss the films in relation to one another before moving on to their first Cassavetes (and third Gloria) of the show’s run: GLORIA (1980). Ben celebrates Papa John, Daniel can’t get the stick out of his ass around Lelio’s carbon copy remake, and Brandon has a ball dancing through life with Julianne Moore.
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In episode seventy-six of movies imo., Ben, Brandon, and Daniel yell over each other about Christian Petzold’s audacious World War II thriller TRANSIT before discussing his previous two films: fellow period piece psychodramas PHOENIX and BARBARA. Ben unravels the mysteries of the mind and heart in Hitchcock’s VERTIGO, Daniel unglues over ghost stories, and Brandon unzips Peter Farrelly’s latest project.
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In episode seventy-five of movies imo., Ben, Brandon, and Daniel yell over each other about Isabelle Huppert’s wicked turn as a piano-playing stalker in Neil Jordan’s GRETA. They go on to discuss Huppert going postal in Claude Chabrol’s LA CÉRÉMONIE before interrogating the success of Jordan’s 1992 sensation THE CRYING GAME with some help from fellow film f*g Aaron Applebey and film lady Emma Greenleaf. Ben calls out fraud in Jordan’s work, Daniel meets a local celebrity, and Brandon declares himself a fan of Huppert’s co-star.
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In episode seventy-four of movies imo., Ben, Brandon, and Daniel yell over each other about their favorite movies from the year 1993: Jane Campion’s THE PIANO, Robert Altman’s SHORT CUTS, Krzysztof Kiéslowski’s THREE COLOR: BLUE, Martin Scorsese's THE AGE OF INNOCENCE, and Steven Spielberg’s SCHINDLER’S LIST and JURASSIC PARK. Ben breaks down Spielberg’s vers genius, Daniel lists his favorite monologues from Altman’s Carver adaptation, and Brandon falls asleep while the dinosaurs roam the earth.
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In episode seventy-three of movies imo., Ben, Brandon, and Daniel yell over each other about Asghar Farhadi’s newest socially conscious thriller - and his first in the Spanish language - EVERYBODY KNOWS, starring Penélope Cruz and Javier Bardem. They also discuss Farhadi’s Academy Award-winning A SEPARATION, and his international breakout ABOUT ELLY. Ben wants more people to get hit by cars in movies, Daniel compares the melodrama of Farhadi to Sirk, and Brandon becomes too lit to quit on all things Asghar.
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In episode seventy-two of movies imo., Ben, Brandon, and Daniel yell over each other about Steven Soderbergh’s NBA iPhone movie HIGH FLYING BIRD before moving on to discuss two other sports pictures that changed the game around the game, MONEYBALL and JERRY MAGUIRE. Ben goes to bat for Brad Pitt’s sadness, Daniel rails against Amazon’s frame botching, and Brandon brings Plainview to the playing field.
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In episode seventy-one of movies imo., Ben, Brandon and Daniel yell over each other about the latest Netflix original: Dan Gilroy's art house trash horror-comedy, Velvet Buzzsaw, starring everyone's favorite bottom Jake Gyllenhaal.
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In episode seventy of movies imo., Ben, Brandon, and Daniel yell over each other about daddy Steven Knight’s deep sea fishing noir SERENITY before discussing fellow salt water thrillers DEAD CALM and THE BEACH. Ben appreciates Matthew McConaughey making sure his passengers are ready for the rod, Daniel writes a poem, and Brandon marvels at a son’s decision for his father to engage in sex work.
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In episode sixty-nine of movies imo., Ben, Brandon, and Daniel yell over each other about the 91st annual Academy Award nominations. Ben rectifies the Oscars’ HAPPY AS LAZZARO erasure with his own set of personal nods, Daniel overslept through the nomination announcement, and Brandon celebrates the new Animated Feature frontrunner.
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In episode sixty-eight of movies imo., Ben, Brandon and Daniel discuss Joel and Ethan Coen's latest film, now on Netflix, The Ballad of Buster Scruggs. They also take a look at the filmmaker duo's other classics.
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In episode sixty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about their top twenty-five motion pictures of 2018.
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In episode sixty-six of movies imo., Ben, Brandon, and Daniel yell over each other about Clint Eastwood’s swan song (until the next swan song) THE MULE. They also discuss two more Clint directed-Clint starring opuses with MILLION DOLLAR BABY and THE BRIDGES OF MADISON COUNTY. Ben celebrates Meryl for taking love into her own hands and driving to Des Moines for a new dress, Daniel appreciates the ways in which this patriarchal icon processes shame through sensitivity, and Brandon nails the easygoing high-pitched cadence of Clint’s crotchety botanist. Alright!
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In episode sixty-five of movies imo., Ben, Brandon, and Daniel yell over each other about Adam McKay’s Dick Cheney biopic VICE before getting bored and moving on to giving their Golden Globes predictions. Ben believes industry respect for Christian Bale’s transformation will win him the Oscar, Daniel chastises McKay for skipping over Cheney’s time as CEO of Halliburton, and Brandon completes a feat of strength to officially become the first film f*g to suffer through BOHEMIAN RHAPSODY.
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In episode sixty-four of movies imo., Ben, Brandon, and Daniel yell over each other about Barry Jenkins’ third film, the James Baldwin adaptation IF BEALE STREET COULD TALK. They also discuss one of Jenkins’ #FilmStruck4: Wong Kar-wai’s IN THE MOOD FOR LOVE. Ben breaks down a few key choices in tone between Baldwin’s novel and Barry’s adaptation, Daniel celebrates the secrets behind Maggie Cheung’s high collars, and Brandon gushes over Regina King’s entrance to Puerto Rico.
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In episode sixty-three of movies imo., Ben, Brandon, and Daniel yell over each other about Alfonso Cuarón’s ROMA. They also discuss his previous two Spanish-language features Y TU MAMÁ TAMBIÉN and SÓLO CON TU PAREJA. Ben evokes the texture of memory within Cuarón’s long shots, Daniel loves the mini-maximalism of ROMA’s scope but wishes there were fewer airplanes, and Brandon reveres the elegiac melancholy of the final diner scene in Y TU MAMÁ TAMBIÉN.
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In episode sixty-two of movies imo., Ben, Brandon, and Daniel yell over each other about this year’s Palme d’Or winner: Hirokazu Kore-eda’s SHOPLIFTERS. They also discuss Kore-eda’s AFTER THE STORM, STILL WALKING, and NOBODY KNOWS. Ben advises a page one rewrite for Paul Dano’s WILDLIFE, Daniel appreciates the way Kore-eda characters behave in rooms by themselves, and Brandon calls out STILL WALKING’s grandpapa for the seething ball of resentment that he has become in old age.
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In episode sixty-one of movies imo., Ben, Brandon, and Daniel yell over each other about Yorgos Lanthimos’ cruel and unusual new film THE FAVOURITE before discussing Sofia Coppola’s MARIE ANTOINETTE and Stanley Kubrick’s BARRY LYNDON, two other auteur-driven period pieces that a subversive look at love, betrayal, and power in the royal court. Ben sings Olivia Colman’s praises as a performer at the peak of her powers, Daniel walks the long and winding road of existence with Barney Lipton, and Brandon (softly) comes to terms with having a new favorite Coppola film. note from the film f*gz: sorry about our audio malfunction...can you ever forgive us?
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In episode sixty of movies imo., Ben, Brandon, and Daniel yell over each other about Steve McQueen’s deconstructed heist-slash-political corruption-slash-grief thriller WIDOWS. They also discuss two classic crime films: Michael Mann’s HEAT and Jules Dassin’s RIFIFI. Ben doesn’t wanna yuck anyone’s yums but wonders whether Gillian Flynn is a talent, Daniel gushes about the greatest gay love story of the 90s between Al Pacino and Bob De Niro, and Brandon gets too lit to quit on the power of five star cinema.
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In episode fifty-nine of movies imo., Ben, Brandon, and Daniel yell over each other about Orson Welles’s long-awaited final film THE OTHER SIDE OF THE WIND in the contexts of his own biography, filmography, and the accompanying production history documentary THEY’LL LOVE ME WHEN I’M DEAD. They also chat about a couple other unwieldy auteur pictures with Elaine May’s ISHTAR and Francis Ford Coppola’s APOCALYPSE NOW. Ben declares Orson to be his daddy and wonders what did he do wrong, Daniel wants someone to give Norman Foster a hug, and Brandon bangs his head against a wall HEREDITARY-style until the credits roll on Hoffman and Beatty.
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In episode fifty-eight of movies imo., Ben, Brandon, and Daniel yell over each other about Lee Chang-dong’s latest masterwork, the shapeshifting mystery BURNING, before going on to discuss three of Lee’s earlier soul-scorchers: POETRY, SECRET SUNSHINE, and OASIS. Ben transcends this mortal coil by dancing against golden hour to Miles Davis, Daniel loves getting lost in Lee’s hourlong first acts, and Brandon declares Steven Yeun to give the finest performance by a male actor this year.
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In episode fifty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Luca Guadagnino’s reimagining of SUSPIRIA, the 1977 vampire academy classic of the same name. They discuss Dario Argento’s original SUSPIRIA then touch upon two giallo staples: BLOOD AND BLACK LACE and DEEP RED. Ben decries Guadagnino’s refusal to hold a shot for at least the length of one spoken word, Daniel goes solo on supporting the wells of regret and latex eye bags within Tilda’s boy drag, and Brandon wonders whether the Berlin Wall could’ve found a more subtle place to park itself.
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In episode fifty-six of movies imo., Ben, Brandon, and Daniel yell over each other about Marielle Heller’s sublime CAN YOU EVER FORGIVE ME? before jumping into the star-making films of its two fantastic lead actors, Melissa McCarthy and Richard E. Grant, in BRIDESMAIDS and WITHNAIL & I, respectively; they also touch upon the new film directed by its screenwriter Nicole Holofcener (big fans), THE LAND OF STEADY HABITS (not big fans). Ben alludes to his own criminal past at Julius’ in Greenwich Village (was not forgiven), Daniel mentions his own unhygienic past while dealing with incontinent cats in a messy apartment (was not forgiven), and Brandon unveils his own promising future as a Jenny Slate on BIG MOUTH impressionist (not only forgiven, but celebrated).
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In episode fifty-five of movies imo., Ben, Brandon, and Daniel yell over each other about Damien Chazelle’s rumination on death on Earth via Neil Armstrong’s adventure on the Moon in FIRST MAN before moving on to staples of the NASA space movie: APOLLO 13, THE RIGHT STUFF, and ARMAGEDDON. Ben reveres the Sirkian qualities of Michael Bay’s hyperbolic patriotism, Daniel fights the fascists, and Brandon flies to the Moon on a billowy cloud listening to Justin Hurwitz’s stirring score.
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In episode fifty-four of movies imo., Ben, Brandon, and Daniel yell over each other about Cradley Booper’s A STAR IS BORN starring Lady Gaga while comparing and contrasting the fifth iteration of the classic boom-and-bust Tinseltown tale with its older sisters: WHAT PRICE, HOLLYWOOD? (1932) with Constance Bennett, A STAR IS BORN (1937) with Janet Gaynor and Fredric March, A STAR IS BORN (1954) with Judy Garland and James Mason, and A STAR IS BORN (1976) with Barbra Streisand and Kris Kristofferson. Ben breaks down the rising energy and ecstasy of “Shallow” shot-by-shot, Daniel gushes over Booper’s open emotional borders as a filmmaker, and Brandon wonders how Babs both built her adobe desert mansion in a single night and channeled COAL MINER’S DAUGHTER in the process.
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In episode fifty-three of movies imo., Ben, Brandon, and Daniel yell over each other about David Lowery’s THE OLD MAN & THE GUN before jumping into a sassy Sissy Spacek retrospective with discussions around IN THE BEDROOM, COAL MINER’S DAUGHTER, 3 WOMEN, CARRIE, and BADLANDS. Ben gets a thrill from watching Sissy think, Daniel struggles to keep the train on the tracks after Spacek enthusiasm derails into Spacek ecstasy, and Brandon loves nothing more than the way Sissy Spacek describes the passage of time.
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In episode fifty-two of movies imo., Brandon is out in the field shooting season three of his webseries I’M FINE which leaves Ben and Daniel free to head out towards Pasadener on a Saturday night to catch the On the Run II tour then yell over each other back in the studio, one-on-one, about the earth-shaking experience of seeing Beyoncé (and Jay-Z) live in concert at the Rose Bowl. They also discuss LEMONADE and Beyoncé’s commanding cinematic voice. Ben invokes Claire Denis to discuss Beyoncé’s ability to evoke ethereal atmosphere with concrete texture, Daniel laments the concessions line confusion for collecting drinks at the concert, and Brandon creates meaningful queer stories on set!
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In episode fifty-one of movies imo., Ben, Brandon, and Daniel yell over each other about the Academy Award-nominated works of Great American Actress Amy Adams. Ben champions ARRIVAL as a singularly stunning performance around parental grief, Daniel loves her grit and regret in THE FIGHTER, and Brandon heralds the birth of a star in JUNEBUG.
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In episode fifty of movies imo., Ben, Brandon, and Daniel yell over each other about Glenn Close’s towering performance in the THE WIFE within their special retrospective celebrating her six other Oscar-nominated works: THE WORLD ACCORDING TO GARP, THE BIG CHILL, FATAL ATTRACTION, DANGEROUS LIAISONS, 101 DALMATIANS, and lord of the fleas ALBERT NOBBS. Ben studies Glenn Close’s ability to speak to her scene partners like a normal person while shaking the audience, Daniel compares her internal style as a slow burn actress to Meryl Streep’s more externally emotive modes, and Brandon finds his true calling as an Albert Nobbs impersonator.
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A special mini-sode featuring Ben's reactions to the films he saw at #TIFF18!
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In episode forty-nine of movies imo., Ben, Brandon, and Daniel (tele-conferencing from quarantine) yell over each other about mumblecore maestro Andrew Bujalski’s slyly incisive SUPPORT THE GIRLS before going on to discuss his first film FUNNY HA HA and his recent physical fitness romcom RESULTS. Ben refuses to buy Bujalski’s brand but adores Junglepussy’s breakout performance, Daniel stans for the brilliant smelting in Regina Hall’s star turn, and Brandon single-handedly beats the drum for Haley Lu Richardson in Kogonada’s COLUMBUS.
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In episode forty-eight of movies imo., Ben, Brandon, and Daniel yell over each other about the super fun, swoon-filled box office sensation CRAZY RICH ASIANS. After getting down to the Michelle Yeoh of it all, they depart from the delightful romantic comedy in Singapore to explore a couple East Asian experiences around family in early aughts Taiwan with YI YI and post-WWII Japan with TOKYO STORY. Ben declares the greatest film ever made period, Daniel finds Yeoh’s characterization to reveal complicated layers beyond formulaic villainy, and Brandon feels the love across the room between Constance Wu and Henry Golding in a flooded church.
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In episode forty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Josephine Decker’s unconventional opus on cats and creative ownership, MADELINE’S MADELINE. Then they dig into other reflexive works on the artistic process and discuss Decker’s previous film THOU WAST MILD AND LOVELY, Jean-Luc Godard’s CONTEMPT, Charlie Kaufman’s SYNECDOCHE, NEW YORK, and Miranda July’s THE FUTURE. Ben compares the sly surrealist streak that runs through Decker’s work to Cassavetes’ approach of domestic disruption, Daniel trips over his own metaphor (which is what we’re all experiencing) while drawing a line around the auteur theory, and Brandon wonders whether Decker is reckoning with her own ethical onus as a director. They all agree that Miranda July is the Best Supporting Actress of the year so far!
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In episode forty-six of movies imo., Ben, Brandon, and Daniel yell over each other about Spike Lee’s electric and incendiary slice of Americana, BLACKkKLANSMAN, as well as previous SL joints DO THE RIGHT THING, MALCOLM X, BAMBOOZLED, and CHI-RAQ. Ben exalts Lee for his ability to capture crises of identity without passing judgment, Daniel admires his ability to disturbingly re-contextualize pillow talk as an act of white supremacy, and Brandon calls out Flip as an intersectional analog for conflicted identity, and Adam Driver as a potential Oscar player.
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In episode forty-five of movies imo., Ben, Brandon, and Daniel yell over each other about the single-screen(slaver) tech horror gem UNFRIENDED: DARK WEB, and its predecessor in spooky text bubbles UNFRIENDED. They also discuss the past and future of Moviepass, and whether the first or second UNFRIENDED better captures the terror of digital terrain. Ben wants to know who in the real world actually plays Cards Against Humanity over Skype, Daniel mourns the death of empathy in the dark web, and Brandon shares a collection of lush holiday illustrations and warm fuzzy memories from high school yearbook club.
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In episode forty-four of movies imo., Ben, Brandon, and Daniel yell over each other about stunt queen Ethan Hunt’s latest installment of globetrotting daredevilry, MISSION: IMPOSSIBLE - FALLOUT. While discussing the critical action-adventure darling they also pick apart the other five films in the franchise and determine what it is that makes for a perfect impossible mission at the movies. Ben exalts a new star in our midst of whom he’ll never have enough, Daniel dismisses the notion of plot completely when it comes to hanging off the sides of planes, and Brandon breaks down the triangulation between good and evil in which Tom Cruise stands in the middle.
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In episode forty-three of movies imo., Ben, Brandon, and Daniel yell over each other about David Lynch’s (continuation of, twenty-five years later) expansive and nightmarish trip through trauma in contemporary America, TWIN PEAKS: THE RETURN. Nearly one year since Lynch and Mark Frost wrapped up the latest chapters in the Laura Palmer saga - and changed television in the process - your fave film f*gz do their best to decode the multidimensional odyssey. Ben deconstructs the final episode according to Greek myths and classical Hollywood films, Daniel strings out the shattered structure to explore Lynch’s strategies of subjection, and Brandon finally has his wish come true of discussing television on the podcast - or is it a film? [disclaimer: it does not matter, it just exists]
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In episode forty-two of movies imo., Ben, Brandon, and Daniel yell over each other about Bo Burnham’s EIGHTH GRADE, and then they yell some more. Afterwards they move on to discussing other stories about adolescent growing pains in the lives of teenage girls, namely Marielle Heller’s THE DIARY OF A TEENAGE GIRL, Kelly Fremon Craig’s THE EDGE OF SEVENTEEN, and Catherine Breillat’s FAT GIRL. Ben cackles over axe murder, Daniel breaks down mentally while defending his love of Elsie Fisher, and Brandon disagrees with a fundamental direction where Burnham takes his protagonist.
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In episode forty-one of movies imo., Ben, Brandon, and Daniel yell over each other about LEAVE NO TRACE, Debra Granik’s long-awaited return to feature filmmaking/the woods. Afterwards they climb up the family tree to discuss three more daddy-daughter stories in Peter Bogdanovich’s PAPER MOON, Benh Zeitlan’s BEASTS OF THE SOUTHERN WILD, and Maren Ade’s TONI ERDMANN. Ben has little to say about the Granik but plenty of love for the way screenwriter Lucy Alibar weaves Hushpuppy’s childlike perspective into very adult situations throughout BEASTS, Daniel has trouble remembering the name of Dale Dickey’s character in WINTER’S BONE, and Brandon solves the lingering mystery of whatever happened to Woman Driver from LEAN ON PETE.
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In episode forty of movies imo., Ben, Brandon, and Daniel yell over each other about Claire Denis’ transcendent romantic comedy LET THE SUNSHINE IN then get out their best shirts to iron in the desert and discuss other Denis favorites including 35 SHOTS OF RUM, WHITE MATERIAL, THE INTRUDER, TROUBLE EVERY DAY, and BEAU TRAVAIL. Ben hails the film for its open emotional borders and bestows upon it early frontrunner status for his best of the year, Daniel obsesses over the hallways and humanism of 35 SHOTS OF RUM, and Brandon decides who does and does not have Big Dick Energy in the Claire Denis Extended Universe.
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In episode thirty-nine of movies imo., Ben, Brandon, and Daniel yell over each other about their favorite films from the queer canon in a Very Special Pride Edition of the podcast. Ben brings Jennie Livingston’s seminal Harlem vogueing documentary PARIS IS BURNING to illustrate its portrayal of the American Dream (as well as Kenneth Anger’s subversive touchstone FIREWORKS and Todd Haynes’s First Amendment firebrand POISON), Daniel celebrates Donna Dietch’s DESERT HEARTS for its queering of the western milieu and strong character work (and also Pedro Almodóvar’s queer noir LAW OF DESIRE starring a murderous, smoldering Antonio Banderas), and Brandon makes sure that everyone knows to watch James Ivory’s magnetic MAURICE on account of it being his new favorite film (in addition to Jamie Babbit’s idiosyncratic, stylish comedy BUT I’M A CHEERLEADER). Happy Pride to our queer family, now and forever. ✊🏼🏳️🌈
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In episode thirty-eight of movies imo., Ben, Brandon, and Daniel yell over each other about Brad Bird’s return to Pixar in INCREDIBLES 2, as well as their favorite films animated by the studio. Ben decries the director’s Baby Boomerness while simultaneously relating to bouncing id baby Jack-Jack, Daniel appreciates the way Bird furthers his narrative through action but wonders whether he’s fully grappled with the insinuations of his story, and Brandon gets lit off the trumpet line from Michael Giacchino’s ramped-up score.
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In episode thirty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Ari Aster’s Sundance horror sensation HEREDITARY before launching into a career mini-retrospective for its much-celebrated star (and inimitable Aussie icon) Toni Collette. Ben feels deeply skeptical towards the film’s relationship between homage and rip-off, Daniel finds its projection of doomsday anxiety seeping into reality to be deliciously cruel and compassionate, and Brandon foists Toni to the top of his Oscar ballot and names the film his favorite of the year.
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In episode thirty-sex of movies imo., Ben, Brandon, and Daniel would have yelled over each other about John Cameron Mitchell’s HOW TO TALK TO GIRLS AT PARTIES if it had been released in theaters for longer than six days so instead they take a page from Jenna Maroney’s book and discuss a few movies that fall under her suggestion “what if the theme was sl*ts?” - but in a very sex positive way. Brandon discusses the political importance of a post-9/11 queer New York in Mitchell’s SHORTBUS and goes on to share a sexy memory from college, Ben prays for spiritual transcendence through sex in Lars von Trier’s BREAKING THE WAVES, and Daniel warns viewers about the delicious color palette that dots the infidelity around the broken heart of Ms. Agnès Varda’s LE BONHEUR.
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In episode thirty-five of movies imo., Ben, Brandon, and Daniel yell over each other about the latest spinoff from a galaxy far, far away - SOLO: A STAR WARS STORY. They dig deep into Ron Howard’s genre-mashing origin tale, whether Chewie made the right choice in joining the ragtag team of rebels, and how the film impacts the franchise and its mission statement moving forward. Ben begins his Summer of Spike Lee, Daniel swears never to watch another movie that isn’t late period, flatulent and fascist Fellini, and Brandon swerves down an icy interstate on his way to see THE WRESTLER.
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In episode thirty-four of movies imo., Ben, Brandon, and Daniel yell over each other about Paul Schrader’s climate change crisis of faith film FIRST REFORMED. Ben brings up Bresson’s country priest, Daniel calls back to Bergman’s wintry priest, and Brandon spreads the gospel according to DEADPOOL 2.
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In episode thirty-three of movies imo., Ben, Brandon, and Daniel yell over each other - and the hyper-ambient soundscapes of Lucrecia Martel - about the Argentinian auteur’s latest descent into subliminal disorientation, ZAMA. They also discuss Martel’s previous three films - LA CIÉNAGA, THE HOLY GIRL, & THE HEADLESS WOMAN - and how they inform the riddles of her most recent masterwork, and may just give an elusive answer to the central mystery behind an ongoing equestrian concern. Ben breaks down the ZAMA llama’s absurd interruption, Daniel provides free ad copy for don Diego de Zama’s vintage network sitcom, and Brandon worries whether the flood of rushing sound will warrant a trip to the water closet.
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In episode thirty-two of movies imo., Ben, Brandon, and Daniel yell over each other about Jason Reitman, Diablo Cody, and Charlize Theron’s big screen reunion in TULLY. They also discuss Angels in America, camping, YOUNG ADULT, mental illness, UP IN THE AIR, Brentwood problems, and a few Oscar snubs. Ben rates the actresses of Three Tall Women, Daniel defends mermaids, and Brandon stands up for heterosexuality.
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In episode thirty-one of movies imo., Ben, Brandon, and Daniel yell over each other about Chloé Zhao’s poetic slice of Badlands realness in THE RIDER. From there they jump off into the roots of Italian Neorealism with ROME, OPEN CITY and the American Independent cinema’s current fascination with hyper-realism in the films of Sean Baker and the Safdies. Ben delivers the Rossellini keynote, Daniel loves Zhao’s dance between docu-verité and self-conscious style, and Brandon becomes the bully now.
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In episode thirty of movies imo., Ben, Brandon, and Daniel yell over each other about Andrew Haigh’s boy-and-his-horse odyssey through rural white America, LEAN ON PETE - but all they really want to talk about is Steven Spielberg’s WWI picaresque equine picture WAR HORSE. Ben argues passionately that its unabashed emotionality and striking images make it Spielberg’s best in years, Daniel sends its cocktail of sentimentality and harsh brutality back to the bar, and Brandon declares himself the Switzerland of the argument.
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In episode twenty-nine of movies imo., Ben, Brandon, and Daniel yell over each other about Lynne Ramsay, Queen of Scots’s blunt force thriller YOU WERE NEVER REALLY HERE before pummeling themselves with her previous three features WE NEED TO TALK ABOUT KEVIN, MORVERN CALLAR, and RATCATCHER. Ben wonders whether we should discuss her latest film in conversation with the Safdies’s GOOD TIME, Daniel turns out to be the missing child from the RATCATCHER council estate, and Brandon brings the hammer in stanning Ezra Miller.
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In episode twenty-eight of movies imo., Ben, Brandon, and Daniel yell over each other about Steven Spielberg’s big-budget gamer romp READY PLAYER ONE - his first “movie” since THE POST, a “film,” was released theatrically four months ago - as well as other films like THE MATRIX and STRANGE DAYS that also conquer the digital terrain of virtual reality. Ben deals with an outside threat in A QUIET PLACE, Daniel can’t decide if the user-friendliness of The Oasis is a feature or a bug, and resident gaymer Brandon declares Spielberg a winner in the cinematic video game canon.
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In episode twenty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Steven Soderbergh’s Jack-nasty asylum thriller UNSANE, starring past and future queen Claire Foy. They also discuss Samuel Fuller’s seminal SHOCK CORRIDOR, George Cukor’s classic thriller GASLIGHT, and other work from the prolific Mr. Soderbergh. Ben suggests a clear consonant tell for when British actors try out American accents, Daniel thinks UNSANE one-ups SHOCK CORRIDOR in its reflection of ugly American truths, and Brandon gives a gutsy gift to Channing Tatum.
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In episode twenty-six of movies imo., Ben, Brandon, and Daniel yell over each other about Wes Anderson’s latest set of meticulous miniatures and second stop-motion animated feature ISLE OF DOGS. They discuss the rough melancholy of its central canine characters and decry the lack of cultural sensitivity within its human world, while also digging into Anderson’s other work and sparring especially over THE LIFE AQUATIC WITH STEVE ZISSOU and THE GRAND BUDAPEST HOTEL. Ben couldn’t be more Team Zissou, Daniel waits for a Venmo payday after plugging Mendel’s, and Brandon thinks it’s time to move past the first ten minutes of UP. Wow!
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In episode twenty-five of movies imo., Ben, Brandon, and Daniel take a step back into the closet and break its doors down with LOVE, SIMON, the first major American studio film to follow a gay teen in the lead role on his journey to come out. Your fav film f*gz get real personal as they share their own recollections of high school life in the closet, and celebrate the film on its own genre terms as well as in connection to the emotional earnestness of John Hughes’s FERRIS BUELLER’S DAY OFF. Ben applauds the film’s breadth of queer expression while catching his own breath at Natasha Rothwell’s tubes being tied, Daniel catches flack for wanting more from the ending, and Brandon breathes a heavy sigh of relief that this groundbreaking film is actually good.
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In episode twenty-four of movies imo., Ben, Brandon, and Daniel yell over each other about Ava DuVernay’s history-making first foray into big-budget filmmaking, the long-awaited Disney adaption of Madeleine L’Engle’s A WRINKLE IN TIME. In addition to its empowering message for young girls and overwhelming quantity of adult queens, they also discuss DuVernay’s cinematic roots in her previous three films - MIDDLE OF NOWHERE, SELMA, and 13TH - and Disney’s last attempt at a kiddie sci-fi tentpole, TOMORROWLAND. Ben believes that children who see the film today will reclaim it from dismissive critics down the line, Daniel attempts to discuss the work of iconic American light and space artist James Turrell, and Brandon supports gay rights but finds much to be wrong with underwhelmed supervillain Charles Wallace.
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In episode twenty-three of movies imo., Ben, Brandon, and Daniel yell over each other about the Jennifer Lawrence sexual espionage-cum-state sanctioned humiliation vehicle RED SPARROW, and whether all the folks involved were able to pull off the Soviet SHOWGIRLS lurking in the shadows of its black heart. They also touch on some American actress-led action thrillers of the 1990s as well as the results of the 90th Academy Awards. Ben celebrates the historical importance of recognizing a “woman’s weepie” as Best Picture, Daniel finds THE NET to be a highly prescient work of popcorn and pizza entertainment, and Brandon can’t watch THE SILENCE OF THE LAMBS without shedding a tear or two for Jodie Foster.
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In episode twenty-two of movies imo., Ben, Brandon, and Daniel yell over each other about the tenth anniversary of the 80th Academy Awards, especially the five films nominated for Best Picture: NO COUNTRY FOR OLD MEN, ATONEMENT, JUNO, MICHAEL CLAYTON, and THERE WILL BE BLOOD. Ben serves Karen Crowder Omaha business realness, Daniel recounts a fateful double feature and a feisty Plainview-adjacent date, and Brandon sings the praises of Tamara Jenkins’s THE SAVAGES.
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In a Very Special episode twenty-one of movies imo., Ben, Brandon, and Daniel yell over each about their extremely informed, unbiased, and frankly spectacular predictions for the 90th Academy Awards. Together your fav film f*gz tackle the most pressing questions around this year’s ceremony: Why was there only one nominee this year in Best Adapted Screenplay? Will Adam Rippon put Agnès Varda’s Oscar chances on ice? What happens if Gary Oldman accepts his award in full make-up only to be rolled off the stage by a team of Oompa-Loompas? Ben thinks them BILLBOARDS may indeed win fair and square, Daniel suspects the true SHAPE OF WATER may be in the form of a gold statuette, and Brandon believes future Best Picture winner GET OUT will have enough widespread passion to win the evening’s top prize.
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In episode twenty of movies imo., Ben, Brandon, and Daniel yell over each other about Ryan Coogler’s groundbreaking superhero film BLACK PANTHER, and how his sensibilities as a director in FRUITVALE STATION and CREED mesh with or against the Marvel Cinematic Universe. Everyone feels wildly different about the film but all can agree on two points: (1) Michael B. Jordan is sad, beautiful, and the first Oscar contender of 2018 and (2) they are the Martin Freemans of this cultural conversation. Ben relates to Adonis Creed’s pre-fight, stress-induced habits, Daniel revels in the very specific world-building in Wakanda, and Brandon hails Coogler’s film as the latest in a new line of high-quality, richly subversive studio franchise films.
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In episode nineteen of movies imo., Ben, Brandon, and Daniel yell over each other about the climactic, free association finale of the greatest comedy franchise of all time: FIFTY SHADES FREED. Afterwards they love-tackle a handful of Hollywood psychosexual thrillers from the 1980s and 90s and explore how they relate (or don’t) to the splashy sex-positive saga of Anastasia Steele and Christian Grey. Ben suffers from Jamie Dornan face blindness, Daniel wonders how Anastasia manages to keep her job as the fiction editor of a Seattle-based book publisher, and Brandon performs a dramatic reading of a popsicle-themed passage from the original E.L. James, P.G.A. novel.
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In episode eighteen of movies imo., Ben, Brandon, and Daniel yell over each other about the Oscar for Best Foreign Language Film - this year’s slate of nominees, historical oversights and canon classics in the category, and what all those titles say about the taste of this Academy branch over the years. In what appears to be an agreeable year on the surface, your fav film f*gz dig in to vigorously debate (or shamelessly drag) A FANTASTIC WOMAN, THE INSULT, LOVELESS, ON BODY AND SOUL, & THE SQUARE before moving onto favorite winners from the past. Ben fights to free Fellini’s rightful Oscars from state possession, Daniel exalts the Chilean entry and a rural Chili’s, and Brandon celebrates the chunking of a sacred chair.
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In episode seventeen of movies imo., Ben, Brandon, and Daniel yell over each other about Jordan Peele’s surrealist horror flick (and directorial debut) GET OUT, as well as the films of Luis Buñuel that earlier carved such a surprising space for social critique. Unquestionably the movie of the moment, Peele’s tone-hopping take on American race relations has dominated the cultural conversation since last February, culminating in four Academy Award nominations including Best Picture and Director, so your fav film f*gz take the opportunity to weigh in with their own enthusiasm for his masterful genre exploration and sharp satirical critique. Daniel won’t shut up about the first act, Brandon stands for the twists and turns of the second, and Ben wonders how he could’ve elevated the third.
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In Episode 16 of movies imo, Ben, Brandon, and Daniel yell over each other about the 90th annual Academy Award nominations. Together they get to the bottom of the announcement's most pressing questions: Did Gary Oldman motorboat his way into the Best Actor field? Should the Academy compress Best Sound Editing and Best Sound Mixing into a single category? Even with its surprise Best Picture and Best Director nods, was PHANTOM THREAD still the biggest snub of the year? Ben damns DUNKIRK with faint praise, Daniel breathes a sigh of relief over Meryl's 21st nomination, and Brandon gives a chef's kiss to the Best Original Screenplay category.
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In Episode 15 of movies imo., Ben, Brandon, and Daniel yell over each other but, more importantly, *at* contemporary film culture in regards to their personal picks for the top twenty-five motion pictures of the Year of our Lord Saoirse 2017. Additionally, they reveal the official Moneyball-ed film fagz top ten list.
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In Episode 14 of movies imo., Ben, Brandon, and Daniel yell over each other about the exquisite new picture by wunderkind daddy Paul Thomas Anderson, PHANTOM THREAD, an irresponsibly elegant, impossibly funny romance in the key of breakfast kink. While sniffing the film's intoxicating fumes (sandalwood, lemon juice, not strawberry) and staring deep into Cyril's smize, your fav film fagz leave plenty of shoe polish on the front as they sew the House of Woodcock into the canvas of PTA's greater filmography - as well as Hitchcock's REBECCA and Lean's BRIEF ENCOUNTER. Somewhere within this breathless series of asparagus-induced fainting spells, Ben argues for why this is the director's most crystallized vision to date, Daniel admits to joining the MAGNOLIA cult at an impressionable age, and Brandon gives us the Krieps in his rendition of the ambush dinner scene.
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In Episode 13 of movies imo., Ben, Brandon, and Daniel yell over each other about Steven Spielberg's THE POST, a hot-off-the-free-presses pop history polemic that gives two thumbs up to women in the workplace and a big middle finger to the fascist in the White House. Between impressions of Jennifer Jason Leigh, Barkhad Abdi, and Old Hollywood studio executives, Ben slanders a beloved Best Picture winner covering similar subject matter, Daniel argues against the comparison, and Brandon names it his favorite film of 2015.
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In episode 12 of movies imo., Ben, Brandon, and Daniel yell over each other about Margot Robbie's I, TONYA (technically directed by someone else) and other movies that want to f*** GOODFELLAS
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In Episode XI of movies imo., Ben, Brandon, and Daniel yell over each other about the latest (and greatest?) Star War yet, Rian Johnson's STAR WARS: THE LAST JEDI. Handily outgunning the 1978 Star Wars Holiday Special by a half dozen parsecs, we push the Falcon to hyperspeed and track the universe for the faith-shaken gradients of Luke Skywalker's middle age, the unbreakable tenacity of General Leia Organa, and the red-salted reasons why we go to the cinema in the first place. Ben ponders the setting of two suns, Daniel insists upon calling Laura Dern by her space name, and Brandon proves to be the Jane Goodall of porgs.
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In episode 10 of movies imo., Ben, Brandon, and Daniel yell over each other about Guillermo Del Toro's THE SHAPE OF WATER and other movies that want to f*** Classical Hollywood Cinema
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In episode 9 of movies imo., Ben, Brandon, and Daniel yell over each other about Dee Rees' MUDBOUND and then get into post-critics group Oscar predictions.
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In episode 8 of movies imo., Ben, Brandon, and Daniel yell over each other about Luca Guadagnino's CALL ME BY YOUR NAME.
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In episode seven of movies imo., Ben, Brandon, and Daniel yell over each other about Martin McDonagh's THREE BILLBOARDS OUTSIDE EBBING, MISSOURI and discuss the Academy Awards' history of rarely giving Best Actress to the Best Picture winner.
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In episode six of movies imo., Ben, Brandon, and Daniel yell over each other about Greta Gerwig's LADY BIRD and connect it to her work as a writer and actress.
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In episode five of movies imo., Ben, Brandon, and Daniel yell over each other about Robin Campillo's BPM (BEATS PER MINUTE) and connect it to other activism films. They also briefly discuss Ruben Östlund's THE SQUARE and the first trailer for Steven Spielberg's THE POST.
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This week on movies imo. we yell over each other about WONDERSTRUCK (but mostly CAROL)and the oeuvre of Todd Haynes (...but mostly CAROL) .
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This week on movies imo. we yell over each other about THE FLORIDA PROJECT and movies about children for adults.
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In episode two, we discuss the new Agnes Varda film FACES PLACES in relation to stories about working women, by working women. Beware spoilers for: FACES PLACES THE GLEANERS & I JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES
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In the first episode of movies imo. we get together to discuss BLADE RUNNER 2049 in conjunction with the contemporary film reboot culture. SPOILERS abound for BLADE RUNNER 2049 and MOTHER!
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