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Reel Chat — TV & Film
Reel Chat

Latest Episodes:

ROGUE ONE: A STAR WARS STORY (2016) – LOST FILM NO. 1 – REEL CHAT 97.0 Mar 07, 2019
Show notes

Welcome to Episode 97 of the “Reel Chat Podcast.” This week we introduce the first episode of our Lost Films spin-off series – a concept that has the Reel Chat team revisit some of the franchises they’ve covered in the past, but are, for all intents and purposes, currently incomplete or unfinished on the show.

2016’s “Rogue One: A Star Wars Story” takes place between Episode III and Episode IV and tells the tale of how the Rebel Alliance came to be in possession of the plans to the Empire’s ultimate weapon, the Death Star, the destruction of which would drive the original 1977 film. Is it better than the Prequel Trilogy that George Lucas gave us? Most certainly. Does it compare favourably with the Original Trilogy and 2015’s “The Force Awakens”? Not really. That leaves “Rogue One” somewhere in the middle among Star Warsmovies – a title that is neither as good as you’ve heard or as bad as you may have feared. It looks sensational, but ultimately director Gareth Edward’s side story is just kind of well… pointless.

Perhaps the biggest issue with “Rogue One” is its lack of characterisation and its parade of seemingly single-dimension characters. We only learn a little about our lead character, Jyn (Felicity Jones), during the course of the movie and next-to-nothing about the supporting cast – who all give fine performances, but never reveal much beyond their basic personalities. Yes, I realise this is only a slightly over two-hour movie, and yes, I realise the primary focus here is on action – but I felt I learned a whole lot more about Rey, Finn, and Kylo Ren after watching “The Force Awakens” than I did any single one of the characters in “Rogue One”, and that’s a shame because this is the only film we’ll see with these actors playing these parts. It was frustrating that the movie didn’t feel the need to delve further into what makes each one of them tick.

Another problem with the movie is just how much “fan service” takes place. For a movie that wants so hard to be different, there’s a ridiculous number of nods towards other parts of the franchise – starting with five (count ’em, five) major characters that show up from the original film, and a few minor characters from that film as well.

Joining your host Adam Stolfo is Reel Chat regulars Andrew McCaskill and Penny Jelly, as well as special guest (and long-term friend of Adam’s) James Davidson. Join the team as they discuss the reasons for the film’s financial success, the current state of the Star Wars franchise, the unmemorable cast of characters, the film’s use of Darth Vader (in arguably its best sequence), the terrible CGI recreations of actors from yesteryear, as well as attempting to answer the unanswerable question of exactly which film-going audience this movie is actually made for.

TOP GUN (1986) – WTF MOVIE NO. 1 – REEL CHAT 96.0 Feb 20, 2019
Show notes

Welcome to Episode 96 of the “Reel Chat Podcast.” This week we introduce the first episode of our WTF (or “What The Film!?”) spin-off series – a concept that has the Reel Chat team explore some of the more glaring omissions from the Empire Top 100 – films that the team feel should be on the list based on popularity, critical acclaim and particularly the tag of “Greatest Movies”.

One of the biggest blockbuster films of the eighties, Tony Scott’s “Top Gun” not only made Tom Cruise one of the most recognisable stars in Hollywood, it also made a nation of young boys yearn for a chance to fly a fighter jet and feel first-hand the “need for speed”. The film embodied everything 1980s and served as a showcase of American aerial might and superiority as the Cold War drew to a close.

Say what you will about Tom Cruise, but he is the right actor for the lead in this film. His grin is annoying, he’s cockier than any one man has any right to be, and at times he’s pretty annoying, but he fits the story and the whole tone of the movie perfectly. He’s the brash and obnoxious icing on a completely superficial, substance free cake! Like Cruise’s performance, the film itself is really all show.

“Top Gun” has got plenty of style and it hits all the requisite notes in terms of the setup, the love interest, the subplots and the payoff to pretty much set it on a pedestal as one of the finest formula movies ever made. It was a huge success and it’s had a pretty massive influence, not only on the movies that followed it, but on pop culture in general – to the point where parts of the film have worked their way into the modern catch phrase vernacular. While it has all the depth of a beer commercial, the film made scads of money and, as hokey as it is, it remains entertaining regardless of its obvious superficiality.

Joining your host Adam Stolfo is Reel Chat stalwarts Andrew McCaskill, Penny Jelly, as well as returning special guest Ben Highton from The Arniethology / Cruisecast podcast. Join the team as they discuss Tom Cruise in one of his most-cherished performances, the legendary supporting cast, the legacy and work of director Tony Scott, Harold Faltermeyer’s decade-defining score, the popular soundtrack release, as well as the many, many quotable quips and gags. As the Cruise specialist, Ben also gives us a run down of the many “Cruise-isms” present in “Top Gun”.

So does “Top Gun” deserve a spot in the Top 100?

HOT FUZZ (2007) – TOP 100 GREATEST MOVIES NO. 71 – REEL CHAT 95.0 Feb 05, 2019
Show notes

Welcome to Episode 95 of the “Reel Chat Podcast.” This week we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

A key component shared by many British comedies seems to be their unique ability to derive laughs from watching dry-toned people encountering bizarre circumstances. As situations become more and more ridiculous, it’s endlessly fun to watch characters try to maintain their composure regardless of what’s happening to them. 2007’s “Hot Fuzz” uses this standard of British comedy to great effect and the film works on many different levels – as a buddy-cop comedy, as a parody of the genre, and even as social commentary.

Perhaps best of all, even as it fills its action beats with parody, “Hot Fuzz” manages to maintain a genuine respect for the balls-out intensity of 80s and 90s genre films. As such, the action scenes boast top notch stunts and camera work, drawing as many cheers as it does laughs. The only main drawback I could find in “Hot Fuzz” came from comparing writer/director Edgar Wright and collaborator Simon Pegg’s earlier parody “Shaun Of The Dead”. While the first film clips along with intense focus, “Hot Fuzz” occasionally meanders. The second act, in particular, has a tough time getting to the point and sometimes chases unnecessary subplots. Still, “Hot Fuzz” is a good, fun flick. Chemistry is strong between the actors, and love for film is on display at all times.

Joining your host Adam Stolfo is Penny Jelly, Damon Quah, the returning Matt O’Neill, as well as special guests Scott Carelli and Nick Jimenez from Dueling Genre Productions in Los Angeles, California. Join the team as they discuss the work and career of writer/director Edgar Wright, the film’s stars and (very British) supporting cast, the many wonderful cameo appearances, the many nods and winks to the genre films it pays homage to, David Arnold’s score, the overloaded feature-laden Blu-ray and DVD release, and much, much more!

So does “Hot Fuzz” deserve it’s spot in the Top 100? And is position number 71 where it belongs?

REAR WINDOW (1954) – TOP 100 GREATEST MOVIES NO. 72 – REEL CHAT 94.0 Jan 24, 2019
Show notes

Welcome to Episode 94 of the “Reel Chat Podcast.” This week we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

1954’s “Rear Window” might just be a perfect film. If not a perfect film, then perfect Hitchcock. It’s impossible to draw a line between the mystery and the suspense, the story and the setting, or the performances and John Michael Hayes’ dialogue. A melting pot of paranoia, isolation and the very real threat of murder most foul, it teases and toys, accelerates and tiptoes, delights and surprises, shocks and scares. It’s Hitchcock at his peak. Hitchcock at his most playful. Hitchcock at his most devious. Grace Kelly’s search of Raymond Burr’s apartment is torture, even all these years after the fact; torture made all the more unbearable with the knowledge that Jimmy Stewart’s wheelchair-bound L.B. Jeffries is helpless to do much of anything as Burr’s suspected murderer, Lars Thorwald, returns and catches Kelly’s Lisa in the act. Even then, his guilt or innocence is uncertain. Even then, we’re forced to ask if Jeffries has it all wrong. The single, shocking image that follows shortly after – of Thorwald craning his neck and staring directly at Jeffries – is as brilliant a shot and sequence as any Hitchcock committed to film. It’s also a testament to his prowess and punch as a filmmaker, not to mention his keen sense of pacing, plotting and mounting unease. All the distraction, all the pleasantries, all the characters, all the suspicion, all the suspense… all to form an inseparable bond between viewer and voyeur.

Be it drama, horror or comedy, psychological stunner, monster movie or international spy thriller, is it any mystery that filmmaker Alfred Hitchcock was known as the Master of Suspense? Is it any wonder his movies still hold hypnotic sway over film fans all these years later?

Joining your host Adam Stolfo is Andrew McCaskill, Penny Jelly and special guest Reel Chat (and Hitchcock) super fan Glen O’Brien. Join the team as they discuss the genius of Hitchcock, the curiosity of voyeurism, the film’s constant permeation into pop culture, the original Cornell Woolrich short story “It Had To Be Murder”, the iconic cast, as well as the film’s legacy and stature as a genuine masterpiece of cinema.

So does “Rear Window” deserve it’s spot in the Top 100? And is position number 72 where it belongs?

SEVEN SAMURAI (1954) – TOP 100 GREATEST MOVIES NO. 73 – REEL CHAT 93.0 Jan 10, 2019
Show notes

Happy New Year everyone! Welcome to Episode 93 of the “Reel Chat Podcast.” As we start this new calendar year, Reel Chat continues the countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

To put Akira Kurosawa’s 1954 epic drama “Seven Samurai” into perspective may be a bit difficult. Instead, to help paint the picture of how highly regarded and loved this film is, I’ll use the facts. Currently standing at number thirteen on IMDb’s Top 250 (while often finding itself in the single digits), “Seven Samurai” has been called the greatest film of all time (regardless of age or country of origin) by Empire magazine (2010), is the top rated action film of all time on Rotten Tomatoes with a full 100%, was nominated for two Academy Award nominations (for Best Art Decorations and Best Costumes, black and white categories), and has been named to more top one hundred (and top ten) all time film lists than I’d care to keep track of. Many have imitated it, though none have equaled or bested it. Running at over 200 minutes in length, “Seven Samurai” is no ordinary cinematic endurance marathon. In fact, the only time it reminds us that it’s any longer than any standard film is during the intermission at around the two hour mark.

Tragic, yet joyous… dead serious, yet amazingly humorous… “Seven Samurai” is a film that defies convention, and is a must-see for fans of the medium of film… but does it hold up in 2019? And is it for everyone?

Joining your host Adam Stolfo for a new calendar year of Reel Chat goodness is Andrew McCaskill and Penny Jelly. Join the team as they discuss the iconic stature of Akira Kurosawa, his crazy set blocking and editing techniques, the film’s cast, the score by composer Fumio Hayasaka, the film’s numerous versions, inspirations and much, much more!

So does “Seven Samurai” deserve it’s spot in the Top 100? And is position number 73 where it belongs?

THE TEAM’S REVIEW SCORES

Adam 3 out of 5 – RECOMMEND

Andrew 4 1/2 out of 5 – RECOMMEND

Penny 4 1/2 out of 5 – RECOMMEND

MULHOLLAND DRIVE (2001) – TOP 100 GREATEST MOVIES NO. 74 – REEL CHAT 92.0 Dec 20, 2018
Show notes

Welcome to Episode 92 of the “Reel Chat Podcast.” This week, in our swan song episode for 2018, we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

After three successive box office flops, and nearly a decade spent relegated back to the fringes of the film scene, director David Lynch returned to prominence in 2001 with a new movie that netted him a Best Director trophy at Cannes, an Academy Award nomination for the same title (his third), and a level of both critical and popular respect that he hadn’t experienced since the heyday of “Twin Peaks” (1990-1991). The word “masterpiece” gets tossed around a lot in reference to Lynch’s 2001 psychological thriller “Mulholland Drive”… even if we can’t actually grasp what the big mystery is.

The film has been read as a deconstruction of the way that Hollywood eats women alive, turning them on each other and themselves, favouring the men pulling the levers behind-the-scenes, and it certainly is that. Like Betty (Naomi Watts), Lynch is in love with his fantasies, but he recognises many of them, particularly as shaped by corporate Hollywood, to be built on nightmares, complicating the pleasure they bring. With this epic tapestry, one of the richest, finest, and most bottomless of all films, Lynch channeled the elusive and contradictory textures of desire, moving beyond either/or dichotomies of good and evil or black and white. Or brunette and blonde.

Joining your host Adam Stolfo is Andrew McCaskill, Penny Jelly and returning special guest Andy Hazel. Join the team as they discuss the film’s original form – the TV pilot (that wasn’t meant to be), the work and career of David Lynch, the haunting synth score of Angelo Badalamenti, and, as a special bonus – Andy gives us a detailed (and credible) answer to exactly what is going on… and whether or not this film can actually be decoded.

So does “Mulholland Drive” deserve it’s spot in the Top 100? And is position number 74 where it belongs?

THE TEAM’S REVIEW SCORES

Adam 4 out of 5 – RECOMMEND

Andrew 4 out of 5 – RECOMMEND

Penny 4 out of 5 – RECOMMEND

Andy 5 out of 5 – RECOMMEND

FARGO (1996) – TOP 100 GREATEST MOVIES NO. 75 – REEL CHAT 91.0 Dec 12, 2018
Show notes

Welcome to Episode 91 of the “Reel Chat Podcast.” This week we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

Edgy. Goofy. Quirky. Intense. All these adjectives describe the work of Joel and Ethan Coen in general and their 1996 award-winner “Fargo” in particular. This wild, wonderfully weird, quasi-comedic thriller transports us to a far-off land filled with perennially cheery, exceedingly polite people who bend over backward to make the world a bright, happy place – when they’re not killing each other of course.

Though there’s plenty of action, the film is really character driven, and the Coens, who picked up an Academy Award for their screenplay, create a gallery of fascinating specimens. The fun of “Fargo” lies in watching all these eccentric creatures interact, and hearing them spout all the regional lingo. From the “Oh, yahs” to the “You betchas,” the Coens perfectly capture the dialect’s rhythm and timbre, and smoothly incorporate it into the dialogue. This searing blend of macabre humour and brutality stands as one of the Coen brothers’ best efforts, and is very much an American original.

Joining your host Adam Stolfo is Andrew McCaskill, Penny Jelly and Damon Quah. Join the team as they discuss the brilliance of the Cohens, the amazing cast, Roger Deakins’ outstanding cinematography, the underrated work of composer Carter Burwell, the regional accents, as well as the relevance of the Cohens choosing to include the scene in which Marge visits Mike, the Asian man she went to high school with.

So does “Fargo” deserve it’s spot in the Top 100? And is position number 75 where it belongs?

THE TEAM’S REVIEW SCORES

Adam 5 out of 5 – RECOMMEND

Andrew 5 out of 5 – RECOMMEND

Penny 5 out of 5 – RECOMMEND

Damon 5 out of 5 – RECOMMEND

A CLOCKWORK ORANGE (1971) – TOP 100 GREATEST MOVIES NO. 76 – REEL CHAT 90.0 Nov 29, 2018
Show notes

Welcome to Episode 90 of the “Reel Chat Podcast.” This week we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

To call Stanley Kubrick’s “A Clockwork Orange” controversial would be an understatement. When it was originally released in 1971, its graphic depictions of sex and violence caused an uproar around the world. The film was heavily protested, received the most restrictive ratings available (including an X-rating in the US), and was ultimately blamed for a series of copycat crimes that occurred in the UK. Kubrick even barred his film from UK distribution after he began to receive death threats. Through it all, perhaps the most shocking thing about the film is that it still manages to offend and disturb viewers nearly 50 years later.

Kubrick pulls deep performances from his actors and sets them against uniquely unsettling cinematography. Say what you will about his stories or thematic interests, but Kubrick was an amazing filmmaker, and he played every trump card he had in “A Clockwork Orange.” Even people who can’t stand the cynical tone of the film or its disturbing imagery should at least be able to appreciate the art of it all.

Joining your host Adam Stolfo is Reel Chat stalwart Andrew McCaskill as well as special guests – filmmaker Greg Pakis and host of the The Sixth Dimension podcast, Sebastian Mittleman. Join the team as they discuss the film’s legendary filmmaker, it’s dividing reception, the outstanding performance of Malcolm McDowell, the synthesized tones of Wendy Carlos’ score, the controversy and eventual British withdrawal of the film, as well as the actual meaning of the title – what exactly is A Clockwork Orange?

So does “A Clockwork Orange” deserve it’s spot in the Top 100? And is position number 76 where it belongs?

THE TEAM’S REVIEW SCORES

Adam 4 out of 5 – RECOMMEND

Andrew 4 1/2 out of 5 – RECOMMEND

Greg 5 out of 5 – RECOMMEND

Sebastian 5 out of 5 – RECOMMEND

TOY STORY (1995) – TOP 100 GREATEST MOVIES NO. 77 – REEL CHAT 89.0 Nov 13, 2018
Show notes

Welcome to Episode 89 of the “Reel Chat Podcast.” This week we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

What “Snow White and the Seven Dwarfs” (1937) did for hand drawn animation, “Toy Story” (1995) did for CG animation. The first computer generated feature-length animated film was a success. Not only in its astoundingly colourful and fully rendered graphics, the likes of which we had never seen, but in it’s story, and lovable characters. The fact that “Toy Story” has a great story, and wonderful character development makes it a great movie, but factoring in the historical cinematic significance of the film makes it a classic. The story of Woody, Buzz, and the rest of Andy’s toys really captured the imagination. It was something so original and so well put together, that it was bound to echo throughout the annals of cinematic history. But why was the movie so magical?

Joining your host Adam Stolfo is Damon Quah and special guest Nick Mason of the acclaimed Hawk Talk Podcast. Join the team as they discuss the film’s groundbreaking legacy, their thoughts on the upcoming “Toy Story 4” (2019), the work and personal downfall of Pixar pioneer (and spearhead) John Lasseter, the “prototype” short films Pixar made in the lead up to the film, the film’s iconic voice cast, it’s numerous home video releases, who the villains in the film actually are, as well as their thoughts on whether Andy’s absent father has any story-driven significance.

This is of course a very special episode of Reel Chat, as it marks the second time the show has revisited a film that’s already been covered – all the way back in April 2015 (Episode 17).

So does “Toy Story” deserve it’s spot in the Top 100? And is position number 77 where it belongs?

THE TEAM’S REVIEW SCORES

Adam 4 1/2 out of 5 – RECOMMEND

Damon 4 out of 5 – RECOMMEND

Nick 5 out of 5 – RECOMMEND

OLDBOY (2003) – TOP 100 GREATEST MOVIES NO. 78 – REEL CHAT 88.0 Nov 01, 2018
Show notes

Welcome to Episode 88 of the “Reel Chat Podcast.” This week we continue our countdown of Empire Magazine’s Top 100 Greatest Movies of all time.

Park Chan-wook’s 2003 Korean crime drama “Oldboy” doesn’t just push limits, it embraces entirely new cinematic taboos with twisted inhibition. An ordinary businessman named Oh Dae-su (Choi Min-sik) wakes up from a drunken stupor to discover that he’s been placed inside an impenetrable cell; he has no direct contact with the outside world and has no idea why he’s been imprisoned. For fifteen years, he rots away inside this strange dungeon, honing his body and training his mind until he becomes a grizzled warrior obsessed with revenge. When he’s inexplicably freed, he hits the streets to find whoever was responsible for locking him away.

As the second entry in director Park Chan-wook’s “Revenge Trilogy,” “Oldboy” works independently. The film is probably best viewed as a violent morality tale in which the main characters are at the mercy of their disturbing obsessions. It isn’t a revenge fantasy per se, but rather a warning about the nature of vengeance and its ability to warp a person’s outlook.

Joining your host Adam Stolfo is Damon Quah, Michael Hadjion and special returning guest Andy Hazel. Join the team as they discuss the work of director Park Chan-wook, the film’s origins in a Manga comic, Choi Min-sik’s outstanding leading man performance, the complexity and joy associated with the classic corridor fight scene, the absurdity of the octopus eating scene, the ambiguous ending, and much much more!

So does “Oldboy” deserve it’s spot in the Top 100? And is position number 78 where it belongs?

THE TEAM’S REVIEW SCORES

Adam 4 out of 5 – RECOMMEND

Damon 3 1/2 out of 5 – RECOMMEND

Michael 4 out of 5 – RECOMMEND

Andy 4 1/2 out of 5 – RECOMMEND

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