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This week, we head to the theater to see the hugely successful horror film that makes the Naruto Run scary again. This film bounces between big scares and laughs like almost nothing else since Evil Dead 2. Don’t walk, run (with your arms stretched out behind you) to the theater to catch this one. Weapons (2025), directed by Zach Cregger.
For the fourth movie choice based on the theme of death, we travel to Hawaii to hang with Clooney. This film has some heavy drama, but with Alexander Payne sprinkling in his dry humor and the sights and sounds of Hawaii ever-present, the story keeps from sinking into too dark of a place. The Descendants (2011), directed by Alexander Payne.
For the third movie choice based on the theme of death, we repost an episode where we watch the tale of a man diagnosed with stomach cancer, which causes him to reflect on his seemingly wasted life. Taking its time to establish moods appropriate for the subject matter, this film makes you think about what it means to be alive, and how to get the most out of life with what short time we have. Ikiru (1952), directed by Akira Kurosawa.
This week, we continued with the themed movie selections, with the first series is based on the theme of Death. This second film takes place near our old stomping grounds of Boston, a features a story and performances where you might need to take a walk afterwords to digest and decompress. Manchester by the Sea (2016), directed by Kenneth Lonergan.
This week, we start a new diversion with themed movie selections. The next three weeks, your hosts will be selecting one movie each that fits within the current theme - Death. The first film is an underrated and under seen movie that won big at the Sundance film festival back when it first came out. Me and Earl and the Dying Girl (2015), directed by Alfonso Gomez-Rejon.
This week, we watch the third entry in the film franchise that is 23 years old and introduced fast zombies to the world. This film has been in development since shortly after the second entry in 2007, and it might be the first movie where the edit was influenced by choices made by the trailer team. 28 Years Later (2025), directed by Danny Boyle.
This week, we continue the newer segment where we go back through the IMDB top 250 list since we froze it in 2016 and see what has been added. This film is currently sitting at number 66 on the IMDB list. 12th Fail (2023), directed by Vindu Vinod Chopra.
This week we watch the latest horror film from the Austrialian brothers Danny and Michael Philippou. While its not turning out to be the sensation that their previous film, Talk to Me was, the film is stil very well made, well acted, and very dark. Bring Her Back (2025).
This week, we start a new segment where we go back through the IMDB top 250 list since we froze it in 2016 and see what has been added. This film is currently sitting at number 40 on the IMDB list, and also is rated the #1 best movie of all time currently on Letterboxd. Harakiri (1962), directed by Masaki Kobayashi.
This week, we watch the classic bottle movie where 12 humans with bias come to realize the baggage they bring to their view of the world. This film is understandably so high up on the list because of its message of understanding, as well as its entertaining thriller vibe. 12 Angry Men (1957), directed by Sidney Lumet.
week, we watch the sixth film (first in over a decade) in the Final Destination franchise. In these films, death chases those who escape it, and can only kill people in a series of more elaborate ways. This film leans heavily into the camp while keeping the over the top gore in potentially the strongest entry in the series. Final Destination: Bloodlines (2025), directed by Zach Lipovsky and Adam Stein.
This week, we watch the classic that changed the film industry forever. Indie attempts to copy the formula defined most of the rest of the 90s, but nothing came close to what this film achieves. This films iconic status has not diminished over the years, and it remains one of the funniest films of all time. Pulp Fiction (1994), directed by Quentin Tarantino.
This week, we follow up with last weeks episode with another Salles film. Releasing nearly three decades earlier, this film’s documentary feel shows promise from the director. It is also the first Brazilian film to receive a best actor/actress Oscar nomination. Central Station (1998), directed by Walter Salles.
This week, we watch last years winner of the Best International Film academy award. This film is a passion project from renowned Brazilian director, who spent 7 years making this film, which is a true story about a family he knew when he was a child, and the events that unfolded to that family during the military occupation of Rio De Janeiro in the 70’s. I’m Still Here (2024), directed by Walter Salles.
This week, we watch the first original screenplay from writer/director Ryan Coogler in over a decade. After solidifying his reputation with big budget series films (Creed, Black Panther), Coogler returns to original screenplays, and returns to film (IMAX). What results is one of the most wildly entertaining theater going experiences in years. Even if the horror genre generally turns you away, give this one a shot. Sinners (2025), directed by Ryan Coogler.
This week, we move on to Part 3 of the final film of the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Return of the King (2003), directed by Peter Jackson.
This week, we move on to Part 2 of the final film of the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Return of the King (2003), directed by Peter Jackson.
This week, we finish the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Return of the King (2003), directed by Peter Jackson.
