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Support us on Patreon.com/filmsuck for bonus episodes and more perks! A weekly podcast hosted by Eileen Jones, film critic at Jacobin magazine and recovering academic, and Dolores McElroy, diva enthusiast and lecturer in film and media at UC Berkeley. In this podcast for the people, we bring you the truth about the rotten state of cinema, its often odious or ham-fisted relationship to politics, and its occasional wondrous bursts of courage and brilliance. We consider the glories of cinemas past, and wonder about lots of things: what’s the role of contemporary film in a time of bad art and worse taste; popular entertainment in a time of fragmentation, generalized disaffection, and PTSD; and media in a time when it seems to have lost its power to get us off our asses? In short, what is to be done when film sucks?
Support us on Patreon.com/filmsuck for bonus episodes and more perks! A weekly podcast hosted by Eileen Jones, film critic at Jacobin magazine and recovering academic, and Dolores McElroy, diva enthusiast and lecturer in film and media at UC Berkeley. In this podcast for the people, we bring you the truth about the rotten state of cinema, its often odious or ham-fisted relationship to politics, and its occasional wondrous bursts of courage and brilliance. We consider the glories of cinemas past, and wonder about lots of things: what’s the role of contemporary film in a time of bad art and worse taste; popular entertainment in a time of fragmentation, generalized disaffection, and PTSD; and media in a time when it seems to have lost its power to get us off our asses? In short, what is to be done when film sucks?
Episodes

Tuesday Mar 10, 2026
THE BRIDE! A Messy Monster Mash
Tuesday Mar 10, 2026
Tuesday Mar 10, 2026
Co-hosts Eileen and Dolores agree that the title character in writer-director Maggie Gyllenhaal’s THE BRIDE!, played by Jessie Buckley (who also portrays the wry, raddled spirit of author Mary Shelley) is terrific. She has a brilliantly disheveled look of undead glamor featuring wild bleached-blonde hair, wonderfully garish orange dress, black lips, and the inky splotch that spews up from the corner of her mouth, a chemical stain left over from the process of reanimation. Dolores is forgiving of the way THE BRIDE!, especially in its addled second half, fails to live up to central character and best scenes, whereas Eileen can’t condemn Gyllenhaal hard enough for the dopey, unfocused, pretentious way she blows her opportunity to make an electrifying film.

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