Filmsuck

A Big Hand for Banshees of Inisherin

Filmsuck co-hosts enthuse about the new Martin McDonagh film The Banshees of Inisherin, a dark comedy that turns pitch-black by the end! Set in 1923 Ireland as the civil war rages on the mainland, this fable-like tale reunites Brendan Gleeson and Colin Farrell, the stars of McDonagh's 2009 cult favorite In Bruges, as former friends whose increasingly bitter estrangement creates severe consequences for the tiny island community of Inisherin. And that includes the animals--lotta animals involved!

Tracking the Vampire

For your Halloween pleasure and edification, this week on Filmsuck we're talking about the vampire film from Nosferatu (1922), Dracula (1931), and Vampyr (1932) through Martin (1976), The Hunger (1983), Near Dark (1987), Let the Right One In (2008), and A Girl Walks Home Alone at Night (2014), in order to analyze how this popular movie monster represents such an array of human fears and desires, it can adapt easily to different eras and cultures.

Three Thousand Years of Longing for This Film to End

Both Filmsuck co-hosts hated the new George Miller movie Three Thousand Years of Longing, a feeling shared by audiences everywhere, it seems, as the romantic fantasy wastes the talents of Tilda Swinton and Idris Elba in the lead roles and becomes one of the biggest box-office failures of 2022. The film raises the question "Why can't mainstream filmmakers do emotionally powerful movies about love anymore?" as well as "How can a movie with such a shocking 'Magical Negro' storyline have been blandly accepted by so many critics who gave the film glowing reviews?"

Bullet Trainwreck

This week on Filmsuck we're lamenting the shiny, busy, but oddly inert action comedy Bullet Train that mostly wastes the talents of an excellent cast. Bullet Train stars Brad Pitt as a sweet-natured assassin who's back at work after an extended interlude in therapy, and wants to do a nice, simple, non-violent "snatch and grab" job in keeping with his newfound peace of mind. Unfortunately, he's on a high-speed train from Tokyo to Kyoto with several other stone-cold killers who are either after the same silver briefcase or some sort of gory revenge. 

2 Yeps for Nope

Though if you talk to your friends and acquaintances you're likely hear a range of opinions on Nope--from 1) best Jordan Peele film so far, he's transcended himself, to 2) worst Jordan Peele film ever, Get Out (2017) and Us (2019) were so much better--your Filmsuck co-hosts agree on their pro-Nope stance. Dolores thoroughly enjoyed it, and Eileen thinks it's one of the most brilliant and thrilling genre films made in ages.  

So calling all cinephiles, you need to get in on this public debate while it's hot!  See the film, listen to the episode, argue with your people! 

Elvis and the Hysteria of Baz Luhrmann

You may know writer-director-producer Baz Luhrmann from such expensive spectacles as The Great Gatsby, Australia, and Moulin Rouge! Co-hosts Dolores and Eileen talk about Luhrmann's hysterically melodramatic films and disagree sharply on how successfully his new biopic Elvis represents the life and career of legendary performer Elvis Presley, debating in particular how the film stands on the entrenched "Elvis authenticity thesis." (Short version of theory: young "real" pioneering rocker Elvis = good, and older "fake" Las Vegas Elvis = bad.) 

Proud of Hacks

In honor of Pride Month we're talking about the Emmy/Peabody/Golden Globe-winning HBO series Hacks, starring Jean Smart as seventy-ish stand-up comedy legend Deborah Vance, pushed into updating her act by hiring young Gen Z writer Ava Daniels (Hannah Einbinder, daughter of former SNL star Laraine Newman), whose career is also in trouble. It's hate at first sight until they begin to bond over their unexpected similarities: tremendous career ambition, troubled relationships with family and romantic interests, and struggles as women in the entertainment industry still dominated by men who never seem to age out of their positions of control. And it soon becomes pretty clear that, as co-host Dolores puts it, "The whole show is queer, and not just because Ava is pretty gay for Deborah."

The Northman and the Strange Career of Robert Eggers

This week we're discussing the new Viking epic The Northman in the context of writer-director Robert Eggers' brief but spectacular career, including his first two feature films, The Witch (2015) and The Lighthouse (2019). Deserving of the term "auteur" if anyone is, Eggers admits he had to deal with more creative interference than ever before with big-budget film The Northman, his attempt to widen his audience appeal by making the "most entertaining Robert Eggers film" he could manage. What affect has an attempt to go mainstream had on Eggers' idiosyncratic filmmaking?

Witchfest! A Discussion of Recent Witch Movies

In this Filmsuck episode we're talking about witches in film, a favorite subject of ours. We're focusing specifically on the revived figure of the truly frightening witch that is central to Robert Eggers' The Witch (2015) as well as the directorial debut of Goran Stolevski, You Won't Be Alone, which is currently playing in theaters. 

These brilliant witch films are part of the "folk horror revival" of the past decade. Join us as we explore that cinematic context as well, covered in detail in the 2021 documentary Woodlands Dark and Days Bewitched: A History of Folk Horror. 

Parallel Mothers and Almodovar’s New Groove

This week we're tackling another 2022 Academy Award nominee, Pedro Almodovar's Parallel Mothers. It's not nominated for Best Picture or even Best International Feature Film, which is weird--what the hell, Academy? But Penelope Cruz is nominated for Best Actress in her seventh film with the director, and longtime Almodovar collaborator Alberto Inglesias is nominated for Best Original Score. This is a more overtly political film than most in Almodovar's oeuvre, with a narrative concerning the Spanish Civil War and the lingering agony over those who were murdered by fascists. It's also a vivid film melodrama, with a wild central point of tension--were the two mothers' babies switched shortly after birth?