Martin is joined by John Arminio and Alexandria Daniels to discuss the Tim Burton Batman films!

Martin is joined by John Arminio and Alexandria Daniels to discuss the Tim Burton Batman films!

Flixwise: CANADA Ep. 44 – Batman '89 & Batman Returns

Eugene Kotlyarenko

Martin is joined by director Eugene Kotlyarenko to discuss his dark satirical film, Spree.

Martin is joined by director Eugene Kotlyarenko to discuss his dark satirical film, Spree.

Flixwise: CANADA Ep. 43 – Spree (featuring director Eugene Kotlyarenko)

Martin is joined by actor and writer Galen Howard for a fast-paced conversation about Martin Scorsese's After Hours.

Martin is joined by actor and writer Galen Howard for a fast-paced conversation about Martin Scorsese's After Hours.

Flixwise: CANADA Ep. 42 – After Hours

Martin is joined by returning guests Dave Eves and Zachary Curl to discuss The Ring and its various incarnations. Happy Halloween!

Martin is joined by returning guests Dave Eves and Zachary Curl to discuss The Ring and its various incarnations. Happy Halloween!

Flixwise: CANADA Ep. 41 - The Ring

Robert Lee

Audrey Earnshaw

An interview with Canadian writer and director, Thomas Robert Lee about his upcoming folk horror film, The Curse of Audrey Earnshaw.

An interview with Canadian writer and director, Thomas Robert Lee about his upcoming folk horror film, The Curse of Audrey Earnshaw.

Flixwise: CANADA Ep. 40 - The Curse of Audrey Earnshaw (featuring director Thomas Robert Lee)

On the 50th anniversary of its release, Martin is joined by Matthias van der Roest for a conversation about Jerzy Skolimowski's Deep End.

On the 50th anniversary of its release, Martin is joined by Matthias van der Roest for a conversation about Jerzy Skolimowski's Deep End.

Flixwise: CANADA Ep. 39 – Deep End

Martin is joined by filmmaker and illustrator Patrick Horvath to discuss the 1967 adaptation of Frederick Knott's play Wait Until Dark, starring Audrey Hepburn and Alan Arkin.

Martin is joined by filmmaker and illustrator Patrick Horvath to discuss the 1967 adaptation of Frederick Knott's play Wait Until Dark, starring Audrey Hepburn and Alan Arkin.

Flixwise: CANADA Ep. 38 – Wait Until Dark

Martin is joined by returning guest, illustrator Tony Stella. The pair discuss cinematic renderings of the artist Vincent van Gogh.

Martin is joined by returning guest, illustrator Tony Stella. The pair discuss cinematic renderings of the artist Vincent van Gogh.

Flixwise: CANADA Ep. 37 – Vincent van Gogh on Film

Martin is joined by returning guest Amanda for an epic and sprawling conversation about the Star Wars franchise.

Martin is joined by returning guest Amanda for an epic and sprawling conversation about the Star Wars franchise.

The Star Wars Flixwise Special

Martin is joined by returning guest Spencer Seams get together to to discuss the Meiko Kaji starring film Female Prisoner #701: Scorpion and its sequels.

Martin is joined by returning guest Spencer Seams get together to to discuss the Meiko Kaji starring film Female Prisoner #701: Scorpion and its sequels.

Flixwise: CANADA Ep. 36 – Female Prisoner Scorpion

We're a weekly movie podcast for cineastes, cinephiles, cinema snobs, and you know...everyone else! We're going one by one through the Sight and Sound list of Greatest Movies of All Time. Listen up and find out if agree with Sight and Sound's summation of cinema history. And as a bonus, if you listen to this podcast you are eligible to become a bona fide cinephile.

Great show

Great podcast with an interesting perspective given from a millennial vantage point

Modern Times

Flixwise Podcast

Today's panelists, Lady P, Martin Kessler, and A. Tad Chamberlain, have all danced with the devil and lived to podcast the tale. This is Flixwise's special super-sized episode on the 36th Greatest Movie of All Time, Bela Tarr's 1994 Hungarian classic, SATANTANGO. SATANTANGO has a reputation as a notoriously daunting watch; partially due to its run time (it clocks-in somewhere around 7.5hrs), but also because of it's unsparing pessimism about the nature of humanity and mortality. On top of that, the film's visual austerity and slow pacing, serve as significant barriers-to-entry for casual film-watchers. However, those that do heed Bela Tarr's challenge are rewarded with a rich, thought provoking,cinematic experience--plus, some serious cinephile bragging rights. So give the film a watch, then listen to our panel's in-depth analysis, and let us know what you think.

Today's panelists, Lady P, Martin Kessler, and A. Tad Chamberlain, have all danced with the devil and lived to podcast the tale. This is Flixwise's special super-sized episode on the 36th Greatest Movie of All Time, Bela Tarr's 1994 Hungarian classic, SATANTANGO. SATANTANGO has a reputation as a notoriously daunting watch; partially due to its run time (it clocks-in somewhere around 7.5hrs), but also because of it's unsparing pessimism about the nature of humanity and mortality. On top of that, the film's visual austerity and slow pacing, serve as significant barriers-to-entry for casual film-watchers. However, those that do heed Bela Tarr's challenge are rewarded with a rich, thought provoking,cinematic experience--plus, some serious cinephile bragging rights. So give the film a watch, then listen to our panel's in-depth analysis, and let us know what you think.

Ep. 36: Satantango

David Bordwell

Happy four year anniversary of Flixwise! I hope you'll find that the fundamental things still apply, as time goes by. On this milestone episode, Lady P is joined by an esteemed film scholar and all-around snappy dresser, David Bordwell to discuss none other than Casablanca. They see if it lives up to its reputation as the quintessential Hollywood movie, not just of the 1940s but of all time, and consider if it's worth of its 78th spot on the Sight &amp; Sound List. For a second topic they turn to the subject of David Bordwell's book, Reinventing Hollywood; How 1940s filmmakers changed movie storytelling. Mostly it's just an excuse to talk Joan Crawford. 

Happy four year anniversary of Flixwise! I hope you'll find that the fundamental things still apply, as time goes by. On this milestone episode, Lady P is joined by an esteemed film scholar and all-around snappy dresser, David Bordwell to discuss none other than Casablanca. They see if it lives up to its reputation as the quintessential Hollywood movie, not just of the 1940s but of all time, and consider if it's worth of its 78th spot on the Sight &amp; Sound List. For a second topic they turn to the subject of David Bordwell's book, Reinventing Hollywood; How 1940s filmmakers changed movie storytelling. Mostly it's just an excuse to talk Joan Crawford.

Ep. 78: Casablanca and Reinventing Hollywood with David Bordwell

On today's show Lady P is joined by two Gs, Gabe Haggard and Gary Lampert, to chat about a family of Original Gs. Get ready for a close dissection of one of the most powerful, and oft-parodied, portrayals of 20th century American masculinity, plus lots of very silly Marlon Brando impressions.  It's the Sight and Sound Critic's Poll's 21st Greatest Movie of All Time, Francis Ford Coppola's THE GODFATHER. Is it worthy of the 21st spot? Listen up to find out. For the second topic (which may or may not be related to the first topic), we talk about overrated movies. How does one gauge if a movie is too highly regarded, and why do cultural tides turn for or against certain films? We discuss. 

On today's show Lady P is joined by two Gs, Gabe Haggard and Gary Lampert, to chat about a family of Original Gs. Get ready for a close dissection of one of the most powerful, and oft-parodied, portrayals of 20th century American masculinity, plus lots of very silly Marlon Brando impressions.  It's the Sight and Sound Critic's Poll's 21st Greatest Movie of All Time, Francis Ford Coppola's THE GODFATHER. Is it worthy of the 21st spot? Listen up to find out. For the second topic (which may or may not be related to the first topic), we talk about overrated movies. How does one gauge if a movie is too highly regarded, and why do cultural tides turn for or against certain films? We discuss.

The Godfather

Ingmar Bergman

On today's show, get ready for some resentment, misery, and existential dread. That's right, it's Ingmar Bergman time!! Lady P is joined by Michael Leader of Film 4, and resident Bergman aficionado, Dave Eves, to discuss the 63rd movie on the Sight and Sound Critics' Poll, Wild Strawberries (1957). The film follows an elderly protagonist named Isak Borg, who's played by Victor Sjöström, on a road trip through the Swedish countryside. Along the way, he has a series of flashbacks that force him to take stock of his life and reevaluate his interpersonal relationships. While chalk full of Bergman's trademark combination of formal elegance and emotional violence, Wild Strawberries is one of few films of his that grants the viewer a spiritual reprieve. Characters are cruel to one another, but they're also capable of great generosity and unexpected warmth. This unexpected sentimentality makes Wild Strawberries one of Bergman's easiest watches, but is it worthy of the Top 100 of All Time?  For our second topic, we jump off from Mr. Borg's experiences to discuss other "coming of old age" films. Works that delve into the complications of moving into life's latter-half aren't as prevalent as those dealing with the childhood to adolescent phase. However, there are number of powerful examples to discuss. Our panelists list a handful of their favorites, and they talk about the similarities and differences between "old-age films" other representations of transitionary periods (ie. adolescence, teenager-dom, quarter-life crises, etc.). Expect lots of sad-old-men and a surprising amount of Star Trek talk.

On today's show, get ready for some resentment, misery, and existential dread. That's right, it's Ingmar Bergman time!! Lady P is joined by Michael Leader of Film 4, and resident Bergman aficionado, Dave Eves, to discuss the 63rd movie on the Sight and Sound Critics' Poll, Wild Strawberries (1957). The film follows an elderly protagonist named Isak Borg, who's played by Victor Sjöström, on a road trip through the Swedish countryside. Along the way, he has a series of flashbacks that force him to take stock of his life and reevaluate his interpersonal relationships. While chalk full of Bergman's trademark combination of formal elegance and emotional violence, Wild Strawberries is one of few films of his that grants the viewer a spiritual reprieve. Characters are cruel to one another, but they're also capable of great generosity and unexpected warmth. This unexpected sentimentality makes Wild Strawberries one of Bergman's easiest watches, but is it worthy of the Top 100 of All Time?  For our second topic, we jump off from Mr. Borg's experiences to discuss other "coming of old age" films. Works that delve into the complications of moving into life's latter-half aren't as prevalent as those dealing with the childhood to adolescent phase. However, there are number of powerful examples to discuss. Our panelists list a handful of their favorites, and they talk about the similarities and differences between "old-age films" other representations of transitionary periods (ie. adolescence, teenager-dom, quarter-life crises, etc.). Expect lots of sad-old-men and a surprising amount of Star Trek talk.

Ep 63: Ingmar Bergman's Wild Strawberries

Lady P is joined by Carrie Specht and Anne Marie Kelly to talk about Martin Scorsese's 1976 feature TAXI DRIVER. TAXI DRIVER is tied for the 31st spot on the Sight and Sound Critics' Poll with another "Golden Age" cornerstone: Francis Ford Coppola's THE GODFATHER PT. II. Yes, two of the darkest entries in the 1970's cinema canon landed side-by-side on the "Greatest Films of All Time" list. A coincidence? Perhaps. But nevertheless, while one may forever be the loneliest number, 31 is now officially in the running for broodiest. And speaking of Coppola, a few weeks ago, during an off-air conversation, Carrie casually mentioned that she thinks Francis Ford Coppola is the "greatest living American director." We felt this statement deserved greater unpacking, so this week we hit the record button and talked in detail about it means to be a "uniquely-American" filmmaker.  Then the panelists each offer up their picks for top auteur.

Lady P is joined by Carrie Specht and Anne Marie Kelly to talk about Martin Scorsese's 1976 feature TAXI DRIVER. TAXI DRIVER is tied for the 31st spot on the Sight and Sound Critics' Poll with another "Golden Age" cornerstone: Francis Ford Coppola's <a href="http://flixwise.com/2015/05/26/flixwise-31-the-godfather-pt-ii/" rel="nofollow" target="_blank">THE GODFATHER PT. II</a>. Yes, two of the darkest entries in the 1970's cinema canon landed side-by-side on the "Greatest Films of All Time" list. A coincidence? Perhaps. But nevertheless, while one may forever be the loneliest number, 31 is now officially in the running for broodiest. And speaking of Coppola, a few weeks ago, during an off-air conversation, Carrie casually mentioned that she thinks Francis Ford Coppola is the "greatest living American director." We felt this statement deserved greater unpacking, so this week we hit the record button and talked in detail about it means to be a "uniquely-American" filmmaker.  Then the panelists each offer up their picks for top auteur.

Ep 31: Taxi Driver

On this episode, Lady P is joined by a couple of her warrior friends, Gabe Haggard and Derek Kessler, to discuss Sight and Sound's 17th Greatest Movie of All Time, Akira Kurosawa's SEVEN SAMURAI.  Then the trio wages glorious battle over what they consider to be the true purpose of film. Gabe says film should be exclusively a narrative medium, but Lady P disagrees. Sufficed to say, it gets ugly. In the end, scores are settled, blood is shed, honor is lost, but at least they've definitely settled the matter...definitely. Then they finish off with a few final notes of positivity.   Here's Gabe's  Here's Derek's Here's Lady P's 

On this episode, Lady P is joined by a couple of her warrior friends, Gabe Haggard and Derek Kessler, to discuss Sight and Sound's 17th Greatest Movie of All Time, Akira Kurosawa's SEVEN SAMURAI.  Then the trio wages glorious battle over what they consider to be the true purpose of film. Gabe says film should be exclusively a narrative medium, but Lady P disagrees. Sufficed to say, it gets ugly. In the end, scores are settled, blood is shed, honor is lost, but at least they've definitely settled the matter...definitely. Then they finish off with a few final notes of positivity. Here's <a href="http://scriptnotes.libsyn.com/" rel="nofollow" target="_blank">Gabe's </a> Here's <a href="http://www.yelp.com/la" rel="nofollow" target="_blank">Derek's</a> Here's <a href="http://thefilmexperience.net/blog/tag/a-year-with-kate" rel="nofollow" target="_blank">Lady P's</a>

Seven Samurai

Charles Burnett

It's a cinematic tour through The City of Angels, and Lady P's at the wheel. Riding shotgun is film scholar, and Professor Emeritus from Indiana University, James Naremore. Together they're going to try to navigate the twists and turns of the 28th movie on the Sight and Sound Critics' Poll, David Lynch's MULHOLLAND DRIVE. James wrote about Lynch's nightmare-ish take on the Hollywood fantasy in the most recent edition of his landmark book, More Than Night: Film Noir in Its Contexts. James revisits his analysis of the film, and talks about why he feels justified in calling MULHOLLAND DRIVE a "Neo-Noir". Next up, they talk about a couple of films with a very different take on life in Los Angeles. James is currently writing a book on Charles Burnett. Burnett is an African American filmmaker, best known for his vérité-style depictions of everyday life in Watts--an impoverished neighborhood in South Central Los Angeles. James gives listeners a primer on Burnett's work. He covers everything from his earliest films (KILLER OF SHEEP), to his most recent short-form and documentary projects. Finally, when the end comes--as it must to all podcasts--they finish off the episode with a preview of James' upcoming revision of his 1978 book, The Magic World of Orson Welles.

It's a cinematic tour through The City of Angels, and Lady P's at the wheel. Riding shotgun is film scholar, and Professor Emeritus from Indiana University, James Naremore. Together they're going to try to navigate the twists and turns of the 28th movie on the Sight and Sound Critics' Poll, David Lynch's MULHOLLAND DRIVE. James wrote about Lynch's nightmare-ish take on the Hollywood fantasy in the most recent edition of his landmark book, <a href="http://www.amazon.com/More-than-Night-Film-Contexts/dp/0520254023" rel="nofollow" target="_blank">More Than Night: Film Noir in Its Contexts</a>. James revisits his analysis of the film, and talks about why he feels justified in calling MULHOLLAND DRIVE a "Neo-Noir". Next up, they talk about a couple of films with a very different take on life in Los Angeles. James is currently writing a book on Charles Burnett. Burnett is an African American filmmaker, best known for his vérité-style depictions of everyday life in Watts--an impoverished neighborhood in South Central Los Angeles. James gives listeners a primer on Burnett's work. He covers everything from his earliest films (KILLER OF SHEEP), to his most recent short-form and documentary projects. Finally, when the end comes--as it must to all podcasts--they finish off the episode with a preview of James' upcoming revision of his 1978 book, The Magic World of Orson Welles.

Mulholland Drive & Charles Burnett

Lady P is joined by a pair of NYC film critics: Caroline Golum and Matt Prigge, to discuss the 69th (nice!) film on the Sight and Sound International Critics Poll: David Lynch's 1986 release, Blue Velvet. They talk about Lynch's manichean universe and his use of pastiche to emphasize his themes. Due respect is paid to the universally beloved artists that Lynch references in his work including Bobby Vinton, Roy Orbison, and Laura Dern.  The Blue Velvet discussion then segues into Lynch's recent television output, the Twin Peaks reboot,  which leads to a discussion on auteurist television, and why certain directions can naturally transition between mediums. They then offer a wishlist of directors that they'd like to see run their own a show. 

Lady P is joined by a pair of NYC film critics: Caroline Golum and Matt Prigge, to discuss the 69th (nice!) film on the Sight and Sound International Critics Poll: David Lynch's 1986 release, Blue Velvet. They talk about Lynch's manichean universe and his use of pastiche to emphasize his themes. Due respect is paid to the universally beloved artists that Lynch references in his work including Bobby Vinton, Roy Orbison, and Laura Dern.  The Blue Velvet discussion then segues into Lynch's recent television output, the Twin Peaks reboot,  which leads to a discussion on auteurist television, and why certain directions can naturally transition between mediums. They then offer a wishlist of directors that they'd like to see run their own a show.

Ep 69: Blue Velvet and Auteurists Television

We've reached the final entry in our first Bette Davis series (first of many if Lady P has anything to say about it). Our previous 'All About Bette' episodes covered Davis' turns in All About Eve (1950) and The Little Foxes (1941). Rounding out this glorious trifecta is the sister act that would come to define the latter, post-Studio System, half of Bette's career: What Ever Happened to Baby Jane? (1962).  Largely due to the infamous feud between the film's two larger than life stars, Bette Davis and Joan Crawford, Baby Jane is now primarily remembered as a campy novelty film. We at Flixwise are certainly no strangers to the art of playful exaggeration (See our Johnny Guitar episode). However, in the case of Baby Jane, we want to make sure that film's reputation as drag queen fodder, hasn't overshadowed the abject terror and sadness at the heart of the story. We also want to highlight the film's great formal achievements. Director/referee Robert Aldrich does a masterful job creating a sense of claustrophobia and dread, while also guiding two of Hollywood's biggest leading ladies through performances that would, for better or for worse, cement their respective personas for future generations. For our previous 'All About Bette' entries Kristen Sales and Anne Marie Kelly gave pitches for why their favorite Davis film should be included in the Flixwise canon. Now it's Lady P's turn to convince skeptics, Kristen and Anne Marie that this perennial horror classic is worthy of the Flixwise Favorite's list. Will she succeed? Pull up a chair and give it listen to find out.

We've reached the final entry in our first Bette Davis series (first of many if Lady P has anything to say about it). Our previous 'All About Bette' episodes covered Davis' turns in <a href="http://flixwise.com/2016/09/06/ff-25-all-about-eve/" rel="nofollow" target="_blank">All About Eve (1950)</a> and <a href="http://flixwise.com/2016/09/20/ff-26-the-little-foxes/" rel="nofollow" target="_blank">The Little Foxes (1941)</a>. Rounding out this glorious trifecta is the sister act that would come to define the latter, post-Studio System, half of Bette's career: What Ever Happened to Baby Jane? (1962).  Largely due to the infamous feud between the film's two larger than life stars, Bette Davis and Joan Crawford, Baby Jane is now primarily remembered as a campy novelty film. We at Flixwise are certainly no strangers to <a href="http://faculty.georgetown.edu/irvinem/theory/Sontag-NotesOnCamp-1964.html" rel="nofollow" target="_blank">the art of playful exaggeration</a> (See our <a href="http://flixwise.com/2015/06/09/flixwise-favorites-johnny-guitar/" rel="nofollow" target="_blank">Johnny Guitar</a> episode). However, in the case of Baby Jane, we want to make sure that film's reputation as <a href="https://www.youtube.com/watch?v=6Akv_gZTtWk" rel="nofollow" target="_blank">drag queen fodder</a>, hasn't overshadowed the abject terror and sadness at the heart of the story. We also want to highlight the film's great formal achievements. Director/referee Robert Aldrich does a masterful job creating a sense of claustrophobia and dread, while also guiding two of Hollywood's biggest leading ladies through performances that would, for better or for worse, cement their respective personas for future generations. For our previous 'All About Bette' entries Kristen Sales and Anne Marie Kelly gave pitches for why their favorite Davis film should be included in the Flixwise canon. Now it's Lady P's turn to convince skeptics, Kristen and Anne Marie that this perennial horror classic is worthy of the Flixwise Favorite's list. Will she succeed? Pull up a chair and give it listen to find out.

FF 27: What Ever Happened to Baby Jane

James Naremore

We are so pleased and honored to welcome back to the show, writer and film historian, Professor James Naremore. As is the author of the seminal book on the film noir genre -- More Than Night: Film Noir and Its Contexts -- Naremore is more than equipped to tackle today's Sight and Sound entry: Chinatown (1974). Naremore, along with host, Lady P, discusses how the film creates an amalgam of Classic Noir homages along with an infusion of Nixon-era paranoia and cynicism. Lady P and Naremore also talk about how well the style and themes of the film hold up today, and they make a series of feeble excuses for why they are able to still enjoy the film in spite of the obvious parallels between the film's villain, John Huston's Noah Cross, and the offscreen criminal behavior of the film's director, Roman Polanski. To justify her love of the movie, Lady P makes an attempt to reclaim Chinatown as a Faye Dunaway film. Let us know if you buy into that reasoning in the comments below.

We are so pleased and honored to welcome back to the show, writer and film historian, Professor James Naremore. As is the author of the seminal book on the film noir genre -- More Than Night: Film Noir and Its Contexts -- Naremore is more than equipped to tackle today's Sight and Sound entry: Chinatown (1974). Naremore, along with host, Lady P, discusses how the film creates an amalgam of Classic Noir homages along with an infusion of Nixon-era paranoia and cynicism. Lady P and Naremore also talk about how well the style and themes of the film hold up today, and they make a series of feeble excuses for why they are able to still enjoy the film in spite of the obvious parallels between the film's villain, John Huston's Noah Cross, and the offscreen criminal behavior of the film's director, Roman Polanski. To justify her love of the movie, Lady P makes an attempt to reclaim Chinatown as a Faye Dunaway film. Let us know if you buy into that reasoning in the comments below.

Ep. 78: Chinatown with James Naremore

On today's show, Lady P is joined by co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, to talk about the 48th film on the Sight and Sound Critics Poll, Gillo Pontecorvo's 1966 feature: The Battle of Algiers. In the years since its release Algiers has become infamous more for its use as a training video rather than its cinematic legacy. It's been cited by everyone from The Black Panthers to the United States Military as a blueprint for both engaging in and combatting guerrilla-style warfare. However, our panel attempts to separate Pontecorvo's initial vision from the thorny political aftermath by focusing more on the film's cinematic sensibilities and directorial choices. We talk about whether Algiers deserves more attention for its artistry, or if it should primary be remembered as an effective piece of agitprop. Then, for the second topic, the panel uses the depictions of bloodshed in The Battle of Algiers as a jumping off point for a wider discussion about violence in cinema. We know what you're thinking: "If you're so against violence, why do you insist on beating this dead horse." While it's true that every time a certain notable genre-masher/foot-fetishist releases a movie we get a fresh flurry of think piece about the wider repercussions of movie violence. But for our discussion we're going to leave the hand-wringing and pearl-clutching to the experts, and talk about instances where we think violence was used effectively. And in case you're wondering, yes, Mr. Tarantino does come up.

On today's show, Lady P is joined by co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, to talk about the 48th film on the Sight and Sound Critics Poll, Gillo Pontecorvo's 1966 feature: The Battle of Algiers. In the years since its release Algiers has become infamous more for its use as a training video rather than its cinematic legacy. It's been cited by everyone from <a href="http://www.slate.com/articles/arts/culturebox/2003/08/the_pentagons_film_festival.html" rel="nofollow" target="_blank">The Black Panthers</a> to the <a href="http://www.washingtonpost.com/wp-dyn/articles/A45136-2003Aug25.html" rel="nofollow" target="_blank">United States Military</a> as a blueprint for both engaging in and combatting guerrilla-style warfare. However, our panel attempts to separate Pontecorvo's initial vision from the thorny political aftermath by focusing more on the film's cinematic sensibilities and directorial choices. We talk about whether Algiers deserves more attention for its artistry, or if it should primary be remembered as an effective piece of agitprop. Then, for the second topic, the panel uses the depictions of bloodshed in The Battle of Algiers as a jumping off point for a wider discussion about violence in cinema. We know what you're thinking: "If you're so against violence, why do you insist on beating this dead horse." While it's true that every time a certain notable <a href="https://www.youtube.com/watch?v=mQwRUoHbEIY" rel="nofollow" target="_blank">genre-masher/foot-fetishis</a>t releases a movie we get a fresh flurry of think piece about the wider repercussions of movie violence. But for our discussion we're going to leave the hand-wringing and pearl-clutching to the experts, and talk about instances where we think violence was used effectively. And in case you're wondering, yes, Mr. Tarantino does come up.

Ep. 48: The Battle of Algiers & Violence in Movies

It's official! We've now produced and published 10 episodes, plus 1 bonus episode. They said it couldn't be done. They said we'd lose interest, they said we give up, They said, "What are you thinking? Nobody watches classic movies anymore."  (Actually, they might still say that. Haters gonna hate) However, let the record show, we have crossed the threshold between passing phase to legitimate hobby.  To celebrate our achievement, we had our friend Julianne Martin make a special appearance on the show. Listeners will remember Julianne from her takedown of Sunrise: A Song of Two Humans. Find out how well Fellini fares when the Flixwisers take on Sight and Sound's 10th Greatest Movie of All Time: 8 1/2. Early adopters of the Flixwise Podcast will recall that on the very first episode, Lady P mentions that  8 1/2 is one of her favorite movies. However, she also mentions that 8 1/2 doesn't have the same emotional resonance that it had when she was younger. This got her to thinking about how and why our tastes change as we get older. So for the second topic, the panelists offer up a few examples of pieces of pop culture they once loved, but are no longer as infatuated with. Conversely, they talk about pieces of culture that they once rejected out of youthful ignorance, but have since come around to liking.  Then they close the show with a final note of positivity Here's Gabe's (kinda) Here's Julianne's Here's Lady P's

It's official! We've now produced and published 10 episodes, plus 1 bonus episode. They said it couldn't be done. They said we'd lose interest, they said we give up, They said, "What are you thinking? Nobody watches classic movies anymore."  (Actually, they might still say that. Haters gonna hate) However, let the record show, we have crossed the threshold between passing phase to legitimate hobby.  To celebrate our achievement, we had our friend Julianne Martin make a special appearance on the show. Listeners will remember Julianne from her takedown of<a href="http://flixwise.com/2014/04/15/episode-5-sunrise/" rel="nofollow" target="_blank"> Sunrise: A Song of Two Humans</a>. Find out how well Fellini fares when the Flixwisers take on Sight and Sound's 10th Greatest Movie of All Time: 8 1/2. Early adopters of the Flixwise Podcast will recall that on the very first <a href="http://flixwise.com/2014/03/09/episode-1-citizen-kane/" rel="nofollow" target="_blank">episode</a>, Lady P mentions that  8 1/2 is one of her favorite movies. However, she also mentions that 8 1/2 doesn't have the same emotional resonance that it had when she was younger. This got her to thinking about how and why our tastes change as we get older. So for the second topic, the panelists offer up a few examples of pieces of pop culture they once loved, but are no longer as infatuated with. Conversely, they talk about pieces of culture that they once rejected out of youthful ignorance, but have since come around to liking.  Then they close the show with a final note of positivity Here's <a href="http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart" rel="nofollow" target="_blank">Gabe's</a> (kinda) Here's <a href="http://www.thelastofus.playstation.com/" rel="nofollow" target="_blank">Julianne's</a> Here's<a href="http://www.totallykate.com/" rel="nofollow" target="_blank"> Lady P's</a>

Episode 10: Fellini's 8 1/2

On today's show, Monica Castillo, contributor for RogerEbert.com, IBTimes, and whole host of other prestigious publications, makes her debut appearance on our little podcast. She's joining Lady P and Martin Kessler for a discussion about the 43rd film on the Sight and Sound Critic's Poll, Jean-Luc Godard's 1965 feature PIERROT LE FOU. This is Godard's third appearance on the S&amp;S list - the first two being BREATHLESS (#13)  and LE MEPRIS (#21). The panelists discuss the ways in which Godard uses PIERROT LE FOU to comment on his past achievements, while still attempting to tackle more contemporary political subject matter. And speaking of contemporary subject matter, the 88th Academy Awards Ceremony is coming up on Sunday, Feb 28th. For our second topic, we're taking a break from our usual cinema history analysis to talk about the annual awards show - though one could make the case that the Oscars are more of a relic of movie history than any of the films we discuss on this show. The Academy has come under fire in recent years for it's lack of diversity and its myopic focus on films that appeal largely to an older white audience. They've recently taken steps to try and bring a new crop of younger people of varying ethnicities into the fold, but will that be enough to renew interest in the show? They discuss.

On today's show, Monica Castillo, contributor for <a href="http://RogerEbert.com" rel="nofollow" target="_blank">RogerEbert.com</a>, IBTimes, and whole host of other prestigious publications, makes her debut appearance on our little podcast. She's joining Lady P and Martin Kessler for a discussion about the 43rd film on the Sight and Sound Critic's Poll, Jean-Luc Godard's 1965 feature PIERROT LE FOU. This is Godard's third appearance on the S&amp;S list - the first two being <a href="http://flixwise.com/2014/06/24/episode-13-breathless/" rel="nofollow" target="_blank">BREATHLESS (#13) </a> and <a href="http://flixwise.com/2014/12/02/contempt/" rel="nofollow" target="_blank">LE MEPRIS (#21)</a>. The panelists discuss the ways in which Godard uses PIERROT LE FOU to comment on his past achievements, while still attempting to tackle more contemporary political subject matter. And speaking of contemporary subject matter, the 88th Academy Awards Ceremony is coming up on Sunday, Feb 28th. For our second topic, we're taking a break from our usual cinema history analysis to talk about the annual awards show - though one could make the case that the Oscars are more of a relic of movie history than any of the films we discuss on this show. The Academy has come under fire in recent years for it's lack of diversity and its myopic focus on films that appeal largely to an older white audience. They've recently taken steps to try and bring a new crop of younger people of varying ethnicities into the fold, but will that be enough to renew interest in the show? They discuss.

Ep. 43: Pierrot Le Fou & The 2016 Oscars

On today's show, Anne Marie Kelly and Carrie Specht join Lady P to talk about the 31st feature on the Sight and Sound Critics Poll: Francis Ford Coppola's THE GODFATHER PT II. Regular listeners will recall that Lady P was less than totally ecstatic about the previous GODFATHER entry; and any criticism of THE GODFATHER series qualifies as heresy amongst some cinephiles--movie people have ways of taking care of heretics. Find out if Lady P's changed her tune for Part II, or if she'll soon find herself on a moonlit boating trip. And since GODFATHER PT II is the only sequel on the Sight and Sound Poll, the panelists take the opportunity to talk about Hollywood's recent proliferation of series and franchises. Then they each list some their favorite movie sequels.

On today's show, Anne Marie Kelly and Carrie Specht join Lady P to talk about the 31st feature on the Sight and Sound Critics Poll: Francis Ford Coppola's THE GODFATHER PT II. Regular listeners will recall that Lady P was less than totally ecstatic about the previous <a href="http://flixwise.com/2014/11/18/the-godfather/" rel="nofollow" target="_blank">GODFATHER</a> entry; and any criticism of THE GODFATHER series qualifies as heresy amongst some cinephiles--movie people have ways of taking care of heretics. Find out if Lady P's changed her tune for Part II, or if she'll soon find herself on a moonlit boating trip. And since GODFATHER PT II is the only sequel on the Sight and Sound Poll, the panelists take the opportunity to talk about Hollywood's recent proliferation of series and franchises. Then they each list some their favorite movie sequels.

Flixwise 31: The Godfather Pt II

We are extremely honored to welcome back to the show renowned author and film historian, James Naremore.  He's joining Lady P in covering two of the films tied for the 53rd spot on the Sight and Sound Critics Poll - both of which happen to be directed by Alfred Hitchcock. First up in our Hitch 'Double Feature', the Master of Suspense's 1954 thriller, Rear Window. If you've been following our show for a while, you know that both James and Lady P adore Rear Window co-star, Thelma Ritter. You'll recall that they expounded on her virtues at length in the Journey to Italy episode. If that episode was any indication, expect the Thelma Ritter hour, with a smattering of other details about Jimmy Stewart and the Masculine Gaze thrown in for good measure. Then, for the second feature, they go on a high stakes jaunt around the Eastern United States, with an in-depth analysis of Hitchcock's 1959 feature, North by Northwest. They talk about how a film with a plot  so nonsensical can possibly be considered one of the greatest of all time. Don't worry, there's no contrarianism or hot takes. North by Northwest is an unmistakable masterpiece. The discussion focuses on how the film's shagginess plays to its strengths - namely its sense of humor and over-the-top visuals. Finally, they wrap things up with a brief discussion on James Naremore's recent projects, including his commentary track for the Criterion edition of Chimes at Midnight.

We are extremely honored to welcome back to the show renowned author and film historian, James Naremore.  He's joining Lady P in covering two of the films tied for the 53rd spot on the Sight and Sound Critics Poll - both of which happen to be directed by Alfred Hitchcock. First up in our Hitch 'Double Feature', the Master of Suspense's 1954 thriller, Rear Window. If you've been following our show for a while, you know that both James and Lady P adore Rear Window co-star, Thelma Ritter. You'll recall that they expounded on her virtues at length in the <a href="http://flixwise.com/2016/02/09/ep-41-journey-to-italy-favorite-character-actors/" rel="nofollow" target="_blank">Journey to Italy</a> episode. If that episode was any indication, expect the Thelma Ritter hour, with a smattering of other details about Jimmy Stewart and the <a href="http://www.composingdigitalmedia.org/f15_mca/mca_reads/mulvey.pdf" rel="nofollow" target="_blank">Masculine Gaze</a> thrown in for good measure. Then, for the second feature, they go on a high stakes jaunt around the Eastern United States, with an in-depth analysis of Hitchcock's 1959 feature, North by Northwest. They talk about how a film with a plot  so nonsensical can possibly be considered one of the greatest of all time. Don't worry, there's no contrarianism or hot takes. North by Northwest is an unmistakable masterpiece. The discussion focuses on how the film's shagginess plays to its strengths - namely its sense of humor and over-the-top visuals. Finally, they wrap things up with a brief discussion on James Naremore's recent projects, including his commentary track for the Criterion edition of <a href="https://www.criterion.com/films/28756-chimes-at-midnight" rel="nofollow" target="_blank">Chimes at Midnight</a>.

Ep 53: Rear Window & North by Northwest

Lady P's partying it up, Italian style, with fellow panelists Martin Kessler and Kristen Sales. Today's 39th Sight and Sound entry is Federico Fellini's LA DOLCE VITA. The film stars Marcello Mastroianni as a young intellectual type also coincidentally (or not) named Marcello. Throughout the course of the film we watch as Marcello attends parties, embarks on ill-fated love affairs, and cruises around the countryside. Fellini allows the viewer to indulge in all the fast car/faster women cliches, but keeps the viewer at an ironic distance, purposefully undercutting the glamour of his subjects. This irony, which is weaved throughout the film, serves to underline the film's central question: Is the sweet life really all that sweet? The panel mulls over that question, as well as whether or not that question is compelling enough to earn LA DOLCE VITA the title of 39th Greatest Film Of All Time. Then, in case you needed further proof that rich, good-looking people are just as miserable as the rest of us, our second topic covers ways that extravagant wealth is depicted onscreen. The chasing of money has long been a fascination for American movie audiences. Our canon is littered with films about the folly of striving for financial success (see Citizen Kane, The Godfather, The Wolf of Wall Street, etc.) The panel talks about Hollywood's obsession with millionaires, and compares it with how European cinema deals with its moneyed elites. 

Lady P's partying it up, Italian style, with fellow panelists Martin Kessler and Kristen Sales. Today's 39th Sight and Sound entry is Federico Fellini's LA DOLCE VITA. The film stars Marcello Mastroianni as a young intellectual type also coincidentally (or not) named Marcello. Throughout the course of the film we watch as Marcello attends parties, embarks on ill-fated love affairs, and cruises around the countryside. Fellini allows the viewer to indulge in all the fast car/faster women cliches, but keeps the viewer at an ironic distance, purposefully undercutting the glamour of his subjects. This irony, which is weaved throughout the film, serves to underline the film's central question: Is the sweet life really all that sweet? The panel mulls over that question, as well as whether or not that question is compelling enough to earn LA DOLCE VITA the title of 39th Greatest Film Of All Time. Then, in case you needed further proof that rich, good-looking people are just as miserable as the rest of us, our second topic covers ways that extravagant wealth is depicted onscreen. The chasing of money has long been a fascination for American movie audiences. Our canon is littered with films about the folly of striving for financial success (see Citizen Kane, The Godfather, The Wolf of Wall Street, etc.) The panel talks about Hollywood's obsession with millionaires, and compares it with how European cinema deals with its moneyed elites.

Ep 39: La Dolce Vita

On today's show Lady P and Gabe Haggard are joined by filmmaker and transcendental style enthusiast Tad Chamberlain, to chat about the 16th Greatest Movie of All Time, Robert Bresson's AU HASARD BALTHAZAR. Listen up to find out if our panelist were as touched by the suffering of the poor donkey, Balthazar, as the Sight and Sound critics. They follow up their BALTHAZAR discussion with an analysis of the 2014 blockbuster SNOWPIERCER. While BALTHAZAR and SNOWPIERCER may seem completely unrelated, there is in fact a very, very strong connection between the two films. Take a look!  Then they wrap everything up with a their final notes of positivity. Here's Gabe's Here's Tad's Here's Lady P's

On today's show Lady P and Gabe Haggard are joined by filmmaker and <a href="http://www.amazon.com/Transcendental-Style-Film-Capo-Paperback/dp/0306803356" rel="nofollow" target="_blank">transcendental style</a> enthusiast Tad Chamberlain, to chat about the 16th Greatest Movie of All Time, Robert Bresson's AU HASARD BALTHAZAR. Listen up to find out if our panelist were as touched by the suffering of the poor donkey, Balthazar, as the Sight and Sound critics. They follow up their BALTHAZAR discussion with an analysis of the 2014 blockbuster SNOWPIERCER. While BALTHAZAR and SNOWPIERCER may seem completely unrelated, there is in fact a very, very strong connection between the two films. <a href="http://www.youtube.com/watch?v=V7q8ZpkzwLo" rel="nofollow" target="_blank">Take a look!</a> Then they wrap everything up with a their final notes of positivity. Here's <a href="https://www.google.com/+/learnmore/hangouts/" rel="nofollow" target="_blank">Gabe's</a> Here's <a href="http://www.imdb.com/title/tt1441395/" rel="nofollow" target="_blank">Tad's</a> Here's <a href="http://www.youtube.com/watch?v=fBITGyJynfA" rel="nofollow" target="_blank">Lady P's</a>

Au Hasard Balthazar 

On today's show, we're touring around the dystopic Paris of the future featured in Jacques Tati's 1967 film, PLAYTIME. Joining host, Lady P, and Flixwise co-producer, Martin Kessler, to talk Tati are two stalwarts of the classic film blogosphere: David Blakeslee of Criterion Reflections and The Eclipse Viewer podcast, and Aaron West of Criterion Blues and the Criterion Close-Up podcast. Together, the panel marvels at the immaculately constructed city that Tati had built from scratch, and they laugh recounting how Tati's famous Hulot character bumbles his way through this world, leaving a path of destroyed bourgeois nonsense in his wake. PLAYTIME is one of the very few comedies in the Sight and Sound Top 50 - it's sitting pretty (ie barely functional) at #43. But in typical critic fashion, Sight and Sound has awarded a comedy that also works as a pointed social satire. As audience members, we wonder why some of the laughs get stuck in our throats. Perhaps it's because some of those laughs are at our expense. Then, since we have two bonafide Criterion aficionados in the house, we thought we'd take this opportunity to talk about The Criterion Collection. Digital streaming services have become more and more convenient and ubiquitous in recent years. So why then do folks like David and Aaron continue not only to collect, but also write and podcast about Criterion. We discuss the enduring appeal of the Criterion brand, and whether or not physical media will continue to have a following in this increasingly cloud based world.

On today's show, we're touring around the dystopic Paris of the future featured in Jacques Tati's 1967 film, PLAYTIME. Joining host, Lady P, and Flixwise co-producer, Martin Kessler, to talk Tati are two stalwarts of the classic film blogosphere: David Blakeslee of <a href="http://criterionreflections.blogspot.com/" rel="nofollow" target="_blank">Criterion Reflections</a> and <a href="http://criterioncast.com/category/podcast/eclipse-viewer" rel="nofollow" target="_blank">The Eclipse Viewer</a> podcast, and Aaron West of <a href="http://criterionblues.com/" rel="nofollow" target="_blank">Criterion Blues</a> and the <a href="http://criterioncast.com/podcast/criterion-close-up/episode-30-podcast-about-podcasting" rel="nofollow" target="_blank">Criterion Close-Up</a> podcast. Together, the panel marvels at the immaculately constructed city that Tati had built from scratch, and they laugh recounting how Tati's famous Hulot character bumbles his way through this world, leaving a path of destroyed bourgeois nonsense in his wake. PLAYTIME is one of the very few comedies in the Sight and Sound Top 50 - it's sitting pretty (ie barely functional) at #43. But in typical critic fashion, Sight and Sound has awarded a comedy that also works as a pointed social satire. As audience members, we wonder why some of the laughs get stuck in our throats. Perhaps it's because some of those laughs are at our expense. Then, since we have two bonafide Criterion aficionados in the house, we thought we'd take this opportunity to talk about The Criterion Collection. Digital streaming services have become more and more convenient and ubiquitous in recent years. So why then do folks like David and Aaron continue not only to collect, but also write and podcast about Criterion. We discuss the enduring appeal of the Criterion brand, and whether or not physical media will continue to have a following in this increasingly cloud based world.

Ep. 43: Playtime & Criterion Love

On today's show, we're rounding out the Sight and Sound Top 50 with Kenji Mizoguchi's ghost story, Ugetsu Monogatari ('53). Notable for both its stunning long takes and its condemnation of the oppressive patriarchal values of Feudal Japan, Ugetsu has become the quintessential Mizoguchi text. Flixwise co-producer, Martin Kessler, and Eclipse Viewer host, David Blakeslee, join Lady P to discuss why they think Ugetsu's haunting tale of the destructive power of masculine pride managed to surpass both Sansho the Bailiff and Life of Oharu to become the highest ranking Mizoguchi film on the Sight and Sound list. For the second topic, the gang talks cinema's greatest ghost stories. The panelist surmise that part of Ugetsu's enduring popularity is its supernatural element. That said, not all movie specters are as haunting as Machiko Kyo's Lady Wakasa. The panel talks about what kinds of ghosts make for effective cinematic renderings (and they try to figure out why movie ghosts have a thing for pottery). Then each panelists takes a turn talking about their personal favorite spirits from the great beyond.

On today's show, we're rounding out the Sight and Sound Top 50 with Kenji Mizoguchi's ghost story, Ugetsu Monogatari ('53). Notable for both its stunning long takes and its condemnation of the oppressive patriarchal values of Feudal Japan, Ugetsu has become the quintessential Mizoguchi text. Flixwise co-producer, Martin Kessler, and <a href="http://criterioncast.com/category/podcast/eclipse-viewer" rel="nofollow" target="_blank">Eclipse Viewer</a> host, David Blakeslee, join Lady P to discuss why they think Ugetsu's haunting tale of the destructive power of masculine pride managed to surpass both Sansho the Bailiff and Life of Oharu to become the highest ranking Mizoguchi film on the Sight and Sound list. For the second topic, the gang talks cinema's greatest ghost stories. The panelist surmise that part of Ugetsu's enduring popularity is its supernatural element. That said, not all movie specters are as haunting as Machiko Kyo's Lady Wakasa. The panel talks about what kinds of ghosts make for effective cinematic renderings (and they try to figure out why movie ghosts have a thing for <a href="http://www.imdb.com/title/tt0099653/" rel="nofollow" target="_blank">pottery</a>). Then each panelists takes a turn talking about their personal favorite spirits from the great beyond.

Ep. 50: Ugetsu & Cinema's Greatest Ghost Stories

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