School Of Movies

[School of Movies 2026] One of the greatest thrillers of the 20th Century, we recorded this show on the 30th Anniversary of Michael Mann's crime epic. This is most definitely NOT a film to watch in twenty-minute chunks on your phone at work! It is a masterfully crafted presentation of the tension between professionalism and emotion, punctuated with ferocious gunfire and transcendant, eliptical music. It is a one-time head-to-head between two of the most celebrated actors of that age, Godfather veterans Al Pacino and Robert DeNiro as a detective and a thief who keep themselves at peak focus to the detriment of their personal lives. It is lightning in a bottle, the kind of career-peak for all involved that you may not instantly adore, but it will linger nonetheless, and whenever you find yourself in a silver-blue pre-sunrise, it will come back to you.

[School of Movies 2025] It has been ten years since Disney relaunched Star Wars in the cinema, delivering what felt like a special globally-unifying grand, historical event... that a bunch of Star wars fans complained felt too much like the 1977 original special globally-unifying grand, historical event. J.J. Abrams has proved over the years that he is far better at restarting big, exciting new worlds off with a bang (as he did with Mission Impossible and Star Trek before this) rather than somehow closing them out with anything approaching that same level of satisfaction (as with Lost and The Rise of Skywalker). But after all these years with all the Star Wars movies and TV and books and comics and video games that have played out since then, is The Force Awakens STILL my unlikely favourite of the whole series that has been with me since my life began in 1980? Yes. Put simply, this film transcends its own oversimplifications to become a joyful celebration of Star Wars, retreading many previous paths with a he

[School of Movies 2025] Jim Carrey plays Ebeneezer Scrooge in this unsettling adaptation (sometimes intentionally so, sometimes not). Here, we get to talk about what was possible in this performance capture version that has been done nowhere else, making it strange and special and awkward and precious. Continuing our season of going back to the start, we resurrected the Robert Zemekis incarnation of the perennial yuletide Dickens classic (which we covered back in December 2011 in conjunction with Muppet Christmas Carol... the froggy one we subsequently revisited in 2022). This is also part of an ongoing series analysing the five very uneven performance capture animation films of Image Movers Digital, starting with The Polar Express in 2004, graduating to Monster House in 2006 and closing out with the death-rattle of Mars Needs Moms in 2011. All three of those will be featured on our After School Club over the next few weeks. The remaining oddball adaptation of Beowulf from 2007 is our personal favourite of th

[School of Movies 2025] This is another revisit to one of the first films we ever covered, way back on Digital Gonzo at Christmas in 2010. The quintessential Holiday movie for those who want violence and swearing with their jingle bells. But if you go back and watch all five films (the final low-point didn't even exist when we covered this before) you will find some exceptional strengths in this one alone that all relate to precisely how it was constructed. A creative team that didn't realise they were all at the top of their game, impeccable cinematography, editing, pacing, a red hot screenplay that fleshed out a rich supporting cast, a nervy, brooding score that builds and crescendos along with the perfect pacing, and two actors in the antagonistic lead roles of John and Hans who were hungry to prove themselves and turned in the most memorable big-screen performances on their first try. But also, it had something the others lack, as did almost all other action thrillers of the era; The story is about a brok

[School of Movies 2025] We return to the format of the first film, trapped in a specific, focused time period, lovingly recreated for modern audiences. The big obstacles to be overcome are both based on the ticking clock point-of-no-return, and are unexpectedly and deeply personal for our protagonist. This one is Emmet's movie. While Marty still has to learn a harsh lesson about whether other people think he's chicken or not, he is on a rescue mission and this third film puts Doc Brown front and centre. This is because being saved from temporal exile and murder-by-Tannen externally pales in comparison to the urgency in which Emmett must save himself internally, philosophically, and in key regard to his until-today strained relationship with the rest of the human race beyond Marty. Christopher Lloyd brings it, in this sweetly tragic, broken-and-mended love story through time, opposite the luminous Mary Steenburgen as doomed schoolmistress Clara Clayton in the Hill Valley of 1885. This is a bittersweet goodbye

[School of Movies 2025] A sequel where the plot is hugely influenced by one of the original cast members playing hardball for a higher fee and getting left off the project should not be this great, and yet here we are. Likewise, the whole first act being set in the (then) faraway future of 2015 was almost entirely only there to fulfil promises from the end of the first film (even if Marty and Jennifer being in the timeline twice actually doesn't even make sense). How is it still wonderful? A second film that utilises time travel to go back to the first from a new angle in such a singular and unique fashion that any subsequent occurrence is shorthand "doing a Back to the Future II", this also presents us with a nightmare dark alternate timeline where a gaudy, dangerous moron becomes so powerful that he pretty much ruins America. Thankfully none of us have to live in THAT reality. Most of all though, of the three films this is the most lively, taking the form of a time-hopping adventure and allowing the two ama

[School of Movies 2025] Teenager from 1985 accidentally winds up in 1955 and meets his parents as teenagers, endangering his very existence. Bob Zemekis and Bob Gale made time travel immense and exhilarating, yet fun, intimate and personal, wisely choosing to focus (in a way that was rare at the time) on the everyboy hero's family relationships. And to illustrate quite how the alchemy of casting and crew was so key, they got several weeks into the original shoot with a completely different actor for Marty McFly. Things only finally clicked into place when Eric Stoltz exited the project and Michael J. Fox entered the scene, simultaneously filming day-shoots of the sit-com Family Ties. Three of the greatest movies ever made, and perennial occupants of my most beloved top spots, Back to the Future, both as a trilogy, and as a stand-alone film is so close to perfect that it can be rounded up to perfect with minimal argument. It has been fifteen years since I first recorded a show on each of these, and more than a

[School of Movies 2025] This is a commissioned episode for our hardworking Pez-loving Discord moderator Mike Hasko. It's a relic from 1993, a period just after the Cold War and not too long before the War on Terror, and the focus is on a middle-aged, white, American, divorced, straight, cis, male office-worker who one boiling hot Los Angeles morning decides that he has had enough. The man known throughout most of the movie by his personalised license plate as D-FENS (played with vigour by Michael Douglas in this memorable and divisive Joel Schumacher joint) steps out of the car he leaves stuck in traffic, walks across a city that is not designed for pedestrian travel, and clashes with everyone who gets in his way. The creative team are really trying to have their cake and eat it by making the protagonist also the antagonist and how much they succeed or fail is very much down to the perception of the viewer. Pull up a breakfast 'Whomelette' and an ice-cold, aggressively-priced can of Coca Cola and we shall gui

[School of Movies 2025] In an unprecedented show-type for us, what we have here began life as an After School Club commission by Tylor Long. Before it could be released it got upgraded to become a full Main Event show after this wonderful, darkly-funny, warm-hearted ghost story got included in our Discord Halloween watch-along. The premise is familiarly bureaucratic, and simple enough for little kids to understand; In the afterlife ghosts must work to scare the living in order to be remembered. The results are what feels like the Taiwanese Beetlejuice, utilising the trappings of horror movies without ever actually being scary. It also seems to have a hell of a lot of things to say about the attention economy in a world where MrBeast is the highest aspirational figure for so many young people. What Dead Talents Society hints at is that there's so much more to existence than just being talked about by strangers. Released straight to streaming in 2024, this movie is ironically virtually unseen and unheard of, bu

[School of Movies 2025] Several years ago, Sharon and I recorded an After School Club on this 1994 film, the botched production of which took the life of its young star Brandon Lee. We were scathing and derisory, having never much liked it (and the awful DVD transfer did it no favours) whilst expressing contempt for director Alex Proyas (I, Robot, Knowing, Gods of Egypt). But this time (actually a year ago on its 30th anniversary) with Willow in tow, in conjunction with watching the appalling remake, we finally took in the 1080p blu ray, and I subsequently brought it to my editing bench to see if I could file off the sharp, jagged corners that bothered us so much and shape it into something worthier of the last screen appearance of the son of Bruce Lee. And wouldn't you know it... now we LOVE The Crow.

[School of Movies 2025] "Adapting is like marrying a widow; You respect the memory of the husband, but at some point you gotta get it on." - Guillermo del Toro. In preparation for GDTs long-awaited take on Frankenstein we delved into some of the most significant onscreen versions of Mary Shelley's book. Taking our cues from the excellent piece by Overly Sarcastic Productions we recruit Gothic enthusiast Willow and together as a family talk you through the story, referencing different movies regarding how closely they cleave to the source novel, and how and why they choose to deviate. Many of the elements people take for granted, lightning, green skin, bolts in the neck, flat head, tendency to talk like a caveman all seem to stem from the 1931 James Whale film and its 1935 sequel starring Borris Karloff and Elsa Lanchester. Turns out that the monster, the creation or as he is sometimes called, "Adam" was, as-written a great deal more complex, something some films have expressed in the interim near-century, nea

[School of Movies 2025] Topping lists for film of the year, this is the first Ryan Coogler-directed film that is his own. Not a comic book adaptation like the Black Panthers, not a legasequel like Creed and not a direct real life account like Fruitvale Station. This one puts Ryan on the map as a genuine visionary and master of his craft. Clarksdale, Mississippi, 1932. Twin brothers, Smoke & Stack (both played by Michael B. Jordan) after returning home with stolen money from gangster shenanigans in Chicago, spend the day setting up an illegal juke joint for the local black community. As the sun goes down and the place starts rocking they attract the attention of some covetous vampires. Rich, bloody, tragic and complex, with otherworldly music, this story will knock your socks off and haunt your dreams. Guest: Brendan Agnew from Cinapse @blcagnew.bsky.social‬ Next Week: Adapting Frankenstein

[School of Movies 2025] An absolutely blistering black revenge fantasy by a white guy at the top of his game. Aside from the name, some repurposed music and the presence of carnage, this has nothing to do with the 1966 Sergio Corbucci spaghetti western, Django. What it does present us with is a deep immersion in the ugliness and inhumanity of slavery in the pre-Civil-War American South from the perspective of a freed black man and an increasingly disturbed German gentleman as they hunt bounties together and ultimately quest to rescue Django's beloved Brunhilda from the hellfire of the Candyland plantation, presided over by the hideous Calvin Candy. The stage is set for some of the most tense standoffs and explosively violent culminations in cinema history. This film is a masterpiece, and has proved wildly influential on my own work. This episode kicks off a Tarantino Season that will be running throughout the next year. We will be covering the films intermittently and out of chronological release order (and w

[School of Everything Else 2025] This is a follow-up to our 2021 episode on the legendary 1998 original PS1 Metal Gear Solid. This time I have brought in Willow to explore the two major PS2 instalments. We begin with what feels like creator Hideo Kojima answering the impossible question as to how to improve upon his first masterpiece (which goes so far beyond the two MSX games as to leave them feeling like prototypes) by trolling the fanboys who wanted a power fantasy. In the most audacious bait-and-switch of all time, our grizzled hero Solid Snake is snatched away from our control, and instead we are slid into the skin-tight bodysuit of blonde-haired rookie, Raiden. What follows is metatextual in the extreme, frequently absurd, occasionally groan-inducing and at times frighteningly prescient. Then we go back in time to the mid-1960s with Snake Eater; an epic Cold War crawl through the Russian jungle. This entry in the series houses one of the most memorable and tragic antagonists in video gaming history, cou

[School of Movies 2025] A bold new direction for the transforming robotic life forms. Fully digitally animated, with no need of Shia Lebeouf or Marky Mark, specifically an animated film theatrically released for the first time since 1986, and for the first time neither Peter Cullen nor Frank Welker is lending their voice to proceedings, despite this being an origin story for both Optimus Prime and Megatron. Instead Chris Hemsworth and Brian Tyree Henry step up to lend unexpectedly Shakespearean weight to the dramatic dissolution of a friendship between these two eternal foes. It's a Transformers movie that's actually about something for a change, rather than just a McGuffin hunt, and Bumblebee won't SHUT UP! Guest: Dan Hoeppner  @MightyMegatron0  of Leftover Army Monsters

[School of Movies 2025] This one came out of nowhere after seven years of development and production at Sony Pictures Animation. Yet after all that, Sony execs had zero faith in its success, so they sold it (along with all sequel rights in perpetuity) to Netflix for the modest budget of $100 million and then a nominal $20m that they could call profit. Then it broke the goddamn internet! For many reasons that we will go into, this one hit just right with a huge audience, and is now the basis for decades worth of sequels and spinoffs and live action remakes. Netflix got more than they could ever have wanted. At the last minute on this commissioned show (many thanks to Chris Finik, Toby Skeels-Jungius, Tylor Long, Holly Dotson, Nama Chibitty and Tripas) we brought in our buddy Ryan who lives in Busan, Korea, and was able to give us a rich cultural perspective on many details that we as westerners completely missed. Huge thank you to Ryan for being so generous with his time. You can find his many adventures and p

[School of Movies 2025] Time for a surprisingly good Marvel that meant a lot to a great deal of people... and still somehow underperformed. This thing was brewing for years, from as far back as the second Disney Plus show, The Falcon and the Winter Soldier, back in Lockdown 2021. The original comic premise was simple enough; have a manipulative scumbag assemble a super-team of disguised villains in the absence of The Avengers. However, this team is only mildly superpowered, and are wildly unbalanced. They're all either prior living weapons or experiments gone badly wrong, most of them have been being used for shady corporate black-ops and all of them are a hot mess, emotionally speaking. Plus the scumbag decides the best thing to do is kill them all off, rather than get their own Avengers. What we end up with is a collection of disturbed individuals who have to work together as a team to deal with a very specific, exceptionally dark situation with one of their own. It is DC's first Suicide Squad movie from 20

[School of Movies] This is three After School Club episodes, trimmed and re-edited into one bumper Main Event show. To begin with you have my initial impressions on what is hopefully the last Ant-Man movie, way back in February 2023, then two and a half years rush by in the blink of an eye and suddenly we're in a different kind of place for both Marvel and the world. Revisiting with Sharon, we delve into how this film was positioned and the bait & switch of the final execution. Then with Captain America 4, AKA The Incredible Hulk 2, we look at a fictional and freshly recast General Thunderbolt Ross who turns into a giant, red rage-monster and smashes up Washington, yet still manages to be not the worst President ever! These are two of the most egregious cases of the MCU aiming for the middle of the road and winding up making something few could love. Fortunately, their future looks brighter, with a couple of bold new entries for 2025. Next Week: Thunderbolts*

[School of Everything Else] For a long while we hoped this would be a project from the makers of WandaVision that would see hidden villain Agatha Harkness trying to make amends for her machinations during the Westview incident. By the end of the second episode she's unrepentant and off on a whole new adventure, romping down The Witches' Road with an uneasy new coven in tow. Like many of you, we drifted away and planned to come back once it was finished, but it wasn't until almost a year after that, when we finally sat down and saw the whole thing... and it's one of our unexpected favourite Marvels. Never would have guessed they would nail this one. That was quite a magic trick. Next Week: Quantumania & Brave New World

[School of Movies 2025] Here is a film we were very excitedly waiting for. We had already been waiting an age for the first Captain Marvel movie in 2019, a project that would have been put into effect had Ike Perlmutter not maintained for years that female-led superhero films wouldn't make money. The thing swept in just over a billion dollars and made a lot of boys on YouTube very cross. Four years and a pandemic later, two Disney Plus monoseries emerged over that time, the celebrated WandaVision, which featured the returning little girl Monica Rambeaux, now an adult and working for Nick Fury, and then there was the underseen Ms. Marvel, featuring the equally long-awaited first appearance of the endlessly charming Kamala Khan. Electing to bring together these three ladies in a spacefaring adventure was neat, however, as you'll hear from our extensive talk on the structure and narrative, nobody was well-served by the direction this took, least of all the excellent director of Candymen (2021), Nia DaCosta. Plus