Tag Archives: Action

Eavesdropping at the Movies: 321 – No Time to Die

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

Daniel Craig’s Bond bids us goodbye in No Time to Die, the culmination of his fifteen-year tenure as the gentleman’s spy – but is it really Bond? The character, and the films in which he appears, have changed in tone and attitude in recent years, in response to several factors, including criticisms of misogyny and the cinematic influence of the Bourne series, all of which results, for José, in a film that while good, just isn’t Bond any more. We consider what makes No Time to Die‘s Bond different, discussing his clothing, the intensity of serialisation from one film to the next, and the Bond girl – and, as Mike suggests, the character’s key change in attitude: Craig’s Bond takes things seriously and is capable of being outraged.

Although we pick at these things, the film is easy to recommend. The action is well-executed, Rami Malek’s villain beautifully played (if lazily written), and the entire affair is hugely enjoyable. Where Bond goes from here, who knows, but No Time to Die is a good send-off for Craig’s incarnation.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 316 – Shang-Chi and the Legend of the Ten Rings

 

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

A new day, a new entry in the MCU, and on this occasion we’re introduced to an entirely new set of characters and mythos: Shang-Chi and the Legend of the Ten Rings fills us in on the history of a young Chinese-American man and his dad’s magical jewellery. Like Doctor Strange and Black Panther, it’s a film whose connection to the wider MCU is light, establishing characters, a setting, and story elements that are certain to tie in to subsequent films, but free of the obligation to prioritise them at the expense of itself. And like Doctor Strange and Black Panther, that freedom works in its favour – it’s of a piece, interesting, pretty, and entertaining.

We discuss the film’s setting in a Chinese-American immigrant context, comparing it in particular to The Farewell and Crazy Rich Asians: all three films dramatise the cultural differences between the new and old country, and the ways in which the younger generation might face challenges in visiting or returning to their ancestral home. Indeed, Awkwafina appears in all three films, and, even in supporting roles, expresses this subject all by herself. We also think about the MCU’s use of the film to address its own past, a character from Iron Man 3 returning: Shang-Chi not only rejects the way the earlier film totally reconfigured him from the comics, but also addresses the Orientalism with which he has historically been associated.

And there’s more besides – Tony Leung’s beautiful, evocative performance of a character that nonetheless doesn’t quite work; the quality of the action, much of it a cut above what we typically expect from Marvel; and that classic Disney trick – if in doubt, animate a cute animal. Shang-Chi and the Legend of the Ten Rings is a promising start to the MCU’s next phase, and we look forward to finding out how its world will integrate down the line, but it’s worth seeing on its own terms.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 314 – Free Guy

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

Ryan Reynolds’ schtick, so irritating for so long, is winning us back, and Free Guy is built around his entire star persona, the self-effacing originality of which José remarks upon. Reynolds plays Guy, a videogame non-player character – an extra, essentially, following a programmed routine within a virtual world – with a lightness and sweetness that defines the tone of the entire film.

We discuss what the film represents about videogame culture and what it discards, the desire for romance that drives the story, what Mike questions about its ending, and more. Free Guy is a charming and entertaining action comedy, whether you know games or not.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 311 – Jungle Cruise

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

Disney has already turned one of its theme park rides into a box office colossus – is it time for another? They seem to think so, bringing us Jungle Cruise, an adaptation of one of the attractions from Disneyland’s grand opening in 1955, the Jungle River Cruise, starring The Rock, who we still refuse to call Dwayne Johnson, Emily Blunt, and Jack Whitehall, as explorers searching for the Tree of Life.

The film gives the ride more than a nod and a wink, The Rock’s character operating a cruise along the Brazilian Amazon, complete with the real ride’s cheesy dad jokes – and there’s effort made to reckon with the attraction’s history of racist representation of indigenous peoples. How successfully it does so is up for debate, the film indulging in its own cultural imperialism – despite being set in Brazil, there isn’t a word of Portuguese spoken; and no matter the purity of their intention, the characters are still in Brazil to take something that doesn’t belong to them.

We also discuss the film’s feminism and sexual politics, as embodied by Blunt’s and Whitehall’s characters, the setting in 1916 and the use of England rather than the USA as a point of origin for its story, and consider who the film is for – Mike sees its relationship with the likes of JumanjiIndiana JonesHook and The Mummy, and is sure that he’d have loved this as a kid as much as he did those. It fails to really explore the poetic potential of some of its ideas, and one too many action scenes feel like they need explosions to keep things exciting, but on the whole, Jungle Cruise is a likeable bit of popcorn fodder with three terrific performances, and chemistry to match.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 309 – The Suicide Squad

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

Apparently dissatisfied with the dismal reception of 2016’s Suicide Squad, DC has bravely decided to vaguely reboot the property with a spot-the-difference name change to The Suicide Squad, probably hoping that this new film will effortlessly send its predecessor down the memory hole. We ask whether it hits that whimsical tone it clearly wants to and discuss imperialism, satire, racism, gazing at males, rats, story structure, excessive volume and more.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 306 – Fast and Furious 9

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

What began twenty years ago as a series of car chases and races has since spiralled out of control into an action behemoth encompassing ten films, a TV series, videogames, and theme park attractions. But for the spinoff film Hobbs & ShawFast and Furious 9 is Mike’s introduction to the Fast & Furious series, with José having seen some of the previous instalments, but not all.

We discuss the soap opera storytelling, the way it expresses humour – what it thinks are jokes are really just aggressive, macho posturing – and what it thinks of intelligence, José contending that it represents the worst of American culture in privileging stupidity and making it victorious, with Mike offering a complementary drop of nuance, arguing that it does at least believe that its heroes are smart… but it’s a stupid person’s idea of what being smart is. Core to the film’s failings is its almost complete lack of irony, only the car-turned-space shuttle indicating that the film has any understanding of comedy and how absurd it all is.

There’s no recommending Fast and Furious 9, its shortcomings exposed by the competence of almost every other action blockbuster (even Hobbs & Shaw, which had its own problems, but was a pleasant surprise). On the basis of this, Mike’s curiosity has been sated, and he’s happy to continue avoiding this godforsaken series for the rest of his life.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 305 – Black Widow

Listen on the players above, Apple PodcastsAudible, Google Podcasts, or Spotify.

Marvel’s triumphant return to our cinemas is… a film that fills in a plot hole nobody cared about for a character who not only should have had a standalone film long before now but who has since been killed off. To say that Black Widow feels like a kick in the teeth is an understatement, but still, the MCU is back with us and we see what it has to offer.

And what it presents us with is something much more earthbound than the spacefaring antics in which Marvel has increasingly indulged: a good old-fashioned Russian spy story, and a family reunion of sorts, Natasha Romanoff driven to reconnect with the other undercover Russian agents who formed her surrogate family as a child. We ask whether the theme of family is done justice here, especially David Harbour’s – the father’s – part in its expression. And, among others, we ask questions of the action filmmaking, the lack of humour in heroes, Romanoff’s conceptualisation, how the women are filmed, and whether it’s necessary to eschew edginess in order to pursue a progressive politics.

Black Widow is a film we enjoyed, though on reflection, picking out the reasons why is harder than picking at its flaws – but it certainly hasn’t dampened our willingness to continue following Marvel’s movies.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 303 – The Hitman’s Wife’s Bodyguard

Listen on the players above, Apple PodcastsGoogle Podcasts, or Spotify.

The sequel to one of the first films we discussed on Eavesdropping at the Movies, The Hitman’s Wife’s Bodyguard reunites Samuel L. Jackson’s hitman, Ryan Reynolds’ bodyguard, and Salma Hayek’s hitman’s wife – whose role is significantly expanded from the first film’s bit part. The vaguely sketched plot – Antonio Banderas wants to blow up Europe or something, and that’s enough detail – is the wire hanger upon which jokes and comic character interplay are draped, but, crucially, is the comedy successful?

Whether it is or isn’t, and what we read into the audience response, is up for discussion, as is the deployment of the stars’ personas and cinematic histories, what renders Ryan Reynolds’ schtick endearing here where it’s normally irritating, and whether the film’s sexual dimension is overly vulgar or too one-sided.

José has seen The Hitman’s Wife’s Bodyguard twice now, and is no less in thrall to Hayek’s aggressive, wild performance the second time, loudly and enthusiastically responding to it. Mike is much less impressed with the film, but does admit to warming up to it in the second half, after a particularly mad joke that we won’t spoil here (but do in the podcast). If there are more Hitman’s Bodyguard films to come, hopefully with increasingly deliberately clunky titles, we’re up for them.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 300 – A Quiet Place Part II

Our 300th podcast!

 

Listen on the players above, Apple PodcastsGoogle Podcasts, or Spotify.

A Quiet Place Part II picks up moments after its 2018 predecessor ends, its characters desperate for refuge from the terrifying predators hunting them. Seeking survivors, they encounter a family friend, now a recluse, having lost his wife and children. Emboldened by her discovery of a way to combat the aliens, the family’s deaf daughter makes a beeline for a radio station she believes can help, and what was a home invasion horror becomes an action adventure.

While accommodating this alteration in tone, A Quiet Place Part II offers, as sequels tend to do, more of what made the first film so successful, and it’s terrifically entertaining cinema – but a diminished experience, compared to its predecessor, in almost every way. We consider the film’s view of society, the uncritical whiteness in its casting and its inability to imagine ways of living that don’t involve the nuclear family unit; and the lack of threat we feel, despite its functional and well-orchestrated set-pieces – we simply never feel like these characters are at any real risk of being allowed to die.

We have problems with A Quiet Place Part II, but don’t let them dissuade you from seeing it. It’s exciting and made José jump time and time again – we just wish, both in cinematic and social terms, it could see beyond its rather narrow boundaries.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 290 – Godzilla vs. Kong

The fourth entry in Legendary’s MonsterVerse, the first crossover in the series, sees a journey to the center of the Earth and Hong Kong made the playground of its titular colossi. In this cinematic universe seeking to challenge Marvel et al., Mike finds visual splendour and an ambition to reach for something a little more meaningful than your usual blockbusters. Indeed, the character of Godzilla, in particular, is well-known to derive from Japan’s horrific experience as history’s first and only target of nuclear warfare, and Mike argues that the MonsterVerse seeks to continue to use its creatures as giant metaphors that punch and breathe fire, unleashed by humanity’s insatiable consumption and arrogant claim on the natural world. José isn’t that impressed with this reading, but finds things to enjoy, particularly the beautiful imagery – though, he argues, while it demonstrates incredible skill and craft on the part of the artists who created it, art is precisely what it lacks. But luckily, although we butt heads over Godzilla vs. Kong, Birmingham remains intact.

Our podcast on Godzilla: King of the Monsters

Mike’s review of 2014’s Godzilla

José’s review of 2014’s Godzilla

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 286 – Zack Snyder’s Justice League

In 2017, Justice League, DC’s answer to Marvel’s continuing Avengers crossovers, flopped. Director Zack Snyder had left the film several months before release, his role taken over by MCU regular Joss Whedon, and significant changes were made in an attempt to lighten the tone of what had so far been a rather bleak series. Immediately, talk erupted of a director’s cut – the so-called Snyder Cut – that would represent Snyder’s true vision, uncompromised by studio executives’ fears and directives. Initially no more than a meme responding to that film’s quality, it was given oxygen by Zack Snyder’s insistence that it did actually exist, and it now reaches us via online streaming in the age of Covid-19. There’s perhaps no other set of circumstances in which it would have been made real – on top of the original budget, the creation of this director’s cut cost some additional $70m – but what an opportunity to compare and contrast two versions of the same film.

At four hours in length, this is a version of Justice League that would never have seen a theatrical release, but the time it affords its characters to develop is welcome, and a huge improvement over the sketchy treatment some of them received in the original film – particularly Cyborg, played by Ray Fisher, who arguably becomes the central character in the Snyder Cut. We discuss and disagree on the decision to change the original aspect ratio of 1.78:1 to 1.33:1, which José loves but Mike considers a mistake, and look over a few key scenes and shots to explore the differences between Snyder’s and Whedon’s aesthetics.

And we discuss that new ending, additional scenes which help the Snyder Cut conceive of the overall story as epic, mythological fantasy, and more.

It’s a surprise to us both that we enjoyed Zack Snyder’s Justice League as much as we did, but there you have it. The four hours flew by and if this leads to the studio’s renewed interest in completing Snyder’s planned series, we’re up for it.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 252 – Tenet – Second Screening

 

Listen on the players above, on Apple Podcasts, or on Spotify.

Birmingham’s full-size IMAX cinema closed in 2011, having proved unprofitable (the independent venue it became, the Giant Screen, closed four years later for the same reason), so it’s off to the Manchester Printworks, home of the second-largest screen in the UK, for our second viewing of Tenet. We ask whether the full IMAX experience is worth it, Mike comparing the feeling of the images offered to those he saw in Dunkirk and The Dark Knight; José argues that it’s detrimental to the film to be exhibited in different cinema formats, as shooting in IMAX’s 1.43:1 aspect ratio, where the film is supposedly best seen, with the knowledge that it’ll be cropped for conventional cinema screens for its wide release and home media, means that artistic, interesting composition is impossible – you can’t compose well for two frames at once.

Mike suggests that an easily overlooked pleasure of Christopher Nolan’s cinema is turning his films over in your own head, playing with the logic, asking questions of it and trying to unlock the puzzle box – something he’s been doing since his first screening, and which we both spend some time on after this one. Laying out the timeline, speculating on what might happen that we’re not shown – this isn’t the first of Nolan’s films to invite that type of reflection. And Mike describes the pleasure of understanding things that aren’t hidden but simply too many to grasp all at once the first time – now that he broadly knows the film, things that left him confused at first now smoothly fall into place.

We reflect again on the film’s score, performances, and action scenes, finding that rather than changing our initial impressions, this second viewing helps us to perceive and explain better what made us feel the way we did at first. We find more to discuss – the use of Elizabeth Debicki’s height, the cost of Nolan’s adherence to achieving visual effects without the use of CGI, the pleasure of the way in which Aaron Taylor-Johnson’s character interacts with the heroes, whether Mike is just shit at watching spy movies – but our overall experience hasn’t changed. What we liked, we still like; what we didn’t, we still don’t.

(Mike’s short film, which he claims was harder to make than Tenet, can be seen below. It’s probably worth mentioning that if you still don’t know what Tenet is about, watching this could constitute a spoiler of sorts – after all, Mike brought it up because of its vague similarities.)

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 251 – Tenet

Listen on the players above, on Apple Podcasts, or on Spotify.

After a long wait and three delays, Christopher Nolan’s latest high-concept blockbuster, Tenet, has finally arrived in British cinemas. This description is a spoiler-free zone, but the podcast is decidedly not, so tread carefully before you listen: We spill every secret the film has to hold. The ones we could figure out, anyway.

Following our revisitation of five of Nolan’s massive flicks – the DarkKnight trilogyInterstellar, and Inception – we’re keen to see how Tenet fits amongst its brethren. We consider, as we have done repeatedly, Nolan’s action direction, the aesthetic design, the tone, the concept that drives everything, how it’s explained, what we love, what let us down, and, well… to detail anything further would be indecent.

Mike is gobsmacked by it, finding brilliance in some of the film’s execution, though is keen to make more than a few criticisms. José is much colder towards it, dismissing it as no more interesting than comic books for children – can Mike’s enthusiasm rub off on him? Tenet has its flaws, but it’s ambitious, intriguing, large-scale, wonderfully cast and acted – it’s worth your time.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 249 – The Old Guard

Listen on the players above, on Apple Podcasts, or on Spotify.

An ambitious, large-scale Netflix production, The Old Guard throws special ops, behind-enemy-lines-style action together with intriguing superhero-style mythology. Charlize Theron leads a team of immortal warriors, ranging from hundreds to thousands of years old, who find themselves on the run from corporate and military-industrial pursuers.

José is captured by the film from the beginning, his love for Theron’s action stardom and the film’s mysterious setup pulling him in; Mike takes an age to warm up to it, his inherent suspicion of all things Netflix keeping him wary. But when the story develops its romantic side, he softens, and both agree on what the film does best: the defiant declaration of love from one man to another, surrounded by armour-plated, heavily armed police. The Old Guard approaches representation of different sexualities and ethnicities in heartfelt, open ways, and the prospect of sequels that develop that further – perhaps even a universe – is promising.

Ultimately, José loves The Old Guard much, much more than Mike, but it wins us both over.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 248 – Inception

Listen on the players above, on Apple Podcasts, or on Spotify.

Could we have found a Christopher Nolan film that José actually enjoys? We explore the brilliantly imagined and executed Inception, a heist movie set inside the human mind, talking up the intelligence and creativity with which the central concept is used, the elegant and effective intercutting and structure, and the noirish, expressive romance that underpins the entire affair.

We’ve had some disappointments with Interstellar and the Dark Knight trilogy, but Inception was just the antidote. Boy, are we fired up for Tenet now.

Making spoof Inception trailers was all the rage around the time of its release, and here are the two Mike made:

Eavesdropping at the Movies: 239 – Sorcerer

Listen on the players above, on Apple Podcasts, or on Spotify.

William Friedkin remakes Henri-Georges Clouzot’s The Wages of Fear, telling four strangers’ tale of their two-hundred-mile journey through the South American jungle, transporting dangerously explosive cargo for a US oil company. Though a flop upon its release, we find some nice things to say about Sorcerer.

It’s impressively narrated, largely wordlessly, although we wouldn’t have minded some character development, and Friedkin’s preference for spectacle over depth is on display: as with The French Connection, the end leaves us asking, “is that all it’s about?” The treatment of South America and its people is lazy if not worse, the central characters ending up in this hell as a form of cosmic punishment for their sins. But there’s a keen sense of pace to Sorcerer, despite how long it takes for the journey to even begin, some memorable images, and one outstanding, stunning set-piece. Its present-day reappraisal is understandable, and despite its problems, it’s worth a look.

Neil Jackson informs us that, ‘It’s worth mentioning also that when the film was released internationally, it was completely re-cut (without Friedkin’s involvement) using alternative scenes and shots in some cases, and reducing the running time by about thirty minutes. It also alters the implication of Scheider’s fate in the denouement. The entire opening section introducing the characters is removed altogether, and only appears in brief flashback! It’s a completely different (and wholly inferior ) film. That’s the version we got in the UK, and it was re-titled ‘The Wages of Fear’. Fascinating. And Neil also brought to our attention this fascinating comparison between the US and German version, which was also the one shown in the UK as The Wages of Fear.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

 

Eavesdropping at the Movies: 238 – The French Connection

Listen on the players above, on Apple Podcasts, or on Spotify.

A classic of Hollywood crime, The French Connection paints a bleak picture of life and justice in America, as Gene Hackman’s Popeye Doyle demonstrates that no matter how low the drug dealers he pursues, he can sink lower. We ask what its depiction of New York’s underbelly and the accuracy of Doyle’s hunches despite his revolting behaviour says about the filmmakers, and consider Pauline Kael’s assertion that the film is “what we once feared mass entertainment might become”. Underneath the iconic style and unforgettable chase, is there anything meaningful to The French Connection?

(You can see Mike’s film, which for some reason he doesn’t mind comparing to The French Connection, below.)

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 234 – Hook

Listen on the players above, on Apple Podcasts, or on Spotify.

A film dear to Mike’s heart since childhood, and a large blot on Steven Spielberg’s career despite its financial success, Hook imagines a world in which Peter Pan, J. M. Barrie’s flying boy who never grows up… grows up and forgets how to fly. When the adult Peter, a workaholic corporate lawyer unaware of his origins, travels to London with his family, his children are kidnapped, forcing him to return to Neverland, confronting his past, his attitude, and his erstwhile adversary, Captain Hook.

Hook is a chunky, colourful family film with flaws all over the place. Its action is unexciting, its plot composed of several disparate strands and themes that never cohere elegantly. José takes issue with Dustin Hoffman’s accent and John Williams’ score, finding the former pointless and unsuccessful, the latter prescriptive and overbearing. But Mike defends them, finding charm in them, and appreciating as an adult what never stuck in his mind as a child, in particular the central emotional conceit: that for all the costs of growing up, the refusal of the Lost Boys to do so, and the fact that all adults in Neverland are pirates, Peter’s happy thought – the crucial feeling that allows him to fly again – is of becoming a father and holding his newborn son. And José finds beauty in the lighting and staging of the film’s London townhouse scenes that he never appreciated upon its first release.

A messy film, but with pleasures. And anyway, it turns out that if you saw it five hundred times as a preteen then no criticism anybody can make can matter.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 219 – Bacurau

Listen on the players above, on Apple Podcasts, or on Spotify.

A political parable, satire, thriller, high-concept actioner, horror, and Western all at once, 2019 Cannes Jury Prize winner Bacurau is a wild experience and well worth your time. Set in a tiny, remote village in a near-future Brazil, we’re given a portrait of life within an open, tolerant community under the thumb of a distant but powerful mayor, and shortly after the funeral of one of the town’s elders, things start going awry.

To say more would be to spoil the surprises, and we encourage you to check the film out knowing as little as possible. As a fable, it’s a potent piece of work – themes of political abuses, the ownership and withholding of water conferring power, and the value of community and the knowledge of history are all made manifest as Bacurau straddles its genres and provides its thrills. It’s a film that’s as open to interpretation as it is clear about what it thinks – its clunkiness in this respect a positive for Mike while occasionally a little overegged for José. But quibbles here and there pale in significance to Bacurau‘s boldness and intelligence, and you should see it.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 179 – Rambo: Last Blood

Donald Trump’s vision of Mexico as America’s terrifying, criminal neighbour to the south finds a home in Rambo: Last Blood, a film in which a journey to Mexico is no less than a descent into Hell, and the comfort of the USA means a ranch, horses, sunsets, and a subterranean network of tunnels in which to viciously trap and slaughter Mexican rapists. You may be surprised to hear that we weren’t that keen on it.

Considering Sylvester Stallone’s age – a mighty 73 years old – Last Blood‘s action can’t ask as much of him physically as did the Rambo films of old, but through the use of traps and ambushes, Stallone’s limitations are smartly made irrelevant. But that’s about as positive as we can get. This is a film that cost $50m, if the production budget figure on Box Office Mojo is to be believed, and if Stallone hasn’t taken $40m of that for himself it’s impossible to tell where it’s been spent. This is cheap, nasty, acrid cinema, and it spurs José to look back on Stallone’s career and decry it for not simply having too few hits but moreover representing a betrayal of what Stallone meant to immigrant kids and underdogs back when he broke out with Rocky in 1976.

Avoid Rambo: Last Blood like the self-mythologising, racist bile it is.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.