This week, we decided to have a laid-back discussion about our guilty pleasure movies: the movies we kind of like, but don’t want to admit it. It’s a free-flowing conversation, basically, and a chance for us hosts to learn a lot more about each other’s tastes and…weaknesses?
Let us know what you think of this format, and also let us know what some of your guilty pleasure movies are! They can come from anywhere, so we’d love to know what you take (guilty) pleasure in. Also, since everyone has their own definition, what does the phrase ‘guilty pleasure’ mean to you? And finally, what do you want to hear from the show? Are there any topics, franchises, or formats that you would be interested to hear us talk about?
For our second episode, we’re following up last week’s “best remakes” by discussing the other side of remakes: The Bad Side. We take a little time at the beginning to get to know the hosts a bit more, and then we get into our lists, highlighting the worst remakes of all time. Needless to say, we had some stuff to get off our chests.
We’d love to hear what some of your least favorite remakes are, or what we might have missed, and we’d also love to see your ‘Cinemaholic Bios.’ Comment below and let us know!
With so much to choose from, it’s hard to sit down and pick one Netflix series that’s worth watching. Not to worry! Hopefully Part-Time Characters can help with any indecisiveness. While Maria works the solo shift in this fictional video store, recurring guest and video store client, Jerry Rodriguez, joins this week’s episode to talk about Netflix shows and specials that are worth a try.
Phantom Thread is the newest film from director Paul Thomas Anderson, reuniting with Daniel Day-Lewis, one of my favorite actors in Hollywood (and one of the best cinematic performers of all time). I sat down with Will Ashton and special guest Kimber Myers of The Playlist to discuss the new movie, which also stars Lesley Manville and Vicky Krieps.
In our Mini Reviews segment, we covered a wide range of different movies, from the patriotic true story war film 12 Strong to the laid-back airport romance flick Forever My Girl. Plus Den of Thieves, a new heist action movie starring Gerard Butler, along with a quick review of The Alienist, a new show coming to TNT. Netflix has a new original film out called Step Sisters from the same director of Drumline. And an under-the-radar VOD release called Mom and Dad starring Nicolas Cage and Selma Blair.
We also took some time to discuss the impending Oscar nominations (now made public), so you can hear how wrong or right our predictions were.
Is Pixar’s Cars franchise worth another lap with Cars 3?
One of the stark differences between the Cars movies and many of the other Pixar films is that there’s no explicit purpose for its own high concept…except to sell toys. There’s no real commentary on what it means to be a car or own one, and audiences are instead given a “human” comedy that replaces the characters with cartoon sketches simply for visual and experiential distinction.
Even Zootopia, a Disney film that appears to do the same with animals, allows its story to be controlled and guided by the real implications of a society governed by anthropomorphized animals in order to say something relevant about humans. Pixar’s magic has been to get away from that type of storytelling with films like Toy Story, which commit to the real differences between the plight of toys and the separate experience of being a human.
From Toy Story to Finding Dory, which Pixar movies found the most financial success with audiences?
A few years ago, I did a ranking just like this in the year leading up to Inside Out. It was simple: I took the worldwide box office returns for each Pixar movie and adjusted for inflation, though I measured the numbers according current rates of inflation (2014 at the time). A faulty metric, now that I take a second look.
Honestly, it’s hard to rank these movies on the same playing field, because so many circumstances determined their profits. 3D ticket sales and a widening international market make it harder to define which Pixar movies were more “successful” than others based on their own terms and fair context.
So this time, I’m only looking at two factors: domestic box office and a rate of inflation with 1995, the year that Toy Story came out. So all of the numbers you’re about to see bolded are NOT the actual numbers you’ll find online, but rather they’ve been modified to match what they were worth 22 years ago. UPDATE: I’ve since added Cars 3 and Coco to this list.
Let’s start at the bottom of the list this time with…
Comparisons between Star Wars: The Force Awakens and Rogue One: A Star Wars Story have always been an inevitable result of these two movies releasing just 12 months apart. And though they’re two very different films (one is a franchise opener and the other a prequel standalone), TFA and RO are both representative of the future that is Star Wars, one of the most beloved mythologies in modern history.
Walking out of TFA, I felt a strange urge to lay some cynicism on the engaging and thrilling spectacle I had just witnessed (and I did ultimately grade it positive). And my criticism of the new trilogy’s opening chapter has been admittedly inconsistent, where at one point I heavily lamented the incomplete character design of Rey, and more recently, I praised the interesting set ups for her legacy. Let it not be said that Rey is a “simple” hero.
By comparison, my problems with RO were far more pronounced and have not budged in the slightest. Despite some great production design and third act action scenes that are anthology peaks, we were given blank slated characters I’ve all but forgotten about in just a few short months, and I’m certainly not alone.
The video above by Lessons from the Screenplay expertly lays out how my issues with both Star Wars films resulted from poor decisions via the writing. Jyn Erso is a passive character whose narrative is beholden to contrived circumstances and loose relationships with superficially interesting characters given little to do. Put simply, it’s a mess of a screenplay. And Michael Tucker manages to make better sense out of why TFA did a superior job making its characters so instantly intriguing and why it’s the better film overall, nostalgic remixing aside.
That said, I’m well aware of the many Star Wars fans who prefer RO in all of its perplexity and dark subject matter. It takes bold risks that provide a useful precedent for Star Wars films that can expand the lore in meaningful ways, not just for the sake of box office. But what makes RO unique can also be perceived as a limiting drawback, moving on from the childish wonder of this mythology (for better or worse) so that it can properly make a movie for adults. In my opinion, it overcorrected in some ways and somehow regressed in others, probably through its late reshoots.
Yes, I believe TFA is better than RO, and I’d even propose that history will remember it as the better film, as well. But I don’t believe this is what truly matters for fans of Star Wars. The takeaway is that diverse Star Wars films are being developed for differing tastes. While RO was not a film I particularly enjoyed, it is one that satisfied a group of fans yearning for something different and unusual. I don’t believe they were given the best product possible in that regard, but to be perfectly honest, neither was I with TFA.
Which is Better? Story and Plot
Star Wars: The Force Awakens is the clear winner. As supported by Michael Tucker’s visual analysis, TFA has a better structure with far fewer throwaway scenes that don’t advance the plot. Rogue One deserves some credit for its effort to be standalone and for its audacious risks, but it falters far too much when it comes to the narrative of Jyn Erso.
Action
Rogue One wins by a slim margin, here, only because it goes all the way with its willingness to depict new and exciting set pieces (Darth Vader’s infamous hallway scene and the Star Destroyer crash, for example). The Force Awakens also has incredible action sequences, of course, and the final lightsaber fight might have cinched this category if not for the simultaneously forgettable Rogue Squadron battle on Starkiller Base. If Rogue One had missed a step with its space battles, then Poe Dameron would have won this just on his one-shot alone.
Characters
The Force Awakens takes this category by a landslide, despite some interesting ideas set forth through characters like K-2SO and Chirrut. Despite seeing Rogue One more recently, I had to search engine those names, which probably speaks volumes.
Villains
The Force Awakens also wins this one for a few significant reasons. Yes, Darth Vader gets one great 30 second scene, but it’s countered by a frankly awful scene between him and another character (complete with a Force dad joke), as well as some shoddy CGI for Tarkin and a wildly complacent Krennic who gets almost zero payoff. Kylo Ren is ultimately the fresher and more compelling villain, balanced well with Snoke and Hux for good measure.
Score
This one’s a tie. The Force Awakens is mostly ho-hum save for Rey’s Theme and the Jedi Steps, but it’s about the same for Rogue One. Neither soundtrack truly stands out with their own Imperial March or Duel of the Fates.
Design (Cinematography, Special Effects, Production Design)
Another tie. Both movies had huge tasks ahead of them. Rogue One had to recapture an established aesthetic with the same amount of detail, while also dabbling in its own inventive ideas. It succeeded on all counts. The Force Awakens, by comparison, contributed a fresher take that reasonably jumped forward in time while also setting the standard for practical effects in a new era of Star Wars films. Neither film quite cracked the uncanny valley (Maz, Tarkin, Rathtars, Leia, etc.), but they made comparable strides.
Conclusion
The only category where Rogue One truly shines is in its action, and even then, it’s by a slim margin. Everything else it accomplishes is either in step with The Force Awakens or a bit worse, especially when it comes to its writing. This is why I firmly believe the subject matter is what truly counts for fans who differ on which film is “better.” For fans of darker material, it’s no contest, while others who prefer the campy mythology and operatic lightsaber battles will undoubtedly point to TFA as the better film.
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