Tag Archives: the royal tenenbaums

Smug Film Podcast Episode #4 – The Best Movies We’ve Seen Lately / Are Movies Terrible? (4/28/14)

bestmovieslately
1:06:45 | View on iTunes | Download Mp3

On this episode, I am joined by fellow Smug Film contributors John D’Amico and Jenna Ipcar. We discuss the best movies we’ve seen lately, new and old. Then, we take a quick break for a movie joke by comedian Anthony Kapfer, and close the show with a few questions from the mailbag, one of which sparks an impassioned rant from John!

If you have a movie-related question you’d like answered on the show, leave it in the comments or email us at Podcast@SmugFilm.com.

If you enjoy the podcast, be sure to subscribe on iTunes, and leave a rating and a comment on there as well. Doing this helps us immensely as far as our ranking on there, which is what allows people to be able to discover us. Word of mouth is always best of all though, so spread the word!

Movie Stuff Referenced in this Episode:
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Fuck the Third Act of ‘On The Waterfront’

waterfront

Fuck it right to hell, man. I don’t even.

On The Waterfront (1954)
Directed by Elia Kazan
Written by Budd Schulberg
108 min.

Very mild spoilers ahead.

Of the three acts which make up the three act structure, the third act is really the only one which has the ability to fuck you in the ass. You’re watching a movie, you’re digging it, you’re having a good time, you feel safe, and then all of a sudden it’s forcing itself into your butt. We’ve all been there.

A movie is like a penis, basically, and you are like a vagina. When you a watch a movie, you’re letting it inside you, and there’s a certain degree of trust which goes along with that. ‘Don’t hurt me, or at least, if you do hurt me, hurt me in an enjoyable way’—that sort of thing. And if a movie tries to fuck your ass in the first act, you can stop it before the tip is barely in and put on some other movie. Same goes for the second act. But when it fucks you in the ass in the third act, you’re in shock—it goes in and you can’t even believe what’s happening and you just have to lay there as it tarnishes the relationship you had built with it up until that point. And then when it’s done, you don’t know how to feel about it anymore. You remember the good times, sure, but the bad is fresh in your mind.

I had this very experience with On The Waterfront last night, and my booty hole is still twinging with pain.
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Movies Can Make Any Song Good

volare

I don’t care who you are or what music you typically like, if Step Brothers doesn’t make you fall in love with the song Por Ti Volaré by Andrea Bocelli, there’s something wrong with you.

Aside from being a huge film buff, I’m a huge music buff. Hell, I’m just plain buff. (25/m/nyc/d&d free ;-* ). Basically though, there ain’t a genre of movies or music where there ain’t at least some stuff I dig. And that’s the way things should be. Who are these people who, for instance, ‘don’t like rap’ or ‘don’t like horror’ or whatever? How can anyone be so lazy? There’s tons of different types of horror movies, tons of different types of rap. To write off an entire genre is just lame. It’s 2013, people—if you don’t have eclectic taste, get the fuck outta here.

However, I can understand people not liking something if they don’t have any context for it. If you’ve never heard, for instance, reggae, hearing it for the first time will be a love it or hate it experience—it either speaks to you or it doesn’t. Its context is either hardwired inside you, a sleeping giant in your brain waiting to be woken by the right tones, or the context must be instilled. And to instill said context takes volition—it may necessitate listening to lots of different reggae artists, and various styles of reggae, and reading up on the history of the genre, until something clicks in your brain. Or, you could just fucking watch The Harder They Come.
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Wes Anderson, Please Don’t Become Tim Burton

bottlerocket
Wes Anderson is capable of perfect moments like this. But I don’t think he even cares.

I love him, don’t get me wrong. I’m a Wes Anderson fan. I really am. Every single one of his movies are either very good or great. Well, almost every single one. His latest, Moonrise Kingdom, is quite bad. And that worries me. Because until it, Anderson had that whole ‘style and substance’ thing down pat—and then suddenly, not so much. To the untrained eye, one might assume it was simply a much-needed slapdash, throwaway, breather film after the hard work and meticulousness of Fantastic Mr. Fox. But I suspect something worse going on. I suspect hackery.
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