Tag Archives: battlestar galactica
I saw the new Godzilla yesterday. I enjoyed it a lot, but I’ve been weirded out for months over the fact that I’ve had to call it something I’ve never had to call a Godzilla film. Just like how I recently had to call a Bond film something that, in 50 years of recasting and returns to ground zero, I’ve never had to call a Bond film.
I’m all for specialized vocabulary. Film needs its own exclusive words to describe its own processes, but ‘reboot’ is not one such word. I’ve asked people time and again to define it, and I’ve read about it online—god help me, I’ve even read the Wikipedia page for it. It’s just not a real and distinct concept. It’s a cheap marketing buzzword, that’s all it is. And more than that, the very existence of the term is symptomatic of a rot at the core of contemporary filmmaking.
On this episode, I am joined by fellow Smug Film contributors John D’Amico and Jenna Ipcar. We discuss the movies that got us into movies, and were our gateway into obsession. As always, we go on tangents along the way, take a quick break for a movie joke by comedian Anthony Kapfer, and then close the show with questions from our mailbag.
If you have a question for the show, leave it in the comments or email us at Podcast@SmugFilm.com.
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Movie Stuff Referenced in this Episode:
Directed by José Padilha
Screenplay by Joshua Zetumer
Very minor spoilers ahead.
When they rolled that screen open to 2.35:1, I knew it wasn’t going to be like Verhoeven’s. The original Robocop is a minor masterpiece, one of the most cutting satires of the 20th century. It’s dingy, clunky, sarcastic, and howling—just like the ‘80s that spawned it. Our new Robocop—which is, for all practical purposes, the second Robocop remake in recent memory, counting the spectacular Dredd—is none of those things. It’s shiny, sleek, and “tactical,” as Michael Keaton’s character says.
The memorable ultra-violence of the original is gone. In its place, there’s a smooth, sanitized finish over everything, which gives it all a sort of uncanny creepiness—a quality best exploited in one of the film’s high points, in which we learn just where Alex Murphy ends and Robocop begins.
Unlike the Star Wars prequels, here’s a plot young kids can actually follow.
Red Tails (2012)
Directed by Anthony Hemingway
Screenplay by John Ridley and Aaron McGruder
Right off the bat, I should warn you that Red Tails is not a good movie. At least, not in the traditional sense. It’s not even good ‘for what it is’. It’s just plain bad. But you will have a good time. You’ll be laughing at ineptitude in damn near every scene, but, even with all its cheesiness, this movie will touch you on a very deep level—in fact, partly because of its cheesiness. Let me explain.