School Of Movies

[School of Movies 2015] The much-needed success of Cinderella cemented Disney as more than just a one-hit wonder. Following this we delve into the absurd ramblings of Lewis Carol to talk about Alice in Wonderland. According to the Disney of the early 1950s royals will chase you down on black horses in the middle of the night, base the future of their family upon footwear, play croquet with live animals, hold complex legal disputes over jam tarts and cut your head off for the slightest offense. Either way don’t go anywhere near Buckingham palace. Then we move onto the uncomfortably racist peter Pan, before Lady and the Tramp and Sleeping Beauty. These were the last gasps for ink and paint animation. If you look at the lustrous colours and brush strokes you will see a distinct difference from the more pencilled xerox process that ran from 101 Dalmatians all the way up to The Little Mermaid. It's a charming little story about a dog that gets ignored over a new baby and falls in with a vagrant, and a beautiful

[School of Movies 2015] The Disney series continues with two cute animal pictures with unfortunate mother figures. One gets locked up and deemed insane, the other gets shot dead by the most terrifying monster of all. Both of these moments have a profound effect on what we take away from the viewing experience. The third sections covers the period between 1942 and 1949 when, due to World War II the studio held off on major animated features and instead focused on cheaply produced package films designed to foster relations with South America and keep their struggling animation house afloat.  It’s an odd bunch, comprising Saludos Amigos, The Three Cabelleros, Make Mine Music, Fun and Fancy Free, Melody Time and The Adventures of Ichabod & Mr Toad. Virtually none of these are remembered or cherished and on listening to this episode you’ll understand why. Daniel Floyd shoulders the majority of the appraisal this time.  Guest: Daniel Floyd of New Frame Plus

This is the first of a series of podcasts covering the full history of Disney’s animated classics. Daniel Floyd of Extra Credits is with us every step of the way. It is without question that animated cinematic features throughout the 20th Century were defined by this company. Learn more about the studio, the animators and how the animation techniques changed with the time, as well as what the world was doing when each film was released. Also find out which films we love, which ones we don’t and more importantly, why. Since this is an unabashed analysis that pulls no punches, bad language is used but it is bleeped for the benefit of children.  Guest: Daniel Floyd of New Frame Plus

[Digital Drift 2015] We finally come to the dregs of the Marvel cinematic outings. After this it's things like the Hasselhoff Nick Fury, the early Captain Americas and Swamp Thing which barely qualify as movies.  With the new Fant4stic movie emerging onto the big screen we took a look back on the 2005 version and its 2007 sequel. Were they really all that bad? More to the point, taking the unreleased 1994 Roger Corman version into account, were ALL Fantastic Four movies simply an exercise in keeping the license going rather than in making a superhero family movie that people will love? After that it's the dregs of the Marvel adaptations. One or two of them have redeemingly fun qualities, but they collectively illustrate how the other studios had NO IDEA what they could do with these worlds and characters. * Fantastic Four (2005): A pedestrian director wastes Chris Evans. * Rise of the Silver Surfer (2007) The same guy stumbles through Jack Kirby lore. * Ghost Rider (2007): Nick Cage as eccentric fusion of

[Digital Drift 2015] The Terminator series reboots again (kind of), delivering a dark, desaturated, dusty, miserable, angry, shouty future war of dirty humans vs Deceptions! Christian Bale stars as John Connor, bringing with him all the furious, savage, grumpy intensity he is capable of. Not satisfied with one gravely, shaven-headed Johnny Template this movie brings us two with Sam Worthington playing Marcus Wright, the mysterious wanderer with a secret identity… unless you’ve seen the trailer, in which case it’s a pre-established identity we spend an ice age waiting for everyone in the movie to catch up with. That should sound familiar by now if you’re a Terminator fan. Genisys by contrast is not quite as bad as T3 and Salvation, in fact there were one or two bits I rather liked. It’s more reverent than the third movie, more playful and less boring than the fourth. The writers clearly seem to be able to understand time travel a smidgen more than the other guys. But it's still bad, and almost certainly ensu

[Digital Drift 2015] We’re joined by Neil Taylor of GameBurst to get to grips with one of his very favourite series. When we recorded this first show we hadn’t yet seen 5 or 6 (Sharon hadn’t seen 3 or 4 either) so it’s something of a discovery process for us. Find out over the course of the next few episodes if we’re just middling on the car porn, jiggling auto-floozies and machismo-masking-vulnerability or in fact if we end up flippin’ LOVING The Fast and the Furious. Continuing our road trip through the F&F series, we get to the detour away from the main cast that was initially shunned by audiences but in retrospect is rather great as a stand-alone movie. We move on to the return to the main cast that was initially embraced by audiences but in retrospect is dour and uneventful. Find out what drifting REALLY means. Guest: Neil Taylor of TheKidDogg

[Digital Drift 2015] Sharon and I dived in attempting to review these in a vacuum. Those who hate the movies may hate this podcast because we’re rather kind and enthusiastic. Those that love them will hate this podcast because we call them on the rubbish, the weaker elements and the more troubling aspects (especially in the two-part finale of Breaking Dawn).  Two things are for sure. 1. This is not a great model for any kind of romantic relationship. 2. That dingo's got your baby!

[Digital Drift 2014] 0m: The Transformers road trip has lost all but one lone, solitary truck, powering on through a new leg of what may be a never-ending journey. Yes folks, I did end up going to see Transformers 4, and on this show, Sharon asks me all about my experience. Is this a new lease of life for the series? A soft reboot, ditching the former human cast members in favour of all-new ones and setting aside awkward frat comedy for the dilemma of a struggling family. [Sounds great.] Still written by Ehren Kruger and now starring Mark Wahlberg [Oh Jesus Christ!]. The autobots are now a hunted, endangered species, thanks to their heroic genocide of their own people in the last movie, done in the name of protecting us humans, with our interminable capacity for greatness. Plus it has the dinobots [No it doesn’t]. And Optimus is seriously suffering from Post-Traumatic Stress Disorder [Nobody ever mentions it]. Is this better or worse than the first three? Find out right now.  I do something with Michael Bay

[Digital Drift 2014] 0m: Our road trip with the autobots continues. We hit a bumpy road as the writer’s strike of 2007 looms. Fortunately this movie proved that you apparently don’t even NEED writers and that a triple-A blockbuster action movie could be sloppily thrown together without discernible structure or coherence and still rake in more than its predecessor. Just cast your eyes over the image I’ve used for this week’s podcast. Ask yourself “A: What the hell were they thinking? and B: Why did everybody let them get away with it?” And that character and his brother are just two of the issues that slaughter any enjoyment and engagement you might have felt. This is not a movie for watching, it’s a movie for laying down and avoiding. It’s a terrible experience from beginning to end. Even fans of the original tend to dislike this one. However we’re out to establish WHY it’s so awful. 1h 4m: Our road trip with the autobots veers off the beaten track and onto a superhighway full of exploding guns and alien ca

[Digital Drift 2014] 1968: Planet of the Apes 1970: Beneath the Planet of the Apes 1971: Escape from the Planet of the Apes 1972: Conquest of the Planet of the Apes 1973: Battle for the Planet of the Apes For newcomers to the series, all eight movies of which will be reviewed over the coming weeks here is a brief breakdown of events.  1. Universe A: The first five Planet of the Apes movies spanning the period between 1968 and 1973. Planet of the Apes / Beneath the Planet of the Apes / Escape from the Planet of the Apes / Conquest of the Planet of the Apes and Battle for the Planet of the Apes. You can also include the short-lived live action TV show, comics and animated series in this period (although we won’t be reviewing these that doesn’t mean you guys can’t talk about them at length on the forum). 2. Universe B: The 2001 Tim Burton directed re-imagining of the original movie. 3. Universe C: Rise of the Planet of the Apes and Dawn of the Planet of the Apes. This originally started out as both a reboot

[Digital Drift 2014] 0m: This is the worst. The very worst onscreen incarnation of the X-Men, and not simply because it screwed up the Dark Phoenix saga in a way that will take many years to remedy. It is in point of fact abundantly clear on investigation that meddling Fox executives combined with a creative team who seemingly didn’t care what occurred onscreen or what state they left the series in once the enforced release date was reached created the perfect Storm to send a potentially accomplished franchise hurtling into the doldrums. It’s one of the few movies that actively required erasing from existence to correct the horrendousness that it entailed. But allow us to elaborate on these points. We promise that even if you disagree with our impassioned rantings that you’ll be entertained.  1h 13m: I never thought I’d find myself defending this film. In actuality we’re not, we’re just saying it’s not the worst X-Men movie and stating the few reasons why it’s not entirely awful. Don’t get us wrong, it’s a

[Digital Drift 2014] 0m: Looking back on the 2000 original it is both extremely important in legitimising the real life comic superhero movie for modern times and increasingly a relic of a bygone age when this sort of thing was considered a flaky risk and where low budgets, self-conscious cast members, dismal costumes, short running times and pedestrian action sequences were acceptable. That being said there are also some excellent performances within, especially Stewart, McKellen and the breakout star, Huge Action. Had this been a mishandled flop, the course of the Marvel movie might have been very different. Then again, Spider-Man was already in production and it’s possible a reboot would have changed the course of the X-Men in movies, one that has instead sailed on for fourteen years and off into the future. 2h: This is one of the all-time fan-favourite X-Men films, following up on the promise of the slight original with far more detail, exciting action, grander scale and emotional wallop. We give it a t