In this week’s podcast, Glenn and Daniel return to the Marvel Cinematic Universe, which veers further into monsters and magic than ever before. We weigh in on wizard battles, the whitewashing controversy, and the film’s surprising appeal in 3D (38:29).
I stand by my comment that this film feels like it was made for 3D, but like all Marvel Studios films, it was shot in 2D and upconverted. Nonetheless, we still recommend seeing this one in 3D. It is far and away one of the best upconversions we’ve seen since the 2012 re-release of James Cameron‘s Titanic.
You can read the complete interview with Scott Derrickson by Jen Yamato from The Daily Beasthere.
This week on the podcast, Glenn and Daniel return to the Seattle International Film Festival to take on a trio of international selections. They start in 16th century feudal France, to watch Mads Mikkelsen lead a shockingly boring peasant uprising, then head over to Iran to watch some of the most technically and narratively innovative filmmaking they’ve seen this year, and finish up on the rooftops of Ulaanbaatar, Mongolia. We keep the spoilers light in this episode, and at least one of these films – seemingly shot in a continuous two-hour take, is well worth seeking out (37:26).
May contain NSFW language.
Age of Uprising: The Legend of Michael Kohlhaas: 3/10
Fish & Cat: 9/10
Remote Control: 6/10
(00:00): Age of Uprising: The Legend of Michael Kohlhaas
(11:46): Fish & Cat
(28:30): Remote Control
Due to the accelerated production schedule for our SIFF reviews and relative obscurity of these films, there is no music in tonight’s episode.
Apologies in advance for all name pronunciations. We think we did well with the French, okay with the Iranians, and terrible with the Mongolians. If anyone knows for sure, shoot us an email.
The cinematographer behind Fish & Cat, Mahmoud Kalari, also shot the brilliant Iranian film A Separation, which we reviewed on the podcast, and highly recommend.
CORRECTION: We mentioned the party-rewind sequence from the 2002 film, The Rules of Attraction, but mistakenly referred to the character of Sean Bateman (James Van Der Beek) as a younger version of Patrick Bateman (Christian Bale) from American Psycho – the two characters are actually brothers. The sequence we mentioned is not available on YouTube, but the film also featured an innovative use of split-screen and motion-control rig technology – that sequence is available here.
We mentioned our upcoming SIFF screening of Alex of Venice, which is neither Italian nor French, but rather is an American film directed by and starring Chris Messina (alongside Mary Elizabeth Winstead as the title character). This film is Messina’s directorial debut, and as far as we know, it takes place in the United States.