Infinite Respawncast – Krampus

It’s almost Christmas time! So Chris and Dylan strapped in and watched the new horror film from Michael Dougherty (Trick ‘R Treat), Krampus. The festivities continue with the guys discussing James Franco as Tommy Wiseau, why we’re excited for Batman V Superman now, and how Netflix will rule the TV world with double the programming in 2016. Chris finally saw Room and he talks all about how he bawled like a baby, and Dylan talks about The Good Dinosaur, Pixar’s newest film. Next week, we are reviewing The Big Short, but there will likely be some other new releases.

Show Notes:

(1:41) Krampus Review
(16:30) Krampus Spoilers
(24:37) James Franco played dress-up and is all set to play Tommy Wiseau in what will surely be a disaster with The Disaster Artist
(27:20) There was a new Batman V Superman: Dawn of Justice trailer and it turns out they’re really having fun with this one.
(32:27) New Releases
(47:06) Netflix is doubling its original TV programming in 2016, which is crazy because it feels like a new Netflix show is premiering every week.
(50:47) Phoenix is getting a Criterion release. We don’t understand.
(53:00) Room
(61:26) The Good Dinosaur
(64:47) Krampus trivia explains why you heard some Jon Lajoie in the podcast
(66:41) Closing Comments

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The Little Prince Review

The Little Prince

Whimsy and beautiful animation is often not enough to carry a film beyond its initial couple of minutes – which is something that The Little Prince tackles directly. Opening with muted colours and a child with her whole life planned out, the film explores what it means to be a child and adult alike. Even with deeper explorations of themes than most family films, this is still a wild adventure that makes up for a lack of subtlety by the time it reaches its heartwarming conclusion.

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This is the End Shows a Hilarious Demise to Mankind

This is the End Theatrical Poster

This is the End Theatrical Poster

TitleThis is the End
Genre(s)Comedy, Action
Director(s)Seth Rogen, Evan Goldberg
Release Year2013

There’s no denying that we are all obsessed with celebrity culture. So much so that we demand seeing beyond the spotlight and witnessing stars doing boring, mundane things. There are the celebrities who just want to be left alone, and then there are the ones who crave the spotlight at all times, reveling in their successes. If This is the End‘s comedic sketch of the Apocalypse is trying to say anything of merit, it’s that being a celebrity is a one-way ticket to Hell. But what a fun and enjoyable ride it is, right? Well, Seth Rogen and Evan Goldberg show that it might be an exciting time to live like a celebrity, but it doesn’t come without consequences. However, it wouldn’t be a Rogen and Goldberg collaboration if we didn’t get to spend an hour with all of their friends, as they try to piece together what exactly is happening in the Hollywood Hills, while entertaining themselves and trying to stay alive.

Enter Jay Baruchel, who may be a celebrity but is nowhere near as famous as his fellow Canadian Seth Rogen. When he arrives in Los Angeles to hang out with Seth, he ends up being dragged to James Franco’s house in the Hollywood Hills for a party, much to his dismay. Jay isn’t exactly comfortable with celebrity culture, and subsequently, he dislikes many of Seth’s new friends like Franco, Craig Robinson, and Jonah Hill. When a massive sinkhole opens up right outside Franco’s house and consumes almost everyone at Franco’s party, there isn’t much that they can do but lock themselves in his house until help arrives. Sure enough, Danny McBride joins the group of stars, after having slept through the mayhem that happened the night before, and now the group tries to survive and keep strong while they try to figure out whether this is an alien invasion, the apocalypse, or just one really long acid trip.

Read the Rest of the Review After the Jump.

Spring Breakers is the Anti-YOLO Event of the Year

Spring Breakers Theatrical Poster

Spring Breakers Theatrical Poster

TitleSpring Breakers
Genre(s)Comedy, Crime, Drama
Director(s): Harmony Korine
Release Year2013

“Whatever happens in Vegas stays in Vegas.” The same can be said for Florida in Spring Breakers, Harmony Korine’s latest transgressive foray on the silver screen. The infamous enfant terrible of American cinema has returned with a sharp slice of satire aimed directly at the fist-pumping, loud-mouthed and over-partying generation of today. Reveling in its glitzy, neon-tinted excess from start to finish, Spring Breakers, in both content and marketing, finely showcases Korine’s troll-ish qualities as a filmmaker; by utilizing the very icons of the generation it lampoons and satirizes (former Disney Channel starlets Vanessa Hudgens and Selena Gomez, and the brostep anthems of Skrillex), Korine has not only managed to sneak an arthouse film right into larger multiplexes but has also fooled that very demographic by luring them under a guise. The result is an audacious, hyper-kinetic and dreamlike trip through a troubled generation’s idiocy, indicting the sub-culture and the very films about them (Project X, 21 & Over) by holding up a mirror. As an extreme, debased and striking warning call, Spring Breakers hits the proverbial nail on the head more often than it misses it.

While the pursuit of happiness and the often tragically ambiguous “American Dream” remain a staple of American crime films, Spring Breakers differs in its approach and execution of the theme. Brit (Benson), Candy (Hudgens), Cotty (Korine) and Faith (Gomez) are seemingly normal, every day college students, anxiously anticipating a Spring Break filled with non-stop partying and debauchery. For the aptly named Faith, the most reserved of the vixens, this means a chance at letting loose and experiencing something entirely new. Things don’t go quite as planned however, the girls coming up well short of their projected trip budget and, given how deeply important this trip to Florida is to them, Brit, Candy and Cotty resort to the only logical solution; robbing a local fast food joint using hammers and painted squirt guns. While startled, Faith nonetheless tags along for the trip, reaching the sunny, naked streets of Florida and indulging in its hazy, dreamlike aura before suddenly landing in a jail cell. After being bailed out by a sleazy, degenerate rapper named Alien (Franco) who also happens to be one of the city’s biggest gangsters, their inhibitions are tested and their vacation takes on a whole new meaning. By tackling Spring Break as a tradition and, more importantly, a way of life, Korine exposes the ugliness, depravity and recklessness masquerading as a remedy for boredom in his subjects to excessive and often darkly humorous degrees. In these artificialities, the girls attempt to escape the banalities of life by finding a more physically invigorating pace filled with hyperactive nonsense and shallow surfaces. In other words, Spring Breakers points at your obnoxious “bro” neighbor and makes you realize just how stupid he can be when he’s simply looking to have some fun.

Read the Rest of the Review After the Jump.

Oz: The Great and Powerful Is All About Looking Great, Not Being Great

Oz: The Great and Powerful Poster

Oz: The Great and Powerful Poster

TitleOz: The Great and Powerful
Genre(s)Adventure, Family, Fantasy
Director(s): Sam Raimi
Release Year2013

From beautiful landscapes to a big name cast, Oz: The Great and Powerful had all the promise of a wonderful visit back to the land of Oz. Even from the opening moments of the film and the transportation from Kansas to Oz, the film still had me by the hooks, and I felt like maybe my worries of the film being another Alice in Wonderland debacle could be put aside. James Franco’s character, Oz, is immediately unlikable but there’s an element to him that makes the audience care about him: he has aspirations. He’s in this magical world which immediately impresses with its visual style, and there’s a nice cast of supporting characters that add humor and charm to the overall film. Yet, Oz: The Great and Powerful still winds up being almost as lifeless as Tim Burton’s Alice in Wonderland remake (comparisons are difficult not to make), resulting in yet another aesthetically brilliant film from Disney, with no real soul to it.

Oz: The Great and Powerful begins in a very unique way: we’re shown our aspiring wizard perform “magic” at a carnival in Kansas, all in black-and-white and a full screen aspect ratio. Oz is a womanizer, a liar, an egomaniac, and selfish, but he truly does want to be a famous magician. However, his reasons for doing so are not because his father was a magician, or because he made a promise to a dying loved one. Rather, it’s merely for fame and fortune. After another performance ends badly, he is eventually swept away by a tornado, escaping a crazed girl’s boyfriend in a hot air balloon. That tornado takes him to the magical world of Oz, where he is met by Theodora (Mila Kunis), a witch who tells him he is the wizard who will destroy the evil witch and bring peace to their land. Of course, Oz is reluctant to help, but with the promises of riches, he’s in.

Read the Rest of the Review After the Jump.