Episode 283 - "Grabbers"


In which we review a feel good film for a change.

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Scenic Route (REVIEW)

Death Valley would probably not make the short list of places one might imagine to be the ideal setting to repair a fractured relationship. Between daytime temperatures that threaten to turn your insides into a hot pocket that give way to freezing cold nights that leave you a human meatcicle, the setting doesn’t lend itself to introspection and open dialogue. Yet that’s the situation that Mitchell (Josh Duhamel) and Carter (Dan Fogler) find themselves in when the latter’s truck breaks down in the middle of the desert, leaving the pair stranded without food or water.

Horror Icon mini-Marathon: TI WEST

The horror genre is an eclectic genre, with films that run the gamut from quiet and thoughtful ruminations on human existence to noisy and barely contained gore and chaos. As a result, many of the films (and filmmakers) working in the genre are divisive figures. One such divisive figure, known for his deliberate pacing, quiet mood creation, and excellent attention to detail, is director Ti West. As his new film, “The Sacrament,” prepares for its theatrical release, it’s worth noting his career up to this point.

Oldboy (REVIEW)

Of all the horror films to be remade in recent years “Oldboy” is probably the one I would think American studios wouldn't want to touch with a ten-foot pole. It’s an incredibly dark, violent, mean-spirited, and shocking film whose finale involves a taboo that American audiences would find revolting. Even though mainstream studios, for whatever reason, are completely stuck in the remake trend, this was an idea that felt so bad I felt compelled to watch just out of sheer morbid curiosity.

Album Review: Dark Forest - "The Awakening"

Let’s start at the top – the first thing that attracted me to Dark Forest’s new record “The Awakening” was the cover art. I was pretty sure I had seen that cover on a ‘Magic: The Gathering’ card, definitely green, probably an enchantment. Anyway, while that’s obviously the least important aspect of Dark Forest’s new effort, it does speak to the continuing power of cover art, even during this new digital age.

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