A kindly old priest tends to his temple and the stranger who just walked in…
A. Flea is introduced, the dog currently inhabited by Willoughby The Ancient Ghost Dog has incredibly toned buttocks, Little Red Riding Hood irritates Bugs into collaborating with a wolf masquerading as Grandma (who’s away working swing shifts at Lockheed), and Cal introduces his Good Human Friend, Ron.
This week’s film ? and the next in our Nicolas Winding Refn mini-season ? is one close to Rob’s heart: VALHALLA RISING (2009). We get the inside scoop on some of the decisions made by the director, as well as considering some of the mythical/religious ideas behind the film ? and if this is a […]
The next director at whose oeuvre we take a look is Nicolas Winding Refn, and we start with his 1996 feature-film debut PUSHER. After similar reviews of the film, we talk about what Refn might have been trying to do with this film, the division between narrative and aesthetics, and the ways in which this […]
As we gain some insight into Daffy’s anatomy, the state of his relationship with his former cohort-turned-despot, Porky III, becomes even less clear. Meanwhile, the arrival of two mysterious humans on a desert island draws the attention our favourite time-travelling Toonlord, and we meet a brand new cowardly cat.
Our final Spike Lee joint is 2015’s CHI-RAQ: based on an Ancient Greek play, and set in modern-day gangland Chicago, this is both very different from and yet ? at least in terms of its racial politics ? remarkably similar to last week’s film. We have contrasting reviews of the film, but go on to […]
While Cal and Chris crunch the numbers to discover the precise magnitude of this whole stupid undertaking, Daffy unwittingly squares up to fledgling Toonlord, Elmer. Meanwhile, a Space Jam era bugs travels back to 1943 to prevent a scientific genius from creating a super-carrot that will cause a future apocalypse.
After a significant disclaimer this week, we launch ? somewhat trepidatiously ? into our next Spike Lee joint: BAMBOOZLED (2000). We talk about how this film didn’t get the critical love it deserved, the camera shots that make it, and the sad deficiencies of contemporary African-American on-screen representation.