Galactiac

Love Blue Velvet, and honestly I like watching it more, but I think Eraserhead is probably the more important film. And when I say I like watching Blue Velvet more I mean I really dread watching Eraserhead. Like catatonic depression hate it. On a different note: I really don't want to be a dick, but I didn't expect to be quite that bored listening to the David Lynch episode of The Canon. Seems like the show might need some kind of steady dynamic to build on rather than a guest every week. I'm not necessarily saying Devin, but I do think the show needs two personalities.

Eraserhead is one of a handful of movies I've seen that instantly puts me into a really, really dark mood.

I voted no, but I really wanted to vote yes. More than once recently I've had classic film noirs recommended to me that I thought had major problems. Boringly unflappable and inconsistent characters for one thing, yet many of these films still get in the nineties on Rotten Tomatoes. At least Where The Sidewalk Ends has very clear motivations with an arc that makes sense.

Right, and I think that's the point really. Some stories are better told in two hours, and others need five times that to take shape.

Look the entire trilogy is incredible. A LOTR movie could have been so awful, and the fact that they pulled off a trilogy that worked so well is a wonderful achievement that we're really lucky to have. It's kind of just a conceit for the podcast to have to pick between two of them, but I do think Fellowship has a lot of the best moments in it. Considering how Netflix has made binge-watching a national passtime I think you're almost definitely wrong.

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God this is like binge watching a mini-series. I thought about catching Two Towers as well for context, but then I noped out when I realized the theatrical cuts were all three hours.

As a side note I kind of subscribe to the theory that The Thin Red Line (which probably never would have won) drew votes away from Saving Private Ryan, which is the only reason Shakespeare In Love won. Also I find Saving Private Ryan pretty breathtaking regardless of any flaws it may have. The D-day sequence is one of the most beautifully brutal things ever put on film. It should be required viewing for anyone attempting to beat the war drum. Plus it drives home the paper thin mortality that generation had to deal with, and sets such an amazing tone for the rest of the film. Saving Private Ryan is a film that moves me. Shakespeare In Love tests my patience. Ultimately SPR is irrelevant in this canon discussion, but to me there's no question which movie should have won best picture and which one will live on as a footnote in late twentieth century Oscars history.

Look it's a very well crafted movie, but it's too fluffy for me to bother with it in the canon. I never had any strong emotions watching this, just sort of mildly entertained, which is less than I can say about La La Land (which I liked). Amy should start a La La Land podcast already. Fans of the movie will download it, and then she can shame them for an hour. Good times.

Wes Anderson is the master of twee visuals. It nearly always works for me in his movies. Except for Fantastic Mr. Fox; that shit put me to sleep.

The internet definitely existed in the eighties, so I'm sure people tried to date that way. This was over a decade ago so there's a good chance marijuana played a roll in my confusion.

I remember spending 90% of Napoleon Dynamite assuming it took place in the early eighties just because most of the clothes, hairstyles and even that ancient VCR they used were all from that era. Then suddenly he starts dancing to diegetic Jamiroquai and I was puzzled.

oh btw "collect some bones" is one of those things you say as a young college student, but don't necessarily share as an anecdote on a podcast later on.

There's a lot that I like about Juno, but there's also enough twee dialogue throughout the movie that I'm constantly taken out of it. It's a really tough thing for me to ignore. The first 10 minutes is definitely the worst, but every time it pops back up even a little bit it's like the movie hits a massive speed bump for me. There are a lot of reasons I'd like to vote for it, but it's not a great viewing experience for me. I have to go with Whiplash, but it's a soft yes.

Perhaps, but I do love a lot of what they staged in the third act of this movie even if it could use more polish. I honestly think there's some version of this franchise that could be revived and expanded in a satisfying and successful way, but it's increasingly less likely the further away we get from the eighties, and probably much more so now that 2016 happened. Plus how much more room is there in our culture for sprawling transmedia franchises? I can live with whatever is already out there.