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As I Canadian I also feel I must chime in about poutine. I love it. My last trip back home I think I ate it once everyday or every other day a decision which will surely take 2 years off my life. However, so many people just hear about it and think they got it or can do it. It's not that simple. It's not just any cut of fry, thickness of gravy, or cheese. No. It has to be the right kind of fry, a rich thick gravy and real cheese curds. There are places here that try to make it but use wedge fries and shredded cheese. It's just wrong. The only thing that can be added to poutine and keep it poutine is Montreal smoked meat. When you start doing chilli poutin, curry chicken poutine, or things like that you're just putting stuff on fries and you are losing what makes poutine poutine. Poutine is rich, heavy, and unhealthy but so good and maybe like The Goonies, something that can only truly be appreciated on your geological place of birth. As dumb as it sounds and even though they aren't quite the right kind of fry, Costco actually does decent poutine.

I'm listening to this episode now and I was immediately reminded of the story my parents told me when they first watched this movie. They saw this movie in a full theater in Mexico. People were so into the movie that during the final match people were actually shouting at the movie screen as if they were actually watching a real boxing match. They were yelling at Rocky to stand up, people were standing up, it was insane. I love that story.

There's a new Magnum? You mean this guy?

Ah, I get that except I think "Attack of the Killer Tomatoes" people knew they were making a legit bad movie.

Nicole Byer and Sasheer Zamata's podcast had June and Casey on this week (still waiting for the ep with Paul and Jason) and it is very good and I highly recommend. You get to hear more about June's clowning.

I got a Attack of the Killer Tomatoes vibe

For a more granular aggregator of critical opinion, you'd probably prefer Metacritic.

I will say this: we have a Special Edition dropping tomorrow that might leave an opening for this Thanks for listening

8/15 The Maltese Falcon 8/22 Philadelphia Story 8/29 Network 9/5 Lawrence of Arabia 9/12 On The Waterfront don't know when the live episode I'm going to tomorrow will slide in there tho

I love Monster Trucks

I agree. For me, I like the storylines and the themes in theory, but very few of the many characters connected with me, and that's what made it such a drag to watch. Granted, I didn't rewatch it this week since I was on vacation, and the prevailing word seems to be that it gets better with multiple viewings, but the prospect of rewatching it after it felt like such a slog when I saw it for the first time last year was daunting. The only Altman films that I've seen all of are this, Short Cuts, and Gosford Park, and I wasn't enamored with any of them. We'll see how I feel about MASH when that comes around. (It was interesting that Amy and Paul barely mentioned MASH and unless I missed it, they didn't point out that MASH is higher on the list than Nashville when it came to deciding if it deserved to be on the list.)

Yeah, that also makes sense. Maybe it's both? But yeah, RT launched in 1998, and the reviews from before they launched and right when they first launched are two totally different animals. Basically: Post-2000: Literally any review that they can find, from sources as lauded as major publications, right down to bloggers that are just a tiny tick above using a free WordPress site. Pre-2000 (Becomes more true the farther back you go): 30% critics giving orgasmic reviews to the kind of classic movies they do on Unspooled, just because they want to. 50% reviews from when something was first re-released on DVD or Blu-Ray. 5% modern reviews from critics of lesser-known or cult movies that they just wanted to do 15% archived reviews from top-level critics and/or major publications from when a movie first came out

I think they definitely mean critic scores. That's what I say it should be as well. Audience scores are garbage, and are especially susceptible to toxic fandoms and even the occasional round of vote-brigading. AFAIK, they finally fixed that "early-voting" problem after the Captain Marvel snafu. Looking at their main page right now, there doesn't seem to be an audience score for anything that isn't already in sneak previews. Agree that the audience score is garbage in general though. There's a reason why "Second Opinions" is one of the best segments on the show.

I think it's more of a reflection on RT's sampling of data. They don't have as complete of an archive of movie reviews from before 2000. e.g. I genuinely enjoy Terrorvision (it's an intentional campy comedy from the 80's). Last I checked, it has a critic's score of 0%. If it came out today, the set of critics who would have reviewed it positively would have been picked up by RT and I suspect would have made it well to the 30-percent mark. The critics who liked it back then probably weren't the critics getting their Terrorvision reviews archived for something called the internet back then.

RT Audience Score is garbage anyway. People can literally submit votes before the movie has even been released. I say pay it no mind. At least with the critic score you have a reasonable expectation that they have all seen the movie.

Listening to the second half of the Magnum pilot episode now and I am here to tell you, unlike the Hawaii 5-0 reboot, the new Magnum is really, really good. I would have liked to see them go with the original plan of having Magnum's daughter Lily be the protagonist, but as a fan of the original I appreciate how they have updated the show and how often they find ways to do fun callbacks to the old one. Since there are far more episodes of MSW than Magnum, my hope is that you will roll on into the new series when you run out of old ones.

Couldn't care less about popular opinion. Don't care about critical opinion most of the time either, because so many so-called critics are just entertainment reporters with a press pass. Real criticism in any art form is not about giving a grade or score, it's about examining work in the context of its time and whatever other lens the critic chooses to use. I do use Pauline Kael's four-star system for rating movies as a way of very generally contextualizing a film - four stars is a classic, zero is a worthless forgettable film, two is average. I think it's a useful system because she was so consistent and thoughtful in her reviews, and that style was adopted by so many other critics who came after, most notably Roger Ebert. Of course Ebert also (to his chagrin) popularized the much less useful thumbs up/down system. I find Rotten Tomatoes-style "ratings" to be particularly offensive, as they really just distill the current atmosphere of making films a popularity contest. People behave as if they are shareholders in a movie studio because studio marketing understands that everyone wants to be on the "winning side". People who are nowhere near working in the film industry track box office results. Actual news has been replaced with so much entertainment "news". It's madness. I think that's one reason why I enjoy stuff like HDTGM and MST3K and on the flip side, Turner Classic Movies - they focus on the love of movies, many of which are excluded from the marketing machine because the stars weren't famous enough, the budget wasn't big enough, whatever.

I gotta echo a few things already said. Picking Jason Lives is a very odd choice. It's easily one of the best ones because it is more self aware and tries to have some fun. Yes it's the one that turns him into a zombie but at the same time it matches the tone of what they were going for. I think the only Jason movies worth talking about are Manhattan, Jason Lives and Jason X. I mean the rest are just "yep, they had no money and looks cheap." I guess you could do five in a stretch but there are other far worse and more HDTGM horror films out there. Also Fateful Findings is rough. I mean rough. It is the kind of movie that makes Birdemic look well acted, scripted and shot. Neil Breen is something they need to cover because his movies and himself are extremely... Breen. There is no other word for it. Just approach cautiously. I'm born in 1983 which makes me born between Gen X and Millennial on the timeline of things (though I do identify more with Millennial because computers were a big part of my childhood). As I result I can say I enjoy Goonies because it takes me back to watching movies on TV on weekend afternoons. As an adult I realize a lot of the movie's problems but Chunk's movie theater story will always make me smile. As far as Space Jam goes I remember seeing it in theaters. I remember enjoying it. I remember being confused by Lola Bunny but that's about where my memories end. I liked it. I for sure didn't love it or want to watch it all the time. I preferred to watch Tiny Toons or Animaniacs at the time or even the old classic WB cartoons. I also wasn't into basketball at all but of course knew Michael Jordan so that might have something to do with it as well.

Are we talking critic or audience scores? I could say I liked The Last Jedi because the "popular" opinion is that it sucks but critics like it. I could say I liked A Dog's Purpose because critics hated it while audiences liked it. The only one I can think of that isn't popular with either is forum favorite Monster Trucks (it has a 51% audience score though).

I went to a place in Connecticut that served 'New England Poutine' which meant they replaced the gravy with New England Clam Chowder. It was...an odd mouth experience.

I agree that the national anthem might have been a lot more on people's minds at this time given the bicentennial and cultural changes the country was going through with civil rights, women's right's and Watergate. I ended up just buying this movie and watched it start to finish for the first time yesterdsay. I decided to watch it before listening to the Ep all the way because Paul had mentioned going in without any idea what was going to go on, and I wanted that same experience. I found some of it kind of hard to follow, but I think this is definitely one of those movies that will be more rewarding on re-watches. There's so much going on that I'm sure I'll find all kinds of new threads and details I didn't catch the first time around. Most of the music I really could have done without (but I'm not really a country fan), but I'll say I loved that last song Barbara Jean did going on about the road trip with her parents. There was something that felt like it was poking fun at the genre and I can only imagine some of that had to be improvised, but it was genius. It fit the character and the placement in the film perfectly. I also really loved the set the trio did followed by Tom's song staring at Lily Tomlin. That whole storyline was great too. But, ugh, political assassinations. The shooting (and all dramatized shootings) really caused me anxiety. That was hard to watch. Do I think it deserves to be on the list? Eh... I think I'd say so. This is really a break in form, and while it didn't hold my attention 100% for its very long run time, Paul and Amy kind of sold me on it. One bee in my bonnet: I take umbrage at the "get lawyers out of Congress" line I'd prefer the people writing the laws to understand the law. But I'm biased. ETA: I think a great companion film to this is Coal Miner's Daughter, which i only just realized came out 5 years later. It is excellent.

NO WAY

Tool? Huh. Okay.

I am CRAZY about this movie -- forget the 100, it's in my own personal Top 10. And it's not just me; I showed it to my daughter when she was nine years old, and she laughed so hard she literally fell off the couch. Meanwhile, I can't believe that Amy and Paul didn't mention the single most charming thing about the backstory of "Bringing Up Baby," which is that Hagar Wilde and Dudley Nichols actually fell in love while writing the screenplay together. She had written the original short story, which ran in Collier's magazine. Howard Hawks brought her to LA to collaborate with Nichols, a very experienced screenwriter (with one other movie on the AFI 100, "Stagecoach"). The team wrote several other movies together -- including "Carefree," for Fred Astaire and Ginger Rogers -- before breaking up. But I think you can feel that giddy new-romance energy pulsing through the movie.

Whoa, I just learned that there's a documentary on the entire SPM trilogy. The section that focuses on this complete gem can be found here: https://tubitv.com/tv-shows/295880/s01_e16_sleepless_nights_revisiting_the_slumber_party_massacre_ii