joel_rosenbaum

Isn't that Kyle Smith (NY Post)?

I'm going to fight the (losing) battle for Juno on this one...

By the way: Police Academy (1984) Police Academy 2 (1985) Police Academy 3 (1986) Police Academy 4 (1987) Police Academy 5 (1988) Police Academy 6 (1989) Before .. Police Academy 7 (1994) Can't say they didn't work hard.

I think, generally speaking, the "cult path" is the most parsimonious path to Canon induction. Mainstream success (immediate or otherwise) doesn't seem to move the needle. That's just from my observation.

Well, yeah, me too. However, I think the series became officially bad before Moscow. Gutenberg jumped ship before Miami Beach.

I mean, so was Mad Max: Fury Road. But we're talking about a correlation that well exceeds the threshold for statistical significance.

City of God was co-directed by Katia Lund.

I haven't listened in yet, but just wanted to say, "Welcome back" to Amy et al.

Colon in the title. Crank 2: High Voltage Punisher: War Zone Leprechaun: In the Hood The Twilight Saga: Breaking Dawn Birdemic: Shock and Terror Speed 2: Cruise Control Halloween 3: Season of the Witch Easy Rider: The Ride Back Temptation: Confessions of a Marriage Counselor TMNT 2: Secret of the Ooze Mannequin 2: On the Move Highlander II: The Quickening xXx: The Return of Xander Cage

Needs to be done, if only for the badass John Farnham soundtrack:

My only complaint with this post is that you failed to use the best instance of "skip to the end":

The Jacobs' ladder stuff is just a totem for fans of the show. When people bring it up in live episodes, it's just something that Jason improvises from. My main issue with the audience in the live episodes is the inability for so many audience members to speak clearly into the microphone. It's absolutely brutal when someone asks a question that sounds like they have marbles in their mouth. This last live episode seemed to suffer from that problem a little more acutely than most. But who am I to complain, I was still highly entertained for nearly two hours (!) Generally speaking, the live episodes don't bug me as much as it does others here, save for the fact that I'll never be able to attend one.

It's pretty easy to envision the Fast and the Furious franchise continuing without Diesel, though. He's starting to get a bit old for the part. I could see the franchise pulling a cast changeover (or two, three) a la Bond.

That is truly a missed opportunity, although out of it.

If you've gotten to "Frank Lloyd" then "Wright" should not be a problem. Off topic: Usonian houses are bad ass, as is almost everything else Wright built. As for strange buildings/architectural styles that I* hate, I'll go with Brutalism, generally, Boston City Hall (Kallman), specifically. *not an architect.

Starlee Kline! That's a name I did not expect to see on this show.

So, I don't know how many of you have a good city library system available, but let me recommend it. It's free, and if you have a multi-branch system, they can usually hold copies of material at your nearest library. One other thing: it's one hundred percent completely legal. Moreover, bad movies are exactly the kind of ones that libraries usually stock a lot of, since those are the kind of "mistake purchases" that people can't wait to get rid of. For example, my library has 41 (!) copies of the Lake House.

I think it's fair to assume that different people will come up with the same observations independently. (Just my thoughts on the EHL).

This is me!

One thing that caught my attention about this movie is that it was the first of seven Stephen King adaptations that Garris would direct. From my cursory research, Garris is the only director besides Rob Reiner (Stand By Me, Misery) who has directed more than one King adpatation. And while Reiner understandably got more than one bite at the apple, I can't fully understand why Garris did. I do remember the Stand being well-received at the time, and Garris has gone on to have a reasonably successful career, but putting him at the helm of such a major adaptation must have meant that King (or someone) loved Sleepwalkers. Maybe someone can dig up a reference for this.

The Harder They Come? The Wall?

Until seeing this movie last night, I didn't realize that Fences was almost a word-per-word, scene-for-scene recreation of the play. It feels like a play onscreen, dialogue heavy, nothing left unsaid. Normally this wouldn't work for me, but the acting (what else?) kept me engaged. I couldn't get over the feeling that Mykelti Williamson was being typecast, though.

I think, in this case, that's a distinction without a difference. "Sleepwalkers" is a pretty good example of lazy writing from King and so the "why" in this story is no deeper than "because I said so". Just my two cents, of course.

I think it starts with the (sorry, June) dance and incest scene at the opening of the movie. Charles and his mom are dancing to "Sleepwalk" and therefore you have the title of the movie. King reportedly writes by putting his characters in a situation and going from there, so that explanation makes as much sense as any. After all, shoehorning concepts into stories is familiar territory for the author of "The Girl Who Loved Tom Gordon". (For those unfamiliar, this story uses the Red Sox closer's streak of 54 consecutive saves as a plot device). To sprinkle a little more rain on June's parade, King often incorporates child abuse in his stories, although typically in the history of a protagonist to explain some kind of underlying fear or insecurity in the character. I think in this case, the relationship between Charles and his mom is just being used to (successfully!) inspire some sort of general creepiness but that's up for anyone's interpretation. Another reason for "Sleepwalk" is to root the story in some kind of nostalgia. Anyone who has read a few King books (or seen movies) knows that boomer nostalgia is a common thread in a lot of his stories. This explains why Tanya was listening to "Do You Love Me". This also explains why Charles drives a pair of conspicuously vintage automobiles (1970s edition Firebird and 1960s edition Mustang), objectively terrible choices for a werecat/vampire trying to blend in rural Indiana. If you're looking for them, you'll see all sorts of King tropes in this movie. King often injects a proxy for himself in his stories, typically an author or high school teacher. Well, this would be Mr. Fallows (played by Glenn Shadix). In a different imagining of the story, you could see Fallows as some kind of secondary protagonist, or the origin of a plot device through which the secret of the Sleepwalkers is revealed. King often references Lovecraft, and I think that's the sole motivation for the "Chillicoathe Encyclopaedia of Arcane Knowledge" in the title card. King likes to set his stories in small towns, typically in Maine, but Indiana will do. King often makes cameos (noted in the podcast), etc. I'm sure I'm missing a few.