HoldenMartinson

Anything to get Suspiria on this show.

Cuaron has a few possible entries. I would argue Y Tu Mama Tambien, Children of Men, or Prisoner of Azkaban are his strongest bets--not necessarily his best, but his best shots.

Right? I think something like Singles or even Say Anything... would be more dubious--even though I LOVE the latter dearly.

Depends if you want a big canon, or a small canon. If there were only one million films, five thousand in the canon would be .5%. Do you really need fewer films than that? Is one thousand still too many? Five hundred? Why does it matter? More than anything, The Canon an excuse to talk about great movies, as has been mentioned on the show. I mean, it's kind of a game, really. By no means is this definitive. Do I want a canon that would have There's Something About Mary, but not The Empire Strikes Back? Not really, but as a community that's the consensus. Does it matter? No. It's just a lot of fun to hear two incredible critics--and the occasional guest--have insightful conversations about all kinds of movies. The voting is fun, but not as much fun as the actual dialogue between Devin and Amy--which, again, is the crux of the PODCAST. I don't know. This sort of feels like a "Decker is an android" discussion.

Pshhh!! Cannibal Holocaust is AMAAAAAZING, and is canon for its place among exploitation films, as well as the advent of found footage. But I'd probably go with Chi-Raq, Working Girl, or Two-Lane Blacktop. Or maybe we should vote out a slam dunk, because that's way more fun.

Get the How Did This Get Made? gang to argue for it! Something that has been suggested as well.

I totally would. But really, that remark mostly reflects my similar feelings to both filmmakers. I like, and occasionally LOVE both of them--or hate one more than the other, depending which way you swing. They've both got a misfire or two, but they're worth celebrating, even if they're not my first picks. Right? These are a lot of fun to watch with young kids. I've shown some of these to my cousin, who's four, and she really adores them. They're real magical works, these movies.

I want anime, and I'm gonna vote yes on this, but I feel like a Bernie supporter having to vote for Hillary. Don't get me wrong: I like Kiki's Delivery Service. It's a fine film that encapsulates a lot of what Hayao Miyazaki does well. That said, I wouldn't even pick a Miyazaki film if we're going with anime. He's kind of like the Wes Anderson of animation. Yeah, his work is solid, and there are a few films of his that I adore deeply, but you're just inches away from better, lesser known filmmakers. And sometimes a Ponyo just can't make up for Howl's Moving Castle. Personally, I'd go with Ghibli's real champion, Isao Takahata. While Miyazaki has an eye for ornate design, and a deep optimism and humanity to him that informs nearly every character of his, I'm never blown away by anything he's done. The Wind Rises, Princess Mononoke, and Spirited Away are breathtaking achievements--I am personally not a fan of My Neighbor Totoro. But Takahata does more with storytelling and craft that is head and shoulders above what Miyazaki does. I prefer the ambition and experimentation. I prefer that, while Miyazaki may come up with better characters, Takahata lends more complexity and subtlety to his characters and their arcs. Takahata is far more daring, and willing to confront actual social issues, like class or gender politics--like in The Tale of the Princess Kaguya. I like that he allows his characters to fail, despite doing their best, something that Miyazaki would never do--see Grave of the Fireflies. I like that he'll talk about smaller things very candidly, like menstruation and flawed parent/child relationships--as seen in Only Yesterday. And the fact that there is nary a raccoon-dog testicle parachute in a single Miyazaki film--unlike Pom Poko--is an honest-to-God transgression against the medium. This, to say nothing of how Takahata will use something like pastel coloring to give an aged look to a film, or give a faint, computer animated tinge in order to suggest something lighthearted. Hell, the opening shot of Only Yesterday--which is of a reflection of a huge city off a tall, glass building--is more profound than most shots in live action films. We're not looking at the city. We're looking at a secondhand view of the city, which lends itself to the themes explicit ideas of memory, and also suggests that our main character reflects the world around her. That's in one five-second shot. Takahata then does things like animate flashbacks flatly, or allows for fantastical sequences to illustrate a specific sensation. Hell, we can even start arguing the veracity of how hard her dad hit her in that one scene, or how stupid her sister and mother thought she was. Takahata is never heavy-handed about this sort of thing, but he puts the pieces there. Also, it's a miracle of filmmaking that Takahata can give us a set of kids, as in Grave of the Fireflies, that are so goddamn annoying and frustrating, and yet, I still cry profusely when I get to the end of the film. When all is said and done, Takahata has more to say, and fits more in five films than Miyazaki does in twice as many. His films offer more on repeat viewings, and aren't just pretty and well designed the way Miyazaki's are--who does include a lot of references to Japanese folklore and history in meaningful ways, to his credit--but Takahata's style offers greater utility with simple choices. I hope we get to discuss him at some point, because he's as canon as they come. I hate to be a spoiled brat, because this could be the only chance we get to do something like this, but I don't know. I kinda wish we would be doing something else. THAT SAID, I love Film Critic Hulk, and I'm positive that he'll have really smart things to say about Kiki's Delivery Service--which is still a pretty good picture.

Seeing as this touches everything from The Matrix, to The Wrestler, to the world of street art, yeah. This is canon. Does it reach Carpenter's dizzying highs? No, but it's campy and fun and frighteningly prescient. This movie has come to kick ass and chew bubblegum, but runs plum out of bubblegum.

Personally, I'd go with Stray Dog, because it's not as well known, but it more or less invents the buddy cop genre. Plus, it's absolute dynamite, and my personal favorite of Kurosawa's near-flawless filmography.

See, I disagree. I think Up more than holds its own against WALL-E. The film on the other end of that opening is still incredible. WALL-E is still great, but Up is terrific enough to hold up against it.

I love Carpenter's work--what I like to call "John Carpentry." So, it'll be nice to maybe get another one in the canon.

As someone who merely liked Boyhood on first viewing, my experience is that it gets better with each outing. You just start to notice more things and find more significance in seemingly arbitrary places. Having seen it a dozen times, I totally see why it's hailed so thoroughly. What it comes down to is that you're jamming twelve years of life into two and a half hours. Linklater really makes it all count. Also, what a scary thought: You can condense the full scope of one's childhood into less than three hours, but in three hours, you've watched someone's entire life unfold. Gotta love it.

Don't you mean Tangerine?

Honestly? Not including anything that's been included from this decade... The Social Network Boyhood The Master Drive The Avengers (even though I kind of hate this film) Tangerine The Tree of Life Beasts of the Southern Wild Before Midnight Django Unchained Her Nightcrawler Gone Girl Under the Skin Exit Through the Gift Shop The Act of Killing/The Look of Silence The Lego Movie The Wolf of Wall Street It Follows The Witch I'm forgetting so many.

@thejar, I'm sorry, but I think you're wrong about the scene in Keaton's apartment. It's about, how Devin and Amy mentioned, Verbal getting what he wants. The scene begins with Keaton in control, suppressing Verbal against a wall. Then Verbal gains the upper hand. What we see is Keaton freeing Verbal, and opening of to him, letting him into very specifically designed apartment. It's so much his taste, which is all that matters: That it's his. In the wide shot, we see Keaton give up his position, and Verbal casually places himself into Keaton's home, almost wherever, but not in a way that's too obvious. Meanwhile, Keaton is pushed to the side, against the wall. He's not even the center of his own personal space. Without totally realizing it, he willingly has allowed Verbal to take the reigns, by allowing Verbal to be more comfortable in Keaton's home than Keaton is. Within the visual text, Verbal's more comfortable and in his right place than Keaton is. That's why that scene is BRILLIANT.

This is a film I've seen something like thirty times in my life, mostly as a young teenager. Having spent the last several months watching practically everything I've been able to get my hands on, and having spent a long time away from this in general, I wasn't sure if this was going to hold up. And yeah, there were some things that didn't quite work, but the film is so layered. Re-watching this last night, I had a lot of the same thoughts as Devin and Amy. This film not only works despite the twist, but it works better, because what you're looking for, and what the film is saying, is not only different, but much more complicated. And to see Kevin Spacey's character wanting to laugh in Palminteri's face, and messing with him, is way more interesting. Not only that, but this film is really so balanced and watchable. That has not changed at all. The Usual Suspects is just shy of two hours, but it feels like nothing. This is a 100% yes. This film holds up well. Every part works. There's not much action, but what action there is just puts you on the edge of your seat. The script is more captivating the more you dig into it. The ensemble is amazing. As an experience, it's as potent as ever Glad I'm not the only one who feels this way.

I'm glad I'm not the only one who feels this way, because that's something I struggled with for years. The look just wasn't right. Some of the cuts are really distracting, too. There's the scene in the line-up, where they're laughing. The next shot is a wide shot, but they're all stone-faced. It's really irritating, because they chose that first shot to establish the chemistry of the cast--which only happened because Benicio del Toro kept farting--which they undermine by not getting another shot of them having a good time. THEY WERE RIGHT FUCKING THERE. It wouldn't have been a hassle. This is from a film I adore, but that frustrates me, because it's not as good as it could be.

This is so important. I don't know if either host really addressed this--whether intentionally, or because neither thought to bring it up. But this is meant as a voice for a specific part of our culture. Even if it doesn't quite work as well as other films, the deeper you go with the context with this particular film, the clearer it is that, despite its quality, it is a canon film.

I'll keep an eye out for it. I tend to listen to the show before going to bed--you can listen to each episode on the Howl app in succession without having to manually start each episode. But I can't imagine it'll be too hard to find.

I think a good versus with a "neither" option would be The Breakfast Club vs. Ferris Bueller's Day Off, because FUCK JOHN HUGHES!!!

This is a movie I watched a hundred times growing up. The Usual Suspects always felt exciting and edgy, even if there some things that didn't quite make sense. This is a film that I think holds up, because the twist ends up throwing out the entire film anyway. So, trying to see how that twist applies to the film before it is kinda useless. I like that kind of subversion. As for the film--is it any good? I have fond memories of it, but I'll need to revisit it. This kinda feels like one of those beloved films that's cool to shit on, but I'll keep an open mind either way.

If you did the trilogy of Valhalla Rising, Drive, and Only God Forgives, I think that could make for a compelling episode. Refn is a great filmmaker. Only God Forgives is a great film. I'd love to see it, or something by Refn, discussed at some point.

Well, yeah. Woody Allen has made a bunch of great films. And while Allen is a very problematic subject, where do you draw the line? Because, depending on your standards, none of us should like most of modern music, because so much of that is owed to Phil Spector, who was famously abusive in the studio, and actually killed someone. Same with Errol Flynn. Are you going to say The Adventures of Robin Hood isn't canon-worthy because he was probably a rapist? This is not to justify anyone's behavior. By no means do I mean to do that. What I'm saying is that I think Devin is coming from the standpoint that Allen's work is great, even if he, as a person, is kind of a scumbag. Sometimes the stuff we like and want comes from bothersome places. If you're going on the principle that you can't support the product because of the producer, you're not gonna get very far.

Does this keep their favorite engineer Sam up at night? I sure hope not.