This week on The Flickcast , Chris and Joe are back at the same Bat-time and the same Bat-channel to talk all-thing Superman/Batman. That’s right, a big casting announcement has come down from the Warner Bros. tower and it’s one that’s sure to spark controversy.

We won’t keep you in suspense: the actor chosen to play Batman in Zack Snyder’s Superman/Batman is none other than Ben Affleck.

Of course, Chris and Joe debate and discuss this one quite a bit, but their final conclusions and opinions just may surprise you. They also discuss J.J. Abrams Star Wars and a whole lot more stuff that you’ll just have to tune in to find out.

This weeks picks include Joe’s pick of the great works of Elmore Leonard, who sadly passed away this week. They include TV’s Justified and the novels Get Shorty and Outta Sight. Chris’ pick this week is the 1974 Francis Ford Coppola film The Conversation.

As always, if you have comments, questions, critiques, offers of sponsorship or whatever, feel free to hit us up in the comments, on Twitter, at Facebook, Google+ or via email.

Subscribe: Apple Podcasts | Spotify | iHeartRadio | Stitcher | TuneIn | RSS

When your work spreads as far across the  digital range as mine does, it can occasionally provide a nice bit of synergy. Or repetition.  It depends on which word you want to use, I suppose. After watching Hombre last week, I resolved I would seek out as many of Elmore Leonard’s Western adaptations as I could. The first on my list was the original 3:10 t0 Yuma, which I’ve never managed to watch in its entirety.

And what happens? I joined Matt Raub on The Flickcast this week, and was called upon to recommend a movie. With Russell “Robin Hood” Crowe on the brain and Leonard queued up for Western Wednesday, only one came to my screen-burnt brain: James Mangold’s remake of 3:10 to Yuma.  I promptly kicked myself after. Talk about beating a dead horse, and using up your good material.

But it couldn’t have worked out better. Delmer Daves’ 3:10 To Yuma is an entirely different animal than Mangold’s, and neither of them have much in common with Leonard’s original short story. If you’re a film nerd (and especially if you’re an aspiring director or screenwriter), you couldn’t find an easier compare and contrast exercise than this.

One of my biggest misconceptions going into this feature was that Westerns never tackled the topic of racism. (You may call me a brainwashed and judgmental liberal if you like. I don’t mind.)  I lumped them all in with The Searchers – which, incidentally, wasn’t as racist as I remembered but isn’t exactly condemning its characters’ biases either.

But a lot of Westerns tackle it.  They just tend to examine it through the dewy and sad eyes of the white man such as Jimmy Stewart’s Broken Arrow.    Hombre ups the ante by showing discrimination through the painfully blue eyes of Paul Newman.   How can anyone look down on those pool colored irises? You’d have to be really evil.  And boy, are the white people of Hombre evil.

Based on a novel by Elmore Leonard, Hombre introduces us to John Russell (Newman), a white man who was raised by Apaches and considers himself one of them.  When his adopted father dies, and leaves him a boarding house, he bristles at the suggestion that he relearn to walk and talk as a white man.  He sells the boarding house, and is on his way back out via stagecoach, but he can’t escape prejudice that easily.