On this episode Chris and Joe tackle a subject they don’t discuss very often: horror movies. That’s right, in honor of it being October and with Halloween coming up, the boys talk about some of their favorite horror films, what they like and don’t like about the genre and generally what scares them. Hint: it’s not clowns, although they are pretty scary.

And even if they don’t get completely into horror movies this time, they will on a special upcoming episode with a great guest. You’ll want to be here for that one. Meantime, they also get back into upcoming Marvel film and TV, heap even more praise on Enola Holmes, Millie Bobby Brown and the rest of the cast and renew their commitment to all-things Star Trek. Plus, the usual more.

This is gonna be a shorter episode synopsis as the actual episode is late due to some technical difficulties. So, we’ll just let it (and Chris & Joe) speak for themselves. Thanks for listening.

WARNING: This episode contains discussions about COVID-19, mental health and quarantine. We understand not everyone is in a place to talk about or hear discussions surrounding these issues. Please do what’s best for you. Stay safe everyone.

As always, if you have comments, questions, critiques, offers of sponsorship or whatever, feel free to hit us up in the comments, on Twitter, Instagram or, yes, even Facebook. Or shoot us an email. We don’t mind.

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It’s a brand new episode of The Flickcast. Still going strong eight episodes in. Nice!

On this episode Chris and Joe get deep into all-things Marvel as they discuss WandaVision and how it fits into the greater MCU and what it means for other Marvel franchises like Doctor Strange and X-Men. They also talk about the Marvel multiverse and potential special appearances by various actors in upcoming movies and TV shows and how the Marvel schedule has been pushed around again.

They also talk Tom Cruise in space, 90s Justice League Crossovers, multiple Batmans and Flashes, new content and casting announcements like Tatiana Maslany as She-Hulk, the newly announced Nick Fury series for Disney+, how Marvel may approach the action for the show given the “maturity” of Samual L. Jackson and who would win in a fight between Vin Diesel and Tom Cruise.

Plus, Chris gushes for more than a few minutes about how great Netflix’s Enola Holmes is. It is great. You should watch it. They also touch on other topics like video game consoles, Blade Runner: 2049, the horrible live-action D&D movie and, of course, the usual more.

WARNING: This episode contains discussions about COVID-19, mental health and quarantine. We understand not everyone is in a place to talk about or hear discussions surrounding these issues. Please do what’s best for you. Stay safe everyone.

As always, if you have comments, questions, critiques, offers of sponsorship or whatever, feel free to hit us up in the comments, on Twitter, Instagram or, yes, even Facebook. Or shoot us an email. We don’t mind.

We’re back baby!

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

Late in the movie there’s a scene where a child is playing with a toy train set. As the little model ’rounds the corner, the boy pushes the accelerator, and the toy derails, crashing onto the floor. The railroad owner, who’s lodging the boy, gives him a light talking-to, “Slow it down at the curves, speed up on the straight tracks.” The boy in turn gives him a look that shouts But crashing it is the whole point! No other scene better sums up the movie.

It’s Disney. And Gore Verbinski and Jerry Bruckheimer and Johnny Depp and Hans Zimmer and all those cogs and moving pieces that make it big and loud and hard charging like the locomotives The Lone Ranger delights in crashing, plunging, derailing, and blowing up. And when it is, it’s a lot of fun. Yeah, the trailer’s given a lot away (which has, sadly, been a major problem for many summer blockbusters), but there’s a lot more that isn’t spoiled.

As for the spoilers in this review, I’ll try to keep them to the general plot. The movie opens in 1933 at a carnival in San Francisco. A tyke named Will, dressed in the garish outfit of the ’30s Lone Ranger, wanders through a makeshift museum of the Wild West, one of those galleries with big cardboard dioramas and plaques that state the obvious (“Buffalo: King of the Plains”). Munching on his carny peanuts, he stops at a display of an elderly Comanche, and the camera lingers just long enough to let you know that something’s not quite right with…

“Kemosabe?” the figure asks, and the startled boy confesses that he’s not the real mysterious masked man. The figure, again in turn, reveals that he’s the actual Tonto, and begins to recount the origin of his partnership with the Lone Ranger — beginning with the time they robbed a bank.

I’ve read a lot of novels, and I’ve heard that Les Misérables is the best. I hadn’t read it, and I didn’t believe it. After seeing Les Misérables, I’m starting to.

The film is based on the musical, but its chief accomplishment is adapting the depth and breadth of an immense work. Like the best of Dickens’, Tolstoy’s, and Dostoevsky’s plots, Victor Hugo’s were thought experiments, taking an archaic or cancerous institution and following it through to the logical and often tragic conclusion. Jean Valean steals a loaf of bread and is imprisoned for 19 years.

Upon release, he must carry the past with him in his release papers, so that no man will give him work. Destitute, his last resort is to rob a church of its silver, and only through the uncommon kindness of its priest is he granted a new life. But it is threatened. Valjean has torn up his papers and in doing so risks life imprisonment — a man’s life extinguished for a mere legal technicality. Years later he becomes a successful businessman, where the unfortunate Fantine is employed, but by chance he is reintroduced to Inspector Javert, the man who oversaw his imprisonment and now dedicates his life to hunting Valjean.

Over the past two decades, Neil Gaiman and Terry Pratchett’s Good Omens has almost been made into a movie several times. Monty Python alum Terry Gilliam tried for years to put the comic fantasy on film, but the infamously unlucky auteur (see the wonderful doc Lost in La Mancha) could never make it happen.

There has been talk lately of a possible TV miniseries, but many of the book’s fans still hold out hope for a feature. But who could bring Good Omens‘s outrageous characters to life?

Take a look at our picks after the jump.