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: Spotify | iHeartRadio | Stitcher | TuneIn | 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.

The story picks up where Part I left off. If you really need to know, you can always rewatch the last movie (Heaven help you), but I’m a casual fan and had no trouble jumping right in. Harry and co are holed up in the Weasley family safehouse with Mr. Ollivander (John Hurt) and one of the goblin bankers of the Wizard World’s enormous vault Gringott’s. The group needs him to break into the vault and destroy a chalice that holds part of the soul of Lord Voldemort (or “Horcruxes” for the Potter fans)—and break in (and escape) they do. I’m pretty sure the entire sequence is the most accurate movie representation of the US’s financial collapse we’re likely to see.

From there they travel back to the wizarding school Hogwarts to destroy another Horcrux and oust Snape as the acting Headmaster. At the same time, Voldemort’s army (why was the wizarding world so scared of him before? It appears the whole of them were his allies?) prepares to march on Hogwarts while Harry scrambles to finish up the tasks that will ensure Voldemort’s total destruction. I won’t dwell on recapping because 1) it’s not particularly necessary and 2) anyone reading this will likely already know, so we may as well just get right into the review.

For all the complaints that were and could be (justifiably) leveled against Part I, Part II is a rather wonderful return to form, evoking the grandeur of the previous Potter films but furthering it with higher stakes and a more serious tone. Many have lauded the later Potter films for their “darkness,” and while I didn’t quite agree with them then, the credit is now well deserved.

Harry Potter has been a generation defining cinematic event. Never before has a film franchise gripped the collective imaginations of so many for nearly an entire decade. Since 2001 there have been 8 Harry Potter movies, all of them have been well received, some are bordering on classic of an age. Today Warner Bros. released the latest and likely last trailer for the final chapter.

Apple has the new trailer and it delivers on just about every note. Showcasing large battles, epic moments and even some love sprinkled in for the ladies, Harry Potter and the Deathly Hallows Part 2 is primed to be the most exciting Potter movie yet.

The trailer plays heavy on the idea that this is not just the last movie in a series, but it is the finale of one the biggest things ever on the big screen. There are elements of past films in the trailer that really sell the notion that something bigger than a standard blockbuster is at play here. Also seeing as many of the side characters as possible getting screen time in the trailer is such a fitting way sell the best cast fantasy franchise this side of middle earth.

Check out the trailer after the jump.

This may be the biggest year for the Academy Awards, as some major Hollywood players are going up against some fresh newcomers. Eyeballs everywhere will be glued to ABC on Sunday, February 27th at 8PM E/5PM P when the awards show goes live. But before that, we decided to do some picking of our own with the staff’s predictions for each award.

For a full list of the nominees, check out our previous article on the subject. Now, on to the predictions.

Best Picture

Shannon Hood-The Social Network. It had early and consistent momentum all year, and the Academy appears to be trying to shake up their stodgy image. This would be the perfect film to put their money where their mouth is.

Matt Raub – True Grit. Not only are the Coens a regular in the “I Have an Oscar” club, but this testament to classic western films is definitely one for record books, between its all-star cast and gritty (no pun intended) visual style, this one definitely deserves the golden statue.

Chris Ullrich – True Grit. Even though this was a pretty great year for movies and there are many excellent choices in this category, True Grit stands on its own as my pick. As an example of pure movie storytelling, this Coen Brothers masterpiece excels on every level and delivers a pure entertainment experience you will want to revisit many more times in the future.

Cortney Zamm – The Social Network. There’s a lot of great films in this category, some of them from my favorite directors and starring my favorite people. But the one that combined all of the essential elements of filmmaking into a truly gorgeous, compelling, and memorable film was The Social Network.

The Academy of Motion Picture Arts and Sciences announced the  nominees for the 83rd annual award ceremony this morning. The King’s Speech was the front-runner with 12 nominations. Overall, there weren’t too many surprises.

Many were disappointed  that Christopher Nolan did not receive a best director nod, but as a consolation prize, Inception was nominated as a contender for best picture.
True Grit did quite well, with Hailee Steinfeld nabbing a best supporting actress nod, and nominations for best picture, best director(s), best actor, and best adapted screenplay. Winter’s Bone was recognized for best actress, best picture, and best adapted screenplay. Dogtooth, Jackie Weaver, and Javier Bardem were nice surprises.

Here are the nominees in the order that they were announced.

Best Supporting Actress

Amy Adams The Fighter
Helena Bonham Carter The King’s Speech
Melissa Leo The Fighter
Hailee Steinfeld True Grit
Jackie Weaver Animal Kingdom

Best Supporting Actor

Christian Bale The Fighter
John Hawkes Winter’s Bone
Jeremy Renner The Town
Mark Ruffalo The Kids Are All Right
Jeffrey Rush The King’s Speech

History and movie buffs alike should be thrilled with The King’s Speech, an exemplary film with all the trappings of a serious awards contender. Impeccably cast and skillfully directed, the film started getting buzz when it debuted at the Toronto International film festival in September, and it has shown no signs of slowing down.

The film tells the (true) story of Prince Albert, who unexpectedly found himself taking the position of King George VI when his older brother relinquished the crown due to a scandalous relationship in 1936. Albert (Colin Firth) was afflicted with a horrible stutter for his entire life.

If he is to be King, public speaking will be the norm, yet the very thought of delivering a speech makes his blood run cold with fear. Escalating his personal crisis is the possibility of war.

He will have to deliver a speech that will inspire, reassure, and rally his kingdom all at the same time.  How can he convey all those things  to his subjects when all they will notice is the stutter?