That’s right, it’s time for a brand new episode of The Flickcast. Were back again.

On this week’s episode Chris and Joe discuss Doctor Strange, the latest epic from Marvel Studios and also current and potential future developments on HBO’s new “must see” show Westworld. Plus, the usual more.

Beer selections this week include Ballast Point’s Sculpin for Chris and Old Town Brewing’s Sun Dazed for Joe. Picks this week include Chris’ pick of the movie Arrival and Joe’s pick of the new album from John Wesley called A Way You’ll Never Be.

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 shoot us an email.

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Broken City is no Chinatown. It takes many of the 1974 Polanski classic’s basic elements – both protagonists are private eyes who used to be cops and specialize in extramarital affairs. Both get involved in schemes to bilk to poor schlubs of a major city (both schemes being land deals, no less). Both have troubled pasts, get in over their head, and see a case through when they’d be better off keeping their eyes shut. Both have confrontations with the villains that end with them being told that they may know what they’re doing but don’t. Only Chinatown did it really, really well and has what is widely recognized as one of the best screenplays of all time.

Broken City, to put it mildly, doesn’t. Despite being among the Hollywood “blacklist” of the purportedly best yet unproduced scripts, it’s an immensely plodding and dull story whose “twists” are so predictable, that one can easily lay out the movie’s entire course simply from the trailer.

Wahlberg plays Billy Taggart, the P.I. who’s hired by the mayor of New York City (Russell Crowe) to discover whom his wife (Catherine Zeta-Jones) is schtupping. Naturally, Wahlberg uncovers some sordid details about both the mayor as well as his political rival (Barry Pepper). Someone tips the ruckus, some people get whacked, and Taggart all but ignores it to struggle with his own personal issues including an actor girlfriend (Natalie Martinez) and a history of possible alcoholism.

It’s hard to face it, but we are neck-deep in the heart of the Award-getting part of the film year. When studios and actors try their hardest to tug on the heartstrings of audiences and try to set their footing for this year’s Oscar race.

With that, one film that surely has reason to win some awards is the new 9/11 drama Extremely Loud & Incredibly Close. The film stars Tom Hanks and Sandra Bullock and just the synopsis alone may get you to choke up.

Based on the acclaimed novel of the same name, “Extremely Loud & Incredibly Close” tells the story of one young boy’s journey from heartbreaking loss to the healing power of self-discovery, set against the backdrop of the tragicevents of September 11. Eleven-year-old Oskar Schell is an exceptional child: amateur inventor, Francophile, pacifist.

And after finding a mysterious key that belonged to his father, who died in the World Trade Center on 9/11, he embarks on an exceptional journey–an urgent, secret search through the five boroughs of New York. As Oskar roams the city, he encounters a motley assortment of humanity, who are all survivors in their own ways. Ultimately, Oskar’s journey ends where it began, but with the solace of that most human experience: love.

Even the 11 year old protagonist’s name is Oskar, so there you have it. Take a look at the new trailer after the jump, and catch the film in limited theaters on Christmas Day.

Voting season is creeping up on us, which means we’re in store for a few “Oscar grab” political thrillers in which some of Hollywood’s elite take on a few stories ripped from the headlines or a topical political book. Who’s the man for the job? Clooney, of course.

The film focuses on several big names in H-Wood’s current “top 100” list, including Clooney, Philip Seymour Hoffman, Paul Giamatti, Marisa Tomei, and Ryan Gosling. Here’s the film’s premise.

The Ides of March takes place during the frantic last days before a heavily contested Ohio presidential primary, when an up-and-coming campaign press secretary (Ryan Gosling) finds himself involved in a political scandal that threatens to upend his candidate’s shot at the presidency.

Yes, you can expect a face-off between Clooney and Gosling. Anyone else find it strange that Clooney manages to work his way into a film with whoever the current rising star is? Coincidence? We think not.

Take a look at the official clip, titled “My Name is Molly”, after the jump, and catch The Ides of March in theaters on October 7th.

In 2009, director Duncan Jones made a splash on the indie scene by bringing us a smart, trippy sci-fi film called Moon. The film was warmly received by critics, but fell short of being a commercial success.

Despite the fact that Source Code has all the trappings of a studio film (bigger budget, bigger stars, bigger advertising campaign) Jones has remained remarkably faithful to his indie roots. The result is the rare mix of a smart thriller with wide audience appeal. We’ve seen that audiences don’t always shy away from smart films (case in point, Christopher Nolan’s Inception); maybe we are finally starting to see the studios warm to the idea that smart and commercially viable are not necessarily mutually exclusive concepts.

Source Code proves that the two can concepts can co-exist in perfect harmony. Jake Gyllenhaal stars as Captain Colter Stevens, who finds himself on a train in Chicago one day and is completely panicked to find out that he has no idea who the woman sitting with him is, and he doesn’t know how he got on the train. Before he can put the pieces of the puzzle, the train blows up.

Colter finds himself waking up in a pod-type device, listening to the soothing voice of Colleen (Vera Farmiga), a military officer who explains that he has been sent back in time (before the train exploded) to find out who placed the bomb on the train. They believe that another attack is planned, and the only way to stop it is to find the perpetrator of the attack on the first train.