Time is short so we’ll make this quick. Here’s another new episode of The Flickcast.

In this one the second episode of 2014, Chris and Joe spare to expense and pull no punches discussing the reboot of Point Break, the latest Man of Steel 2 casting rumors, the return of Justified, Sons of Anarchy, Brooklyn Nine Nine, the slow death of Agents of S.H.I.E.L.D., and a whole lot of the more you’ve come to expect from a quality program like this.

This week’s picks include Chris’ pick of the TV show Brooklyn Nine Nine and Joe’s pick of the X-Files Season 10 comic from IDW.

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.

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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.

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This week on The Flickcast, we’re just going to pretend nothing happend and move on. Although, that’s not really fair. Okay, let’s try this instead.

Welcome to an all-new episode of The Flickcast featuring new co-host Joe Dilworth! How’s that? Yeah, we like that better because we’re happy to have him on the show.

To kick things off on this week’s episode, Chris and Joe discuss all manner of new topics including Pacific Rim, Oldboy, Man of Steel, the upcoming San Diego Comic-Con and much more.

In addition, the boys made some picks this week including Joe’s pick of the new album by Kirby Krackle and Chris’ pick of a geeky piece of hardware known as the Nest. Yes, he picked one of those. He’s a geek, we get it.

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.

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One was a slam dunk, the other was a blockbuster to be that came into the weekend stinking of behind the scenes drama. Yet in the end both hit theaters this week and obliterated expectations.

Monsters University is the prequel to one of the older PIXAR classics, telling the tale of how everyone’s favorite boogie men, Mike and Sully, learned their scare trade. The film took in $82 million over the weekend giving PIXAR its second highest opening ever, and their 14th strait number one debut. Lets just ponder that for a second, even as the creative armor of the premier animation house of the west shows some chinks in their armor, they maintain a perfect record on the financial side of the movie equation. The quality of the recent PIXAR films is up to some debate, but what can’t be denied is they still know how to make a movie people want to see.

While everyone and their mother knew MU would be a hit, the big surprise of the weekend came from the Brad Pitt zombie blockbuster, World War Z. The studio had modest expectations initially, and the general geek community had no expectations. The film veered far from the source material that is much beloved, the movie was plagued by re-shoots and seeming instability from the set, and it is a PG-13 zombie film which just feels wrong. Despite all of that working against it in the buzz department, the film was well sold and generally positive reviews helped to make all those other issues all but disappear. The net result was $66 million at the box office and a lot of turned heads.

Whatever happened to The Man of Tomorrow? In the late ’70s, when Richard Donner and Mario Puzo were making their Superman movie, they realized that the lead character, when in costume, lacked a personality. He’s tough, he’s fast, he can fly, and those abilities define him. It may be impressive as spectacle, but it’s a hard lead for an audience to connect with, and so they chose to focus on Clark Kent — in short and in a bad pun, theirs was a classic because it was more Man than Super. Now, with Man of Steel, Snyder, and his writers David S. Goyer and Christopher Nolan, do precisely the opposite.

The film opens with the usual prologue, though seeming far more extended here, on Krypton. Jor-El (Russell Crowe) is arguing with the planet’s elders about mining the core of their world — he warns them that the planet has only weeks left before it implodes, and as soon as he’s dismissed, General Zod (Michael Shannon) appears and starts blowing the elder’s palace up. Jor-El escapes to his wife Lara (Ayelet Zurer), who has just given birth to their son, Kal-El, Knowing the planet is doomed, they place him in a shuttle and shoot him off to earth, but not before Jor implants a whatsit codex into the ship.

Zod attempts to intercept the shuttle, killing Jor-El in the process, but is overpowered, tried, and sentenced to the Phantom Zone, a kind of black-hole prison. Krypton implodes, and Kal makes his way to earth, specifically to the Kansas farm of Jonathan and Martha Kent (Kevin Costner and Diane Lane), who adopt the boy and impart to him the lessons of compassion and anonymity. I will say that it’s clever of Goyer and Nolan to handle Kal-El’s childhood in flashback, lest we sit through another hour or so of an origin story whose end we already know.