It’s a brand new episode of The Flickcast. We’re still doing this . . . and we couldn’t be happier about it. We hope you are too. 

On this episode Chris and Joe take a minute to talk about the show’s newly-launched Patreon. Speaking of that, here’s the link if you want to support the show: The Flickcast on Patreon. Thanks!

They also get into other topics including Bill and Ted Face the Music, the upcoming new TV version of Stephen King’s The Stand, New Mutants, the upcoming Obi-Wan series, The Mandalorian, other Star Wars project ideas, Star Trek: Discovery, other Star Trek shows and, of course, the usual more. 

Picks are back this week too. Yes! On this episode Chris picks the amazing, live D&D stream/series Critical Role and Joe takes the easy way and picks Bill and Ted Face the Music. 

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.

Also, here’s that Patreon Link again, just in case you missed it the first thousand times. Thanks!

We’re back baby!

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

Machete Kills plays like a late Roger-Moore era Bond film — and not just because there’s a lot of visual cues and ideas taken from Moonraker — the action and the humor are constantly fighting for dominance, and the humor, regardless of whether it’s appropriate or not, makes sense within the context of the scene or not, hell, is funny or not, usually wins out. Though, to be fair, the plot of Machete Kills is a lot easier to follow than the plot of Octopussy.

Machete (Danny Trejo), in case you didn’t see the first film…or the trailer on which it was based, is an ex-Federale-turned-spy-or-something-like-that-but-all-around-badass, seemingly indestructible and legendary throughout Mexico. His latest “case” has him busting up a gun-running ring, apparently sponsored by the U.S. Army, and distributed to the Mexican cartel. Gun fights, explosions, dramatic standoff music, and hell ensues. Machete is somehow the only survivor when the cops show up, and by the next scene we’re in the local sheriff’s office and Machete is swinging from the ceiling with a noose around his neck. And then the President calls.

And the President is…Charlie Sheen. Naturally. He needs Machete to hunt down and kill Mendez (Damian Bichir), a nutty terrorist with a vendetta against the cartel who’s moved on to threatening the U.S. with a nuclear device. The catch is that once Machete finds him, Mendez reveals that the trigger for the bomb is tied to his heartbeat, so once he dies, boom. And he’s also put a hit out on himself that everyone in Mexico is trying to cash in on.

The Avengers has come and gone, and now we get to see Tony Stark (Robert Downey, Jr.) dealing with the trauma he apparently experienced in New York. He has insomnia, and it strains both his work on the latest Iron Man suit as well as his relationship with Pepper (Gwyneth Paltrow). His bodyguard Happy (Jon Favreau) is now head of security for Stark Industries. And, all around the world, there’s broadcasts from a strange terrorist figure named “The Mandarin” (Ben Kingsley).

The movie opens with Stark recounting a New Year’s Eve party way back in 1999. He’s at a conference in Bern, trying to bed a buxom botantist, Maya (Rebecca Hall) before the year’s turnover. He’s interrupted by pimply geek Aldrich Killian (Guy Pearce), who’s trying to start a think tank and wants Stark’s help. Stark blows him off, and if the use of Guy Pearce didn’t already suggest it, Stark states outright that it was the beginning of trouble.

Thirteen years later, Aldrich shows up at Stark Industries, again seeking support, though he does seem more interested in rubbing everyone’s nose in his success. He has created a new whatsit kind of technology called “Extremis” that allows the brain to regenerate tissue…and, somehow, make the patients melt things with their hands. (Dr. Curt Conners from the latest Spiderman films is going to be smacking his head with his tail when the inevitable crossover comes.)

The Hills Run Red, sadly, has almost nothing going for it or to recommend it. Its a combination of the worst elements of the latest genre of horror filmmaking and not a very well put together combination of them either. The story, if it can be called that, follows four young adults who’ve set off to make a docudrama about an obscure, unfinished horror films called The Hills Run Red. Along the way they encounter citizens of a small town where the original film was made and, of course, trouble follows.

What happens during this film can be best described as a mismatched, cliched unfolding of coincidental and needlessly violent and bloody events that taken as a whole, signify almost nothing. Usually, at least in the better films of this genre, you hope the audience feels some empathy or, at the very least, pity for the poor characters trapped in this scenario. Or, as in the case of the recent Zombieland, the film has other things in it favor such as humor. Unfortunately, because the characters in the film are developed so haphazardly and so poorly and there’s basically nothing much here in other areas, I felt nothing for them and was not the least bit concerned as they met their individual demises.

In fact, most of their actions in the film were patently stupid in so many ways, they probably deserved what they got — at least in the context of the film. One of my biggest pet peeves is stupid characters in movies who do stupid things that no real person would ever do. As an example, if someone calls and tells you the disturbing phone calls are coming from inside the house, you don’t go upstairs to check. Or, if you hear an odd noise on a dark and stormy night, you probably shouldn’t go and investigate.

Sure, there’s exceptions to this and also in many cases you need to suspend your disbelief to keep the story going, but for this film, that was a very tall order. Whatever thoughts the filmmakers were thinking when making this movie, logic and common sense were obviously not among them — which is one of the few things that does come across clearly with this film.