1990s
How do Michelle Pfeiffer and the late Sean Connery do in this film? Is the Le Carré spy stuff too complicated? Who do those Russian locations look so… real? Tune in to this show and get answers to these questions and more!
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What works better, Stan Winston’s creature effects or the actors performing David E. Kelley’s lines? How does Steve Miner handle the creature feature genre? And how great is Betty White in seriously everything? Tune in to this week’s show to get answers to these questions and more!
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Why does over-the-top John Voight work so well here? Do anacondas really get to be this big? Does it work as a B-creature feature? Tune in to this week’s show to get answers to these questions and more!
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Can a comedic film set during the Holocaust work? Does Benigni pull off the hat trick everyone thought he did back in 1998? Why is it hard to make a film that’s a fable? Tune in to this week’s show to get answers to these questions and more!
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Does a simple yet adorable story full of love and passion like this deserve a Best Picture nomination? Why is the story of getting this film made so heartbreaking? And how does the Miramax marketing machine fit into this film’s success? Get answers to these questions and more by tuning into this week’s show!
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Ice Cube’s rap career was on fire because of the work he was doing with N.W.A., but after playing Doughboy in John Singleton’s 1991 film Boyz n the Hood, he got the acting bug and wanted to do more films. Join us as we kick off our new series looking at the Friday franchise with F. Gary Gray’s 1995 film Friday.
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Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play “Le Dîner de Cons” for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us as we continue our Francis Veber & His Remakes series with his 1998 film “Le Dîner de Cons.”
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When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber’s most famous and celebrated works, the 1978 film la Cage aux Folles. Veber’s films had been remade in English before – in fact, he’d directed a number of them – but this one was the big one so it needed to be big.
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When Agnieszka Holland was given early pages from Solomon Perel’s unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in.
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Is this rightly regarded as a guilty pleasure? Should Bruce Willis be allowed to write more scripts? Is the silly comedy just too much for the general public? Tune in to this week’s show to get these answers and more!
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