It’s the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959’s “Compulsion.” Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule.
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We always knew there were other operatives out there, and when the producers couldn’t get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who’s been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, “The Bourne Legacy.”
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It’s time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it’s not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It’s a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we—Pete Wright and Andy Nelson—talk about it this week.
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Jason Bourne’s back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we’re covering the 2004 film, “The Bourne Supremacy”, the second in the Bourne franchise.
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This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman’s 2002 film, The Bourne Identity. Born from Robert Ludlum’s classic spy thriller, this movie came out a time when the spy film genre was feeling a little… overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story.
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John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn’t be done—shooting a story on location about two characters typically considered much too old for a love story—John Huston proved them wrong.
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“You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never.” And thus sums up the battle within Michael Powell’s and Emeric Pressburger’s 1948 film, “The Red Shoes” — the battle between love and art. Can the two exist together? Or will one always win out and destroy the other? It’s a fascinating question posed in a beautiful and sumptuous film that we—Pete Wright and Andy Nelson—talk about this week on Rash Pixel’s “Movies We Like.
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This week, ladies and gentlemen, we talk about Jason Reitman’s third, and arguably best, film: 2009’s Up in the Air.
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It’s a movie about spin and the spin doctors who spin it — Jason Reitman’s fantastic 2006 satire Thank You for Smoking. Join us — Pete Wright and Andy Nelson — as we talk about it this week on The Next Reel. It’s a fantastic film and we both love it.
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“Prometheus,” the non-prequel to “Alien” is anything but a small beginning to this universe and, while ambitious, leaves us with a lot of unanswered questions and problems that shouldn’t have been there in the first place.
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