JJ and Steve wrap up this season of Trailer Rewind with a powerful film. This is one of the few films that JJ doesn’t want to spoil. He and Steve both agree that you should avoid this trailer until after you have watched the film. Antebellum takes its tim
Listen NowThis is a tough film to recommend because it’s not entertainment, and it doesn’t feel right to call this story enjoyable. However, both JJ and Steve agree that there is something to be learned from stories like this. It is a film that is likely to start g
Listen NowTo close out the series of war films, Tommy joins JJ and Steve to discuss The Kill Team. Will this finally be a war film that is actually about war?
Listen NowDuring their seasons on Trailer Rewind JJ and Steve have seen a lot. Will they be the same when they come back from watching The Yellow Birds? Is the talented cast of Alden Ehrenreich, Tye Sheridan, Toni Collette, Jennifer Aniston, Jason Patric and Jack H
Listen NowJohn Cena and Aaron Taylor-Johnson are stuck at the wall, and together with Laith Nakli’s voice we have a film about relationships and the power of words — and weapons — to navigate war in The Wall.
Listen NowThe Book of Henry is not the film any of us expected. This is a film that splits audiences – including JJ, Steve and Tommy. Is this film for you? Within the first 15 minutes of this episode you will know whether you will push play, or keep scrolling.
Listen NowJoanna Hogg’s 2019 film The Souvenir is based on her own experiences as a student filmmaker in the 1980s. This leads JJ and Steve to again ponder the question of whether such a personal story can be fully accessible to an audience. They are sharply divide
Listen NowJJ and Steve travel back to 1995. That time when landlines were ubiquitous and had yet surrendered to the internet, cell phones and texting. Although Landline is from 2017, it feels like a close relative to the mid-90s indie film scene that was bursting o
Listen NowThe Roads Not Taken is a challenging film to watch. The question is whether it is intended to be oblique or if it is such a personal film that audiences aren’t expected to fully access the intent and meaning behind it.
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