Afleveringen
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This April, Catching Up On Cinema becomes “Catching Up On Kayfabe,” a pro-wrestling podcast!
All month long we'll be reviewing WWF/WWE shows from 1998, The Attitude Era.
This week, we're joined by Richie of the Super Media Brospodcast and gonstFM radio station, as we finally sit down to review the first half of the No Way Out of Texas: In Your House pay-per-view!
A haphazardly constructed card that suffers greatly from the absence of then WWF world heavyweight champion, Shawn Michaels, the first half of No Way Out of Texas is a somewhat tedious affair.
Matches featured in this week's discussion include:
The Headbangers vs. Marc Mero and Goldust
Taka Michinokuvs. Pantera
The Godwinns vs. The Quebecers
Justin Bradshaw vs.Jeff Jarrett
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linktr.ee/CatchingUpOnCinema
This April, Catching Up On Cinema becomes “Catching Up On Kayfabe,” a pro-wrestling podcast!
All month long we'll be reviewing WWF/WWE shows from 1998, The Attitude Era, more specifically the programming leading up to and including the No Way Out of Texas: In Your House pay-per-view.
This week, we continue with a review of the 246thepisodes of Monday Night Raw, which occurred on February 9th, 1998 in Evansville, IN.
The “go home” Raw before the Now Way Out of Texaspay-per-view, the episode is once again rife with shenanigans and inconclusive finishes, but features several entertaining promosdesigned to set the stage for the pay-per-view to come, and perhaps more importantly, Mike Tyson's involvement in Shawn Michaels and “Stone Cold” Steve Austin's upcoming clash at Wrestlemania XIV
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Zijn er afleveringen die ontbreken?
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linktr.ee/CatchingUpOnCinema
This April, Catching Up On Cinema becomes “Catching Up On Kayfabe,” a pro-wrestling podcast!
All month long we'll be reviewing WWF/WWE shows from 1998, The Attitude Era, more specifically the programming leading up to and including the No Way Out of Texas: In Your House pay-per-view.
This week, we kick things off with the 243rd episodesof Monday Night Raw, which occurred on January 12th, 1998 in State College, PA.
The “go home” Raw before the '98 Royal Rumble, thepay-per-view directly preceding No Way Out '98, the episode is largely lacking in quality in-ring action, but is buoyed by frequent appearances by “Stone Cold” Steve Austin throughout the show.
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Join Trevor and his buddy Brad from the Cinema Speak podcast for "The Backlog Boogie Part Trois," wherein we'll be talking (for the 3rd time) about movies that (regrettably) remain forever stuck in our backlog.Brad's Picks:Evil Laugh (1986) - 11:45Operation Fortune: Ruse De Guerre - 32:00After Hours (1985), Mean Streets (1973) and The Irishman (2019) - 48:00All the Haunts Be Ours (Severin) 1:10:40Trevor's Picks:Kamen Rider Black RX (1988 - 1989) - 20:00Marlowe (2022) - 42:00The Raid: Redemption (2011), Titanic (1997) and Conan the Barbarian (1982) and Conan the Destroyer (1984) - 56:30
1:26:30And stick around for the speed round, where Trevor and Brad briefly talk about runner up picks that they didn't have time to spotlight.
Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema
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It's once again time for Catching Up On Cinema's monthly Catching Up On Blu-Ray episode!
In this episode, Trevor and Brad take a look at the physical media releases for the month of March 2024.
Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram.
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This March is “Mostly Woody” month at Catching Up On Cinema!
All month long, we'll be taking a look at some of the earlier films of actor Woody Harrelson!
This week, Trevor and Kyle review Ron Shelton's, Play It to the Bone (2000)!
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*SORRY FOR THE BOTCHED RELEASE! AUDIO SHOULD BE UPDATED NOW!*
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This March is “Mostly Woody” month at Catching Up On Cinema!
All month long, we'll be taking a look at some of the earlier films of actor Woody Harrelson!
This week, Trevor and Kyle review Ron Howard's, EdTV (1999)!
Follow us on Instagram@catchinguponcinema
Follow us on Twitter@CatchingCinema
Like, share, subscribe, and we'll catch you next time!
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linktr.ee/CatchingUpOnCinema
This March is “Mostly Woody” month at Catching Up On Cinema!
All month long, we'll be taking a look at some of the earlierfilms of actor Woody Harrelson!
This week, Trevor and Kyle review Oliver Stone's, Natural BornKillers (1994)!
Follow us on Instagram@catchinguponcinemaFollow us on Twitter@CatchingCinema
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This March is “Mostly Woody” month at Catching Up On Cinema!
All month long, we'll be taking a look at some of the earlier films of actor Woody Harrelson!
This week, Kyle and Trevor review Ron Shelton's, White Men Can't Jump (1992)!
Directed by minor league baseball player turned prolific directorof sports films, Ron Shelton, White Men Can't Jump (1992) is a sports comedy centered around L.A. street ball hustlers.
Starring Wesley Snipes and Woody Harrelson, as well as featuringRosie Perez in a key supporting role, the film is a delightful timecapsule of early 90's West coast culture, encapsulating many of the sights, sounds and prominent social themes of the era.
Packed with trash talk, elegantly staged basketball sequences, and wrong-headed hyper masculinity, the film boldly invites the viewer to both cheer for, and scorn its protagonists in equal measure.
Oddly structured, and not consistently crowd pleasing in the waymany would expect from a “sports comedy”, White Men Can't Jump is nevertheless an enjoyable sports film, albeit a somewhat more dramatic and realistic one than one might expect.
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Join Trevor and his buddy Brad from the Cinema Speak podcast as they talk about movies from their collections with nostalgic and "Sentimental Scores"!Brad's Picks:Signs (2002) by James Newton Howard - 5:45The Social Network (2010) by Atticus Ross and Trent Reznor - 35:00Jurassic Park (1993) and Home Alone (1990) and more by John Williams - 58:00Ghostbusters (1984) by Elmer Bernstein - 1:35:50Trevor's Picks:Face/Off (1997), The Bourne Trilogy (2002 - 2007), and Green Zone (2010) by John Powell 20:45The Matrix Trilogy (1999 - 2003) by Don Davis, Juno Reactor, Rob Dougan and Gocoo - 47:30Broken Arrow (1996), Black Rain (1989), Backdraft (1991), Gladiator (2000), The Rock (1996) and The Dark Knight Trilogy (2005 - 2011) by Hans Zimmer - 1:18:30Robocop (1987), Conan the Barbarian (1982), Conan the Destroyer (1984), Starship Troopers (1997), and Under Siege 2: Dark Territory (1995) by Basil Poledouris - 1:49:001:59:30And stick around for speed round, where Trevor and Brad briefly talk about runner up picks that they didn't have time to spotlight.Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema
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linktr.ee/CatchingUpOnCinemaIt's once again time for Catching Up On Cinema's monthly Catching Up On Blu-Ray episode!Join Trevor as he takes a look at the blu-ray releases for February 2024!Follow us on Instagram @catchinguponcinemaFollow us on Twitter @CatchingCinema
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This February is “Frame of Reference” month at Catching Up OnCinema!
All month long, Trevor and Kyle will be reviewing films that havefrequently been referenced in recent episodes of the podcast.
This week, Trevor and Kyle review John Woo's, Face/Off (1997)!
Hong Kong legend, John Woo's, third American feature film, and the first that he was granted extensive creative control over, Face/Off (1997) may very well be the best of director Woo's Hollywood productions.
Headlined by John Travolta and Nicolas Cage, talented actors who clearly relished the opportunity to attempt to ape one another and give dual performances, Face/Off is equal parts rousing action thriller, and over-the-top psycho drama.
Grand and bombastic in both emotional content and actionspectacle, Face/Off is never lacking in terms of energy and momentum, resulting in a film that, while debatable if it's deserving to be counted among director Woo's finest films, may be one of his most balanced and approachable.
Quotable, meme-able, and undeniably memorable, Face/Off is a rare example of a script landing in the lap of exactly the right director, who in turn cast exactly the right duo of chronic over-actors to lean into the material and make an otherwise ridiculous premise truly sing.
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This February is “Frame of Reference” month at Catching Up OnCinema!
All month long, Trevor and Kyle will be reviewing films that havefrequently been referenced in recent episodes of the podcast.
This week, Trevor and Kyle review Martin Campbell's, The Mask of Zorro (1998)!
A long gestating project that encountered many delays, ran overbudget, and saw many directors step into and out of the director'schair, The Mask of Zorro (1998) would ultimately be ushered intotheaters by director Martin Campbell in the summer of '98.
Starring Antonio Banderas and Anthony Hopkins as the titularZorro, and featuring Catherine Zeta-Jones in a star making turn as Elena, The Mask of Zorro is a gorgeous production, both in terms of the aesthetic appeal of its stars and starlets, and the sumptuous production design.
Much as was the case in director Campbell's previous film,GoldenEye (1995), the stunt work and action choreography in The Mask of Zorro is top-notch, showcasing dynamic swordplay, horseback riding, and acrobatics.
Energetically scored by James Horner, the soundtrack for The Mask of Zorro is highly thematic, with memorable flourishes and melodies sprinkled throughout, and some truly show stopping action cues making the production soar whenever Zorro jumps into the fray.
Unlike other modern takes on comic book and radio heroes such as The Shadow (1994) or The Phantom (1996), The Mask of Zorro successfully manages to find a comfortable balance in showing reverence for and paying homage to classic Hollywood, resulting in a film that is wholly modern in its pacing and editing, while clearly bearing the DNA of swashbucklers of old.
A magnificent action film with a period charm, The Mask of a Zorro is a movie that this reviewer eagerly anticipated prior to itsrelease, greatly enjoyed when it arrived in theaters and on VHS, and now, roughly 25 years later, has grown to truly love.
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This February is “Frame of Reference” month at Catching Up On Cinema!
All month long, Trevor and Kyle will be reviewing films that have frequently been referenced in recent episodes of the podcast.
This week, Trevor and Kyle review Felix Enriquez Alcala's, Fire Down Below (1997)!
One of Steven Seagal's last major theatrical releases, Fire Down Below (1997) is an environmentally conscious action-thriller set in rural Kentucky.
Featuring a host of country music star cameos, including celebrated singer/songwriter Kris Kristofferson as the chief antagonist, Fire Down Below is a cozy, but not especially thrilling watch.
Apparently both gutted, and neutered in post-production, Fire Down Below is short on action, and long on down-home Appalachian charm.
With beautiful locations and scenery, and capable performances from everyone in the cast not named “Seagal,” with a few more aikido flips and a little less “geetar” strumming, Fire Down Below could perhaps have been considered one of the few truly “good” Steven Seagal films, however sadly, it was not meant to be.
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This February is “Frame of Reference” month at Catching Up OnCinema!
All month long, Trevor and Kyle will be reviewing films that havefrequently been referenced in recent episodes of the podcast.
Due to a technical snafu, our initial review this month, of BrianHelgeland's, Payback (1999) had to be re-recorded as a solo affair,featuring only Trevor on the mic.
A grim neo-noir crime thriller, Payback (1999) was prolificHollywood writer Brian Helgeland's feature directorial debut.
Apparently a somewhat contentious production, Helgeland wasapparently ousted from the production at some point during filming.
Despite often being criticized for its cruel atmosphere, the filmwould later receive a director's cut, overseen by Helgeland, that isconsiderably shorter than the theatrical cut, though it is up fordebate which version is the superior cut.
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Join Trevor and his buddy Brad from the Cinema Speak podcast as they talk about movies from their collections that feature "S-s-snow!"Brad's Picks:Misery (1990) - 5:30The Hateful Eight (2015) - 27:00On Her Majesty's Secret Service (1969) and Spectre (2015) - 50:15The Grand Budapest Hotel (2014) - 1:17:30Trevor's Picks:The Grey (2011) - 16:30Lone Wolf and Cub: White Heaven in Hell (1974) - 38:45War for the Planet of the Apes (2017) - 58:45Captain America 1 - 3 (2011 - 2016), Highlander III: The Final Dimension (1994) and Ghost Warrior (1984) - 1:25:451:35:45And stick around for speed round, where Trevor and Brad briefly talk about runner up picks that they didn't have time to spotlight.Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema
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linktr.ee/CatchingUpOnCinemaIt's once again time for Catching Up On Cinema's monthly Catching Up On Blu-Ray episode!Join Trevor as he takes a look at the blu-ray releases for January 2024!Follow us on Instagram @catchinguponcinemaFollow us on Twitter @CatchingCinema
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This month is “Dark Hero” month at Catching Up On Cinema
All month long, Kyle and Trevor will be reviewing superhero movies of the antihero or dark hero variety!
This week, Trevor and Kyle review Jonathan Hensleigh's, The Punisher (2004)!
The 2nd live-action adaptation of the Marvel comics character, and the first to be produced during the 2000's boom of the superhero genre, The Punisher (2004) stars Thomas Jane as the titular Punisher.
Written and directed by first time director Jonathan Hensleigh, The Punisher is a sleepy and overplotted revenge film with a strong cast and some decent performances, but is severely lacking in momentum and energy.
Not especially colorful, nor especially thrilling, The Punisher often feels cheap, with much of the proceedings feeling muted and lacking a consistent tone or energy.
The film's one major saving grace comes in form of a single, 5 minute long action sequence involving former pro-wrestler Kevin Nash as “The Russian”, squaring off against Jane's Punisher in a comedic and creatively staged dust up.
A middling rendition of one of the most live-action adapted characters in Marvel's roster, The Punisher was par for the course among the Daredevils (2003) and Elektras (2005) of its day, however standards have changed, and unfortunately, despite Thomas Jane and Kevin Nash's best efforts, in 2024 The Punisher just doesn't hold up.
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This month is “Dark Hero” month at Catching Up On Cinema
All month long, Kyle and Trevor will be reviewing superhero moviesof the antihero or dark hero variety!
This week, Trevor and Kyle review Stephen Norrington's, Blade(1998)!
Both popula and financially successful at the time of its release,Stephen Norrington's, Blade (1998), is an early live-action Marvelcomics film that at one point faded into obscurity, but has sinceseen its cultural footprint grow in recent years.
Released just prior to The Matrix (1999), as well as the comicbook/superhero movie boom of the 2000's, beginning with 20thCentury Fox's, X-Men (2000), Blade stands as the forerunner for manyof the trends that would become ubiquitous in Hollywood action cinemain the coming years.
Starring Wesley Snipes, who would represent the character to sucha crowd-pleasing degree that subsequent iterations of the titularBlade would be altered to match his appearance and mannerisms, Bladeis a high-energy action film that is distinctly of its time, yetremains quite charming for those with a strong tolerance forlate-90's aesthetics.
In actuality more of a supernatural action film than a superheromovie, in the long history of Big 2 (DC and Marvel) comic bookadaptations, Blade holds the distinction of being both one of theearliest Marvel films (bearing an African American protagonist noless, as well as being a nasty and gritty), as well as being a rare,R-rated Marvel film, produced well before the rise of Marvel Studios'more homogenized branding and aesthetic.
A cultural artifact of late 90's aesthetics and trends, as well asthe crown jewel of director Norrington's very short filmography,Blade is an energetic and brutal superhero flick that is well worthrevisiting.
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This month is “Dark Hero” month at Catching Up On Cinema
All month long, Kyle and Trevor will be reviewing superhero moviesof the antihero or dark hero variety!
This week, Trevor and Kyle are joined by the latter's brother,Nik, to review Mark A.Z. Dippe's, Spawn (1997)!
Adapted from Todd McFarlane's comic of the same name, Spawn (1997)is a messy and often boring superhero film from the nu metal schoolof aesthetics and tone.
Debuting via publisher Image Comics in 1992, Spawn's popularitycontinues to endure to this day, leading to guest appearances invideo games like Mortal Kombat 11, and a long rumored 2ndlive action film currently being pitched to Blumhouse and other filmstudios.
Starring Michael Jai White as the titular Spawn/Al Simmons, thefilm represents the feature directorial debut of Mark Dippe, whoseexperience in CGI animation and compositing likely served as theimpetus for putting him at the helm of an effects intensive film likeSpawn.
Uneven in pace, tone, and consistency of effects quality, Spawn isa frustrating film that's fleeting positive elements are so scant,and zip by with such rapidity, that the film's trailer may very wellconsist of every worthwhile shot in the film.
Financially successful (after rental and VHS sales), Spawn, muchlike the comic from which its, for lack of a better term, spawned,retains a mixed legacy, of being alternately reviled, or laudedas a cult classic, depending on who you ask, and more importantly,how big a fan they are of Korn or Marilyn Manson.
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