Afleveringen
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I have no breezy, jokey description for this one. Stephen Spielberg’s 1993 film Schindler’s List is a devastating film about overwhelming darkness and a single bruised, weary speck of light in the midst of the seemingly endless shadows. Please watch it if you haven’t.
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Ladies and gentlemen, there are moments in life when it comes time to face the music. Old wrongs that must eventually be answered for, debts that must be repaid, orangutans that must be returned to their home rain forests after a brief but disastrous stint as your exotic pet. What I’m saying is that we all make bad choices and eventually the bill for those errors comes due, but we can be thankful that, for most of us, the cost of our various indulgences in vices won’t be the loss of our heads. Not so for those foolish enough to behead the mysterious bark-skinned interloper who crashes our office Christmas parties. Because while you and I are smart enough to give such obviously paranormal entities and their oblique games of returned blows a fairly wide berth, there are those who, through arrogance or excesses of youthful exuberance, just can’t keep a good head on their shoulders. Such is the lot of young Gawain, protagonist of The Green Knight, a 2021 dark fantasy film directed by David Lowery and based on the poem Sir Gawain and the Green Knight by a man whose name has been forever lost. The Green Knight is a ponderous, sometimes surreal, sometimes frightening trek through a warped vision of classic Arthurian legend. It’s not for everyone, but for those who are buying what this movie is selling, it rarely fails to impress. The Green Knight is visually spectacular and thematically dense, and that makes it prime fodder for the less visually appealing but equally dense hosts of Magellans at the Movies. Grab your mail and don your helmet and let’s do this thing!
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Zijn er afleveringen die ontbreken?
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Love is a choice. Love is a feeling. Love is an idea. These are just some of the theories on that most vexing of jazz topics and its effect on the men and women who experience it. Questions on love abound, but answers have remained elusive throughout the course of human history, and if you are one such bemused soul then I’m afraid you won’t find what you're looking for in In the Mood for Love, a 2000 romance directed by Wong Kar-wai. In the Mood for Love is famously vague in its narrative and experimental in its visuals, and rare is the fan whose affection for the film stems from its profound yet accessible insights into the nature of connection and romantic passion. In the Mood for Love is, as the title suggests, more interested in constructing a mood than literally anything else, so your mileage with the film may vary greatly. Case in point: the distinctly divided opinions of Nathan and Elliot, who, for today’s episode will be duking it out over this elusive bit of abstract art. In the mood for a podcast? Then hit the play button and let’s get started!
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Say you’ve just woken up in the late 18th century. Lucky for you, you find yourself the rich scion of a notable family, which, in said time period, means you’ve got it made. The only thing you’ll be lacking is something to occupy your time with. The military being too scary, the theater being too derivative, and the video games being too nonexistent, there’s every chance you’ll find yourself quickly becoming a regular at your local opera house. But wait, what’s this? An upstart young musician named Mozart has just arrived in Vienna? Whatever could this mean for court politics, for music, and for culture at large? Well, you’ll know better than the rest of us, because the rest of us have mostly received our answers from Amadeus, a 1984 period piece directed by Milos Forman and featuring a famously loose retelling of history. Since we haven’t been so lucky as to have been transported back in time and books are lame, we’ll have to settle for the film, though to be fair, there are worse trade-offs. Amadeus was a hit at the Oscars and its reputation has only grown since its release, so it was only a matter of time before Magellans at the Movies declared their position on this melodic matinee. One. Two. One, two, three, four and start!
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Pandas. If you’re somehow not aware of them (which, like, how, they’re basically the poster-animal for endangered species), they’re not exactly what you’d call limber. While the great felines of the world regularly perform feats of stunning acrobatics and athleticism, those of the ursine persuasion, especially panda bears, are stuck lumbering around with all the speed and agility of a wheelchair made out of bricks. This is fine for Youtube compilations of pandas failing to exhibit a strong grasp of even basic motor skills, but if you’re an enterprising young film studio aiming to center a martial arts series around ailuropoda melanoleuca then I’m afraid animation is your first, last, and only port of call, and you’ll have to do more than a little bit of anthropomorphizing even then. When that’s done what you’re left with is something called Kung Fu Panda, a 2008 animated film directed by Mark Osborne and John Stevenson and the progenitor of the tragically long-lived Kung Fu Panda franchise. Kung Fu Panda was popular enough on release and memories of our heroic black-and-white bear are typically fond, so when lifelong panda fan Nathan Magalhães’s own memories were stoked upon hearing of a fourth (kill me) installment, he and his brother had to return to where it all began to see if it holds up. So, when you’re done Kung Fu fighting along to that earworm of an end credits song, jump kick that play button and get on with the episode!
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Peace and quiet. The two go together so well they’re often mentioned in concert, as demonstrated by the preceding sentence. Quiet is often conflated with peace and vice versa, however the relationship between the two may not be as close as people are willing to admit. Few would characterize the bone chilling silence immediately following a bombed joke at a comedy club as “peaceful”, and sometimes even the personal reticence of a taciturn man wearing a placid expression can be little more than a mask hiding great sorrow and uncertainty. But that’s a matter for my therapist, for our purposes you just need to understand that silence may be golden, but it can also be spooky. Nowhere is this more clear than in A Quiet Place, a 2018 horror film directed by John Krasinski. This compact burst of originality and unbearable tension made quite the splash when it frightened annoying old people into silence the world over and proved popular enough to spawn a whole slew of silent sequels. Today, though, we’ll be limiting ourselves to the one that started it all, so get ready to assume your best library decorum and be sure to check your rickety old stairs for rogue spikes of metal. Begin!
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The dream of time travel is an old one, with modern storytellers and ancient legend weavers alike casting their imaginations far into the future or deep into the past to see what might be happening or may have happened then. Wouldn’t you like to get burned for being a witch at Salem? Wouldn’t you like to be sacrificed to Huitzilopochtli in the Aztec Empire? Don’t you want to see what fun implements of warfare people come up with a hundred years from now? I sure don’t, but to each their own. I’m being facetious, of course, time travel is supposed to be fun for the whole family! That’s why they made Back to the Future, a famously fun 1985 science fiction adventure movie directed by Rober Zemeckis and “presented” by Stephen Spielberg, whatever that means. Back to the Future is that rare cinematic classic that the Magellans don’t actually have that much experience with, which is why they’ve decided to go back in time to revisit this nostalgia-fueled 80's romp. Where we’re going, we don’t need roads, we just need headphones and patience so crank your sound to 88 decibels and let’s blast off!
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As you settle in with your coffee and gummy worms to enjoy another episode of the smash hit podcast Magellans at the Movies, you’re probably thinking about how charismatic and trustworthy your favorite hosts are. You're probably thinking to yourself, "Gee willy those Magellans are cool, I'd do anything they asked me to!" Ah, my naive, innocent reader; although we're flattered, we must caution you against such sentiments. Hero worship rarely leads to heroism, and putting on blinders to the faults in our leaders is a recipe for disaster. For more on this, just look at Dune: Part Two, a 2024 science fiction epic directed by Denis Villeneuve and based on Frank Herbert's novel. Dune: Part Two is a jaw dropping spectacle of a movie, bolstered by a searing message about the dangers of messianic figures, and today, with the help of the third Magellan brother Ryan, they'll be diving into all the blood, dust, and worms for your listening pleasure. Fear is the mind killer, but our podcast is the mind stimulator so let's get cracking!
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The Oscars represent the culmination of the film year, much like New Year’s celebrations mark the termination of a calendar year. It’s a time to cast our gaze back over the movies that were, the jokes that made us laugh, the spectacles that made us gasp, and the romances that made us swoon. Or at least the jokes, spectacles, and romances as seen in the movies blessed by the opaque selection processes of a mismatched circle of film personalities of dubious qualification and unreliable judgment. The Oscars certainly aren’t what they used to be in terms of the audience and relevance they can lay claim to, but it’s still an interesting commentary on the state of the medium and a semi-decent way to kill five hours of your time. In anticipation of all that, then, Magellans at the Movies have taken a break from movie reviewing to bring you their thoughts on all things Oscars: the nominees, their respective prospects, and a bit about the ceremony itself. If, for some reason, that sounds fun to you, then I award you the M.A.T.M. award for notable achievement in patience and invite you to begin the episode!
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I won’t lie to you, folks, things are looking grim in our world these days. War, polarization, prejudice, and inequality seem to be the order of the day at Cafe de Earth, and just cracking open a newspaper can be a death sentence for that good day you thought you were having. Still, like a well-meaning friend attempting to console his companion after a botched performance of some kind, we can always fall back on that most durable of platitudes: it could be worse. The war could be nuclear, the prejudice could be genocidal, or we could be living in a late-stage capitalist hellscape of mega corporations with the power of governments, ecological disaster the world over, massive overpopulation, and a race of dangerous synthetic humans needing to be brought to heel by an elite force of police assassins. If you have anything more than a passing fondness for the science fiction genre, you’ll probably recognize that as being the plight of the dystopian future as seen in Blade Runner 2049, a 2017 cyber-noir directed by Denis Villeneuve, sequel to the 1982 Blade Runner and based on the world of Do Androids Dream of Electric Sheep? by legendary sci-fi author Phillip K. Dick. Blade Runner 2049’s vision of the future is undoubtedly dark (like, seriously, I think the sun might have gone out in this timeline), but holy mother of Asimov is it a future worth exploring. Blade Runner 2049 improves on its predecessor in every way (yes, I said it), exploring the world more deeply, benefited by stronger technology, and at the side of characters more rich, compelling, and empathetic. The performances are nothing less than exemplary, the special effects are eye-popping, and the tragic humanity at the core of this tale of men and not-quite-men brings to the fore some of the most pressing, elusive questions of the human condition. It is, in short, a masterpiece, and today Magellans at the Movies will bequeath to it that title and many more in our new episode. Do you dream of good podcasts? Then maybe you’ll find one once you’re done listening to ours!
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The connotations of the word "bomb" are often dictated by the context in which it is set. If I were to inform you that a movie bombed, you would likely bow your head in mourning for a noble film cut down by poor box office returns. If I were to tell you that a movie is the bomb, you would probably smile and nod in approval for a film that has achieved some impressive feat of cinematic greatness. If, however, I were to mention a bomb outside of the context of film entirely and instead in a hot, dusty street in Iraq in 2004, you might get a little bit worried. That’s because such circumstances are almost exclusively the domain of those involved in the Iraq war, a conflict infamous for IEDs. Worry not, though, since we have the brave men of explosive ordnance disposal teams to call upon to ensure the harm inflicted by such bombs are as minimal as possible. Should you wish to see such men in action you would be well served by the 2008 war film The Hurt Locker directed by Kathryn Bigelow. The Hurt Locker made a big splash in movies for its gritty atmosphere, intense performances, and immaculate tension, and for netting a woman the Oscar for best director and best picture for the first time, meaning it’s a prime target for the analytical eyes of Magellans at the movies in today’s new episode. No need to boot up the bot for this one, folks, the only explosions to be found in our program are bursts of petty sibling rivalry, how fun!
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If you’re a child of the Brazilian slums in the 1960s, I’m sorry to be the one to tell you, but you’ve been dealt a pretty lousy hand. Growing up you can look forward to such unpleasantness as abject poverty, filth, social immobility, filth, endemic violence, police brutality, filth, and uncleanliness. If, however, you’re of a mind to transcend the lowly status into which you were thrust, your best bet is that great equalizer, that forge of infamy, that last refuge of the desperate and first port of call for the avaricious, I’m talking, of course, about crime. That’s right, kids, if someone has something you want the quickest way to get it is to insert a gun into the face of its soon-to-be previous owner and take it. That, at least, is the route taken by many of those around Rocket, a young lad living in the titular favelas of City of God, a 2002 Brazilian crime drama directed by Ferdinand Meirelles and Katia Lund and based on the book of the same name by Paulo Lins. City of God is famous for its unflinching portrait of indigency and for igniting interest in foreign films in the U.S., but more importantly, it’s Brazil’s second most important contribution to cinema, the first being its favorite sons and reviewers extraordinaire: Nathan and Elliot Magalhães. Nathan and Elliot have never actually been to Brazil, so to ensure their audience receives as authentic an experience as possible they enlisted their father Eduardo Magalhães III and former Brazilian resident to explicate the finer points of the Brazilian culture on-screen. Does triple the Magellans mean triple the fun? It definitely means triple the length so stop reading this and get the episode started already! Vamos!
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Food is what makes the world go round. In a very literal sense it keeps you alive, but it also strengthens economies, buttresses cultures, and, if you have the stomach for it (tee hee), it can be a medium for artistic expression. I make this terrible joke because the world of fine dining can be a demanding one. Facing pressure from critics and customers to continuously push boundaries and innovate in fields that maybe don’t really need innovating, it’s no wonder that the great chefs of the world will sometimes resort to increasingly outlandish stunts to capture audience imaginations or just say screw this and blow up their careers and lives. Interestingly, the antagonist of this week’s episode of Magellans at the Movies: Chef Slowik from the 2022 horror thriller comedy The Menu directed by Mark Mylod, does both. This leads to absurdity and profundity in equal measure, and Nathan and Elliot will be digging into that and more for your listening pleasure. Bon Appetit!
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It doesn’t matter who you are or what you’ve done, each and every one of us humans live lives filled with “what if”s. What if I’d pursued that dream, what if I’d asked that girl to the prom, what if I’d listened to the old man in the Arabian bazaar and thrown that cursed onyx necklace into the sea? Peering down roads not traveled may bring comfort or doubt, and the older you get the more of those avenues you’ll have to peruse. Such is the heart of Past Lives, a 2023 drama directed by Celine Song. Past Lives has earned itself laudatory reviews, a theatrical re-release, and a couple Oscar noms, not bad at all, but can it earn itself a good review from Magellans at the Movies? That is the question today’s episode will be answering as we dive into all the angst and uncertainty of memory lane. Let’s get our en-yun started by enjoying the episode together and maybe we’ll end up married a few thousand years from now, wouldn’t that be something?
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The Pope, or, the Big Kahuna, if you’re speaking official church Latin. When it comes to the Catholic Church, the biggest single religious denomination on the planet, the buck stops at the man in the white zucchetto. Traditionally considered God’s chief deputy on Earth, the Pope is basically the king priest of the Catholics, and pontiffs throughout history have wielded immense power in both religious and secular arenas. Recently, however, the church seems to have decided that maybe elevating the Pope to the role of shadow emperor to every Catholic-practicing government on Earth might not be what you call Biblically legitimate, and (ideally) modern prelates have been less concerned with suppressing the French Revolution than with matters of Catholic orthodoxy. Controversy still attends the office, however, especially after the Vatican Leak Scandal, directly following which Pope Benedict the One Millionth shocked the world by resigning, leaving the Vatican to be taken by reform-minded Pope Francis the Six Thousandth. Don’t get too bogged down in the clerical politics, though, this is all just the backdrop for The Two Popes, a 2019 film directed by Fernando Meirelles. TTP imagines what it might be like to be a fly on the wall for a hypothetical meeting between Benny and Frank, two men with very different visions for the direction of the church, before Ben’s resignation. Such a fly may have observed a moving, thought-provoking debate about theology and doctrine grounded by a pair of spiffing performances from two legendary actors, at least if the wall it was on was opposite today’s movie! Grab your sword of the spirit and a Bible then, and peace be with us all in the episode!
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Crime doesn’t pay, according to people who have never successfully committed one, but those sanctimonious moralizers have clearly never enjoyed the splendor of a Corleone family wedding. There you will find nice cars, expensive clothes, fine dining, and a vibrant collage of personality disorders, and all bought and paid for by an illicit empire of robbery, extortion, gambling, and murder. Those of us unwilling to kowtow before the Corleone’s imperious patriarch will have to experience such luxury vicariously through the camera aimed at them in Francis Ford Coppola’s 1972 gangster flick to end all gangster flicks The Godfather, based on the book of the same name by Mario Puzo. To say that The Godfather is an influential, well-regarded movie is to call outer space a bit nippy. The Godfather isn’t just a paragon of the medium of filmmaking, it’s a pillar of the cinematic canon, as synonymous with movies as Romeo and Juliet is with the theater. Today, then, let’s return to this certified classic and see what awaits us, conversion or disillusionment? I’m going to make you an offer you can’t refuse: press the play button and you’ll get to listen to the episode!
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Ah, to be young and in love. The butterflies, the sense of the future’s great possibilities, the need to traverse a city besieged by a towering monster in order to rescue your heart’s flame from her destroyed apartment building . . . wait, I’m mixing up Hallmark movies with the 2008 found-footage horror monster movie Cloverfield, directed by Matthew Reeves. Oh well, as long as we’re talking about it, we might as well mention that Cloverfield has had an outsized impact since its release. It’s spawned two uh, spinoffs? Sequels? Whatever, there’s more than one movie with the word Cloverfield in the title is the point, and it all started with a low-budget kaiju flick that gave audiences a terrifyingly close look at what the reality of a giant monster on a walking tour of New York City would look like. To christen the new year, then, let us return to this curious genre-bender in the first episode of Magellans at the Movies in 2024! Grab your camcorder and superglue it to your hand because you won’t want to miss a thing!
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2023 was quite a year for movies, between strikes and Barbies there was nary a dull moment for those of us in the cinema reaction business. But now we have reached the end of this storied year, and the brothers in charge of Iowa's greatest film review podcast are turning their gaze backwards to bring you their full thoughts on the past 365 days. They will be recounting their favorite and least favorite movies they saw this year, along with their favorites from other art forms such as books and TV shows. So, grab a few friends and listen in to the movies and shows you don't want to leave unwatched before you sing Auld Lang Syne and are once again confused as to the meaning of that weird song.
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Life can be difficult for old people, what with their failing health, increasing estrangement from an evolving cultural zeitgeist, and now-obsolete wardrobe of bell bottom pants and lederhosen or whatever people used to wear. It’s no wonder that some of them can be a bit grouchy in the face of all this, and to embody this enduring spirit of prickly cantankerousness, who else can they turn to but their most favored son: Clint Eastwood? In the latter days of his career Clint Eastwood has more and more often cast himself in his movies to play his classic role, that of Clint Eastwood, or at least an irascible, world weary old man living in seclusion from a modern world he doesn’t understand. A prime example of this phenomenon of Clinception can be found in Gran Torino, a 2008 Clint Eastwood directed, Clint Eastwood starring drama. Gran Torino is fondly remembered by a lot of people for its classic character dynamics and pleasant humor, and today Magellans at the Movies will be talking about that and more on a new episode of their smash hit podcast! Get off my lawn and onto your devices so you can start listening!
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Space. The final frontier, and the thing you always seem to be short on whenever you’re in the company of a sick kindergartener. You may want to flee from little Johnny’s sudden and insatiable need to hug you, but even if you go to the exact other side of the planet the amount of space between you is but a miniscule, virtually nonexistent fraction of the total spacial area of the universe. To attempt to traverse distances on this cosmic scale is a task so daunting only the most catastrophic of kindergartener hugs could prompt one to undertake it, and in this case the snot-soaked embrace comes in the form of a mass cessation of plant life that spells impending doom for all life on Earth. I’m talking, of course, about the extinction level threat that facilitates Interstellar, a 2014 science fiction drama directed by Christopher Nolan. Interstellar utilizes theoretical physics to form a visually unparalleled spectacle in which a deeply intimate and human drama is staged. This jaw-dropping, mind-bending triumph from the master of jaw-dropping, mind-bending triumphs was criminally underrated on release, and today the Magellans at the Movies will attempt to rectify the not-nearly-breathless enough response in a brand new episode! It’s not impossible, it’s necessary . . . for you to get listening!
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