Tag Archives: Speakeasy

Man of Steel

Man of SteelNetflix IMDb
Join me and Hardy Lynch of The Speakeasy as we try to make sense of the latest Super-debacle. Hardy likes it more than I do, but we both have decent fun with it. We analyze the odd structure and tone and character motivations. We wonder if it would work better if it weren’t about Superman at all. And we wonder if there’s anywhere to go after the world was nearly destroyed by a terraforming kryptonforming machine.

We compare the film to other Superman movies, Star Trek (2009), X-Men, other superhero movies, Prometheus, and pretty much anything else that crosses our minds.

I’m watching a DVR copy. Hardy is watching the PAL DVD and has to repeatedly sync with me, so there are several times that we announce where we are. Start the film on the countdown between the production company logos and the birth scene.

The Dark Knight

Dark KnightNetflix IMDb
Join me as I join the Doctor and Lynch of The Speakeasy as we have a good time with Christopher Nolan’s dour superhero and superior villain. We like the film a lot but feel that the sheen has somewhat worn off and the story is revealed as threadbare now. We give praise where praise is due, and joke our way thru the slow sections and weird choices.

They’re watching a PAL copy, and I have to repeatedly sync with them, so there are several times that we announce where we are. Start the film on the countdown between the production company logos and the blue fire Batman logo.

Dr Strangelove

strangeloveNetflix IMDb
Join me and Hardy Lynch of The Speakeasy for my FIRST Stanley Kubrick commentary! It’s the heartwarming story of a nation whose rogue member starts World War 3 and the brave men (and only men) who make a vague and ineffectual effort to stop it. We compare it to Fail-Safe, which came out the same year, as well as Kubrick’s other films, Mars Attacks, and Norbit.

We discuss the careers of Kubrick, Sellers, and Keenan Wynn. We analyze the brilliant screenplay, the analogy to Cold War tensions, and the films possible affect on the audience, including America’s leaders. And we try to recast it with Mike Meyers, Sam Rockwell, Josh Brolin, and James Earl Jones (in the Ripper role this time).

NOTE: I forgot to say it, but I regard this as a NEARLY PERFECT FILM.

I’m watching an HD copy off DVR. Hardy is watching the PAL DVD and has to repeatedly sync with me, so there are several times that we announce where we are. Start the film on the countdown before anything because I get the disclaimer crawl first and he gets it after the Columbia logo.

Batman Begins

Batman BeginsNetflix IMDb
Join me as I join the Doctor and Lynch for a second go at the first of Christopher Nolan’s Batmen. We compare the film to the comic books, other Nolan Batmen, Burton/Schumaker Batmen, and The Shadow. We examine the logic of the villains’ plans and Batman’s response. And we recast Morgan Freeman as a bad guy.

I’m watching the Blu-ray. Start the film right after the Warner Brothers logo has stopped turning, on the countdown.

Superman Returns

Superman ReturnsNetflix IMDb
Join me and Hardy Lynch of The Speakeasy as we shoot machines at the impregnable flesh of Bryan Singer’s Superman Returns. We complain about the, ahem, “familiarity” of many of the set pieces and dialog; about the things that are new and different; about the incredible coincidences, and that a lot of the minor characters have nothing to do. I complain about the physics of Superman flying and lifting a continent. Hardy complains about James Marsden being a wet noodle. We both love a few things, including Kevin Spacey and some of the action. And we wonder exactly who knows what about you-know-who when.

We compare the film to Superman, Superman 2, Terminator 2, The Matrix, Sky Captain and the World of Tomorrow and The Five-Year Engagement. We wonder if Superman really left Metropolis to avoid paternity charges or sex offender charges. And we try to rewrite the film and fail.

NOTE: The Tysto Commentaries theme music is called “Point Break” by Mark Fassett‘s band 42 Shades of Gray. I’ve appended it at the end.

I’m watching the US DVD. Hardy is watching the PAL DVD and has to repeatedly sync with me, so there are several times that we announce where we are. Start the film on the countdown between the Legendary Pictures logo and the DC logo (about 20 seconds in).

Superman 1978

SupermanNetflix IMDb
I’m back from the dead after several weeks of a bad chest cold. So join me and Hardy Lynch of The Speakeasy for a tear thru the 1978 blockbuster classic Superman (which we don’t really like very much). Thrill to the Shakespearean blarney at the beginning (which we admire), the slow roll thru 1950s America (which we love), and the screwball romance of the 1970s (which we think is great), right to the big blockbuster finale (which we hate).

We discuss Star Trek, James Bond, Gene Hackman’s career, Clark Kent’s big dope angle, the likelihood of Superman’s mom making pajamas for him, and the implausibility of most of the physics. We swoon over Lex Luthor’s lair, the cinematography, and the acting pretty much across the board.

Bonus: we wonder why the whole third act happens.
Double bonus: I only cough a few times toward the end.

Things I forgot to mention:

  • Clark apparently eats the dog for breakfast instead of Cheerios, because we see it run out to him, but it’s not there when Ma Kent gets there.
  • Clark conveniently avoided the Vietnam draft by fleeing to Canada for his education in the Fortress of Solitude.

I’m watching the Blu-ray. Hardy is watching the PAL DVD and has to repeatedly sync with me, so there are several times that we announce where we are. Start the film on the countdown just as the curtains are fading up (about 20 seconds in).

Minority Report

Minority ReportNetflix IMDb
Join the Doctor and me for a long, hard look (with EYES, get it?) at Minority Report, the heartwarming story of a man who tries really hard not to get caught for a murder he hasn’t yet committed and then escapes when he IS caught and blah, blah, blah, it’s really long and looks like a commercial for itself.

We both actually like the film but are turned off by different aspects of the film making and have a lot of fun puzzling out the twisty plot and mocking the ridiculous parts. Seriously: the eyeballs, am I right?

We’re watching a PAL version, so set us on 4% slower using Windows Media Player’s “play speed settings” if you’re in North America. Start the movie after the studio logos but with the studio title card faded up, on the countdown.