20 August 2014

Episode 41 of The George Sanders Show Now Available!



Sean and I spend two hours trying to find the right key on this jam-packed episode of The George Sanders Show. First off, we pogo our way through a discussion of the B-movie magic of Rock 'n' Roll High School starring P. J. Soles and the Ramones. Later we argue about the merits of the recent film Pitch Perfect. In between some people die and a beloved Seattle institution is reborn.

Sweet Adeline!



Feedback on the show can be directed to thegeorgesandersshow[at]gmail[dot]com or @GeoSandersShow.

Next time: Strike! & Matewan

28 July 2014

Episode 40 of The George Sanders Show Now Available!



On this special edition of The George Sanders Show Sean and I unveil the first round of our book club, which is basically us complaining about Thomas Schatz's seminal work on classical Hollywood, The Genius of the System. Speaking of the system, we then take time to discuss two films about the mysteries and myths of moviemaking, Hellzapoppin' and The Barefoot Contessa.



Next time: Rock 'n' Roll High School & Pitch Perfect!

14 July 2014

Episode 39 of The George Sanders Show Now Available!



Instead of learning a language before heading off for a summer in France and Germany, I just watched movies instead. On this episode of The George Sanders Show Sean and I see double as we discuss Jacques Demy's Lola from 1961 and Rainer Werner Fassbinder's film of the same name, released twenty years later. Demy is also our Person of the Week and we select our Cinemassential Vacation Films. Also, special guest appearance by Weird Al!



Next time: Hellzapoppin' & The Barefoot Contessa!

30 June 2014

Episode 38 of The George Sanders Show Now Available!



On this edition of The George Sanders Show, Sean and I hop the freight train that is Bong Joon-ho's latest film Snowpiercer. I also get a chance to ask Bong stupid questions in a fancy hotel for the first ever George Sanders Show interview. Sean and I also talk about Virgin Stripped Bare by her Bachelors from a very different Korean auteur, Hong Sang-soo.


Next time: Lola & Lola

13 June 2014

Episode 37 of The George Sanders Show Now Available!


On this supersonic installment of The George Sanders Show, Sean and I recap the nine films we actually managed to see at the 40th Annual Seattle International Film Festival. Also music from the best Seattle band named after a Russ Meyer film and a rap artist with a predilection for large derrières.



Complaints about my microphone cutting out can be directed to thegeorgesandersshow[at]gmail[dot]com or @GeoSandersShow.

Next time: Snowpiercer & Virgin Stripped Bare by Her Bachelors

27 May 2014

SIFF 2014: Kumiko, the Treasure Hunter


Kumiko, the Treasure Hunter is brimming with enticements that it doesn't fully pursue.

Our hero refuses the uninspired dreams pinned on her. Instead she finds purpose in fantasy and doggedly, dangerously follows it. Disconnected Kumiko in Tokyo is a great start, but it gets safer in America. The nice, clueless Midwesterners recall criticisms lobbed at (executive producer) Alexander Payne more than the Coens, whose black humor I wish this swapped out the Shogun references for.

23 May 2014

SIFF 2014: The Boy and the World

A father leaves home in search of work and his distraught, curious young son sets out to find him. On his journey he inadvertently gets an education in every sad step of the garment industry.


Director Alé Abreu's charming cartoon The Boy and the World melds a mesmerizing sound design with exemplary animation. Most of the film is in a hand-drawn style with the characters not being much more complex than stick figures, but punctuated throughout are bits of computer-generated psychedelic patterns and satirical collage.


The film's first half is content to just follow the boy as he uncovers new images and sounds in his ever-expanding universe, but the latter part stumbles when Abreu kicks his anti-industrialist agenda into overdrive. For the most part I was onboard with his melding of the two stories, and thank goodness the film's dialogue-free nature saves it from sermonizing, but a brief yet blunt cut to documentary footage of the machines of capitalist greed destroying countrysides is like a bullhorn shouting, THIS IS REALLY HAPPENING! It's an unfortunate choice that takes the viewer out of the film's fantastically realized world, from which it never fully recovers.

Also, is it wrong that I liked the martial theme of the fascist police bloc more than the joyous song of the protesting people?