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Wednesday, September 30, 2015

HypeCast: Summer Wrap-Up

        Hello, and welcome back to the HypeCast, a film-centric podcast hosted by Collin Sherwood Elwyn and Tyler Mitchell. In today's episode, the guys are completely and utterly unable to focus, or stay on one topic for any real amount of time. Tyler has just returned from Europe, but his visitations to Paris, Amsterdam and other famous cities are easily trumped by a pair of flicks he saw while trapped on an airplane: the Poltergeist remake, and The Rock's San Andreas. For some reason, Collin wants to talk about both 2006 indie darling Little Miss Sunshine, and (for reasons even less readily apparent) M. Night Shyamalan's latest failure, The Visit. Elwyn then freaks out over the greatness of USA Network's new show Mr. Robot, and hyperbolizes with truly reckless abandon. Just for fun, Tyler coughs a lot, no one can remember the name Jared Harris, and, wow, how bad of a name is Alien: Paradise Lost? Warning: a few naughty words are contained within. Continue at your own risk. Here We Go!

Podcast Itinerary:
0:00-4:58---Catch-up and Airplane Movies
12:29-29:06---San Andreas
29:07-37:05---The Visit
37:06-43:16---Sudden digression into the Paranormal Activity series
43:17-52:00---Little Miss Sunshine
52:01-1:04:34---Archer and recent network comedies
1:04:35-1:18:23---Mr. Robot

Wednesday, September 23, 2015

HypeCast: Ex Machina, Under the Skin, and Fixing the IMDb Top 250

        Hello, and welcome back to the HypeCast, a film-centric podcast hosted by Collin Sherwood Elwyn and Tyler Mitchell. In today's episode, Tyler and Collin discuss movies that are both over and underrated on IMDb's user-voted Top 250 Movies of All Time, and struggle to entitle the segment despite a myriad of attempts. Before telling the entirety of the internet that they're wrong, Tyler promotes a film that Collin is lukewarm on (Ex Machina), and then Collin returns the favor (Under the Skin). As an added bonus, steak analogies abound! And what is Space Water?!? Warning: a few naughty words are contained within. Continue at your own risk. Here We Go!

Podcast Itinerary:
0:00-17:56---Ex Machina
17:57-33:14---Under the Skin
33:15-1:05:36---Fixing the IMDb user-rated Top 250 Movies of All-Time

Monday, September 21, 2015

Leftovers: Summer 2015

Leftover Movies (now Available at Redbox):
Kingsman: The Secret Service:
        Back in the summer of 2011, director Matthew Vaughn's X-Men: First Class was met with glowing reviews from critics and audiences alike, and has since managed to reboot the whole mutant-based film property. We've spent the last four years wondering how the helmer would follow his runaway success, and now we finally know: by basically making the same movie all over again. Taron Egerton stars as Eggsy, a troubled youth growing up in London who is recruited by a dapper, stoic English gentleman (Colin Firth) to join The Kingsman, an organization of super agents tasked with protecting the world. Yes, another gifted 20-something being adopted by a larger group who sees his immense potential isn't exactly a brand new concept, but the charm of Kingsman is in its familiarity, not its originality; the film delights in toying with your preconceived notions of what a spy epic is all about, somehow managing to defy your expectations while simultaneously playing straight into them. Exciting action scenes abound, utter ridiculousness awaits behind every corner, and a specific scene involving Mr. Firth could justify the price of admission all by itself. You'll never look at the Oscar winner the same way again.

Leftover Music:
Another One---Mac DeMarco:
        Less than a year and a half after releasing what many consider his best record to date in 2014's Salad Days, Mac DeMarco is back with Another One. As its title might suggest, this collection of eight songs feels more like a gathering of Salad Days B-sides than a proper album, lasting all of 24 minutes from front to back, and delighting all the while. The back half of Just to Put Me Down plays out like a throwback to DeMarco's earlier work, which emphasized intricate guitar picking over the woozy reverb he's favored of late, while the title track offers a darkness to his sound that feels completely new, adorned with lyrics full of anxiety and disillusionment. Most of the time, however, the guy's all about having a laid-back good time; opener The Way You'd Love Her uses its groovy ax-line to shoot rays of sunshine onto your back, both A Heart Like Hers and Without Me rocking listeners back and forth like they're in a hammock. Summer's almost over, and you should give this one a spin before she's gone.

Ego Death---The Internet:
        Before encountering Ego Death, all I knew about The Internet was that they (or was it he? She?) were a part of the Odd Future collective. And while this may be true, finding a more misleading context for their music would be a tall task. Led by vocalist Syd tha Kyd, The Internet craft sultry R&B that's lightyears removed from the wanton aggression of OF's most famous output, Ego Death consisting of one smooth, pleasure-positive winner after another. The group enlists fellow 'alternative R&B' star Janelle Monae for breezy highlight Gabby, but requires no assistance on Just Sayin'/I Tried, one of the album's only moments of true aggression, wherein Syd scolds a former lover with a calm the belies fire. It's a rare moment of tension in an album deeply defined by its sexy saunter and mellowed-out worldview, so much so that when Tyler, the Creator shows up on two-part closer Palace/Curse, he not only sings instead of raps, but acts as a jovial MC to an imaginary dance party. If Ego Death can get that guy to calm down and have a good time, imagine what it can do for you.

La Di Da Di---Battles:
        Either you're in on Battles or you're out, and I'm all the way in. Now nearly a decade into their reign of deceivingly methodical mania, the New York-based three-piece is back with their first album since 2011, and if anything, they've only gotten crazier. Now two discs removed from the departure of Tyondai Braxton, La Di Da Di finally sees the band omit vocals entirely, focusing on the speed and wicked interplay of keyboards, basses, electronics, guitars, and that tasmanian devil of drummers known as John Stanier. The three previous items on this list all stressed comfort, relaxation, and familiarity, all of which are concepts Battles have yet to encounter. This is a taught, muscular, 50-minute listen, from the sprinting, swirling momentum of FF Bada, to the leering, bombastic Non-Violence. Even a song with a title like Summer Shimmer can't help but induce stress, its plucky rhythm seemingly chocked by the wheezing strings that lean in from the track's periphery, forever threatening to take over. It's not exactly a walk in the park, but if you're looking to go on a run, let Battles be your guide.

No No No---Beirut:
        Beirut's latest hasn't exactly been lighting the world on fire when it comes to critical reception, and while I disagree with the overall shoulder shrug its been shown so far, it's not exactly hard to see why. Zach Condon's lush, elaborate work as Beirut has often seemed to contain worlds, defined by the myriad of varied instrumentation occupying its every nook and cranny. No No No is largely stripped-down by comparison, most tracks consisting of little more than a percussion line, a singular instrument for melody, and Condon's lovely croon. One thing that hasn't changed is Condon's impeccable ear, that simple weaving of bongos and keyboard chords slapping smiles on faces during opener Gibraltar, as Perth sways its way into a late-summer's contented bliss. The reduced instrumentation also affords Condon's singing the spotlight, and while his intonations have always proved comely and inviting, songs like Fener and the gorgeous earworm of a title track make a convincing case that his voice is among the best working in independent music today. No No No proves that minimal doesn't have to be minimizing.

Wednesday, September 16, 2015

HypeCast: Director Spotlight on Danny Boyle and David Fincher

        Hello, and welcome back to the HypeCast, a film-centric podcast hosted by Collin Sherwood Elwyn and Tyler Mitchell. In today's episode, we discuss the works of a pair of modern auteurs: one who was attached to direct the upcoming Oscar aspirant Steve Jobs (David Fincher), and the guy who actually did (Danny Boyle). Tyler opens today's episode by stating some controversial political opinions, which Collin quickly supports with a reference to the teachings of Jesus. We also explore Boyle's tendency to make incredible movies with less than incredible endings, and pine for Fincher to make more 'serious' flicks... because we are snobs. Additionally, Collin learns that it's 'too soon' to reference Paul Walker in any context, especially when it comes to citing his driving skills. Warning: a few naughty words are contained within. Continue at your own risk. Here We Go!

Podcast Itinerary:
0:00-5:53---Intro and the buzz surrounding Steve Jobs
5:54-35:59---The Films of Danny Boyle
36:00-1:18:42---The Films of David Fincher

Monday, September 14, 2015

The Visit (Release Date: 9-11-2015)

        Hundreds of years from now, when everyone reading this is long dead and gone, culture historians of the past won’t know quite what of M. Night Shyamalan. His 1999 break-through fright-fest, The Sixth Sense, remains a modern classic nearly two decades after its release, nearly every frame of the thing promising the birth of a storied new auteur. Then came literally everything else. Like many, I shade fairly positive on both Unbreakable and Signs, but even those movies feel like an enormous step back from his Best Picture nominated coming-out party. Then there was The Village... and Lady in the Water... and The Happening... and The Last Airbender... and After Earth. With so many wildly problematic offerings in a row, it’s becoming harder and harder to believe that this is the same Shyamalan whose releases once prompted excitement and anticipation... not to mention that said releases continue to be funded. He’s back again with The Visit, a film sporting a concept that, even by Shyamalan standards, is a doozy.

        Representing the director’s first foray into the world of Found Footage Horror, The Visit stars Olivia DeJonge as Becca, a bright teen with aspirations of becoming a documentary filmmaker. Intrigued by her mother’s mysterious family history, Becca decides to commit the subject to celluloid, necessitating that she and kid brother Tyler (Ed Oxenbould) go visit their grand parents for the very first time. Their planned one-week stay turns spooky-sour almost immediately; Grandma (Deanna Dunagan) exhibits some awfully strange nocturnal habits, while Pop Pop (Peter McRobbie) visits the shed with alarming frequency. As the days pass, things get stranger and stranger, and it's not long before the two youths realize that they might be in serious trouble.

        If that premise doesn't strike you as particularly scary, that's because it isn't. Billed as a Horror Comedy, The Visit completely and consistently falls flat on both counts. This is not to say that it stoops to the delirious, delicious lows of The Happening; on the contrary, Shymalan's latest represents a massive formal upgrade from his recent material, featuring handsome shots that actually make aesthetic sense, as well as actors behaving believably, and reciting dialogue that sounds almost human. Many have credited the filmmaker's betterment of Found Footage's typically shoddy elements of craft, which is the ultimate sign of his damaged reputation; making vague improvements to a film rhetoric that's designed to look amateurish isn't exactly inventing the lightbulb.

        Yes, the movie is passable, but I personally would argue that's the problem. Who in their right mind wants to see a movie about possessed grandparents that's passable? Whenever thinking of my favorite comedies of the last decade, I'm always certain to include The Happening, a film with real ambition that falls flat on its face in just about every way imaginable. It might be a legendary disaster, but it's entertaining as hell, and if the man behind The Sixth Sense is truly lost forever, then I have to say I prefer the laughably bad version of Shyamalan to the dull, workman-like iteration we meet here. The trailers made The Visit look terrible, and while it's remarkably assured and not so easy to make fun of as one might have imagined, it's dull beyond belief, and fails at creating tension wholesale. It's the definition of a 'meh' movie going experience, a film with an unthinkably gaudy premise presented without any of the absurdity and recklessness that it needs to get across the finish line. Congratulations on making a 'real' movie, Mr. Shyamalan; now, for the sake of actually engaging us, go back tripping over your own shoe-strings.

Grade: C-

Wednesday, September 9, 2015

HypeCast: Director Spotlight on Sam Raimi and Christopher Nolan

        Hello, and welcome back to the HypeCast, a film-centric podcast hosted by Collin Sherwood Elwyn and Tyler Mitchell. In today's episode, we discuss the careers of a pair of modern auteurs; haphazard, DIY folk hero Sam Raimi, and dean-of-all-things-gloomy-and-enormous Christopher Nolan. The conversation includes a myriad of nitpicking about movies we all know are really, really good, and a slightly embarrassing idolization of Spider-Man 2. The discussion (again) comes to include Miles Teller (our guy!) for no particular reason, Tyler admitting to a fondness for the cinematic death of children, and the most passive, backhanded recommendation of Oz the Great and Powerful that you'll ever hear in your life. Warning: a few naughty words are contained within. Continue at your own risk. Here We Go!

Podcast Itinerary:
5:23-37:01---The Films of Sam Raimi
37:02-1:18:38---The Films of Christopher Nolan

Sunday, September 6, 2015

Oscar Predictions 2015: Round Two

        Hello, and welcome back to Hype Starts Here's 2015 Oscar Predictions. Yes, this is obviously premature, given that the ceremony won't be held until springtime next year, but that didn't stop me from throwing out a few guesses way back in February, so why stop now? With both the Telluride and Venice film festivals taking place this weekend, the buzzers are finally starting to buzz, and a certain degree of clarity is just now arriving. Here's what the tea leaves are saying:

1. Bridge of Spies (Previous Ranking: 1)
        Steven Spielberg, Tom Hanks, historical drama, true story, war-time setting. It won't even be cause to celebrate if this gets a Best Picture nomination, only a letdown if it doesn't. Assuming the Academy still nominates between 6-10 films each year, it's essentially guaranteed.

2. Steve Jobs (Previous Ranking: 12)
        An unfinished version of the film premiered at Telluride last night to rapturous praise, especially for star Michael Fassbender, who is said to be the new favorite to win Best Actor. The subject matter was always going to attract Oscar's attention, and with three previous award winners on hand (Director Danny Boyle, Screenwriter Aaron Sorkin, and Actress Kate Winslet), the Apple founder biopic is starting to look like a lock.

3. Carol (Previous Ranking: 11)
        One of the few films listed near the top of this list that's already been seen and lauded, Carol picked up a Best Actress win at the Cannes film festival for Rooney Mara's performance. Her co-star (Cate Blanchett) already has two golden statues to her name; there's a lot to like here.

4. The Revenant (Previous Ranking: 3)
        As the director of the reigning Best Picture winner (Birdman), Alejandro González Iñárritu no longer needs to wave his arms around in the air to catch Oscar's attention. With Leonardo DiCaprio and Tom Hardy along for the ride, this revenge epic is right in the mix.

5. Joy (Previous Ranking: 4)
        This story of a single mother rising to entrepreneurial success might not scream 'Best Picture,' but you know what does? Director David O. Russell (Silver Linings PlaybookAmerican Hustle) leading a cast featuring Bradley Cooper and Robert De Niro, headlined by Jennifer Lawrence.

6. Inside Out (Previous Ranking: Unranked)
        Just like Carol, I have Inside Out near the top of my list simply because we already know it's good. Pixar landed a film in the Best Picture race in the first two years of the category's recent expansion (Up and Toy Story 3), and Inside Out is presently rocking a 98% on Rotten Tomatoes.

7. Spotlight (Previous Ranking: 15)
        Before The Cobbler took an absolute BEATDOWN from critics, Thomas McCarthy was behind the wheel on three straight beloved indies (The Station AgentThe VisitorWin Win). He's back with Spotlight, a potboiler that follows the Boston Globe's uncovering of a molestation scandal within a local Catholic church. With a stacked cast in tow (including a maybe-we-should-make-it-up-to-him Michael Keaton), and rave reviews coming out of Venice, McCarthy might finally make a splash.

8. The Hateful Eight (Previous Ranking: 9)
        I'm still hesitant to put my faith in what essentially looks like a western redux of Reservoir Dogs, but with two straight Best Picture nominees under his belt (Inglourious Basterds and Django Unchained), it's almost time for us to think of Tarantino as a perennial Oscar favorite along the lines of Spielberg and Scorsese.

9. Brooklyn (Previous Ranking: 27)
        Most Oscar seasons find space for a Sundance film that either makes the final cut, or misses it by just a hair. My pick for this season is Brooklyn, a 1950's coming of age romance that's already won over the hearts of those who attended the aforementioned festival back in January.

10. The Danish Girl (Previous Ranking: 42)
        I readily admit that I previously underrated The Danish Girl purely out of scorn (on multiple occasions, I have argued, in earnest, that The Theory of Everything is a worse movie than Transformers: Age of Extinction), but Eddie Redmayne and Tom Hooper have both won oscars within the last half decade, and this transexual drama will be arriving in theaters as its subject is becoming a hot button topic. Early reviews range from ecstatic to passive, and when Oscar has already shown you some gold-man love, that's often enough.

11. Suffragette (Previous Ranking: 20)
        A historical drama about the early days of the feminist movement, Suffragette stars Carey Mulligan and the walking Oscar statue known simply as Meryl Streep. Early word has been somewhat mild, though praise for Mulligan has been universal, and the Academy might find that subject a bit too topical to pass on.

12. Miles Ahead (Previous Ranking: 16)
        Musical biopics that come out near the end of the year are always in the hunt for a Best Picture nomination, and this one finds one of Hollywood's most well-respected actors (Don Cheadle) wearing a slew of hats (writer, director, producer, and star) to make his Miles Davis film come to life. The Academy loves a passion project.

13. I Saw the Light (Previous Ranking: Unranked)
        Almost everything listed above works in favor of this film as well, accept that Hank Williams isn't as fondly remembered as Miles Davis, and Don Cheadle has years of 'veteran status' to potentially ward off Tom Hiddleston.

14. The Good Dinosaur (Previous Ranking: 43)
          It's Pixar, and the list of potential Picture nominees seems shorter than usual. I don't think both this and Inside Out can crack the line-up in the same year, but you've got to think at least one will.

15. In the Heart of the Sea (Previous Ranking: 31)
        Ever since the 2009 expansion of the Best Picture lineup, there's almost universally been a slot for a big budget spectacle at the big kids' table. I remain skeptical of this movie on every level, but Oscar has repeatedly shown Ron Howard love, and this is presently in the pole position to take the imaginary 'effects driven epic' slot.

16. Beasts of No Nation (Previous Ranking: 10)
        Early word just started pouring in, and it's been ecstatic. Serious subject matter (African child soldiers) paired with an up-and-coming director (Cary Fukanaga) and an actor due for a break out (Idris Elba), this would be right near the top of my list... if it weren't simply being released on Netflix. There's simply no way to know how the Academy will deal with a 'streaming only' Best Picture aspirant, so we'll just keep it on the back burner for now.

17. Youth (Previous Ranking: Unranked)
        Paolo Sorrentino's last film, The Great Beauty, took home the Academy Award for Best Foreign Language Film. Now directing in Oscar's native tongue, and bringing Michael Caine, Harvey Keitel and Rachel Weisz along with him, making the leap is within the realm of possibility.

18. Sicario (Previous Ranking: Unranked)
        Mark my words: Denis Villeneuve will make a BIG splash at the Oscars in the very near future. This drug trafficking drama, staring overdue Emily Blunt, seems like a perfect vehicle, but early reviews make it sound 'very good', as opposed to 'great.'

19. The Program (Previous Ranking: 8)
        Director Stephen Frears (The Queen, Philomena) telling the tale of Lance Armstrong's rise and subsequent fall wherein the former icon is played by the eternally underrated Ben Foster; I loooove this film's odds in concept, but where the heck is it? No festival dates or advertising materials in sight.

20. Genius (Previous Ranking: 13)
        File this one in the same folder as The Program; Colin Firth as a book editor who effected the work of Thomas Wolfe, Ernest Hemingway, and F. Scott Fitzgerald is a hell of a lead, but do they have any plans of actually showing the film to audiences?

21. Black Mass (Previous Ranking: 14)
        Crazy Heart's Scott Cooper helms this tale of infamous gangster Whitey Bulger. The subject is juicy and the cast is stacked; this is a perfect comeback vehicle for star Johnny Depp, whom early reviews site as either good or great, but the film at large has been less embraced. Is he enough to pull it in?

22. Star Wars: Episode VII---The Force Awakens (Previous Ranking: 50)
        As the year grows longer and longer in the tooth, and more and more films drop out of the race, it's becoming easier to envision this one cracking the line-up. It may be the seventh entry in an endless film saga, but it's also the most anticipated movie of the year twice-over.

23. Concussion (Previous Ranking: 17)
        A drama about the health risks of football set for a Christmas day release (in the heart of both Oscar and NFL seasons), and starring Will Smith? And he uses an accent?!?! I sincerely have no idea how seriously the Academy will take it, but I could see a world where they go all in.

24. MacBeth (Previous Ranking: 38)
        "I know I usually bet on directors, but Michael Fassbender and Marion Cotillard in a Shakespearean tragedy CANNOT be ranked lower than this." That's what I wrote last year, when this was scheduled for a 2014 release, and nothing has changed outside of a few buzzy reviews.

25. The Walk (Previous Ranking: 5)
        This was the one I initially fell in love with in the 'spectacle' slot... but then came the trailer. I'm still interested in what Director Robert Zemeckis can do, but the film looks fairly limited in scope, and wow, Joseph Gordon-Levitt's accent sounds terrible.

26. By the Sea (Previous Ranking: 26)
        After Unbroken was nearly a no-show at this year's Oscars, it's probably time to give up (Oscar-wise) on Angelina Jolie as a director, but starring with husband Brad Pitt in a period romance keeps Angie in the mix.

27. Snowden (Previous Ranking: 22)
        The name Oliver Stone doesn't mean much to Oscar anymore, but as Citizenfour's Best Documentary win will tell you, he's still mightily interested in Edward Snowden. The prospect of handing young, buzzy stars Joseph Gordon-Levitt and Shailene Woodley such meaty roles is quite enticing.

28. Everest (Previous Ranking: 23)
        A two-and-a-half hour epic whose subject requires no explanation. While director Baltasar Kormákur's relatively unknown status gives me pause, the potential for spectacle, as well as a star-studded cast, keep it in the race for now. 

29. The Martian (Previous Ranking: 37)
        In my heart of hearts, I still think the Academy wants Ridley Scott to have a Best Director Oscar. They've just been waiting for him to get back on his feet; the second he makes something pretty good, watch out. Bonus points for the potential 'spectacle' slot.

30. Mad Max: Fury Road (Previous Ranking: Unranked)
        Yeah, I don't really see Oscar nominating a two hour car chase scene for Best Picture either, but the latest entry in the Mad Max series had critics and audiences in the palm of its hand this summer. Quality is quality, regardless of subject matter.

31. The Secret in Their Eyes (Previous Ranking: 48)
        6 Years removed from a surprise Best Foreign Language Feature win, Argentina's Secret is being remade by the serviceable Billy Ray. Nicole Kidman and Julia Roberts will inspire attention, but is the Academy really ready to see this story again so soon?

32. Truth (Previous Ranking: 19)
       As insane as this might sound, screenwriter James Vanderbilt has essentially been coasting on the goodwill of his Zodiac screenplay for the better part of a decade. His directorial debut stars Robert Redford as Dan Rather, a casting that undoubtably had a Best Actor nomination in mind, but is Vanderbilt truly up to the task?

33. Grandma (Previous Ranking: Unranked)
        Lily Tomlin appears poised to make a run at Best Actress, and if the performance is truly as powerful as people say, she could conceivably pull the film in along with her.

34. Trumbo (Previous Ranking: 25)
        Bryan Cranston playing black-listed writer Dalton Trumbo!?! I want so badly to be all in on this, but when your director's most recent films are The Campaign, Dinner for Schmucks, and Meet the Fockers, caution is in order. The trailer isn't doing it any favors.

35. Love & Mercy (Previous Ranking: Unranked)
        Like both Miles Ahead and I Saw the Light from all the way near the top of this list, the fact that L&M is a biopic of a famous musician keeps it on the radar. Will Oscar even remember that this summer release exists when it's time to tally up the votes?

36. Freeheld (Previous Ranking: 36)
        A based-on-a-true-story weepy starring recent nominees Steve Carell and Ellen Page, with last year's Best Actress winner Julianne Moore in the lead. Does Nick and Norah's Infinite Playlist director Peter Sollett have it in him to craft a flick that's up to the Academy's standards?

37. Me and Earl and the Dying (Previous Ranking: 32)
        The Sundance Film Festival's Grand Jury Prize winner is always on my radar, but Earl feels a bit less enticing that Beasts of the Southern Wild or Whiplash (not to mention Fruitvale Station). Its status as a prize winner keeps it on the list, but it went virtually unseen in limited release this summer.

38. Room (Previous Ranking: Unranked)
        Based on a best selling novel, Room should afford Brie Larson an excellent showcase for her enormous talents. Wether the movie is good is another discussion altogether.

39. Our Brand is Crisis (Previous Ranking: 33)
        David Gordon Green, now four years removed from his ill-fated sojourn into studio comedy (I'll stick up for Pineapple Express, but Your Highness was awful, and The Sitter was roundly reviled), adapts a documentary (that's a thing?) about the use of American political campaign strategies in South America. Casting Sandra Bullock and Billy Bob Thornton probably won't hurt it's chances.

40. Spectre (Previous Ranking: Unranked)
        Beloved, long-running franchise with yet another stellar looking entry coming down the pipeline. Is there enough residual goodwill left over from Skyfall to get this one over the finish line?

Wednesday, September 2, 2015

HypeCast: Collin Tries Talking Tyler into Federico Fellini

        Hello, and welcome back to the HypeCast, a film-centric podcast hosted by Collin Sherwood Elwyn and Tyler Mitchell. In today's episode, Collin wrests the steering wheel away from Tyler in an attempt distill the virtues of legendary Italian director Federico Fellini. Before delving into our most esoteric subject to date, we discuss a couple of movies available right now on Redbox: Matthew Vaughn's Kingsman: The Secret Service, which is more fun than a barrel of monkeys, and John Maclean's Slow West, witch is probably about as fun as being one of the monkeys stuck in the barrel. And yes, we talk about Django Unchained and Attack the Block again, because Collin simply won't give it up already. Warning: a few naughty words are contained within. Continue at your own risk. Here We Go!

Podcast Itinerary:
0:00-7:45---Attack the Block
7:46-15:50---Django Unchained
15:51-30:37---Slow West
30:38-44:25---Kingsman: The Secret Service
44:26-59:09---The Films of Federico Fellini