The Coens keep coming this week on Hell of a Picture as we dive into the ‘87 screwball comedy, Raising Arizona. The guys open the show discussing the comedic influences of the film and how it manages to make horrible crimes both funny and endearing. Andrew talks about the semi-fantastical setting, while Dave touches on the movie’s political leanings. They talk about the American dream, the baby-boom of 80’s film, and the movie’s message of hope. Before we begin, did you get your dip-tet shot? You’ve got to get the dip-tet shot. That’s this week on Hell of a Picture.
After much ado about Anora, we finally get into our Coen brothers series beginning with their 1984 debut film, Blood Simple. The guys open the show talking about how and from whom the movie got its startup money. Dave tells us about the title, while Andrew addresses the use of sight, sound, and objects in the picture. They praise the cast, debate red herrings, and agonize over the final scene. They say that in Texas, you’re on your own. But we only know about podcasting. And in podcasting you use the buddy system. That’s this week on Hell of a Picture.
Every time we think we’re out, the Oscars drag us back in. After seeing what went down at this year’s Academy Awards we decided to delay our Cohen brothers series and take some time to talk Anora, the 2025 best picture winner. They guys debate the comedic value of the picture, the motivation of the lead character, and the run time of the film. They praise Mikey Madison for her performance, argue over the quality of the dialogue, and wonder about Anora’s place in Oscar history. This episode is kind of like Adrian Brody, in that it doesn’t end on time and it’s mostly about gum. That’s this week on Hell of a Picture.
Our Oscar winning series continues into the 2010s, with the 2014 Best picture winner, Birdman. We open up the show this week by talking about the unexpected connection to our last best picture No Country for Old Men. We dive into the blurred lines between what’s real and imagined, we talk about the difference between love and admiration and wax poetics on the meaning of the title the unexpected virtue of ignorance.
A thing is a thing, not what is said of that thing. Well in this case that thing is our podcast and it’s just pretty much a podcast. That’s this week on Hell of a Picture.
Our decade by decade series moves into the 2000’s, so to celebrate we’re taking it back to the 80’s with the Coen brothers best picture winner, No Country for Old Men. The boys open the show talking about tone in filmmaking, and just where it comes from. They discuss aging characters in a changing world, our lack of control, and the issues some people might have with the movie’s ending. How did we get here? Well, if you ask Anton Chigurh, he’d say something crazy about a coin. If you ask us, we’d say whatever Anton wanted us to because we’re scared of him. That’s this week on Hell of a Picture.
This week on HOAP our hearts and our Oscar series will go on as we discuss the 1997 phenomenon, Titanic. The guys open the show examining the technical achievements of the film. Dave tells us about lengths (pun intended) Cameron went to in recreating the ship, while Andrew talks about the film’s perfect blend of action and romance. They debate all the hotly contested points of the movie; like, “could Jack have fit on that door?” and “why does Rose throw the necklace away?”. Dave shares his beef with the character of Fabrizzio, and Andrew reminds us again that it’s ok to cry at the movies.
We’ve never said this before, but these episodes contain spoilers. So, if you don’t know that the boat sinks…oh crap.
Rock us Amadeus! This week on HOAP we enter the 80’s with the somewhat irregular period piece, Amadeus. The guys have a long talk about the nature of genius and where it comes from. They each share a story from the ‘85 Oscars, talk about the film’s unusually modern portrayals, and discuss the absolution of the ending. Dave tells us why he’d rather be Salieri over Mozart, while Andrew takes a minute to rag on the Kansas City Chiefs.
Can I play the piano anymore?
Of course you can.
Well, I couldn’t before.
We love you Dr. Zaius.
Welcome to the jungle and welcome to the ‘70’s. This week on HOAP we’re going best picture hunting with the 1978 classic The Deer Hunter. Andrew opens the show talking about Michael Cimino, the film’s director, and his dubious war record, while Dave tells us about the difficulties of filming during a military coup. The guys debate the need for historical accuracy on screen, the central metaphor of Russian roulette in the film, and the significance of the ending.
This week on Hell of a Picture we enter the turbulence of the 1960’s with the world war one character study, Lawrence of Arabia. The guys open the show describing how the film embraces the wide range of opinions on Lawrence and how that branches out thematically in the picture. Andrew talks about the scope and scale of the cinematography, while Dave tells us about some of Lawrence’s most famous imitators. Can more than one thing be true? For example, can you have relevant commentary on a film while mispronouncing an actor’s name? Decide for yourself, this week on Hell of a Picture.
Oscar season continues this week on Hell of a Picture with the 1955 best picture winner, On the Waterfront. Dave opens the show talking about the film’s director, Elia Kazan, and how art imitates life in the film, while Andrew tells us about Marlon Brando’s performance and the emergence of American realism in cinema. The guys talk about the movie’s veneration of the truth, original sin, and the influence of the film on Martin Scorsese. Don’t be a pigeon, a rat, or a canary. Watch Hell of a Picture and be….some kind of noble animal, I guess…a squirrel, maybe. Your call. That’s this week on Hell of a Picture.
We’re back, baby! With the holiday season behind us, HOAP looks ahead to the next big season, Oscar season. And to do that, we’re examining one best picture winner from each decade leading up to the present day. First up, Casablanca. The guys open the show talking about the film’s little known origins as a failed play, and how much they love the bar setting of the picture. They examine the message of Casablanca and why the character of Rick makes it such effective propaganda. Andrew describes the synergy of the film’s romance, suspense, and humour, while Dave shares a story about the Red Scare in Hollywood. If you’ve got the post-holiday blues, we’ve got the cure: Casablanca. That’s this week on Hell of a Picture.
It’s Christmas!!!!! So, to celebrate we’re rounding out our run of atypical Christmas movies with the 1992 Tim Burton film, Batman Returns. The guys open the show talking about the marketing snafu that had McDonald’s selling toys for this grisly story of attempted child murder and how the backlash led to the Joel Schumacher years - a much scarier place by some people’s reckoning. They break down the ensemble cast a piece at a time and ask if this is the best we’ve seen in a Bat pic. We hear a couple of Walken impressions, raise some brows at the sexual content, and have a laugh at Batman’s office supplies. We’re a little bummed that this Christmas run is over. It could be worse though, our nose could be gushing blood. Don’t believe what the happy meal tells you, this movie is not for kids. Merry Christmas, from Hell of a Picture.
The season of giving rolls on, so we’re gonna give ‘er with the 1987 Richard Donner cop classic, Lethal Weapon. The guys open by discussing the Christmas elements of the film and why it feels less Christmasy than Die Hard. They talk about the movie’s dark leanings, its unusual lead characters, and the effect they both had on the genre. We hear some speculation on Mel Gibson’s stylist, some questions about bath time, and a lot about nog.
It’s very tempting to say “we’re too old for this shit”, but podcasting is fairly low impact, so we’ve probably got some good years left in us. That’s all this week on Hell of a Picture.
‘Tis the season for mayhem, so Hell of a Picture is getting into the spirit with a look at the Christmas action classic, Die Hard. The guys open the show talking about what makes something a Christmas movie and if Die Hard qualifies. Dave tells us about the bottled-up format of the film, while Andrew introduces us to John McClane: everyman. They have a merry old time laughing at their favourite parts of the film, including the insubordination of Al Powell and the irresponsibility of not taking John to the hospital. You want to know how to survive air travel? Watch great movies. That’s this week on Hell of a Picture.
This week on Hell of a Picture we wrap up the Scorsese, De Niro, and Pesci quartet of films with the 2019 epic, The Irishman. The guys open the show talking about the movie as part of a mob trilogy with Goodfellas and Casino, and whether or not this is Scorsese’s most personal film. Andrew tells us about the de-ageing process used in the production, while Dave asks if Frank is the most sympathetic lead of the three films. They discuss the long run time, a regrettable grocery scene, and wonder how many more Scorsese films there might be.
How long do you wait for someone who’s late? If this movie can be believed, Jimmy Hoffa didn’t wait long. Thankfully, podcasts don’t work that way so you can just listen whenever’s good for you. That’s this week on Hell of a Picture.
This week, Hell of a Picture continues their run on the shared works of Scorsese, De Niro, and Pesci with a rare double-feature that discusses Goodfellas and Casino as sibling films. The guys ask each other if they think Casino suffers primarily for being second chronologically, or if Goodfellas is actually just the better picture. They talk about the film’s similarities, how they differ, and where the endings leave their characters. Andrew tells us about an all-time cinematic moment, while Dave lauds Sharon Stone in her best performance since Total Recall.
As far back as we can remember, we always wanted to be gangsters…but somehow we ended up doing a podcast. Probably for the best. We’ll just watch gangster movies instead. This week on Hell of a Picture.
This week, Hell of a Picture stays inside the ropes for another look from the fighter’s perspective with Scorsese’s Raging Bull. They guys open the show talking about the partnership between Scorsese, De Niro, and Pesci before exploring Jake LaMotta the man and the character. Andrew takes us through the sight and sound of the film, while Dave grouses over some of the dialogue. The guys debate the ending by dissecting a Biblical quote and a Brando reference before looking ahead to the three remaining films in the trio’s quartet. "This podcast could have BEEN somebody." Or is it "This podcast could have been SOMEBODY"? These kind of things matter, this week on Hell of a Picture.
Dust off your boxing gloves and ready your log cabins because this week on Hell of a Picture we’re talking Rocky IV! That’s right, the guys take a deep, montage-laced dive into arguably the most iconic film of an iconic franchise. They continue their discussion on propaganda in cinema and talk about Rocky as an expression of cold war rhetoric. Both Andrew and Dave rock out (pun intended) to the soundtrack, marvel at the impossible poundings of the fight scenes, and ask if Rocky IV could be considered a Christmas movie.
Is your heart on fire? Ours are burning and there’s no easy way out. It’s been said that soundtrack puns are the highest form of artistic expression. They are this week, at least, on Hell of a Picture.
This week Hell of a Picture is making a u-turn. Wait, should it be “an u-turn”? It starts with a vowel but it definitely doesn’t sound right. Anyway, however you say it, we decided to revisit an idea we had a few weeks ago and talk about the Chinese historical epic, Hero. The guys consider the source as they examine the movie as a piece of propaganda, albeit a stunning one. They praise the film’s use of colour for its beauty and utility, talk about their favourite fights and shots, and wonder about separating the medium and the message.
So, Machiavelli, Mao, and McLuhan all walk into a tea house...Sorry, there’s no punchline. But there is a rousing, quasi-academic discussion on the subject…this week on Hell of a Picture.
It’s Halloween, and it’s horror movie time. Andrew convinced Dave to curb his fears and watch the 60s classic, “Rosemary’s Baby” and analyze how the film creates tension and hysteria. The guys question: does the film still work today? And where does it fall in the horror grand scheme of the horror genre?
Hail Adrian? Or maybe just Hail Hell of a Picture!