Join Ryan as he ranks all of Michael Mann's films, pulling from his detailed reviews on The Director's Chair Network podcast where he's broken down the legendary director's entire filmography in an epic retrospective. This is a must-watch for film buffs craving honest critiques and fresh perspectives on one of cinema's most influential directors. Whether you agree with Ryan's top picks or have your own hot takes, this ranking will spark debate!
Katie welcomes superfan Doug Greenberg for a hilarious deep dive into the 1989 holiday classic National Lampoon's Christmas Vacation, exploring its enduring relatability as adults grapple with family chaos, holiday pressures, and Clark Griswold's optimistic disasters, from epic light displays to Cousin Eddie's antics, while sharing personal traditions, trivia, and why John Hughes' script remains a timeless yuletide staple.
In Sam Peckinpah's overlooked directorial debut The Deadly Companions (1961), Brian Keith stars as Yellowleg, a scarred ex-soldier driven by vengeance against a former comrade (Chill Wills) who tried to scalp him, only to accidentally kill the young son of a tough, ostracized dance-hall woman (Maureen O'Hara) during a botched bank robbery; wracked with guilt, he joins her perilous trek across Apache territory with two shady companions to bury the boy beside his father, exposing themes of grief, fragile morality, hypocrisy in a harsh frontier world, and the seeds of Peckinpah's signature cynicism—yet the film ultimately feels dry and emotionally flat despite strong performances and striking visuals.
In this cozy holiday episode, host Katie welcomes back regular guest Ryan Rabalkin to dive into the 1994 John Hughes-scripted remake of Miracle on 34th Street, exploring why this nineties update of the 1947 classic became its own nostalgic time capsule filled with Christmas magic. The duo opens a 1994 time capsule with top VHS rentals like Sleepless in Seattle, The Fugitive, and Forrest Gump, iconic commercials like Skittles' "Taste the Rainbow," and headline making events including the Nancy Kerrigan attack, the O.J. Simpson chase, and Kurt Cobain's death, before dissecting the film's cast, led by Richard Attenborough's heartfelt Kris Kringle, Elizabeth Perkins, Dylan McDermott, and young Mara Wilson, its philosophical courtroom drama on faith and belief, comparisons to the sharper original, romantic subplot quirks, and whether it's truly a kids' movie or an adult reflection on the spirit of Christmas.
Katie and guest Andy from The All Apologies Podcast take a nostalgic deep dive into the 1992 sequel Home Alone 2: Lost in New York, revisiting Kevin McCallister's chaotic Big Apple adventure against a vibrant early-'90s backdrop of neon windbreakers, Crystal Pepsi, and emerging boy bands. They kick off with a fun 1992 time-capsule trivia round nailing hits like Boyz II Men's "End of the Road," Sir Mix-a-Lot's "Baby Got Back," Kris Kross's "Jump," Vanessa Williams's "Save the Best for Last," and TLC's "Baby-Baby-Baby", plus iconic snacks like Lunchables, Totino's Pizza Rolls, and chewy Chips Ahoy. The duo praises the comforting John Williams score, standout performances from Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, and a delightfully suspicious Tim Curry, while appreciating clever plot setups that believably strand Kevin again. They critique repetitive booby traps, underused New York City locations, missed opportunities (like a toy store finale showdown), and the film's class-warfare themes that fall short on real compassion, ultimately agreeing it's enjoyable holiday comfort food but not quite as sharp as the lightning-in-a-bottle original. Wrapping up with warm holiday vibes, they celebrate the movie's charm, slapstick fun, and enduring rewatchability while teasing more John Hughes explorations.
In this candid Michael Mann season finale for a Michael Mann retrospective, Ryan and Hughezy dissect the director's 2023 biopic Ferrari, starring Adam Driver as Enzo Ferrari, with brutal honesty, calling it dull, miscast, and a box-office disaster that lost over $50 million despite its $95 million budget, while slamming Adam Driver's performance, Shailene Woodley's bizarre accent, Penélope Cruz's over-the-top portrayal, and Mann's obsessive car nerdery that prioritized replica vehicles and technical gimmicks over compelling storytelling. They also reflect on Mann's declining legacy post Heat and Collateral, express skepticism about the upcoming Heat 2 sequel, and highlight absurd behind the scenes trivia like Mann charging fans $65 for exclusive archives access.
Join Ryan and Sicco for a passionate 40th-anniversary celebration of Paul Verhoeven’s brutal, chaotic medieval epic Flesh and Blood (1985). The two dive deep into the film’s unique place in Verhoeven’s career as the transitional work between his raw Dutch style and the hyper-stylized American films that followed, exploring its grimly realistic portrayal of medieval life, its total lack of heroes, the central role of religion and superstition, Jennifer Jason Lee’s fearless performance as the cunning noblewoman Agnes, Rutger Hauer’s frustrated attempt to play a heroic mercenary, and the chaotic, dangerous production that tested everyone involved. They also touch on the film’s influence on later works, its satirical take on the Church, and why it remains a fascinating, ahead-of-its-time cult classic despite its initial commercial disappointment.
Katie welcomes Evan and Andrew from the Nothing Worthwhile Podcast for a deep-dive rewind into the 1990 holiday juggernaut Home Alone. The trio kicks off with a lively 1990 pop-culture trivia wheel (nailing jelly bracelets, Magic Eye posters, Hammer pants, “Just Do It,” Chili’s baby-back-ribs jingle, and the Billboard Top 5), then unpacks everything that makes John Hughes’ script (directed by Chris Columbus) an enduring classic: Macaulay Culkin’s perfect child performance, Joe Pesci & Daniel Stern’s lovable-yet-menacing Wet Bandits, Catherine O’Hara’s heartfelt mom energy, John Williams’ iconic score, the Old Man Marley redemption arc, cartoonish slapstick violence, and how the film brilliantly balances heartfelt family themes with pure chaotic joy – all while marveling at its $477 million box-office domination and timeless rewatchability 35 years later.
Host Sicco and guest Craig Cohen unpack Paul Verhoeven’s fearless audacity as the Dutch provocateur who weaponized sex, violence, and razor-sharp satire to shatter Hollywood taboos, defending Showgirls as a hyperbolic big-budget exploitation masterpiece—an unapologetic art-house fever dream exposing Vegas as a brutal vice machine where unreliable dreamers like Nomi claw for reinvention amid pimps, push-downs, and NC-17 nudity, proving Verhoeven’s obsession with Jesus-like resurrection, female exploitation, and moral void turns trash into timeless provocation.
Katie rewinds to 1991 to unpack the forgotten John Hughes-scripted road-trip comedy Dutch – a working-class guy vs. spoiled prep-school brat odyssey starring Ed O’Neal and a young Ethan Embry (billed as Ethan Randall) that bombed hard at the box office ($4.6M against $17M) yet somehow earned a 6.5 on IMDb and a soft spot in holiday watchlists. From class warfare and fireworks fails to hitchhiking disasters, prostitute pick-ups, homeless-shelter revelations, and one very questionable BB-gun payback at the Thanksgiving table, Katie argues it’s basically an uncredited Over the Top rip-off, drops 1991 pop-culture trivia (Cindy Crawford Pepsi ad, “Everything I Do” overload, Vanilla Ice arrests), and wonders why this Planes, Trains & Automobiles lite sequel never became the annual tradition it probably deserves to be.
In the chaotic, spoiler-filled finale of Trucker Andy’s Edgar Wright retrospective on the Director’s Chair Network, Cayley, Christian Bladt, Ryan Rebalkin, Tony from Hack the Movies, Joe Sixpack, Producer Chris, and Tooké tear into the 2025 Glen Powell Running Man remake. The verdict is nearly unanimous: it’s a gorgeous, hyper-faithful Stephen King adaptation that looks stunning in IMAX but feels shockingly devoid of Edgar Wright’s trademark whip-pans, quick-cut gags, and infectious charm – trading them for grim dystopian satire, a safe studio choices, and an ending too scared to kill the kid. Highlights include Michael Cera’s unhinged Home-Alone sequence, Powell’s towel scenes, and Coleman Domingo stealing every moment he’s on screen, while the panel mourns the lack of gore, underused hunters, and the total disappearance of Wright’s personality
In Michael Mann’s 2015 cyber-thriller Blackhat, Chris Hemsworth trades Thor’s hammer for a keyboard as a jacked, brilliant hacker sprung from prison to hunt a mysterious “black hat” cyber-terrorist whose real-world-grade code has already triggered a nuclear-plant explosion and threatens global chaos. Despite a $70 million budget lavished on stunning global locations, hyper-authentic hacking sequences (vetted by ex-cons and NSA consultants), and Mann’s trademark razor-sharp visuals and brutal shootouts, the film bombed hard—making just $20 million worldwide—thanks to a thin script, Hemsworth’s eyebrow-raising casting as an MIT super-nerd, and a premise that felt too clinical and ahead-of-its-time for 2015 audiences; ten years later, with cyber threats now daily headlines, Mann’s prescient, gorgeous misfire is finally getting its vindication as a cult techno-thriller that looks better with every new data breach.
Katie welcomes back guest Scott Murphy to dissect the 1987 John Hughes Thanksgiving classic *Planes, Trains and Automobiles*, starring Steve Martin as the uptight Neil Page and John Candy as the lovably chaotic Del Griffith; the duo explore the film's chaotic cross-country misadventures inspired by Hughes' real-life travel woes, its blend of slapstick hilarity (like the infamous 19 F-bombs in 60 seconds), heartfelt character growth culminating in genuine holiday generosity, and enduring quotable moments, while touching on Hughes' rapid scripting, cut scenes, casting what-ifs, and Scott's upcoming podcasts including *All 90s Action All the Time* and the Sam Peckinpah-focused *Bloody Sam*.
In this penultimate episode of the Director's Chair Network's "All the Right Moves" limited series, host Andy and guest Tony from Hack the Movies dissect Edgar Wright's psychological thriller *Last Night in Soho* as a bold stylistic departure from his Cornetto Trilogy and *Scott Pilgrim vs. the World*, praising its meticulous mirror swaps, dream-reality editing, and 1960s Bond-girl aesthetic while critiquing plot holes in Eloise's "Shining"-like psychic visions, the post-Me Too vilification of men that abruptly flips to reveal the landlady as a vengeful killer, and co-writer Kristy Wilson-Cairns' influence shifting away from Simon Pegg's character-driven humor; they detour into ranking Wright's filmography (*Shaun of the Dead* reigns supreme for its horror-comedy balance), *Spaced* Easter eggs like male telepathy and Darth Maul red lighting, and hype for the upcoming *The Running Man* remake co-written with Michael Bacall.
Host Sicco and guest Craig Cohen unpack Paul Verhoeven’s fearless audacity as the Dutch provocateur who weaponized sex, violence, and razor-sharp satire to shatter Hollywood taboos, defending Showgirls as a hyperbolic big-budget exploitation masterpiece—an unapologetic art-house fever dream exposing Vegas as a brutal vice machine where unreliable dreamers like Nomi claw for reinvention amid pimps, push-downs, and NC-17 nudity, proving Verhoeven’s obsession with Jesus-like resurrection, female exploitation, and moral void turns trash into timeless provocation.
Katie welcomes guest Dustin from the Retro Movie Round Table to dissect the 1997 Disney remake "Flubber," penned by John Hughes and starring Robin Williams as the absent-minded Professor Philip Brainard. They dive into 1997 pop culture trivia, including fads like Beanie Babies and Tamagotchis, blockbuster films such as Titanic and Jurassic Park: The Lost World, and top songs from artists like Elton John, Jewel, and Puff Daddy. The discussion explores the film's cast, including Marcia Gay Harden, Christopher McDonald, and Clancy Brown, while comparing it unfavorably to the 1961 original "The Absent-Minded Professor," critiquing its lack of heart, uninspired gags, weak stakes, and failure to evoke emotion despite promising elements like Danny Elfman's score and innovative effects. Both hosts express disappointment, highlighting how the movie prioritizes marketing over substance, resulting in a forgettable kids' flick that succeeded financially but falls flat cinematically.
In Edgar Wright's "Baby Driver," hosts Andy and Doug dissect the stylish heist thriller as the director's bold American debut, praising its groundbreaking musical synchronization—where gunshots, tire screeches, and foot chases pulse to a curated soundtrack like a rock opera on wheels—while critiquing the hollow lead character of Baby (Ansel Elgort), whose tinnitus-driven iPod obsession and muted personality fail to spark empathy or chemistry with love interest Debora (Lily James), leaving viewers rooting more for scene-stealing villains like Jon Hamm's volatile Buddy and Kevin Spacey's calculating Doc; standout practical stunts, clever callbacks to Wright's Cornetto Trilogy rhythms, and meta nods elevate the adrenaline-fueled caper, but the solo screenplay exposes a departure from Simon Pegg's witty voice, resulting in a visually dazzling yet emotionally shallow ride that thrives on action spectacle over character depth.
Buckle up for a riotous retro road trip on this special anniversary episode of the podcast, where we dive headfirst into the 40th anniversary of National Lampoon’s European Vacation (released July 26, 1985), reliving the Griswold family's uproarious misadventures from London fog to Roman fountains and German beer halls, all while unpacking the film's satirical jabs at American tourist stereotypes and its star-studded cameos by Monty Python's Eric Idle and others. Joined by returning guest Zo from the Back Look Cinema podcast—a deep-dive series celebrating overlooked cinema, from 80s schlock to indie gems (check out episodes on cult classics like The Lost Boys or Clue at backlookcinema.com)—the conversation zips across the mid-'80s European pop culture landscape, spotlighting Live Aid's transatlantic unity in 1985, the synth-pop invasion via Duran Duran and Depeche Mode dominating UK charts, Berlin Wall-era tensions fueling new wave anthems like Nena's "99 Luftballons," the aerobics craze with leg warmers echoing Jane Fonda's VHS workouts, and blockbuster imports like Back to the Future mirroring the Griswolds' time-warped chaos, blending nostalgia, laughs, and cultural crossovers for fans of neon-drenched excess and heartfelt hindsight.
Join hosts Trucker Andy, Hughezy, and Tooke in this episode of "All the Right Moves," a limited series podcast exploring Edgar Wright's filmography, as they dive into "The World's End" (2013). The discussion kicks off with personal reflections on aging, alcoholism, and the inner "Gary King" that lingers in everyone, drawing parallels to real-life struggles with partying, nostalgia for youthful nights out, and the challenges of maintaining friendships into middle age. They analyze the film's themes of male bonding, arrested development, and midlife frustration, while comparing it to Wright's earlier works like "Shaun of the Dead" and "Hot Fuzz," noting its darker tone and sci-fi twist. Anecdotes about hangovers, high school reunions, and cultural references abound, alongside critiques of the plot's shift to alien invasion and its place in the Cornetto trilogy, blending humor, film analysis, and candid stories about addiction and personal growth.
Sicco and Doug Greenberg, joined by guest Craig, dive into the cinematic brilliance of *Total Recall*, hailed as Arnold Schwarzenegger’s peak performance and Paul Verhoeven’s directorial masterpiece. They explore the film’s gripping Philip K. Dick-inspired narrative, blending mind-bending sci-fi with visceral action, and praise its tight script, innovative special effects, and stellar performances from Schwarzenegger, Sharon Stone, and Ronnie Cox. The conversation delves into the film’s ambiguous reality, Verhoeven’s bold direction, Jerry Goldsmith’s evocative score, and the movie’s significant cultural and box office impact, cementing its status as a quintessential 1990s action sci-fi epic that remains rewatchable and relevant.