The Twin Geeks – Détails, épisodes et analyse

The veil has thinned. The leaves have fallen. The pumpkin guts line the garbage bins streetside, where swarms of masked adolescents march in unison in pursuit of sweet confections. The Twin Geeks, now aged 7, continues our annual tradition of Halloween specials with Halloween 6: The Curse of Michael Myers (1995) — an inflection point where the now long-running series must either find a new direction or face imminent cancelation. As Fall sets in, the skies fill with darker clouds, and the rain clears the streets, a shadowy figure emerges. It's The Kentucky Gentleman! None other than Jesse Sparks, resident Halloween superfan and Radiohead connoisseur. As is our tradition, we run through the best of the year's horror movies, discuss the next film in our Halloween series, and review Radiohead-adjacent albums. It's 2024's best double-feature this time: two albums from the Radiohead and Sons of Kemet off-shoot band The Smile. The albums are Walls of Eyes and Cutouts. Come join us by the fire and warm up a nice autumnal tea.

And suddenly, Halloween was another word for mayhem.

Felicia Maroni (Seeing Faces in Movies) joins the show to discuss the first half of John Cassavetes' filmography: Shadows (1958); Too Late Blues (1961); A Child is Waiting (1963); Faces (1968); Husbands (1970); and Minnie & Moskowicz (1971). When we talk about John Cassavetes, we're talking about the history of American independent movies, from what preceded and influenced the movement, to how the format adapted and was deeply influenced by the style of indie auteurs like Cassavetes. By studying this filmmaking tradition, we can give shape to a whole world of cinema crafted outside the system and trace every step of contemporary productions back to their root source. By working outside the system and against the market, Cassavetes created a new system and a new market. We explore the eccentricities of this improvisational and naturalistic filmmaker who changed movies forever, one Opening Night, one Face, one Husband, one Chinese Bookie, and one Woman Under the Influence at a time. Stay tuned as Felicia will return for the second half of our series, and some of the most influential indie films of all time, next month.

Dear friend Perla sits in with us to discuss Todd Haynes' Safe. In this striking psychological horror film, Julianne Moore's character develops environmental sickness and an allergy to the conditions of the 20th Century. We frame the film in the context of movies about the lives of women in society and how hard it is to live in it. As we discuss their working relationship, Julianne Moore becomes something like a muse for Todd Haynes. We explore their work together and the importance of signature films like Carol (2015). All that and so much Baseball, as we do a Sportcast again, to check in on the standing of the Seattle Mariners.

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In the wake of the horrific Tiananmen Square massacre in 1989, Hong Kong action director John Woo was inspired to apply his hyper-stylistic, ultra-violent directorial prowess to showcase the horrors of dictatorial reign and juxtaposing the political conflicts of the day with the similar conflicts of protest revolving around the Vietnam War. Those who are used to Woos balls-to-the-wall style of directing, eschewing logical and realism for absurdist spectacle, will be surprised to see a fusion of that thrilling bravura with the socially critical depiction of violence in the grueling wartime setting of the Vietnam conflict, as three friends find themselves caught in the midst of the bloody, unforgiving conflict while trying to make a living in the criminal underworld. The brotherly camaraderie which is a staple of Woos Heroic Bloodshed films flourish even greater here with the dramatic backdrop of the war compelling their relationships, and the action has never been as visceral or exciting. Bullet in the Head is as grand as it is ambitious, and often overlooked in the pantheon of the great action director's work.

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For nearly two decades the rocking teen comedy dominated the cinematic landscape as the preeminent escapist dream to the days of our rambunctious youths, and none perhaps more nostalgically than Richard Linklater's Dazed and Confused. Boasting one of the most electric soundtrack selections of any film, and all the warm remembrance of the culture of 1970s freedom, this perennial favorite has more than made its impact on popular culture. Linklater conjures the most profound recreation of the 1970s both through impeccable art direction and musical brilliance, falling back on only the most classic of rock and roll offerings and forever enshrining them as artifacts of the beloved era. Dazed and Confused is often described as the ultimate hang out movie, and so we soak in every moment with reverence as we consider the warm feelings of our own memories of youth.

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The tragic and unexpected passing of Chadwick Boseman has us all in deep mourning. Some would say he was just getting started, only recently having risen to the ranks of legends with breakthrough successes as the preeminent Black superhero, as well as embodying the legacy of several major Black icons for the screen. The latter of these feels most fitting in the wake of his passing, having coincided with the MLB's celebration of Jackie Robinson Day on August 28th, 2020. Boseman eloquently portrayed the major Civil Rights icon who was instrumental in breaking the color barrier and pushing for an end to segregation in the United States. In remembering Boseman, 42 feels most fitting in depicting the ideals he imbued into every performance and the grandeur of the legacy he left behind. RIP Chadwick Boseman. 1976-2020

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With the first images of a new reimagining of the caped crusader recently revealed, there is no better time than the present to retrace the history of the fabled Dark Knight's first incarnation on the silver screen. The 1960s version of Batman, as played by Adam West, is famous and beloved for its unrivaled comic approach to the character, wittily delving into the unmined absurdism of the superhero world long before we'd even see the trend of a gritty, realistic take on the character overshadow his cartoon origins. For the first film spawned from the wildly popular television show, Batman -- and his young ward, Robin -- take on the best of his rogues' gallery, who have teamed together in an attempt to take over the entire world. Joker, Penguin, Catwoman, and the Riddler combine their forces in this riotously hilarious romp which planted the seeds of Batman's permanent cultural fixation. Timestamps: 0:00: Welcoming Bro back to the show Fantasia Fest Lightning Round 4:07: Fantasia 2020: First-week recap 13:56: Skin: A History of Nudity in the Movies and first experiences with nudity in film 20:53: Pretending I’m Superman — The THPS documentary 26:28: The new era of DC and Batman 36:32: Batman

The ultimate Spaghetti Western and one of the most iconic films of all time, The Good, the Bad and the Ugly still stands as a titan of cinema and a personal favorite of The Twin Geekscast. Just as Leone was building with larger and larger ambitions, so too have we been looking forward to getting around to this foundational and epic Western classic. From the monumental scope of the story's buried gold adventure to the comical character interactions which have made the film the stuff of legends, Leone's first major opus has cemented itself as the indelible icon of the Italian Western style. Clint Eastwood was never better than this iteration of "The Man with No Name", and paired with the comic capabilities of Eli Wallach's fiery Tuco the two are a pair that can't be beaten. Lee Van Cleef is no slouch either, as the scouring scourge of the West whose malevolence knows no bounds. Culminating in the most electric climax of a Western, an astounding standoff yet to be bested, The Good, the Bad and the Ugly remains a legendary monolith within its genre, and of the entire cinematic landscape at large.

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The most significant film of Preston Sturges' legacy makes a case for itself in asserting the importance of comedy as an artform like no other work has. The concluding thoughts on entertainment being all some people have is a profound statement for one of the zaniest comedies of the 1940s. The tonal dichotomy of Sullivan's Travels may be hard to swallow at first, but the deftness with which Sturges balances the dramatic turns of the story is vital to selling the pathos of its themes and ideas concerning how entertainers can help the poor and downtrodden through their art. It's also just one of the funniest films ever made, brimming with Sturges' spoonfuls of tantalizingly salacious dialogue, expedient and expert delivery, and a good helping of physical gags to boot. One of the essential "movies about movies", Sullivan's Travels endures because of its optimistic look at the good of Hollywood without shying away from the racier aspects tucked between the biting dialogue provided by Sturges' unparalleled hands as Hollywood's preeminent Writer/Director.

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Tim Burton's signature gothic styling was a perfect suit for the realization of the strange and sad, but also often humorous and heart-warming, true story of the proclaimed "worst director of all time". His sensibilities from films like Beetlejuice (1988) and Edward Scissorhands (1990) translate to the bizarre collision of the terrible 1950's B movies made by the titular director and the atmospheric horror films of the 1930s, represented by the imposing presence of faded star Bela Lugosi, as portrayed by Martin Landau. Wood's story is one of triumph, despite the notorious reputation and quality of his legacy. It is also the very cheapness and shoddy direction that compels audiences to see and appreciate his movies. Burton's vision captures the camaraderie and quirky spirit of how ambition and a creative spirit brings about a satisfying way of life, even if the result itself is admired by only a few. Luckily for him, Ed Wood is seen as his greatest directorial accomplishment, and has also solidified the legend of Wood himself as a director worth admiring and appreciating, if not for his films then at least for his gumption. Timestamps: 0:00 New videogame show 8:00 RIP Olivia de Havilland 14:51 Strasbourg 1518 18:42 Ed Wood