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Hazard Pay, Pt. 1 — Sorcerer
Padraic McKinley’s The Weight isn’t a remake ofThe Wages of Fear, though it feels deeply indebted to the H.G. Clouzot classic in its thrilling depiction of a group of outlaws on a near-impossible mission across deadly terrain. William Fried
“A picture that stays with you is made up of a hundred or more hidden things” with Alonso Duralde | The Movie Racket
Film critic and author Alonso Duralde joins Michael Phillips to explore a piece of filmmaking wisdom from Vincente Minnelli: that a picture which stays with an audience is built from “a hundred or more hidden things.” Drawing on films rangi
Blue Velvet at 40: Beneath the Surface | #1081
As David Lynch's Blue Velvet turns 40, Adam and Josh revisit the film that shocked audiences and helped define modern American cinema. Is it Lynch's masterpiece? Plus: Massacre Theatre and Josh’s thoughts on Practical Magic 2 and Paul Green
Top 5 David Lynch Scenes | Archive
Blue Velvet turns 40 this month—Adam and Josh have a Sacred Cow review coming later this week—so we're going back to 2014 for our Top 5 David Lynch Scenes. See https://omnystudio.com/listener for privacy information.
Existential Zones, Pt. 2 — It Ends
Alexander Ullom's It Ends is a daring little piece of microbudget drama about four friends at transition points in their lives, who find themselves in a place where life and death no longer hold any meaning. Whether it’s a film about despai
We Can’t Look Away From Netflix’s Untold Raygun: Breaking Badly | SVU
For a few days in the summer of 2024, the world’s attention was focused on Dr. Rachel Gunn — and not for anything good. Gunn, aka “Raygun”, was representing Australia at the Paris Olympics in the inaugural breakdancing competition, when her
"All you need to make a movie is a girl and a gun" with Rachel Walther | The Movie Racket
Film noir expert Rachel Walther joins Michael Phillips to test a quote commonly attributed to Jean-Luc Godard. But whether it belongs to Godard, Howard Hawks, or someone else entirely, it points to a persistent question about what audiences
Coyote vs. Acme and The Rocky Horror Picture Show | #1080
When Coyote vs. Acme was shelved in 2023 for a corporate tax write-off, the response from film fans was as swift as a roadrunner and as explosive as a pile of TNT. When it was picked up by another distributor (Ketchup Entertainment), the ou
Top 5 Music Docs | Archive
With the new Oasis doc Don't Look Back in Anger coming soon to theaters—and inspiring this month's Movie Death Match (http://filmspotting.net/episodes-archive/2026/9/7-mdm-stop-making-sense-last-waltz) (The Last Waltz vs. Stop Making Sens
Kenneth Branagh Can’t Rescue Apple TV’s Mayday | SVU
From the writer/directors of Game Night and Dungeons & Dragons: Honor Among Thieves, Apple TV’s Cold War comedy Mayday was a promising title on the 2026 streaming movie calendar. Unfortunately, Matt and Jordan agree that the film isn’t the
Existential Zones, Pt. 1 — Solaris (1972)
Alexander Ullom’s feature debut, It Ends, has been billed as a horror movie, but it’s more of an existential exercise wrapped inside a genre premise. That same description could be applied to Solaris, though Andrei Tarkovsky’s 1972 science-
Stop Making Sense vs. The Last Waltz | Movie Death Match
Chris Klimek convenes a battle of the bands between two of the most acclaimed concert films ever made: Jonathan Demme's Stop Making Sense and Martin Scorsese's The Last Waltz. One is a lean, propulsive document of Talking Heads at the heigh
Ridley Scott Draft with Roxana Hadadi and Filipiñana | #1079
With The Dog Stars in theaters, Adam and Josh invited Vulture’s Roxana Hadadi to the show for a Ridley Scott Draft. Picks one and two are easy: Alien or Blade Runner. But what about the third pick? And will divisive Scott films like Prometh
Blade Runner with Michael Phillips | Archive
With Ridley Scott's The Dog Stars in theaters and our own Ridley Scott Draft (with Vulture's Roxana Hadadi) coming Friday, we're sharing this 2017 Sacred Cow review of Scott's sci-fi classic. Michael Phillips joined Adam and Josh. Unlock th
What Is Hulu’s Desert Warrior and Who Is It For? | SVU
When the story of a movie’s financing and troubled post-production are more compelling than the movie itself, you’ve got problems. And in this case, you’ve got Desert Warrior, a 7th-century, Saudi Arabia-set — and financed — epic starring A
The Family That’s Prey Together, Pt. 2 — The End of Oak Street
The Platt family is barely surviving, and that’s before their neighborhood is inexplicably dropped millions of years into the past and overrun by hungry dinosaurs. The End of Oak Street isn’t nearly as concerned with explaining that premise
"Pictures are for entertainment, messages should be delivered by Western Union" with Robert Daniels | The Movie Racket
Film critic Robert Daniels (RogerEbert.com (http://RogerEbert.com), The New York Times) joins Michael Phillips to test one of Hollywood's most enduring bits of studio wisdom, attributed to producer Samuel Goldwyn: "Pictures are for entert
Top 5 Needle Drops (Pt. 2)
Adam and Josh return with guest Rico Gagliano (MUBI Podcast (https://mubi.buzzsprout.com/)) for Part 2 of their Top 5 Needle Drops. This episode brought to you by Anderson, Linklater, Fincher, and Scorsese. Notes: -The Sigur Rós song
Top 5 Needle Drops (Pt. 1) and It Ends | #1078
Rico Gagliano (MUBI Podcast (https://mubi.buzzsprout.com/)) joins Adam and Josh for the Top 5 Needle Drops, a conversation so robust we split it in half. Plus, the new It Ends earns a Golden Brick nomination, and listeners tell us the best
The Family That's Prey Together, Pt. 1 — War of the Worlds (2005)
David Robert Mitchell’s The End of Oak Street drops an ordinary family into extraordinary circumstances, forcing them to focus all their energy on surviving— and maybe, just maybe, learning to understand each other along the way. That struc
Midnight Run | Archive
In 2023, Adam and Josh took another look at 1988's Midnight Run for its 35th anniversary. The Robert De Niro/Charles Grodin action comedy was an early and somewhat controversial inductee in the Filmspotting Pantheon, a decision they use the
Don’t Say Good Luck and the Evolution of Happy Madison Productions | SVU
Happy Madison Productions is now cranking out movies starring two generations of Sandlers: paterfamilias Adam and daughters Sadie and Sunny. Earlier this year, Sadie starred in Netflix’s college-set Roommates, and now it’s Sunny’s turn in D
"The hardest thing in film scoring is to know when to start and when to stop" with author Tim Greiving | The Movie Racket
Film music historian and journalist Tim Greiving (https://timgreiving.com/), author of John Williams: A Composer's Life, joins Michael Phillips to explore one of the foundational dilemmas of movie music, courtesy of legendary composer Max
The End of Oak Street, plus Tony and Late Fame | #1077
Is The End of Oak Street the best Spielberg movie of 2026? Or is one of your hosts committing movie heresy? Adam and Josh review David Robert Mitchell's dinosaur-filled family adventure and consider whether there's more on its mind than blo
Top 5 Kristen Stewart Scenes | Archive
Kristen Stewart is back in theaters with The Wrong Girls, which is an excuse to share our Top 5 KStew Scenes from 2017. Unlock the full archive, Filmspotting Discord, ad‑free + bonus episodes, and more when you join the Filmspotting Family
The Last House and Netflix’s Apocalypse Obsession | SVU
It’s all fine and good to be sealed up in a house with Wagner Moura and Greta Lee, but the longer Netflix’s new The Last House keeps us there, the more time Matt and Jordan have for questions about the why and the how and… is that broccoli
Anyone Can Cook, Pt. 2 — Tony
Matt Johnson’s new biopic Tony sidesteps the infamous Walk Hard trap by narrowing its scope to a single summer that would end up shaping the rest of Anthony Bourdain’s life, but not necessarily defining it. Whether that approach is ultimate
"You owe everything to the movie and nothing to the original" with David Kajganich | The Movie Racket
Screenwriter and producer David Kajganich (Suspiria, Bones and All) joins Michael Phillips to test a provocative rule of adaptation from filmmaker Whit Stillman: "You owe everything to the movie and nothing to the original [source]." But wh
Marathon Awards | Dissident Cinema
Adam and Josh share their favorite discoveries, performances, and scenes from the recently completed Dissident Cinema Marathon, which included Chaplin’s The Great Dictator, Kurosawa's No Regrets for Our Youth, and Rossellini’s Rome, Open Ci
Teenage Sex and Death at Camp Miasma and The Brink of War | #1076
Jane Schoenbrun’s uncategorizable third feature, Teenage Sex and Death at Camp Miasma, marks the director as among the most assured and provocative filmmakers of their generation. Adam and Josh agree that it’s the film of the year so far. P
