A Big Bold Beautiful Journey Review, PTA Decades

15:57Josh Larsen:Who's that?

15:59Adam Kempenaar:Cheryl Haywood. She plays Rosemary.

16:03Josh Larsen:So are you in this show? So, you're in this musical?

16:06Adam Kempenaar:Yeah, I play J. Pierpont Finch.

16:09Josh Larsen:You're J. Pierpont Finch? Yes. What? That's amazing!

16:15Adam Kempenaar:Oh, you did the show?

16:16Josh Larsen:God, I wish. No.

16:18Adam Kempenaar:Ex-musical groupie. After her solo, I tell her I love her. Oh, wow. Okay. She says I don't love you. I love Clint Whitford, and I'm devastated.

16:36Adam Kempenaar:There are moments, though, that we all have from our past. And there are moments that we would all like a second shot at. And if you go back to After Yang and you go back to Columbus, Koganada consistently invites his characters to rediscover the familiar with fresh eyes. And that's big, bold and beautiful. to me and and that that very much worked for me with this film and i'm dying to hear whether or not you think i'm crazy whether or not it worked for you or whether or not you're you're with most

17:15Josh Larsen:critics on this movie yeah i liked it quite a bit i i think it it is distinct from his previous two films in ways that explain some of that reaction to me but i think you're right in the connections you're making, the description of the family dynamics in Columbus make me realize, you know, it's why I mentioned it at the top that, you know, family is a favored theme of his, but really this movie, A Big Bold Beautiful Journey, you could almost say it's 50 % about the relationship between David and Sarah, Colin Farrell and Margot Robbie's characters. It's 50 % about their romance and it's 50 % about their relationships with their parents.

17:53Josh Larsen:This is almost like doubling down on those dynamics in Columbus and via flashbacks, these magical realist flashbacks, exploring the past that they shared with their parents. It's interesting to me that also with Columbus, this shares a memory or the experience of a parent dying in your absence and dealing with the repercussions of that psychologically. So I connected with that. Man, I thought I had you on the screaming through the windshield thing. Really? But of course, you just showed Columbus in class. Of course, you're going to make that connection. Though, in fairness to me, I didn't rewatch it.

18:33Josh Larsen:Oh, okay. Just the student said. I just know. All right. Well, kudos then, because I put that in my notes, like looking for similar things that, you know, that are touches. As you said, those formal touches. And I'm like, oh, that's one of my favorite moments in Columbus. And I love the echo of it here. and those are the sort of things where you pick up on if you know a filmmaker's previous films intimately but you made a point adam early that i want to stress for listeners who don't have the relationship with his movies that we do you said just as an aside almost that you don't necessarily need to have that to appreciate a big bold beautiful journey and i concur with that wholeheartedly.

19:16Josh Larsen:We're probably going to spend some more time on the things that we appreciated because of our familiarity with his work. But I think this stands on its own as something distinct from those films in a positive way. This is a movie that I understand why it's getting the reaction to, the negative reaction you mentioned, because it is a bit precious. It's got that word. I'm going to use it. It's positive for me, but pejorative for many people. It's got a lot of whimsy to it. And these sort of movies have put me off. Generally, I think I'm open to them. And in this case, I was. I think this is a movie that's not going to work for everyone.

19:58Josh Larsen:Clearly, it already hasn't with many critics. But Hearts of a Certain Shape, I think, could really treasure this. I think it could find its way into someone's heart who is maybe coming with no expectations or different expectations. And this might be something they hang on to for many, many years. I like most people, Josh. Perhaps, yeah. I mean, when I think of the movies that it made me think of, aside from Koganata's though, for me at least, they're movies that I tend to like more than most people, which have some element of whimsy to them. So I'm thinking like Danny Boyle's A Life Less Ordinary, Paul Thomas Anderson's Punch Drunk Love Damien Chazelle's La La Land I don't think A Big Bold Beautiful Journey for me is quite on the level as most of those but I think it's striving for the same feeling and for the most part I think it's reaching it the major touchstone for me and here's where I am quite often alone is with the work of Michelle Gondry and I don't think Eternal Sunshine of the Spotless Mind is necessarily the key touchstone here there's elements of that I think it's more something like Mood Indigo, which was more of a whimsy romance than the, you know, Eternal Sunshine had a bitterness to it.

21:18Josh Larsen:Mood Indigo has a sadness to it, but maybe more of a whimsy. And I really love that film a lot. Big Bold Beautiful Journey reminded me of that quite a bit. So as we do spend more time on how it is a Koganata film, I just also want to make room for those who are like, I don't really care who made this movie. I like the stars and the trailer looked good. You know what? Go see it then. Because it will offer, I think, a lot for you as well. But yeah, just going back briefly to add to some of the things you said, I think the family thing is key. I also did appreciate in terms of composition, just some choices where, um, it didn't have to look that way, but a filmmaker who's putting a lot of thought into it did make it look that way.

22:09Josh Larsen:This begins at a wedding fairly early on. This is where Sarah and David meet and just some of the, the, the blocking and positioning them within, again, within space. I found just delightful. I think of one shot where there's this portico and it's raining throughout this wedding sequence, which adds a nice textural element. But there's a shot of a portico and each of them are at one far side and they just slowly start to walk towards each other.

22:40Adam Kempenaar:Yes.

22:40Josh Larsen:And there's nothing extremely complicated about it. Maybe the camera is pushing in a bit, if I remember at the same time, but it does exhibit an extreme care that I think you find throughout this movie, which I think is also a signifier of Koganada's work. And the other thing, you know, I don't think he gets a lot of credit for, but Columbus and After Yang, far weightier than this, I felt. Humor is more at the forefront here. But don't forget, those two movies had sly streaks of humor to them. and I just thought this was quite funny. Phoebe Waller-Bridge has a small part as the rental car agent who's kind of instrumental in getting them into these cars where they have these GPS devices that end up telling them where to go.

23:25Josh Larsen:I loved her exchanges with Kevin Kline and with David. Found that very funny. So I think this is quite humorous. Some of the credit should probably go to Reese's script for that. There's a comedic rhythm to this. And Crud should also go to Farrell and Robbie, who I think are quite good and quite funny together. As much as they're romantic together, I think they're funny together. And I think that is a signature of Koganada as well as that sly sense of humor.

23:53Adam Kempenaar:Yeah, there's a lot to respond to there and a lot I agree with. First, I have to call out, you used a phrase when you said hearts of a certain shape, and you said something might really appreciate this movie. Is that a phrase you've used before or heard before or did you just come up with that? Because I have to say, I find that a very kind of moving and provocative phrase.

24:18Josh Larsen:Now you're terrifying me. I really hope that's not from somewhere else. I didn't intentionally grab that. In my mind, I was just trying to think of like, trying to capture this sense that people are really not going to like this movie. People are going to be indifferent to it. It's going to be a wide range of reactions. You don't have to explain it to me, Josh. I got it. Yeah, I just, okay, okay. I just want to emphasize that to listeners, too, that was like, you know, give this a shot because it might be for you.

24:45Adam Kempenaar:Yes. And the phrase particularly works for me as the movie does, because when this movie really is going for its boldest emotional moments. They, they in particular really worked on me. I agree there, there is a fair amount of whimsy to this film. And I think where I'm not going to spend a lot of time speculating on the experience other people are having with this movie, but I imagine where there may be a disconnect because there was at times a disconnect for me as well is watching those other films and even feeling it at times here. I don't think of Koganata as much of a whimsical filmmaker. And so there, there are times where there's whimsy and at times where then it feels as if the whimsy, the whimsical nature is a little bit forced.

25:34Adam Kempenaar:And, and I'll, I'll give you an example. I liked many of those moments with Phoebe Waller-Bridge. And then there are also times where I feel like it was so wonderful to see Kevin Kline again on screen and and then i think well did we really get out of kevin klein all that we could have gotten out of kevin klein or could that have been any other actor honestly saying those lines that's fair and yeah and here's a moment in the film that i i won't i won't spoil the context because i think it's the best joke in the film and it comes late in the movie but it's just two words that Colin Farrell says, and I was the only person in the theater who laughed out loud.

26:14Adam Kempenaar:There's a moment where there's a pause and everyone's looking to him to react to something and he goes, I pass. And it's brilliant because he could say a lot of things, but I pass is not what he should be saying there. And it's brilliantly funny. But then you have moments like, here's a moment of whimsy where something has happened and then you see a sign, something there's an accident of some kind and then you see a sign that says outside a hotel and it says timely in and it explains like this exact scenario and it's a crazy scenario that really never happens in real life and there'd never be a hotel out there in that scenario and and you go oh this movie does have that sense of humor but i haven't really felt it or heard it in a long time so it feels like it only it only happens in fits and spurts and so yeah that's that's where the whimsy that's where i sometimes felt like i'll go back to your phrase a little bit where sometimes the the movie's heart isn't really in the whimsy the movie's heart is in a lot of in a lot of other places and i like it even though i like the humor in moments i like where the movie's heart is most

27:25Josh Larsen:of most of the other times yeah and i think perhaps this is a case i mean who knows what the collaborative process was here but when you have one screenwriter and one director you know that's very different from someone, even in the case of after Yang adapting a short story, perhaps, but still doing the adapting, um, and then collaborating with a different voice. And I agree with you. If there's, you know, there are times where you can feel the disconnect, where there are, uh, two sensibilities perhaps at work here. I think for the majority of the movie, they're in sync well enough. Uh, and then there are those moments, like some you've pointed out where they're not.

28:02Josh Larsen:I think I'm also thinking of whimsy in terms of things like, um, uh, art direction, production design, this GPS device that they have in their cars, which is like a retro, it's almost like stuck on the dashboard. I include that in this whimsical category just because of how it's, it's designed. It's, it has a dial that shaped like a film reel. Um, and then it has this red light, which reminded me of, you know, Hal's eye in 2001, a space odyssey. And from it, you hear the voice and, um, Jody Turner-Smith does a wonderful job of, you know, this, this sort of friendly, encouraging, but at times forceful GPS voice telling them where they have to go.

28:47David, David. Sorry, are we, no, we talking to each other now.

28:52Josh Larsen:The screen of the GPS voice too, I loved the, and this is the meticulousness that you know, you're going to get from Koganana. Um, the design of the graphics that are on that screen are the same graphics that you get for the opening credits, um, which are sort of retro, modern, futuristic in this, this space that maybe after Yang played in a little bit about the near future, um, but harkens to the past. And so I love the design of that screen on the GPS device. as well. I probably got on too long about one prop, but it was one of my favorite things in the movie.

29:28Adam Kempenaar:No, and it actually is a nice segue because I was going to say another Koganata connection, I think, is that even though maybe I liked the world building overall better in After Yang, it's similar in that that movie didn't paint this extravagant sci-fi vision of the future, but gave us just enough to feel like we were grounded in a near future. And we understood the rules of the world just enough. And that was something I talked about with Koganada when he was on the show. And I feel like this movie does just enough as well for us to not constantly be questioning, okay, what universe are we in?

30:07Adam Kempenaar:We're not distracted by whether or not this could, quote unquote, really be happening. It's fantastical, but it's grounded just enough as well. and that's a hard trick to pull off and I think Hoganada does pull it off here I want to go back to what you said about the wedding too because that was another key moment for me and here I can bring in a little bit of criticism of the film perhaps I'm with you on Farrell and Robbie I did read one review of Josh because this is a case where after seeing and I thought I like this movie so much and I see the Rotten Tomatoes score and I have to read a review at least to see what is it what am I missing and so I went to one of our friends, one of our colleagues from the reveal, Keith Phipps, and he was very fair.

30:54Adam Kempenaar:I think he gave it two and a half out of five, but overall was pretty fair and had positive things to say. The biggest issue was with the love story and says it doesn't really work. And Keith's evidence or his main qualm with the love story is this. He says, and given that much of the movie is concerned with telling a love story, that's a pretty big problem. Not only do we know that David and Sarah are obviously fated to end up together from the start, they behave as if they know it, too, and are alternately annoyed and excited by their inevitable pairing. And all due respect to Keith, that's actually an element of the movie I really liked.

31:33Adam Kempenaar:Yeah, I agree. I liked that the movie had a self-awareness about these types of love stories. And actually, that was a tension for me because I do know what he's saying. But because the movie knows that we know that surely it's inevitable they're going to end up together, that at least opens the door that maybe they won't. Right. I thought that was a very real possibility. And I liked that the movie knew that it was that type of love story. And that means that right away, Josh, even that moment where they first see each other at the wedding, literally the first glimpse of each other. And then to the first time they're close to each other being introduced and then to that moment where they see each other, you know, across that portico, as you mentioned, they feel it's almost like a tractor beam.

32:27Adam Kempenaar:They feel that there is an inevitability. And of course, then that's why that's why when they they stop and it turns out they're at the same place that their journeys are meant to intersect. and he says, or his voice says, pick up Sarah and Sarah's car doesn't start. That's that inevitability. They understand that the universe is suggesting they should be together. So there is a little bit, there's excitement. But what Keith is saying, I think they are almost a little bit annoyed. They're annoyed that they know that this has all been somehow faded and they even feel, they feel it because they feel a connection.

33:06Adam Kempenaar:They feel themselves pulled to each other, but they also know that this shouldn't happen. And there's a part of them that doesn't want it to happen. And all of that tension also, I thought, was very effective. And that shot, to go back to that shot then, that's what I thought Koganata set up so brilliantly. Was, again, they've had just one look at each other as the bride's coming down the aisle. And then they've had a conversation after they're introduced to each other. and then they see each other. He's out smoking. So he's already out there smoking. Then she comes, she's across the way. She comes outside just to get some fresh air after dancing.

33:45Adam Kempenaar:The shot then cuts back to a long, a wide shot of the space. And there's these columns and there's a great distance between them. And the camera emphasizes that distance. But then what happens? The camera doesn't really change, as I recall, But they both slide closer to each other. Yeah. To a closer column. So just in the staging, there's that tractor beam like effect. They still maintain a distance, but it's like they can't help but move one column closer. They are being pulled towards each other. And I love how the cinematography emphasized that.

34:23Josh Larsen:Yeah, I found the romance fairly compelling, to be honest with you, for some of those exact same reasons. what troubled Keith, I thought, added interesting complications. I wasn't even that convinced that they were going to end up together because, and this made me think about how someone like Koganata would handle it. It goes back to your observation about him, you know, wanting characters to see things in a new way. I think this very likely could have been a film from him about these two people through this experience together, learning to see things in a new way. They absolutely do about their past.

34:59Josh Larsen:And then that opens to two doors. One door is now we've learned that and we feel we are in a better emotional space to try another relationship. Or they realize, wow, we've processed a lot. We need to go our separate ways, deal with it, knowing down the road we'll be healthier for someone. I could see absolutely Kogodata making that second movie. So that tension for me was there. I also, you know, I thought about at the beginning of our conversation, starting by asking you basically what makes a movie romantic to you and does this have it? And then I realized we got to, we got to get to the Koganan thing first.

35:40Josh Larsen:But I'm glad we're getting to that now because I thought about this myself. And, you know, for me, I tend to find for whatever reason, romances that involve longing to be the most deeply romantic to me. Um, it's probably why you're in the mood for love is, you know, in my top 10 of all time at the current moment. But the other thing that I do like in romances, even if they end positively, um, is I like there to be some element of realism to what the couple is going through. And I think what we've been talking about brings that to this relationship, despite all the whimsy, despite all the magical realism, it is rooted in that these are two people with, you know, really troubled backgrounds when it comes to relationships with parents, complicated, let's say complicated, that have affected directly their ability to be in committed relationships with someone else.

36:35Josh Larsen:So that's a level of realism that the movie gives time to. And I loved how, despite the universe in the form of this GPS, wants them to be together, they're expressly not soulmates. And that for me was key. This is not a movie that is just leaning on a magical GPS that puts them together because that's who they were meant to be. No, this is about wounded, imperfect people who learn how they're wounded, how they're imperfect. And then they learn that they're going to need to put in the work. If something like this relationship they're starting out on is going to work. Um, that sounded like a therapy session, but to me, it's kind of romantic to, to watch two people go through that process.

37:17Adam Kempenaar:I found it the same and I can't say it any better than you did. I'll just say that every my my shorter version of that is every moment that I thought for this for a second, we were on the verge of crossing into traditional sort of romcom territory. the movie surprised me the characters surprised me the writing surprised me by getting more and more real by getting more and more wounded by having the characters show even more vulnerability and that is what made it for me too even more romantic and this is another this ties into that and also speaks to the the visual approach there is a scene remember how i said that i think the title is is almost and maybe not even almost is meant ironically because so much of the movie is about the characters doing relatively mundane things i mean fantastical magically real but but real nonetheless yeah there is there's a moment and difficult memories not beautiful memories difficult memories but there's a moment where they get a break the gps even calls it a break yeah And the break is actually the most boldly beautiful moment in the film.

38:36Adam Kempenaar:It's the one that most seems outside the realm of the everyday, right? It is something that seems like, oh, that's what I would expect from a movie that's going to show me something I don't get to see every day. And what I like about that moment is that it it has a callback to an earlier scene and an earlier conversation. And it ends with Margot Robbie's character saying to David. are you taking it all in but on that line what happens the camera cuts to behind them and in that moment then we're taking them in but we're also taking in the grandeur of the shot of them within the shot and it implicitly then asks the question are we taking it all in it becomes a break for us as the audience.

39:35Adam Kempenaar:And it it forces us. Here's an implication of the audience, Josh. That's a really nice, sweet one, you know, where we get to sort of sit there and it it provokes the audience to to not just think about it from the character's lens. Is David finally taking it in? But are we having a respite? Are we actually taking a pause in our lives in that moment to appreciate the grandeur of that beauty? And then by extension, I suppose, is do we do that enough in our own lives in those kinds of ways.

40:04Josh Larsen:Yeah, and that brings us directly back to after Yang, right? So let me add my note of hesitance as well about this film, and it has to do with scenes like that break, which I love the idea of it. I love the ambition of it. But some of the visuals as things did expand wider, when it's not contained to a specific set or, um, you know, a specific prop like the GPS. It, I don't know if it was, I haven't looked into what sort of, um, special effects may have been employed, but it did get to be a little visually mushy at times for me. Would they encounter these doors that are in the middle of nowhere?

40:48Josh Larsen:And some doors you can clearly see they're actually in this physical space and then others it's, it's just, I don't know if you ever saw the Robin Williams film What Dreams May Come when it came out not great and haven't thought about it much since except for some of these more scenes of grandeur in Big Bold Beautiful Journey which don't just don't quite get there it's somewhere between painterly and realistic and again maybe that's a I don't know I can't speculate on what it is But that's maybe some of the moments where I was a little bit let down, where they seem to be a little bit out of the film's reach.

41:31Josh Larsen:But let me then narrow back down to a detail, which is something I really appreciate, which is the costume design in this film. Arjun Basin is the costume designer. With each stop that Sarah and David make, I think this happens with each one. Their clothing changes. Not super dramatically, but enough to match the scene's thematic tone. So we mentioned these difficult memories. There's one where they make a trip to a hospital for one of Sarah's memories. That's, um, you know, hugely traumatic for her. And she's suddenly wearing this mostly gray outfit. David has just a black t-shirt on. It's very minimalist.

42:09Josh Larsen:Um, there's another wonderful scene where they go into a museum at night and are looking at the paintings with a flashlight. And I think that's the scene where they're suddenly in bare feet. so there's a hushed you know intimate corresponding bit there and how about I just love the shot of this is outside of a Burger King at one point and Sarah's wearing this red jumper and holding this yellow umbrella of course one of the movie's many nods to the umbrellas of Cherbourg but also where she's standing in the background is the Burger King like the old school Burger King signage which is exactly using those tones of what she's wearing and holding.

42:51Josh Larsen:And yeah, that's the sort of meticulousness in the compositions, but also here the costume design that I just love.

42:58Adam Kempenaar:Yeah. He's even going to take something that we might find vulgar, a Burger King sign. Yeah, I like the juxtaposition. The beauty, right? And that's Coconata and the DP, Benjamin Loeb. I'll just close or we'll go back and we'll bookend this the conversation about what makes it feel like koganata and and even those doors something else i asked him about when interviewing him for after yang was about that that symmetry or that that similarity in his movies where he has characters and this is part of part of the rediscovery and part of seeing things with fresh eyes is the way the way characters are constantly opening up doors like closet doors they're they're looking for those clues to the past.

43:43Adam Kempenaar:They're trying to see something that they haven't seen before or maybe took for granted before. This entire movie is predicated on opening those doors, these pathways, these portals to the past. And there was something else that I wonder if you thought about, Josh, because we spent time on this with After Yang, even though it's fairly subtle here in this movie. There's a key conversation late in this film that speaks to a couple different things we've talked about in this review and do you remember at one point a character one of the main characters says wait this didn't happen you didn't say that right remember how in after yang even though we're seeing a version of events that absolutely happened and should be a replay of things but from different angles it's yeah there's variations different ways there's different versions there's different versions and different perspectives that Koganata plays with.

44:41Adam Kempenaar:And that happens here just as it does in After Yang. And there is one other touch that's very much like After Yang, though I don't remember it happening in Columbus. And that is he does something similar, doesn't he, with the credits, the credit sequence. We have a great opening sequence and then the credits come in a little bit later, only after we get that prologue. So that was another similarity that I found. And And there probably are a few more as well. But yeah, watching this film, well, there's also a reference to tea at one point. So, you know, we've got a checklist here. And maybe the next time I talk or we have a chance to talk with Koganata, we'll ask him whether or not the reference to Kiki's is a reference to Miyazaki.

45:28Adam Kempenaar:I don't know. There's a business called Kiki's, and it, of course, made me think of delivery service.

45:34Josh Larsen:And I'm so glad you said say that because I the score here Joe Hisaishi who did so many of Studio Ghibli films and I think the score is also one of the stronger elements here. It's very gentle, but the quality I kept thinking of is it's nudging. It's sort of, you know, nudging in a way that is in line with this this universe desire to put them on this journey. So, yeah, that was really cool to see that Hisaishi was involved as well.

46:06Adam Kempenaar:Shout out to Stephen Barden as well, the sound designer who Koganada called out at FilmSpottingFest. A Big Bold Beautiful Journey is currently playing in wide release. If you see it and agree or disagree with our thoughts, we would definitely love to hear from you. Feedback at filmspotting.net. This episode is brought to you by Peloton. Break through the busiest time of year with the brand new Peloton Cross Training Tread Plus, powered by Peloton IQ. With real-time guidance and endless ways to move, you can personalize your workouts and train with confidence, helping you reach your goals in less time.

46:41Adam Kempenaar:Let yourself run, lift, sculpt, push, and go. Explore the new Peloton Cross Training Tread Plus at OnePeloton.com.

46:49Josh Larsen:Well, if you are listening to us or watching us, that is the number one thing you can do to support an independently produced show like ours. But there are a couple of other things you could do. You could take a minute to give us a rating or a review on Apple Podcasts. You can also do this on Spotify. It doesn't matter if you've been listening for all 20 years or you've just joined us. Go ahead and leave a review. Every one of those does help us to reach new listeners. The most substantial way to support us, though, is to join the Film Spotting family, which you can do at filmspottingfamily.com.

47:22Josh Larsen:We want to thank family member Fabio Calderon in Charlotte, North Carolina. Fabio is on Letterboxd, so you can follow him there as The Fabs. Or The Fabs. I mean, it's probably Fabs.

47:37Adam Kempenaar:Is it Fabio? Should I be producing this Fabio? I don't know, but I didn't know we had a listener by that name, and that's amazing. He writes, I don't remember precisely how I found the show, but you guys have been an important part of my movie watching since my undergraduate years of college. My first episode was probably around 2016. Your insights on film helped me grow and nurture my own artistic taste and ability to analyze and enjoy film, for which I'm forever grateful. Admittedly, it has been a few years since I've listened, but now after post-grad studies, moving to a different state, and finally getting myself established in my career, I found the time and passion to get back into my habit of film watching.

48:15Adam Kempenaar:And my first instinct was to check back in with my friends at film spotting and pay back a fraction of the value that you've given me over the years.

48:23Josh Larsen:I love that. I mean, it's happened to me. Like for some reason, I drop a podcast and then you check, you know, well, I mean, we'll have to ask listeners if there was a season where they felt that was the case. But no, as a listener of other podcasts, you know, it's like things get busy. You miss one. But yeah, hopefully the good ones you come back to. So that's great to hear.

48:45Adam Kempenaar:We're like, we're like death and taxes. We'll just always be here. Maybe. Favorite reviewer segment, your Minnelli marathon from 2018 will always hold a special place in my heart. Yeah, fun one. Because it was the first and sadly one of the only times as a listener that I willed myself to do my homework and marathon along with the film spotting crew. Albeit, I only had enough free time and willpower for the first three films, but it did introduce me to a filmmaker who I was completely unfamiliar with, but one I have now grown a great appreciation for. I'm grateful for being introduced to the bad and the beautiful in particular, thanks to this marathon.

49:18Adam Kempenaar:And I would later discover Minnelli's The Clock, which is now a favorite of mine and is always one of my go-to recommendations for people who love Linklater's before trilogy, especially before sunrise. I am shamed. I haven't seen The Clock. I have not seen The Clock.

49:32Josh Larsen:I think that might be another Judy Garland collaboration for Minnelli, but, but yeah, look at,

49:38Adam Kempenaar:look at Fabio showing us up. I think this is the best response to this question. What review did we get wrong? Let's not ruin this good thing we've got going, eh? I love it. A Letterboxd Top 4. I like to set my Letterboxd 4 as the last four films watched from my top 100 favorites. Currently, they are Logan, Silence of the Lambs, The Nice Guys, and Dr. Strangelove. Favorite movie he revisited recently is Dr. Strangelove. After my recent viewing of Failsafe to coincide with your guy's most recent episode, Sidney Lumet Marathon Episode 983, I felt like I had to follow it up with Kubrick's masterpiece.

50:13Adam Kempenaar:Random film or filmmaker Fabio loves. Going to give a shout out to Milos Forman. I feel in a lot of ways he goes underrated as a more workman director, but I always appreciated his interest in exploring disruptive characters prepared to challenge the systems they exist within. I mean, Amadeus. We got R.P. McMurphy. Sure, there's at least two. I think he was brilliant. A movie you credit with becoming a cinephile, probably not alone with The Big Lebowski. And finally, oh, man, this was a plant, a book about movies or movie making. Y 'all ever heard of Movies Are Prayers by Josh Larson? Hey, good.

50:51Adam Kempenaar:Pretty good. How about that? Thank you, Bobby. Very kind. For joining the family and for all those years of listening. And even those years when you weren't listening, in addition to keeping us doing what we're doing, your support comes with perks. You get to listen early and ad free. You get our weekly newsletter. You get exclusive opportunities, including being part of the Film Spotting Family Discord, and you get our monthly bonus shows. Over on the Film Spotting Family Discord, we have channels devoted to—we have almost 400 members just on the Discord. And there's channels devoted to conversations about the current episode of our show, new film releases, older films.

51:26Adam Kempenaar:We have TV spotting, music spotting, book spotting, sports spotting, and food spotting. I'm trying to get a little— Your dream.

51:34Josh Larsen:Yeah, I'm trying to get a little book spotting club going right now about the Muriel Sparks novel, The Prime of Miss Jean Brody, which I read. Just watch the Maggie Smith adaptation. And whoo, that's the adaptation's interesting. So, yeah, I'm hoping to talk to some film spotting family members there about about the book and then the movie if they check that out.

51:55Adam Kempenaar:By the time everyone hears this, we'll be at least one night removed from our September bonus episode. a little bit of trivia spotting quiz master, Thomas Todd and a bunch of listeners. That will be fun. Josh apparently thinks he needs to go to bed at two in the morning. Won't be playing. That's fine. That's fine. Whatever.

52:14Josh Larsen:Yeah. And this is the worst part is I see that Andrew Corsini, right? Andrew is here in the UK where I'm temporarily at. And of course he's joining. So I'd like my excuse is blown, Andrew. Thank you very much. Just because you're a maniac doesn't mean I have to be.

52:32Adam Kempenaar:He's not even on the payroll, Josh. Exactly. He pays us. So what's your excuse? October bonus, we will be drafting with a family member, some kind of movie draft. And that reminds me yet again that I need to get the email out to family members. So that's coming soon. Be prepared. Have your draft topics ready. You propose a topic. We randomly pick a listener and we'll pick one of your topics to draft. It will be fun. You can only be part of that draft if you are a FilmSpotting family member. Learn more at FilmSpottingFamily.com. This is Bob Ferguson. I was a part of the French 75. Bitch, I felt like Tony Martin!

53:15Josh Larsen:Steve Lockjaw just attacked my home. And I cannot remember, for the life of my only child, the answer to your question.

53:25Adam Kempenaar:Maybe you should have studied the rebellion text a little harder. Paul Thomas Anderson's One Battle After Another comes to theaters this weekend. Rumor has it, Josh, it even made it to the Shire in Scotland. Isn't that where you're at, the Shire?

53:38Josh Larsen:The Shire. There's a little bit of Shire flavor, but I think maybe that's more the Lake District, you know, down there south of me. Do you want to hear my journey of getting to the theater here, Adam? because it was, you know, I'm in this delightful university golf town of St. Andrews, right on the coast of the North Sea. No movie theater though, unfortunately. So it's a two bus ride to get to the town of Dundee, which is a nice town, bigger. And there they have two multiplexes on opposite sides, which is why it's a two bus trip for us. Tried the first theater last weekend for a big, bold, beautiful journey.

54:23Josh Larsen:And boy, I could have been anywhere USA. We got off the bus, walked for a little bit into this industrial park where there was a Nando's, you know, chicken place. There was another fast food place I'm forgetting, and they were building a McDonald's. Other than that, there was an ice rink next to the multiplex theater, which was, you know, average mall theater. So any, any romantic visions of me going to the movies here in Scotland, you can toss that aside. It's back in the Southwest burbs. Exactly. Exactly. I was back at the AMC Crestwood and you know what I'm talking about. Exactly. I used to see quite a few movies there myself.

55:15Josh Larsen:Gosh. So the good news is they had big, bold beautiful journey um they also have one battle after another though this weekend we're

55:25Adam Kempenaar:gonna we're gonna try the theater on the other side of town see how that looks okay well next week here on film spotting i'll be making it to my local multiplex to see one battle after another and we'll be reviewing it here on the show maybe some other new stuff in fact i i could promise that i'm going to talk about a new documentary i saw called predators and no it is not another installment in that franchise more on that next week also another video edition of massacre theater for a current show schedule oh boy you have something to add we have to make these like sam is going to start just ratcheting up the pyrotechnics of massacre theater isn't he

56:04Josh Larsen:i know i wasn't you know what i wasn't going to watch it but i i wanted to test some new headphones and I was like, you know what? Why not test him on that? I don't know that I've ever paid as close attention to you during Massacre Theater because like any good actor, Adam, I don't listen to my screen partner at all. It's all about me. Good actor. Like any good actor, right? I think you missed the lessons. Is it the other way around? It's the other way around. Okay, well, anyway. um yeah i don't know if you're always like this but you a certain level of your expression is is you're laughing throughout you're you're not you're not like you need to know that now i'm

56:50Adam Kempenaar:self-conscious you're and well and especially that scene we were under attack in that scene

56:57Josh Larsen:and your voice you know you you bring it with the voice but now that we're on video you can't be smiling as well. You have to, you're going to have to bring the facial acting also. That's next week.

57:10Adam Kempenaar:Thank you for the direction. Thank you for the direction, Elia Kazan Larson.

57:17Adam Kempenaar:For a current show schedule, visit filmspotting.net slash episodes.

57:22Josh Larsen:Quick note about our sister podcast, The Next Picture Show, looking at cinemas present via its past. They have a new pairing. They're going to be talking about the Stephen King adaptation, The Long Walk, just came out. And pairing that with Sidney Pollack's 1969 film They Shoot Horses, Don't They? That one featuring Jane Fonda. And Adam, that is a title, man, comes up all the time and somehow I still have not seen it. Are you in the same boat? I'm with you. I'm in the same boat. We're rowing.

57:55Adam Kempenaar:We're rowing over the cliff together, Josh.

57:58Josh Larsen:All right. Makes me feel better. New episodes of The Next Picture Show drop every Tuesday, you can find them wherever you get your podcasts.

58:05Adam Kempenaar:For those of you who may be listening and you're in the Iowa City area or, you know, anywhere around Iowa City and you're willing to make the trip, I'll be back at Film Scene's fourth annual Refocus Film Festival. And this is the film festival that celebrates the art of adaptation. Every film that plays is some kind of adaptation. So it might be from a book, But it could be from a poem. It could be from a musical. It could be from anything, honestly. And there have been some some pretty fascinating works that that the adaptations, you know, originated from over the years. It runs October 9th through the 12th.

58:48Adam Kempenaar:And part of the fun this year is that Michael Phillips is coming in for the fest. And so on October 8th, he's coming to my film criticism class. And then on the 9th is opening night of the fest. And then on the 10th is film spotting live. So October 10th is film spotting live and inspired by the opening night film, which is called Train Dream. So this is a new movie stars Joel Edgerton and Felicity Jones. It's set in the early 20th century American West, and it's adapted from the 2011 Dennis Johnson novella. So a lot of Dennis Johnson works have been adapted over the years, including Jesus's son.

59:28And I hadn't seen this, but I'm assuming Sam has his facts right.

59:33Adam Kempenaar:Producer Sam pulled this quote from our friend Brian Tallarico, RogerEber.com. And if this is true, Josh, it says, and I quote, one of my favorite movies ever. Wow. So Brian Taylor thinks that highly of this movie, Train Dreams. It debuted at Sundance. It comes to theaters in November. Opening night film, October 9th at the Refocus Film Festival in Iowa City at the gorgeous, it's not playing at film scene. The opening night film is always at the gorgeous Englert Theater, which is a classic theater downtown Iowa City. So inspired by that, we always try to tie the recording that we do and the top five that we do to that opening night film or whatever's happening.

1:00:19Adam Kempenaar:The big thing is at the fest. So since it's adapted from the Dennis Johnson novella, Dennis Johnson is an MFA grad of the famed Iowa Writers Workshop. So we are going to do a top five movies adapted from Iowa writers. So that can include anybody who has an MFA from the Iowa Writers Workshop, but it could also mean anybody who was born in Iowa. Okay. Counting that as well. It's going to be a fun list, and I can't wait to do that with Michael at the Refocus Film Festival. And just real quick, the fest is a killer lineup. I mean, Andrew Sherburn, who is the big dog, the executive director at Refocus, is a friend and does such a wonderful job.

1:01:04Adam Kempenaar:But Ben Delgado is the programming director, and he's a longtime friend and film spotting listener. Goes way back to the early days of the show. They've got Charlie Shackleton's Zodiac Killer Project, which is a movie I recommended when I saw the virtual Sundance version of that back in January. And when I caught.

1:01:24Josh Larsen:Oh, you caught. Yeah, I caught that at the Chicago Critics Film Festival this summer. And yeah, anyone interested, I would say in documentary form in particular. when playing with other material, I think we'll want to check out Zodiac Killer Project.

1:01:40Adam Kempenaar:And especially, of course, if you care at all about true crime or consuming anything true crime related, you really have to see Zodiac Killer Project. And Charlie Shackleton will be at Refocus. I think at least two screenings of it. Also, you're going to be able to see the new film from director Ira Sachs, who made one of my favorite films. It was in my top 10 a few years back, Love is Strange also made Passages. His new one, Peter Hoosier's Day stars Ben Whishaw and Rebecca Hall. Also, Park Chanuk's new film, No Other Choice, is playing there. There's a new documentary from Raoul Peck, who made I Am Not Your Negro, the James Baldwin documentary, but it's George Orwell, two plus two equals five.

1:02:25Adam Kempenaar:I mean, I'm telling you, there are at least eight films I'm dying to see at refocus and yes also film spotting live is happening at 4 30 on friday the 10th with me and michael so i hope you get a chance to make it out if you're listening to this well if you're listening to this that means tickets are available because they go on sale to the general public on friday this friday here the 26th of september and you can learn more at refocus film festival dot org now this is your new governess frulein maria as i sound your signals you will step forward and give your name

1:03:05Josh Larsen:you frulein will listen carefully learn their signals so that you can call them when you want them time for some poll results a couple of weeks ago we asked you to choose one and only one

1:03:18Adam Kempenaar:60s musical the occasion was the 60th anniversary re-release of the sound of music which yeah fine i'll confess it it remains unseen by me i don't know if anyone could tell based on everything i was saying two weeks ago yeah you were you were pretty cagey i thought

1:03:34Josh Larsen:that was the case and then i realized did he squeeze it in at some point no no you would

1:03:39Adam Kempenaar:have made a bigger deal of it if you yeah exactly so the options and then josh you can give the results funny girl mary poppins my fair lady the sound of music the umbrellas of sherbore west side story. Or if you don't like any of those choices, you could write in Other. How did it come out?

1:03:57Josh Larsen:Rare case of a title tying in last place with Other, and that would have been Funny Girl. Both received 3 % of the vote. My Fair Lady received 5 % of the vote. Then jumping up to another tier where there was a relatively close competition between Mary Poppins, 16 % of the vote, and The sound of music 19 but in second place jumping ahead 25 of the vote went to west side story meaning rightfully correctly the umbrellas of sherbor won this with 28 of the vote and i'm really encouraged by that i i it's just you know that many people have seen the umbrellas of sher bor whereas you think west side story you know much more common familiar maybe might have taken in it and I, you know, adore one way more than the other.

1:04:46Adam Kempenaar:So what you're really saying is in the battle of team Adam versus team Josh, team Josh was triumphant in this case. In this case, on this day, which we will celebrate forever. So here's Rob Steger, not to be confused with Rod Steger. My parents' first date was West Side Story. So I don't know if I'm going to erase myself from the timeline, Marty McFly style, but I'm choosing the umbrellas of Sherbor. If it's not going to exist, I don't want to either. Wow. Fair enough. Wow. You wouldn't go that far, Josh. No. No.

1:05:44Adam Kempenaar:But my love doesn't leave me

1:05:50Josh Larsen:We also heard from Betsy Shane. I understand that West Side Story is a little problematic and that many of these others are excellent musicals, but Jerome Robbins' choreography was so game-changing. Leonard Bernstein's challenging but familiar score is still a go-to reference for interval ear training. And the alternately cheeky and sincere lyrics by some young upstart named Stephen Sondheim. Also, I want Rita Moreno to keep her well-deserved Oscar. Wow, I don't know if we've ever opened that can of worms with the incinerator rule. If the movie goes, the filmmakers and the actors, they lose all the accolades.

1:06:27I mean, this is just chaos Sam has started.

1:06:31Adam Kempenaar:I think listeners get it that incinerator rules just apply to everything we do. I guess. and interval ear training is the name of my next band mark f i could make a case for each one and a case against each despite their many merits umbrellas of sherbur west side story and my fair lady are all flawed by their lip synced leads take that josh my vote is for funny girl because it's the most complete package glorious hollywood film craft a great rise and fall backstage bio journey and the indomitable Streisand, or Streisand? Streisand. Streisand. Carrying her Broadway breakout role to the screen.

1:07:11Josh Larsen:I mean, Mark has something that I know has been brought up many times, especially, you know, with umbrellas. I'll have to give some thought to about that. No, no, never mind. Umbrellas is the best. Don't. Don't give a thought to it. Sam Oppenheim, funny girl is so, so, so good. If you have that blind spot, please rectify. That being said, Funny Girl isn't the very best. And though I want to pick it, I will instead vacillate between West Side Story and The Sound of Music. Wait a minute. Why are we reading this? Yeah, I don't know. We can't read a comment from someone who's refusing to pick it. Yeah, you're out.

1:07:48Adam Kempenaar:Sam Oppenheim, your feedback is a incinerator. It's gone. Bailey Clark. Let's see if Bailey Clark took a stand. The answer is Mary Poppins. Okay, by leaps and bounds. The performances and music have been well lauded through the years, but there is so much more to appreciate. The tirelessly exuberant choreography, the plethora of innovative effects, the razor-sharp script, and the direction's masterful mosaic of tones. It's a magical joy to watch as a child, but if you haven't seen it as an adult, you really haven't seen it. And I'm going to admit to Bailey and all of you, I loved Mary Poppins as a kid, and I surely have not seen it as an adult.

1:08:27Josh Larsen:Yeah, I have seen it more recently than childhood and do enjoy it. Bailey's making a good case for it as being more than just that, though. Here is a comment from Kelvin Chen. On a different day, I would probably give it to Mary Poppins or The Sound of Music, but On the Street Where You Live and Wouldn't It Be Lovely are two of my favorite musical songs of all time. And I have a lot of fond memories associated with seeing My Fair Lady for the first time. If Audrey Hepburn couldn't take home the Oscar, maybe she can at least win a moderately flawed film spotting poll. And a note here, the 1965 Best Actress Oscar went to Julie Andrews for Mary Poppins.

1:09:07Josh Larsen:Hepburn wasn't nominated.

1:09:09Adam Kempenaar:Not even nominated. Here's Craig Schaefer. I understand the praise for Sherbor, but for my money, Demi's next film, The Young Girls of Rochefort, still has the songs plus the radiant Catherine Deneau, but is so much stranger and more interesting. It is Stranger.

1:09:25Josh Larsen:It's good, Craig. It's good, too. Last comment here from RMP. To counter those who dismiss overdubbing actors with singers, I gave my vote to Moghal E. Azam, the legendary Bollywood budget buster. Some of the movies in this poll could have used more dubbing. Wouldn't a Stanley Holloway overdub of Dick Van Dyke's cold-blooded murder of the cockney accent have been a massive upgrade? Wow. Wow. I don't know if I'm qualified to say yes.

1:09:57Adam Kempenaar:Let's leave this up to Bailey. Yeah, what Bailey says. Thank you for all of your feedback, except you, Sam Oppenheim. Let's move on to our new poll, a truly, deeply flawed film spotting poll because it made Josh do homework and it makes me want to unplug my microphone. And I might do it. I might accidentally shut off my camera, all my equipment, lights out, just head out the door before the show's done.

1:10:27Josh Larsen:And this is, this is because not to get ahead of ourselves, this is the Paul Thomas Anderson decades poll. I'm guessing it's forcing you to choose between there will be blood and the master. Is that, is that the central dilemma for you? No, no. Okay. No, it's really not that. And, and it's, it's all three of them, Josh.

1:10:51Adam Kempenaar:It's just, let's read the options then you, you, you do the, you do the honors. Okay.

1:10:56Josh Larsen:So the 1990s, PTA made Heart 8, Boogie Nights, Magnolia. That's one of your choices. Or you could go with the 2000s, Punch Drunk Love, and There Will Be Blood. If you want to do the 2010s, you get the Master, Inherent Vice, and Phantom Threat. You can only pick one decade. You can only pick one decade. This was a conundrum for me because it forced me to answer something that I'd been reconsidering in recent years. For quite a while, I've said that Punch Drunk Love is my favorite PTA movie. and that has been challenged by frequent revisits of Phantom Thread, which I did for Ebert Interruptus just within the last year.

1:11:49Josh Larsen:So I've seen that movie and studied that movie closely, you know, spent multiple days on that movie with an audience and thought to myself, this is his best movie. It's got to be his best movie, to my mind. I knew I already liked it more than there will be blood in the master, which are also in that upper tier. But there's no way to say that until you've revisited Punch Drunk Love. So I've been meaning to and meaning to and meaning to. And then not only does Sam propose this poll, but as I mentioned in our review of A Big, Bold, Beautiful Journey, Punch Drunk Love was one of the movies that came to mind while I was watching it.

1:12:26Josh Larsen:So I just thought it's time. We're going to do it. We're going to throw it on, revisit Punch Drunk love and it clarified this poll adam because still love it but it is now officially my number two pta film so it goes phantom thread then punch drunk love and if i get the master with phantom thread by going with the 2010s and i also really like inherent vice kind of an easy answer for me

1:12:56Adam Kempenaar:i was just trying to bring up while you were talking my this won't help but i was trying to bring i didn't get i didn't give you enough time to decide my letterboxd ranked list and you know i've got i've got magnolia and boogie nights in my top four i've got phantom thread and inherent vice and the master in my top six that's pretty compelling right i do have there will be blood at number one number one yeah like a lot of people do yeah that's messing everything up for you i ah it's it's so hard because i'll tell you i mean here here's part of my thinking even though i have there will be blood at number one i am applying the logic that quantity might matter and three films is better than two especially when you like to love all eight films right exactly yes okay so three films is better than two and punch drunk love unlike you and and many others out there who love this film and have seen it multiple times i do have it as my least favorite pta i've only seen it once i've only seen it once yeah i have it i have it in the ninth slot i have it below hard eight and i like hard eight quite a bit too i like punch rock love too i like them all so let's just be clear so if i've there will be blood one and i have punch rock love nine and there's only two i think i'm ruling out the 2000s it really is between the decades that have i think that's your answer yeah and and that's the the problem is that i so i so love boogie nights and magnolia that that despite despite Despite how much I've praised the master over the years on the show, I think I'm a 90s guy.

1:15:00Adam Kempenaar:And I'll tell you. I think I'm a 90s guy. I think I am. I think our revisit of Magnolia sealed that movie as such a masterpiece for me. And I still feel that Boogie Nights is as well. If I was, if you said, if you applied incinerator rules and you set up all these films, Adam, you could only sit down and watch. let's say three of them you could only keep three of these movies yeah two of them would be boogie nights and magnolia so okay answer i guess yeah i guess that's a helpful way to think about it

1:15:36Josh Larsen:um whereas i i'd be happy to watch yeah phantom thread for what an eighth or ninth time within the last 12 months so that's partly why i'm leading towards the 2010s okay it is another

1:15:50Adam Kempenaar:case where Team Adam is not faring very well. I am decidedly in last place currently in the poll. However, more proof that this is not a deeply flawed poll question. It is so far very close. Your vote definitely could matter. It could sway this one. All three decades have a chance. So please do vote. And we would love it if you left a comment because we just might share it on the show. But you do have to take a stand. You do have to vote. Please take a stand. Yeah. Come on. Josh does require it or he will shake his head at you. Exactly. You can vote in the poll and leave a comment at filmspotting.net.

1:16:33Adam Kempenaar:We will share the results and your feedback, if you're lucky, in a couple of weeks. Josh, that is our show.

1:16:40Josh Larsen:If you want to connect with us on social media, you can find Adam and the show on Instagram, Facebook, Letterboxd, And yeah, of course, YouTube as FilmSpotting. I'm at all those places as well as Larson on Film. We are independently produced and listener supported. You can support the show by joining the FilmSpotting family at FilmSpottingFamily.com. You can listen early and ad-free. You'll also get Sam's weekly newsletter, monthly bonus episodes, and access to the entire show archive. for show t-shirts and merch you can go to filmspotting.net slash shop in the archive you'll

1:17:18Adam Kempenaar:find conversations about columbus and after yang with koganada episode 650 and 868 and another conversation about columbus with koganada live at film spotting fest that's episode 10 30 that is a show we published recently and is definitely currently in the film spotting public feed in In limited release through October 13th, you can catch the New York Film Festival. Also in limited release is Chain Reactions. Ooh, I wasn't aware of this, Josh. A documentary about the legacy of Tobey Hooper's The Texas Chainsaw Massacre from the director of Lynch Oz and The Psycho Docs, 7852. Here again, Brian Tallarico says, Catnip for horror fans and may even give those who don't love TCM yet further appreciation of one of the most influential films ever made of any genre.

1:18:11Adam Kempenaar:So I'm curious. And we did a Texas Chainsaw Massacre Sacred Cow review back on 988. That was a really fun.

1:18:19Josh Larsen:Yeah. Yeah. As much as you can enjoy talking about a movie like Texas Chainsaw because of its content, that was, yeah, a very stimulating conversation for sure.

1:18:32Adam Kempenaar:Strange Journey, the story of Rocky Horror. Yes, it's a documentary about the origins of the Rocky Horror Picture Show. I would have to actually have seen the Rocky Horror Picture Show. Man, lots of blind spots coming out on this episode. Why? Why am I just taking shots at my own credibility on this show? I thought otherwise we were doing so good. Dead of Winter. Emma Thompson interrupts the kidnapping of a teenage girl in snowbound northern Minnesota. I'd like to see what a kidnap being interrupted looks like, Josh. Also, we have dreams in parentheses, sex love. Okay. This is a new one from a Norwegian filmmaker about a 17 year old girl who experiences a sexual awakening when she falls head over heels in love with her female teacher.

1:19:17Adam Kempenaar:It's at the Cisco Film Center in Chicago, won best film at the 2025 Berlin Film Festival. Also, you can catch Eleanor the Great directed by Scarlett Johansson, about a 90 year old woman played by June Squibb who returns to New York City after years living. in Florida in an effort to rebuild her life after the death of her best friend. A few wide releases here. Gabby's Dollhouse, the movie. This is a live action adaptation of the popular kids series on Netflix with Kristen Wiig and Gloria Estefan. The Strangers, Chapter 2, a sequel to 2024's The Strangers. And, you know, Brian Tallarico again, Sam's pulling from, this will counter nicely what he said about Train Dreams.

1:19:59Adam Kempenaar:Atrocious, barely a movie.

1:20:03Josh Larsen:wow brian's just experienced the gamut of cinema yes he has in this last few months i think

1:20:08Adam Kempenaar:and of course out wide the big release the one we will be discussing on next week's show cannot wait and yes this will just add another wrinkle into an eventual revisit of the film spotting poll another decade from pta that we'll have to throw into the mix Exactly The 2020s We will talk about One battle After another

1:20:32Josh Larsen:Film Spotting Is produced by Golden Joe DeSoe And Sam Van Halgren Without Sam And Golden Joe This show wouldn't go Our production assistant Is Sophie Kempinar Special thanks to everyone At WBEZ Chicago More information Is available At WBEZ.org For Film Spotting I'm Josh Larson

1:20:52Adam Kempenaar:And I'm Adam Kempinar Thanks for listening This conversation Can serve no purpose anymore Goodbye.

1:21:27Adam Kempenaar:FilmSpotting Archive, going back to 2005. That's at FilmSpottingFamily.com. Panoply.

1:21:37Josh Larsen:Summer is here. At Orderly Meds, we know this time is a reminder that life is full of new beginnings. Whether you're celebrating the nice weather, starting a new chapter, planning a vacation, or simply looking ahead to what's next, this season can be the perfect time to invest in yourself and your health. If you've struggled with weight loss and are curious about GLP-1 medications, Orderly Meds can help you learn about your options. Through a simple virtual process, you can connect with licensed medical professionals who can determine whether treatment may be appropriate for you. Getting started is fast, convenient, and happens online from the comfort of home.

1:22:13Josh Larsen:This summer, consider a new approach to feeling your best. Visit orderlymeds.com slash podcast to learn more. That's orderlymeds.com slash podcast. Orderlymeds.com slash podcast. because every new season is an opportunity to take the next step forward. Compounded medications are not FDA approved. Eligibility required and determined by a licensed provider. Individual results may vary. See website for details.

1:22:38Adam Kempenaar:If your best finance people are doing expense reports, chasing receipts, or spending time on month-end close, it's time to get Brex AF, a Gentic finance that eliminates that work before it starts. Learn more at brex.com slash AF. Some so-called SUVs feel more like toys. You need a real vehicle that'll handle real life. A real SUV, like the all-new 2027 Kia Seltos. With its best-in-class interior room, it'll make the others feel like toys. Check out the new 2027 Kia Seltos X-Line. It's real-world ready. Kia, movement that inspires. Limited inventory available. Comparison based on publicly available data regarding cargo room and 2026 entry all-wheel drive SUVs as of May 2026.

1:23:21Adam Kempenaar:Entry all-wheel drive SUV class as defined by Kia segmentation.

1:23:23Josh Larsen:Here's Something Good on Women's Health and Longevity is brought to you by Sanica and our partner, LifeMD. LifeMD believes every woman should have access to affordable prescription medication and personalized care that understands the whole woman. Through virtual care and insurance-supported options, LifeMD is making expert women's health care more accessible and affordable.