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We rate Sam Raimi’s “Send Help” four stars and dig into how an island strips the gloss off corporate ambition, turning tropes into a sharp critique of power, merit, and survival. McAdams owns the screen, the camera bites, and the final stare puts the audience on trial.

• acting that turns humiliation into resolve
• Raimi signatures in kinetic, queasy camera work
• familiar desert‑island tropes used as satire
• the rock reveal reframing agency and ethics
• competence versus entitlement as core conflict
• the last shot reading as judgment, not wink
• theater crowd energy enhancing tension
• why “women are crazy” is the wrong lens
• our insert‑ourselves what‑ifs for dark humor
• final verdict: a tight, rewatchable four stars

Go see this movie if it's still in theaters near you

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Three hosts get high, sip whiskey, and sort out why a stylish, 60s-set Fantastic Four feels both gorgeous and strangely soft. We rate the acting, roast the CGI baby, praise Galactus and Silver Surfer, and debate whether retrofuturism is a comforting lie or a clever setup for future conflict.

• 60s-set retrofuturism as aesthetic and thesis
• Galactus and Silver Surfer visuals landing with weight
• Performances: Kirby shines, Pascal contained, Reed underused
• Score motif memorable but overplayed
• Desire for inventive “team powers” problem-solving
• Comparison with Superman’s hopeful grit vs naïve optimism
• All art as propaganda; family and compliance messaging
• Hopes for X‑Men to introduce social friction and stakes
• Final ratings and rewatchability judgments
• Teasers for Dolby screenings, Tron and Avatar trailers

“Go see this movie. See it in Dolby. It fucking rocked me in Dolby.”

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We rate Rian Johnson’s Wake Up Dead Man, argue what makes a fair-play whodunit, and wrestle with how religion and charisma shape control, community, and consequence. Between jokes and toasts, we land on 3.5 out of 5 and ask for bolder risks next time.

• scoring the film by cinematography, acting, score, story, rewatchability
• standout shots that map power and space in the church
• ensemble performances and tonal hamminess on purpose
• pacing drag and the line between twisty and fair-play solvable
• faith, cult dynamics, and the soft-pedaled cost of belief
• media risk, IP fatigue, and why new voices matter
• playful “insert ourselves into the plot” alternate scenes

“Always wear your seatbelts”

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We mark our 100th episode by reviewing Wicked 2 with clear eyes and full glasses, weighing standout CGI against flat lighting, soft songs, and a story that stalls whenever the music starts. The Oz lore tie-ins land, but the pacing and depth rarely do.

• definitive category ratings across acting, cinematography, score, story and rewatchability
• why blanket lighting flattens emotion and kills depth
• how song placement undercuts momentum and character beats
• propaganda, perspective and who gets to define “good”
• CGI creature work that actually impresses
• stage vs screen: why act two sag hits harder on film
• audience energy, theater vibes and expectations vs delivery
• our final verdict at 2.5 out of 5

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We score Predator Badlands, argue whether a simple hero’s journey helps or hurts, and celebrate a creature-forward approach that finally trusts the predator. We toast new “listeners,” confess our vices, and then drop into lore, tropes, and ridiculous self-inserts that break the universe in fun ways.

• fan acceptance over fan service
• acting under prosthetics landing real emotion
• CGI and practical effects blending cleanly
• soundtrack as functional atmosphere
• shonen-style growth arc and clan worldbuilding
• plot simplicity vs desire for narrative ambition
• predator culture, toxic norms, matriarchal hints
• rewatchability drivers and franchise future
• wild crossovers and inserting ourselves into the hunt

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We rate Good Fortune a 3.5 while praising Keanu Reeves and questioning the film’s soft landing on class. Humor and heart land, but the “rich learns a lesson” wrap leaves us hungry for real stakes, worker power, and change that lasts.

• Keanu’s performance as a near-human mirror
• Why mid-tier cinematography still works
• Soundtrack energy without memorability
• The ending’s rich-savior problem
• Class, shareholders and who the system serves
• Gig work, recession fallout and flooded labor markets
• What meaningful change might look like
• How we’d rewrite the boardroom for workers

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We rate Darren Aronofsky’s Caught Stealing a clean three, then pull apart why it moves fast but leaves a faint aftertaste. The cast delivers competence, the camera delivers polish, and the story leans on old tropes that drain the emotion it tries to spark.

• rating the film across acting, cinematography, soundtrack, story, rewatchability
• Austin Butler’s strengths in stylized roles versus interior drama
• Matt Smith’s scene-stealing energy and Regina King’s dialed-up cop
• trailer shots versus cinematic surprises in set pieces
• Guy Ritchie echoes in pacing and needle drops
• the fridging trope and why it blunts character stakes
• nihilistic ending and symbolic accountability
• how chaos films earn meaning when choices drive consequences
• our fixes: go full absurdist, or deepen moral cost
• a final consensus at three out of five

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We rate Good Boy, salvage a lost recording, and settle into a dog’s-eye horror that hits harder than slashers. Between bourbon, Pineapple Express, and hallway dread, we trace empathy, ownership, and why silence can be the scariest instrument on the board.

• rating the categories: acting, cinematography, score, story, rewatchability
• dog-as-protagonist and sensory POV through scent and silence
• empathy for innocence vs desensitization to human death
• the fox image, ghost retriever, and metaphor of illness
• long hallways, patience, and when silence works
• responsibility of pet ownership and listening to warning cues
• alternate cuts: guard dog vs retriever, how the plot changes
• shoutouts to listeners, Blade debate, and Air Bud jokes

“Thanks to our newest listeners in Springfield—Cadarius, this one’s for you. Cheers to Air Bud and to every nepo baby burning in hell—respectfully.”

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