Film Trace

In our sixth episode of The Rise of A24 series, we plunge into the cold dark heart of humanity with It Comes at Night (2017) and The Crazies (1973) Special Guests: Bridget D. Brave, horror writer and horror film aficionado I will admit. These are a couple of tough films. It Comes at Night is bleak. The Crazies is messy. They both share a common Hobbesian DNA. That is, human beings can be pretty awful to each other. A24's marketing misfire struck down It Comes at Night at the box office, and the film has not recovered from that diminished status despite being extraordinary work of cynicism by Trey Edward Shults. The film reminds me very much of the height of 1970s American horror, a collective realization that maybe we are the baddies. George Romero's The Crazies has a totally different tone, but I think a very similar message. Romero shot this on 16mm and edited it like a 16 year-old YouTuber. It is a complete mess. But within that mess is a lot of pointed and poignant political satire that is easy to miss. The Crazies came out when the USA was still murdering women and children in Vietnam, because some WASPs felt anxious in DC. It was the height of American Immorality, and Romero saw that very clearly. The Crazies is his valiant but ultimately failed attempt to speak truth to power. While both films are brutal in their own way, our wonderful conversation with Bridget D. Brave is quite the opposite. Three horror film nerds try to make sense of these unflinching attempts to capture the darkness, perhaps, at the core of humanity.

In our fifth episode of The Rise of A24 series, we go to church with Paul Schrader’s First Reformed (2018) and Carl Theodor Dreyer’s Ordet (1955). Special Guests: Jen and Sarah of the great podcasts - Movies & Us and TV & Us Paul Schrader has spent a lifetime wrestling with the question of transcendence. From Taxi Driver to Master Gardener, his protagonists are often solitary men seeking clarity and redemption in an indifferent world. In First Reformed, Schrader distilled decades of his own Calvinist guilt and expansive cinematic theory into a stark, haunting meditation on faith. The film follows Ethan Hawke's Reverend Toller as he spirals into despondency. He is unable to cope with the violence, sin, apathy, and immorality that swirls around his life. With A24's strong backing, Schrader achieved critical redemption with First Reformed. The film earned widespread acclaim and Schrader received long-overdue recognition as one of America's last great morality filmmakers. Schrader was deeply inspired by the 1955 Danish film Ordet. This austere masterpiece delves into the inner workings of a farming family grappling with the outer edges of religious despair and madness. It is slow, serious, and pure cinema. The molasses pace proves worthwhile as the film explodes into religious ecstasy in its final act. While long considered one of the most important films in world cinema, its stature has diminished in recent years as we have loosened our grip of organized religion. Still, this work of art proclaimed a spiritual boldness that has rarely been matched in the genre.

In our fourth episode of The Rise of A24 series, we are covering the newly minted cult classic Under the Silver Lake (2019) and the art cinema bonanza of L'Avventura (1960) Special Guest - James Adamson, the host of the great Double Reel Podcast, a monthly magazine podcast for the discerning film nerd. A24 had a cult following well before it broke into the mainstream in the 2020s. Their surprise win at the 2017 Oscars for Best Picture with Moonlight put them in the spotlight, but they remained resolutely an arthouse company pre-Covid. That’s why their behavior surrounding the marketing and distribution of Under the Silver Lake (2019) is so profoundly bizarre. David Robert Mitchell was coming off his 2015 horror masterpiece It Follows with this twisting absurdist L.A. noir starring Andrew Garfield. The whole affair seemed right in A24’s sweet spot. So much so that A24 pre-bought the distribution rights before a single shot was filmed. Then, after the movie played to a muted response at Cannes in 2018, they essentially abandoned it: moving the release date multiple times before finally dumping it onto just two screens in April 2019. What exactly was so unnerving that made A24 bury the film? L’Avventura (1960) had a similarly consequential Cannes premiere in 1960. At its first screening, the audience jeered and booed so loudly that director Michelangelo Antonioni left the theater in tears. Yet later that same week, a group of prominent film critic, led by figures from Cahiers du Cinéma, drafted and signed an open letter defending the film as a bold step forward for cinema. That act of critical solidarity transformed L’Avventura from a public embarrassment into a landmark of cinematic modernism. What began in jeers was quickly reframed as a radical new vision of film art, and its stature has only grown since. Today it stands as one of the undisputed masterpieces of 20th-century cinema, a fixture on “greatest films” lists and a touchstone for generations of directors. Under the Silver Lake, by contrast, never received that critical reprieve, its initial dismissal has lingered, but that has allowed a small, but vocal supporting group to form around the film as it becomes one of the first cult classics of the 2010s.

In our third episode of The Rise of A24 series, we are covering Kogonada's quiet meditation on familial AI, After Yang (2022) alongside the wondrous Late Spring (1949) by Yasujiro Ozu. Special Guest - Lillian Crawford is a freelance writer covering film and culture for publications including Sight & Sound, BBC Culture, The Guardian, Times Literary Supplement. In addition to her writing, Lillian is a prolific programmer and curator, including for the BFI, the Barbican, the Garden Cinema, and the Edinburgh International Film Festival. Dan is unable to hide his adoration Kogonada's debut film Columbus (2017). It currently ranks 7th on his best films of the 21st Century (so far) List. His follow-up, After Yang, is a more murkier affair. Set in a future where robots have become immediate family members, Kogonada attempts to humanize and ground sci-fi in a hazy emotional uncanny valley. Are we supposed to feel for the AI as we would a human or are we just mirroring our own subjective experiences onto an avatar? Rather than providing answers, the film drifts between aching grief, transcendent love, and non-dystopic visions of the future. Yasujiro Ozu is clearly a massive influence on Kogonada, and it is easy to see why with his film Late Spring (1949), a gorgeous melodrama about a daughter growing apart from her father. The film probably shares more with Kogonada's Columbus in its interplay between emotion and the natural world. Ozu is able to conjure the most hidden and profound emotions from his actors and the story. At the same time, he crafts a meticulous narrative that continues to propel forward even as the external drama remains subtle. A true masterpiece of filmmaking.

“If Blumhouse is in a slump, I’d like to tell that story. I don’t want other people to tell that story.”Jason Blum, The Town, July 2025 In a baffling moment of industry transparency, Jason Blum called into The Town podcast on the morning after M3GAN 2.0’s disastrous opening weekend in late June to discuss what went wrong. Jason is the founder and leader of the highly successful Blumhouse Productions, a movie studio that quickly rose to success in the 2010s by producing low-budget horror films. Jason is notorious for being open about the normally clandestine aspects of the moviemaking business, but The Town episode was extraordinarily illuminating and revealing. At the same time, Jason Blum was there to spin like any typical Hollywood mogul. M3GAN 2.0 opened to only 10 million dollars on its premiere weekend in late June 2025, which was under a third of what the original film opened to in 2023. The sequel will end up with a total of 39 million dollars at the box office versus the 181 million dollars of the original. Adding insult to injury, the production budget on the sequel was 25 million vs the original’s 15 million, and the marketing budget for part two was certainly much higher as well. In short, M3GAN 2.0 is a huge bomb. Full Article: https://film-trace.beehiiv.com/p/the-end-of-the-blum-supremacy Listen for more...

In our second episode of The Rise of A24 series, we are covering the gonzo horror of the Philippou brothers in Talk to Me (2023) and the roots of elevated horror in Andrzej Żuławski's Possession (1981) Special Guest - Returning to the podcast, Writer and Horror Film Aficionado, Andrea Gomez A24 has built a reputation for edgy horror films. They helped to popularize the concept of elevated horror in the 2010s: The Witch, It Comes at Night, Hereditary. They have continued to nurture new voices in horror in 2020s with their patronage of the Philippou brothers. Talk to Me was produced without any A24 input or support. They stepped in when the film was screened to much shock and applause at Sundance in 2023. Before A24 became big producers, this is exactly how they built the brand and company. Find really interesting and exciting new films and take over the distribution. Talk to Me was a glam slam for A24, who acquired it for only single digit millions as it when on to make 92 million dollars at the box office. Possession was not a huge success upon its released in 1981. The outlandishly wonderful horror film popped off at Cannes winning the Special Jury Prize along with Isabelle Adjani winning Best Actress. But outside the artistic bubble of Europe, the film was met with extreme skepticism and outright hatred. The USA release was shambolic with the original 124 minute run time being cut down to measly 81 minutes. The UK outright banned the film in the 1980s. But time has a way of mellowing reactions and opening minds. Possession slowly became a cult film thanks to boutique home video releases. With the rise of elevated horror in the 2010s, Possession reached its vaulted status as a horror classic.

We are back with a new season of Film Trace. In this season, we will survey the short but illustrious history of film studio upstart A24. We will analyze how they have made such a massive impact on filmmaking in such a small amount of time. In this premiere episode, we are covering two new releases from A24: Sorry, Baby and Eddington. These two films act as bookends to the house style of A24. On one side - soft, highbrow, and cerebral. On the other - daring, outlandish, and transgressive. We pair the flighty rom com of The Holiday (2006) with Sorry, Baby and the conspiracy gumbo of JFK (1991) with Eddington. In dissecting these four films, the defining traits of A24’s style come sharply into focus. Major studios wouldn't touch either Sorry, Baby or Eddington. Eva Victor's Sorry, Baby is too quiet and too honest about sexual violence and its aftereffects. It also tells its story in a very non-linear fashion. Only an art-house imprint of a major studio would even consider releasing it. Eddington is resolutely an A24 film. Ari Aster is a devout auteur who chooses to tackle the origins of the Covid world where we all still very much reside. The film is diffuse, difficult, and without a clear protagonist or antagonist. It is an anti-studio film, perfect for A24.

In the season finale of our Visionary Remakes season, we investigate two versions of The Maltese Falcon, the original from 1931 and the more famous 1941 version. The Maltese Falcon has almost become shorthand for both Humphrey Bogart and the beginning of film noir. That famous film was preceded by a film adaptation a decade earlier, which itself was preceded by the hard boiled crime novel a year prior. The 1941 film has totally eclipsed both the original adaptation and the book in popular consciousness. Perhaps rightly so. John Huston's directorial debut is a masterwork in writing, editing, and acting. It has also been touted as one of the more rewatchable films from the era due to its production design, clockwork plot, and Bogart's enigmatic vibes. The Maltese Falcon is a great example of why some films should be remade. The remake improves pretty much every aspect of the original film. But our discussion takes a turn when Dan questions whether Falcon is truly a noir film. We dive deep into this topic and how labels and genres can often obfuscate the significance and heritage of a film. If The Maltese Falcon is not the first big noir film, then what gives it such a high value among film lovers and filmmakers? The answer of course lies within the film itself, not a genre label.

In episode seven of our Visionary Remakes season, we traverse two classic westerns. First, Kurosawa's Yojimbo (1961) and its nearly immediate Italian reaction, Sergio Leone's A Fistful of Dollars (1964). The western has always been seen as a distinctly American film genre. The "west" in the word is the American West, a grand nearly ungovernable stretch of land filled with plains, deserts, mountains, rivers, and precarious cliffs, both literal and moral. It is a rich canvas that can tell a thousand different stories. Ironically, here we have two non-American voices calling out to the vast wilderness of the West. Perhaps it is a wild and mysterious place that exists in all cultures. Kurosawa's Yojimbo is not necessarily a textbook Western, but of course, it is deeply indebted to Shane (1953), High Noon (1952), The Gunfighter (1950), and John Ford's Stagecoach (1939) and My Darling Clementine (1946). At the same time, the source material was a hardboiled detective American novel from the 1930s, and we can not discount its place in the lineage of the chanbara films. Yojimbo is an amalgamation and many different styles and genres, but it still feels like a Western at its core. A Fistful of Dollars is resolutely a Western, but it came from somewhere left of the dial. Sergio Leone did not speak English nor had he ever been to America, let alone the American West. But Leone was able to spark something new and powerful in the waning genre. Westerns had been around since the beginning of film, but by the 1950s and 1960s, the genre had oversaturated culture mostly through dime-store tv shows: Gunsmoke, The Lone Ranger, Bonanza, and Rawhide. Westerns had become trite and tired. Along came Clint Eastwood, Sergio Leone, and Ennio Morricone to reinvent and rekindle that flickering flame.

In episode six of our Visionary Remakes season, we explore two versions of the King Kong myth, the original from 1933 and the 1970s remake. We toss in a dash of Peter Jackson's 2005 version as well. Special Guest: Riley - Good friend of the show and true film buff King Kong is a cultural institution. How that happened is still a mystery to us children of the 1980s. We grew up with the original. The 1976 version had been memory holed by the time we were children. The 1933 version is iconic for many reasons honorable or not. The special effects were groundbreaking for the time and its blending of genres was unique. But problematic doesn't even begin to describe King Kong (1933). It is hard to watch it without feeling a strong sense of distaste and unease, even viewing it as a film artefact. The remake of King Kong from 1976 was a bold attempt to one-up Jaws which came out the year before. The summer blockbuster was born, but a big budget and spectacular marketing campaign do not make a hit. The making of King Kong 1976 would probably make for a better movie than what we got on screen. Mired in legal trench warfare, this remake tried to update the King Kong story to incorporate the cynicism of post-Nixon years. It fails mostly, but it does not disappoint. It is an interesting and bizarre watch that is getting reappraised by Zoomers, for better or worse. Lastly, the 2005 version probably needs its own episode. Peter Jackson's King Kong was highly praised upon its release, and it still is held in high regard. But Dan has more than a few bones to pick with its prestige.

In episode five of our Visionary Remakes season, we dissect the original The Fly from 1958 as well as David Cronenberg's bombastic remake from 1986. Special Guest: Daniel Malone - Host of the great You Talkin' to Me? podcast where Daniel watches classic films with his son for the first time. Check it out! The impetus of this season was to explore how remakes can add, take away, or supercede the original. Of course, all remakes add to the discourse of the original, and it is not some arbitrary competition. But the intention to remake is in some sense always competitive. A producer, writer, and/or director wants to retell a story in a different way, presuming the original will no longer do. Often this desire is imprudent but The Fly is a great example of how that impulse can lead to something much deeper and richer than the original execution. The Fly (1958) is certainly not a bad film. It was an elevated B-movie for its time, shot in beautiful CinemaScope. Vincent Price dutifully shows up, and a couple scenes became iconic (both fly head reveals). When compared to David Cronenberg's masterpiece from 1986, the original suddenly feels quite quaint and slight, a time capsule curiosity rather than groundbreaking film. Cronenberg's The Fly is perhaps the paradigm of taking an interesting idea and expanding it into something much more and much better. The remake also demonstrates that an idea or concept is just the foundation of a film. The true totality of a movie is the collective creative action of hundreds of people. When it all gels, we get something special and magical.

In episode four of our Visionary Remakes season, we cross-examine two versions of Cape Fear, the original starring a creepy and enigmatic Robert Mitchum, and the 1991 remake from Martin Scorsese starring a crazed and manic Robert De Niro. Special Guest: Amanda Jane Stern - writer, producer and star of the award-winning psychosexual thriller Perfectly Good Moment. Streaming now on Tubi! Co-host of the podcast Don't Be Crazy. Both versions of Cape Fear are anchored by dazzling performances of the antagonist, Max Cady. Robert Mitchum reduces the overtly violent nature of Cady in order to play up his cleverness, obsessiveness , and wiliness. De Niro goes over the top in his version of Cady, playing him as zany, an almost comical but brutal cartoon villain. This difference underlines the drastically opposed tones, vibes, and outcomes of each version of Cape Fear. The 1962 original focused on the limits of justice. It clearly asks and attempts to answer where the line between enforced law and moral justice lives, albeit wrapped in a juicy and sensational B-movie plot. Scorsese's 1991 remake does not ask those questions, but it does drench us in pulpy genre stimuli: graphic violence, improprietous sexuality, and domestic disputes. The debate we have in this episode is whether either film is successful in its intended mission. Is the original too flat for a genre flick and perhaps too lofty to escape pretension? Do Marty and De Niro swing away and strike out, can a trashy thriller be too much even if it attempts to do nothing more than shock?

In episode three of our Visionary Remakes season, we bite into Dawn of the Dead, the original by George Romero from 1978 and the kinetic remake by Zack Snyder from 2004. Special Guest: Karl Delossantos, founder and film critic at Smash Cut, editor at The New York Times, a Rotten Tomatoes-approved critic, and member of the Online Film Critics Society. George Romero's Dawn of the Dead (1978) was my favorite film through my 20s and 30s (Dan here). The horror film's intoxicating mixture of gonzo production, revolting gore, pitch black satire, and anti-consumerist musings were a perfect match for my young adult mind. My adoration hasn't faded at all since I first saw it in high school, some 25 years ago. Dawn of the Dead is often considered Romero's masterpiece and perhaps the greatest zombie film ever made. The remake of Dawn of the Dead landed like an atom bomb in 2004. Running zombies! Zach Snyder's first, and inarguably his best, film helped launch a zombie cultural moment that peaked 10 years later when 22 million people watched the season five opener of The Walking Dead, a tv show heavily indebted to George Romero's dead universe. Zombies had become mass appeal. "What would you do in an zombie apocalypse" became a lamestream icebreaker question. While Snyder's Dawn was a catalyst for this popularity, it was really the ideas in Romero's Dead films that attracted people to this once very niche subgenre of horror.

In episode two of our Visionary Remakes season, we survey the recent Coen brothers remake of True Grit (2010) and compare it to the original film, a John Wayne vehicle from 1969. Special Guest: Brian Eggert is the owner and film critic of Deep Focus Review, where he has written movie reviews, in-depth essays, and critical analyses since 2007. Brian also regularly appears on KARE 11, the NBC affiliate for the Twin Cities, to review and discuss movies. He belongs to the Society For Cinema and Media Studies, Minnesota Film Critics Alliance, Online Film & Television Association, International Film Society Critics, Independent Film Critics of America, The Critics Circle, and National Coalition of Independent Scholars. Westerns have gone through many cycles since the beginning of filmmaking. Right now, we are seeing an uptick in interest as the tv show Yellowstone dominates the traditional tv market. But back in 2010, Westerns were definitely far off in the background as comic book movies had begun to take over the box office. In 2010, the Coen brothers were coming off a very successful adaption of No Country for Old Men (2007) as well as two more left of center films, the sprightly spy romp Burn After Reading from 2008 and the niche existentialist A Serious Man from 2009. It is unclear why they decided to remake True Grit and focus on the novel from 1968 instead of the John Wayne movie which came a year later in 1969, but the choice was very successful. True Grit (2010) became the 2nd biggest Western in the modern box office. The 2010 True Grit showcases the refined talents of the Coens alongside the gorgeous cinematography of Roger Deakins, the layered and rich music from Carter Burwell, and a smashing breakout debut performance from Hailee Steinfeld as the lead Mattie Ross. The 1969 version of True Grit offers so much less. Despite John Wayne winning an Oscar for his portrayal of Rooster Cogburn, the original film seems totally out of step and out of time. In hindsight, it was an end-of-the-line production for the core creatives involved. The director, writer, and star actor were all at the end of their careers. Indeed this very type of Western was on its last leg as evidenced by the giant leap the genre made at the same time this film was being produced and released. Watch any of the bigger westerns from the late 1960s and then try to sit through True Grit (1969). The dislocation and disorientation is severe. The original True Grit was a swan song that came about a decade too late.

A new season of Film Trace is here! This season we will try something a bit different. We are focusing on Visionary Remakes. In each episode, we will watch a remake made in the selected decade and then go back and compare it to the original film. First up, we are covering Nosferatu. This season was inspired by Robert Eggers' remake which came out late last year. The film was a surprise hit at the box office and is currently doing very well on digital release. We will compare the modern Nosferatu with the famous original, Nosferatu: A Symphony of Horror from 1922. We will also toss in a little of Werner Herzog's remake from 1979. Nosferatu is perhaps the most famous horror character in the history of film. The character was a blatant and conspicuous copy of Dracula, so much so that the original film was ordered destroyed due to copyright violations. We only have it now, because it had been exported from Germany. Eggers brings forward the titular character into the world of Imax Laser and Dolby Atmos. He adds layer upon layer of intricate production and sound design, but the overall feeling is a bit mushy and lukewarm. Eggers decided to shift the main focus from the male protagonist to a female supporting character in the original story. A bizarrely postmodern move from a resolutely modernist director. Nosferatu is perhaps the perfect film to kick off the new season. Why remake a film? What you are bringing to it, what are we losing?

A House Divided: 2024 Films We Love, Films We Hate In this special episode, Dan and Chris delve into the films that split them down the middle—where one of us loved a movie, and the other couldn't stand it. It's our version of cinematic crossfire, complete with slightly heated debates and a dash of common ground by the end. Episode Highlights: --Intro: House Divided Origins-- Trap & Longlegs --The Divide-- I Saw the TV GlowA Quiet Place: Day OneHit ManMaxxxineLove Lies BleedingThe SubstanceCivil WarRebel Ridge --Dan vs. Chris: To Watch Lists-- For Chris:Strange DarlingBeetlejuice BeetlejuiceSpeak No EvilFor Dan:ConclaveFuriosaPavementsA Real PainThe Wild RobotKinds of KindnessWill & HarperDear SantaAnoraHereticCuckooMy Old AssTransformers OneWoman of the HourNutcrackersMoana 2 --Conclusion: Where We Agree-- TwistersDeadpool & WolverineAlien: RomulusAbigailBlink TwiceChallengersThe Fall Guy

In the season finale of our Manhunt series, we trace the trajectory of Fritz Lang's exceptional beginnings with M (1931) to his wilting end in While the City Sleeps (1956). Fritz Lang had already created two masterpieces, Metropolis (1927) and M (1931), by the time he reached middle age. He went on to direct twenty-three more films throughout his long career. While some of these subsequent films were great, it would be difficult to argue that any of them reached the heights of his early work. There is a clear reason for this. Lang, a vehement anti-Nazi, was forced into exile when the NSDAP took over Germany in the 1930s. Lang found work in the Hollywood system, which he persistently despised. This acrimonious relationship eventually soured beyond repair, and While the City Sleeps is a cynical swan song to the business side of filmmaking that Lang loathed. M and While the City Sleeps serve as excellent bookends to Lang's career, as well as to our season of Manhunt. While M delves deeply into the underbelly of Berlin and the moral abyss of the protagonist, While the City Sleeps gingerly skips along a similarly dark story with overly light interiors and day drunk actors. Lang transformed from an experimental and deeply probing artist into one who seemed more interested in cashing-in checks endorsed by the era's big movie stars. M represents a high point in the true crime, thriller, and manhunt genres. While the City Sleeps, on the other hand, exemplifies the erosion of originality we often see in this popular genre. The farther the story gets from the minds of the hunter and hunted, the less thrilling it all becomes.

In episode seven of our Manhunt series, we traverse a gritty and rebellious San Francisco in Bullitt (1968) alongside an oddly sleek and barren Paris in Le Samouraï (1967). Bullitt is famous for two reasons: Steve McQueen and the car chase. Like most famous films, its celluloid holds many more layers than its reputation claims. Bullitt was a leap forward for crime thrillers. Its naturalism, meticulousness, and postmodern plot made it a harbinger for the decades to come. There is no Chinatown without Bullit nor Heat. That alone makes it a remarkable and important film. The car chase is maybe the best ever put on screen, so that doesn’t hurt it. On the other side of the Atlantic, Jean-Pierre Melville’s Le Samouraï takes us into the calculated, Zen-like existence of a contract killer, played with masterful restraint by Alain Delon. Unlike the exposed id of Bullitt, Le Samouraï draws its power from a detached coolness, which deepens as the films reaches its crescendo. The film's manhunt is quietly relentless. The glitz and glamor of Paris and a life of crime are ruthlessly stripped away scene after scene until the isolated hero makes a final existential leap.

In episode six of our Manhunt series, we face the masterpiece that is Apocalypse Now (1978) alongside the much lesser Logan's Run (1976) Special Guest: the great Mike Field, Co-host of the Forgotten Cinema podcast Any film critic or scholar who dares traverse the muddy waters up river within Apocalypse Now feels doomed to be bereft of insight about such a well-established pure cinema magnum opus. But alas, here we are swimming upstream in one of the many backwater tributaries that make up the cultural cache of the definitive 1970s New Hollywood film. Yes, Apocalypse Now is a manhunt movie at its core, but that plot is a thin veneer overlaying a philosophic treatise on violence and madness. Any attempt at trying to decipher it often renders us stupefied. Coppola would probably find the same is true for him. It is the best type of film, an untouchable mystery. Logan's Run (1976) has been held in somewhat high regard for decades, but it looks quite poor in direct comparison to Apocalypse. Perhaps it is unfair to pair it against one of the best films ever made, but I think this juxtaposition only highlights the flaws that were already there. What was probably a very interesting and unique film for its time, Logan's Run now feels sluggish, stilted, and all together boring. There are some interesting ideas in the script, but those are stuffed into the first 30 minutes. By the time the chase really begins, no emotional foundation has been built for Logan, and we are left filling out a plot box score as the film diddles along to a flaccid conclusion.

In episode five of our Manhunt series, we discuss two films very rooted in the 1980s Aesthetic. First up is Michael Mann's neon blue serial killer thriller, Manhunter from 1986 followed by the bombastic and preposterous Schwarzenegger action movie, The Running Man from 1987. Special Guest: Friend of the show and co-host of the Screen Time: A Quarantine Family Podcast. Brigitte Manhunter failed to make its money back at the box office when it was released in mid August 1986 on a dumping ground weekend. In the forty years since its release, the film has gained a rather prestigious reputation. The film of course established Hannibal Lecter as a film character. It was also one of the first serial killer movies where the subject matter was treated seriously as opposed to the more ghoulishly depictions often seen in b-movies. The FBI profiler, played by CSI skipper William Petersen, is shown to be slightly depraved, fully troubled, and mostly cold-blooded. Graham was an anti-hero before the term has much cache. Mann's flashy style has aged the best here along with the intertwined psychology of the hunter and hunted. It takes one to know one. The Running Man (1987) feels like the concept of an action movie. Cearly helmed by a seasoned tv director, the difference between the boob tube and pure cinema may never be more clear than this overly stuffed, rompous, and absurd action thriller. Arnold Schwarzenegger and Richard Dawson are at the Ponderosa Steakhouse eating up every scene in sight. That alone is worth watching. The rest, not so much. The source material, of course a Stephen King novel, is put in the shredder and out comes pastel and neon confetti that lights on fire the moment you touch it. It is a direct ancestor to the Schumacher Batman series, for better or worse.