A Damn Fine Espresso: November 2024

We’ve covered remakes extensively this summer, but what about their often derided sibling, the sequel? We’re taking the recent release of two high-profile sequels, Joker: Folie à deux and Gladiator 2, as an opportunity to talk about sequels. Are they all creatively bankrupt exercises in IP masturbation, or is there potential in sequels? Is the only good sequel one that gives us more of what we enjoyed the first time around, or should a sequel break with what has gone before and surprise us? Where are Joker 2 and Gladiator 2 on the continuum from more-of-the-same sequels to throw-everything-out-the-window sequels? Is Folie à deux as much of a waste of talent and money as most people said? Is Gladiator 2 a worthwhile return to Rome and to the arena that gets our thumbs-up?

For more thoughts on sequels with a bonus link to Ridley Scott, you may want to check out the following:

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A Damn Fine Cup of Culture Podcast #86: Stealth remakes

For this year’s summer series, A Damn Fine Cup of Culture focused on remakes, from men who knew too much and trucks bearing explosive goods to planets that create their own remakes and finally to stars being born and dying. But these are the obvious remakes (whatever their directors might say, depending on which day of the week it is): what about iconic films – that almost no one knows to be remakes? In this episode, Julie and Alan get together to talk about two films that are infinitely more famous than the originals that preceded them: Some Like It Hot (1959) and The Maltese Falcon (1941). Why do these films escape the frequent criticism of remakes: that originality is dead and that Hollywood only knows how to repeat itself? How do the originals compare to the more iconic later films? And what’s the key to making a remake that will eclipse the film(s) that came before?

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I’ll be in my trailer… watching trailers: We have everything, from witnesses to werewolfs!

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Every now and then our weekly Six Damn Fine Degrees series starts circling a certain topic for several weeks, and right now the focus is on Agatha Christie, her stories and the ways these were adapted. This week, Julie wrote one of her usual wonderful deep dives, this time on Billy Wilder’s film version of Witness for the Prosecution. Make sure to check it out!

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A Damn Fine Espresso: October 2024

On the podcast, we’ve talked about festivals before, both about specific festivals (such as Queersicht, the annual LGBTIAQ+ film festival held in Bern, Switzerland) and about the experience of going to cultural festivals of any kind. Autumn is festival season, and Alan and Sam talk about film festivals they’ve been to, from Switzerland’s festivals in Locarno and Zürich via San Sebastian Film Festival in Spain (which Sam recently visited) to the London Film Festival, where Alan regularly catches some of the more off-the-radar small films. What’s it like to attend these festivals? What is the experience like? How good are they for celebrity-spotting? And would they recommend the festivals to film fans, or are they reserved more for filmmakers and journalists?

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I’ll be in my trailer… watching trailers: Got milk?

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

Many of Criterion’s releases are the classics of Hollywood and world cinema that all film geeks have heard of: Fellini, Bergman, Varda. Or then it’s cult classics such as the original Godzilla films. Some of their releases are less known, though, such as Diamonds of the Night, which Matt discovered recently.

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I’ll be in my trailer… watching trailers: Dead, dead, dead

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

For this week’s Six Damn Fine Degrees, Matt took us to the scene of the crime – or, in German, Tatort, one of the longest-running series on German television. Though here’s a trailer for an Austrian episode, because everything’s more charming with an Austrian accent.

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A Damn Fine Cup of Culture Podcast #85: Halloween Special – Death in Venice (and Summerisle)

The 1970s were a bad time for men travelling in Europe, doubly so if they were following the traces of a mysterious girl, and triply so if they weren’t good at listening to advice. Before you know it, you meet with a gruesome fate at the hands of cultists or misshapen serial killers, and then where will you be? Dead! That’s where. Dead in Venice or Summerisle.

For this year’s October episode, we finally fulfil a common wish of ours: join Matt, Sam and Julie as they talk about two creepy favourites of theirs, the cult folk horror that is the original The Wicker Man, directed by Robin Hardy, and the mournful, intricate, watery loops of Nicolas Roeg’s Don’t Look Now. Apart from both coming out in 1973 and being shown as a double bill at the time, what do these two films have in common? Why are they both such enduring classics, in spite of very clearly being products of their time? And – in keeping with our summer theme – why do the two films resist being remade, in spite of an ill-fated attempt by Neil LaBute and starring Nicolas Cage at maximum Cage?

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I’ll be in my trailer… watching trailers: If you go down to the prom tonight, you’re sure of a big surprise

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

For this week’s Six Damn Fine Degrees, Julie turned the conversation to the iconic Once Upon a Time in the West by the equally iconic Sergio Leone.

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I’ll be in my trailer… watching trailers: Floating in space

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

It seems we’ve been doing our weekly feature Six Damn Fine Degrees for a while: this week saw the release of the 200th instalment – which prompted Alan to take a time-out from the usual free association and look back on some of his favourite posts and associations. Follow him down this particular rabbit hole here.

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A Damn Fine Espresso: September 2024

We’ve talked about the Alien franchise before on our podcast, so we didn’t want to miss the opportunity presented by the release of the latest addition to the series, Alien: Romulus, which came out in August. Join Sam and Alan as they talk about Fede Álvarez’ return to the roots of the franchise. How successful is the movie’s ‘back to basics’ approach? How scary can the film be after an entire series has done a lot to strip its iconic set of monsters of their original mystery? What have Álvarez and his collaborators done to keep all things xenomorph fresh, how do they play with an almost overpowering legacy? And what about that unexpected return from the dead: an effective homage or a tacky reference?

For more thoughts on the long-running Alien franchise, check out the following podcast episodes:

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