I’ll be in my trailer… watching trailers: It’s raining bricks

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.

This week’s Six Damn Fine Degrees delivered more William Powell – and Julie took us back to the career of Kay Francis, taking her film Jewel Robbery as its starting point.

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A Damn Fine Espresso: February 2023

When we talk about cinematic serial killers, we usually think of the likes of Hannibal Lecter: charismatic sociopaths, individuals that are intellectually brilliant but utterly amoral, and whose killing usually follows some grand aesthetic design, making them queasy stand-ins for artists. Saeed Hanaei, the man who murdered sex workers in Mashhad, Iran in the years 2000 and 2001, isn’t that kind of serial killer, and Iranian director Ali Abbasi’s Holy Spider isn’t that sort of film. In this month’s espresso episode, Alan and Matt talk about Abbasi’s film, which got an ambivalent reception when it came out at the Cannes Film Festival in 2022. Choosing to put more of a focus on the killer than on his victims, and staging the murders starkly, Holy Spider was accused of some of being exploitative – but how does a film go about depicting a series of killings in which an entire society is implicated responsibly and tactfully? Tune in to hear our duo’s take on Holy Spider, its depiction of violence against women and how Abbasi’s film uses a fictionalised journalist protagonist (played by Zar Amir Ebrahimi) to tell a story about, as the director puts it, “a serial killer society”.

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Six Damn Fine Degrees #117: Jewel Robbery

Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!

To Kay Francis, 1932 was just another long year. She had made The False Madonna, Strangers in Love, Man Wanted, Street of Women, Jewel Robbery, One way Passage, Trouble in Paradise and Cynara (yes, all of those in ’32).

Of these, One Way Passage was Kay’s favorite and Trouble in Paradise was her best. But before these two, one of her most charming pictures released that year was Jewel Robbery. In what can be considered almost a preface to Trouble in Paradise, she plays a cheefully jaded Baroness who becomes the enthralled victim of a very unorthodox and very polite robbery, subsequently falls hopelessly in lust with the suave gentleman robber, and vice versa.

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I’ll be in my trailer… watching trailers: Thin Men, Robot Men, Car Men, Boogeymen

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.

From Bruce Willis and Madeleine Stowe to William Powell and Myrna Loy: in this week’s Six Damn Fine Degrees, Alan takes us back to the diminishing returns of Thin Man sequels – while providing us with two potential Thin Man drinking games, only one of which should lead straight to alcohol poisoning.

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Criterion Corner: WALL-E (#1161)

For a while, I’d catch all new Pixar releases at the cinema. I missed out on Toy Story, their first feature film, when it originally came out, but I remember enjoying A Bug’s Life and Toy Story 2, and I loved The Incredibles when it came out (though I have to confess that I never enjoyed Finding Nemo as much as most people did). At the time these were something we’d not seen before, not in this quality. Obviously Pixar’s artistry was amazing, in a genre that, when the first few Pixar films were released, was still fairly new – and with each film, the company would introduce new innovations. The fur in Monsters, Inc. (apparently there were over two million hairs on Sulley that needed to be animated), water and the way it was lit in Finding Nemo, the way musculature behaved on human beings in The Incredibles: Pixar were technological innovators as much as they were artists, but above all, they were storytellers. Their movies were technological marvels from the first, but most people aren’t wowed by textures or shaders alone: if these aren’t used to tell interesting, engaging stories, the films that use them won’t be remembered. I mean, how many people still talk about Final Fantasy: The Spirits Within?

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Six Damn Fine Degrees #116: After The Thin Man

Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!

When Metro-Goldwyn-Mayer realised they had a hit on their hands with 1934’s The Thin Man, it was inevitable that they’d demand a sequel. Two years later, they got it with After The Thin Man. The title references the fact that the action takes place directly after the first film. That had ended with the two leads boarding a train in New York for their home in San Francisco. The sequel starts with them arriving. This title went on to become effectively the brand for these films; four more were to follow with Thin Man in the title.

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I’ll be in my trailer… watching trailers: Dogs and monkeys and all kinds of murder

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.

Matt tried his best to go back in time to stop himself from writing this week’s Six Damn Fine Degrees, but we know how such things usually end: with Bruce Willis and Madeleine Stowe sitting in a dark cinema where they’re showing Vertigo.

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A Damn Fine Cup of Culture Podcast #65: Dog Day Afternoon

It is a truth universally acknowledged that at least some of us here at A Damn Fine Cup of Culture have a general aversion to films that are based on a true story – but it is just as true that some of the greatest films of all time took their inspiration from real events. One such film is Sidney Lumet’s 1975 crime drama Dog Day Afternoon, which tells the story of a failed, fateful armed bank robbery in ’70s New York. The film, which stars Al Pacino and John Cazale, was nominated for six Oscars at the 48th Academy Awards, including Best Picture, Director, Actor, Supporting Actor and Editing, and it won the Oscar for Best Original Screenplay (written by Frank Pierson of Cool Hand Luke fame). Join Julie, a big fan of the film, as she talks to Sam, who watched it for the first time for this episode, as they discuss Lumet’s classic and its sensitive, nuanced and empathetic handling of its characters and themes

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Six Damn Fine Degrees #115: Chronicle of a death foretold

Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness!

“Somewhere in here I was born… and here I died. It was only a moment for you… You took no notice.”

Even just reading those words gives me goose bumps. In Alfred Hitchcock’s Vertigo, a film that’s not light on ominous, eerie moments, it is probably the one scene that most gets under my skin, even after I’ve seen the film a half-dozen times. It is strange and uncanny (even if it is actually part of an extended con), but also, and perhaps most of all, it is sad, as many of my favourite ghost stories are. The woman in front of you pointing at the tree rings, pointing out where she was born, first, and then where she died.

Died. Past tense.

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I’ll be in my trailer… watching trailers: No country for cold men

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.

Matt finally caught up (at least somewhat) with Alan and Julie, watching the Criterion release of Ernst Lubitsch’s comedy Design for Living almost two years after their podcast on the complicated women of pre-Code cinema. Even for someone not much versed in the films of the era preceding the Hays Code, Design for Living more than delivers with its wit and its wonderful trio of protagonists.

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