The Binge Movie Podcast

In which Jason sits down with iconic actress Clea DuVall (with some background shouting from Natasha Lyonne) to discuss DuVall’s directorial debut, THE INTERVENTION, as well as her storied friendship with Lyonne, Alia Shawkat’s notorious resemblance to Ilana Glazer, and the joys of working on VEEP.

In which we hyperventilate through a series of clichés to describe the exhilarating DON’T BREATHE, are boggled by the inability of A TALE OF LOVE AND DARKNESS to make us care about its rich subject matter, and fall for the fresh, fish-out-of-water charms of MORRIS FROM AMERICA.

After a lengthy analysis of the Nate Parker controversy, Jason and Rebecca are impressed by BEN-HUR's action filmmaking despite its bountiful unintentional laughter, marvel at Jonah Hill's ability to make Miles Teller seem likable in WAR DOGS, and wish Werner Herzog had anything to actually say in LO AND BEHOLD.

In this super-sized summer episode we hold back our tears at the poignant beauty of PETE'S DRAGON, advise listeners to take their older female and/or gay relatives to FLORENCE FOSTER JENKINS, fall desperately in love with the subject of MISS SHARON JONES!, disagree about the merits of LITTLE MEN, and hail the fresh female perspectives of EQUITY.

In which we assess the many convoluted failings of SUICIDE SQUAD, connect with the creative insecurities of DON'T THINK TWICE, and hope NORMAN LEAR: JUST ANOTHER VERSION OF YOU entices a whole new generation to check out Lear's trailblazing TV classics.

On this very special episode, we count down our ten favorite movies of 2016 so far and revisit some of our own finest moments. Plus, Rebecca confronts Jason about only choosing clips wherein she makes hilarious bloopers.

In which we celebrate the appropriately messy return of Edina and Patsy in ABSOLUTELY FABULOUS: THE MOVIE, disagree over where CAFÉ SOCIETY fits into Woody Allen’s filmography, tremble fearfully at LIGHTS OUT’s expert combination of horror and heart, and are nearly as frightened by the maddening picture of the music industry in BREAKING A MONSTER.

In which we surrender to the ectoplasmic enchantment of Paul Feig's GHOSTBUSTERS and condemn the haters in no uncertain terms.

In which we wish that MIKE AND DAVE NEED WEDDING DATES let its leading ladies off the leash, celebrate Taika Watiti's hilarious adventure HUNT FOR THE WILDERPEOPLE, and praise the conceptual triumph of NO MEN BEYOND THIS POINT even though, ironically, it's too man-focused.

In which we celebrate Fart Week with the stinky boring lows of THE BFG and the boldly flatulent highs of SWISS ARMY MAN, then take a dip in the refreshingly bleak waters of Todd Solondz in WIENER-DOG and try to find something nice to say about THE LEGEND OF TARZAN.

In which we puzzle over Nicolas Winding Refn’s proudly inscrutable THE NEON DEMON, spasm with joy at TICKLED’s many twists and turns, and consider Hollywood’s latest white savior in FREE STATE OF JONES.

In which we dive deeply into the subtle horror and clever gender commentary of THE FITS, grow exasperated by the obliquely dull TIKKUN, and praise the patriarchy-smashing Indian heroines of PARCHED.

In which Jason sits down with the subject of PRESENTING PRINCESS SHAW, the Princess herself (i.e. Samantha Montgomery), for a lively conversation about trust, truth, and tenacity. Also, Beyoncé—but not the way you might expect.

In which we find a few nice things to say about the latest unnecessary studio sequels, ALICE THROUGH THE LOOKING GLASS and X-MEN: APOCALYPSE, then attempt to go pun-free for our rave review of the compulsively watchable political tragicomedy WEINER.

In which Jason and Rebecca praise the visionary originality of THE LOBSTER, the seductive thrills of A BIGGER SPLASH, and the gut-busting comedy antics of NEIGHBORS 2 before the annoyingly unfunny THE ANGRY BIRDS MOVIE shows up and curdles our positivity.

In which we praise the unexpected intelligence and craftsmanship of CAPTAIN AMERICA: CIVIL WAR, then have conflicting responses to the gravity of VIVA before letting Jason explain it in RuPaul's Drag Race terms.

This week we take a break from our usual way of doing things. Jason and Rebecca devote the first segment to the most important thing happening in anyone's lives this week, Beyoncé's LEMONADE, before switching roles and having Jason grill Rebecca for her thoughts on KEANU. Then we welcome very special guest Joshua Grannell (Peaches Christ) for a live group review of HIGH-RISE that immediately follo...

In this very special episode, Jason sits down with filmmaker Lorene Scafaria and star Susan Sarandon of THE MEDDLER to discuss Beyoncé, bad press, and honest grieving.

In which we salute the gory gonzo thrills of GREEN ROOM, check out John Carney's latest "white people making music in an alley" romp SING STREET, and bemoan that despite its excellent acting, LOUDER THAN BOMBS is entirely too quiet

In which we very, very carefully discuss the racial and cultural messages of BARBERSHOP: THE NEXT CUT, give a bizarrely meh rave to THE JUNGLE BOOK, and delight in the comedy of manners underneath the fabulous frocks of THE FIRST MONDAY IN MAY.

In which we yield to Melissa McCarthy's hilarious hard-R antics in THE BOSS, gush over the atmospheric psychological thriller THE INVITATION, and give measured praise to the sad-white-guy ballad of DEMOLITION.

In which Jason sits down for a 1:1 with brilliant American auteur Jeff Nichols for a deep dive into his ambitious new movie MIDNIGHT SPECIAL.

In which we lament the regressive gender politics of EVERYBODY WANTS SOME!! and critique a trio of music movies, from the boring, hackneyed I SAW THE LIGHT to the soulful and stylish BORN TO BE BLUE and the bittersweet elegance of MARGUERITE.

In which we lament the ongoing trend of long-delayed sequels no one asked for with MY BIG FAT GREEK WEDDING 2, declare Zack Snyder to be one of the leading enemies of good cinema while roasting BATMAN VS. SUPERMAN, and praise KRISHA's powerfully authentic tale of a family marred by addiction.

In which Jason plays marry/f*ck/kill with Shailene Woodley's many onscreen love interests in ALLEGIANT, reluctantly praises the powerful emotional core of MIRACLES FROM HEAVEN while critiquing its racism and privilege, and salutes the glory of Helen Mirren barking orders in a military uniform in EYE IN THE SKY.