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All tagged Notes From the Back Row
Dan and Jenna pit pre-1980 movies against post-1980 movies in the latest podcast. In this episode they focus on two slightly controversial Oscar winners: Sundays and Cybele and Ordinary People.
Jenna and Veronica are talking movies that feature existential terror, relationship drama and doubles – featuring Brandon Cronenberg's Infinity Pool (2023), Riley Stearns's Dual (2022) and Charlie McDowell's The One I Love (2014).
Back Row turns six! To celebrate, we’ve compiled a list of our most popular articles and podcasts from this past year – including all topics cinematic from controversial to cult, sex to abortion, murderers to comfort zones.
Jenna attempts to pinpoint when teen movies lost their emotional sincerity, while Veronica shrugs and suggests she simply watch more movies. They discuss coming of age films from the late 1970s to the early 2000s – from early Matt Dillon films to Millennial classics.
Dan & Jenna have spun the wheel again and landed on horror. Join them as they discuss Dementia (1955) vs The Office Killer (1997), two surreal, female-driven slashers.
Jenna and Veronica both enjoyed Barbarian, which is why they recorded a podcast ripping it apart. It’s one part film critique, one part conversation, and a whole lot of lusting after Lil’ Billy Skarsgård.
From the minds of Dan and Jenna comes a new podcast segment : Decade vs Decade! First up is a clash of fantasy films: The Fabulous Baron Munchausen (1962) versus Conquest (1983)
Carlo and Dan discuss Wong Jing movies, CAT III horror from Hong Kong, an underseen Eric Roberts movie, and much more!
Carlo, Dan, Jenna & Veronica dive deep into The Comfort Zone... or specifically, a discussion on what makes for a cinematic comfort zone – how to find it, how to define it, and how best to break free from it and expand your horizons.
Jenna and Veronica discuss both versions of Nightmare Alley – Edmund Goulding's noir take from 1947 and Guillermo Del Toro's recent release. They also address the necessity for explicit violence in film and why certain auteur directors don’t always click with them.
