Critical Darlings

“The End Of Oak Street” Is Dino-mite (With Matt Singer)

Dinosaurs are back in business this week, with The End of Oak Street, an original blockbuster about shooting dinos in the face while getting chomped by various raptors, dactyls, and giant primordial snakes. We’re joined by Indiewire’s Matt Singer, host of Filmspotting: SVU, and author of the upcoming book Funny Business, to discuss the film, its blend of Amblin-influenced family filmmaking with director David Robert Mitchell’s acidic bite. The movie uses its familiar tropes to lull the audience into a lull before ripping those tropes apart, making the film stranger and darker than the marketing let on. Still, it’s been a hit with critics, if not with audiences at large. We discuss how the story unfolds, Ewan McGregor and Anne Hathaway’s performances, the joys of shooting raptors in the face, sad giant snake monsters, The Last House, and break down the ending and what the movie is really about—Climate change, maybe? We also get into JJ Abrams’ trajectory as the head of Bad Robot, which produced the film, the state of puzzle box film and TV, and finally do our recommendations. Next week, it’s lobster roll season, with the Anthony Bourdain biographical picture, Tony. Email us: criticaldarlingsmailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

“One Night Only” Is The Sex Purge (With Josh Gondelman)

In a technofascist parallel reality, singles are only allowed to have sex one night a year: it’s One Night Only, AKA The Sex Purge! Comedian Josh Gondelman joins us to discuss this deeply strange film which has taken the box office by…not very much. Is that more evidence for the slow fade of theatrical rom coms, or is this just a really, really weird movie? Directed by Will Gluck, and starring Callum Turner and Monica Barbaro, We’re split on the movie’s charms, but we’re mesmerized by the movie’s vision of fascism + rom-com shenanigans. We discuss the movie’s world building, blacklist scripts, Callum Turner lookalikes, it’s lack of comedian supporting characters, the state of the rom-com, and the movie’s both-sides-ing of its own high concept premise. Check out Josh’s newsletter That’s Marvelous, to get up to date tour info, and mail us at criticaldarlingsmailbag@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Spider-Man: Brand New Day” Enters The Money-Verse (with Griffin Newman)

Griffin Newman swings back from Spain, Europe, to discuss Spider-Man: Brand New Day! Brand New Day is likely the biggest movie of the year, maybe of all time, depending on how you count. From the seemingly bulletproof Spider-Man formula to the unquestionable star power of Tom Holland and Zendaya, we should have seen this coming! On this episode, we go long to discuss the special appeal of Spider-Men of today and yesteryear, the Tom Holland phenomenon, his perpetual boyishness, The Punisher Meets Archie, spider puberty, bathhouses, the X-Men and their soon-to-be integration into the MCU, in the upcoming Avengers: Doomsday, and wonder if the movie is maybe a metaphor for Gen-Z lockdown FOMO.  Next week, it’s The Sex Purge, AKA One Night Only! Email us: CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

“The Invite” Or, Who’s Afraid Of Olivia Wilde? (With Emily Gould)

Come for the Les Miz karaoke takes, stay for The Invite. New York Magazine’s Emily Gould joins us to discuss Olivia Wilde’s sexy, awkward comedy of domestic manners starring herself, Seth Rogan, Edward Norton, and Penelope Cruz. Set in an aspirational San Francisco apartment owned by a deeply neurotic twosome, they collide with the sexy couple upstairs at an impromptu dinner party staged by Wilde's character Angela. Their night, and the movie itself, swings from polite nicety to anger to sadness to horniness, ultimately arriving at a poignant question: what relationships are worth saving, and when is it time to just move on? Both as a director and performer, The Invite is destined to become a calling card for Wilde. Among many things, we discuss her unusual Hollywood trajectory, the studied aesthetics of aspirational apartment living, Esther Perel, firefighter aesthetics, dinner party etiquette, Les Miz, steak knives, woo woo treatements for back pain, and San Francisco real estate. Next week, everyone has forgotten about him, except for us! It’s Spider-Man: Brand New Day. Send us mailbag questions, comments, and gossip: criticaldarlingsmailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

“The Odyssey” And Christopher Nolan’s Sad Dad Triumph (With Fran Hoepfner)

Daddy, tie us to the mast, we’re off to see The Odyssey! Christopher Nolan’s epic about a dad going out for cigarettes has vanquished all foes, critical, commercial, and discourse-able. To unpack it all, we’re joined by Vulture’s Fran Hoepfner. Nolan’s Oppenheimer follow-up both revisits and expands the director’s thematic palette. Among many aspects of the film, we discuss Nolan’s controversial choice to reject many of the signifiers of sword and sandals epics, his thematic quirks, the massive scale of the film, and how the ultimate hero’s journey is also a reflection of Nolan’s own filmmaking journey. We also get into spoilers (with warning), the movie’s possible political aims, and where Nolan might go from here. Finally, we do our Nolan rankings. Next week, we’re swinging with Olivia Wilde’s The Invite. You can email us now! We’re doing an upcoming mailbag episode, so feel free to drop us a line at criticaldarlingsmailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices