Second Cut

Second Cut
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Jacob, Kieran, and Sam explore topics in film history, criticism, and theory through weekly movie reviews!

  1. 2일 전

    Golden Age Musicals: Singin’ in the Rain, West Side Story, and The Sound of Music

    Subscribe for more film criticism, history, and theory-driven conversations.Follow Second Cut:YouTube: @SecondCutPodSubstack: https://secondcutpod.substack.comSocials: @SecondCutPodEmail: secondcutpod@gmail.comChapters00:00 Intro: dignity, finger snaps, and Welsh hills01:41 Golden Age musicals and the post-studio system04:43 Early sound, The Jazz Singer, and revue musicals08:25 The Paramount decision, television, and studio decline10:49 Roadshow releases and Hollywood spectacle12:27 MGM, Fox, and Rodgers and Hammerstein18:24 Singin’ in the Rain and Babylon20:57 MGM nostalgia, Arthur Freed, and recycled songs24:10 Gene Kelly, Stanley Donen, and athletic dance29:18 Kathy, Cosmo, Lina, and Hollywood artifice35:42 The pro-studio fantasy inside Singin’ in the Rain37:14 Make ’Em Laugh, Good Morning, and Broadway Melody42:49 Moses Supposes and Singin’ in the Rain46:46 You Were Meant for Me and artificial Hollywood romance49:17 Awards, reception, television, and legacy52:11 Ebert, Chazelle, La La Land, and Babylon54:22 West Side Story begins56:09 Romeo and Juliet, Bernstein, Sondheim, and Robbins57:39 Robert Wise, New York, and location filming01:00:35 Tony and Maria meet01:04:59 Dubbing, Marni Nixon, and musical-film practice01:11:07 Sondheim’s lyrics and the musical numbers01:13:28 “America,” immigration, prejudice, and satire01:13:56 The rumble, tragedy, and Maria’s grief01:17:32 Brownface, Rita Moreno, and representation01:19:55 Reception and the Spielberg remake01:27:26 Oscars and the decline of the movie musical01:29:21 The real von Trapp family and The Sound of Music01:31:30 Robert Wise, Rodgers and Hammerstein, and production context01:33:23 Julie Andrews, Maria, and the opening image01:40:43 Austrian victimhood, Nazi imagery, and politics01:43:57 Do-Re-Mi and songs inside the story world01:46:42 Rolf, Liesl, and the Nazi threat01:49:04 Climb Ev’ry Mountain01:50:26 The Salzburg Festival and the Nazi ultimatum01:54:55 Escape, reprisals, and the festival finale02:00:08 Crossing the Alps and the ending02:01:58 Reception, awards, box office, and legacy02:04:53 Julie Andrews, Christopher Plummer, and final thoughts02:07:04 Plugs and outro Music: Awakening (Instrumental) by Wataboi https://soundcloud.com/wataboi Creative Commons — Attribution 3.0 Unported — CC BY-SA 3.0 Music promoted by FDL Music https://youtu.be/X2oQNUOmk2k

    2시간 9분

  2. 5월 28일

    Star Wars Ripoffs: Battle Beyond the Stars, Starcrash, and Star Odyssey

    After Star Wars became a cultural and box-office phenomenon, filmmakers around the world rushed to make their own space adventures. In this episode of Second Cut, we look at Battle Beyond the Stars, Starcrash, and Star Odyssey to ask what happens when movies copy the look of Star Wars without fully understanding the story, craft, and mythic simplicity that made it work. We discuss the Star Wars explosion, merchandising, Battlestar Galactica, ILM, matinee serials, Italian exploitation cinema, Roger Corman, John Sayles, Jimmy Murakami, James Cameron, Bill Paxton, James Horner, Luigi Cozzi, Carolyn Munro, Marjoe Gortner, Christopher Plummer, David Hasselhoff, bad dubbing, laser swords, and why Star Odyssey sits at the bottom of the barrel. Subscribe for more film criticism, history, and theory-driven conversations. Follow Second Cut: YouTube: @SecondCutPod Substack: https://secondcutpod.substack.com Socials: @SecondCutPod Email: secondcutpod@gmail.com Chapters 00:00 Intro: Star Wars Ripoffs 01:20 Battlestar Galactica and the Limits of Copyright 03:06 Why Everyone Wanted to Copy Star Wars 04:52 Film Trends, Exploitation, and Chasing the Money 06:26 ILM, Special Effects, and Why Star Wars Was Hard to Copy 07:33 Italian Exploitation and Low-Budget Space Movies 08:33 Star Wars as the Expensive Indie Blockbuster 09:19 How Scrappy the Original Star Wars Really Was 11:15 Why Lucas’s Effects Still Work 13:12 Story, Myth, and What the Ripoffs Missed 14:41 Matinee Serials and Lucas’s Borrowed Influences 19:27 Ranking the Ripoffs from Best to Worst 20:17 Battle Beyond the Stars: Roger Corman Takes on Star Wars 22:50 John Sayles, Jimmy Murakami, and New World Pictures 24:31 Seven Samurai in Space 28:14 Superweapons, Space Battles, and Star Wars Beats 32:23 Corman Builds a Special Effects Studio 33:37 James Cameron, Bill Paxton, and the Effects Crew 35:54 The “Spaceship with T**s” Story 38:16 Why Battle Beyond the Stars Works Better Than It Should 40:26 Space Valkyries, Weird Aliens, and Schlock Charm 46:40 The Best Parts of Battle Beyond the Stars 50:10 Is Battle Beyond the Stars Actually Good? 52:05 Rebel Moon and Modern Star Wars Imitations 53:06 Galaxina and Other Strange Space Cash-Ins 55:58 Starcrash: Italy Enters the Ripoff Race 56:28 Luigi Cozzi, Dario Argento, and Italian Genre Filmmaking 58:19 Carolyn Munro, Dubbing, and Italian Production 59:50 Marjoe Gortner’s Strange Career 01:04:38 Trying to Explain the Plot of Starcrash 01:05:23 Giallo Plotting and Luigi Cozzi’s Style 01:07:54 Why Starcrash Became a Cult Movie 01:09:06 John Barry, Christopher Plummer, and Schlock Spectacle 01:11:12 Sassy Robots, Joe Spinell, and David Hasselhoff 01:15:57 Why Starcrash Is Dumb but Watchable 01:18:30 Ray Harryhausen Ripoffs and Not-Lightsabers 01:20:00 Space Cops, Robot Voices, and Plot Nonsense 01:21:06 Final Verdict on Starcrash 01:21:54 Star Odyssey: The Bottom of the Barrel 01:22:03 Is This a Bad Film Club Episode? 01:22:24 Star Odyssey Is Complete Crap 01:23:59 The Most Obvious Star Wars Cash-In 01:25:15 Cheap Costumes, Bad Dubbing, and Plastic Sci-Fi 01:26:34 The Boring Auction Where Earth Gets Sold 01:28:28 Psychic Eye Powers and Star Trek Costumes 01:30:15 The Terrible Dubbing Problem 01:30:48 Spider-Man Shirts, Space Poker, and Karate Fights 01:32:35 Robot Wrestling and Cheap Robot Suits 01:33:37 The Suicidal Robot Couple 01:34:47 Laser Swords That Are Just Swords 01:35:50 Too Much Worldbuilding, Not Enough Fun 01:37:49 1970s Sci-Fi and What Star Wars Changed 01:42:31 Why Star Odyssey Fails as a Ripoff 01:43:35 Final Verdict on Star Odyssey 01:45:00 Final Thoughts 01:45:32 Plugs and Outro Music: Awakening (Instrumental) by Wataboi https://soundcloud.com/wataboi Creative Commons — Attribution 3.0 Unported — CC BY-SA 3.0 Music promoted by FDL Music https://youtu.be/X2oQNUOmk2k

    1시간 48분

  3. 5월 21일

    HBO Docs: The Newspaperman and Bama Rush

    HBO documentaries built their reputation on access, scandal, prestige, and difficult truths. In this episode of Second Cut, we look at The Newspaperman: The Life and Times of Ben Bradlee and Bama Rush to ask what happens when a documentary is shaped by a powerful subject’s own memory, or blocked from fully accessing the story it wants to tell. We discuss HBO’s documentary history, Sheila Nevins, America Undercover, Bill Nichols’ documentary modes, Ben Bradlee, the Washington Post, JFK, Watergate, the Pentagon Papers, and All the President’s Men. Then we turn to Rachel Fleit’s Bama Rush, sorority culture at the University of Alabama, TikTok panic, class, race, sexual assault, conformity, the Machine, and why the film may be most revealing in the stories it cannot fully investigate. Subscribe for more film criticism, history, and theory-driven conversations. Follow Second Cut: YouTube: @SecondCutPod Substack: https://secondcutpod.substack.com Socials: @SecondCutPod Email: secondcutpod@gmail.com Chapters 00:00 Intro: HBO, truth, and Bama Rush TikTok 01:33 HBO Max in the UK and streaming access 02:35 HBO as cable, film studio, and documentary brand 04:07 Documentary theory and Bill Nichols’ six modes 10:36 Subjectivity, “new documentary,” and TV nonfiction 12:08 CBS Reports, PBS, Frontline, Arena, and UK documentary TV 15:26 Sheila Nevins, America Undercover, and HBO’s documentary identity 18:40 HBO’s prestige documentary machine 20:11 The Newspaperman: Ben Bradlee and All the President’s Men 23:13 “No reverence for the truth” and Bradlee’s memoir voice 26:17 Bradlee’s background, Harvard, polio, and privilege 27:35 The Navy, authority, and the foreign correspondent fantasy 30:15 JFK, friendship, journalism, and compromised access 34:46 Bradlee at the Washington Post 36:49 The major story and the editor as celebrity 40:22 The Pentagon Papers, Watergate, and Nixon 46:30 Sally Quinn, Kissinger, and Bradlee’s contradictions 47:46 Diversity, Janet Cooke, and the Post’s major mistake 50:44 Bradlee’s family life, regrets, and final years 54:06 The Newspaperman as memoir documentary 59:36 Bama Rush: shifting to sorority culture 01:00:26 Sororities from a UK perspective 01:03:07 Rachel Fleit, TikTok panic, and the access problem 01:07:14 What Bama Rush could have been 01:10:39 The four young women followed in the documentary 01:15:03 Shelby, achievement culture, and pageant polish 01:16:02 Isabella, belonging, anxiety, and self-image 01:17:20 Michaela, race, identity, and Alabama sorority history 01:22:18 Holliday, trauma, partying, and missed inquiry 01:27:09 Sorority conformity and “Kappa first” 01:28:49 Rankings, fraternities, and the male gaze 01:31:20 The Machine, Alabama politics, and what the film avoids 01:35:07 Bid Day, undercover footage, and the missing Rush story 01:36:40 Bama Rush as negative space 01:38:29 Social media footage and future documentary problems 01:39:16 Final thoughts 01:40:10 Plugs and outro Music: Awakening (Instrumental) by Wataboi https://soundcloud.com/wataboi Creative Commons — Attribution 3.0 Unported — CC BY-SA 3.0 Music promoted by FDL Music https://youtu.be/X2oQNUOmk2k

    1시간 42분

  4. 5월 14일

    John Waters, Divine, Multiple Maniacs, and Cry-Baby

    John Waters built a career out of bad taste, queer counterculture, and the glamour of outsiders. We discuss Multiple Maniacs, Divine, the Dreamlanders, underground shock cinema, and Waters’ move toward the mainstream with Cry-Baby. Along the way: Catholic blasphemy, Johnny Depp, Hairspray, camp, class, teen rebellion, and why the Pope of Trash still matters. Follow Second Cut: YouTube: @SecondCutPod Substack: ⁠https://secondcutpod.substack.com⁠ Socials: @SecondCutPod Email: ⁠secondcutpod@gmail.com⁠ Chapters 00:00 Intro 00:44 The Pope of Trash 01:12 Waters, Baltimore, and queerness 03:24 The Dreamlanders and Divine 06:04 Camp, bad taste, and outsiders 07:04 First Waters experiences 08:42 Revulsion as applause 11:36 Early budgets and DIY filmmaking 13:25 Waters as carnival showman 14:45 Multiple Maniacs begins 15:34 The Cavalcade of Perversion 17:00 Divine as criminal star 18:10 Divine’s performance style 19:46 The lobster scene 21:03 Catholic blasphemy 24:11 Waters vs. organized religion 25:55 Why “Pope of Trash” fits 26:27 Plot, murder, and Manson echoes 28:47 Queer counterculture history 30:14 Criterion and restoration 31:03 Visual style and the New Wave 33:14 Moving toward Cry-Baby 34:19 Hairspray, Cry-Baby, and mainstream Waters 35:34 Cry-Baby’s wild cast 36:08 Casting Johnny Depp 37:19 Waters’ teen-idol musical 38:34 Greasers, squares, and sincerity 42:45 1950s style, 1990s politics 44:46 Hatchetface 46:32 Polio, tears, and grotesque comedy 48:44 Parents, Patty Hearst, and control 51:00 The courtroom scene 52:43 Iggy Pop and celebrity cameos 54:54 Melodrama and jailhouse music 56:47 Music, lip-syncing, and production value 59:15 Traci Lords and set stories 01:00:33 New Line and production chaos 01:02:52 Waters after Divine 01:04:28 Johnny Depp as pure movie star 01:06:06 The chicken finale 01:07:00 Ed Wood, Depp, and weird directors 01:08:03 Waters’ career arc 01:10:24 Divine, Ricky Lake, and what’s next 01:11:31 Plugs and outro Music: Awakening (Instrumental) by Wataboi⁠ https://soundcloud.com/wataboi⁠ Creative Commons — Attribution 3.0 Unported — CC BY-SA 3.0 Music promoted by FDL Music⁠ https://youtu.be/X2oQNUOmk2k

    1시간 14분

  5. 5월 7일

    The Mummy Problem: Hammer Horror vs Brendan Fraser

    In this episode of Second Cut, Jacob and Sam dig into the history of mummy movies, from Universal’s Egyptomania and Boris Karloff’s original monster to Hammer’s The Mummy from 1959 and Stephen Sommers’s blockbuster The Mummy from 1999. We talk Peter Cushing, Christopher Lee, Terence Fisher, recycled Hammer sets, colonial grave-robbing, British museum logic, brownface casting, romantic monsters, Dracula parallels, Brendan Fraser, Rachel Weisz, Imhotep, scarab beetles, biblical plagues, bisexual awakenings, and whether shooting a mummy to death is really the best ending Hammer could come up with. We also touch on Lee Cronin’s new Mummy and why a possession-movie angle might be the thing that finally makes the monster frightening again. Follow Second Cut: YouTube: @SecondCutPod Substack: ⁠https://secondcutpod.substack.com ⁠Socials: @SecondCutPod Email: ⁠secondcutpod@gmail.com⁠Chapters 00:00 Intro 00:48 Why The Mummy this week? 01:50 Casting, representation, and Hollywood Egypt 04:49 Universal’s Mummy, Egyptomania, and the curse myth 09:31 The recurring Mummy formula 11:05 Dracula parallels and romantic monsters 14:22 Is the Mummy tragic, evil, or just unstoppable? 18:20 Lee Cronin’s scarier possession-mummy take 20:56 Hammer’s The Mummy (1959) begins 22:57 Plot: Peter Cushing, tombs, and the Book of Life 26:10 Colonialism, artifacts, and Hammer’s contradictions 34:22 Christopher Lee’s silent physical performance 37:39 Cheap sets, reused locations, and Hammer charm 39:36 The ending: can bullets stop a mummy? 41:16 Terence Fisher and Hammer’s dark fairy tales 44:30 The Mummy (1999): nostalgia, adventure, and tone 48:48 Stephen Sommers, Brendan Fraser, and blockbuster revival 54:21 Brendan Fraser, Rachel Weisz, and bisexual awakening 54:50 Plot: Rick, Evie, Imhotep, and Hamunaptra 57:54 Imhotep’s effects and “juicy” mummy horror 59:25 Biblical plagues, scarabs, and world-ending stakes 01:01:06 Comic relief: Jonathan, Beni, and side characters 01:06:23 Rick and Evie’s chemistry 01:10:34 The final act and The Mummy Returns setup 01:12:34 Production stories: Morocco, Clive Barker, and Fraser’s stunt 01:20:19 Jacob’s problems with the 1999 film 01:23:38 Family horror, action adventure, and what still works 01:25:53 Plugs and outro Music: Awakening (Instrumental) by Wataboi ⁠https://soundcloud.com/wataboi⁠ Creative Commons — Attribution 3.0 Unported — CC BY-SA 3.0 Music promoted by FDL Music⁠ https://youtu.be/X2oQNUOmk2k

    1시간 29분

  6. 4월 30일

    David Lowery’s A24 Mythmaking | A Ghost Story & The Green Knight

    In this episode of Second Cut, Jacob and Sam look at the strange, mournful, mythic cinema of David Lowery, from his North Texas indie roots to his work with Disney, A24, and his new film Mother Mary. We talk about Lowery’s background outside the usual Austin/Los Angeles filmmaking pipeline, his recurring collaborators, his relationship to Terrence Malick-style imagery, and his ability to move between studio filmmaking and intimate personal projects. Then we dig into two of his most distinctive films: A Ghost Story and The Green Knight. In A Ghost Story, we discuss grief, time, Rooney Mara’s infamous pie scene, Casey Affleck under the sheet, the boxed-in aspect ratio, Daniel Hart’s music, and the film’s haunting vision of love, memory, and cosmic recurrence. Then we turn to The Green Knight, David Lowery’s atmospheric adaptation of the Arthurian legend, starring Dev Patel as a not-yet-knightly Gawain forced to confront honor, fear, temptation, and the stories men tell about themselves. Along the way, we also touch on Pete’s Dragon, Peter Pan & Wendy, Ain’t Them Bodies Saints, The Old Man & the Gun, and why Mother Mary feels like another step in Lowery’s career-long obsession with myth, longing, and haunted spaces. Subscribe for more film criticism, history, and theory-driven conversations.Follow Second Cut:YouTube: @SecondCutPodSubstack: ⁠https://secondcutpod.substack.com⁠Socials: @SecondCutPodEmail: ⁠secondcutpod@gmail.com⁠Chapters00:00 Intro 00:46 Why we’re talking about David Lowery 02:00 Lowery’s North Texas background 04:10 Early filmmaking and self-taught roots 07:06 Ain’t Them Bodies Saints and Lowery’s breakthrough 08:24 Malick comparisons and Lowery’s style 09:41 Recurring collaborators and creative team 12:32 Lowery as editor and hands-on filmmaker 14:40 Awards, recognition, and Mother Mary 15:43 Pete’s Dragon and Disney remakes 18:53 Peter Pan & Wendy and mythic storytelling 20:46 A Ghost Story begins 21:19 Is Casey Affleck really under the sheet? 22:36 Grief, death, and the emotional premise 25:25 Time loops, houses, and cosmic loneliness 27:36 The pie scene and Rooney Mara’s performance 31:00 The neighbor ghost and waiting for someone 34:45 The hidden note and the mystery of release 37:25 The prognosticator scene and cosmic meaning 41:13 Aspect ratio, marriage, and autobiography 43:30 Low-budget production and Lowery’s intent 45:38 Daniel Hart’s music and emotional overwhelm 49:10 Final thoughts on A Ghost Story 50:33 The Green Knight begins 51:02 Arthurian legend and Gawain/Gowan pronunciation 54:13 How Lowery changes Sir Gawain 57:42 Atmosphere, pacing, and mythic ambiguity 58:47 Jacob’s reaction to The Green Knight 1:00:14 Robert Eggers comparisons 1:04:12 Side quests, folklore, and structure 1:06:23 The temptation test and the green sash 1:08:45 The vision of Gawain’s future 1:10:27 What Lowery was trying to adapt 1:12:16 Looking ahead to Mother Mary 1:13:51 Final thoughts on David Lowery 1:14:40 Plugs and outro Music:Awakening (Instrumental) by Wataboi⁠https://soundcloud.com/wataboi⁠Creative Commons — Attribution 3.0 Unported — CC BY-SA 3.0Music promoted by FDL Music⁠https://youtu.be/X2oQNUOmk2k

    1시간 17분

  7. 4월 23일

    Is Anne Hathaway a Great Movie Star?

    Anne Hathaway has been a Disney princess, a rom-com lead, Catwoman, an Oscar winner, and one of the most recognizable American movie stars of the 21st century. But what actually makes her work on screen? In this episode of Second Cut, Jacob and Kieran look at Hathaway through two very different performances: Andy Sachs in The Devil Wears Prada and Fantine in Les Misérables. Using James Naremore’s ideas about film acting as a loose framework, they ask what makes a performance readable, natural, expressive, and suited to the film around it. Along the way, they talk Meryl Streep’s Miranda Priestly, Emily Blunt and Stanley Tucci stealing scenes, whether The Devil Wears Prada is really about a woman becoming “bad” or just becoming good at her job, Tom Hooper’s sung-through approach to Les Misérables, Russell Crowe’s Javert, Victor Hugo, French revolutionary context, and whether Hathaway’s Oscar-winning Fantine is a great performance, a great Oscar clip, or both. Follow Second Cut:YouTube: @SecondCutPodSubstack: https://secondcutpod.substack.comSocials: @SecondCutPodEmail: secondcutpod@gmail.com Chapters 00:00 Intro00:49 Why Anne Hathaway now?02:08 First encounters with Hathaway05:48 Rom-coms, “movies for women,” and The Hustle07:25 Hathaway’s star power and theater background09:49 James Naremore and how to judge film acting14:03 The Devil Wears Prada17:32 What is The Devil Wears Prada really about?23:12 Andy Sachs, career success, and the boyfriend problem29:21 Miranda Priestly and the missing cost of ambition31:53 Emily Blunt, Stanley Tucci, and the supporting cast33:34 Anne Hathaway’s performance as Andy40:06 Does the film only feel deeper than it is?43:19 The Miranda movie we wish existed48:52 The Devil Wears Prada 2 speculation50:53 Les Misérables and Tom Hooper returns54:38 Les Misérables plot summary57:00 Sung-through musicals and pacing1:00:35 Valjean, Javert, and the French rebellion1:01:32 Anne Hathaway as Fantine1:04:57 The 2012 Supporting Actress race1:09:54 Hugh Jackman, Russell Crowe, and Javert1:12:53 Performance without dialogue1:14:07 I Dreamed a Dream1:14:47 Sweeney Todd energy and the innkeepers1:19:21 Why the revolution material drags1:24:55 French history and assumed context1:26:32 What Tom Hooper could have changed1:29:27 Final thoughts on Anne Hathaway1:30:27 Looking ahead to Hathaway’s upcoming films1:30:59 Plugs and outro Music:Awakening (Instrumental) by Wataboihttps://soundcloud.com/wataboiCreative Commons — Attribution 3.0 Unported — CC BY-SA 3.0Music promoted by FDL Musichttps://youtu.be/X2oQNUOmk2k

    1시간 33분

  8. 4월 8일

    Seeing Double: The Art of Playing Multiple Roles

    In this episode of Second Cut, we talk about one of cinema’s coolest tricks: watching a single actor become multiple people. Because of Michael B. Jordan’s Oscar-winning twin performance in Sinners, we get into what makes multi-role acting so compelling, why it so often leans comic, and what separates a gimmick from a real performance. Then we dive into Alec Guinness playing nearly an entire murderous aristocratic family in Kind Hearts and Coronets, Peter Sellers splitting himself across the madness of Dr. Strangelove, and Jordan’s physically and emotionally distinct twins in Sinners. Along the way, we talk class satire, Cold War absurdity, vampire assimilation, and the filmmaking tricks that make one actor seem to exist twice on screen. Chapters00:00 Intro 00:52 The phenomenon of actors playing multiple roles 14:32 Kind Hearts and Coronets 44:51 Dr. Strangelove 1:15:53 Sinners and the Oscar context 1:20:35 Getting into Sinners proper 1:31:56 Why Michael B. Jordan’s performance works 1:34:19 How the twin shots are pulled off 1:37:46 The vampires, assimilation, and cultural memory 1:46:13 The climax and final Sinners thoughts 1:48:44 OutroMusic: Awakening (Instrumental) by Wataboi https://soundcloud.com/wataboiCreative Commons — Attribution 3.0 Unported — CC BY-SA 3.0Music promoted by FDL Music https://youtu.be/X2oQNUOmk2k

    1시간 51분
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Jacob, Kieran, and Sam explore topics in film history, criticism, and theory through weekly movie reviews!

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    Second Cut
  • 방송 연도
    2021년 - 2026년
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