Irrelevant But Awesome

Chris:  I just had to say something about someone using the “fake” word in the last review, didn’t I? And notice she was immediately put in her place after that. I’m not a huge fan of a couple things in this episode, one being that Cherry is suddenly training everyone with any sort of success. Sure she admits that she doesn’t really know much about wrestling but through sheer will power, a stunt background and the help of someone that grew up in the business, they kind of do lock-ups. This might be a minor gripe because really they just need to progress the plot and Johnny Mundo wasn’t available beyond the first episode. What I did like was the emphasis of there always being a hero and a villain in wrestling because otherwise, it’s hard to get people invested in anything combat-related and, a lot of times, the villain is way more interested than the hero. That’s why, if you watch wrestling with any sort of regularity, really good villains almost always become heroes because they’r

Chris:  This show has already made me a happy camper just from the pilot. First of all, I’m happy Alison Brie is in a leading role because I’ve enjoyed watching her in just about everything I’ve seen her in but it was almost always in a supporting role and I’m glad she’s getting an opportunity to carry the lead. I’m happy that this show is taking pro wrestling seriously while also highlighting the overwhelming silliness of 1980s wrestling. To the best of my knowledge, the most dreaded “f word” in pro wrestling wasn’t used in the pilot and that may not seem like a big deal on the surface but to lifelong wrestling fans that may be watching, saying the word “fake” is a good way to get them to cut your show off. By recognizing that wrestlers are predominantly actors that focus heavily on physicality, it’s a big step that the creative team behind the show is taking “the business” seriously and it’s a great way to engage non-wrestling fans. I also do appreciate the use of real-life wres

Alexa:  From the VCRs to the floppy disks to the massive flip phones, many of the technological elements in “Enemy of the State” feel dated. But its central focus – the NSA – is remarkably topical nearly 20 years later. Think about how far the digital world has advanced since this movie’s release. Its central themes of mass surveillance and the line between personal privacy and national security are perhaps more relevant than ever. But it’s also just an entertaining movie in its own right. “Enemy of the State” has all the right ingredients for a captivating suspense piece – political intrigue, ample action, compelling leads and a healthy dose of far-fetched twists and turns, made all the more gripping by its real-world implications. Its greatest weakness lies in its pacing. It could lose about 20 minutes of run time and tell just as complete a story. But overall it’s an enjoyable ride, and certainly worth revisiting as a springboard for discussion in the post-Snowden era. Joel

This article is basically a continuation of yesterday’s wild speculation article which you can read here . As information and speculation continues to trickle out about the behind the scenes drama of the still untitled Han Solo movie, there are a few more things that need to be mentioned that we simply didn’t have time for yesterday. First and foremost, It can not be overstated as to how big of a deal this whole thing actually is. The situation we’re watching unfold is more or less unprecedented. While we’ve seen directors leave projects before (sometimes fired, sometimes of their own volition) it’s never been this late into the production, and neve on a movie or a franchise on the level of Star Wars . There have been a few comparisons that have been cropping up again and again that I do want to take a moment to address here. Zack Snyder and Justice League : For those who don’t know, director Zack Snyder has stepped away from the upcoming Justice League movie to deal with fam

Welcome to “Wild Speculation” a segment here where we take a recent news story and speculate wildly on what it could mean. Today’s story, Directing duo, Phil Lord and Chris Miller, who were directing the still untitled Han Solo spinoff film for Lucasfilm, announced yesterday that they were leaving the project. Officially that is all we know so far. Now, onto the wild speculation. First of all I want to say something about the idea of Phil Lord and Chris Miller directing this Han Solo movie in the first place. To date the pair have directed four movies together ( Cloudy With a Chance of Meatballs, The Lego Movie, 21 Jump Street, 22 Jump Street ) which have all been out and out comedies of one form or another. While not full out parodies, each of these four movies has leaned very heavily into outlandish comedy in it’s own unique way. And while Star Wars movies have always been fun movies with plenty of humor, especially when it came to the character of Han Solo, it’s nowhere ne

Alexa:  My love for John Mulaney and his wonderful awkwardness runs deep. So deep that I even tried to watch his ill-fated sitcom a few years back (it’s still tough to talk about). But naturally, I was instantly intrigued by “Oh, Hello” because of his involvement. I knew nothing about the characters of Gil Faizon and George St. Geegland that anchor the show. Apparently this kooky duo of elderly gentlemen was popularized on “Kroll Show,” which I’ve never watched (I know Nick Kroll primarily as The Douche and Ruxin). And while I felt a little out of the loop in a few instances, overall this filmed version of their Broadway show offers plenty to enjoy for people who are not familiar with the characters. Kroll and Mulaney have great chemistry and impeccable comic timing, and the appearance of two surprise celebrity guests whose identities I won’t spoil here only adds to the hilarity. This adaptation translates pretty seamlessly from stage to screen, and the absurd jokes consistently l

Alexa:  It’s often easy to tell when a movie is based on a play. The story is likely confined to a few locations, and probably driven by dialogue over action. Sometimes this approach feels like nothing more than a stilted, filmed version of the stage. But in the case of David Mamet’s adaptation of his Pulitzer Prize-winning play “Glengarry Glen Ross,” the intimacy of a stage production translates to the screen seamlessly thanks to thoughtful editing and a resolute focus on some powerhouse performances. This brilliant depiction of a real estate office’s high-stakes sales culture offers so many intriguing layers to explore, but the stellar cast and their expertly crafted characters make this movie a classic. It’s a master class in impactful delivery and nuanced character development, with each salesman often teetering on the edge between sympathetic and infuriating. (Except maybe Alec Baldwin - he’s just plain terrifying). The film’s depiction of their plight feels contained withou