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Few works of art have ascended to the level of universal archetype, even fewer by 19 year old women in 1818, but Mary Shelly's Frankenstein has achieved this place of distinction in the world of letters. The story of the writing of the novel (Lord Byron and the Shelly's stuck indoors during a stormy few days, deciding to write ghost stories as a way of passing time) is as mythic as the book. With the  invention of cinema our long and varied relationship with the whole Frankenstein mythos began. Starting in the silent era Frankenstein has been a consistent cautionary tale of hubris and ambitious overreaching and marks the start of the "body horror" genre.  In this episode Azed and Tom discuss Guillermo del Torro's latest version of Frankenstein and take the opportunity to discuss the history of cinematic renderings of the Frankenstein story and it's influence on film as a whole. From James Whales' original masterpiece the themes of giving birth to something (or somone) who eventually destroys you, has been a mainstay of artistic re-imaginings from Mel Brooks' Young Frankenstein, Yorgos Lanthimos' Poor Things onto del Torro's latest. Tune in and find out which Frankenstein themed films make our favourites list.

On this episode of Out There in the dark, we take a deep dive into PT Anderson‘s latest epic, weird, and thrilling One Battle After Another. At a time when our world is being rocked by corrupt and dark forces, Anderson explores with subtlety and humour, the issues that plague us on the daily. We also go through Anderson’s oeuvre from his first film, Hard 8 (1996) to OBAA. And we say a fond farewell to cinema’s greatest actors, Diane Keaton.

Toronto hosts one of the world's most prestigious film festivals and this year Tom and Azed managed to move off their respective couches and see a few films.  The festival has always been a defining characteristic of Toronto's love affair with movies, which draws huge audiences to see some of the world's least seen artwork. Of course, over the years, TIFF has embraced a more mainstream, commercial approach which has largely obscured the work of independent filmmakers but there is still a strong element of curating films from underserved and underrepresented artists. Join Azed & Tom as they discuss the history of the festival, what they saw this year, and the death of film icon, Robert Redford, who created the world renowned Sundance Film Festival.  A festival of festivals, if you will.

Ari Aster’s latest film, EDDINGTON, has polarized critical intelligentsia. While a few have hailed it as a “masterpiece” many others have decried it as at best an ambitious flop. As with Aster’s last “flop” Beau is Afraid, critics and audiences alike seem confused and disappointed by Aster’s non-horror films.  Without the surface excitement of supernaturally tinged serial killings or sadistic torture, Aster’s non-horror films seem to lean more art house than grindhouse. With Eddington, Aster has made his most accomplished and politically potent film to date. Set during the 2020 lockdowns, Eddington scales the mass paranoia and detachment from reality which proliferated at that time-and continues to grow- way down to a tiny western town. Embedding huge political and moral concerns in the fabric of everyday small town western American life is what gives Eddington its power and clarity. What happens in microcosm also happens in macro. That the petty bickering and fully formed silo’s of disinfo serve to mask the data processing center being negotiated to be housed outside Eddington, perfectly encapsulates the way our behaviors and ideas often are manipulated and exploited for corporate and fascist interests. Join Azed and Tom as they discuss one of the most controversial films of the year so far, a film they both believe is one of the best of the year.  

EXCLUSIVE! WE HAVE THE LIST! That's right, the list of the best movies of the past 25 years.  Putting aside our usual snobby pooh-poohing of so called "best of..." lists, Azed and Tom have created lists to end all lists. Stop saying list! Taking off from the (failing?) New York Times' Best of the Century , which chose PARASITE as their top film, and Rolling Stones 100 Best List , which chose the slightly more reasonable There Will Be Blood as the greatest of the century, we decided to do a serious and definitive list of our own. We have very high opinions of our own opinions, and that's why no one likes us. Still, we persist.  So, hey forget about the ugly, horrorshow taking place all around us right this second, and treat yourselves to the soothing, dulcet tones of Azed's listing off his wise and audacious selections. Apologies for Tom's part, just forward through or, for those who like a challenge, endure it and learn how to distinguish between Azed's excellent curation and Tom's mostly "meh" choices. Written by Anonymous (not Azed)

As the world slides inexorably towards xenophobia, authoritarianism, and flat out racism, the cinema of Jim Jarmush offers a crucial counterpoint to the dehumanizing of the other as a means of social control.  Jarmush, a staple of the New York punk and post-punk art scene broke onto the scene with Stranger Than Paradise (1982) which introduced the cool, art house, minimalism that has become the hallmark of Jarmush's oeuvre.  By centering the outsider, the foreigner, the artist and the marginal, Jarmush cements his position as a humanist filmmaker in the tradition of the Transcendentalist filmmakers; Ozu, Dreyer and Bresson.  Join Azed and Tom for a deep dive into the restorative and poetic cinema of Jim Jarmush.

Nathan Fielder's The Rehearsal is probably the most brilliantly strange "reality" show to date.  An uncanny mixture of documentary, memoir, comedy show, and adventure movie, The Rehearsal pushes the usual conventions of TV, deconstructing the elements that go into producing and directing an almost impossible series of thrilling, funny and bizzare segments. Fielder, a bona fide eccentric and oddball, is clearly interested in revealing the absurdity of attempting to document actual life, while sparing no expense (HBO's money!) to make the attempt nonetheless. As Oscar Wilde once said, "All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors.”  More than any other creator currently making art, Fielder is in the Wilde camp. Art may be futile, but it's very futility is it's greatest liberty.  Join Tom and Azed as they dive into The strange and beautiful world of The Rehearsal. Also in this episode: mini reviews of Sinners, The Shrouds, Thunderbolts and some reco's from The Cannes Film Fest.

Roger Corman (April 5, 1926 -May 9, 2024)—an iconic figure whose influence on Hollywood is nothing short of legendary—traversed the cinematic landscape from the late 1950's to the 1990's. Celebrated as the "Pope of Pop Cinema," the "Spiritual Godfather of the New Hollywood," and the "King of Cult," Corman was a pioneering force in independent filmmaking, forever reshaping the industry with his innovative spirit. Throughout his illustrious career, Corman collaborated with an impressive roster of emerging filmmakers, many of whom would go on to dominate the industry. Names such as Francis Ford Coppola, Martin Scorsese, Ron Howard, James Cameron, and Jonathan Demme began their journeys under his mentorship. It has often been remarked that Corman’s guidance served as a vital training ground—what James Cameron famously referred to as the "Roger Corman Film School." His influence extended beyond mentorship; he was a catalyst for creativity and innovation. Nicolas Roeg served as the cinematographer for The Masque of the Red Death, while many of his protégés achieved Oscar success. Corman’s reputation for fostering talent with a blend of encouragement and challenge left an indelible mark on cinema. As he famously advised, “If you do a good job on this film, you’ll never have to work for me again,” exemplifying his role as both mentor and pioneer in the cinematic world. Join Azed and Tom as they explore the life and work of Roger Corman, a true maverick and inspiration for all aspiring filmmakers.  

The recent and tragic news of Gene Hackman and his wife, Betsy Arakawa, has left movie fans around the world reeling. While the unsettling details surrounding their passing may capture attention, this isn’t TMZ. Instead, we choose to honor the life and extraordinary talent of one of the greatest actors of our time. Gene Hackman was renowned for his unparalleled ability to convey authenticity—something that is notoriously difficult for actors to achieve. He masterfully portrayed characters with remarkable depth and complexity, from flawed anti-heroes to charismatic villains and enigmatic oddballs, always infusing his roles with genuine humanity. Join Azed and Tom as they celebrate their favorite performances by Gene Hackman.

One of the least explored subgenres in cinema is the short-lived, radical category known as "punk film." This genre emerged in response to the rise of punk music in the late 1970s, which served as a counterpoint to the hedonistic glam of disco and dance music—a genre I also enjoy. However, punk's emergence was more than just a musical trend; it was a political reaction against the shift toward right-wing and neoliberal policies in Britain and America. Punk embraced a "DIY (Do It Yourself)" ethos that challenged the notion of expertise as an elitist barrier to creative expression. With this DIY spirit, anyone could participate and create without needing to be a skilled musician or filmmaker. Notable examples of punk cinema include Susan Seidelman's *Smithereens* (1982), Allan Moyle's *Times Square* (1980), Julien Temple's *The Great Rock and Roll Swindle* (1980), and Gregg Araki's *The Doom Generation* (1994). However, the film that arguably stands as the "Citizen Kane" of punk cinema is Alex Cox's *Repo Man* (1984). This visionary film captured the punk ethos of early 1980s Los Angeles. *Repo Man* is smart, bizarre, hilarious, and cosmic—making it one of the standout films of the underground cinema of that decade. Join Azed and Tom as they explore this remarkable work by the often-overlooked Alex Cox.

Welcome to our annual Oscar's Bitch Fest. 2025, this year with 50% less 'bitchiness'.  Largely unpolitical, this year's Oscar's seem to successfully navigate the current chaos and produce an entertaining, actually funny and drama free event. However, smooth sailing can make for an uninspiring and somewhat boring ride. If it wasn't for Adrian Brody's eccentric acceptance speech, I wouldn't have cringed at all.   Join Azed & Tom as they discuss the winners and losers, the surprises and the highlights of the 2025 Oscars.  P.S. Azed crushing on Mikey Madison does not violate his restraining order.

With the passing of David Lynch we mourn the loss of a true artist and spiritual guide. Anyone familiar with Lynch, the man and his work, knew him to be a study in the paradoxical.  His All-American "boy next door" character and rural common sense, always sat oddly beside the nightmare cinematic worlds he created.  Mel Brooks, who hired him to direct The Elephant Man, called him "Jimmy Stewart from Mars".  For all the debate around auteurism, Lynch was the quintessential auteur. His films, from Eraserhead, through to the brilliant third season of Twin Peaks, are ireplicable, as influential as he has been, there is no equivalent visionary in today's cinematic landscape. Blending elements of surrealism, film noir, german expressionism, horror and soap opera, Lynch's oeuvre stands as a coherent, if highly symbolic, statement on darkness and light, good and evil, memory and fantasy.  In this sense, Lynch was more than just a great film director, his life and work are a model of the "art life", wherein one dedicates themselves fully to the serious pursuit of art as a way to excavate the hidden, often horrific,  realities behind the facades of the seemingly banal everyday.  Join Azed and Tom as they pay tribute to one of the greatest artists of our lifetime. 

Just in time for the holidays, OTD presents Giallo! What could be more appropriate at this festive time than gorgeously designed, sexually perverse murder mysteries with a dash of the supernatural? Alright! This was supposed to be a Halloween release but Azed was too busy with his charity work and Tom is extremely limited in many ways. Instead of the usual Xmas cinema fare, We suggest a horror filled holiday this year, filled with movies like Deep Red and Suspiria by Dario Argento, Blood and Black Lace by Mario Bava and round off your yuletide celebrations with Don't Torture a Duckling by Lucio Fulci. Azed and Tom aslo pay tribute to the much loved Terri Garr.  So light a fire, get out the Bailey's and enjoy the lurid parade of serial killers and child torturers! Merry Xmas to all the OTD cinema nerds out there in the dark!

At one point in the 70's everyone was wearing clogs and in the 80's, we were handing out Best Picture awards to movies like, Driving Miss Daisy and calling it a sign of progress.  So it's a good idea to check in with your once loved cultural artifacts to make sure you aren't still listening to Jesus Jones or defending Dan Brown books . In that vein, Tom and Azed discuss two movies they both used to really like and now feel a bit less enthusiastic about. Oddly, and completely randomly, both of us chose movies by Kubrick: Lolita (1962) and The Shining (1980).  We discuss the difficulty in translating good books to film, the limits of interpretation, and Kubrick's pattern of focusing on what has been called "the banality of evil".  Tom also gives us an update on some of his favourite screenings at this years TIFF. 

As the world continues to spiral down into increasing idiocy, cruelty and destructiveness, Azed and Tom are both using cinema to cope.  In this episode, we discuss some more recent releases including: Richard Linklater's Hit Man,  Alex Garland's Civil War and George Miller's Furiosa: A Mad Max Saga.   Despite increasing corpulence and hair loss, we are not the new Siskel & Ebert,. We employ no thumbs up, thumbs down metric based on nothing more than personal taste, rather we focus on how cinema continues to embody the concerns and anxieties of our current time, both consciously and unconsciously.  These recent releases are concerned with how tribal populism insists that citizens define themselves within very narrow and easily recognizable identities.  Indeed, Hit Man seems very aware of the concept of self-creation as a political act.  Cinema may be a coping mechanism and an escape from the harsh realities of everyday life, but as we discuss in this episode, it can also serve to elucidate and clarify our current fears, anxieties and ideological blindspots.  We also pay tribute to a great Canadian actor, Donald Sutherland, who passed away last month.