Four Play

The Robert Redford-led Sneakers from 1992 serves as an interesting time capsule to the late Cold War era and the dawn of computer hacking. However, the movie mostly fails in delivering a consistent tone and can't figure out whether it would rather be a high-stakes thriller or a comedic caper that relies on the quirkiness and synergy of its characters. Thorin, Richard, and Monte laugh at the hilarious plot holes and ridiculous final heist scene, but also point out the serious themes of remaking the world order and the destruction of capitalism that underpin the plot.

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Sidney Lumet's 1975 film Dog Day Afternoon focuses on an intimate cast of characters during a tense hostage negotiation after a robbery gone wrong. Touching on American social issues and adapted from a true story, the film provides a vehicle for a sympathetic powerhouse performance from a young Al Pacino. The movie deals with modern themes, such as the distorting power of the media and the implications of going to prison as the central crime spirals out of control. Monte, Richard, and Thorin discuss the historical context in which the film was made as well as the real robbery that inspired Dog Day Afternoon.

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The 1999 remake of The Thomas Crown Affair presents Pierce Brosnan as the slick, titular character indulging in a heist dripping in male fantasy. John McTiernan directs a film, in the downswing of his career, that could have been much more if it focused principally on the cat and mouse game between Brosnan and Renee Russo. The film is beautifully shot and revels in the splendid aesthetics of New York, the art world, and even Brosnan's buttocks. Watching this movie left our hosts questioning what could have been with a better script writer, supporting cast, and a more ambitious director.

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Michael Mann's 1995 film Heat finally arrives on Four Play, an inevitable addition to the show since it's one of all of our hosts' favorite films. Not only an excellent heist movie, Heat is unbelievably well-crafted with characters and a scope that smacks of Shakespearian or Greek tragedies. Richard, Thorin, and Monte discuss the themes of criminality, compulsion to vocation, and the satisfying conclusion to every character's arc. They celebrate the incredible cast, particularly the iconic performances of Robert De Niro, Al Pacino, Tom Sizemore, and Val Kilmer whose interplay forms the heart of the film. Heat deserves your attention and multiple viewings. We keep coming back to it, and so should you.

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Satoshi Kon's seminal 2003 film Tokyo Godfathers explores the touching stories of three homeless people who have created a found family on the streets of Japan. While not as fantastical or surreal as Kon's other work, the film still indulges in the fantastical with a series of charming miracles and coincidences that befall the main characters. Tokyo Godfathers tackles a variety of taboo subjects in both Japan and the wider world: homelessness, sex work, organized crime, queer identities, alcohol abuse, immigration, and more with extraordinary sympathy. We recommend this film for everyone's regular Christmas viewings.

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Four Play revisits an all-time Christmas classic, Frank Capra's 1946 film It's a Wonderful Life. Notable for its saccharine ending and celebration of human kindness, the film provides a warm holiday glow in spite of overtly dark themes that permeate the majority of the story. Thorin, Richard, and Monte discuss the movie's many merits, its exploration of socialism vs capitalism, and provide historical context of post-war America. On the way, our hosts have a few laughs at some of the more ridiculous aspects of It's a Wonderful Life and James Stewart's character, George Bailey, but ultimately agree that the film deserves its reputation as a holiday staple.

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Bill Murray led film Scrooged as a 1988 re-telling of the classic Charles Dickens story A Christmas Carol, directed by Richard Donner. Four Play examines the success of this modern framing, which sees Murray as television station executive Frank Cross, who undergoes encounters with the ghosts of Christmas past, present, and future. The film serves up some brilliant satire and witty dialogue, but stumbles at the finish line with a wordy ending and a failure to live up to the meta-narrative the film creates. Our hosts still had fun and memorable time with Scrooged, but as the screenplay writers themselves admitted after the fact, it falls a tad short of being an all-time Christmas classic.

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We thought Batman Returns was good. As it turns out, Tim Burton's 1992 movie lived in Richard, Thorin, and Monte's minds in rosy nostalgia that simply didn't hold up 30 years later. The terrible writing, plot, and dialogue drags down a film with a large budget, extraordinary visuals, and a good cast. Filled with a strange mélange of campiness and blatant sexuality, the tone completely misses the mark. Furthermore, why would anyone ever make a Batman film with hardly any Batman in the movie?

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Con Air takes flight this week's Four Play, featuring a cast brimming with top stars and character actors from 1997. The film serves up some amazing action sequences, stunt work, and excellent over-the-top performances, which should leave viewers satisfied if they "buy in" to the absurd premise. Even the movie's obvious flaws, such as the overly fast pacing, terrible writing, and massive plot holes are also hilarious to discuss given the over-the-top tone. While certainly not a subtle or artistic piece of cinema, Con Air serves its role well as one of the ultimate popcorn action flicks and stands as a symbol of the genre's excesses in the late 1990's.

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Total Recall stands apart from our other 90's action films in this Four Play cycle through its cutting satire, intriguing themes on the nature of reality, and genuine intelligence. Paul Verhoeven's 1990 science-fiction banger was frequently misinterpreted upon its release but has aged beautifully in spite of the gratuitous violence and cheesy acting by Arnold Schwarzenegger. The film toys with its main character's reality through his memory implants and leaves interpretation to the audience as to whether the film's plot happened on Mars or in Quaid's head. Total Recall injects gratuitous violence and action as a send-up of American cinema while raising intriguing questions on the manipulations of mass media and authoritarianism.

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The first Tom Cruise Mission: Impossible film debuted in 1996 and created a multi-decade film franchise that continues to this day. Director Brian De Palma created a surprisingly complex storyline, at least for a Hollywood popcorn flick, that focuses around an espionage mole hunt with a surprising twist. The movie delivers the single most iconic scene of computer hacking in film history as well as other highly memorable sequences that have held up well as the decades passed. While not entirely coherent and with some questionable cinematography at times, Mission: Impossible remains a fun and iconic movie worth revisiting.

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John Woo's 1997 film Face/Off kicks off a fierce debate among our hosts about whether or not the film succeeds in a fun, yet stupid, premise or if it's too ridiculous to be considered good. The film's Hong Kong style seems out-of-place in a Hollywood movie, but can a viewer buy into its heightened style and find enjoyment. Thorin, Richard, and Monte fiercely debate if watching Face/Off is a pleasurable experience considering the total lack of subtlety as well as the memorable nature of the premise.

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The logical endpoint of Film Noir, Curtis Hanson's L.A. Confidential stands apart as a buffet of Noir tropes devoured by a masterful cast. It serves as the ultimate movie of its genre, mashing together institutional corruption, prostitution, drugs, the seedy Hollywood underbelly, racism, and ethical policing. Upon re-viewing, Richard, Thorin, and Monte agree that it must be one of the most criminally underrated movies and possibly deserving a place on lists of the 100 best films of all-time. They discuss the intricate interplay between the three leading actors, played by Russell Crowe, Guy Pierce, and Kevin Spacey, the superb location scouting and cinematography, the intelligent complexities of the plot, and more.

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Often considered one of the greatest films ever made, Roman Polanski's 1974 Film Noir masterpiece Chinatown explores themes of corruption and the futility of fighting against institutional power. Richard, Monte, and Thorin discuss the devastating ending, the banality of the water rights subject matter, the impeccable pacing, and more. They ask if Jack Nicholson's performance is even necessary to this film, especially contrasted to John Huston's dazzling acting in a supporting role, and explore Faye Dunaway's diva turn. Why even call the film Chinatown and what does it say about the perception of the Chinese as The Other?

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Touch of Evil, directed by Orson Welles in 1958, is the second step on our journey through Film Noir. Thorin, Richard, and Monte discuss Welles' spectacular performance as a despicable detective, the racial themes behind the film, the casting of Charlton Heston as a Mexican police officer, and more. They dive into the films theme of the ends justifying the means and the racial commentary on the Mexican-American border as part of this surprisingly deep film.

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We put on our trench coats and fedoras to investigate four different movies in the Film Noir genre, beginning with John Huston's The Maltese Falcon from 1941. This film remains the perfect starting point for exploring Film Noir and served as a blueprint for dozens of future movie in the following decades. It brims with exceptional acting performances by Humphrey Bogart, Sydney Greenstreet, and Peter Lorre, underscored by fantastic and memorable dialogue. While not exploring the deeper and more artistic themes of subsequent films, it delves into the extreme extent that individuals will go to satiate their greed. Ultimately, The Maltese Falcon remains a cornerstone movie that must be understood to appreciate a huge swath of film history.

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Near Dark, directed by Kathryn Bigelow and released in 1987, takes an unusual approach in examining the practical realities of being a vampire in modern times and the difficulties in living with such extreme strengths and weaknesses. While other films in our 1980s vampire genre may have glorified undeath, Near Dark presents vampirism as a true curse and a horrific plague upon normal humans. Richard, Thorin, and Monte praise the films standout scenes, especially with the iconic performances by Bill Paxton and Lance Henriksen, while lamenting the strangely "feel-good" ending.

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The Lost Boys, directed in 1987 by Joel Schumacher, became an unlikely hit film with teenagers of the era as it married California beach life, trendy aesthetics, and the seductiveness of vampires. Richard, Thorin, and MonteCristo discuss this excellent film as the pinnacle of coolness of the era alongside its deeper themes of peer pressure and homosexuality. Kiefer Sutherland delivers an excellent performance, as does the rest of the cast including the first time Corey Feldman and Corey Haim appeared on film together. The Lost Boys has left a significant legacy on a generation's perception of the sexiness and glamor of vampires, as the movie presents few of the downsides to eternal life explored in other films.

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Tom Holland's Fright Night (1985) serves as the second 1980s vampire film explored on Four Play as our hosts dive into this teenage comedy/horror. The movie is simultaneously a love letter to classic horror b movies, an exploration of teenage sexual awakening, and a spectacular display of action and practical effects. While the actors portraying the teenagers might not be the strongest in comparison to other films of the era, Roddy McDowall and Chris Sarandon provide excellent performances that propel a cleverly written, entertaining film. Fright Night also features some surprising homoerotic and homosexual themes that, although less explicit than other ideas explored in the film, reveal aspects of the 1980s American zeitgeist.

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Vampire films from the 1980s take the stage as the next genre for Four Play, kicking off with Tony Scott's The Hunger from 1983. The movie relishes in emerging Goth music, culture, and aesthetics during the period while simultaneously exploring the torturous downsides of eternal life. The Hunger is beautifully shot and paced, allowing it to provide an excellent viewing experience in spite of an understated plot and hokey ending. David Bowie, Catherine Deneuve, and Susan Sarandon feature in the film as it uses its star-power to explore the fleeting nature of fame.

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Our Cosmic Horror arc wraps up with Stuart Gordon's 1986 film From Beyond, based off a short story by H.P. Lovecraft. While more niche, and certainly lower-budget, than other films Four Play reviewed in this genre, From Beyond squeezes the most out of its story and actors to provide a satisfying, if campy, experience. Jeffrey Combs, Barbara Crampton, Ken Foree, and the rest of the cast deliver excellent performances in a film that explores the limits of human perception and sexuality.

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Many of us have fond memories of Event Horizon (1997), considered Paul W.S. Anderson's best film, but how does it hold up over 25 years later? Richard, Monte, and Thorin discuss the excellent concept and set-up of the movie, which gets unfortunately bogged down by a clunky ending and hilariously bad dialogue. The film liberally steals visuals and scenes from other, better movies and ultimately fails to deliver on an intriguing premise. Sam Neill turns in a wonderfully cheesy performance as one of the high points alongside some enduring production design and visual imagery that has aged relatively well. The boys wrap up with re-evaluating Event Horizon's legacy and place in the cosmic horror genre.

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Alex Garland's 2018 film Annihilation continues the Cosmic Horror theme on Four Play, as Richard, Monte, and Thorin discuss the themes that evolve beyond the shimmer. Is the film about trauma, the experience of cancer, the fundamental human drive toward self-destruction? The Four Play crew also digs deep into the symbolism embedded in the film and how the beauty of the production design, soundtrack, and cinematography helps to create a compelling alien world. The ending has been critiqued as enigmatic, but if feels a bit too straightforward for our hosts, who left this film wanting a bit more mystery. And also more of Oscar Isaac's acting.

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In the inaugural episode of Four Play, the theme is Cosmic Horror and the subject is the iconic 1982 film The Thing directed by John Carpenter. Richard Lewis, Thorin, and MonteCristo guide you through the premise of their new show, the four films they will review in the Cosmic Horror genre, and why they made these selections. They provide historical context for the release and reception for The Thing, the reasons they adore the film, the political and Cold War undertones, and the fantastic ambiguous ending.

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