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A Very Good YearEpisodes
Michael Hull
A Very Good Year
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The essayist, poet, and film critic Phillip Lopate joins us to discuss his new collection “My Affair with Art House Cinema” and the cinema of 1959, in which one series began with “The 400 Blows,” one series ended with “The World of Apu,” and Ot
Nobody we know knows more about silent cinema than film critic, historian, and social media mastermind Marya E. Gates. She joins us to talk about movies from literally a century ago, from the brilliance of “Sherlock Jr.” to the sexiness of “For
Larry Karaszewski isn’t just an award-winning screenwriter and producer — he’s also a serious cinephile, as evidenced by the fact that we asked him for a top five for the year of his birth, 1961, and he came back with six double-features. We ta
Mark Harris has written three of the essential film books of our time, and one of them — “Pictures at a Revolution” — tells the story of Hollywood in flux by detailing the making of the five nominees for best picture of 1967. So he joins us to
Writer, editor, and director Carrie Courogen is the author of the breathtakingly good new book “Miss May Does Not Exist,” and since it’s a biography of Elaine May, she joins us to talk about 1987 — not only May’s unjustly maligned “Ishtar,” but
Film critic, historian, and TCM stalwart Ben Mankiewicz joins us, on the eve of a new season of his essential podcast “The Plot Thickens” to discuss the nuclear meltdowns of “Fail-Safe,” the political paranoia of “Seven Days in May,” the comple
Film critic, podcaster, and historian Alexandra West joins us to talk about her new book “Gore-Geous: Personal Essays on Beauty and Horror” and the movies of 1976, from the bloodbaths of “Carrie” and “Taxi Driver” to the erotic power plays of “
Screenwriter and director Richard Shepard’s new film is catnip to us (and probably you too, if you’re listening to his show): “Film Geek,” an essay film about growing up as a movie-crazy kid in NYC in the late ‘70s and early ‘80s. He joins us t
Critic, podcaster, and author Alonso Duralde was just beginning his professional life in 1991, and witnessed the early pangs of what became known as the New Queer Cinema, a key point in his new book “Hollywood Pride: A Celebration of LGBTQ+ Rep
Glenn Kenny is the author of the new book “The World Is Yours: The Story of ‘Scarface,’ and is one of our favorite film critics and scholars in general. He’s here to talk about the mighty 1954, a less-discussed year that gave us everything from
Indiewire’s Kate Erbland was a literal child in the year 1990, but she luckily had parent who put very few viewing boundaries on her, which was how she ended up seeing “Die Hard 2,” “Ghost,” and one of her all-time favorite movies, “Pretty Woma
Film critic and journalist Tomris Laffly was just starting to figure out who she was as a filmgoer in 1997, so she joins us to share some of her favorite memories of that year: the heartache of “Good Will Hunting,” the dark humor of “The Ice St
In advance of Friday’s theatrical debut of his Sundance hit “Stress Positions,” comedian, actor, writer, and cinephile John Early joins us to discuss all things 2002, from the earnestness of “Crossroads” to the sexiness of “Unfaithful” to the s
Filmmaker, actor, TV writer, and film critic Siddhant Adlakha was in a moment of transition in 2013, and vowed to see as many new movies as possible for the sake of career clarity. He walks us through some of those discoveries, from the spectac
Daily Dead columnist Scott Drebit’s new book is “A Cut Below: A Celebration of B Horror Movies, 1950s-1980s,” so it shouldn’t come as a surprise that he picked 1979, a banner year for horror. He joins us to discuss the working-class scares of “
“Variety” TV critic Alison Herman had just moved to Los Angeles in the year of our lord 2017, and she joins us to recall, with fondness, the cockeyed comedy of “Phantom Thread,” the deft commentary of “Get Out,” and the totally not-divisive ple
It’s a special MID-WEEK EPISODE, in honor of Friday’s release of acclaimed director Bob Byington’s latest, “Lousy Carter.” Join us as we talk with Bob about the current indie landscape and the films of 1994, from the art of “Red” to the commerc
For show number two from SXSW, we’re joined by the prolific film critic and RogerEbert.com Associate Editor Robert Daniels. He sings the praises of 1965, from the devastation of “The Pawnbroker” to the thrills of “Flight of the Phoenix” to the
Back at SXSW, we’re joined by Austin’s own Jacob Knight, co-host of the “Secret Handshake” podcast, and lover of great movies and great trash. 1989 offered plenty of both, from the power of “The Abyss” to the inanity of “Jason Takes Manhattan”
Esther Zuckerman is an appropriate guest for Oscar Sunday, as she is the author of the fabulous book “Beyond the Best Dressed; A Cultural History of the Most Glamorous, Radical, and Scandalous Oscar Fashion.” She joins us to talk about famous O
David Fear, chief film critic and senior editor at “Rolling Stone,” had not yet joined the living in the year 1968, but he’s always been fascinated by its contradictions and commentaries. He joins us to discuss the genius of “2001: A Space Odys
The whip-smart and hysterically funny Katie Rife joins us to talk about the movies of 1978 — from the terrifying precision to “Halloween” to the sweaty muscularity of “The 36th Chamber of Shaolin” to the impeccable formalism of “Les Rendez-vous
Our Aussie invasion continues with this week’s guest, film critic and podcaster extraordinaire, Blake Howard, the mastermind of One Heat Minute Productions. Blake joins us to talk about unhealthy relationships with movies and his love for the f
Sam Adams, writer and senior editor for Slate, was in the midst of his cinephile awakening in 1992, when he was taking in new indies and other risky delights at the SoNo Cinema. Join us as we walk through the vérité discomforts of “Husbands and
Film critic, author, “Fangoria” columnist, physical media mainstay, and recovering academic Alexandra Heller-Nicholas joins us for a jaunt through the dark laughs of “Little Murders” and “A New Leaf,” the knotty gender politics of “Straw Dogs,”
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