Ericca Long and Cole Roulain
The Magic LanternEpisodes
Episodes of The Magic Lantern
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Watership Down (Rosen, 1978) is, without a doubt, one of the pivotal cinematic experiences in my life. It captivated me at a very young age with its danger and darkness. It also taught me a number of valuable lessons, things I have thought abou
Seven Samurai (Kurosawa, 1954) is truly a foundational film, not just of Japanese cinema, but of world cinema. Because it is has become a touchstone for so many tropes and devices that we recognize today, you might think that it is a stuffy fil
It’s that most wonderful time of the year again! In this episode, The Magic Jack O’Lantern 2021, we once again bring you our list of viewing tricks and treats to celebrate the season. We watched one Halloween inspired title every day in October
The Cole-o-ween festivities roll on here at Lantern HQ! This time around we are discussing one of our favorite underappreciated zombie classics, Let Sleeping Corpses Lie (Grau, 1974). This one has it all – beautiful locations, social commentary
Is there anything you find impossible to watch? Or how about just very difficult? For me, The Invisible Man (Whannell, 2020) is that film. I do have some personal history that makes what Cecelia is going through exceptionally poignant, but even
Gray’s Anatomy (Soderbergh, 1996) is the last proper cinematic monologue we have from Spalding Gray. That’s a little ironic. Here, he navigates neuroses, a serious eye injury, and what he terms the Bermuda Triangle of health to come out the oth
Harlan County, USA (Kopple, 1976) is still a gut punch some fifty years later. Watching the violent and bloody events unfold as miners strike to be recognized for their union organization, for better wages and more safety measures, and simply t
Shadow of a Doubt (Hitchcock, 1943) was a turning point in the career of the master of suspense. It was reportedly Alfred Hitchcock’s favorite film he ever made. It is also what I consider to be his first truly American film. Once he looked int
Butch Cassidy and the Sundance Kid (Hill, 1969) is a delight to watch time and again, a true piece of entertainment that seems to hit all the right notes. Surprisingly, the film was not an immediate hit with some critics or with directors like
The Last Picture Show (Bogdanovich, 1971) will break your heart in a million different ways, all of them Texan. As an expatriate from a town very much like this, it hits me where I live. I’ve seen those fights on Main Street between guys who we
When we first see Mona, she is already dead. In Vagabond (1985), Agnès Varda then sets about to reconstruct the last days and weeks of this young woman’s life, as witnessed and retold through the eyes of others. We learn that none of these peop
Gillian Armstrong’s My Brilliant Career (1979) belongs to a special category of films in my personal canon. Sometimes a movie hits you like a bolt out of the blue and you know it is going to be a permanent fixture on your list of favorite films
Is Rushmore (1998) your favorite Wes Anderson film? It is certainly mine. When I first saw it in the theater when I was about 22, it hit me where I lived. This rich vein of the blackest comedy combined with pathos of a young man’s singular saga
We owe a debt of gratitude to Tremors (Underwood, 1990). Its arrival kicked off another boom cycle for one of our favorite subgenres – the creature feature! About every twenty years we get a new permutation of this subgenre and now it was the n
Is Diabolique (Clouzot, 1955) a film noir or a thriller? We firmly assert that it is one of the most delectable, and yes, diabolical noir masterpieces to come out of the 1950s. That it manages to be thrilling as well is a testament to the deft
It’s May again! And you know what that means around these parts – film noir. We are in our second year of the Noir City festival postponement in Austin due to COVID, but we are soldiering on with some of our favorite titles that fall under the
By special invitation from Mira Nair, we are guests at the raucous, glorious, marigold-covered Monsoon Wedding (2001). Delhi, its sights and sounds, its people, its rains, and its power outages are the setting for the traditional wedding ceremo
Much like the electric light, telegraph, and motion pictures it chronicles, My Twentieth Century (Enyedi, 1989) is a marvel of its age. Luminous to the point of transcendence, it is quite simply one of the most beautiful things ever committed t
Rapturous. This word perfectly describes my feelings about A Room with a View (Ivory, 1985). You could also use this word to describe my feelings about the scenery, the performances, the score, the costuming, and Italy itself. I have been savin
I carry a particular impression with me about Robert Bresson’s L’Argent (1983). It strikes me as a stately and austere museum whose only exhibit is devoted to the artifacts of a tragic and deadly crime. As I wander its minimalist halls, I am me
Julie Dash’s Daughters of the Dust (1991) is a groundbreaking and timeless film. It was the first feature film directed by an African-American woman distributed theatrically in the United States. It was a visual and artistic triumph, earning a
I have been waiting to talk about Charles Burnett’s Killer of Sheep (1978) for a long time. I first recommended it all the way back in episode 005. In my estimation, it’s one of the most important American films ever made, independent or otherw
Have you had anyone in your life like the title character from Toni Erdmann (Ade, 2016)? A family member, a friend’s dad, a work colleague? And are you still traumatized? All kidding aside, writer/director Maren Ade, along with her actors Sandr
It’s our first show of 2021 and we want to wish everyone a happy new year! To get things off on the right foot, I wanted to choose something special for this first episode of the year. I hope you’ll agree that I’ve found it. In the spirit of ma
Welcome to Ants In Your Pants of 2020! It’s our sixth annual episode in which we reflect on our favorite film discoveries of the past year. We are so glad you joined us for this episode, as it was certainly a very different year for cinema-watc
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