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The Big Picture

Author: The Ringer

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The Ringer dives into movies as Editor-In-Chief Sean Fennessey sits down with Hollywood’s biggest filmmakers, breaks down the latest industry trends, handicaps the upcoming Oscars race, and reviews new films with Ringer colleagues like Shea Serrano, Amanda Dobbins, and Bill Simmons.

173 Episodes
The slow box office summer continued this weekend as ‘Stuber’ failed to make a real impact in theaters. Is streaming going to put an end to the big-budget action comedy (0:37)? Plus, a long conversation with Lulu Wang about her path to becoming a filmmaker, the deeply personal experience of making ‘The Farewell,’ and what wider success means for a Sundance darling (42:30). Hosts: Sean Fennessey and Amanda DobbinsGuest: Lulu Wang
David Shoemaker joins the show to talk about how action stars are minted in the post–The Rock era of filmmaking, Dave Bautista’s rise to legitimate actor, and who is primed to make the leap from WWE to the big screen (0:45). Then, ‘Stuber’ director Michael Dowse comes in to talk about the role of improvisation in his films, working with Bautista and comedian Kumail Nanjiani, and what his future in directing looks like (25:07).Host: Sean FennesseyGuests: David Shoemaker, Michael Dowse
We take an early survey of the alleged frontrunners in the 2020 Oscars—a slim list of movies that are already getting negative buzz—before discussing the live-action remake trend that Disney is employing in its latest effort to dominate the financial landscapes of moviemaking (1:00). Then, Jesse Eisenberg and Riley Stearns join the podcast (previously recorded at SXSW) to discuss their partnership in making ‘The Art of Self-Defense’ (54:17).Hosts: Sean Fennessey and Amanda DobbinsGuests: Jesse Eisenberg and Riley Stearns
Chris Ryan joins to discuss ‘Midsommar,’ Ari Aster’s shocking Swedish nightmare follow up to his debut horror hit ‘Hereditary’ (1:00). Then, Aster comes by to talk about the challenges of making a horror film set exclusively in the daylight, the pressure of following ‘Hereditary,’ and what he’s doing next (14:47).Host: Sean FennesseyGuests: Chris Ryan and Ari Aster
Friendly neighborhood MCU fan Micah Peters joins the show to discuss ‘Spider-Man: Far From Home,’ the Marvel movie tasked with following ‘Avengers: Endgame,’ the wonders of Jake Gyllenhaal’s Mysterio, and how the movie stacks up to last year’s smash hit ‘Spider-Man: Into the Spider-Verse.’Host: Sean FennesseyGuest: Micah Peters
In this double episode, Sean and Amanda review ‘Yesterday,’ a movie that delivered in Beatles nostalgia but came up short in plot payoff (1:00). Then, Adam Nayman calls in from Toronto to share his top five movies of a slow year so far (42:50).Hosts: Sean Fennessey and Amanda DobbinsGuest: Adam Nayman
The horror genre spent decades as the lowbrow stepchild of the movie industry, but now it’s the vehicle for exciting young filmmakers like Ari Aster and Jordan Peele. Chris Ryan joins the show to help make sense of how we got here (1:00). Then, Gary Dauberman stops by to discuss his path from writing spec scripts to becoming the director of ‘Annabelle Comes Home’—the latest movie in the 'Conjuring' universe, a series he helped grow (21:31).Host: Sean FennesseyGuests: Chris Ryan and Gary Dauberman
Despite the threat of sequel fatigue, Pixar has managed to create classics. 'Toy Story 4' is the latest example, a fascinating portrait of identity that doubles as a treatise on trash. Rob Harvilla joins Sean Fennessey to talk about the new film, what it means to kids and parents, and how the studio has persisted for 25 years (1:36). Then, they share their top five Pixar movies (28:43).
'Men in Black: International' is yet another in a series of disappointing and drab sequels to hit this summer. What went wrong with the alien comedy relaunch? And should young stars like Chris Hemsworth and Tessa Thompson count on shaky franchises to brighten their careers (1:15)? Then, we examine what makes a great summer movie slate, and what—if anything—we can learn from the lineups of the past 10 years (36:40).Hosts: Sean Fennessey and Amanda Dobbins
We dive deep on ‘The Snyder Cut’—the unreleased director’s cut of ‘Justice League’—and the activism surrounding it from DCEU fans, before reviewing the Netflix Bob Dylan mockumentary ‘Rolling Thunder Revue’ (1:00). Then, indie film pioneer Jim Jarmusch joins the show to discuss his new film 'The Dead Don’t Die,' his first foray into the zombie genre (37:55).Host: Sean FennesseyGuests: Rob Harvilla, Jim Jarmusch
Comments (4)

Vasilis Tsompanidis

Great, but how could you miss talking about Bo Peep, maybe the best female icon in recent Pixar movies? She mostly drives the action plus she saves Woody like 10 times.. In a very male actiony way too.

Jun 23rd


finally some Free Solo love from the Ringer

Feb 7th

Dave Courtney

if it's not on Netflix it doesn't matter? Seriously? That sort of rhetoric makes it hard to take any of this conversation seriously. You do realize that of the close to 150 2018 new releases I saw last year, 98 percent were not Netflix originals and a good 85 percent were not on Netflix at all? There is plenty to watch that is not on Netfkix, and of the stuff I saw, its worth noting that 6 of them were in my bottom 10 of the year.

Feb 3rd

Mary Dobrian

I LOVED seeing Angela Lansbury at the end of this film. She is the same age as Dick Van Dyke (93) and also an icon of at least one live action Disney film of the Mary Poppins era (Bedknob and Broomstick). Seeing her was a delightful surprise for me. I also highly doubt that DvD's dancing was CGI. He is still a very spry guy, and the sequence was very brief. (I wouldn't be surprised if he still dances at home every day. 😁) On the whole, I thought you guys were overly harsh on this movie. My family and I are all big fans of the original, and I expected to be quite critical of this, but I mostly found it sweet and charming. I liked the Meryl Streep sequence too. My biggest criticism was the villian(s) - Colin Firth and his animated coynterpart - who seemed to just be evil for evil's sake. The original film didn't really have that: the capitalist bankers came off as misguided, but not really evil, and there was a sense of redemption for Mr. Banks at the end. As far as Emily Blunt is concerned, I felt she made the role her own and did a great job. I wish there had been a bit more of her in the film.

Jan 14th
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