Critical Darlings

Critical Darlings is going LIVE at The Savannah Film Festival! In our first live podcast recording, we’re doing an awards season kickoff at 2pm on Tuesday October 29th at The Gutstein Gallery in Savannah Georgia. We’ll be talking about the year’s awards narratives, the big races, and more. For more information and tickets, visit: ⁠https://filmfest.scad.edu/schedule/critical-darlings-awards-season-kickoff-live⁠ This week we’re joined by the brilliant Jia Tolentino to build monuments to our love…for this movie! It’s You Can See Everything, Nathan Fielder and Lance Oppenheim’s meta-doc about Elizabeth Holmes, her family, and her reality. It's a mesmerizing journey into the world of Holmes and her partner, the Billy Evans, in the month before Holmes imprisonment for fraud as CEO of Theranos. In classic Fielder style, the movie takes a turn, and becomes something else entirely, but is no less interesting. Email us! CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Critical Darlings is going LIVE at The Savannah Film Festival! In our first live podcast recording, we’re doing an awards season kickoff at 2pm on Tuesday October 29th at The Gutstein Gallery in Savannah Georgia. We’ll be talking about the year’s awards narratives, the big races, and more. For more information and tickets, visit: ⁠https://filmfest.scad.edu/schedule/critical-darlings-awards-season-kickoff-live⁠ The Social Reckoning is Aaron Sorkin's semi-sequel to the Oscar-winning The Social Network. It updates the story of Silicon Valley boy-king Mark Zuckerberg and his Facebook to the near-present. Despite a more tech-skeptical public, critics and audiences seem to have rejected the film. Thankfully, we have an expert to help unpack it: former Facebook employee George Civeris of Straightiolab! Despite much of the press and promotional focus around the movie, Zuckerberg, now embodied by Jeremy Strong, ends up playing a supporting role to Mikey Madison and Jeremy Allen White's characters, Frances Haugen, a…

🚨🚨🚨 Big News! 🚨🚨🚨 Critical Darlings is going LIVE at The Savannah Film Festival! In our first live podcast recording, we’re doing an awards season kickoff at 2pm on Tuesday October 29th at The Gutstein Gallery in Savannah Georgia. We’ll be talking about the year’s awards narratives, the big races, and more. For more information and tickets, visit: https://filmfest.scad.edu/schedule/critical-darlings-awards-season-kickoff-live ————— Digger may be exhausting to watch, but it sure is fun to talk about! This week, we’re joined by Dana Stevens, Slate critic and author of Camera Man, to discuss Alejandro G. Iñárritu’s big-budget, big-swing meta-satire about climate, gerontocracy, art, and who knows what else. It may have flopped at the box office, but we’re (sort of) split on what to make of the movie and its knotty, sometimes gorgeous, sometimes clumsy presentation. Next week, we’re reckoning with The Social Reckoning. Email us! CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit…

Heads up to listeners, this episode includes sensitive discussions of abuse due to the nature of the film. It's Primetime! The new Robert Pattinson vehicle is a neon-lit, morally murky movie about ratings and perversions of justice that serves as an astonishing acting showcase for Pattinson and costars Merritt Weaver and Skyler Gisondo . It's also a hit, and yet another feather in Pattinson's cap, after The Drama succeeded earlier this year, and with Dune III on the horizon. We're joined by the incredibly well-traveled Jessica Kiang of Variety and The Berlin Film Festival to discuss. We discuss the film, its unintended documentary companion piece Predators, the phenomenon of To Catch A Predator, and how all of that is filtered through this very slick film, the first narrative feature from director Lance Oppenheim. Next week, we'll be having a very measured discussion of the normal-looking film "Digger". Email us: CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this bonus episode: After a month of festival hopping, we're back in the studio to discuss the fall festival season, its big premieres, and paint a very rough picture of how award season is shaping up. But first, we take a question from the mailbag to demystify the fall festival circuit and how these giant star-studded events actually work. Email us! CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Conflict of interest disclosure: Critical Darlings is a fully owned subsidiary of The Umbrella Corporation. Today we're joined by David Sims of Blank Check and "friend of" one of this film's featured performers (Critical Darlings' Executive Producer) Griffin Newman, to discuss Zach Cregger's adaptation of the Resident Evil video game series. Resident Evil is Cregger's third triumph in a row, after Barbarian and Weapons, and captures the game series' campy but grotesque sensibility in a completely fresh way that's resonating with audiences, critics, and even the vast majority of gamers. We go deep on Resident Evil lore, whether Resident Evil 4 is the greatest game of all time, and how the movie's bullet-counting, rummaging-through-drawers set pieces manage to evoke the series without introducing any classic Resident Evil lore. We also get into the history of the Resident Evil film series, different approaches to video game adaptations, and whether this movie will usher in a new age of less literal game…

As Richard and Alison are jet-setting across Venice, Europe, and Toronto, North America, we bring to you a special pre-recorded mailbag, featuring your voicemails and questions! We get into our favorite end-credits songs; the IPs we'd love to see adapted; our imagined Oscar-worthy biopics; the festival circuit; the history of digital media; The Oscars, and much more. We also unlock new Richard and Alison lore, including Rent message boards, Mulder and Scully fanfic listservs, male weepies, and even more discussion of Empire Of Light. Next week, pull out your Umbrellas, because it's raining zombies in Zach Cregger's Resident Evil. You can still email us! CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Get your dipping sauces ready, it’s Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma! Starring Gillian Anderson and Hannah Einbinder, this meta horror picture goes to some very strange places that nonetheless right feel at home with Schoenbrun’s dreamy-sexy vision: a haunted summer camp, an underground eldritch video store, and an emotionally moving Counting Crows music video to name just a few. Though dripping in fountains of blood, the movie is also a sensitive depiction of sex and desire as refracted through Einbinder’s character’s obsession with the in-universe Camp Miasma. Camp Miasma is a past-its-prime, problematic horror franchise whose masters have now employed Einbinder's character, a young director, to create a “woke” reboot. She travels to the Pacific Northwest to meet the mysterious starlet of the first film, played by Anderson, who lives at the old campground, and both women unspool. Alison recently wrote a profile of Schoenbrun in Vulture, and has been immersed in their work for some…

After an absurd and depressing attempt by David Zaslov to bury Coyote Vs. Acme, it’s finally in theaters. What’s more, it’s great, making WB’s attempts to shelve the movie for a tax write-off seem all the feckless. Rescued by the odd-duck distributor Ketchup Entertainment, the movie is a corporate satire and legal thriller about culpability and justice in a world stacked against the little guy—represented by the character of Wiley Coyote, and Will Forte, as Coyote’s ambulance-chasing attorney. Today we’re joined by Looney Tunes expert Connor Ratliff, of The George Lucas Talk Show, Connor Ratliff’s Presents The Acting Class,⁠ Dead Eyes, and more, to discuss the movie, its rocky history, and a great deal of Looney Tunes lore. We get into a history of Ketchup, the movie’s surprisingly heartfelt center, which Looney Tunes are MAGA, and get into a little behind-the-scenes discussion with the help from Connor, including some of the film’s notable absences, and Senator Elmer Fudd’s official political affiliation.…

Ey wanna leahn howta shuck an oystah? Jaya Saxena of the new, worker-owned food publication Ravenous, joins us to discuss Tony, the micro-biopic about a pipsqueak version of Anthony Bourdain learning to love food in Provincetown, Mass. From director Matt Johnson of Nirvana The Band The Show The Movie, and Blackberry, comes a fictionalized take on Bourdain’s early years. The script loosely covers about a chapter and a half from Bourdain’s hallowed Kitchen Confidential: the book that helped turn him from a working chef into one of the most important food writers in America. Bourdain’s reputation precedes him, but Tony largely sidesteps the mythology by downsizing Tony into a wannabe writer in need of a good ass-kicking. We discuss Bourdain, Kitchen Confidential, the allure of bad boys from greater Massachusetts, what exactly goes into a Lobster Thermidor, refillable ketchup bottles, and the movie’s depiction of drugs and suicide. Finally we get into our favorite food movies (Tampopo! Eat Drink Man Woman!…

Dinosaurs are back in business this week, with The End of Oak Street, an original blockbuster about shooting dinos in the face while getting chomped by various raptors, dactyls, and giant primordial snakes. We’re joined by Indiewire’s Matt Singer, host of Filmspotting: SVU, and author of the upcoming book Funny Business, to discuss the film, its blend of Amblin-influenced family filmmaking with director David Robert Mitchell’s acidic bite. The movie uses its familiar tropes to lull the audience into a lull before ripping those tropes apart, making the film stranger and darker than the marketing let on. Still, it’s been a hit with critics, if not with audiences at large. We discuss how the story unfolds, Ewan McGregor and Anne Hathaway’s performances, the joys of shooting raptors in the face, sad giant snake monsters, The Last House, and break down the ending and what the movie is really about—Climate change, maybe? We also get into JJ Abrams’ trajectory as the head of Bad Robot, which produced the film, the…

In a technofascist parallel reality, singles are only allowed to have sex one night a year: it’s One Night Only, AKA The Sex Purge! Comedian Josh Gondelman joins us to discuss this deeply strange film which has taken the box office by…not very much. Is that more evidence for the slow fade of theatrical rom coms, or is this just a really, really weird movie? Directed by Will Gluck, and starring Callum Turner and Monica Barbaro, We’re split on the movie’s charms, but we’re mesmerized by the movie’s vision of fascism + rom-com shenanigans. We discuss the movie’s world building, blacklist scripts, Callum Turner lookalikes, it’s lack of comedian supporting characters, the state of the rom-com, and the movie’s both-sides-ing of its own high concept premise. Check out Josh’s newsletter That’s Marvelous, to get up to date tour info, and mail us at criticaldarlingsmailbag@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Griffin Newman swings back from Spain, Europe, to discuss Spider-Man: Brand New Day! Brand New Day is likely the biggest movie of the year, maybe of all time, depending on how you count. From the seemingly bulletproof Spider-Man formula to the unquestionable star power of Tom Holland and Zendaya, we should have seen this coming! On this episode, we go long to discuss the special appeal of Spider-Men of today and yesteryear, the Tom Holland phenomenon, his perpetual boyishness, The Punisher Meets Archie, spider puberty, bathhouses, the X-Men and their soon-to-be integration into the MCU, in the upcoming Avengers: Doomsday, and wonder if the movie is maybe a metaphor for Gen-Z lockdown FOMO.  Next week, it’s The Sex Purge, AKA One Night Only! Email us: CriticalDarlingsMailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Come for the Les Miz karaoke takes, stay for The Invite. New York Magazine’s Emily Gould joins us to discuss Olivia Wilde’s sexy, awkward comedy of domestic manners starring herself, Seth Rogan, Edward Norton, and Penelope Cruz. Set in an aspirational San Francisco apartment owned by a deeply neurotic twosome, they collide with the sexy couple upstairs at an impromptu dinner party staged by Wilde's character Angela. Their night, and the movie itself, swings from polite nicety to anger to sadness to horniness, ultimately arriving at a poignant question: what relationships are worth saving, and when is it time to just move on? Both as a director and performer, The Invite is destined to become a calling card for Wilde. Among many things, we discuss her unusual Hollywood trajectory, the studied aesthetics of aspirational apartment living, Esther Perel, firefighter aesthetics, dinner party etiquette, Les Miz, steak knives, woo woo treatements for back pain, and San Francisco real estate. Next week, everyone has…

Daddy, tie us to the mast, we’re off to see The Odyssey! Christopher Nolan’s epic about a dad going out for cigarettes has vanquished all foes, critical, commercial, and discourse-able. To unpack it all, we’re joined by Vulture’s Fran Hoepfner. Nolan’s Oppenheimer follow-up both revisits and expands the director’s thematic palette. Among many aspects of the film, we discuss Nolan’s controversial choice to reject many of the signifiers of sword and sandals epics, his thematic quirks, the massive scale of the film, and how the ultimate hero’s journey is also a reflection of Nolan’s own filmmaking journey. We also get into spoilers (with warning), the movie’s possible political aims, and where Nolan might go from here. Finally, we do our Nolan rankings. Next week, we’re swinging with Olivia Wilde’s The Invite. You can email us now! We’re doing an upcoming mailbag episode, so feel free to drop us a line at criticaldarlingsmailbag@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

You’re welcome…again! This week we’re scraping the bottom of the barrel of Disney’s “live-action” remakes, with Moana.  As noted on last week’s episode, Producer Ben Frisch is out on a Minions-related leave of absence, so we’re joined by Producer Ben Hosley, to talk about this especially contrived-feeling cultural product. It used to be that Disney remakes were sure to break a billy at the box office, but that’s no longer the case, with only the recent Lilo and Stitch remake having any legs. Moana’s disappointing landing makes us wonder if the steam is truly run out of the remake machine.  While the movie itself is a little flimsy, it affords us the opportunity to go deep on its most controversial performance and star, Dwayne “Mr. Rock” Johnson, as Maui. Like the remakes themselves, Johnson used to be an undeniable box office draw, but in recent years his films have also begun to disappoint. We do a career retrospective to try and puzzle out what, if anything, has gone wrong. Next week, we’re joining the…

The Minions are back with a film designed to pander…to us! On this episode, three Minions neophytes try to make sense of Minions And Monsters, where the round yellow ones land in 1920s Hollywood. among Chaplin, Keaton, and all of Gen Alpha’s favorite silent film stars. For two of us at least, it worked! We also discuss Minions lore: The movie posits that the species consists of roving tribes of task rabbits, and raise questions about their mortality, reproductive cycle, edibility, and of course their role in 20th century geopolitical conflict. We also discuss our relationships to animation generally, the film’s character design, its ode to 2022’s Babylon, and the place of Hollywood nostalgia in our era of corporate consolidation and general pessimism. Also, a special message to the Critical Darlings community from producer Benjamin Frisch. Next week: It's Moana, you're welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we’re Gunn-ing for Supergirl, with filmmaker and video essayist Patrick Willems! Supergirl is the second feature film in the new DC cinematic universe, now helmed by Guardians of the Galaxy mastermind James Gunn. Gunn’s 2025 Superman breathed new life into one of the genre’s biggest icons, but Supergirl blew a raspberry at the box office, despite the good vibes surrounding the new DCU. Supergirl, directed by I, Tonya's Craig Gillespie, borrows liberally from Gunn’s style, but in imitating Gunn, it shows just how difficult it is to pull off his deft mix of humor, spectacle, and heart. Patrick walks us through the movie’s source material, the acclaimed comics miniseries Woman of Tomorrow, and how the film follows and diverges from that book’s True Grit-inspired journey, often to negative effect. We also get into Milly Alcock’s performance as Supergirl, the needle drops, Krypto and the Superhorse (!), and what this movie means for the future of the DCU. Next week, we’re all in on Minions (Babylon…

It’s Pride Week on Critical Darlings, and we’re joined by the co-host of the Alright Mary podcast (and Best Supporting Actress expert) Colin Drucker to break down two new wide-release gay movies: RuPaul’s spoofy Stop! That! Train! and the Australian conversion therapy horror film Leviticus. First, we discuss the delightful Stop! That! Train!, its performances, cameos, and various controversies including lying drag queens (funny) and AI visual effects (depressing). We also get into RuPaul and her legacy as both an artist and screen presence, and the incredibly fickle nature of the RuPaul’s Drag Race fandom and how they have received the film. In any case, she fun! Then, in a season rife with indie horror, Leviticus stands out for its brazen story of two queer teens in an industrial Aussie backwater. The metaphor of the movie, where a supernatural monster stalks gay teens in the guise of the object of their most beloved, feels audacious when most movies and TV are scared to acknowledge gay sexual desire on…

It’s Disclosure Week on Critical Darlings, with writer, podcaster, and E.T. super fan Starlee Kine! Almost five decades after Steven Spielberg reimagined aliens on screen with E.T. and Close Encounters, he’s delivered another story of extraterrestrial awe. The movie stars Emily Blunt and Josh O’Connor. But the figure who looms largest over Disclosure Day is Spielberg himself. We discuss our relationships to Spielberg’s work, how Disclosure Day fits into his slate of alien films, and how the movie worked on us. Like audiences and critics, we’re split. Despite some production quibbles (take off that sweater, Emily!), Spielberg remains a master of the camera. Still, the movie’s optimism for humanity feels behind the times: or, maybe we’re just jaded? Why not both? Other topics include ghosts vs. aliens, Spielberg’s longing for the monoculture, E.T. in the wig, and finally, we do a ranking of Spielberg’s alien films. Next week, we’re celebrating Pride with two flavors of gay film: the goofy Stop That Train, and…

By the power of Grayskull, we have cartoonist and co-host of the No Gods No Mayors podcast, Mattie Lubchansky, in studio to discuss Masters of the Universe! The movie is a test for Mattel, who are going all-in on IP management in the post-Barbie era but Masters has underperformed at the box office and with critics. Has the He-Man IP run out of gas? Did it ever have gas? What would a coherent He-Man movie even look like? Where’s Orko? On this episode, we try and figure it out. We discuss the movie’s patchwork approach to plot and character, its history in development hell, its mostly-winning cast including Nicholas Galitzine, Jared Leto, and do a sidebar on Idris Elba’s history on the big screen. Finally, we wonder if this movie signals an approaching end to the toyetic IP boom of the last couple of decades, or if this is just a blip, with movies like Spider-Man and Doomsday on the horizon. Next week, we’ll be staring at the camera wistfully, eyes aglow with childlike wonder, to discuss Disclosure Day! Learn…

This week we’re joined by the very liminal Ryan Broderick, proprietor of the great Garbage Day newsletter and host of the podcast Panic World, to discuss A24’s hit, Backrooms! Based on a 4-Chan thread, creepypasta, and web series, the movie has captured young filmgoers and its young director, Kane Parsons, has captured Hollywood’s attention. Compared to last week’s subject, Obsession, Backrooms is a much more ambitious blend of effects-driven horror: juggling mid-life ennui, childhood trauma, and corporate conspiracy against an endless fluorescent yellow backdrop. It turns out, men would rather go to the backrooms than engage with therapy. We discuss what works about Backrooms, what doesn’t, and continue our conversation about YouTube directors making the jump to Hollywood. Finally, we discuss the feel-good story of so many new films finding footing in the industry, and what might be next for Parsons and other YouTube crossovers. Next week, we’re getting shirtless and toyetic, with The Masters of the…

This week, it’s springtime for sad boys, with “Obsession!” a horror flick from Blumhouse and director Curry Barker. The movie has exceeded all expectations and is currently doing better than its opening weekend, largely thanks to great word-of-mouth. The movie tells a monkey’s paw story about a one-sided, obsessive relationship that’s taken to horrific, supernatural heights. It’s both fun and genuinely upsetting, thanks to two excellent lead performances and confident direction that makes the most of a very low budget. We also explore the history of YouTubers who’ve made it big in Hollywood (where Barker started his career) and why directors seem to transition into Hollywood more easily than other youtube talent. Plus, we give a quick rundown of Alison and Richard’s Cannes experiences to give you a sneak peek of what we’ll be discussing later this year. And we have a special guest appearance from Critical Darling’s straight boy correspondent, Griffin Newman, who’ll share his thoughts on the movie in a…

Coucou les cheris! As Cannes is underway on the Riviera, we take a break from our usual movie-of-the-week format to look back at the year so far, and look forward to this summer. We count down our top 5 favorite movies of the year (that haven’t been covered on the show), including big studio movies and European arthouse fare. We’ll also take a temperature check on the summer blockbuster slate, from The Mandalorian & Grogu, Disclosure Day, Spider-Man, The Odyssey, and more. Finally, we’ll hear a transmission from Alison and Richard, live from Cannes, to discuss the festival so far. Your wish has been granted! Next week, we’re talking about Obsession, from director Curry Barker and Blumhouse. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wake up sheeple, it’s The Sheep Detectives! This week we’re joined by our very own executive sheepherder Griffin Newman to discuss the new cozy mystery for families. After the mysterious death of their shepherd, played by Hugh Jackman, his band of sheep team up to solve the mystery in a picturesque British countryside. Surprisingly, it’s very good! Knitting together themes of memory and grief, tied up in a wooly bow. We discuss the plot and characters, our histories with upsetting kid’s movies, the exceptional voice performance of Julia Louis-Dreyfus and more. We get into Amazon and MGM’s current play for the box office, fall down a He-Man rabbit hole, and also talk about some other cozy mysteries. Next week, we look back at the year so far, and look forward with a Summer movie preview. Learn more about your ad choices. Visit megaphone.fm/adchoices

Description: “…You think that you've made a choice that exempts you from the podcast industry when, in fact, you're listening to a podcast that was selected for you by the people in the room…and Who? Weekly!” This week on the show, we’re joined by the hosts of ⁠Who? Weekly⁠, Lindsey Webber and Bobby Finger, to discuss The Devil Wears Prada 2, starring a list of all-star Thems: Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci. 20 years on, much has changed in the worlds of Miranda Priestly and Andy Sachs; amidst the cratering value of traditional media, Miranda and Andy reconnect to save Runway Magazine from bad billionaires. Despite its depressing subject matter, the movie is still breezy, funny, and surprisingly well observed. As veterans in the NYC media wars, we get into our histories with the original, recount our encounters with billionaire magazine owners, do a Meryl performance review, discuss the film’s elegy for tastemakers like Anna Wintour, and why we all still want (and need)…

Michael is many things: a box-office triumph, a savvy piece of IP management, and a Frankenstein stitched together from a movie we’ll never get to see. Today on the show, we’re joined by two journalists who have reported on Michael Jackson for the Think Twice: Michael Jackson podcast: our own producer Benjamin Frisch, and Danielle Hewitt, to try and make sense of a deeply flawed film that also features some of the best pop music of all time. We get into the drawn-out trajectory of the movie, its legal woes and reshoots, the casting of Michael’s nephew Jaafar in the lead role, and the film’s rose-colored view of its main subject. We also dip into Jackson family history to think about how a more effective Jackson biopic might work, and get into the story of Michael’s career and the legacy of the now-impossible-to-stream Leaving Neverland. Next week, we’re off to fashion week with The Devil Wears Prada 2, with Who Weekly! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we’re holding a seance in a Dress Barn™ with Mother Mary! Directed by David Lowery and starring Anne Hathaway and Michaela Cole, this two-hander sees a pop singer and her former designer revisiting the rift that severed their early creative partnership, with spooky results. The film goes wide on April 24th, so with extra spoiler guard rails, we’ll discuss the film, its heightened language, and the unusually depicted supernatural elements. We’ll also discuss Lowery’s filmography, contemporary Hathaway, and Michaela Cole’s trajectory. Finally, we’ll discuss fictional pop singers on screen. From Vox Lux to Spice World, A Star is Born, and Kpop Demon Hunters, why are they so tricky to depict? Next week, we will be discussing a film about a literal angel named Michael. Not the Nora Ephron film, unfortunately. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we’re confessing the worst thing we’ve ever done with Zendaya and Batman himself with The Drama. The twist premise of A24’s newest hit throws a grenade into the idyllic romance of a beautiful couple in Boston in the days before their wedding. The movie hinges on the question of whether we can really know the people we love, but the premise, the worst thing Zendaya’s character has ever done, is what audiences are talking about. Is it a purposeful provocation or an empty one? We discuss the movie’s masterful marketing campaign and how it harnesses its premise as an extension of A24’s edgy branding. Beyond the marketing, much of the movie’s success must also be credited to Zendaya’s stardom. We go deep on her career and her big 2026 lineup before digging into director Kristoffer Borgli’s work as a provocateur, and ponder the current state of provocation in Hollywood today, before giving our recommendations for the week. Next week, we’re off to the English countryside, discussing Mother Mary. Learn…

This week, it's The Mario Galaxy Movie! The second film in the Nintendo/Illumination franchise is already a global hit despite less than stellar reviews. It is nevertheless a fascinating film: an amalgam of stunning animation and music, full of hyperactive action, with little interest in the typical conventions of narrative storytelling, and like, plot. On this episode Alison and Richard, along with producer Benjamin Frisch, discuss the film, its beauty and weirdness, offer a sidebar on Shigeru Miyamoto as-artist, and delve into the history of video game adaptations. We discuss producer Ben’s longstanding trauma related to the 1993 Super Mario Bros. adaptation, and the evolution of video game films from the schlocky but individual adaptations of the past to the more controlled franchise model of today. Finally, we expose Dr. Mario for his quackery, scold the Mario babies, and recommend some further viewing and listening. Next week, we will be revealing the worst things we’ve ever done, over dinner, with The…

This week we’re eating the rich with two new horror films that share devilishly similar premises: Ready Or Not 2: Here I Come and They Will Kill You both feature women fighting back against satanic cults run by rich elites in order to protect an estranged younger sister, written with wry humor aimed at the ultra-wealthy. Neither film did particularly well critically or at the box office, but they raise a fascinating question for Critical Darlings: Has the Trump-era social satire horror film finally run out of steam? In this episode, Richard and Alison trace this specific strain of metaphor-driven social horror, deconstruct it, and try to distinguish it from socially aware classics like Rosemary’s Baby. From racial allegories like Get Out, the trauma-informed The Babadook, class satires like The Menu, and alternate-reality anthology TV like Black Mirror, we ask why the recent crop of these types of movies are starting to feel so creaky, while less directly metaphorical films like Weapons feel more fresh. Next…

It’s Critical Darlings’ biggest morning! After a marathon season, we react to this year’s Academy Awards: the winners, losers, presenters, performances, and awkward play-offs. One Battle After Another and Sinners nearly split the ballot with One Battle and Paul Thomas Anderson taking the biggest prizes in Best Director and Best Picture, while Sinners took home Best Actor, Score, Adapted Screenplay, and Cinematography. But for as many questions as the ceremony answered, it raised more: Do Sinners and Amy Madigan’s wins signal a shift in how the Academy sees horror? What exactly is the Best Casting Oscar tracking? Are we now doomed to see Timmy eat a raw elk in an Iñárritu film? As part of this special episode, we also check in with Critical Darlings fashion correspondent Ben “The Other Ben” Hosley on this year's Oscars fashion, review the best popcorn buckets of the year with Vulture’s Rebecca Alter, and reveal the future of Critical Darlings. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read…

What time is it? It’s time to study the revolutionary texts with David “Rocketman” Sims! On our last episode before The Oscars, we’re talking about One Battle After Another, Paul Thomas Anderson’s epic about parental legacy, revolutionary identity, and a dad trying to charge his Goddamn phone. But first we reflect on the influx of last-minute Oscar narratives, before getting into One Battle After Another’s plot and politics, sidebar on Leonardo DiCaprio’s legacy at the Oscars, and finally give our official Critical Darlings Oscar Predictions for Sunday’s ceremony. Read more about Richard’s predictions at ⁠Premiere Party,⁠ See you on the other side! Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we’re joined by Sam Sanders of The Sam Sanders Show to discuss Sinners, the most nominated film in Academy Awards history. With sixteen nominations across directing, writing, music, and acting categories, Sinners is a somewhat surprising record breaker, as genre films, especially films with horror elements, are rarely awarded by The Academy. On this episode we discuss the film, why it was able to break through, if Sinners counts as a genre film; and if so, what genre it represents. We also get into what effect the Warner Bros. Paramount merger might have on the Oscars, the film’s blunt sexuality, Michael B. Jordan’s double act, and what to make of the film's coda. Finally, Sam makes an impassioned case for Sung Song Blue and Kate Hudson’s nominated performance. Check out Sam’s interviews with Kate Hudson, as well as some of the cast and crew of Sinners on ⁠The Sam Sanders Show. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. ⁠Follow Critical Darlings on…

This week we’re in hygge mode, uncovering traumas in our generational home with the host of This Had Oscar Buzz, Joe Reid! One of the breakout Oscar films of the year is Joachim Trier’s Sentimental Value, a warm, realist Norwegian film about a difficult but brilliant director (Stellan Skarsgard), his two daughters (Renate Reinsve and Inga Ibsdotter Lilleaas), and an American actress cast in the auteur’s new film (Elle Fanning). All four performances earned Oscar nominations, along with nominations for Best Picture, Best International Feature, Best Film Editing, and Best Original Screenplay. Sentimental Value also highlights a recurring phenomenon in Hollywood, wherein the Academy will pass over a director’s breakout film but shower the follow-up with nominations. In Trier’s case, his previous film The Worst Person in the World received nominations for Best International Film and Original Screenplay but, in our opinion, deserved many more. We try to break down how and why this happens, whether films about…

This week we’re brooding, Victorian style, with Vulture’s Bilge Ebiri! Guillermo del Toro’s Frankenstein is a Best Picture nominee and is well represented in the craft categories, but it has only one acting nomination, for Jacob Elordi’s hulking monster. It’s of a piece with past craft-heavy Oscar contenders like Dune or The Lord of the Rings, but does Frankenstein actually stand a chance? We discuss the film itself, its lavish sets and costumes, del Toro’s choice to center the monster as the hero, and how that decision reshapes the monster’s opposite, Victor, played by Oscar Isaac. We also touch on the new Wuthering Heights, also starring Jacob Elordi, the history of Wuthering Heights adaptations, the shameless state of celebrity Super Bowl ads, and finally atone for our past sins, as Bilge defends previous subjects Train Dreams and Hamnet against our critiques. As it turns out, we were the monster all along. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at Vulture. ⁠Follow…

Viva Brazil! Today we discuss Best Picture nominee The Secret Agent, the simmering, colorful Brazilian thriller about a man on the run, starring the dreamy Wagner Moura and directed by Kleber Mendonça Filho. The story, about retaining personal and political memory under authoritarianism, has proven resonant with an international audience and awards bodies, garnering three additional Oscar nominations for Best International Feature, Best Casting, and Best Actor for Moura. On this episode, we discuss The Secret Agent itself, how it fits into and subverts the tropes of international films at the Oscars, the Eurovision-like process for international nominations, check in on the Berlin Film Festival, and do a very special Il Postino corner. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. Learn more about your ad choices. Visit megaphone.fm/adchoices

Honey, we’re buzzing about Bugonia with Marie Bardi-Salinas! The movie surprised us with its appeal to Oscar voters, but maybe it shouldn’t have: Director Yorgos Lanthimos and star, frequent collaborator Emma Stone, have proven themselves Oscar favorites with strong showings from their past films, especially The Favourite and Poor Things. We discuss the film, but first, a Sundance report from Richard before digging into Lanthimos and Stone’s history with the Oscars, and why this somewhat prickly, political movie succeeded with the Academy despite a relatively weak showing upon release. Then we discuss the movie itself, get into spoilers, the future of the Stone-Lanthimos collaboration, and finally discover whether or not Richard is an Andromedan. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

On today’s show, Richard and Alison hop on a boxcar and stare wistfully as the 20th century passes them by with Best Picture nominee Train Dreams. They discuss director Clint Bentley’s lush, if somewhat sanded-down take on Denis Johnson’s novella about a lumberman haunted by his past, starring a very quiet Joel Edgerton. Train Dreams is one of Netflix’s Best Picture nominees this year, but the film was not an original production. It was acquired by the streamer at last year’s Sundance Film Festival. On the occasion of this year’s festival (which is happening as we speak) we also discuss how Sundance works, and what, exactly gives a movie that ineffable Sundance flavor we have come to associate with small-scale American indies like Little Miss Sunshine. We also discuss Netflix’s seemingly endless quest to win Best Picture, why the Academy is so resistant to giving them the big prize, and why the most popular streamer in the world is so desperate for Academy validation in the first place. Subscribe to…

It’s Hollywood’s biggest morning! Join Richard and Alison (plus a vacationing Producer Benjamin Frisch) as they pick apart the biggest snubs and surprises of the year: Sinners breaking the all-time nominations record! The Secret Agent surging out of Neon’s international power lineup! The complete collapse of would-be frontrunner Wicked: For Good! Plus we take a conversation detour with Apple’s F1, the surprise blockbuster pulling up the rear amongst the Best Picture lineup finds alongside Train Dreams, Frankenstein, Marty Supreme, Bugonia, Sentimental Value, Hamnet, and One Battle After Another in the Best Picture category despite being a popcorn racecar movie about Brad Pitt going fast vroom vroom. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work at ⁠Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we’re joined by David Sims as we orbit the Golden Globes and their Best Drama winner, Chloé Zhao’s Hamnet. In the vibes-based reality of awards season predictions, Hamnet has emerged as a potential spoiler to the season’s other favorites, including Paul Thomas Anderson’s One Battle After Another and Ryan Coogler’s Sinners. But what, exactly, makes something an Oscar villain? We also get into the film itself, the historical Shakespeare, why people are weird about Chloé Zhao, and our predictions for next week's Oscar nominations. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at Vulture.⁠ ⁠Follow Critical Darlings on Instagram⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we’re only slightly hung over from last night’s New York Film Critics Circle Awards! Griffin Newman joins the pod to discuss the event, where, among dry-run Oscar speeches from Amy Madigan, Rose Byrne, and Wagner Moura, we saw Ethan Hawke fall into a fountain beneath a towering Buddhist deity. Then we turn to the precursor circuit, where Marty Supreme’s momentum has cemented Timothée Chalamet as a frontrunner for Best Actor. We get into how he’s played the campaign circuit so far, and why Timmy and Marty are well positioned for the Oscars, despite not resembling the usual Oscar fare. Finally, we dive into Marty Supreme spoilers, before closing out with both an award and an in memoriam for the week. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at Vulture. ⁠Follow Critical Darlings on Instagram⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Critical Darlings, a new podcast miniseries from Blank Check: A conversation about the awards season conversation, one contender at a time. On Critical Darlings, critics and Blank Check alumni Richard Lawson and Alison Willmore guide you through the state of the Oscars race, from the precursors, to the campaigns, to the nominees themselves. To get things started, we begin with a discussion of the festival circuit and the curious state of this year's race; where many promising films have floundered upon their public release. Sidebars include the host's Oscar history, watching festival features on no sleep, Brazilian film Twitter, The Oscars on Youtube, Leonardo DiCaprio at Cannes, and Allison's shocking Il Postino experiment. Critical Darlings is crashing the Blank Check feed every Thursday through the end of Oscar season. Starting next week we'll have video clips to share produced by our friends at Vulture, stay tuned. Subscribe to Richard's newsletter, ⁠Premiere Party,⁠ and read Alison's work ⁠at…

Beam me up…Rocky!? Critical Darlings is back, from outer space, in our new feed, talking about the first blockbuster of the year. Project Hail Mary, directed by Phil Lord and Chris Miller for Amazon, is a family-friendly science fiction film about Ryan Gosling on a risky space mission with a cute alien pal. The movie is a critical and commercial success and feels livelier than so many would-be blockbusters. But what is it about Hail Mary that works where last year’s Gosling-led The Fall Guy failed? Is this the return of the ’80s-era cute puppet friend movie? Is Gosling the hottest middle school teacher ever? Alison and Richard also get into the film itself, with sidebars on Gosling and Lord and Miller’s filmographies, and dig into Amazon’s upcoming film slate, James Bond, and whether the studio could become a significant player in a post-Paramount-merger landscape. Finally, we check in on the vibes around The Mandalorian and Grogu and Alison’s newest crush, Rotta the Hutt. Read and subscribe to Richard's…

Welcome to Critical Darlings, where critics Richard Lawson and Alison Willmore cover the latest film driving the conversation—from big summer blockbusters to festival favorites, buzzy streamers, and major awards contenders. New episodes every Thursday. Produced by Benjamin Frisch Subscribe to Richard's newsletter, ⁠⁠Premiere Party,⁠⁠ and read Alison's work ⁠⁠at Vulture.⁠⁠ Follow @blankcheckpod on ⁠⁠Twitter⁠⁠, ⁠⁠Instagram⁠⁠, ⁠⁠Threads⁠⁠ and ⁠⁠Facebook⁠⁠! Learn more about your ad choices. Visit megaphone.fm/adchoices