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RN 1/18: Backlash

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Dan and Kailey are joined by Doug Dillaman from Lumiere Reader to discuss two new music-themed films: jazz drum drama Whiplash and the Mick Jagger-produced biography of James Brown, Get On Up. Dan also talks to Aaron Yap from NZ’s Fatso DVD-by-mail service about the state of home video and hi-definition in this country.

Listen as Doug accidentally X-rates a perfectly innocent biopic!

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RN 1/17: Guilty as charged

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Once again Dan (in Wellington) and Kailey (in Vancouver) are joined by Fairfax senior film reviewer Graeme Tuckett. Hear more from Kailey’s adventures at the Vancouver International Film Festival; plus all three collaborate on a review of Robert Downey Jr. in The Judge and Graeme and Dan count the laughs in Let’s Be Cops. Also featuring several non-gratuitous mentions of Game of Thrones that should do a good job of boosting our iTunes ratings.

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RN 1/16: Good Trolling

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Kailey is is back after her week off and reports on live from Vancouver on their film festival which is in full swing. Kailey and Dan also review The Boxtrolls and We Are the Best!. Spoiler: They like them both!

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RN 1/15: Don’t go to bed angry

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Guest host Liam Maguren sits in for Kailey and tells us about the goings on at flicks.co.nz and fliks.com.au plus he and Dan review David Fincher’s Gone Girl, which opens this weekend all over the world, and The Equalizer starring Denzel Washington as a genial old dude who you really don’t want to mess with.

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RN 1/14: The Long Road

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Award-winning Scottish actor, writer and director Peter Mullan (Top of the Lake, My Name is Joe, Trainspotting) calls in from Auckland where he is appearing at the Big Screen Symposium, Jonathan King (Under the Mountain, Realiti) reports on Fantastic Fest plus Kailey and Dan review Locke and The Lunchbox).

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Kailey is in Toronto, Dan is in rainy Wellington and between them they review Kelly Reichardt’s “thriller” Night Moves and the dystopian nightmare of The Giver starring Meryl Streep, Jeff Bridges and some kids, plus Robin Wright playing several versions of herself in Ari Folman’s The Congress.

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