Alex Garland's second film in two years traces the true story of co-director Ray Mendoza's experiences in Iraq. We discuss the film with Jim Penola (An Invitation Productions), considering what drove Garland to the project, heroic sacrifice, decontextualizing violence, and the film's commitment to realism.

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We do, in fact, read Sutter Cane! Carly Severn (KQED San Francisco) returns to explore the world of mass market paperbacks that portend the return of the Old Ones and the end of humanity in John Carpenter's homage to Lovecraft. Is it Mommy's Day? Sadly, yes, it is.

Life, death, and rebirth are on the exam table as we pull up the chart on Stuart Gordon's RE-ANIMATOR (1985). Scout Tafoya (Ignite Films) returns to explore the film, its impact and legacy, men's desire to procreate without women, practical effects, consent, horror, and of course, H.P. Lovecraft!

The spy life. Espionage. Trust. Betrayal. Boring office parties. It's the anti-James-Bond. Abe Mathew (Philosophy, Notre Dame) joins us to discuss Le Carre and the 2011 film adaptation of his most famous novel. Trust no one!

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Come on over to our dead-tech, postmodernistic, bullsh*t, house and watch HEAT with us and Zed Adams (Philosophy, The New School)! Time, light, passing, entrapment, stylized realism, stoicism, individualism, institutionalism, and why people be thieving.

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We are joined by Jason Bailey, author of Gandolfini: Jim, Tony, and the Life of a Legend, to discuss one of his final films, ENOUGH SAID. We talk about midlife romances, self-destructive tendencies, shaggy stories, and a lot about Mr. Gandolfini's honest and vulnerable performance. Check it out!

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We sit down with Phil Gawthorne (Die Hard on a Blank) to discuss our second Stallone flick, Cobra. We discuss how the film's absurdities make it endearing, the catharsis of comeuppance, aesthetic vibes, robot fashion, metanarrative love.

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We sit down with Jim Miller (The New School) to discuss Pedro Almodovar's challenging film TALK TO HER. We consider the juxtaposition of beauty and horror, the duality of subjects and objects, the blurry lines around the moral, ballet, and friendship.

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