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Film Trace

Film Trace

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We trace the Life of a Film from conception to production all the way to its release and reception. You know when you dive into a film's wikipedia and imdb after watching it? Then the director's page, then the actor's page. Our show does that for you. We use our nerd superpowers to obsessively tell the story of a movie: how it came to be, how it played out, and what it means today. It is a crash course on a single film filled with primary documents, lovely asides, and frequent guest voices. It is an investigation and celebration of films both great and small.
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04/10/22 • 58 min

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The third film in our Self-Aware Horror cycle is 2002's zombie renaissance 28 Days Later

28 Days Later reanimated the zombie subgenre of horror, which had been left for dead and maligned where it always had been. Yes, technically speaking, the infected in the film are not zombies. But they might as well be. Zack Snyder's Dawn of the Dead remake came a couple of years later in 2004 and helped pushed the zombie genre fully into the mainstream where it stayed for the next 18 years. The highly popular tv series, The Walking Dead, is finally ending this year after twelve years on the air and two spin-off series with more to come. Zombies don't die.

While director Danny Boyle and writer Alex Garland have attempted to play down the zombie connection, 28 Days Later plays like an intricate and explosive hommage to George Romero's original Dead trilogy. Shot entirely on early digital video recorders, the film maintains a late 90s early 2000s look that is post analog but Pre HD. Even less appealing than the film's digital graininess is its cynical depiction of humanity as the last vestiges of the civilized world fall away. It is a nightmare that feels all too true and relevant to today's world.

Special Guest: Good friend of the show, Riley, who is our resident Wes Craven scholar.

For our chaser film, we have chosen 1997's Scream 2, the slasher thrill ride that came out less than a year after the original. Craven and Williamson are back here with the mainline cast and a tight story that somehow doesn't tarnish the first film. Often cited as one of the best horror sequels, Scream 2 is now 25 years old, so perhaps it is time to question its lauded status?

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04/10/22 • 58 min

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04/21/22 • 62 min

The fourth film in our Self-Aware Horror cycle is 1992's gonzo horror splatterfest Dead Alive aka Braindead

Dead Alive is a shocking film for a variety of reasons, but perhaps most astonishing is that it came from the same man who helped create the most recognized and beloved films of the last 20 years. Peter Jackson became famous for the Lord of the Rings and Hobbit film series. They exist alongside the Star Wars and MCU films as some of the most popular global cinema ever made. But Jackson started out where most young aspiring filmmakers do, in the free-for-all low-budget haven of horror. It was there that Jackson developed as a great filmmaker. Dead Alive was his first masterpiece, a zombie comedy masquerading as a bizarre period piece that devoured all notions of good taste with its insatiable appetite for blood, guts, and pus. Beautifully deranged.

Special Guest: Brian Eggert, RT approved film critic of Deep Focus Review

For our chaser film, we had no other choice than Evil Dead 2 (1987). Two of the best horror comedies ever made, back to back. We talk at length about how comedy and horror overlap, and how they work together to tickle and titillate a piquing audience.

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04/21/22 • 62 min

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12/30/21 • 70 min

At the height of Jim Carrey's fame in the mid 1990s, this bizarre pitch-black comedy was released as a summer blockbuster. The Cable Guy is a historical and creative anomaly, especially for millenials old enough to have seen it in the theater. For the last twenty-five years, we have all been trying to piece together and understand the strange feelings this movie put inside of us. The genre here is a white-out blend of gross-out buddy comedy, media satire, and exrotic thriller. The Cable Guy is truly the ideal film for Film Trace. It is so full of contradictions, oscliating successes and failures, that we can't help but try to make sense of this absurd attempt by the Frat Pack to parody The Hand That Rocks the Cradle. In what world could this possibly make sense besides our own?

Special Guest: Great podcasters and friends of the show, Brigitte and Mark

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12/30/21 • 70 min

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03/31/22 • 56 min

The second film in our Self-Aware Horror cycle is the 2012 postmodern bonanza The Cabin in the Woods. What happens when the Post-Scream style of ironic horror goes past the event horizon? The infamous Joss Whedon teamed up with Drew Goddard to create this send-up of the horror genre. The Cabin in the Woods is in many ways the paradigm of self-aware horror. It doesn't really work unless you are a horror fan and you can easily translate the winks and homage. Unlike the straight parody of Scary Movie, The Cabin in the Woods tries to move the genre past the shadow of the Scream 90s and reboot 2000s, but we are unsure of its success. Special Guest, Evan Crean from Spoilerpiece Theatre, helps ups dissect this endpoint of horror film. Or was it really just the beginning of a new era? All three of us grapple with Whedon's sullied legacy, and how the artist behind the story can deeply color our interpretation of the messages both intended and unintended. For our chaser film, we have chosen 2007's Teeth, a mostly forgotten indie horror comedy that bites down hard on the vagina dentata myth. Written and directed by famous artist Roy Lichtenstein's son Mitchell Lichtenstein, this small film did get a lot of praise and hype back when it was premiered. It won the Special Jury Prize at Sundance in 2007, but it sadly sat on the shelf for a year and was released DOA in Jan 2008.
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03/31/22 • 56 min

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Scream (2022)

Film Trace

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03/19/22 • 57 min

We are back! We are doing something different this season of Film Trace. Instead of covering new and old films at random, we are choosing a theme for each group of episodes. Our first theme is Self-Aware Horror.

First up in our Self-Aware Horror cycle is Scream 5 aka Scream 2022. We are both huge Scream fans, so we felt like we had to do a deep dive on this requel. I hate that term, and we discuss why in this episode. What does it mean to make a love letter film? Are requels progressive or regressive? The Scream series has been surprisingly strong when compared to other horror series, but where can it go on the 5th film, coming out 26 years after the original. The surviving gang is all back with some fresh blood as leads, but it all feels like a theme park version of the original. It looks and sounds the same, but it just feels different, off even.

Also new this season, we are doing a 2nd film at the end of the episode as a chaser. In this episode, we wash down the requel swill with the peppy and perky slasher romp, Happy Death Day (2017).

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03/19/22 • 57 min

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A Wes Anderson double-header to close out Season 5 of Film Trace. Chris and I return to our roots as teenage film nerds. Wes Anderson was our first love as budding cinephiles, and despite the tumultuous last 20 years (Darjeeling anyone), we still get a jolt of excitement with every new Anderson film. The French Dispatch is Anderson's first portmanteau film, and the results are whimsically mixed as expected. We also cover one of Wes's best films, The Royal Tenenbaums as it hits the 20-year mark. The snowglobe world of Royal has aged incredibly well. It is a rich literary yarn woven of the finest pure cinema fibre, dyed millennial pink of course.

Joining us for the Season 5 Finale is Harry from the Trylove podcast, an awesome podcast dedicated to the wonderful The Trylon Cinema in Minneapolis.

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01/08/22 • 86 min

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05/02/22 • 59 min

The fifth film in our Self-Aware Horror cycle is 1982's mashup of George Romero and Stephen King, Creepshow.

Creepshow is an anthology horror film created as an hommage to the trashbin mid-century comic series, EC Comics. Romero and King grew up with EC Comics and its twisted tales of the macabre. Here the comic's ghastly ethos is distilled into five different segments starring big names of the time: Hal Holbrook, Adrienne Barbeau, Ted Danson, Leslie Nielson, and Stephen King himself. The film's particular mixture of gore, faux-naif satire, and moral comeuppance feels quite out of place today, a little Molotov mocktail aimed at the classic bogeyman of 1950's social conformity.

Special Guest: Max from the lively and fun Galaxy Of Film podcast.

For our chaser film, we face the music with House (1977). This bizzaro historical curio works the exact opposite of Creepshow. House feels like it could have been made yesterday: absurdist surrealism horror of a hipster vein. One suspects the t-shirts inspired by the film are more popular and seen than the film itself.

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05/02/22 • 59 min

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12/23/21 • 52 min

As the box office finally begins to be resuscitated, albeit largely with the help of the comic book movie crowd, straight-to-streaming films now seem to either cater to cinematic schlock addicts or art film dorks, and the latest from the IFC Midnight imprint, We Need to Do Something, falls in a strange but intriguing gray area between the two. The first feature narrative from director (and known indie producer) Sean King O'Grady, scripted and based on a novella by up-and-comer Max Booth III, the bottle episode-style story of a dysfunctional family stuck in a bathroom after a mysterious storm is as fun as it is disturbing.

But, as the saying goes, perhaps there were script problems from day one. Whether it be characters that seem to serve no other function than a vehicle for body horror or plot contrivances that distract more than they entertain, how does a small project like this with an uncompromising and borderline disgusting vision (arguably to a fault) wind up available to everyone with a Hulu subscription? And where does it go from here besides the annals of scary movie obscurity?

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12/23/21 • 52 min

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12/12/21 • 59 min

Let's get bummed. Back in 2006, the USA was deep in the 2nd term of George Bush II, aka the idiot king, and his 2nd Iraq war was raging. As a leftist, it felt like a total nightmare, but Alfonso Cuarón heard our cries. His Children of Men, a bleak dystopian manifesto, landed mostly with a thud when it was carelessly released on Christmas Day in 2006. A stellar cast helmed by Clive Owen and gorgeous cinematography via Emmanuel Lubzeki couldn't save this holiday humbug from financial failure. Accordingly, Children of Men instantly became a cult film among the Letterboxd set. Academics, film nerds, and art house scenesters all raved about the one-shots, the world-building, and the nihilism that mirrored their own. But how has that effuse praise aged after the Great Recession, Trump, and Covid. Has Cuarón's bleak vision been blurred by unstoppable climate change, social anarchy, and the new rise of fascism or has it merely been burned into our collective lens?

Special Guest: Friend of podcast and Hollywood Insider, Ryan, joins us to discuss this sad boy opus.

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12/12/21 • 59 min

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05/21/22 • 61 min

The sixth and final film in our Self-Aware Horror cycle is the landmark exploitation film, The Last House on the Left (1972).

Made off the proceeds of a successful pornographic film, this genuinely gonzo horror film sparked the careers of two kings of horror, Wes Craven and Friday the 13th creator, Sean Cunningham. On the surface, this rape-revenge exploitation film plays it straight: shock, rape, murder, revenge. But beneath the schlock is an avant-garde rip current that is essentially a middle finger to American Exceptionalism, a canary in the coalmine for a desiccated and fraying empire. This is a bizarre juxtaposition that never really settles right in your stomach. What is depicted vs what you feel seems separated by a grand canyon of satire, which is why we chose this as our final film in our Self-Aware Horror series.

For our chaser film, we try to decipher The Fearless Vampire Killers (1967). It is a lark, a common parody, or is there something more going on in Roman Polanski's first major studio film. The year after Vampire came out, modern horror began with The Night of Living Dead. We try to decide whether Vampire Killers was a harbinger or an anachronism.

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05/21/22 • 61 min

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FAQ

How many episodes does Film Trace have?

Film Trace currently has 91 episodes available.

What topics does Film Trace cover?

The podcast is about Film History, Podcasts, Tv & Film and Film Reviews.

What is the most popular episode on Film Trace?

The episode title '28 Days Later (2002)' is the most popular.

What is the average episode length on Film Trace?

The average episode length on Film Trace is 56 minutes.

How often are episodes of Film Trace released?

Episodes of Film Trace are typically released every 8 days, 23 hours.

When was the first episode of Film Trace?

The first episode of Film Trace was released on Jun 15, 2020.

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