Rob Caravaggio Commentaries

What happens in the doorway doesn't stay in the doorway in Asgar Farhadi's A SeparationRC-2013-101: A Separation (2011) Your browser does not support this audioI've decided that a great way to start 2013 is with what I regarded as the best movie of 2011—Asgar Farhadi's A Separation. Throughout the commentary, I attempt to stop myself from gushing about such a fantastic work of art, and fail miserably. With hardly a bad word to say about Farhadi's pre-classic masterpiece, I fall back on cinema geekery. I attempt to situate the movie within the larger context of Iranian movies, providing a sloppy-but-well-meaning crash course in the cinema of that fascinating nation. Ultimately, I seem to conclude that what makes the film work is that it's actually a mystery movie that doesn't tell you it's a mystery movie until there's this huge, yet still somehow understated, reveal that makes you say "Holy cow!" If you don't like this movie, I'm afraid it will be hard for us to remain friends. It's not me; it's you. Liste

Yes, the entire movie is like thisRC-2013-102: Killer Joe (2012) Your browser does not support this audioIn this episode, I reach into the requests pile for a criminally underrated 2012 picture about criminally overconfident numbskulls. Before listening to this commentary, pick yourself up some K-fry-C—that way you can nosh through your bucket as I talk through one of 2012's most delightful surprises, Billy Friedkin's Killer Joe. Aside from the revelation that is Juno Temple, the track covers the whys and hows of Friedkin's old-school talent and the underrated genius of Old Man McConaughey. The film's opening sequence reminds me of the old Universal monster movies, and I say why. Then, I launch into an argument for Caleb Deschanel's stark, suggestive lighting schemes, without commenting on his cooky-sexy genes. Also, I find time to laugh at Thomas Hayden Church and Gina Gershon. I mean, I laugh with them. Listen for me calling out the sync point, which comes just after LionsGate logo on the Region-1 DVD.List

A girl named Jo is not as weird as a girl named DemiRC-2013-102: A Few Good Men (1992) Your browser does not support this audioDipping into the requests pile (thanks Jeremy), I take on the 1992 Rob Reiner blockbuster A Few Good Men. During the film, I sing the praises of glorious genre of the courtroom drama, comparing Reiner's movie to other specimes like The Caine Mutiny and Anatomy of a Murder, as well as well-structured courtroom comedies like Liar Liar and My Cousin Vinny. Additionally, I riff on the formidable dramatic skills of Kevin Pollak and wade far out of my depth by opining on the differences between civilian and military courts. After ignorantly critiquing the lawyer's legal strategy, I explain my beef with the film's climax and the way Sorkin, who was pretty green as a screenwriter then, sets it up. Even if you hate me and hate everything I say in this commentary, I think you should still give me credit for being the only person on Earth to sit through A Few Good Men without doing a douche-y

Sarah Polley sees no sign of zombies on the set of Take This WaltzRC-2013-105: Take This Waltz (2011)Your browser does not support this audioSarah Polley's intelligent second film takes its name from a Leonard Cohen song, and speaking in my deepest, most morose voice I explore the really brightly colored poetry of Take This Waltz. Praising Polley's directorial skills, I compare the film to her first feature, Away From Her, and decide that this latest film is refreshing in many ways and slightly missing the mark in others. Before long, I decide I know best about comedians acting in movies, waxing arrogant on the acting of Sarah Silverman and Seth Rogen. The commentary gets weird during an explanation of how handsome men like Luke Kirby learn how to "work that thing" ("that thing" = their handsomeness). Come for the commentary; stay for the dissection of why mere mortal men should not try to pick up women using the rap Luke Kirby's character lays down in the infamous "martini scene." No Canadians were harm

Marlon Brando getting his Don makeup on while Francis Ford Coppola waits patiently for his nemesis, Popeye, to show upRC-2013-107: The Godfather (1972) Your browser does not support this audioWhen e-mailer Tomy suggested a few films that might be ripe for a commentary, The Godfather was the one that lept out at me most. It seems there's actually quite a lot to say about the movie nearly everyone regards as great, so why not give it a Rob Job. (I'm so sorry. I will never say that again.) I discuss how Coppola's uncanny decade (approximately 1970-80) was enabled by the exciting changes happening in American filmmaking from about 1964 to 1980 (a span of years I select arbitrarily), deciding that Coppola and his dream that was American Zoetrope represent  the best characteristics of the so-called Film School Generation. While pointing out the big stuff, like the lovely computerized opening shot and the film's many quotable moments, I also gab about such matters as Michael's bifurcated

Little known fact: when he was in grad school, Dr. Ian Malcolm was friends with Tony LaceyRC-2013-109: Annie Hall (1977) Your browser does not support this audioRecently, Turner Classic Movies aired Annie Hall, and I was reminded of just how extraordinary a picture it is—a romantic comedy that's exceedingly romantic and funny. This commentary was inevitable. As you watch Alvy's hangups doom his love life, you'll hear me marvel at the film's wildness, the way it breaks every rule. Along the way, I explain how Ralph Rosenblum and Gordon Willis influenced Allen's artistic vision, why the film's non-chronological structure works so well, and the background on Marshall McLuhan's cameo. Freud gets discussed, as does Shelly Duvall.To sync up, pop in your copy of the film, and hit "pause" when the United Artists logo fades to black.Show NotesRobert B. Weide's Woody Allen documentaryThe Film That Changed My Life book by Robert K. ElderRosenblum's book, When the Shooting Stops, the Cutting BeginsListen to the mp3

The old noir trope of putting a Chandler and a Wilder on a loveseat...RC-2013-110: The Film Noir Series — Double Indemnity (1944) Your browser does not support this audioWe continue down the noir path with a lively dissection of Billy Wilder's Double Indemnity. Right from the start I cop to being in love with nearly every aspect of the film, particularly its three leads. Although I lack the suave drollness of Walter Neff, I make up for it by telling a few charming tales about the film's production and the testy relations between Wilder and Chandler. You'll hear me explain why the boss of the insurance company, Mr. Norton, reminds me of Principal Ed Rooney from Ferris Bueller's Day Off. There is then some wondering out loud as to whether the film actually has something serious to say about the issue of nepotism-versus-meritocracy in WWII-era America. Though I giggle Walter's flurry of sexual innuendos, I don't try to come up with any myself.Show NotesA rundown of Barbara Stanwyck's pre-code naughtin

The dark knight rises...RC-2013-111: No Country for Old Men (2007) Your browser does not support this audioLet's call this episode "The Roger Ebert Memorial Commentary." The prolific critic felt No Country for Old Men was as good as any picture made by the Coens (and in the very next clause he warmed my heart by adding, "and they made Fargo.") Still giddy from a recent revival screening, I quit swooning long enough to explicate a lot of what makes this movie so great. I describe the skillful visual storytelling techniques, the strange deja vu structure, and the philosophical concerns found in the works of both the Coens and Cormac McCarthy. I sing the praises of Woody Harrelson, too. Then, after taking some of the more asinine criticisms and interpretations to task, I get around to articulating my own reading of the film (sort of). This one's for Roger.Show NotesThat super-comprehensive Wikipedia page on the film's themes and analysisAn example of some slightly less-than-thoughtful criticism of NCFOM, along w

Paul Newman and Katherine Ross, dodging raindropsRC-2013-113: Butch Cassidy and the Sundance Kid (1969) Your browser does not support this audioWilliam Goldman researched the story for years, and director George Roy Hill toiled through the production with a bad back so that now, years later, some creep on the Internet can blithely say that their fim doesn't seem as great to him as it used to. Yes, I used to like it so much more than I do now, and throughout the commentary I analyze the diminishing returns, taking the time to parse the difference between movies that are nostalgic about the old west and movies that are nostalgic about movies about the old west. I like Burt Bacharach but think his song is one of the oddest choices ever made in an otherwise solid film. There is much laughter at the heroes' leap off the cliff, and much eye-rolling at Newman's bicycle gags. Sync up by hitting "pause" after the 20th Century Fox logo has faded to black, then wait for the countdown.Show NotesThe nuances of Goldman's

Paul Newman's takes a lickin' but keeps on kickin' as a quasi-Christ figure in his signature roleRC-2013-115: Cool Hand Luke (1967) Your browser does not support this audioCool Hand Luke was a timely allegory for 1960s-era tumult, and I discuss why Paul Newman—and not Brando—makes a perfect Lucas Jackson. After rattling off some prison movie tropes, I compare CHL favorably to I am a Fugitive from a Chain Gang and hate on its ill-advised efforts to siphon profundity from Judeo-Christian imagery. Dennis Hopper's specialness gets called out, as does the film's early embrace of Sir Mix-A-Lot's "Put 'Em on a Glass" concept. I manage to talk about George Kennedy without mentioning The Naked Gun movies—until the very end, when I make a predictable O.J. joke.To sync up, press "pause" just after the Warner Bros. logo fades to black. I screened a Region-1 DVD. Show NotesThe Family Guy parodyThe Paul Muni/Mervyn Leroy film (Public Domain)The Guardian's top-ten prison mo