Anna Hutchinson, Chris Hemsworth, Kristen Connolly, Jesse Williams, and Fran Kranz in Drew Goddard’s ‘The Cabin in the Woods’ (2011).
Gobbledygeek episode 386, “Gobbledyween: The Cabin in the Woods,” is available for listening or download right here and on iTunes here.
Leaves are on the ground, blood is on the screen. It’s time once again for Gobbledyween, that most beloved of Gobbledygeek institutions–and one that has not reared its horrific head in full since 2015! All month long, Paul and Arlo will be discussing horror or horror-adjacent movies, starting with one they actually discussed seven years ago: Drew Goddard’s mega-meta 2011 genre critique The Cabin in the Woods. The boys reveal why they’re revisiting the film (hint: it involves sheer incompetence!), break down Goddard and co-writer/producer Joss Whedon’s refutation of horror stereotypes, compare Cabin’s prevailing sense of nihilism to the pragmatic hope on display in Buffy and Angel, and go nuts trying to name all the monsters we see on screen.
Next: the night, it’s deafening. A/V writer-director Joseph Lewis joins us to discuss–finally–Kathryn Bigelow’s 1987 vampire Western Near Dark.
Total Run Time: 01:43:03
- 00:00:35 – Intro
- 00:11:12 – The Cabin in the Woods
- 01:40:36 – Outro / Next
- “Horror Movies” by Dickie Goodman (1961)
- “Last” by Nine Inch Nails, Broken (1992)
Gobbledygeek episode 346, “Mary Poppins / The Lure: Cartoon Penguins Eat Polish Mermaids, Don’t They?”, is available for listening or download right here and on iTunes here.
Even with a spoonful of sugar, Paul finds this week’s Geek Challenge hard to stomach. You see, he has invited Arlo to watch Robert Stevenson’s delightful 1964 classic Mary Poppins, in which a magical Julie Andrews and an accented Dick Van Dyke dance their hearts out while unlocking the joy hidden within a stuffy banker. In return, Arlo has forced Paul to endure Agnieszka Smoczynska’s 2015 goth music video The Lure, in which there is little magic but plenty of pain, blood, and desperation as two virginal maneating mermaids come of age. They’re both musicals, they’re both about women, and…that’s about where the similarities end. Some men just like to watch the world burn, and Arlo appears to be one of them. Plus, lots of great trailers; Sense8, Legion, and Westworld broaden sci-fi TV’s horizons; Brian Michael Bendis’ time with Spider-Man comes to an end; and Arlo finally watched Guillermo del Toro’s debut feature Cronos.
Next: after 14 years, The Incredibles 2.
(Show notes for “Cartoon Penguins Eat Polish Mermaids, Don’t They?”)
The Gobbledygeek bonus episode “The Devil Went Down to Hell’s Kitchen” is available for listening or download right here, and on iTunes here.
Netflix has unveiled the first of four original series from the Marvel Cinematic Universe: Daredevil, starring the most Catholic of all blind superheroes. Executive producers Drew Goddard and Steven DeKnight bring Matt Murdock to the small screen, played by Boardwalk Empire‘s Charlie Cox. The result is, well, it’s surprisingly good, even by Marvel standards. Paul and AJ discuss the parallel structure that brings Wilson Fisk into sharp relief, the shocking deviation the show takes from the source material, the series’ beautifully brutal fight scenes, and where things are headed next. Plus, because they’re masochists, the boys also revisit the 2003 DD film starring Batman.
(Show notes for “The Devil Went Down to Hell’s Kitchen.”)
Last week, we discussed our favorite TV series of the last year. This week, we turn to the big screen.
PAUL: 10. DJANGO UNCHAINED (dir. Quentin Tarantino)
With Django Unchained, director Quentin Tarantino takes us once more back to a terrible moment in our history, and once again asks us to indulge him his little anachronisms and revisionist revenge fantasies. This time, instead of Nazis and baseball-bat-wielding Jews, we get slavers and bounty-hunting dentists. Set in the pre-Civil War Deep South, Unchained is Tarantino’s homage to the Spaghetti Westerns of Leone and Corbucci, which he prefers to call his Spaghetti Southern. I’ll say that the absence of editor Sally Menke is sharply felt here, though. If I, of all people, notice the nearly three-hour runtime, then there could’ve been some tightening. The cast is great across the board, including a list of hidden cameos longer than my arm (among others, original Django Franco Nero makes an appearance). Jamie Foxx is great in the title role, though I imagine what Will Smith could’ve done with the part, as was the original intent. Leo DiCaprio, Samuel L. Jackson, and Walton Goggins all shine in their respective roles. Kerry Washington was reduced to little more than the damsel in distress, however, which is unusual for a Tarantino picture. But the standout here is Christoph Waltz. He is every bit as charmingly heroic and admirable this time as he was charmingly repulsive and hateful in Basterds.
AJ: 10. MOONRISE KINGDOM (dir. Wes Anderson)
Wes Anderson’s films often have a childlike quality about them, whether it be his colorful storybook compositions or the petulance of many of his characters. So it’s fitting that he’s finally made a film about children, one in which the kids are on the run from what’s expected of them and their adult guardians are forced to accept the roles they’ve played in their children’s abandonment of them. Newcomers Jared Gilman and Kara Hayward, both in their first screen acting roles, give perfectly awkward performances. Anderson regulars Bill Murray and Jason Schwartzman are in their element here, while Frances McDormand and Tilda Swinton join the auteur’s troupe with ease. Perhaps most encouragingly, Moonrise Kingdom is the first sign of life in years from Bruce Willis–who, with a movie soon to appear on our lists, proved later in the year that he’s most definitely still kicking–and Edward Norton, two actors who really needed a movie like this.
Saying this upfront: NO SPOILERS. Paul and I have also discussed the film on the show.
Stop me if you’ve heard this one before. A bunch of kids pack into an RV for a weekend of fun, sex, and sexy fun. That they encounter the extremely creepy owner of an ancient gas station on the way does nothing to deter them from their destination: a remote cabin in the woods, owned by one of the kids’ cousins. The place immediately seems a little off, there’s some disturbing stuff in the cellar, someone maybe reads Latin, and eventually bloody mayhem ensues. Though they should know better, each one succumbs to some very stupid behavior for which they will be punished.
This is the set-up for dozens, maybe hundreds, of horror movies. The Cabin in the Woods is something different. When we first meet these kids, they seem like lively, intelligent college students. They don’t seem like they would do some of the dumb things they end up doing. Which seems par for the course for this kind of movie, except The Cabin in the Woods dares to offer a justification as to why the victims would seemingly offer themselves up as fodder. There’s more here than meets the eye. Characters played by Richard Jenkins and Bradley Whitford are part of a shadowy organization which makes everything much more complicated. This I guarantee: If you’ve only seen the ads, which paint the movie as your generic Halloween Saw Massacre deal, it is not that. At all.