We’ve seen the movies, now it’s time to get the picks in before the awards! One of us is straight up guessing, the other is playing the odds, but which is which is a new wrinkle. And moreover, we can reflect on a unique set of films showcasing the smaller side of filmmaking this year. We’re getting out Oscar picks in today on Have a Good Movie!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the song “The Finer Things,” written by Donald Fagen and performed by David Sanborn as part of the soundtrack to The King of Comedy. Copyright 1983 Warner Bros. Records Inc.

Excerpt taken from the piece “Burlesque”, written and composed by Mike Figgis for his film Leaving Las Vegas. Copyright 1995 Initial Productions, S.A.

Something was in the air in 1973 where people wanted nostalgia and con artists in their films. But while George Roy Hill teamed up with Redford and Newman for the utter perfection of the genre, Peter Bogdanovich followed up one classic film with another underrated gem. Nothing about this movie is particularly remarkable, save the outstanding performance by 9-year-old Tatum O’Neal. Instead, it’s just an aggregate of everyone telling a really good story. I’ll give you this 5 dollar bill rather than the dollar change but you can get a 20 instead as we watch Paper Moon on Have a Good Movie!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the song “Paper Moon”, written and composed by Harold Arlen, Yip Harburg and Billy Rose and performed by Paul Whiteman and his Orchestra with Peggy Healy as vocalist.

Excerpt taken from the song “The Finer Things,” written by Donald Fagen and performed by David Sanborn as part of the soundtrack to The King of Comedy. Copyright 1983 Warner Bros. Records Inc.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main title to the film Klute, composed and conducted by Michael Small. Copyright 1971 Warner Bros. All Rights Reserved.

Excerpt taken from the song “Paper Moon”, written and composed by Harold Arlen, Yip Harburg and Billy Rose and performed by Paul Whiteman and his Orchestra with Peggy Healy as vocalist.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main title to the film The Manchurian Candidate, written and composed by David Amram. © 1962 Frank Sinatra Trust Number 10. All Rights Reserved.

Excerpt taken from the main title to the film Klute, composed and conducted by Michael Small. Copyright 1971 Warner Bros. All Rights Reserved.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main title to the film A Face in the Crowd, composed and conducted by Tom Glazer & Budd Schulberg and performed by the Warner Bros. Studio Orchestra. Copyright 1957 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpt taken from the main title to the film The Manchurian Candidate, written and composed by David Amram. © 1962 Frank Sinatra Trust Number 10. All Rights Reserved.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken "Prelude and Outer Space" from the film The Day The Earth Stood Still, written and composed by Bernard Herrmann and conducted by Joel McNeely. © 1951 Twentieth Century Fox Film Corporation, 2003 Varese Sarabande Records, Inc.

Excerpt taken from the main title to the film A Face in the Crowd, composed and conducted by Tom Glazer & Budd Schulberg and performed by the Warner Bros. Studio Orchestra. Copyright 1957 Warner Bros. Entertainment Inc. All Rights Reserved.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main titles to the film His Girl Friday, written and composed by Sidney Cutner and Felix Mills.

Excerpt taken "Prelude and Outer Space" from the film The Day The Earth Stood Still, written and composed by Bernard Herrmann and conducted by Joel McNeely. © 1951 Twentieth Century Fox Film Corporation, 2003 Varese Sarabande Records, Inc.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the title themes from the film Duck Soup, written and composed by Harry Ruby and John Leipold. © 1933 Paramount Productions, Inc. Renewed 1960 by EMKA Ltd. All Rights Reserved.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Main Theme" from the film Tombstone, written and composed by Bruce Broughton. © 1993 Hollywood Pictures.

Excerpt taken from "Main Theme" from the film Wyatt Earp, written and composed by James Newton Howard. © 1994 Warner Bros. Entertainment Inc. All Rights Reserved.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Main Title" from the film Young Guns, written and composed by Anthony Marinelli and Brian Banks. © 1988 Morgan Creek Productions, Inc. All Rights Reserved.

Excerpts taken from "Blaze of Glory" from the film Young Guns II, written and performed by Jon Bon Jovi. © 1990 Bon Jovi Publishing/PRI Music, Inc. (ASCAP). ℗ © 1990 PolyGram Records, Inc.

Excerpt taken from "Claudia's Theme" from the film Unforgiven, written and composed by Clint Eastwood. © 1992 Unforgiven Warner Bros.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Claudia's Theme" from the film Unforgiven, written and composed by Clint Eastwood. © 1992 Unforgiven Warner Bros.

Excerpt of “Mr. Lucky” written and composed by Karl Jenkins. Copyright 1980 Music De Wolfe, De Wolfe Ltd.

Excerpt taken from "Main Theme" from the film Tombstone, written and composed by Bruce Broughton. © 1993 Hollywood Pictures.

Mel Brooks’ now-classic Western spoof is as controversial as it is well-regarded. Mel pulled absolutely no punches making this movie, and assembled a writer’s room that was willing to push the envelope. The only problem is that Mel is too focused on landing the joke and less attentive to the story. It’s funny, because that same year he’d release what may have been his masterpiece, a focused, fantastic parody of classic horror. It’s hard to know what to cut here, but he definitely needed to figure out what story to tell. Grab your Gucci saddlebacks as we watch Blazing Saddles on Have a Good Movie!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Signature / Main Title (Instrumental)" from the film Blazing Saddles, written and composed by John Morris, Max Steiner and Mel Brooks. Copyright 1974 Warner Bros. All Rights Reserved.

Excerpts taken from "Blaze of Glory" from the film Young Guns II, written and performed by Jon Bon Jovi. © 1990 Bon Jovi Publishing/PRI Music, Inc. (ASCAP). ℗ © 1990 PolyGram Records, Inc.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the main theme to the film Support Your Local Sheriff!, written and composed by Jeff Alexander. Copyright 1969 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved.

Excerpt taken from "Signature / Main Title (Instrumental)" from the film Blazing Saddles, written and composed by John Morris, Max Steiner and Mel Brooks. Copyright 1974 Warner Bros. All Rights Reserved.

Spaghetti westerns are their own unique style, their own flavor, and one of the key issues is the dialogue is almost always sloppy and cheesy. Yet Sergio Leone, a true master of filmmaking, took that to a different artistic height, and really made it perfect with this film. This film is impeccably shot, with spans of John Ford’s favorite locations that would make the father of the genre salivate. The cast is top notch, with a truly evil villain made all the more bad by the fact that they got America’s Dad to play him. The only thing missing is punchier dialogue, but when it comes to Leone, it’s worth the eye rolls to wait for the next incredible shot. Bide your time with a little harmonica as we watch 1968’s Once Upon a Time in the West on Have a Good Movie!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Man With A Harmonica" from the film Once Upon a Time in the West, written and composed by Ennio Morricone. Copyright 1968 Rafran - San Marco Production.

Excerpts taken from the main theme to the film Support Your Local Sheriff!, written and composed by Jeff Alexander. Copyright 1969 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved.

If this movie is the rebirth of the Western, it'd be hard to tell because it's a real mess. It's a classic, and it absolutely makes sense why, but it's also a total mess of a film. No one knows what movie they're supposed to be in, the script is missing a ton of connective tissue, and Steve McQueen has the audacity to be bad at acting and an insufferable tool. Still, Yul Brynner and Charles Bronson are total badasses, and this Western via samurai flick manages to be a little entertaining. But really, just go watch Seven Samurai instead. Round up the gunfighters as we watch The Magnificent Seven on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved.

Excerpt taken from "Man With A Harmonica" from the film Once Upon a Time in the West, written and composed by Ennio Morricone. Copyright 1968 Rafran - San Marco Production.

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "The Ballad of High Noon" from the film High Noon, written by Ned Washington, composed by Dimitri Tiomkin, and performed by Tex Ritter. Trademark and Copyright 2007 by Paramount Pictures. All Rights Reserved.

Excerpt taken from the theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved.

Grab your six shooters and your saddles, we're kicking off our first-ever Westerns series! There's a lot in the genre for us to catch up on, and we start this week with a seminal film, one whose importance is unfortunately the only thing it's really got going for it. John Ford practically created the Western as we know making this movie but the dialogue and the characters are so rigid that it's somehow boring for a 90-minute movie. Still, if you've ever rolled your eyes at John Wayne and wondered "how the hell did he get to be a movie star", look no further than his performance here, smoldering and intense while staying relatable. The cast is pretty great, and the stunts are on par with anything that can be done with wires today. Still, this one is more "important" than a fun hang, so proceed with caution. Load up the wagon as we watch 1939's Stagecoach on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved.

Excerpts taken from the main theme to the film Stagecoach, written and composed by Richard Hageman. Copyright MCMXXXIX by Walter Wagner Productions, Incorporated.

Excerpt taken from "The Ballad of High Noon" from the film High Noon, written by Ned Washington, composed by Dimitri Tiomkin, and performed by Tex Ritter. Trademark and Copyright 2007 by Paramount Pictures. All Rights Reserved.

This one has been on our must watch list since it came out, and somehow it lingered for 10 years. In fact, you might suspect we did this series just to watch this movie, and you'd be at least a little bit right. Fortunately, the film doesn't disappoint, taking the well-worn movie journalism formula and taking it in a completely different direction. This movie is all about subtlety, accuracy, and most of all, real human storytelling. There's very few frills involved and very few liberties taken, which is the perfect way to tell the story of uncovering one of the most heinous abuses of power and trust in human history. There's no hero worship and no easy answers here, just plain great storytelling. No wonder it won Best Picture. We're finish on a high note with 2015's Spotlight on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Spotlight" from the soundtrack to Spotlight, written and composed by Howard Shore. Copyright 2015 Howard Shore; Entertainment Rights Holdings, EOT Film Productions, LLC. All Rights Reserved.

Excerpts taken from the main theme to the film The Magnificent Seven, written and composed by Elmer Bernstein. Copyright 1960 Metro-Goldwyn-Mayers Studios Inc. All Rights Reserved.

We try not to be too political on this show, but sometimes a movie forces our hand. Still, Spielberg’s third labor of love isn’t a mess because of its subject matter. Instead, it’s a messy rush job that has little to no historical value and also fails at being an entertaining movie. Nothing about this story passes the smell test, down to the fact that it looks like a crappy action movie from 2005. We know you can do better, Steven. We’re rounding up a group of assassins and wondering if we’re the baddies as we watch 2005’s Munich on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Remembering Munich" from the soundtrack to Munich, written and composed by John Williams. Copyright 2005 Universal Classics Group, a Division of UMG Recordings Inc.

Excerpt taken from "Remembering Munich" from the soundtrack to Spotlight, written and composed by Howard Shore. Copyright 2015 Howard Shore; Entertainment Rights Holdings, EOT Film Productions, LLC. All Rights Reserved.

This week's movie may not be the gayest movie ever but it's certainly one of the most famous. The star power here is off the charts, with two absolute bona fide movie stars and a perfect up and comer as our three gorgeous, fabulous, out of this world drag queens. Unfortunately the movie seems to think that ultimately we need less time with the queens and more time with a small town looking for help. It's a mistake, and one that keeps the movie from being in the ultimate pantheon. But my, what a magic fairy-dust ride it is. We're headed to Hollywood as we watch 1995's To Wong Foo, Thanks for Everything! Julie Newmar on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "I Am The Body Beautiful", written by Bernadette Cooper and Cheryl "Salt" James, and performed by Salt-N-Pepa. Copyright 1995 MCA Records.

Excerpt taken from "Remembering Munich" from the soundtrack to Munich, written and composed by John Williams. Copyright 2005 Universal Classics Group, a Division of UMG Recordings Inc.

Savage Steve Holland probably never contemplated his cartoons and wacky sense of humor would result in him making a true cult teen classic, but that's exactly what happened. John Cusack is just starting to find his path to the ultra-awkward teen of our dreams, and his supporting cast is pretty fun to boot. But mostly, the bits just keep on coming and just when you think a joke is overdone, a new one pops up in its place. We want our two dollars as we watch 1985's Better Off Dead on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Better Off Dub (Title Music)" from the soundtrack to Better Off Dead, written and composed by Rupert Hine. Copyright 1985 CBS Inc.

Excerpts taken from the film Better Off Dead, copyright 1985 CBS Inc. All Rights Reserved.

Excerpt taken from "I Am The Body Beautiful", written by Bernadette Cooper and Cheryl "Salt" James, and performed by Salt-N-Pepa. Copyright 1995 MCA Records.

We're getting a little spooky this week with a slow-burn cult horror classic that dares to make its female characters complex and unique and its male characters thoroughly one-dimensional. Somehow it's the men that are utterly unbelievable for a change. That said, there's a pretty great movie to be found in among the wreckage, a fact that filmmakers 30 years later were utterly and completely unable to reconcile. People in 2004 thought that making a dark, subtle allegory for the horrors of the patriarchy into live-action Looney Tunes was a good idea, and then made it. And since we're completionists, we subjected ourselves to both. Join us as we enjoy 1975's and despair 2004's The Stepford Wives on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the end credits to the film The Stepford Wives, written and composed by Michael Small. Copyright 1975 Palomar Pictures International, Columbia Pictures.

Excerpt taken from the opening titles to the film The Stepford Wives, written and composed by David Arnold. Copyright 2004 Paramount Pictures Corporation and Dreamworks LLC. All Rights Reserved.

One would think that with the steely blue eyes of Steve McQueen and the highest-stakes poker game ever concocted, we'd be cooking with fire with this next film. Instead, we get one of the most boring 100-minute movies committed to celluloid. Nearly an hour of this movie is preamble and exposition and when we finally get to the poker game we might as well have just had the Kid lose in the first few hands. There are many ways to approach a good poker movie, and this movie chooses literally none of them. Join us as we yawn through 1965’s The Cincinnati Kid on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “The Cincinnati Kid (Instrumental)” from the soundtrack to the film The Cincinnati Kid, written and composed by Lalo Schifrin. Copyright 1965 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpt taken from the end credits to the film The Stepford Wives, written and composed by Michael Small. Copyright 1975 Palomar Pictures International, Columbia Pictures.

We weren’t aware there was such a thing as being a method director, but this legendary film seems to have proven that’s a thing. Because it’s one thing to make a schlocky B-movie for teenagers about juvenile delinquents. It’s another completely to try to reverse engineer that terrible movie into art for a budding movie star and enable his worst tendencies while also having an affair with his 16-year-old co-star, and his other co-star, and possibly him. This movie is a mess, which is actually being kind, because its director might be even more of a disaster. Somehow a bad movie with great acting gives us perhaps some of the greatest trivia of all time. We’re deep in our angsty feels as we watch 1955’s Rebel Without a Cause on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main title to the film Rebel Without a Cause, written and composed by Leonard Rosenman. Copyright 1955 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpt taken from “The Cincinnati Kid (Instrumental)” from the soundtrack to the film The Cincinnati Kid, written and composed by Lalo Schifrin. Copyright 1965 Warner Bros. Entertainment Inc. All Rights Reserved.

We’ve jumped ahead to 1945 to tackle the question of whether it’s possible for a movie to have only one likeable character but still be compelling. The verdict - still unclear. This is a bizarre movie, down to the doctor who tries to save a dying young child trying to gain sympathy for having to drive all the way out to the house in the first place. Only one main character is likeable, and fortunately Joan Crawford is up to the task with the role. In fact, for a melodrama with more of a premise than a well-rounded plot and wildly uneven acting, Joan Crawford is the glue that holds all of this together. We’re watching the Mother’s Day classic, 1945’s Mildred Pierce on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the main title to the film Mildred Pierce, written and composed by Max Steiner. Copyright 1945, 2005 Turner Entertainment Co., Warner Bros. Entertainment Inc.

Excerpt taken from the main title to the film Rebel Without a Cause, written and composed by Leonard Rosenman. Copyright 1955 Warner Bros. Entertainment Inc. All Rights Reserved.

We’ve got a new name, a new season, and a new series! First up, we talk about our name change with a tagline you may be familiar with. Then, we kick off a new series with a trip through ALL the decades - if the year ends in 5, we’re watching a movie from it! We kick things off with a frothy, zippy, real humdinger of a musical with Fred Astaire and Ginger Rogers doing their thing. Remarkably, this movie is incredibly wholesome and unproblematic, its most offensive thing being a wacky Italian accent that angered Mussolini - in short, a net benefit. We kick off our Decades Grab Bag with 1935’s Top Hat on Have a Good Movie

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main title to the film Top Hat, written and composed by Irving Berlin. Copyright 1935 RKO Pictures, Inc.

We're seen all the movies, we've enjoyed or destroyed them all based on how we feel, and the big night is here at last. We start off with a discussion of the 35th Annual Academy Awards and how unremarkable it was - save for one very uniquely petty acceptance speech. Frank Sinatra may be charming, but he really shouldn't emcee an awards show. Then we dive deep into the 2025 Oscars, are befuddled and disappointed by how much everyone seems to love Anora, declare love for Conan O'Brien's bits and the nation of Latvia, and overall just seem underwhelmed by the year in movies that was. Come along for a final Oscars episode to wrap our season on Macintosh & Maud Haven’t Seen What?!

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Interstitial music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the 35th Academy Awards held on April 8, 1963.

1962 contained not one but two books that were thrust upon us as required school reading (or acting), but none loom as large as this story. To be fair, it’s one of the few stories about the pre-Civil Rights Act South that’s presented through the eyes of a child, and that means it’s perfect school fodder. The movie was a huge labor of love from the entire creative team, which is fantastic and reads on screen, but also makes for a truly uneven watching experience. Director Robert Mulligan gets the most out of the cast, but his execution of trying to see things through Jem & Scout’s perspective never translates on screen. In fact, the only moments that truly work are in the courtroom, when the reality of small town Alabama racism come roaring back. It’s a shame it’s not a better movie because Gregory Peck is giving his masterpiece performance and the kids are phenomenal on screen, but acting alone cannot a movie make. We wrap up Oscars ‘62 with To Kill A Mockingbird onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main title to the film To Kill A Mockingbird, written and composed by Elmer Bernstein. Copyright 1962 Universal Studios. All Rights Reserved.

Excerpts taken from the introduction to the 35th Academy Awards held on April 8, 1963.

CONTENT WARNING: Horror, gore, child murderers, child molesters, serial killers, knives.

We're coming up on the 2025 Oscars and we share our main picks, our takes on the nominees, and why Emilia Perez is one of the worst nominees ever posted to the Oscars, all in this bonus episode of Macintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Every year at the Oscars there’s a movie that stands out as the film that should be the Best Picture, just for the sheer raw power of its storytelling. This is that movie. Jack Lemmon is giving a performance for the ages, the supporting cast is rock solid, and the always contrarian Blake Edwards goes for broke. This could have easily been a melodrama, but you get the sense very quickly that everyone making this movie got the impact of what they were doing here. And that’s incredible, considering there’s movies that come out in 2025 that can’t capture the truth of addiction like this movie. We continue Oscars ‘62 with Days of Wine and Roses onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the main title to the film Days of Wine and Roses, composed and conducted by Henry Mancini with lyrics by Johnny Mercer. Copyright 1962 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpt taken from the main title to the film To Kill A Mockingbird, written and composed by Elmer Bernstein. Copyright 1962 Universal Studios. All Rights Reserved.

If last week was about a world war, this film is about a two-woman war. Joan Crawford and Bette Davis were two of the bitterest rivals in the 30’s and 40’s, but by 1962 both were desperate for a hit. So was director Robert Aldrich, and the three combined to create a unique blend of gothic horror and Hollywood cynicism that still resonates today. We continue Oscars ‘62 with What Ever Happened to Baby Jane? onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the film What Ever Happened to Baby Jane?, copyright 1962 The Associates & Aldrich Company Inc.; 1962 Warner Bros. Entertainment Inc. All rights reserved.

Excerpt taken from the main title to the film Days of Wine and Roses, composed and conducted by Henry Mancini with lyrics by Johnny Mercer. Copyright 1962 Warner Bros. Entertainment Inc. All Rights Reserved.

D-Day happened over 80 years ago, and to this day, there’s only been two films that capture the scope and scale of that bloody day. This movie is one of those, and unfortunately it’s the boring one. To be clear, the battle sequences are among some of the best committed to celluloid; there’s a few moments that will make you gasp at how well legendary ringleader Darryl F. Zanuck captures the battlefield. But then we turn to the characters, and they’re all a) played by actors double the age of the characters and b) say the absolute hokiest lines you’ll hear in a war movie. It may be an accurate film, but this definitely isn’t entertaining history. We continue Oscars ‘62 as we discuss The Longest Day onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the main theme in the original soundtrack to the film The Longest Day, written and composed by Maurice Jarre. Copyright 1962 Darryl F. Zanuck Productions, Inc. and Twentieth Century Fox Film Corporation, renewed 1990. All rights reserved.

Excerpt taken the film What Ever Happened to Baby Jane?, copyright 1962 The Associates & Aldrich Company Inc.; 1962 Warner Bros. Entertainment Inc. All rights reserved.

If you’ve ever done theater, and we definitely have, you dread the thought of having to deal with anything related to this movie and this story. And you’d be right to, because all too often we tell a sanitized, ableist, overacted retelling of a very real story: the breakthrough Annie Sullivan had teaching her student Helen Keller to communicate. So you’ll have to pardon our shock while watching the original film adaptation of the Broadway success, and finding it’s in fact a brilliant film. Director Arthur Penn is brilliant in adapting his own stage production by showing and not telling, a move that seems impossible for most stage to screen adaptations. Anne Bancroft and Patty Duke, reprising their roles from Broadway, are absolutely phenomenal. And sure, the supporting cast might as well be cardboard cutouts, but it doesn’t matter when you’ve got a film as compellingly made as this one. We finally get a winner for Oscars ‘62 as we talk about The Miracle Worker onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the original soundtrack to the film The Miracle Worker, written and composed by Laurence Rosenthal. Copyright 1962 Playfilm Productions, Inc. All Rights Reserved.

Excerpt taken from the main theme in the original soundtrack to the film The Longest Day, written and composed by Maurice Jarre. Copyright 1962 Darryl F. Zanuck Productions, Inc. and Twentieth Century Fox Film Corporation, renewed 1990. All rights reserved.

The duds just keep on coming this week as a movie about one of America’s most dangerous (and quirky) prisoners just collapses under its own weight. Many times we celebrate directors and casts who deeply care about their subject. In this case, it somehow makes the whole experience worse, mostly because it commits the cardinal sin of being boring. It’s not the worst movie we’ve ever seen, but it’s a real drag to sit through. Oscars ‘62 continues as we talk about Birdman of Alcatraz onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the original soundtrack to the film Birdman of Alcatraz, written and composed by Elmer Bernstein. Copyright 1962 Metro-Goldwyn-Mayer, Inc.

Excerpt taken from “Main Title” from the original soundtrack to the film The Miracle Worker, written and composed by Meredith Willson. Copyright 1962 Playfilm Productions, Inc. All Rights Reserved.

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the original soundtrack to the film The Music Man, written and composed by Meredith Willson. Copyright 1962 Warner Bros Records Inc; Warner Bros Pictures Inc.

Excerpt taken from “Main Title” from the original soundtrack to the film Birdman of Alcatraz, written and composed by Elmer Bernstein. Copyright 1962 Metro-Goldwyn-Mayer, Inc.

Did you miss us? We missed you! That’s right, it’s been far too long, and we’re back with a patented Oscars(TM) series, this time focusing on the year 1962. We kick things off this week with mid-century Hollywood stalwart Tennessee Williams. Boy do we wish we hadn’t. There are some legitimately good and enjoyable performances, but they’re wasted on a movie that said “you know what this play adaptation needs - more set pieces!” This movie is a hot mess, and not in the way Tennessee Williams would want us to see it. Oscars ‘62 kicks off this week with our review of Sweet Bird of Youth onMacintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Ebb Tide,” written and composed by Robert Maxwell. Copyright 1953 Mercury Record Corporation.

Excerpt taken from “Main Title” from the original soundtrack to the film The Music Man, written and composed by Meredith Willson. Copyright 1962 Warner Bros Records Inc; Warner Bros Pictures Inc.

CONTENT WARNING: Discussion of murder, serial killers, gore, blood, childhood trauma, horror, earthquakes, demons, death.

Oops, Freddy wasn’t really dead after the final nightmare. But as Wes Craven makes abundantly clear in this film, horror legends never really go away, they always stick around. Wes’ work in this film is admirable, and it’s some of the best storytelling in the series. Yet watching you can’t help but think about the meta-horror classic that Wes would bring to us just two years later, a film that redefined the genre. Everyone here is doing admirable work and “sending off “ Freddy in style, but there’s a lot of missed opportunities that could have made this a sure-fire horror masterpiece. We discuss (Wes Craven’s) New Nightmare this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “A New Nightmare Begins,” written and composed by J. Peter Robinson. Copyright 1994 New Line Productions; Milan Entertainment, Inc.

Excerpt taken from the theme to the TV show Documentary Now! written and composed by Joshua Mosier.

CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, mental illness, childhood trauma, parental murder, suppressed memories, abuse.

There’s been a wide variety of entries in the Freddy Knife Hands series, but finally, finally, we got the entry that makes zero sense and is a bonkers good time. No, this film is not good, and no, it does not appear to have actually employed a competent editor. Although that may be the fault of the studio more than anyone involved in the production. Nevertheless, THINGS HAPPEN in this movie, and it’s beyond weird and messy and hilarious and gory and sometimes, that’s all you really want from your "final” entry in a horror franchise. We discuss Freddy’s Dead: The Final Nightmare this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Why Was I Born? (Freddy’s Dead)” written by Iggy Pop and Whitey Kirst, and performed by Iggy Pop. Copyright 1991 Metal Blade Records Inc.; New Line Cinema Corporation.

Excerpt taken from “A New Nightmare Begins,” written and composed by J. Peter Robinson. Copyright 1994 New Line Productions; Milan Entertainment, Inc.

CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, mental illness, pregnancy, teen pregnancy, body changes in pregnancy.

You don’t usually expect the worst film of a horror franchise to be followed with one of the most unique entries, but Freddy Knife Hands is a fickle series of movies. It’s a stretch to call this movie “good,” but it’s one of the most visually interesting and cohesive entries since the original 1984 film. Stephen Hopkins has truly interesting, fascinating ideas of body horror and trauma along with some of the biggest stakes we’ve seen so far for Freddy himself. Alas, someone forgot to tell the writers that’s what we were doing, because the dialogue and the story wholesale misses the part of the story that would really make this movie great, and instead we’re left to wonder what might have been. We discuss A Nightmare on Elm Street 4: The Dream Child this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Take Your Daughter to the Slaughter,” written and performed by Bruce Dickinson. Copyright 1989 Zomba Recording Corporation; New Line Cinema Corporation.

Excerpt taken from “I’m Awake Now” written and performed by Goo Goo Dolls. Copyright 1991 Metal Blade Records Inc.; Select Records; New Line Cinema Corporation.

CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, child neglect.

You never expect 80’s horror movies to be quality cinema. But you do expect there to be some wild, ridiculous stuff that also has enough of an edge to be scary and terrifying. With the 4th installment of Freddy Knife Hands, the writers decided that none of this was necessary. No, instead we kill off the remaining Dream Warriors and tag along with a new heroine who literally does nothing. And we mean that literally - nothing happens in this movie until about the last 10 minutes, except for some intensely goofy Freddy murders and some terrible 80s acting. No, this one is truly dire, and the only hope is they can make it weird again before the end of this series. We discuss A Nightmare on Elm Street 4: The Dream Master this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Anything, Anything (I’ll Give You),” written by John Easdale and performed by Dramarama. Copyright 1985, 1990 Chameleon Records.

Excerpt taken from “Take Your Daughter to the Slaughter,” written and performed by Bruce Dickinson. Copyright 1989 Zomba Recording Corporation; New Line Cinema Corporation.

CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, trauma, misdiagnosis, medical malpractice, mental health stigma, suicide, mental illness.

Wes Craven didn’t think Freddy Krueger could be a legitimate franchise character. And then the sequel basically printed money, and Wes thought it might be a good idea to jump back in the fray. This time, though, he and his co-writers returned back to the dream world, and Freddy comes for Nancy and a crew of new kids who discover, maybe, the path to destroy Freddy once and for all. No, the acting hasn’t gotten any better, and no, the dialogue is still way too on the nose. But this is a real promising return to form for the franchise, and introduces a ton of new ideas for a great horror villain. We discuss A Nightmare on Elm Street 3: Dream Warriors this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records.

Excerpt taken from “Anything, Anything (I’ll Give You),” written by John Easdale and performed by Dramarama. Copyright 1985, 1990 Chameleon Records.

CONTENT WARNING: Discussion of murder, serial killers, gore, blood, child killers, death, homophobia, trauma..

When we watched the original Nightmare on Elm Street for the show, we were only in our 2nd season and were still relative horror newbies. But it’s finally time to explore the entire Fred Krueger canon, and this week we start with a film that has no right to be as interesting and good as it is. The acting still isn’t great, the dialogue is atrocious, and the producer made the entire process a nightmare for everyone involved. But the intentional undercurrents of homoeroticism coupled with a totally different take on Freddy’s abilities makes this a fun but flawed entry in the canon. We’re talking about Freddy Knife Hands in A Nightmare on Elm Street 2: Freddy’s Revenge this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc.

Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street 2:Freddy's Revenge, composed by Christopher Young. Copyright 1986 New Line Cinema Corporation

Excerpt taken from the film A Nightmare on Elm Street 2: Freddy’s Revenge. Copyright 1985 New Line Productions, Inc.

Excerpt taken from “Dream Warriors,” written by George Lynch and Jeff Pilson and performed by Dokken. Copyright 1987 Elektra/Asylum Records.

CONTENT WARNING: Horror, gore, child murderers, child molesters, serial killers, knives.

Back in our second season in 2018 (?!??!?!) we talked about A Nightmare on Elm Street. We probably feel differently about it now. Check out our long ago review as we gear up for our new October series reviewing Freddy Knife Hands on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CONTENT WARNING: Discussion of war, racism, grief, trauma, PTSD, explosions, abuse, trauma.

We’re wrapping up our series with Spike’s most recent joint, traveling to Vietnam for a cross between Apocalypse Now and The Treasure of the Sierra Madre. It’s another bold swing in the new era of Spike, but yet again, the balance is all off. When this movie is working, it’s a masterpiece, but there’s so much of it that feels like a slog. And it’s not because of anything fundamentally wrong with the story, just that there’s far too much of it, and far too much pontificating on the story itself. For the cast alone, though, it’s a shame this got buried in the COVID shutdown, because they deserve heaps of recognition. We conclude our director’s series with 2020’s Da 5 Bloods this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc.

Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street, composed by Charles Bernstein. Copyright 1984 New Line Cinema Corp.

CONTENT WARNING: Discussion of homicide, gun violence, racism, gang wars, gangs, drug use, sex, misogyny, death of a child, grief.

We’ve jumped ahead to Spike’s new era of films for a movie we absolutely should have seen so much earlier. Why? Because it’s a Spike Lee Joint adapted from one of the most important Greek comedies ever written, and it happens to be pretty hilarious at how good a job it does. The problem is when Spike and new collaborator Kevin Willmott stray from the source and take themselves a little too seriously with an incredibly silly premise. Especially for Greek drama and comedy, allowing the structure to play out without interruption is the only way to go. We discuss 2015’s Chi-Raq this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Chi-Raq” written by Rico Cox, Robert Amparan, Leroy Griffin, Jr. and Nick Cannon, and performed by Nick Cannon. Copyright 2015 Da Chi Picture Company, LLC. All Rights Reserved.

CONTENT WARNING: Discussion of Nazi collaboration, antisemitism, robbery, racism, violence, murder, drug dealing, assault, gun violence, threats of violence, homicide, police.

This week we’ve got a special double feature, with a Spike movie we loved without knowing it was a Spike Lee joint, and one from the past that took a different look at the world of crime. In 2006, Spike dropped his most commercially successful film to date that just so happened to be a heist classic. But in 1995, he’d already explored the drug trade taking over lots of the projects. While both movies are different, they’re a look at the different ways Spike approaches crime, police work, detectives, and his beloved New York. We discuss 2006’s Inside Man and 1995’s Clockers this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Ten Thirty” from the score to the movie Inside Man, composed by Terence Blanchard. Copyright 2006 Universal Studios.

Excerpt taken from “Crazy (Acoustic)” written and performed by Seal. Copyright 1991, 2004 Warner Bros. Records Inc., WEA International Inc.

Excerpt taken from “Chi-Raq” written by Rico Cox, Robert Amparan, Leroy Griffin, Jr. and Nick Cannon, and performed by Nick Cannon. Copyright 2015 Da Chi Picture Company, LLC. All Rights Reserved.

CONTENT WARNING: Discussion of underage attraction, racism, sexism, murder, drug use, prison, assault, violence.

It’s been so long since we had a proper movie fight on this show, and this week’s movie finally fit the bill. David thinks this is actually a poignant allegory for the tragic events of 9/11 and trying to reckon with those emotions. Diana thinks it’s a pointless movie that deserves to be thrown in the garbage. We both agree, though, that the script could have made some choices to help with the awkwardness of it all. Get ready for an all-out patented Movie Fight(TM) as we discuss 2022’s 25th Hour this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Open Title” from the score to the movie 25th Hour, composed by Terence Blanchard. Copyright 2002 Hollywood Records, Inc. and Touchstone Pictures.

Excerpt taken from “Crazy (Acoustic)” written and performed by Seal. Copyright 1991, 2004 Warner Bros. Records Inc., WEA International Inc.

CONTENT WARNING: Discussion of racism, childhood grief, dysfunctional families, parental anger, drugs, poverty, grief, loss.

It was only a matter of time before Spike Lee decided to make his own ode to basketball. Unfortunately, his script here is just not up to par, which is a shame, because underneath the flash and messy storytelling, there’s a really interesting story about fathers and sons. Denzel is bringing his best, as usual, and the supporting cast is doing their absolute best. Even Ray Allen, who’s definitely not an actor, still has flashes of brilliance as he relaxes into the role. And Spike’s directing has so much thought and care, particularly in his use of score. But none of that matters when the movie just doesn’t have a whole lot to say. Check the ball and post up as we discuss 1998’s He Got Game this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “He Got Game” from the soundtrack to the movie of the same name, written by LuQuantum Leap featuring Stephen Stills, and performed by Public Enemy along with the Voices of Shabach Community Choir of Long Island. Copyright 1998 Def Jam Records, Inc., a PolyGram Company.

CONTENT WARNING: Discussion of racism, childhood grief, dysfunctional families, parental anger, drugs, poverty, grief, loss.

After another Spike masterpiece (one we’ve both seen already), Spike geared up for one of his most personal projects to date. Written as a TV pilot by Spike’s sister Joie and brother Cinqué, Spike reigns everything back in to show a family, both good and bad, living in Brooklyn in 1973. It moves more like a series of scenes than an actual movie, but the characters here are among some of his best, and Spike is willing to lay everything in front of us: the anger, the dysfunction, the sorrow, and the love. It doesn’t hurt that he’s got Alfre Woodard and Delroy Lindo as the parents either, nor an outstanding child performance from Zelda Harris. It’s a really good movie, subtle but true and a delight to watch. Turn the TV off and make sure you clean your dishes as we discuss 1994’s Crooklyn this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Everyday People” by Sly and the Family Stone, copyright 1968 Daly City Music.

Excerpt taken from “He Got Game” from the soundtrack to the movie of the same name, written by LuQuantum Leap featuring Stephen Stills, and performed by Public Enemy along with the Voices of Shabach Community Choir of Long Island. Copyright 1998 Def Jam Records, Inc., a PolyGram Company.

CONTENT WARNING: Discussion of womanizing, misogyny, gambling.

Spike Lee had the unenviable task of following up one of the greatest movies of all time. And instead of taking a long break or jumping to big budget movies, Spike decided to rein everything back in for another slice of life about another of his many loves - jazz. Granted, his writing efforts were a bit disjointed, a bit lacking in story to make everything well-rounded. But Spike still brought all his visual powers to bear with a cast that absolutely knocks out their roles, even if they’re a bit thin on the page. And don’t get us started on the music - this movie still has a lot to offer. Grab a seat and order a drink as we talk about 1990’s Mo’ Better Blues this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Mo’ Better Blues” from the soundtrack to the movie Mo’ Better Blues, written by Bill Lee and performed by the Branford Marsalis Quartet featuring Terence Blanchard. Copyright 1990 CBS Records Inc.

Excerpt taken from “Part I - Acknowledgement” from John Coltrane’s A Love Supreme, copyright 1965 ABC-Paramount Records, Inc.; 2022 UMG Recordings, Inc.

Excerpt taken from “Everyday People” by Sly and the Family Stone, copyright 1968 Daly City Music.

CONTENT WARNING: Discussion of police murders, police brutality, racism, sex, racial tension, alcoholism.

Our Spike Lee series continues with, perhaps, Spike’s greatest movie and only his third full-length feature. It’s a movie so poignant and real that it can literally change lives, and we don’t say that lightly. Of course, Hollywood was terrified it would incite violence and rioting, which is preposterous because its real message is how to navigate living together, both in peace and violence. Spike doesn’t ask easy questions and doesn’t expect easy answers; he just wants to lay it all out in front of us. And, in the meantime, he gives us a whole crew of unique, well-drawn characters that, even when caricatures, still show a sense of the real world and all of its struggles. Wake up, wake up, up you wake and join us as we watch 1989’s masterpiece Do the Right Thing this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Fight the Power” from the soundtrack to the movie Do the Right Thing, written by Carlton Ridenhour, Eric Sadler, Hank Shocklee and Keith Shocklee and performed by Public Enemy. Copyright 1989 Universal City Studios, Inc.; Motown Record Company, L.P.

Excerpts taken from the movie Do the Right Thing, copyright 1989 Universal City Studios, Inc. All Rights Reserved.

Excerpt taken from the 1990 Academy Awards with a speech from Kim Basinger.

CONTENT WARNING: Discussion of sexism, misogyny, rape, rape culture, manipulation, narcissism, sex.

We’re starting a new director series, and this year we’re watching the films of one of Hollywood’s most controversial and iconic directors: Spike Lee. This week, we check out his first joint, a sex comedy that’s shockingly progressive and thoughtful for its time. It’s refreshing for one of the greatest low-budget films of all time to be far more thoughtful than most comedies of its era. And it’s incredibly funny to boot, provided you remember it’s 1986 and off-color jokes cross the line more often than not. It’s not the greatest movie, but it’s a great start for one of the best directors of all time. Please baby, pleasebaby, please baby baby please join us as we watch 1986’s She’s Gotta Have It this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Who Will Be The One” from the soundtrack to the movie She’s Gotta Have It, written and composed by Bill Lee. Copyright 1986 Island Records Inc.

Excerpt taken from “Who Will Be The One” from the soundtrack to the movie She’s Gotta Have It, written and composed by Bill Lee. Copyright 1986 Island Records Inc.

Excerpt taken from Nike’s “It’s Got To Be the Shoes” commercial, starring Spike Lee and Michael Jordan.

Excerpt taken from “Fight the Power” from the soundtrack to the movie Do the Right Thing, written by Carlton Ridenhour, Eric Sadler, Hank Shocklee and Keith Shocklee and performed by Public Enemy. Copyright 1989 Universal City Studios, Inc.; Motown Record Company, L.P.

CONTENT WARNING: Discussion of child neglect, child abuse, teen drug use, teenage pregnancy, racism, systematic racism, manipulation.

It wouldn’t be a series on this show without a dud to end things on. 1989 had its fair share of great movies, but it also contained this absolutely terrible piece of work. On paper, this movie should be fantastic: Morgan Freeman, John G. Avildsen of Rocky directing, a compelling drama. But the low expectations of our writer and our director’s absolute devotion to hitting emotional story beats undercuts a really complicated and unique story from an urban high school. It’s bad enough that the movie completely rewrites history; it also just does a really terrible job of it too. Pull your pants up and take your hat off as we watch Lean on Me this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Rap Summary (Lean On Me)” from the soundtrack to the movie Lean on Me, written and performed by Big Daddy Kane. Copyright 1989 Warner Bros. Records Inc.

Excerpt taken from the movie Lean on Me, copyright 1989 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpt taken from “Who Will Be The One” from the soundtrack to the movie She’s Gotta Have It, written and composed by Bill Lee. Copyright 1986 Island Records Inc.

CONTENT WARNING: sexism, manipulation, stealing credit, Kevin Spacey.

We jump from a New York nightmare to a fairy tale, albeit one with some real power plays. This week’s movie is definitely lighter fare, but it's worth realizing just how empowering it was in its time. Secretaries didn’t have the chance to work their way up, and hierarchies only allowed for certain women to make their way to the boardroom. So it was a big deal to say that someone working through various menial positions could get the power to make million or even billion dollar deals. What makes this week’s movie great is the combination of its message, its attention to detail, and some truly fantastic chemistry between Harrison Ford and Melanie Griffith. Enjoy your new office as we watch Working Girl this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Fatal Attraction” from the soundtrack to the movie Fatal Attraction, written and composed by Maurice Jarre. Copyright 1987 Paramount Pictures Corporation.

Excerpt taken from “Let the River Run” from the soundtrack to the movie Working Girl, written and performed by Carly Simon. Copyright 1988 Twentieth Century Fox Film Corporation.

Excerpt taken from “Work Hard or Die Trying, Girl” from the TV show Bob’s Burgers. Copyright 2011, 2014 Fox and its related entities. All rights reserved.

Excerpt taken from “Rap Summary (Lean On Me)” from the soundtrack to the movie Lean on Me, written and performed by Big Daddy Kane. Copyright 1989 Warner Bros. Records Inc.

CONTENT WARNING: From 37:33-38:22, discussion of sexual assault and torture of a minor with respect to a fictional character. Also, discussion of infidelity, obsessive behavior, psychopathy, mental illness, murder, animal cruelty, suicide, drowning, strangulation, sexism, mental health stigma.

1987’s movie is truly one of the greatest movies ever made about infidelity. This wasn’t just a run-of-the-mill thriller - for many, this was a wake-up call. True, the movie takes things to extremes, but there’s layers of meaning and thought in this film. That’s mostly due to an outstanding cast, with Michael Douglas finding all the subtleties in being an asshole and Glenn Close giving one of her best-ever performances. The only thing holding the movie back is its 1987 attitude toward mental illness and sexual politics. Nevertheless, this movie is still one hell of a thriller that manages to ask a lot of questions with no easy answers. Check to make sure all your bunnies are in their pens as we watch Fatal Attraction this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Fatal Attraction” from the soundtrack to the movie Fatal Attraction, written and composed by Maurice Jarre. Copyright 1987 Paramount Pictures Corporation.

Excerpt taken from the movie Fatal Attraction, copyright 1987 Paramount Pictures Corporation. All Rights Reserved.

Excerpt taken from “Let the River Run” from the soundtrack to the movie Working Girl, written and performed by Carly Simon. Copyright 1988 Twentieth Century Fox Film Corporation.

Excerpt taken from “Work Hard or Die Trying, Girl” from the TV show Bob’s Burgers. Copyright 2011, 2014 Fox and its related entities. All rights reserved.

CONTENT WARNING: Homophobia, transphobia, racism, sexism, poaching.

Our 1986 entry for this series is one of the most baffling movies in this series. This movie rivaled none other than Top Gun for the biggest box office win of 1986, and made a handful of Australians truckloads of cash. It lived large as the biggest Australian cultural export to America for nearly 30 years. And it’s also just an absolutely awful movie. The comedy isn’t funny, the romance isn’t romantic, and almost half the movie is spent on a slow walkabout in the Outback. There’s a handful of jokes and moments that loom large, but they’re held together by the flimsiest of stories. And somehow, some way, the Academy saw fit to nominate the film for Best Original Screenplay. Join us for this Aussie travesty as we watch Crocodile Dundee this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Opening Title Theme” from the soundtrack to the movie Crocodile Dundee, written and composed by Peter Best. Copyright 1986 Paramount Pictures Corporation; Best Results Pty. Ltd.

Excerpts taken from the movie Crocodile Dundee, copyright 1986 Rimfire Films Limited. All Rights Reserved.

Excerpt taken from “Fatal Attraction” from the soundtrack to the movie Fatal Attraction, written and composed by Maurice Jarre. Copyright 1987 Paramount Pictures Corporation.

CONTENT WARNING: Misogyny, murder, STDs.

1985’s movie is perhaps the role Chevy Chase was born to play. Imagine a man with a shoestring disguise budget, the affable charm of the mediocre white man, and an absolute disdain for everyone around him. That’s Irwin Fletcher, and Chevy is absolutely fantastic in the role. Unfortunately, Hollywood couldn’t escape the thought that they needed to make a silly comedy and not a sarcastic send-up of noir. This movie needed to let Chevy be Chevy and turn on all of his sarcastic charm. Instead, it relies a bit too much on bits, ignoring the mystery structure, and the one-liners outshine the fun of the characters. Splurge on some 49-cent fake teeth as we talk about Fletch this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Fletch Theme” from the soundtrack to the movie Fletch, written and composed by Harold Faltermeyer. Copyright 1985 Universal City Studios, Inc.; MCA Records, Inc.

Excerpts taken from the movie Fletch, copyright 1985 Universal Studios. All Rights Reserved.

Excerpt taken from “Opening Title Theme” from the soundtrack to the movie Crocodile Dundee, written and composed by Peter Best. Copyright 1986 Paramount Pictures Corporation; Best Results Pty. Ltd.

CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma.

We step into 1984 with a true children’s classic that was bound to scar so many young minds. Because this week’s movie is a meditation on grief, loss, and how we intertwine with stories to help heal, and it’s also full of really cool practical special effects. But while our director may have made the greatest submarine movie of all time, his ability to sort through the nuances of a really beautiful story was kind of a mess. For a 90 minute movie, this drags, and it’s not only because the story is lost in translation. Yet the real travesty is missing the second half of the story, which pulls everything full circle in a truly beautiful, wonderful way. Grab a hold of Falcor and get ready to ride as we talk about The NeverEnding Story this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “The Never Ending Story” from the soundtrack to the movie The NeverEnding Story, written by Giorgio Moroder and Keith Forsey. Copyright 1984 Neue Constantin Film Productions GmbH; EMI Records, Ltd.

Excerpt taken from “Fletch Theme” from the soundtrack to the movie Fletch, written and composed by Harold Faltermeyer. Copyright 1985 Universal City Studios, Inc.; MCA Records, Inc.

CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma.

The 80’s Grab Bag continues with a truly promising premise with some very flawed execution. While this movie had the chance to be Ferris Bueller’s Day Off but with a ultra-dark twist, it winds up being a bit of a tepid rehashing of bad teen ideas. And it’s mostly to do with the awkward, overly “erotic” and ultimately unnecessary sex. It’s a shame our writer and director didn’t really know what he was doing because he’s got a cast of true up-and-coming stars and one hell of a synth-rock soundtrack. Ultimately, it all ends up falling a little flat. Put on some tighty-whiteys and crank up the Bob Seger as we talk about Risky Business this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Love on a Real Train (Risky Business)” from the soundtrack to the movie Risky Business, written and composed by Tangerine Dream. Copyright 1983 The David Geffen Company.

Excerpt taken from the movie Risky Business, copyright 1983 The Geffen Film Company; Warner Bros. Entertainment Inc. All rights reserved.

Excerpt taken from “The Never Ending Story” from the soundtrack to the movie The NeverEnding Story, written by Giorgio Moroder and Keith Forsey. Copyright 1984 Neue Constantin Film Productions GmbH; EMI Records, Ltd.

CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma.

We continue our 80’s Grab Bag with the true grandfather of all high fantasy movies, or at least the ultra-violent ones. Before Game of Thrones, before The Witcher, there was one man, bigger than 5 combined and able to crush his enemies, see them driven before him, and listen to the lamentations of their women. His name was Arnold Schwarzenegger, and before he become a bona fide movie star, he took on a cult classic role in this week’s movie. No, the movie’s not what you’d call “good,” but it’s also doing more with what it has than a lot of similar movies of its time. Director John Milius didn’t have the resources to hire ILM or call up the artists behind Alien and Blade Runner - he had to find a way to make it all work. And even though there’s stretches where the movie’s laughable, there’s also some true badassery hidden within. Grab your broadsword and study the way of its steel as we talk about Conan the Barbarian this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Anvil of Crom” from the soundtrack to the movie Conan the Barbarian, written and composed by Basil Poledouris. Copyright 1982 Universal City Studios, Inc.; MCA Records, Inc.

Excerpt taken from the film Mommie Dearest, copyright 1981 Paramount Pictures Corporation. All Rights Reserved.

Excerpt taken from “Love on a Real Train (Risky Business)” from the soundtrack to the movie Risky Business, written and composed by Tangerine Dream. Copyright 1983 The David Geffen Company.

CONTENT WARNING: Child abuse, physical abuse, mental abuse, manipulation, gaslighting, childhood trauma.

Our next film in the 80’s Grab Bag series centers on a controversial story around a major public figure. Namely, why Faye Dunaway was ever given a chance at stardom. Because this film is a disaster of the most epic proportions. The writing? It’s god-awful, making an incredibly complex and difficult story of childhood trauma into a laughable soap opera. The directing? It is truly, ineffably bad, bouncing from moment to moment with editing that would be side-eyed by z-movie directors from the 60’s. And the cast? Never let it be said they’re not committed (except you, Steve Forrest, no excuses), but literally nobody is able to figure out what the hell is going on. Forget about the tell-all aspect; this movie is a trainwreck of the highest order. Hide all your wire hangers as we talk about Mommie Dearest this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “End Credits” from the soundtrack to the movie Mommie Dearest, written and composed by Henry Mancini. Copyright 1981 Paramount Pictures Corporation.

Excerpt taken from the film Mommie Dearest, copyright 1981 Paramount Pictures Corporation. All Rights Reserved.

Excerpt taken from “Anvil of Crom” from the soundtrack to the movie Conan the Barbarian, written and composed by Basil Poledouris. Copyright 1982 Universal City Studios, Inc.; MCA Records, Inc.

CONTENT WARNING: Homophobia, sexual assault, sexual coercion, homophobia, child abuse, drug use, alcohol abuse, underage drinking, racism.

It’s a new season and a new series as we head to the 80’s this time instead of the 90’s and catch up on a number of movies we need to discuss. This week, we’re talking about a truly groundbreaking, influential film. It’s one thing to say that, it’s another to watch spiritual (and literal) sequels or remakes get made of this story, over and over again. And yet this 1980 classic is rough, raw, but still very engaging, partially because of its novelty. No, it’s not great, and its 2009 remake is maybe one of the worst movies we’ve watched for this show. Yet it’s almost a requirement to see this movie about the pressure of young creatives searching for their golden ticket. Settle in and make sure your audition is ready as we talk about Fame this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Fame” from the movie Fame. Written by Michael Gore with lyrics by Dean Pitchford, and performed by Irene Cara. Copyright 1980 Metro-Goldwyn-Mayer Inc.

Excerpt taken from “Fame” from the movie Fame. Written by Michael Gore with lyrics by Lesley Gore, and performed by Irene Cara. Copyright 1980 Metro-Goldwyn-Mayer Inc.

Excerpt taken from film Fame, copyright 1980 Warner Bros. Entertainment Inc.

Excerpt taken from “End Credits” from the soundtrack to the movie Mommie Dearest, written and composed by Henry Mancini. Copyright 1981 Paramount Pictures Corporation.

CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war.

Our Oscars ‘91 series comes to an end with the 64th Academy Awards, live from the Dorothy Chandler Pavilion. And what an…Oscars it was. Look, we won’t mince words, this was a boring Oscars. No one looks particularly excited to be there, even Billy Crystal. At least he had an excuse, fighting through the flu to give a lackluster performance. This was the tail end of the Oscars taking itself far too seriously, and it shows. Though there’s some good bits, some memorable jokes, and, if you know literally anything about Oscars history, a big winner for the night. Throw on your tux or gown and get ready for our final discussion of Oscars ‘91 this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from The 64th Annual Academy Awards, hosted by Billy Crystal and directed by Jeff Margolis. Aired March 30, 1992 on ABC.

CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war.

Our show wraps up season 6 with a quick recap of the 95th Academy Awards, in which Jimmy Kimmel only tiptoed over the line a few times and someone in a bear costume tripped Elizabeth Banks and accosted Malala Yousafzai. That was the wildest (and funniest moment) of the night in a still enjoyable Oscars - fun bits, good presentations, and lovely speeches. But the big winner of the night are those weirdos who made the weirdest and most beautiful movie of the year, Everything Everywhere All at Once. We can’t help but be overjoyed at the result, considering we’ve been hailing the movie as our favorite for a whole calendar year. And while the Academy still needs to nominate some women in directing categories and re-examine their actor nominees, overall, it’s been a pretty great year for movies, and for new voices. Grab some popcorn or your favorite hangover cure as we talk about this year’s Oscars on the season finale of Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war.

We’re fast approaching the 95th Academy Awards, so that means it’s time to get our picks set for all the categories! Will Everything Everywhere All At Once complete its awards cycle, or will another challenger upset? Will Jimmy Kimmel hold the fort down after last year’s unexpected ceremony? And what will we enjoy more - the sheer exuberance of “Naatu Naatu” or the sheer delight of seeing David Byrne onstage at the Oscars? Grab your ballots and prepare for your Oscar pools as we discuss our picks for the 2023 Oscars on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the scores to the following movies:

• All Quiet on the Western Front - Volker Bertelmann
• Babylon - Justin Hurwitz
• The Banshees of Inisherin - Carter Burwell
• Everything Everywhere All at Once - Son Lux
• The Fabelmans - John Williams

• "Applause" - Tell It Like a Woman - Music and Lyrics by Diane Warren
• "Hold My Hand" - Top Gun: Maverick - Music and Lyrics by Lady Gaga and BloodPop
• "Lift Me Up" - Black Panther: Wakanda Forever - Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyrics by Tems and Ryan Coogler
• "Naatu Naatu" - RRR - Music by M.M. Keeravaani; Lyrics by Chandrabose
• "This Is a Life" - Everything Everywhere All at Once - Music by Ryan Lott, David Byrne and Mitski; Lyrics by Ryan Lott and David Byrne

CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war.

Our last movie for the series is so good, we just don’t have much to say about it. Get a story about two strong Southern women, wrap it in a beautiful plot about a pushover finally finding her own strength in the world, and give the bow of Jessica Tandy being the best storyteller ever. That’s all you need for this beautiful story about friendship, love, and the South. The cast is incredible, the writing is impeccable, and the directing is…well, it’s exactly what it needs to be. In fact, the only problem is the fact that this movie wasn’t able to get to the deeper romance between its two leads - and even then, it’s still pretty romantic. Grab your hammer and start slamming the walls as we talk about Fried Green Tomatoes this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "The Whistle Stop Café" from the score to the motion picture Fried Green Tomatoes. Written and composed by Thomas Newman. Copyright 1991 Universal City Studios, Inc.; 1992 MC Records, Inc.

Excerpt taken from the introduction to the 64th Academy Awards, conducted by Bill Conti. Aired March 30, 1992 on ABC.

CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war.

This week we’re back with another appearance from one of the show’s most polarizing figures, but this time, she’s not the issue. No, Barbra actually brings some nuance and care to this movie, but the problem is the actual movie itself, or rather, the novel it’s based on. There’s a whole lot that has to be unpacked in this story, and much of it more thoughtfully and carefully than anyone involved really had time for. It’s not hard to see why this movie was a hit, for sure, but Barbra’s wearing too many hats, and even an all-time great performance from Nick Nolte can’t save this movie from sinking under the weight of all its trauma voyeurism and horrible ethics. Get ready to share way too much as we discuss The Prince of Tides this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the soundtrack to the motion picture The Prince of Tides. Written and composed by James Newton Howard. Copyright 1991 Sony Music Entertainment, Inc.

Excerpt taken from "The Whistle Stop Café" from the score to the motion picture Fried Green Tomatoes. Written and composed by Thomas Newman. Copyright 1991 Universal City Studios, Inc.; 1992 MC Records, Inc.

CONTENT WARNING: Discussion of assassination, graphic details of gunshots, homophobia, lies, drugging, conspiracy theories, war.

This week we discuss what, in retrospect, was the most controversial film of the year, even more than two serial killer films. No, the honor of Film That Made Everyone Angry was this week’s movie, predicated on flipping the script on the most infamous moment in American political history. And yet, for a movie tackling such a weighty subject, with a strong, self-assured filmmaker at the helm, this is an absolute stinker of a movie. it’s bad enough that the movie trades in some of the worst and most easily debunked conspiracy theories surrounding November 22, 1963; it’s also just so incredibly boring. Kevin Costner is reduced to expounding exposition while everyone else has to overact around him, all because Oliver Stone needed to shove his own dark beliefs into the public sphere. In doing so, he created a new level of doubt that has since transformed into some of the most dangerous conspiracy believers in society. All rise as we put JFK on trial this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Prologue” from the soundtrack to the motion picture JFK. Written and composed by John Williams. Copyright 1991 Warner Bros. Inc.; Regency Enterprises; Le Studio Canal+; Elektra Entertainment.

Excerpt taken from “Mr. Lucky,” copyright 1980 Music De Wolfe.

Excerpts taken from JFK, © 1991 Warner Bros. All Rights Reserved.

Excerpt taken from “The Boyfriend (Part 2)” from the show Seinfeld, © 1989- 1998 Castle Rock Entertainment. All Rights Reserved.

Excerpt taken from Bull Durham, © 1988 ORION PICTURES CORPORATION.

Excerpt taken from “Main Title” from the soundtrack to the motion picture The Prince of Tides. Written and composed by James Newton Howard. Copyright 1991 Sony Music Entertainment, Inc.

CONTENT WARNING: Discussion of allegations of sexual harassment, misconduct, and assault against a writer. Also, misogyny, verbal and physical abuse, murder, humiliation, death.

We’re going over to the mob this week by discussing the most-nominated film of this Oscars series, and also one of the most boring. It’s so dull, it can’t even cut through butter. There’s a dozen incredibly good stories just waiting to be told about Bugsy Siegel, Meyer Lansky, Vegas, and the mafia in the 40’s and 50’s, and absolutely none of them get coverage in this movie. No, instead we get a psychosexual abusive romance that somehow is supposed to be the throughline for a bunch of historical exposition and horribly unwarranted violence. The writing is so bad here that there are multiple deserved acting nominations and some really incredible technical achievements and all of them get lost by the wayside. Flip on your screentest and brace yourself as we watch Bugsy on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Bugsy (Act of Faith #2)” from the soundtrack to the motion picture Bugsy. Written and composed by Ennio Morricone. Copyright 1991 Sony Music Entertainment Inc.

Excerpt taken from “Prologue” from the soundtrack to the motion picture JFK. Written and composed by John Williams. Copyright 1991 Warner Bros. Inc.; Regency Enterprises; Le Studio Canal+; Elektra Entertainment.

CONTENT WARNING: Discussion of sexual assault, rape, and sexual advances toward a minor. Also, assault, violence, misogyny, attempted murder.

This week, we’re talking about a thriller that’s a remake of a classic thriller by one of the most famous directors in American movies. And it’s all because of Steven Spielberg. Well, OK, it’s also because Martin Scorsese saw the chance to make a hit movie, and wow does he deliver. There’s nothing particularly special about this week’s movie on paper - it’s a well-thought, taut thriller. But it’s Marty’s flourishes and powerhouse performances from Robert DeNiro and Juliette Lewis that propelled this film to Oscar status. At the end of it all, it’s a gripping, scary, and fun ride of a movie - and sometimes that’s just all you need.. Get the fishing line tied around your teddy bear as we watch Cape Fear on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Max” from the soundtrack to the motion picture Cape Fear. Written and composed by Bernard Hermann, and arranged and composed by George Fenton. Copyright 1991 Universal City Studios, Inc. and Amblin Entertainment, Inc.; MCA Records, Inc.

Excerpts taken from the film Cape Fear (1991), © 1991 Universal Studios. All Rights Reserved.

Excerpt taken from “Bugsy (Act of Faith #2)” from the soundtrack to the motion picture Bugsy. Written and composed by Ennio Morricone. Copyright 1991 Sony Music Entertainment Inc.

CONTENT WARNING: Discussion of murder, grief, trauma, loss, catatonia, mental illness, delusion, guilt, shame, AIDS, homelessness, misogyny, depression.

This week we’re discussing a film that’s one of the most beautiful messes you’ll ever see. Beautiful, because it revels in medieval mythology while telling a story of redemption in our modern lives. Messy, because our director didn’t seem to care about creating a consistent, thorough world for his characters to live in. It’s a movie that doesn’t hold up as well on deeper scrutiny, and yet also hits you right in the heart with a truly lovely story and incredibly strong performances from some of the best actors in the business. If only Terry Gilliam had reigned himself in just a little bit, this would have been absolutely perfect. Grab your armor and weapons from the scrap heap as we watch The Fisher King on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “How About You (Swing Version)” from the soundtrack to the motion picture The Fisher King, written by Burton Lane and arranged by George Fenton. Copyright 1991 Tri-Star Pictures, Inc.; MCA Records, Inc.

Excerpts taken from the film The Fisher King, © 1991 TriStar Pictures, Inc. All Rights Reserved.

Excerpt taken from “Max” from the soundtrack to the motion picture Cape Fear. Written and composed by Bernard Hermann, and arranged and composed by George Fenton. Copyright 1991 Universal City Studios, Inc. and Amblin Entertainment, Inc.; MCA Records, Inc.

CONTENT WARNING: Discussion of murder, alcohol, drinking, racism, antisemitism, fascism, Nazis, gunshots.

We continue our Oscars ‘91 series this week with yet another dark movie about Hollywood. Though this version has a twist: it’s the Coen brothers, and they’re making things incredibly weird, as they’re known to do. For a movie written about writer’s block by two writers dealing with writer’s block, it happens to be a fairly decent movie. It’s just that the Coens hadn’t struck that balance of digging up obscure references and making them instantly relatable. John Turturro and John Goodman give truly incredibly performances, but the Coens seem to have internalized the story a bit too much. Roll in some paper and get to typing as we watch Barton Fink on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Fade Out - The End” from the soundtrack to the motion picture Barton Fink, composed by Carter Burwell. Copyright 1991, 1996 TVT Records.

Excerpts taken from the film Barton Fink, © 1991 Circle Films, Inc.

Excerpt taken from “The Red Knight Suite” from the soundtrack to the motion picture The Fisher King, composed by George Fenton. Copyright 1991 Tri-Star Pictures, Inc.; MCA Records, Inc.

CONTENT WARNING: Discussion of murder, gun violence, gangs, racism, police, gang violence, crime, death.

Oscars ‘91 continues this week with a movie that lives up to the title of the show, because we really should have seen this movie already. John Singleton, right out of film school, created a narrative that was so authentic and poignant that it didn’t matter how predictable the story arc was. The plot isn’t complicated, the characters are relatively simple, but it’s the reality of life in South Central LA that makes this movie so incredibly powerful. That, and incredible performances from a cast of rising stars, all poised to become household names in the wake of the movie. Grab some barbecue and settle in for Boyz n The Hood on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “How to Survive in South Central,” written and performed by Ice Cube and produced by Ice Cube and Sir Jinx. © 1991 Columbia Pictures Industries, Inc.; Qwest Records.

Excerpts taken from the film Boyz n The Hood, © 1991, 1992 Columbia Pictures Industries, Inc. All Rights Reserved.

Excerpt taken from “Fade Out - The End” from the soundtrack to the motion picture Barton Fink, composed by Carter Burwell. Copyright 1991, 1996 TVT Records.

CONTENT WARNING: Discussion of murder, attempted sexual assault, theft, robbery, guns, police, misogyny, neglect, suicide.

We’re continuing our Oscars ‘91 series with a groundbreaking major studio movie in its willingness to put women front and center as our heroines. Although, these two aren’t the perfect protagonists by any measure, but they are truly compelling. And while the film is rightly remembered as a classic, it’s not without its faults. There’s a lot of the movie that focuses away from what makes it so great, either out of messy writing or frustrating directing. Still, anytime you can put Susan Sarandon and Geena Davis in a car in the southwest, it’s worth the price of admission. Hit the pedal all the way down as we discuss Thelma & Louise on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Thelma & Louise / End Credits” from the motion picture soundtrack to Thelma & Louise, written and composed by Hans Zimmer. Copyright 1991 Metro-Goldwyn-Mayer Music Inc.

Excerpts taken from the film Thelma & Louise, © 1991 METRO-GOLDWYN-MAYER STUDIOS INC.

Excerpt taken from “How to Survive in South Central,” written and performed by Ice Cube and produced by Ice Cube and Sir Jinx. © 1991 Columbia Pictures Industries, Inc.; Qwest Records.

CONTENT WARNING: Discussion of murder, serial killers, torture, graphic murder, transphobia, Nazi symbology, horror, terror, darkness, mental illness, body mutilation.

It’s time for our Oscars series, and we’re kicking our review of the Oscar movies of 1991 with a horror film unlike any other. In fact, this movie really isn’t a serial killer or slasher film at all; it’s more of a psychological journey wrapped in a horror package. In fact, if you only know the cultural signposts from the film, you’d be hard pressed to realize that the film’s main character isn’t it’s iconic anti-hero or its dark, horribly twisted villain. No, it’s the outstanding performance of Jodie Foster and the writing of Clarice Starling that truly make the film come alive. It just helps that Anthony Hopkins gives us a masterful, iconic performance to match and foil. Let’s have an old friend for dinner as we discuss The Silence of the Lambs on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the motion picture soundtrack of The Silence of the Lambs, written and composed by Howard Shore. © 1990 Orion Motion Pictures Corporation; ℗ © 1991 MCA Records, Inc.

Excerpts taken from the film The Silence of the Lambs, © 1991 Orion Pictures Corporation. All rights reserved.

Excerpt taken from “Try Everything” from the soundtrack to Zootopia, written and composed by Mikkel Eriksen, Sia Furler, and Tor Erik Hermansen and performed by Shakira. Copyright 2016 Disney Enterprises, Inc. and Walt Disney Records.

Excerpt taken from “Thelma & Louise / End Credits” from the motion picture soundtrack to Thelma & Louise, written and composed by Hans Zimmer. Copyright 1991 Metro-Goldwyn-Mayer Music Inc.

CONTENT WARNING: Discussion of gaslighting, theft, lying, sexism, misogyny.

As a special bonus, we’re discussing all the movies we saw in 2022, including a few last minute additions! Will we share the same disdain for our worst movies of 2022? Will he agree on all of the greatest movies this year? Check in and find out!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Mr. Lucky” from Music De Wolfe, Copyright 1980.

CONTENT WARNING: Discussion of gaslighting, theft, lying, sexism, misogyny.

We’re wrapping up our History Lessons series with an episode about two young, everyday reporters at the Washington Post that just happened to stumble on the greatest political coverup in United States history. But while Watergate became a national disgrace, it started off with two guys pulling at threads. That story is masterfully weaved by one of our greatest screenwriters, William Goldman, into a political thriller that’s somehow more compelling and tense than movies where the characters are in literal peril. Sure, Woodward and Bernstein uncovered a massive criminal conspiracy in the highest echelons of power. This movie, though, is not just about that, but about how two nobodies somehow revealed that story to the world, and the mistakes they made along the way. And that is a subject that’s worth the price of admission. Go home, take a bath, sleep for about 15 minutes, and then get back to work as we discuss All the President’s Men on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the motion picture soundtrack to the film All the President’s Men, composed by David Shire. © 1976 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpts taken from the film All the President’s Men, © 1976 Warner Bros. Entertainment Inc. All Rights Reserved.

CONTENT WARNING: war, terrorism, guerilla war, torture, death, execution, bombing, violence, colonialism, racism.

This week we’re headed to North Africa, for a story of will and determination for freedom that’s unlike any other. From 1954 to 1962, Algeria fought a tough, complicated war for independence from colonial rule from France, a war that upended the French political system and began a long, difficult process of African decolonization. That’s a lot to try to pack into a single film, but director Gillo Pontecorvo does so with absolute perfect thought and foresight. Using mostly non-actors and filming in many of the actual locations where the events of the war took place, this week’s film is an absolute testament to vérité filmmaking. Viva L'algerie as we discuss The Battle of Algiers on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Tema Di Ali (#2)” from the motion picture The Battle of Algiers composed by Ennio Morricone and Gillo Pontecorvo. ℗© 1966, 2015 Creazioni Artistiche Musicali C.A.M. srl. (una Società del Gruppo Sugar) / Universal Music Publishing Ricordi srl.

Excerpt taken from the motion picture soundtrack to the film All the President’s Men, composed by David Shire. © 1976 Warner Bros. Entertainment Inc. All Rights Reserved.

CONTENT WARNING: Discussion of a suicide from 31:20-31:44 and abuse and torture of prisoners from 33:19-34:08. Also, discussion of mass murder, antisemitism, alcoholism, execution, mass killings, death, grief.

We move out of the fog of war to a much weirder and funnier moment of history this week as we dive into the power vacuum of Soviet power in 1953. More importantly, though, we’re watching an Armando Iannucci film, which means razor-sharp satire and incredibly inventive cursing, both of which are present here. But while the movie is executed impeccably, it misses the absurd scale of Soviet terror and power under their most feared and, at times, respected leader. To be sure, the performances here are incredibly funny and on the mark. But Iannucci wanted to pull punches in the name of realism and perhaps should have just leaned in a bit more. Make sure to run while you plot your next move as we discuss The Death of Stalin on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the “National Anthem of the USSR” as performed by The Red Army Choir, copyright 2002 Silva America.

Excerpts taken from the film The Death of Stalin are © 2017 Paramount Pictures. All Rights Reserved.

Excerpt taken from "Tema Di Ali (#2)” from the motion picture The Battle of Algiers composed by Ennio Morricone and Gillo Pontecorvo. ℗© 1966, 2015 Creazioni Artistiche Musicali C.A.M. srl. (una Società del Gruppo Sugar) / Universal Music Publishing Ricordi srl.

CONTENT WARNING: Discussion of prisoners of war, execution, war crimes, torture, concentration camps, Nazis, the SS and Gestapo, war, death, imprisonment.

We’re moving on to World War II this week with a film that more prison break than war movie. Though in this case, it also happens to be 100% real, and the real story might even be more wild than the movie. It’s a star-studded, solid cast with some outstanding writing. Unfortunately, the story is so sweeping, with so many characters, that even 3 hours doesn’t give us quite enough to really latch onto. But despite terrible studio notes and a diva actor in the lead role, it’s still one heck of a movie, even 60 years on. Make sure to empty the dirt from your stockings in the garden as we talk about The Great Escape on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the film The Great Escape are © 1963 Metro-Goldwyn-Mayer Studios Inc. and John Sturges. All Rights Reserved

Excerpt taken from the “National Anthem of the USSR” as performed by The Red Army Choir, copyright 2002 Silva America.

CONTENT WARNING: Discussion of suspected sexual assault during prison torture from 25:33-26:44, and a brief mention of suicide from 43:02-43:15. Also, discussion of torture, racism, brownface, racist portrayals in movies, homophobia, war, death, grief, murder.

Our next history lesson takes us on a journey across the desert through the longest film to date for this show. Clocking in at just under four hours, David Lean’s masterpiece is a film that truly stands alone in its scope and technique in filmmaking. No one had ever made a movie quite like this in 1962, and it feels safe to say no one will ever make another one like it again. Because the original story of the figure behind this week’s movie and the process of making the film itself were both epic in every sense of the word. And while we have some issues with the script and storytelling, the sheer beauty, magnitude and influence of this week’s film are simply undeniable. Grab your gun and climb on your camel as we continue our History Lessons series with 1962’s Lawrence of Arabia on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the film Lawrence of Arabia are © 1962 renewed 1990 Columbia Pictures Industries, Inc. All Rights Reserved.

Excerpt taken from “Mr. Lucky” from Music De Wolfe, Copyright 1980.

Excerpt taken from “Sabre Dance from the Gayane Suite No. 3,” composed by Aram Khachaturian and performed by the Bernliner Philharmoniker, conducted by Sir Simon Rattle, December 31, 2013.

Excerpt taken from “The Young Person’s Guide to the Orchestra,” composed by Benjamin Britten and performed by the WDR Symphony Orchestra, conducted by Jukka-Pekka Saraste, October 3, 2010.

Excerpt taken from the film The Great Escape is © 1963 Metro-Goldwyn-Mayer Studios Inc. and John Sturges. All Rights Reserved

CONTENT WARNING: Discussion of Nazi Party reaction to the film, including antisemitism and antisemitic statements from Nazi leaders from 16:49 to 19:16. Also, discussions of war, dismemberment, mass death, post-traumatic stress syndrome (PTSD), “shell shock”, gruesome death and injury, fear, grief, murder.

Our next History Lesson takes us to the Great War and the German war machine leading valiant young men into the greatest human meat grinder of the 20th Century. At the Western Front of World War I, millions were killed in matters of days as generals and nobles led young boys and men into constant machine gun fire in battles that yielded little more than feet of territory. And this film depicts every bit of that, in fairly graphic detail, with one caveat - it’s our oldest film yet, premiering in 1930. Director Lewis Milestone had a vision for this film though, a bold, brash, and bleak vision of the horror of war, which complemented Erich Maria Remarque’s landmark novel perfectly. It’s a film so stirring in its visual depiction of the massive global trauma of war that its star, Lew Ayres, became a conscientious objector to World War II, an admittedly greater effort for the common good. And it’s all because of a truly masterful work, whose only flaw is its age - the style of acting, the dialogue and structure, it’s all a bit new to movies, and can be choppy at times. But it’s guaranteed that this film will leave you with lasting images throughout your life. Who will be the first to volunteer as we continue our History Lessons series with 1930’s All Quiet on the Western Front on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the film All Quiet on the Western Front is © 1930 Universal Pictures Corporation. Renewed 1958 Universal Pictures Company, Inc. All Rights Reserved.

Excerpt taken from the film Lawrence of Arabia is © 1962 renewed 1990 Columbia Pictures Industries, Inc. All Rights Reserved.

CONTENT WARNING: Discussion of slavery, racism, flogging and whipping, war, death, violent death, Civil War, Confederacy, white savior tropes.

Our next history lesson comes from the Civil War, told through the perspective of one of the first black regiments to fight against the Confederacy. And as far as history movies go, this one actually manages to do a great job of capturing the nature, if not all the details, of the subject it’s portraying. More importantly, though, a then-new Edward Zwick took helm of a story that hadn’t been told on screen - that of the black men, free and former slaves, who took up arms to fight against the South in the hopes of freedom. And both he and screenwriter Kevin Jarre do it in such a thoughtful, earnest way, that even when the movie falls into cliches, it’s only because the history and the story are that powerful. At its core, this is a movie about men in war, living complex lives with complex histories, and coming together, in one horrible yet powerful moment, to fight for a common cause. And that message resonates no matter who’s watching this film. Load your rifles as fast as you can as we continue our History Lessons series with 1989’s Glory on Macintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Closing Credits" from the original motion picture soundtrack to the film Glory, conducted and composed by James Horner. © 1989 Tri-Star Pictures, Inc.

Excerpt taken from the film Glory is © 1989 TriStar Pictures, Inc. All Rights Reserved.

Excerpt taken from the film All Quiet on the Western Front is © 1930 Universal Pictures Corporation. Renewed 1958 Universal Pictures Company, Inc. All Rights Reserved.

CONTENT WARNING: Discussion of royal incest, religious zeal, religion, Catholicism, execution, scatological references.

We’re starting a new series of historical films with one of the classics of the genre, long revered as one of the gold standards of historical cinema. Though, to be quite honest, this would be better served as historical fiction, and even then it’s pretty boring. Everything that happens in this movie did happen, to some extent, in real life, but trying to spin a 16th century religious zealot as a paragon of individual morality is one heck of a choice. In fact, it’s even more misguided than you think, because the man on which this story rests happened to be defending the Catholic Church against the monarchy which was, checking our notes, oh, the popular opinion of the time. The only thing that saves this movie is some outstanding quips and its impeccable performances, which somehow make a mind-numbingly boring story watchable. It’s just a shame our writer couldn’t give them more to work with. Hold on tight to the golden chain as we start our History Lessons series with 1966’s A Man for All Seasons on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from "Rondeau from Suite de Symphonies," composed by Jean-Joseph Mouret and performed by the English Chamber Orchestra. Copyright SME (on behalf of SMCMG), Public Domain Compositions, and 4 Music Rights Societies.

Excerpt taken from the film A Man for All Seasons is © 1966 Highland Films, Ltd. All rights reserved.

Excerpt taken from "Closing Credits" from the original motion picture soundtrack to the film Glory, conducted and composed by James Horner. © 1989 Tri-Star Pictures, Inc.

CONTENT WARNING: Discussion of sex work, pimps, misogyny, mistreatment, abuse, physical abuse, emotional abuse, murder, death.

Our final entry into the Billy Wilder series is, well, a real dud. Mostly because no one grabbed a hold of Billy and his new collaborator, I.A.L. Diamond to tell them this movie was overlong and telling far too much story. In fact, the first 2/3 of this movie drag on and on until the final 30 minutes, and all of a sudden it becomes one of the most bonkers, over-the-top farces in movie history. And none of it is particularly good. Still, Shirley MacLaine and Jack Lemmon have so much chemistry that it's impossible not to be charmed by moments of this movie. It's just not nearly up to the standards Billy's set for himself as one of our greatest directors. Slip on your green stockings as we finish our Billy Wilder series with 1963’s Irma la Douce on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the film Irma la Douce is © 1963 Metro-Goldwyn-Mayer Studios Inc. All rights reserved.

Excerpt taken from "Rondeau from Suite de Symphonies," composed by Jean-Joseph Mouret and performed by the English Chamber Orchestra. Copyright SME (on behalf of SMCMG), Public Domain Compositions, and 4 Music Rights Societies.

CONTENT WARNING: Discussion of drag, impersonating women, misogyny, harassment.

We’re continuing the Billy Wilder series this week with what might be the greatest comedy of all time. It’s regarded as such by most American critics, and it’s hard to argue the point. Because this isn’t a simple comedy about two men in drag, nor is it a mere farce. Billy, with his new collaborator I.A.L. Diamond, have concocted characters with rich inner lives and feelings, and construct a story that’s as plausible as it is wacky. Add to it two of the greatest comedic performances ever from Tony Curtis and the immortally great Jack Lemmon, and you’re cooking with gas. And then there’s the Marilyn Monroe of it all, who despite reported troubles still knocks out an amazing performance. Grab your tenor sax and bass and your high heels as we discuss 1959’s Some Like It Hot on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the film Some Like it Hot are © 1959 METRO-GOLDWYN-MAYER STUDIOS INC.

Excerpts taken from the film Irma la Douce are © 1963 Metro-Goldwyn-Mayer Studios Inc. All rights reserved.

CONTENT WARNING: Discussion of murder, betrayal, infidelity, aging..

Our Billy Wilder series rolls along with probably his most ingenious script yet, adapting a modern mystery masterpiece into a legal drama with outstanding jokes. Billy knew he was working with near-perfect source material from the master of mystery herself, Agatha Christie. He takes nothing away from her taut, captivating thriller and instead just punches in heavy doses of fun and wily legal craftsmanship from what had been a side character. And with perfect performances from Charles Laughton and Marlene Dietrich (who got robbed by the Academy), this movie is a must see for anyone who loves a courtroom drama. Grab your thermos of “cocoa” as we discuss 1957’s Witness for the Prosecution on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the score to the film Witness for the Prosecution, written and composed by Matty Malneck. © 1957 Metro-Goldwyn-Mayer Studios Inc.

Excerpt taken from the film Some Like it Hot is © 1959 METRO-GOLDWYN-MAYER STUDIOS INC.

CONTENT WARNING: There is a discussion of manipulation and domestic abuse from 31:23-33:15. Please skip this section if you do not want to hear details. Also, discussion of misogyny, sexual harassment, unwanted advances, and sexism.

The Billy Wilder series continues with Billy’s first foray into color and broad comedy, adapting a massive Broadway success into…a messy film. Not that it’s bad; in fact, this week’s film is iconic for several reasons while also still being incredibly funny. But Billy and his collaborator, the original playwright, David Axelrod, couldn’t find the right ending and character resolution for this film. To be sure, this may have been a product of the time the movie was made, but there’s something missing in the depth and vulnerability of these characters. And of course, being the script doctors we are, you know we have some ideas of how to fix it. Drop some Rachmaninoff on the hi-fit as we discuss 1955’sThe Seven Year Itch on Macintosh & Maud Haven’t Seen What?!

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Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the film The Seven Year Itch is © 1955 Charles K. Feldman Group Productions. Renewed 1983 Charles K. Feldman Group Productions.

Excerpts taken from the score to the film Witness for the Prosecution, written and composed by Matty Malneck. © 1957 Metro-Goldwyn-Mayer Studios Inc.

CONTENT WARNING: Discussion of manipulation, gaslighting, suicide, unrequited love.

Our Billy Wilder series (and William Holden mini-series) continues this week with the airiest romantic comedy performed on screen - twice. Because while Billy is a true master of the craft, he also makes films that are worth remaking and updating, and this week we’ve landed on the one film that’s gotten a fresh take. Both films are beautiful, thoughtful, and really well-made, but the newer version is slightly better in some subtle ways that doesn’t ruin anything from the original. Not to mention both films feature incredible performances from great actors, and our directing replacement for Billy on the newer version is no slouch either. Grab a couple of champagne glasses in your back pocket as we do a double feature of Sabrina from 1954 and 1995 on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the film Sabrina (1954) are © TM & Copyright 2007 by Paramount Pictures. All Rights Reserved.

Excerpts taken from the "Theme from Sabrina," composed by John Williams. © T1995 A&M Records, Inc.

Excerpts taken from the film Sabrina (1995) are 1995 by Worldwide Productions and Mont Blanc Entertainment GmbH.

Excerpts taken from the film The Seven Year Itch is © 1955 Charles K. Feldman Group Productions. Renewed 1983 Charles K. Feldman Group Productions.

CONTENT WARNING: Discussion of war, Nazis, the Holocaust, antisemitism, death, prisoners of war.

We continue our look at Billy Wilder through one of his most under-the-radar films, that somehow straddles the line between slapstick comedy and war drama by adding his own dose of hard-boiled mystery. In fact, this week’s film turns several different genres on its head, though Billy decidedly had great source material to work from. And this cast, a pure ensemble, is helmed by a quite good if shaky William Holden, who we adore. It’s one of those great movies nobody talks about…unless you’re doing a look at the films of Billy Wilder, that is. Stand “at eeeeease” as we continue our Billy Wilder series with 1953’s Stalag 17, this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the film Stalag 17 are © 1952 Paramount Pictures.

Excerpt taken from the film Sabrina are © TM & Copyright 2007 by Paramount Pictures. All Rights Reserved.

CONTENT WARNING: Discussion of manipulation, murder, insurance fraud, jealousy, death.

Our director series continues this week with a film steeped in Hollywood lore while being utterly disdainful of its treatment of actors. It’s a near masterpiece, but as we talk through it, it’s Billy Wilder’s directing that shines a bit more than his writing. Still, even the last 5 minutes of this film are enough to etch it as an instant classic, and the first two hours are pretty great as well. Equal parts dark comedy, thriller, and anti-romance, this movie defies description and style at numerous turns, and garnered 11 Oscar nominations in a year that is one of the best movies have ever seen. Open the gates for an undeniable star as we continue our Billy Wilder series with 1950’s Sunset Blvd., this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from the film Sunset Blvd. is © 1950 by Paramount Pictures; Renewed 1978. All Rights Reserved. TM & 2008 by Paramount Pictures. All Rights Reserved.

Excerpt taken from the “Overture” to the World Premiere Recording of the musical Sunset Boulevard, written and composed by Don Black, Christopher Hampton and Andrew Lloyd Webber. Copyright 1993 The Really Useful Group, Ltd.

Excerpt taken from “Episode 13,” retitled “Demons,” of Twin Peaks, © CBS Corp 2010.

Excerpt taken from the film Stalag 17 is © 1952 Paramount Pictures.

CONTENT WARNING: Discussion of manipulation, murder, insurance fraud, jealousy, death.

It’s time again for a new series, and this season we’re jumping in to the world of Billy Wilder, a Hollywood legend well ahead of his time. And we’re starting off with one of his earliest masterworks, a film noir with a flair for the melodramatic in the best way. Hollywood had already seen its fair share of hard-boiled detectives, but what about an insurance salesman led down a winding road of passion and murder? Wilder and co-writer Raymond Chandler (yeah, that Raymond Chandler) bring dark humor, snappy dialogue, and a perfect crime, and Billy adds his fair share of masterful shots. To top it all off, there’s incredibly good performances from stars playing against type in the best way, and it all leads to one heck of a ride. Double check your insurance policy as we kick off our Billy Wilder Director Series with 1944’s Double Indemnity, this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the film Double Indemnity are © 1944 Paramount Pictures Inc. All Rights Reserved.

Excerpt taken from the film Sunset Blvd. is © 1950 by Paramount Pictures; Renewed 1978. All Rights Reserved. TM & 2008 by Paramount Pictures. All Rights Reserved.

CONTENT WARNING: Discussion of manipulation, teen sex, drug use, homophobia and homophobic slurs, slut-shaming.

We’re wrapping up our 90’s series with a bang of a whimper that, being a teen sex drama, Maud had definitely seen and Macintosh had not. And do we wish we had not, because this is an outright terrible movie. Influence notwithstanding, this is the epitome of shock for shock’s sake, and making a literary classic into utter garbage. It’s hard to find any redemption in this movie, other than a supremely talented cast that somehow barely overcomes a terrible script and even worse directing to at least give the semblance of a movie. Make sure to keep your cross filled with cocaine as we end our 90’s Grab Bag series with Cruel Intentions this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Bitter Sweet Symphony,” written by Richard Ashcroft, Keith Richards, and Mick Jagger and performed by The Verve. Copyright 1997 VC Records Ltd.

Excerpt taken from the film Cruel Intentions are © 1999 Cruel Productions, LLC.

Excerpt taken from the film Sunset Blvd. is © 1950 by Paramount Pictures; Renewed 1978. All Rights Reserved. TM & 2008 by Paramount Pictures. All Rights Reserved.

CONTENT WARNING: Discussion of grief, witchcraft, loss, death, murder, reanimation, possession.

This week we’re tackling a rom-com cult classic that’s as integral to fall as pumpkin spice lattes. And just like those delicious confections, this movie is a little bit sweet, and a little bit spicy. And no, it isn’t perfect by any means; in fact it’s kind of a mess. But when you have two giant movie stars like Nicole Kidman and Sandra Bullock having an impossibly huge amount of fun, and a really strong supporting cast, it’s hard to not make a decent movie. Now we just have to imagine what could have been if the studio wasn’t so scared of making a genuinely cute but spooky movie. Grab your hats and brooms and get ready to scare the townsfolk as we discuss Practical Magic this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Practical Magic” from the motion picture soundtrack to the film Practical Magic, written and composed by Alan Silvestri. Copyright 1998 Reprise Records, a Time Warner Company.

Excerpt taken from the film Practical Magic are © 1998 Warner Bros. Entertainment Inc. All Rights Reserved.

Excerpt taken from “Bitter Sweet Symphony” written by Richard Ashcroft, Keith Richards, and Mick Jagger and performed by The Verve. Copyright 1997 VC Records Ltd.

CONTENT WARNING: Discussion of suicide and depiction of suicide, eugenics, disability.

This week we discuss a film that honestly deserves a better status than cult classic. The sheer ingenuity and thoughtfulness baked into a science fiction parable about eugenics from 1997 is remarkable. Andrew Niccol has made some other great films along the way, but this stands apart as a finely crafted piece; not perfect, but not needing to be. And then you have truly great performances from three actors either on the verge or just coming into movie stardom, all with nuance and subtlety that makes this film age like fine wine. Make sure to scrub away any trace of who you are as we discuss Gattaca this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “The Departure” from the motion picture soundtrack to the film Gattaca, written and composed by Michael Nyman. Copyright 1997 Columbia Pictures Industries, Inc. and licensed to Virgin Records America, Inc.

Excerpts taken from the film Gattaca are © 1997 Columbia Pictures Industries, Inc. All Rights Reserved.

Excerpt taken from “Practical Magic” from the motion picture soundtrack to the film Practical Magic, written and composed by Alan Silvestri. Copyright 1998 Reprise Records, a Time Warner Company.

CONTENT WARNING: Discussion of stalking, neglect, murder, inappropriate behavior, assault, kidnapping..

This week we’re touching on a VHS classic that was a staple of one of the hosts’ movie-watching days, but not so much for the other. And that’s not unexpected, because this movie was branded a failure pretty much from its inception. Yet even massive studio intervention and an astronomically high budget due to its star can’t fully tank this movie, because the concept, the directing, and the performances are still too fun to ignore. And as iconic as his previous films had been, Jim Carrey’s doing some of his best comedic work in this movie because he gets to also be a little terrifying. Make sure to ask for free cable as we discuss The Cable Guy this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Hey Man Nice Shot,” written by Richard Patrick and performed by Filter. Copyright 1995 Reprise Records.

Excerpts taken from the film The Cable Guy are © 1996 Columbia Pictures Industries, Inc. All Rights Reserved.

Excerpt taken from “The Departure” from the motion picture soundtrack to the film Gattaca, written and composed by Michael Nyman. Copyright 1997 Columbia Pictures Industries, Inc. and licensed to Virgin Records America, Inc.

CONTENT WARNING: Discussion of assault weapons, gunfire, tactical weapons, guns, shootouts, robbery, crime, depression, sex workers, murder, grisly death.

This is one of those movies that everyone tells you to see, and yet so many people probably haven’t seen it. But wow, was it worth the wait. The maestro of crime dramas, Michael Mann, took nearly 15 years to make his magnum opus, and he barely missed. In fact, our biggest complaint about this movie is that we wanted more, more than the 2 hours and 50 minutes of run time to be able to explore even more of the characters and world Mann created. And if that’s not enough, this film dared to pit two modern legends in opposing roles, and did so with deftness, thoughtfulness, and subtlety - something that can be harder to come by in other Pacino and DeNiro movies. Be ready to drop everything in 30 seconds as we discuss Heat this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Armenia,” written and performed by Einstürzende Neubauten. Copyright 1983 Some Bizarre Ltd.

Excerpts taken from the film Heat are © 1995 Warner Bros. Entertainment Inc. All rights reserved.

Excerpt taken from “Hey Man Nice Shot,” written by Richard Patrick and performed by Filter. Copyright 1995 Reprise Records.

CONTENT WARNING: Discussion of terrorism, explosions, murder, bombs, bomb threats, car crashes, gunfire, police, death.

By all logistical rights, this movie shouldn’t exist, let alone be a massive hit. The director used a highway in construction to set up massive special effects sequences that quite often had to be done multiple times and reset in different locations to match continuity. And all of this is because the movie is about a bus. A bus that has to go faster than 50 miles per hour. Somehow, some way, Jan de Bont mustered up all of his filmmaking experience to come out swinging with a debut feature that redefined the action genre. And it doesn’t hurt that a slow-burn action star and a breakthrough comedic actress had some of the best chemistry we’ve ever seen, and they’re alongside Dennis Freaking Hopper. This is one of those movies that really makes you think of that term “movie magic.” Hold the remote real tight and don’t drop it as we discuss Speed this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the motion picture soundtrack to the film Speed, composed by Mark Mancina. Copyright 1994 Fox Records, Inc.

Excerpts taken from the film Speed are © 1994 Twentieth Century Fox Film Corporation.

Excerpt taken from “Armenia,” written and performed by Einstürzende Neubauten. Copyright 1983 Some Bizarre Ltd.

CONTENT WARNING: Discussion of murder, assassination, political murder, cover-ups, attempted murder, stalking, deception, gaslighting, peril.

It’s not too often you get a movie that stars two of the most outstanding and strong actors of a generation that is just plain boring. But this week’s film is more than up to the task, with a political thriller that isn’t very political and is absolutely not thrilling. To be fair, most political cover-up stories fall apart before the conclusion, but this movie ups the ante by ruining the plot within the first 10 or 15 minutes. The remaining two plus hours is spent just rehashing plot points and trying to save a script that was dead on arrival. It’s not that this movie’s bad, or badly made - it’s so utterly meh that it’ll bore you to tears. Read up on the brief and tell no one as we discuss The Pelican Brief this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Main Title” from the motion picture soundtrack to the film The Pelican Brief, composed by Jack Horner. Copyright 1993 Warner Bros. Inc., Giant Records.

Excerpt taken from “Manual Burn” from the motion picture soundtrack to the film Apollo 13, composed by Jack Horner. Copyright 1995 Universal City Studios, Inc.; MCA Records, Inc.

Excerpt taken from “Main Title” from the motion picture soundtrack to the film Speed, composed by Mark Mancina. Copyright 1994 Fox Records, Inc.

CONTENT WARNING: Discussion of murder, arguments, Italian stereotypes, strong language.

This week we continue our 90’s grab bag with a movie that deals with two “yutes” in a southern town with a big respect for the law. In fact, both the judge and prosecutor in this small town have such respect for legal procedure that the entire comedy of this movie revolves around Vinny Gambini figuring out how to navigate that while still being the mouthy New York wiseguy he clearly is. This is one of those rare cases where a very small, simple comedy pays such attention to the details that you can’t help but be drawn in. It’s got all the intrigue of a courtroom drama with all the goofy shenanigans of a fish-out-of-water comedy. And don’t get us started on Marisa Tomei in this very worthy Oscar performance. Brush up on your court procedure and get ready for My Cousin Vinny this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Way Down South,” written by Edgar Winter and performed by The Fabulous Thunderbirds. Copyright 1992 Epic Associated Records.

Excerpts taken from the film My Cousin Vinny are © 1992 Twentieth Century Fox Film Corporation. All rights reserved.

Excerpt taken from “Yo Cousin Vinny” performed by Joe Pesci from the album Vincent Laguardia Gambini Sings Just For You. Copyright 1998 Sony Music Entertainment Inc.

Excerpt taken from “The Munsters’ Theme,” written by Jack Marshall. Copyright 1964, 2006 NBC Universal.

Excerpt taken from “Main Title” from the motion picture soundtrack to the film The Pelican Brief, composed by Jack Horner. Copyright 1993 Warner Bros. Inc., Giant Records.

CONTENT WARNING: sex work, drugs, misogyny, sexual assault.

We’re back on the movie bit with a new series, catching up on some of the films one or both of us haven’t seen from the 1990’s, and we kick things off with the runaway smash hit rom-com that, well, redefined rom-coms. Julia Roberts makes everything better, but back in 1989 she was still completely unproven on screen and it was impossible to know if she could be a movie star. Enter Richard Gere, whose steely looks and detachment transform into something more subtle opposite the pitch perfect aw-shucks charm of America’s sweetheart herself. That chemistry, partnered with the thoughtful, caring eye of director Garry Marshall, make this a must-see for anyone who loves movies; a version of The Apartment for a new generation…almost. We discuss Pretty Woman this week on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt taken from “Oh, Pretty Woman,” written by Roy Orbison and Bill Dees and performed by Roy Orbison. Copyright Acuff-Rose Publications, Inc. 1964.

Excerpt taken from the film Burden of Dreams, featuring Werner Herzog and directed by Les Blank. Copyright 1982 Les Blank and Flower Films.

Excerpt taken from “Oh, Pretty Woman,” written by Joe Melson, Ray B. Rush and Roy Orbison and performed by Van Halen. Published Acuff-Rose Publications, Inc. 1964. Copyright 1982 Van Halen Productions, Inc. and Warner Bros. Records, Inc.

Excerpt taken from “It Must Have Been Love,” written by Per Gessle and performed by Roxette. Copyright 1990 EMI Svenska AB.

CONTENT WARNING: This episode discusses the slap between Will Smith and Chris Rock at the Oscars.

The awards are done, and wow, do we have a lot to talk about. Not just the biggest, wildest story of the night, but also the ceremony’s absolute dedication to just being bizarre and nonsensical. Everyone was doing their best but it all felt like chaos on stage. And that’s frustrating, because while most of these awards were predictable, the winners were just so amazing to hear from. We’re wrapping up our 5th season of the show as we discuss last night’s Oscars on Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

It’s finally time to lock in ballots, prep our tuxes, and get ready to hit the red carpet. We’ve got a full bonus episode with our Oscar Picks before the big night on Sunday night. Will The Power of the Dog rack up a ton of awards on its 12 nominations? Will Dune sandblast its way to a ton of technical awards? Or will another surprise contender find its way to the top of our lists? Find out on our penultimate picks episode of this season of Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

It’s almost Oscar time and that means we need to talk about the nominees for Best Score and Best Original Song! We give snap judgments on a stacked crew of incredible composers and a fairly predictable Best Original Song category. But who will surprise us, and who will our picks be? Find out on this bonus episode of Macintosh & Maud Haven’t Seen What?!

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpt from “La Cumbia De Mirabel” taken from the original motion picture score for Encanto, written and composed by Germaine Franco. ℗ 2021 Walt Disney Records.

Excerpt from “Don’t Look Up - Main Title Theme” taken from the original motion picture soundtrack for Don’t Look Up, written and composed by Nicholas Britell. ℗ 2021 Maisie Music Publishing, LLC, under exclusive license to Republic Records, a division of UMG Recordings, Inc.

Excerpt from “Ripples in the Sand” taken from the original motion picture soundtrack for Dune, written and composed by Hans Zimmer. ℗ 2021 WMG on behalf of WaterTower Music.

Excerpt from “25 Years” taken from the original motion picture soundtrack for The Power of the Dog, written and composed by Jonny Greenwood. ℗ 2021 Lakeshore Records.

Excerpt from “Sesión de fotos” taken from the original motion picture soundtrack for Madres paralelas (Parellel Mothers), written and composed by Alberto Iglesias. ℗ 2021 Quartet Records under license from El Deseo.

Excerpt from “Be Alive” taken from the original motion picture soundtrack for King Richard. Music and lyrics by DIXSON and Beyoncé Knowles-Carter, and performed by Beyoncé. ℗ 2021 Parkwood Entertainment LLC, under exclusive license to Columbia Records, a Division of Sony Music Entertainment.

Excerpt from “Dos Oruguitas” taken from the original motion picture soundtrack for Encanto. Music and lyrics by Lin-Manuel Miranda and performed by Sebastián Yatra. ℗ 2021 Walt Disney Records.

Excerpt from “Down to Joy” taken from the original motion picture soundtrack for Belfast. Written and performed by Van Morrison. © Exile Productions, Ltd.

Excerpt from “No Time To Die” taken from the original motion picture soundtrack for No Time To Die. Music and lyrics by Billie Eilish and Finneas O’Connell, and performed by Billie Eilish. © 2020 Darkroom/Interscope Records.

Excerpt from “Somehow You Do” taken from the original motion picture soundtrack for Four Good Days. Music and Lyrics by Diane Warren, and performed by Reba McEntire. An MCA Nashville Release; ℗ 2021 Rockin’ R Records, LLC, under exclusive license to UMG Recordings, Inc.

We’ve watched all the movies, seen all the nominations, formed our opinions, and now it’s finally here. And after steeping deeply in the year that was 1982, we can say, for sure, that this was a really great year for movies. Heck, one of the biggest movies of the year isn’t anywhere in our archives because it’s such a classic we’d already seen it. But with all these movies, who will be the big winner? Will Gandhi sweep the nominations? Will The Verdict make a big splash? And will our four hosts sing a song so terrible we might as well just not had a ceremony this year? We discuss the 55th Academy Awards this week on Macintosh & Maud Haven’t Seen What?!

Plus, a review of a gaggle of new Oscar movies, and The Batman. We'll let you guess which might be our favorite.

You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends.

Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.

Excerpts taken from the telecast of the 55th Academy Awards Ceremony, broadcast by ABC on April 11, 1983.

Excerpt from “Flying” taken from the motion picture score of E.T. The Extra-Terrestrial, written and composed by John Williams. © 1982 MCA Records Inc.

Excerpt from “Up Where We Belong” taken from the soundtrack for An Officer and A Gentleman, performed by Joe Cocker and Jennifer Warnes. ℗ 1982 Island Records. Out of print, but the song is everywhere.

Excerpt from “Something in the Way” written by Kurt Cobain and performed by Nirvana. © 1991 Virgin Songs, Inc/The End Of Music; ©℗ 1991 The David Geffen Company.]]> vnZL0CwvrPyVQDwdl6FxXEepX4WQnRvu Mon, 21 Mar 2022 04:34 +0000 http://www.macintoshandmaud.com/yhswepisodes/2022/3/20/oscars-82-the-55th-academy-awards 00:00:00 yes full OSCARS '82: The Verdict 229 5 Macintosh & Maud CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of vegetative states, ambulance chasing, right-to-die laws, sexual harassment, lying, manipulation. Our final film of this series takes us into the courtroom in a way few films rarely do. The courtroom drama can be wild, fantastic, and even a bit haughty. But this movie dares to go into the grit and grime of medical malpractice and expose the cost of justice. There’s no frills on this movie, no wasted moments, and while the story’s missing a little bit of context, it’s a masterclass in courtroom storytelling. And then there’s the cast, with a murderer’s row of performances from some of the best in the business, giving nuanced, crafted performances that take a very good story and make it incredibly grounded and real. We discuss The Verdict this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the score the motion picture The Verdict. Composed by Johnny Mandel. © 1982 Twentieth Century Fox Film Corporation. Excerpt from the motion picture The Verdict are © 1982 Twentieth Century Fox Film Corporation. Excerpt taken from the telecast of the 55th Academy Awards Ceremony, broadcast by ABC on April 11, 1983. Music arranged and conducted by Bill Conti. CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER