Out There in the Dark

025: MAVERICK JOHN CARPENTER

Arguably most famous for spawning the self-evolving Halloween franchise, John Carpenter is a true cinema maverick. Crossing genre boundaries usually adhered to strictly by competent craftspeople, Carpenter may represent a bygone figure in cinema; a true auteur. Carpenter's films bear an umistakable signature style. Carpenter was as at ease with sci-fi,  The Thing and Escape From New York,  as he was in mind benders like In The Mouth of Madness or even in romantic comedy, Starman. From his distinctive scores, which he often pens and performs, to his use of unglamorous stars, his clearly leftist anti-capitalist politics, and his ability to create cult classics like The Live! (a favourite of leftist academics). Azed and Tom dive deep into the Carpenter's oeuvre.
And we also touch on the greatest moment in cinema history! Of course we speak of the premiere of Melania.

024: FRANKENSTEIN

Few works of art have ascended to the level of universal archetype, even fewer by 19 year old women in 1818, but Mary Shelly's Frankenstein has achieved this place of distinction in the world of letters. The story of the writing of the novel (Lord Byron and the Shelly's stuck indoors during a stormy few days, deciding to write ghost stories as a way of passing time) is as mythic as the book. With the  invention of cinema our long and varied relationship with the whole Frankenstein mythos began. Starting in the silent era Frankenstein has been a consistent cautionary tale of hubris and ambitious overreaching and marks the start of the "body horror" genre. 
In this episode Azed and Tom discuss Guillermo del Torro's latest version of Frankenstein and take the opportunity to discuss the history of cinematic renderings of the Frankenstein story and it's influence on film as a whole. From James Whales' original masterpiece the themes of giving birth to something (or somone) who eventually destroys you, has been a mainstay of artistic re-imaginings from Mel Brooks' Young Frankenstein, Yorgos Lanthimos' Poor Things onto del Torro's latest. Tune in and find out which Frankenstein themed films make our favourites list.

023: ONE BATTLE AFTER ANOTHER

On this episode of Out There in the dark, we take a deep dive into PT Anderson‘s latest epic, weird, and thrilling One Battle After Another. At a time when our world is being rocked by corrupt and dark forces, Anderson explores with subtlety and humour, the issues that plague us on the daily. We also go through Anderson’s oeuvre from his first film, Hard 8 (1996) to OBAA. And we say a fond farewell to cinema’s greatest actors, Diane Keaton.

022: NOTES FROM THE TORONTO FILM FESTIVAL 2025

Toronto hosts one of the world's most prestigious film festivals and this year Tom and Azed managed to move off their respective couches and see a few films.  The festival has always been a defining characteristic of Toronto's love affair with movies, which draws huge audiences to see some of the world's least seen artwork. Of course, over the years, TIFF has embraced a more mainstream, commercial approach which has largely obscured the work of independent filmmakers but there is still a strong element of curating films from underserved and underrepresented artists. Join Azed & Tom as they discuss the history of the festival, what they saw this year, and the death of film icon, Robert Redford, who created the world renowned Sundance Film Festival.  A festival of festivals, if you will.

021: EDDINGTON

Ari Aster’s latest film, EDDINGTON, has polarized critical intelligentsia. While a few have hailed it as a “masterpiece” many others have decried it as at best an ambitious flop. As with Aster’s last “flop” Beau is Afraid, critics and audiences alike seem confused and disappointed by Aster’s non-horror films.  Without the surface excitement of supernaturally tinged serial killings or sadistic torture, Aster’s non-horror films seem to lean more art house than grindhouse. With Eddington, Aster has made his most accomplished and politically potent film to date. Set during the 2020 lockdowns, Eddington scales the mass paranoia and detachment from reality which proliferated at that time-and continues to grow- way down to a tiny western town. Embedding huge political and moral concerns in the fabric of everyday small town western American life is what gives Eddington its power and clarity. What happens in microcosm also happens in macro. That the petty bickering and fully formed silo’s of disinfo serve to mask the data processing center being negotiated to be housed outside Eddington, perfectly encapsulates the way our behaviors and ideas often are manipulated and exploited for corporate and fascist interests. Join Azed and Tom as they discuss one of the most controversial films of the year so far, a film they both believe is one of the best of the year.
 

020: TOP 25 OF 25

EXCLUSIVE! WE HAVE THE LIST!
That's right, the list of the best movies of the past 25 years.  Putting aside our usual snobby pooh-poohing of so called "best of..." lists, Azed and Tom have created lists to end all lists. Stop saying list!
Taking off from the (failing?) New York Times' Best of the Century , which chose PARASITE as their top film, and Rolling Stones 100 Best List , which chose the slightly more reasonable There Will Be Blood as the greatest of the century, we decided to do a serious and definitive list of our own. We have very high opinions of our own opinions, and that's why no one likes us. Still, we persist. 
So, hey forget about the ugly, horrorshow taking place all around us right this second, and treat yourselves to the soothing, dulcet tones of Azed's listing off his wise and audacious selections. Apologies for Tom's part, just forward through or, for those who like a challenge, endure it and learn how to distinguish between Azed's excellent curation and Tom's mostly "meh" choices.
Written by Anonymous (not Azed)

019: Outsiders, Strangers and Artists in the Films of Jim Jarmush

As the world slides inexorably towards xenophobia, authoritarianism, and flat out racism, the cinema of Jim Jarmush offers a crucial counterpoint to the dehumanizing of the other as a means of social control.  Jarmush, a staple of the New York punk and post-punk art scene broke onto the scene with Stranger Than Paradise (1982) which introduced the cool, art house, minimalism that has become the hallmark of Jarmush's oeuvre.  By centering the outsider, the foreigner, the artist and the marginal, Jarmush cements his position as a humanist filmmaker in the tradition of the Transcendentalist filmmakers; Ozu, Dreyer and Bresson.  Join Azed and Tom for a deep dive into the restorative and poetic cinema of Jim Jarmush.

018: The Rehearsal and Sinners

Nathan Fielder's The Rehearsal is probably the most brilliantly strange "reality" show to date.  An uncanny mixture of documentary, memoir, comedy show, and adventure movie, The Rehearsal pushes the usual conventions of TV, deconstructing the elements that go into producing and directing an almost impossible series of thrilling, funny and bizzare segments. Fielder, a bona fide eccentric and oddball, is clearly interested in revealing the absurdity of attempting to document actual life, while sparing no expense (HBO's money!) to make the attempt nonetheless. As Oscar Wilde once said, "All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors.”  More than any other creator currently making art, Fielder is in the Wilde camp. Art may be futile, but it's very futility is it's greatest liberty. 
Join Tom and Azed as they dive into The strange and beautiful world of The Rehearsal. Also in this episode: mini reviews of Sinners, The Shrouds, Thunderbolts and some reco's from The Cannes Film Fest.

017: The Roger Corman Film School

Roger Corman (April 5, 1926 -May 9, 2024)—an iconic figure whose influence on Hollywood is nothing short of legendary—traversed the cinematic landscape from the late 1950's to the 1990's. Celebrated as the "Pope of Pop Cinema," the "Spiritual Godfather of the New Hollywood," and the "King of Cult," Corman was a pioneering force in independent filmmaking, forever reshaping the industry with his innovative spirit.
Throughout his illustrious career, Corman collaborated with an impressive roster of emerging filmmakers, many of whom would go on to dominate the industry. Names such as Francis Ford Coppola, Martin Scorsese, Ron Howard, James Cameron, and Jonathan Demme began their journeys under his mentorship. It has often been remarked that Corman’s guidance served as a vital training ground—what James Cameron famously referred to as the "Roger Corman Film School."
His influence extended beyond mentorship; he was a catalyst for creativity and innovation. Nicolas Roeg served as the cinematographer for The Masque of the Red Death, while many of his protégés achieved Oscar success. Corman’s reputation for fostering talent with a blend of encouragement and challenge left an indelible mark on cinema. As he famously advised, “If you do a good job on this film, you’ll never have to work for me again,” exemplifying his role as both mentor and pioneer in the cinematic world.
Join Azed and Tom as they explore the life and work of Roger Corman, a true maverick and inspiration for all aspiring filmmakers.  

016: The Great Gene Hackman

The recent and tragic news of Gene Hackman and his wife, Betsy Arakawa, has left movie fans around the world reeling. While the unsettling details surrounding their passing may capture attention, this isn’t TMZ. Instead, we choose to honor the life and extraordinary talent of one of the greatest actors of our time. Gene Hackman was renowned for his unparalleled ability to convey authenticity—something that is notoriously difficult for actors to achieve. He masterfully portrayed characters with remarkable depth and complexity, from flawed anti-heroes to charismatic villains and enigmatic oddballs, always infusing his roles with genuine humanity.Join Azed and Tom as they celebrate their favorite performances by Gene Hackman.