2018 Countdown With Keith Uhlich (Part 2)

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It's easy to claim art serves a purpose, but what exactly is that purpose? How do artists and critics reckon with the images, ideas, and worlds they've created—for better and worse? If art only builds a monument to itself, what value does that hold? In the second part of Peter and Keith Uhlich's look back at the year 2018 in movies, these questions come to the forefront. It's not just what art is but how it strikes us, how it is purposed (or repurposed), and how it becomes part of a dialogue. Though covering just one year of cinema, a list that expands back over a century. The big surprise: who topped their list with film and who topped it with television? Surprises abound in this invigorating discussion.

0:00–2:41 Opening
2:41–26:34 Picks for #5
26:34–41:40 Picks for #4
41:40–1:00:41 Picks for #3
1:01:20–1:03:59 Sponsorship Section
1:04:47–1:27:08 Picks for #2
1:27:08–1:30:02 Guest Picks
1:30:02–1:59:56 Picks for #1
1:59:56–2:04:39 Wrap Up 
2:05:36–2:08:35 Close / Outtake

2018 Countdown With Keith Uhlich (Part 1)

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Witches, Worship, and White People: Oh my! Keith Uhlich returns for another year of counting down films, television, and other media of 2018 in this Part 1 of 2. The choices remain as eclectic as always, but the spirit of debate shifts toward not just what constitutes not just what cinema is but when it is (2017? 1972? Who Knows!)—part of the larger flux in our ever expanding digital world. Each challenges the other for a statement of principals to understand not just what films get made and who gets to make them, throwing wrenches into questions surrounding the systems that hold the keys and the role of representation on screen. Strap on (!) in for another series of conversations on what might not be the best films of the year, but the ones that engaged us most into a winding conversation.

0:00-2:52 Opening
2:52-27:04 Picks for #10
27:04-50:21 Picks for #9
51:08-55:07 Sponsorship Section
55:29-1:21:01 Picks for #8
1:21:01-1:43:53 Picks for #7
1:43:53-2:05:26 Picks for #6
2:06:02-2:06:35 Wrap Up 
2:06:44 -2:08:52 Close / Outtake

Episode #100 - Peter Labuza (The Long Gray Line)

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"Cinephilia is always bigger than yourself."

Every guest of The Cinephiliacs has had their chance in the hot seat to be questioned by Peter on a myriad of topics, but never the other way around. In this very special 100th episode, it is the guests who have control of the mic. Friend of the show Keith Uhlich plays host for an episode to ask Peter about his first cinematic memory, how the podcast got started, and why he turned to film history. Along the way, many other former friends call in to ask their own questions about his favorite theaters, the films he just doesn't understand, and the lessons he's learned through the course of the show. Finally, Peter finally chooses the film and goes with John Ford's enigmatic biopic The Long Gray Line, a story of the military and America in a way that neither Keith nor Peter can wrap their heads entirely around, but find themselves in tears at the end nonetheless. Is it shallow patriotism, or is Ford crafting the most mysterious anti-war film ever made?

0:00-4:27  Opening
5:12-1:38:44 Deep Focus — Peter Labuza
1:39:24-1:43:24  Sponsorship Section
1:44:44-2:18:11 Double Exposure — The Long Gray Line (John Ford)

2:18:56-2:24:10 Final Questions / Thanks 
2:24:12-2:25:54 Close

This American Life — Remembering Jonathan Demme

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Jonathan Demme began his film career 50 years ago while working for Joseph Levine's production company in 1967, carving a path that resembled no other director in American film. His narrative films ranged from the grindhouse to Oscar prestige pictures to indies and more. Beyond fiction, he made documentaries about musicians and politics, music videos for the coolest bands, and a number of television episodes that gave life to the so-called writer's medium. While the word humanist gets thrown around carelessly, Demme deserved that term for the worlds his films enveloped and the generosity he showed each and every character while often creating an implied utopian vision of diversity. This special episode mourns the death of one of the great directors, as Peter invites on Jake Mulligan and Willow Maclay to discuss the multifaceted career of a director destined to cement a place in the canon. Plus, we revisit that oft-discussed director with three Double Exposure discussions with former guests. 

0:00-4:12 Opening 

4:12-43:27 Discussion with Jake Mulligan and Willow Maclay

44:34-47:26 Sponsorship Section
48:41-1:04:20 Beloved with Stephen Cone
1:05:21-1:28:18 The Truth About Charlie with Keith Uhlich
1:29:27-1:52:13 Stop Making Sense with Tim Grierson
1:52:40-1:22:02 Close

2016 Favorites With Keith Uhlich (Part 2)

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Often, we ask questions about what can cinema do. Perhaps the more important question, however, is to ask what should cinema do. As Keith Uhlich and Peter Labuza countdown their favorite media objects of 2016, this question plays out in a myriad of discussion. From the trascendence of genre to the nature of longform, to the act of describing to the disection of popular entertainment. And finally, the two enter a long debate about the nature of non-fiction and reality, as well as the very act of seeing death in cinema. What function should the camera perform, not just for us but the people who hold it? And is there something unique about art and its function in the surrounding world? Plus, former guests of the show call in with their favorite films of the year.

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0:00-2:57 Opening 
2:57-27:45 Picks for #5
29:06-49:34 Picks for #4
49:34-1:08:04 Picks for #3
1:09:47-1:12:29 Sponsorship Section
1:13-40-1:39:20 Picks for #2
1:40:40-2:11:53 Picks for #1
2:11:53-2:13:37 Closing Thoughts
2:13:47-2:15:27 Close / Outtake

2016 Favorites With Keith Uhlich (Part 1)

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In times of crisis, sometimes the easy answer is to escape to the cinema. But the movies of 2016 did not necessarily bring escape, whether it was the mortgage crisis in Texas, homophobia in Miami, or misogyny in Montana. But in these cinematic works of art, some relief or euphoria can transform real life into something more bareable (or if you're Rob Zombie, even more screwed up). Keith Uhlich joins the podcast for his 5th time to countdown the favorites of 2016. Discussions range from the nature of experimental cinema, to the nature of historical fact, to what it means to go past idenity and into specificity. Plus, Peter and Keith list their favorites repertory discoveries of the year.

0:00-3:20 Opening 
3:20-22:39 Picks for #10
22:39-39:42 Picks for #9
39:42-1:13:06 Picks for #8
1:13:53-1:16:12 Sponsorship Section
1:17-00-1:36:26 Picks for #7
1:36:26-1:57:00 Picks for #6
1:57:00-2:10:33 Favorite Repertory Picks of 2016
2:10:51-2:12:46 Close / Outtake

2014 Favorites With Keith Uhlich (Part 1)

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Another year, another cinema count down. Despite 2,500 miles between their locations, Peter couldn't resist sitting down Keith Uhlich—now of The AV Club, The L Magazine, and To Be (Cont'd)—to discuss their favorites of the year, so through the power of technology, the virtual balcony is open for this first of two parts. This year's freewheeling discussion takes us from the lore of Macedonia then up cabal cars to the gods of Nepal, the mundane moments of youth to the dystopic futures of simulacra takeover. And yes, even perhaps the realm of television might be crossed, but not without first fueling up on some cocaine from the good doctor. Plus, our favorite repertory picks of the year.

0:00-4:18 Opening Thoughts

4:19-22:34 Picks for #10
22:35-47:47 Picks for #9
47:48-1:04:41 Picks for #8

1:05:28-1:07:02 Mubi Sponsorship - Bluebeard and The Sleeping Beauty

1:08:05-1:24:18 Picks for #7
1:24:19-1:41:39 Picks for #6
1:41:40-1:56:10 Favorite Repertory Picks

1:56:13-1:58:26 Close / Outtakes

Read Keith Uhlich at The AV Club, L Magazine, and To Be Cont'd.
Follow Keith on Twitter.

Special Episode - Cannes Film Festival 2014

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The Cannes Film Festival has been the premiere location for the more masterworks in cinema than likely any other festival in the medium's history. And with its 67th iteration, Peter finally made it to the Croisette to see what the fuss was about. Thankfully, he was not alone, so in this special episode of the podcast, Keith Uhlich, Glenn Heath Jr., and Jordan Cronk join Peter to discuss some of the highlights that made a splash during their last day at the festival. From heavy-hitting works as far as Turkey and Mali, auteurs working with unexpected performers, and Jean-Luc Godard's 3D extravaganza, the festival provides more than enough fascinating material to simply scrape the surface of these enormous works. 

0:00-1:16 Opening

1:17-7:16 Timbuktu (Abderrahmane Sissako)
7:52-14:22 Winter Sleep (Nuri Bilge Ceylan)
14:23-20:05 Jauja (Lisandro Alonso)
20:55-30:04 Clouds of Sils Maria (Olivier Assyas)
30:57-37:15 Two Days, One Night (Jean-Pierre and Luc Dardenne)
37:16-48:28 National Gallery (Frederick Wiseman)
49:27-1:02:06 Goodbye to Language (Jean-Luc Godard)
1:02:08-1:14:12 Critics Picks
1:14:13-1:16:32 Close / Outtake

Read Keith Uhlich at Time Out New York, Glenn Heath Jr. at Fandor, and Jordan Cronk at Fandor and Reverse Shot.
Twitters: Keith, Glenn, Jordan. 

Special Episode - 2013 Episode (Part 2)

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A film does not become something more than a mechanical work of reproduction until it is viewed. It only becomes art when it is presented to an audience, as masterpieces are born through the interaction between cinema and cinephile. It is these films that lead Peter and Time Out New York critic Keith Uhlich to their list of the the best films of 2013. They are films about possibilities of imagination both delightful and threatening. They are comedies, thrillers, documentaries, and romances. They are sensuous yet biting, philosophical yet bawdy. Two of them feature characters removing their heads. All in all, another year of cinema. Plus, the two mention their favorite repertory discoveries of the year, and a number of former guests chime in with their own picks.

This is Part 2. Listen to Part 1 here.

0:00-1:34 Opening / Introduction

2:53-11:58 Favorite Repertory Picks

12:55-26:25 Picks for #5

28:33-1:05:20 Picks for #4-3

1:09:05-1:50:15 Picks for #2-1

1:50:20-1:51:59 Close

Follow Keith Uhlich on Letterboxd and Twitter, and read his work at Time Out New York.

Also heard in this episode: Gina Telaroli, James Hansen, Vadim Rizov, Robert Greene, and Dan Sallitt.

Special Episode - Remembering Roger Ebert

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On Thursday, April 4th, 2013, the film critic Roger Ebert passed away at the age of 70. It was hard to deny the influence of someone who was easily the most recognizable film critic of all time, so Peter felt compelled to dedicate an entire episode to his legacy and work. For this special episode of the podcast, Keith Uhlich, Matt Prigge, Kenji Fujishima, and Godfrey Cheshire all join Petter for a discussion of his life, work, and legacy of its legend. The topics run far and wide, from his honest writing style, to the critics he plucked and championed, to his reflections of life and death, and even his own admittance of occasional failure with certain films and filmmakers. The five dig into the times they encountered Ebert (some in person and some online), and attempt to honor someone who will be with them forever. 

Read Roger Ebert's writing on his website.

Follow Roger Ebert on Twitter.

Special Episode - Our Favorite Films of 2012

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Click here to listen to Part 2 

Peter believes that the Top 10 list is less of a summation of a year in film than a personal statement on how one view's cinema at that moment. So in this epic 2+ hour episode, he invites the idiosyncratic Keith Uhlich to join him on a journey through the year in film. They discuss terrorists and presidents, romances and mentors, artificial and stylized views of the world to authentic miracles. Plus some of Peter's former guests and friends of the show call in with their picks, and they also list some of the great films of years past that they finally caught up with.

0:00-1:42 Opening / Announcement

1:42-3:54 Introduction to Top 10s
3:55-1:01:04 Picks for #10 through #6
1:01:04-1:02:14 Close

0:00-2:25 Introduction to Part 2

2:26-8:22 Favorite Filmic Discoveries

8:23-1:30:01 Picks for #5 through #1

1:30:01-1:35:30 Picks for #20 through #11
1:35:30-1:39:14 Trivia Round / Close / Outtake

Episode #4 - Keith Uhlich (The Truth About Charlie)

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"I feel like there's all these voices out there, and I want to keep contributing my voice…I think the way film criticism survives in this uncertain landscape is by building a community. As long as you have a strong community of people – not necessarily like-minded on the same films – but people who accept that film criticism is an art that is well worth preserving and keeping around. I’m heartened by the number of different voices I see."

For a film critic who has to keep his reviews under 250 words, Time Out New York staff writer Keith Uhlich has quite a lot to say as he joins Peter for the podcast. Keith explains how he originally got the cinephile bug watching films like Popeye and Spaceballs, as well as his frustrations in making his own films at NYU. They then dive in deep to Keith's unique writing process and spar a bit over some of his more oddball opinions (a love of The Black Dahlia, anger toward Steven Soderbergh). Keith also explains his frustrations over the current state of independent LBGTQ cinema (never have the words “Fuck you, Tom Ford” been spoken with such force). Finally, the two discuss Jonathan Demme’s The Truth About Charlie, an often maligned remake of Charade that inspires both of them for its visual appreciation of Paris and its overlooked humanism.

0:00-4:50 - Opening/Act One: Establishing Shots - Remembering Tony Scott

5:05-1:40:50 - Act Two: Deep Focus - Keith Uhlich
1:41:40-2:06:18 - Act Three: Double Exposure - The Truth About Charlie (Jonathan Demme)
2:06:20-2:08:00 - Close/Outtake

Read Keith Uhlich at Time Out New York, Slant Magazine, The House of Next Door, Senses of Cinema, and Reverse Show. Also read his haiku reviews on Letterboxd.

Follow Keith on Twitter.

"Demme’s Thrilling Humanist Romance" - Keith Uhlich on The Truth About Charlie

On Monday's show, Keith Uhlich will be joining me to discuss his life as a cinephile. We also have a conversation regarding Jonathan Demme's The Truth About Charlie, his 2002 remake of Charade. I'm thankful that Keith provided me with his original review of the film, which was then written for Culturedose.com, which became Toxic Universe and then Culture Cartel before it finally shut down. With Keith's permission, I've posted his original review (no longer online) with some very minor revisions by him. He wrote this prelude to the piece:

Clive Barker wrote, "We are our own graveyards; we squat amongst the tombs of the people we were." The person that authored the words below is almost ten years gone. I'd like to slap him upside the head for his oft-clunky phrasing and stiff-necked swagger. But I also see the fire and spirit (the stalwart belief in humanity, even when confronted with the worst the species has to offer) that I continue to kindle and cultivate. Aesthetic and technical embarrassments aside, I'm happy this little shit-stirrer haunts me still. 

—Keith Uhlich, 08/24/2012

Here’s the one this year that got away.

          Jonathan Demme’s The Truth About Charlie is ostensibly a remake of the 1963 Stanley Donen comedy/thriller Charade and that alone practically guaranteed the film’s financial failure. Charade is an example, after all, of the perfect Hollywood film: attractive stars (Cary Grant and Audrey Hepburn), ingenious script (by Peter Stone), memorable setting and atmosphere (using both real and make-believe Paris locations) all combine for an entertainment that fires on all cylinders. If that sounds like too mechanistic a metaphor, then perhaps you’ve caught onto what we might call the weakness of Charade – it works so perfectly that the pleasures it gives can feel like perfectly placed manipulations, cogs in the wheel of the Hollywood machine. No matter, machines can be beautiful too (and Charade is certainly one of those perfect mechanoids), but it presents a daunting challenge to the crazy bastard who wants to try his hand at revisiting the material. The obvious question: Why remake perfection?