Episode 40 December 21st, 2012

Welcome to episode 40 of Highbrow! Lowbrow? Every two weeks or so, Jesse and Shaun talk about the Best Picture Academy Award Winner and the top box office earner of the same year. On this episode, we chose the year 1952 with the big spectacle film The Greatest Show On Earth (Highbrow and Lowbrow) which won both titles. This film united audiences and critics alike with it's reverence and love for the classic bigtop circus. Also, in this episode we go over the past 10 episodes and we pick our favorite, from the Best Highbrow and Lowbrow film to the one that entertained us surprisingly. Check it out and listen to the latest Highbrow! Lowbrow?

Episode 39 December 12th, 2012

Welcome to another episode of Highbrow! Lowbrow? Every two weeks or so Jesse and Shaun get together to discuss the Best Picture Award Winner and top box office earner of the same year to see who was right: the critics or the masses. For this episode, we're checking out two more recent films from the year 2000, the modern sword and sandal epic, Gladiator (Highbrow), and the twisted and zany Christmas story of How the Grinch Stole Christmas (Lowbrow).

Episode 38 November 15th, 2012

Hello and welcome to another episode of Highbrow! Lowbrow? Every two weeks or so, Shaun and Jesse get together to discuss the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. For this episode, we take a look at two films from the year 1980, the chinese historical piece, "The Last Emperor" (Highbrow) and the hijinks of "Three Men and a Baby" (Lowbrow).

Episode 37 November 13th, 2012

Check out the latest episode of Highbrow! Lowbrow? The podcast where Jesse and Shaun get together every two weeks or so to discuss the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. For this episode, we look at Father O'Malley and Sister Benedict as they toll "The Bells of St. Mary's" (Lowbrow) and we witness the alcoholic bender of Don Birnam as he finds himself in "The Lost Weekend" (Highbrow), two movies from the year 1945.

Episode 36

Check out the latest Highbrow! Lowbrow? Jesse and Shaun get together to discuss the Best Picture Award Winner and top box office earner of the same year to see who was right: the critics or the masses. This episode we have a film that won both accolades, Rocky, from the year 1976.

Episode 35, October 14th 2012

Hello and welcome to Highbrow! Lowbrow? the podcast where Jesse and Shaun discuss the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. On this episode, we take a look at two films from 1996: the enduring romance, The English Patient (Highbrow) and the bombastic thriller, Independence Day ( Lowbrow).

Episode 34, September 10th 2012

Hey and welcome to another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun get together to talk movies. Every two weeks or so, we take a look at the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. On this episode, one film won both honors, Kramer vs Kramer (Highbrow/Lowbrow) from the year 1979.

Kramer vs Kramer, directed by Robert Benton, is the story of Ted Kramer who's left take care of his son when his wife suddenly leaves him, making him the sole caretaker in an unfamiliar world of parenting. Dustin Hoffman gives maybe his best performance as Ted, a man trying to bridge the gap between career and family life and dealing with the sacrifices that have to be made. Meryl Streep brings sympathy and understanding to the character of Joanne the absent wife/mom, and the story cements her own reasons for wanting to leave. This film really captured the zeitgeist of that era, where women began to transition to careers from the family life, but remains a timeless film due to the realistic portrayal of the budding father son relationship.

So be sure to listen to the latest episode for some great talk about this great film, Kramer vs Kramer. And let us know what you think about the episode. Check it out below!

Episode 33 , August 30th 2012

Hello and welcome back for another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun get together to discuss movies. Every two weeks or so, we take a look at the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. For this episode, the year is 1991 and the two films are Silence of the Lambs (Highbrow) and Terminator 2: Judgement Day (Lowbrow).

Silence of the Lambs, directed by Jonathan Demme, stars Jody Foster as Clarice Starling, a rookie FBI agent, who goes into the mind of Dr. Hannibal Lector, played by Anthony Hopkins, to find a serial killer. This film pioneered the procedural and crime thrillers of today, but as a result of that, it's lost a little bit of it's luster. Jody Foster really brought to life the idea of a strong independent woman with this film as Clarice is an iconic character. Anthony Hopkins chews up the screen as Hannibal Lector, outwitting police and confounding Clarice with panache. The sense of fear and impending doom is palpable with Silence of the Lambs, really bringing you into the mindset of Clarice and these serial killers.

Terminator 2: Judgement Day, directed by James Cameron, is the continuing story of John Connor as a terminator (played by Arnold Schwarzenegger) from the past seeks to thwart John's assassination from the deadly T-1000. Schwarzenegger plays his best role in the film as the Terminator, selling his transformation into a robot with a heart while also bringing a lot of humor to him. Linda Hamilton's Sarah and Edward Furlong's John Connor really grow together and show a side of humanity that is fierce, resilient and caring. One of the most beloved James Cameron films, due to it's great action sequences and humanistic interactions between John, Sarah and the Terminator, Terminator 2 stands as a great action film with a satisfying story.

Which way did we end up going? The psychological yet clinical horror, Silence of the Lambs, or the action intensive thriller with humanity, Terminator 2? Check out the latest Highbrow! Lowbrow? to find out!

Episode 32, July 19th, 2012

Hey and welcome to another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun talk  movies. Every two weeks or so, we review the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. This week we have a guest drop in to choose our next next Highbrow! Lowbrow? picks. But for now, we check out two movies from the year 1955, Marty (Highbrow) and The Lady and The Tramp (Lowbrow).

Marty, directed by Delbert Mann, stars Ernest Borgnine as Marty, a sad middle aged man looking for love against the pressure of his friends and family. Borgnine plays Marty expertly, showing his frustration and sadness well. The other players bring a real strong sense of environment and really show the world that he lives in. The cinematography was simple but profound as it brings you into the drama at several key points in the film. Marty is an earthy and layered film that draws from the simple story, a wealth of human insight.

Lady and the Tramp, another classic Disney animation, tells the story of Lady and the Tramp as an uptown/downtown romance with the rascally Tramp trying to woo the prim Lady. Lady has a family that loves her, but that love is in question when her owners have a child that takes attention away from her. Tramp comes in as a a bit of a troublemaker who offers to show Lady the world and takes control of it. This cute and fun movie was a quaint journey through a dog's ;ofe.

So what movie did Jesse and Shaun end up liking more? The disney tale Lady and the Tramp or the slice of life story Marty? Check out the latest Highbrow! Lowbrow? to find out!

Episode 31, July 2nd 2012

Hello and welcome back to another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun get together every two weeks or so to talk movies. We take a look at the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. For this episode, we examine the year 1948 with a Highbrow choice of Hamlet and a Lowbrow(?) choice of The Red Shoes.

 Hamlet, directed by Laurence Olivier, also stars Olivier as the titular Hamlet, the classic Shakespearean tragedy of young Prince Hamlet's quest to avenge his father's murder, destroying his family in the process. Jesse and Shaun differed on the sets with Jesse enjoying the stagecraft and play-like feel of the film, while Shaun felt it was too stagey for a movie. They both agreed the special effects were strong, especially with the representation of Hamlet's father, who remains chilling to this day. Laurence Olivier does a fantastic job as Hamlet, really conveying that sense of madness and determination as Hamlet discovers more and more of the treachery within his family. Shaun felt that Olivier's performance overshadowed the other actors who couldn't match up, while Jesse thought the stage presence of the cast was strong and provided a good foil to Hamlet's madness. Critics of the past critiqued the film for not adhering to Shakespeare's text, but both Jesse and Shaun agree that liberty and reinterpretation should be used in adapting any material from one medium to the next. Hamlet succeeds as a an authentic representation of Shakespeare's work on film, and Olivier shines as Hamlet.

The Red Shoes, directed by Michael Powell and Emeric Pressburger, is the tale of young ballet dancer, Victoria Page (Moira Shearer), who is torn between her love of dance with the famous Lermontov Company and her composer boyfriend, Julian Craster (Marius Goring). Boris Lermontov (Anton Walbrook) haunts and plays with both Victoria and Julian due to his intense desire to make the world's best dancer. The story is relatable to anyone with artistic backgrounds as Victoria often finds herself at odds with her career and art versus her own personal life. The play within the play perfectly mirrors her feelings of being pulled apart by her lover and her passion, passion being a constant test to excel yourself. Shearer's dancing stands strong throughout the film and she really holds the piece together, she conveys both through face and body language the desperation of Victoria. Walbrook plays a nuanced Lermontov who is mysterious and charming, you never know where his desires really lie. This is an engaging and deep film that draws you as it explores the depths of artistic passion and how far we will go to pursue them.

So which film did the HBLB duo end up picking? The tragic poetry of Hamlet (Highbrow) or the depths of artistic desires in The Red Shoes (Lowbrow)? Listen to the next episode of Highbrow! Lowbrow to find out!

Episode 30, May 21st 2012

Welcome to another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun get together to talk about the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. This latest episode features two epic films in scope and in length from the year 1956, the globe hopping journey, Around the World In 80 Days (Highbrow) and the biblical story, The Ten Commandments (Lowbrow).

Around The World In 80 Days, directed by Michael Anderson, is the journey of english gentleman, Phileas Fogg (David Niven), as he tries to complete a tour of the world in 80 days in a bet against his fellow Reform Club members. Accompanying him is his loyal assistant, Passepartout (Cantinflas), bumbling around, but proving his worth in his own way again and again. This film had an overbearing running time that really dragged the story out, you can definitely feel the time as he begins hitting locations such as India or China. The cinematography really showcased the international sites, from the vibrant spanish dancing to the exotic eastern jungles. Jesse enjoyed the British banter between the banker friends, while Shaun found it boring and stale. They both enjoyed the antics of Passepartout, recalling the physical comedy of Charlie Chaplin. Though it can be a fun romp and it has it's exciting moments, Around The World In 80 Days can't maintain interest throughout it's lengthy running time.

The Ten Commandments, directed by Cecil B. DeMille, is the classic story of Moses (Charlton Heston) as he discovers his Jewish heritage, and rises up against the Egyptians to free the Jews from slavery. This film as well had a pretty massive running time that also begins to feel overwhelming. Charlton Heston proves his presence in this film as always with such a strong and confident approach to the role that made it memorable. The literal interpretation of the Bible in the movie leaves something to be desired, since the story needed a little adapting for it to really be consistently engaging. The massive sets and huge number of people needed to pull this film off is really amazing as you see hordes of people traveling along the Dead Sea and monuments being recreated from the era. Weighed down by a hefty running time, the Ten Commandments is an enduring and engaging biblical film that eventually begins to wear on you.

So which film did Jesse and Shaun end up liking more? The journey of Moses in The Ten Commandments (Lowbrow) or the light-hearted globe hopping adventures of Fogg and Passepartout in Around The World In 80 Days (Highbrow)? Check out the latest Highbrow! Lowbrow? to find out.

Episode 29 May 26th 2012

Hello and welcome to another episode of Highbrow! Lowbrow? Every two weeks or so we look at the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. For this week, we go back to the height of the 80's with two classic films from 1984, the musical biography, Amadeus (Highbrow), and the gritty action comedy, Beverly Hills Cop (Lowbrow).

Amadeus, directed by Milos Forman, is the life of Wolfgang Amadeus Mozart seen through the eyes of Antonio Salieri who lays tortured at the mocking genius of Mozart. Milos Forman yet again shows his mastery of film-making as this film is a fantastic blend of story and style. The way that Mozart's music is described unfolds to the viewer, while Salieri's jealousey and admiration grow, has each note given purpose and beauty. Salieri's desperate way of trying to quell his fears of inadequacy is a story many artist and people in general can relate to, as someone much better comes along and proves your worst fears true. The cinematography and art direction were really strong illustrating both the pomp and squalor of 19th century Vienna. Tom Hulce's Mozart plays a perfect foil to F. Murray Abraham's Salieri with Mozart obnoxiously laughing while also passionately composing against Salieri who remains dedicated but unrewarded. Though not a perfect film, Amadeus brings a great story together executing each element with style and mastery,

Beverly Hills Cop, directed by Martin Brest, stars wise-cracking Eddie Murphy as tough Detroit cop Axel Foley who investigates the murder of his best friend in the posh Beverly Hills.  Despite the fond memories and the box office acclaim, time has not been kind to this film, as it felt stale and boring and somewhat bereft of the humor that it was known for. Neither is the action strong enough to sell the film, Murphy doesn't bring an exciting action hero for us to get us invested. The story is somewhat lackluster as flimsy plot point to flimsy plot point moves Foley from place to place with little direction. Depending on if you are interested in the nostalgic feel of the 80's, this movie would be best suited for those who want to revisit the past rather than view an exciting film.

So which film did we end up choosing? The wise-cracking antics of Foley or the desperate jealousy of Salieri? Check out the next Highbrow! Lowbrow? to find out.

Episode 28 April 8th, 2012

Welcome back to another episode of Highbrow! Lowbrow? the podcast that compares and contrast the Best Picture Academy Award Winner and top box office earner of the same year. We take a look back at yet another set of films from the 1970's, specifically 1970 itself with the two films: the war biography, Patton (Highbrow) and the tragic romance, Love Story (Lowbrow).

Patton, directed by Franklin J. Schaffner,  stars George C. Scott as infamous WWII general George S. Patton Jr. as he faces off against the Germans and the bureaucrats during the 1940's, getting in trouble for his hard hitting and take no prisoners approach to the war. The film feels more like a documentary than a film with Jesse enjoying it more than Shaun as a result. Patton is a really unique persona bringing such ferocity and life to the screen. However the battle scenes left a little to be desired early on, there is almost a cold detachment, which is probably intentional, but made it less engaging. There are some nice moments with George C. Scott as he recites Patton's poetry and peculiar world views, juxtaposing the words with the bizarre military world that vaguely resembles royalty. Patton is an interesting film with strong imagery and words, but lacking a little heart to really engage some viewers.

Love Story, directed by Arthur Hiller, is the story of lovers Jennifer and Oliver who from different backgrounds seek to try and make life work despite their past. Ali Mcgraw and Ryan O'Neal have a strong chemistry as O'Neal plays the straight man to  McGraw's smart alec Jennifer. The melodrama runs rampant in this film, but it's not necessarily a bad thing, as the relationship stays fresh via McGraw and O'Neal's back and forth. This film had some refreshing cinematography to it, really capturing the picturesque landscape in Harvard. The story suffers from some unbelievable plot points with Oliver's dislike of his father not being established and Jennifer's problems arising out of nothing. This film's strength lies in the brief but strong relationship between Jennifer and Oliver as they grow to love each other with their realistic banter and warm romance.

What film did the Highbrow! Lowbrow? duo end up choosing? The melodramatic romance Love Story or the war biography Patton? Listen to the next Highbrow! Lowbrow? to find out.

Episode 27 March 25th, 2012

Hello and welcome to another episode of Highbrow! Lowbrow? Jesse and Shaun get together every two weeks or so to compare and contrast the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. Be sure to listen below with the link provided and let us know what you think in the comments. On this episode, we're going to review two movies from 1958: the parisian gala, Gigi (Highbrow) and the wartime musical, South Pacific (Lowbrow).

Gigi, directed by Vincente Minelli, focuses on young Gigi (played by Leslie Caron) being taught the ways of womanhood and courtship as her relationship with playboy Gaston (played by Louis Jourdan) grows more complex and confusing. Mixed feelings abounded this movie as Jesse enjoyed it as a light hearted romp, but Shaun grew tired of it's flighty premise and shallow ended message. There are some pretty fun songs, but they are ultimately forgettable. The set design and resultant atmosphere really crafted the world of old gay Paris. Gigi and Gaston do have some nice chemistry as they have fun together without the trappings of a relationship, but it grows dreary as they begin to realize their feelings are growing. Maurice Chevalier is occasionally charming as Gaston's lecherous uncle, and her aunt is a classically cruel character. Overall, Gigi is a light hearted film that celebrates the gaiety of Paris and romance it fosters but is held back by somewhat of a tired plot.

South Pacific, directed by Joshua Logan, is about an army unit in the South Pacific as they deal with the confusing romantic entanglements they face during wartime in a foreign land. Nellie, an army nurse, courts Emile, a french businessman with ties to the enemy, as she tries to navigate his mysterious past. Meanwhile, Lieutenant Joseph Cable has an island romance with Liat who he is afraid to commit to during wartime. This is a vibrant film especially due to the severe color tinting done in certain scenes. Jesse enjoyed it as a unique and artistic choice, while Shaun felt it wasn't utilized well enough to implement it into the story. There are a ton of several fun songs throughout this film, from the exciting "I'm In Love With a Wonderful Guy", to the catchy "I'm Gonna Wash That Man Right Out of My Hair." The relationships of both couples (Nellie and Emile, Joseph and Liat) are both rather flimsy, with Nellie having issues with Emile for the wrong reasons and Joseph having a somewhat shady and possibly offensive relationship with Liat. While they may fit for the 1950's, it's hard nowadays to believe great romances that are built off of ignorance. There are a couple of great cameos in the film from Tom Laughlin (the infamous Billy Jack) and Ray Walston (character actor) that add to the fun of the film. Overall, this film has a lot of excitement and fun that make it worth watching despite it's poor story.

So what film did Jesse and Shaun end up picking this week? The light-hearted romance of Gigi or the epic musical that is South Pacfic? Be sure to listen to the latest Highbrow! Lowbrow? to  find out.

Episode 26, March 8th, 2012

Another episode of Highbrow! Lowbrow? is ready for your listening pleasure. Every two weeks or so, Jesse and Shaun review the Best Picture Academy Award Winner and top box office earner of the same year. We're getting in touch with our 80's children selves with the year 1982 and the films Gandhi (Highbrow) and ET The Extra Terrestrial (Lowbrow).

Gandhi, directed by Richard Attenborough, stars Ben Kingsley as he transforms into Mohandas Karamchand Gandhi the leader of a nonviolent movement to free India from British Rule. The film is fairly long passing the 3 hour mark which is somewhat justified for a man of Gandhi's cultural and societal importance. Ben Kingsley is really exemplary as Gandhi, taking on the role in every facet, from the way he looks as Gandhi becomes more frail and weak in his years, and the way he acts shows Gandhi's unique sense of humor and happy way of approaching life. The story of Gandhi is quite beautiful in how he defied insurmountable odds with peace and nonviolent resistance, showing that peace and decency has a strength of its own. The film feels so grand and epic in scope from the scenic views of India to the massive throngs of people utilized to show the resistance Gandhi inspired. Gandhi is an important movie to see due to Gandhi's effect on the world, but at times the execution of the film can be trying to watch in its entirety.

E.T. The Extraterrestrial, directed by Steven Spielburg, tells the tale of young Elliot as he discovers the mysterious alien, ET, who he tries to help find his way home. This film is a crowd pleaser overall, but it does have some scary elements like when ET grows sick and the authorities invade Elliot's home in such an ominous manner. The film is shot very mysteriously with man's face being hidden from view and most of the movie being veiled in fog and night. As the film ramps to it's finale, it's very exciting as ET and Elliot evade the authorities with help of his brother, Michael. There's a unique sense of realism in how the characters interact, displaying an honest portrayal of family life in the 80's, something that Spielburg tends to execute well in his films. Henry Thomas is a strong child actor in the film really bringing home the final scenes that Elliot and ET share, bringing restraint and sincerity to a very quiet moment. The new effects and CGI brought in the special edition are fairly jarring, because they don't feel organic to the film, leaving us wondering if it may have been better retaining the effects they originally had. ET is a magical, fun yet scary film that still manages to charm us with its mystery, excitement and innocent sense of adventure.

So which film did we end up choosing? The world event that is Gandhi or the magical mystery of ET? Tune in to the next Highbrow! Lowbrow? to find out.

Episode 25, February 26th 2012

Coming to you recorded from the HBLB Studios, Jesse and Shaun bring you a new episode of Highbrow! Lowbrow? As devoted listeners know and new listeners don't, each week we review the Best Picture Academy Award Winner and top box office earner of the same year to see who was right: the critics or the masses. However, we've come across another movie that has received both acclaims, The Lord Of The Rings: The Return Of The King (Highbrow and Lowbrow) from the year 2003.

The Lord Of The Ring: The Return Of The King, directed by Peter Jackson, is the third installment of the The Lord Of The Rings franchise, in where Frodo (Elijah Wood) completes the final leg of his journey to destroy the evil ring of power, and Aragorn (Viggo Mortensen) unites the men of Middle Earth against Sauron. This movie can feel pretty long due to it's arduous running time of 201 minutes ( 3 hours 21 minutes). But that's a part of the magic of the films because it adds to the overall epic feeling, a feeling that really emphasizes the scope and sense of journey Jackson is taking you on. The characters all have their own identities and roles from the comedic and odd couple Gimli, the dwarf, and Legolas, the elf, to the corrupt steward, Denethor. The real breakout star of this film is Sean Astin as Samwise Gangee, the simple hobbit, who goes at great lengths to try and make sure Frodo is taken care of and his quest complete. Another really great aspect of the direction in this film is the way the film illustrates the multiple layers that Tolkien implied in the book; on the surface there is a great battle being waged for a gold ring but also conversely we know that we fight battles against the greed in our own hearts. Technically, this movie is a marvel, from the art direction to the cinematography to the titanic army battles , everything is executed impeccably, each element is a part of the majestic world Peter Jackson created. No doubt you've already seen this movie, but if you're up for the journey again, go ahead and give it another watch and embrace the world of hobbits and brave men.

Hear our full takes on this Highbrow and Lowbrow film by listening to the podcast below or on Itunes. So check it out and let us know what you think.

Bonus Episode: Oscars 2012

Continuing the tradition, Highbrow! Lowbrow? is bringing you a special bonus episode on the 2012 Oscars. Just to reiterate for new listeners, Highrbow! Lowbrow? is a podcast where Jesse and Shaun review the top box office earner and Best Picture Academy Award Winner of the same year to see who was right: the critics or the masses. However, since this is Oscar time, we take a look at the nine Oscar nominees for Best Picture to determine who we think should get the Oscar and who will.

The Artist, directed by Michel Hazanavicius, stars Jean Dujardin as a popular silent film star who begins to see his livelihood threatened by the coming of the talkies. This film succeeds on multiple levels using the silent film formula at its best with its fantastic physicality and its heart warming story. This film was a joy to watch and a unique movie going experience that few films have equaled this year.

The Descendants, directed by Alexander Payne, stars George Clooney as Matt King, a land baron whose wife has recently fallen into a coma, trying to keep himself and his daughters together. This movie has a very serene and earthy tone being set in Hawaii and the story is very layered mixing sadness and love in a very touching way. With a strong performance by Clooney and thoughtful direction from Payne, this movie is a frontrunner for the Oscars and deservedly so.

Extremely Loud And Incredibly Close, directed by Stephen Daldry, tells the story of young Oskar Schell, played by Thomas Horn, as he goes on a quest through New York trying to find the meaning behind a key his father left. This film really depends on the strength of Thomas Horn and his character, some found him cloying but Shaun thought his mixture of preciousness and autistic sensibility made him relatable and fun to watch. Though this film received fairly poor reviews overall and has a small likelihood of winning the top prize, consider giving it a watch, it's better than it is credited.

The Help, directed by Tate Taylor, stars Emma Stone as a reporter who is trying to get the real story on how the black maids and servants of the south are really treated. This is a heart warming and female empowering movie with strong performances by Emma stone and Viola Davis as the leading black maid. Although this film feels a little bit like filler on the Oscar nominee list, it's a decently strong tale of fighting racism and taking back your dignity.

Hugo, directed by Martin Scorsese, is the tale of Hugo Cabret as he tries to find the meaning behind his father's last finding, a robot that harkens a forgotten past. There's a lot of heart and warmth to the story, that Martin Scorsese really tells in a grand cinematic scale. This film has some momentum behind it, but doesn't have that extra something to really make it a Best Picture film.

Midnight In Paris, directed by Woody Allen, stars Owen Wilson as a screenwriter trying to find inspiration in Paris but ends up finding magic and more. This film was a really magical experience that introduced some fantastic characters that were brought to life by Woody Allen's direction. This film may not be the Best Picture, but it's a magnificent piece that showcases Woody Allen direction in a fresh yet familiar way.

Moneyball, directed by Bennett Miller, is the story of Billy Beane, played by Brad Pitt, as he tries to make reinvigorate the Oakland A's team despite it's fledgling budget. For fans of the game, the wheeling and dealing of Billy and Peter Brand (played by Jonah Hill) does show an exciting bit of underdog spirit, but some could argue that the film lacked an emotional core. The first of two Brad Pitt films in the nominees, this film has a lot of fans, but it remains to be seen how this will fair with the other contenders.

The Tree Of Life, directed by Terence Malick, is a spiritual and ambigious film that examines life through the eyes of a 1950's midwestern family and the roles of father and mother in one's life. This film is expansive and sprawling maybe almost to a fault, addressing issues of existence and morality in a uniquely artistic manner and with strong religious overtones. This is the indie/artsy hit that fills a role in the Oscar nominees, but with winning the Palm d'Or at Cannes, this could take home the top prize.

War Horse, directed by Steven Spielberg, is the story of a boy and his horse as they endure the tumultuous landscape of England in the First World War. Though this film is shot beautifully and the story is heartwarming, it tends to try one's disbelief as to the length of what people will do to help the horse. It may not seem like this is a frontrunner in the Oscar race, this could be a treat for someone looking for a sincere and hopeful story.

So what Oscar nominee did Jesse and Shaun ultimately pick as their favorite and what movie do they think will win? Check out the latest Highbrow! Lowbrow? to find out.

Episode 24 February 2nd, 2012

Highbrow! Lowbrow? is back with a fresh new episode. Every two weeks or so, Jesse and Shaun review the top box office earner and Best Picture Academy Award Winner of the same year to see who was right: the critics or the masses. For this episode, we take a look at two fairly similar films from the year 1964: My Fair Lady (Highbrow) and Mary Poppins (Lowbrow).

My Fair Lady, directed by George Cukor, stars Audrey Hepburn as Eliza Doolittle, a common peasant girl, who is taken on by Henry Higgins, a linguistic professor, to be taught correct english and proper manners. Both Jesse and Shaun found this movie disappointing due to its dull atmosphere and unyielding length. Although Hepburn is a strong actress in most rights, this movie doesn't suit her because of her lack of singing ability and her grating cockney accent. While her singing is remedied by the dubbed vocals of Marnie Nixon, the cockney accent which may reflect the intentions of the filmmakers is trying to get through. The general stuffiness and drudgery that surrounds the story (high English society) while being poked at is hard to relate to. The songs lack a certain magic or excitement that really brings someone into the musical atmosphere, maybe too much stage performance and not enough movie magic. The final message of the film isn't really tolerance or growth but rather a begrudging acceptance of each other. This film was too far from our spectrum to really enjoy and the musical elements weren't strong enough to bring us in.

Mary Poppins, directed by Robert Stevenson, stars Julie Andrews as the titular Mary Poppins, a magical nanny who takes care of two impish kids who are being ignored by their workaholic father. They go on a variety of adventures learning about love, life and music with good ole Burt, played by Dick Van Dyke. There is magic abound in this movie from the way Mary Poppins floats in and out of life, to the cartoon lands they visit with penguins and horse races. The songs are certainly catchy although they can be a little overlong and many of the tunes stick with you a while after the film is done. Every character is memorable, even the minor characters from the Naval Captain neighbor to the laughing and giggling Uncle Albert who can't stop floating. Similar to the mixing of live action and animation in Song Of The South, the effect is carried through in Mary Poppins and comes off exceedingly well along with half a dozen other special effects that really create the magic of this movie. Mary Poppins is a childhood classic that stands the test of time, and although not a perfect movie, it still remains fun to watch.

So which film did the Highbrow! Lowbrow? duo end up choosing? The "greatest musical of all time" My Fair Lady or the Disney classic Mary Poppins? Be sure and check out the latest Highbrow! Lowbrow? to find out.

Episode 23, January 15th 2012

Welcome to another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun review the Best Picture Academy Award Winner and top box office earner of the same year. We take a fresh look at films new and old to see who was right the critics or the masses. This time, we check out two classic movies from 1975: One Flew Over The Cuckoo's Nest (Highbrow) and Jaws (Lowbrow).

One Flew Over The Cuckoo's Nest, directed by Milos Forman, stars Jack Nicholson as Randall P. McMurphy a prison inmate transferred to a mental hospital who seeks to help the patients rediscover the essence of life they shy away from. Nurse Ratched, played by Louise Fletcher, is the head nurse trying to maintain control over the ward as McMurphy threatens chaos. With a slew of recognized names as patients, from Danny Devito to Christopher Lloyd, it's a real bizarre collection of characters. The strength of this movie is in the ongoing battle between Nurse Ratched and McMurphy, McMurphy trying to free them from their placid lifestyle while Ratched uses it to keep them sane. The joy the patients get from McMurphy's presence is really infectious, and one can see a sincere human effect that he has on his fellow patients. However, McMurphy shows a willful ignorance about who and what his friends are really about. Technically, the film offers little innovation; the score doesn't stand out and the cinematography is serviceable. Still, this film brings you into a unique environment with a unique perspective that manages to be entertaining as well as thought provoking.

Jaws, directed by Steven Spielburg, is the classic thriller movie that starred everyone's favorite monster, Jaws, and spurred a deep seated fear of the ocean in many. Chief Martin Brody, played Roy Scheider, is trying to protect the town of Amity from becoming shark food, enlisting the help of geeky oceanist Matt Hooper, played by Richard Deryfus and grizzled old Quint, played by Robert Shaw. There seemed to be several curious elements of the story, but in the end, they added a unique quirk and humor to the story that helped make it classic. Shaun and Jesse where split on Robert Shaw's Quint: Jesse thought it was over the top, but Shaun dug the swarthy seaman. The legend and terror of the shark is masterfully executed, keeping the creature off screen to build up tension, and a magnificent reveal when you finally see the massive horrifying thing. The music in Jaws is classic John Williams fare, full of adventure and undeniably memorable. It's a classic film that redefined monster movies and the scale with which you could tell them.

So which film did Jesse and Shaun prefer? The meaningful and poignant One Flew Over The Cuckoo's Nest (Highbrow) or the monster movie of the masses, Jaws (Lowbrow)? Tune in and give us a listen to find out!

Episode 22 December 28th, 2011

Here we are again with another episode of Highbrow! Lowbrow? the podcast where Jesse and Shaun review the top box office earner and the Academy Award Best Picture of the same year. Comparing the critical darling and the mass consensus each week, we take a fresh look to see which film we liked more. However, the cinematic epic, 1971's The Godfather won both titles that year, so this time we'll be giving this movie an in depth examination.

The Godfather, directed by Francis Ford Coppola, is the story of the powerful Corleones, a mob family in New York, as power transitions from the respected head of the family Don Vito to his son, Michael. Michael starts out on a more innocent path, but as the responsibilities of the family begin to weigh more on him the more he gets corrupted. The film has a definitive color and lighting scheme giving it a rustic and sincere feel, that really plays to the themes of old Italia and family honor. Speaking of which, family honor and respect stands at the center point of the movie, tying everything together, but bringing a brutal undercurrent to the loyalty it commands. It's through this connection, this responsibility, this love that turns Michael from war hero to mob boss. Though clocking in at 175 minutes (2hours 55 minutes), this movie has a deserved length, an epic film that is deserving of your time and a journey that is worthy to take. All the actors in the film fill their roles spectacularly, bringing real life and uniqueness to the personas that define the family. Al Pacino carries the film admirably, playing Michael's transition subtly but convincingly. Marlon Brando is truly unique as Don Vito Corleone who smart, cunning and brutal, but sincere with the love he has for his family and the respect he commands. The Godfather is a classic film that everyone should watch, if not already have watched, but always deserves another viewing.

Since there was no other movie to compare it to for this episode, we'll yet again advise to watch The Godfather. Be sure to listen to the latest episode of Highbrow! Lowbrow?