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Reindeer Games  (2000) – Snowy Noir, Dumb Decisions This week on Forgotten Cinema , we’re cracking open Reindeer Games (2000) , the late-’90s/early-2000s crime thriller that lives firmly in the “fine… but flawed” zone. Both of us agree this one is watchable, but only just. On paper, Reindeer Games  has the makings of a solid noir-inspired thriller: a snowy setting, a hardened criminal underworld, double-crosses, and a Christmas-time backdrop that gives it a slightly off-kilter vibe. Unfortunately, once the plot gets moving, it starts to unravel almost immediately. When the Logic Melts Faster Than the Snow The biggest issue? The story relies on nearly everyone involved making incredibly frustrating decisions. Ben Affleck’s Rudy/Nick and Gary Sinise’s villain spend most of the movie zigging when any rational person would zag. The central twist, revealing who’s really pulling the strings, only makes things worse, hinging on an absurd level of coincidence, luck, and perfect timing to work at all. It’s the kind of thriller where the more you think about it, the faster it collapses. Style Doing the Heavy Lifting And yet… it’s not unwatchable. The performances help keep things afloat, and the movie’s sheer ridiculousness becomes part of its strange charm. Director John Frankenheimer’s noir sensibilities, the icy visuals, and the hard-boiled attitude give Reindeer Games  a vibe that’s honestly more enjoyable than the script deserves. There’s something about snow-covered crime stories that just works, even when the plotting doesn’t. A Messy Curio From Its Era At the end of the day, Reindeer Games  never quite comes together as a smart thriller. But it's a curious artifact from its time: slick, misguided, overconfident, and oddly compelling if your expectations are properly lowered. Set the bar low, enjoy the vibe, and try not to think too hard about the plan. Spotify  | Apple Podcasts  | Amazon Music  | More Links

As part of our ongoing Knives Out Lead Up Series , we revisit Glass Onion: A Knives Out Mystery  (2022) , Rian Johnson’s star-studded sequel to his hit whodunit. But unlike our enthusiastic response to Knives Out  (2019) , this episode of Forgotten Cinema: Lead Up  takes a deeper, more critical look at why Glass Onion  doesn’t quite hold together and why the film continues to divide audiences. Butler’s Perspective: Why Glass Onion Misses the Mark For Butler, this rewatch confirmed his biggest takeaways: Glass Onion just doesn’t work. He breaks down why he believes Knives Out  is the only  Rian Johnson film he genuinely enjoys. His issues include: Cartoonish, unlikable characters that feel exaggerated rather than grounded Heavy-handed social commentary that distracts instead of deepening the narrative A surprisingly thin mystery, where tension evaporates instead of building A mid-film twist that falls flat, stopping the story instead of enriching it A pandemic-era setting that already feels dated and gimmicky To Butler, Glass Onion  is a stylish but hollow mystery that sacrifices nuance for noise. Field’s Take: Fun, Flashy… and Still Flawed While Field enjoys Glass Onion  more, possibly even more than Knives Out , he still acknowledges many of Butler’s criticisms. Field highlights: A cast that’s fun to watch, even when the characters feel broad A playful tone that makes the film entertaining but less structurally sound Plot twists that seem clever on paper, but don’t always land A mystery that lacks the tight construction of the first Benoit Blanc case Field sees the movie’s charm but admits it doesn’t craft as strong a whodunit as the original Knives Out . Where Glass Onion  Works and Where It Falls Apart In this Forgotten Cinema  Lead Up episode, we also break down: The strengths of Rian Johnson’s writing The weaknesses of Glass Onion’s mystery structure Daniel Craig’s evolving performance as Benoit Blanc Why the satire feels louder but less meaningful How the sequel sets the stage for Wake Up Dead Man Does the sequel deepen the Benoit Blanc universe… or dilute it?

Brotherhood, Bullets, and a Whole Lot of Chaos This week on Forgotten Cinema , we’re heading back to the gritty mid-2000s for Four Brothers  (2005) , John Singleton’s revenge-driven action drama about family, loyalty, and a whole lot of gunfire. It’s a film packed with attitude, big performances, and that unmistakable early-aughts energy, whether you think that’s a good thing or not depends on which Mike you ask. The Nostalgia Factor Butler has a soft spot for this one. Some of that comes from nostalgia, those mid-2000s gritty, street-level action movies hit a certain way, but a lot of it comes from the fact that Four Brothers  still has a messy charm that works. The brother dynamics feel alive, the energy is there, and the film commits to its rough-edged style in a way that’s kind of endearing. It’s loud, chaotic, and sometimes ridiculous, but when it lands, it lands exactly how it intends to. Field Isn’t Sold Field, on the other hand, isn’t fully on board. Mark Wahlberg’s improvisational approach doesn’t do much for him, the action feels too over-the-top to maintain any suspension of disbelief, and the dramatic beats don’t hit hard enough to justify the film’s intensity. For him, the movie’s blend of tones—crime thriller, family drama, vigilante action flick—never fully gels. The Ejiofor Effect But there is  one thing we absolutely agree on: Chiwetel Ejiofor is phenomenal. Every scene he appears in gets an instant bump in tension, charisma, and credibility. His grounded menace feels like it wandered in from a more serious film, in the best possible way. He elevates the entire story and gives the movie a villain it genuinely needed. Four Brothers | A Gritty Throwback or a Chaotic Mash-Up? At the end of the day, Four Brothers  sits in that interesting place between gritty throwback and chaotic tone experiment. There’s plenty to appreciate, especially if you lived through or loved that era of action movies, but there’s just as much to critique. Whether you think it’s a rough-and-tumble gem or a tonal misfire, one thing’s for sure: this brotherhood doesn’t go quietly. Spotify  | Apple Podcasts  | Amazon Music  | More Links

Revisiting Knives Out  (2019) | Lead Up Before Wake Up Dead Man   hits theaters, we're sharpening our detective skills and diving back into Rian Johnson’s modern mystery masterpiece: Knives Out  (2019). As part of our Forgotten Cinema: Lead Up Series, we revisit this clever and stylish whodunit that revived the murder mystery genre for a new generation. While we both enjoy the film, Butler is the bigger fan, which is especially surprising considering he’s not usually on board with Johnson’s other work. But Knives Out  wins him over with its razor-sharp script, perfectly structured mystery, and an ensemble cast that brings the chaos of the Thrombey family to life. In this episode, we discuss: Rian Johnson’s brilliant subversion of mystery tropes and Agatha Christie influences Daniel Craig’s unforgettable turn as gentleman detective Benoit Blanc Ana de Armas’s heartfelt performance that grounds the story in empathy The film’s commentary on class, privilege, and morality beneath all the twists and humor Why Knives Out  still stands as the sharpest and most balanced entry in the growing series As we gear up for Wake Up Dead Man , we explore how Knives Out  sets the tone for this ongoing mystery universe and why this first entry remains a cut above the rest. Spotify  | Apple Podcasts  | Amazon Music  | More Links

This week on Forgotten Cinema , we’re clocking in with The Intern (2015) , Nancy Meyers’ warm-hearted comedy starring Robert De Niro and Anne Hathaway. It’s one of those studio films that wears its sincerity proudly and somehow makes that sincerity work. A Feel-Good Movie That Earns the Feeling Both of us really enjoy this one. Yes, it’s sweet, uplifting, and maybe even a touch too saccharin at times, but it nails exactly the tone it’s going for. De Niro and Hathaway have genuinely fantastic chemistry, balancing each other’s energy in a way that feels effortless. The film’s cozy, steady vibe makes it one of the more pleasant, easygoing studio comedies of the 2010s, something Hollywood doesn’t make all that often anymore. When the Drama Clocked In Early We do talk about the stretch of drama that arrives around the film’s midpoint. It feels out of place, forced, overly Hollywood, and a bit counterproductive to Hathaway’s otherwise strong character arc. The movie doesn’t fully earn that detour, and by the time it wraps up, it slightly undercuts some of the things it was doing so well. But at the same time… it’s Nancy Meyers. It’s an uplifting story about mentorship, connection, and rediscovering purpose at any age. And when a film is this earnest and this charming, it’s easier to forgive the bumps in the script. The Intern: A Comfort Movie Done Right At the end of the day, The Intern  is exactly what it sets out to be: a comforting, pleasant, feel-good film that doesn’t apologize for wanting to make you smile. De Niro and Hathaway shine, the tone is soothing, and the message lands with surprising warmth. Sometimes “feel-good” is exactly what we need. 🎧 Listen to our full discussion on The Intern . Available on all podcast platforms and YouTube. Spotify  | Apple Podcasts  | Amazon Music  | More Links

This week on Forgotten Cinema , we’re heading back to basic training with Stripes (1981), the early-80s comedy starring Bill Murray and Harold Ramis, directed by Ivan Reitman. It’s a film often remembered for its quotable moments, iconic cast, and easygoing charm, but depending on which of us you ask, that charm either carries the movie…or falls flat on its face. Stripes | One Mike’s Gem, Another Mike’s Grimace Butler has always had a soft spot for Stripes . For him, the comedy works, especially in the first half. It’s loose, goofy, full of great bits, and showcases Bill Murray and Harold Ramis figuring out the comedic alchemy they’d perfect just a few years later in Ghostbusters . Sure, the film completely derails in the third act (we’re talking Winnebago tank, secret mission behind Soviet lines level of derailment), but Butler still finds it fun and endlessly rewatchable. Field…does not. While he’s quick to clarify that he doesn’t hate  the movie, he also doesn’t like the characters, the jokes, the story, or much of its comedic DNA. For him, Stripes  feels like a relic, an early sketch of the much better movies this team would go on to make. A Proto- Ghostbusters | For Better or Worse One thing we both agree on: Stripes  feels like a blueprint. The chemistry between Murray, Ramis, and Reitman is unmistakable, even if the script never fully shapes itself into something cohesive. You can see the seeds of future greatness here, deadpan delivery, absurd setups, world-weary sarcasm, but they don’t quite bloom. Still, there’s something undeniably interesting about watching these comedy legends find their rhythm. Even if the movie swerves wildly in tone and structure, it has that unmistakable early-80s charm that keeps it firmly rooted in its era, for better or worse. 🎧 Watch (or listen) to the full breakdown on Forgotten Cinema , available wherever you get your podcasts or on YouTube. So what is Stripes , really? An early comedy gem that deserves its fans or a rough draft of the brilliance to come? In true Forgotten Cinema fashion, we tackle it one laugh (and one grimace) at a time. Spotify  | Apple Podcasts  | Amazon Music  | More Links

This week on  Forgotten Cinema , we’re cracking open  Another Round  (2020), the Danish drama-comedy from director Thomas Vinterberg that deserved far more attention than it ever got. Both of us really enjoy this film. The performances are fantastic across the board, and Mads Mikkelsen delivers one of the most layered, vulnerable, quietly powerful performances of his career. The movie walks an incredibly tricky tonal line, blending humor, melancholy, and the messiness of middle age into something that feels honest without ever being heavy-handed. A Buzz That Cuts Deep We dig into how the film tackles alcohol, not as a punchline or a cautionary tale, but as a nuanced look at coping mechanisms, stalled lives, and the search for meaning when adulthood doesn’t turn out the way you expected. Its blend of comedy and introspection feels natural rather than manufactured, and its honesty carries more weight because the film never tries to preach. That Ending And yes, we absolutely love  that  ending. The dance scene that’s equal parts triumphant, heartbreaking, cathartic, and strangely uplifting. It’s the kind of cinematic moment that sticks with you long after the credits roll, and one of the reasons this film resonates with us. Another Round: The One That Got Away We also touch on why  Another Round  slipped past so many viewers. Despite awards recognition (including a well-earned Oscar), it arrived in the U.S. as a foreign-language film right in the middle of the Covid-19 pandemic, an unfortunate combination that kept it out of theaters and off many people’s radars. Listen to our full discussion on Another Round, now available wherever you get your podcasts or on YouTube. A smart, moving, beautifully acted film that more people should see and one we’re thrilled to bring back into the conversation.

Did you miss our latest edition to the Forgotten Horror franchise? Don't worry! We've got you covered. Check out the six films we covered for Forgotten Horror 7: The Nightmare is Reel, and keep in touch, for Forgotten Horror 8 will be here before you know it. Wes Craven's New Nightmare In 1994, Wes Craven returned to a franchise he birthed ten years prior, as we returned to it over 30 years later. Confused? So are we. We loved the meta of it all, especially at a time, when meta wasn't even in the zeitgeist. At least we got Freddy back, doing what he does best, quipping and killing. Session 9 We have a certain affinity to Session 9 , as it's a movie we could envision any one of us making on our own. Shot on digital, on location at a real abandoned asylum, and using what's available to tell the story. Sign us up! Butler is all over the acting in this movie, and while it may stumble in the end, this film movie delivers. Cabin Fever Field avoided this movie when it first came out in 2003, and Butler was all about it, as any young, teenage boy who loves horror movie should be. And while they came at this film from different places, they arrived at the same conclusion . "What happened here?" Despite our negative takes, there's no denying Cabin Fever's impact as it spawned two sequels, a remake/reboot, and countless burgeoning horror filmmakers. Lifeforce Neither of us had seen Lifeforce before. This 1985 sci-fi, horror film was before Butler's time, and Field simply never got around to checking it out...until now. And oh boy...naked space vampires living in Halley's Comet?! Let's go! This film, like many, isn't perfect, but it's worthy of a watch, especially if you're into Jean-Luc Picard trying to make out with dudes. Dead Alive (Braindead) This may be the bloodiest film we've ever covered on Forgotten Cinema. And we talked about the 2013 Evil Dead remake during Forgotten Horror II: The Bloody Return , which had buckets of blood being poured out in the last scene. But Dead Alive is ahead of the game with body parts flailing, heads in blenders, talking entrails, and...ugh...we've lost our appetite. If you loved Lord of the Rings ...have we got some news for you. Let the Right One In We ended our latest Forgotten Horror season on a high note, and a foreign film note, with the Swedish vampire prepubescent love story Let the Right One In . We know, we know, you don't like reading subtitles, but you're doing yourself a disservice if you don't try to catch this film, because it is solid. Forgotten Horror 7 Isn't the End You might be thinking, "Hey, you guys do this forgotten horror thing every year?" Heck yeah, we do. We've got 6 other seasons of horror films that we covered, and including a few short films for those interested. While we didn't get to some of our short films for this current season, they have been written, so once we get the time...expect Butler and Field acting it up like they know how to do. As always you can find Forgotten Cinema on YouTube , and all your favorite podcast platforms. Spotify  | Apple Podcasts  | Amazon Music  | More Links

Predator: Badlands | The planet designed to kill you. This week on Forgotten Cinema: Now Showing , the Mikes trek into the deadly world of Genna in Predator: Badlands , the latest entry in the Yautja franchise that dares to flip the script by putting the alien hunter front and center. Both of us had a fun time with this one. The action delivers, the world-building feels fresh, and giving the Predator a protagonist role is a bold swing that, surprisingly, mostly pays off. The film’s dusty, post-apocalyptic aesthetic feels like a natural evolution for the franchise and Elle Fanning’s dual performance as Thia and Tessa gives the story emotional weight, even as things get a little wild. When the Hunt Turns Playable As Butler points out in the episode, Badlands  often feels like a movie that really wants to be a video game—and a very good one at that. The action is engaging, the creature design is solid, and the pacing never lets up. But by the end, you’re left with that odd feeling of having watched something you’d rather be playing . It’s fast, fun, and undeniably entertaining in the moment… but not one that’s going to haunt your thoughts, or your trophy case, once the credits roll. Time to Bring Back the Classic? We both appreciate that Predator: Badlands  takes risks, trying to keep this decades-old franchise fresh. But maybe it’s time to return to what made the original Predator  iconic the primal fear, the jungle setting, and that classic creature design. There’s only so much innovation you can stack before you start missing the simplicity of the hunt. Listen to our full discussion on Forgotten Cinema: Now Showing, available wherever you get your podcasts or on YouTube. Another solid hunt, but not one that’ll stay in your head, or spinefor long. Welcome to Genna! The planet designed to kill you. Spotify  | Apple Podcasts  | Amazon Music  | More Links

Madness in the Halls of the Mind This week on Forgotten Horror 7: The Nightmare is Reel , we descend into the decaying corridors of Session 9 (2001) , Brad Anderson’s unsettling psychological horror film that proves you don’t need jump scares to get under someone’s skin. Shot on early digital cameras inside an actual abandoned asylum, Session 9 was one of the first horror films to fully embrace digital filmmaking and somehow, it still manages to look hauntingly timeless. What We Loved in Session 9 We were both struck by how well the film’s atmosphere holds up. The cinematography, color palette, and use of the Danvers State Hospital setting create a sense of unease that creeps in quietly and never lets go. Butler, in particular, praises the striking shot choices and the way the decaying environment becomes a character of its own. Even after two decades, the film’s visuals still chill. We also found plenty to admire in the performances and direction. The cast, led by Peter Mullan, David Caruso, and Josh Lucas, bring believable tension to the story, and Anderson’s low-key direction grounds the supernatural elements in something deeply human. Where It Falters That said, Butler couldn’t ignore the script’s shortcomings. He found it thin, calling it “a bit too much like a film school thesis project” which is a fair point, given the story’s occasional vagueness and reliance on mood over plot. Still, the atmosphere and character work more than make up for the narrative gaps. Final Thoughts Session 9 remains an easy recommendation for filmmakers and horror fans alike, especially anyone interested in atmospheric storytelling or the early days of digital cinema. It’s slow-burn horror done right: quiet, psychological, and steeped in dread. Listen to our full discussion wherever you get your podcasts or on YouTube. And remember… sometimes the scariest places are the ones that look like they’ve been waiting for you.