CB Podcast Ep. 112 – Lots of Recommendations

With a slow weekend at the theater, the bros are all back together to discuss the various things they’ve been watching outside the theater. It’s an entire podcast of recommendations!
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  • Credits:
  • Hosts: Josiah Wampfler, Sam Wampfler & Jacob Wampfler
  • Produced by Josiah Wampfler
  • A Cinema Bros Network Podcast
  • Theme Music by Josiah Wampfler. Film clips used under fair use. All rights belong to their respective copyright holders
  • Music clips used under fair use. All rights belong to their respective copyright holders.
  • Visit our website for show notes as well as articles covering film, television, video games, music & more!
  • Email us at cinemabrospod@gmail.com

CB Podcast Ep. 98. – “Star Wars: The Last Jedi” Review

This week, the bros quickly discuss the massive Disney/Fox deal and then bring you an exhaustive review for “Star Wars: The Last Jedi” with non-spoiler and spoilers sections.
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Link Bank

Credits:

  • Hosts: Josiah Wampfler, Sam Wampfler & Jake Wampfler
  • Produced by Josiah Wampfler
  • A Cinema Bros Network Podcast
  • Theme Music by Josiah Wampfler. Film clips used under fair use. All rights belong to their respective copyright holders
  • Music clips used under fair use. All rights belong to their respective copyright holders.
  • Visit our website for show notes as well as articles covering film, television, video games, music & more!
  • Email us at cinemabrospod@gmail.com

CB Podcast Ep. 85 – “Logan Lucky” Review // “Game of Thrones” Season 7

This week, the bros bring you a review of Steven Soderbergh’s return to the big screen, “Logan Lucky”, as well as wrap up the discussion of “Game of Thrones” season 7.
Right Click and select “Save as…” to download.

Or choose your preferred listening app below.

Podcastaddict

Link Bank

Credits:
  • Hosts: Josiah Wampfler, Sam Wampfler & Jake Wampfler
  • Produced by Josiah Wampfler
  • A Cinema Bros Network Podcast
  • Theme Music by Josiah Wampfler. Film clips used under fair use. All rights belong to their respective copyright holders
  • Music clips used under fair use. All rights belong to their respective copyright holders.
  • Visit our website for show notes as well as articles covering film, television, video games, music & more!
  • Email us at cinemabrospod@gmail.com

Hypocrisy & Imperialism in Scorsese’s “Silence”

By Alex Doe

“I pray but I am lost. Am I just praying to silence?”

These are the words uttered by father Rodrigues, a Portuguese Jesuit Priest (Andrew Garfield) who is sworn to find and bring back his mentor, Father Ferreira (Liam Neeson) from a 1640, anti-Christian Japan. Rodrigues, alongside his fellow missionary, Father Garupe (Adam Driver) are director Martin Scorsese’s two soldiers for Christendom in a country which is described by its leaders as a “swamp” in which Christianity cannot grow. The task is large, if not impossible, in a great story guided by the direction of man that most relates to New York Mob violence, Robert Deniro, and Wall Street Tycoons addicted to Quaaludes. Nonetheless, Scorsese notably delivers this story in a dramatic, cinematic fashion that articulately portrays a piece of a historic persecution with which most are unfamiliar . Silence is a tale of what one undergoes when holding a zealous belief in a land where that is punishable by death, and – in the case of Rodrigues – cause another to suffer the most egregious torture. As a counterpoint, the film also lays out themes of hypocrisy in religion, as well as the idea of Imperialism.

While the film itself lays its foundation on the two missionaries rescuing their fellow friar, it is also a window into 17th century Japan. During this period Japan was formally a feudal administrative system (Danka Seido) which required its citizens to be affiliated with a particular Buddhist temple. This in turn helped to monitor and detect minority devoted Christians who were seen as threat to the traditional Japanese state. In Silence, the state is represented by the ruthless Inquisitor who exposes fervent believers by subjecting them to a test of apostasy. The task is a simple – “only a formality” – to lay one’s foot on a tablet with Christ’s impression. The penalty for loyalty however, is torture followed slowly by death.

Scorsese is no stranger to violence. Many of his films are built around it. Unflinchingly graphic and realistic violence, in fact. Believers lashed to crosses while being plastered by rising tides or being wrapped in straw mats and burned alive, or possibly – for the lucky – a quick beheading by a sharpened Katana. These are the threats that are forced upon the Christian minority.

While Scorsese accurately portrays the obedience, as well as the fear, of the Christian peasant from the state, he also captures the fear and doubts of the shepherds of the sheep. A major theme of Silence is in fact right in the title: the silence of god and the absence of justice. Why does God subject his followers to utter pain, embarrassment, and suffering? These are the questions Rodrigues asks as he sees his fellow man perish. Rodrigues is time and time again called to apostatize to cease the torture of many prisoners. A moral dilemma arises out of the film. Is it worth the renunciation of faith, the scare of hellfire, to end the suffering of others? On the other hand, other hypocrisy is easily seen by the “Buddhist” inquisition as they torture and kill their Christian prisoners. A major precept that is part of the Buddhist tradition is the abstention from violence and actions that cause the suffering of living beings. As the movie shows the ideologies of religions and governments rarely add up in the real world actions of their followers.

Maneuvering into another theme that also relates to government is Scorsese’s look at imperialism. Christianity was unarguably a catalyst for the European Renaissance, with Rodrigues and Garupe embodying western European Christianity in its quest to evangelize every living soul. The Japanese feudal system, however, was in complete contradiction to this idea, made very clear by a story told by the Inquisitor involving 4 concubines (Portugal, Holland, England, and France) and a King (Japan) who found that it was in his best interest to let the women go and find peace by himself. Scorsese looks at this impasse very nicely. Japan wants its own identity, but at the price of the beliefs of its people. On the other hand, it is the drive of the Christian ministry which pushes the inquisition harder. Turning again to the moral dilemma that Silence gives us, a question is asked by father Ferreira. “Do you have the right, to make them suffer?” The film forces the viewer to ponder the question.

While Silence begs many questions, it also leaves the viewer with many emotions. While the film can be ambiguous at times, the story is nonetheless moving and powerful. Garfield and Driver deliver spectacular performances, the scenery is beautiful, and the story is mesmerizing. And the two larger themes of hypocrisy in religion and imperialism that are central to the film are important for the viewer to meditate on. I, myself, am still meditating on it.

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Alex Doe is a friend of the podcast, musician, and fellow film fan.

CB Podcast Ep. 60 – Oscar Nominations Recap // “Silence” Review

“With the release of the 2017 Oscar nominations, the bros bring you their biggest snubs and surprises, plus plenty of interesting tidbits about the nominees. Then, the long-awaited film adaptation of Shusako Endo’s ‘Silence’ is finally out in theaters and the bros discuss whether Scorsese’s film lived up to the hype.”

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CB Podcast Ep. 19 – “Krampus” Review

“It’s Christmas-time for the Cinema Bros as they bring you some of their favorite Christmas films, talk about the developing awards race and discuss both Netflix’s ‘A Very Murray Christmas’ and Michael Dougherty’s ‘Krampus.'”

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CB Podcast Ep. 11 – “Black Mass” Review

“On this episode, the brothers bring you the latest film news as well as review ‘Black Mass,’ featuring Johnny Depp and Adam Scott’s mustache.”

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“Pixels” Review

I have seen Hell. I have been to that place of eternal suffering. The gnashing of teeth has been confirmed. The evil, torturous being known as “The Devil” is real, though he was much more unfunny man-child than fiery overlord . The flames have been exaggerated (they are just sub-par CGI), but the pain is certainly real. I have been to Hell and thank God it was only for 106 minutes. Yes, I have been to Hell… and it is Pixels.

Now, to be clear, I don’t usually watch a lot of terrible movies. I have come to the point in my life where I really know what I want out of a film and can usually know right off the bat whether I will like a film. Still, Pixels was receiving such a vitriolic response that I just had to see what all the fuss was about. I honestly didn’t realize how bad it could truly be…

The men responsible for this assault on human decency are director Chris Columbus and un-funnyman Adam Sandler. Now, it’s no secret that Adam Sandler in recent years has not been doing the greatest. He hasn’t had a truly great (or even good) film in years. I, thankfully, have avoided most of his recent films (unfortunately I was subjected to That’s My Boy), so maybe I just wasn’t prepared for how low he has really sunk.

Pixels is an assault on its audience. Not only is the sound mixing during the action scenes deafening and annoying, but the dialogue is tacky and uninspired. There were entire scenes laden with what the screenwriters apparently thought were jokes that elicited no more than a groanor a yawn.

I will say, visually, Pixels did some interesting things though. The CGI, while sub-par at best, fit the film they were trying to make and some of the camera direction added a little flair to the film. That being said, it was still quite uninspired, and the content of each frame ruined any glimmer of hope found in the visuals.

When the film wasn’t featuring Adam Sandler’s five jokes he uses in every movie, it was insulting the British (Ha! Ha! You say funny words we don’t understand), giving Peter Dinklage the most unintelligible accent, making random cultural references with no context, and violating any sense of logic and telling you you’re just supposed to go along with it. The film confused Josh Gad screaming at the top of his lungs with comedy while also offensively playing his character’s homo-erotic tendencies for laughs. Plus Pixels features a fairly racist black soldier character who’s only function is to yell to the white dude to save him.

It is clearly a film made by a bunch of white, straight Americans who should know better but obviously don’t. It’s not like I am surprised that this came from the guy who recently offended his Native American cast members, I’m just disappointed.

If there is anything good I can say about the film, it is that at least it didn’t make a Kevin James “I’m fat!” joke, but that is completely overshadowed by the fact that they expect me to believe that James is the President. I mean, who’s he supposed to be Chris Christie? No… Just No…

I think the thing that has really sparked the tremendous outpouring of hatred for Pixels is not only that it is a terrible film, but that it could have been so much better. The broad strokes of cinematic awesomeness are there. I mean, Aliens attacking us with video games is a pretty sweet concept, but Sandler and his buddies just screwed it all up for the rest of us.

So please, just stop supporting Adam Sandler, America. This is why we can’t have nice things! We keep giving him money and he keeps taking giant dumps in our theaters and then calls them movies. This weekend, fight for your right to see good cinema by not seeing Pixels.