Ep. 146 – Top 10 of 2019 & Top 10 of the decade

December 31, 2019 by  
Filed under Podcast

On this year- and decade-ending mega-sized episode of The CineSnob Podcast, Cody and Jerrod run down their top ten movies of 2019, and dig into the archives to compare their top ten films of the 2010s!

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Ep. 139 – Jojo Rabbit, Dolemite Is My Name, The King, and an Austin Film Festival recap

November 4, 2019 by  
Filed under Podcast

This week on The CineSnob Podcast, Jerrod returns from his Japanese honeymoon to hear about Cody’s time at the Austin Film Festival. They also review Jojo Rabbit, Dolemite Is My Name, and The King.

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October 15, 2011 by  
Filed under Reviews

Starring: Kenny Wormald, Julianne Hough, Dennis Quaid
Directed by: Craig Brewer (“Hustle & Flow”)
Written by: Dean Pitchford (1984’s “Footloose”) and Craig Brewer (“Hustle & Flow”)

Director Craig Brewer’s remake of “Footloose” opens as the original did, thumping along with the rousing kinetic energy of Kenny Loggins’ title track from the ’80s guilty pleasure. Only instead of shots of dancing feet against a “Cosby Show” backdrop, Brewer uses it to kick off the film’s narrative with the first of many genuinely exciting dance sequences.  As fun as the scene is, some cognitive dissonance sets in when you realize the characters are actually dancing to the song “Footloose” made famous by the movie “Footloose” that is being remade here. So what made the song famous in this universe? Does the original “Footloose” exist for them? Are these people aware they share the same names and life events with people in a fictional movie made 26 years ago?

The plot unfolds differently, however, taking the opportunity to play out a scene only referenced in the original film. Immediately after leaving the party, five teenagers, buzzed on liquor and dance, are killed in a head-on collision with a semi truck. One of the teens is the son of local preacher Shaw Moore (Dennis Quaid) who copes with his personal tragedy by leading an effort to save the children of Bomont, Georgia from themselves by setting out to criminalize loud music and public dancing.

Three years pass by the time Ren MacCormack (Kenny Wormald) sets foot in town. Having just lost his mother to leukemia, Ren is taken in by his kindly aunt and uncle. Already on the town’s radar as a troublemaker after getting pulled over for playing his music too loud, Ren is introduced to Reverend Shaw and his daughter Ariel (Julianne Hough) at Shaw’s church. It’s here that city boy Ren learns about the small town’s Draconian restrictions on his right to dance, igniting his rebellion.

If you’ve seen the original film, you know what happens from here. Somewhat surprisingly, Brewer sticks to the original screenplay nearly word for word, although changes have been made to accommodate the evolution of society. The casual drug use has been relegated to the “bad guys” and the existence of non-white people has been acknowledged, most notably in an electric reboot of the dance sequence at a diner set to hip-hop instead of ’80s cheese pop.

While welcomed in some respects, stripping away the insulating layer of cheese of the original exposes this updated film’s flaws. Hough oozes enough sex appeal in her dance sequences to derail a freight train, but falls flat when called upon to emote effectively. Wormald also captivates while in motion, but no one is going to forget Kevin Bacon’s take on the role. The same goes for Quaid’s Reverend Shaw, whose kinder take on the role pales in comparison to John Lithgow’s stern presence. Throw in odd plot distractions like Ren’s acrobatic punch-dancing in an abandoned warehouse and a school bus demolition derby (that replaces the original’s just-as-puzzling game of tractor chicken) and you begin to wish you had the guilty pleasure excuse to fall back on while watching.

Craig Brewer – Black Snake Moan

June 7, 2007 by  
Filed under Interviews

If there’s one thing director/writer Craig Brewer doesn’t have on his list of “things to do” it’s conforming to the industry. He proved this with his 2005 film “Hustle & Flow,” the story of DJay, a Memphis pimp turned rapper, which earned actor Terrance Howard the first Academy Award nomination of his career.

Brewer strays from the norm again this year with his new film “Black Snake Moan.” Set in his hometown of Memphis, Brewer, 35, creates a unique tale never before seen on the silver screen. The film stars Samuel L. Jackson as a religious blues musician who holds a sexually promiscuous girl (Christina Ricci) hostage until he can figure out a way to rid her of her sins.

From his home in Memphis, Tenn. Brewer talked to me about filming in his hometown, writing scripts with characters people can care about and searching for the best actors to play the two lead roles.

You set “Hustle & Flow” and now “Black Snake Moan” in your hometown of Memphis. What makes Memphis such an interesting setting for a film?

I’m mostly inspired by the music. I’m inspired by the history behind the music and the mavericks that made it.

Is there a tone to the city that helps capture the music?

Yeah, there’s a swagger. Also, we are a lot more integrated than I think people give the South credit for. We’re not really afraid to celebrate each other’s differences. [Blues legend] Howlin’ Wolf could not have sounded as good if it wasn’t for that white man putting that microphone in front of him and putting the right amount of corn whiskey in him. In the South we have extreme stories and extreme characters and I want to get back to some of those crazy times of Tennessee Williams.

I know you had a hard time making “Hustle & Flow” because of financial issues. Did you find it easier this time around for people to believe in your project since you received overall critical acclaim for your last film?

Well, once Sam Jackson read it and attached himself, it became a little easier. You know, as much as people call “Hustle & Flow” a success, everybody in town passed on it because they were unsure if they really wanted to do a movie about rap much less about a pimp rapping. I feel like because they saw “Hustle” now and they saw that I have a particular type of execution they knew that I could handle this subject and that it could be entertaining and inspiring.

“Black Snake Moan” has been finished for quite some time now but you decide to hold onto it until this year. Can you tell me why?

Yeah, I’m really thankful that we did. September (2006) wasn’t the greatest time to go see a movie. Movies came out and tanked. Even more so, “Snakes on a Plane” had really sucked a lot of interest out of the air. It just dwarfed everything that Sam (Jackson) was going to be a part of.

Samuel L. Jackson and Christina Ricci are amazing in the film. Were these parts written specifically for them?

I don’t really write movies with people in mind too much. But once Sam got the script and we met I knew he was the guy. And also, a man that has made 60 movies is gonna let you know if he can play a role right or not. With Ricci it was a little more complicated because we insisted that we see everyone read for the role. I had not really thought about Christina at first, but when she came in she was my first audition and she was so amazing and so compelling that after five days of auditions I cancelled the rest of them.

Did you feel more pressure making a film this time around? Was there a fear that people would think “Hustle & Flow” was just beginner’s luck?

There’s always that fear. I think you go into your first film and you’re just happy that it’s in focus. And then in the second film you start thinking, “Well, maybe I can actually have a body of work.” So, you need growth. You need to be able to turn left when maybe everyone else is turning right.