Welcome to Magellans at the Movies, the outrageously popular* new podcast about all things movies brought to you by Nathan “I-can’t-believe-I-ate-the-whole-thing” Magalhães and his brother Elliot “Who-on-Earth-is-going-to-listen-to-a-podcast-we-make” Magalhães! (*Outrageous popularity pending) Join the brothers Magalhães (Anglicized as Magellan) as they bicker and banter about movies no one has seen or cares about or that ha ...
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Ladies and gentlemen, there are moments in life when it comes time to face the music. Old wrongs that must eventually be answered for, debts that must be repaid, orangutans that must be returned to their home rain forests after a brief but disastrous stint as your exotic pet. What I’m saying is that we all make bad choices and eventually the bill for those errors comes due, but we can be thankful that, for most of us, the cost of our various indulgences in vices won’t be the loss of our heads. Not so for those foolish enough to behead the mysterious bark-skinned interloper who crashes our office Christmas parties. Because while you and I are smart enough to give such obviously paranormal entities and their oblique games of returned blows a fairly wide berth, there are those who, through arrogance or excesses of youthful exuberance, just can’t keep a good head on their shoulders. Such is the lot of young Gawain, protagonist of The Green Knight, a 2021 dark fantasy film directed by David Lowery and based on the poem Sir Gawain and the Green Knight by a man whose name has been forever lost. The Green Knight is a ponderous, sometimes surreal, sometimes frightening trek through a warped vision of classic Arthurian legend. It’s not for everyone, but for those who are buying what this movie is selling, it rarely fails to impress. The Green Knight is visually spectacular and thematically dense, and that makes it prime fodder for the less visually appealing but equally dense hosts of Magellans at the Movies. Grab your mail and don your helmet and let’s do this thing! Contact us/Requests/Questions: MagellansMovies@gmail.com Donate: https://paypal.me/magellansmovies?country.x=US&locale.x=en_US
Love is a choice. Love is a feeling. Love is an idea. These are just some of the theories on that most vexing of jazz topics and its effect on the men and women who experience it. Questions on love abound, but answers have remained elusive throughout the course of human history, and if you are one such bemused soul then I’m afraid you won’t find what you're looking for in In the Mood for Love, a 2000 romance directed by Wong Kar-wai. In the Mood for Love is famously vague in its narrative and experimental in its visuals, and rare is the fan whose affection for the film stems from its profound yet accessible insights into the nature of connection and romantic passion. In the Mood for Love is, as the title suggests, more interested in constructing a mood than literally anything else, so your mileage with the film may vary greatly. Case in point: the distinctly divided opinions of Nathan and Elliot, who, for today’s episode will be duking it out over this elusive bit of abstract art. In the mood for a podcast? Then hit the play button and let’s get started! Contact us/Requests/Questions: MagellansMovies@gmail.com Donate: https://paypal.me/magellansmovies?country.x=US&locale.x=en_US
Say you’ve just woken up in the late 18th century. Lucky for you, you find yourself the rich scion of a notable family, which, in said time period, means you’ve got it made. The only thing you’ll be lacking is something to occupy your time with. The military being too scary, the theater being too derivative, and the video games being too nonexistent, there’s every chance you’ll find yourself quickly becoming a regular at your local opera house. But wait, what’s this? An upstart young musician named Mozart has just arrived in Vienna? Whatever could this mean for court politics, for music, and for culture at large? Well, you’ll know better than the rest of us, because the rest of us have mostly received our answers from Amadeus, a 1984 period piece directed by Milos Forman and featuring a famously loose retelling of history. Since we haven’t been so lucky as to have been transported back in time and books are lame, we’ll have to settle for the film, though to be fair, there are worse trade-offs. Amadeus was a hit at the Oscars and its reputation has only grown since its release, so it was only a matter of time before Magellans at the Movies declared their position on this melodic matinee. One. Two. One, two, three, four and start! Contact us/Requests/Questions: MagellansMovies@gmail.com Donate: https://paypal.me/magellansmovies?country.x=US&locale.x=en_US
Pandas. If you’re somehow not aware of them (which, like, how, they’re basically the poster-animal for endangered species), they’re not exactly what you’d call limber. While the great felines of the world regularly perform feats of stunning acrobatics and athleticism, those of the ursine persuasion, especially panda bears, are stuck lumbering around with all the speed and agility of a wheelchair made out of bricks. This is fine for Youtube compilations of pandas failing to exhibit a strong grasp of even basic motor skills, but if you’re an enterprising young film studio aiming to center a martial arts series around ailuropoda melanoleuca then I’m afraid animation is your first, last, and only port of call, and you’ll have to do more than a little bit of anthropomorphizing even then. When that’s done what you’re left with is something called Kung Fu Panda, a 2008 animated film directed by Mark Osborne and John Stevenson and the progenitor of the tragically long-lived Kung Fu Panda franchise. Kung Fu Panda was popular enough on release and memories of our heroic black-and-white bear are typically fond, so when lifelong panda fan Nathan Magalhães’s own memories were stoked upon hearing of a fourth (kill me) installment, he and his brother had to return to where it all began to see if it holds up. So, when you’re done Kung Fu fighting along to that earworm of an end credits song, jump kick that play button and get on with the episode! Contact us/Requests/Questions: MagellansMovies@gmail.com Donate: https://paypal.me/magellensmovies?country.x=US&locale.x=en_US
Peace and quiet. The two go together so well they’re often mentioned in concert, as demonstrated by the preceding sentence. Quiet is often conflated with peace and vice versa, however the relationship between the two may not be as close as people are willing to admit. Few would characterize the bone chilling silence immediately following a bombed joke at a comedy club as “peaceful”, and sometimes even the personal reticence of a taciturn man wearing a placid expression can be little more than a mask hiding great sorrow and uncertainty. But that’s a matter for my therapist, for our purposes you just need to understand that silence may be golden, but it can also be spooky. Nowhere is this more clear than in A Quiet Place, a 2018 horror film directed by John Krasinski. This compact burst of originality and unbearable tension made quite the splash when it frightened annoying old people into silence the world over and proved popular enough to spawn a whole slew of silent sequels. Today, though, we’ll be limiting ourselves to the one that started it all, so get ready to assume your best library decorum and be sure to check your rickety old stairs for rogue spikes of metal. Begin! Contact us/Requests/Questions: MagellansMovies@gmail.com Donate: https://paypal.me/magellensmovies?country.x=US&locale.x=en_US