This week on Corona Cartoons Bryan and Chewie are joined by Rae Deslich to discuss the classic Who Framed Roger Rabbit, which leads to a fascinating look at L.A. history.
We continue our trek upward in our month of ScarJo and reach the Luc Besson oddity Lucy, which we didn’t mind as much this time around. Sure, there are a lot of flaws in this film and as soon as we start tugging at those loose threads the whole thing falls apart, but ScarJo is good in this, Morgan Freeman is entertaining, and the car chase sequence is rather exciting (even if she could have just flown over all the cars).
We also discuss The Avengers briefly, and ScarJo’s run as Black Widow. She has fun in the role, but there’s a particular scene that’s a bit of a sticking point for our hosts. Anyway, there’s a lot here so come join us, won’t you?
This week on Corona Cartoons Bryan is joined by Jeff Frumess to talk about two very wonderful classics: Doug & The Angry Beavers. It’s kind of wild how old these cartoons are, and yet they somehow feel like they’re only a few years old. If you haven’t seen these shows in awhile, you owe it to yourself to revisit. Enjoy!
First Rough Night and then Girl With A Pearl Earring. We swear we didn’t intend to review two clunkers back to back in our month of ScarJo, but here we are. Truth be told, Girl With A Pearl Earring isn’t a bad film and in fact has some really good moments in it. The problem is that everything surrounding those good moments is just…boring. You’ll be happy to know, however, that the painting remains a masterpiece.
We also briefly discuss The Island, from director Michael Bay, and Sing, from Illumination. There’s a lot here, so don’t waste another minute and hit play on this bad boy.
This week on Corona Cartoons we’ve brought on Johnny Recher and Samantha Garrison to talk about Cowboy Bebop, perhaps one of the greatest anime series of all time. It’s the one show that has the ability to appeal to people from vastly different walks of life, even 20+ years on. If you haven’t had a chance to rewatch, you probably should…and then listen to us take a deep dive on why the show has the staying power it does.
A new month means a new subject for our retrospective series, and this month we’ve chosen ScarJo. That’s right. We’re following the varied career of Scarlett Johansson. First film on the docket: Rough Night, a movie that tests her comedic acumen and finds her wanting. It’s not like her performance is bad, it’s just that she has nothing to do and doesn’t have any moments that really push her to do anything anyone in the world would consider funny. We had a rough time with Rough Night, folks.
Bryan pulled a real Rusty Venture and lost all the audio to pt. 2 of Clerks… HOWEVER We have a super fun episode on a show we never thought we would talk about, Rick & Morty! Emily Blake picked 3 episodes for Bryan and Chewie to scratch the surface of this animated juggernaut!
We wrap up our month of Dede Allen with a bit of a flop, and for that Jon apologizes. We’re talking The Final Cut, starring Robin Williams, Jim Caviezel, and Mira Sorvino. You would think based off the talent alone that we were in for a treat, but you would be mistaken. The movie is more interested in raising questions than answering them, and after awhile it becomes painfully tedious. Production design is sound, and of course Dede Allen edits the hell out of it.
Bryan and Chewie also discuss 1991’s The Adams Family, which ended up being way more entertaining and featured some really fun editing.
The Corona Virus means that we can’t record our Venture Bros wrap up, which in turn means we can’t quite get to our Frisky Dingo watch-through. Bummer, right? Well, not anymore, because we’re making lemonade out of a virus and doing a series about a bunch of different cartoons while we wait for this whole mess to blow over. We’re starting our “Corona Cartoons” with the Clerks animated series. Well, the first half at least.
This week in our Dede Allen retrospective we take a sharp left turn from the tense crime dramas of Bonnie and Clyde and Dog Day Afternoon to the leisurely paced stage musical adaptation of The Wiz. It’s quite the shift and the results are…mixed. There’s a lot to like here, from the imaginative sets, to the strong choreography and impressive musical numbers. There’s also a lot that has us scratching our heads like the rough lighting and that unbearably slow dance number in the middle just before meeting the Wiz. Join us as we attempt to unpack what worked and what didn’t for us and enjoy a wholly unique and compelling take on The Wizard of Oz.
