PhantasmaCast

Ep. 42 - The Great Escape & Escape from New YorkThis week, we are escaping into the worlds of two films video game auteur Hideo Kojima considers massive inspirations: John Sturges' The Great Escape (1963) and John Carpenter's Escape from New York (1981). These classic escape thrillers provided the structural blueprint and antihero swagger for Kojima's gaming masterpiece Metal Gear Solid. We look at how The Great Escape defined high stakes stealth mechanics and tension on screen, while Snake Plissken's dystopian, punk rock cynicism birthed Solid Snake himself. It is a double feature about cinematic cross-pollination, the evolution of antiheroes, and how obsession turns beloved media into groundbreaking art. Whether it is Steve McQueen jumping fences or Kurt Russell sneering at the government, both films prove that great video games owe everything to classic action cinema.🎬 Movies DiscussedThe Great Escape (1963, Dir. John Sturges)Escape from New York (1981, Dir. John Carpenter)🕰️ Chapters0:00 Intro0:40 So what KIND of double feature IS it???1:40 Gamer Lore Dump aka "Why these movies for this month"17:48 "The Great Escape" (1963)40:23 "Escape from New York" (1981)1:16:07 OutroFinal Thoughts🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationWhich cinematic escape artist defined your childhood: Steve McQueen's Hilts or Kurt Russell's Snake Plissken? Let us know in the comments.#MetalGearSolid #EscapeFromNewYork #TheGreatEscape #HideoKojima #PhantasmaCast

Ep. 32 - Ghost in the Shell & The MatrixThis week, we are plugging into the digital void with Mamoru Oshii’s Ghost in the Shell (1995) and the Wachowskis’ The Matrix (1999). These prophetic cyberpunk cornerstones take radically different approaches to artificial intelligence and human identity. We look at how Ghost in the Shell questions the boundaries of the soul when humanity and technology converge, and how The Matrix flips that dynamic entirely. Instead of merging with machine intelligence, humanity created something that destroyed its world, leaving a future that might ultimately belong to the machines. It is a double feature about digital existentialism, cybernetic anxiety, and the terrifying line between simulated realities and authentic selfhood. Whether it is Motoko Kusanagi questioning her own consciousness or Neo waking up in a pod, both films forced sci-fi cinema into a bold new era. 🎬 Movies DiscussedGhost in the Shell (1995, Dir. Mamoru Oshii)The Matrix (1999, Dir. Lana Wachowski, Lilly Wachowski)🕰️ Chapters0:00 Intro2:15 The 90s Cyberpunk Boom14:30 "Ghost in the Shell" (1995)48:10 "The Matrix" (1999)1:21:05 Final Thoughts🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationDo you lean toward the cold, philosophical anime poetry of Ghost in the Shell or the high-octane simulated revolution of The Matrix? Let us know in the comments.

Ep. 40 - Commando & CobraThis week, we step onto the front lines of the legendary Stallone vs. Schwarzenegger arms race with Mark L. Lester’s Commando (1985) and George P. Cosmatos’s Cobra (1986). The mid-1980s saw two mega-stars constantly trying to out-gun, out-muscle, and out-body-count each other, giving birth to a wildly specific archetype: the benevolent rogue. We trace how Reagan-era anxieties funneled straight into stories about one-man armies stepping up because the justice system lacks the nerve to finish the job. It is a double feature about complete disregard for institutional authority, ridiculous firepower, and total narrative escalation. Whether John Matrix is delivering ice-cold one-liners while ripping apart an island army or Marion Cobretti is single-handedly taking down a fascist killer cult, both films prove that in 80s action cinema, subtlety was left at the door. 🎬 Movies DiscussedCommando (1985, Dir. Mark L. Lester)Cobra (1986, Dir. George P. Cosmatos)🕰️ Chapters0:00 Intro2:15 Stallone vs. Schwarzenegger Arms Race11:19 "Commando" (1985)40:24 "Cobra" (1986)1:07:14 Final Thoughts💿 Physical Media Shoutout ⁨@Arrow_Video⁩  🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the ConversationDo you prefer Arnold's relentless, log-carrying absurdity in Commando, or Sly's match-chewing, laser-sighted vigilante in Cobra? Let us know in the comments☝️

Ep. 39 - RoboCop & Sorry to Bother YouThis week, we are clocking in, selling out, and celebrating two masterpieces of cinematic satire: Paul Verhoeven’s RoboCop (1987) and Boots Riley’s Sorry to Bother You (2018). These brilliant films weaponize pure, hilarious absurdity to attack corporate greed from opposite ends of the economic spectrum. We look at how RoboCop targets top-down privatization by turning public safety into a corporate playground, while Sorry to Bother You exposes bottom-up labor exploitation through forced identity shifts and surreal workplace horrors. It is a devastating, brilliant double feature about how the modern economic machine attempts to claim total monopoly over our public infrastructure, our voices, and our literal bodies. 🎬 Movies DiscussedRoboCop (1987, Dir. Paul Verhoeven) Sorry to Bother You (2018, Dir. Boots Riley) 0:00 Intro1:26 Robocop35:46 Sorry to Bother You1:08:24 Outro, aka "C U Next Time..."Original "Robo Wants an Oreo" clip via RoboCop Archive: https://youtu.be/BEhXAtFgNrk?si=sp51qptLLBg_ufC9📀 Physical Media ShoutoutsArrow Video🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you prefer the corporate, top-down satire of RoboCop or the surreal, worker-perspective madness of Sorry to Bother You? Let us know in the comments. #RoboCop #SorryToBotherYou #BootsRiley #PaulVerhoeven #Satire

This week, we are celebrating Pride by hitting the highway with a double showing of drag queen road movies: Stephan Elliott’s The Adventures of Priscilla, Queen of the Desert (1994) and Beeban Kidron’s To Wong Foo, Thanks for Everything! Julie Newmar (1995). These films show that a road movie is about much more than getting from point A to point B. We look at how Tick’s journey in Priscilla allows him to shed the fear of being himself in front of his estranged son, anchoring the comedy with beautiful, independent vulnerability. On the flip side, we watch how the trio in To Wong Foo confront and dismantle their own preconceived notions about small-town communities as they embed themselves in middle America. It is a double feature about identity, community, and self-discovery. Whether it is navigating the harsh Australian outback or transforming a forgotten town, both films suggest that the ultimate destination on a drag journey is finding the confidence within yourself to be yourself completely. 🎬 Movies DiscussedThe Adventures of Priscilla, Queen of the Desert (1994, Dir. Stephan Elliott)To Wong Foo, Thanks for Everything! Julie Newmar (1995, Dir. Beeban Kidron) 🕰️ Chapters0:00 Intro0:45 Favorite Road Movies11:50 The Adventures of Priscilla, Queen of the Desert (1994)47:31 To Wong Foo, Thanks for Everything! Julie Newmar (1995)🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you prefer the grounded, indie storytelling of Priscilla or the light-hearted studio energy of To Wong Foo? Let us know in the comments. #PriscillaQueenOfTheDesert #ToWongFoo #DragCinema #RoadMovies #PhantasmaCast

Ep. 36 - The Long Good Friday & CasinoThis week, we are stepping into the halls of crumbling criminal empires with John Mackenzie’s The Long Good Friday (1980) and Martin Scorsese’s Casino (1995). These films feature protagonists who operate as kings in their own respects, letting their massive egos blind them to the immediate threats right in front of their faces. We look at how Harold Shand’s dream of a legitimized London empire clashes with a political nightmare, and how Sam "Ace" Rothstein’s obsession with total control in Vegas ultimately creates his own downfall. It is a double feature about the illusion of power, the volatility of the underworld, and the high cost of unchecked ambition. Whether it is the rainy streets of London or the blinding neon of the desert, both films show that a king is only as strong as the foundation he ignores. Plus, we dig into the incredible performances from Helen Mirren and Sharon Stone, who serve as the crucial anchors to these men of ambition. 🎬 Movies DiscussedThe Long Good Friday (1980, Dir. John Mackenzie)Casino (1995, Dir. Martin Scorsese) 🕰️ Chapters0:00 Intro0:45 Derek and Jake decide on their Top Scorsese picks8:42 The Long Good Friday36:08 Casino1:05:11 Outro/Closing thoughts📀 Physical Media Shoutouts@criterioncollection 🔗 Find & Follow PhantasmaCast:YouTube: https://youtube.com/@2certifiedbangers Instagram: https://instagram.com/2certifiedbangers TikTok: https://tiktok.com/@2certifiedbangers Apple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694 Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp 💬 Join the ConversationDo you prefer the gritty British realism of The Long Good Friday or the maximalist operatic tragedy of Casino? Let us know in the comments.#TheLongGoodFriday #CasinoMovie #MartinScorsese #BritishCinema #NeoNoir

Ep. 35 - Bad Lieutenant & Dragged Across ConcreteThis week, we are looking at the law of the street with Abel Ferrara’s Bad Lieutenant (1992) and S. Craig Zahler’s Dragged Across Concrete (2018). We explore "cops crashing out," looking at how these films handle officers who have completely abandoned the rulebook. Bad Lieutenant serves as a visceral redemption story, suggesting that even the most irredeemable, drug-addled soul can find a moment of spiritual clarity. In contrast, Dragged Across Concrete functions as a pulpy reactionist fantasy. It presents a world of "white persecution" where the line between the badge and the mask is non-existent. We discuss how Zahler frames cops and criminals as two halves of the same coin, locked in a slow-burn cycle of suspicion and violence. 🎬 Movies DiscussedBad Lieutenant (1992, Dir. Abel Ferrara) Dragged Across Concrete (2018, Dir. S. Craig Zahler) 🕰️Chapters0:00 Intro2:34 Bad Lieutenant38:39 Dragged Across Concrete1:09:08 Conclusion or Final Thoughts Regarding "Morality in Media"📀 Physical Media Shoutouts@KinoLorber and @Lionsgate🔗 Find & Follow PhantasmaCastYouTube: youtube.com/@2certifiedbangersInstagram: instagram.com/2certifiedbangersTikTok: tiktok.com/@2certifiedbangersApple Podcasts: apple.co/phantasmacastSpotify: spoti.fi/phantasmacast💬 Join the ConversationDoes LT actually deserve redemption, or is Zahler's cynical worldview more realistic? Let us know in the comments. #BadLieutenant #DraggedAcrossConcrete #AbelFerrara #SCraigZahler #CinephileWho is the ultimate "crash out" cop in your opinion?

This week, we are walking the beat with Robert Altman’s The Long Goodbye (1973) and Shane Black’s The Nice Guys (2016).These films represent two sides of the same tarnished coin. We look at Philip Marlowe as a relic of a moral code that simply does not apply to the world anymore. In The Long Goodbye, Marlowe is a ghost in his own life, stumbling through a cynical, hazy L.A. that has no room for his brand of loyalty. Contrast that with The Nice Guys, where our leads are trying to affect change against an overwhelming tide of corporate and political corruption, only to realize the deck is stacked against them.It is a double feature about the failure of the private eye archetype. Whether it is the nihilistic malaise of the 70s or the frantic comedy of a modern action-noir, both films suggest that the truth does not set you free, it just makes you tired.🎬 Movies DiscussedThe Long Goodbye (1973, Dir. Robert Altman)The Nice Guys (2016, Dir. Shane Black)🕰️ Chapters0:00 Intro0:45 "95 KFM Home of PhantasmaCast"/Shane Black and Other Musings10:19 The Long Goodbye41:55 The Nice Guys1:10:46 Outro or "Never Trust a Billionaire"📀 Physical Media Shoutouts @KinoLorber and @WarnerArchive🔗 Find & Follow PhantasmaCastYouTube: https://youtube.com/@2certifiedbangersInstagram: https://instagram.com/2certifiedbangersTikTok: https://tiktok.com/@2certifiedbangersApple Podcasts: https://podcasts.apple.com/ca/podcast/phantasmacast/id1745055694Spotify: https://open.spotify.com/show/0eifTBsW1y8CkGQppn81Hp💬 Join the Conversation☝️ Does Philip Marlowe work better as a ghost in the machine or as a bumbling fixer trying to stay afloat? Let us know in the comments.