TEENAGE MUTANT NINJA TURTLES THE MOVIE (1990) Robert Aaron Mitchell in Conversation on Bratt's Bin Podcast

 

This marks my fifth time appearing on the Bratt's Bin movie podcast. This episode we go into the sewers of 1990s New York City in the original Teenage Mutant Ninja Turtles movie. This is a fun conversation about one of the all time kid movies.

CHAIN REACTION: Robert Aaron Mitchell Appears on the Bratt's Bin Movie Podcast

 

 

On this episode of the Bratt's Bin movie podcast Robert Mitchell is in conversation with Jared Bratt and Carl Diamond about the under seen Keanu Reeves thriller Chain Reaction directed by Andrew Davis (The Fugitive)

SNAKE EYES: Robert Aaron Mitchell Appears on the Bratt's Bin Movie Podcast

 On this episode of the Bratt's Bin movie podcast Robert Aaron Mitchell once again joins Carl Diamond and Jared Bratt to discuss Brian De Palma's Snake Eyes. We roll the dice on this Nicolas Cage thriller. Does the movie come up with a seven, eleven or craps...

 

SUPER MARIO BROS: Robert Aaron Mitchell Appears on the Bratt's Bin Movie Podcast

 

 

This marks my second appearance on the Bratt's Bin movie podcast. This time Jared Bratt, Carl Diamond and myself discuss the much maligned 1993 video game movie Super Mario Bros.

BROKEN ARROW: Robert Aaron Mitchell Appears on the Bratt's Bin Movie Podcast

 

 

Here is my first appearance on the Bratt's Bin movie podcast talking with Jared Bratt and Carl Diamond about the John Woo action extravaganza Broken Arrow.

TIFF 23: SLY - From Underdog to Hollywood Legend

 

In 1985 Sylvester Stallone had two of the top three highest worldwide grossing movies. Both sequels. Rocky IV and Rambo First Blood Part II. That is absolutely remarkable. As an actor Stallone has been ubiquitous for decades. What do we really know about Stallone the person behind the action movie icons. This is what Thom Zimny sets out to do in his documentary aptly titled, Sly. 

In the opening title sequence we see glimpses of Stallone's house. As ubiquitous as he is in movies and the popular culture, so to is his own image in his house. From action figures, to posters to statutes. We see the Academy Awards, snippets of the art collection, the scripts, the view from the Hollywood Hills. 

"It is really easy to become complacent." Starts of Sylvester says in the opening sequence of the documentary. He is in the midst of packing up his mansion to move back East to break up the feelings of dissatisfaction with the state of his current life. 

One of my favorite early sequences is of Stallone going back to Hell's Kitchen to reminisce about his New York City upbringing. Also when he is home watching movies and talking about the role models he found in film, James Cagney, especially Steve Reeves of Hercules fame.

Sly's childhood was transient and nomadic. He went throw thirteen schools in twelve years. It was the stage where he found home. He landed a role in Arthur Miller's Death of Salesman. A teacher told him he should pursue acting as career. Sly cites this as a moment that changed his life. Back in New York he was homeless and struggling to get any kind of role. The only thing he could get was off off Broadway. He started getting roles as thugs. 

Stallone started writing his own screenplays with John Herzfeld. Another life changing decision. Write out his frustrations and perhaps get somewhere. Every weekend he and Herzfeld started writing, writing, writing. He would break into to movie theaters all over the city to see films. 

I have never heard of the film Horses prior to this documentary. The premise of the movie now has me seeking this out immediately. A Cowboy and an Indian return from their graves a hundred years after they were hung. The cowboy's father was also reincarnated as a the sheriff he was to track them down. 

As far as documentaries go there is nothing about the technique or the choices on how to film the subject and the use of photographs and other visual media that is groundbreaking or innovative. As a viewer you are either a fan of Sylvester Stallone or you are not. That determines how much or how little you will gain from Sly and how much you will be entertained.

As I watched this documentary one of the most compelling aspects was sitting in a car, or walking down a sidewalk or sitting down and listening to Sylvester Stallone talk, reminisce and ponder his life. That is one of the paramount things we learn about Stallone in this documentary is how compelling, fascinating and - still to this day - we as an audience are drawn to him.

TIFF 23: FAIR PLAY - The corporate ladder is a treacherous, serpentine climb.

 

We meet Emily (Phobe Dynevor) and Luke (Alden Ehrenreich) at a party. They head to a public restroom to satisfy some immediate desires. Things start to get hot and heavy. Then Emily has a Carrie moment. Luke is covered in her menstrual blood. A moment later Emily asks Luke, "What is that?" He looks unsure, Emily is apprehensive. Director Chloe Domont holds the suspense. We then see a ring on the titled bathroom floor. Not just any ring, an engagement ring. This begins the movie Fair Play. 

"You're serious?" Emily asks. "Yes." "You're drunk" Emily says. "yeah but I was sober when I bought it. He then puts the ring on the wrong finger. "Looks like we are fleeing the scene of a murder." Luke jokes carrying Emily across the street. 

They both work in the same office building for the same company, Crest Capital and they feign that they know each other outside of work. A bunch of people are meeting to watch a video about workplace practices about sexual harassment, inclusion, diversity, conflict resolution. As the video starts a coworker int heir office has a melt down and takes out a golf club and starts wailing on the computer his desk over and over again. Someone poses the question, "Should we pause?" The person holding the remote cranks up the volume. This is clearly not a good workplace and no amount of work place training videos will right that. 

One man's downfall is another man's promotion. "How did I get so lucky?" Luke asks. "Are you talking about me, or your job" Emily queries. "Both" Luke smirks.  He goes on to elaborate that if he had to choose between Emily and the promotion he would choose...the promotion...just kidding. 

A late night call. A late night meeting. Emily gets in a car and heads to a bar. Someone is getting promoted. It just isn't Luke.

Phobe Dynevor and Alden Ehrenreich do a phenomenal job navigating the corporate finance world in which their characters navigate it's rewards and pitfalls. Together and alone.

The corporate ladder is a treacherous, serpentine climb. Perhaps made less perilous with a partner. Maybe. Or made just that more precarious. Ambition is it's own all consuming partner.