Mike Burdge and Robby Anderson embark upon a new exclusive mini-series, Eight Bits , where they discuss the seemingly cursed genre of film: video game adaptations. Up first, the one that started it all and pretty much set the precedent for all that followed: the 1993 cinematic nightmare known as Super Mario Bros . Listen on....

Bernadette gets cozy with guests, Robby Anderson and Diana DiMuro, while talking about the long-awaited slice of Marvel apple pie: WandaVision . From robots to twins, commercials to nosey neighbors, they dive into everything this cool af show has to offer. Listen on....

The latest movie adaptation of one of the most beloved fighting game, Mortal Kombat , series has dropped, on both small screens and big, inadvertently becoming a major talking point in the future of cinema, as well as acting as another installment in the long line of questionable video game movies. Jack is joined by Jeremy Kolodziejski to speak on how they felt about all of this. Listen on....

The very essence of comedy, the one thing that it can truly be boiled down to if needed, is entertainment which intends to make an audience laugh. Blithe Spirit purports to be such a piece of entertainment, yet its intentions lack anything to laugh at, so much so, that it would be arguable that humor and wit were the furthest things from what was on its mind. This tale of pitiful personalities takes place in England in 1937, a time when, apparently, zero chemistry was required for all relationships, be them romantic, friendly, or even paternal. Walking snack, Dan Stevens plays Charles Condomine, a successful novelist struggling to churn out the next big piece: his first screenplay. While it is confusing just exactly what he is trying to do (it is inferred many times that he is simply adapting a previous novel, yet he is stricken with writer’s block, and we see multiple scenes of seemingly original content and dialogue being created. What?), the film has one small added pitch: What if the writer’s dead wife was helping him write the screenplay? Here’s where I’ll get the joke: “It feels like someone’s dead wife wrote THIS screenplay,” out of the way so that we can all move on. With the return of his deceased wife’s (Leslie Mann) spirit at the befuddled hands of a medium fraud (Judi Dench), Condomine is forced to deal with the feelings he may still harbor for his ex-love, even as these feelings begin to infuriate his current wife (Isla Fisher). There are many movies that Blithe Spirit thinks it is, and even more that it is trying to be. The modern-piece throwback to the Golden Age of Moviemaking and all its quirks in the film industry is ripe with situational humor and in-the-know winks and nods, yet this movie takes advantage of none of them. Based on the popular play by Noël Coward, one can see the seams where adaptation began to diverge from the original texts' intended bravado, which isn’t particularly a bad thing, but it does no favors to a movie that is literally about adaptation and it never seems to understand that there is at least something there to be played with for humor. But, to be fair, there’s a lot in this movie that should be funny which falls flat due to misshapen dialogue, the occasional overuse of editing or a general look and tone held tightly throughout that makes one feel like they’re watching a Drunk History segment with the funny voiceover removed. While watching the film, I kept finding myself vanishing even deeper within my own soul. This isn’t to say I wasn’t paying attention at any point in the film. This is my job, and it is a nice job to have, so for 99 minutes, I paid attention to this movie, a movie that at several instances seemed to be directly and intentionally attempting to make me die. Is this the worst movie ever made? Far from it. Is it bad? Oh, sweet lord yes. The lack of laughs is not the only sin on display here (although it is probably the major one). The film’s manic style and attitude are constantly working against anything it is trying to communicate. Scenes are either chopped up and scrambled together in moments of shot-reverse-shot with multiple camera angles being plopped down at different takes, with character’s appearances noticeably changing over the course of an intended one-minute discussion, or they are extended into long takes where we are just watching a couple of people in a room talking to each other with little motivation for plot and zero sense of situational dynamics. The audience is practically begging for someone to just trip over something already so that they can see something happen and have characters react to it comedically. And this, again, is the major issue I have with Blithe Spirit . It’s just not funny. I don’t need pathos in everything I watch, and I sure as hell don’t demand top-notch filmmaking from start to finish, but if you’re going to call yourself a comedy, base your project on the work of a notably very funny writer, and hire an overqualified cast, you should at least be able to bring the goods on the yuck-yucks every once in a while. Thinking back, the only times the film actually got an audible chuckle out of me were times when Dan Stevens would look physically sick from what he was doing (often), repeatedly noticing that there is just music playing ALL THE TIME regardless of what is going on, and whenever legendary Dame Judi Dench, (seen here doing her very best Anthony Hopkins from the Thor movies impersonation), would say the names of very hard to pronounce plants and flowers. In the end, Blithe Spirit is the type of film that doesn’t seem to care so much about its audience as it does about itself. In a movie that paints all of its characters with the same personality type, with the majority of the plot taking place in a single setting, you’d think there’d be a little movie magic left to go around, but every joke and observational quip land as hard and unfortunate as a convertible falling topside down off a cliff into a sea of anemic monotony. Mike Burdge Editor-in-chief Founder of and programmer for Story Screen. Lover of stories and pizza in the dark. When he isn't watching movies, you can find him reading things about people watching movies. He currently resides in Poughkeepsie, NY, and most assuredly is going through a French Connection phase.

Jack and Robby talk about Emma Seligman's phenomenal directorial debut, Shiva Baby . It is a good movie, this is a good podcast, and you are a good person. This all fits. And, as always, spoiler free chat for the first 20 minutes or so if you wanna check out the vibe of this thing. Seriously, it's really, really good (and playing for one more week at Story Screen Beacon Theater!) Listen on....

Mike Burdge, Diana DiMuro, Bernadette Gorman-White, Robby Anderson and Jack Kolodziejski get together for their annual episode covering their thoughts, opinions and predictions on this years Oscar nominations. Minari ! Nomadland ! Sound of Metal ! Judas and the Black Messiah ! Mank ! Mank ! MANK ! MANK !! Juicy takes on all these, and more, await you.... Listen on....

The 93rd Academy Awards will be held on April 25th, 2021, honoring movies released in 2020. For the past few years, the Story Screen Family has gathered together on our podcast, STORY SCREEN PRESENTS, to discuss our favorite films from the past year, as well as our own Oscar predictions. As Mike Burdge, Story Screen’s Founder and Editor-in-Chief likes to say, “The Oscars are like our Super Bowl.” As we gear up to make our 2021 predictions - cramming in some last-minute nominee watches - Burdge posed the question to me: “What are some films that didn’t get nominated that you think should have?” That question has been rattling around in my brain ever since. I’m not going to go through the entire list of nominees here, for that, stay tuned for our upcoming Oscar predictions podcast. But, to hold you over until then, here are a few films released in 2020 that I truly feel should have been nominated for an Academy Award. I hope you'll get around to watching some of them when you can. Enjoy. ACTOR IN A SUPPORTING ROLE - This year’s Nominees are: SACHA BARON COHEN - The Trial of the Chicago 7 DANIEL KALUUYA - Judas and the Black Messiah LESLIE ODOM, JR. - One Night in Miami... PAUL RACI - Sound of Metal LAKEITH STANFIELD - Judas and the Black Messiah MISSING: Hugh Jackman - Bad Education I’ve said it before, Hugh Jackman shines as Frank Tassone - the Long Island school superintendent who is ultimately caught for embezzlement. Maybe this flew under the radar in 2020 because it was released on HBO, who can say? But Jackman makes Tassone so sympathetic that you continue to root for him even though you know he is in the wrong. This is a standout performance by Jackman. Allison Janney rules as usual, and there’s even a great supporting performance by Blindspotting ’s Rafael Casal. Watch it. ACTRESS IN A LEADING ROLE - VIOLA DAVIS - Ma Rainey's Black Bottom ANDRA DAY - The United States vs. Billie Holiday VANESSA KIRBY - Pieces of a Woman FRANCES MCDORMAND - Nomadland CAREY MULLIGAN - Promising Young Woman MISSING: Carrie Coon - The Nest Part of why I think Carrie Coon has yet to be really recognized for being such a stellar performer is because of how effortlessly she portrays her characters. In The Nest , Coon plays Allison, the wife of a status-climbing schemer, Rory (Jude Law, also amazing). Rory drags his family to England in an attempt to obtain the life he has always wanted, without giving much thought about what the rest of his family really wants. Coon’s performance may seem understated but she is fierce. After watching the film it’s hard to understand why she isn’t being cast in more films as a leading lady. Check it out and you’ll understand why. DOCUMENTARY (FEATURE) COLLECTIVE - Alexander Nanau and Bianca Oana CRIP CAMP - Nicole Newnham, Jim LeBrecht and Sara Bolder THE MOLE AGENT - Maite Alberdi and Marcela Santibáñez MY OCTOPUS TEACHER - Pippa Ehrlich, James Reed and Craig Foster TIME - Garrett Bradley, Lauren Domino and Kellen Quinn MISSING: Dick Johnson is Dead - Kirsten Johnson, Nels Bangerter, Katy Chevigny and Megan Ellison. Kirsten Johnson creates a documentary centered around her dad’s descent into old age and dementia that is often whimsical and feels like a fairy tale. By providing (often very humorous) examples of her own father’s death, Johnson is able to help her father (and herself) prepare for and process the inevitable. Despite the film being very funny at times, it is nevertheless extremely thoughtful and endearing. WRITING (ORIGINAL SCREENPLAY) JUDAS AND THE BLACK MESSIAH - Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas MINARI - Written by Lee Isaac Chung PROMISING YOUNG WOMAN - Written by Emerald Fennell SOUND OF METAL - Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance THE TRIAL OF THE CHICAGO 7 - Written by Aaron Sorkin MISSING: The Assistant - Written by Kitty Green The power of Kitty Green’s script for her film, The Assistant , is often in what is left unsaid. There is so little dialogue in the film in fact, that when the main character Jane (Julia Garner) finally meets with a member of her office’s Human Resources staff (Matthew McFadyen) it is extremely jarring to hear their conversation. Green deals with the issue of sexual harassment in the workplace mostly by letting the audience infer what is going on behind closed doors. The film uses minimal sets and only a few characters, but it is instantly believable and relatable. Drainingly so. DIRECTING ANOTHER ROUND - Thomas Vinterberg MANK - David Fincher MINARI - Lee Isaac Chung NOMADLAND - Chloé Zhao PROMISING YOUNG WOMAN - Emerald Fennell MISSING: Never Rarely Sometimes Always - Eliza Hittman Eliza Hittman writes and directs a film that honestly feels like a documentary. It portrays the odyssey of two teenage girls traveling from rural Pennsylvania to New York City in order for one of them to obtain an abortion without parental consent. Hittman uses real clinics to evoke the authenticity of the experience for our protagonists, but she also uses New York City itself - the subways, bakeries, karaoke bars, and bus stations - to create an experience that is far more trying and disturbing than the actual medical procedure they came for. INTERNATIONAL FEATURE FILM ANOTHER ROUND - Denmark BETTER DAYS - Hong Kong COLLECTIVE - Romania THE MAN WHO SOLD HIS SKIN - Tunisia QUO VADIS, AIDA? - Bosnia and Herzegovina MISSING: Portrait of a Lady on Fire (France) - technically 2019: Céline Sciamma’s film, Portrait of a Lady on Fire, was not nominated for an Academy Award in 2020 despite its limited theatrical release. This blows my mind. I didn’t see the movie in a theater until February 2020 so I am throwing it on here for good measure. It was my personal favorite film of “2020,” and I hope you will watch it when you can. The production design, costumes, and score are all gorgeous, but it is the cast first and foremost that is really stunning. It takes an unconventional love story and sets it in a period drama that audiences often romanticize, and brings some real-life pain to its characters. I loved it and I hope you will too. MISSING: And Then We Danced (Georgia) 2020: And Then We Danced’s release inspired protests in its native Georgia for portraying a gay relationship that was at odds with the conservative country’s traditionally “masculine” national form of dance. It is a beautiful film with a standout performance by its lead, Levan Gelbakhiani. Well, friends, if this has started your own wheels turning on films you think should have been nominated for an Academy Award hit me up in the comments section. And stay tuned for our upcoming Oscar predictions podcast episode of Story Screen Presents. Diana DiMuro Associate Editor Besides watching TV and movies, Diana likes plants, the great outdoors, drawing and reading comics, and just generally rocking out. She has a BA in English Literature and is an art school dropout. You can follow her on Instagram @dldimuro and Twitter @DianaDiMuro

Noted Big Boys Fightin' Historians, Jack and Robby, are joined by guest Jeremy Kolodziejski, to talk about the return to the cinema with this humbly made little feature about two bros who just can't seem to get along. That's right, it's Godzilla vs Kong . And it's cool, and it has a super, super dope score. Listen on....

A look at love and loss of self in Supernova, Falling, and The Father. I didn’t expect 2020 to produce so many films dealing with dementia and getting older. Nor did I expect for them to hit me quite so hard. As I witness my own parents age and go through new challenges, I find myself identifying with various aspects in each of the films I watched recently: Supernova, Falling, and The Father. Each film portrays dementia from a different perspective, showcasing the struggles of the person going through it, as well as the person desperately trying to take care of them. If you have the time, they are all worth a watch. ———— Supernova “You’re not supposed to mourn someone while they're still alive.” (Stanley Tucci in Supernova ) Supernova is a 2020 dramatic film, written and directed by Harry Macqueen, starring Colin Firth and Stanley Tucci. Firth and Tucci play Sam and Tusker, a longtime couple who load up their RV at the start of the film, ready to embark on a much-needed trip to visit friends and family in the Lake District in England. Sam (Firth) was once a concert pianist, and Tusker (Tucci) is a writer. Tusker has been diagnosed with early-onset dementia, and he is slowly losing his sense of self and ability to remember. Sam plans to become Tusker’s full-time caretaker. They are hoping to connect and getaway on this trip, but they each have their own agendas that do not quite match up. The film looks at their relationship and their love for each other, and it is one of the most accurate portrayals of a loving, challenging, long-term relationship that I have seen on screen. These two actors really do complement each other and bring out the best in each other’s performances. Tucci’s portrayal of Tusker’s dementia is the most understated of the three films I watched recently on the subject. But it is still painful to watch. Tusker knows what he wants and it is to not become a burden to his loved ones. It takes a while for Sam to finally come around to understanding and accepting his wishes, and Supernova is the journey that takes us there. ———— Falling Viggo Mortensen makes his directorial debut with Falling. He also wrote the script, produced, and composed the music for the film. Mortensen’s film creates a less sympathetic character facing dementia head-on than Tusker in Supernova, but his portrayal of dementia is perhaps more relatable. It centers around John (played by Mortensen) and his aging father Willis, (played by Sverrir Gudnason and the amazing Lance Henriksen). We realize that the present-day Willis (Henriksen) is constantly being thrust back into memories of his past, and then minutes later is forced to find his footing in the present. John attempts to calm his father down and corral him during these meltdowns of disorientation, all the while accepting his father’s frequent bouts of verbal abuse (which seem to span both past and present-day). Where Supernova displays a slower-paced, more understated view of a character losing their grip on reality, Falling’s Willis constantly vacillates between the past and present, almost aggressively so. It can be frustrating and exhausting to watch, and it garners empathy by proxy for his son, John. Occasionally, we shift to John’s own memories of his childhood and it enables us to speculate how they affect his feelings towards his father now. We realize that Willis was kind of an asshole long before he started losing his memory. Willis does not remember asking his son to help him move out to California where John and his sister, Sarah, both now live with their families. Willis is anxious to return home to NY. Mortensen’s look into dementia is an interesting one. Sounds often trigger memories - water, a glass hitting the kitchen counter - that transport Willis back in time. Laura Linney plays the older version of John’s sister, Sarah, and she is a class act as always. When Sarah talks about how beautiful the garden is instead of acknowledging her dad’s awful racist or homophobic rants, I shared in her awkward pain. In the end, Willis continues to remain angry and constantly rejects his son’s help. He feels betrayed by his children, suspecting that they always loved their mother more than him. And maybe he’s right. When John has finally had enough of his father’s behavior, he tells him that the thing that bothers him most is that Willis has never said he was sorry to any of them. It hit home for me: watching a parent age that does not recognize that they are at times extremely hurtful or even a burden. Viggo Mortensen’s first film definitely merits viewing, and I look forward to what he does next. ——— The Father The Father is co-written and directed by Florian Zeller, adapted from his 2017 play, “Le Père.” Anthony Hopkins portrays Anthony, the titular “father,” with the majority of the film’s action taking place inside what we initially view as his apartment (his “flat”) in London. His daughter, Anne, is played by the spectacular Olivia Colman. *(Side note: after seeing Colman portray the aging dowdy Queen Elizabeth on The Crown, it is a bit of a shock to see how beautiful and young she looks when she is playing her own age. She’s GORGEOUS. ENJOY.) Anthony is sure he can take care of himself, and he still seems pretty with it for a man in his eighties. Sure, he likes to hide his valuables and constantly suspects someone took his watch, but all in all, he does not seem to need a caretaker. The tone shifts once Anne tells her father that she has met a man that she really cares for and they are moving to Paris. She needs to hire a new caretaker to help look after her father who cannot be on his own. Anthony feels he is being “abandoned,” something familiar and saddening for any child to experience with a parent. That’s when things take a stark turn. I don’t want to spoil the film for those who have not seen it yet, so do yourself a favor and go watch it right now. Anthony Hopkins’ performance is amazing. His character - like Willis in Falling - starts to lose his grip on what is really happening, and frankly, so does the audience. Anthony initially attempts to just go with the flow and feign that he understands what is happening to him, but he becomes more and more disoriented throughout the film. He vacillates between being a charmer (to potential home health aide Laura played by Imogen Poots) and becoming hysterical at the thought of leaving “his flat.” He is at times cruel enough to bring his daughter Anne to tears, but then he turns on a dime and becomes so excruciatingly upset and pathetic that you can’t help but feel sympathy for him. Unlike Willis, Anthony has some brief moments of clarity and appreciation, thanking his daughter for “everything.” This makes it all the more heartbreaking when we come to the film’s conclusion and witness Anthony’s dementia fully. We watch as his character attempts to accept his circumstances and enjoy the few pleasures he has. In addition to the excellent Olivia Colman, there are great performances by Olivia Williams, Mark Gatiss, and Rufus Sewell, but the film shines under the sun of Anthony Hopkins most of all. Diana DiMuro Associate Editor Besides watching TV and movies, Diana likes plants, the great outdoors, drawing and reading comics, and just generally rocking out. She has a BA in English Literature and is an art school dropout. You can follow her on Instagram @dldimuro and Twitter @DianaDiMuro

Bernadette dissects the enigma that is HBO's The Undoing , and its eyebrow-raising award season success, with special guest, Reeya Banjerjee. Listen on....

At a futuristic rave of a house party, bathed in the red and purple glows of a charismatic haze, two beautiful people lock eyes from across the room. Their instant connection is palpable, and, before you know it, they’re bangin’ in the bathroom. But this isn’t a first-time, heat of the moment hook-up. No, these two randy, attractive people are Tom and Janet; a happily married couple that has been going strong for 14 years. Their introduction within the film is cheeky and playful, and it sets the tone for the next hour and a half. It’s rare that a directorial debut can so playfully make a contract with the viewer, but Happily quickly assures you that it’s not gonna take itself too seriously. Happily is extremely comfortable sitting in the messiness of its genre-bending introspection of the romantic comedy oeuvre, and from the very beginning, BenDavid Grabinski (writer/director/puppet master extraordinaire) is completely in on the joke. Most films that focus on a couple in the trenches of the second decade of their relationship tend to dissect the imminent problems that arise from, well, a relationship that has grown stale. In Tom and Janet’s case, their relationship is just too stinkin’ moist to find any fault...unless you happen to be any one of their coupled-up friends who just can’t stand to be around their happiness. Tom (a casual Joel McHale - great, but toned down) and Janet (a delightful, on-the-rise Kerry Bishé) just can’t keep their hands to themselves, they rarely fight, and if they have a disagreement, they make up within hours...and usually, to sexual success. And their friend group has finally, and irrefutably, had it. So when their married friends, Val and Karen (Paul Scheer and Natalie Zea) spill the beans on their friend group's dissatisfaction with Tom and Janet’s marital satisfaction and disinvite them from the upcoming couples’ trip, Tom and Janet really begin to wonder; can their marital bliss exist in a world bent on curbing partners’ desire for each other? Is there something inherently wrong with their happiness? The question weighs heavily on their minds as they begin to wonder what their lives are going to look like moving forward, after having been dumped by their entire friend circle. And then things start to get really weird. A mysterious man (Stephen Root just really Rooting it up) shows up on their doorstep the following morning, claiming that he has a cure for their non-problem problem. He presents them with two syringes, full of a solution that will allow them to lose their sexual appetites for each other, causing them to argue more frequently and with more voracity, and finally let them blend-in in the world. No longer will others have to question the dysfunction in their own marriages because of Tom and Janet’s happiness. Their defects will be cured. Plus, as an added bonus, they will receive an unspecified amount of money, courtesy of this rogue syndicate of marriage rectifiers. Toms and Janets exist out in the world, but it’s rare that they end up together, and now this unknown agency is just trying to right the imbalance in the world. Most couples aren’t happy, so why should they be? And this is where I leave you, dear reader, at the end of the first act, because moving forward, the genre-bending truly begins and if you weren’t already aware that the world of Happily is a foreign one, now you most certainly are. I most often gravitate towards films where the rules of the world are slightly off, and knowing the rules of Happily were going to be strange after watching the trailer, I was already pretty excited to dig into this movie. But without belaboring the rest of the shenanigans, I’ll share one more nugget of information in that Tom and Janet, fairly immediately following Stephen Root’s visit, get re-invited to the couples’ trip, and the remainder of the film takes place within the sci-fi mansion that the five couples have rented out for their getaway. The five couples consist of Tom and Janet, Val and Karen, Patricia (Natalie Morales - truly, the ace-in-the-hole of the film - so funny) and Donald (Jon Daly, dilly-Dalying around), Maude (Kirby Howell-Baptiste, whom I’m happy to see popping up everywhere) and Carla (Shannon Woodward, playing an angry version of herself), and lastly, Richard (a scowly, bearded Breckin Meyer) and Gretel (Charlene Yi!!!). The cast really is top-notch, and while they, sadly, don’t have much to do, they all play their parts and completely fulfill the brief. As much as I enjoy the film, I won’t shy away from admitting that the characters (even Tom and Janet) aren’t exactly three dimensional, but in the case of a film such as Happily , where the ride is more important than the death drops and the loop-de-loops, it didn’t bother me that the characters were mere vehicles for the romantic thesis the film sets up. In fact, I think if they would have been more fleshed out, the world would have started to crumble around them. In watching Happily , it’s more about looking through the glass instead of wondering if the people are half full or half empty. Thematically, and through its stellar cast, Happily works on a lot of levels, but it would be nothing without BenDavid Grabinski’s exciting writing and directing, which I found very impressive for his first foray into the world of feature films. The movie looks great, even though it’s fairly simple, and it’s so, so, so, funny. While it’s difficult to understand why this friend group has remained friends after all these years (they clearly are all very unhappy), the actors’ chemistry and the delivery of Grabinski’s dialogue is whip-smart and extremely satisfying. Plus, the way Grabinski chooses to deliver tension through dialogue is unexpected and hilarious. Grabinski has worked on a handful of things over the past few years (including a reboot of Nickelodeon’s Are You Afraid of the Dark? ), and after watching Happily , I’m very excited to see what he gets up to next. Clearly, if his debut held enough clout to land him the cast he got, he’s going to be someone to watch in the next few years. There have been a number of films in the past few years that take a deep dive into the idea of second maturity, a time where you’ve begun to settle in your relationship and are beginning to question the next phase of your life. I can think of four of them from 2020 alone: Swallow , Vivarium , The Rental , and Black Bear . I can’t be certain if it’s because I’m of a certain age in my early 30’s where this type of content resonates with me, or if it’s because all of them are experimental commentaries on what it means to be stuck in a box (whether that be in your relationship or even the context of genre in film), but I’ve continued to be impressed by these filmmakers who manage to produce innovative content that still feels fresh after a century of exploring these themes in the medium. (Well, except maybe for Vivarium , you can probably skip that one.) But while Swallow , The Rental , and Black Bear all feel a bit heavier in their exploration, Happily was a real gem of a film that gave me the opportunity to sit next to my husband and laugh and laugh and laugh. He’s a Tom, and I’m a Janet. So, if you have a free evening and you’re endlessly scrolling through Netflix, contemplating the “age-old” question of what to stream, take a chance on Happily . It’s only $6.99 on AmazonPrime, and I’d be hard-pressed to say you’d not enjoy yourself. At the very least, there’s a very cool Airbnb house to look at it, and it just so happens to be full of some very funny characters. It might not land as your favorite film of the year, but if you’re anything like me, you’re gonna still be thinking about it down the line. And in this expanding sea of films, year after year, I’d say that means it’s pretty good. Give it a shot; you won’t be sorrily. Bernadette Gorman-White Managing Editor Bernadette graduated from DePauw University in 2011 with a Film Studies degree she’s not currently using. She constantly consumes television, film, and all things pop culture and will never be full. She doesn’t tweet much, but give her a follow @BeaGorman and see if that changes.

In this very special episode of Overdrinkers (I mean, they're all very special, aren't they?), host Mike Burdge is joined by fellow movie-lush, Reeya Banerjee, to discuss the career of the unfortunately late and exceptionally great, Christopher Plummer. Films of note include The Sound of Music, Star Trek VI: The Undiscovered Country, Beginners, A Beautiful Mind, The Man Who Would Be King, Inside Man and The Insider. There are also many attempts to perfect a Denzel Washington impression. Listen on....