What do the movies The Brutalist, The Substance, Red Rooms and Anora have in common? They all made BOTH Dean AND Phil’s lists of the Top Ten Films of 2024! The Critics have all had their say, the Academy of Motion Pictures Arts and Sciences have announced their nominations for the Best in Cinema 2024, and on this week’s show, your friends in podcasting finally have their say. Learn what other films made their lists as they count down their Top Ten from the cinematic year just past!

Happy Birthday to our friend in podcasting, Phil Leirness, who is celebrating many returns of the day in New Orleans today! Before departing Los Angeles, and before Dean Haglund departed the environs of Detroit to head to the nation’s capital for Thanksgiving, they convened via zoom to record this week’s show. In it, they discuss their travel plans, before Dean regales with tales of his recent improv performance (with Gary Jones) in San Jose. Then, a discussion of Dean’s forthcoming European wedding leads to Phil revealing his new plans for Arctic Circle adventures and a follow up to last week’s discussion of the Aurora Borealis. Several new or recent movies get reviewed, including My Old Ass, Deadpool & Wolverine, and His Three Daughters, as well as the 2020 Oscar winner for Best Documentary (My Octopus Teacher) and a horror film from 1988 that was one of the first starring roles for both Hugh Grant and Peter Capaldi (The Lair of the White Worm). Finally, in an almost-all-jazz edition of “Celebrity Deaths”, four jazz greats and two Bee Gees drummers get remembered!

Dean will be heading to Los Angeles this week and plans to deal with a “haunted vacuum”? Paramount Pictures (and its parent company) are for sale. Dean and Phil discuss the ramifications of this. Many great films premiered in competition at the recent Cannes Film Festival. Dean and Phil examine the award-winners. A film festival favorite available now on Netflix is Richard Linklater’s dark romantic comedy Hit Man. Dean and Phil discuss it. Then, they take a deep dive look at three “art house” films of recent vintage and use that dive as the vehicle for exploring the function, importance and failure of critics. The films in question are Joanna Hogg’s ghost story The Eternal Daughter and Jane Schoenbrun’s coming-of-age psychodramas We’re All Going to the World’s Fair and the current theatrical release I Saw the TV Glow.