Out There in the Dark

Not since the cultural phenomenon of Barbenheimer has the cinema seen a box office boom quite like this. But this time, the revolution isn't coming from legacy directors or massive studio IP—it's coming straight from YouTube. In this episode of Out There in the Dark, we are breaking down the staggering, paradigm-shifting success of Kane Parsons’ The Backrooms and Curry Barker’s Obsession. Both of these micro-budget, high-concept psychological thrillers bypassed the traditional Hollywood machine, proving that a brilliant premise and a dedicated digital community can completely upend the studio algorithm. With no massive stars leading the way, these two films have officially achieved blockbuster status, rewriting the rules of what makes a modern movie event. Join Azed and Tom as they get "obsessive" and noclip deep into the cultural significance, hidden anxieties, and cinematic architecture of these two groundbreaking films. Turn off the lights, lock the doors, and join us out there in the dark.

Nathan Fielder's The Rehearsal is probably the most brilliantly strange "reality" show to date. An uncanny mixture of documentary, memoir, comedy show, and adventure movie, The Rehearsal pushes the usual conventions of TV, deconstructing the elements that go into producing and directing an almost impossible series of thrilling, funny and bizzare segments. Fielder, a bona fide eccentric and oddball, is clearly interested in revealing the absurdity of attempting to document actual life, while sparing no expense (HBO's money!) to make the attempt nonetheless. As Oscar Wilde once said, "All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors.” More than any other creator currently making art, Fielder is in the Wilde camp. Art may be futile, but it's very futility is it's greatest liberty. Join Tom and Azed as they dive into The strange and beautiful world of The Rehearsal. Also in this episode: mini reviews of Sinners, The Shrouds, Thunderbolts and some reco's from The Cannes Film Fest.

The recent and tragic news of Gene Hackman and his wife, Betsy Arakawa, has left movie fans around the world reeling. While the unsettling details surrounding their passing may capture attention, this isn’t TMZ. Instead, we choose to honor the life and extraordinary talent of one of the greatest actors of our time. Gene Hackman was renowned for his unparalleled ability to convey authenticity—something that is notoriously difficult for actors to achieve. He masterfully portrayed characters with remarkable depth and complexity, from flawed anti-heroes to charismatic villains and enigmatic oddballs, always infusing his roles with genuine humanity.Join Azed and Tom as they celebrate their favorite performances by Gene Hackman.

Welcome to our annual Oscar's Bitch Fest. 2025, this year with 50% less 'bitchiness'. Largely unpolitical, this year's Oscar's seem to successfully navigate the current chaos and produce an entertaining, actually funny and drama free event. However, smooth sailing can make for an uninspiring and somewhat boring ride. If it wasn't for Adrian Brody's eccentric acceptance speech, I wouldn't have cringed at all. Join Azed & Tom as they discuss the winners and losers, the surprises and the highlights of the 2025 Oscars. P.S. Azed crushing on Mikey Madison does not violate his restraining order.

Just in time for the holidays, OTD presents Giallo! What could be more appropriate at this festive time than gorgeously designed, sexually perverse murder mysteries with a dash of the supernatural? Alright! This was supposed to be a Halloween release but Azed was too busy with his charity work and Tom is extremely limited in many ways. Instead of the usual Xmas cinema fare, We suggest a horror filled holiday this year, filled with movies like Deep Red and Suspiria by Dario Argento, Blood and Black Lace by Mario Bava and round off your yuletide celebrations with Don't Torture a Duckling by Lucio Fulci. Azed and Tom aslo pay tribute to the much loved Terri Garr. So light a fire, get out the Bailey's and enjoy the lurid parade of serial killers and child torturers! Merry Xmas to all the OTD cinema nerds out there in the dark!

As the world continues to spiral down into increasing idiocy, cruelty and destructiveness, Azed and Tom are both using cinema to cope. In this episode, we discuss some more recent releases including: Richard Linklater's Hit Man, Alex Garland's Civil War and George Miller's Furiosa: A Mad Max Saga. Despite increasing corpulence and hair loss, we are not the new Siskel & Ebert,. We employ no thumbs up, thumbs down metric based on nothing more than personal taste, rather we focus on how cinema continues to embody the concerns and anxieties of our current time, both consciously and unconsciously. These recent releases are concerned with how tribal populism insists that citizens define themselves within very narrow and easily recognizable identities. Indeed, Hit Man seems very aware of the concept of self-creation as a political act. Cinema may be a coping mechanism and an escape from the harsh realities of everyday life, but as we discuss in this episode, it can also serve to elucidate and clarify our current fears, anxieties and ideological blindspots. We also pay tribute to a great Canadian actor, Donald Sutherland, who passed away last month.

The Academy Awards are a reliable exercise in celebrating some of the worst tendencies in modern, capitalist society. A bunch of privileged, back slapping industry folks handing out trophies to each other is perhaps the height of egotistical "cringe", but still we watch them. Often, with the same passion as one might watch, say a "Real Housewives" or a "Big Brother", essentially, a hate watch. Azed and Tom weigh in on this year's Oscars which, surprisingly, was not as awful as expected. The movies up for best picture were all coherent and highlighted the power of good cinema to reach a wide audience. The show itself, usually an over the top mixture of boredom and extreme embarrassment, actually had some heartfelt and understated moments. No Will Smith assaults either! Best Picture noms: OPPENHEIMER: Christopher Nolan, AMERICAN FICTION:Cord Jefferson, ANATOMY OF A FALL:Justine Triet, BARBIE: Greta Gerwig, THE HOLDOVERS: Alexander Payne, KILLERS OF THE FLOWER MOON: Martin Scorsese, MAESTRO: Bradley Cooper, POOR THINGS: Yorgos Lanthimos, THE ZONE OF INTEREST: Jonathan Glazer

It's has been said that the 70's were the last golden age of cinema. it's hard to disagree when you realize how many auteurist directors that era birthed. A modest list would have to include; Scorsese, DePalma, Bogdanovich, Coppola, Lynch and William Friedkin. Friedkin's career is an enigma. His third film The French Connection won multiple Oscars (Including Best director), catapulted him to fame. Friedkin's next film, The Exorcist remains one of the most frightening horror films ever made and one of the most financially successful movies of all time. At the top of his game and at the height of his power as a director, Friedkin released Sorcerer, which was a massive failure at the box office and with critics. Although he made quite a few excellent movies after, it seems he never fully recovered from the consequences of "flying to close to the sun". Friedkin passed away August 7, 2023. In this episode, Azed and Tom discuss the odd career of William Friedkin and dive deep into his masterpiece; The Exorcist, a film that marked us both to become grown ass men who are shit scared of a little girl.