The Incomparable

The Summer of Spielberg turns its eyes to “A.I. Artificial Intelligence,” a project begun by Stanley Kubrick and completed by Steven Spielberg. Whether it works for you may hinge entirely on if you consider it a science-fiction story or a fairy tale. We marvel at some great performances, are frustrated by some creative choices, and in the end find ourselves applauding the boldness of the ending. (Now pass us some tissues, we’re ugly crying.)

The Summer of Spielberg continues with what was once the biggest movie of all time, “Jurassic Park.” And you know what? It holds up, though we have an awful lot of questions about John Hammond and his business choices. Unfortunately, we also watched the Spielberg-directed cash-grab sequel, “The Lost World: Jurassic Park.”

Prepare your mashed-potato sculpture and zip up your red jumpsuit, because we’re about to discuss the 1977 film classic “Close Encounters of the Third Kind.” We discuss why this film is Steven Spielberg’s tapas, French-American UFO projects, “American Graffiti” with flying saucers, and much more. Plus Dan reveals a most unusual location to watch this film for the first time. It’s shaping up to be a real Summer of Spielberg.

Grab a TemPad and step through a Time Door, because we’re discussing “Loki”, Marvel’s Disney+ series about how the god of Mischief met his match and learned to love himself. Along the way we talk about the “Doctor Who” references, the deep-cut comics references, the mighty Richard E. Grant, and the spectacular look and sounds of this outstanding series.

Put on your catsuit and your tactical vest, because we’re about to talk about Marvel’s “Black Widow,” which some of us saw in theaters. (And some of us didn’t.) This is a movie delayed from pre-COVID times, it’s the first Marvel movie in the Disney+ era, and it’s set during 2016’s “Captain America: Civil War”—conveniently before the main character dies. With all that, it’s also a film that puts its title heroine at the center of a “Mission: Impossible” style story that’s also, strangely, about a couple of particularly messed-up families.

Get out your ice skates, baseball bats, kitchen knives, and samurai swords—pretty much any weapon at hand, because we’re watching 2011’s “Attack the Block”! While not officially part of the Cornetto Trilogy, this British alien-invasion film shares a lot of DNA with those movies, and it’s about as close an analog to “Shaun of the Dead” as you’ll find—but with the comedy dial turned down a bit. It features career-making performances by John Boyega and Jodie Whittaker, who went on to become the faces of famous sci-fi franchises. And after the last 10 years, some of the social commentary in this film hits home more than ever. Allow it!

Some people read with their eyeballs, and still others talk to their books—we do both! In part two of our three-part survey of novels shortlisted for 2021’s top SF and Fantasy awards, we’re discussing the magic and romance of “The Midnight Bargain” by C.L. Polk, the spooky “Mexican Gothic” by Silvia Moreno-Garcia, and the murderbotiness of “Network Effect” by Martha Wells. Plus, what else are we reading?

Look, we love the Muppets. But the franchise has been very quiet lately. It’s time to get Muppet movies back on the big screen! And so in this episode, all our panelists pitch new Muppet movies we’d like to see. And along the way they do a bunch of Muppet voices, too, because of course they do.

Back in 2014, we read Helene Wecker’s novel “The Golem and the Jinni,” and we liked it! Little did we know that she was listening to us… and that she would end up as an Incomparable panelist! Now a sequel, “The Hidden Palace: A Novel of the Golem and the Jinni” has arrived! In this special episode, Jason and Helene discuss the first novel, how real life can intrude on a publishing schedule, the value and temptation of research, and how “The Hidden Palace” ultimately came together.

Put on your capes because we’re flying into superhero action with season one of Prime Video’s “Invincible,” based on Robert Kirkman’s long-running comic. Before the Spoiler Horn, we’ll tell you why this show is worth watching—and warn you about how it mixes its love of brightly colored superhero imagery and storylines with logical but unrestrained violence and gore. Then we break down some of this adaptation’s interesting story choices and ponder where it might be headed in season two and three.

We know there are a lot of superhero movies out there. Sometimes it seems like there are so many, it’s as if a random-number generator just assigned pieces of intellectual property to film directors. But where some might despair at this situation, we looked at it as an opportunity to harness the terrible power of the random-number generator and use our own creativity to assign the right directors to the right comic-book film projects. Now listen to our choices and try to tell us that any currently in-production films are any less ridiculous.

Olo! It’s time to discuss an underappreciated superhero movie that’s only become more relevant after a decade full of superhero movies. It’s 2010’s “Megamind,” which transcends being an extrusion from the Dreamworks animation factory (well, except for its pop-music soundtrack) to become something greater. With an all-star cast led by Will Ferrell and Tina Fey, this is a great riff on the Superman mythos and the true meaning of destiny and heroism. Code: It’s great.

Our Book Club returns with a new way to approach this year’s SF novel shortlist: we’re reading all the Hugo and Nebula novels in three batches. First up: “Black Sun,” “The City We Became,” and “Piranesi.” Plus: What are we reading?

Don your winged jetpack and strap on your cybernetic arm, because it’s time to fight over a shield. Marvel’s second Disney+ series, “The Falcon and the Winter Soldier” picks up the story of two of Captain America’s pals as they confront serious societal issues, the representation of America in the modern age, and a gaggle of super-powered foes. It’s a show that takes some big swings, even if it does get a bit muddled, and we discuss its ambitions, what it gets right, and where it misses the mark.

Drop the camcorder and whatever you do, don’t run toward the bridge! 2008’s “Cloverfield” mixes giant monsters, post-9/11 reactions to urban destruction, rom-com tropes, “Jaws” style monster hiding, and found footage shaky-cam into an incredibly intense movie experience. Does it matter that the main characters are generic, or does it actually help? Is this a slasher film or more of a smasher film? Why did it kick off a nonsensical franchise of unrelated movies? And if it was made today, how would it be different? (Hint: Less shaky-cam!) Find a quiet place to hide somewhere and join us!

We have reached the end (for now) of Miyazaki Club. So we gather back together to consider why we’re drawn to Hayao Miyazaki’s work, how we define the differences between films as different as “Ponyo” and “Spirited Away,” a list of the director’s favorite things, subs versus dubs, the music of Joe Hisaishi, and which of Miyazaki’s movies we all prefer.

After years of Monty telling us we should watch it, we’ve given in. It’s time to discuss 1981 South African karate movie “Kill and Kill Again,” a film featuring many middle-aged men kicking people, as well as a James Bond-style plot about a madman who wants to take over the world via an unusual application of potatoes. We cover strange ties to “CSI: Miami” and “The A-Team,” introduce you to the wonders of Hot Dog and his bag of tricks, weigh the movie’s knowing sexism against its unflinching racism, and contemplate Villanous Operations and how they are named. Also, Jason has a tight five about t-shirts.

In space, all warriors are cold warriors! An ecological disaster leads to the breakup of an enemy empire, but in “Star Trek VI: The Undiscovered Country” it’s the Klingon moon Praxis subbing in for the Soviet power station Chernobyl. Kirk and company struggle with their animosity toward the Klingons, but we are more concerned with what graduate school Gorkon’s daughter went to, the Klingon guard who carries a box, the one Klingon who laughed at McCoy’s joke, the importance of gaseous anomalies to Federation politics, and the lack of respect given to the Enterprise court reporter. Discussing this movie must’ve been our lifelong ambition.

Six episodes ago, Jason made Phil mad by suggesting that “Chariots of Fire” and “Amadeus” might not be worthy of their Academy Awards for Best Picture. This episode is Phil’s revenge, as we watch two acclaimed early-80s films and see how well they hold up. They’re both period pieces, but one is set to the electronic sounds of Vangelis and the other to the classical masterpieces of Mozart. Running in slow motion has never looked better, and there’s never been more braying laughter in a film!

Shakespeare Club returns! “The Taming of the Shrew” is a Shakespeare play that’s crying out to be adapted for modern audiences, which is why it keeps being adapted—with varying degrees of success. We discuss the play, the unpleasant Franco Zeffirelli 1967 film starring Richard Burton and Elizabeth Taylor, the film and TV versions of Cole Porter’s “Kiss Me, Kate,” the teen rom-com “10 Things I Hate About You,” and even the 1980s TV adaptation on “Moonlighting,” which might be the best of the bunch? What we’re saying, Shakespeare, is that we’ve got some notes.