Watch This With Rick Ramos

Kevin Smith's Clerks The 1990s were a strange, wondrous, and hopeful decade for Cinema. Three decades later we look back on those mid 90s attitudes, trends, screams, and shouts. With the emergence of Sundance, The Weinsteins, and voices such as Tarantino, Fincher, Rodriguez, and others, Independent Cinema was flexing in a way that threatened the studios in much the same way the 70s thrilled, excited, and - most importantly - challenged that audience. This week we look at one of the loudest and unlikliest voices to emerge from this decade; A Coming of Age, Adulthood focused story following the lives of convenience store workers, Kevin Smith's 1994 classic Clerks. Thirty-two years later the anger, frustration, and hopelessness of our collective futures remain. Smith (working as a convenience store clerk while supporting his passion for writing and filmmaking) would give purpose to that anger with a foul-mouthed, pessimistic, and hopeless look at blue-collar jobs and the people who are swallowed by them. Through

Richard Linklater's Dazed & Confused  On this week's episode we explore 1976 through the eyes of 1993, with Richard Linklater's slacker/high-school masterpiece, Dazed & Confused. Linklater's love letter to high school coming-of-age films is one of the stand-out productions of early 90s independent cinema; a film that blends aimless storytelling with a pounding and nostalgic 70s soundtrack, to reminisce on the good, bad, boring, and character forming experiences of growing up. Juniors becoming Seniors, Middle-Schoolers transitioning to High School, Dazed & Confused is much more than a re-creation of Texas in 1976. Linklater's film is a funny, touching, and - surprisingly - heart-warming story of finding ones' way, selling out, peaking in high school, and imagining the future and ones' place in it. It's about the friendships we make and how so much of that plays a part in building our individual characters. Dazed & Confused is a cult classic which began the careers of Jason London, Adam Goldberg

Michael Mann's Heat  On this week's episode we celebrate our 600th episode with a look at one of the most important films of our generation, Michael Mann's Crime-Thriller, Heist Film, Masterpiece . . . the coming together of two of the greatest and most important actors of their generation, Al Pacino as Lieutenant Vincent Hannah and Robert DeNiro as Professional Criminal Neil McCauley in 1995s Heat. This week we talk the film, but as always the film is simply a jumping off point for a greater undestanding, in the case an understanding of 1990s culture, the crime genre, brilliant acting and direction, and our own personal growth and attachment to the ideas, warnings, and lessons of this exceptional film. A modern day criminal tragedy which re-invents a story that has been told thousands of times and somehow manages to make all things fresh and unique. With a brilliant cast including the aforementioned DeNiro and Pacino, but also Wes Studi, Ted Levine, Mykelti Williamson, Diane Verona, Tom Sizemore, Danny Trejo

Doug Liman's Go (1999) This week, we revisit an underseen/little-discussed comedy from 1999, Doug Liman's Go. In the 1990s cinema was overwhelmed by the influence, financial, and critical success of Quentin Tarantino's Pulp Fiction; any number of copycats and knock-offs would flood theaters. Probably, the very best, would be Liman's three-story, intersecting narrative of young adults, struggling with financial problems, bad choices, casual drug use and sales, and (comid) violence. As always, your WatchThis hosts springboard from Liman's film into a dialogue regarding our memories of the 1990s, the evolution of narrative style, the power and influence of pop-art, and the slow move into the 2000s. It's a fun talk regarding a film that deserves more attention. Take a listen as we reflect on this exciting, inventive, and fun postcard from 1999. With an early 90s "who's who" cast, including: Katie Holmes, Timothy Olyphant, Scott Wolf, Jay Mohr, William Fichtner, Melissa McCarthy (very early), Desmond Askew, Taye D

Greg Araki's The Doom Generation  This week Mr. Chavez & I explore the 1990s with a cult film that is remembered as an early classic of New Queer Cinema. Greg Araki's The Doom Generation is remembered as a violent and trashy exploration of 1990s alternative cinmea.  A Gen X Bisexual Bonnie & Clyde/Badlands profile of alienation and stylized camp, Araki's film is the second edition of his "Teen Apocalypse Trilogy". For Mr. Chavez the episode is a nostalgic look at a film that left an impression; for me, the film is an attempt to understand a genre that was somehow missed. We both dive into a discussion sliding through our memories of the decade and our attitudes on what the genre and respective films would mean to a voice that had only been hinted at and often censored.  Take a listen and let us know what you think. As always, we can be reached at gondoramos@yahoo.com - Many, Many Thanks. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https

Eddie Martin's We Were Once Kids In a continuation of last week's episode on Larry Clark and Harmony Korine's 1995 Kids, Mr. Chavez & I discovered a documentary peeling back the layers of that problematic and controversial film. Although we continue to believe that the earlier film is - in many ways - exceptional, Eddie Martin's 2021 expose (produced with Kids actor, Hamilton Harris), titled We Were Once Kids, reveals much of the troubling nature behind the making of the 1995 film. Alleged exploitation, real-life drug use, alcoholism, manipulation, and the age-old story of Hollywood's predatory nature are all explored in a film that focuses on the misunderstandings, naiveté, and sadness of a group of teenage non-actors that many would argue were taken advantage of in the creation of Kids. Questionable casting methods, alleged real-life drug use in the film, financial exploitation, betrayal and abandonment, and - finally - the death of two of the stars of the film - Justin Pierce (Casper) and Harold Hunter

Larry Clark's Kids This week Mr. Chavez & I travel back to the mid-1990s to look at a difficult, troubling, and polarizing film that raises questions concerning good taste, artistic license and victimization, as well as exploitation. Few films have caused the uproar that Larry Clark's Kids did in 1995. A quasi-documentary examination of aimlessness in an alcohol, drug, and sex driven New York of the 1990s, Kids is troubling for its frankness and sexually explicit narrative depicting high school kids discussing and engaging in sex and drug taking in a manner ignorant of their dangers. With a storyline driven by alcohol and drug use, unprotected sex, violence, HIV, and utter hopelessness, the film is a snapshot of a time that feels frighteningly real. We discuss our memories of both the film and our experiences with our own versions of youth culture. Directed by Larry Clark, written by Harmony Korine, and introducing both Chloe Sevigny and Rosario Dawson, Kids is a cinematic time jump that forces an uncomfo

Robert DeNiro's The Good Shepherd  This week we springboard off of Robert DeNiro's 2006 spy film, The Good Shepherd, profiling the birth of the Central Intelligence Agency and its role throughout the second half of the 20th Century. From its origins during the end of World War II thru The Cold War, The Bay of Pigs, and the early days of the Kennedy administration, DeNiro's passion project is a thought-provoking, detailed, and troubling  examination of U.S. Foreign Policy. Mr. Chavez & I - as is our habit and purpose - use this film to examine our own impressions of the C.I.A., American National & Foreign policy, and the Class System that allows all of it to exist and prosper. From the secretive Yale society, Skull & Bones, that has given us at least two presidents, numerous senators and congressman, and untold CEOs, thru secret and illegal actions designed to topple governments, The Good Shepherd is forcing questions that we are eager to answer. Featuring an all-star cast including: Matt Damon, An

Stefano Solima's Sicario: Day of the Soldado This week we discuss the struggle between the United States, its neighbors, allies, and enemies depicted in the Taylor Sheridan scripted,  Stefano Solima directed, 2018  C.I.A. action thriller detailing border wars, fabricated criminal kidnappings, cartel violence, and the never-ending, never winnable drug wars. Exciting performances from Josn Brolin and Benicio del Toro ignite this story, giving Mr. Chavez & myself a place to begin our own impressions, opinions, and thoughts concerning these matters. As always, there's a great deal to say. Take a listen and let us know what you think - gondoramos@yahoo.com - Continued Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Ben Affleck's Argo (2012) In 2012 Ben Affleck would co-write and direct Argo, winning the Best Picture of the Year at at that year's Academy Awards celebration. Although a skillful and professional job it's - quite simply and obviously - a hack job, typical of the US's need to paint itself in the proper light while also giving Hollywood the opportunity to congratulate itself yet again (as well as short-changing the Canadian Government). An obvious and simplistic piece of political propaganda, Affleck's film continues the pattern of white-washing a serious topic while also reinforcing the idea that the US is the guardian, victim, and champion of the free world (whatever the hell that means). Democracy is safe because of the US's continued struggle against dissident elements throughout the world (in this case the Iranian Revolution). This week Mr. Chavez & I discuss the propaganda of this film, the role of the C.I.A. as saviour, dishonesty in storytelling and the note by note moments that make up a rescue m

Barry Levinson's Wag the Dog  Nothing's Changed/Nothing's New and we learned that in 1996 with Barry Levinson's Wag the Dog. As important 30 years later as when it was released, this week Mr. Chavez & I sit down to understand a film that predicted its own time (being released a few weeks before The Bill Clinton/Monica Lewinsky White House Scandal would break), but is also a simpler and almost quaint version of Epstein, Donald Trump, and Ol' Billy Jeff returning to relevance. A Sex Scandal covered up by a Manufactured War, revealing the spin doctoring and propaganda that fuels every election, Wag the Dog is the rare film that grows bolder and more prescient as years pass and facts fight to be discovered. Featuring great performances from Robert DeNiro, Dustin Hoffman (hilarious, exaggerated, and on point), and a supporting cast including Anne Heche, Willie Nelson, Denis Leary, William H. Macy, and a ridiculously unhinged Woody Harrelson, Wag the Dog has volumes to say about our government, The White House,

Denis Villeneuve's Arrival  Since the beginning of this new century Popular Cinema has become increasingly obvious and simplistic. It is rare that a major studio will take a chance with "challenging, thought-provoking" material. In 2016 Denis Villeneuve would adapt Tony Chiang's 1998 novella "Story of Your Life" with a beautifully executed non-linear narrative. A sci-fi drama incorporating alien contact, geopolitics, diplomacy, and the perception of time, Villeneuve's film is a powerful and optimistic take on a genre that is often driven by pessimism and hopelessness. What could have easily been an overly formulaic bore is instead an intellectually demanding and cinematically rewarding experience that was recognized as one of the best pictures of 2016. Featuring Amy Adams, Jeremy Renner, and - the always reliable - Forrest Whitaker, Arrival is a gift to the starved cineaste. As always, you can reach us at gondoramos@yahoo.com. Many, Many Thanks.  For those of you who would like to donate to this undying labor

Yasujiro Ozu's Tokyo Story Recognized as "The Greatest Film of All Time" in the 2012 Sight and Sound Magazine poll, Yasujiro Ozu's 1953 masterpiece is a quiet, contemplative examination of generational conflict, modernization, and aging in Post-War Japan. Masterfully directed and beautifully acted by Ozu's stock company, including Chishū Ryū and Setsuko Hara, Tokyo Story is arguably the greatest film in Ozu's ouvreau and one of the most powerful examples of slow cinema.  A minimalist masterpiece that few directors have attempted to emulate, Ozu is a director that all cineastes eventually arrive at and - often. - find themselves unable to forget. This is a beautiful film that we are thrilled to bring to you. Take a listen and let us know what you think. As always we can be reached at gondoramos@yahoo.com. Many, Many Thanks. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is apprec

Stanley Kubrick's Eyes Wide Shut In 1999 filmmaker Stanley Kubrick would shoot his final cinematic statement. Adapting a 1926 Freudian novella, Kubrick would (seemingly) explore the dark mysteries of sexual trafficking, secret societies, infidelity, and the paranoia inherent in all of it. A Psycho-Sexual Drama centered around a Masked Ball Orgy and images that would haunt the minds of popular culture, Kubrick's Final Film is troubling, but not for the reasons one may think. Heralded as his "Final Masterpiece" upon its release, Eyes Wide Shut has become far more relevant in the 27 years since its debut. The controversy surrounding Jeffrey Epstein has forged new relevance for Kubrick's swan song, presenting a narrative that far too many film, political, and social critics have latched onto with a misplaced fervor. Celebrated for the light it shines on the powers that control this world, the depravity of their sexual practices, and the honesty Kubrick is credited with exposing, the film is - in actuality - an ob

Pier Paolo Pasolini's Saló, or the 120 Days of Sodom (1975) For most serious cineastes, Pier Paolo Pasolini's Saló, or the 120 Days of Sodom is a bridge that we all arive at and struggle with crossing; a cinematic rite of passage that challenges each of our ideas of art. Is Pasolini's final film - an interpretation of the Marquis de Sade's The 120 Days of Sodom - A Political Critique exploring Fascism and Fascist Abuse or simply an opportunistic and transgressive exploitation piece designed to simply shock without artistic merit? Fifty-one years later, audiences continue to be disgusted, angered, confused, excited, and polarized by a film that many consider a masterpiece of Italian Cinema. This week Mr. Chavez & I struggle with these same reactions as we watch this film in the long shadow of a 2026 rife with controversy: ICE, The Epstein Files, Murder, Political Lies & Propaganda and - of course - the heavy and hateful hand of the Trump Administration and its Leader. Take a listen and ask yourself how

Charlie Chaplin's Modern Times In 1936 Charlie Chaplin (arguably the most iconic figure of Silent Films) would produce his final (mostly) silent masterpiece, Modern Times. This week Mr. Chavez & I continue our look at Cinema that challenges the status quo, with a film that examines the de-humanizing drive of capitalism to push profit over people and the subsequent endurance of the individual to survive all of it . Modern Times is a beautifully realized film that was born out of the imagination of a filmmaker whose own background ensures the honesty of the narrative. Modern Times is both funny and heartbreaking, honest and thought-provoking. Chaplin's final masterpiece (in this reviewer's opinion) is as relevant today as it has ever been. It's time we take a look at a brutal statement delivered to us in a manner that slowly works its way into our psyche and forces us to see that today's struggles are anything but new. Take a listen and let us know what you think. As always we can be reached at gondoramos@y

Fritz Lang's Metropolis In 1927 Cinema was still in its relative infancy. Nearly eleven years earlier D.W. Griffith had established the "grammar of cinema" with his epic masterpiece, The Birth of a Nation. The subsequent decade would showcase spectacles (Ben-Hur, Intolerance), comedies (The Gold Rush, The General), and dramatic classics (Sunrise: A Song of Two Humans, The Last Laugh). Cinematic Science Fiction would be attempted as early as 1902 with Melie's A Voyage to the Moon, however it would take nearly a quarter of a century for Sci-Fi to reveal its technical brilliance and possibilities with 1927s Fritz Lang masterpiece Metropolis. While an incredibly innovative, beautiful, and groundbreaking film, Lang's narrative (from a treatment and screenplay by his wife and artistic partner, Thea von Harbou), continues - or is the beginning - of the lazy and apologetic "White Savior" cinematic trope that has continued from Lawrence of Arabia thru Dances with Wolves, and most recently, Avatar and Dune. This week M

Remakes, Re-Imaginings, Expansions. In 2004 Director Jonathan Demme would explore the world of Politics, Espionage, and Cold War Brainwashing with a new and novel take on John Frankenheimer's 1962 Cold War Classic The Manchurian Candidate. Demme would expand and manipulate Richard Condon's source material (a best-selling novel from 1959),  replacing the Korean Conflict with an updated Persian Gulf - and a replacement of Soviet and Chinese Communist manipulation with International Global Corporations holding the strings. Demme's update would be both more timely, relevant, frightening, and - somehow - reveal the problems with both films (at least in the mind of one of your hosts). This week Mr. Chavez & I discuss this very important film, its predecessor and its relevance in the current global environment. We discuss great performances from Denzel Washington, Liev Schreiber, and - a criminally underused - Meryl Streep. Take a listen and decide for yourself if we are correct, misguided, missing the point, or

John Frankenheimer's The Manchurian Candidate  On this week's episode of WatchThis W/RickRamos, Mr. Chavez & I sit down to discuss a classic of Cold War, Political Cinema, John Frankenheimer's groundbreaking 1962 The Manchurian Candidate. Based on the 1959 novel by Richard Condon, Frankenheimer's film would captivate audiences with a paranoid and chilling story of American soldiers brain-washed by Soviet and North Korean intelligence agencies to act as hypnotized robots. There are aspects of the film that are certainly far-fetched, however the core of the story is very real and a credible warning in its depiction of national and international struggles for power. As always, Mr. Chavez & I look at the film in the broader context of the world it depicts. There is a great deal to discuss here as well as the comparison/contrast that we will undertake when we discuss Jonathan Demme's 2004 re-interpreation in our next episode. It's a fun and exciting talk concerning one of our favorite topics. Take a listen

Shinya Tsukamoto's Tetsuo: The Iron Man 2026 finds us digging into the Beautiful, Strange, and Challenging filmography of auteurs unafraid of being misunderstood or the offensive nature of the stories and images they deliver. It would be difficult to find a film that challenges it audience more than Shinya Tsukamoto's 1989 Cyber-Punk Classic Tetsuo: The Iron Man. There is no simple way to describe this film, except that it is an over-powering assault on the mind. What Tsukamoto achieves is unlike anything else you will find in popular cinema, but also cult cinema, midnight movies, or experimental films. A commentary on capitalism, workforce, the poor, middle, and upper classes, and - finally - the human spirit. This is an incredible film that magnifies the struggles of the human experience, doing so with a production design that leans into the limited budget available to its director. A Powerful Film, unlike anything else on celluloid, Tetsuo: The Iron Man is an incredible achievement that rewards its audienc