Movie Wars

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Movie Wars goes solo on the American Psycho remake: a thought piece on the Luca Guadagnino version, the casting, and the near-impossible job of putting Bret Easton Ellis on screen honestly.
Kyle has read American Psycho twice, counts Ellis among his favorite authors, and still thinks Mary Harron's 2000 film might be the rare adaptation that improves on the book, mostly by finding the comedy and fighting for Christian Bale when nobody else wanted him. So the new version has a strange job in front of it. Luca Guadagnino is directing, Scott Z. Burns is writing, Lionsgate is behind it, and the word out of the production is that it will not be a remake, reboot, or sequel, but its own more erotic and more faithful reading of the source material. That raises the question this episode circles: how do you honestly adapt one of the most brutal, most interior novels ever published without either mortifying the audience or sanding off everything that made it dangerous? Kyle works through the casting churn (Austin Butler attached and then loosened, Patrick Schwarzenegger floated, and why following Bale is a poisoned chalice), the gender-swap rumor that got denied, why the yuppie and unguarded-capitalism themes may hit harder in 2026, and what transgressive fiction and cold surfaces mean for whether a plotless trip through Patrick Bateman's head can carry a movie. No spoilers for the book's ending, though he warns you it is nothing like the film's.

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KEYWORDS: American Psycho, American Psycho remake, Luca Guadagnino, Bret Easton Ellis, Patrick Bateman, movie podcast, film analysis, movie review podcast
#AmericanPsycho #MovieWars #LucaGuadagnino #FilmPodcast

Luca Guadagnino, Scott Z. Burns, Lionsgate, Austin Butler, Patrick Schwarzenegger, Bret Easton Ellis, Mary Harron

Tom Cruise. Brad Pitt. Matt Damon. Ben Affleck. They all passed. So we got Brendan Fraser and his perfect bangs, and somehow it made $400 million.
This week Kyle and Seth bring back comedian Dustin Chaffin for a second round — and yes, they were already laughing before they hit record. The topic is The Mummy (1999), a movie that Roger Ebert himself said he couldn't defend on a single technical level and still couldn't stop enjoying. That about sums up the energy of this episode.
We get into why Brendan Fraser plays every scene — the smart ones, the scary ones, the romantic ones — with the exact same expression, what it means that 0% of this movie was filmed in Egypt, and why the cat scene breaks the whole internal logic of the film. We also cover the genuinely wild production history: Clive Barker, George Romero, and Wes Anderson were all attached at various points, the Super Bowl ad that saved the box office, and the fact that Fraser spent seven years in and out of hospitals after the trilogy destroyed his body. Tom Cruise would've walked it off.
Also: living in your car as a touring comedian, cruise ship audiences choosing between comedy and Harry Potter trivia, and one nighter and a Camry as a legitimate lifestyle.
New episodes every week. Subscribe so you don't miss the next one — and if you're enjoying Movie Wars, leave us a review. It genuinely helps.

Marianna's favorite horror movie. Kyle and Seth's most complicated relationship with a film this year. Cabin in the Woods doesn't fit neatly into any box — and that's exactly the point.
This week we're digging into Drew Goddard and Joss Whedon's 2012 genre-bending masterpiece, a movie that somehow functions as a straight-up horror film, a loving send-up of every horror cliché you've ever seen, and a genuinely sharp piece of social commentary — all at the same time. We debate whether it actually works as horror, why the corporate facility subplot might be the most interesting thing in the movie, and what it means that ancient gods demanding blood sacrifice is played for laughs and it works.
We also get into the production chaos — this thing sat on a shelf for three years and still landed — and why Bradley Whitford might be low-key the MVP of the whole thing.
Fair warning: this one gets a little philosophical. When a movie is about horror more than it is horror, where does that leave you as a viewer? We have thoughts. Lots of them.
New episodes every week. Subscribe so you don't miss the next one — and if you're enjoying Movie Wars, leave us a review. It genuinely helps.

Quote me on this: The Naked Gun is the greatest comedy film ever made. I've been saying it for years and I'm saying it again on this episode — and I dare anyone to prove me otherwise.
Kyle, Seth, and Marianna break down the 1988 ZAZ masterpiece that somehow came from a TV show that got cancelled after four episodes, built a legacy on dramatic actors who'd never told a joke in their lives, and produced a movie that is still zinging people decades later. Every single line is a joke. Every credit is a gag. Every prop is a setup. It never lost its fastball.
We get into what made Leslie Nielsen a comedic genius — and why it took 40 years for Hollywood to figure that out. We cover the casting philosophy (no comedy experience required, in fact preferred), the behind-the-scenes chaos of trying to keep a straight face for 40+ takes, and the wild fact that the MLB actively pushed the Mariners specifically because they were, quote, "a really weak franchise." We also talk OJ — because you can't do this movie without talking OJ — and land somewhere honest on the question of separating art from the guy who almost didn't make it to filming the sequels.
Plus: Leslie Nielsen's fart machine. His funeral. His casket. You'll understand when you get there.
The War Zone verdict at the end is pretty unanimous — which almost never happens — and if you've never seen this movie, fix that before you listen.

Thirty years later and Muppet Treasure Island still does not get the respect it deserves. In this episode we go deep on one of the most slept-on films in the entire Muppet catalog, and make the case that it is not just a great Muppet movie but a legitimately great movie, full stop. We talk about Tim Curry doing what Tim Curry does best, which is walk into a movie and immediately become the most chaotic and magnetic thing in it. Long John Silver might be his most unhinged performance and we mean that as the highest possible compliment. We also get into what the Muppets actually are at their core, why Jim Henson's legacy still shapes everything they touch, and how Brian Henson pulled off a film that works for a six-year-old and a thirty-five-year-old sitting in the same room.
Here is the thing nobody talks about with this movie: they were shooting it with an unfinished script. The whole production was a controlled improvisation, and somehow that chaos is exactly what makes it feel alive. The energy between Tim Curry and the Muppets is not manufactured, it is real, and you can feel it in every scene. We break down how that spontaneity shaped the final product, why the Hans Zimmer score hits harder than anyone gives it credit for, and why the Muppets doing classic literature is a formula that absolutely needs to come back. This one is a love letter to a film that earned it.
Takeaways:
Tim Curry's Long John Silver is his most unhinged and purely enjoyable performance on film, and we are prepared to die on that hill
The Muppets treating themselves as serious dramatic actors is not a bit, it is the whole philosophy, and it is why the comedy actually lands
The script was not finished when they started shooting, and the improvised chaos that resulted is a feature, not a bug
The Muppets doing classic literature is one of the best creative frameworks they have ever had and someone needs to bring it back
Hans Zimmer scored this film early in his career and it absolutely slaps in ways people never notice until you point it out
At its core this movie is funny, it is adventurous, and it genuinely has heart, which is the Muppet formula and it works every single time

Tags: Muppet Treasure Island, Tim Curry performance, Muppets movie history, film adaptation comedy, Muppet film analysis, Tim Curry Muppet role, Muppet character dynamics, Muppet humor style, Brian Henson directing, underrated Muppet movies, Muppet movie nostalgia, film composition Hans Zimmer, Muppet Treasure Island review, Muppet movie legacy, classic literature adaptations, comedic puppetry techniques, Muppet character interactions, film production challenges, Muppet film trivia, Tim Curry acting style