Brent

BlacKkKlansman · Feb 2025

"You tick the box – it’s there – but talk about it as more obligatory than impactful this time."

BlacKkKlansman · Feb 2025

"You discuss jazz, funk and modern scoring as a big part of how the film balances humour and horror."

BlacKkKlansman · Feb 2025

"You spend time talking about John David Washington and the Denzel lineage even though Denzel himself isn’t in it."

BlacKkKlansman · Feb 2025

"You don’t tie this particular film to Public Enemy – the musical palette sits elsewhere in Black music history."

Bamboozled · Feb 2025

"You tick Bamboozled off in the double-dolly tally and use it as proof of the running gag."

Bamboozled · Feb 2025

"You mention the music repeatedly – from satirical numbers to underlying grooves – as part of the assault."

Bamboozled · Feb 2025

"You reference Denzel as part of the overall Spike run, but he’s not in this film."

Bamboozled · Feb 2025

"You focus on the in-film performances and satirical songs more than any specific Public Enemy track."

Malcolm X · Feb 2025

"You tick this box here as part of the shared Spike visual language across the run."

Malcolm X · Feb 2025

"You call out the score and period music as part of Spike and Terrence Blanchard’s ongoing collaboration."

Malcolm X · Feb 2025

"You celebrate Denzel’s performance as definitive Malcolm, anchoring the whole film."

Malcolm X · Feb 2025

"You don’t tie MX to Public Enemy specifically – the musical identity is more big-band, jazz and spiritual."

Do The Right Thing · Feb 2025

"You treat DTRT as the reference point for the Spike double-dolly that keeps popping up across his films."

Do The Right Thing · Feb 2025

"You highlight the soundtrack as a core part of the film’s identity, especially how it blends jazz with hip-hop."

Do The Right Thing · Feb 2025

"You mention Denzel in the broader Spike run but he’s not actually in this film."

Do The Right Thing · Feb 2025

"You talk about “Fight the Power” not just as a licensed song but something Spike built directly into the film’s DNA."

Killers of the Flower Moon · Feb 2024

"New York barely figures; this is firmly rooted in Oklahoma and Osage Nation country."

Killers of the Flower Moon · Feb 2024

"You compare it to old-school western epics and classic true-crime dramas, just with a modern lens."

Killers of the Flower Moon · Feb 2024

"You repeatedly mention the real Osage murders and how closely the film cleaves to documented history."

Killers of the Flower Moon · Feb 2024

"You group it with The Irishman as a proper ‘long ass movie’ that asks for a full-evening commitment."

Killers of the Flower Moon · Feb 2024

"You treat it as true-crime and conspiracy more than a traditional mob or gangster movie."

The Irishman · Feb 2024

"It’s East Coast through and through, but spreads across multiple states and decades more than one city."

The Irishman · Feb 2024

"You call it a late-career summation and throwback to his own mob films and to classic crime epics."

The Irishman · Feb 2024

"You mention the real Hoffa, Teamsters and Sheeran’s claims even if you’re sceptical of the truth of it all."

The Irishman · Feb 2024

"You joke about needing an intermission and treat its extreme runtime as part of the whole experience."

The Irishman · Feb 2024

"You see it as a crime saga but with the swagger drained out, leaving the long, lonely consequences."

The Aviator · Feb 2024

"New York appears as part of Hughes’s world, but you don’t treat it as the core ‘New York movie’ vibe."

The Aviator · Feb 2024

"You lean into how much it feels like an old-Hollywood throwback biopic in style and setting."

The Aviator · Feb 2024

"You explicitly frame it as a big, glossy retelling of Howard Hughes’s real life and obsessions."

The Aviator · Feb 2024

"You side-eye the runtime but say it mostly earns the length because of the decades it spans."

The Aviator · Feb 2024

"You treat it as a biopic about obsession and industry, not as any kind of gangster picture."

Goodfellas · Feb 2024

"You talk about this as peak ‘New York crime’ energy, from neighbourhood streets to clubs and diners."

Goodfellas · Feb 2024

"You treat it as the defining modern gangster throwback, whose DNA you see in tons of later films and TV."

Goodfellas · Feb 2024

"You note it’s based on Henry Hill’s real life and the Wiseguy book, even if he bigs himself up."

Goodfellas · Feb 2024

"You joke it qualifies as a long-ass movie, but say it only really drags after Tommy’s death."

Goodfellas · Feb 2024

"You call it “the most gangster drama there is” and compare it to Scarface and The Godfather run."

King of Comedy · Feb 2024

"You call out the grimy New York underbelly around TV studios and the street-level fan chaos."

King of Comedy · Feb 2024

"Feels ahead of its time but you note how it now plays like a throwback to early 80s media culture."

King of Comedy · Feb 2024

"You treat it as heightened fiction rather than a direct retelling of any specific incident."

King of Comedy · Feb 2024

"You’re relieved this one isn’t a long Scorsese slog and say the runtime feels tight."

King of Comedy · Feb 2024

"You joke it technically becomes a crime movie once the kidnapping happens, but not a gangster story."

Django Unchained – Nuts & Schultz · Feb 2022

"Oti says the whole movie is about racism so the n-word is expected for the period; KT called a nondescript townsman saying it before he did, and notes Christoph Waltz says it with an 'a'."

Inglourious Basterds – Miniature Strudel · Feb 2022

"KT hears the n-word when the French characters talk, subtitled as 'Negro', while Oti missed it; you agree it made sense in that scene, unlike the car talk in Reservoir Dogs."

Kill Bill – All Bride Out · Feb 2022

"KT says Brent's theme isn't relevant here: as far as you could tell the n-word isn't used, which she notes some might say fits the lack of black characters."

Jackie Brown – Top Grier · Feb 2022

"KT notes the n-word barely matters this time: only Ordell uses it, where white characters like Michael Keaton's could have and didn't; Oti calls it proper usage for Ordell."

Pulp Fiction – Big Gimpin’ · Feb 2022

"You hear it dropped plenty, mostly by Tarantino's own character with the hard R, about six times in one rant. Oti says hearing it in front of Samuel L. Jackson made him more uncomfortable, not less."

Reservoir Dogs – Just the Tip · Feb 2022

"You read Brent's story of his grandmother walking out; Oti says the word lands differently for an African but Tarantino uses it far too easily, and KT says it had no place here."