The Director's Chair Network

In Sam Peckinpah's overlooked directorial debut The Deadly Companions (1961), Brian Keith stars as Yellowleg, a scarred ex-soldier driven by vengeance against a former comrade (Chill Wills) who tried to scalp him, only to accidentally kill the young son of a tough, ostracized dance-hall woman (Maureen O'Hara) during a botched bank robbery; wracked with guilt, he joins her perilous trek across Apache territory with two shady companions to bury the boy beside his father, exposing themes of grief, fragile morality, hypocrisy in a harsh frontier world, and the seeds of Peckinpah's signature cynicism—yet the film ultimately feels dry and emotionally flat despite strong performances and striking visuals.

In this cozy holiday episode, host Katie welcomes back regular guest Ryan Rabalkin to dive into the 1994 John Hughes-scripted remake of Miracle on 34th Street, exploring why this nineties update of the 1947 classic became its own nostalgic time capsule filled with Christmas magic. The duo opens a 1994 time capsule with top VHS rentals like Sleepless in Seattle, The Fugitive, and Forrest Gump, iconic commercials like Skittles' "Taste the Rainbow," and headline making events including the Nancy Kerrigan attack, the O.J. Simpson chase, and Kurt Cobain's death, before dissecting the film's cast, led by Richard Attenborough's heartfelt Kris Kringle, Elizabeth Perkins, Dylan McDermott, and young Mara Wilson, its philosophical courtroom drama on faith and belief, comparisons to the sharper original, romantic subplot quirks, and whether it's truly a kids' movie or an adult reflection on the spirit of Christmas.

Katie and guest Andy from The All Apologies Podcast take a nostalgic deep dive into the 1992 sequel Home Alone 2: Lost in New York, revisiting Kevin McCallister's chaotic Big Apple adventure against a vibrant early-'90s backdrop of neon windbreakers, Crystal Pepsi, and emerging boy bands. They kick off with a fun 1992 time-capsule trivia round nailing hits like Boyz II Men's "End of the Road," Sir Mix-a-Lot's "Baby Got Back," Kris Kross's "Jump," Vanessa Williams's "Save the Best for Last," and TLC's "Baby-Baby-Baby", plus iconic snacks like Lunchables, Totino's Pizza Rolls, and chewy Chips Ahoy. The duo praises the comforting John Williams score, standout performances from Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, and a delightfully suspicious Tim Curry, while appreciating clever plot setups that believably strand Kevin again. They critique repetitive booby traps, underused New York City locations, missed opportunities (like a toy store finale showdown), and the film's class-warfare themes that fall short on real compassion, ultimately agreeing it's enjoyable holiday comfort food but not quite as sharp as the lightning-in-a-bottle original. Wrapping up with warm holiday vibes, they celebrate the movie's charm, slapstick fun, and enduring rewatchability while teasing more John Hughes explorations.

In this candid Michael Mann season finale for a Michael Mann retrospective, Ryan and Hughezy dissect the director's 2023 biopic  Ferrari, starring Adam Driver as Enzo Ferrari, with brutal honesty, calling it dull, miscast, and a box-office disaster that lost over $50 million despite its $95 million budget, while slamming Adam Driver's performance, Shailene Woodley's bizarre accent, Penélope Cruz's over-the-top portrayal, and Mann's obsessive car nerdery that prioritized replica vehicles and technical gimmicks over compelling storytelling. They also reflect on Mann's declining legacy post Heat and Collateral, express skepticism about the upcoming Heat 2 sequel, and highlight absurd behind the scenes trivia like Mann charging fans $65 for exclusive archives access.

Join Ryan and Sicco for a passionate 40th-anniversary celebration of Paul Verhoeven’s brutal, chaotic medieval epic Flesh and Blood (1985). The two dive deep into the film’s unique place in Verhoeven’s career as the transitional work between his raw Dutch style and the hyper-stylized American films that followed, exploring its grimly realistic portrayal of medieval life, its total lack of heroes, the central role of religion and superstition, Jennifer Jason Lee’s fearless performance as the cunning noblewoman Agnes, Rutger Hauer’s frustrated attempt to play a heroic mercenary, and the chaotic, dangerous production that tested everyone involved. They also touch on the film’s influence on later works, its satirical take on the Church, and why it remains a fascinating, ahead-of-its-time cult classic despite its initial commercial disappointment.