Time Sensitive

This week, to close our 8th Annual Freaky Film Festival, we profile another classic Hollywood horror franchise. One that begs you not to go to sleep.

In 1954, Jack Finney published a science-fiction story about ordinary Americans being replaced by emotionless duplicates. At a time when cinematic aliens were mostly schlocky monsters or atomic mutations, Finney’s threat was more realistic and more insidious.

These invaders looked like us, sounded like us, and had a seemingly reasonable modus operandi—“Love, desire, ambition, faith, without them, life’s so simple,”—advocating a new world order, free of pain and suffering. Seventy years, four film adaptations, several TV series, and a viral meme later, Invasion of the Body Snatchers remains one of the most revealing mirrors of American cultural anxiety. That history is the focus of this episode.

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This week, we double dip from two filmmakers already profiled on this season of Time Sensitive. How about a uniquely haunting ghost story told from the ghost’s first-person POV? It’s Presence, the experimental horror thriller with a big twist ending, directed by Steven Soderbergh. To accurately set expectations, the film’s screenwriter, David Koepp, says this: “This is not a scary movie; it’s an eerie movie, filled with dread, and it’s quite unsettling, a really intense experience. The last 15 minutes are hard for me. In some of the screenings, I leave early because I just don’t want to go through that every time.”

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This week, it’s a supernatural thriller told almost entirely from the perspective of a dog who senses something sinister lurking in his owner's home. It’s Good Boy directed by Ben Leonberg.

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We are thrilled to kick off our eighth annual Freaky Film Festival! Throughout the month of October, Time Sensitive will be devoted to blood, guts, and the BEST classic and under-the-radar horror films.

Last night at 2:17am, every child from Mrs. Gandy's class woke up, got out of bed, walked downstairs, opened the front door, walked across the front yard and into the dark… and they never came back. It’s Zach Cregger’s grotesque fairy tale Weapons.

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This week, we open up the Vault again and travel back 20 years. What happens to a society when it can no longer imagine a future? What happens to a world without hope? In the qualified hands of a future 4x Oscar winner, you get an overlooked masterpiece. It’s Alfonso Cuarón’s Children of Men.

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From the canals of Venice to the shores of Lake Ontario, Sam and I will tell you exactly what you need to know from the 2026 Venice and Toronto International Film Festivals, and how they are shaping the 2027 Oscar race.

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This week, a gambling-addiction story, a fugitive thriller, a ghost story, and a dark comedy bleed into one another. Will the gambler finally beat the game? Or does winning mean walking away? It’s Edward Berger’s Ballad of a Small Player.

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This week, we are excited to host our annual Comic Timing episode, where we give the full Time Sensitive treatment to a standout comedy special from the last year. Our subject for this episode: Pete Holmes’ Silly Silly Fun Boy.

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This week, it’s time to set the record straight. In an industry propelled by Tik Tok soundbites, streams, and trends, writing a hit song isn’t easy. This one’s for the unsung heroes: the songwriters. It’s the newest movie musical from Irish filmmaker John Carney—Power Ballad.

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This week, we’re biting into Meredith Alloway’s debut feature, Forbidden Fruits. Dripping with biblical temptation, sisterhood, glitter, witchcraft, Lizzie McGuire references, and just enough venom, see what happens when the coven turns on itself.

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This week, love and espionage go hand in hand. They say it takes a spy to hunt a spy, but what happens when loyalty to country challenges loyalty to your spouse? It’s Steven Soderbergh’s Black Bag.

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This week we are giving you a real pick-me-up. What happens when a single, empty nester reluctantly befriends her daughter’s ex-boyfriend? It’s a multi-generational, platonic love story. This movie is genuine joy, a convergence of life transitions, and it will leave you with misty eyes and a huge smile. It’s Dane Clark and Linsey Stewart’s Suze.

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In this episode, we're taking a look at A24's current 2026 theatrical slate. We'll discuss the films that have already been released, preview what's still to come, and speculate about which titles have the best chance of becoming critical favorites, commercial successes, or major awards contenders.

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This week, Sam and Ian return to prison, well, the prison drama. We’ve discussed prison films before with a Vault review of 1974’s The Longest Yard and its remake, but this week is a bit harder. The Shawshank Redemption, Escape from Alcatraz, Sing Sing, Chicago, and Dead Man Walking have all shaped our outsider perspective on the inside. But the harsh reality is more than Rita Hayworth posters, daring escapes, Shakespearian plays, lavish musical fantasies, and gridiron football. It’s gritty, brutal, and unrelenting. And what better way to capture that than with contraband cellphone video from the prisoners themselves? It’s Wasteman directed by Cal McMow.

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This week, we relive my tortuous middle school existence with a psychological thriller about bullying. ELLE magazine calls it a disturbing probe into the existential dreads of male adolescence. I call it an aquatic adaptation of Lord of the Flies. Inspired by Full Metal Jacket and The Shining, it’s The Plague, written and directed by Charlie Polinger.

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This week we're pulling back the curtain on one of Hollywood's most misunderstood subjects: film financing. Where does all that money come from? Who gets paid first? Why are movie stars earning $20 million upfront while some actors work for union minimums? And why does a movie's box office total tell only a fraction of the story?

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Relationships are messy, and this week, we profile a chaotic, modern farce that puts the ‘screw’ into screwball—a movie that finds absurdist comedy in the hypocrisies, jealousies, and self-deceptions of ethical non monogamy complete with plenty of hanging hog. It’s a satire of modern love with old school comedy techniques. It’s Michael Angelo Covino’s Splitsville.

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Sam and I actually recorded this episode seventeen years ago, and we will add newly recorded segments throughout. This week is the best of all worlds: music, the internet, television, and film. It’s a mockumentary that blends This Is Spinal Tap and Back to the Future. It’s Matt Johnson’s Nirvanna the Band the Show the Movie.

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This week we look back at the incredible career of one of Hollywood’s most celebrated filmmakers. A guy who directed one of the greatest coming-of-age films ever made, one of the greatest romantic comedies ever made, one of the greatest mockumentaries ever made, one of the greatest courtroom dramas ever made, and one of the greatest psychological thrillers ever made. And he never won an Academy Award. We are talking about Rob Reiner.

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Live, die, repeat. According to Decider’s John Serba, “It’s 2054, and human cloning is a thing now. Not a legal thing, mind you, and that’s why icky politicians are doing the offshore-account thing and hauling their human-generating 3D printers into outer space to colonize other planets since—big shocker here—Earth is increasingly uninhabitable.” They say cats have nine lives, but Robert Pattinson has 18. It’s the latest wakadoo spectacle from master director Bong Joon ho. It’s Mickey 17.

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