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Movies, Podcast

The SportsAlcohol.com Podcast: Top Summer Movies of 1992

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
Latest posts by Jesse (see all)

Summer 2022 is officially and unequivocally over. Long live summer 1992! As we continue to sweep the corners on summer movies past, we have arrived at the summer movies of 1992, which looks a hell of a lot different from 2022 or 2002. Eddie Murphy and Steve Martin haven’t yet teamed up for Bowfinger (and are both trying their hands at screwball rom-coms of sorts). Jack Ryan is only on his third actor. Tom Cruise is there, but he’s Irish. There’s just one superhero movie, and it’s way hornier than usual. And girls?!? Playing baseball??! To sort through all of this, we’ve reunited Nathaniel, Ben, Marisa, Becca, Jeremy, and Jesse to talk about our experiences (largely but not entirely facilitated by home video!) with this eclectic and occasionally maddening look at the summer movies of 1992.

If you need to catch up before checking out the latest and greatest, here’s the complete history of this project:

1990
1991
1994
1995
1996
1997
1998
1999
2000
2001
2002

We are now up to SIX (6) different ways to listen to a SportsAlcohol podcast:

Movies, Podcast

The SportsAlcohol.com MiniPodcast: Other People’s Money and Dark City

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
Latest posts by Jesse (see all)

In a follow-up to our smash hit episode unexpectedly pairing Pretty Woman with Dark City, Ben and Jesse return with another trade-off, going one year into the future of both sci-fi and business movies: Ben had never seen 1998’s Dark City. Jesse had never seen Other People’s Money. So we watched ’em both and talked about both, up to and including why each of these lesser-known works might (or might not) be superior to some similar but more popular movies like Wall Street and The Matrix.

How To Listen

We are now up to SIX (6) different ways to listen to a SportsAlcohol podcast:

Movies

WIENER-DOG inspires the bold question: Does Todd Solondz hate us?

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Jesse
Jesse
Jesse is a cofounder of SportsAlcohol.com even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.
Jesse
Latest posts by Jesse (see all)

Twenty years on, and I’m still having trouble getting a bead on Todd Solondz. Wiener-Dog is not exactly a twenty-years-later sequel to 1996’s Welcome to the Dollhouse to accompany this weekend’s twenty-years-later sequel to 1996’s Independence Day. Yet briefly, it totally is. One quarter of the movie’s dog-connected anthology follows Dawn Wiener, the awkward twelve-year-old played by Heather Matarazzo in Dollhouse, as a thirtysomething woman played by Greta Gerwig.

Close followers of Solondz’s work will not a discrepancy: We were told at the outset of his film Palindromes that Wiener gained a bunch of weight and killed herself. It was a non-grace note in a movie that wasn’t even about Dawn Wiener, but did have its main character (her cousin) played by eight different performers. Since that movie, he made one called Life During Wartime that is a direct sequel to the movie Happiness, except with every single character recast. In Dark Horse, Selma Blair quietly reprises a character she played in Storytelling who no longer looks or acts much like she did in the earlier film. The title of the Dawn-resurrecting Wiener-Dog is also the cruel nickname the character was given at school in Dollhouse, but here actually refers to an actual wiener-dog, who scampers through a series of owners, including Dawn Wiener.

So, again I ask: What the hell is going on with Todd Solondz? Does he think of his filmography as an ongoing, mutating art project, where recasting characters throws them into ever more fascinating contexts? Or do a lot of actors not want to work with him again? Does he compulsively revisit aspects of Dollhouse to tweak expectations about how his movies will compare to his still-biggest success? Or can he not leave well enough alone? And am I being a nerdy pedant for finding it kind of annoying, for not ginning up the interest to see Life During Wartime because I thought Happiness was great and had no desire to see a different rep company inhabit and sequelize those roles?
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