Jazmyne Moreno of The Austin Film Society joins the podcast to celebrate “Foxfire” from 1996. Based upon a Joyce Carol Oates novel the film introduced the world to the overwhelming charisma of Angelina Jolie.

“In The Cut” is the most maligned film from this year’s Oscar darling Campion. A dreamy paranoid feminist subversion of the erotic crime thriller full of edgy unique performances from all its stars.

“Good Luck, Miss Wyckoff” is one of only two films produced from Polly Platt screenplays. The other was “Pretty Baby”. These two films give a hint of a cinematic voice drawn to explore the dangerous and misunderstood aspects of womens’ sexuality.

The first feature from Wendell B. Harris Jr. (Chameleon Street) won the grand jury prize at Sundance in 1990. He has yet to be given the opportunity to make a follow-up. In this epic interview Harris shares the lessons gleaned from a life inside and outside of Hollywood, from his meetings with legends like Orson Welles and Chester Himes, to the project he has been working on since “Chameleon Street”, a documentary called “Yeshua vs. Frankenstein In 3D/G-Speak”.

“Cosmic Slop” from 1994 is a short-lived and difficult to find Twilight Zone style anthology series from HBO and the Hudlin brothers.

“Residue” is a film about a man who returns to his DC neighborhood in search of his childhood friends. What he finds are memories of a place that has been gentrified beyond recognition.

Professor Skinner Myers (the director of “The Sleeping Negro”) returns to The World Is Wrong podcast to take us to school on the topic of Black Cinema.

Gus Van Sant’s adaptation of Tom Robbins’ “Even Cowgirls Get The Blues” is generally regarded as a failure, an opinion Andras (who has read most of Robbin’s books) shares. Bryan (who has not read the book) loves this film, which leads to a conversation about the responsibility (or lack thereof) directors have to their source material.

“The Hot Spot” is Dennis Hopper’s interpretation of a 1962 noir written for Robert Mitchum by Charles Williams based upon his novel “Hell Hath No Fury” and, amazingly, this 1990 version starring Don Johnson and Virginia Madsen is probably better than the original could ever have been.

Andras & Bryan attempt to unravel the symptoms of wrongness particularly when artists become the targets of campaigns that mask deeper and more complicated agendas.

JON RONSON co-wrote the screenplays for “Frank” & “Okja” and he enjoyed our coverage of those films enough to join us for a conversation about them, as well as about a film he thinks the world is wrong about, “Pride” from 2014.

In 1992 Ben Stiller, along with Janeane Garofolo, Bob Odenkirk, Andy Dick, Dana Gould, John F. O Donoghue, Dino Stamatopoulos & Judd Apatow initiated the acerbic meta-comedy of the 90’s with “The Ben Stiller Show” for which they were rewarded with an Emmy AFTER they were cancelled by Fox.

How do you make a movie steeped in 80’s nostalgia without having it be a major Spielberg-fest? You get Spielberg to direct it!

In 2004 Spielberg and Hanks teamed up for “The Terminal” a film that lives up to its name if not its reputation. AJ Gonzalez of The Director’s Wall joins the podcast to discuss.

Jurassic Park 3 is perhaps the least loved of the series. Bethany Watson of The Acquired Taste podcast joins us to make the case for this Joe Johnston, Alexander Payne dino-comedy.

Director Paul Williams joins the podcast to discuss “Don Juan DeMarco” a film in which Johnny Depp and Marlon Brando explore the nature of sanity and reality in this mature and endearing mid-90’s sex comedy.

William Richert’s adaptation of Richard Condon’s assassination novel is the star-studded pinnacle of 1970’s paranoid cinema crossed with a very dark and dry and dirty comedy.

Yes, there is a new Dune, but it doesn’t mean we have to throw the old one down the toilet.

“State Of Grace” is the film that should have ensured the whole world learned how to pronounce Phil Joanou’s last name. For reasons we will explore with guest co-host Zack Carlson…it didn’t work out that way.

Henry Bean, the writer/director of “The Believer” which is based upon the true story of a New York Jew who became a Long Island Nazi and killed himself after being outed by the New York Times…insists his film is a comedy. Bean (and producer Christopher Roberts) join the podcast to unpack the film which launched Ryan Gosling’s film career.