School of Movies

Teenage Mutant Ninja Turtles: Mutant Mayhem

[School of Movies 2026]

This is a commissioned episode for Toby Skeels-Jungius and Chris Finik. It also happens to be our second show in a row about a bunch of stunningly animated ninja teens who are taught their skills by Jackie Chan, deal with both High School and abiding Daddy issues and wind up having to defend a metropolitan city from a Kaiju attack, thus proving their worth in the process, to the people, to their immediate family, and to themselves.

Mutant Mayhem is in fact the TENTH Ninja Turtles movie, and it's up there with the very best of what has come before. On this show we recruit Willow who finally gets to talk about their favourite brothers, as we look back on creative choices of previous incarnations and what this one does to set itself apart. And while you could superficially say it has Spider-Verse animation, we hope that how we articulate the distinction gives you folks a clearer idea of what I'm terming ''Asymmetrical, Impressionist Graffiti'.

Next week we begin a month-long project focusing on movies with the theme of Artificial Intelligence.

The Lego Ninjago Movie

[School of Movies 2026]

Because literally nobody demanded it, here is our Main Event show on the third of the Warner Animation Lego quartet, making it the final one we have not spoken of up to now.

The Ninjago line began in 2011 as part of Lego's new approach at creating multimedia sub-franchises with purposefully limited lifespans. The plan was to put out a simply animated and fun kid's show which drew from Power Rangers and TMNT and tied in with a series of lavish playsets centring around this nonspecifically Asian mystical tech mythology. The plan was to close out within two years and move on to a new line called Chima about battling animal people. What they didn't expect was a passionate fanbase that pleaded with Lego to extend the show and toy line beyond Season 2.

Ninjago is still wildly popular today, but in between then and now this movie emerged, scrapping all the established continuity in order to tell a tale accessable to all... about another Lego kid with a deadbeat Business Dad. However, while it's the least of the four there is still much to like about this visually-stunning and fast-paced adventure.

Grindhouse

[School of Movies 2026]

Grindhouse is a deliberate evocation of grotty late night movies at the most questionable and sticky of back-alley theatres in the 1980s. The kind of places you go if you wish to purchase a human kidney. Robert and his frequent colaborator Quentin Tarantino remember these dives fondly and wanted to bring us that feeling with an audacious double-bill of two authentic-feeling movies, Planet Terror and Death Proof, accompanied by trailers for films that did not exist (at least at the time, three of them were made for real afterwards).

How did this bold experiment go for them? Here you can find out from a variety of angles, including a journey back to one of the first podcast episodes I ever recorded, as well as the direct response to the first time Sharon and I ever got to see the double-bill as intended and finally a culmination discussion regarding a very decisive re-edit of both films by me.

Here is a turning point in the career of Robert Rodriguez, and here is where our Director Season will close out (though we are continuing with discussions on Alita: Battle Angel, Machete and Spy Kids 4 on the patreon After School Club bonus podcast feed for everyone who throws in five bucks or more a month).

Sin City

[School of Movies 2026]

Robert Rodriguez reaches his masterpiece. This film is truly magnificent as an adaptation of cinema to the aesthetics and hallmarks of this particular pitch black graphic novel series. It seems like every element combined in swift, smooth and effortlessly striking fashion as this sleazy, stark crime opera anthology drew on every skill Robert had learned over the 90s and somehow focused all of his haphazard digital work into one infinitely sharp point. The flourishes of colour and thundering automobiles hypnotising us like deer in the darkness of a snowy woodland road.

It was also blessed with an astonishing cast; Mickey Rourke making a comeback that would lead him to The Wrestler (2008), Bruce Willis in one of his last great performances, Clive Owen at his snarling hungriest, Rosario Dawson setting the screen on fire, Benicio Del Toro as a powder-keg of entitled misogyny, Michael Clarke Duncan delivering a captivating Terminator-Bear hybrid, Rutger Hauer, Powers Booth and Nick Stahl as the most detestable richly-connected psychopath villains imaginable, and even little Elijah Wood chilling our blood by playing a sprightly cannibal who neither talks nor blinks.

Bringing in Frank Miller himself and crediting him as co-director while humbly taking the mantle of the man who ‘Shoots and Cuts’, Robert was able to make this feel extraordinary in a way its imitators, including Zack Snyder's 300 (2006) and Watchmen (2009), Frank Miller's own The Spirit (2008) and even Sin City 2: A Dame to Kill For (2014) could not possibly match.

And folks supporting us for five bucks on our Patreon bonus feed can, this coming weekend hear all about how that second film imploded.

The Faculty

[School of Movies 2026]

The Robert Rodriguez series continues. After Desperado and then From Dusk till Dawn, Robert stayed in the Horror milieu and was shunted onto the Scream bandwagon by his regrettable Dimension Films keepers, the Weinsteins.

Written by Kevin Williamson (who wrote Scream and recently directed the seventh in that undying franchise) this one brought a predatory serial killer vibe back to the high school, but with an alien infiltration plot from an earlier script.

It's amazing that this one shaped up to be as likable and memorable as it did, and we put that down to Rodriguez and his enthusiastic direction, and the truly stellar cast of talented young people, including newcomer Josh Hartnett (who had only just finished Scream-aping Halloween H20, also from Dimension Films, also with a very familiar Marco Beltrami Score) Clea DuVall (who co-starred in lesbian cult favourite 'But I'm a Cheerleader' the next year), a pre-X-Men Famke Jansen, a pre-Furious Jordana Brewster, the always-fantastic Chris McDonald and Bebe Neuwirth, a T-1000-evoking Robert Patrick, a pre-Daily Show Jon Stewart and a pre-Fellowship Elija Wood.

It's The Breakfast Club meets Invasion of the Body Snatchers, and it had all the cool kids shouting "F*ck you, t*tbags!" along with various other colourful turns of phrase in its dialogue.

From Dusk till Dawn

[School of Movies 2024]

NOTE: This episode was originally released two years prior to the Robert Rodriguez director season, in 2024's Cloon June.

This was George's first significant lead part after over a decade of sheepish appearances in shonky Z-List horror and then two years of his breakout role in E.R. as eminently desirable paediatrician Doctor Ross. This is a firestorm of a counterpoint to that gentle healer, fugitive thief Seth Gecko is a deeply angry man, though he is a charming picnic next to his monstrous brother.

This episode is also an intersection between two director-seasons we have in preparation, Robert Rodriguez and Quentin Tarantino. Rarely has a collaborative movie been made that is such an appealingly riotous showcase of the distinct styles of two auteurs, whilst being humbly grimy, memorably quotable, and so very excited just to exist.

WARNING: This movie is nasty, and we will be discussing sexual assault, extreme violence, florid language and Quentin being a weird creep.

The Mexico Trilogy

[School of Movies 2026]

Here we begin a Director Season on the films of Robert Rodriguez. This first show is kind of a roller coaster as we get to know his style, what makes Robert tick, and we chart his progress from absolute indie obscurity, making a film for almost nothing and garnering recognition on the festival circuit, charting that up through his awkward TV movie pitstop, until he hit actual popularity with genuine audiences with a sequel that is also a remake, and just happens to star Antonio Banderas and Salma Hayek at the peak of their sizzling onscreen sexiness.

After this came his collaboration with Quentin Tarantino, Four Rooms, From Dusk till Dawn and then the neo teen-Horror wave of the late 90s with The Faculty (coming next week). After this he began his slew of Spy Kids films, which appealed to a completely different audience.

But we conclude with the third and final part of what became his "Mexico Trilogy", when Robert charged in on the wave of new film tech, both shooting and editing digitally. His career would change irrevocably at this point.

1. El Mariachi (1992) + Road Racers (1994)

2. Desperado (1995)

3. Once Upon a Time in Mexico (2003)

Parenthood

[School of Movies 2026]

A surprisingly personal and tender show, dealing with some difficult subject matter comes out of this criminally forgotten 1989 Ron Howard family comedy drama.

It was a staple of my childhood and looking back, it seems like I took on board a great deal of the life lessons experienced by the amazing ensemble cast of the Buckman Megafamily, which include Steve Martin, Mary Steenburgen, Diane Wiest, Rick Moranis, Harleyy Kozak, Tom Hulce, Martha Plimpton, Jason Robards and stellar performances from both a young Keanu Reeves and Joaquin Phoenix.

Whether you're a parent yourself or not, you had someone appointed with the task of looking after you when you were a child, and whether they did a good, bad or mixed bag of a job, chances are you're going to find something in here to relate to. Definitely one to listen to when you can give it time to absorb, and my god, watch this movie!

X-Men '97 (Season 1)

[School of Everything Else 2026]

This is the best thing Marvel have ever made out of X-Men. That is not hyperbole. Stack up every comic, every animated series, every video game and every movie, and only a handful even come close to this level of both crafted quality and ferocious realisation of evolved central themes.

The original X-Men '92 show ran all the way up to September 1997 with the 76th episode "Graduation Day". The show had suddenly plummeted in quality after a really solid first four seasons when the budget was slashed and the animation switched to the lowest bidder studio possible. Marvel were broke and this was a sorry end to their flagship animated series which in the 90s was really only rivalled by Batman and Radioactive Spider-Man in terms of cultural footprint. That theme song lives in our head rent-free and the MCU have been teasing us with the jingle for years now.

However, this follow-up series that requires no prior knowledge to appreciate, hit the ground sprinting with a voice cast that were a mix of the familiar and powerful new performers, stunning hand-drawn animation and an uncompromising, fearless confrontation of the world that hates and fears mutants, holding up a black mirror to our own.

Guest:

Chris Finik @finmonster09

Dispatch

[School of Everything Else 2026]

This is a commissioned episode for Chris Finik, and Alejandra Vargas (both of whom guest on this show) as well as Sarah Montgomery and Self.

The remnants of the shattered team at Telltale, seminal adventure game developers of the 2000s and 2010s return as AdHoc Studio with one of the very best of its type. The premise is simple enough, almost rote by today's standards; In a world of superpowered criminals private security firm SDN send out problem-solving metahumans. The A-Team are all Avengers-Level heroes that America can be proud of, but we don't get to interact with them.

Instead, we as the weary Robert Robertson III, last in his family to wear the Mecha Man suit, have been tasked with coordinating the Z-Team, a bunch of grumpy, rude losers circling the drain and all on the cusp of being fired.

What we do and say as Robert, the people we grow closer with, and the jobs we send them out to do will be the difference between a complete disaster and perhaps a group of friends who do something right for once in their wretched lives.

It's fantastic!

Guests:

Alejandra Vargas

Chris Finik