FMP Ep. 031 – ‘The Descendants’ / ‘Page One: Inside the New York Times’

With stomachs full of Thanksgiving feast, Alex and Phil sit down to talk about another type of family gathering – the type assembled in Alexander Payne’s film The Descendants. We also discuss last week’s poll about Clint Eastwood movies and propose a new poll about the films of Alexander Payne. We finish with a review of the documentary Page One: Inside the New York Times.

Show Schedule:

  • 00:32 – 02:29 – Introduction
  • 02:29 – 37:28 – Review of The Descendants
  • 38:36 – 44:21 – Clint Eastwood Movie Poll and Question of the Week
  • 45:15 – 1:01:39 – Review of Page One: Inside the New York Times
  • 1:02:36 – 1:06:45 – Recommendations and Contact Information


  • Music for Episode 31 was by Edith Piaf.
  • Tracks included “La Foule” and “Mon Dieu.”

Show Notes:

  • We would love you to review us on iTunes.
  • We need you to “Like” our Facebook page and tell all your friends to do so as well. Every additional 50 “Likes” we receive, we will select one listener to choose a movie for us to review.

Question of the Week:

Next Week:

  • We will be reviewing the new films Hugo and The Muppets.
  • We will also be talking about our favorite movies from our childhoods.

Contact Us:

Subscribe in iTunes | Subscribe to Feedburner

, , , , , , , , , ,

  • i am obsessed with Sideways :) love it

  • Eric M

    I appreciate every single criticism of mine being used in the podcast, but next time you can introduce me by my name, rather than Phil’s. I can’t say that I disliked the film at all, but I felt unengaged with the the opening and closing thirds of the movie.

    It was a little hard to follow your thoughts about the different plot-endings, as clearly you don’t want to spoil the movie, but can you elaborate on what you thought of how the land grant was handled? Phil said he could tell the plot was headed in a certain direction, but while it goes that way for the whole movie, the ending is suddenly something completely different. They missed an opportunity to give closure to a deeply invested story, and replaced with with something completely undeveloped. Why reveal the turmoil that surely was within Clooney’s character (regarding the land grant decision) if you’re not going to use it?

    Comparatively, the final hospital scene worked in every aspect for me. Clooney certainly doesn’t act in the way we would expect him to under the circumstances, but we are given enough to speculate what would lead him to that point. The emotions of the movie never settled into a steady rhythm, making me glad to have seen this on a Friday night in Minneapolis (as opposed to a matinee at a small, local theater), as I had to rely on the audience to tell me if we were supposed to laugh or feel sympathy in certain scenes(i.e. Clooney’s heart-to-heart with Sid).

Privacy Polcy | Contact Us