Apocalypse Now 1979
Raftery rewatched it for the podcast and still isn't sure what to make of the last third; Vietnamese American viewers he interviewed love the film but note its Vietnamese characters are barely named.
The Big Picture · Interview · Discussion
August 4, 2023/ 87 min/ Sean Fennessey · Amanda Dobbins · Chris Ryan
Brian Raftery stops by to preview his Vietnam War movie podcast, then Chris Ryan joins Sean to trace 'garbage fish' cinema from Jaws through Meg 2.
40 films across 2 segments.
AI-generated This episode was transcribed and analyzed with AI models. The matches aren't perfect — expect the occasional misheard title or a link to the wrong film.
Brian Raftery previews 'Do We Get to Win This Time?'his new podcast on Hollywood and the Vietnam War
Raftery rewatched it for the podcast and still isn't sure what to make of the last third; Vietnamese American viewers he interviewed love the film but note its Vietnamese characters are barely named.
One of the titles Raftery says defined watching Vietnam movies as a kid, alongside Platoon.
Raftery watched it at 13, unsupervised, and says it traumatized him.
One of the films Amanda names as the obvious first-thought Vietnam movies.
Cited as one of the rare recent examples of the kind of big, ambitious war epic studios used to make constantly.
Named alongside All Quiet on the Western Front as a modern exception to the dead war-epic genre.
A Tarantino recommendation Raftery finally tracked down: three Black Vietnam vets return home to find their town infiltrated by the KKK. Raftery calls the last 10 minutes electrifying.
Eleanor Coppola's documentary of the Apocalypse Now shoot, which Raftery interviewed her for; he says he'd happily watch a 12-hour cut of the raw footage.
John Wayne's pro-war, by-the-book Vietnam movie, which Raftery says hovers over the whole podcast since it shaped how Oliver Stone and Ron Kovic saw the war growing up.
The Garbage Fish CanonChris Ryan joins Sean to define and trace the subgenre, prompted by Meg 2
The genre's founding text and, they note, an unusually rare case of a genuine classic spawning decades of imitators.
Named as a pre-Jaws predecessor of the subgenre.
Also cited as an early predecessor.
Guillermo del Toro's Oscar winner, which Chris calls a garbage fish movie underneath the prestige — a direct riff on Creature From the Black Lagoon.
Ray Milland plays a nature-hating estate owner besieged by killer frogs, with Sam Elliott, pre-mustache, as a photographer. Predates Jaws and used real frogs.
Michael Anderson's killer-whale movie with Richard Harris and Charlotte Rampling, shot with real orcas. Chris calls it the first artistically strange, upsetting post-Jaws entry.
Joe Dante's satirical entry, written by John Sayles, ahead of Dante's run into Gremlins.
James Cameron's directorial debut, which he later tried to disown. The piranha fly out of the water in this one.
Paired with Piranha as the era's low-budget gator entry.
The sequel they'll defend as genuinely good, not great, and a legitimate rewatch.
Set in a SeaWorld-style park and directed by Joe Alves, Jaws's production designer, in his only directing credit.
Ellen Brody is followed to the Bahamas by a shark that seems to remember her, with Michael Caine and Mario Van Peebles. Poster tagline: 'This time it's personal.'
George P. Cosmatos's 'Alien underwater,' with Peter Weller, Richard Crenna, and Stan Winston creature effects. Chris names it his all-time favorite of the genre.
Genetically enhanced sharks turn on a research crew hunting an Alzheimer's cure, and deliver one of the most quoted shark kills in movie history.
Steve Miner's giant-gator comedy with Bill Pullman, Bridget Fonda, and Oliver Platt.
Added to the canon mid-conversation after Chris's wife rules that a snake attacking from water counts.
Adjacent to the genre, but Chris says it plays more as a supernatural movie than a garbage fish one.
A three-actor, real-shark independent production loosely based on a true story of two divers stranded at sea.
Connected to the original mostly by title — divers can't get back onto their boat after leaving the ladder down.
Greg McLean's Australian crocodile movie with Radha Mitchell and Michael Vartan, part of what they call an Australian revolution in the genre.
A similar setup to Open Water: a capsized boat and sharks between the survivors and the shore.
Jaume Collet-Serra's film with Blake Lively stranded on a rock, part of a run of mid-budget genre hits Chris wishes studios still funded.
Alexandre Aja's hurricane-and-gators movie with Kaya Scodelario, reportedly a favorite of Quentin Tarantino's for its year.
William Eubank's Mariana Trench monster movie with Kristen Stewart, buried by a pandemic release.
Liked well enough, though the CGI shark drew complaints.
The new release that prompted this whole conversation.
Explicitly carved out of the canon as a self-aware, purposefully cheap Syfy phenomenon rather than a real garbage fish movie.
Discussed as a borderline case; Chris calls it a foot in both ponds with Godzilla, and ultimately not quite garbage fish.
Also mentioned raised along the way
In passing GodzillaPacific RimHow to Train Your DragonAlienEvent HorizonSunshineThe AbyssSharksploitationThe Deepest BreathAfter the BiteOppenheimerBarbieTheater CampThe Little MermaidAvatar: The Way of WaterCocaine BearSnakes on a PlaneJurassic ParkTigerlandThe French ConnectionEscape from New YorkAvengers: EndgameShang-Chi and the Legend of the Ten RingsThe CommuterOrphanUnknownNon-StopRun All NightJungle CruiseBlack AdamDie Hard 2CliffhangerThe Long Kiss GoodnightClose Encounters of the Third KindStarman
Not films filtered out: TV, games, ads
TV Tour of DutyAliasWandaVisionLokiSecret InvasionHijackThe Bear
Comics The Nam
Theater The Shark Is Broken
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