Hey all, here’s another episode of The DCOM Team, a podcast hosted by myself and my friend Bobby where we discuss Disney Channel Original Movies. This episode is the second part of the episode we did celebrating Shia LaBeouf’s birthday, as we covered The Even Stevens Movie on the first half (which can be found here), and now it’s time for Tru Confessions. It’s taken me a bit longer than I hoped to get this up, but here it is (finally).
This episode does come with a spoiler warning as we discuss everything from the performances to the story and how certain characters are portrayed, and how some don’t fit into the narrative as well as others. Since this is one of the few more serious Disney Channel Original Movies, some of the discussion gets serious, too!
A few more notes. As you can see by the featured image of the article, for our fourth episode we are unveiling a logo for the podcast so big shout-out to my friend Harrison. The next episode I’ll be posting will be a discussion of Kim Possible: So the Drama and the 2019 live-action remake, Kim Possible. That episode was recorded before the Shia LaBeouf episode, so if you hear Kim Possible referenced in this episode, that’s why. Also, if you listen to the podcast and have any feedback, feel free to comment below or e-mail at danielprinn@msn.com. As always, you can download the podcast here.
Directed by: Ron Clements, John Musker. Starring: Anika Noni Rose, Bruno Campos, Keith David. Released: December 11, 2009. Runtime: 1h 37 min.
There are so many Disney films I still haven’t seen and 2009’s The Princess and the Frog was near the top of the list. The story follows a waitress named Tiana (Anika Noni Rose) who dreams of opening a restaurant. A wrench is thrown in that plan Prince Naveen (Bruno Campos) of Maldonia comes to visit and he crosses paths with the villainous Shadow Man, Dr. Facilier (Keith David) and gets turned into a frog. Mistaking Tiana for a princess, Prince Naveen kisses Tiana hoping to be turned back into a human – but Tiana herself gets turned into a frog and they take an adventure through the bayous of New Orleans.
My favourite aspect of The Princess of the Frog is just the culture of New Orleans and how filmmaking team Ron Clements and John Musker incorporate the popular elements of the city. The film takes place during Mardi Gras and the main dish of the restaurant Tiana wants to open – called Tiana’s Place – is gumbo. The main villain of the film, the Shadow Man, also uses voodoo and he is a great villain. Keith David’s performance is fantastic and his “Friends on the Other Side” song has to be one of my favourite villain songs. These friends from the underworld make for some creepy scenes, too, and look visually great.
Of course, jazz is heavily infused into the music throughout. This is especially the case with a friendly alligator Tiana and Prince Naveen meet called Louis (Michael-Leon Wooley) whose dream is to play the trumpet with the boys, but everyone runs in fear because, well, he’s a giant alligator. Cajun music is also infused in the tune “Gonna Take You There” when our characters meet one of the main comic relief sidekicks, a firefly called Ray (Jim Cummings). As for the music itself, I don’t think it’s as memorable or catchy as some other songs of the last couple years – especially Frozen or even Clements and Musker’s 2016 film Moana – but they make great listening while watching the film. The only one in the actual film I think I’d ever hum is Tiana’s “Almost There” song. Though, I never realized Ne-Yo’s “Never Knew I Needed” was from this soundtrack and that was one song I would always listen to like 10 years ago.
That main theme plays a huge part in the film as the film is all about following your dreams and thinking you know what you need, but finding what you actually need along the way. The film also has a strong message of working hard to get what you need throughout. This all happens organically through Tiana and Naveen’s relationship, and their chemistry is great. Anika Noni Rose has a really nice singing voice as Tiana, and her voice acting is great, too.
I liked their story, though I think I got more enjoyment throughout the film from the comedy from the sidekick animals Louis and Ray. As for the animation, I liked the classic look of the film and the character designs, especially the look of the villain Facilier. I think the story feels like standard Disney but it’s memorable because of all the visuals and the very New Orleans elements at play. There’s also a hopeless romantic vibe to this, too, especially as Ray – who is voiced so well by Jim Cummings – thinks his girlfriend is a star in the sky called Evangeline. It’s a bit silly at first, but it turns out quite lovely.
I’m back with a new episode of my Disney Channel Original Movie podcast with my friend Bobby newly named The DCOM Team (changed from Popcorn Flicks). I’m going to try to post these episodes every couple of weeks or so, but it’s been more like a month between episodes to start… Anyway, on this episode we review The Even Stevens Movie because today is Shia LaBeouf’s birthday.
Also, we were originally going to have discussions of The Even Stevens Movie and one of his other DCOM’s, Tru Confessions, on the same episode but both conversations were long enough on their own so I’m just separating the episodes. To let you know, as well, there will be spoilers!
I’ve added the podcast to the bottom, and to download it, just go here.
I’ve heard that sometimes, a long wait is good for anticipation. But sometimes, there’s too long of a wait. And with the second episode of my Disney Channel Original Movie podcast, Popcorn Flicks, the wait was definitely too long, as I posted the first episode on March 17th. The first episode can be found here, and like I said there, I run the podcast with my friend Bobby Strate, who I met through the scriptwriting program we attended in Algonquin College in Ottawa.
Part of the reason why it’s taken so long to get this out is because we ended up having to re-record it because the first time we recorded it was just too rough. Since we care about the listeners, we wanted to record it again. On the second episode we review the 2003 Disney Channel Original Movie, “You Wish!” because, like the last film, there’s also a lucky coin in this one.
Luckily, we also enjoyed this film more than the last one. We discuss almost everything about this one so of course there will spoilers. I’d love to hear feedback so you can either leave a comment or e-mail me at danielprinn@msn.com. I also don’t have a logo yet but we have a little theme song. There’s still a little vulgarity but it’s not as bad as the first episode and again, this isn’t sponsored by or affiliated with Disney in any way. Also, for the next episode there will be a podcast name change and I hope to have the third episode up in a week or so! Thanks for listening.
I’ve added the audio podcast to the post itself, and to download it, just go here and click the three dots and that it will give the option to download it. (By the way, I don’t mean to condescend by explaining how to download it, just thought I’d include those instructions in case.)
Instead of a regular review today, I thought I’d compile a couple of different reviews that I’ve written for The Movie Buff, which has a new theme going which looks really awesome. The reviews include a pair of new releases – Ford v Ferrari and Last Christmas – as well as four reviews I did for the site’s Mob Movie March, which they run every year. Anyway, here are snippets from the reviews and links to where you can read them.
Ford v Ferrari – “The highs and lows of the film are amazing and this is my favourite sports film of the year, and one of my favourites of the year in general. It’s not a traditional sports movie, but I would classify it as one just because it’s so inspiring and the competition is so exciting. It has also has two key races where both have high stakes and feel rewarding in some way.” Read the review here, and I gave this one an A+
The Christmas film based on Wham!‘s song of the same name, Last Christmas – “I know sappy romance is predictable but I was frustrated with its mediocrity. The good scenes come at the wrong time, as Clarke’s rendition of “Last Christmas” should be a highlight, but I just wanted the film to end by that point. I also cry at every film, and this one never hooked me on an emotional level, which really tells that this doesn’t work for me.” You can read the review here. This review was also part of the site’s “Fall in Love February” marathon, which I also did as my 29 Days of Romance on my site. Thanks for the idea, Mark.
Henry Golding and Emilia Clarke in Last Christmas. (IMDb)
The first review I submitted for the site’s Mob Movie March was Angels with Dirty Faces, the film that inspired the Angels with Filthy Souls film in Home Alone. “It’s [James] Cagney’s performance that brings a lot of the charm to this film. That’s especially the case in his scenes with the ‘Dead End’ Kids and how they look up to him… I like the film’s ideas that they idolize a gangster because he just looks so cool. Jerry says he can’t teach honesty when the gangsters show dishonesty is the better policy. “A hoodlum or a gangster is looked up to with the same respect as the successful businessman or popular hero,” Jerry tells Rocky.” You can read the review here.
I reviewed the Joe Pesci “comedy” 8 Heads in a Duffel Bag. Here’s the excerpt: “At one point, I thought that the film could either be better or get even worse if the heads interacted with the characters. Late in the film, it opens that Pandora’s Box in a nightmare scenes where the heads, lined up on a motel dresser, sing a rendition of “Mr. Sandman” (just Mr. Hitman) at Tommy where their respective bodies crash through the walls and strangle Tommy. Suffice to say, the film answers my question by being a different breed of terrible.” You can read the review here.
Okay, two more reviews. I also reviewed the 2005 film The Ice Harvest with John Cusack and Billy Bob Thornton, which has been on my watchlist for awhile. “It’s foremost a mob movie but also a Christmas film by default. It doesn’t have any of the traditional Christmas cheer, but has all the cynical cheer that embodies the characters of Ebenezer Scrooge or The Grinch. This film’s mantra is a line written in Sharpie on several bathroom walls: “As Wichita Falls, so falls Wichita Falls.” A sort-of “all that could go wrong will go wrong,” or The Grinch’s equivalent of wrestling with his own-self loathing.” You can read the review here.
My last review for Mob Movie March was for the 2015 film, Legend. “I’ll just talk about the best part of “Legend” straight away—and that’s Tom Hardy’s dual performance. Watching him make these two characters feel so distinct from each other is masterclass. He completely elevates this material, and without him this would have been straight-up bad for me.” Read the review here.
I’m excited to share my first self-produced podcast for my website, called Filmcraziest Presents: Popcorn Flicks. The podcast will be a review show about Disney Channel Original Movies. I love Disney Channel Original Movies and they have a lot of nostalgia for me (I did a bunch last October during the Halloween month, so hopefully I’ll talk about all of those on the podcast in time). I’ve always wanted to start a podcast on DCOM’s and I finally tricked someone into doing it with me and that’s my good friend Bobby Strate, who I met through my scriptwriting program.
We’re two awkward guys discussing the film, so hopefully it’s entertaining. I decided to make the pilot episode the 2001 DCOM The Luck of the Irish since today is St. Patrick’s Day (I’m posting this at 9 p.m., so it’s still St. Patrick’s Day for a couple hours more).
I realized after we reviewed it that it’s probably the most offensive way you could celebrate Irish culture, and we talk about that during the podcast. We discuss its stereotypes (where all Irish people are leprechauns), its unbelievable premise and how it could be stronger with its villains, and the laws of physics in basketball during the movie.
I’d love to hear any feedback! I don’t have much of a budget yet for a logo or a theme song, so hopefully by next episode I’ll have those. Also, to let everyone know, there’s vulgarity so this podcast is definitely not sponsored or affiliated with Disney in any way. We also spoil everything. Without further adieu, here’s the link to where you can listen:
(May 1 Update: You can listen on Soundcloud here or you can listen directly below or download the podcast here on my website, where you’ll get an option to download it by clicking the three dots.)
Today I wanted to review the first two Bad Boys films before I post a review of Bad Boys For Life tomorrow. They’re shorter reviews so I’ve just included them in the same post.
Bad Boys. Directed by: Michael Bay. Starring: Will Smith, Martin Lawrence, Téa Leoni. Runtime: 1h 59 min. Released: April 7, 1995.
Two hip detectives, Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence), protect a witness, Julie Mott (Téa Leoni), while investigating a case of stolen heroin from the evidence storage room at their police precinct.
Michael Bay’s debut film, Bad Boys, has some of his signature explosions and action and camera angles, but nothing that’s as extreme as his later films. That’s why the action is still strong and fun in this film. Will Smith and Martin Lawrence’s chemistry is what makes it memorable as their banter is hilarious and the action’s the icing on the cake. Mike’s confidence works throughout and Marcus’ insecurity is a good balance.
Though, I don’t like the mistaken identity bit here as Julie would only like to tell Mike what she’s seen, and Marcus has to pretend to be Mike so they can protect her. In order to keep protecting her, they have to keep this charade going where Marcus is Mike and Mike is Marcus. It’s a bit that grows tired quickly. The villains also aren’t amazing here, but Smith and Lawrence are so funny it’s enjoyable despite its flaws. Joe Pantoliano as the angry Captain Howard is also great.
Bad Boys 2. Directed by: Michael Bay. Starring: Will Smith, Martin Lawrence, Gabrielle Union. Runtime: 2h 27 min. Released: July 18, 2003.
The first Bad Boys was Michael Bay finding his style, but this film is Bay at his worst. In one scene where Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) investigate a Haitian gang’s house, they are on one side of the wall and the gang is on the other side. Bay shows us this in dizzying style as he takes the camera around the whole room at least six times.
Bay’s obnoxious style makes the film suffer. The story’s another drug bust tale as the Bad Boys investigate the flow of ecstasy in Miami from a Cuban drug cartel. The dynamic of the film is mixed up with the introduction of Marcus’ sister Syd (Gabriel Union), an undercover DEA agent investigating the cartel. She is also Mike’s latest thing, just don’t tell Marcus.
The chemistry’s still strong and the comedy stands out in the film. The villains are still weak, as Johnny Tapia (Jordi Mollà) leads this cartel. For some reason I remember Peter Stormare being the villain, but he’s just a secondary antagonist as Alexei, a Russian mobster who is selling Tapia’s ecstasy through his clubs.
The action is okay but Michael Bay gets in the way. The film’s entertaining but the flaws here – a weak story and too much Bay – makes this only a guilty pleasure. The biggest strike against this is its run-time, as it has zero business being 147 minutes.
That’s too long for this simple story and it’s bloated. If anything would have ended up on the cutting room floor, it would have been the comedy – like when Marcus observes rat’s mating rituals, Mike and Marcus cussing out Marcus’ daughter’s date, Reggie (Dennis Greene) or when Marcus is on ecstasy. If these scenes weren’t here, this would be completely awful.
Directed by: Jean-Pierre Jeunet. Starring: Audrey Tautou, Mathieu Kassovitz, Rufus. Runtime: 2h 2 min. Released: April 25, 2001 (France).
Amélie Poulain is an innocent and naive woman living in Paris. She abides by her own sense of justice and starts doing random acts of kindness for the people around her.
There’s a charm to the film’s fantastical tale, from the entertaining narration to the amazing score by Yann Tiersen. There are a lot of laugh-out-loud moments even during the darkest points, like Amélie’s mom being crushed by a suicidal tourist from Quebec.
That’s how the film hooked me, with its quirky nature, visual style and imagination. The imagination and quirkiness very much applies to Amélie herself and Audrey Tautou as our titular character is the highlight. Every time she smiles at the camera, every devilish idea, Tautou is phenomenal.
Amélie and her little acts of kindness are great, especially what inspires her new outlook on life when she gives a small tin of treasures to the boy who lived in her flat 50 years ago. I also love when she sets up Georgette (Isabelle Nanty) and Joseph (Dominique Pinon).
I think my favourite act of kindness isn’t really a kindness at all, but a little bit of revenge for another person. A kind man named Lucien (Jamel Debbouze) is always getting verbally abused by his boss, grouchy grocer Mr. Collignon (Urbain Cancelier). To help with the situation, Amélie changes some things around in his apartment, like switching his toothpaste with foot cream or replacing his slippers with the same pair that is a size too small, and it is delightful comedy. These moments are funniest in a film that thrives on its small moments.
There’s also a great chemistry with one of her neighbours, Raymond Dufayel (Serge Merlin), who observes and pushes Amélie. She is an interesting character because she’s adamant to improve other people’s lives but is scared to put herself out there and improve her own, which is relatable. A lot of the film involves Amelie finding a photo album with reassembled photo booth photographs and meaning to return it to its rightful owner, Nino (Mathieu Kassovitz). She puts off meeting him because she’s scared to put herself out there – but Amélie also has a flair for the theatrics.
This makes the romance in Amélie unique because their interaction with each other is limited, but it’s also what gives Amélie such a playful and magical vibe. Watching this film made me feel light as a feather during its fantasy, though my main complaint here is it starts to feel light on actual plot in the second half. There’s still so much beauty and comedy in the randomness of Amélie’s world, and the main performance and supporting players make this spectacular.
The film thrives on the small moments in life, helping others but more importantly, remembering to help yourself. The film is about kindness at its core, and Amélie leads by that example. The film’s a charmer for it.
Directed by: Woody Allen. Starring: Scarlett Johansson, Jonathan Rhys-Meyers, Emily Mortimer. Runtime: 2h 4 min. Released: May 12, 2005 (Cannes).
If you want to put me in a bad mood, make me watch a Woody Allen movie. This is my third Woody Allen film (after Irrational Man and Midnight in Paris) and Match Point is the most disappointing because I love thrillers and I should like this, but I do not.
Chris Wilton (Jonathan Rhys-Meyers), a former tennis pro meets Tom Hewett (Matthew Goode) while teaching tennis. Tom’s part of a wealthy, aristocratic British family and Chris finds his way into their good graces, eventually marrying Tom’s younger sister Chloe (Emily Mortimer). To make matters worse, Chris falls in love with Tom’s fiancé, a struggling actress named Nola Rice (Scarlett Johansson).
I’ll start at the very beginning of this film and its opening narration. Chris narrates, “The man who said ‘I’d rather be lucky than good’ saw deeply into life… It’s scary to think so much is out of one’s control. There are moments in a match where the ball hits the top of the net, and for a split second it can either go forward or fall back. With a little luck, it goes forward and you win. Or maybe it doesn’t and you lose.”
That is one of the most immediately engrossing opening narrations I’ve come across. It sets up Match Point as a meditation on fate and luck, and Allen never strays from that. I find the history and background of Chris’ character fascinating. At one point, a tennis pro named Henry (Rupert Penry-Jones) tells Chris he’s always admired his game. “A couple of bounces the other way and you might have been able to beat those top seeds,” Henry tells him.
Chris is depicted as a player who didn’t have the luck to be an Andre Agassi of the game. Allen uses the theme of the ball throughout, hammering it in our heads. Some ways feel convoluted, but one way he uses it is smart. The smart way is how it relates to the characters of Chloe and Nola.
When Chris launches into the affair with Nola, she represents the ball bouncing back at him because if Chloe finds out, he’d lose his luxury lifestyle. Chloe represents the ball going forward and him winning, where he can keep his job security and lifestyle. As Chris makes this decision, the ball’s frozen over that net and it can go either way. Watching Match Point is like waiting for that ball to drop, because it moves at a snail pace.
Chris is the reason I don’t like this. Jonathan Rhys-Meyers plays him well, but he’s a boring asshole. He marries Chloe but obviously only has eyes for Nola from the start. He describes his future wife as a “sweet girl” and “nice person.” He just goes along with it for the lifestyle and the job he gets because of his father-in-law, Alec (a strong Brian Cox).
Scarlett Johansson is great as Nola, but I don’t connect with her character. Matthew Goode is very good but eventually gets sidelined, which is a shame because he’s one of the only characters that feels like a real person. Emily Mortimer is totally solid, too, but the character deserves better.
She turns into a one-note character when she wants to have a baby with Chris, and that’s all she talks about for most of it. The only interesting dialogue in this is the first time she brings it up because it’s funny and she tells him she wants three children. “You can do it, you have a powerful serve.” I’m sure in real-life when there’s frustration in fertility that’s all the conversations are about, and Allen understands this, but when this is their only conversation for two years, it becomes irritating.
Allen’s dialogue is boring and pedestrian throughout. That’s my biggest problem with Woody Allen as a writer, his screenplay has intriguing ideas then his characters spend so much time talking about things that are entirely inconsequential. His writing is simultaneously genius, yet insufferable.
I hate a lot of this film with every fibre of my being. The first 20 minutes of this works as they introduce the characters and the dialogue has meaning. From the 21-minute mark to the 85-minute mark, I believe this is one of the dullest films I’ll ever watch. There’s not enough money in the world to make me watch that portion of that film again (okay, someone take me up on this, because I’m broke).
The film takes 85 minutes to get to the thriller portion of it, and it’s engrossing once it gets there. The tension is strong and the writing is smart. I wish the entire runtime had this genius. That’s the tragedy of Match Point, that only 30 minutes of it – the thrilling third act – is genius. The first 20 minutes are fine but the 74 minutes in between? Kill me.
There’s a point where Woody Allen loses me again where Chris utters groan-worthy prose that no one would ever say. “[At least there would be] some small measure of hope for the possibility of meaning.” That just makes me want to say, “Fuck you, Woody Allen.” It also makes me picture Allen climbing on top of his high horse and showing us the size of his brain. We get it, Woody, you think you’re brilliant but put your brain away, dude. Please.
Directed by: Stephen Frears. Starring: John Cusack, Iben Hjejle, Jack Black. Runtime: 1h 53 min. Released: March 31, 2000.
This is a review of a classic music film, Stephen Frears’ High Fidelity, from someone who doesn’t live and breathe music. Music’s everywhere but most of the music I come across, it’s from film. I don’t sit down and listen to music everyday, but I watch movies everyday so I technically do listen to music everyday. Music makes some people focus but when I listen to music I like to listen to lyrics and not do anything else, and I just don’t have time for that. It doesn’t help me focus, it distracts, so I usually just sit in silence when I’m writing.
High Fidelity follows Rob (John Cusack), a record store owner and compulsive list maker who takes us through his top five-breakups, including his current breakup with Laura (Iben Hjejle).
I’ve always wanted to get more into music but I’m just usually too lazy to download songs and put them on my phone. But after watching High Fidelity, it’s the kind-of movie that makes vinyl look cool to even someone like me who doesn’t live and breathe music. The soundtrack is absolutely killer and I’ll try and find every song that’s listed in this film which will keep me busy for awhile.
The film is clever as Rob goes through his breakups, analyzing his wrongdoings and why he’s doomed to being single. The screenplay, written by D.V. DeVincentis, Steve Pink, John Cusack and Scott Rosenberg, based on the novel by Nick Thornby, has clever insight into relationships as there’s no such thing as perfection, and Rob learns this as he’s stuck over-analyzing the past.
John Cusack and Jack Black in High Fidelity. (IMDb)
It’s a unique comedy in that way as he sorts through his past the way he sorts his record collection, and he literally starts to sort it autobiographically and how each record has impacted his life. Rob could literally just tell a story about every record and it would still be fascinating because the writing here is so strong and Rob’s so knowledgeable. The film uses the record store as a parallel for living in the past as the world keeps moving past vinyl.
Jack Black is a highlight as Barry, one of the employees at Rob’s record store Championship Vinyl. He’s obnoxious and hilarious and embodies rock and roll here. It’s signature Jack Black that seemed like a preview of his antics in Richard Linklater’s 2003 film School of Rock. He’s the best part of this for me. The other record store employee, Dick (Todd Louiso), is awkward and balances the trio of employees out. I can’t remember any of his jokes, but I like the chemistry of the group as they just shoot the shit and discuss their favourite records.
That’s what a lot of this film is, their banter and it’s entertaining because they’re great together. The best scenes are when they’re just talking, though when Laura’s new boyfriend Ian/Ray (Tim Robbins) comes in and confronts Rob, that’s one of the best scenes in the record store.
The characters get snobby as they judge people for their personal tastes in music and film, and their elitist attitudes are acknowledged but realistic to their characters. They’re still likable because this is definitely how I’d discuss films with my friends if I ever worked with them.
I know that if I ever went into Championship Vinyl they probably wouldn’t sell me anything because I couldn’t tell them my top five favourite bands. In turn, I just wouldn’t sell them anything if they came into my imaginary Blockbuster Video.
John Cusack in High Fidelity. (IMDb)
Rob is an asshole and that’s something I wasn’t expecting going into this. It’s an unfiltered look at relationships, and I think that’s why Rob tends to get unlikable in his cynicism. John Cusack is great, though, and the dialogue’s clever. His constant fourth wall breaking is also a clever way to tell this story.
I think there’s something missing in the romance with Laura. Iben Hjejle is good, but there’s something missing here and I can’t quite put my finger on it. This might be the point of the film as Rob tries to find the perfect relationship but can’t because a perfect relationship doesn’t exist for him. There’s always something not quite right that he can’t identify. Hence, he accepts his fate and learns to be a better person, and that’s what made me love the last third of this film.
For the record (that’s not supposed to be a pun), I don’t love this as much as I wanted to. I think that’s because I’m not a music guy. Maybe after I know which bands and songs they’re actually listing in their conversations, I could love this because I’d know what they’re talking about.
I think High Fidelity is brilliantly written and acted, and so well-directed by Stephen Frears. There are just parts of this I can’t fall in love with it because I don’t like rock and roll as much as these characters. I think this film accomplishes its job because the cast’s passion for this music makes me want to love rock and roll as much as them.
A few more notes. As you can see by the featured image of the article, for our fourth episode we are unveiling a logo for the podcast so big shout-out to my friend Harrison. The next episode I’ll be posting will be a discussion of Kim Possible: So the Drama and the 2019 live-action remake, Kim Possible. That episode was recorded before the Shia LaBeouf episode, so if you hear Kim Possible referenced in this episode, that’s why. Also, if you listen to the podcast and have any feedback, feel free to comment below or e-mail at danielprinn@msn.com. As always, you can download the podcast here.
