The Canadian Movie Draft Live from Toronto!

On today’s show, Sean is joined by Chris Ryan for all things horror. First, they react to the casting rumors for the much-anticipated role of James Bond and hypothesize why there is a new trend of limiting theatrical exhibition for movies with poor tracking data. Then, they cover DC Studios' new body horror film ‘Clayface,’ a type of movie that they have collectively been begging for from the superhero genre but is ultimately a pretty mixed bag. Then, they evaluate what the current state of the horror genre looks like, and share their favorite horror movies of 2026. Finally, Sean is joined by Shea Serrano to discuss the new ‘Street Fighter’ movie and break down all of the reasons why both this movie, and many video game adaptations at large, don’t totally work. Then, they share some of their favorite fight scenes of all time.

Sean and Amanda open today’s jam-packed episode by celebrating the incredible box office performance over the weekend, especially from ‘You Can See Everything’ and ‘Street Fighter.’ Then, they cover the major shake-up at Netflix, most notably the firings of Bela Bajaria and Dan Lin. Then, they discuss an incredibly “Sean-coded” movie in ‘Whalefall’ and an incredibly “Amanda-coded” movie in ‘Sense and Sensibility,’ which they both were very mixed on. Later, they conduct their second Best Picture Power Rankings of the season and make some drastic changes from last month’s list. Finally, legendary actor Kyle MacLachlan joins the show for a new series called One Year, where Sean asks all about the magical period from 1985 to 1986 when he made ‘Blue Velvet’ with the late, great David Lynch.

We’re not deceiving you: This is the movie of the year. Sean and Amanda open today’s show by reacting to the first trailer for Greta Gerwig’s much anticipated ‘Narnia: The Magician’s Nephew,’ discussing the news that Zendaya will star in Alex Garland’s next sci-fi film for A24, and also breaking down how the show will cover a handful of fall movie releases. Then, they dive incredibly deep into Nathan Fielder and Lance Oppenheim’s three-hour documentary on Elizabeth Holmes, ‘You Can See Everything.’ They briefly discuss the film in a spoiler-free conversation and give it the utmost recommendation possible. Then, they go (as best of memory) beat-by-beat of the film and dissect all of its wonderfully captivating and fascinating twists and turns. Finally, legendary comedy filmmaker, showrunner, producer, and documentarian Judd Apatow joins the show to talk about his two new documentaries: ‘Paralyzed by Hope: The Maria Bamford Story,’ and ‘Norm: The Tale of Norm MacDonald.'

Gather ‘round folks, a long-awaited episode has arrived. Sean and Amanda open the show by covering a lengthy amount of movie news, including ‘The Social Reckoning’ bombing at the box office, reacting to the new trailers released for ‘River’ and ‘Exorcist: Martyrs,’ and of course, some updates on ‘The Beatles.' Then, they discuss the new Blumhouse horror movie, ‘Other Mommy,’ starring Jessica Chastain, and have a spirited debate on whether or not it was ultimately successful. Later, they break down ‘Animals,’ the new Ben Affleck vehicle, and explore where this “spiritual” ‘High and Low’ sequel went horribly wrong. Finally, they talk about what makes Ben Affleck so special and construct his Hall of Fame.

Drop the “the.” Just “Big Picture.” It’s cleaner. Today on Big Picture, Sean and Amanda discuss the much anticipated (and also dreaded) legacy sequel ‘The Social Reckoning,’ written and directed by one of our main characters: Aaron Sorkin. Before diving in, they briefly react to the official merging of Warner Bros. and Paramount and hypothesize what the future of David Ellison’s Skydance will look like. Then, Sean shares his New York Film Festival recap and highlights the best movies he saw, many of which Amanda has also seen. Next, in theme with corporate power trillionaires, they cover Alex Gibney’s new documentary, ‘Musk,’ and break down what did and didn’t work for them. Finally, they unpack all of their feelings on ‘The Social Reckoning,’ explore why many of the performances didn’t jive with Sorkin’s style, and share their most unnecessary legasequels of all time.