Are movie theaters dying, or are we entering a new golden age of moviegoing?

Jett sits down with Miles Williams, artistic director of the historic Alex Theatre in Glendale, California, to talk about the future of cinema, the remarkable resurgence of 70mm film, and why the experience of watching movies together still matters.

Following the Alex's enormously successful 70mm presentation of Christopher Nolan's The Odyssey, Williams sees reason for optimism. Younger audiences are embracing analog film, historic movie palaces are finding new life, and filmmakers are exploring creative ways to reach audiences outside traditional Hollywood distribution.

But what about smaller independent theaters? Can they survive without the resources of a grand movie palace? And can cinemas become the community gathering places that many of us are missing?

From the legendary repertory theaters of the past to a new generation of filmmakers taking their movies on the road, Jett and Miles explore what's changing, what's worth preserving, and why the future of cinema might be brighter than we think.

Plus, a few thoughts on Nathan Fielder's You Can See Everything, the strange appeal of old technology, and why Jett feels Mad Max 3: Beyond Thunderdome, is still relevant.

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Is Exorcist II: The Heretic really one of the worst sequels ever made, or have we been watching it all wrong Dear Listener?

Thanks to the documentary Boorman and the Devil, Jett and Gareth reconsider a movie that has been mocked for nearly 50 years. They explore Boorman's career, from Point Blank and Deliverance to Excalibur and The Emerald Forest, and examine how The Heretic fits into his lifelong fascination with myth, nature, and spirituality.

Along the way: Richard Burton's hypnotic screen presence, the spiritual differences between the two Exorcist films, and the mysterious synchronizer that just might explain 20 years of The Film Talk.

Sometimes folks the most interesting movies aren't necessarily the best ones.

Films discussed: Exorcist II: The Heretic (1977) and Boorman and the Devil (2025).

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Jett and Gareth are overwhelmed by DIGGER, a film they see as exhilarating, horrifying and the most important movie of the moment.

How do you make art in a world that too absurd to satirize? Is DIGGER a climate horror movie, a satire, (or farce), a work about our complicity in the systems we condemn or a piece of art about the difficult job of making art itself? All of the above?

This is a spoiler-heavy conversation. If you haven't seen DIGGER, go see it first, preferably on the biggest screen you can find and then come back.

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