A single touch can pass a demon like a secret. That’s the chilling conceit at the heart of Fallen, the 1998 Denzel Washington thriller we rewatch and unpack with fresh eyes. We trace how a simple body-hop mechanic turns a crowded city into a minefield, how a Rolling Stones hook becomes a horror motif, and why a restrained supernatural approach can be scarier than jump scares. Along the way, we test the film’s logic and admit where it bends: Azazel’s rules shift, the detective plot strains, and exposition piles up. But when the tension tightens—especially in that cabin finale—the craft and performances sing.

We spend real time with Hobbes at home, because the film does too. Denzel’s quiet care for his brother Art and nephew adds soul you rarely see in 90s genre films, especially with a Black lead who isn’t reduced to the “tortured loner” trope. That warmth sharpens the knife when evil stalks his circle, and it fuels a bigger debate we keep returning to: integrity in a compromised system. From the “little cream” speech to the public execution sequence, Fallen prods questions about justice, punishment, and whether 99% good can withstand 1% corruption. The movie flirts with biblical stakes—Revelation clues, apocalypse letters—while delivering the vibes that made it a cult favorite.

Expect praise where it’s earned: Elias Koteas’s opening creep, John Goodman’s late-game menace, Denzel’s magnetic control, and the needle drop that turned a classic into a shiver. Expect critique where it’s due: uneven rules, contrived policing beats, and lore that reaches further than it grasps. If you’ve written Fallen off as “that lesser Denzel thriller,” this conversation might change your mind—or at least sharpen what you love and what you don’t. Hit play, then tell us: is Fallen underrated, and what would you fix? If you enjoy the show, follow, share with a friend, and drop a rating to help others find us.

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Two friends revisit FernGully with fresh eyes, balancing nostalgia with critique, and dig into how a 90s underdog turned environmental themes into a vivid, musical fable. We weigh Robin Williams’ improvisational spark, Disney-era pressures, and the film’s uneven but heartfelt storytelling.

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In part 2, we pick apart Inglourious Basterds’ bar scene, the Italian ruse, and the theater inferno to show how small tells topple big plans. We debate Landa’s long game, Shoshanna’s revenge, and whether dazzling set pieces outweigh shaky logic.

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