Reviews

On occasion, we get some nice words written about The Projection Booth:

"An absurdly long but thoroughly immersive series of round table conversations about cult films." Filmmaker Magazine
The Projection Booth is a podcast for the kind of cinephile who gets excited by the idea of four hours of commentary for a 90-minute movie. Its latest episode on Orson Welles’ butchered 1942 film The Magnificent Ambersons—filled with thoughtful analysis, heaps of background info, and an interview with the filmmaker’s daughter—took two years to compile is practically a necessity for any serious Welles aficionado. And for other episodes, hosts Mike White (not, not the Enlightened guy) and Rob St. Mary seemingly put an equal amount of work into tracking down an uncredited screenwriter for Brain DePalma’s Blow Out and an Upton Sinclair scholar to help discuss There Will Be Blood. For casual film fans, this attention to detail may be overzealous; The Projection Booth is definitely pharmaceutical-grade film geekery. For those that can handle it, it’s a great score. [DD] A/V Club
"White and St. Mary's podcast doesn't cover time-sensitive material the way that "The Business," "The Frame" and even "Screen Talk" does; a practice that not only produces evergreen content, but also, can be described as an alternative form of film scholarship. Each week, "The Projection Booth" engages in a sophisticated conversation about a cult film pulled from the annals of forgotten film history by co-hosts White and St. Mary, who are also usually joined by guests with a unique relationship to the film being discussed. The conversations on "The Projection Booth" usually center on the film's production history, as well as it's relationship to audiences at the time of its release and into the present. Archival clips of sound from film and other sources provide an eerie, yet alluring backdrop. The historical focus of the series affords listeners a certain degree of flexibility with their listening schedule. Listeners can work through the episodes from the beginning, at their own pace. They can further enrich their experience by watch the films that are being discussed before or after listening to each episode." IndieWIRE
Listening to “The Projection Booth,” for example, is a little like hanging out with the guys who work at the video store, back when that meant something. Each episode is a deep dive into a movie with a few film fanatics, plus interviews with people who worked in front of and behind the camera. ... In other words, this isn’t for the casual movie fan. ... Episodes of “The Projection Booth” are a mix of criticism and oral history, and they’re exhaustive. That’s the point. They’re created for posterity, which is why host Mike White doesn’t talk about his own life the way so many other podcasters do. Washington Post
There are plenty of podcasts devoted to cult movies, but The Projection Booth leads the pack by covering such an eclectic range of films. I honestly wish hosts Mike White and Rob St. Mary would curate a revival house theater and let me live there. They offer insightful commentary on well-known cult movies bolstered by an amazing array of interviews with the filmmakers and stars. Their splendiferous Beyond the Valley of the Dolls episode featured interviews with stars Dolly Read, Marcia McBroom, Erica Gavin and John Lazar plus composer Stu Phillips and singer Lynn Carey. As if all that wasn’t enough, they threw in a bonus extended interview with Stu Phillips (The Monkees, Battlestar Galactica). How fun is that? But The Projection Booth shines the brightest when it shows some love to truly obscure films. There have been entire episodes devoted to the Czech new wave classic Valerie and Her Week of Wonders and Saul Bass’ insects attack chiller Phase IV. Other forgotten gems included Colossus—The Forbin Project (1970), Working Girls (1986), The Final Programme (1973), Fantastic Planet (1973) and Haxan (1922). Stick with Mike and Rob and they’ll open your eyes to a new world of celluloid wonders. HorrorNews.Net

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