1 00:00:07,133 --> 00:00:10,413 Speaker 1: You're listening to the Saturday Morning with Jack team podcast 2 00:00:10,573 --> 00:00:14,933 Speaker 1: from News Talks at blame to see me the best 3 00:00:14,973 --> 00:00:15,493 Speaker 1: for last? 4 00:00:15,653 --> 00:00:18,413 Speaker 2: Would you really be here? You are that sad? 5 00:00:19,173 --> 00:00:20,253 Speaker 1: Even the flood. 6 00:00:20,013 --> 00:00:21,573 Speaker 2: Solitaries, that's crazy. 7 00:00:21,813 --> 00:00:23,013 Speaker 3: Just switching in ways? 8 00:00:23,333 --> 00:00:24,573 Speaker 1: Are my options? 9 00:00:24,893 --> 00:00:26,493 Speaker 3: Letting anythings? 10 00:00:26,573 --> 00:00:31,693 Speaker 2: That week and News Talks Me with Jack Tame that's 11 00:00:31,773 --> 00:00:34,733 Speaker 2: Narles Barklay got a new album coming out later this 12 00:00:34,813 --> 00:00:36,053 Speaker 2: week March six. 13 00:00:36,173 --> 00:00:36,453 Speaker 3: What's it? 14 00:00:37,373 --> 00:00:41,573 Speaker 2: Friday of this week, twenty three minutes to ten. Thank 15 00:00:41,573 --> 00:00:43,373 Speaker 2: you very much for your feedback this morning Morning Jack. 16 00:00:43,413 --> 00:00:46,013 Speaker 2: I do wonder if schools have been pushing coding and 17 00:00:46,093 --> 00:00:48,813 Speaker 2: programming as subjects have been wasting their time. My seventeen 18 00:00:48,853 --> 00:00:51,253 Speaker 2: year old didn't choose those options, as he said, he 19 00:00:51,293 --> 00:00:54,373 Speaker 2: can just do it all online anyway. Yeah, yeah, one 20 00:00:54,493 --> 00:00:58,213 Speaker 2: hundred percent of really feels like an education. We've been 21 00:00:58,253 --> 00:01:00,253 Speaker 2: saying kids need to learn the code for the last 22 00:01:00,253 --> 00:01:02,133 Speaker 2: fifteen or twenty years, and all of a sudden, it's like, 23 00:01:02,173 --> 00:01:05,693 Speaker 2: oh no, you can have it zero coding experience, and 24 00:01:05,893 --> 00:01:08,293 Speaker 2: you can just use these new AI systems and you'll 25 00:01:08,333 --> 00:01:10,853 Speaker 2: be able to achieve the same thing. Dean has flipped 26 00:01:10,853 --> 00:01:13,053 Speaker 2: me an email, as he so often does on Saturday 27 00:01:13,093 --> 00:01:17,213 Speaker 2: mornings very much appreciated. Jack. Progress rarely comes from big bangs, 28 00:01:17,413 --> 00:01:21,373 Speaker 2: but far more often the cumulative effects of seemingly minor 29 00:01:21,413 --> 00:01:24,613 Speaker 2: improvements exponentially build upon themselves, so that when we look back, 30 00:01:24,653 --> 00:01:26,653 Speaker 2: we cannot believe we used to do things the way 31 00:01:26,653 --> 00:01:30,253 Speaker 2: we did. Coding easily lends itself to AI, as so 32 00:01:30,373 --> 00:01:33,133 Speaker 2: much of it as taking an existing template and adapting 33 00:01:33,133 --> 00:01:37,293 Speaker 2: it to similarly themed new instances. Thanks Dean ninety two 34 00:01:37,333 --> 00:01:38,733 Speaker 2: ninety two. If you want to see me your message 35 00:01:38,773 --> 00:01:40,933 Speaker 2: this morning, Jacket Newstalk said b dot co dot z 36 00:01:41,173 --> 00:01:44,573 Speaker 2: is the email address that Dean just email. Francesca Rudkin 37 00:01:44,693 --> 00:01:47,253 Speaker 2: is here with our film packs for this weekend. Guilder 38 00:01:47,493 --> 00:01:48,653 Speaker 2: god more nag. 39 00:01:48,693 --> 00:01:50,773 Speaker 4: If my daughter taught herself to coach, she can whip 40 00:01:50,813 --> 00:01:51,853 Speaker 4: you up a website if. 41 00:01:51,693 --> 00:01:54,133 Speaker 2: You want, very good. I mean, that's great, So she will, 42 00:01:54,293 --> 00:01:58,213 Speaker 2: I mean the one thing I would say. But if 43 00:01:58,253 --> 00:01:59,613 Speaker 2: she does that, you can. 44 00:01:59,573 --> 00:02:00,693 Speaker 3: You can teach yourself. 45 00:02:01,093 --> 00:02:05,013 Speaker 2: Yeah, but I mean so if I have zero coding 46 00:02:05,053 --> 00:02:08,253 Speaker 2: experience and I can now covie with, then your daughter, 47 00:02:08,373 --> 00:02:10,573 Speaker 2: with some coding experience and knowing what she's doing, will 48 00:02:10,613 --> 00:02:12,253 Speaker 2: be able to achieve so much more than I can 49 00:02:12,373 --> 00:02:18,413 Speaker 2: That's what I figured possibly, Yeah, anyway, two films for 50 00:02:18,493 --> 00:02:20,693 Speaker 2: this weekend. The first one is showing in cinemas. Let's 51 00:02:20,733 --> 00:02:24,853 Speaker 2: have a listen to Miriam Marghalie's in Holy Days, Brian Collins, 52 00:02:25,253 --> 00:02:26,333 Speaker 2: what have you done this time? 53 00:02:28,933 --> 00:02:29,133 Speaker 5: Here? 54 00:02:29,253 --> 00:02:29,293 Speaker 3: On? 55 00:02:29,493 --> 00:02:32,293 Speaker 1: And he's still no closer to accepting his mother's punts. 56 00:02:34,493 --> 00:02:38,693 Speaker 2: He's about to change around here, places falling apast, But 57 00:02:38,813 --> 00:02:41,973 Speaker 2: they can't just send us away. Patricia's got the deeds 58 00:02:42,053 --> 00:02:42,773 Speaker 2: to the convent. 59 00:02:43,533 --> 00:02:45,373 Speaker 4: Why don't we just go get them? 60 00:02:46,253 --> 00:02:48,213 Speaker 2: Yes, indeed that is a New Zealand accent. You just 61 00:02:48,253 --> 00:02:49,933 Speaker 2: heard it is. 62 00:02:50,173 --> 00:02:54,493 Speaker 4: This is an adaptation of Joy Carby's novel. It's adapted 63 00:02:54,573 --> 00:02:57,693 Speaker 4: and directed by Natalie Bolt. This is her debut feature 64 00:02:57,733 --> 00:03:01,373 Speaker 4: and I'm very impressed because she's managed to get Miriam Marghanie, 65 00:03:01,493 --> 00:03:07,253 Speaker 4: Jackie Weaver, and Judy Davis, three very well known actresses 66 00:03:07,813 --> 00:03:10,973 Speaker 4: to start in this film as these lovely three nuns 67 00:03:11,013 --> 00:03:14,333 Speaker 4: who live at this very sort of run down rural nunnery. 68 00:03:14,893 --> 00:03:16,293 Speaker 3: And they discover that. 69 00:03:17,893 --> 00:03:21,333 Speaker 4: The church has decided that there's quite profitable the land 70 00:03:21,333 --> 00:03:23,613 Speaker 4: that they're sitting on, and they're looking to sell it 71 00:03:23,693 --> 00:03:26,773 Speaker 4: to a property developer and move the old birds on, 72 00:03:26,973 --> 00:03:29,453 Speaker 4: but the old birds decide maybe they're not really ready 73 00:03:29,493 --> 00:03:32,133 Speaker 4: to leave this community which they have looked after for many, 74 00:03:32,173 --> 00:03:35,613 Speaker 4: many years and still do. And we have a lovely 75 00:03:35,693 --> 00:03:38,613 Speaker 4: young character and here, played by Elijah Tummody. He plays 76 00:03:38,653 --> 00:03:41,573 Speaker 4: the little Colin's boy and he is a local and 77 00:03:41,613 --> 00:03:45,693 Speaker 4: a very regular visit visitor to the nuns. He is 78 00:03:45,773 --> 00:03:51,173 Speaker 4: coping with the loss of his mother and his father 79 00:03:51,293 --> 00:03:53,453 Speaker 4: moving on. He's met this loving new woman and they 80 00:03:53,533 --> 00:03:55,533 Speaker 4: sort of, you know, it looks like she might become 81 00:03:55,613 --> 00:03:56,333 Speaker 4: his stepmother. 82 00:03:56,413 --> 00:03:57,573 Speaker 3: And he's really not coping. 83 00:03:57,613 --> 00:04:01,693 Speaker 4: And these three nuns take him under, take him under 84 00:04:01,733 --> 00:04:02,933 Speaker 4: their wing and kind of look. 85 00:04:02,773 --> 00:04:03,453 Speaker 3: After him and things. 86 00:04:03,533 --> 00:04:07,733 Speaker 4: So when they discover that they're this plot to sell 87 00:04:07,773 --> 00:04:09,853 Speaker 4: the band, they decide to go off on a bit 88 00:04:09,853 --> 00:04:12,733 Speaker 4: of an adventure on a road trip to find the deed, 89 00:04:12,773 --> 00:04:14,813 Speaker 4: which just happens to be down on the South Island 90 00:04:14,853 --> 00:04:19,773 Speaker 4: and also happens to be where where Brian's mother is 91 00:04:19,813 --> 00:04:21,853 Speaker 4: originally from. So he goes on a little bit of 92 00:04:21,893 --> 00:04:24,693 Speaker 4: a journey to try and deal with his grief and things. 93 00:04:24,733 --> 00:04:27,733 Speaker 4: We've got these wonderful Stree nuns who hit the road 94 00:04:28,733 --> 00:04:29,853 Speaker 4: haven't really driven a car. 95 00:04:29,853 --> 00:04:31,253 Speaker 3: For quite a while, and. 96 00:04:31,173 --> 00:04:37,013 Speaker 4: It's just a colorful, heart felt film about loss and 97 00:04:37,173 --> 00:04:40,493 Speaker 4: family and community and moving on, but also courage about 98 00:04:40,533 --> 00:04:41,733 Speaker 4: fighting for what's right. 99 00:04:41,773 --> 00:04:45,133 Speaker 3: We've got these really sort of quiet rebels at the 100 00:04:45,213 --> 00:04:47,693 Speaker 3: helm here. It's really sweet and it's really fun. 101 00:04:48,333 --> 00:04:51,653 Speaker 4: As I said, colorful use of animation in it as well, 102 00:04:51,693 --> 00:04:52,493 Speaker 4: just tried to make. 103 00:04:52,373 --> 00:04:54,453 Speaker 3: A little bit more sort of visually interesting and things. 104 00:04:54,453 --> 00:04:56,413 Speaker 3: So yeah, very sweet little number. 105 00:04:56,453 --> 00:04:59,213 Speaker 4: And it's just this is a Canadian New Zealand co production, 106 00:04:59,293 --> 00:05:01,893 Speaker 4: but also starts some fabulous New Zealand talent. 107 00:05:02,053 --> 00:05:05,373 Speaker 3: Craig Callers in there. Johnny Bruff is in there as well, 108 00:05:05,413 --> 00:05:07,453 Speaker 3: and alive. It's just delight. 109 00:05:07,693 --> 00:05:10,293 Speaker 2: Yeah, oh, very good watch. Okay, that's cool. So that's 110 00:05:10,333 --> 00:05:13,573 Speaker 2: Holy Days. That's showing in cinemas at the moment. Next up, 111 00:05:13,853 --> 00:05:16,413 Speaker 2: also showing at the movies. This is how to make 112 00:05:16,453 --> 00:05:16,933 Speaker 2: a killing. 113 00:05:19,373 --> 00:05:27,253 Speaker 5: There were seven of them, seven rich pricks between myself 114 00:05:27,653 --> 00:05:35,053 Speaker 5: and twenty eight billion dollars if I were to prune 115 00:05:35,093 --> 00:05:40,573 Speaker 5: a few branches of the family tree. 116 00:05:41,573 --> 00:05:43,933 Speaker 2: Okay, that's how to make a killing. Starr in Glenn 117 00:05:43,973 --> 00:05:45,293 Speaker 2: Powell and Margaret Qually. 118 00:05:46,213 --> 00:05:49,493 Speaker 4: Yes, so this is a revenge black comedy. It's loosely 119 00:05:49,533 --> 00:05:52,653 Speaker 4: based on the nineteen forty nine British film Kind Hearts 120 00:05:52,653 --> 00:05:55,493 Speaker 4: and Coronets, which was loosely based on a nineteen oh 121 00:05:55,493 --> 00:06:00,653 Speaker 4: seven novel, and they've sort of transported this story into. 122 00:06:00,493 --> 00:06:01,653 Speaker 3: Modern day New York. 123 00:06:02,093 --> 00:06:07,373 Speaker 4: I like Glenn Powell. I think he's sort of he's 124 00:06:07,413 --> 00:06:10,933 Speaker 4: got that star quality. He's getting type casts a little 125 00:06:10,933 --> 00:06:13,293 Speaker 4: bit as great in the romantic comedy or this or that, 126 00:06:13,453 --> 00:06:15,533 Speaker 4: but he does take risks, and he has taken a 127 00:06:15,573 --> 00:06:18,693 Speaker 4: risk with this film. This is from the writer director 128 00:06:18,733 --> 00:06:21,533 Speaker 4: of Emily the Criminal, which was a great little thriller 129 00:06:22,013 --> 00:06:26,773 Speaker 4: that starred Aubrey Plaza. This film also stars tober Grace 130 00:06:26,813 --> 00:06:29,693 Speaker 4: and Ed Harris. It's a fantastic cast. So you've got 131 00:06:29,693 --> 00:06:31,773 Speaker 4: a great writer director, you've got a great cast on board. 132 00:06:31,773 --> 00:06:33,653 Speaker 4: And I was thinking, awesome, this is going to fight. 133 00:06:34,173 --> 00:06:38,173 Speaker 4: But it doesn't quite. It's just a little lackluster. It's 134 00:06:38,173 --> 00:06:40,853 Speaker 4: got all the ingredients, just doesn't quite work. 135 00:06:41,173 --> 00:06:42,133 Speaker 3: And I wonder whether. 136 00:06:41,973 --> 00:06:44,493 Speaker 4: It's following close on the heels of no Other Choice, 137 00:06:44,533 --> 00:06:48,373 Speaker 4: because it's a slightly similar idea. Here we meet this character, 138 00:06:48,413 --> 00:06:51,573 Speaker 4: Beckett Redfellow. He's in prison. It becomes clear as he's 139 00:06:51,573 --> 00:06:55,013 Speaker 4: given his confessional before he's about to be executed. That 140 00:06:55,133 --> 00:06:57,373 Speaker 4: he's a member of a very wealthy family. He was 141 00:06:57,413 --> 00:07:01,733 Speaker 4: outcast as his entire life because his mother got pregnant 142 00:07:01,733 --> 00:07:03,693 Speaker 4: and his father said, well, if you decide to keep 143 00:07:03,693 --> 00:07:06,493 Speaker 4: the baby, you need to leave the home. And he 144 00:07:06,493 --> 00:07:08,733 Speaker 4: he gets a point in his life where he goes, actually, 145 00:07:08,773 --> 00:07:10,693 Speaker 4: I'm going to go after what's mine and my inheritance 146 00:07:10,733 --> 00:07:12,573 Speaker 4: and live the life my mother always told me I should. 147 00:07:12,573 --> 00:07:13,973 Speaker 4: And he decides the way to do that is to 148 00:07:14,053 --> 00:07:15,893 Speaker 4: kill off his family till he's the only one left. 149 00:07:15,933 --> 00:07:18,773 Speaker 4: And hear it, So off we go. Look, there's some 150 00:07:18,813 --> 00:07:23,093 Speaker 4: great cameos in here. They take the you know, the 151 00:07:23,253 --> 00:07:26,173 Speaker 4: mickey out of wealthy people, but really have just kind 152 00:07:26,173 --> 00:07:27,733 Speaker 4: of created caricatures. 153 00:07:28,133 --> 00:07:29,213 Speaker 3: They're not nice people. 154 00:07:29,213 --> 00:07:31,613 Speaker 4: But then also I don't know whether they quite deserve 155 00:07:31,693 --> 00:07:32,893 Speaker 4: to die, So I'm not. 156 00:07:32,773 --> 00:07:37,413 Speaker 3: Sure whether I'm not sure whether I'm on board plan 157 00:07:37,533 --> 00:07:39,413 Speaker 3: here and have any sympathy for him. 158 00:07:39,733 --> 00:07:41,613 Speaker 4: There are some really nice twists and turns, and I 159 00:07:41,733 --> 00:07:43,253 Speaker 4: looked to herself, Oh, here we go, here we goes, 160 00:07:43,253 --> 00:07:44,453 Speaker 4: it's gonna be awesome, but. 161 00:07:44,493 --> 00:07:48,773 Speaker 3: They just kind of faded. Yeah, so yeah, okay it 162 00:07:48,853 --> 00:07:49,693 Speaker 3: didn't quite work. 163 00:07:49,933 --> 00:07:52,573 Speaker 2: Yeah, very good. All right, that's a bit disappointing because 164 00:07:52,573 --> 00:07:54,293 Speaker 2: I saw that line up and thought that could be 165 00:07:54,333 --> 00:07:57,533 Speaker 2: amazing total, yeah, astonishing. Yeah, you know, I mentioned it 166 00:07:57,573 --> 00:07:59,613 Speaker 2: to Libby. I said, are you a fan of Glen 167 00:07:59,613 --> 00:08:01,933 Speaker 2: Powell and Margaret Waller? She is a big Glen Power fan, 168 00:08:02,053 --> 00:08:05,093 Speaker 2: as he said, Libby, But Margaret Qually, you know, she said, 169 00:08:05,333 --> 00:08:08,613 Speaker 2: she said, she likes my group. Quality doesn't have iPhone face. 170 00:08:09,213 --> 00:08:13,573 Speaker 2: Have you heard of iPhone face? What's iPhone face? I'd 171 00:08:13,573 --> 00:08:15,973 Speaker 2: never heard of it either. The iPhone face is apparently 172 00:08:15,973 --> 00:08:19,893 Speaker 2: a phenomenon used to describe generally actresses. But you know, 173 00:08:20,013 --> 00:08:24,053 Speaker 2: actors and actresses who appear in period dramas but clearly 174 00:08:24,213 --> 00:08:29,213 Speaker 2: are having like filler and botox and stuff to kind 175 00:08:29,253 --> 00:08:32,293 Speaker 2: of meet modern beauty standards, so they end up looking 176 00:08:32,333 --> 00:08:36,693 Speaker 2: a lot more like movie stars of twenty twenty six, 177 00:08:37,173 --> 00:08:41,253 Speaker 2: who are in the Instagram iPhone age, rather than people 178 00:08:41,333 --> 00:08:42,413 Speaker 2: from the eighteen hundreds. 179 00:08:42,453 --> 00:08:42,613 Speaker 1: You know. 180 00:08:43,453 --> 00:08:46,573 Speaker 2: So she appreciates that Margaret Quality doesn't have iPhone face, 181 00:08:46,613 --> 00:08:48,413 Speaker 2: which I thought was a peculiar way. 182 00:08:50,853 --> 00:08:52,973 Speaker 4: Does that just apply to if you're in a period 183 00:08:53,013 --> 00:08:54,933 Speaker 4: film or would it apply across the board. 184 00:08:55,013 --> 00:08:58,413 Speaker 2: Do you think I think iPhone face can apply to anyone? 185 00:08:58,573 --> 00:09:03,693 Speaker 2: But specifically, specifically, people complain about iPhone face when they 186 00:09:03,693 --> 00:09:08,133 Speaker 2: see iPhone face in period dramas. That's my understanding. You're 187 00:09:08,173 --> 00:09:09,573 Speaker 2: not exactly asking the expert here. 188 00:09:09,613 --> 00:09:09,773 Speaker 1: Man. 189 00:09:09,813 --> 00:09:13,333 Speaker 2: We need to get Leboon just to explain yourself. But yeah, yeah, anyway, 190 00:09:13,373 --> 00:09:17,773 Speaker 2: there you go. I could just imagine seeing that as 191 00:09:17,813 --> 00:09:19,693 Speaker 2: a line. You know how they have the lines on 192 00:09:19,973 --> 00:09:22,573 Speaker 2: the bottom of the of the big movie posters. Margaret 193 00:09:22,653 --> 00:09:26,813 Speaker 2: Qualley doesn't have iPhone face. Yeah, hey, thanks so much. 194 00:09:26,853 --> 00:09:30,813 Speaker 2: Those films again, How to Make a Killing and Holy Days, 195 00:09:31,053 --> 00:09:32,733 Speaker 2: both of them are showing in cinemas at the moment. 196 00:09:32,773 --> 00:09:36,253 Speaker 2: More details on the news talks He'd Be websites for. 197 00:09:36,293 --> 00:09:39,373 Speaker 1: More from Saturday Morning with Jack Tame. Listen live to 198 00:09:39,453 --> 00:09:42,613 Speaker 1: Newstalks I'd Be from nine am Saturday, or follow the 199 00:09:42,613 --> 00:09:44,093 Speaker 1: podcast on iHeartRadio.