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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: just two visits. Sign up now in the Regal app.

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Speaker 1: We're at the link in the show description and use

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Speaker 1: code film Spot twenty five. That's film Spot twenty five

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Speaker 1: to receive your discount, Hey, film Spotters. Over the years,

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Speaker 1: we had managed to streamline these top ten shows down

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Speaker 1: to about oh three hours, three hours fifteen. We had

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Speaker 1: so much fun talking to Michael Phillips and Alison Wilmore

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Speaker 1: about the best films of the year. The show ended

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Speaker 1: up being a little over four hours, maybe closer to

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Speaker 1: four and a half hours, right, Josh. So we decided

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Speaker 1: it was best to split these into two You're gonna

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Speaker 1: get two parts.

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Speaker 2: The worst thing about this, Adam, is like I was

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Speaker 2: all dressed up for our video version for the show proper.

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Speaker 2: Now we had to jump back on to explain all this,

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Speaker 2: and here I'm just wearing an old hoodie. I mean,

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Speaker 2: I know, Oh okay, well, we'll manage. Here is part

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Speaker 2: one of our top ten films of twenty twenty five.

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Speaker 3: What kind of a show you guys putting on here today?

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Speaker 3: You're not interested in art. Now, No, Look, we're going

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Speaker 3: to do this thing.

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Speaker 4: We're going to have a.

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Speaker 5: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 5: I'm Adam M. Champanard and I'm Josh Larson.

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Speaker 2: Hey, I mean to scare you.

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Speaker 6: Stut I don't forgot about me?

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Speaker 5: And who call open doling on out here?

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Speaker 3: Stay as you.

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Speaker 5: Closes me, open the door. That ain't your brother.

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Speaker 1: If the first half of the movie year belonged to

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Speaker 1: Ryan Coogler's Sinners, the second belonged to Paul Thomas Anderson's

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Speaker 1: One Battle after Another, Thanks please courage.

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Speaker 6: Bob Carriage.

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Speaker 3: It's did.

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Speaker 2: We'll see how the two fair this week on our

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Speaker 2: Top ten Films of twenty twenty five, with special guests

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Speaker 2: Michael Phillips and Vultures Alison Wilmar. It's all ahead on

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Speaker 2: Films Spotting.

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Speaker 7: Hey, thank you, since thank you, thank you, God damn it.

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Speaker 1: Welcome to Film Spotting and welcome to our guests. I

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Speaker 1: can't believe it for the first time on one of

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Speaker 1: these end of year roundtables. God knows, we've tried to

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Speaker 1: make it happen in the past. From Vulture, the film

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Speaker 1: critic and formerly Film Spotting SVU Alison Wilmore. Alison, thanks

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Speaker 1: so much for being here.

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Speaker 8: I am so happy to finally be here. I know Adam.

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Speaker 8: Every once in a while we talked about whether we

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Speaker 8: could pull this off in Iowa City, which where some

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Speaker 8: of my family members live over the holidays. That has

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Speaker 8: never come together someday.

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Speaker 2: Some yes, but will all descend on Iowa City together

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Speaker 2: and do it there?

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Speaker 3: That would be one.

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Speaker 8: It is a lovely place.

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Speaker 3: It's my favorite. It's my new favorite Midwest college Stone.

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Speaker 3: I mean, it's just you know it is. It's fantastic.

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Speaker 3: It's great. Let's go.

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Speaker 5: I look forward to forward to that, Michael. It always has.

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Speaker 3: Let's do like six to ten here and then we'll

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Speaker 3: like relocate there.

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Speaker 5: You go, Josh, can you make that happen?

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Speaker 2: Oh yeah, We'll just need an eighteen hour break between sessions,

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Speaker 2: but I can do it.

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Speaker 5: Okay, we might need that, We might need that. Of course.

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Speaker 1: The other voice and the other face you might see

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Speaker 1: if you are watching this is Michael Phillips.

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Speaker 5: I did the math.

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Speaker 1: This is your nineteenth year participating in one of these

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Speaker 1: top ten films of the year shows.

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Speaker 5: Can you believe it?

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Speaker 3: I just can't believe I started when I was what fifteen?

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Speaker 3: I mean, I know it was one of those young prodigies.

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Speaker 9: You know.

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Speaker 5: Indeed, yeah were now.

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Speaker 3: Yeah, that's great, you know, And I have a lot

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Speaker 3: to say about all the lists I've done up till now,

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Speaker 3: So if we can just make a little time for

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Speaker 3: the previous years, I'd appreciate.

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Speaker 5: It, of course.

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Speaker 3: Yeah, it's great.

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Speaker 5: Strap in.

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Speaker 1: In addition to hearing from Alison and Michael, we will

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Speaker 1: get picks from several other critic friends their choices for

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Speaker 1: film of the Year, including Allison's former SVU co host

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Speaker 1: Matt Singer. He does not disappoint, he never does. You'll

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Speaker 1: also hear from members of our sister podcast, The Next

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Speaker 1: Picture Show, and friends from NPR's pop culture Happy Hour, Letterboxed,

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Speaker 1: the Unspooled podcast, The Film Cast, and many more. This

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Speaker 1: is how we approach the best of your roundtable on

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Speaker 1: film spotting. We take all the titles that comprise our

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Speaker 1: individual top ten lists. It turns out, there, I think

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Speaker 1: my math is right, twenty seven unique titles among our

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Speaker 1: four lists. We look for where there's overlap and of

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Speaker 1: course where there's not, and we start with those outliers

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Speaker 1: and then we arrive at some consensus. We may arrive

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Speaker 1: at that consensus six or seven hours from now, whatever

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Speaker 1: it takes. As far as consensus, there is some This year,

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Speaker 1: there are a handful of films that made two lists.

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Speaker 1: There are three films that made three of our lists,

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Speaker 1: and there is one film, only one movie. I'm guessing

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Speaker 1: most of our listeners can guess which movie that will

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Speaker 1: be one movie that made all four of those lists.

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Speaker 1: Also on the show, we are going to announce the

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Speaker 1: five finalists for the film Spotting Golden Brick Award.

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Speaker 5: Josh. Of course, this is the award that goes to

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Speaker 5: what or to who.

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Speaker 2: I think the language we've been using lately is to

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Speaker 2: a newer emerging director, so relatively new filmmaker. We also

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Speaker 2: like to and this goes hand in hand. We'd like

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Speaker 2: it to be an underseen film, one that at least

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Speaker 2: maybe up until the end of the year folks might

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Speaker 2: have missed out on, and try to shed some light

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Speaker 2: towards that filmmaker and that film.

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Speaker 8: And man, do we have.

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Speaker 2: A great batch. We had a great, huge long list

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Speaker 2: to choose from, and we've winnowed that down to some

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Speaker 2: fantastic finalists.

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Speaker 3: We have.

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Speaker 1: Listeners will also share their film of the Year choices,

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Speaker 1: and we will incorporate so of their wonderful feedback, including

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Speaker 1: a title or two I don't think I even heard

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Speaker 1: about this year, so that will be fun. Just a

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Speaker 1: quick note upfront, As you may be listening wherever, you're

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Speaker 1: listening in your car, at work, on the peloton who

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Speaker 1: knows what, and you're hearing all of these titles and

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Speaker 1: trying to write them down, you can go to film

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Speaker 1: spotting dot Net whenever you would like. Click on lists

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Speaker 1: at the top of the page. You will see all

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Speaker 1: of our choices and all of our special guest number

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Speaker 1: one picks as well film spotting dot Net slash lists. Okay,

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Speaker 1: Michael Josh Allison. Before we get into those picks, do

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Speaker 1: we want to share any thoughts about the movie year? Overall,

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Speaker 1: we're not great here on Film Spotting when it comes

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Speaker 1: to the business, and I don't know if there's any

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Speaker 1: good news when it comes to the business of movies

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Speaker 1: right now. We tend to just keep our heads down

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Speaker 1: and focus on the movies themselves, the quality, if you will,

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Speaker 1: and our personal reaction to those movies. But you guys

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Speaker 1: are a little bit more plugged in in terms of

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Speaker 1: the daily grind of covering movies in the industry, Alison,

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Speaker 1: when you when you think about the totality of the year,

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Speaker 1: what what stands out to you, Well.

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Speaker 8: I think maybe even more so than the last few years,

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Speaker 8: I've gotten a real you know, old world is dying,

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Speaker 8: New World struggles to be born. Feeling about the movies.

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Speaker 8: You really get the sense that all of the old

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Speaker 8: you know, monster franchises that were powering Cineplex movie going

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Speaker 8: in particular for a while, like those are all so

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Speaker 8: they're they're they're at the end of their kind of arcs,

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Speaker 8: you know, like Marvel, I'm not sure what's going on there.

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Speaker 8: DC does not seem to be like kind of built

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Speaker 8: on the same with the same aims anymore. You've got

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Speaker 8: you know, some of these other like Mission Impossible and

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Speaker 8: things like that that are just like, you know, I've

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Speaker 8: come to an end, and I think that we've had

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Speaker 8: in some ways of really exciting you know, bunch of

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Speaker 8: original movies Sinners and one Battle after another Weapons which

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Speaker 8: all happened to be released by Warner Brothers, which got

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Speaker 8: the reward of then you know, being sold off to

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Speaker 8: massive companies that are both fighting over it, and I

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Speaker 8: feel like neither situation bodes well for the future of movies.

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Speaker 8: If you love original films, if you love going to theaters.

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Speaker 8: You know, Netflix on one side, really, despite what they say,

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Speaker 8: it's hard to believe that they really will commit to

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Speaker 8: the theatrical experience in the same way. And then Paramount

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Speaker 8: is so you know, at this point like tied into

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Speaker 8: pleasing the president and pleasing and kind of like like

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Speaker 8: bending ideologically that the idea of them having another major

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Speaker 8: you know, media arm that will be forced to do

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Speaker 8: the same is just incredibly depressing. So I feel like

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Speaker 8: it's really hard to know what to think, but I

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Speaker 8: do if there's any hope for me, it is just

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Speaker 8: the fact that things like Centers, things like One Battle,

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Speaker 8: like we're so talked about, you know, like they really

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Speaker 8: have such an enormous cultural footprint, like and even something

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Speaker 8: like the Minecraft movie, which I still haven't seen. So

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Speaker 8: I cannot communicate with the young people because we have

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Speaker 8: nothing in common. I don't know how to use their language.

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Speaker 8: But you know, that was like a huge phenomenon, like

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Speaker 8: kids wanted to go to a movie theater, kids wanted

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Speaker 8: to like play along, you know with all of the

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Speaker 8: rocky horror esque things that were traditions that got built

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Speaker 8: into it. I mean, all of those feel like promising

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Speaker 8: things to me, at least on the basic kind of

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Speaker 8: commercial movie going standpoint. But I don't know. I keep

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Speaker 8: I do not love the feeling that we are constantly

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Speaker 8: pushed towards a future in which we all just sit

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Speaker 8: at home watching whatever content an algorithm pushes up to

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Speaker 8: us on our individual screens. That sounds of lonely and

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Speaker 8: isolated and like surrendering to, you know, corporate taste, as

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Speaker 8: opposed to seeking out works of art and entertainment that

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Speaker 8: are a surprising and individual And so I don't know.

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Speaker 8: I'm not going to sure what the future will hold

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Speaker 8: in terms of the business in that way, but it's

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Speaker 8: been so chaotic for so long. I also feel very

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Speaker 8: comfortable just shrugging and being like, we will find out.

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Speaker 5: Yeah, Michael, where are you on that?

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Speaker 9: Yeah?

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Speaker 1: I means's words, the incredibly depressing to hope or hopeful spectrum.

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Speaker 3: Yeah, there's a really good year, you know. I mean,

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Speaker 3: that's that's the short answer to all of it. And

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Speaker 3: I think it was a really good year for all

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Speaker 3: the reasons. Alison just said plus this, you know, what

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Speaker 3: you want at the end of the year is the

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Speaker 3: reminder or maybe the discovery, you know, by way of

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Speaker 3: somebody else's lists or thoughts about what was happening way

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Speaker 3: the hell outside the studio system. You know, films from

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Speaker 3: you know, any number of markets, most of which are

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Speaker 3: you know, multi multi multi hyphen co productions, basically festival material.

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Speaker 3: That is, it has a hell of a hard time

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Speaker 3: finding anything like a traditional theatrical release because that just

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Speaker 3: doesn't you know, I mean, and it is a it

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Speaker 3: is a sobering moment, certainly for distributors like a twenty

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Speaker 3: four where you know, and many others, but where you

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Speaker 3: pay let's say, a pretty good pre COVID level fee

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Speaker 3: for a film like Sorry Baby, which I think will

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Speaker 3: come up in the conversation later. And you know, like

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Speaker 3: other films that had the bad luck to be released

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Speaker 3: you know, early mid COVID Sing Sing for example, you know,

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Speaker 3: just couldn't come close to making it back. I think

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Speaker 3: that audience is not around anymore. I think the hardening

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Speaker 3: thing is definitely what Allison said, to have films of

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Speaker 3: the size and the artistic, the glaring artistic freedom of

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Speaker 3: Paul Thomas Anderson's latest film One One Battle of for

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Speaker 3: Another and Ryan Coogler's Sinners. It's great they found the

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Speaker 3: Sinners in particular, found the audience it knew it would get.

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Speaker 3: Even if everybody, everybody in Hollywood has this bizarre case

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Speaker 3: of racist amnesia, thinking there isn't a black audience that

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Speaker 3: we'll support, right, uh, you know, everybody turned out and

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Speaker 3: even when the white people started going, it was like, hey,

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Speaker 3: pretty good, you know, and you know, it's just like

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Speaker 3: they never learned the lesson. I also, the chilling thing

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Speaker 3: for me at the end of this year is to

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Speaker 3: think back at what and I've quoted it before, but

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Speaker 3: there was an interview in the New York Times with

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Speaker 3: David zaslof you know, a couple of years ago, just

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Speaker 3: after Barbie, and it was a big, you know, kind

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Speaker 3: of just profile of him and what he might do,

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Speaker 3: you know, in the conglomeration of everything out there. And

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Speaker 3: this is ancient history now, but he just somebody pointed

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Speaker 3: and the writer pointed out, well, what about Barbie? That

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Speaker 3: Barbie made a Hunters is that doesn't really affect our

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Speaker 3: bottom line? I mean the quote, I'm paraphrasing the quote,

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Speaker 3: but It's like, Okay, when a film it made a

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Speaker 3: hundred a billion and a half, more than a billion

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Speaker 3: and a half doesn't affect your bottom line as a movie

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Speaker 3: concern than the then it's the audience's concern, because that's

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Speaker 3: you know what is there? The one thing we cannot

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Speaker 3: argue with is that all this, whether it's Netflix or

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Speaker 3: Paramount or just you know, Trump and Trump Junior officially

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Speaker 3: buying the you know, the studio through the United States government.

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Speaker 3: I don't think that's really gonna happen, but it's going

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Speaker 3: to mean less films made every year and and far

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Speaker 3: fewer films in theaters. And so this is the question

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Speaker 3: with Netflix, are they really interested in living with the

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Speaker 3: theatrical window model of like anything like you know, four

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Speaker 3: weeks and up, or are they just going to dump

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Speaker 3: as much as they can onto the streaming thing. One

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Speaker 3: for them, one for us. Used to refer to projects,

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Speaker 3: and now I just think it refers to platforms, except

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Speaker 3: it's going to be three for the streamer and one

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Speaker 3: for the theaters. And that's what worries me the most

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Speaker 3: going into the new year.

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Speaker 2: Yeah, I'm feeling a similar deep unease on that question.

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Speaker 3: And it's one.

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Speaker 2: I'd sort of, you know, had a let's wait and

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Speaker 2: see attitude really until this year. For some reason, I've

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Speaker 2: long you know, I've long set a movie, a great

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Speaker 2: movie can stand up to any viewing environment. I go

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Speaker 2: back to my discovery of Hitchcock in my bedroom as

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Speaker 2: a kid with the little camping TV my grandpa gave me,

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Speaker 2: and I watched Hitchcock on Channel nine WGN in Chicago

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Speaker 2: and fell in love. Okay, so that was like eight

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Speaker 2: and a half inches by five inches that screen. That

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Speaker 2: doesn't mean great movies should be watched in any viewing environment.

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Speaker 2: And I'm starting to think we're getting to that place

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Speaker 2: where it's no longer in option. And it is this

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Speaker 2: Netflix situation with Warner Brothers, and as you both have

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Speaker 2: pointed out, the unique crowd pleasing, box office busting films

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Speaker 2: that we got in Sinners and one bat after another

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Speaker 2: coming from Warner Brothers, and the prospect of that happening

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Speaker 2: again just going away overnight is very dispiriting. I think

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Speaker 2: the death of theatrical has been talked about for a

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Speaker 2: long time.

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Speaker 9: This is.

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Speaker 2: This is the first time I personally have felt like

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Speaker 2: I could see it or I feel it, and you know,

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Speaker 2: it really does matter. Great movies do do need to

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Speaker 2: be seen with others in the dark on giant screens,

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Speaker 2: even though they can hold up elsewhere. It's you know,

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Speaker 2: it's it's like the most amazing taco you've you can find.

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Speaker 2: It's gonna taste great driving, you know, rushing to you

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Speaker 2: to get an errand done in your car. It's gonna

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Speaker 2: taste great. You know what, It would taste better eating

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Speaker 2: it on the beach at the taco stand in Mexico. Okay,

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Speaker 2: So I just still want that option for my tacos

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Speaker 2: and my movies.

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Speaker 5: I guess, yeah, I.

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Speaker 8: Will say also to kind of to go further, Josh,

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Speaker 8: I feel like for me, it's not even that the

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Speaker 8: streaming experience can't be a great one. It is that

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Speaker 8: I feel like the end goal of the companies behind streaming,

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Speaker 8: well especially Netflix, is to be like, we would just

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Speaker 8: like you to kind of neutrally absorb, you know, whatever

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Speaker 8: we kick up to you. And I think, and we're

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Speaker 8: going to expect you to be on your phone at

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Speaker 8: the same time, you know, And I feel like, yes,

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Speaker 8: that experience is just and I have done it as well,

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Speaker 8: you know, But like I don't think that it is

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Speaker 8: in any way you can equate it to, like, yeah,

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Speaker 8: the experience of just giving your full attention to a

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Speaker 8: movie or to anything, you know. I think it's telling

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Speaker 8: that ultimately, like Netflix's big rival is YouTube, right, it

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Speaker 8: is not actually like one of the big studios, like

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Speaker 8: the studios I consider kind of already done, like they

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Speaker 8: are competing for attention and for content, not competing in

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Speaker 8: a film world necessarily. And I think I want a

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Speaker 8: film world, yeah, I.

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Speaker 3: Think, And I don't like a world where those of

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Speaker 3: us in cities like New York, Chicago, Los Angeles and

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Speaker 3: a tiny handful of others are going to be the

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Speaker 3: more protected areas in terms of like our theatrical options.

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Speaker 3: I think the early predictions five or more years ago

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Speaker 3: about how what's going to happen with theatrical movie going

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Speaker 3: period was always that it would be winnowing down, getting

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Speaker 3: rid of shaving multiplexes, you know, until we're about half

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Speaker 3: the numbers we are now how many there are nationally,

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Speaker 3: and they're they're bunched up in the bigger cities. I

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Speaker 3: don't I don't love that, but it does. If it

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Speaker 3: turns into something like that, it's more of a boutique experience.

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Speaker 3: I hate that word because it just sounds it just

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Speaker 3: sounds exclusionary, and it sounds undemocratic, and it owns a

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Speaker 3: lot of things. But uh, it's why a lot of

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Speaker 3: us wanted to live in cities like this anyway, you know.

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Speaker 3: But I don't know, Josh, I have to ask you,

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Speaker 3: what is your movie going option for a theater where

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Speaker 3: you live, where you're staying this year in Scotland? Seriously?

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Speaker 2: Yeah, it's you know, the town I'm in. St. Andrews

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Speaker 2: is relatively small, so there is a theater long story

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Speaker 2: that's just been opened, but it's also a virtual golf

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Speaker 2: venue actually owned by justin Timberlake and Tiger Woods. St

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Speaker 2: Andrews is a you know, historic golf town. So so yeah,

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Speaker 2: that's you know, I can walk there. But otherwise, there's

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Speaker 2: a town of Dundee that I can take a bus

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Speaker 2: to that has you know, the a Regal our sponsor

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Speaker 2: here in film spotting, they have cinemas so you can

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Speaker 2: still get that big screen experience. There is a small

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Speaker 2: the DCA, the Dundee Contemporary Arts that is screening more

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Speaker 2: like you know Gene Sisco Film Center type title, which

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Speaker 2: is a great option, and then otherwise I have been

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Speaker 2: bopping over via bus and trained to Edinburgh to see

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Speaker 2: some of the stuff there because they have a great

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Speaker 2: art house film option as well. But you know, I

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Speaker 2: think you're right, Michael, we're going to that a sign

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Speaker 2: of hope. You know, Alison, you mentioned what has given

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Speaker 2: you hope is you know, you go to any of

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Speaker 2: these repertory screenings, whether it is at the Cisco Film

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Speaker 2: Center of the Music Box in Chicago, and they're sold out.

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Speaker 2: I mean, they're just it's it's just huge attraction for

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Speaker 2: audiences of all ages, and that's exciting. And I think

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Speaker 2: that's becoming more of an attraction for people than it

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Speaker 2: even used to be. Now to your point, Michael, is

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Speaker 2: that going to be available in smaller towns. Maybe maybe

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Speaker 2: the demand will become so great that this is something

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Speaker 2: that a one screen theater and a smaller town can

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Speaker 2: support programming older movies projected. But I don't know how

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Speaker 2: confident I feel about that, And I think you're right, Michael,

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Speaker 2: it's going to be more likely for the select few

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Speaker 2: who get that. I'm just thinking about, you know, movies

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Speaker 2: not only like Sinners, but Adam, we did an anniversary

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Speaker 2: review of Back to the Future this year. Where is

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Speaker 2: the populist cineplex masterpiece that the suburban kids in, you know,

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Speaker 2: just some smaller state with no major city Back to

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Speaker 2: the Future played there in the eighties. Where is it

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Speaker 2: going to play, you know, the new back to the Future.

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Speaker 2: Where is it going to play in five years. I

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Speaker 2: don't know if there will be a place for something

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Speaker 2: like that.

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Speaker 3: I don't want to stretch you out too much. But

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Speaker 3: Allison's point about the Minecraft movie, well over a billion.

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Speaker 3: It was like the old days, meaning twenty nineteen, And

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Speaker 3: that happens not predictably or reliably, but it happens every year.

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Speaker 3: Every year there's a film like that where it's like, okay,

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Speaker 3: it's just it's ip, you know, the time seven and all.

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Speaker 3: That's all it is. But and I regret to say

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Speaker 3: I haven't seen it either, But I mean, they got

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Speaker 3: a real director to do it, and they apparently it's

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Speaker 3: got some laughs, and god knows it had the appeal.

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Speaker 3: But I think with those it happens every year. So

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Speaker 3: I don't think it's the folding of theatrical Is is

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Speaker 3: tomorrow or next year or hopefully not even this decade?

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Speaker 3: And you know it does go on, but it's going

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Speaker 3: to take you know, the wherewithal and the will of

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Speaker 3: whoever owns these conglomerates that are you know, that are

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Speaker 3: seventeen steps above actual production, but are responsible for funding it,

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Speaker 3: to believe in it and to say, yes, we still

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Speaker 3: can make money, and yes theatrical can drive you know,

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Speaker 3: streaming activity and popularity, just like it always has when

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Speaker 3: they've co existed together. So I really hope that that

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Speaker 3: they don't just listen to the last person in the

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Speaker 3: room on these decisions.

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Speaker 8: Yeah, And I think also, I mean, just to close

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Speaker 8: this out, I feel like, you know, this is a

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Speaker 8: conversation that's larger than us theaters of theaters is obviously

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Speaker 8: something that's very important to me. It does feel like

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Speaker 8: a larger conversation about public spaces and public life, you know.

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Speaker 8: And I think in particular, the pandemic really disrupted so

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Speaker 8: many things about like about us going outside and being

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Speaker 8: around other people and doing things in kind of communal settings.

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Speaker 8: And I do feel strongly that it is an important

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Speaker 8: and kind of social good for us to go out

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Speaker 8: and do things and be around other people and not

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Speaker 8: all just kind of like default to being sealed up

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Speaker 8: in our houses as much as possible, you know. And

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Speaker 8: I think that movie going like the kind of collective viewing,

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Speaker 8: not even in the kind of story i'd like cinema sets,

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Speaker 8: but just in being like, it is so nice to

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Speaker 8: be with a group of people and like to be

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Speaker 8: laughing along or bored together, or you know, like rapped

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Speaker 8: and wrapped by something on screen together. It does feel nice,

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Speaker 8: you know, like just as a thing that you are

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Speaker 8: doing in it in the in public with a group

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Speaker 8: of people, like it is a different experience from just

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Speaker 8: like communing with a work of art or entertainment at

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Speaker 8: home on your phone or on your screens of choice.

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Speaker 9: And I.

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Speaker 8: Think that we are better as a society when we

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Speaker 8: all go out and do things outside of our homes

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Speaker 8: in addition to being home.

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Speaker 1: Right now, my only question after all this is, Josh,

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Speaker 1: how are the tacos when you're hitting a few practice

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Speaker 1: rounds at the virtual golf?

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Speaker 3: How do they.

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Speaker 8: Game with Scotland? Scotland tacos.

437
00:23:24,720 --> 00:23:28,080
Speaker 2: I have really fallen in love with Scotland, and I

438
00:23:28,119 --> 00:23:30,000
Speaker 2: am desperate.

439
00:23:29,480 --> 00:23:30,480
Speaker 3: For Mexican food.

440
00:23:31,720 --> 00:23:32,920
Speaker 5: That's where that came from.

441
00:23:33,080 --> 00:23:34,360
Speaker 2: Two things can be true.

442
00:23:34,119 --> 00:23:36,520
Speaker 3: At the same Two things can be true at the

443
00:23:36,560 --> 00:23:37,200
Speaker 3: same time.

444
00:23:37,320 --> 00:23:39,359
Speaker 8: I think also if you see if you see a

445
00:23:39,359 --> 00:23:42,160
Speaker 8: Mexican restaurant anywhere out there in the UK, don't do it.

446
00:23:42,880 --> 00:23:43,679
Speaker 8: Don't do it.

447
00:23:44,800 --> 00:23:47,240
Speaker 1: I'll add a hopeful note, which is there's a sub stack.

448
00:23:47,280 --> 00:23:51,399
Speaker 1: I followed by Ted joya great, very wise critic of

449
00:23:52,240 --> 00:23:55,679
Speaker 1: many things, and he talked earlier in the year about

450
00:23:55,800 --> 00:23:59,640
Speaker 1: in this increasingly algorithmic world that you were talking about, Alison,

451
00:24:00,119 --> 00:24:02,720
Speaker 1: he does truly believe that there will be an increased

452
00:24:02,800 --> 00:24:09,800
Speaker 1: value put on finding human individual opinions that you can

453
00:24:10,320 --> 00:24:13,480
Speaker 1: truly trust. And I hope as we're doing this show,

454
00:24:13,520 --> 00:24:15,320
Speaker 1: I hope that's the case, and I hope that there

455
00:24:15,320 --> 00:24:18,439
Speaker 1: are people out there listening that hopefully we'll value our

456
00:24:18,480 --> 00:24:21,760
Speaker 1: opinions and can trust our opinions as we dive into

457
00:24:21,960 --> 00:24:25,640
Speaker 1: this show, and as we're going to now transition into

458
00:24:25,680 --> 00:24:28,639
Speaker 1: talking about the movies themselves. I think, Josh, that's usually

459
00:24:28,680 --> 00:24:32,360
Speaker 1: the barometer for us when we're reflecting on the year.

460
00:24:33,080 --> 00:24:37,040
Speaker 1: It's how hard was it to form this top ten list?

461
00:24:37,600 --> 00:24:39,639
Speaker 1: How fun was it? But how hard was it to

462
00:24:39,760 --> 00:24:43,880
Speaker 1: chisel down from all these titles that we thought were

463
00:24:43,920 --> 00:24:47,400
Speaker 1: pretty great to actually get it down to ten. I'm

464
00:24:47,440 --> 00:24:49,359
Speaker 1: guessing it was a challenge for you.

465
00:24:49,480 --> 00:24:50,080
Speaker 5: Is that the case.

466
00:24:51,080 --> 00:24:53,439
Speaker 2: Yeah, it was a challenge on the back end in

467
00:24:53,560 --> 00:24:56,280
Speaker 2: terms of I had a clear number one by far,

468
00:24:56,680 --> 00:24:59,040
Speaker 2: I had maybe a handful after that that I knew

469
00:24:59,080 --> 00:25:03,880
Speaker 2: we're real strong, and then I had maybe twenty movies

470
00:25:04,200 --> 00:25:07,680
Speaker 2: that we're all just such a delight in so many

471
00:25:07,760 --> 00:25:11,399
Speaker 2: different ways that my top ten ended up being a

472
00:25:11,520 --> 00:25:15,560
Speaker 2: constantly evolving puzzle of which ones that I want to

473
00:25:15,600 --> 00:25:17,879
Speaker 2: actually pick to represent the year. It was tough, it was,

474
00:25:17,960 --> 00:25:20,760
Speaker 2: it always is, and this one I think speaks to

475
00:25:20,840 --> 00:25:22,919
Speaker 2: the depth of quality. Twenty twenty five gave.

476
00:25:22,840 --> 00:25:28,840
Speaker 1: Us movies you might be able to check out for

477
00:25:28,880 --> 00:25:32,920
Speaker 1: free right now as a Regal Unlimited member. Marty Supreme

478
00:25:33,280 --> 00:25:36,280
Speaker 1: number nine on Alison Wilmore's list an eleven through twenty

479
00:25:36,400 --> 00:25:40,199
Speaker 1: pick for me incredible performance from Timothy Shallomey that is

480
00:25:40,280 --> 00:25:44,080
Speaker 1: playing right now at Regal. And we've talked a little

481
00:25:44,080 --> 00:25:47,280
Speaker 1: bit about some of these picks. We've highlighted some of

482
00:25:47,320 --> 00:25:51,560
Speaker 1: these repertory movies, the limited engagements, Josh that Regal has

483
00:25:51,600 --> 00:25:55,399
Speaker 1: been showing at some of their theaters and I'm looking

484
00:25:55,480 --> 00:25:59,880
Speaker 1: at rgmovies dot com and they have a limited engagement

485
00:26:00,080 --> 00:26:05,840
Speaker 1: right now for it's what is it? It's fortieth anniversary,

486
00:26:06,200 --> 00:26:09,720
Speaker 1: It's thirtieth Okay, only thirty years. Shouldn't age it like

487
00:26:09,760 --> 00:26:15,360
Speaker 1: that thirtieth anniversary of a movie? I somehow I can't

488
00:26:15,359 --> 00:26:19,159
Speaker 1: believe I've admitting this. I have somehow never seen this film,

489
00:26:19,680 --> 00:26:24,320
Speaker 1: despite the fact that it stars two incredible actresses, including

490
00:26:24,359 --> 00:26:28,040
Speaker 1: one who I've always claimed to be a huge, huge

491
00:26:28,080 --> 00:26:31,240
Speaker 1: fan of. And I may have to rectify this now

492
00:26:31,280 --> 00:26:33,560
Speaker 1: by seeing it on the big screen. Getting a chance

493
00:26:33,560 --> 00:26:35,640
Speaker 1: to see it on the big screen at a Regal Cinema.

494
00:26:36,720 --> 00:26:38,600
Speaker 1: Sense and Sensibility.

495
00:26:39,440 --> 00:26:40,720
Speaker 3: Angling way to do it.

496
00:26:40,960 --> 00:26:44,560
Speaker 1: Great director too, Kate Winslett, the actress I'm referring to

497
00:26:44,600 --> 00:26:48,080
Speaker 1: the great Emma Thompson. Never seen Sense and Sensibility And

498
00:26:48,160 --> 00:26:51,280
Speaker 1: if you're like me, maybe you're embarrassed about it. Like me,

499
00:26:52,000 --> 00:26:54,280
Speaker 1: you can check that out now at Regal Cinemas and

500
00:26:54,320 --> 00:26:58,440
Speaker 1: maybe see it for free with that Regal Unlimited membership.

501
00:26:58,480 --> 00:27:01,480
Speaker 1: Regal Unlimited is the all you can watch movie subscription

502
00:27:01,560 --> 00:27:04,119
Speaker 1: pass that pays for itself in just two visits, and

503
00:27:04,200 --> 00:27:07,960
Speaker 1: Regal is offering film spotting listeners endless movies for less.

504
00:27:08,000 --> 00:27:09,560
Speaker 1: All you have to do is sign up using the

505
00:27:09,560 --> 00:27:12,600
Speaker 1: code film spot twenty five. That's film Spot twenty five,

506
00:27:12,840 --> 00:27:15,520
Speaker 1: and you'll get ten percent off a three month subscription.

507
00:27:16,040 --> 00:27:19,880
Speaker 1: It is the only truly limitless movie subscription pass. And

508
00:27:20,560 --> 00:27:23,040
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509
00:27:23,160 --> 00:27:28,120
Speaker 1: on snacks. You get ten percent off all non alcoholic concessions.

510
00:27:28,720 --> 00:27:32,000
Speaker 1: You can see any standard two D movie anytime, no blockout,

511
00:27:32,080 --> 00:27:35,800
Speaker 1: dates or restrictions. We encourage you to sign up now

512
00:27:35,840 --> 00:27:38,760
Speaker 1: in the regal app, or just click the link in

513
00:27:38,920 --> 00:27:42,560
Speaker 1: this show description and use that code film Spot twenty

514
00:27:42,600 --> 00:27:52,400
Speaker 1: five to receive your discount. With that, let's get into

515
00:27:52,440 --> 00:27:55,440
Speaker 1: some of our choices, and we are starting with those outliers.

516
00:27:55,520 --> 00:27:58,520
Speaker 1: So these are movies that only made our individual lists,

517
00:27:58,920 --> 00:28:02,359
Speaker 1: and we're going to be with the outest of outliers.

518
00:28:02,400 --> 00:28:05,440
Speaker 1: This doesn't mean they're crazy choices. It certainly doesn't mean

519
00:28:05,440 --> 00:28:08,560
Speaker 1: they're bad choices. It just means maybe they're a little

520
00:28:08,600 --> 00:28:13,760
Speaker 1: bit of a surprise movies that truly are a surprise

521
00:28:13,920 --> 00:28:17,679
Speaker 1: to the people listening, or maybe many people listening just

522
00:28:17,720 --> 00:28:21,920
Speaker 1: haven't even heard of these films. We'll see which case

523
00:28:21,960 --> 00:28:25,160
Speaker 1: supplies here. As we get into these picks, I'm going

524
00:28:25,200 --> 00:28:28,840
Speaker 1: to say, Alison, with your choice, it's the former category

525
00:28:29,600 --> 00:28:32,359
Speaker 1: it's a good pick now that I've seen this movie,

526
00:28:32,600 --> 00:28:35,080
Speaker 1: but it is one I did not see coming, So

527
00:28:35,680 --> 00:28:36,280
Speaker 1: enlighten us.

528
00:28:37,040 --> 00:28:39,920
Speaker 8: I don't know why you didn't see this coming. You

529
00:28:39,960 --> 00:28:44,560
Speaker 8: guys hate comedy, is what you're telling about. I think

530
00:28:44,600 --> 00:28:47,600
Speaker 8: that The Naked Gun is absolutely one of the best

531
00:28:47,880 --> 00:28:50,760
Speaker 8: films of the year. It is certainly, I would say,

532
00:28:50,800 --> 00:28:55,280
Speaker 8: the most enjoyable, like purely enjoyable theatrical experience. I had

533
00:28:55,680 --> 00:28:57,720
Speaker 8: even at a press screening, which, as we all know,

534
00:28:57,840 --> 00:29:00,200
Speaker 8: is filled with people who are like me, dead inside.

535
00:29:00,640 --> 00:29:03,640
Speaker 8: There was a lot of laughter. There was just like

536
00:29:03,680 --> 00:29:08,680
Speaker 8: a lot of just audible pleasure in just taking in

537
00:29:08,840 --> 00:29:14,520
Speaker 8: this incredibly silly movie that is just jam packed with jokes.

538
00:29:15,920 --> 00:29:18,840
Speaker 8: And you know what, I would nominate Liam Neeson for

539
00:29:18,880 --> 00:29:21,440
Speaker 8: an oscar. I know that Best Leading Actor is like

540
00:29:21,520 --> 00:29:24,600
Speaker 8: a packed category this year, but do you know what,

541
00:29:24,800 --> 00:29:28,680
Speaker 8: like the incredible, like like action movie face, the dead

542
00:29:28,720 --> 00:29:33,640
Speaker 8: pan that he brings to this deeply ridiculous role as

543
00:29:34,160 --> 00:29:36,400
Speaker 8: the son of Frank Dremen. I think he's so good

544
00:29:36,400 --> 00:29:40,000
Speaker 8: in it. I think that years of making what I

545
00:29:40,040 --> 00:29:44,080
Speaker 8: believe have been described as the geriatric action movie, you know,

546
00:29:44,160 --> 00:29:47,120
Speaker 8: the stage of his career in which he has played

547
00:29:47,200 --> 00:29:50,560
Speaker 8: all of these deeply serious action heroes has made him

548
00:29:50,640 --> 00:29:53,280
Speaker 8: just the perfect comedy hero for this movie. And I

549
00:29:53,280 --> 00:29:57,120
Speaker 8: think that like the kind of the delight in just

550
00:29:57,160 --> 00:29:59,600
Speaker 8: like the kind of just throwing all these jokes out

551
00:29:59,600 --> 00:30:02,320
Speaker 8: there and having them just be existing in a moment,

552
00:30:02,440 --> 00:30:07,440
Speaker 8: you know. I think the whole montage with the Snowman incredible.

553
00:30:08,080 --> 00:30:12,240
Speaker 8: The throwaway bit where they're retrieving a car that's crashed

554
00:30:12,280 --> 00:30:14,800
Speaker 8: by using a giant claw machine and everyone watches and

555
00:30:14,840 --> 00:30:17,240
Speaker 8: it's like, oh when they miss, But even just like

556
00:30:17,240 --> 00:30:19,000
Speaker 8: a throwaway line. I think my favorite part of the

557
00:30:19,000 --> 00:30:21,640
Speaker 8: movie is a part where Liam Neeson is like muttering

558
00:30:21,680 --> 00:30:24,040
Speaker 8: as he's walking through the police station, I guess you

559
00:30:24,120 --> 00:30:27,200
Speaker 8: really can't fight City Hall, and Paul Walterhauser, as his uh,

560
00:30:27,280 --> 00:30:30,520
Speaker 8: you know partner, says, very seriously, no, it's a building.

561
00:30:31,160 --> 00:30:33,840
Speaker 8: I just I just love that. I love it so much,

562
00:30:33,920 --> 00:30:37,600
Speaker 8: and I really enjoy Pamela Anderson's uh scat singing face.

563
00:30:38,240 --> 00:30:43,000
Speaker 10: This one's for my electric new friend Richard Kane, Wow,

564
00:30:44,200 --> 00:30:48,000
Speaker 10: Sassafrash Chicken and d make it extra lumpy boys.

565
00:30:51,480 --> 00:31:03,680
Speaker 8: Peai da bim bim bid. I just I think it's great.

566
00:31:03,680 --> 00:31:09,800
Speaker 8: I think Akiva Schaffer understands exactly how to get the

567
00:31:09,840 --> 00:31:12,720
Speaker 8: sensibility of these films that you know, like were made

568
00:31:12,720 --> 00:31:16,160
Speaker 8: in a different era of comedy, studio comedy, and I think,

569
00:31:17,200 --> 00:31:19,640
Speaker 8: you know, there was an awareness of how difficult it

570
00:31:19,680 --> 00:31:22,040
Speaker 8: has been to do a big studio comedy these days,

571
00:31:22,280 --> 00:31:23,960
Speaker 8: to the point where they even did a PSA or

572
00:31:24,000 --> 00:31:26,480
Speaker 8: Liam Neeson. You know, urge people, you have to come

573
00:31:26,520 --> 00:31:29,280
Speaker 8: see this for the sake of the studio comedy. But

574
00:31:29,400 --> 00:31:33,600
Speaker 8: I think that this was just a perfect, perfectly silly film.

575
00:31:33,720 --> 00:31:36,280
Speaker 8: I enjoyed it so much. I want them to make

576
00:31:36,320 --> 00:31:38,680
Speaker 8: a dozen more of diminishing returns until I get sick

577
00:31:38,680 --> 00:31:43,360
Speaker 8: of them and let it die again. That is all

578
00:31:43,400 --> 00:31:45,400
Speaker 8: I want. Bring them back, I want more.

579
00:31:46,120 --> 00:31:46,239
Speaker 11: So.

580
00:31:46,840 --> 00:31:48,920
Speaker 1: Some of the sequels may not appear in your top ten,

581
00:31:49,000 --> 00:31:51,320
Speaker 1: but this one is it is there.

582
00:31:51,400 --> 00:31:55,880
Speaker 8: I think, you know, there's only the proper comedy franchise

583
00:31:56,000 --> 00:31:58,080
Speaker 8: arc is to just end in a place where you're like,

584
00:31:58,160 --> 00:32:01,080
Speaker 8: what did I even see in this in the first place? Yeah,

585
00:32:01,200 --> 00:32:02,200
Speaker 8: that's what I want from this.

586
00:32:02,600 --> 00:32:06,880
Speaker 1: Knowing that Josh is someone who doesn't appreciate this sensibility

587
00:32:06,960 --> 00:32:11,520
Speaker 1: the airplane, you know, Zucker Abram's parody sensibility. I can't

588
00:32:11,560 --> 00:32:14,240
Speaker 1: wait to get him back here, back to this side

589
00:32:14,240 --> 00:32:17,479
Speaker 1: of the pond and clockwork orange style, make him watch

590
00:32:17,760 --> 00:32:18,400
Speaker 1: this film.

591
00:32:18,560 --> 00:32:19,280
Speaker 5: It's gonna be great.

592
00:32:19,360 --> 00:32:21,840
Speaker 2: So I'm gonna do it because I know you are

593
00:32:21,880 --> 00:32:24,400
Speaker 2: a big fan as well, Adam, and it's good. You

594
00:32:24,480 --> 00:32:26,480
Speaker 2: hinted at night come up at our rap party for

595
00:32:26,800 --> 00:32:29,440
Speaker 2: you know, funniest moment picks. So I'm going to watch

596
00:32:29,440 --> 00:32:33,400
Speaker 2: this and hope that here's my hope. Yeah, historically these

597
00:32:33,440 --> 00:32:36,640
Speaker 2: haven't been my movies, but it's in my dna. My

598
00:32:36,800 --> 00:32:42,120
Speaker 2: dad like just growing up, he loved these right Airplane Original,

599
00:32:42,200 --> 00:32:44,840
Speaker 2: Naked Gone, And so I've got it somewhere inside. My

600
00:32:44,920 --> 00:32:48,320
Speaker 2: hope is Adam, I've aged into it. Fifty one is

601
00:32:48,320 --> 00:32:50,360
Speaker 2: when it's going to kick in, right, this this is

602
00:32:50,360 --> 00:32:53,480
Speaker 2: when I will finally get these comedies.

603
00:32:54,160 --> 00:32:56,800
Speaker 3: If you're really gonna complete the whole arc of turning

604
00:32:56,800 --> 00:33:01,520
Speaker 3: into your father or your grandfather, then you'll start watching

605
00:33:02,280 --> 00:33:04,760
Speaker 3: the road show version of It's a Mad, Mad, Mad

606
00:33:04,880 --> 00:33:07,280
Speaker 3: Mad World, like over and over and over, you know,

607
00:33:07,600 --> 00:33:11,040
Speaker 3: well in few hours. Yeah, a film I actually liked

608
00:33:11,040 --> 00:33:13,640
Speaker 3: about as much as the Naked Gun remake. I really

609
00:33:13,680 --> 00:33:16,160
Speaker 3: I love to laugh and I'm not quite sure why

610
00:33:16,200 --> 00:33:19,920
Speaker 3: that one. I kind of just watched it like Nipper

611
00:33:20,520 --> 00:33:22,920
Speaker 3: the Dog on the RCA label, kind of tilting his

612
00:33:23,000 --> 00:33:25,880
Speaker 3: head waiting, you know, to me, to me, I love

613
00:33:25,960 --> 00:33:29,480
Speaker 3: that first iteration of the Naked Gun Police Squad on TV.

614
00:33:29,600 --> 00:33:32,760
Speaker 3: I loved it. And it was also the closest to

615
00:33:32,800 --> 00:33:36,560
Speaker 3: the source material they were ripping off, like the m Squad,

616
00:33:36,560 --> 00:33:39,240
Speaker 3: which nobody remembers, and you know, all the Quinn Martin

617
00:33:40,160 --> 00:33:43,960
Speaker 3: cop shows, and I thought, you know, I got I

618
00:33:44,000 --> 00:33:45,480
Speaker 3: got a lot of laughs out of a couple of

619
00:33:45,480 --> 00:33:47,240
Speaker 3: the Naked Gun movies, but that was I kind of

620
00:33:47,240 --> 00:33:49,960
Speaker 3: went through what Allison's talking about like midway through the

621
00:33:50,000 --> 00:33:52,800
Speaker 3: second one. So I don't know. This one didn't seem

622
00:33:52,840 --> 00:33:55,000
Speaker 3: to have the deadpan knack or interest. It was just

623
00:33:55,080 --> 00:33:59,840
Speaker 3: kind of a big, broad violent action comedy with with

624
00:34:00,080 --> 00:34:02,640
Speaker 3: I'm satire in it, but not enough for me, I guess.

625
00:34:02,760 --> 00:34:06,400
Speaker 3: So I don't know. I just uh, I didn't hate it.

626
00:34:06,480 --> 00:34:08,440
Speaker 3: But all of a sudden, I feel bad that I

627
00:34:08,480 --> 00:34:09,840
Speaker 3: can't agree with you because I respect you.

628
00:34:09,920 --> 00:34:12,920
Speaker 5: Well, it's fine, Michael, it's fine judging.

629
00:34:15,520 --> 00:34:21,160
Speaker 1: But she doesn't need your support because fortunately, effittingly, yeah,

630
00:34:21,320 --> 00:34:25,279
Speaker 1: she knows that. And also she has the support of

631
00:34:25,320 --> 00:34:29,960
Speaker 1: her former film Spotting SVU co host and former IFC

632
00:34:30,040 --> 00:34:35,840
Speaker 1: Films partner in crime Matt Singer, who submitted a voicemail.

633
00:34:35,960 --> 00:34:38,239
Speaker 1: We asked him for his pick for his favorite film

634
00:34:38,239 --> 00:34:41,680
Speaker 1: of the year, and you're going to get his actual

635
00:34:41,760 --> 00:34:43,720
Speaker 1: pick for best film of the Year. But it turns

636
00:34:43,719 --> 00:34:46,560
Speaker 1: out that The Naked Gun was indeed one of his

637
00:34:46,560 --> 00:34:49,920
Speaker 1: favorites of the year, and he is going to proselytize

638
00:34:49,960 --> 00:34:54,160
Speaker 1: for this film. And it's so appropriate for the conversation

639
00:34:54,680 --> 00:34:57,560
Speaker 1: that you all were just having about how important it

640
00:34:57,640 --> 00:35:00,320
Speaker 1: is to see movies in the theater. We're going to

641
00:35:00,360 --> 00:35:06,640
Speaker 1: hear about Matt's communal experience, the transcendent, the spiritual experience

642
00:35:06,680 --> 00:35:10,600
Speaker 1: he had watching The Naked Gun with other revelers this year.

643
00:35:10,920 --> 00:35:16,160
Speaker 12: Hello, Film Spotting, this is your very old friend, Matt Singer,

644
00:35:16,239 --> 00:35:22,440
Speaker 12: with my contribution to Film Spotting's ninety fifth annual Best

645
00:35:22,560 --> 00:35:25,040
Speaker 12: Movies of the Year episode. I can't believe it's been

646
00:35:25,120 --> 00:35:29,560
Speaker 12: that long. Congratulations again. Wow, what an achievement. Anyway, I'm

647
00:35:29,920 --> 00:35:34,839
Speaker 12: very confident that my number one movie of the year

648
00:35:34,960 --> 00:35:37,960
Speaker 12: this year, one battle after another, it's going to get

649
00:35:38,320 --> 00:35:41,480
Speaker 12: more than enough love on the show. So instead of

650
00:35:41,560 --> 00:35:45,840
Speaker 12: yecking on about that again, I'm going to instead stump

651
00:35:45,960 --> 00:35:51,880
Speaker 12: for what I consider my single favorite theatrical experience of

652
00:35:51,920 --> 00:35:58,239
Speaker 12: twenty twenty five, which was The New Naked Gun. So

653
00:35:59,000 --> 00:36:05,160
Speaker 12: the Naked Gun films, all three original films are canonical texts.

654
00:36:05,480 --> 00:36:09,040
Speaker 12: To me, they are as sacred as anything in the

655
00:36:09,080 --> 00:36:14,319
Speaker 12: Bible or the films of mel Brooks. So personally me,

656
00:36:14,760 --> 00:36:20,680
Speaker 12: I was very nervous about anyone tackling this holy work.

657
00:36:20,960 --> 00:36:26,120
Speaker 12: But to my very pleasant surprise, director at Kiva Schaeffer

658
00:36:26,120 --> 00:36:29,960
Speaker 12: and his team absolutely nailed how to make a Naked

659
00:36:30,000 --> 00:36:34,160
Speaker 12: Gun in twenty twenty five. You just recreate the same

660
00:36:34,280 --> 00:36:39,480
Speaker 12: style of NonStop nonsense from the originals. And with all

661
00:36:39,560 --> 00:36:42,480
Speaker 12: due respect to the great Paul Thomas, Anderson made a

662
00:36:42,480 --> 00:36:45,839
Speaker 12: fabulous movie this year. I would argue there is no

663
00:36:46,040 --> 00:36:50,959
Speaker 12: scene in any film this year more sublime than Liam

664
00:36:51,040 --> 00:36:55,879
Speaker 12: Neeson's Detective Frank Treben Junior chewing out Pamela Anderson's Beth

665
00:36:55,960 --> 00:37:02,480
Speaker 12: Davenport for accidentally erasing his tvo filled with all the

666
00:37:02,600 --> 00:37:06,960
Speaker 12: season one episodes of Buffy the Vampire Slayer. He gave

667
00:37:07,000 --> 00:37:10,600
Speaker 12: it to her with specific instructions not to plug it

668
00:37:10,719 --> 00:37:12,480
Speaker 12: into the Internet, and what did she do?

669
00:37:13,120 --> 00:37:15,719
Speaker 3: She connected it to her router. Do you know what

670
00:37:15,760 --> 00:37:16,280
Speaker 3: that means?

671
00:37:16,719 --> 00:37:22,040
Speaker 6: That means gone, no ars Ago Special, no Sander, no Spike,

672
00:37:23,040 --> 00:37:27,400
Speaker 6: no Cordelia Tays, no Daniels Osborne, no Willow meets her

673
00:37:27,440 --> 00:37:29,600
Speaker 6: double ganger episode nothing.

674
00:37:29,880 --> 00:37:31,040
Speaker 13: Sorry, I didn't know they were so.

675
00:37:33,200 --> 00:37:33,480
Speaker 10: Frank.

676
00:37:33,520 --> 00:37:35,080
Speaker 13: We're in the middle of an important conversation.

677
00:37:35,480 --> 00:37:36,480
Speaker 6: Just stand there.

678
00:37:39,480 --> 00:37:43,879
Speaker 12: Sitting in a crowded room of strangers collectively laughing at

679
00:37:43,920 --> 00:37:47,000
Speaker 12: that scene so loud and so hard that we all

680
00:37:47,040 --> 00:37:50,600
Speaker 12: missed the first couple jokes in the next scene. Was

681
00:37:51,040 --> 00:37:55,440
Speaker 12: genuinely one of my big highlights of the entire year,

682
00:37:55,520 --> 00:37:59,280
Speaker 12: maybe not just in movies, just highlights of my wife

683
00:37:59,680 --> 00:38:03,560
Speaker 12: has pathetic as that is. It's true, and it really

684
00:38:04,280 --> 00:38:06,680
Speaker 12: it serves as a reminder to me that while we

685
00:38:06,840 --> 00:38:09,879
Speaker 12: are constantly told that the only thing that will bring

686
00:38:09,920 --> 00:38:12,879
Speaker 12: people out to theaters, the only thing theaters are good

687
00:38:12,880 --> 00:38:18,600
Speaker 12: for anymore are for quote unquote events. You know, in

688
00:38:19,000 --> 00:38:24,440
Speaker 12: the right theater, in the right crowd, any great movie

689
00:38:24,600 --> 00:38:30,320
Speaker 12: becomes an event anyway, have a great twenty twenty six guys.

690
00:38:30,400 --> 00:38:30,920
Speaker 3: Thanks.

691
00:38:31,160 --> 00:38:34,640
Speaker 1: I haven't ranked the best bits in The Naked Gun,

692
00:38:34,719 --> 00:38:36,680
Speaker 1: but I think I'm willing to go on the record

693
00:38:36,719 --> 00:38:40,680
Speaker 1: and say that that deadpan delivery by Liam Neeson of

694
00:38:40,760 --> 00:38:45,879
Speaker 1: the Buffy the Vampire Slayer TiVo bit. That is that's

695
00:38:45,920 --> 00:38:50,200
Speaker 1: top three, it's maybe top two. Matt's right, So thank you,

696
00:38:50,239 --> 00:38:53,360
Speaker 1: Matt Singer that thank you for supporting Allison.

697
00:38:53,920 --> 00:38:55,799
Speaker 5: Michael. You have to go back and watch it now,

698
00:38:56,200 --> 00:38:56,400
Speaker 5: I do.

699
00:38:57,120 --> 00:39:01,120
Speaker 3: I do. I have to press laugh first.

700
00:39:01,400 --> 00:39:03,239
Speaker 2: I know I'm not watching it with Michael when I

701
00:39:03,280 --> 00:39:04,600
Speaker 2: catch up with it, that's for sure.

702
00:39:04,840 --> 00:39:08,320
Speaker 1: No, No, you don't need that bad, those bad vibes

703
00:39:08,400 --> 00:39:12,279
Speaker 1: at all jobs. Let's keep the good vibes going. You

704
00:39:12,320 --> 00:39:16,759
Speaker 1: also have a off the beaten path choice here, and

705
00:39:17,000 --> 00:39:18,360
Speaker 1: it's another comedy.

706
00:39:18,440 --> 00:39:21,200
Speaker 2: Another comedy, I guess my vein of comedy. Maybe it's

707
00:39:21,239 --> 00:39:23,480
Speaker 2: one of them days. All I can say is one

708
00:39:23,520 --> 00:39:27,040
Speaker 2: of them days made me laugh more than anything else

709
00:39:27,080 --> 00:39:30,719
Speaker 2: I saw at the theater last year, and especially just

710
00:39:30,760 --> 00:39:35,080
Speaker 2: these rapid fire exchanges between Kiki Palmer and Sizz. They

711
00:39:35,120 --> 00:39:39,360
Speaker 2: play La roommates who are facing unfair eviction from their apartment.

712
00:39:40,320 --> 00:39:42,879
Speaker 2: You know it doesn't need more, I guess than that.

713
00:39:42,960 --> 00:39:45,920
Speaker 2: To Allison's point in Alison's pick for me necessarily to

714
00:39:45,920 --> 00:39:47,360
Speaker 2: put it on my top ten list, you make me

715
00:39:47,480 --> 00:39:49,520
Speaker 2: laugh this hard. You've got a shot, but I do

716
00:39:49,560 --> 00:39:53,080
Speaker 2: think the topicality here is to its credit as well.

717
00:39:53,200 --> 00:39:57,799
Speaker 2: I mean, we are facing an avalanche of American crises

718
00:39:58,320 --> 00:40:01,520
Speaker 2: this year, and you know, you could lay them all

719
00:40:01,560 --> 00:40:05,719
Speaker 2: out before you probably get even to the affordable housing shortage.

720
00:40:05,719 --> 00:40:08,279
Speaker 2: But it's one of them. It's important to a ton

721
00:40:08,320 --> 00:40:11,960
Speaker 2: of people, and there's something exciting about a smart comedy

722
00:40:12,080 --> 00:40:17,319
Speaker 2: addressing that with sharp satirical humor. I mean, hat tip

723
00:40:17,400 --> 00:40:19,640
Speaker 2: to Kat Williams for those of you who've seen one

724
00:40:19,640 --> 00:40:22,440
Speaker 2: of them days, as I call him, Lucky, the prophet,

725
00:40:22,560 --> 00:40:26,600
Speaker 2: just standing outside of the payday loan office, warning people,

726
00:40:27,000 --> 00:40:29,400
Speaker 2: warning people away, great recurring gag.

727
00:40:30,760 --> 00:40:33,680
Speaker 8: What are the interest rates there?

728
00:40:34,880 --> 00:40:35,200
Speaker 9: Damn?

729
00:40:35,239 --> 00:40:36,719
Speaker 5: I thought that was the year of establishment.

730
00:40:38,920 --> 00:40:41,520
Speaker 8: If you don't have the money this month, you're not

731
00:40:41,600 --> 00:40:43,040
Speaker 8: gonna have it next month.

732
00:40:43,600 --> 00:40:44,400
Speaker 5: Get out?

733
00:40:45,440 --> 00:40:46,239
Speaker 8: Is he here every day?

734
00:40:47,480 --> 00:40:48,080
Speaker 13: What the job?

735
00:40:48,120 --> 00:40:49,080
Speaker 7: Don to this? Here?

736
00:40:49,960 --> 00:40:51,120
Speaker 5: He is so negative?

737
00:40:51,600 --> 00:40:54,720
Speaker 2: You know, don't discount the director here, Lawrence Lamont's work,

738
00:40:54,920 --> 00:41:00,080
Speaker 2: because great comedy like this it requires smart directing and

739
00:41:00,160 --> 00:41:02,640
Speaker 2: he knows how to set up and how to frame

740
00:41:03,160 --> 00:41:07,520
Speaker 2: a punchline, of which there are many. In addition to that, fantastic,

741
00:41:08,000 --> 00:41:11,040
Speaker 2: fantastic interplay between the two leads. So so yeah, This

742
00:41:11,080 --> 00:41:13,439
Speaker 2: is my final plea. I've mentioned it a couple times

743
00:41:13,440 --> 00:41:15,239
Speaker 2: on the show throughout the year, but my final plea

744
00:41:15,360 --> 00:41:18,080
Speaker 2: of twenty twenty five for everyone to catch up with

745
00:41:18,160 --> 00:41:19,239
Speaker 2: one of them days.

746
00:41:19,440 --> 00:41:23,480
Speaker 3: Also, and right in line with Allison's endorsement with William

747
00:41:23,480 --> 00:41:27,480
Speaker 3: Neeson in The Naked Gun, I would nominate Kicky Palmer

748
00:41:27,560 --> 00:41:28,760
Speaker 3: for Best Actress. Seriously.

749
00:41:28,800 --> 00:41:31,760
Speaker 2: I mean she's just a ballot for the Chicago Film critics.

750
00:41:31,840 --> 00:41:34,799
Speaker 3: I mean, she rolls, so there's not a scene that

751
00:41:34,880 --> 00:41:37,120
Speaker 3: she can't activate. There's I mean, some of the material

752
00:41:37,239 --> 00:41:38,800
Speaker 3: is better than others in this film, I think, but

753
00:41:39,320 --> 00:41:42,040
Speaker 3: she she just scores every and she has a great

754
00:41:42,120 --> 00:41:45,160
Speaker 3: ear and I for how to propel every scene, Like

755
00:41:45,280 --> 00:41:47,360
Speaker 3: none of the bits, none of the laft she gets

756
00:41:48,040 --> 00:41:50,200
Speaker 3: stop the action at all. It's always just kind of

757
00:41:50,200 --> 00:41:52,560
Speaker 3: in the service of the next beat. She's great. I mean,

758
00:41:52,600 --> 00:41:55,359
Speaker 3: she's she's been on camera more of her life than not. Right,

759
00:41:55,440 --> 00:41:57,919
Speaker 3: she started as a child actress and you know, big

760
00:41:57,920 --> 00:42:00,879
Speaker 3: star early on in that realm, and I mean she's

761
00:42:01,000 --> 00:42:03,480
Speaker 3: barely in her thirties and she has just got the

762
00:42:03,560 --> 00:42:08,320
Speaker 3: wiles and the skill level of like comic screwball stars

763
00:42:08,360 --> 00:42:13,799
Speaker 3: of old. She's great. So yeah, no, I I like

764
00:42:14,280 --> 00:42:18,280
Speaker 3: the idea of nominating more people for comedy, for actual

765
00:42:18,480 --> 00:42:22,959
Speaker 3: serious awards consideration in general, you know. And she is great.

766
00:42:23,160 --> 00:42:25,560
Speaker 1: Yeah, yeah, Josh, As you said, you put her on

767
00:42:25,840 --> 00:42:28,560
Speaker 1: your Best Actress ballot for the Chicago Film Critics Association.

768
00:42:28,640 --> 00:42:32,200
Speaker 1: I had her just off. She was in there for

769
00:42:32,239 --> 00:42:34,319
Speaker 1: a while, and then as I saw more movies, just

770
00:42:34,600 --> 00:42:37,319
Speaker 1: got bumped off into that six to ten range. But

771
00:42:37,400 --> 00:42:39,840
Speaker 1: one of them Days is currently available vod You can

772
00:42:39,920 --> 00:42:45,040
Speaker 1: also see it on Netflix. And before we get serious

773
00:42:45,040 --> 00:42:48,440
Speaker 1: and Michael, in the case of our two picks, deadly serious,

774
00:42:48,480 --> 00:42:51,279
Speaker 1: perhaps we're going to keep the laughs going here a

775
00:42:51,280 --> 00:42:54,840
Speaker 1: little bit. We have a voicemail from someone our listeners

776
00:42:54,880 --> 00:42:57,239
Speaker 1: should be familiar with. She's been on the show a

777
00:42:57,280 --> 00:42:59,839
Speaker 1: few times as a guest host and as a voicemailer,

778
00:42:59,880 --> 00:43:02,879
Speaker 1: and we know that Allison is certainly familiar with her

779
00:43:02,920 --> 00:43:05,000
Speaker 1: work as well at your publication.

780
00:43:05,440 --> 00:43:07,480
Speaker 5: This is Roxanna Hadatti.

781
00:43:07,880 --> 00:43:10,840
Speaker 14: Hi, this is Roxanna Hadatti. I am a critic with

782
00:43:11,040 --> 00:43:14,040
Speaker 14: Vulture and New York Magazine. And I'm sure that my

783
00:43:14,360 --> 00:43:17,319
Speaker 14: number one movie is on this list already. Pretty much

784
00:43:17,320 --> 00:43:21,000
Speaker 14: any given day, it switches between train dreams and it

785
00:43:21,080 --> 00:43:24,000
Speaker 14: was just an accident. So I'm not going to talk about.

786
00:43:23,760 --> 00:43:24,239
Speaker 8: Either of those.

787
00:43:24,760 --> 00:43:27,200
Speaker 14: But what I am going to talk about as the

788
00:43:27,200 --> 00:43:31,400
Speaker 14: movie that has stuck with me surprisingly this year is Roofman,

789
00:43:32,040 --> 00:43:36,280
Speaker 14: which I was predisposed to like because I like Derek

790
00:43:36,360 --> 00:43:40,560
Speaker 14: sian Franz's movies. I like Channing Tatum, I like Kirsten Dunst,

791
00:43:40,920 --> 00:43:43,560
Speaker 14: I like all the pieces of the movie, and I

792
00:43:43,719 --> 00:43:48,600
Speaker 14: was surprised by how it came together and that it

793
00:43:48,680 --> 00:43:53,120
Speaker 14: was marketed as a comedy, which was wrong. It is

794
00:43:53,280 --> 00:43:56,719
Speaker 14: being described in interviews, like when I spoke with sian

795
00:43:56,800 --> 00:44:00,239
Speaker 14: Franz as a movie sort of about a father's love

796
00:44:00,400 --> 00:44:03,200
Speaker 14: and what he is willing to do, and I think

797
00:44:03,360 --> 00:44:09,120
Speaker 14: that is more correct and fits more within Sion France's tradition.

798
00:44:09,719 --> 00:44:15,320
Speaker 14: I'm someone who loves a well done father of daughters story.

799
00:44:15,600 --> 00:44:20,760
Speaker 5: And this is John Thorn from New York.

800
00:44:20,800 --> 00:44:22,839
Speaker 8: Oh, New York, that's far from here.

801
00:44:23,400 --> 00:44:24,080
Speaker 3: Yeah, I love it.

802
00:44:24,640 --> 00:44:27,760
Speaker 8: Well, John, he made a very generous toy donation.

803
00:44:28,000 --> 00:44:29,520
Speaker 9: Wow, that's so kind of you.

804
00:44:29,680 --> 00:44:31,960
Speaker 8: We couldn't have come at a better time.

805
00:44:32,080 --> 00:44:36,839
Speaker 2: No, And really like Christmas and birthdays and just gift

806
00:44:36,840 --> 00:44:37,600
Speaker 2: giving time.

807
00:44:37,680 --> 00:44:39,600
Speaker 9: And I don't I just love kids.

808
00:44:39,800 --> 00:44:42,920
Speaker 5: You have kids well in a family are you?

809
00:44:43,480 --> 00:44:47,560
Speaker 14: And what I think this movie offered is a rejection

810
00:44:47,760 --> 00:44:52,520
Speaker 14: of the fact that we have happy endings in our lives.

811
00:44:52,640 --> 00:44:57,680
Speaker 14: I think the movie actually really demonstrates how untrue that

812
00:44:57,880 --> 00:45:02,000
Speaker 14: can be. And there was some about its refusal to

813
00:45:02,080 --> 00:45:07,040
Speaker 14: really stick with any genre that I still find really compelling.

814
00:45:07,760 --> 00:45:12,680
Speaker 14: So that's my pick for my sort of unloved choice

815
00:45:12,760 --> 00:45:14,480
Speaker 14: of the year is Rufman.

816
00:45:14,960 --> 00:45:16,640
Speaker 1: I said we were going to keep the laughs going,

817
00:45:16,960 --> 00:45:20,680
Speaker 1: but Roxanne is correct. I just caught up with Rufman

818
00:45:20,880 --> 00:45:25,279
Speaker 1: because of Roxanna's recommendation and because of producer Sam Van

819
00:45:25,320 --> 00:45:30,440
Speaker 1: Holgren's recommendation after he heard Roxanna's voicemail. And it is

820
00:45:30,560 --> 00:45:36,800
Speaker 1: being improperly sold. It was mismarketed as a comedy. It

821
00:45:37,280 --> 00:45:40,040
Speaker 1: has a few laughs in it. Channing Tatum's character is

822
00:45:40,040 --> 00:45:42,600
Speaker 1: a bit of a goofball, but it's a pretty serious movie,

823
00:45:42,680 --> 00:45:44,400
Speaker 1: more like you would expect.

824
00:45:44,320 --> 00:45:47,280
Speaker 5: From Derek c in France. And it is a good movie.

825
00:45:47,360 --> 00:45:50,920
Speaker 1: I love that Roxanna is highlighting this film, not the

826
00:45:50,960 --> 00:45:52,799
Speaker 1: comedy so much that I set it up to be,

827
00:45:53,040 --> 00:45:57,080
Speaker 1: or again that the marketing team behind it has made

828
00:45:57,080 --> 00:45:58,440
Speaker 1: it out to be, but a good film.

829
00:45:58,520 --> 00:46:00,160
Speaker 5: Allison, you've seen it, what do you think.

830
00:46:01,160 --> 00:46:04,520
Speaker 8: I do not think it works, but not because it's

831
00:46:04,560 --> 00:46:07,839
Speaker 8: not it's it's I mean, I would agree it's not

832
00:46:07,920 --> 00:46:10,680
Speaker 8: a comedy. It does have like a few light touches,

833
00:46:10,719 --> 00:46:14,640
Speaker 8: but it is much more about this guy who can't

834
00:46:14,680 --> 00:46:17,719
Speaker 8: like help himself, even though he's in hiding and on

835
00:46:17,760 --> 00:46:20,320
Speaker 8: the run and has broken, you know, out of jail.

836
00:46:20,840 --> 00:46:23,719
Speaker 8: Can't help himself, but like just get involved with this

837
00:46:23,800 --> 00:46:28,680
Speaker 8: woman and her family and just and this community. I

838
00:46:28,760 --> 00:46:32,000
Speaker 8: felt I needed it for me. I wanted it to

839
00:46:32,040 --> 00:46:34,640
Speaker 8: acknowledge a little bit of essentially the creepiness of what

840
00:46:34,719 --> 00:46:38,160
Speaker 8: he was doing in terms of the kind of lies

841
00:46:38,200 --> 00:46:40,160
Speaker 8: he was spinning, in terms of like needing to kind

842
00:46:40,160 --> 00:46:42,640
Speaker 8: of love bomb everyone, to be such a kind of

843
00:46:42,680 --> 00:46:47,080
Speaker 8: like people pleaser, you know, to the point where he's

844
00:46:47,200 --> 00:46:50,000
Speaker 8: like he has built this whole persona up. I felt

845
00:46:50,000 --> 00:46:51,680
Speaker 8: like there was a tension there that the movie never

846
00:46:51,680 --> 00:46:53,800
Speaker 8: addressed because it was just too fond of that character

847
00:46:54,200 --> 00:46:56,520
Speaker 8: and I answers him why. I think Chenning Tantum is

848
00:46:56,600 --> 00:46:59,759
Speaker 8: very lovable in that role, as he is often you know,

849
00:46:59,880 --> 00:47:01,319
Speaker 8: like it's a kind of role he's very good at.

850
00:47:02,719 --> 00:47:07,479
Speaker 8: But I appreciated, like, yes, the way it started off

851
00:47:07,719 --> 00:47:10,400
Speaker 8: as a bit more of a comedy and then just

852
00:47:11,440 --> 00:47:17,239
Speaker 8: kind of kept this tonal tension there sure throughout, as

853
00:47:17,239 --> 00:47:19,640
Speaker 8: you kind of wonder when is all of this going

854
00:47:19,680 --> 00:47:20,680
Speaker 8: to fall apart.

855
00:47:20,920 --> 00:47:23,520
Speaker 1: I think that's a fair criticism of the movie. Channing

856
00:47:23,520 --> 00:47:26,200
Speaker 1: Tatum is charming in the movie, and he's playing a

857
00:47:26,280 --> 00:47:28,920
Speaker 1: character who obviously gets by a lot on his charm,

858
00:47:29,040 --> 00:47:33,760
Speaker 1: even as he also is a very goofy and overly

859
00:47:33,960 --> 00:47:37,200
Speaker 1: goofy character in a way that does cross over into

860
00:47:37,239 --> 00:47:39,440
Speaker 1: creepy at times, and he gets called out on it

861
00:47:39,520 --> 00:47:41,120
Speaker 1: a little bit. And I think you do see in

862
00:47:41,200 --> 00:47:44,240
Speaker 1: Kirsten Dunk's character mainly. You see it in her eyes,

863
00:47:44,320 --> 00:47:47,040
Speaker 1: you see it in the way she looks at him sometimes,

864
00:47:47,080 --> 00:47:52,520
Speaker 1: that tension in the way she feels about him. But

865
00:47:52,719 --> 00:47:55,720
Speaker 1: the movie probably could push that a little bit more

866
00:47:56,160 --> 00:47:59,160
Speaker 1: than it does. I agree that the movie seems to

867
00:48:00,239 --> 00:48:04,160
Speaker 1: him maybe more than it should. I really love Roxander's

868
00:48:04,200 --> 00:48:08,880
Speaker 1: point though, about the movie being ultimately a rejection of

869
00:48:08,920 --> 00:48:12,120
Speaker 1: this notion that we expect from the movies too, that

870
00:48:13,080 --> 00:48:15,839
Speaker 1: we're going to get these happy endings sometimes and things

871
00:48:15,840 --> 00:48:19,320
Speaker 1: don't always work out that way. So an inspired pick,

872
00:48:19,480 --> 00:48:23,839
Speaker 1: I'll say for Roxanna of roof Man, and then we

873
00:48:23,880 --> 00:48:26,880
Speaker 1: are going to tilt things a little bit more to

874
00:48:26,920 --> 00:48:30,000
Speaker 1: the serious side of the scale. Now, Michael, with your choice,

875
00:48:30,719 --> 00:48:34,839
Speaker 1: which is a documentary and one that has certainly gotten

876
00:48:34,880 --> 00:48:37,560
Speaker 1: some acclaim this year, but I'm not sure that many

877
00:48:37,680 --> 00:48:40,200
Speaker 1: of our listeners are familiar with. Please tell us about

878
00:48:40,200 --> 00:48:42,160
Speaker 1: your I believe number eight film of.

879
00:48:42,120 --> 00:48:44,680
Speaker 3: The year yas a number apick. It's called Orwell. Two

880
00:48:44,719 --> 00:48:47,960
Speaker 3: plus two equals five. This is a really good documentary

881
00:48:47,960 --> 00:48:51,440
Speaker 3: from Raoul Peck, whose films include I Am Not Your Negro,

882
00:48:51,800 --> 00:48:56,400
Speaker 3: The Team's Baldwin sort of exploration. He's a filmmaker who

883
00:48:56,480 --> 00:49:00,720
Speaker 3: uses all these different tools of nonfiction, film and personal

884
00:49:00,880 --> 00:49:05,759
Speaker 3: essay to create documentaries that are bigger and go more

885
00:49:05,880 --> 00:49:11,440
Speaker 3: places while sticking to their main subject than almost anything

886
00:49:11,440 --> 00:49:15,240
Speaker 3: else going right now. And this is about George Orwell

887
00:49:15,360 --> 00:49:18,279
Speaker 3: in the final phase of his life as he was

888
00:49:18,280 --> 00:49:21,880
Speaker 3: writing the dystopian novel nineteen eighty four on the island

889
00:49:21,920 --> 00:49:24,840
Speaker 3: of Jura I think as it pronounced Jura, off the

890
00:49:24,840 --> 00:49:30,160
Speaker 3: coast of Scotland. This was in the forties. The novel

891
00:49:30,160 --> 00:49:32,160
Speaker 3: came out in nineteen forty nine, and that was the

892
00:49:32,239 --> 00:49:36,120
Speaker 3: year before Orwell, who was born Eric Arthur Blair, died

893
00:49:36,160 --> 00:49:40,359
Speaker 3: of tuberculosis, and there's a lot of correspondence of his

894
00:49:41,040 --> 00:49:44,640
Speaker 3: that weaves through the documentary. It's really touching and beautifully ridden.

895
00:49:46,000 --> 00:49:50,960
Speaker 3: And his life in England and in the British Empire

896
00:49:50,960 --> 00:49:55,520
Speaker 3: he was born into, which formed his entire personality, is

897
00:49:55,640 --> 00:49:59,120
Speaker 3: just as well dramatized as the making of that novel.

898
00:50:00,680 --> 00:50:04,800
Speaker 3: It's also a film that it talks to America right here,

899
00:50:05,239 --> 00:50:08,239
Speaker 3: right now in terms of truth and lies and the

900
00:50:08,360 --> 00:50:13,320
Speaker 3: phrase thought criminal and thought criminality, which is Orwell's perpetually

901
00:50:13,920 --> 00:50:19,759
Speaker 3: topical way of getting at not just authoritarianism or fascism,

902
00:50:19,800 --> 00:50:25,000
Speaker 3: but you know how just that sort of governmental impulse

903
00:50:25,480 --> 00:50:30,560
Speaker 3: can grow and take seed and mess us all up.

904
00:50:30,640 --> 00:50:33,160
Speaker 3: You know the one drawback I'd say the movie, having

905
00:50:33,200 --> 00:50:36,120
Speaker 3: just seen it once now don at actually the Refocused

906
00:50:36,120 --> 00:50:39,239
Speaker 3: Film Festival in Iowa City this summer, which is all

907
00:50:39,280 --> 00:50:45,919
Speaker 3: about different adaptations, and Peck uses a big bunch of

908
00:50:46,360 --> 00:50:51,120
Speaker 3: archival footage from film and television adaptations of nineteen eighty four.

909
00:50:51,560 --> 00:50:54,799
Speaker 3: It's useful footage, but you're also looking at work that

910
00:50:55,000 --> 00:50:59,800
Speaker 3: isn't really terrific. No one's really made a great adaptation

911
00:50:59,840 --> 00:51:03,839
Speaker 3: of nineteen eighty four yet, But pex film I would

912
00:51:03,880 --> 00:51:07,279
Speaker 3: have to say even that it's not strictly at all

913
00:51:07,320 --> 00:51:10,359
Speaker 3: adapting that novel. It's the best film related to what

914
00:51:10,400 --> 00:51:13,480
Speaker 3: I've seen, and since we're living in a nation right

915
00:51:13,520 --> 00:51:17,719
Speaker 3: now where the current administration is sort of determined to

916
00:51:17,719 --> 00:51:20,480
Speaker 3: make that new math, if you want to call it that.

917
00:51:20,719 --> 00:51:24,160
Speaker 3: Of the film's title, tupless two equals five the official language,

918
00:51:24,400 --> 00:51:26,640
Speaker 3: it's really a film we need right now, and it's

919
00:51:26,680 --> 00:51:31,280
Speaker 3: just also just an eloquent, elegant piece of nonfiction filmmaking.

920
00:51:31,320 --> 00:51:34,680
Speaker 3: So seek it out when you can. Or Well, tupless

921
00:51:34,719 --> 00:51:35,399
Speaker 3: two equals five.

922
00:51:35,800 --> 00:51:39,520
Speaker 6: The very concept of objective truth is fading out of

923
00:51:39,560 --> 00:51:40,120
Speaker 6: this world.

924
00:51:40,360 --> 00:51:42,600
Speaker 8: I'm going to sut down when I can not say

925
00:51:42,640 --> 00:51:44,680
Speaker 8: aloud to anyone.

926
00:51:45,640 --> 00:51:48,560
Speaker 5: This prospect frightens me much more than bombs.

927
00:51:49,840 --> 00:51:54,960
Speaker 1: I think you adequately explain this, Michael, but adequately more

928
00:51:54,960 --> 00:51:58,719
Speaker 1: than atticate explain this, But I just want to underscore it.

929
00:51:58,800 --> 00:52:01,440
Speaker 1: Having just caught up with it because it made your list,

930
00:52:02,440 --> 00:52:06,560
Speaker 1: I didn't expect the extent to which this movie really

931
00:52:06,680 --> 00:52:10,000
Speaker 1: uses Orwell and his work and his vision as an

932
00:52:10,000 --> 00:52:12,920
Speaker 1: instrument more than anything. It's not really about Orwell. It's

933
00:52:13,000 --> 00:52:16,480
Speaker 1: using Orwell as an instrument to be a polemic, to

934
00:52:17,000 --> 00:52:22,399
Speaker 1: highlight this notion of fascism and to want to make

935
00:52:22,440 --> 00:52:25,560
Speaker 1: a point not only about America, but about what's happening

936
00:52:25,600 --> 00:52:26,280
Speaker 1: in a lot.

937
00:52:26,120 --> 00:52:28,080
Speaker 5: Of countries at this time.

938
00:52:28,680 --> 00:52:32,800
Speaker 1: Yeah, rollpex orwell two plus two Weekles five is also

939
00:52:32,920 --> 00:52:37,640
Speaker 1: available v O D. And that brings us to my outlier,

940
00:52:38,400 --> 00:52:41,319
Speaker 1: my outest of outliers, which is a movie. I put

941
00:52:41,360 --> 00:52:44,959
Speaker 1: it in this category because up until a week ago,

942
00:52:45,200 --> 00:52:49,080
Speaker 1: maybe ten days ago, I'm not sure I had heard

943
00:52:49,480 --> 00:52:51,600
Speaker 1: of the film. It's one of those December movies. I

944
00:52:51,640 --> 00:52:53,160
Speaker 1: don't know if this happens to all of you, but

945
00:52:53,760 --> 00:52:56,560
Speaker 1: in this rush of trying to get prepared for the

946
00:52:56,640 --> 00:52:58,959
Speaker 1: end of the year, you end up seeing movies pop

947
00:52:59,040 --> 00:53:02,080
Speaker 1: up on other lists, and they are movies that sometimes

948
00:53:02,120 --> 00:53:06,839
Speaker 1: flew completely under your radar going through the year, and

949
00:53:06,880 --> 00:53:10,040
Speaker 1: then you see some of the acclaim and you check

950
00:53:10,080 --> 00:53:12,359
Speaker 1: it out and you're blown away by it. And that's

951
00:53:12,400 --> 00:53:15,120
Speaker 1: the case with the film I actually have as my

952
00:53:15,239 --> 00:53:20,239
Speaker 1: number three of the year from Grasshopper Films. It's called

953
00:53:20,320 --> 00:53:24,840
Speaker 1: Afternoons of Solitude. It's a documentary by director Albert Sarah,

954
00:53:25,360 --> 00:53:28,400
Speaker 1: the Spanish filmmaker. He made Pascifiction in twenty twenty two,

955
00:53:28,600 --> 00:53:31,520
Speaker 1: Libertay in twenty nineteen, The Death of Louis fourteen and

956
00:53:31,560 --> 00:53:33,799
Speaker 1: twenty sixteen. I haven't seen any of those films, so

957
00:53:34,120 --> 00:53:37,440
Speaker 1: Sarah is a new director to me. I think it

958
00:53:37,440 --> 00:53:41,200
Speaker 1: got put on my radar because this was a film

959
00:53:41,200 --> 00:53:44,120
Speaker 1: that made Richard Brody's list, I think at number three

960
00:53:44,760 --> 00:53:47,120
Speaker 1: this year, and it was also number one on kay

961
00:53:47,280 --> 00:53:51,800
Speaker 1: De Cinema's list. So Afternoons of Solitude, I'm thinking, what

962
00:53:52,280 --> 00:53:55,359
Speaker 1: could this movie be. It sounds like a very intense,

963
00:53:56,640 --> 00:53:59,759
Speaker 1: arty film, certainly with subtitles, it's going to be a

964
00:53:59,840 --> 00:54:03,440
Speaker 1: very meditative film. And then I see that it's a

965
00:54:03,480 --> 00:54:08,120
Speaker 1: documentary about a bullfighter. Not what I imagined, but I thought,

966
00:54:08,440 --> 00:54:11,239
Speaker 1: I'm in I have to check this out. After I

967
00:54:11,280 --> 00:54:13,920
Speaker 1: saw it and after I loved it, I was searching

968
00:54:13,960 --> 00:54:16,480
Speaker 1: for some information about it in terms of its release

969
00:54:16,520 --> 00:54:19,800
Speaker 1: and stuff in our inbox Josh, and back in July,

970
00:54:19,880 --> 00:54:22,279
Speaker 1: we got an email about it from a listener in

971
00:54:22,280 --> 00:54:26,160
Speaker 1: New York City. Zach Stetson completely overlooked it, but I'll

972
00:54:26,200 --> 00:54:28,320
Speaker 1: read it now because it sets up the movie nicely.

973
00:54:28,640 --> 00:54:31,960
Speaker 1: He said, would highly recommend seeking out the documentary Afternoons

974
00:54:31,960 --> 00:54:35,520
Speaker 1: of Solitude by Albert Sarah. It's a fascinating hypnotic exploration

975
00:54:35,560 --> 00:54:39,080
Speaker 1: of the bullfighting world and the toxic masculinity that accompanies it.

976
00:54:39,440 --> 00:54:42,080
Speaker 1: All told through a distinctive queer gaze. It can be

977
00:54:42,120 --> 00:54:45,040
Speaker 1: alternately quite disturbing and difficult to watch, while also being

978
00:54:45,040 --> 00:54:48,279
Speaker 1: incredibly enthralling and beautifully photographed. I think it's coming to

979
00:54:48,320 --> 00:54:50,359
Speaker 1: Chicago this weekend at the Gene Siscal Film Center.

980
00:54:50,400 --> 00:54:51,680
Speaker 5: Hope you check it out and maybe give it a

981
00:54:51,719 --> 00:54:52,439
Speaker 5: mention on the show.

982
00:54:53,360 --> 00:54:55,640
Speaker 1: Obviously did not check it out that weekend at the

983
00:54:55,680 --> 00:54:57,600
Speaker 1: Gene Siskal Film Center and did not mention it on

984
00:54:57,640 --> 00:55:01,200
Speaker 1: the show. Just now saw it and I knew this

985
00:55:01,320 --> 00:55:03,200
Speaker 1: was going to be one of my favorite films of

986
00:55:03,200 --> 00:55:07,080
Speaker 1: the year. Six minutes in to this movie, Sarah's camera

987
00:55:07,920 --> 00:55:12,920
Speaker 1: observes the subject, this bullfighter andres Rocca Ray in his

988
00:55:13,000 --> 00:55:16,600
Speaker 1: hotel room after a fight. His back is to the camera.

989
00:55:17,480 --> 00:55:21,440
Speaker 1: He's wearing his white trahe de luches the suit of

990
00:55:21,520 --> 00:55:25,080
Speaker 1: lights after a fight. He's just robing with the help

991
00:55:25,160 --> 00:55:27,680
Speaker 1: of a personal attendant. He needs help getting out of it,

992
00:55:27,760 --> 00:55:30,840
Speaker 1: he needs help getting into it. You see both of

993
00:55:30,840 --> 00:55:35,520
Speaker 1: those activities. We see some blood spatter, but as he

994
00:55:35,680 --> 00:55:38,680
Speaker 1: turns to the camera, you see that his beautiful white

995
00:55:38,760 --> 00:55:42,920
Speaker 1: suit is completely covered in blood along his abdomen and thighs,

996
00:55:43,600 --> 00:55:46,920
Speaker 1: and it's just one of the most arresting cinematic images

997
00:55:47,040 --> 00:55:52,439
Speaker 1: of the year. Roca's slender, regal, almost saintly figure. It's

998
00:55:52,440 --> 00:55:55,080
Speaker 1: like he's just suffered for our sins. That's how I

999
00:55:55,120 --> 00:55:58,279
Speaker 1: felt looking at him bathed in this amber glow of

1000
00:55:58,320 --> 00:56:02,360
Speaker 1: this hotel room light, with the bright red spatters of

1001
00:56:02,360 --> 00:56:05,239
Speaker 1: blood and the crimson red of his tie and the

1002
00:56:05,760 --> 00:56:09,040
Speaker 1: belt that he's wearing. And Zach said it that scene

1003
00:56:09,239 --> 00:56:14,840
Speaker 1: the movie itself, it's beautiful, it's disturbing. The talk when

1004
00:56:15,160 --> 00:56:18,640
Speaker 1: another man enters the room is of a surgeon that

1005
00:56:18,719 --> 00:56:22,080
Speaker 1: he needs to meet with, and the wound, and the

1006
00:56:22,120 --> 00:56:26,000
Speaker 1: whole time Roka is just going about his postgame routine,

1007
00:56:26,360 --> 00:56:29,880
Speaker 1: if you will. And the conceit of the film, or

1008
00:56:29,920 --> 00:56:33,439
Speaker 1: the formal approach that Sarah takes, is he confines all

1009
00:56:33,440 --> 00:56:36,399
Speaker 1: the filming, or most of it, he confines to the ring,

1010
00:56:37,400 --> 00:56:41,359
Speaker 1: the hotel room, and the shuttle or the van that

1011
00:56:41,480 --> 00:56:46,520
Speaker 1: transports Roca to and from the ring. He's either arriving

1012
00:56:46,600 --> 00:56:51,480
Speaker 1: in full regalia or he's departing, usually in medical scrubs,

1013
00:56:52,160 --> 00:56:54,360
Speaker 1: and the camera is just fixed to the seat in

1014
00:56:54,360 --> 00:56:58,960
Speaker 1: front of him unobtrusively, so we sit with him and

1015
00:56:59,400 --> 00:57:03,080
Speaker 1: have to content how he is possibly, how he is

1016
00:57:03,120 --> 00:57:07,840
Speaker 1: possibly contemplating the battle that either awaits him or that

1017
00:57:08,320 --> 00:57:12,360
Speaker 1: he just experienced. There's no talking heads, there's no history lessons,

1018
00:57:12,400 --> 00:57:15,680
Speaker 1: there's no voice over. It's it's just pure observation. And

1019
00:57:16,160 --> 00:57:21,600
Speaker 1: if you struggle watching any animals suffer it's a brutal sport,

1020
00:57:22,240 --> 00:57:25,720
Speaker 1: you probably shouldn't watch this movie. The bulls are put

1021
00:57:25,720 --> 00:57:28,800
Speaker 1: in the ring to be taunted and killed, and I

1022
00:57:28,840 --> 00:57:31,040
Speaker 1: don't want to romanticize it, and I don't think Sarah

1023
00:57:31,160 --> 00:57:34,600
Speaker 1: romanticizes it. He certainly doesn't want to let us avoid

1024
00:57:34,720 --> 00:57:40,040
Speaker 1: seeing that brutality. We watch the agonizing deaths of the bulls.

1025
00:57:40,680 --> 00:57:42,680
Speaker 1: I watched in horror for a lot of this movie,

1026
00:57:42,680 --> 00:57:44,960
Speaker 1: but I also watched in awe of I'm going to

1027
00:57:45,040 --> 00:57:47,760
Speaker 1: borrow the words of the men who are part of

1028
00:57:47,760 --> 00:57:52,320
Speaker 1: his team, Roca's immense balls. That word comes up a lot.

1029
00:57:52,760 --> 00:57:56,320
Speaker 1: Masculinity is a key theme of this movie. How closely

1030
00:57:56,400 --> 00:58:01,240
Speaker 1: to the bulls he operates, that's the expectation. How closely

1031
00:58:01,280 --> 00:58:05,480
Speaker 1: he cheats death again and again, that moment you anticipate

1032
00:58:05,560 --> 00:58:11,560
Speaker 1: and sometimes get where total control devolves into total chaos

1033
00:58:11,960 --> 00:58:14,880
Speaker 1: and the craft of the bullfighter, the technical and physical

1034
00:58:14,960 --> 00:58:18,720
Speaker 1: precision that Sarah captures with his camera. For me, there

1035
00:58:18,760 --> 00:58:22,600
Speaker 1: was something profound in Roca's solitude, the solitude of the title.

1036
00:58:22,880 --> 00:58:25,560
Speaker 1: He's surrounded by thousands of people in the arena, He's

1037
00:58:25,600 --> 00:58:28,200
Speaker 1: supported by this team that's always around him in the

1038
00:58:28,280 --> 00:58:31,320
Speaker 1: ring and in the van and sometimes in his hotel room,

1039
00:58:31,840 --> 00:58:36,240
Speaker 1: but in the arena it's just his will versus the bulls.

1040
00:58:36,080 --> 00:58:39,160
Speaker 1: It's only his life that's on the line. And even

1041
00:58:39,200 --> 00:58:42,600
Speaker 1: thinking about it in cinematic terms, you have a system

1042
00:58:42,640 --> 00:58:43,240
Speaker 1: that makes.

1043
00:58:43,000 --> 00:58:43,520
Speaker 5: It all go.

1044
00:58:44,040 --> 00:58:46,880
Speaker 1: You've got a hostile media, a fickle audience.

1045
00:58:47,480 --> 00:58:48,080
Speaker 5: This is all.

1046
00:58:48,320 --> 00:58:51,280
Speaker 1: This is all mentioned in the movie or you observe it,

1047
00:58:51,720 --> 00:58:53,760
Speaker 1: and Roca's in the middle of it. He's the star

1048
00:58:53,960 --> 00:58:56,320
Speaker 1: in the classical sense, and none of it works without him.

1049
00:58:56,320 --> 00:58:59,960
Speaker 1: It's such a purely cinematic experience. And it does also

1050
00:59:00,360 --> 00:59:03,080
Speaker 1: this movie lets me establish my theme for my list.

1051
00:59:03,200 --> 00:59:05,640
Speaker 1: I always end up seeing a connection between my picks

1052
00:59:05,680 --> 00:59:07,840
Speaker 1: once I get them all on paper, as if there

1053
00:59:07,880 --> 00:59:12,120
Speaker 1: was something sort of subconsciously guiding my choices. And this year, boy,

1054
00:59:12,520 --> 00:59:14,640
Speaker 1: twenty twenty five, what a year this is gonna be

1055
00:59:14,680 --> 00:59:18,000
Speaker 1: such a cheery list. I was drawn to characters from

1056
00:59:18,040 --> 00:59:22,720
Speaker 1: different parts of the world, different cultures, different worldviews, customs,

1057
00:59:22,720 --> 00:59:25,360
Speaker 1: you name it, but all it seems locked in a

1058
00:59:25,360 --> 00:59:29,600
Speaker 1: struggle between past and present, and usually marked by some

1059
00:59:29,680 --> 00:59:36,320
Speaker 1: form of trauma. In afternoons of solitudes quiet frames, this

1060
00:59:36,520 --> 00:59:43,680
Speaker 1: archaic ritual clashes with modernity, evolving into an elegy for

1061
00:59:45,240 --> 00:59:48,160
Speaker 1: men like Roca who choose to dance with death. It

1062
00:59:48,520 --> 00:59:52,360
Speaker 1: stunned me, and it caught me completely by surprise. It's

1063
00:59:52,600 --> 00:59:56,360
Speaker 1: it's available on movie but some other VOD platforms as well.

1064
00:59:56,160 --> 00:59:56,880
Speaker 5: With a subscription.

1065
00:59:58,520 --> 00:59:59,920
Speaker 3: I can't wait to see they have seen it.

1066
01:00:00,000 --> 01:00:01,640
Speaker 8: Oh no, I haven't seen it.

1067
01:00:02,280 --> 01:00:05,200
Speaker 2: Yeah, you're right, Adam. These are the ones that we'll

1068
01:00:05,200 --> 01:00:07,200
Speaker 2: get to one like this later on my list that

1069
01:00:07,600 --> 01:00:09,760
Speaker 2: you know only vaguely aware of. But you see it

1070
01:00:09,800 --> 01:00:12,320
Speaker 2: in this rush, and I think it's more of a

1071
01:00:12,360 --> 01:00:14,640
Speaker 2: testament to the power of movie that can do to

1072
01:00:14,680 --> 01:00:17,960
Speaker 2: you what you just described in this season, right when

1073
01:00:17,960 --> 01:00:20,240
Speaker 2: maybe it's even the second film you're watching in a day.

1074
01:00:20,280 --> 01:00:23,840
Speaker 2: It's not the pristine always viewing theatrical experience we talked

1075
01:00:23,880 --> 01:00:26,080
Speaker 2: about the start of the show. But if it grabs

1076
01:00:26,120 --> 01:00:30,560
Speaker 2: you within this own chaos or experiencing. Then there's it's

1077
01:00:30,640 --> 01:00:32,919
Speaker 2: extra credit. There's something extra special going on there.

1078
01:00:33,800 --> 01:00:36,760
Speaker 1: Before we get to our next set of outlier picks,

1079
01:00:37,120 --> 01:00:40,880
Speaker 1: we do want to share another special guest voicemail. This

1080
01:00:41,040 --> 01:00:45,560
Speaker 1: is from our friend Mitchell Beauprey from over at Letterboxed.

1081
01:00:46,000 --> 01:00:49,360
Speaker 15: Hello, film spotting, family and friends. This is Mitchell Beauprey,

1082
01:00:49,520 --> 01:00:53,880
Speaker 15: head of editorial over at Letterbox. So my number one

1083
01:00:54,160 --> 01:00:57,560
Speaker 15: favorite film of the year is Clint Bentley's Train Dreams.

1084
01:00:57,800 --> 01:01:01,400
Speaker 15: But since that's gotten a lot of love in various

1085
01:01:01,480 --> 01:01:03,800
Speaker 15: year end wrap ups, I wanted to take a moment

1086
01:01:03,880 --> 01:01:06,760
Speaker 15: to shout out my second favorite of twenty twenty five,

1087
01:01:07,160 --> 01:01:12,880
Speaker 15: Kayoshi Kurasawa's masterful Cloud. Whether it's in the slow burn,

1088
01:01:12,920 --> 01:01:17,720
Speaker 15: eerie atmosphere and introspective interrogation of twenty first century commerce

1089
01:01:17,800 --> 01:01:21,600
Speaker 15: and capitalism in Cloud's first half, or the market shift

1090
01:01:21,800 --> 01:01:24,240
Speaker 15: into a balls to the wall action thriller in the

1091
01:01:24,280 --> 01:01:27,040
Speaker 15: second half, Kurisawa had me on the edge of my

1092
01:01:27,160 --> 01:01:30,560
Speaker 15: seat with a movie that feels like it's constantly reinventing itself.

1093
01:01:30,960 --> 01:01:33,800
Speaker 15: The filmmaker trades on themes he's explored in the past,

1094
01:01:33,920 --> 01:01:37,360
Speaker 15: and films like Cure and pulse while bringing them into

1095
01:01:37,400 --> 01:01:40,960
Speaker 15: a new more chronically online than ever age a five

1096
01:01:41,040 --> 01:01:43,400
Speaker 15: star picture start to finish.

1097
01:01:43,440 --> 01:01:45,720
Speaker 1: Thank you so much, Mitchell, and of course thank you

1098
01:01:46,040 --> 01:01:50,880
Speaker 1: to Letterboxed for just being letterboxed. We need Letterboxed in

1099
01:01:50,880 --> 01:01:54,120
Speaker 1: our lives always. And I'm going to vow. Maybe I

1100
01:01:54,120 --> 01:01:58,520
Speaker 1: shouldn't vow because sometimes I can't deliver on my New

1101
01:01:58,600 --> 01:02:01,800
Speaker 1: Year's resolutions, but I'm going to I'm going to throw

1102
01:02:01,840 --> 01:02:04,440
Speaker 1: out a New Year's resolution anyway, and suggests that in

1103
01:02:04,520 --> 01:02:08,040
Speaker 1: twenty twenty six, I'm going to try to finally see

1104
01:02:08,680 --> 01:02:13,120
Speaker 1: a Kiyoshi Kurosavo movie. I haven't seen any A Marathon,

1105
01:02:13,360 --> 01:02:17,040
Speaker 1: maybe Allison, perhaps, Michael, anybody, Josh, any of these films

1106
01:02:17,440 --> 01:02:20,200
Speaker 1: that that you know for sure other than Cloud, that

1107
01:02:20,280 --> 01:02:20,920
Speaker 1: I should see.

1108
01:02:21,560 --> 01:02:27,320
Speaker 8: Oh God, I yeah, that's I mean, I feel like

1109
01:02:27,520 --> 01:02:30,600
Speaker 8: you have to see the kind of Jay horror adjacent ones,

1110
01:02:30,800 --> 01:02:34,760
Speaker 8: right like he But I mean they all kind of

1111
01:02:34,800 --> 01:02:36,280
Speaker 8: I think fit together.

1112
01:02:36,520 --> 01:02:36,840
Speaker 9: But I.

1113
01:02:39,000 --> 01:02:39,320
Speaker 7: Cure.

1114
01:02:39,480 --> 01:02:41,520
Speaker 8: Maybe maybe you should start with Cure.

1115
01:02:41,960 --> 01:02:45,680
Speaker 1: Yeah, that seems to be the popular choice, at least

1116
01:02:45,680 --> 01:02:47,360
Speaker 1: in the little bit of research that I've done.

1117
01:02:47,520 --> 01:02:50,600
Speaker 8: I mean, like Paul's I think is his maybe like

1118
01:02:50,720 --> 01:02:53,600
Speaker 8: considered like his most widely known one here maybe, and

1119
01:02:53,640 --> 01:02:56,280
Speaker 8: I think paulse is great, but maybe starting with Cure

1120
01:02:56,560 --> 01:02:57,240
Speaker 8: is the good way.

1121
01:02:58,160 --> 01:03:00,920
Speaker 1: If you want to start with Cloud. It's currently available

1122
01:03:00,920 --> 01:03:06,160
Speaker 1: on the Criterion Channel and also some other VOD platforms.

1123
01:03:06,200 --> 01:03:08,600
Speaker 1: Next up, we are ready for our next set of

1124
01:03:08,600 --> 01:03:13,320
Speaker 1: outlier picks. These are maybe more obvious. These are titles

1125
01:03:13,320 --> 01:03:16,440
Speaker 1: that all have, or almost all of them, have some

1126
01:03:16,600 --> 01:03:21,120
Speaker 1: pretty major Oscar heat behind them. And Alison, you are

1127
01:03:21,520 --> 01:03:23,920
Speaker 1: up first. This is a movie that not many have

1128
01:03:24,000 --> 01:03:26,120
Speaker 1: had a chance to see it. I believe it comes

1129
01:03:26,120 --> 01:03:30,680
Speaker 1: out Christmas Day, very much though in the Oscar Conversation,

1130
01:03:30,960 --> 01:03:32,920
Speaker 1: especially for its lead performance.

1131
01:03:32,920 --> 01:03:34,640
Speaker 5: And I think it's your number nine of the year.

1132
01:03:35,000 --> 01:03:42,960
Speaker 8: Yeah. I think that Marty's Supreme is just a spectacularly entertaining, chaotic, stressful,

1133
01:03:43,320 --> 01:03:46,320
Speaker 8: wonderful experience. You know, I was very curious when the

1134
01:03:46,360 --> 01:03:49,600
Speaker 8: Saftie brothers split and went their separate ways to each

1135
01:03:49,680 --> 01:03:52,120
Speaker 8: direct their own movie what that was going to be, like,

1136
01:03:52,360 --> 01:03:54,600
Speaker 8: you know, the way that the Coen Brothers split. And

1137
01:03:54,640 --> 01:03:57,040
Speaker 8: then you're like, oh, suddenly, I see what each of

1138
01:03:57,040 --> 01:03:59,520
Speaker 8: you which bringing to this like group package. You know,

1139
01:03:59,640 --> 01:04:03,800
Speaker 8: You're like Joel's kind of bringing the purgatorial sensibility, and

1140
01:04:03,840 --> 01:04:07,520
Speaker 8: Ethan was like doing the funny stuff, and now separately,

1141
01:04:07,560 --> 01:04:09,840
Speaker 8: you're just doing that and I don't like it as much.

1142
01:04:10,120 --> 01:04:14,240
Speaker 8: But I feel like Marty Supreme suggests that a lot

1143
01:04:14,360 --> 01:04:18,480
Speaker 8: of what I have associated with the Safty sensibility, the

1144
01:04:18,520 --> 01:04:22,440
Speaker 8: Safti Brothers sensibility, is still rooted in Josh in particular

1145
01:04:23,240 --> 01:04:27,280
Speaker 8: that desire to center movies on characters who are basically

1146
01:04:27,360 --> 01:04:30,040
Speaker 8: addicted to writing on the edge of chaos and like,

1147
01:04:30,160 --> 01:04:44,880
Speaker 8: just like courting disaster almost compulsively, what you're doing to me.

1148
01:04:47,360 --> 01:04:49,520
Speaker 8: One of the things that Marty Supreme does so well

1149
01:04:49,720 --> 01:04:55,160
Speaker 8: is take this very Safty esque hero and use him

1150
01:04:55,240 --> 01:04:59,000
Speaker 8: Marty Marty Mauser, who considers himself to be a kind

1151
01:04:59,040 --> 01:05:03,280
Speaker 8: of almost like chosen one of table tennis talent, someone

1152
01:05:03,360 --> 01:05:06,240
Speaker 8: who has a calling, someone who can't help but just pursue,

1153
01:05:06,440 --> 01:05:09,120
Speaker 8: has a duty to pursue his talent, even though there

1154
01:05:09,160 --> 01:05:10,959
Speaker 8: is no money in it and there is no real

1155
01:05:11,000 --> 01:05:13,520
Speaker 8: way for him to achieve the greatness he thinks he

1156
01:05:13,520 --> 01:05:17,800
Speaker 8: can achieve in the United States at least, But just

1157
01:05:17,840 --> 01:05:22,200
Speaker 8: to use that character as this representation of the American

1158
01:05:22,280 --> 01:05:26,080
Speaker 8: dream in all of its compelling and repellent, you know,

1159
01:05:26,360 --> 01:05:28,880
Speaker 8: best and worst. And I do think that this is

1160
01:05:29,080 --> 01:05:31,640
Speaker 8: the best role that Timothy Shalamy has done so far

1161
01:05:32,080 --> 01:05:38,200
Speaker 8: in that you understand why people agree to keep saying

1162
01:05:38,280 --> 01:05:40,320
Speaker 8: yes to him despite the fact that it always ends

1163
01:05:40,360 --> 01:05:43,600
Speaker 8: badly for basically everyone he ever meets, because he is

1164
01:05:43,720 --> 01:05:46,480
Speaker 8: so convinced that he is on the right path, and

1165
01:05:46,520 --> 01:05:48,800
Speaker 8: he is so convinced that he needs to be helped,

1166
01:05:49,280 --> 01:05:52,880
Speaker 8: and he is charismatic. He is also just so irritating,

1167
01:05:52,880 --> 01:05:56,760
Speaker 8: and he is also just like so destructive. This movie

1168
01:05:57,080 --> 01:06:02,680
Speaker 8: like brings like genuine destruction lives in passing. But I

1169
01:06:02,720 --> 01:06:04,480
Speaker 8: just I enjoyed it so much. I think that like

1170
01:06:05,480 --> 01:06:09,840
Speaker 8: it beyond just the kind of thrill of watching this

1171
01:06:10,000 --> 01:06:14,680
Speaker 8: character Kareem on these different adventures, basically in his attempt

1172
01:06:14,760 --> 01:06:18,840
Speaker 8: to get to the table Tennis World Championships in Tokyo,

1173
01:06:19,320 --> 01:06:22,600
Speaker 8: despite having done a lot to just self sabotage of

1174
01:06:22,800 --> 01:06:25,960
Speaker 8: his attempts his ability to get there. I just I

1175
01:06:26,000 --> 01:06:30,400
Speaker 8: feel like it offers a lot of layers about how

1176
01:06:31,680 --> 01:06:35,480
Speaker 8: like Americans have self mythologized. You know, this like individual

1177
01:06:36,160 --> 01:06:38,960
Speaker 8: this idea of individual success, this idea of like being

1178
01:06:38,960 --> 01:06:42,800
Speaker 8: an underdog, the idea of like needing to win against

1179
01:06:42,840 --> 01:06:45,320
Speaker 8: all odds and needing to do it on your own.

1180
01:06:45,400 --> 01:06:47,160
Speaker 8: Even if you're not actually doing it on your own,

1181
01:06:47,200 --> 01:06:49,480
Speaker 8: you're doing it by stepping on a lot of people.

1182
01:06:50,520 --> 01:06:52,800
Speaker 8: I think the ways in which it manages to be

1183
01:06:53,640 --> 01:06:56,480
Speaker 8: have this character be both so appealing and so kind

1184
01:06:56,520 --> 01:07:00,280
Speaker 8: of awful is an incredible art. And I think like

1185
01:07:00,320 --> 01:07:03,320
Speaker 8: it also just creates this like sense of like visual

1186
01:07:03,320 --> 01:07:07,000
Speaker 8: and oral texture and chaos. You know, it summons a

1187
01:07:07,120 --> 01:07:09,800
Speaker 8: nineteen fifty two that feels entirely lived in and with

1188
01:07:09,880 --> 01:07:14,120
Speaker 8: like none of the kind of distance or cipiotone nostalgia

1189
01:07:14,160 --> 01:07:17,040
Speaker 8: that we often see it like sometimes inadvertently attached to

1190
01:07:17,080 --> 01:07:19,200
Speaker 8: depictions of the past. Whenever you put it on screen,

1191
01:07:19,240 --> 01:07:22,960
Speaker 8: it feels entirely alive and lived in in ways that

1192
01:07:23,000 --> 01:07:26,560
Speaker 8: I thought were incredible. It has such an array of

1193
01:07:27,000 --> 01:07:30,720
Speaker 8: great faces in like cameo roles in the background. You

1194
01:07:30,720 --> 01:07:32,720
Speaker 8: can do a deep dive into the cast list of

1195
01:07:32,760 --> 01:07:35,360
Speaker 8: this and be like, David Mammott, where was David Mannett?

1196
01:07:35,440 --> 01:07:40,600
Speaker 8: You know, Isaac's still right, he's the theater director.

1197
01:07:41,360 --> 01:07:41,880
Speaker 5: Of course.

1198
01:07:42,040 --> 01:07:45,080
Speaker 8: Yeah, it's a yeah, But it does have an incredible

1199
01:07:45,160 --> 01:07:47,680
Speaker 8: array of faces. It has some very famous ones, including

1200
01:07:47,680 --> 01:07:50,760
Speaker 8: Gwyneth Paltrow who has been lured out of semi retirement

1201
01:07:50,840 --> 01:07:55,240
Speaker 8: to play a retired screen star. I think she's great

1202
01:07:55,280 --> 01:08:00,280
Speaker 8: in this You've got you know, Abel Ferrara, who if

1203
01:08:00,280 --> 01:08:02,840
Speaker 8: it got like applause when when I saw this film

1204
01:08:03,080 --> 01:08:06,360
Speaker 8: a surprise screening at the New York Film Festival, there's

1205
01:08:06,560 --> 01:08:08,880
Speaker 8: the room erupted in applause the first time he walks on,

1206
01:08:09,040 --> 01:08:12,160
Speaker 8: And then you absolutely understand that even though Abel Ferrara

1207
01:08:12,440 --> 01:08:15,560
Speaker 8: was making movies long before Josh Safti was born, that

1208
01:08:15,680 --> 01:08:19,960
Speaker 8: he was always a safty character also somehow before such

1209
01:08:19,960 --> 01:08:22,800
Speaker 8: a thing even existed. I mean, this is a movie

1210
01:08:22,800 --> 01:08:26,280
Speaker 8: that casts fran Dresser and Sandra Bernhard together and scenes

1211
01:08:26,320 --> 01:08:30,519
Speaker 8: together like the power of that. I just found it

1212
01:08:30,680 --> 01:08:33,559
Speaker 8: so alive, you know, And I think like there are

1213
01:08:33,600 --> 01:08:35,000
Speaker 8: a lot of ways in which this movie has things

1214
01:08:35,040 --> 01:08:38,240
Speaker 8: in common with Uncut Gems, which was I loved Uncut Gems,

1215
01:08:38,479 --> 01:08:42,880
Speaker 8: and I loved the just enormous the understanding it has

1216
01:08:43,040 --> 01:08:46,040
Speaker 8: for those characters who, yes, like thrive on chaos and

1217
01:08:46,120 --> 01:08:48,960
Speaker 8: thrive on the idea that thing could fall apart. But

1218
01:08:49,720 --> 01:08:52,680
Speaker 8: I think it it feels more mature than that. And

1219
01:08:52,720 --> 01:08:56,160
Speaker 8: I think I've seen it twice now and I appreciated

1220
01:08:56,200 --> 01:08:58,799
Speaker 8: it even more the second time, in just the ways

1221
01:08:58,840 --> 01:09:02,200
Speaker 8: in which it grapples with, Yes, a character who is

1222
01:09:02,240 --> 01:09:05,280
Speaker 8: so certain that he knows what he's doing and that

1223
01:09:05,360 --> 01:09:09,559
Speaker 8: he knows the path to greatness. And I do not

1224
01:09:09,600 --> 01:09:11,000
Speaker 8: want to spoil the end in any way, but I

1225
01:09:11,000 --> 01:09:13,760
Speaker 8: think it ends in this perfect note that balances the

1226
01:09:13,800 --> 01:09:19,240
Speaker 8: sweet and sour so incredibly and in particular really calls

1227
01:09:19,280 --> 01:09:21,920
Speaker 8: into question the idea of who the underdog is, you know,

1228
01:09:22,800 --> 01:09:25,160
Speaker 8: and the kind of compulsive way we always tend to

1229
01:09:25,160 --> 01:09:28,040
Speaker 8: see ourselves as underdogs, even when we are very clearly not.

1230
01:09:29,520 --> 01:09:31,960
Speaker 8: And Yeah, I just think this is a really great movie,

1231
01:09:32,000 --> 01:09:35,519
Speaker 8: I think, And it made me think that also, Yes,

1232
01:09:35,600 --> 01:09:38,479
Speaker 8: a lot of what I have loved about the kind

1233
01:09:38,479 --> 01:09:42,280
Speaker 8: of Safty brother sensibility also like lies not just in Josh,

1234
01:09:42,360 --> 01:09:45,240
Speaker 8: but in Ronald Bronstein, who is has been the co

1235
01:09:45,320 --> 01:09:47,200
Speaker 8: writer on all of these movies and is a co

1236
01:09:47,240 --> 01:09:49,920
Speaker 8: writer here and is I think he and Josh Shafty

1237
01:09:49,960 --> 01:09:53,799
Speaker 8: seem to have a real kind of like chaotic mind

1238
01:09:53,880 --> 01:09:57,000
Speaker 8: melds together when they're making these movies. So he is,

1239
01:09:57,240 --> 01:10:00,599
Speaker 8: I guess, sort of the third Safty Brother. Howited third

1240
01:10:00,640 --> 01:10:03,120
Speaker 8: Safty Brother, But I think he does a lot to

1241
01:10:03,800 --> 01:10:06,960
Speaker 8: bring to these movies, something that I find key.

1242
01:10:07,760 --> 01:10:09,000
Speaker 2: I was just going to say in the terms of

1243
01:10:09,000 --> 01:10:11,599
Speaker 2: Bronstein works as editor for for both of them, on

1244
01:10:11,680 --> 01:10:14,280
Speaker 2: Uncut Gems and here on Marty Supreme, and you're point,

1245
01:10:14,280 --> 01:10:17,519
Speaker 2: Alison about the chaos and the propulsiveness and being carried

1246
01:10:17,520 --> 01:10:20,840
Speaker 2: along through that. It's it's due to the writing, the performances,

1247
01:10:20,840 --> 01:10:21,880
Speaker 2: but the editing as well.

1248
01:10:21,960 --> 01:10:27,080
Speaker 3: So he's great. If you haven't seen Frownland, Bronstein's film Frownland,

1249
01:10:27,120 --> 01:10:29,160
Speaker 3: I mean that's a great kind of introduction to the

1250
01:10:29,240 --> 01:10:33,959
Speaker 3: sort of itchy, scratchy, you know, comedy of panic that

1251
01:10:33,960 --> 01:10:36,920
Speaker 3: that both Safti's and like that whole world, that whole

1252
01:10:36,960 --> 01:10:41,080
Speaker 3: sort of like loose conglomerate of filmmakers and collaborators they

1253
01:10:41,080 --> 01:10:44,439
Speaker 3: all tend to work with each other get at and

1254
01:10:44,479 --> 01:10:47,600
Speaker 3: it really is that sort of it's the humor of

1255
01:10:47,680 --> 01:10:51,120
Speaker 3: the self inflicted wound, you know, and and you know

1256
01:10:51,479 --> 01:10:53,120
Speaker 3: that that's kind of what I get from the other

1257
01:10:53,439 --> 01:10:55,519
Speaker 3: films I've seen, and I this is the film I

1258
01:10:55,600 --> 01:10:58,519
Speaker 3: didn't see, the one that hangs heavy. I did not

1259
01:10:59,320 --> 01:11:02,479
Speaker 3: quite at the time to see this, so I can't

1260
01:11:02,479 --> 01:11:06,000
Speaker 3: wait to see it else. And it just from the trailers,

1261
01:11:06,040 --> 01:11:09,640
Speaker 3: I see what you mean about it looking like in

1262
01:11:09,720 --> 01:11:13,880
Speaker 3: ways beyond how it's lit and framed, but it just

1263
01:11:14,000 --> 01:11:16,519
Speaker 3: looks like in Artifact of nineteen fifty two in the best.

1264
01:11:16,320 --> 01:11:21,080
Speaker 1: One production design, costuming, everything well and the mustag yeah little.

1265
01:11:22,400 --> 01:11:25,320
Speaker 8: It's shot by Darius Kanji, who is obviously like an

1266
01:11:25,479 --> 01:11:28,120
Speaker 8: enormous talent, but I think like brings. Yeah, this really

1267
01:11:28,320 --> 01:11:33,479
Speaker 8: kind of like rich look to to nineteen fifty two

1268
01:11:33,520 --> 01:11:34,080
Speaker 8: that I loved.

1269
01:11:34,160 --> 01:11:36,960
Speaker 1: Yeah, m hm, Yeah, this is a movie, Josh, we

1270
01:11:37,080 --> 01:11:40,000
Speaker 1: may discuss in full after the New Year, one of

1271
01:11:40,040 --> 01:11:42,760
Speaker 1: those Christmas releases that we end up talking about later,

1272
01:11:42,880 --> 01:11:45,400
Speaker 1: so probably don't want to say too much. But you know,

1273
01:11:45,439 --> 01:11:48,240
Speaker 1: we've talked a little bit this year about my focus

1274
01:11:48,240 --> 01:11:51,280
Speaker 1: on sports movies, teaching a class about it, and as

1275
01:11:51,320 --> 01:11:54,000
Speaker 1: a Pingpong film. I mean, Allison, it's like she wrote

1276
01:11:54,040 --> 01:11:57,080
Speaker 1: my syllabus for me, right, talking about the American dream,

1277
01:11:57,600 --> 01:12:03,400
Speaker 1: underdog stories, inspiration and the repellent side of that, the

1278
01:12:03,479 --> 01:12:06,960
Speaker 1: awful or the downside of that. It is all there,

1279
01:12:07,080 --> 01:12:10,519
Speaker 1: certainly in this character and in this movie. And I'm

1280
01:12:10,520 --> 01:12:12,720
Speaker 1: sure we will get into how if you had any

1281
01:12:12,720 --> 01:12:15,360
Speaker 1: doubts that this was going to be a Saftie Brothers

1282
01:12:15,439 --> 01:12:17,560
Speaker 1: movie in the vein of Uncut Gems. Even though it

1283
01:12:17,600 --> 01:12:21,840
Speaker 1: doesn't mimic the same style of Uncut Gems, He's absolutely

1284
01:12:21,840 --> 01:12:25,800
Speaker 1: a Saftian hero in the vein of Howard Rattner and

1285
01:12:25,920 --> 01:12:26,680
Speaker 1: some others that.

1286
01:12:26,640 --> 01:12:27,719
Speaker 5: We have seen.

1287
01:12:28,040 --> 01:12:30,240
Speaker 1: It will be a fun one to discuss in more

1288
01:12:30,240 --> 01:12:32,880
Speaker 1: detail if we get that opportunity. It comes out Christmas Day.

1289
01:12:33,280 --> 01:12:37,160
Speaker 1: See if you can an eleventh through twenty pick for me. Absolutely,

1290
01:12:37,280 --> 01:12:41,120
Speaker 1: and we're highlighting Timothy Shallow May seems like a locke

1291
01:12:41,439 --> 01:12:45,280
Speaker 1: for a Best Actor nomination. So let's move to another

1292
01:12:45,800 --> 01:12:49,320
Speaker 1: voicemail pick for a film of the year that's going

1293
01:12:49,360 --> 01:12:52,760
Speaker 1: to highlight a favorite performance of the year for this voicemailer.

1294
01:12:53,479 --> 01:12:57,160
Speaker 1: And this actress also seems like someone who's going to

1295
01:12:57,200 --> 01:13:00,599
Speaker 1: be in contention for Best Actress at the eye. This

1296
01:13:00,640 --> 01:13:04,680
Speaker 1: is our friend Melissa Tamanja from Bellingham, Washington.

1297
01:13:04,479 --> 01:13:05,439
Speaker 8: Hey, Adam and Josh.

1298
01:13:05,800 --> 01:13:09,160
Speaker 16: As I reflect on what movies find their way most

1299
01:13:09,160 --> 01:13:11,719
Speaker 16: deeply into my heart each year, I think it's often

1300
01:13:11,800 --> 01:13:14,439
Speaker 16: the films that impact me in ways I can't quite

1301
01:13:14,520 --> 01:13:17,680
Speaker 16: trace or move me for reasons I don't initially understand,

1302
01:13:18,479 --> 01:13:22,000
Speaker 16: so that I'm feeling a flood of emotions, but my

1303
01:13:22,120 --> 01:13:25,280
Speaker 16: brain is still kind of scrambling to catch up. And

1304
01:13:25,360 --> 01:13:28,479
Speaker 16: the Testament of ann Lee from writer director monofast Fold

1305
01:13:28,880 --> 01:13:32,080
Speaker 16: was a film like that. And part of what I

1306
01:13:32,120 --> 01:13:34,960
Speaker 16: loved about the experience of ann Lee was I was

1307
01:13:34,960 --> 01:13:37,400
Speaker 16: not at all sure initially I'd be able to get

1308
01:13:37,439 --> 01:13:40,640
Speaker 16: on board with the film, even though I love musicals.

1309
01:13:40,760 --> 01:13:45,320
Speaker 16: I had this, oh, this is a musical moment that

1310
01:13:45,640 --> 01:13:50,559
Speaker 16: quickly morphed to Holy hell, what kind of music musical

1311
01:13:50,720 --> 01:13:53,679
Speaker 16: is this? And is that the kind of dancing they're

1312
01:13:53,680 --> 01:13:54,760
Speaker 16: going to be doing the whole time?

1313
01:13:55,560 --> 01:14:00,120
Speaker 10: All this suffered on al journey we have made, and

1314
01:14:00,240 --> 01:14:06,360
Speaker 10: to sacrifice this to see the greatest love that one

1315
01:14:06,479 --> 01:14:07,440
Speaker 10: can experience.

1316
01:14:09,560 --> 01:14:12,400
Speaker 16: So I think it was perhaps my very resistance in

1317
01:14:12,439 --> 01:14:15,640
Speaker 16: the beginning that made the surrender by the end of

1318
01:14:15,680 --> 01:14:19,000
Speaker 16: the film so intense, because by the end I was

1319
01:14:19,040 --> 01:14:24,120
Speaker 16: certainly completely in the film's grasp. And I honestly still

1320
01:14:24,160 --> 01:14:27,240
Speaker 16: don't know why a film about the founder of the Shakers,

1321
01:14:27,280 --> 01:14:30,639
Speaker 16: something I know or care little about, got me so deeply.

1322
01:14:30,960 --> 01:14:33,640
Speaker 16: It certainly could be something to do with my own background,

1323
01:14:33,800 --> 01:14:36,679
Speaker 16: growing up in a charismatic church, always being a little

1324
01:14:36,720 --> 01:14:40,439
Speaker 16: scared of the weird and dangerous fanaticism, but being drawn

1325
01:14:40,479 --> 01:14:43,280
Speaker 16: to it and fascinated by it too. I mean, it

1326
01:14:43,360 --> 01:14:48,200
Speaker 16: might be something to do with the socio political, religious residences,

1327
01:14:48,240 --> 01:14:51,760
Speaker 16: and the American landscape today. It might be something to

1328
01:14:51,800 --> 01:14:53,640
Speaker 16: do with, for better or for worse, the fact that

1329
01:14:53,720 --> 01:14:57,400
Speaker 16: musicals always do move me, that sort of peculiar expression

1330
01:14:57,439 --> 01:15:00,280
Speaker 16: of song and dance that we really don't see anywhere

1331
01:15:00,320 --> 01:15:02,720
Speaker 16: else in life. And it might be something to do

1332
01:15:02,760 --> 01:15:04,920
Speaker 16: with the portrayal of a woman leader like Ann Lee.

1333
01:15:05,040 --> 01:15:08,920
Speaker 16: It's so vulnerable and so powerful at the same time.

1334
01:15:09,479 --> 01:15:13,000
Speaker 16: How often do we see portrayals like that? And maybe

1335
01:15:13,040 --> 01:15:15,960
Speaker 16: it's something to do with Amanda's save Reed, an utterly

1336
01:15:16,120 --> 01:15:19,760
Speaker 16: transformative performance. I don't know if it's any of that,

1337
01:15:20,040 --> 01:15:22,800
Speaker 16: or all of that or something else, but I do

1338
01:15:22,960 --> 01:15:26,320
Speaker 16: know it moved me and provoked me like no other

1339
01:15:26,360 --> 01:15:29,160
Speaker 16: film this year and left me kind of ragged and

1340
01:15:29,280 --> 01:15:34,200
Speaker 16: raw and also well ecstatic about the power of cinema.

1341
01:15:35,040 --> 01:15:37,599
Speaker 16: So the Testament of Ann Lee movie of the year

1342
01:15:37,600 --> 01:15:39,320
Speaker 16: for me, Thanks guys.

1343
01:15:39,360 --> 01:15:42,720
Speaker 1: Our, thanks to Melissa. Amanda Safreed's performance is another one

1344
01:15:42,720 --> 01:15:45,160
Speaker 1: that I was very fond of this year, and Mona

1345
01:15:45,200 --> 01:15:48,160
Speaker 1: fest Folds direction. This is a movie that seems very

1346
01:15:48,280 --> 01:15:50,439
Speaker 1: much of a piece with the Brutalists from last year

1347
01:15:50,520 --> 01:15:54,639
Speaker 1: in many ways. The direction that film she co wrote,

1348
01:15:54,640 --> 01:15:58,919
Speaker 1: of course, but the direction the subject matter. It's heroin

1349
01:15:59,160 --> 01:16:01,840
Speaker 1: tying to the he of that film as well, even

1350
01:16:01,880 --> 01:16:05,400
Speaker 1: though the subject matter seems like it couldn't be more different.

1351
01:16:05,520 --> 01:16:08,120
Speaker 1: And yes, I had no idea. This is the benefit

1352
01:16:08,200 --> 01:16:10,720
Speaker 1: of watching a film coming in. I think it's the

1353
01:16:10,720 --> 01:16:13,360
Speaker 1: benefit of coming into films as I often do, knowing

1354
01:16:13,520 --> 01:16:17,040
Speaker 1: absolutely nothing about them except that it was based on

1355
01:16:17,080 --> 01:16:20,120
Speaker 1: a religious figure and the Shakers. I did not know

1356
01:16:20,240 --> 01:16:24,240
Speaker 1: that it had any kind of musical leaning whatsoever, and

1357
01:16:24,320 --> 01:16:30,559
Speaker 1: this film is pretty much a musical. And those dance scenes,

1358
01:16:30,680 --> 01:16:33,800
Speaker 1: the choreography of those scenes, the camera work, and the

1359
01:16:33,960 --> 01:16:39,160
Speaker 1: editing of those scenes are a wonder That's the reason,

1360
01:16:39,280 --> 01:16:41,840
Speaker 1: the biggest reason for me to see The Testament of Amily.

1361
01:16:42,200 --> 01:16:46,400
Speaker 2: Yeah, it's a bold choice to do a religious biopick

1362
01:16:46,479 --> 01:16:48,720
Speaker 2: essentially that way outam and I think for the most part,

1363
01:16:48,760 --> 01:16:51,519
Speaker 2: I agree it works that they pull it off.

1364
01:16:51,840 --> 01:16:53,960
Speaker 8: The idea of also just being like, how do you

1365
01:16:54,040 --> 01:16:57,960
Speaker 8: represent an ecstatic experience? You know, it is something that

1366
01:16:58,200 --> 01:17:02,120
Speaker 8: is largely internal, So the idea of then channeling it

1367
01:17:02,160 --> 01:17:06,960
Speaker 8: out into a choreographed these strange and beautiful choreograph numbers

1368
01:17:07,040 --> 01:17:08,400
Speaker 8: I think is really effective.

1369
01:17:08,760 --> 01:17:12,080
Speaker 1: That comes out in limited release on Christmas Day, supposed

1370
01:17:12,080 --> 01:17:15,320
Speaker 1: to expand to more theaters in January and maybe even

1371
01:17:15,320 --> 01:17:19,920
Speaker 1: on into February. So look for the Testament of Ann Lee. Josh,

1372
01:17:19,960 --> 01:17:21,439
Speaker 1: You're going to now take us to a movie that's

1373
01:17:21,439 --> 01:17:25,800
Speaker 1: getting a lot of acclaim for a key supporting performance.

1374
01:17:25,920 --> 01:17:28,560
Speaker 1: And it's your number four film.

1375
01:17:28,240 --> 01:17:28,639
Speaker 3: Of the year.

1376
01:17:28,960 --> 01:17:33,200
Speaker 2: Yeah, Weapons number four, And you know Amy Madigan's turn

1377
01:17:33,280 --> 01:17:35,680
Speaker 2: here has ant gladys It isn't even one of my

1378
01:17:35,680 --> 01:17:38,280
Speaker 2: favorite things about weapons. She's to be clear, she's a hoot.

1379
01:17:39,200 --> 01:17:41,680
Speaker 2: But for me, it was a lot of the other

1380
01:17:41,720 --> 01:17:46,879
Speaker 2: stuff going on in this bizonkers movie from Zach Kreiger's

1381
01:17:47,720 --> 01:17:51,040
Speaker 2: let me just list them here, the very concept. You know,

1382
01:17:51,200 --> 01:17:53,559
Speaker 2: I was hooked the moment I heard about this, this

1383
01:17:53,680 --> 01:17:56,200
Speaker 2: idea that every child in this third grade class except

1384
01:17:56,200 --> 01:18:00,479
Speaker 2: for one, runs from their homes at two seventeen am,

1385
01:18:00,640 --> 01:18:03,639
Speaker 2: the same warning. No one knows why or where they went.

1386
01:18:04,160 --> 01:18:08,679
Speaker 2: The filmmaking here is just so assured and in control.

1387
01:18:08,720 --> 01:18:12,320
Speaker 2: From the imagery of those kids running down the suburban streets,

1388
01:18:12,360 --> 01:18:14,680
Speaker 2: you know, their arms out to their sides to the

1389
01:18:14,760 --> 01:18:18,439
Speaker 2: shocking set pieces, there are at least three that I

1390
01:18:18,479 --> 01:18:21,680
Speaker 2: don't think I'll ever forget. And speaking of at the

1391
01:18:21,680 --> 01:18:24,520
Speaker 2: top of this show, when we talked about theatrical experiences

1392
01:18:24,560 --> 01:18:27,479
Speaker 2: and being with people. You want to do that for comedy,

1393
01:18:27,880 --> 01:18:30,280
Speaker 2: you want to do that for horror. And there is

1394
01:18:30,320 --> 01:18:33,000
Speaker 2: a moment here I think that were bottom dropped out

1395
01:18:33,200 --> 01:18:37,080
Speaker 2: on our theater, just like the floor disappeared, and everyone

1396
01:18:37,200 --> 01:18:42,760
Speaker 2: just simultaneously had that sense of just being outside of themselves,

1397
01:18:43,280 --> 01:18:47,439
Speaker 2: which the best horror horror can do. At the same time,

1398
01:18:47,600 --> 01:18:50,200
Speaker 2: this is a very serious movie I found it to be.

1399
01:18:51,040 --> 01:18:53,760
Speaker 2: I think it has a lot of potency as a

1400
01:18:54,040 --> 01:18:59,960
Speaker 2: Pied Piper inspired school shooting allegory and speaking of American crises,

1401
01:19:00,360 --> 01:19:03,479
Speaker 2: getting them weekly, we just had another instance of this, right,

1402
01:19:04,200 --> 01:19:08,719
Speaker 2: it's relevant again this week, so weapons for me, at least,

1403
01:19:09,640 --> 01:19:12,240
Speaker 2: I think it was this expert horror movie that tapped

1404
01:19:12,240 --> 01:19:15,120
Speaker 2: into that impotent rage that were so many of us

1405
01:19:15,160 --> 01:19:19,000
Speaker 2: are feeling right now once again when more American children

1406
01:19:19,040 --> 01:19:21,720
Speaker 2: or young people are being sacrificed at the idle of firearms.

1407
01:19:21,760 --> 01:19:25,360
Speaker 2: So add all those up and yes, that Amy Madigan

1408
01:19:25,439 --> 01:19:28,200
Speaker 2: supporting turn which kind of shows up and grabs the

1409
01:19:28,240 --> 01:19:31,320
Speaker 2: movie by the throat. I'm always looking for an excuse

1410
01:19:31,320 --> 01:19:33,240
Speaker 2: to add a horror movie to my top ten list,

1411
01:19:33,320 --> 01:19:36,599
Speaker 2: and Weapons more than filled the bill this year.

1412
01:19:36,960 --> 01:19:40,080
Speaker 3: I paid off a great amount the second time too,

1413
01:19:40,120 --> 01:19:43,559
Speaker 3: which certainly is not true of all even really effective

1414
01:19:43,600 --> 01:19:47,679
Speaker 3: horror films, because the contraptions sprung and you know what's

1415
01:19:47,720 --> 01:19:50,000
Speaker 3: coming or whatever. But there's something about the way this

1416
01:19:50,080 --> 01:19:55,920
Speaker 3: thing zigzags and then makes this insane and completely successful

1417
01:19:56,080 --> 01:20:00,360
Speaker 3: leap into basically the most violent slapstick you can possibly

1418
01:20:00,400 --> 01:20:02,479
Speaker 3: get away. I mean, the fact that it turns kind

1419
01:20:02,479 --> 01:20:07,280
Speaker 3: of screwball, you know, slapsticker comedy in the last fifteen

1420
01:20:07,280 --> 01:20:10,160
Speaker 3: minutes and pulls it off is just sort of a

1421
01:20:10,200 --> 01:20:15,160
Speaker 3: tonal feat that is, you know, it's it's actually this

1422
01:20:15,240 --> 01:20:18,720
Speaker 3: sort of thing I love. And there are films other

1423
01:20:18,760 --> 01:20:21,719
Speaker 3: films this year that that sort of made similar mashup

1424
01:20:21,840 --> 01:20:25,439
Speaker 3: choices between like completely contrasting genres that pays off at

1425
01:20:25,439 --> 01:20:28,320
Speaker 3: great and I think, I really can't wait to see

1426
01:20:28,360 --> 01:20:31,200
Speaker 3: what that filmmaker does next. But this is a this

1427
01:20:31,240 --> 01:20:32,599
Speaker 3: is a really strong movie.

1428
01:20:32,880 --> 01:20:35,640
Speaker 8: Yeah, this just missed my top ten. I thought it

1429
01:20:35,720 --> 01:20:40,000
Speaker 8: was terrific and I thought it was such a wildly

1430
01:20:40,120 --> 01:20:46,519
Speaker 8: unpredictable mix of really effective creepy scenes, a few well

1431
01:20:46,560 --> 01:20:50,560
Speaker 8: placed jump scares, but also yeah, some like just outrageously

1432
01:20:50,600 --> 01:20:54,439
Speaker 8: funny aspects as well. I think, you know, this has

1433
01:20:54,479 --> 01:20:57,280
Speaker 8: a great ending. I just like I remember seeing it,

1434
01:20:57,439 --> 01:21:00,120
Speaker 8: you know, at a press greening and a front of

1435
01:21:00,120 --> 01:21:03,640
Speaker 8: fine like punched another friend just in delight, just like

1436
01:21:03,680 --> 01:21:08,480
Speaker 8: what happens at the ending. And I do I understand

1437
01:21:08,479 --> 01:21:10,640
Speaker 8: the read of it as being you know, as you

1438
01:21:10,680 --> 01:21:14,720
Speaker 8: put Josh about being about a mass shooting. Though I

1439
01:21:14,760 --> 01:21:16,479
Speaker 8: also feel like one of the things I enjoyed about

1440
01:21:16,520 --> 01:21:20,320
Speaker 8: it was that it felt like it evaded anything any

1441
01:21:20,439 --> 01:21:22,760
Speaker 8: kind of like easy allegory, you know, I think that

1442
01:21:22,880 --> 01:21:25,960
Speaker 8: even the the shootings one is like glandsdt at, but

1443
01:21:26,000 --> 01:21:30,240
Speaker 8: then also there's something weirder going on, and I think

1444
01:21:30,360 --> 01:21:33,080
Speaker 8: for me, ultimately, like what was so successful about this

1445
01:21:33,080 --> 01:21:35,559
Speaker 8: film is also that it felt like it was grappling

1446
01:21:35,600 --> 01:21:40,920
Speaker 8: with a general sense of suburban disconnect, you know, like

1447
01:21:41,200 --> 01:21:45,120
Speaker 8: when we do finally learn what has been happening, in

1448
01:21:45,240 --> 01:21:48,120
Speaker 8: part it is enabled by the thing that allows you know,

1449
01:21:48,160 --> 01:21:50,559
Speaker 8: like this is a just a kind of a typical

1450
01:21:50,600 --> 01:21:54,400
Speaker 8: small town, you know, like in Pennsylvania, but where everyone

1451
01:21:54,479 --> 01:21:57,720
Speaker 8: just goes home to their houses at night, and you know,

1452
01:21:57,840 --> 01:22:00,360
Speaker 8: I think that that is something that lot of us

1453
01:22:00,439 --> 01:22:03,120
Speaker 8: due but also because of that, like being kind of together,

1454
01:22:03,320 --> 01:22:06,439
Speaker 8: but also in isolation, you have like this kind of

1455
01:22:06,600 --> 01:22:08,840
Speaker 8: terrible thing that's happening in the middle of the community

1456
01:22:09,280 --> 01:22:12,639
Speaker 8: that the only person who really notices it is the

1457
01:22:12,760 --> 01:22:15,519
Speaker 8: unhoused drug user who just happens to be outside the

1458
01:22:15,520 --> 01:22:19,120
Speaker 8: community and actually pays attention to, you know, newspapers piling

1459
01:22:19,200 --> 01:22:22,000
Speaker 8: up outside of this like neglected house. Everyone else's eyes

1460
01:22:22,040 --> 01:22:24,800
Speaker 8: just glide over it. And I think there is something

1461
01:22:24,800 --> 01:22:27,880
Speaker 8: that it gets at about the kind of loneliness of

1462
01:22:28,520 --> 01:22:30,680
Speaker 8: a lot of its characters because they are living in

1463
01:22:30,680 --> 01:22:33,160
Speaker 8: a community but not they don't really have closeness, you know,

1464
01:22:33,880 --> 01:22:38,960
Speaker 8: including the teacher who it starts with, you know, Julia

1465
01:22:39,000 --> 01:22:41,600
Speaker 8: Garner's character who you start off and you think you

1466
01:22:41,640 --> 01:22:43,400
Speaker 8: know exactly what this character is going to be. She's

1467
01:22:43,439 --> 01:22:45,360
Speaker 8: going to be, you know, made into a scapegoat by

1468
01:22:45,360 --> 01:22:47,720
Speaker 8: this community, and that happens, but also she just is

1469
01:22:47,840 --> 01:22:50,720
Speaker 8: much more chaotic herself than you would ever dream And

1470
01:22:50,760 --> 01:22:52,679
Speaker 8: I just I love the ways in which the movie

1471
01:22:52,720 --> 01:22:56,519
Speaker 8: surprises you that way, Hey, I.

1472
01:22:56,400 --> 01:22:57,160
Speaker 3: Want to talk to you.

1473
01:22:57,520 --> 01:22:59,720
Speaker 14: I don't think we have anything to say to each other.

1474
01:22:59,880 --> 01:23:01,639
Speaker 17: I think you have a lot to say you.

1475
01:23:01,560 --> 01:23:03,200
Speaker 8: And every other person in the city.

1476
01:23:03,280 --> 01:23:05,360
Speaker 9: Believe me, the message is loud and clear.

1477
01:23:05,640 --> 01:23:07,080
Speaker 14: I'm the problem, got.

1478
01:23:06,840 --> 01:23:09,040
Speaker 17: It, you know what. I think that's the first honest

1479
01:23:09,040 --> 01:23:10,879
Speaker 17: thing I've heard. You say you are the problem.

1480
01:23:10,960 --> 01:23:12,479
Speaker 5: But you want to get in my face, you want

1481
01:23:12,520 --> 01:23:13,120
Speaker 5: to threaten me.

1482
01:23:13,200 --> 01:23:16,600
Speaker 17: Nobody's threatening you right now, the wrong tree. I have

1483
01:23:16,680 --> 01:23:19,960
Speaker 17: this whole victim persona that you're taking on. It might happen.

1484
01:23:20,120 --> 01:23:21,960
Speaker 3: That was such a plus to have the to have

1485
01:23:22,000 --> 01:23:27,200
Speaker 3: a character written and beautifully performed that that doesn't kind

1486
01:23:27,200 --> 01:23:30,280
Speaker 3: of isn't just there for sort of the audience identification

1487
01:23:30,400 --> 01:23:33,000
Speaker 3: figure or any of that. It's a much it's a

1488
01:23:33,160 --> 01:23:36,320
Speaker 3: much flintier sort of portrayal of somebody who's just kind

1489
01:23:36,320 --> 01:23:38,760
Speaker 3: of like, you know, kind of bumper carring our way

1490
01:23:38,760 --> 01:23:42,519
Speaker 3: through our own life inside this crazy scenario. And it's

1491
01:23:42,840 --> 01:23:45,120
Speaker 3: it's great, and it's great to have a performance and

1492
01:23:45,120 --> 01:23:48,120
Speaker 3: a performer that doesn't doesn't sort of like seek the

1493
01:23:48,160 --> 01:23:49,759
Speaker 3: audience sympathy first.

1494
01:23:50,320 --> 01:23:52,000
Speaker 8: Yeah, And I will say also, I want to shout

1495
01:23:52,000 --> 01:23:54,040
Speaker 8: out to benetticgu Wang, who is at the center of

1496
01:23:54,080 --> 01:23:56,479
Speaker 8: I think one of the most probably the most disturbing

1497
01:23:56,520 --> 01:23:59,160
Speaker 8: scene in the movie for me, and what happens in

1498
01:23:59,200 --> 01:23:59,960
Speaker 8: the bright light of day.

1499
01:24:00,880 --> 01:24:03,519
Speaker 2: Yeah, it's just when the bottom dropped out on our

1500
01:24:03,560 --> 01:24:07,800
Speaker 2: theater upsetting. Also to your point else and I'm glad

1501
01:24:07,840 --> 01:24:11,360
Speaker 2: you said that about the allegory, because you're right, it

1502
01:24:11,400 --> 01:24:13,639
Speaker 2: is there if you look for it. But I would

1503
01:24:13,640 --> 01:24:17,439
Speaker 2: hate for someone listening who you know, hasn't seen weapons

1504
01:24:17,479 --> 01:24:18,639
Speaker 2: and it's like, well, I don't want to go see

1505
01:24:18,640 --> 01:24:22,160
Speaker 2: a school shooting allegory. It's it's just available. And I

1506
01:24:22,200 --> 01:24:25,320
Speaker 2: think if it had been more explicit, I would not

1507
01:24:25,360 --> 01:24:28,400
Speaker 2: have responded as much to the movie. There's one image

1508
01:24:28,479 --> 01:24:30,800
Speaker 2: I think that pushes you in that direction. That's maybe

1509
01:24:30,840 --> 01:24:33,400
Speaker 2: you know, it's been debatable the whether that was a

1510
01:24:33,439 --> 01:24:36,920
Speaker 2: worthwhile image to include. But yeah, your description is is

1511
01:24:37,160 --> 01:24:40,000
Speaker 2: apt where it opens itself up to that, but doesn't

1512
01:24:40,040 --> 01:24:43,640
Speaker 2: necessarily have to be about it. It can be about many,

1513
01:24:43,680 --> 01:24:45,240
Speaker 2: many unsettling things.

1514
01:24:45,920 --> 01:24:48,360
Speaker 1: Well, it's a film that came up in our opening

1515
01:24:48,560 --> 01:24:52,840
Speaker 1: discussion for a reason as one of the key original

1516
01:24:52,960 --> 01:24:56,759
Speaker 1: films of the year, right, And you mentioned it, Josh,

1517
01:24:56,760 --> 01:24:59,360
Speaker 1: and we talked about it during our review when it

1518
01:24:59,400 --> 01:25:02,840
Speaker 1: came out. Some of the most arresting images of the

1519
01:25:02,920 --> 01:25:07,080
Speaker 1: year in any genre, but not only that within the

1520
01:25:07,080 --> 01:25:10,320
Speaker 1: horror genre, one or two images that are now just

1521
01:25:10,520 --> 01:25:14,720
Speaker 1: part of the cannon when you think of great images.

1522
01:25:15,200 --> 01:25:20,160
Speaker 1: And to this discussion about what it all means, how

1523
01:25:20,240 --> 01:25:22,000
Speaker 1: much fun is it when you have a film like this.

1524
01:25:22,080 --> 01:25:24,080
Speaker 1: I don't think there was any movie. I'm pretty sure

1525
01:25:24,120 --> 01:25:26,479
Speaker 1: there was no movie all year. And maybe we can

1526
01:25:26,520 --> 01:25:28,840
Speaker 1: go back a couple of years, Josh, where we got

1527
01:25:28,880 --> 01:25:32,960
Speaker 1: more email about a film and what it meant and

1528
01:25:33,000 --> 01:25:35,479
Speaker 1: what it meant personally to people right that we got

1529
01:25:35,560 --> 01:25:38,800
Speaker 1: to respond to on the show than this film. And

1530
01:25:38,840 --> 01:25:41,720
Speaker 1: it's great when a film gives you that much to

1531
01:25:41,800 --> 01:25:44,759
Speaker 1: dig into, and there is that much to dig into

1532
01:25:44,840 --> 01:25:48,519
Speaker 1: with Zach Craiger's weapons. So I'm glad that it made

1533
01:25:48,600 --> 01:25:51,000
Speaker 1: your list. A very good film from twenty twenty five.

1534
01:25:51,640 --> 01:25:55,439
Speaker 1: Here's how good I think twenty twenty five is. Richard

1535
01:25:55,439 --> 01:26:00,000
Speaker 1: link Later, one of my favorite filmmakers, made two movies

1536
01:26:00,160 --> 01:26:02,920
Speaker 1: I loved this year, and I could only find a

1537
01:26:02,960 --> 01:26:04,640
Speaker 1: spot for one of them in my top ten. And

1538
01:26:04,680 --> 01:26:07,479
Speaker 1: you know, somehow I still have this reputation as a cheater.

1539
01:26:08,520 --> 01:26:10,559
Speaker 1: You even get to hear it, I'm sure later in

1540
01:26:10,600 --> 01:26:14,400
Speaker 1: the show, even though I defy listeners to find the

1541
01:26:14,479 --> 01:26:15,679
Speaker 1: last time I cheated.

1542
01:26:15,720 --> 01:26:18,759
Speaker 5: Here's a prime opportunity. Did I cheat?

1543
01:26:18,840 --> 01:26:23,320
Speaker 1: No nouvelle vague, guess what? Eleven through twenty, I'm just

1544
01:26:23,360 --> 01:26:26,120
Speaker 1: going with Blue Moon, and I am putting Blue Moon

1545
01:26:27,120 --> 01:26:29,759
Speaker 1: all the way up at number four on my list.

1546
01:26:29,920 --> 01:26:32,599
Speaker 1: I talked about my theme for this year, the past

1547
01:26:33,120 --> 01:26:38,439
Speaker 1: Rogers and Hart including Blue Moon, my Funny Valentine, Bewitched, Bothered,

1548
01:26:38,439 --> 01:26:41,759
Speaker 1: and Bewildered, what a great song, The present and future

1549
01:26:42,520 --> 01:26:47,960
Speaker 1: Rogers and Hammerstein including Oklahoma exclamation point, Sardine's the night

1550
01:26:48,080 --> 01:26:50,400
Speaker 1: the entire movie takes place. The date I think is

1551
01:26:50,400 --> 01:26:53,080
Speaker 1: March thirty first, nineteen forty three. This is the nexus

1552
01:26:53,800 --> 01:26:57,360
Speaker 1: with Ethan Hawks Lorenz Heart struggling to come to terms

1553
01:26:57,400 --> 01:27:03,960
Speaker 1: with his identity in this new reality and the trauma

1554
01:27:05,160 --> 01:27:10,000
Speaker 1: stemming from his alcoholism and at attempts to go sober.

1555
01:27:10,640 --> 01:27:14,840
Speaker 1: This split, this fracture from Rogers and the heights that

1556
01:27:14,880 --> 01:27:18,200
Speaker 1: he clearly knows are inevitable for this new team for

1557
01:27:18,320 --> 01:27:22,360
Speaker 1: Rogers without him. But one of the strengths of the film,

1558
01:27:22,960 --> 01:27:26,320
Speaker 1: and I touch on this during our review, is that

1559
01:27:27,400 --> 01:27:32,080
Speaker 1: the pain extends to Rogers as well, and you see

1560
01:27:32,120 --> 01:27:37,120
Speaker 1: his sincere attempts to reunite Rogers and Heart, whether it's

1561
01:27:37,160 --> 01:27:40,200
Speaker 1: out of pity for him because of where Heart is

1562
01:27:40,240 --> 01:27:43,200
Speaker 1: at in his life and career, whether it's out of nostalgia,

1563
01:27:43,479 --> 01:27:47,320
Speaker 1: whether it is out of love for him, or all

1564
01:27:47,360 --> 01:27:51,759
Speaker 1: of the above. You see the crushing defeat that Andrew

1565
01:27:51,840 --> 01:27:56,000
Speaker 1: Scott as Richard Rodgers continually shows in his performance. With

1566
01:27:56,160 --> 01:28:00,760
Speaker 1: every Heart misstep, and there are lots of Heart missteps,

1567
01:28:00,600 --> 01:28:04,200
Speaker 1: it makes him. It makes Rogers almost a tragic figure.

1568
01:28:04,520 --> 01:28:09,639
Speaker 1: And all of this too. And about Hawk, Yes, Robert

1569
01:28:09,680 --> 01:28:13,360
Speaker 1: Caplo the screenwriter and link later, they give him a

1570
01:28:13,360 --> 01:28:16,080
Speaker 1: lot of fun dialogue to spit out. But I'm going

1571
01:28:16,120 --> 01:28:19,560
Speaker 1: to say they don't make it easy on Hawk. They

1572
01:28:19,680 --> 01:28:25,360
Speaker 1: give us the audience those opening contrasting quotes Hammerstein set

1573
01:28:25,360 --> 01:28:27,720
Speaker 1: of Heart that he was alert and dynamic and fun

1574
01:28:27,760 --> 01:28:30,879
Speaker 1: to be around, and then we get Cabaret star Mabel Mercer,

1575
01:28:31,120 --> 01:28:33,599
Speaker 1: who said he was the saddest man I ever knew.

1576
01:28:34,280 --> 01:28:38,519
Speaker 1: They set the audience expectations that Hawk has to then

1577
01:28:38,680 --> 01:28:44,519
Speaker 1: fully embody that contradiction. And I was thinking back on

1578
01:28:44,520 --> 01:28:47,840
Speaker 1: our discussion about movie Josh, and I get why you

1579
01:28:48,000 --> 01:28:50,880
Speaker 1: compared him to Jesse from before sunrise. I think I

1580
01:28:50,960 --> 01:28:53,200
Speaker 1: might have even said it was a good comp I'm

1581
01:28:53,240 --> 01:28:55,080
Speaker 1: going to at least disagree with myself.

1582
01:28:55,720 --> 01:28:56,200
Speaker 5: Anyway.

1583
01:28:56,960 --> 01:29:01,600
Speaker 1: They talk a lot, they philosophize. There's there's a grandiloquence

1584
01:29:02,000 --> 01:29:05,160
Speaker 1: about both of them, I suppose, but they really couldn't

1585
01:29:05,160 --> 01:29:08,920
Speaker 1: be more different people, or very different or more different performances.

1586
01:29:09,800 --> 01:29:12,280
Speaker 1: Part of that's just due to the volume of words

1587
01:29:12,560 --> 01:29:15,360
Speaker 1: and the pace, but I also want to be clear.

1588
01:29:15,400 --> 01:29:17,880
Speaker 1: My point here is to underscore how much depth I

1589
01:29:17,920 --> 01:29:23,080
Speaker 1: think Hawk brings to this performance. Jesse is young and

1590
01:29:23,160 --> 01:29:26,920
Speaker 1: smart enough to know that he doesn't understand that much

1591
01:29:26,920 --> 01:29:28,800
Speaker 1: about the world, or as much about the world as

1592
01:29:28,800 --> 01:29:33,040
Speaker 1: he liked to think. He knows. He's a questioner. Heart,

1593
01:29:33,080 --> 01:29:36,639
Speaker 1: I think is like Holly Hunter's character in Broadcast News.

1594
01:29:36,680 --> 01:29:39,000
Speaker 1: You know that great scene where the network exec says

1595
01:29:39,240 --> 01:29:41,639
Speaker 1: it must be nice to always know or always believe

1596
01:29:41,960 --> 01:29:44,200
Speaker 1: you know better to always think you're the smartest person

1597
01:29:44,240 --> 01:29:48,720
Speaker 1: in the room. And what does Jane say back, No,

1598
01:29:49,280 --> 01:29:53,559
Speaker 1: it's awful. I'm not sure Heart, who is always the

1599
01:29:53,560 --> 01:29:58,439
Speaker 1: smartest person in the room, would ever admit that it's awful.

1600
01:29:58,840 --> 01:30:02,360
Speaker 1: But I also don't think he has two Because we feel,

1601
01:30:02,720 --> 01:30:06,560
Speaker 1: we feel the torment. We sense it in every Bravura

1602
01:30:06,560 --> 01:30:10,040
Speaker 1: turn a phrase, in every brilliant jab that he gets in,

1603
01:30:10,120 --> 01:30:12,760
Speaker 1: and he gets in a lot of both. I think

1604
01:30:12,800 --> 01:30:17,120
Speaker 1: there's so much radiance in Heart, but there's also a

1605
01:30:17,120 --> 01:30:21,200
Speaker 1: lot of desperation and watching their minds at work, Heart's

1606
01:30:21,200 --> 01:30:26,600
Speaker 1: mind and Hawk's mind at work. That was one of

1607
01:30:26,640 --> 01:30:29,400
Speaker 1: my greatest movie joys of the year.

1608
01:30:29,960 --> 01:30:33,080
Speaker 8: They should put my picture on that bottle, the whiskey

1609
01:30:33,200 --> 01:30:35,880
Speaker 8: that made Lorenz Heart unemployable.

1610
01:30:37,920 --> 01:30:41,560
Speaker 1: It remains that much of a great movie going experience,

1611
01:30:41,560 --> 01:30:43,679
Speaker 1: and that's why it's so high for me at number four.

1612
01:30:44,040 --> 01:30:46,639
Speaker 2: Yeah, he Hawk is very very good here. I mean

1613
01:30:46,640 --> 01:30:50,160
Speaker 2: for my CFCA ballot, just on the outside. So the

1614
01:30:50,280 --> 01:30:52,840
Speaker 2: level of dexterity at work is incredibly impressive.

1615
01:30:53,200 --> 01:30:56,320
Speaker 8: Yeah, I think he's great. And I think also there

1616
01:30:56,360 --> 01:30:59,600
Speaker 8: are ways in which this scenario, the scenario of the

1617
01:30:59,640 --> 01:31:02,160
Speaker 8: film could feel unbearably contrived.

1618
01:31:02,200 --> 01:31:02,439
Speaker 17: You know.

1619
01:31:02,520 --> 01:31:04,320
Speaker 8: I've talked to people who didn't like it as much,

1620
01:31:04,320 --> 01:31:06,760
Speaker 8: who are like, well, it's just a play, and I

1621
01:31:06,800 --> 01:31:08,960
Speaker 8: felt like, sure, I can see that, except that I

1622
01:31:09,000 --> 01:31:11,720
Speaker 8: feel like the ways in which it tries to just

1623
01:31:11,840 --> 01:31:15,519
Speaker 8: kind of look at this entire life through this particular

1624
01:31:15,600 --> 01:31:18,799
Speaker 8: this lens and this you know, fictional essentially like fictional

1625
01:31:19,360 --> 01:31:24,360
Speaker 8: you know, night in which which he is watching everyone

1626
01:31:24,400 --> 01:31:27,320
Speaker 8: in his life essentially move on without him and understands

1627
01:31:27,360 --> 01:31:30,479
Speaker 8: that's happening. But I think it does it so well.

1628
01:31:30,960 --> 01:31:33,240
Speaker 8: And I think this is also like a theatrical person,

1629
01:31:33,600 --> 01:31:36,719
Speaker 8: you know, the idea, like of him having an almost

1630
01:31:36,760 --> 01:31:40,200
Speaker 8: self aware night, like a bleak night of the soul,

1631
01:31:40,760 --> 01:31:43,000
Speaker 8: in which he is watching he knows all of this

1632
01:31:43,080 --> 01:31:44,720
Speaker 8: is happening. And I think one of the things that

1633
01:31:44,800 --> 01:31:47,439
Speaker 8: is so wonderful about Hawk's performance is that he plays

1634
01:31:47,439 --> 01:31:51,200
Speaker 8: his character as though he is. The talking is his

1635
01:31:51,240 --> 01:31:54,920
Speaker 8: way to kind of keep weaving this protective self mythologizing

1636
01:31:54,960 --> 01:31:57,680
Speaker 8: shield around himself. But he keeps like kind of like

1637
01:31:57,760 --> 01:31:59,800
Speaker 8: running out, like you, he can sense that he's like

1638
01:32:00,040 --> 01:32:02,080
Speaker 8: his ability to maintain that is running out, you know.

1639
01:32:02,479 --> 01:32:05,080
Speaker 8: And then as soon as like he he kind of stops,

1640
01:32:05,120 --> 01:32:07,599
Speaker 8: you can see the tragedy that he knows is there under.

1641
01:32:07,800 --> 01:32:10,400
Speaker 1: If he if he doesn't, if if he stops talking,

1642
01:32:10,760 --> 01:32:14,480
Speaker 1: it's somehow the spell it's gonna it's gonna end. Reality

1643
01:32:14,520 --> 01:32:17,120
Speaker 1: is going to set in and and he can't have

1644
01:32:17,240 --> 01:32:19,439
Speaker 1: that happen. That's why he just keeps talking. And keeps

1645
01:32:19,479 --> 01:32:20,560
Speaker 1: talking as fast.

1646
01:32:20,280 --> 01:32:20,720
Speaker 5: As he is.

1647
01:32:20,720 --> 01:32:23,280
Speaker 1: That's the desperation that I that I sense in a way,

1648
01:32:23,280 --> 01:32:25,439
Speaker 1: And I'm glad you said that, because I do feel

1649
01:32:25,760 --> 01:32:29,240
Speaker 1: about the movie and the staging. It just doesn't feel

1650
01:32:29,280 --> 01:32:31,519
Speaker 1: and here again I'm I'm in the bag for link Later,

1651
01:32:31,760 --> 01:32:36,720
Speaker 1: but watching that film, I never sense that confinement. I

1652
01:32:36,760 --> 01:32:38,519
Speaker 1: think there is a I don't think that gives link

1653
01:32:38,600 --> 01:32:42,320
Speaker 1: Later near enough credit in terms of the cinematography and

1654
01:32:42,360 --> 01:32:45,840
Speaker 1: the editing, how they use that space, how they how

1655
01:32:45,840 --> 01:32:49,639
Speaker 1: they block where all the characters are in that space,

1656
01:32:49,920 --> 01:32:54,960
Speaker 1: how every time Ethan Hawk, how how Heart turns there.

1657
01:32:55,040 --> 01:32:59,120
Speaker 1: There is a motivation to every single edit and every

1658
01:32:59,200 --> 01:33:04,080
Speaker 1: single opposition. How that space is used within Sardi's I

1659
01:33:04,120 --> 01:33:06,439
Speaker 1: think it's I think it's a very sophisticated use of

1660
01:33:07,000 --> 01:33:10,600
Speaker 1: that space, even though it's a single spot or a

1661
01:33:10,640 --> 01:33:16,080
Speaker 1: single space movie, if you will. So I'm going to

1662
01:33:16,120 --> 01:33:18,679
Speaker 1: praise link Later and how he uses it, even though Michael,

1663
01:33:18,680 --> 01:33:19,840
Speaker 1: I don't. I don't think you're as big a fan.

1664
01:33:19,880 --> 01:33:21,800
Speaker 3: It was a little cooler on it, and I like

1665
01:33:21,880 --> 01:33:25,040
Speaker 3: lincol Later a lot. I do think though, one of

1666
01:33:25,080 --> 01:33:27,360
Speaker 3: the best scenes of the year easily is that extended

1667
01:33:27,439 --> 01:33:31,679
Speaker 3: conversation on the stairway on the staircase after the opening

1668
01:33:31,720 --> 01:33:35,080
Speaker 3: eye crowd from Oklahoma's kind of been you know, ushered

1669
01:33:35,120 --> 01:33:37,680
Speaker 3: in and it's just obviously a monster success and will

1670
01:33:37,760 --> 01:33:42,559
Speaker 3: change everything which heart neew going in and new coming out.

1671
01:33:43,520 --> 01:33:47,640
Speaker 3: And that scene between Andrew Scott as Rogers, who was

1672
01:33:47,680 --> 01:33:51,479
Speaker 3: a very bloodless character in real life, a pretty a

1673
01:33:51,520 --> 01:33:55,479
Speaker 3: pretty steely cold fish, and you get elements of that,

1674
01:33:56,320 --> 01:34:01,440
Speaker 3: but you do get that sort of that melancholy farewell

1675
01:34:01,800 --> 01:34:04,720
Speaker 3: quality to that, and that he knows there won't be

1676
01:34:04,800 --> 01:34:07,920
Speaker 3: many more conversations like this because this man will be

1677
01:34:07,960 --> 01:34:11,040
Speaker 3: dead soon. So Dwight Wyman and I'd be talking about

1678
01:34:11,040 --> 01:34:15,160
Speaker 3: bringing back a Connecticut yankie terrific. Yeah, I'm thinking of

1679
01:34:15,200 --> 01:34:18,439
Speaker 3: asking Vivian s going, oh my god, it's going longer

1680
01:34:18,439 --> 01:34:19,280
Speaker 3: than Oklahoma.

1681
01:34:19,320 --> 01:34:20,919
Speaker 5: I'll buy fifty seats myself.

1682
01:34:21,160 --> 01:34:25,160
Speaker 3: I've got a new title, Oh, Camelot. Well, i think

1683
01:34:25,160 --> 01:34:29,479
Speaker 3: we're gonna stick with Connecticut yanking Camelot exclamation point. Okay,

1684
01:34:29,479 --> 01:34:31,559
Speaker 3: come on, I've been serious. Yeah, I'm always serious. That's

1685
01:34:31,560 --> 01:34:33,759
Speaker 3: why people find me so funny. So I was thinking,

1686
01:34:33,760 --> 01:34:36,240
Speaker 3: if you feel up to working, then maybe.

1687
01:34:36,040 --> 01:34:37,400
Speaker 8: I've never found that relation.

1688
01:34:38,800 --> 01:34:40,479
Speaker 3: I think that's kind of the feeling you get. But

1689
01:34:40,520 --> 01:34:43,760
Speaker 3: that's and certainly Hawk has a lot to play of

1690
01:34:43,800 --> 01:34:45,559
Speaker 3: all that going on, but there's just a lot going

1691
01:34:45,560 --> 01:34:48,559
Speaker 3: on sort of externally and under the surface, and it's

1692
01:34:48,640 --> 01:34:51,400
Speaker 3: like it's it's a wonderful five seven minutes, and there's

1693
01:34:51,439 --> 01:34:54,160
Speaker 3: a lot I like Hawk, you know, I have I

1694
01:34:54,200 --> 01:34:58,720
Speaker 3: have that slight issue where I just feel that he is,

1695
01:34:59,720 --> 01:35:02,280
Speaker 3: you know. In an interview, he talked about working with

1696
01:35:02,320 --> 01:35:07,160
Speaker 3: Philip Seymour Hoffman and he said that on the Lamette

1697
01:35:07,200 --> 01:35:11,240
Speaker 3: film Before the Devil Knows, You're Dead right, and Hawk

1698
01:35:11,320 --> 01:35:16,000
Speaker 3: said that his whole impulse and the performance was on

1699
01:35:16,120 --> 01:35:19,840
Speaker 3: his work and it was just a simply sort of

1700
01:35:19,880 --> 01:35:23,880
Speaker 3: show off to his the co stars he was working

1701
01:35:23,920 --> 01:35:27,599
Speaker 3: with that he revered kind of just to impress. And

1702
01:35:27,720 --> 01:35:31,160
Speaker 3: I don't know what it takes for him to lose

1703
01:35:31,240 --> 01:35:35,040
Speaker 3: that impulse. Even now, all these decades into his career.

1704
01:35:35,400 --> 01:35:40,280
Speaker 3: He's wonderful, but I feel that it's a bit of

1705
01:35:40,320 --> 01:35:49,000
Speaker 3: a trap playing this sort of garrulous and NonStop a character.

1706
01:35:49,160 --> 01:35:53,719
Speaker 3: He doesn't really quite sense when to deliver one hundred

1707
01:35:53,760 --> 01:35:57,160
Speaker 3: percent instead of one hundred and fifteen. And I even

1708
01:35:57,200 --> 01:35:59,599
Speaker 3: link later you know who he's obviously you know, they

1709
01:35:59,640 --> 01:36:01,400
Speaker 3: have such a comfort level and he's so you know,

1710
01:36:01,439 --> 01:36:04,160
Speaker 3: he's wonderful in Boyhood Hawk and he's been wonderful, lots

1711
01:36:04,160 --> 01:36:07,639
Speaker 3: of things great and first reformed, you know, really having

1712
01:36:07,640 --> 01:36:10,880
Speaker 3: to tamp down every actor's instinct. He has to play

1713
01:36:10,880 --> 01:36:14,320
Speaker 3: a guy that buttoned down in the Paul Schrader film.

1714
01:36:14,320 --> 01:36:16,840
Speaker 3: But it's it's it's my slight issue with Hawk, and

1715
01:36:16,880 --> 01:36:19,200
Speaker 3: I think it's more me than him. So just disregard,

1716
01:36:19,520 --> 01:36:20,519
Speaker 3: disregard my opinion.

1717
01:36:20,560 --> 01:36:26,760
Speaker 1: I already forgot what you said. Disregard strongly. Also Also,

1718
01:36:26,840 --> 01:36:30,840
Speaker 1: I will say I've seen a lot of conversations about

1719
01:36:30,960 --> 01:36:34,080
Speaker 1: Before the Devil Knows You're Dead and and comments that

1720
01:36:34,360 --> 01:36:36,840
Speaker 1: Hawk has made over the years. And one thing he

1721
01:36:36,920 --> 01:36:39,880
Speaker 1: said about shooting that film is that Lumette was one

1722
01:36:39,920 --> 01:36:42,080
Speaker 1: of those directors and lots of directors have done this

1723
01:36:42,120 --> 01:36:45,200
Speaker 1: over the years, especially when you have heavyweights like Hawk,

1724
01:36:45,240 --> 01:36:48,000
Speaker 1: but especially Philip seymore Hoffman, and and they have a

1725
01:36:48,000 --> 01:36:50,280
Speaker 1: lot of scenes together like that is he pitted them

1726
01:36:50,320 --> 01:36:50,840
Speaker 1: against her.

1727
01:36:52,320 --> 01:36:52,800
Speaker 5: Every day.

1728
01:36:52,960 --> 01:36:53,400
Speaker 13: Every day.

1729
01:36:53,400 --> 01:36:56,040
Speaker 1: It was can you believe what Philip Seymour Hoffman is doing?

1730
01:36:56,200 --> 01:36:58,720
Speaker 1: Look at what he did yesterday? Can you match that?

1731
01:36:58,800 --> 01:36:59,160
Speaker 5: Ethan?

1732
01:36:59,280 --> 01:37:01,439
Speaker 1: You know, it was every thing was about trying to

1733
01:37:01,479 --> 01:37:04,160
Speaker 1: get him up to one hundred and fifteen percent to

1734
01:37:04,200 --> 01:37:07,920
Speaker 1: match what Philip seymore Hoffmann was doing. So I don't know,

1735
01:37:07,920 --> 01:37:09,599
Speaker 1: maybe I'll cut him a little bit of slack for that.

1736
01:37:09,880 --> 01:37:12,760
Speaker 1: But Blue Moon, if you haven't seen it yet, it

1737
01:37:12,800 --> 01:37:14,679
Speaker 1: is available to rant. It's one of the more expensive

1738
01:37:14,680 --> 01:37:16,880
Speaker 1: movies right now. It's nineteen ninety nine, but you can't

1739
01:37:16,920 --> 01:37:20,680
Speaker 1: see it on most platforms. We have one more no,

1740
01:37:20,760 --> 01:37:23,200
Speaker 1: we actually have two more outlier picks here before we

1741
01:37:23,240 --> 01:37:26,519
Speaker 1: get into some titles that made a couple of our lists,

1742
01:37:26,520 --> 01:37:28,680
Speaker 1: and we're going to throw it back to you, Alison,

1743
01:37:29,200 --> 01:37:31,559
Speaker 1: a film that you have at number three. Actually, up

1744
01:37:31,640 --> 01:37:33,559
Speaker 1: until the last minute, this this was a movie that

1745
01:37:33,640 --> 01:37:37,000
Speaker 1: was on two lists. Michael jettisoned it for another movie.

1746
01:37:37,040 --> 01:37:38,880
Speaker 5: But we know that you're expand it.

1747
01:37:39,000 --> 01:37:41,639
Speaker 1: Actually, I know that all four of us are big

1748
01:37:41,680 --> 01:37:43,759
Speaker 1: fans of this movie. It just turns out that Allison,

1749
01:37:43,800 --> 01:37:45,960
Speaker 1: you're the only one that made room for it on

1750
01:37:46,040 --> 01:37:46,679
Speaker 1: your top ten.

1751
01:37:47,000 --> 01:37:48,640
Speaker 8: And it's one of the convictions.

1752
01:37:48,800 --> 01:37:49,280
Speaker 5: Yeah, you know.

1753
01:37:49,320 --> 01:37:51,760
Speaker 1: It turns out Richard link Later made two pretty darn

1754
01:37:51,800 --> 01:37:54,639
Speaker 1: good movies this year. Steven Soderberg, I think made two

1755
01:37:54,760 --> 01:37:57,280
Speaker 1: pretty darn good movies this year, which one of those

1756
01:37:57,280 --> 01:37:58,680
Speaker 1: two made the cut for you?

1757
01:37:59,080 --> 01:38:03,080
Speaker 8: I well, as much as I loved Presence, his unusual

1758
01:38:03,120 --> 01:38:06,000
Speaker 8: ghost story movie from the start of the year, Black Bag,

1759
01:38:06,280 --> 01:38:13,320
Speaker 8: his espionage dinner party thriller slash Salute to a Marriage,

1760
01:38:14,800 --> 01:38:17,120
Speaker 8: I think is like one of the most underrated films

1761
01:38:17,120 --> 01:38:20,200
Speaker 8: of the year. I you know, it's one of those movies.

1762
01:38:20,240 --> 01:38:23,559
Speaker 8: And I do feel like this year maybe I waited

1763
01:38:23,880 --> 01:38:26,240
Speaker 8: the just the kind of the delight I took in

1764
01:38:26,320 --> 01:38:29,280
Speaker 8: the just like the the the actual stuff of movies

1765
01:38:29,320 --> 01:38:33,599
Speaker 8: a bit more this year, maybe because also it has felt,

1766
01:38:35,080 --> 01:38:37,000
Speaker 8: i don't know, like something that has felt more important

1767
01:38:37,040 --> 01:38:39,840
Speaker 8: to me lately, just the sheer pleasure of a movie

1768
01:38:39,880 --> 01:38:43,600
Speaker 8: going experience. But I also, like, you know, Stodiberg, he

1769
01:38:43,680 --> 01:38:45,720
Speaker 8: makes a lot of these like really kind of like

1770
01:38:45,760 --> 01:38:48,640
Speaker 8: almost experiments of movies, these doodles of movies that are

1771
01:38:48,680 --> 01:38:51,679
Speaker 8: usually based around one particular star and have like one

1772
01:38:52,479 --> 01:38:55,879
Speaker 8: big idea to them, either stylistically or in terms of concept.

1773
01:38:55,960 --> 01:38:58,840
Speaker 8: And so to watch him do something bigger, even though

1774
01:38:58,880 --> 01:39:01,160
Speaker 8: this is not an enormous it is certainly a kind

1775
01:39:01,160 --> 01:39:03,960
Speaker 8: of larger film than he's made in a while, has

1776
01:39:04,000 --> 01:39:05,840
Speaker 8: just been such a wonderful reminder that I think there

1777
01:39:05,920 --> 01:39:09,519
Speaker 8: is almost there's maybe no one better working today who

1778
01:39:09,560 --> 01:39:12,800
Speaker 8: knows how to appreciate movie star quality in his cast.

1779
01:39:13,080 --> 01:39:16,600
Speaker 8: You know, I think, like Out of Sight Aaron Brockovich,

1780
01:39:16,880 --> 01:39:20,519
Speaker 8: The Oceans movies are all just tributes to people on

1781
01:39:20,600 --> 01:39:23,960
Speaker 8: screen looking just like like Demi gods gone to come

1782
01:39:23,960 --> 01:39:25,840
Speaker 8: down to, you know, like just like more beautiful and

1783
01:39:25,920 --> 01:39:29,280
Speaker 8: more charismatic, more compelling than the average human being, and

1784
01:39:29,400 --> 01:39:32,160
Speaker 8: just like reveling in those qualities on screen. And I

1785
01:39:32,160 --> 01:39:34,120
Speaker 8: think this movie does that again. And to watch him

1786
01:39:34,120 --> 01:39:36,200
Speaker 8: like kind of take that back up and just to

1787
01:39:36,240 --> 01:39:38,200
Speaker 8: prove that he can do it so effortlessly when he

1788
01:39:38,240 --> 01:39:41,800
Speaker 8: wants to, I just I appreciated so much, you know.

1789
01:39:41,960 --> 01:39:45,320
Speaker 8: I think, in particular Kate Lanchet and Michael Fasbender as

1790
01:39:45,439 --> 01:39:48,960
Speaker 8: these married despies who have come up with, you know,

1791
01:39:49,000 --> 01:39:52,519
Speaker 8: particular rules about how that can work when they have

1792
01:39:52,560 --> 01:39:54,960
Speaker 8: to keep enormous secrets from one another. But they are

1793
01:39:54,960 --> 01:39:58,040
Speaker 8: also just like unbearably hot. You know. They live in

1794
01:39:58,080 --> 01:40:01,519
Speaker 8: this incredible London town house that becomes the scenes of

1795
01:40:01,560 --> 01:40:08,880
Speaker 8: two very tense, funny, thrilling dinner parties, one of which

1796
01:40:08,960 --> 01:40:11,800
Speaker 8: they drug. They drug people to to try and get

1797
01:40:11,800 --> 01:40:14,880
Speaker 8: a secret out of them. But I think just like

1798
01:40:15,720 --> 01:40:18,120
Speaker 8: the ways in which this is also uh a Jean

1799
01:40:18,200 --> 01:40:20,880
Speaker 8: Lacery and John lacaray riff, that is like, what if

1800
01:40:20,880 --> 01:40:23,600
Speaker 8: George Smiley were actually in a great marriage? You know,

1801
01:40:23,880 --> 01:40:27,240
Speaker 8: what if? What if it's you know, it's so explicitly

1802
01:40:27,400 --> 01:40:29,479
Speaker 8: trying to play off of the idea of George Smiley,

1803
01:40:29,520 --> 01:40:31,479
Speaker 8: but to be like, yes, what if him being a

1804
01:40:31,479 --> 01:40:34,960
Speaker 8: wife guy wasn't this kind of sad uh like funny

1805
01:40:35,000 --> 01:40:37,559
Speaker 8: aspect of his character, but actually part of like this

1806
01:40:37,640 --> 01:40:41,280
Speaker 8: is the kind of like defining quality of his life,

1807
01:40:41,479 --> 01:40:45,320
Speaker 8: uh and and his surprisingly happy home life. I just

1808
01:40:45,400 --> 01:40:48,840
Speaker 8: I think that this movie just moves along so well

1809
01:40:48,880 --> 01:40:52,000
Speaker 8: and so wonderfully. It really is just so pleasurable to watch,

1810
01:40:52,080 --> 01:40:54,680
Speaker 8: and it has this great supporting cast. Marissa Abela I

1811
01:40:54,720 --> 01:40:56,559
Speaker 8: think is like a particular.

1812
01:40:56,120 --> 01:40:57,960
Speaker 5: Delight uh incredible.

1813
01:40:58,240 --> 01:41:01,559
Speaker 8: But like Tom Burke, Naomi Harris, rage on page appears

1814
01:41:01,640 --> 01:41:04,280
Speaker 8: Brosnan as a higher up, this is kind of a

1815
01:41:04,280 --> 01:41:08,080
Speaker 8: nefarious higher up. I just I think it's just such

1816
01:41:08,120 --> 01:41:11,320
Speaker 8: a good time in just like in a lot of

1817
01:41:11,360 --> 01:41:13,680
Speaker 8: the basic things that we just like look for in

1818
01:41:13,840 --> 01:41:16,720
Speaker 8: a movie going, which is to say, like larger than

1819
01:41:16,760 --> 01:41:20,440
Speaker 8: life stars like twists and thrills and humor and sexiness,

1820
01:41:21,160 --> 01:41:25,400
Speaker 8: and it offered all of those things. Maybe so sad

1821
01:41:25,439 --> 01:41:28,599
Speaker 8: that it did not become an enormous hit. It's one

1822
01:41:28,640 --> 01:41:30,760
Speaker 8: of those movies that I think will eventually like end

1823
01:41:30,840 --> 01:41:32,840
Speaker 8: up on Netflix and then people will make it their

1824
01:41:32,880 --> 01:41:36,240
Speaker 8: whole personality. But as is, it kind of came and

1825
01:41:36,280 --> 01:41:39,400
Speaker 8: went in theaters, and I think the people who did

1826
01:41:39,439 --> 01:41:42,640
Speaker 8: see it. I feel like most people I talked to

1827
01:41:42,840 --> 01:41:45,000
Speaker 8: loved it, which it made me. Said that it wasn't

1828
01:41:45,000 --> 01:41:46,840
Speaker 8: able to catch on more. I think it's great.

1829
01:41:47,040 --> 01:41:47,280
Speaker 1: I was.

1830
01:41:47,320 --> 01:41:49,240
Speaker 3: I was puzzled too that it wasn't a bigger hit.

1831
01:41:49,280 --> 01:41:51,760
Speaker 3: I really enjoyed it, and it's my number eleven now

1832
01:41:52,040 --> 01:41:54,240
Speaker 3: as of this morning, as Adam can tell you. But

1833
01:41:55,360 --> 01:41:57,880
Speaker 3: I finally saw a different one than I wanted to sleep. Eh.

1834
01:41:58,360 --> 01:42:01,400
Speaker 3: It's when a David is that how you Pronunce's industry,

1835
01:42:01,560 --> 01:42:05,000
Speaker 3: or when Kep and Soderberg get together as they did

1836
01:42:05,040 --> 01:42:08,240
Speaker 3: with KIMMI. You know the film for me from the

1837
01:42:08,240 --> 01:42:10,559
Speaker 3: COVID the worst of the COVID years. I mean, it's

1838
01:42:10,600 --> 01:42:15,080
Speaker 3: such a that is such a great, bracing, zingy sort

1839
01:42:15,080 --> 01:42:21,000
Speaker 3: of variation on a rear window a little bit, and

1840
01:42:21,240 --> 01:42:24,160
Speaker 3: when they are just magic together, when they just kind

1841
01:42:24,160 --> 01:42:28,840
Speaker 3: of have have this sort of pleasure principle foremost in

1842
01:42:28,880 --> 01:42:32,880
Speaker 3: their mind. It's just a relief too, from so much

1843
01:42:33,640 --> 01:42:37,080
Speaker 3: blockbuster viewing that we've kind of had in our lives,

1844
01:42:37,080 --> 01:42:42,560
Speaker 3: where the stakes are always universe ender, you know, scenarios,

1845
01:42:43,080 --> 01:42:46,040
Speaker 3: the marvel in, the marvel around particularly, but just to

1846
01:42:46,040 --> 01:42:47,920
Speaker 3: see a film that has sort of sort of the

1847
01:42:48,000 --> 01:42:52,519
Speaker 3: right size and an amount of tension and conflict it's

1848
01:42:52,520 --> 01:42:57,479
Speaker 3: not and it's it's witty first and it's action oriented second.

1849
01:42:57,840 --> 01:43:01,040
Speaker 3: And maybe that's what didn't attract the audience. People I

1850
01:43:01,040 --> 01:43:04,360
Speaker 3: think are just kind of inured the you know, they

1851
01:43:04,400 --> 01:43:09,480
Speaker 3: come to expect a certain amount of wrote casual sadism

1852
01:43:09,640 --> 01:43:12,200
Speaker 3: on the fly, and that the film is not really

1853
01:43:12,240 --> 01:43:16,320
Speaker 3: about that. It's about higher things. I love it. I

1854
01:43:16,320 --> 01:43:19,080
Speaker 3: mean it was an easy second to watch too, So yeah.

1855
01:43:19,400 --> 01:43:22,040
Speaker 8: Yeah, yeah, you're right. I do think like also the

1856
01:43:22,080 --> 01:43:24,920
Speaker 8: ways of which it outsources. Instead of having a major

1857
01:43:25,240 --> 01:43:28,599
Speaker 8: action set piece, it has like a verbal set piece, right,

1858
01:43:28,680 --> 01:43:31,160
Speaker 8: Like it's a joust over a dinner party table.

1859
01:43:31,320 --> 01:43:33,920
Speaker 2: Yeah, dinner parties. Yeah, those are absolutely the highlights. I

1860
01:43:33,920 --> 01:43:36,160
Speaker 2: had a similar journey to you, Michael. With Black Bag

1861
01:43:36,280 --> 01:43:38,120
Speaker 2: in and out of my top ten list as we

1862
01:43:38,200 --> 01:43:40,800
Speaker 2: approached the end of the year, here I thought, you know,

1863
01:43:41,720 --> 01:43:44,280
Speaker 2: I'm a fan of Soderberg, but not the champion that

1864
01:43:44,960 --> 01:43:47,519
Speaker 2: so many other people are. And I thought, oh, finally

1865
01:43:48,040 --> 01:43:50,160
Speaker 2: I get to have a Soderberg film on a top

1866
01:43:50,200 --> 01:43:52,800
Speaker 2: ten list, because it just feels like something I should

1867
01:43:52,880 --> 01:43:55,679
Speaker 2: have at some point. But you know what, as I said,

1868
01:43:55,680 --> 01:43:58,240
Speaker 2: this just turned out to be a great movie year.

1869
01:43:58,280 --> 01:44:01,400
Speaker 2: The more movies you saw, and and so that's sort

1870
01:44:01,439 --> 01:44:03,479
Speaker 2: of what happened with Black Bag. I did give it

1871
01:44:03,600 --> 01:44:05,800
Speaker 2: a nod because I think to your point about the

1872
01:44:05,800 --> 01:44:10,160
Speaker 2: dinner parties house, and you know, the secret ingredient to

1873
01:44:10,240 --> 01:44:12,840
Speaker 2: Black Bag is the editing, which is Soda Bird doing

1874
01:44:12,960 --> 01:44:16,960
Speaker 2: that as well, and that first dinner party sequence is

1875
01:44:17,560 --> 01:44:20,000
Speaker 2: just a masterclass in the art form of editing. You

1876
01:44:20,040 --> 01:44:23,080
Speaker 2: could just show that and be like, this is how

1877
01:44:23,200 --> 01:44:26,479
Speaker 2: deciding when to cut and what to cut to and

1878
01:44:26,520 --> 01:44:29,840
Speaker 2: how long to hold something can communicate everything you need

1879
01:44:29,840 --> 01:44:31,920
Speaker 2: to communicate in a scene. I mean, there's a lot

1880
01:44:31,960 --> 01:44:35,240
Speaker 2: more going on there than that, but to me, that's

1881
01:44:35,280 --> 01:44:38,000
Speaker 2: the crucial element. So a huge fan of Black Bag

1882
01:44:38,040 --> 01:44:38,639
Speaker 2: as well.

1883
01:44:38,600 --> 01:44:42,160
Speaker 1: A great scene with Marissa Bayla, who I've championed throughout

1884
01:44:42,240 --> 01:44:45,080
Speaker 1: this entire year. That scene where there is some actual

1885
01:44:45,360 --> 01:44:49,120
Speaker 1: espionage going on, there's this whole satellite thing and Fastbender

1886
01:44:49,200 --> 01:44:53,040
Speaker 1: and Kate Blanchett, but it's still really just a dialogue scene.

1887
01:44:53,240 --> 01:44:58,320
Speaker 1: It's mostly verbal. We're seeing the espionage part is occurring

1888
01:44:58,320 --> 01:45:01,880
Speaker 1: over footage, and all of the tension, all of the

1889
01:45:02,000 --> 01:45:04,679
Speaker 1: real action is what's just happening in the room between

1890
01:45:04,680 --> 01:45:07,800
Speaker 1: two people there. And that's what all of the good

1891
01:45:07,800 --> 01:45:11,600
Speaker 1: action in that film is either happening between characters and

1892
01:45:11,600 --> 01:45:14,439
Speaker 1: what they're saying or between the words of what they're

1893
01:45:14,479 --> 01:45:18,600
Speaker 1: saying and everything. Allison, you articulated in terms of the

1894
01:45:18,680 --> 01:45:24,280
Speaker 1: dynamic between the married couple here. What's still so fun

1895
01:45:24,320 --> 01:45:28,040
Speaker 1: about this movie is because it's a really smartly written

1896
01:45:28,360 --> 01:45:33,320
Speaker 1: espionage film, is that we know that everything is up

1897
01:45:33,320 --> 01:45:36,719
Speaker 1: for grabs, that we can't trust their spies, we can't

1898
01:45:36,760 --> 01:45:40,639
Speaker 1: trust anybody. We there's double crosses and triple cross crosses

1899
01:45:40,640 --> 01:45:44,519
Speaker 1: and maybe quadruple crosses, and so we never have our

1900
01:45:44,560 --> 01:45:48,479
Speaker 1: bearing and we're constantly grasping, and just when we think

1901
01:45:48,520 --> 01:45:52,920
Speaker 1: we may understand the dynamic of a relationship, we never

1902
01:45:53,080 --> 01:45:56,479
Speaker 1: know quite what we can believe. And that's the fun

1903
01:45:56,600 --> 01:45:59,120
Speaker 1: of this film, right, is that the way it just

1904
01:45:59,160 --> 01:46:02,559
Speaker 1: sort of leads us along constantly hoping for some solid ground.

1905
01:46:02,680 --> 01:46:03,599
Speaker 5: And I agree.

1906
01:46:03,640 --> 01:46:05,519
Speaker 1: Black Bag is one of the highlights of the year

1907
01:46:05,560 --> 01:46:08,840
Speaker 1: eleven through twenty for me, but didn't quite make the cut.

1908
01:46:09,320 --> 01:46:13,519
Speaker 1: That brings us two though, I'll mention on Prime Video

1909
01:46:13,640 --> 01:46:16,679
Speaker 1: and other VOD platforms if you haven't seen Black Bag yet.

1910
01:46:16,800 --> 01:46:20,760
Speaker 1: That brings us to our last outlier pick. It's the

1911
01:46:20,880 --> 01:46:23,439
Speaker 1: number two film of the year for Michael Phillips, but

1912
01:46:23,600 --> 01:46:26,880
Speaker 1: I think appropriate for this title. I'm going to let

1913
01:46:26,960 --> 01:46:29,840
Speaker 1: a woman do the honors here, Michael, and jump in

1914
01:46:29,880 --> 01:46:33,479
Speaker 1: ahead of you. Let's hear from Amy Nicholson, Hey.

1915
01:46:33,280 --> 01:46:36,400
Speaker 4: Film spotters, Amy Nicholson here from the Los Angeles Times.

1916
01:46:36,680 --> 01:46:38,799
Speaker 4: You don't need me to go on about why Centners

1917
01:46:38,880 --> 01:46:41,000
Speaker 4: is the best movie of the year, so I said,

1918
01:46:41,160 --> 01:46:43,840
Speaker 4: let me gush about my number two. Nieta Costa is

1919
01:46:43,920 --> 01:46:46,400
Speaker 4: headed starrying Tessa Thompson as a hell of a good

1920
01:46:46,439 --> 01:46:48,920
Speaker 4: head of gabbler. If you've seen the Ibsen Play any

1921
01:46:48,960 --> 01:46:52,679
Speaker 4: of its versions, its starred Ingrid Bergman, Kate Blanchett, Rosmond Pike,

1922
01:46:52,760 --> 01:46:55,160
Speaker 4: Maggie Smith, g Linda Jackson. You already know why this

1923
01:46:55,240 --> 01:46:57,760
Speaker 4: role is held up as the female hamlet. Well, Nita

1924
01:46:57,800 --> 01:47:01,000
Speaker 4: cost is brilliant adaptation showcases ever everything that this mean,

1925
01:47:01,240 --> 01:47:04,240
Speaker 4: nasty story already is, and she adds to it. She's

1926
01:47:04,280 --> 01:47:07,559
Speaker 4: got these smart casting staging tweaks that somehow, please do

1927
01:47:07,600 --> 01:47:10,120
Speaker 4: not hant me on this Heinrich Ibsen, somehow make this

1928
01:47:10,200 --> 01:47:12,920
Speaker 4: Head to feel even more pleasurable, even more alive.

1929
01:47:15,720 --> 01:47:15,920
Speaker 16: Edge.

1930
01:47:16,479 --> 01:47:20,800
Speaker 8: Hey up, darling, what she wants you you'll see? Oh

1931
01:47:20,840 --> 01:47:21,439
Speaker 8: you'll not leave me?

1932
01:47:21,520 --> 01:47:22,920
Speaker 10: No best to assist temptation.

1933
01:47:23,680 --> 01:47:30,600
Speaker 13: Oh, come on, Eileen, You're stronger than that.

1934
01:47:31,560 --> 01:47:35,240
Speaker 10: Sometimes I can't help myself. Jesus, these people.

1935
01:47:36,240 --> 01:47:38,960
Speaker 4: This movie is fun, It's gorgeous. It has so much

1936
01:47:38,960 --> 01:47:42,400
Speaker 4: to talk about afterwards, including reaving about the costumes, the cinematography,

1937
01:47:42,560 --> 01:47:45,680
Speaker 4: the supporting performances Benita, Hassen, Image and Boots. If you

1938
01:47:45,760 --> 01:47:48,360
Speaker 4: are still finalizing your top ten, you gotta make time

1939
01:47:48,400 --> 01:47:48,679
Speaker 4: for Head.

1940
01:47:49,320 --> 01:47:53,479
Speaker 3: I tried like hell to match it, to match Amy

1941
01:47:53,600 --> 01:47:55,560
Speaker 3: on this. I mean, I really want I saw I

1942
01:47:55,600 --> 01:47:57,559
Speaker 3: had a very late and this has been sort of

1943
01:47:57,600 --> 01:48:00,799
Speaker 3: my peculiar year that you know, I left the Tribune

1944
01:48:00,840 --> 01:48:03,839
Speaker 3: in August. I didn't see a lot of these movies

1945
01:48:04,000 --> 01:48:07,479
Speaker 3: that turn out to be many of the best twenty

1946
01:48:07,600 --> 01:48:10,720
Speaker 3: I saw this year. I didn't see them in the

1947
01:48:10,840 --> 01:48:14,879
Speaker 3: usual pace. I saw them in great gobs of viewing

1948
01:48:15,439 --> 01:48:18,479
Speaker 3: in the last couple three four weeks maybe four, probably

1949
01:48:18,520 --> 01:48:21,920
Speaker 3: two or three. And to see all this quality was

1950
01:48:22,000 --> 01:48:27,280
Speaker 3: almost a disorienting for me, frankly, and had just I

1951
01:48:27,280 --> 01:48:29,160
Speaker 3: thought it was just ripping, you know. I mean, I

1952
01:48:29,680 --> 01:48:33,519
Speaker 3: can't really weigh in on whether or not that is

1953
01:48:33,600 --> 01:48:37,120
Speaker 3: going to work for anybody if they're not a little

1954
01:48:37,160 --> 01:48:40,240
Speaker 3: familiar with the Henri Kipson play, which is driven by

1955
01:48:40,280 --> 01:48:43,400
Speaker 3: sexual blackmail, which is a good start, you know, forgetting

1956
01:48:43,560 --> 01:48:45,639
Speaker 3: your interest, I think. But it's, you know, as Amy

1957
01:48:45,960 --> 01:48:47,799
Speaker 3: sort of sort of alluded to, it's about the trophy

1958
01:48:47,840 --> 01:48:52,479
Speaker 3: wife of the world's dullest academic and her incurable itch

1959
01:48:52,520 --> 01:48:54,639
Speaker 3: for this secret love from her past.

1960
01:48:54,720 --> 01:48:54,880
Speaker 5: Right.

1961
01:48:54,920 --> 01:48:57,280
Speaker 3: But I can tell you this, I've never seen a

1962
01:48:57,320 --> 01:48:59,880
Speaker 3: stage or a film version of this play. Half a

1963
01:49:00,160 --> 01:49:03,160
Speaker 3: Juicy is what Neodacosta has come up with here, starring

1964
01:49:03,280 --> 01:49:07,080
Speaker 3: Tessa Thompson, And you know, it's just a great wholesale

1965
01:49:07,120 --> 01:49:11,200
Speaker 3: reinvention of this eighteen ninety one play as a nineteen

1966
01:49:11,240 --> 01:49:15,720
Speaker 3: thirties summerset mom type period piece. But that's really just

1967
01:49:15,760 --> 01:49:20,200
Speaker 3: in setting only. But because it's just just this genuinely

1968
01:49:20,320 --> 01:49:23,680
Speaker 3: thirsty romantic tragedy the way it's handled here, and it

1969
01:49:23,720 --> 01:49:28,240
Speaker 3: opens up to all kinds of issues, really dramatically vital

1970
01:49:28,280 --> 01:49:33,880
Speaker 3: issues of sexism, racism, queer sensuality, black accommodations of the

1971
01:49:33,920 --> 01:49:37,400
Speaker 3: white stocracy, we'll call it. That could drive a woman

1972
01:49:37,800 --> 01:49:44,840
Speaker 3: just about anything. And I've always been really transfixed by

1973
01:49:44,840 --> 01:49:48,000
Speaker 3: this play. Even if I haven't seen great productions of it.

1974
01:49:48,400 --> 01:49:52,760
Speaker 3: People have been debating what makes this character of had

1975
01:49:52,840 --> 01:49:58,360
Speaker 3: To so memorable is because it's not it's you know,

1976
01:49:59,000 --> 01:50:01,559
Speaker 3: and yet people were always perplexed by it. Every every

1977
01:50:01,680 --> 01:50:03,640
Speaker 3: back in eighteen ninety one, it was people were like,

1978
01:50:03,720 --> 01:50:05,920
Speaker 3: what is she? Is she supposed to be sympathetic? Is

1979
01:50:05,960 --> 01:50:08,400
Speaker 3: she a monster? Is she a victim? Predator? What is she?

1980
01:50:08,920 --> 01:50:11,479
Speaker 3: And even Henry James, you know, a pretty good writer,

1981
01:50:11,600 --> 01:50:15,800
Speaker 3: actually did a little criticism and he was intrigued by

1982
01:50:15,840 --> 01:50:18,080
Speaker 3: the play, but said, I don't know what type of

1983
01:50:18,160 --> 01:50:21,280
Speaker 3: woman this is supposed to be. And that's the kind

1984
01:50:21,320 --> 01:50:26,760
Speaker 3: of stupid response that is limited people's pacific ideas about

1985
01:50:26,760 --> 01:50:30,439
Speaker 3: how to activate this this character and this material. But

1986
01:50:30,680 --> 01:50:32,599
Speaker 3: I'll tell you. No one has figured it out better

1987
01:50:32,720 --> 01:50:36,400
Speaker 3: than Nea the Costa, because it's not one type. It's

1988
01:50:36,439 --> 01:50:41,160
Speaker 3: seventeen fast, it's going on at once, it's it's, it's, it's, it's,

1989
01:50:41,320 --> 01:50:45,880
Speaker 3: it's in every scene between Thompson and Nina hauss Image

1990
01:50:45,880 --> 01:50:50,680
Speaker 3: and Poots fantastic, Catherine Hunter is great, it's it's just

1991
01:50:51,320 --> 01:50:57,120
Speaker 3: alive with electricity. And it's also Dacosta's most fluid direction

1992
01:50:57,160 --> 01:50:59,080
Speaker 3: of the day. She's always been a good director, but

1993
01:50:59,120 --> 01:51:03,040
Speaker 3: this is the most I think enveloping work I've seen

1994
01:51:03,080 --> 01:51:06,400
Speaker 3: from her. Really wanted to give it number one tried,

1995
01:51:07,120 --> 01:51:08,080
Speaker 3: but it's my number two.

1996
01:51:08,600 --> 01:51:10,560
Speaker 8: I like this from a lot, and I really I

1997
01:51:11,040 --> 01:51:14,240
Speaker 8: appreciate your insights into the ways in which that character

1998
01:51:14,360 --> 01:51:17,439
Speaker 8: has been received or baffled people over the years. Something

1999
01:51:17,479 --> 01:51:21,439
Speaker 8: I really loved about Dacosta's interpretation is that it suggests

2000
01:51:21,439 --> 01:51:26,200
Speaker 8: almost like this character is just like waging this kind

2001
01:51:26,200 --> 01:51:29,720
Speaker 8: of capricious war of destruction, almost just because she's so

2002
01:51:29,840 --> 01:51:35,120
Speaker 8: kind of dynamic and smart and has no outlet. She

2003
01:51:35,200 --> 01:51:38,360
Speaker 8: is bubbling over with just like all of this potential

2004
01:51:38,400 --> 01:51:41,960
Speaker 8: that she sees no way of like channeling into anything

2005
01:51:42,000 --> 01:51:44,440
Speaker 8: other than this life. Yeah, and so it almost overflows

2006
01:51:44,560 --> 01:51:49,040
Speaker 8: into a desire to destroy the things around her, including

2007
01:51:49,760 --> 01:51:52,439
Speaker 8: this woman she loves, you know, like just out of

2008
01:51:53,400 --> 01:51:55,200
Speaker 8: a need to mark the world in some way.

2009
01:51:55,280 --> 01:51:59,400
Speaker 3: And I loved that love it and it's Ibsen may

2010
01:51:59,439 --> 01:52:01,639
Speaker 3: not have been that much more enlightened than Henry James,

2011
01:52:01,640 --> 01:52:03,599
Speaker 3: but he said, I think I think this character has

2012
01:52:03,840 --> 01:52:06,680
Speaker 3: poetry deep down. That was that was the way you

2013
01:52:06,840 --> 01:52:10,320
Speaker 3: phrased it. And it cannot nobody can really see it

2014
01:52:10,479 --> 01:52:12,800
Speaker 3: or and she can't get it up because society is

2015
01:52:12,840 --> 01:52:16,200
Speaker 3: not there yet, uh, you know, is not ready for that.

2016
01:52:16,360 --> 01:52:20,640
Speaker 3: And just the way the cost is kind of re

2017
01:52:20,640 --> 01:52:24,040
Speaker 3: reoriented the entire sexual energy of the piece to make

2018
01:52:24,439 --> 01:52:28,719
Speaker 3: this mysterious character from the past I love or females

2019
01:52:28,760 --> 01:52:33,479
Speaker 3: that are male and uh somehow moving moving the setting

2020
01:52:33,600 --> 01:52:37,559
Speaker 3: up a few decades. I did the trick, you know,

2021
01:52:37,880 --> 01:52:40,959
Speaker 3: and it's not just a gimmick. And I think anybody

2022
01:52:42,200 --> 01:52:44,320
Speaker 3: who does know the play and just doesn't really quite

2023
01:52:44,920 --> 01:52:48,760
Speaker 3: like this adaptation because it changed too much. I don't know,

2024
01:52:48,800 --> 01:52:52,519
Speaker 3: I've seen too many adaptations of great plays and great

2025
01:52:52,560 --> 01:52:55,000
Speaker 3: everything that just you know, got into trouble and ended

2026
01:52:55,080 --> 01:52:57,839
Speaker 3: up being dull because they didn't change enough. So anyway,

2027
01:52:58,360 --> 01:53:00,960
Speaker 3: hats often you know, the cost of for making it

2028
01:53:01,000 --> 01:53:02,080
Speaker 3: the way she wanted to make it.

2029
01:53:02,320 --> 01:53:05,760
Speaker 2: And in all that scrambling you've been describing, which makes

2030
01:53:05,760 --> 01:53:09,120
Speaker 2: this endlessly interesting. There there's another element she threw in,

2031
01:53:09,200 --> 01:53:12,000
Speaker 2: you know. Having done that the other Candyman film, I

2032
01:53:12,120 --> 01:53:15,040
Speaker 2: detected this flare of horror going on in the depiction

2033
01:53:15,120 --> 01:53:18,880
Speaker 2: of Heda. This is like an infernal heada heada and

2034
01:53:19,040 --> 01:53:22,600
Speaker 2: a lot of the imagery emphasizes that. The costuming emphasizes

2035
01:53:22,640 --> 01:53:25,800
Speaker 2: that there are moments where one thing you ask the

2036
01:53:25,840 --> 01:53:29,560
Speaker 2: many things you ask about this character, is she demon possessed?

2037
01:53:29,880 --> 01:53:32,320
Speaker 2: She downright demonic? I mean, like, where are some of

2038
01:53:32,320 --> 01:53:34,840
Speaker 2: these choices coming from? And there are a lot of

2039
01:53:34,880 --> 01:53:37,639
Speaker 2: motivations we've already touched on, and I would just throw

2040
01:53:37,680 --> 01:53:41,120
Speaker 2: that in because visually that's a choice that DaCosta I

2041
01:53:41,120 --> 01:53:43,800
Speaker 2: think is making here as well, which is also fascinating.

2042
01:53:43,880 --> 01:53:46,559
Speaker 3: It's actually got more use to the color crimson red

2043
01:53:46,560 --> 01:53:48,519
Speaker 3: than like a geartoral film.

2044
01:53:48,560 --> 01:53:52,000
Speaker 1: I mean, yes, I love that insight though, Michael, from

2045
01:53:52,080 --> 01:53:57,080
Speaker 1: you from Ibsen, because even that informs the notion or

2046
01:53:57,160 --> 01:53:59,960
Speaker 1: it allows me to understand without necessarily sympathizing with her

2047
01:54:00,120 --> 01:54:03,839
Speaker 1: any more than anybody else watching the film. We understand

2048
01:54:03,840 --> 01:54:06,240
Speaker 1: that it isn't any one thing or two things or

2049
01:54:06,320 --> 01:54:09,960
Speaker 1: three things that's driving her. She's she is potentially just

2050
01:54:10,040 --> 01:54:14,559
Speaker 1: this missed bit. There is something fundamentally broken within her

2051
01:54:14,880 --> 01:54:18,240
Speaker 1: because of the way she can't interact with society. There

2052
01:54:18,280 --> 01:54:20,680
Speaker 1: there is there's something missing. Perhaps, I think in the

2053
01:54:20,720 --> 01:54:24,880
Speaker 1: way you were describing what there's some disconnection and that

2054
01:54:24,880 --> 01:54:27,519
Speaker 1: that is interesting, That that's a that's a fascinating idea,

2055
01:54:27,880 --> 01:54:29,719
Speaker 1: and you're right about you know, this is a movie

2056
01:54:29,720 --> 01:54:33,440
Speaker 1: that in the in the hands of other filmmakers, you

2057
01:54:33,440 --> 01:54:38,600
Speaker 1: would imagine it being like her husband, like her husband, stuffy,

2058
01:54:39,160 --> 01:54:41,960
Speaker 1: very stuffy, and there's there's nothing I love. The words

2059
01:54:41,960 --> 01:54:45,400
Speaker 1: that you were using, like ripping and alive, electric that is,

2060
01:54:46,000 --> 01:54:48,840
Speaker 1: those are all terms that apply to this film and

2061
01:54:48,880 --> 01:54:54,000
Speaker 1: the direction of this film, the costume choices, the the editing,

2062
01:54:54,080 --> 01:54:55,200
Speaker 1: the cinematography.

2063
01:54:55,240 --> 01:54:55,560
Speaker 3: It is.

2064
01:54:55,840 --> 01:54:57,520
Speaker 1: It is one of those films that you know, Josh,

2065
01:54:57,560 --> 01:55:00,240
Speaker 1: as you were saying earlier, my reaction to even film

2066
01:55:00,280 --> 01:55:03,760
Speaker 1: like Afternoons of Solitude. You're watching so many films, Michael,

2067
01:55:03,920 --> 01:55:06,440
Speaker 1: this is one for you as well. You're cramming in

2068
01:55:06,520 --> 01:55:09,000
Speaker 1: so many movies. A lot of them start to all

2069
01:55:09,200 --> 01:55:11,840
Speaker 1: blend together head is one of those movies eleven to

2070
01:55:11,920 --> 01:55:15,880
Speaker 1: twenty for me. You put in and it stands out

2071
01:55:16,200 --> 01:55:19,280
Speaker 1: immediately because of these choices that we're talking about in

2072
01:55:19,320 --> 01:55:22,520
Speaker 1: the performances as well. You know something special is happening

2073
01:55:22,880 --> 01:55:26,000
Speaker 1: with this film, So definitely seek out Nia da Costa's

2074
01:55:26,000 --> 01:55:29,080
Speaker 1: Head if you haven't seen it. It's streaming exclusively on

2075
01:55:29,440 --> 01:55:33,000
Speaker 1: Prime Video. We do have a few more outliers we

2076
01:55:33,040 --> 01:55:35,640
Speaker 1: have to hit before we get into our shared picks.

2077
01:55:35,920 --> 01:55:38,520
Speaker 1: We're gonna go through this fairly quickly. But there are

2078
01:55:38,600 --> 01:55:43,520
Speaker 1: some movies here, Josh, among our Golden Brick finalists, a

2079
01:55:43,560 --> 01:55:47,680
Speaker 1: lot of them in fact, that actually made top ten lists.

2080
01:55:47,680 --> 01:55:50,160
Speaker 5: That usually happens. I don't know if we've ever.

2081
01:55:50,000 --> 01:55:55,160
Speaker 1: Had quite this many, and you're mainly the one responsible.

2082
01:55:55,240 --> 01:55:58,800
Speaker 1: We'll all get to that. The film Spotting Golden Bricks.

2083
01:55:58,840 --> 01:56:03,920
Speaker 1: This is actually our seven teenth annual commemoration. We're we're

2084
01:56:03,920 --> 01:56:06,520
Speaker 1: doing this for the seventeenth time. The film Spotting Golden

2085
01:56:06,560 --> 01:56:08,480
Speaker 1: Brick Award. This is our film of the Year by

2086
01:56:08,520 --> 01:56:12,120
Speaker 1: a new or emerging director. We did pretty well last year.

2087
01:56:12,520 --> 01:56:15,560
Speaker 1: Gave it to Pyle Capatia for all we imagine as

2088
01:56:15,720 --> 01:56:18,360
Speaker 1: light A lot of it was my number maybe my

2089
01:56:18,440 --> 01:56:21,680
Speaker 1: number one of the year. Okay, so yeah, we do

2090
01:56:21,760 --> 01:56:25,000
Speaker 1: often have some crossover here. In twenty twenty five, we

2091
01:56:25,040 --> 01:56:29,080
Speaker 1: had fourteen films that made the Golden Brick long list,

2092
01:56:29,640 --> 01:56:34,200
Speaker 1: and we have narrowed that down now to five finalists,

2093
01:56:34,240 --> 01:56:37,720
Speaker 1: and three of those finalists made your Top ten. One

2094
01:56:37,760 --> 01:56:40,960
Speaker 1: of them also made Michael's list, and Michael's going to

2095
01:56:41,000 --> 01:56:43,520
Speaker 1: do the honors in a second of telling us more

2096
01:56:43,920 --> 01:56:46,320
Speaker 1: about that choice. But we're going to go through these,

2097
01:56:46,360 --> 01:56:48,400
Speaker 1: and Josh, you're going to start us off because one

2098
01:56:48,440 --> 01:56:51,360
Speaker 1: of these Golden Brick nominees is your number five film

2099
01:56:51,360 --> 01:56:51,720
Speaker 1: of the year.

2100
01:56:52,000 --> 01:56:56,080
Speaker 2: Boys, go to Jupiter. This is my you know, Heda

2101
01:56:56,120 --> 01:57:00,480
Speaker 2: was for Michael maybe, and Afternoons of Solitude was for you, Adam.

2102
01:57:00,640 --> 01:57:04,000
Speaker 2: It sounds silly because this movie came out in the summer,

2103
01:57:04,080 --> 01:57:07,919
Speaker 2: I believe, but it's the movie I'm the most excited

2104
01:57:07,960 --> 01:57:13,000
Speaker 2: about right now at this moment, having just seen it.

2105
01:57:13,000 --> 01:57:15,800
Speaker 2: It was just a thrill. Listeners can go back to

2106
01:57:15,800 --> 01:57:18,800
Speaker 2: our previous episode. I mentioned it briefly and we did

2107
01:57:18,880 --> 01:57:21,560
Speaker 2: run down that long list of Golden Brick titles. So

2108
01:57:21,560 --> 01:57:23,280
Speaker 2: if you're curious about what else has been in the

2109
01:57:23,280 --> 01:57:25,920
Speaker 2: mix this year previous to these finalists go back and

2110
01:57:25,960 --> 01:57:27,680
Speaker 2: listen to that show. I think I was kind of

2111
01:57:27,680 --> 01:57:29,960
Speaker 2: babbling because I hadn't written down any thoughts. I was

2112
01:57:30,040 --> 01:57:33,280
Speaker 2: just kind of in a giddy aw of the experience.

2113
01:57:33,480 --> 01:57:38,280
Speaker 2: But this is from writer director Julian Glander, and he

2114
01:57:38,320 --> 01:57:42,360
Speaker 2: brings this lo fi animated esthetic to a pretty simple story.

2115
01:57:42,480 --> 01:57:45,040
Speaker 2: But also this has a lot of a humor that's

2116
01:57:45,200 --> 01:57:48,680
Speaker 2: very beguiling, as the movie is following a group of

2117
01:57:48,680 --> 01:57:52,480
Speaker 2: teenagers in suburban Florida basically hanging out. I described it

2118
01:57:52,520 --> 01:57:54,720
Speaker 2: on that show Adam a kinder, gentler South Park, and

2119
01:57:54,760 --> 01:57:57,280
Speaker 2: I think that holds up after a little more thought.

2120
01:57:57,360 --> 01:58:00,840
Speaker 2: Part of that comparison is the social commentary that's going

2121
01:58:00,880 --> 01:58:03,640
Speaker 2: on here. Very lightly. It mostly centers on one of

2122
01:58:03,680 --> 01:58:07,640
Speaker 2: these kids, Billy, who spends his days speeding around on

2123
01:58:07,680 --> 01:58:11,920
Speaker 2: a hoverboard delivering food for a service called Grubster. His

2124
01:58:12,240 --> 01:58:15,440
Speaker 2: goal in life is to save up enough money enough

2125
01:58:15,440 --> 01:58:18,840
Speaker 2: cash to move out of his older sister's garage. So

2126
01:58:18,960 --> 01:58:22,720
Speaker 2: this is very much low key about the economic despair

2127
01:58:22,880 --> 01:58:27,360
Speaker 2: of America's youth, but it's hilarious with just so many

2128
01:58:27,400 --> 01:58:30,440
Speaker 2: funny asides, too many to keep up with their comic

2129
01:58:30,560 --> 01:58:35,680
Speaker 2: absurdities thrown in all over and this treasure trove of

2130
01:58:35,840 --> 01:58:41,480
Speaker 2: clever mini songs, these stripped down electronica compositions that Glander

2131
01:58:41,640 --> 01:58:45,280
Speaker 2: did as well. I didn't mention the vocal work before,

2132
01:58:45,360 --> 01:58:46,800
Speaker 2: so I want to be sure to do that too,

2133
01:58:46,920 --> 01:58:49,080
Speaker 2: because that's part of what makes this such a treasure.

2134
01:58:49,120 --> 01:58:54,560
Speaker 2: You've got Sarah Sherman, Cola Scola, Jujulio torres Ava, Victor

2135
01:58:54,920 --> 01:58:58,400
Speaker 2: Janine Garoffalo, They're all in it. The standout, though, is

2136
01:58:58,600 --> 01:59:02,880
Speaker 2: NPR Planet Money's personality Jack Corbett as Billy, the main

2137
01:59:02,960 --> 01:59:03,720
Speaker 2: character here.

2138
01:59:04,600 --> 01:59:04,800
Speaker 6: Man.

2139
01:59:04,880 --> 01:59:10,280
Speaker 2: He balances this self awareness teenage self awareness but also

2140
01:59:10,440 --> 01:59:15,320
Speaker 2: like a lingering naivete. That's oddly touching for this character.

2141
01:59:15,840 --> 01:59:18,760
Speaker 2: Corbett also sings a few of those songs. This is

2142
01:59:18,880 --> 01:59:22,160
Speaker 2: especially the case he has to toss off after every delivery,

2143
01:59:22,200 --> 01:59:26,880
Speaker 2: this corporate mandated sign off have a grubby day. And

2144
01:59:27,200 --> 01:59:33,120
Speaker 2: there's something about the sad enthusiasm that Corbett delivers to

2145
01:59:33,160 --> 01:59:36,560
Speaker 2: that there's just enough earnestness as if he thinks it

2146
01:59:36,640 --> 01:59:39,160
Speaker 2: might matter, it might get him three more cents if

2147
01:59:39,200 --> 01:59:43,480
Speaker 2: he actually acts like he means it. That makes the

2148
01:59:43,480 --> 01:59:46,760
Speaker 2: whole thing even sadder but still incredibly funny. So I

2149
01:59:46,800 --> 01:59:48,960
Speaker 2: think this is one that could be like a perfect

2150
01:59:49,040 --> 01:59:53,600
Speaker 2: time capsule movie esthetically and thematically for right now. And

2151
01:59:53,640 --> 01:59:56,800
Speaker 2: it looks like it looks like a mobile game Billy

2152
01:59:56,800 --> 01:59:59,400
Speaker 2: would play while zooming around on that hoverboard, not paying

2153
01:59:59,440 --> 01:59:59,920
Speaker 2: attention to it.

2154
02:00:00,120 --> 02:00:00,560
Speaker 3: He's going.

2155
02:00:01,160 --> 02:00:03,360
Speaker 2: So it completely works with what this is trying to do.

2156
02:00:03,920 --> 02:00:05,960
Speaker 2: If you missed Voice go to Jupiter, you know, first

2157
02:00:06,000 --> 02:00:09,720
Speaker 2: time around, like me, just go check it out, absolutely,

2158
02:00:09,800 --> 02:00:12,480
Speaker 2: especially if you plan on voting for the Golden Brick,

2159
02:00:12,520 --> 02:00:14,400
Speaker 2: as listeners also have a chance to do.

2160
02:00:14,880 --> 02:00:18,520
Speaker 1: I love Josh that you encourage listeners to go back

2161
02:00:18,560 --> 02:00:21,400
Speaker 1: and listener re listen to our previous show. But you know,

2162
02:00:21,440 --> 02:00:23,640
Speaker 1: they can also just go to filmspoting, dot net, slash

2163
02:00:23,720 --> 02:00:26,360
Speaker 1: bricks if they'd like to see the long list and

2164
02:00:26,560 --> 02:00:27,400
Speaker 1: these finalists.

2165
02:00:27,400 --> 02:00:28,880
Speaker 5: We'll make it trasy on them.

2166
02:00:29,040 --> 02:00:29,560
Speaker 2: That's true.

2167
02:00:29,680 --> 02:00:33,240
Speaker 1: They can check out all of these titles there. Boys,

2168
02:00:33,400 --> 02:00:37,240
Speaker 1: go to Jupiter the first one that we are singling out.

2169
02:00:37,360 --> 02:00:41,839
Speaker 1: The next pick we will highlight is a documentary called

2170
02:00:42,280 --> 02:00:46,400
Speaker 1: Predators that is directed by David osit And this is

2171
02:00:46,800 --> 02:00:51,080
Speaker 1: a documentary that chronicles the arc of the NBC show

2172
02:00:51,560 --> 02:00:54,760
Speaker 1: To Catch a Predator that ran. I can't believe this

2173
02:00:54,800 --> 02:00:56,600
Speaker 1: is it true? It only ran from two thousand and

2174
02:00:56,600 --> 02:00:59,640
Speaker 1: four to two thousand and seven. It somehow feels you

2175
02:00:59,680 --> 02:01:03,200
Speaker 1: bicks in our culture for like two decades. And I

2176
02:01:03,240 --> 02:01:09,200
Speaker 1: know that as the movie does showcase, it has spawned

2177
02:01:09,320 --> 02:01:14,920
Speaker 1: so many versions that now exist on YouTube, and there

2178
02:01:14,920 --> 02:01:19,480
Speaker 1: are still some versions that Chris Hansen is producing himself,

2179
02:01:19,560 --> 02:01:23,800
Speaker 1: the famous host of To Catch a Predator. We talked

2180
02:01:23,800 --> 02:01:26,160
Speaker 1: about this a little bit. Joshua I nominated it. It's

2181
02:01:26,160 --> 02:01:30,600
Speaker 1: a documentary that really challenges our comfort level with punishment

2182
02:01:31,000 --> 02:01:33,440
Speaker 1: as entertainment. It seems like a lot of us are

2183
02:01:33,560 --> 02:01:40,600
Speaker 1: very comfortable with that. It's overwhelmingly compassionate and humanistic in

2184
02:01:40,640 --> 02:01:45,280
Speaker 1: its approach, but will still make you. Certainly made me

2185
02:01:45,600 --> 02:01:51,000
Speaker 1: question your individual capacity for empathy when it comes to

2186
02:01:51,000 --> 02:01:56,080
Speaker 1: people who commit or attempt to commit these acts. And

2187
02:01:56,960 --> 02:02:00,240
Speaker 1: I still have not been able to have a converseation

2188
02:02:00,360 --> 02:02:03,800
Speaker 1: with anybody yet about the ending of this film, about

2189
02:02:03,840 --> 02:02:08,280
Speaker 1: the documentary ethics of the ending of this film, which

2190
02:02:08,320 --> 02:02:11,920
Speaker 1: is it's entirely possible I'm completely over analyzing. Maybe I

2191
02:02:11,960 --> 02:02:17,240
Speaker 1: am interpreting the ending and the formal approach to the

2192
02:02:17,360 --> 02:02:21,160
Speaker 1: ending of this film incorrectly. I don't know, because again

2193
02:02:21,280 --> 02:02:24,000
Speaker 1: I haven't been able to really have a thorough conversation

2194
02:02:24,080 --> 02:02:27,280
Speaker 1: about it with anyone. I'm looking forward to that possibility.

2195
02:02:27,800 --> 02:02:30,120
Speaker 1: I do know that Predators was one of the most

2196
02:02:30,120 --> 02:02:32,400
Speaker 1: provocative films I saw this year, and for that reason

2197
02:02:32,600 --> 02:02:34,959
Speaker 1: it is among our Golden Brick nominees.

2198
02:02:35,120 --> 02:02:36,560
Speaker 3: I saw it a true false. I think it was

2199
02:02:36,600 --> 02:02:39,040
Speaker 3: the world premiere. No, maybe not.

2200
02:02:39,560 --> 02:02:42,080
Speaker 5: It might have been a sun Dance actually, ok.

2201
02:02:42,280 --> 02:02:46,000
Speaker 3: Yeah, yeah, And it does bring up all these ethical

2202
02:02:46,200 --> 02:02:50,120
Speaker 3: questions about what, you know, what what do you overlook

2203
02:02:50,200 --> 02:02:52,680
Speaker 3: or sort of endorse in the name of of of

2204
02:02:54,000 --> 02:02:59,440
Speaker 3: you know, indicting and confronting you know, these these sexual

2205
02:02:59,480 --> 02:03:01,080
Speaker 3: predators or worse.

2206
02:03:01,320 --> 02:03:03,600
Speaker 5: And or those who covered them.

2207
02:03:03,920 --> 02:03:08,280
Speaker 3: Yeah, yeah, right exactly, and and or played played the

2208
02:03:08,400 --> 02:03:14,120
Speaker 3: role of the bait essentially for on behalf of NBC's advertisers.

2209
02:03:14,160 --> 02:03:16,960
Speaker 3: You know, yeah, really I thought of what people were

2210
02:03:17,000 --> 02:03:19,960
Speaker 3: in a very queasy state of suspense when I enhained

2211
02:03:20,040 --> 02:03:21,920
Speaker 3: that audience. And again I wouldn't have had like we're

2212
02:03:21,920 --> 02:03:24,640
Speaker 3: talking about earlier. I would not have had that collective

2213
02:03:26,040 --> 02:03:28,680
Speaker 3: experience of several hundred people kind of just sort of

2214
02:03:28,800 --> 02:03:31,120
Speaker 3: wondering where this thing is going to go if we

2215
02:03:31,120 --> 02:03:33,080
Speaker 3: hadn't seen it in those conditions. So yeah, no, it's

2216
02:03:33,360 --> 02:03:34,480
Speaker 3: an eleven through twenty for.

2217
02:03:34,480 --> 02:03:37,760
Speaker 1: Me all the way me as well, And there is

2218
02:03:38,080 --> 02:03:40,640
Speaker 1: there is some suspense and that there is a showdown

2219
02:03:40,920 --> 02:03:44,480
Speaker 1: that the movie seems inevitably to be leading to that

2220
02:03:44,560 --> 02:03:49,960
Speaker 1: the movie would feel incomplete without it, and I'll just

2221
02:03:50,080 --> 02:03:52,400
Speaker 1: leave it. I'll leave it there. You'll have to You'll

2222
02:03:52,400 --> 02:03:54,720
Speaker 1: have to see the movie for yourself in order to

2223
02:03:54,760 --> 02:03:57,080
Speaker 1: determine whether or not it offers that to you. But

2224
02:03:57,360 --> 02:04:00,160
Speaker 1: I will note that's also part of my little that

2225
02:04:01,320 --> 02:04:04,840
Speaker 1: part of how that's portrayed is also where some of

2226
02:04:04,840 --> 02:04:08,120
Speaker 1: my unease comes from. So a good movie to have

2227
02:04:08,160 --> 02:04:11,520
Speaker 1: a discussion about. Again, that's Predators. And that brings us

2228
02:04:11,520 --> 02:04:14,640
Speaker 1: to another documentary, Josh, and you have this one even

2229
02:04:14,720 --> 02:04:15,760
Speaker 1: higher on your list.

2230
02:04:16,320 --> 02:04:19,040
Speaker 2: Grand Theft Hamlet is at number three. I'll be brief

2231
02:04:19,080 --> 02:04:21,480
Speaker 2: on this because I've been touting this one since I

2232
02:04:21,520 --> 02:04:23,680
Speaker 2: saw it at the very beginning of the year and

2233
02:04:23,720 --> 02:04:26,440
Speaker 2: nominated for a Golden Brick. Yeah, it's at the top

2234
02:04:26,440 --> 02:04:29,440
Speaker 2: of my list now. Basically, if it still is new

2235
02:04:29,480 --> 02:04:34,480
Speaker 2: to you, here's the idea. It's yeah documentary consisting entirely

2236
02:04:34,480 --> 02:04:38,560
Speaker 2: of footage from inside the video game Grand Theft Auto Online.

2237
02:04:38,600 --> 02:04:41,480
Speaker 2: Basically two out of work actors the United Kingdom during

2238
02:04:41,520 --> 02:04:44,400
Speaker 2: COVID they tried to put on a version of Shakespeare's

2239
02:04:44,400 --> 02:04:48,280
Speaker 2: Hamlet within the game. They held audians, they led rehearsals,

2240
02:04:48,360 --> 02:04:52,920
Speaker 2: and they ultimately did stage a complete performance. The results

2241
02:04:52,920 --> 02:04:56,280
Speaker 2: are very funny along the way, But what puts it

2242
02:04:56,320 --> 02:05:00,560
Speaker 2: on my list is because this is incredibly moved and

2243
02:05:00,640 --> 02:05:04,240
Speaker 2: touching in ways you would never expect that are completely

2244
02:05:04,800 --> 02:05:09,520
Speaker 2: authentic and real world. And it's a bizarre movie that

2245
02:05:10,040 --> 02:05:12,640
Speaker 2: bizarrely renews your faith in humanity. I mean, if you

2246
02:05:12,680 --> 02:05:15,880
Speaker 2: can find humanity in this sort of scenario, you might

2247
02:05:15,920 --> 02:05:18,839
Speaker 2: be able to find it anywhere, and the filmmakers absolutely

2248
02:05:18,880 --> 02:05:22,320
Speaker 2: do so that's grand. Theft Hamlet another Golden Brick title

2249
02:05:22,360 --> 02:05:23,280
Speaker 2: to be sure to catch up with.

2250
02:05:23,920 --> 02:05:25,520
Speaker 8: I am also a big fan of this one, and

2251
02:05:25,520 --> 02:05:27,280
Speaker 8: I will say, yes, it has been a big year

2252
02:05:27,320 --> 02:05:31,080
Speaker 8: of Hamlet, but I do feel like it may be

2253
02:05:31,200 --> 02:05:35,360
Speaker 8: the most illuminating riff on Hamlet is in this movie

2254
02:05:35,360 --> 02:05:38,840
Speaker 8: for me. When a character delivers one of the most

2255
02:05:38,840 --> 02:05:42,920
Speaker 8: famous speeches in Hamlet on a beach to a random

2256
02:05:42,920 --> 02:05:46,440
Speaker 8: guy who keeps trying to cute him, that's true as

2257
02:05:46,480 --> 02:05:50,000
Speaker 8: happened in the game, and is just it's such a

2258
02:05:50,000 --> 02:05:53,600
Speaker 8: great moment and actually a very moving moment, even though

2259
02:05:53,640 --> 02:05:55,640
Speaker 8: I've just made it so un hilarious, which it also is.

2260
02:05:56,120 --> 02:05:59,440
Speaker 2: And the way those things else and they'll actually interweave

2261
02:05:59,640 --> 02:06:03,760
Speaker 2: with themes of Hamlet in ways that you know, these

2262
02:06:03,800 --> 02:06:06,800
Speaker 2: guys couldn't have anticipated, right and just trying to stage this,

2263
02:06:06,880 --> 02:06:10,320
Speaker 2: so it's it's like the art shines through no matter what.

2264
02:06:10,440 --> 02:06:14,400
Speaker 8: As well, thank you for coming see our performance.

2265
02:06:16,880 --> 02:06:20,200
Speaker 11: It's nice to have an audience, even if there's just one, right, Okay,

2266
02:06:20,880 --> 02:06:21,400
Speaker 11: oh look.

2267
02:06:21,240 --> 02:06:22,600
Speaker 5: We got another audience member.

2268
02:06:22,640 --> 02:06:25,280
Speaker 8: Is this is Hamlet William Shakespeare's Hamlet.

2269
02:06:25,880 --> 02:06:28,080
Speaker 11: I believe this is the first time it's.

2270
02:06:27,920 --> 02:06:29,800
Speaker 8: Ever been performed at the Vinewood Bowl.

2271
02:06:31,800 --> 02:06:34,640
Speaker 11: If I could just request that you refrain from killing

2272
02:06:34,680 --> 02:06:35,120
Speaker 11: each other.

2273
02:06:36,520 --> 02:06:38,360
Speaker 8: Oh and don't kill the actors.

2274
02:06:38,040 --> 02:06:41,000
Speaker 1: Either, just to make sure people know. Boys Go to

2275
02:06:41,080 --> 02:06:45,360
Speaker 1: Jupiter is currently available vod Predators, vod In Paramount plus

2276
02:06:45,440 --> 02:06:51,960
Speaker 1: Grand Theft Hamlet is exclusively available on movie right now. So, Josh,

2277
02:06:52,160 --> 02:06:55,800
Speaker 1: you have another Golden Brick finalists that is on your

2278
02:06:56,040 --> 02:07:00,640
Speaker 1: top ten list, and it is at number nine. Phillips,

2279
02:07:00,640 --> 02:07:03,160
Speaker 1: you have it even higher, and we're gonna get to

2280
02:07:03,200 --> 02:07:06,400
Speaker 1: you and allow you to divulge where it fell on

2281
02:07:06,440 --> 02:07:09,920
Speaker 1: your list, how high, and explain a little bit of

2282
02:07:09,960 --> 02:07:13,600
Speaker 1: your reasoning behind it. But here again we're going to

2283
02:07:14,120 --> 02:07:16,520
Speaker 1: let someone else steal a little bit of your thunder.

2284
02:07:16,560 --> 02:07:19,880
Speaker 1: It's an annual tradition here on Film Spotting that we

2285
02:07:19,960 --> 02:07:23,760
Speaker 1: hear from this listener this time of year. Longtime listener

2286
02:07:23,840 --> 02:07:25,280
Speaker 1: going back to I don't know, he might have been

2287
02:07:25,320 --> 02:07:28,240
Speaker 1: about nine years old when he started listening to this show.

2288
02:07:28,760 --> 02:07:31,680
Speaker 1: All the way from Brooklyn, New York. It is Josh

2289
02:07:31,760 --> 02:07:35,440
Speaker 1: Youngerman in this movie is his number one of the year.

2290
02:07:36,160 --> 02:07:40,320
Speaker 9: Hey, Joshed Adam, it's Skosh Youngerman following from Brooklyn, New

2291
02:07:40,360 --> 02:07:42,160
Speaker 9: York because not their film.

2292
02:07:41,920 --> 02:07:42,360
Speaker 3: Will be here.

2293
02:07:43,120 --> 02:07:46,000
Speaker 9: My favorite movie of the year is even Victor, Sorry Baby.

2294
02:07:46,240 --> 02:07:49,360
Speaker 7: I think films a lot about this topic are usually

2295
02:07:49,400 --> 02:07:54,520
Speaker 7: not as messy in a good way and emotionally raw

2296
02:07:54,560 --> 02:07:57,560
Speaker 7: and also funny as even Victor Sorry Baby.

2297
02:07:58,160 --> 02:08:01,200
Speaker 13: Here's some ways people treat you like you're a person

2298
02:08:01,560 --> 02:08:10,360
Speaker 13: who lives and breathe thinks for themselves, and then some

2299
02:08:10,400 --> 02:08:11,720
Speaker 13: ways people treat you or not.

2300
02:08:11,840 --> 02:08:15,160
Speaker 7: That way, And I think it really captures the sort

2301
02:08:15,200 --> 02:08:18,520
Speaker 7: of I guess MESSI at space. I think a lot

2302
02:08:18,560 --> 02:08:22,920
Speaker 7: of survivors go through after an event that, like the

2303
02:08:22,920 --> 02:08:24,320
Speaker 7: movie portrays, happens.

2304
02:08:24,560 --> 02:08:26,360
Speaker 9: But I think more so than that, I think the

2305
02:08:26,400 --> 02:08:29,680
Speaker 9: film isn't just about sexual assault. I think it's about

2306
02:08:30,160 --> 02:08:33,720
Speaker 9: one person's coming EVAs in terms of discovering their you know,

2307
02:08:33,840 --> 02:08:37,080
Speaker 9: gender identity and sort of coming to grips with sort

2308
02:08:37,080 --> 02:08:40,720
Speaker 9: of the person that they really are. And I think

2309
02:08:40,760 --> 02:08:45,360
Speaker 9: it's just remarkable and a perfect film and my favorite

2310
02:08:46,160 --> 02:08:49,200
Speaker 9: have a great rest of twenty twenty five and a

2311
02:08:49,240 --> 02:08:50,640
Speaker 9: beautiful twenty twenty six.

2312
02:08:51,240 --> 02:08:54,880
Speaker 3: Yeah, it's it's a great assessment from Josh. I'm sorry, baby,

2313
02:08:55,000 --> 02:08:57,400
Speaker 3: it was my number three of the year. There was

2314
02:08:57,440 --> 02:09:01,280
Speaker 3: a time when Eva Victor's writing and directing feature debut,

2315
02:09:01,360 --> 02:09:04,640
Speaker 3: in which she's also the star, would have found the

2316
02:09:04,640 --> 02:09:07,800
Speaker 3: theatrical audience that deserve. But you know, I think this

2317
02:09:07,960 --> 02:09:09,520
Speaker 3: is just how where we are now. A lot of

2318
02:09:09,560 --> 02:09:11,840
Speaker 3: excellent films are just going to have to be discovered

2319
02:09:11,880 --> 02:09:14,920
Speaker 3: and chanced on by way of you know, other means

2320
02:09:14,920 --> 02:09:19,280
Speaker 3: a little later. But I just I just think this

2321
02:09:19,320 --> 02:09:24,840
Speaker 3: is a really compelling example of how and why traumas

2322
02:09:25,720 --> 02:09:32,440
Speaker 3: of any sort deserve more emotionally complicated stories than we

2323
02:09:32,640 --> 02:09:37,000
Speaker 3: usually get from how it's handled. Because this is anything

2324
02:09:37,040 --> 02:09:42,040
Speaker 3: but a one issue movie. I think. I think the

2325
02:09:42,080 --> 02:09:44,720
Speaker 3: great strength of Victor as a writer is that you

2326
02:09:44,800 --> 02:09:47,720
Speaker 3: know she she is, She is not afraid of her

2327
02:09:47,760 --> 02:09:51,720
Speaker 3: own incredible sense of humor, very witty both as an

2328
02:09:51,720 --> 02:09:54,360
Speaker 3: actor and a writer. And the way her character Agnes

2329
02:09:54,440 --> 02:09:56,800
Speaker 3: deals with all of this, what happened then to her

2330
02:09:56,840 --> 02:10:00,880
Speaker 3: as a student with the professor, how she feels about

2331
02:10:00,880 --> 02:10:04,160
Speaker 3: it now, how she wields that wit as a defense

2332
02:10:04,240 --> 02:10:08,880
Speaker 3: mechanism in various kind of stages of emotional crisis in

2333
02:10:08,960 --> 02:10:12,440
Speaker 3: the movie's present tense. It all kind of adds up

2334
02:10:12,480 --> 02:10:17,200
Speaker 3: to more than a story of one pretty awful incident,

2335
02:10:18,560 --> 02:10:20,560
Speaker 3: And so it's not an issue movie for me. It's

2336
02:10:20,560 --> 02:10:24,320
Speaker 3: just really it's really just a great indication of a

2337
02:10:25,200 --> 02:10:30,040
Speaker 3: of a new talent, you know, accomplished actress, but a

2338
02:10:30,080 --> 02:10:33,840
Speaker 3: new directorial talent who really really knows how to hit

2339
02:10:33,840 --> 02:10:36,280
Speaker 3: two three notes at once. And it sounds simple, but

2340
02:10:36,320 --> 02:10:38,560
Speaker 3: it's the damn Herd and a great supporting cast and

2341
02:10:38,640 --> 02:10:42,120
Speaker 3: Naomi Aki, who can do no wrong. I think, Lucas Hedges,

2342
02:10:42,640 --> 02:10:45,120
Speaker 3: John Carroll, Lynch, everybody's good inness. But it is ava

2343
02:10:45,200 --> 02:10:48,560
Speaker 3: victory Show. And if you haven't seen, sorry Baby, see it. Yeah,

2344
02:10:48,560 --> 02:10:51,760
Speaker 3: it's that one really stuck with me. Yeah.

2345
02:10:51,760 --> 02:10:53,400
Speaker 2: I had a chance to see it at the Chicago

2346
02:10:53,400 --> 02:10:57,760
Speaker 2: Critics Film Festival, and you know, this is the lowest

2347
02:10:57,880 --> 02:11:01,040
Speaker 2: ranking of the three Golden Brick finalist my top ten lists.

2348
02:11:01,040 --> 02:11:03,520
Speaker 2: But I might have to vote for it when I

2349
02:11:03,560 --> 02:11:05,839
Speaker 2: get to that point. It's just one of the factors

2350
02:11:05,880 --> 02:11:09,880
Speaker 2: we do consider, is you know, anticipating future work from

2351
02:11:09,920 --> 02:11:13,080
Speaker 2: a filmmaker, what that might look like, what this film

2352
02:11:13,200 --> 02:11:17,480
Speaker 2: points to and man Victor, to your point, Michael, such

2353
02:11:17,520 --> 02:11:20,480
Speaker 2: a multiple threat that I'm tempted that I might just

2354
02:11:20,560 --> 02:11:23,200
Speaker 2: have to go that way with the Golden Brick vote.

2355
02:11:23,480 --> 02:11:27,000
Speaker 2: But irregardless of that, just excellent, excellent film on all

2356
02:11:27,080 --> 02:11:27,720
Speaker 2: those counts.

2357
02:11:28,040 --> 02:11:31,760
Speaker 1: Am I remembering something correctly? And maybe maybe Allison just

2358
02:11:31,800 --> 02:11:34,240
Speaker 1: wanted to stay quiet. I think you may not be

2359
02:11:34,280 --> 02:11:35,840
Speaker 1: a fan of this film.

2360
02:11:36,280 --> 02:11:39,240
Speaker 8: I don't think it works. Yeah, it's because I hate women.

2361
02:11:40,200 --> 02:11:44,960
Speaker 2: Of course, you got to believe the readers, you know, Yeah,

2362
02:11:45,880 --> 02:11:47,840
Speaker 2: this is interesting, though, tell me tell us more.

2363
02:11:48,800 --> 02:11:54,400
Speaker 8: I just feel like it leans really hard on talking

2364
02:11:54,440 --> 02:11:56,480
Speaker 8: around things in a way that just felt to me

2365
02:11:56,560 --> 02:11:59,480
Speaker 8: like a shortcut to allow, like like kind of creating

2366
02:11:59,520 --> 02:12:03,360
Speaker 8: blanks to which the audience would kind of project more

2367
02:12:03,440 --> 02:12:05,520
Speaker 8: I think emotional complexity. Then I felt like the film

2368
02:12:05,560 --> 02:12:08,160
Speaker 8: actually summons for me on screen. You know, I do

2369
02:12:08,200 --> 02:12:10,600
Speaker 8: feel like it is a film about I mean, it's

2370
02:12:10,600 --> 02:12:13,080
Speaker 8: about the language we use for trauma, it's about the

2371
02:12:13,120 --> 02:12:15,080
Speaker 8: language we use in general. Like the main character is

2372
02:12:15,080 --> 02:12:18,720
Speaker 8: an English professor, you know, the movie is very careful about.

2373
02:12:19,120 --> 02:12:22,000
Speaker 8: For instance, in that one scene which he first goes

2374
02:12:22,240 --> 02:12:25,560
Speaker 8: to the to see a doctor, you know, and the

2375
02:12:25,640 --> 02:12:28,040
Speaker 8: doctor comes in and it was like, do you were raped?

2376
02:12:28,320 --> 02:12:29,880
Speaker 8: And like and they both like hear and a friend

2377
02:12:29,880 --> 02:12:32,560
Speaker 8: both flinch and you know where like that's you like this.

2378
02:12:32,720 --> 02:12:34,680
Speaker 8: We like the words we would use for this are

2379
02:12:34,680 --> 02:12:38,440
Speaker 8: more complicated for a lot of reasons. But I also

2380
02:12:38,560 --> 02:12:41,520
Speaker 8: feel like it kind of hides behind that as well,

2381
02:12:41,680 --> 02:12:43,920
Speaker 8: Like there are a lot of scenes in which I

2382
02:12:43,920 --> 02:12:46,080
Speaker 8: don't think it's just humor for deflecting. I think in

2383
02:12:46,120 --> 02:12:49,160
Speaker 8: some ways it kind of it talks around things because

2384
02:12:51,080 --> 02:12:54,400
Speaker 8: it kind of like it uses the talking around as

2385
02:12:54,440 --> 02:12:56,800
Speaker 8: a way of of yes, like I think generating or

2386
02:12:56,920 --> 02:12:58,600
Speaker 8: or or kind of try to summon a feeling of

2387
02:12:58,600 --> 02:13:03,640
Speaker 8: more emotional weight than it actually ever manages. And I

2388
02:13:03,640 --> 02:13:06,720
Speaker 8: found the very frustrating. As much as I like to act,

2389
02:13:06,720 --> 02:13:09,360
Speaker 8: these performance a lot in particular, But yeah, I found

2390
02:13:09,400 --> 02:13:13,360
Speaker 8: this so frustrating film that I just didn't connect with.

2391
02:13:13,600 --> 02:13:15,680
Speaker 3: And not alone, I mean, I mean some of the

2392
02:13:15,720 --> 02:13:18,680
Speaker 3: best writers in America, incuding yourself. I mean on film,

2393
02:13:19,280 --> 02:13:23,000
Speaker 3: I think we're very conflicted, mixed at best, you know,

2394
02:13:23,600 --> 02:13:27,240
Speaker 3: about about It's more than just tonal shifts or things

2395
02:13:27,280 --> 02:13:30,320
Speaker 3: like that. It's more just about what's in there. And

2396
02:13:30,480 --> 02:13:33,800
Speaker 3: I think I think I found that what I really

2397
02:13:33,840 --> 02:13:35,920
Speaker 3: loved in the scene that everybody sort of wrote about

2398
02:13:36,040 --> 02:13:39,800
Speaker 3: in detail about where the camera is and the duration

2399
02:13:39,920 --> 02:13:43,720
Speaker 3: it sits there on the sidewalk, still waiting for her

2400
02:13:43,720 --> 02:13:45,760
Speaker 3: to tumble out of the front door after you know,

2401
02:13:45,840 --> 02:13:49,240
Speaker 3: after whatever. You know, we learned what happens or what

2402
02:13:49,400 --> 02:13:52,160
Speaker 3: happened later. But to me, that felt like sort of

2403
02:13:52,520 --> 02:13:56,760
Speaker 3: inspired in direction, and I thought a lot of the

2404
02:13:56,960 --> 02:13:59,920
Speaker 3: verbal facility of the film and that character and Victor,

2405
02:14:00,120 --> 02:14:01,960
Speaker 3: just I think is a writer period, you know, kind

2406
02:14:01,960 --> 02:14:04,320
Speaker 3: of followed the same path. And I found that very

2407
02:14:04,320 --> 02:14:07,120
Speaker 3: fruitful and kind of telling. But other people, I think,

2408
02:14:08,080 --> 02:14:08,400
Speaker 3: you know.

2409
02:14:08,560 --> 02:14:10,400
Speaker 8: I found it a little precious appreciation.

2410
02:14:11,640 --> 02:14:14,360
Speaker 3: Yeah yeah, right, yeah, So I mean it's a it's

2411
02:14:14,360 --> 02:14:17,680
Speaker 3: a good debating point and uh yeah.

2412
02:14:17,800 --> 02:14:19,800
Speaker 8: Then I also feel yeah, you know, I don't. I

2413
02:14:19,840 --> 02:14:21,240
Speaker 8: mean not that I think that you should have to

2414
02:14:21,240 --> 02:14:22,880
Speaker 8: baby a film, but also I think part of the

2415
02:14:22,920 --> 02:14:24,840
Speaker 8: reason I don't want to come in and smite this

2416
02:14:24,880 --> 02:14:26,840
Speaker 8: film from above is also it is the work of

2417
02:14:26,880 --> 02:14:29,040
Speaker 8: someone who is it is a first film. It is

2418
02:14:29,080 --> 02:14:31,560
Speaker 8: coming from someone who I think will have a fruitful career,

2419
02:14:32,320 --> 02:14:35,160
Speaker 8: So I feel mindful of that as well well.

2420
02:14:35,200 --> 02:14:38,720
Speaker 1: The opinion of decidedly not one of the best film

2421
02:14:38,720 --> 02:14:42,240
Speaker 1: writers on cinema in America, mine is. I think it's

2422
02:14:42,280 --> 02:14:44,320
Speaker 1: a pretty good movie. It's in my eleven through twenty.

2423
02:14:44,360 --> 02:14:48,000
Speaker 1: I'm more with Josh and Michael. And I didn't know

2424
02:14:48,040 --> 02:14:49,640
Speaker 1: for sure what scene you were going to mention. It's

2425
02:14:49,640 --> 02:14:51,080
Speaker 1: been a long time since I've seen it. Now that

2426
02:14:51,160 --> 02:14:53,240
Speaker 1: you you talk about it, Michael, the street scene, I

2427
02:14:53,240 --> 02:14:55,560
Speaker 1: know exactly what you're referring to, the one that may

2428
02:14:55,600 --> 02:14:59,120
Speaker 1: come up later in the year for us still, Josh,

2429
02:14:59,200 --> 02:15:01,680
Speaker 1: when it comes to our party, the scene I can't

2430
02:15:01,680 --> 02:15:09,040
Speaker 1: shake in terms of performance, but direction, editing, cinematography even

2431
02:15:09,680 --> 02:15:13,560
Speaker 1: and it speaks to what you were saying, Michael about

2432
02:15:14,320 --> 02:15:17,160
Speaker 1: hitting more more than one note at once. It's that

2433
02:15:17,520 --> 02:15:21,520
Speaker 1: it's the scene in the car, it's the processing Eva

2434
02:15:21,600 --> 02:15:27,200
Speaker 1: Victor post this event when when the camera we have

2435
02:15:27,280 --> 02:15:30,160
Speaker 1: to just sit and observe as she processes that moment.

2436
02:15:30,240 --> 02:15:33,320
Speaker 1: I think is the really powerful moment for me, where

2437
02:15:33,920 --> 02:15:36,640
Speaker 1: a lot of that movie fully fully clicked. So I'm

2438
02:15:36,640 --> 02:15:39,520
Speaker 1: glad to see Sorry Baby, another one that's eleven through

2439
02:15:39,520 --> 02:15:41,280
Speaker 1: twenty for me. I know it sounds like I must

2440
02:15:41,320 --> 02:15:42,160
Speaker 1: have fifty movies.

2441
02:15:42,200 --> 02:15:43,040
Speaker 5: No, I'm not cheating.

2442
02:15:43,400 --> 02:15:45,240
Speaker 1: We haven't gotten to all ten of my eleven through

2443
02:15:45,280 --> 02:15:49,280
Speaker 1: twenty yet. Sorry Baby is our fourth Golden Brick nominee.

2444
02:15:49,360 --> 02:15:53,920
Speaker 1: We do have one more, and it's another documentary. It

2445
02:15:53,960 --> 02:15:58,880
Speaker 1: is Charlie Shackleton's Zodiac Killer Project. Now, this is one

2446
02:15:59,440 --> 02:16:02,600
Speaker 1: I'm guessing most people listening, or a good chunk of

2447
02:16:02,600 --> 02:16:04,680
Speaker 1: people listening, haven't had a chance to see. It's still

2448
02:16:04,680 --> 02:16:08,520
Speaker 1: playing in very limited release. It does come to VOD

2449
02:16:09,360 --> 02:16:13,840
Speaker 1: on January sixth. We're not ready to throw out exactly

2450
02:16:13,880 --> 02:16:16,560
Speaker 1: what the closing voting date is for the Golden Brick,

2451
02:16:16,600 --> 02:16:17,800
Speaker 1: but I can tell you it will be.

2452
02:16:17,960 --> 02:16:20,560
Speaker 5: After January sixth. So if you.

2453
02:16:20,560 --> 02:16:23,520
Speaker 1: Want to be a good, dutiful voter and make sure

2454
02:16:23,560 --> 02:16:26,680
Speaker 1: that you see all of the candidates, then go ahead

2455
02:16:26,680 --> 02:16:29,840
Speaker 1: and wait. You'll have time. I promise you you'll have

2456
02:16:29,920 --> 02:16:33,120
Speaker 1: multiple days to vote. Give yourself a chance to see

2457
02:16:33,360 --> 02:16:35,800
Speaker 1: Zodiac Killer Project. If you can't see it in the theater,

2458
02:16:35,879 --> 02:16:38,800
Speaker 1: wait for it to come out VOD on January sixth.

2459
02:16:39,200 --> 02:16:43,000
Speaker 1: This is a movie that Josh, you saw, I think

2460
02:16:43,040 --> 02:16:45,320
Speaker 1: at that Critics Film Festival as well.

2461
02:16:45,440 --> 02:16:46,040
Speaker 5: Yep, is that right?

2462
02:16:46,160 --> 02:16:46,280
Speaker 1: Right?

2463
02:16:46,640 --> 02:16:47,080
Speaker 5: Yeah?

2464
02:16:47,080 --> 02:16:52,000
Speaker 1: And I saw Sundance on demand. It was a Sundance

2465
02:16:52,080 --> 02:16:54,240
Speaker 1: movie that I was able to see at home, but

2466
02:16:54,280 --> 02:16:57,800
Speaker 1: it played at the Refocus Film Festival here in Iowa

2467
02:16:57,920 --> 02:17:02,080
Speaker 1: City as well. And sometimes during this top ten show, Josh,

2468
02:17:02,240 --> 02:17:05,840
Speaker 1: we like to work in quotes from some of our

2469
02:17:05,879 --> 02:17:10,840
Speaker 1: favorite veteran critics. I thought, how about some rookies can

2470
02:17:10,879 --> 02:17:13,200
Speaker 1: I be? Can I be kind of a proud dad

2471
02:17:13,480 --> 02:17:16,800
Speaker 1: for a second? Because one of the assignments, and Michael,

2472
02:17:17,080 --> 02:17:19,360
Speaker 1: Michael knows how proud I am of my students. He's

2473
02:17:19,400 --> 02:17:24,280
Speaker 1: interacted with these very smart producing film criticism students. One

2474
02:17:24,320 --> 02:17:27,879
Speaker 1: of their assignments was to cover the Refocused Film Festival

2475
02:17:28,000 --> 02:17:31,000
Speaker 1: in pairs. They had to choose a movie, then they

2476
02:17:31,000 --> 02:17:33,199
Speaker 1: had to come and record a twenty to thirty minute

2477
02:17:33,440 --> 02:17:37,640
Speaker 1: podcast about it and produce a podcast not unlike a

2478
02:17:37,680 --> 02:17:43,440
Speaker 1: film spotting episode and a few pairs covered this film,

2479
02:17:43,520 --> 02:17:49,520
Speaker 1: Zodiac Killer Project, and listening and grading those episodes was

2480
02:17:49,560 --> 02:17:52,320
Speaker 1: so fun and so rewarding, and they had such great

2481
02:17:52,400 --> 02:17:55,560
Speaker 1: insights about the movie, which I'm going to give a

2482
02:17:55,600 --> 02:17:57,920
Speaker 1: few of them to you now without spoiling anything. Hopefully

2483
02:17:58,000 --> 02:18:02,400
Speaker 1: we'll just entice listening to seek out Zodiac Killer Project.

2484
02:18:02,440 --> 02:18:03,680
Speaker 5: They talked about how.

2485
02:18:03,720 --> 02:18:06,760
Speaker 1: Active a viewing experience it is, that it's a collaborative

2486
02:18:06,800 --> 02:18:10,720
Speaker 1: experience between the director, Charlie Shackleton, who you're hearing his

2487
02:18:10,800 --> 02:18:14,080
Speaker 1: voice over the entire time, the collaboration between him as

2488
02:18:14,120 --> 02:18:17,640
Speaker 1: the narrator and filmmaker and the audience. One of my

2489
02:18:17,680 --> 02:18:21,080
Speaker 1: students talked about how we see him talking and hear

2490
02:18:21,160 --> 02:18:24,160
Speaker 1: him eventually we see him in a recording studio, we

2491
02:18:24,200 --> 02:18:27,080
Speaker 1: see his reflection in the glass, and they noted how

2492
02:18:27,600 --> 02:18:31,200
Speaker 1: the cleverer coincidence. It is a clever coincidence that he's

2493
02:18:31,280 --> 02:18:35,520
Speaker 1: reflecting on these films and his experience with the genre,

2494
02:18:35,959 --> 02:18:40,359
Speaker 1: the true crime genre, as he's literally reflecting in the glass.

2495
02:18:40,959 --> 02:18:45,720
Speaker 1: Some people have criticized this film for being better suited

2496
02:18:45,760 --> 02:18:50,520
Speaker 1: perhaps as a podcast, as an audio podcast, and a

2497
02:18:50,560 --> 02:18:54,160
Speaker 1: student noted a couple of students noted that no actually

2498
02:18:54,480 --> 02:18:57,440
Speaker 1: it needs to be a film. It's much better as

2499
02:18:57,480 --> 02:19:03,600
Speaker 1: a film because theyton takes advantage of visual techniques like

2500
02:19:04,240 --> 02:19:07,720
Speaker 1: the use of still shots, and you can't imagine this

2501
02:19:07,840 --> 02:19:11,000
Speaker 1: film being the subject matter being as effective as it

2502
02:19:11,080 --> 02:19:13,160
Speaker 1: is without the use of the zoom ins that he

2503
02:19:13,160 --> 02:19:16,720
Speaker 1: heavily relies on, again, the static shots, the empty space

2504
02:19:17,080 --> 02:19:20,000
Speaker 1: that I mentioned as well. They talked about things like

2505
02:19:20,840 --> 02:19:25,560
Speaker 1: the distinction between entertainment with this genre and when something's

2506
02:19:25,640 --> 02:19:30,760
Speaker 1: entertaining versus engrossing versus sensationalized, which the nuances of that

2507
02:19:30,879 --> 02:19:33,360
Speaker 1: I found really interesting. And then they talked about with

2508
02:19:33,400 --> 02:19:37,560
Speaker 1: true crime and especially this particular project and the Zodiac Killer,

2509
02:19:39,320 --> 02:19:43,640
Speaker 1: how you think about closure and the lack thereof sometimes

2510
02:19:43,800 --> 02:19:48,800
Speaker 1: and overall with this genre, its flaws that Shackleton as

2511
02:19:48,800 --> 02:19:52,600
Speaker 1: a filmmaker certainly touches on and is critical of, but

2512
02:19:52,640 --> 02:19:56,000
Speaker 1: also shares some of his own appreciation for he is

2513
02:19:56,040 --> 02:19:59,080
Speaker 1: clearly a fan of the genre, as critical of it

2514
02:19:59,160 --> 02:20:02,320
Speaker 1: as he is. And some of the students talked about

2515
02:20:02,959 --> 02:20:05,600
Speaker 1: why we are as a culture, and some of them

2516
02:20:05,600 --> 02:20:09,480
Speaker 1: as students even are obsessed and are passionate about the

2517
02:20:09,480 --> 02:20:12,080
Speaker 1: true crime genre. I found it illuminating. I found the

2518
02:20:12,080 --> 02:20:18,040
Speaker 1: film as a piece of criticism illuminating, and that's why

2519
02:20:18,120 --> 02:20:20,000
Speaker 1: it's among our Golden Brick finalists.

2520
02:20:20,480 --> 02:20:24,439
Speaker 2: Yeah. I think that note about the film techniques employed

2521
02:20:24,600 --> 02:20:27,880
Speaker 2: is a very important one, Adam, because for me, that's

2522
02:20:27,920 --> 02:20:32,760
Speaker 2: what stood out the most is Shackleton not only reusing

2523
02:20:33,000 --> 02:20:38,280
Speaker 2: the cliches but recycling them in different ways and in

2524
02:20:38,320 --> 02:20:42,840
Speaker 2: some shots finding his way towards new techniques that he might,

2525
02:20:42,920 --> 02:20:44,720
Speaker 2: you imagine, have employed if he had gotten to make

2526
02:20:44,720 --> 02:20:50,240
Speaker 2: the film. So just on that cinematic level, it would

2527
02:20:50,320 --> 02:20:54,960
Speaker 2: be Yeah. I would not be fair to disregard Zodiac

2528
02:20:55,040 --> 02:20:58,000
Speaker 2: Killer project because it shouldn't be a documentary.

2529
02:20:58,800 --> 02:21:01,640
Speaker 11: But working in documentary these days, true crime just has

2530
02:21:01,640 --> 02:21:12,560
Speaker 11: this sort of gravitational pull. After the project fell apart,

2531
02:21:13,040 --> 02:21:15,920
Speaker 11: I just kept replaying all these scenes in my head.

2532
02:21:16,680 --> 02:21:20,320
Speaker 11: Scenes I'd never get to shoot mysteries. I'd never have

2533
02:21:20,400 --> 02:21:21,680
Speaker 11: a chance to unravel.

2534
02:21:24,600 --> 02:21:26,240
Speaker 5: Allison, what about this one? Have you seen it?

2535
02:21:26,280 --> 02:21:28,320
Speaker 1: Can you shoot this one down? Or do you like it?

2536
02:21:28,760 --> 02:21:28,920
Speaker 9: Oh?

2537
02:21:28,959 --> 02:21:30,440
Speaker 8: No, I'm a fan of this one. I do feel

2538
02:21:30,480 --> 02:21:33,800
Speaker 8: like the reason it wasn't like hot like in my

2539
02:21:33,879 --> 02:21:36,960
Speaker 8: Top twenty I think was I did feel like it

2540
02:21:37,040 --> 02:21:40,840
Speaker 8: was a little slighter in terms of just scope though

2541
02:21:41,520 --> 02:21:43,640
Speaker 8: I think it's really witty. I think it is very

2542
02:21:43,640 --> 02:21:47,240
Speaker 8: clever in terms as a piece of like media criticism

2543
02:21:47,320 --> 02:21:52,440
Speaker 8: that also is very honest about being like, yeah, it's

2544
02:21:52,480 --> 02:21:55,080
Speaker 8: so it's we know that this kind of like this

2545
02:21:55,120 --> 02:21:58,000
Speaker 8: particular technique, this particular turn is like what they always do,

2546
02:21:58,080 --> 02:22:00,920
Speaker 8: and yet it's so compelling, isn't it? Like it's so compelling?

2547
02:22:01,200 --> 02:22:03,480
Speaker 8: What is it about the genre that we find so compelling?

2548
02:22:04,200 --> 02:22:04,400
Speaker 9: Yeah?

2549
02:22:04,440 --> 02:22:07,160
Speaker 8: I just I found it a really enjoyable, clever film.

2550
02:22:07,280 --> 02:22:08,119
Speaker 5: What happens now?

2551
02:22:08,240 --> 02:22:10,800
Speaker 1: We have those five movies, Boys go to Jupiter, Predators,

2552
02:22:10,800 --> 02:22:15,400
Speaker 1: Grand Theft, Hamlet, Sorry Baby, Zodiac Killer Project, a formidable lineup. You,

2553
02:22:15,560 --> 02:22:18,920
Speaker 1: the listeners, do, get to help choose a winner. You

2554
02:22:18,959 --> 02:22:21,600
Speaker 1: can vote in the Golden Brick poll right now, if

2555
02:22:21,640 --> 02:22:23,720
Speaker 1: you've seen all five or if you just can't wait,

2556
02:22:23,959 --> 02:22:26,560
Speaker 1: you can vote now at film spotting dot Net. Will

2557
02:22:26,680 --> 02:22:29,400
Speaker 1: rank our picks, Producer Sam gets to rank his picks,

2558
02:22:29,800 --> 02:22:32,880
Speaker 1: and we will announce the Golden Brick winner at our

2559
02:22:32,959 --> 02:22:34,720
Speaker 1: year end rap party right now. We don't have a

2560
02:22:34,760 --> 02:22:37,640
Speaker 1: live show plan. It's going to be an in studio

2561
02:22:38,240 --> 02:22:40,600
Speaker 1: year end rap party. It's not going to be as festive,

2562
02:22:40,640 --> 02:22:42,920
Speaker 1: will it, Josh? I mean, will you bring, I don't know,

2563
02:22:42,959 --> 02:22:44,679
Speaker 1: a party hat or something.

2564
02:22:44,560 --> 02:22:48,160
Speaker 2: Crackers, Adam, we do. We do crackers over here, you know,

2565
02:22:48,240 --> 02:22:50,879
Speaker 2: you just we haven't actually done one yet, but you like, wow,

2566
02:22:50,920 --> 02:22:53,440
Speaker 2: both ends, I understand, and it kind of explodes.

2567
02:22:53,560 --> 02:22:56,480
Speaker 8: So yeah, and then you get a paper crown inside

2568
02:22:56,600 --> 02:22:59,039
Speaker 8: or you don't have to wear it, you're legally required.

2569
02:22:59,400 --> 02:23:03,600
Speaker 2: So the day YouTube viewers, that's what you'll get to

2570
02:23:03,600 --> 02:23:06,560
Speaker 2: see for the rap party, me wearing a paper crown apparently.

2571
02:23:07,200 --> 02:23:11,199
Speaker 1: Okay, everybody tune in for that. More on the Golden

2572
02:23:11,240 --> 02:23:16,200
Speaker 1: Bricks at film spotting dot net slash bricks still to come,

2573
02:23:16,959 --> 02:23:20,280
Speaker 1: our consensus Films of the Year picks, and our number

2574
02:23:20,280 --> 02:23:21,520
Speaker 1: one films of the year.

2575
02:23:21,680 --> 02:23:24,680
Speaker 6: This conversation can serve no purpose anymore.

2576
02:23:25,520 --> 02:23:26,279
Speaker 10: The fine.

2577
02:23:34,480 --> 02:23:37,440
Speaker 1: Film spotting is listeners supported. Join the film Spotting Family

2578
02:23:37,480 --> 02:23:41,160
Speaker 1: at filmspottingfamily dot com and get access to ad free episodes,

2579
02:23:41,240 --> 02:23:44,440
Speaker 1: monthly bonus shows, our weekly newsletter, and, for the first time,

2580
02:23:44,520 --> 02:23:47,560
Speaker 1: all into one place, the entire film spotting archive going

2581
02:23:47,600 --> 02:23:50,000
Speaker 1: back to two thousand and five. That's a film Spotting

2582
02:23:50,040 --> 02:23:54,480
Speaker 1: Family dot com Panically