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Speaker 2: What kind of a show you guys putting on here today?

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Speaker 3: You're not interested in armed now?

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Speaker 4: No, Look, we're going to do this thing.

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Speaker 5: We're going to have a.

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Speaker 4: Conversation from Chicago.

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Speaker 6: This is Film Spotting celebrating our twentieth year. I'm Adam

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Speaker 6: Kempinar and I'm Josh Larson.

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Speaker 7: Twenty five years. That's a welleso impressive. Will you figure

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Speaker 7: you sleep one third of your life? That knocks offt

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Speaker 7: eight years and Maria right there, so you're you know

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Speaker 7: you're down at sixteen and change, and you know you're

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Speaker 7: just a teenager at marriage.

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Speaker 4: You can drive it, but you can there's still the

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Speaker 4: occasional accident. According to Bill Murray's calculation, we may only

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Speaker 4: be teenagers at marriage or reviewing movies, Adam. But the

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Speaker 4: clock says it's been twenty five years since the dawn

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Speaker 4: of the millennium, so it's time for some reflection.

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Speaker 6: And reflect we shall this week the top twenty five

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Speaker 6: films of the last twenty five years. It's all ahead

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Speaker 6: after the show, Josh, It's santory time.

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Speaker 4: After the show on Film Spotting.

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Speaker 8: More than this, you know, there's no thing more than this.

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Speaker 9: This episode is brought to you by Peloton break through

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Speaker 9: Plus at one Peloton dot com.

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Speaker 6: Welcome to Film Spotting, Josh. We just wrapped up the

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Speaker 6: month's long project that is Film Spotting Madness. Our bracket

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Speaker 6: style Movie Elimination Tournament. This year's theme was the best

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Speaker 6: of the century so far, which means that we have

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Speaker 6: been contemplating the films of the last twenty five years,

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Speaker 6: weighing them against each other in high stakes matchups for

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Speaker 6: weeks and weeks. Why then, was assembling a top twenty

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Speaker 6: five of the last twenty five so damn hard?

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Speaker 4: Well? Probably because our votes in the tournament, Adam, are

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Speaker 4: lost to history unless you and Sam have like a

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Speaker 4: spreadsheet of every vote everyone made, which I wouldn't put

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Speaker 4: past you guys honestly, but I think you know we

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Speaker 4: can forget the poor choices we made, the mistakes we

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Speaker 4: made this list, these two lists. It's going on the

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Speaker 4: film spotting website. I mean, we're probably I'm going to

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Speaker 4: put versions on letterbox. People are going to be able

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Speaker 4: to look back at this and potentially laugh at us.

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Speaker 4: That's why it was hard.

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Speaker 6: This week our top twenty five films of the century,

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Speaker 6: plus the return of Massacre Theater, Let's jump right in, Josh,

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Speaker 6: the top twenty five films since the year two thousand

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Speaker 6: and five years before this show began. How did you

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Speaker 6: set about accomplishing this feat?

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Speaker 4: I mean, you weren't kidding in this being hard, which

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Speaker 4: I didn't expect. We did our Best Films of the

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Speaker 4: twenty tens lists a few years ago. I thought that

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Speaker 4: would be a helpful starting point. It was in a way.

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Speaker 4: We just went through madness, But yeah, man, I needed

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Speaker 4: a framework for actually putting together my personal list. And

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Speaker 4: I'm looking at these dates thinking about this. And I

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Speaker 4: did realize fairly early on that this period twenty twenty

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Speaker 4: twenty five it essentially covers my professional life as a critic.

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Speaker 4: So I was writing reviews before two thousand, pretty much

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Speaker 4: as a freelancer. Started that in ninety four, but I

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Speaker 4: became a full time movie critic for the Daily Naperville

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Speaker 4: Sun in two thousand and one. I'm pretty sure it

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Speaker 4: was so I've been doing this in some professional capacity

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Speaker 4: at including with you since twenty twelve here on the show.

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Speaker 4: During this entire period we're thinking about so, I kind

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Speaker 4: of took a different approach than I did with our

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Speaker 4: Best Movies of the twenty tens list, which we did.

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Speaker 4: That was in February of twenty twenty. There I talked

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Speaker 4: about how my list was going to be somewhere in

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Speaker 4: between an annual top ten in the moment list, that

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Speaker 4: annual diary, and a canon list where we've had the

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Speaker 4: distance to consider inform consensus that sort of thing. We

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Speaker 4: do have a little bit more distance this time. You know,

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Speaker 4: we're looking back twenty five years. So I could have

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Speaker 4: taken the canon approach. I think that's a legit approach,

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Speaker 4: but looking over these titles, I just couldn't get away

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Speaker 4: from thinking of these in parallel with my career. So

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Speaker 4: basically my criteria was something like this, if I were

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Speaker 4: to retire today, what movies would I choose to mark

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Speaker 4: this time that I had this period I covered while

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Speaker 4: working as a film critic, And that led me to

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Speaker 4: think about these movies in different ways. What are the

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Speaker 4: movies I still hold close, What are the movies I championed,

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Speaker 4: What were the ones I enjoyed discussing, reconsidering here on

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Speaker 4: the show with others online, And maybe what were the

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Speaker 4: ones that challenged me as a critic and brought out

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Speaker 4: the best in me. So that's a lot of factors,

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Speaker 4: but in my head, it at least gave me a

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Speaker 4: place to make some of those tough decisions and had

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Speaker 4: in certain directions in pulling twenty five movies out of

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Speaker 4: who knows how many over twenty five.

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Speaker 6: Years, any self imposed restrictions. Because you know, our producer

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Speaker 6: Sam decided to partake in the fun. He posted his

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Speaker 6: top twenty five already over on Letterbox. We will link

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Speaker 6: to it in our show notes or you can find

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Speaker 6: it on letterbox, and God bless him. Interesting list, strong list.

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Speaker 6: I'm just going to say, not his top twenty five

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Speaker 6: films of the last twenty five years, just by his

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Speaker 6: own definition. It's not because he chose to not feature

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Speaker 6: multiple films from any single director, even though by his

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Speaker 6: own admission, within that list and to me privately, you

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Speaker 6: know he'd have at least two Wes Anderson films on there.

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Speaker 6: He'd probably have two pt Anderson films on there. So

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Speaker 6: it's a really good list. But I don't think by

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Speaker 6: definition it's exactly what we're partaking in.

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Speaker 4: Yeah, I kind of headed that direction just instinctively. I

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Speaker 4: know he proposed studying that as a rule for all

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Speaker 4: of us, and I don't think there's anything wrong with

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Speaker 4: including multiple films from the same director, So I didn't

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Speaker 4: think we needed as a rule. But I did head

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Speaker 4: that way just because again the way I was thinking

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Speaker 4: about this, I did want to spread the wealth. And

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Speaker 4: though it was painful when it came down to choosing, say, spoiler,

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Speaker 4: which Jordan Peele movie I'm actually going to pick, I

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Speaker 4: liked that challenge and feel like it helped me clarify

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Speaker 4: how I was forming my list in some way. So

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Speaker 4: I personally went that way. I don't sounds like you didn't,

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Speaker 4: which I think is totally valid.

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Speaker 6: Yeah, and I like the thinking behind it, not only

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Speaker 6: because it allows you to spread the wealth. But this

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Speaker 6: is often why we are doing lists at all on

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Speaker 6: this show, crystallizing why you love something. If you force yourself,

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Speaker 6: for example, to only include I don't know one Cone

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Speaker 6: Brothers film, it might make you realize that that film

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Speaker 6: you've always had in your number two slot might actually

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Speaker 6: be the one you really love the most, and then

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Speaker 6: you have to really investigate why that is. And that's

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Speaker 6: the whole point. So I do understand that, but I

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Speaker 6: don't think it's the list. And I ended up with

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Speaker 6: two directors having a pair of films in my top

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Speaker 6: twenty five, one of them a bit of a surprise.

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Speaker 6: Not that the films I think will be a surprise

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Speaker 6: to anybody. But if you said to me at the

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Speaker 6: beginning of this process, this filmmaker would be one of

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Speaker 6: only two who would have two films on your list.

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Speaker 6: I don't know that I would have guessed him. I

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Speaker 6: didn't really have a framework. Otherwise, nothing as elaborate as

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Speaker 6: you've laid out, Josh. I kind of just went with

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Speaker 6: my gut. My gut mixed with the incinerator approach, meaning

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Speaker 6: I thought about the films through the lens of can

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Speaker 6: I imagine a world without these films existing? And that

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Speaker 6: helped me think about the movies that I am the

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Speaker 6: most passionate about. But I will tell you how I

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Speaker 6: got there. I went to letterboxed. I looked at the

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Speaker 6: films of the last twenty five years by decade, and

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Speaker 6: I sorted all the movies that I had given four

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Speaker 6: and a half stars or five stars to. I had

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Speaker 6: a hunt hundred and sixty four, Okay, I had to

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Speaker 6: get that one hundred and sixty four somehow down to

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Speaker 6: twenty five. And I just went through the list and

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Speaker 6: applied that incinerator mindset, pulled movies out as I went.

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Speaker 6: Ultimately got it down to twenty five. So what we're

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Speaker 6: going to do is we're not going to go into

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Speaker 6: great detail about each one of these picks that would

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Speaker 6: be an excessively long show even by film spotting standards.

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Speaker 6: We are going to list them twenty five down to

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Speaker 6: twenty one, then twenty down to sixteen. But we're going

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Speaker 6: to stop as we go and highlight one of those

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Speaker 6: picks among those five choices. Josh start us off.

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Speaker 4: Okay, a surprise inclusion for me at twenty five, which

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Speaker 4: came again thinking about my career and how I engaged

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Speaker 4: with these movies, what they meant to me. I have

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Speaker 4: The Witch in this slot, the advent of Robert Egger's

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Speaker 4: historical horror, still his most terrifying and theologically engaged work.

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Speaker 4: So The Witch at twenty five. Twenty four Lovers Rock

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Speaker 4: Steve McQueen's Safe Space musical drama set almost entirely in

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Speaker 4: a nineteen eighty house party in London's Caribbean community. Number

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Speaker 4: twenty three Aftersun Charlotte Wells heartbreaking father daughter drama Our

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Speaker 4: twenty twenty two Golden Brick winner Adam and Worth noting

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Speaker 4: again this lens that I've been putting on here maybe

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Speaker 4: more of a personal approach, but the past twenty five

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Speaker 4: years also parallel my daughter's lives. The older one being

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Speaker 4: born in two thousand and two, the other two thousand

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Speaker 4: and five, and here we've got this exquisite father daughter

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Speaker 4: drama twenty two, The Boy and the Heron Now the

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Speaker 4: consensus Miyazaki would probably be spirited away for a list

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Speaker 4: like this, which I do love. But there's something about

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Speaker 4: a master surprising you at the end of his career.

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Speaker 4: Number twenty one, and this is the one I want

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Speaker 4: to spend some more time on. Dick Johnson Is Dead

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Speaker 4: from twenty to twenty. Documentarian Kirsten Johnson and Fashioning just

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Speaker 4: something utterly unique here. When her father, Dick Johnson began

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Speaker 4: to show very early signs of oncoming dementia, they decided

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Speaker 4: together to chronicle his final days in two two creative ways,

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Speaker 4: ways that allowed them to kind of laugh together in

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Speaker 4: the face of mortality. So they elaborately stage these dramatizations

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Speaker 4: of the ways Dick could die, falling downstairs, an air

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Speaker 4: conditioning unit crashing on his head, and then they also

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Speaker 4: designed these ostentatious fantasy visions of Dick's glam afterlife. I

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Speaker 4: knew Dick Johnson Is Dead was something special when I

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Speaker 4: first saw it. Made my twenty twenty top ten list.

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Speaker 4: But man, since then, I think about this movie so often,

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Speaker 4: and I think about other movies tackling this topic, and

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Speaker 4: some of which can be equally moving or thought provoking,

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Speaker 4: but those somehow send me back to Dick Johnson Is Dead,

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Speaker 4: thinking about just the unique gem like quality this particular

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Speaker 4: film has. And I did rewatch this movie just last year,

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Speaker 4: posted this on letterbox. More shattering with each small loss

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Speaker 4: that life brings. So yeah, at that rate Dick Johnson

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Speaker 4: is Dead it might nudge its way into my top

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Speaker 4: ten of the twenty first century at some point, just

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Speaker 4: the more I live and the more meaning this movie

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Speaker 4: takes on. For now, though I've got it at number

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Speaker 4: twenty one. She kills me multiple times at the Resurrected Dad.

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Speaker 6: Yeah, it's a really powerful film. I actually wondered if

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Speaker 6: camera person was in consideration for this list. I do

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Speaker 6: prefer Dick Johnson is Dead. I would have that a

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Speaker 6: bit higher. And the camera is one of those tools.

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Speaker 6: The medium of film art often can be a platform

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Speaker 6: for us to explore topics and ideas that we otherwise

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Speaker 6: wouldn't feel safe doing. And who else gets the opportunity

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Speaker 6: to witness their own funeral to see how people really

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Speaker 6: do about them, which is the opportunity that he gets here,

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Speaker 6: but also it's that great lament something I noted back

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Speaker 6: when we reviewed the film upon its release. Everyone says,

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Speaker 6: when a loved one, especially a parent, dies, I wish

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Speaker 6: I had said this to him. I wish I had

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Speaker 6: honored him this way when he was alive. Kristin Johnson

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Speaker 6: takes care of that problem with this film.

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Speaker 4: Yeah, and a lot of that is done in their

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Speaker 4: casual conversations which are recorded as well. So it's not

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Speaker 4: only these more like set pieces which are the brilliant

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Speaker 4: formal invention, but the candidness of the conversations they share

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Speaker 4: also do what you're talking about.

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Speaker 6: I said there was no framework, and that's true, but

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Speaker 6: anyone who's been listening to the show for a while

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Speaker 6: knows that while I don't necessarily come into the list

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Speaker 6: making process with a theme or themes in mind, ones

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Speaker 6: often emerge over the course of putting the list together.

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Speaker 6: And what emerged for me here, Josh, were these ideas reckonings.

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Speaker 6: Reckonings with this increasingly seemingly failed experiment we call America

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Speaker 6: manifest destiny and all its glorious consequences. With the mysteries

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Speaker 6: of love and family with art and reconciling reality and

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Speaker 6: fantasy and reckoning with your mortality. Dick Johnson is dead

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Speaker 6: checks off a few of these boxes.

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Speaker 4: You know.

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Speaker 6: This is a good old fashioned Team Adam list. And

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Speaker 6: what's funny is I say all of that in my

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Speaker 6: number twenty five. I don't think really fits into any

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Speaker 6: of those boxes, at least not neatly. It might be

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Speaker 6: the only film on the list that doesn't. But I

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Speaker 6: was really strong ugglying to come up with a choice

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Speaker 6: at number twenty five, and it's one that I imagine

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Speaker 6: many will think is too low on this list.

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Speaker 4: It's mad.

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Speaker 6: Max Fury wrote George Miller five twenty four, a film

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Speaker 6: I caught up with recently because I had the opportunity

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Speaker 6: to interview the filmmaker at the recent Chicago International Film Festival.

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Speaker 6: It was a Palm d'Or winner. I really liked it

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Speaker 6: when it came out. We reviewed it very favorably on

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Speaker 6: the show, but watching Shoplifters again cemented it truly as

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Speaker 6: one of the best films of the last twenty five years.

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Speaker 6: At number twenty three, I have one of those movies

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Speaker 6: that is for me, and I don't care how anyone

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Speaker 6: else feels about it. No, it's not Joe Writ's Pride

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Speaker 6: and Prejudice, but it is Joe Wright's Atonement. And we're

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Speaker 6: going to continue to get arty here with the next

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Speaker 6: two following Atonement, Joshua Oppenheimer's The Active Killing documentary I

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Speaker 6: have at number twenty two, and we're gonna have a

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Speaker 6: little bit of overlap. I've got it slightly higher, Charlotte

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Speaker 6: Wells Aftersun at twenty one. The movie I want to

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Speaker 6: highlight is Joshua Oppenheimer's The Active Killing. I considered a

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Speaker 6: few other documentaries, Grizzly Man, Man on Wire, the James

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Speaker 6: marsh film from two thousand and eight. This was our

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Speaker 6: Golden Brick winner from twenty thirteen, and the reason why

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Speaker 6: it won the brick why it's on this list goes

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Speaker 6: back to something we discussed during our review, which was

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Speaker 6: that it didn't feel like any documentary we had ever

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Speaker 6: seen before. Ensure there were elements of it that felt

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Speaker 6: like Hertzog, felt like Errol Morris, who ended up being

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Speaker 6: executive producers on the film. We reference Sarah Polly's stories

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Speaker 6: we tell in their blurring of fact and fiction and

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Speaker 6: documentary and narrative styles, and also how we try to

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Speaker 6: make sense of our lives and process the things we've

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Speaker 6: done or experience through narratives. But I don't know that

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Speaker 6: we've ever met a real life character on screen, a

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Speaker 6: real life monster on screen, and hopefully not in real

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Speaker 6: life before. Like On War Congo, who estimates that he

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Speaker 6: murdered over a thousand people as part of mass killings

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Speaker 6: that occurred in Indonesia in the mid sixties. How does

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Speaker 6: Oppenheimer tell his story? He decides to reenact a lot

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Speaker 6: of these horrors, these killings in surrealist fashion, with these

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Speaker 6: elaborate fantasy sequences inspired by Hollywood movies, which On War was,

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Speaker 6: and he plays himself in these sequences, and it's just astonishing,

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Speaker 6: and it's provocative and for some perhaps really troubling, especially

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Speaker 6: since I believe an War remains unpunished for his deeds.

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Speaker 6: Is this almost a celebration of him? Is it an exoneration?

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Speaker 6: He's a collaborator in the artistic process. Why is Joshua

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Speaker 6: Oppenheimer collaborating with someone who is such a monster. But

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Speaker 6: it's one of those movies where going back to Hertzog

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Speaker 6: and that ecstatic truth approach when you decide to eschew

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Speaker 6: facts and focus on elements like how anwar sees himself.

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Speaker 6: It can be really potent. How revealing is it ultimately

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Speaker 6: to see this man through some of these reenactments in

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Speaker 6: vision as scenario where he has victims who are thanking

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Speaker 6: him as if he's sort of a god for killing

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Speaker 6: them and sending them to heaven. This is the way

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Speaker 6: this character is now processing his guilt, the denial, the

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Speaker 6: moral compromises that he has made to go on living.

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Speaker 6: And we do see a portrait of a man who

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Speaker 6: we feel no sympathy for, but who Oppenheimer's intimate camera

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Speaker 6: does show how that shield is starting to wear down

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Speaker 6: more and more. It's not really a movie. I can

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Speaker 6: play a clip from that most people would be able

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Speaker 6: to follow who are listening anyway, But I mentioned Morris

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Speaker 6: and Hertzog, so I wanted to play a clip Josh

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Speaker 6: from an interview that Weiss did with Errol Morris and

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Speaker 6: Erner Herzog talking about the film and the achievement that

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Speaker 6: it is and this approach, this daring approach that Oppenheimer

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Speaker 6: takes as a filmmaker.

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Speaker 4: Immediately knew I had never seen anything like that.

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Speaker 1: I'd never seen anything as powerful, as frightening.

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Speaker 4: And as surreal.

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Speaker 1: As what was on the screen, and I immediately said,

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Speaker 1: this is big, This is truly, truly big.

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Speaker 6: That's Erner Herzog on the Act of Killing my number

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Speaker 6: twenty two film of the last twenty five.

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Speaker 4: Years, probably in my twenty six to thirty slot. I

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Speaker 4: did have this, I think we both did in our

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Speaker 4: best of the twenty tens list, and yeah, one of

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Speaker 4: those tough cuts for me. It's hard to imagine anyone

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Speaker 4: seeing this film and thinking Oppenheimer is, you know, not

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Speaker 4: even just celebrating, but being a bit at a distance

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Speaker 4: about Congo and not having a point a purpose to

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Speaker 4: this project. Because to me, when you use the word reckoning,

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Speaker 4: it's so crucial. Here Oppenheimer is leading Congo to a reckoning,

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Speaker 4: and this is a reckoning that at one point prompts

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Speaker 4: literal wretching in one of just the most arresting moments

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Speaker 4: in this documentary. It reminds me, you know, of something

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Speaker 4: we would see a number of years later in Jonathan

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Speaker 4: Glazer's The Zone of Interest, that response to facing the

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Speaker 4: horrors you are responsible for that one, you know, work

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Speaker 4: of fiction, of course, and we're actually seeing the real

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Speaker 4: thing in the act of killing. So so yeah, definitely

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Speaker 4: one that I considered for my list as well. All Right,

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Speaker 4: our next group of five, starting at number twenty, I

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Speaker 4: have the Florida pro for me, the pinnacle of Sean

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Speaker 4: Baker's Empathy cinema, set in a short term Florida hotel

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Speaker 4: just outside of Disney World. Number nineteen Cemetery of Splendor.

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Speaker 4: We are in the midst of an Andre Tarkowski marathon.

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Speaker 4: Adam Stalker is up next week. I believe and I

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Speaker 4: do feel that Thai filmmaker a Pichapol Rossitoku is the

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Speaker 4: closest thing that we have to Tarkowski right now, just

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Speaker 4: in terms of embracing the mystery of spirituality. So this

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Speaker 4: is a gentle interior epic from twenty sixteen. In the

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Speaker 4: eighteen slot ex Makina Alex Garland. This is the terrifying

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Speaker 4: flip side for me of Steven Spielberg's AI artificial intelligence,

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Speaker 4: which may come up a little bit later. Number seventeen

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Speaker 4: I have Borat and number sixteen I have meeks cut

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Speaker 4: off Kelly Reikert's fable of pioneers who are lost on

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Speaker 4: the Oregon trail, and to your point, Adam, about you know,

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Speaker 4: a national reckoning. Thinking about the last twenty five years.

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Speaker 4: In that context, this to me an increasingly apt parable

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Speaker 4: about the United States maybe being lost from the very beginning.

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Speaker 4: But let's return to Borat on a similar theme. Borat,

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Speaker 4: it's been a while. This came out in two thousand

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Speaker 4: and six, so a reminder. This is British comedian Sasha

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Speaker 4: Baric Cohen's tour of America in the guise of a boorish,

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Speaker 4: offensive Kazakh television reporter. Much of this is in bad taste,

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Speaker 4: almost all of it is hilarious. But here's what Baron Cohen,

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Speaker 4: as Borat, finds. He talks to a Tennessee and who's

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Speaker 4: comfortable enough once Borat reveals his bigotry to launch into

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Speaker 4: a poisonous tirade. He talks to a Hummer dealer who

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Speaker 4: doesn't question Borat's request for a vehicle that could easily

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Speaker 4: run over a person. Oh over the days when hummers

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Speaker 4: were the only ridiculously oversized vehicles on the road. Seems

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Speaker 4: like we're a wash in them now. How about the

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Speaker 4: crowd's response to Borat's speech at a rodeo, My.

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Speaker 2: Name a Bora as it's done.

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Speaker 10: Can I say, at first we support your war of terror?

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Speaker 8: May we show us support the boys in Iraq?

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Speaker 9: May you senday and kill every single terrorist.

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Speaker 4: May I judge Bush and drink the love.

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Speaker 9: Of every single man, woman and child of Iraq.

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Speaker 4: This movie showed us who the United States was in

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Speaker 4: two thousand and six. And maybe then we thought it

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Speaker 4: was only in a few pockets, you know, these places

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Speaker 4: that Baron Cohen managed to find and expose. Maybe I

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Speaker 4: don't know, maybe the Obama years seemed to cover those

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Speaker 4: pockets up. And I'm speaking strictly for those of us

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Speaker 4: who who don't experience the sort of you know, discriminatory

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Speaker 4: ignorance on a daily basis, those of us who could

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Speaker 4: turn a blind eye to this. But I don't, oh man.

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Speaker 4: I think if we've learned anything in the last nine

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Speaker 4: months or so, it's that what Boat showed us actually

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Speaker 4: represents a huge chunk of this country. I mean, not

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Speaker 4: for nothing. I came across a clip while looking for

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Speaker 4: Bora at clips of Sasha Baron Cohen from his alig

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Speaker 4: show where he interviewed and oblivious Donald Trump. So as

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Speaker 4: for bor At itself, it still offers laughs today, but man,

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Speaker 4: they are extra bitter now.

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Speaker 6: I can only imagine. I'm not sure I can bring

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Speaker 6: myself to watch borat clips. Josh, We're gonna have some

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Speaker 6: more crossover as we get into this next batch of five.

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Speaker 6: And even though the second choice you're gonna hear the

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Speaker 6: main character is a woman and the film is certainly

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Speaker 6: largely told from her point of view, there is still

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Speaker 6: a lot of testosterone in these first four titles. The

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Speaker 6: overlap X Makina Alex Garland's film I Have at twenty,

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Speaker 6: the film I was referencing a moment ago is weeks

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Speaker 6: cut off.

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Speaker 4: That's the second Here we Go at nineteen.

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Speaker 6: One of our film spotting Fest titles cementing a spot

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Speaker 6: on my list Take Shelter Jeth Nichols film starring Michael

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Speaker 6: Shannon at eighteen at number seventeen. Maybe it was because

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Speaker 6: of that conversation I just had with Violet Luca about

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Speaker 6: David Cronenberg and reminding me of the power, the mythological

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Speaker 6: headiness of a history of violence.

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Speaker 4: A couple of Ortenson performance.

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Speaker 6: That was my first number one film on any top

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Speaker 6: ten list in the history of film spotting back in

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Speaker 6: two thousand and five, that's at number seventeen, So now

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Speaker 6: we're going to cut all that machismo Josh with my

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Speaker 6: number sixteen choice and listen. I also think Portrait of

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Speaker 6: a Lady on Fire is an incredible film. I considered

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Speaker 6: it for this top twenty five, but I love the subtle,

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Speaker 6: potent magic of Sealine's Siama's follow up, The Tea.

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Speaker 4: Even more. Okay.

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Speaker 6: This is a movie about an eight year old girl

434
00:26:07,440 --> 00:26:11,720
Speaker 6: named Nellie who has just lost her grandmother. She's helping

435
00:26:11,760 --> 00:26:15,360
Speaker 6: her parents clean out her mother's child at home. Her

436
00:26:15,400 --> 00:26:19,240
Speaker 6: mother has to leave, and then Nellie encounters a girl

437
00:26:19,800 --> 00:26:22,200
Speaker 6: of a similar age out in the woods as she's

438
00:26:22,200 --> 00:26:25,680
Speaker 6: building a treehouse. This isn't really a spoiler. The movie

439
00:26:25,680 --> 00:26:28,840
Speaker 6: isn't shying away from it. You will discover it for yourself.

440
00:26:29,000 --> 00:26:32,320
Speaker 6: Fairly early into the movie. Turns out this girl is

441
00:26:32,880 --> 00:26:36,840
Speaker 6: Nellie's mother. How is it that Nelly's mother has become

442
00:26:37,280 --> 00:26:39,240
Speaker 6: an eight year old girl all of a sudden who's

443
00:26:39,640 --> 00:26:43,320
Speaker 6: transported to this time and place. The movie doesn't address it.

444
00:26:43,400 --> 00:26:45,719
Speaker 6: The movie doesn't need to. It was my number one

445
00:26:45,840 --> 00:26:49,440
Speaker 6: film of twenty twenty one. I called it a little miracle.

446
00:26:50,200 --> 00:26:54,160
Speaker 6: I praised its strongly defined sense of place and how

447
00:26:54,160 --> 00:26:58,400
Speaker 6: the place was twofold, because it references the setting and

448
00:26:58,560 --> 00:27:01,720
Speaker 6: how it uses the location, how Siama uses the setting

449
00:27:02,200 --> 00:27:05,720
Speaker 6: and the woods and the houses, but also the psychological

450
00:27:05,720 --> 00:27:09,880
Speaker 6: space where you are really locked into and experiencing through

451
00:27:10,320 --> 00:27:15,200
Speaker 6: a particular character and in this case a particular character's perspective.

452
00:27:15,840 --> 00:27:20,199
Speaker 6: It's subtle, as I said, but also really sophisticated in

453
00:27:20,240 --> 00:27:23,359
Speaker 6: its camera work. It's maybe not quite as flashy as

454
00:27:23,440 --> 00:27:26,040
Speaker 6: Portrait of Lady on Fire or is vivid in terms

455
00:27:26,040 --> 00:27:29,600
Speaker 6: of its colors, but it's still extremely elegant and it

456
00:27:29,640 --> 00:27:33,560
Speaker 6: should be. It's shot by the same cinematographer, Claire Matone.

457
00:27:34,000 --> 00:27:37,760
Speaker 6: Criterion recognize the magic of the film. They release the

458
00:27:37,800 --> 00:27:40,439
Speaker 6: film in an addition in twenty twenty three, and a

459
00:27:40,440 --> 00:27:43,800
Speaker 6: writer name so Mayer provided the essay I want to

460
00:27:43,800 --> 00:27:46,960
Speaker 6: read what she wrote, taking place over three days that

461
00:27:47,040 --> 00:27:50,640
Speaker 6: blend passed in future. Petite Mama proposes a cosmic mystery that,

462
00:27:50,880 --> 00:27:53,480
Speaker 6: like an acorn, you can fit in your pocket. Should

463
00:27:53,480 --> 00:27:55,919
Speaker 6: the film explain how Nelly and Mary and Meat? I

464
00:27:55,960 --> 00:27:58,840
Speaker 6: ask my viewing companion, Issy, aged six and a half.

465
00:27:58,960 --> 00:28:01,879
Speaker 6: She shrugs. I like it when things are a mystery forever,

466
00:28:02,040 --> 00:28:04,520
Speaker 6: because then one day you can work it out. The

467
00:28:04,560 --> 00:28:08,439
Speaker 6: film's folding time feels familiar to her. Growing up takes forever.

468
00:28:08,640 --> 00:28:10,720
Speaker 6: Then one day you work it out, and you're back

469
00:28:10,760 --> 00:28:13,760
Speaker 6: in childhood through cinema. The time slip is that simple.

470
00:28:14,200 --> 00:28:16,560
Speaker 6: Editing creates the illusion of the path through the woods

471
00:28:16,640 --> 00:28:20,160
Speaker 6: running from future to present. Production design reinforces the sense

472
00:28:20,200 --> 00:28:25,160
Speaker 6: of overlapping temporalities mid century modern wallpaper, tiles, and furniture

473
00:28:25,240 --> 00:28:28,480
Speaker 6: based on Siama's memories of her grandparents' homes, queuing Nelly

474
00:28:28,560 --> 00:28:31,240
Speaker 6: to recognize the house that Marian has been escaping while

475
00:28:31,240 --> 00:28:34,080
Speaker 6: she awaits surgery for the same unnamed genetic condition That

476
00:28:34,119 --> 00:28:37,439
Speaker 6: means Marian's mother uses a hospital bed and walks with

477
00:28:37,480 --> 00:28:40,360
Speaker 6: a cane. And it really is that simple. That's what

478
00:28:40,400 --> 00:28:44,560
Speaker 6: I mean by subtle but sophisticated and elegant. There's one scene, Josh,

479
00:28:44,560 --> 00:28:48,760
Speaker 6: where we do transport through time with the camera just

480
00:28:48,920 --> 00:28:55,320
Speaker 6: holding on Nelly's face and the woods provide this portal.

481
00:28:55,400 --> 00:29:00,880
Speaker 6: It's absolutely a film like Miyazaki's work, like another film

482
00:29:01,240 --> 00:29:04,360
Speaker 6: for adults and kids that we've referenced a few times

483
00:29:04,360 --> 00:29:07,640
Speaker 6: on this show, and multiple people associated with our show

484
00:29:07,680 --> 00:29:10,080
Speaker 6: love The Secret of Rowan Inish by John Sales. A

485
00:29:10,160 --> 00:29:13,280
Speaker 6: movie you can watch with your children, but again is

486
00:29:13,280 --> 00:29:17,480
Speaker 6: a movie for adults, and it is an example of

487
00:29:17,520 --> 00:29:24,040
Speaker 6: that quiet kind of conflict free cinema that Siama specializes in,

488
00:29:24,440 --> 00:29:29,520
Speaker 6: but not drama free, not stakes free, conflict free in

489
00:29:29,560 --> 00:29:34,720
Speaker 6: the sense that she intentionally is trying to remove traditional

490
00:29:34,720 --> 00:29:39,160
Speaker 6: structures and power dynamics, the distance and divide characters. It's

491
00:29:39,160 --> 00:29:41,760
Speaker 6: something that she's talked about quite a bit. It's something

492
00:29:41,760 --> 00:29:44,120
Speaker 6: she talked about when the movie came out in an

493
00:29:44,160 --> 00:29:47,280
Speaker 6: interview with movie Here Again the movies in French, so

494
00:29:47,640 --> 00:29:50,360
Speaker 6: not great for radio for me to play a clip

495
00:29:50,680 --> 00:29:54,360
Speaker 6: from Petit mamm, but I will play a clip of

496
00:29:54,400 --> 00:29:57,400
Speaker 6: Celine Siama talking about her approach to the film.

497
00:29:57,600 --> 00:30:00,760
Speaker 2: I wanted to depart from the duo of the mother

498
00:30:00,880 --> 00:30:03,920
Speaker 2: daughter and really look at the trio which feels right,

499
00:30:06,680 --> 00:30:09,680
Speaker 2: and a trio of grandmother, a mother and a daughter,

500
00:30:09,840 --> 00:30:12,360
Speaker 2: and to look at that trio but also to abolish

501
00:30:12,480 --> 00:30:16,280
Speaker 2: the classical yeroche that there is, and to look at

502
00:30:16,280 --> 00:30:18,880
Speaker 2: it through a lens of equality between a mother and

503
00:30:18,920 --> 00:30:23,240
Speaker 2: a daughter rather than some form of yerarchy. So bringing

504
00:30:23,280 --> 00:30:30,719
Speaker 2: orisonality to family relationship as a twist that maybe the

505
00:30:30,760 --> 00:30:34,840
Speaker 2: magic of the film. Actually maybe the magic trick of

506
00:30:34,880 --> 00:30:36,360
Speaker 2: the film.

507
00:30:36,960 --> 00:30:39,600
Speaker 6: I was surprised, Josh, looking through my notes, I couldn't

508
00:30:39,640 --> 00:30:42,000
Speaker 6: find my notes for this film. I think it came

509
00:30:42,040 --> 00:30:46,320
Speaker 6: out in that kind of end of year limbo where

510
00:30:46,440 --> 00:30:50,560
Speaker 6: I watched it for end of year planning for top

511
00:30:50,640 --> 00:30:53,280
Speaker 6: ten prep. Obviously it did end up paying off as

512
00:30:53,320 --> 00:30:55,160
Speaker 6: my number one film of the year, but we didn't

513
00:30:55,160 --> 00:30:57,640
Speaker 6: get a chance to talk about it in depth, and

514
00:30:57,800 --> 00:31:00,800
Speaker 6: it really just played on the festival circuit, getting that

515
00:31:01,000 --> 00:31:03,520
Speaker 6: end of the year kind of New York LA release,

516
00:31:03,640 --> 00:31:05,560
Speaker 6: so we didn't get a lot of feedback on it.

517
00:31:05,640 --> 00:31:09,680
Speaker 6: I feel like it's a wildly underseen film. Everyone loves

518
00:31:09,680 --> 00:31:12,560
Speaker 6: to talk about Portraital Lady on Fire, and for good reason,

519
00:31:13,000 --> 00:31:14,840
Speaker 6: but man, this film is a gem.

520
00:31:15,520 --> 00:31:18,640
Speaker 4: Who was it who wrote that Criterion essay? Because Wow,

521
00:31:18,760 --> 00:31:20,520
Speaker 4: an acorn you can put in your pocket?

522
00:31:20,680 --> 00:31:23,200
Speaker 6: That's so say, is there?

523
00:31:23,280 --> 00:31:26,120
Speaker 4: That is some fantastic writing and a great way of just,

524
00:31:26,240 --> 00:31:29,680
Speaker 4: you know, capturing this little movie. You're right about the

525
00:31:29,680 --> 00:31:32,600
Speaker 4: subtlety that's what makes it work, makes it so special.

526
00:31:32,640 --> 00:31:35,440
Speaker 4: You could have blown this concept out in crazy ways,

527
00:31:36,160 --> 00:31:39,840
Speaker 4: and Siaman does not choose to do that. To her credit.

528
00:31:39,880 --> 00:31:42,360
Speaker 4: It made me think of a movie that boy was

529
00:31:42,440 --> 00:31:44,720
Speaker 4: kind of in the running for this list where the

530
00:31:44,760 --> 00:31:47,880
Speaker 4: Wild Things are from Spike Jones in terms of capturing

531
00:31:48,000 --> 00:31:53,040
Speaker 4: a childhood experience that adults also can tap into. But yeah,

532
00:31:53,040 --> 00:31:54,840
Speaker 4: I like the swerve. I like the swerve away from

533
00:31:54,880 --> 00:32:00,960
Speaker 4: the canon. Pick here, So that brings us to number fifteen.

534
00:32:01,040 --> 00:32:04,360
Speaker 4: All right, we're moving along. At fifteen. It's my Paul

535
00:32:04,360 --> 00:32:09,720
Speaker 4: Thomas Anderson pick. Phantom Thread at fourteen is Children of Men,

536
00:32:09,920 --> 00:32:13,360
Speaker 4: Alfonso Kran's dystopian drama. It was great in two thousand

537
00:32:13,400 --> 00:32:16,640
Speaker 4: and six, largely hailed then I think as a masterpiece

538
00:32:16,640 --> 00:32:20,880
Speaker 4: of craft, but now we're recognizing it for its social

539
00:32:20,880 --> 00:32:24,080
Speaker 4: commentary and just how incisive that is has been for

540
00:32:24,120 --> 00:32:28,920
Speaker 4: each passing year. Number thirteen Volvae my favorite, Pedro Almodovar,

541
00:32:29,080 --> 00:32:33,360
Speaker 4: his Hitchcockian riff with just a luminous performance from Penelope

542
00:32:33,360 --> 00:32:37,120
Speaker 4: Cruz at number twelve, came out in two thousand. We're

543
00:32:37,120 --> 00:32:41,120
Speaker 4: going right to the first eligible year. It's bamboozled. I

544
00:32:41,200 --> 00:32:45,600
Speaker 4: loved Spike Lee's hand grenade about black representation in media

545
00:32:45,680 --> 00:32:48,280
Speaker 4: back then when it came out. It's only proven as

546
00:32:48,360 --> 00:32:50,400
Speaker 4: well to be more biting. Sense I had to have

547
00:32:50,480 --> 00:32:53,800
Speaker 4: Spike on this list and number eleven, I've got Inception.

548
00:32:54,760 --> 00:32:57,560
Speaker 4: I do think this goes back to this thing you

549
00:32:57,600 --> 00:33:01,600
Speaker 4: were talking about of how what is our actual best list?

550
00:33:01,760 --> 00:33:04,680
Speaker 4: And I would say Dunkirk is Nolan working at the

551
00:33:04,680 --> 00:33:08,920
Speaker 4: fullest extent of his powers. But Man Inception was such

552
00:33:08,920 --> 00:33:11,920
Speaker 4: a thrilling leveling up from his first two Batman films,

553
00:33:11,960 --> 00:33:15,080
Speaker 4: the way combined the blockbusters skills and thrills there with

554
00:33:15,840 --> 00:33:18,400
Speaker 4: the brains of the Prestige and Memento. So I went

555
00:33:18,440 --> 00:33:21,560
Speaker 4: with Inception. I've got it at number eleven. But let

556
00:33:21,600 --> 00:33:24,760
Speaker 4: me say a few more words about Phantom Thread. Paul

557
00:33:24,760 --> 00:33:29,320
Speaker 4: Thomas Anderson has gotten plenty of attention in film Spottyed Madness,

558
00:33:29,480 --> 00:33:33,040
Speaker 4: you know, best of the century so far, deservedly so.

559
00:33:34,400 --> 00:33:37,080
Speaker 4: I have long suspected, though, Adam, that Phantom Thread would

560
00:33:37,160 --> 00:33:40,280
Speaker 4: supplant Punch Drunk Love. Actually it's my favorite Paul Thomas

561
00:33:40,360 --> 00:33:44,000
Speaker 4: Anderson film. And that is what happened last December when

562
00:33:44,000 --> 00:33:46,920
Speaker 4: I led a Cinema interrupt A series on Phantom Thread

563
00:33:46,960 --> 00:33:49,440
Speaker 4: over the Gene Sisco Film Center. You know, interrupt us

564
00:33:49,440 --> 00:33:51,440
Speaker 4: can be a gauntlet for a movie in terms of

565
00:33:51,480 --> 00:33:54,160
Speaker 4: testing its greatness. You know, not every film can stand

566
00:33:54,240 --> 00:33:57,360
Speaker 4: up to the scrutiny of frame by frame dissection over

567
00:33:57,360 --> 00:34:00,240
Speaker 4: a number of days, and Phantom Thread is one of

568
00:34:00,280 --> 00:34:02,840
Speaker 4: those that just passed with flying colors. There is we're

569
00:34:02,880 --> 00:34:06,680
Speaker 4: back to the subtlety here, a subtlety to the artistry

570
00:34:06,760 --> 00:34:11,000
Speaker 4: on display. We think of Paul Thomas Anderson's grand flourishes,

571
00:34:11,160 --> 00:34:14,080
Speaker 4: especially in something like probably the consensus pick for this list.

572
00:34:14,120 --> 00:34:17,400
Speaker 4: There will be blood which are thrilling in their own

573
00:34:17,440 --> 00:34:21,360
Speaker 4: way to experience, but the subtlety he brings to Phantom

574
00:34:21,360 --> 00:34:23,600
Speaker 4: Threat in terms of the camera work, the framing, and

575
00:34:23,640 --> 00:34:28,160
Speaker 4: the incorporation of Johnny Greenwood's score. And then there's this

576
00:34:28,480 --> 00:34:33,960
Speaker 4: endlessly mysterious romantic relationship at the movie's center between Daniel

577
00:34:34,000 --> 00:34:37,800
Speaker 4: day Lewis's mid century fashion designer and Vicki Creep's model

578
00:34:37,840 --> 00:34:41,000
Speaker 4: slash muse, amuse who turns the tables on him in

579
00:34:41,400 --> 00:34:42,320
Speaker 4: delicious ways.

580
00:34:43,320 --> 00:34:55,160
Speaker 7: I want you flat on your back, helpless, ten open,

581
00:34:58,120 --> 00:35:04,400
Speaker 7: It's only me to help, and then I'm on his trunk.

582
00:35:08,120 --> 00:35:13,239
Speaker 7: You're not going to die. You might wish you're going

583
00:35:13,320 --> 00:35:20,319
Speaker 7: to die, but you're not going to. You need to

584
00:35:20,320 --> 00:35:21,400
Speaker 7: settle down a little.

585
00:35:22,680 --> 00:35:25,000
Speaker 4: So after four days of interrupt this, we still did

586
00:35:25,000 --> 00:35:29,000
Speaker 4: not know exactly what to make of their dynamic. That's

587
00:35:29,040 --> 00:35:31,960
Speaker 4: where the arguments of the discussions and the debates ended

588
00:35:32,000 --> 00:35:35,200
Speaker 4: with no conclusion. That's all to the movie's credit. I

589
00:35:35,200 --> 00:35:39,000
Speaker 4: think it's entirely purposeful on the part of Anderson and

590
00:35:39,120 --> 00:35:42,399
Speaker 4: his actors. So Phantom Thread is the one I'm going

591
00:35:42,440 --> 00:35:45,279
Speaker 4: with here. And by the way, stay tuned for a

592
00:35:45,440 --> 00:35:48,600
Speaker 4: return of Cinema interrupt Us to the Genesisko Film Center

593
00:35:49,120 --> 00:35:53,320
Speaker 4: later this summer. I'll share more details about that soon. Yeah, okay,

594
00:35:53,480 --> 00:35:53,799
Speaker 4: are you.

595
00:35:53,719 --> 00:35:56,000
Speaker 6: Going to dole out little hints on social media like

596
00:35:56,040 --> 00:35:56,839
Speaker 6: you did last time?

597
00:35:56,880 --> 00:36:00,000
Speaker 4: Maybe that was kind of fun. Yeah, okay.

598
00:36:00,000 --> 00:36:03,239
Speaker 6: Teen through eleven, I've got a Christopher Nolan choice, but

599
00:36:03,360 --> 00:36:07,680
Speaker 6: I'm going with the movie that was the film that

600
00:36:07,719 --> 00:36:12,520
Speaker 6: made me discover Christopher Nolan. That is Memento at number fourteen.

601
00:36:13,120 --> 00:36:16,680
Speaker 6: How do you pick a Martin Scorsese film when he's

602
00:36:16,760 --> 00:36:19,240
Speaker 6: made you know, Wolf of Wall Street is a film

603
00:36:19,280 --> 00:36:22,040
Speaker 6: I adore, Josh, tough choice for me to leave that off,

604
00:36:22,080 --> 00:36:25,560
Speaker 6: But you've also got Killers of the Flower Moon. I

605
00:36:25,600 --> 00:36:29,799
Speaker 6: could consider The Irishman too, But just a couple months ago,

606
00:36:29,920 --> 00:36:32,759
Speaker 6: I was on this show singing the praises of the

607
00:36:32,800 --> 00:36:37,640
Speaker 6: best Picture Winner from what year? Was it around two thousand.

608
00:36:38,040 --> 00:36:40,960
Speaker 4: Oh Man eight ish.

609
00:36:41,080 --> 00:36:43,480
Speaker 6: Definitely not two thousand and seven, two thousand and six.

610
00:36:43,760 --> 00:36:46,000
Speaker 4: Perhaps The depart thousand and six, You got it.

611
00:36:46,120 --> 00:36:51,440
Speaker 6: Yeah, The Departed is just one of my most rewatchable films.

612
00:36:52,040 --> 00:36:56,759
Speaker 6: At number thirteen, another highly rewatchable film, and another one

613
00:36:56,800 --> 00:36:58,880
Speaker 6: that might be a bit of a surprise for folks.

614
00:36:59,320 --> 00:37:02,319
Speaker 6: I've got a Spike Lee film. It's Inside Man.

615
00:37:02,880 --> 00:37:03,920
Speaker 4: That's a great one.

616
00:37:04,200 --> 00:37:09,240
Speaker 6: At twelve, wonkar y in the mood for love possibly

617
00:37:09,280 --> 00:37:13,120
Speaker 6: a bit low, also a bit too low, perhaps Terrence

618
00:37:13,200 --> 00:37:17,480
Speaker 6: Malix The Tree of Life at eleven. The movie I

619
00:37:17,520 --> 00:37:20,959
Speaker 6: want to talk a little bit about is Inside Man,

620
00:37:21,320 --> 00:37:26,640
Speaker 6: because twenty fifth Hour is maybe the more fashionable choice here, Josh.

621
00:37:26,640 --> 00:37:29,520
Speaker 6: Perhaps both of us are surprising people with our picks.

622
00:37:29,560 --> 00:37:32,359
Speaker 6: Black Klansmen would have been a very good choice in

623
00:37:32,400 --> 00:37:34,600
Speaker 6: this slot as well. I think I had that in

624
00:37:34,920 --> 00:37:36,400
Speaker 6: my best films of the decade.

625
00:37:36,840 --> 00:37:38,280
Speaker 4: Liz ch Iraq, I love Schyraq.

626
00:37:38,360 --> 00:37:41,919
Speaker 6: Yeah, twenty twenty Shirack's very good as well. This movie

627
00:37:42,000 --> 00:37:44,160
Speaker 6: could be perceived as just a heist movie, just a

628
00:37:44,239 --> 00:37:47,360
Speaker 6: very good heist movie hopefully, And twenty fifth Hour is

629
00:37:47,719 --> 00:37:51,200
Speaker 6: really Spikes nine to eleven movie. But how can you

630
00:37:51,239 --> 00:37:54,960
Speaker 6: not think about this film and not remember Jody Foster

631
00:37:55,280 --> 00:37:59,920
Speaker 6: and Denzel Washington having a conversation draped by the mayor

632
00:38:00,160 --> 00:38:02,960
Speaker 6: can flag behind them on the wall, and we will

633
00:38:03,239 --> 00:38:06,960
Speaker 6: never forget, and the conversations about Ben Lawden's nephew and

634
00:38:07,360 --> 00:38:10,880
Speaker 6: al Qaeda and the character who I believe is Indian

635
00:38:10,960 --> 00:38:13,360
Speaker 6: talking about how he gets thrown out of a bank

636
00:38:13,400 --> 00:38:15,359
Speaker 6: as a hostage and he gets harassed and he goes

637
00:38:15,360 --> 00:38:18,439
Speaker 6: to the airport and he can't go through security without

638
00:38:18,440 --> 00:38:23,959
Speaker 6: a random selection. And what is Denzel's character, Detective Fraser say,

639
00:38:24,200 --> 00:38:26,920
Speaker 6: I bet you can get a cab. Though, this is

640
00:38:26,960 --> 00:38:30,040
Speaker 6: a film going back to one of my themes, Josh,

641
00:38:30,080 --> 00:38:34,920
Speaker 6: It's a film fundamentally about the rich getting richer on

642
00:38:35,040 --> 00:38:38,960
Speaker 6: the backs of the poor and persecuted with no repercussions

643
00:38:39,200 --> 00:38:41,799
Speaker 6: except maybe we have a crew here and we don't know.

644
00:38:42,560 --> 00:38:44,560
Speaker 6: This is one of the brilliant aspects of this film.

645
00:38:44,600 --> 00:38:48,400
Speaker 6: We don't know really what is at the core of

646
00:38:48,440 --> 00:38:51,840
Speaker 6: this heist and whether or not these bank robbers maybe

647
00:38:51,880 --> 00:38:55,359
Speaker 6: they really are like Robin Hood and they're people that

648
00:38:55,480 --> 00:38:58,600
Speaker 6: we ultimately are going to have some respect for, and

649
00:38:58,640 --> 00:39:01,520
Speaker 6: they're trying to level playing field a little bit. Maybe

650
00:39:01,560 --> 00:39:07,320
Speaker 6: only in the movies is there the possibility of justice. Otherwise, Josh,

651
00:39:07,400 --> 00:39:10,960
Speaker 6: this is a film where every scene is about transactions,

652
00:39:11,239 --> 00:39:15,479
Speaker 6: transactions of power. It's about leverage. It's about what can

653
00:39:15,560 --> 00:39:18,920
Speaker 6: I get in exchange for helping you? What are you

654
00:39:19,040 --> 00:39:21,640
Speaker 6: going to give me? How is this going to pay

655
00:39:21,640 --> 00:39:23,480
Speaker 6: off for me? How is this going to serve me?

656
00:39:24,040 --> 00:39:27,200
Speaker 6: If there's no benefit for me, then there's no reason

657
00:39:27,280 --> 00:39:30,080
Speaker 6: for us to be talking. Think about the conversation near

658
00:39:30,120 --> 00:39:32,759
Speaker 6: the end of the film, after this all sort of

659
00:39:32,800 --> 00:39:38,400
Speaker 6: plays out and Frazier is talking to his captain and

660
00:39:38,440 --> 00:39:41,280
Speaker 6: the captain tells him to bury it, and his line

661
00:39:41,360 --> 00:39:44,040
Speaker 6: is nobody's breathing down my neck for answers. I'm not

662
00:39:44,120 --> 00:39:46,600
Speaker 6: going to breathe down yours, as if that would really

663
00:39:46,640 --> 00:39:49,839
Speaker 6: be the only reason to continue to follow through with

664
00:39:49,880 --> 00:39:55,880
Speaker 6: this case. Doesn't matter what the detective thinks might be happening,

665
00:39:56,239 --> 00:40:00,480
Speaker 6: doesn't matter what was stolen, whatever injustice could be at

666
00:40:00,480 --> 00:40:03,920
Speaker 6: the core of it. We have nobody who's saying solve it,

667
00:40:04,000 --> 00:40:08,000
Speaker 6: So you know what, move on, find other cases. There

668
00:40:08,080 --> 00:40:12,160
Speaker 6: is a legitimately great twist to Inside Man. It's a

669
00:40:12,280 --> 00:40:17,440
Speaker 6: legitimately great Denzel Washington performance with one of my favorite

670
00:40:17,760 --> 00:40:19,640
Speaker 6: line readings of all time.

671
00:40:20,120 --> 00:40:23,919
Speaker 4: Any other proposal, Oh, please do not say proposals.

672
00:40:23,960 --> 00:40:26,360
Speaker 7: My girlfriend she wants a proposal from me.

673
00:40:26,560 --> 00:40:28,520
Speaker 4: You think you're too young to get married? No, not

674
00:40:28,560 --> 00:40:32,000
Speaker 4: too young, too broke. Maybe I should rob a bank.

675
00:40:33,760 --> 00:40:38,520
Speaker 4: You love each other? Yeah, yeah we do. Money shouldn't

676
00:40:38,520 --> 00:40:44,239
Speaker 4: really matter. Thank you, bank robber. I'm just saying thank you,

677
00:40:44,320 --> 00:40:44,880
Speaker 4: bank robber.

678
00:40:46,239 --> 00:40:49,320
Speaker 6: It's got one of my favorite Spike Lee double Dolly

679
00:40:49,360 --> 00:40:53,280
Speaker 6: shots with Denzel and the gun shot. But every frame,

680
00:40:53,560 --> 00:40:57,560
Speaker 6: every angle is purposeful. It is pure Spike Lee.

681
00:40:58,360 --> 00:41:00,320
Speaker 4: As I said, you had to have Spike on this listen.

682
00:41:00,360 --> 00:41:02,440
Speaker 4: I love that we have two different titles because it

683
00:41:02,440 --> 00:41:05,720
Speaker 4: speaks to exactly what you laid out there. I think,

684
00:41:06,280 --> 00:41:08,720
Speaker 4: you know, do the right thing. And Malcolm X's looms

685
00:41:08,760 --> 00:41:13,160
Speaker 4: so large over his filmography that perhaps casual movie goers

686
00:41:14,120 --> 00:41:17,600
Speaker 4: they think, yeah, he had that pinnacle and he's been working,

687
00:41:17,760 --> 00:41:19,960
Speaker 4: but you know, nothing was close to that, and that's

688
00:41:20,000 --> 00:41:22,520
Speaker 4: not the case. Like from two thousand and on, he

689
00:41:22,600 --> 00:41:27,760
Speaker 4: made so many strong, incredible films. The ones you listed,

690
00:41:27,800 --> 00:41:30,719
Speaker 4: the ones we picked. So yeah, this worked out really nice.

691
00:41:30,760 --> 00:41:33,040
Speaker 4: I think whoever heard a bank where ib was escaping

692
00:41:33,080 --> 00:41:35,080
Speaker 4: on a plane with fifty hostages. You saw a dog

693
00:41:35,160 --> 00:41:36,400
Speaker 4: day afternoon. You're stolen?

694
00:41:36,719 --> 00:41:36,919
Speaker 3: Why?

695
00:41:37,000 --> 00:41:38,160
Speaker 4: I don't know more.

696
00:41:38,239 --> 00:41:40,680
Speaker 6: Top twenty five of the last twenty five to come

697
00:41:40,800 --> 00:41:44,640
Speaker 6: are top ten films of the two thousands ahead for

698
00:41:44,680 --> 00:41:47,040
Speaker 6: our complete picks. You know, if you just can't wait,

699
00:41:47,360 --> 00:41:49,360
Speaker 6: you're listening and you want to cheat, you want to

700
00:41:49,400 --> 00:41:51,640
Speaker 6: jump into the future. He can go to film spotting

701
00:41:51,680 --> 00:41:54,560
Speaker 6: dot net slash lists and find our choices there.

702
00:41:54,719 --> 00:41:56,520
Speaker 4: Listening is the number one thing you can do to

703
00:41:56,520 --> 00:42:00,080
Speaker 4: support an independently produced show like film Spotting. There are

704
00:42:00,080 --> 00:42:02,000
Speaker 4: a couple more things you could do. You could take

705
00:42:02,000 --> 00:42:03,800
Speaker 4: a minute to give us a rating or a review

706
00:42:03,800 --> 00:42:07,080
Speaker 4: on Apple Podcasts or Spotify. Doesn't matter if your first

707
00:42:07,080 --> 00:42:10,000
Speaker 4: time listener or have been listening for twenty years. Every

708
00:42:10,040 --> 00:42:13,200
Speaker 4: new review helps us reach new listeners. Another way to

709
00:42:13,200 --> 00:42:17,320
Speaker 4: support us join the Film Spotting Family at film spottingfamily

710
00:42:17,800 --> 00:42:22,080
Speaker 4: dot com. We want to thank advisory board members. That's

711
00:42:22,120 --> 00:42:26,840
Speaker 4: the top tier you could choose there. It's James Pickering

712
00:42:26,960 --> 00:42:28,520
Speaker 4: from Chicago. Thanks James.

713
00:42:28,800 --> 00:42:32,479
Speaker 6: Hopefully James will be on our Film Spotting Advisory Board call.

714
00:42:32,520 --> 00:42:35,799
Speaker 6: As we're taping this, we're two nights away from our

715
00:42:35,920 --> 00:42:39,360
Speaker 6: May call. We have those quarterly with our advisory board members.

716
00:42:39,360 --> 00:42:41,799
Speaker 6: A lot of fun stuff to talk about this month,

717
00:42:42,040 --> 00:42:44,160
Speaker 6: James writes, I found you several years ago when I

718
00:42:44,200 --> 00:42:46,920
Speaker 6: was searching for reviews of Broke Back Mountain, a movie

719
00:42:46,960 --> 00:42:50,000
Speaker 6: that certainly should be in contention for our list. I

720
00:42:50,040 --> 00:42:51,560
Speaker 6: am a gay man, and that was a big movie

721
00:42:51,560 --> 00:42:53,560
Speaker 6: for my community because it was a gay love story

722
00:42:53,600 --> 00:42:55,960
Speaker 6: in the mainstream. I loved how you reviewed it on

723
00:42:56,000 --> 00:42:58,799
Speaker 6: your show and your overall support and representation of the

724
00:42:58,960 --> 00:43:02,080
Speaker 6: LGBTQ I a plus community. It is very hard to

725
00:43:02,120 --> 00:43:05,399
Speaker 6: find good film critics who review LGBT movies. I love

726
00:43:05,400 --> 00:43:07,960
Speaker 6: your show, and I love that you're in Chicago as well.

727
00:43:08,440 --> 00:43:12,680
Speaker 6: A random film or filmmaker that James loves. Meet Joe

728
00:43:12,680 --> 00:43:15,520
Speaker 6: Black a movie I still have never seen in its entirety.

729
00:43:15,560 --> 00:43:18,480
Speaker 6: I just I just still can't bring myself to watch

730
00:43:18,520 --> 00:43:24,160
Speaker 6: that film after looking at Brad Pitt's dumbface. WHOA, Well,

731
00:43:24,200 --> 00:43:28,120
Speaker 6: he's like he's always intentionally making a dumb face as

732
00:43:28,160 --> 00:43:28,720
Speaker 6: the character.

733
00:43:28,840 --> 00:43:30,920
Speaker 4: I knew this was not gonna appeal to you, but

734
00:43:30,960 --> 00:43:34,279
Speaker 4: you went hard there. Yeah, I believe you'll find you'll

735
00:43:34,280 --> 00:43:37,239
Speaker 4: find a glowing review of Meet Joe Black. Of course,

736
00:43:37,280 --> 00:43:40,480
Speaker 4: the regional news archives if you want to track it.

737
00:43:41,040 --> 00:43:44,480
Speaker 6: Okay, a movie James credits with becoming a cinephile like

738
00:43:44,560 --> 00:43:48,279
Speaker 6: so many I'm guessing nineties kids Jurassic Park. Thank you

739
00:43:48,400 --> 00:43:50,960
Speaker 6: James for joining the family and for all of those

740
00:43:51,000 --> 00:43:53,080
Speaker 6: years of listening. In addition to keeping us doing what

741
00:43:53,120 --> 00:43:55,360
Speaker 6: we're doing, your support comes with perks. You get to

742
00:43:55,400 --> 00:43:58,360
Speaker 6: listen early in ad free. You get our weekly newsletter.

743
00:43:58,400 --> 00:44:00,680
Speaker 6: You get exclusive opportunities like being part of our Film

744
00:44:00,719 --> 00:44:04,359
Speaker 6: Spotting Family discord. You get monthly bonus shows like our

745
00:44:04,400 --> 00:44:10,120
Speaker 6: April Bonus, ask Us anything, podcasts delivered per usual, Josh,

746
00:44:10,200 --> 00:44:13,799
Speaker 6: except if you use Spotify you got the video edition.

747
00:44:13,960 --> 00:44:15,959
Speaker 6: And if you went to YouTube dot com slash film

748
00:44:15,960 --> 00:44:19,080
Speaker 6: Spotting or you're a subscriber there, you could watch me,

749
00:44:19,840 --> 00:44:25,320
Speaker 6: you and producer Sam answer those questions, answer them talking

750
00:44:26,000 --> 00:44:31,920
Speaker 6: video images, not just not just talking moving pictures.

751
00:44:32,040 --> 00:44:33,880
Speaker 4: Moving pictures is what they call them, Adam.

752
00:44:34,360 --> 00:44:37,080
Speaker 6: Yeah, how about that may bonus. We'll see if we

753
00:44:37,120 --> 00:44:39,319
Speaker 6: do that one over video as well. We do plan to.

754
00:44:39,760 --> 00:44:43,480
Speaker 6: It will be a draft with our Film Spotting Madness

755
00:44:43,800 --> 00:44:47,959
Speaker 6: Bracket contest winner and yeah, that winner is once again

756
00:44:48,040 --> 00:44:51,720
Speaker 6: Ricky Kendall from the UK. One film spotting madness once again.

757
00:44:52,239 --> 00:44:56,560
Speaker 6: We are going to ask the advisory board to weigh

758
00:44:56,640 --> 00:44:59,440
Speaker 6: in on this, maybe even give them the vote. At

759
00:44:59,520 --> 00:45:01,400
Speaker 6: least that's what I was thinking we might do. I

760
00:45:01,440 --> 00:45:03,520
Speaker 6: like Josh, I don't know top you.

761
00:45:03,480 --> 00:45:05,000
Speaker 4: They'll help decide the top You.

762
00:45:04,920 --> 00:45:07,760
Speaker 6: Have a horse in this race. Ricky gave us two options.

763
00:45:08,000 --> 00:45:10,400
Speaker 6: I think I do have a clear favorite at this point.

764
00:45:10,560 --> 00:45:15,080
Speaker 6: The two options were, we draft the best films me you, Sam,

765
00:45:15,120 --> 00:45:18,560
Speaker 6: and Ricky. We draft the best films the top five

766
00:45:18,640 --> 00:45:22,160
Speaker 6: or five rounds of movies from the cite and sound

767
00:45:22,600 --> 00:45:29,440
Speaker 6: top fifty, or we do five rounds of all time

768
00:45:30,000 --> 00:45:34,960
Speaker 6: movie directors, our favorite directors. Except here's the catch, they

769
00:45:35,000 --> 00:45:36,480
Speaker 6: have to be deceased.

770
00:45:37,400 --> 00:45:40,680
Speaker 4: Okay, the way you put that, I now have a

771
00:45:40,719 --> 00:45:44,759
Speaker 4: clearer sense of what the second option is. Otherwise I

772
00:45:44,760 --> 00:45:46,480
Speaker 4: was going to ask the advisory board to weigh in

773
00:45:46,520 --> 00:45:46,839
Speaker 4: on that.

774
00:45:47,280 --> 00:45:50,240
Speaker 6: Okay, I think pta no Wes, Yeah.

775
00:45:50,080 --> 00:45:54,839
Speaker 4: Yeah, yeah, I got it, And let me think about that.

776
00:45:54,880 --> 00:45:59,080
Speaker 4: Which one I prefer? Both good topics. They will be Yeah,

777
00:45:59,520 --> 00:46:03,000
Speaker 4: make for some good fighting for drafting purposes. Yeah.

778
00:46:03,160 --> 00:46:05,400
Speaker 6: If you would like to become a Film Spotting family member,

779
00:46:05,600 --> 00:46:13,000
Speaker 6: you can do that at Filmspottingfamily dot Com.

780
00:46:19,280 --> 00:46:20,680
Speaker 4: You think this is funny?

781
00:46:23,840 --> 00:46:26,520
Speaker 6: Producer sam Is Baiting one of us, Josh, I'm just

782
00:46:26,840 --> 00:46:32,480
Speaker 6: not totally sure who Joaquin Phoenix. In twenty nineteen's Joker,

783
00:46:32,719 --> 00:46:36,040
Speaker 6: Phoenix won an Oscar for his performance as Arthur Fleck.

784
00:46:36,360 --> 00:46:38,520
Speaker 6: We also named him one of our top Performers of

785
00:46:38,560 --> 00:46:41,400
Speaker 6: the twenty tens back in twenty twenty. He was your

786
00:46:41,480 --> 00:46:44,800
Speaker 6: number three, my number one. We bring all this history

787
00:46:44,880 --> 00:46:46,400
Speaker 6: up because next week on the show, we're going to

788
00:46:46,440 --> 00:46:49,759
Speaker 6: continue our best of the centuries so far conversation with

789
00:46:50,120 --> 00:46:53,440
Speaker 6: some performers talk a little twists there though not a

790
00:46:53,480 --> 00:46:55,839
Speaker 6: top five, not a top ten or even a top

791
00:46:55,880 --> 00:46:56,399
Speaker 6: twenty five.

792
00:46:56,840 --> 00:46:59,840
Speaker 4: We're gonna draft a draft, all right, And yeah, I

793
00:46:59,880 --> 00:47:02,000
Speaker 4: mean and anytime I can hear a part of that

794
00:47:02,040 --> 00:47:05,640
Speaker 4: brilliant performance you're from Joker, I'm happy, So I think

795
00:47:05,680 --> 00:47:06,560
Speaker 4: you're the tired get here.

796
00:47:07,360 --> 00:47:11,120
Speaker 6: Also, next week we'll return to our Andre Tarkovsky marathon.

797
00:47:11,480 --> 00:47:14,480
Speaker 6: I'm gonna get to finally cross off. You heard this

798
00:47:14,680 --> 00:47:16,959
Speaker 6: if you listen to our April bonus content for film

799
00:47:16,960 --> 00:47:19,640
Speaker 6: Spotting Family members, What is if not my number one,

800
00:47:19,800 --> 00:47:24,840
Speaker 6: certainly one of my top three current biggest movie blind spots.

801
00:47:25,520 --> 00:47:29,920
Speaker 6: It's Tarkovsky's nineteen seventy nine film Stalker, number forty three

802
00:47:30,480 --> 00:47:32,759
Speaker 6: on the site and sound top one hundred. I'm going

803
00:47:32,840 --> 00:47:35,279
Speaker 6: to see it, and I'm going to live to talk

804
00:47:35,320 --> 00:47:37,440
Speaker 6: about it, hopefully, And I think you hope I have

805
00:47:37,520 --> 00:47:38,160
Speaker 6: things to say.

806
00:47:38,560 --> 00:47:42,360
Speaker 4: I think we have. I mean, it's dense, but even

807
00:47:42,440 --> 00:47:45,799
Speaker 4: denser Tarkovsky titles ahead, this one has, for me, at

808
00:47:45,840 --> 00:47:48,319
Speaker 4: least in my memory, just enough of a sci fi

809
00:47:48,520 --> 00:47:53,480
Speaker 4: framework that I feel like I have better footing than

810
00:47:53,520 --> 00:47:56,040
Speaker 4: in some of his So I cannot wait, cannot wait

811
00:47:56,040 --> 00:47:56,760
Speaker 4: to see this again.

812
00:47:57,040 --> 00:47:59,600
Speaker 6: I did very much love the sci fi framework of

813
00:47:59,640 --> 00:48:04,160
Speaker 6: his Las Yes exactly Okay. For a schedule of future

814
00:48:04,200 --> 00:48:06,640
Speaker 6: Film Spotting episodes, you can go to Film Spotting dot

815
00:48:06,680 --> 00:48:09,239
Speaker 6: net and click on episodes right at the top of

816
00:48:09,239 --> 00:48:09,760
Speaker 6: the page.

817
00:48:09,880 --> 00:48:12,719
Speaker 4: This week, on our sister podcast, The Next Picture Show,

818
00:48:12,800 --> 00:48:16,359
Speaker 4: looking at Cinema's Present via It's Past. It's part two

819
00:48:16,480 --> 00:48:19,120
Speaker 4: of their Dead of Night pairing, which means they get

820
00:48:19,160 --> 00:48:22,759
Speaker 4: to talk about Ryan Coogler Sinners. So much to say

821
00:48:22,760 --> 00:48:25,239
Speaker 4: about Sinners. I feel like our review, Adam, I think

822
00:48:25,239 --> 00:48:27,200
Speaker 4: we were trying not to spoil too much, so we

823
00:48:27,239 --> 00:48:30,480
Speaker 4: didn't even get into the after credit scene. That sort

824
00:48:30,520 --> 00:48:34,120
Speaker 4: of stuff. I'm sure they will on the Next Picture Show.

825
00:48:34,440 --> 00:48:37,840
Speaker 4: Of course, they paired this with and previously discussed the

826
00:48:37,880 --> 00:48:41,960
Speaker 4: nineteen ninety six Robert Rodriguez Quentin Tarantino collaboration From Dusk

827
00:48:42,560 --> 00:48:46,399
Speaker 4: Till Dawn, that one starring George Clooney alongside Tarantino. New

828
00:48:46,440 --> 00:48:49,200
Speaker 4: episodes of The Next Picture Show drop every Tuesday, and

829
00:48:49,239 --> 00:48:52,280
Speaker 4: you can find them wherever you get your podcasts. Oh.

830
00:48:52,320 --> 00:48:55,760
Speaker 4: Time now for the long awaited by Adams, long awaited

831
00:48:55,800 --> 00:49:00,480
Speaker 4: by Adam, particularly so many emails return of Massacre Theater.

832
00:49:01,160 --> 00:49:03,880
Speaker 4: We perform a scene and you get a chance to

833
00:49:03,920 --> 00:49:08,440
Speaker 4: win a film spotting prize. Oh, it's the annual rusty

834
00:49:09,120 --> 00:49:13,800
Speaker 4: Massacre Theater performance. We should say, Adam athlete. Sorry, thank you? Yeah,

835
00:49:13,880 --> 00:49:15,640
Speaker 4: I mean, I don't know what it is all the

836
00:49:15,680 --> 00:49:19,120
Speaker 4: other times, but right for this episode, for this edition,

837
00:49:19,840 --> 00:49:22,920
Speaker 4: it is indeed.

838
00:49:22,960 --> 00:49:26,640
Speaker 8: Tear sticks are doping for actors.

839
00:49:27,080 --> 00:49:29,680
Speaker 4: Do you want to be the Lance Armstrong of theater?

840
00:49:30,040 --> 00:49:34,399
Speaker 6: No, get out of the stick. We move on now

841
00:49:34,400 --> 00:49:36,640
Speaker 6: to this week's edition of Massacre Theater. We'll see if

842
00:49:36,680 --> 00:49:41,360
Speaker 6: you can get the connection to this week's show. Josh.

843
00:49:41,680 --> 00:49:44,960
Speaker 6: The only note we are going to change a character's

844
00:49:45,040 --> 00:49:48,320
Speaker 6: name try to make it. I suppose a little bit harder,

845
00:49:48,560 --> 00:49:51,000
Speaker 6: and we're going to xcize a character from the scene.

846
00:49:51,040 --> 00:49:52,960
Speaker 6: They're extraneous there, I said it.

847
00:49:53,200 --> 00:49:56,000
Speaker 4: Okay, Yeah, I think that's fair, and let's set a

848
00:49:56,000 --> 00:49:59,399
Speaker 4: low bar for ourselves. Let's just try to not both

849
00:49:59,440 --> 00:50:01,839
Speaker 4: sound exactly the same. I don't know how we're going

850
00:50:01,880 --> 00:50:03,760
Speaker 4: to pull that off. I had the same fear.

851
00:50:05,840 --> 00:50:10,040
Speaker 6: I don't know if skill it's a distinguish white guides.

852
00:50:10,600 --> 00:50:15,240
Speaker 6: Oh well, there's another clue party with no funny voices exactly.

853
00:50:15,400 --> 00:50:18,320
Speaker 4: I mean, these are not bland performers either. That's no,

854
00:50:18,560 --> 00:50:21,279
Speaker 4: not necessarily it's embarrassing. I mean these are two of

855
00:50:21,520 --> 00:50:25,879
Speaker 4: you know, considered very charismatic performers, no matter what they're doing.

856
00:50:26,440 --> 00:50:28,680
Speaker 4: M I don't know if we'll be able to capture that.

857
00:50:28,840 --> 00:50:30,759
Speaker 6: Yeah, I'm supposed to show a little bit of range here,

858
00:50:30,880 --> 00:50:33,400
Speaker 6: which will be the death of me. I'm going to

859
00:50:33,440 --> 00:50:35,800
Speaker 6: start it off. You're gonna give me the action, and

860
00:50:37,200 --> 00:50:40,239
Speaker 6: action I believe the most likely outcome will be our

861
00:50:40,320 --> 00:50:41,600
Speaker 6: collective demise.

862
00:50:41,520 --> 00:50:44,000
Speaker 4: Not if we strictly follow the rules of time travel.

863
00:50:44,440 --> 00:50:47,840
Speaker 4: That means no talking to our past selves, no betting

864
00:50:47,880 --> 00:50:48,600
Speaker 4: on sports events.

865
00:50:48,760 --> 00:50:50,920
Speaker 6: I'm going to stop you right there, Peter, Are you

866
00:50:51,000 --> 00:50:52,960
Speaker 6: seriously telling me that your plan to save the universe

867
00:50:53,040 --> 00:50:56,080
Speaker 6: is based on back to the future? Is it no

868
00:50:56,960 --> 00:50:59,040
Speaker 6: good you had me worried there, because that'd be horseshit.

869
00:50:59,600 --> 00:51:01,080
Speaker 6: That's not quantum physics works.

870
00:51:01,719 --> 00:51:03,680
Speaker 4: I know you got a lot on the line, got

871
00:51:03,719 --> 00:51:06,760
Speaker 4: a wife, a daughter, But I lost someone very important

872
00:51:06,760 --> 00:51:09,719
Speaker 4: to me, A lot of people did. And now now

873
00:51:09,920 --> 00:51:11,960
Speaker 4: we have a chance to bring her back, to bring

874
00:51:12,160 --> 00:51:14,920
Speaker 4: everyone back, and you're telling me that you won't even.

875
00:51:15,040 --> 00:51:18,800
Speaker 6: That's right, Peter, I won't even.

876
00:51:20,200 --> 00:51:26,160
Speaker 11: And see, wow, the drama there at the end, they say,

877
00:51:26,239 --> 00:51:30,520
Speaker 11: now hit me with that now again, now close anywhere

878
00:51:30,680 --> 00:51:32,160
Speaker 11: you park.

879
00:51:32,400 --> 00:51:35,600
Speaker 6: You're a cartoon superhero. Maybe that's appropriate.

880
00:51:36,760 --> 00:51:38,360
Speaker 4: Interesting If you know.

881
00:51:38,360 --> 00:51:40,720
Speaker 6: What film we just massacred email in the movie's title

882
00:51:41,040 --> 00:51:43,640
Speaker 6: and your name and location to feedback at filmspotting dot net.

883
00:51:43,680 --> 00:51:47,160
Speaker 6: Your deadline is Monday, May nineteenth. We'll select the winner

884
00:51:47,239 --> 00:51:49,719
Speaker 6: randomly from all the correct entries and announce it in

885
00:51:49,800 --> 00:51:50,920
Speaker 6: a couple of weeks.

886
00:51:52,960 --> 00:51:56,360
Speaker 4: That your head, rest of mind left. I've got to

887
00:51:56,680 --> 00:52:00,440
Speaker 4: promise you, amen, that's you.

888
00:52:03,040 --> 00:52:06,200
Speaker 6: We're sharing our top twenty five films of the last

889
00:52:06,280 --> 00:52:09,160
Speaker 6: twenty five years. We have ten more to go the

890
00:52:09,280 --> 00:52:13,479
Speaker 6: top ten, and we just heard a clip from Moonlight. Josh,

891
00:52:13,600 --> 00:52:16,920
Speaker 6: I imagine that was one it was tough to leave off.

892
00:52:17,000 --> 00:52:19,719
Speaker 6: I in fact assumed it would be on your list.

893
00:52:20,120 --> 00:52:20,319
Speaker 3: Yeah.

894
00:52:20,360 --> 00:52:23,880
Speaker 4: I think we're both unfortunately leaving Moonlight off, and it

895
00:52:24,160 --> 00:52:27,480
Speaker 4: was in that next group the honorable mentions lists. And

896
00:52:28,120 --> 00:52:30,680
Speaker 4: I don't have a good defense. Honestly, it's a movie

897
00:52:30,719 --> 00:52:35,239
Speaker 4: I love. I guess maybe having not revisited recently, it

898
00:52:35,360 --> 00:52:39,160
Speaker 4: strikes me as it strikes me as a cultural moment.

899
00:52:39,480 --> 00:52:41,279
Speaker 4: And I'm trying not to downgrade the movie itself in

900
00:52:41,320 --> 00:52:44,279
Speaker 4: any way, because I do greatly admire it, but I

901
00:52:44,360 --> 00:52:46,279
Speaker 4: think back of it as a cultural moment with the

902
00:52:46,360 --> 00:52:49,880
Speaker 4: oscars and everything. Then a movie that could just squeak

903
00:52:50,000 --> 00:52:51,520
Speaker 4: onto that top twenty five for me.

904
00:52:51,800 --> 00:52:53,560
Speaker 6: Okay, let's hear you're ten through six.

905
00:52:53,840 --> 00:52:55,759
Speaker 4: Okay, I've got a movie at number ten here that

906
00:52:55,840 --> 00:52:59,360
Speaker 4: we have already heard another clip from Lost in Translation.

907
00:52:59,560 --> 00:53:03,200
Speaker 4: I'm sucker for Sofia Coppola's sensory Cinema. When we did

908
00:53:03,280 --> 00:53:05,440
Speaker 4: our best of the twenty tens a list, I had

909
00:53:05,480 --> 00:53:07,600
Speaker 4: the bling ring on that one, but here Lost in

910
00:53:07,680 --> 00:53:10,359
Speaker 4: Translation gets the nod because I still think it's her

911
00:53:10,400 --> 00:53:15,080
Speaker 4: best film. Number nine, Eternal Sunshine of the Spotless Mind.

912
00:53:15,200 --> 00:53:19,120
Speaker 4: So glad we did that Sacred Cow review last year, Adam,

913
00:53:19,160 --> 00:53:23,520
Speaker 4: to affirm its brilliance, its emotional power. Number eight, Finding

914
00:53:23,600 --> 00:53:27,320
Speaker 4: Nemo had to have Pixar represented here, and this is

915
00:53:27,880 --> 00:53:30,640
Speaker 4: my favorite Pixar film. I didn't try to complicate things

916
00:53:30,840 --> 00:53:33,880
Speaker 4: went with Finding Nemo at number eight. Number seven is

917
00:53:33,880 --> 00:53:38,600
Speaker 4: AI artificial Intelligence. It is number three in my Spielberg rankings,

918
00:53:38,800 --> 00:53:42,640
Speaker 4: and as its reputation continues to rise, it might it

919
00:53:42,680 --> 00:53:44,759
Speaker 4: would maybe rise in those rankings except for you know,

920
00:53:44,800 --> 00:53:49,880
Speaker 4: a couple movies like Jaws and et number six. And

921
00:53:49,960 --> 00:53:51,960
Speaker 4: I got to explain this one a little bit, probably

922
00:53:52,200 --> 00:53:57,760
Speaker 4: because it's my unlikely Cohen Brothers pick. Let's talk Cohen's Adam.

923
00:53:58,080 --> 00:54:01,080
Speaker 4: I know they got a lot of attention film Spotted Madness,

924
00:54:01,440 --> 00:54:02,920
Speaker 4: but I do think it's okay to give them some

925
00:54:03,040 --> 00:54:05,760
Speaker 4: more time because my pick didn't come up. Did True

926
00:54:05,800 --> 00:54:08,920
Speaker 4: Grit make the bracket? I can't remember it did not.

927
00:54:09,360 --> 00:54:12,480
Speaker 4: Did not. Yeah, as much as I admire No Country

928
00:54:12,560 --> 00:54:14,840
Speaker 4: for old Men, for me, this actually came down to

929
00:54:14,920 --> 00:54:18,239
Speaker 4: Hail Caesar or True Grit, Hail Caesar was on my

930
00:54:18,320 --> 00:54:20,000
Speaker 4: list of the Best of the twenty tens when we

931
00:54:20,080 --> 00:54:23,480
Speaker 4: did that, But for this list, I did find myself

932
00:54:23,600 --> 00:54:27,680
Speaker 4: gravitating towards True Grit, which is the Coen Brothers' remake

933
00:54:27,760 --> 00:54:30,960
Speaker 4: of a John Wayne Western, this time starring Jeff Bridges,

934
00:54:31,080 --> 00:54:34,520
Speaker 4: Hailey Steinfeld, and Matt Damon. I've spent a lot of

935
00:54:34,600 --> 00:54:37,960
Speaker 4: time over the years with True Grit. I wrote about

936
00:54:37,960 --> 00:54:40,880
Speaker 4: it in Movies Our Prayers as a prayer of confession.

937
00:54:41,480 --> 00:54:43,799
Speaker 4: Back when we were still doing the Think Christian Movie Club.

938
00:54:44,200 --> 00:54:46,800
Speaker 4: The Coen Brothers were the subject of our first series.

939
00:54:46,920 --> 00:54:49,759
Speaker 4: We considered a handful of their films. Both True Grit

940
00:54:49,880 --> 00:54:52,400
Speaker 4: and No Country for Old Men were part of that,

941
00:54:52,760 --> 00:54:56,879
Speaker 4: so yeah, really dug into those movies. Then over the years,

942
00:54:56,880 --> 00:54:59,800
Speaker 4: though True Grit, it just kept offering more and more rewards.

943
00:55:00,239 --> 00:55:04,680
Speaker 4: Carter Brewell score, which riffs on religious standards. The writing

944
00:55:05,440 --> 00:55:09,400
Speaker 4: this both the dialogue and then the construction just so crisp.

945
00:55:10,040 --> 00:55:13,120
Speaker 4: This has also some of the Cohen's most poetic imagery,

946
00:55:13,600 --> 00:55:19,879
Speaker 4: evoking ideas about confession, vengeance, failure, forgiveness, and of course

947
00:55:19,960 --> 00:55:24,120
Speaker 4: you have bridges richly tragic comic performance.

948
00:55:26,360 --> 00:55:29,560
Speaker 3: I'm a foolish old man who has been drawn into

949
00:55:29,640 --> 00:55:33,960
Speaker 3: a wild goose take by a harpie and browsers and

950
00:55:34,120 --> 00:55:39,800
Speaker 3: a nankom poop Uh, mister lebeef, he can wander the

951
00:55:39,880 --> 00:55:42,360
Speaker 3: chalk domination for as long as he latch rapped the

952
00:55:42,400 --> 00:55:46,359
Speaker 3: local engines from take him in. Lonna Is gibbering by

953
00:55:46,440 --> 00:55:51,040
Speaker 3: making him cheap. You, sister, like go where you lack.

954
00:55:52,280 --> 00:55:54,839
Speaker 3: Our engagement is terminated.

955
00:55:57,040 --> 00:55:59,080
Speaker 6: By so.

956
00:55:59,200 --> 00:56:01,760
Speaker 4: Thinking about True In terms of my other coent options

957
00:56:01,800 --> 00:56:04,000
Speaker 4: for this list, I liked how it has a nice

958
00:56:04,040 --> 00:56:08,280
Speaker 4: balance also of No Country's fatalism and Hail Caesar' zaniness.

959
00:56:08,400 --> 00:56:11,040
Speaker 4: So that's where I landed True Grit at number six.

960
00:56:11,520 --> 00:56:14,160
Speaker 6: True Grit is still a film that I have only

961
00:56:14,200 --> 00:56:17,920
Speaker 6: seen one time when it came out. Liked it, But remember,

962
00:56:17,960 --> 00:56:19,919
Speaker 6: and I know I've said this before on the show,

963
00:56:19,960 --> 00:56:24,160
Speaker 6: maybe multiple times, Remember feeling underwhelmed in the wake of

964
00:56:24,239 --> 00:56:27,040
Speaker 6: No Country for Old Men, Remember feeling like it was

965
00:56:27,120 --> 00:56:29,800
Speaker 6: a bit of a disappointment. But as I reflect on it,

966
00:56:30,400 --> 00:56:33,719
Speaker 6: you're right, not only Bridges, but Hailey Steinfeld, the movie

967
00:56:33,760 --> 00:56:37,000
Speaker 6: that introduced us to her, Matt Damon, Josh Brolin, the

968
00:56:37,080 --> 00:56:40,400
Speaker 6: Burwell score. As you said, I know I need to

969
00:56:40,440 --> 00:56:44,520
Speaker 6: revisit that film badly, a film that we revisited fairly

970
00:56:44,600 --> 00:56:47,879
Speaker 6: recently on the show and it definitely held up. It's

971
00:56:47,920 --> 00:56:51,800
Speaker 6: our Film Spotting Madness winner. Film Spotting listeners said this

972
00:56:52,000 --> 00:56:54,279
Speaker 6: was the best film of the last twenty five years.

973
00:56:54,320 --> 00:56:57,600
Speaker 6: I've got it at number ten, Paul Thomas Anderson's There

974
00:56:57,719 --> 00:57:03,320
Speaker 6: Will Be Blood at number nine. Here's my second. Christopher

975
00:57:03,480 --> 00:57:08,680
Speaker 6: Nolan picked Josh, No, it's not Inception, of course, it's Interstellar.

976
00:57:09,120 --> 00:57:11,520
Speaker 4: I thought we were going with this earlier. But yeah,

977
00:57:11,920 --> 00:57:14,120
Speaker 4: I forgot. You're you have the multiple film by a

978
00:57:14,160 --> 00:57:16,280
Speaker 4: director that's okay with you? So God, that's right.

979
00:57:16,360 --> 00:57:18,880
Speaker 6: I had Memento earlier. Yeah, I've got intertellar, what were

980
00:57:18,920 --> 00:57:22,360
Speaker 6: you saying about Inception? The combination of the the brains

981
00:57:22,520 --> 00:57:26,000
Speaker 6: but the brawn, that kind of the blockbusters of the

982
00:57:26,080 --> 00:57:30,360
Speaker 6: gold blockbuster. Yeah, well you also have with Interstellar. Me bawling.

983
00:57:30,800 --> 00:57:33,760
Speaker 6: I'll throw in that B word every time I see it.

984
00:57:34,200 --> 00:57:34,840
Speaker 4: At number eight.

985
00:57:35,440 --> 00:57:38,880
Speaker 6: Overlap in this section for US Eternal Sunshine of the

986
00:57:38,920 --> 00:57:45,640
Speaker 6: Spotless Mind number seven. Greta gerwigs Little Women at number six.

987
00:57:45,920 --> 00:57:49,840
Speaker 6: Here we are sort of in lockstep the aforementioned No

988
00:57:50,000 --> 00:57:52,960
Speaker 6: Country for Old Men. The Cone Brothers, a movie that

989
00:57:53,680 --> 00:57:56,200
Speaker 6: I thought for sure I would have in my top

990
00:57:56,280 --> 00:57:59,760
Speaker 6: five when this process began, ended up bumping it.

991
00:57:59,760 --> 00:58:00,959
Speaker 4: Down to six.

992
00:58:01,600 --> 00:58:04,920
Speaker 6: So we'll say just a few words about Gretigreway was

993
00:58:04,920 --> 00:58:06,680
Speaker 6: Little Women. And the only reason I'm going to say

994
00:58:06,960 --> 00:58:09,400
Speaker 6: just a few words, Josh, is I haven't seen it

995
00:58:09,480 --> 00:58:11,520
Speaker 6: in quite some time, and I don't really know where

996
00:58:11,560 --> 00:58:13,440
Speaker 6: to start with it. I looked back at my notes

997
00:58:13,640 --> 00:58:16,200
Speaker 6: for this film, Josh. I did see it twice when

998
00:58:16,240 --> 00:58:18,240
Speaker 6: it came out, loved it so much the first time

999
00:58:18,760 --> 00:58:20,280
Speaker 6: I had to go back and see it again. I

1000
00:58:20,320 --> 00:58:22,680
Speaker 6: think I had it as my number two film of

1001
00:58:22,920 --> 00:58:26,040
Speaker 6: its year. I open my Google doc. I have headers

1002
00:58:26,520 --> 00:58:30,080
Speaker 6: and a bunch of bullet points underneath for bold strokes,

1003
00:58:30,920 --> 00:58:35,120
Speaker 6: great camera, great dialogue, and random stuff I love. And

1004
00:58:35,240 --> 00:58:39,600
Speaker 6: that all starts on page three. What is Tracy Let's

1005
00:58:39,600 --> 00:58:43,000
Speaker 6: publisher character say in the film? I love it. It's romantic,

1006
00:58:43,360 --> 00:58:47,600
Speaker 6: it's very moving. That's very emotional. That's what he says

1007
00:58:48,160 --> 00:58:52,440
Speaker 6: describing Joe Marsch's book. And that's a pretty good summation

1008
00:58:52,600 --> 00:58:55,720
Speaker 6: for me of how I feel about Little Women. I'm

1009
00:58:55,800 --> 00:58:58,960
Speaker 6: going to confess to something, or reconfess to something I

1010
00:58:59,400 --> 00:59:02,000
Speaker 6: said at the time. I'm a little embarrassed about it.

1011
00:59:02,120 --> 00:59:04,800
Speaker 6: Of course, certainly as an English major as well.

1012
00:59:04,920 --> 00:59:06,120
Speaker 4: But it is what it is.

1013
00:59:06,480 --> 00:59:09,560
Speaker 6: As I say all the time here, we all have

1014
00:59:09,680 --> 00:59:13,960
Speaker 6: blind spots, whether they be movies or books. I've never

1015
00:59:14,040 --> 00:59:17,560
Speaker 6: read the story. I've also never seen the nineteen ninety

1016
00:59:17,560 --> 00:59:20,360
Speaker 6: four version of the movie, so I really can't compare it.

1017
00:59:21,000 --> 00:59:23,920
Speaker 6: My point, though, is I have no attachment to these characters,

1018
00:59:24,600 --> 00:59:30,120
Speaker 6: and this movie made me love every single character in

1019
00:59:30,360 --> 00:59:35,400
Speaker 6: this universe, every single person in that March household or

1020
00:59:35,640 --> 00:59:39,720
Speaker 6: adjacent to it. I looked at letterboxed I mentioned that

1021
00:59:39,760 --> 00:59:42,600
Speaker 6: I saw the movie twice, and I mentioned as well

1022
00:59:42,680 --> 00:59:46,560
Speaker 6: that our producer Sam has already posted his top twenty

1023
00:59:46,600 --> 00:59:50,280
Speaker 6: five films of the century so far. Josh, we share

1024
00:59:50,360 --> 00:59:52,200
Speaker 6: two films in the top ten. One of them hasn't

1025
00:59:52,240 --> 00:59:54,480
Speaker 6: been mentioned yet. The other one is Little Women. He

1026
00:59:54,560 --> 00:59:56,600
Speaker 6: has it at number four. Do you know how many

1027
00:59:56,680 --> 00:59:59,560
Speaker 6: times Sam has seen and I'm going to assume the

1028
00:59:59,640 --> 01:00:01,520
Speaker 6: number of t times does correspond to the number of

1029
01:00:01,560 --> 01:00:03,920
Speaker 6: times he's logged it on letterbox how many times he's

1030
01:00:03,960 --> 01:00:04,640
Speaker 6: logged it oo.

1031
01:00:05,200 --> 01:00:09,480
Speaker 4: I know Sam is a rewatcher of movies, and this

1032
01:00:09,640 --> 01:00:11,760
Speaker 4: is one that could be It's a great annual Christmas

1033
01:00:11,880 --> 01:00:15,840
Speaker 4: movie as well, so and that's when he watches it. Oh, okay,

1034
01:00:16,760 --> 01:00:20,200
Speaker 4: So I can't beyond those years. Maybe eight.

1035
01:00:21,520 --> 01:00:23,880
Speaker 6: I think it's seven. He has seen it at least

1036
01:00:23,920 --> 01:00:26,720
Speaker 6: seven times, so you're very close. But I love the

1037
01:00:26,800 --> 01:00:31,800
Speaker 6: audaciousness of Gerwig's direction of the screenplay. I know some

1038
01:00:32,000 --> 01:00:35,920
Speaker 6: of the choices she's made in terms of the adaptation,

1039
01:00:36,120 --> 01:00:39,920
Speaker 6: the confidence that she has to adapt this material, including

1040
01:00:40,000 --> 01:00:43,000
Speaker 6: the nonlinear structure, which is something that stands out right

1041
01:00:43,000 --> 01:00:45,439
Speaker 6: away if you look at the screenplay. There's a note

1042
01:00:46,240 --> 01:00:48,080
Speaker 6: on an early page that says when the text is

1043
01:00:48,160 --> 01:00:50,960
Speaker 6: in red, it indicates that it's the past timeline, which

1044
01:00:51,040 --> 01:00:53,400
Speaker 6: begins in winter of eighteen sixty one. When the text

1045
01:00:53,480 --> 01:00:55,760
Speaker 6: is in black, it indicates that it's the present timeline,

1046
01:00:55,760 --> 01:00:58,960
Speaker 6: which begins in fall of eighteen sixty eight. Both timelines

1047
01:00:59,040 --> 01:01:03,160
Speaker 6: move forward from their origin point, like Gerwig is making

1048
01:01:03,240 --> 01:01:06,800
Speaker 6: Christopher Nolan's Memento or something. And she said in a

1049
01:01:06,880 --> 01:01:09,680
Speaker 6: New York Times article back when the film came out,

1050
01:01:09,720 --> 01:01:12,320
Speaker 6: as a child, my hero was Joe marsh but as

1051
01:01:12,360 --> 01:01:15,200
Speaker 6: an adult it's Louisa may Alcott. And so you've got

1052
01:01:15,240 --> 01:01:20,240
Speaker 6: these meta narrative elements to it that can greatly inform

1053
01:01:20,320 --> 01:01:23,200
Speaker 6: if you're aware of those things can greatly inform your

1054
01:01:23,280 --> 01:01:25,960
Speaker 6: appreciation and understanding the film. Or if you're like me

1055
01:01:26,120 --> 01:01:29,360
Speaker 6: and you know nothing about it, you can still love

1056
01:01:29,440 --> 01:01:31,760
Speaker 6: this film, and you can love the agency that she

1057
01:01:31,960 --> 01:01:35,600
Speaker 6: gives to characters. You can love the updating that she

1058
01:01:36,240 --> 01:01:39,520
Speaker 6: does to a character like Joe, and some of the

1059
01:01:39,640 --> 01:01:44,360
Speaker 6: choices that her character makes that still doesn't feel anachronistic

1060
01:01:44,640 --> 01:01:49,320
Speaker 6: or doesn't feel like I imagine it's compromising the original

1061
01:01:49,680 --> 01:01:52,040
Speaker 6: source material. At least that's the feeling I get from

1062
01:01:52,080 --> 01:01:57,080
Speaker 6: people who love very much that original Louisa may Alcott book,

1063
01:01:57,200 --> 01:02:01,560
Speaker 6: and that performance from Sirsha Ronan really did cement her

1064
01:02:01,800 --> 01:02:06,440
Speaker 6: as one of our best actresses. You know, I just

1065
01:02:06,560 --> 01:02:11,080
Speaker 6: feel I just feel like women.

1066
01:02:11,800 --> 01:02:17,960
Speaker 10: They they have minds, and they have souls as well

1067
01:02:17,960 --> 01:02:20,960
Speaker 10: as just hearts, and they've got ambition, and they've got

1068
01:02:21,120 --> 01:02:24,080
Speaker 10: talent as well as just beauty. And I'm so sick

1069
01:02:24,440 --> 01:02:26,880
Speaker 10: of people saying that that love is just.

1070
01:02:27,000 --> 01:02:28,200
Speaker 4: All a woman is fit for.

1071
01:02:28,400 --> 01:02:29,400
Speaker 7: I'm so sick of it.

1072
01:02:31,520 --> 01:02:37,520
Speaker 4: But I'm so lonely. Little Women to me is Gretiger

1073
01:02:37,560 --> 01:02:39,760
Speaker 4: Wwigg's best. And I also don't think she's missed yet.

1074
01:02:39,960 --> 01:02:44,560
Speaker 4: So incredibly strong film, and it really is among all

1075
01:02:44,680 --> 01:02:46,640
Speaker 4: the things you were talking about. When you touch on

1076
01:02:47,400 --> 01:02:51,919
Speaker 4: as a work of adaptation, it's so deaft and so clever.

1077
01:02:52,080 --> 01:02:55,320
Speaker 4: How it balances that that tricky thing of not being

1078
01:02:55,440 --> 01:02:59,080
Speaker 4: slavish to the material but not you know, going off

1079
01:02:59,280 --> 01:03:02,960
Speaker 4: in a complete contrary direction to what the original novel

1080
01:03:03,080 --> 01:03:05,320
Speaker 4: was interested in. So yeah, on top of all of

1081
01:03:05,360 --> 01:03:08,760
Speaker 4: it's just standing on its own merits as a great movie.

1082
01:03:09,240 --> 01:03:12,160
Speaker 4: It manages that as well. Okay, we're down to our

1083
01:03:12,280 --> 01:03:15,720
Speaker 4: top five, and as I look at my titles here,

1084
01:03:15,840 --> 01:03:20,280
Speaker 4: I'm realizing now that I had to make some tough

1085
01:03:20,360 --> 01:03:23,640
Speaker 4: choices because I did limit myself to one film per

1086
01:03:23,880 --> 01:03:27,680
Speaker 4: director here, So at number five my Jordan peel Pick

1087
01:03:28,000 --> 01:03:31,880
Speaker 4: I went with us. At number four, oh man, this

1088
01:03:32,480 --> 01:03:36,080
Speaker 4: one gave me fits for Wes Anderson. I went with

1089
01:03:36,160 --> 01:03:39,200
Speaker 4: the Royal ten Inbounds, and I didn't really want to

1090
01:03:39,240 --> 01:03:42,280
Speaker 4: go chalk here. Isle of Dogs was on my best

1091
01:03:42,320 --> 01:03:46,920
Speaker 4: of the twenty ten. I was leaning that way, but

1092
01:03:47,040 --> 01:03:49,520
Speaker 4: I do have Royal ten in Bounds ranked higher, and

1093
01:03:50,040 --> 01:03:52,600
Speaker 4: I just rewatched this adam for our Gene Hackman top five.

1094
01:03:53,280 --> 01:03:56,920
Speaker 4: It made the greatness of Wes Anderson's third feature just undeniable.

1095
01:03:57,000 --> 01:04:00,320
Speaker 4: So number four the Royal Ten inbounds number three. This

1096
01:04:00,480 --> 01:04:02,440
Speaker 4: was tough for me in terms of a director choice.

1097
01:04:02,600 --> 01:04:05,600
Speaker 4: Here's where I've got mad Max Fury Road. It tumbled

1098
01:04:05,720 --> 01:04:08,120
Speaker 4: for you, I think, from our best of the twenty tens,

1099
01:04:08,160 --> 01:04:10,640
Speaker 4: but for me it held strong, not quite as high

1100
01:04:10,640 --> 01:04:12,760
Speaker 4: as I had it there but at number three, and

1101
01:04:13,440 --> 01:04:16,160
Speaker 4: I did really like Furiosa, so that that gave me pause.

1102
01:04:16,240 --> 01:04:18,919
Speaker 4: But I went with this action masterpiece here at number three.

1103
01:04:19,480 --> 01:04:22,480
Speaker 4: Tree of Life. I've got this as well, very high.

1104
01:04:22,600 --> 01:04:25,320
Speaker 4: Could have gone with other Malick pictures, I guess, but

1105
01:04:25,560 --> 01:04:27,440
Speaker 4: I've got the Tree of Life at number two because

1106
01:04:27,480 --> 01:04:31,320
Speaker 4: I do think it's Malick's career achievement. And number one.

1107
01:04:32,240 --> 01:04:35,000
Speaker 4: I mean, if I have a movie as on my

1108
01:04:35,240 --> 01:04:37,920
Speaker 4: top ten of all time list and it happened to

1109
01:04:37,920 --> 01:04:40,400
Speaker 4: come out in the last twenty five years, yes it's

1110
01:04:40,440 --> 01:04:42,120
Speaker 4: going to be at the top of this list. It

1111
01:04:42,320 --> 01:04:46,960
Speaker 4: is in the mood for love wankhar wise definitive unrequited

1112
01:04:47,040 --> 01:04:50,480
Speaker 4: love story. I always described this as watching it as

1113
01:04:50,520 --> 01:04:54,320
Speaker 4: watching two halves of a broken heart throb. It is

1114
01:04:55,480 --> 01:04:59,800
Speaker 4: just no movie feels the way this film feels, even

1115
01:04:59,800 --> 01:05:04,040
Speaker 4: though so many have explored similar emotions. I feel quite

1116
01:05:04,120 --> 01:05:07,520
Speaker 4: comfortable having in the mood for love at number one.

1117
01:05:08,000 --> 01:05:10,400
Speaker 4: But let me talk some more about that Jordan Peel decision,

1118
01:05:11,040 --> 01:05:13,440
Speaker 4: because I do think US is probably a bit of

1119
01:05:13,840 --> 01:05:18,960
Speaker 4: a swerve similar to your Patima mon pick and get

1120
01:05:19,040 --> 01:05:22,320
Speaker 4: Out is where I could have been made, maybe should

1121
01:05:22,400 --> 01:05:25,720
Speaker 4: have gone. I think it maybe represents this era better

1122
01:05:26,080 --> 01:05:29,600
Speaker 4: and certainly had a bigger impact, you know, announcing Peel

1123
01:05:30,280 --> 01:05:33,160
Speaker 4: as this voice. But when I think more about it,

1124
01:05:33,400 --> 01:05:37,240
Speaker 4: US is not only, to my mind, the more intricately

1125
01:05:37,360 --> 01:05:40,040
Speaker 4: crafted film, but I do think it also represents the

1126
01:05:40,120 --> 01:05:42,880
Speaker 4: era from a wider angle. It not only considers race,

1127
01:05:42,920 --> 01:05:46,880
Speaker 4: but also considers class and consumerism, partly how those things

1128
01:05:46,920 --> 01:05:50,720
Speaker 4: are intertwined, partly how they're not. These are universal concerns

1129
01:05:50,760 --> 01:05:55,080
Speaker 4: as well. US just details how when we make affluence

1130
01:05:55,640 --> 01:06:00,320
Speaker 4: our ultimate goal, it comes not only at the cost

1131
01:06:00,440 --> 01:06:03,320
Speaker 4: of others, what we take from others, but also the

1132
01:06:03,440 --> 01:06:08,840
Speaker 4: risk of losing ourselves. Are very identities, and you have

1133
01:06:09,040 --> 01:06:13,840
Speaker 4: in this movie also that incredible double lead performance from

1134
01:06:14,000 --> 01:06:14,919
Speaker 4: Lupita Young.

1135
01:06:14,960 --> 01:06:20,320
Speaker 2: Though we don't have anything here, these are summer home

1136
01:06:20,600 --> 01:06:22,320
Speaker 2: we just got in today's ones.

1137
01:06:25,000 --> 01:06:36,200
Speaker 8: Oh ah, there was a girl.

1138
01:06:38,160 --> 01:06:39,240
Speaker 3: And the girl.

1139
01:06:41,920 --> 01:06:47,400
Speaker 4: USh again get Out so galvanizing. Maybe the right pick,

1140
01:06:47,520 --> 01:06:51,680
Speaker 4: but I probably spent more time excavating us. I've got

1141
01:06:51,720 --> 01:06:54,400
Speaker 4: a video essay out there somewhere on its use of

1142
01:06:54,480 --> 01:06:58,040
Speaker 4: Jeremiah eleven eleven. I just found so much to explore

1143
01:06:58,120 --> 01:07:00,400
Speaker 4: in this film. It's also one that kept open up

1144
01:07:00,440 --> 01:07:02,320
Speaker 4: to me the more I spend time with it.

1145
01:07:02,520 --> 01:07:06,840
Speaker 6: So at number five for me, I think that's a

1146
01:07:06,880 --> 01:07:09,600
Speaker 6: great choice, and I understand it, maybe if I can

1147
01:07:10,240 --> 01:07:12,439
Speaker 6: briefly connect it back to what I was just talking

1148
01:07:12,480 --> 01:07:15,400
Speaker 6: about with Greta Gerwig. You know how strongly I feel

1149
01:07:15,440 --> 01:07:18,840
Speaker 6: about Ladybird, another film I considered for this list. Almost

1150
01:07:18,920 --> 01:07:21,640
Speaker 6: put two Greta Gerwig films on, but I do think

1151
01:07:21,720 --> 01:07:24,920
Speaker 6: that Little Women is the greater achievement. I think there

1152
01:07:25,000 --> 01:07:28,200
Speaker 6: is more to excavate there, to use your word, certainly

1153
01:07:28,280 --> 01:07:31,360
Speaker 6: in terms of the filmmaking, and that makes sense. Sometimes

1154
01:07:31,440 --> 01:07:34,160
Speaker 6: filmmakers come out of the gate with amazing first films,

1155
01:07:34,200 --> 01:07:36,680
Speaker 6: as both Gerwig and Peel did, but then they build

1156
01:07:36,760 --> 01:07:40,560
Speaker 6: off that they get even more ambitious with those second films.

1157
01:07:41,680 --> 01:07:46,040
Speaker 6: My top five films of the last twenty five years, Josh,

1158
01:07:46,120 --> 01:07:50,520
Speaker 6: I'm going to give you another swerve at number five.

1159
01:07:51,000 --> 01:07:55,120
Speaker 6: The rest will absolutely be chock. You probably could have

1160
01:07:55,200 --> 01:07:58,040
Speaker 6: predicted them my number five will be a bit of

1161
01:07:58,080 --> 01:07:59,680
Speaker 6: a surprise, And I was going to say that it

1162
01:07:59,800 --> 01:08:03,240
Speaker 6: might be the only film on either of our lists

1163
01:08:04,280 --> 01:08:06,920
Speaker 6: that the other gave a negative review too.

1164
01:08:07,000 --> 01:08:09,720
Speaker 4: Oh boy, now, oh Wolf of wall Street.

1165
01:08:10,160 --> 01:08:11,400
Speaker 6: It's not the Wolf of Wall Street.

1166
01:08:11,560 --> 01:08:11,919
Speaker 4: No, okay.

1167
01:08:12,320 --> 01:08:15,360
Speaker 6: I don't know, of course, whether or not, looking back

1168
01:08:15,560 --> 01:08:18,280
Speaker 6: on the other twenty films I've mentioned, if any of

1169
01:08:18,320 --> 01:08:21,400
Speaker 6: those are movies you have felt negatively about, I don't

1170
01:08:21,479 --> 01:08:25,200
Speaker 6: think so. Until this choice. Now with your choices, it

1171
01:08:25,320 --> 01:08:29,519
Speaker 6: turns out I was mixed on The Witch, as I

1172
01:08:29,640 --> 01:08:33,439
Speaker 6: am on Robert Acres. I was kind of mixed on Borat.

1173
01:08:33,520 --> 01:08:36,320
Speaker 6: I think I gave it three stars. I did not

1174
01:08:37,320 --> 01:08:40,880
Speaker 6: go for Bamboozled the way you did. I think that's yeah.

1175
01:08:40,960 --> 01:08:43,000
Speaker 4: Not many people did then either, though.

1176
01:08:43,120 --> 01:08:46,760
Speaker 6: That's another one I need to revisit. So we're gonna

1177
01:08:46,760 --> 01:08:48,280
Speaker 6: play a little game. We're gonna see if you can

1178
01:08:48,400 --> 01:08:51,720
Speaker 6: guess the film. I went to Larson on film dot

1179
01:08:51,840 --> 01:08:57,680
Speaker 6: com two stars for Josh Larson has the stale, stifling

1180
01:08:57,800 --> 01:08:59,720
Speaker 6: air of a hospital waiting room.

1181
01:09:00,800 --> 01:09:01,200
Speaker 4: Yikes.

1182
01:09:01,600 --> 01:09:05,080
Speaker 6: Blank captures the boredom of a hospital waiting room, but

1183
01:09:05,240 --> 01:09:08,439
Speaker 6: misses out on another quality that is far more dramatic,

1184
01:09:08,960 --> 01:09:10,479
Speaker 6: the excruciating tension.

1185
01:09:11,479 --> 01:09:15,479
Speaker 4: Any ideas yet, man, sounds like I was having a

1186
01:09:15,520 --> 01:09:17,760
Speaker 4: bad day. I can tell you that. We'll see if

1187
01:09:17,760 --> 01:09:19,400
Speaker 4: you can figure it out from this.

1188
01:09:19,600 --> 01:09:23,360
Speaker 6: At its best, Blank echoes the spookiness of Picnic at

1189
01:09:23,439 --> 01:09:26,760
Speaker 6: Hanging Rock. Yet, like so many reverent movies based on

1190
01:09:26,840 --> 01:09:29,160
Speaker 6: acclaimed books, it's lifeless.

1191
01:09:29,760 --> 01:09:31,880
Speaker 4: Oh yeah, yeah, yeah, this is one I do need

1192
01:09:32,000 --> 01:09:37,519
Speaker 4: to revisit. The name is escaping Me I Andrew Garfield. Wait,

1193
01:09:37,800 --> 01:09:39,120
Speaker 4: I'm falling asleep.

1194
01:09:41,000 --> 01:09:41,800
Speaker 8: No, are you?

1195
01:09:42,000 --> 01:09:42,200
Speaker 3: Never?

1196
01:09:42,760 --> 01:09:43,960
Speaker 4: Let never let me go go.

1197
01:09:44,320 --> 01:09:44,519
Speaker 3: Yeah.

1198
01:09:44,520 --> 01:09:47,280
Speaker 4: I've always felt a little bad about this one because

1199
01:09:47,320 --> 01:09:48,800
Speaker 4: you have talked about it over the years and I

1200
01:09:49,000 --> 01:09:52,880
Speaker 4: haven't taken the time to revisit. But you know I

1201
01:09:52,960 --> 01:09:53,719
Speaker 4: said what I said.

1202
01:09:54,120 --> 01:09:57,160
Speaker 6: You did, you put it in writing. It's there forever.

1203
01:09:57,680 --> 01:09:59,320
Speaker 6: That is my number five. We'll come back to that

1204
01:09:59,360 --> 01:09:59,760
Speaker 6: in a moment.

1205
01:10:00,000 --> 01:10:00,599
Speaker 4: A number four.

1206
01:10:00,840 --> 01:10:04,240
Speaker 6: I too, have the Royal ten and bobs at number three.

1207
01:10:04,880 --> 01:10:10,479
Speaker 6: That Sam Van Holgren exercise of contemplating only putting one

1208
01:10:10,600 --> 01:10:14,680
Speaker 6: film from a director on a list did make me

1209
01:10:14,840 --> 01:10:18,519
Speaker 6: realize the damn it inside. Lewin Davis is my favorite

1210
01:10:18,560 --> 01:10:22,880
Speaker 6: Coen Brothers film. It's the one I most cannot live without.

1211
01:10:23,000 --> 01:10:25,599
Speaker 6: That's why no country got bumped out of the top five.

1212
01:10:25,720 --> 01:10:29,439
Speaker 6: Inside Lewin Davis is a three, number two Richard Link

1213
01:10:29,560 --> 01:10:33,640
Speaker 6: Later Before Sunset, and number one is the movie I

1214
01:10:33,800 --> 01:10:38,040
Speaker 6: voted for the movie I predicted. Turns out I was wrong.

1215
01:10:38,560 --> 01:10:41,280
Speaker 6: I was inaccurate. The movie I thought might actually win

1216
01:10:41,720 --> 01:10:44,320
Speaker 6: film Spotting Madness, but it lost in the final to

1217
01:10:44,400 --> 01:10:48,160
Speaker 6: There Will Be Blood David Lynch's mule Holland Drive. I

1218
01:10:48,280 --> 01:10:51,559
Speaker 6: know everybody says this when they put almost any kind

1219
01:10:51,560 --> 01:10:55,160
Speaker 6: of list together. Oh, the top few are interchangeable. But Josh,

1220
01:10:55,200 --> 01:10:58,200
Speaker 6: I'm telling you, I stared at those top four today,

1221
01:10:58,320 --> 01:11:01,599
Speaker 6: Mulholland Before Sunset, side Lewin Davis and The Royal Tenant Bobs,

1222
01:11:01,960 --> 01:11:05,519
Speaker 6: and at different points in the day contemplated making the

1223
01:11:05,600 --> 01:11:08,000
Speaker 6: case for each one of them as my number one.

1224
01:11:08,600 --> 01:11:11,160
Speaker 6: That's how strongly I feel about each one of those films.

1225
01:11:11,520 --> 01:11:16,639
Speaker 4: Yeah, I would say my top couple fell in pretty easily.

1226
01:11:16,960 --> 01:11:19,160
Speaker 4: Just again, as I said, when it's in the best

1227
01:11:19,200 --> 01:11:21,519
Speaker 4: of all time, that's an milk rainer. So yes, so

1228
01:11:21,520 --> 01:11:23,920
Speaker 4: it worked out a little easier for me. Obviously.

1229
01:11:23,960 --> 01:11:25,759
Speaker 6: I want to talk about Never Let Me Go, because

1230
01:11:25,800 --> 01:11:28,720
Speaker 6: that is the outlier choice here. And you said you

1231
01:11:29,560 --> 01:11:32,840
Speaker 6: have felt like you need to revisit it. Well, turns

1232
01:11:32,880 --> 01:11:36,680
Speaker 6: out it's celebrating its fifteenth anniversary. Maybe a bit of

1233
01:11:36,800 --> 01:11:39,280
Speaker 6: we were wrong once perhaps on the show, perhaps for

1234
01:11:39,960 --> 01:11:44,200
Speaker 6: bonus content. Alex Gartlan that yeah, making his second appearance

1235
01:11:44,640 --> 01:11:48,880
Speaker 6: on my list of course as a writer. This is

1236
01:11:49,600 --> 01:11:52,800
Speaker 6: the Garland film, The Garland penned film that's an adaptation

1237
01:11:52,920 --> 01:11:58,080
Speaker 6: of the Kazuo Ishie Guru novel starring Kerrie Mulligan, Andrew Garfield,

1238
01:11:58,600 --> 01:12:03,080
Speaker 6: Kieran Knightley. They grow up together at a boarding school

1239
01:12:03,360 --> 01:12:08,839
Speaker 6: and we come to realize spoilers that they are clones

1240
01:12:09,400 --> 01:12:12,960
Speaker 6: and they're created for one purpose, which is to have

1241
01:12:13,120 --> 01:12:19,719
Speaker 6: their organs harvested and serve the population of I suppose normies.

1242
01:12:19,920 --> 01:12:21,439
Speaker 6: I don't know what they call them or if they

1243
01:12:21,520 --> 01:12:24,280
Speaker 6: have a name for them in the film, Josh, I

1244
01:12:24,360 --> 01:12:26,160
Speaker 6: think you may have read the book if I read

1245
01:12:26,200 --> 01:12:27,439
Speaker 6: your review correct.

1246
01:12:27,520 --> 01:12:29,960
Speaker 4: Yeah, I'm wondering if that was part of my issue too,

1247
01:12:30,280 --> 01:12:32,400
Speaker 4: you know, in terms of expectations.

1248
01:12:32,840 --> 01:12:35,560
Speaker 6: Yeah, I think it's so high on this list for

1249
01:12:35,720 --> 01:12:39,559
Speaker 6: me because all of the ideas I mentioned that kind

1250
01:12:39,600 --> 01:12:42,960
Speaker 6: of drove my list. The movies that ended up really

1251
01:12:43,040 --> 01:12:46,120
Speaker 6: resonating with me. The most and the ideas that I

1252
01:12:46,240 --> 01:12:49,840
Speaker 6: wrestled with. That's what this movie is about, all of them,

1253
01:12:49,960 --> 01:12:55,800
Speaker 6: mortality denying and then ultimately accepting this idea of completing

1254
01:12:56,200 --> 01:13:01,639
Speaker 6: hoping that you can transcend your mortality through art. Andrew

1255
01:13:01,680 --> 01:13:07,639
Speaker 6: Garfield's character Tommy with his drawings, and Charlotte Rampling plays

1256
01:13:07,920 --> 01:13:11,560
Speaker 6: the head mistress at the school who uses art to

1257
01:13:11,640 --> 01:13:14,160
Speaker 6: try to prove that these children have souls, that they

1258
01:13:14,240 --> 01:13:17,040
Speaker 6: are children who have souls and they should be treated

1259
01:13:17,600 --> 01:13:21,559
Speaker 6: with more care and respect. The Mysteries of Love, my Gosh,

1260
01:13:21,680 --> 01:13:26,400
Speaker 6: that love triangle Kathy, Tommy and Ruth, who are also

1261
01:13:27,520 --> 01:13:29,840
Speaker 6: like a korat a family in a way. They don't

1262
01:13:30,080 --> 01:13:32,400
Speaker 6: choose to be put together, but they do choose to

1263
01:13:32,439 --> 01:13:36,600
Speaker 6: stay together and ultimately to come back together. And I

1264
01:13:36,640 --> 01:13:39,840
Speaker 6: won't strain Josh to relate a movie that takes place

1265
01:13:39,880 --> 01:13:42,920
Speaker 6: in England to America except to say that it is

1266
01:13:43,160 --> 01:13:47,800
Speaker 6: very much a movie about society seeking a better life,

1267
01:13:48,000 --> 01:13:51,679
Speaker 6: a more comfortable way of life through technological means, without

1268
01:13:51,720 --> 01:13:57,479
Speaker 6: fully being able to even comprehend the moral, ethical, or

1269
01:13:57,600 --> 01:14:04,320
Speaker 6: spiritual costs attached to it. And you lamented that you

1270
01:14:04,400 --> 01:14:06,519
Speaker 6: didn't feel like there was that much tension to it,

1271
01:14:06,640 --> 01:14:11,120
Speaker 6: and there certainly isn't traditional tension or dread, but there

1272
01:14:11,200 --> 01:14:14,280
Speaker 6: is a sort of inevitability. There is a sense of

1273
01:14:15,040 --> 01:14:18,560
Speaker 6: futility to them pushing back, which for me makes it

1274
01:14:18,840 --> 01:14:22,040
Speaker 6: all the more poignant. And I love this answer. I

1275
01:14:22,120 --> 01:14:26,080
Speaker 6: came across a while back that Isha Guru gave to

1276
01:14:26,840 --> 01:14:30,120
Speaker 6: some criticism that was given to the book. He said,

1277
01:14:30,200 --> 01:14:32,879
Speaker 6: lots of people raise this, and what was so fascinating

1278
01:14:32,880 --> 01:14:36,400
Speaker 6: about it, Josh Not only was ultimately his very profound,

1279
01:14:36,439 --> 01:14:39,280
Speaker 6: I think, answer, but the fact that he admitted that

1280
01:14:39,840 --> 01:14:42,000
Speaker 6: he was kind of hurt by it. He thought, maybe

1281
01:14:42,080 --> 01:14:43,200
Speaker 6: this is a flaw of the book.

1282
01:14:43,400 --> 01:14:45,320
Speaker 4: What did I do? What did I do wrong?

1283
01:14:45,840 --> 01:14:49,840
Speaker 6: It was people saying, well, they clearly are living in

1284
01:14:49,880 --> 01:14:53,080
Speaker 6: this dystopia, and once they realize what they're there for,

1285
01:14:53,280 --> 01:14:57,200
Speaker 6: why wouldn't they run, Why wouldn't they try to do

1286
01:14:57,360 --> 01:15:00,880
Speaker 6: something different? Why do they just kind of accept their fate?

1287
01:15:01,400 --> 01:15:04,640
Speaker 6: And this was his response. The fascinating thing for me

1288
01:15:04,760 --> 01:15:07,000
Speaker 6: is the way people respond to being dealt a really

1289
01:15:07,080 --> 01:15:09,479
Speaker 6: bad hand. If that's all you know, if that's the

1290
01:15:09,520 --> 01:15:12,000
Speaker 6: world you've grown up in, you cannot see the boundaries

1291
01:15:12,040 --> 01:15:13,960
Speaker 6: for which you have to run, You cannot see what

1292
01:15:14,040 --> 01:15:16,360
Speaker 6: you have to rebel against and instead you just try,

1293
01:15:16,439 --> 01:15:20,719
Speaker 6: sometimes heroically, to find love, friendship, something meaningful and decent

1294
01:15:21,120 --> 01:15:24,800
Speaker 6: within the horrific fate you've been given. This movie just

1295
01:15:25,320 --> 01:15:28,320
Speaker 6: hit me like a sledgehammer, Josh when I saw it

1296
01:15:28,800 --> 01:15:30,880
Speaker 6: back in twenty ten. And that's why it's here at

1297
01:15:30,960 --> 01:15:31,400
Speaker 6: number five.

1298
01:15:31,800 --> 01:15:34,120
Speaker 4: Yeah, and like the very setting, I mean, it's why

1299
01:15:34,160 --> 01:15:36,560
Speaker 4: I read the book like this is like catnip for me,

1300
01:15:36,680 --> 01:15:39,439
Speaker 4: this sort of setting, an idea and things it wants

1301
01:15:39,520 --> 01:15:43,560
Speaker 4: to explore. So and the performers, I mean, I do

1302
01:15:43,800 --> 01:15:47,040
Speaker 4: know Garfield jumped out at me right away. And to

1303
01:15:47,120 --> 01:15:50,160
Speaker 4: see the others in the cast that they've got to

1304
01:15:50,200 --> 01:15:52,800
Speaker 4: be giving things I possibly miss that first time around.

1305
01:15:53,080 --> 01:15:55,519
Speaker 4: The excerpts you read that sounded like a Josh bad

1306
01:15:55,640 --> 01:15:56,960
Speaker 4: day to be for sure.

1307
01:15:58,439 --> 01:16:00,120
Speaker 6: We'll see if we could play that game again. And

1308
01:16:00,280 --> 01:16:03,080
Speaker 6: sometime on the show that's kind of fun read really

1309
01:16:03,200 --> 01:16:05,760
Speaker 6: negative lines to each other and see if we can

1310
01:16:05,840 --> 01:16:08,320
Speaker 6: guess the movie that we were just tearing apart.

1311
01:16:08,560 --> 01:16:09,479
Speaker 4: I like do that.

1312
01:16:09,680 --> 01:16:11,439
Speaker 6: We probably don't do that enough on the show.

1313
01:16:12,840 --> 01:16:14,600
Speaker 4: You go into the lars On Film archives in the

1314
01:16:15,000 --> 01:16:17,800
Speaker 4: n say, you'll find, Yeah, you had to see a

1315
01:16:18,320 --> 01:16:20,800
Speaker 4: lot of posturing along those lines.

1316
01:16:21,560 --> 01:16:24,960
Speaker 6: Posturing good word for it. For our complete top twenty five,

1317
01:16:25,080 --> 01:16:28,800
Speaker 6: visit film spotting dot net slash list. Next week we'll

1318
01:16:28,880 --> 01:16:31,280
Speaker 6: continue looking back at the last twenty five years with

1319
01:16:31,479 --> 01:16:34,880
Speaker 6: our favorite performers of the century so far. We're going

1320
01:16:34,960 --> 01:16:37,479
Speaker 6: to fight that out. We're going to draft our favorite

1321
01:16:37,560 --> 01:16:40,639
Speaker 6: actors and actresses. If there are any names you would

1322
01:16:40,760 --> 01:16:43,800
Speaker 6: love for us to not overlook who should be our

1323
01:16:43,880 --> 01:16:47,479
Speaker 6: first overall choice, let us know. Feedback at film spotting

1324
01:16:47,479 --> 01:16:49,720
Speaker 6: dot net. That's also where you can send any other

1325
01:16:49,880 --> 01:16:52,639
Speaker 6: comments about the show, because that is our show.

1326
01:16:53,040 --> 01:16:55,120
Speaker 4: If you want to connect with us on social you

1327
01:16:55,200 --> 01:16:58,240
Speaker 4: can find Adam and the show on Instagram and Facebook

1328
01:16:58,400 --> 01:17:01,559
Speaker 4: and letterbox. He's at film spotting. I'm also at those

1329
01:17:01,600 --> 01:17:05,400
Speaker 4: places as Larsen on film We are independently produced and

1330
01:17:05,560 --> 01:17:08,080
Speaker 4: listener support it. You can support the show by joining

1331
01:17:08,120 --> 01:17:11,680
Speaker 4: the film Spotting Family at film spottingfamily dot com. You

1332
01:17:11,760 --> 01:17:14,519
Speaker 4: can listen early and ad free. You'll also get a

1333
01:17:14,560 --> 01:17:18,920
Speaker 4: weekly newsletter from producer Sam, monthly bonus episodes, and access

1334
01:17:18,960 --> 01:17:22,240
Speaker 4: to the entire show archive. For show t shirts, film

1335
01:17:22,280 --> 01:17:25,439
Speaker 4: spotting fest posters, or other merch go to film spotting

1336
01:17:25,560 --> 01:17:27,160
Speaker 4: dot net slash shop.

1337
01:17:27,640 --> 01:17:30,280
Speaker 6: In those film Spotting Archives. You can find many of

1338
01:17:30,320 --> 01:17:34,320
Speaker 6: the titles that made our top twenty five outstreaming or

1339
01:17:34,439 --> 01:17:39,120
Speaker 6: on vod this weekend. Nana's Vince Vaughan risks everything by

1340
01:17:39,200 --> 01:17:41,639
Speaker 6: honoring his late mother by opening a restaurant with Nana's

1341
01:17:41,720 --> 01:17:45,679
Speaker 6: grandmothers as chefs with Susan Sarandon, Lorraine Rocco and Talia

1342
01:17:45,760 --> 01:17:50,920
Speaker 6: Shire in wide release Clown in a Cornfield Josh, here's

1343
01:17:50,920 --> 01:17:55,080
Speaker 6: the description. A sinister, grinning figure emerges from the cornfields

1344
01:17:55,120 --> 01:17:58,400
Speaker 6: to cleanse the town of Kettle Springs of its burdens.

1345
01:17:59,439 --> 01:18:03,679
Speaker 6: I volunteer here is tribute. Could I have my burdens cleansed?

1346
01:18:04,600 --> 01:18:04,920
Speaker 4: Please?

1347
01:18:05,960 --> 01:18:07,400
Speaker 6: We're gonna get to a fun game here. In a

1348
01:18:07,439 --> 01:18:10,280
Speaker 6: second proposed by producer Sam, I think our listeners may

1349
01:18:10,400 --> 01:18:13,479
Speaker 6: know where this is going. Shadow Force, a bounty is

1350
01:18:13,479 --> 01:18:16,120
Speaker 6: put out for Kerrie Washington and Omar Sai when they

1351
01:18:16,200 --> 01:18:19,000
Speaker 6: break the rules of the Multinational Special Forces unit they

1352
01:18:19,040 --> 01:18:22,519
Speaker 6: belong to. Their crime. Falling in Love directed by Joe

1353
01:18:22,600 --> 01:18:26,960
Speaker 6: Carnahan who made Nark and the Gray, and finally Fight

1354
01:18:27,600 --> 01:18:31,680
Speaker 6: or Flight Mercenary Josh Hartnett tracks down a target on

1355
01:18:31,760 --> 01:18:34,559
Speaker 6: a plane that's the flight of the title, but ends

1356
01:18:34,640 --> 01:18:37,200
Speaker 6: up protecting her when they're surrounded by people trying to

1357
01:18:37,280 --> 01:18:41,280
Speaker 6: kill both of them. That's the fight of the title.

1358
01:18:41,360 --> 01:18:45,559
Speaker 6: So so it's bounting it should really be fight and flight. Yeah,

1359
01:18:45,680 --> 01:18:50,000
Speaker 6: it probably should take that up with somebody, including Nanas.

1360
01:18:50,560 --> 01:18:53,320
Speaker 6: You can only choose one. In fact, you have to

1361
01:18:53,439 --> 01:18:53,920
Speaker 6: choose one.

1362
01:18:54,360 --> 01:18:56,840
Speaker 4: Which one is one? You have to go to a movie.

1363
01:18:56,920 --> 01:18:58,560
Speaker 4: This have to see one of these. Yeah, and it

1364
01:18:58,640 --> 01:18:59,760
Speaker 4: has to be one of these.

1365
01:19:00,360 --> 01:19:00,439
Speaker 7: Ye.

1366
01:19:00,560 --> 01:19:03,720
Speaker 4: Well, I've I've already pointed out the fatal flaw of

1367
01:19:03,960 --> 01:19:06,360
Speaker 4: fight or Flight, so it's not going to be that. Yeah,

1368
01:19:07,200 --> 01:19:10,600
Speaker 4: I mean, narc was really good, and I also liked

1369
01:19:10,640 --> 01:19:15,479
Speaker 4: The Gray from Joe Carnahan. So do I do Shadow Force? No,

1370
01:19:15,840 --> 01:19:19,799
Speaker 4: I don't. I do Namas, of course not. It sounds delightful.

1371
01:19:19,960 --> 01:19:23,480
Speaker 6: Come on, I mean Lorraine Virocco, Taliya Shire, Susans Randon.

1372
01:19:23,439 --> 01:19:27,160
Speaker 4: And surrounded by that. Yeah, I mean, come on, I'll.

1373
01:19:27,000 --> 01:19:30,479
Speaker 6: Go see Shadow Force because I also really liked The

1374
01:19:30,600 --> 01:19:34,680
Speaker 6: Gray and I did finally catch up with Steven Soderbergh's

1375
01:19:34,720 --> 01:19:35,200
Speaker 6: Black Bag.

1376
01:19:35,400 --> 01:19:36,080
Speaker 4: What a delight.

1377
01:19:36,600 --> 01:19:40,479
Speaker 6: I can compare that to Shadow Force, two movies about

1378
01:19:41,360 --> 01:19:45,160
Speaker 6: special forces and breaking the rules and couples in love.

1379
01:19:45,320 --> 01:19:46,320
Speaker 6: We'll see which one's better.

1380
01:19:46,560 --> 01:19:49,080
Speaker 4: Yeah, please don't know. Don't hold it up to black

1381
01:19:49,120 --> 01:19:50,559
Speaker 4: Bag one of the best of the year.

1382
01:19:50,680 --> 01:19:53,320
Speaker 6: Come on, Yeah, it is out in limited release. We

1383
01:19:53,400 --> 01:19:56,200
Speaker 6: didn't include this one. You can see April an Obgyn

1384
01:19:56,320 --> 01:19:59,880
Speaker 6: faces accusations after a newborn's death. David Erlik says, there

1385
01:19:59,920 --> 01:20:02,360
Speaker 6: is isn't a horror director alive who wouldn't killed to

1386
01:20:02,439 --> 01:20:06,439
Speaker 6: create frames as tense, ominous, and viscerally captivating as those

1387
01:20:06,520 --> 01:20:07,560
Speaker 6: of Georgian filmmaker.

1388
01:20:07,720 --> 01:20:08,599
Speaker 4: And here's the fun part.

1389
01:20:08,800 --> 01:20:12,720
Speaker 6: Sam spelled this out phonetically for me, Josh, But it's

1390
01:20:12,760 --> 01:20:15,400
Speaker 6: one of those cases where it's actually so much easier

1391
01:20:15,840 --> 01:20:17,680
Speaker 6: if you just read it the way it looks and

1392
01:20:17,840 --> 01:20:20,479
Speaker 6: don't try to do the phonetics at all for it.

1393
01:20:20,600 --> 01:20:22,960
Speaker 4: Okay, I'm going to say it, dia.

1394
01:20:24,439 --> 01:20:31,880
Speaker 6: Kuluum bega sivly nice kulom bega shfeely close, close enough.

1395
01:20:32,000 --> 01:20:33,280
Speaker 4: I think we'll get there.

1396
01:20:33,760 --> 01:20:37,120
Speaker 6: That's at the Siskel Film Center in Chicago next week.

1397
01:20:37,160 --> 01:20:39,640
Speaker 6: In addition to our Actors of the Century draft, we

1398
01:20:39,760 --> 01:20:45,360
Speaker 6: will have the next installment in our Andre Tarkowsky Marathon Stalker.

1399
01:20:45,439 --> 01:20:48,320
Speaker 4: Film Spotting is produced by Golden, Joe Desso and Sam

1400
01:20:48,439 --> 01:20:51,360
Speaker 4: Van Halgren. Without Sam and Golden Joe, this show wouldn't go.

1401
01:20:51,880 --> 01:20:55,519
Speaker 4: Our production assistant is Sophie Kempenard Special thanks to everyone

1402
01:20:55,640 --> 01:20:59,439
Speaker 4: at WB easy Chicago. Board information is available at wb

1403
01:20:59,560 --> 01:21:02,800
Speaker 4: easy dot or for films Spotty. I'm Josh Larson and

1404
01:21:02,840 --> 01:21:04,799
Speaker 4: I'm Adam Kempinar. Thanks for listening.

1405
01:21:05,000 --> 01:21:07,919
Speaker 7: This conversation can serve no purpose anymore.

1406
01:21:08,800 --> 01:21:09,320
Speaker 4: Good fine.

1407
01:21:26,000 --> 01:21:28,120
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