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

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

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Speaker 1: or at the link in the show description and use

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

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Speaker 1: to receive your discount.

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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?

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Speaker 4: Now?

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Speaker 2: No, Look, we're going to do this thing. We're going

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Speaker 2: to have a.

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Speaker 1: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 1: I'm Adam Kempanar and I'm Josh Larson.

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Speaker 5: He's got more inside of him than any man I've

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Speaker 5: ever met.

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Speaker 1: Who are you looking for? William Shakespeare, Paul meskal Is

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Speaker 1: Shakespeare and Jesse Buckley, his wife and Chloe Show's Hamnet

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Speaker 1: out now in limited release. Buckley seems like a locke

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Speaker 1: for a Best Actress nomination, But will she be among

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Speaker 1: our best performers of twenty twenty five?

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Speaker 6: Plus thoughts on Wake Up Dead Man, the Latest, Knives, Out,

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Speaker 6: Mystery That and more ahead on film Spotting.

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Speaker 1: Welcome to Film Spotting, Josh. We still have a fair

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Speaker 1: amount of recording ahead of us in December, yet our

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Speaker 1: Top ten Films of twenty twenty five round table is ahead.

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Speaker 1: That's always an epic recording. And of course this show

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Speaker 1: still to get into the can, so to speak. But

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Speaker 1: we did cross a finish line. We have submitted our

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Speaker 1: Chicago Film Critics Association ballots. The picks are in as

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Speaker 1: people are hearing this. The winners have actually been announced.

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Speaker 1: We'll get into all of that here in just a moment.

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Speaker 6: It has been a blur of a week for me, Adam.

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Speaker 6: I imagine similar similar to you just cramming all these

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Speaker 6: movies before that deadline. I think I think I saw

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Speaker 6: a movie tell me of this tracks with Timothy Shallomey

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Speaker 6: and George Clooney playing ping pong in a Moroccan desert.

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Speaker 3: Is that something I might have watched?

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Speaker 1: Yeah? I think it's my number three film of the year. Okay, good,

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Speaker 1: You're exactly right. Among the films we caught up with

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Speaker 1: in that Hayes before submitting our ballots, Ryan Johnson's Wake Up,

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Speaker 1: Dead Man and Knives Out Mystery and Chloe Shows Hamnet.

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Speaker 1: We will spend a few minutes on both of those

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Speaker 1: movies later in the show. We will also have poll results.

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Speaker 1: Listeners tell us their scene stealer of the year, and

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Speaker 1: we will have a new poll question. In fact, you

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Speaker 1: might say, Josh, the poll question of this year. We

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Speaker 1: want to know your film of twenty twenty five. Is

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Speaker 1: this a deeply flawed poll question. I mean, I don't

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Speaker 1: want to spoil it. We only have two choices for

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Speaker 1: the listeners.

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Speaker 6: Producer Sam is not messing around. He gets right to

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Speaker 6: the point. And yeah, looking at the Chicago Film Critics nominations,

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Speaker 6: at least, as you said, we're in the past here.

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Speaker 6: We don't know the winner yet. But looking at those nominations,

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Speaker 6: I think Sam was onto something with the two films

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Speaker 6: he picked.

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Speaker 1: He was maybe a bit of four shadowing because he

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Speaker 1: looked into his crystal ball or something. He put that

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Speaker 1: pull together before that's all right, nominations were announced. A

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Speaker 1: quick reminder, Film Spotting is now available as a video podcast.

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Speaker 1: If you're a Spotify listener, you can toggle between video

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Speaker 1: and audio. You can also watch the show on YouTube,

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Speaker 1: YouTube dot com slash film spotting, and for a link

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Speaker 1: to all of our episodes, you can go to film

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Speaker 1: spotting dot net slash episodes.

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Speaker 6: Do you like Adam for the holiday mood, I added

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Speaker 6: some decorp here. I don't know how often it'll show

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Speaker 6: up on the video. It's got to go a little wider.

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Speaker 6: But you know, now that we're a professional show, I

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Speaker 6: thought i'd add a little.

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Speaker 1: Holiday spare it very subtle. I appreciate it. First up,

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Speaker 1: we are going to share our favorite performances of twenty

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Speaker 1: twenty five. We talked about earlier are Chicago Film Critics

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Speaker 1: Association ballots, and this is how we approach this show

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Speaker 1: every December. We don't just go through and five down

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Speaker 1: to one or whatever mention all of our favorite actors

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Speaker 1: and actresses lead supporting. We kind of go through our

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Speaker 1: ballots and we share our picks. And one way I

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Speaker 1: thought we might tackle it this year, Josh, we'll see

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Speaker 1: if you are willing to play along. I thought that

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Speaker 1: I would go ahead and list the nominees how the

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Speaker 1: initial ballot came out in that Chicago Film Critics Association

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Speaker 1: voting now Here again, listeners are in the future, we're

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Speaker 1: in the past. They know the winners. You can go

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Speaker 1: to Chicago Filmcritics dot org and see not only the

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Speaker 1: fullest de nominees, but the winners, or you can find

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Speaker 1: the link in the notes for this show, in the

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Speaker 1: podcast description or at filmspotting dot net. But we are

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Speaker 1: in the past. We only know the nominees, and at

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Speaker 1: this point, as we're recording, we have maybe about forty

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Speaker 1: eight hours left to do any final bit of homework

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Speaker 1: and get that final ballot in. So we're gonna take

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Speaker 1: supporting actress, then supporting actor, then lead actor, lead out actress,

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Speaker 1: and I thought we would go through I'll mention the nominees,

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Speaker 1: and then we can see where we diverge, see where

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Speaker 1: we have overlap, and kind of highlight some of the

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Speaker 1: key performances of the year. Does that make sense to you.

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Speaker 6: I love this because mainly it's going to keep this

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Speaker 6: show from being five hours. Yes, I have so much

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Speaker 6: to say about the great performances from this year. As

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Speaker 6: I was putting my notes together, I thought, oh boy,

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Speaker 6: here we go again. Look what we've done to ourselves.

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Speaker 6: So yeah, this will streamline it. I might ask for permission,

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Speaker 6: you know, to say a word or two about the nominees.

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Speaker 6: If there's someone who isn't on that nominee list, of course, yes,

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Speaker 6: make my ballot to throw in. Yes, you know, as

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Speaker 6: far as the Chicago critics are concerned a belated nod

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Speaker 6: to their performance. But yeah, yeah, I like this this procedure.

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Speaker 6: Let's do it.

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Speaker 1: Yeah, we have some free reign here within the categories.

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Speaker 1: But again, I thought we would start with the nominees

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Speaker 1: here according to the Chicago Film Critics Association anyway, and

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Speaker 1: we are starting with Best Supporting Actress. There are six

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Speaker 1: usually five, so that means there was a tie. We

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Speaker 1: have Odessa a Zion from Marty Supreme, Nina hass Heda

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Speaker 1: inga Ibbs, doctor Lilias from Sentimental Value, Amy Madigan Weapons One,

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Speaker 1: Me Musaku Sinners, and Teyana Taylor from One Battle after Another. Josh,

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Speaker 1: the flora is yours?

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Speaker 3: All right?

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Speaker 6: Let me share quickly my picks in common with those nominees.

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Speaker 6: Odessa Azion from Marty Supreme. Holy Kyle, I mean just

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Speaker 6: leapt out of the movie. You could consider putting her

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Speaker 6: in the poll. We're going to reveal the results of

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Speaker 6: Seen Steelers of the Year. We hadn't seen this before

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Speaker 6: Sam put together that poll, but I think Seen Steelers

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Speaker 6: applies to her. She's so good there. I also had

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Speaker 6: Wunmimsaku from Sinners on my ballot. The one I want

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Speaker 6: to talk about quickly though. Here is another lister with

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Speaker 6: these finalists, Teana Taylor in One Battle after Another. I

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Speaker 6: think I said in our review Adam that I didn't

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Speaker 6: quite know what to make of her performance yet. It

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Speaker 6: was just one element that was still bewildering, but in

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Speaker 6: an intriguing way to me. She plays Perfidia Beverly Hills,

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Speaker 6: very controversial character. It's turned out in the months since

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Speaker 6: the movie came out. She basically anchors the opening third

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Speaker 6: of one battle after another her French seventy five revolutionaries.

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Speaker 6: They're engaged in these guerrilla tactics to subvert an extremist

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Speaker 6: US government. And she also plays sexual manipulation, especially against

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Speaker 6: Sean Penn's Colonel perverted Colonel, which is one element that's

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Speaker 6: been called into question by critics. So I want to

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Speaker 6: heartily recommend a great article by Chicago critic Angelica Jade

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Speaker 6: Bestian in Vulture on this topic. It's titled Black Actresses

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Speaker 6: are Carrying One Battle after and we'll link to that

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Speaker 6: in the show notes. Let me just read a little

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Speaker 6: bit from this article by Angelica. This is Angelica. Perfidia

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Speaker 6: is a contradiction nestled in thorns, selfish and prickly and bold,

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Speaker 6: Taylor brings to life a kind of flawed rendering of

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Speaker 6: black womanhood that I have longed to see in cinema.

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Speaker 6: Then later, she writes this, Taylor's performance doesn't ask you

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Speaker 6: to root for Perfidia so much as be galvanized by her.

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Speaker 6: So I'm not the one to affirm or legitimize this

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Speaker 6: take necessarily, but it did tap into a lot of

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Speaker 6: what I was trying to wrap my head around while

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Speaker 6: watching Taylor in one battle after another. I think this

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Speaker 6: speaks to why the character is such a landmine, but

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Speaker 6: also to how her explosive performance is a purposeful part

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Speaker 6: of that unnerving, unsettling quality. So I didn't want Tana

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Speaker 6: Taylor and her performance to get lost amidst all the

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Speaker 6: debate and all the praise that's otherwise going around for

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Speaker 6: one battle after another. It was extremely heartening to see

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Speaker 6: that she did make the ballot for the Chicago Film

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Speaker 6: Critics as well.

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Speaker 1: I have not seen that article yet, and I'm really

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Speaker 1: glad that you pointed it out. I will be clicking

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Speaker 1: on that link. I've been waiting for Angelica's take on

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Speaker 1: that character and the movie that is the part of

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Speaker 1: the film that controversy that I alluded to at the

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Speaker 1: end of our review, but we didn't get a chance

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Speaker 1: to dive into. Maybe we'll talk about it more. I'm

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Speaker 1: guessing one battle after another will come up on our

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Speaker 1: Top ten Films of the Year round table. My best

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Speaker 1: supporting actress picks, I have three crossover choices with those six.

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Speaker 1: I have Amy Madigan, she was number five on my ballot.

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Speaker 1: I have IBB's daughter Lilias from Sentimental Value, she was

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Speaker 1: number four on my ballot. And I have Nina Haas

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Speaker 1: Josh from HETA. I'm not going to tell you where

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Speaker 1: I have her just yet, but she's on the ballot,

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Speaker 1: so do I.

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Speaker 6: I forgot to mention her as crossover picks, So yeah,

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Speaker 6: we're aligned there.

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Speaker 1: So the two exceptions or the three exceptions, the three

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Speaker 1: that are on the CFCA ballot that didn't make my

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Speaker 1: ballot are one Meme Masaku, but I had her at

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Speaker 1: number six, effectively Odessa A. Zion. I also really like

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Speaker 1: Gwyneth Paltrow and Marty Supreme. I think they both deserve consideration,

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Speaker 1: and yes, Teana Taylor. All three of those four, if

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Speaker 1: you count Paltrow, were in my six through ten, so

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Speaker 1: great picks there by our colleagues in the CFCA, the

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Speaker 1: choices for me. The two that I had in instead,

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Speaker 1: again we only submitted five were both actresses that I

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Speaker 1: singled out back in July when we did our best

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Speaker 1: performances of the year so far. This was a bit

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Speaker 1: of bonus content that we shared exclusively with Film Spotting

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Speaker 1: family members. I put Marisa Abela from Black Bag on

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Speaker 1: my ballot's holding her own here, Josh, against Michael Fassbender

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Speaker 1: and Kate Blanchette. You can start there, but in this

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Speaker 1: whole ensemble, she's the standout for me, with Tom Burke

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Speaker 1: and Naomi Harris. And I said it then, but the

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Speaker 1: film's two best scenes don't just involve her. They're great

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Speaker 1: largely because of her George that's the Fastbender character, and

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Speaker 1: Clarissa Abla's character tried to adjust the satellites, and then

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Speaker 1: her portions of the polygraph test that entire montage, which

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Speaker 1: is so wonderful.

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Speaker 6: Have you ever physically assaulted a significant other during an argument?

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Speaker 5: Oh?

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Speaker 2: You know I have again?

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Speaker 3: Yes or no?

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Speaker 1: Yes?

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Speaker 5: Enthusiastically.

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Speaker 1: Credit has to go to David Kepp and Steven Soderberg

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Speaker 1: here the writers and the director. I believe Soderbergh did

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Speaker 1: co write it as well. I could be wrong. I'll

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Speaker 1: have to fact check that Soderberg obviously directed Black Bag.

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Speaker 1: But this combination of intelligence, the fearlessness, and it's not

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Speaker 1: exactly vulnerable ability. I was trying to think of another

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Speaker 1: word for what I think A Bayla shows as Clarissa,

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Speaker 1: and it's a sensitivity. It's really a lack of inhibition.

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Speaker 1: But she's so sharp and so memorable. That's why, even

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Speaker 1: though this film came out so early in the year,

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Speaker 1: she made my ballot. Josh, I think you fact checked me?

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Speaker 5: Am?

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Speaker 1: I am? I right? Did he co write it or

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Speaker 1: just direct it?

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Speaker 6: Sodaburgh, Yeah, it looks like Kep has the main credit there,

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Speaker 6: so Soderberg not listed. Yeah, because I as much as

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Speaker 6: I love Black Bag, that was in the mix for

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Speaker 6: the screenwriting category for me. So I remember looking up

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Speaker 6: that as well, and A Bayla is great and it

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Speaker 6: black Bag man, as I said when we reviewed it,

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Speaker 6: maybe my favorite Soderberg movie in years, and was thinking

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Speaker 6: it might show up on a lot of categories, and

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Speaker 6: a lot of categories on my ballot. It showed up

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Speaker 6: in a couple but a Bayla didn't quite make the

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Speaker 6: cut for me, even though she is great.

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Speaker 1: It was tough to leave off one Mi Musaku for Sinners,

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Speaker 1: but I did fine room for Hailey Steinfeld. I think

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Speaker 1: I responded to something similar with a Baylist Clarissa in

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Speaker 1: Steinfeld's Mary from Sinners. This intelligence, this fearlessness. She's uninhibited,

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Speaker 1: but as there is more romantic entanglement there, she also

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Speaker 1: exudes more actual vulnerability. And they are both women who

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Speaker 1: make the very confident, very in control male protagonists of

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Speaker 1: their films uncomfortable. They're disruptors, and I love that about

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Speaker 1: both of these performances. They're very charged performances that I

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Speaker 1: think are very different, but they're also perfectly pitched for

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Speaker 1: their respective movies. And Josh, I didn't think about this

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Speaker 1: at all when I was putting together this ballad. It

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Speaker 1: really was only when I was assembling these notes and

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Speaker 1: preparing for this show. But the last movie, I think

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Speaker 1: the last movie I watched. So maybe a little bit

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Speaker 1: of recency bias here, But I don't think you're going

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Speaker 1: to question my pa. I know you're not, because she

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Speaker 1: was on your ballot the last movie I watched before

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Speaker 1: submitting my Ballot was a film you caught up with

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Speaker 1: and recommended a few months ago when it came out.

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Speaker 1: And that is Nia da Costa's heada. I just saw it,

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Speaker 1: and Nina Haass I have at number one. I have

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Speaker 1: her at number one, number one. So here again, fiercely

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Speaker 1: intelligent as the Professor doctor Loveborg, seductive. She's a woman

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Speaker 1: who makes every man around her uncomfortable in a very

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Speaker 1: good way. Haas when she walks into a room, Haas

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Speaker 1: with that dress. The costuming is so crucial to this film.

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Speaker 6: Specially that dress, agreed.

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Speaker 1: Hawas, and that dress own every single space that she

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Speaker 1: walks into. She's completely unapologetic and only someone I think,

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Speaker 1: really with the presence and the command of Has could

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Speaker 1: pull off Loveburgs as effectively as she does, but also

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Speaker 1: as movingly as she does, because what Has also conveys

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Speaker 1: is here, I'm going to go to vulnerability, but I'm

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Speaker 1: going to push it farther. It's or push it further.

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Speaker 1: It's it's fragility. Every step that she takes, every word

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Speaker 1: that comes out of her mouth, every choice she makes,

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Speaker 1: it seems like even though she does have that confidence

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Speaker 1: in that bravado behind it and it's earned. It feels

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Speaker 1: like she's on a precipice. There is a desperation about her,

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Speaker 1: and it that desperation that has is playing. It can't

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Speaker 1: override her power, but the power can't completely dominate the

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Speaker 1: desperation either, And we can't see her as a pathetic

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Speaker 1: character ever. It's a really tough balance. We have to

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Speaker 1: be like image and Poot's character. I think thea in

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Speaker 1: the film who's in love with her, where we're watching

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Speaker 1: her the entire time, both completely in awe of her

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Speaker 1: and also completely in terror. You wouldn't do as I say,

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Speaker 1: not where that is concerned.

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Speaker 5: Now, I think you should. It's ridiculous, it's silly, critty.

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Speaker 5: It's all right for fear, but not for you. You can

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Speaker 5: write your books with them and teach with them at

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Speaker 5: the university, and you might even be able to get

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Speaker 5: jobs alongside them, but they never really respect you if

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Speaker 5: they think you can't do a life of boy do

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Speaker 5: please do sou Greenwitz face elier when you ask for

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Speaker 5: a soft drink like a soft woman, what did you say?

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Speaker 7: Condemned?

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Speaker 2: Well?

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Speaker 6: And it's the journey of the performance as well. It's

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Speaker 6: not necessarily linear, going from point a to point B.

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Speaker 6: It's more back and forth along between these qualities you're

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Speaker 6: talking about. But yeah, she arrives as a goddess descending

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Speaker 6: from Mount Olympus, and then from that point on, it's

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Speaker 6: defending herself against u Tessa Thompson's head, who's chipping away

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Speaker 6: at that goddessness, you know. And so it's how she

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Speaker 6: deflects and reveals her insecurities that were there all along.

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Speaker 6: It's yeah, it's just it's an incredible performance. Can I

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Speaker 6: give you my number one though, who is actually the

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Speaker 6: outlier among my group, and that is Elizabeth Chisella from

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Speaker 6: on Becoming a Guinea Foul. This is a film I

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Speaker 6: praised way early in the year and will come up

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Speaker 6: later in other categories. But Chisella plays and Sansa, the

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Speaker 6: cousin to the main character played by Susan Charity. So

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Speaker 6: these cousins are reunited. They're brought together for their uncle's

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Speaker 6: funeral in Zambia. And what I love about this performance

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Speaker 6: is it makes us not a similar transition, but it

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Speaker 6: does make a transition that is along the lines of

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Speaker 6: what I'm talking about with Nina Has in that she

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Speaker 6: shows up as this comic relief you think she's going

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Speaker 6: to be an abrasive comic relief. She's drunk in her

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Speaker 6: first scene, She's got this dance sequence, she's joking around,

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Speaker 6: and you know, conditioned to movies that are not as

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Speaker 6: sophisticated as On Becoming a Guinea Fowl, you might think, oh, okay,

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Speaker 6: I know where she's slotted in. As this whole film

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Speaker 6: opens up to reveal dark secrets and deep meaning, and

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Speaker 6: Sansa is a crucial character in that, revealing her own

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Speaker 6: deep hurt, revealing some bravery along the way. And yeah,

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Speaker 6: it's just there's something fun about performances like Hoss, like

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Speaker 6: Josela and On Becoming a Guinea Fowl that flower as

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Speaker 6: the movie goes on and keep revealing new layers. I

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Speaker 6: think both of those do that. And so I had

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Speaker 6: Chosella at the top of my ballot.

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Speaker 1: Top of your ballad. She also was in consideration for me.

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Speaker 1: I have another list here of also considered. Jasela was

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Speaker 1: there along with some other fantastic actresses like Son ye

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Speaker 1: Jin from No Other Choice. We're gonna hear a little

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Speaker 1: bit more about that movie, probably not only on this show,

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Speaker 1: but on the Top ten show. Mariam Afshari from Jafar

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Speaker 1: Panahi's It was Just an accident song sung Blue. I

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Speaker 1: think Ella Anderson is a really crucial part of that film,

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Speaker 1: the daughter character to both Kate Hudson and Hugh Jackman's

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Speaker 1: character their husband and wife team. And is this thing

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Speaker 1: on the Bradley Cooper film Andrew Day really surprised me.

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Speaker 1: There surprised me because I'm not really familiar with her screenwork,

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Speaker 1: So she surprised me in that supporting turn as the

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Speaker 1: best friend to the Laura Dern character going through a

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Speaker 1: divorce and having our own marital difficulties with Bradley Cooper

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Speaker 1: his character in that film. So if you're not following

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Speaker 1: along with all these picks, we will list all of

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Speaker 1: these picks over at filmspotting dot Net. Just go to

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Speaker 1: lists and you can find all of our top fives there.

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Speaker 1: All of our best performances will be listed. There any

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Speaker 1: other choices, Josh under supporting actress that you want to

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Speaker 1: make sure you mention, I.

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Speaker 3: Think we're good.

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Speaker 6: I mean I did have Amy Managan as well in

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Speaker 6: my honorable mentions. And I'll just throw in Jenna Davis

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Speaker 6: from Megan two point zero, just giving just bringing that

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Speaker 6: Bonker's character to life in a non traditional way. Did

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Speaker 6: consider putting her on my bellot to she didn't quite

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Speaker 6: make the cut.

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Speaker 1: Okay, that brings us to Best Supporting Actor. Five nominees,

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Speaker 1: no ties this time, Benicio del Toro, one battle after another,

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Speaker 1: Jacob Elordi, Frankenstein, Delroy Lindo, Sinners, Sean Penn one battle

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Speaker 1: after another, and Stellin Scarsguard sentimental value.

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Speaker 6: All right, I went three for five this time, rather

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Speaker 6: than four for five, Benicio del Toro. I mean, I've

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Speaker 6: praised this performance plenty since the movie's release. I also

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Speaker 6: praised Delroy Lindo Sinners. I think we both kind of

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Speaker 6: predicted this in our initial review. Adam so very happy

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Speaker 6: to see him showing up here.

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Speaker 3: Jacob Elordi.

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Speaker 6: I don't know if we went into this enough in

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Speaker 6: our Frankenstein review. I think we were both so enamored

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Speaker 6: we might have said, let's just set this aside.

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Speaker 1: And I thought we did a deep dive.

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Speaker 3: Did we do a deep dive? I don't know.

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Speaker 1: Maybe I did, Maybe you saved it, maybe you held back.

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Speaker 6: All right, Well, bear with me if I'm repeating myself,

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Speaker 6: but I know I did mention his tenderness. I know

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Speaker 6: we touched on that, and mostly in his physicality, right,

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Speaker 6: the fact that rather than raging when he's put in chains,

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Speaker 6: the creature holds his head mournfully in his hands. I

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Speaker 6: don't think I called out this moment. Apologies again if

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Speaker 6: I did. But when he has been imprisoned in that

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Speaker 6: mortuary at the bottom of Victor's castle and there's this

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Speaker 6: gutter running down the middle of it, it's meant to

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Speaker 6: channel blood basically when things get really gruesome, but the

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Speaker 6: creature instead drops a leaf in the stream of water

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Speaker 6: that's currently running through it and just watches it. And

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Speaker 6: then it's not just the physicality though, because once language

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Speaker 6: becomes possible with the creature, which is, you know, true

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Speaker 6: to the book, not always true to most Frankenstein adaptations,

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Speaker 6: he gets this plaintive speech about living a merciless life

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Speaker 6: he calls it, and what it feels like to be feared,

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Speaker 6: to be hated and a LORDI pulls that off as well,

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Speaker 6: So it's not just this mute physical performance overall. I

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Speaker 6: know I like Frankenstein better than you, Adam, but I

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Speaker 6: fell for it. As Germel del Toro turning this Gothic

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Speaker 6: novel into a romantic vision, and I think Elordi's performance.

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Speaker 3: Is key to that.

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Speaker 6: So yeah, real quickly, I'll just round out the other

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Speaker 6: two on my ballot here, Michael Sarah the Phoenician scheme.

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Speaker 3: Holy moly, I.

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Speaker 6: Mean, what a what a fun performance. I thought for

401
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Speaker 6: sure he was a lot at number one until del

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Speaker 6: Toro showed up, and then at number five, I have

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Speaker 6: a sap rocky and highest Lois. I mean, do I

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Speaker 6: need to say anything more except that he goes toe

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Speaker 6: to toe with Dunzel Washington.

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Speaker 3: That gets you.

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Speaker 6: Yeah, that gets you a slot on my ballot.

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Speaker 1: Okay, so we have three picks in common, and I

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Speaker 1: have four overlaps with this. I had del Toro, I

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Speaker 1: had Lindo, I had a Lord as well. I had

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Speaker 1: him at number two, Josh, but I have I have

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Speaker 1: a different number one than you, but a number one

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Speaker 1: that is on the CFCA ballot. So I'll get to

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Speaker 1: that here in a second. The exception here, the one

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Speaker 1: that I don't have is Sean Penn. One battle after another,

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Speaker 1: and I guess I'm I'm pointing this out to say

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Speaker 1: I want to table it. I don't know how I

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Speaker 1: feel ultimately, do you know how you feel about the

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Speaker 1: Shawn Penn performance in One Battle. I don't think we

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Speaker 1: really got into that. And I love Penn as an actor.

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Speaker 1: I know he is. He is truly one of our

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Speaker 1: great actors and maybe the greatest of his generation. And

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Speaker 1: the more I think about that film and I try

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Speaker 1: to imagine that movie without that performance, I don't know

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Speaker 1: if it works. I don't know. I don't know if

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Speaker 1: the movie works as well as it does without what

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Speaker 1: Penn is doing there. So I guess on those terms,

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Speaker 1: I have to give it all the credit that it's getting,

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Speaker 1: and it deserves this spot. But there is something about it.

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Speaker 1: There's something about that, that heightened caricature nature, cartoonish nature

431
00:24:14,400 --> 00:24:17,880
Speaker 1: of the performance that is keeping me a little bit

432
00:24:18,000 --> 00:24:21,000
Speaker 1: distance from it in relation to other performances that I

433
00:24:21,200 --> 00:24:22,400
Speaker 1: that I like better this year.

434
00:24:22,840 --> 00:24:25,080
Speaker 6: Yeah, that's the good caveat is. I don't think either

435
00:24:25,080 --> 00:24:27,600
Speaker 6: of started saying it didn't work at all. I think

436
00:24:27,640 --> 00:24:30,439
Speaker 6: you're onto something. It's not even on my I have

437
00:24:30,480 --> 00:24:34,120
Speaker 6: a very long list of supporting actor candidates. Actually it's

438
00:24:34,119 --> 00:24:37,080
Speaker 6: a really strong category, so that may be part of it.

439
00:24:37,080 --> 00:24:39,280
Speaker 6: It never occurred to me to put him on there,

440
00:24:39,800 --> 00:24:43,360
Speaker 6: even though I have no issue with the performance. I

441
00:24:43,600 --> 00:24:49,600
Speaker 6: think if he had maybe twenty percent less screen time,

442
00:24:50,560 --> 00:24:53,520
Speaker 6: he might have made my list. Does that make sense?

443
00:24:53,880 --> 00:25:01,000
Speaker 6: There's something about that performance as it stands the amount

444
00:25:01,080 --> 00:25:04,560
Speaker 6: we get, you need to dole it out carefully for

445
00:25:04,640 --> 00:25:07,040
Speaker 6: it to be among maybe the best of the year,

446
00:25:07,560 --> 00:25:12,000
Speaker 6: and perhaps it leans slightly towards we get too much

447
00:25:12,680 --> 00:25:15,679
Speaker 6: of Sean Penn in that performance in one battle after another.

448
00:25:16,520 --> 00:25:18,800
Speaker 6: For me, I don't know if that explains it, but

449
00:25:18,840 --> 00:25:20,080
Speaker 6: I think that's where I'm at.

450
00:25:20,320 --> 00:25:24,439
Speaker 1: The one that I inserted instead that I had on

451
00:25:24,480 --> 00:25:26,520
Speaker 1: my ballot, and I want to wait to discuss this

452
00:25:26,600 --> 00:25:29,720
Speaker 1: a little bit more when we get to this movie.

453
00:25:29,800 --> 00:25:34,440
Speaker 1: I put on Paul Meskel for Hamnett, the one performance

454
00:25:34,800 --> 00:25:38,760
Speaker 1: that I overlapped with the CFCA that I haven't mentioned

455
00:25:38,800 --> 00:25:40,639
Speaker 1: yet I had at number one. And I want to

456
00:25:40,680 --> 00:25:44,800
Speaker 1: talk just a little bit more about Stellin Scarsgard as

457
00:25:44,840 --> 00:25:49,960
Speaker 1: Gustav Borg in Yokumtrier's sentimental value. I did just see

458
00:25:49,960 --> 00:25:53,840
Speaker 1: this today, Josh, and this does seem insane. I would

459
00:25:53,840 --> 00:25:56,359
Speaker 1: have never guessed this, But did you know that of

460
00:25:56,400 --> 00:26:01,000
Speaker 1: the twenty three Oscar categories, there's only one that has

461
00:26:01,160 --> 00:26:05,520
Speaker 1: never included a nominee from an international film and it's

462
00:26:05,600 --> 00:26:09,720
Speaker 1: Best Supporting Actor. So when stellin Scarsguard almost certainly gets

463
00:26:09,840 --> 00:26:12,760
Speaker 1: a nomination for this film, he will he will be

464
00:26:12,880 --> 00:26:17,320
Speaker 1: the first in this category, the first international Best Supporting Actor.

465
00:26:17,320 --> 00:26:19,760
Speaker 6: No, that's strange, Yeah it is.

466
00:26:20,240 --> 00:26:24,080
Speaker 1: So he plays in this film a director who's a

467
00:26:24,160 --> 00:26:27,200
Speaker 1: strange from his daughters, one of which is an actress,

468
00:26:27,640 --> 00:26:31,000
Speaker 1: and he's hoping to make his swan song that will

469
00:26:31,040 --> 00:26:35,320
Speaker 1: also serve as an opportunity for reconciliation with that daughter.

470
00:26:35,560 --> 00:26:40,400
Speaker 1: Perhaps we have seen variations Josh on this movie hundreds

471
00:26:40,440 --> 00:26:45,800
Speaker 1: of times, sometimes with a similar artist an actress, or

472
00:26:45,840 --> 00:26:50,040
Speaker 1: director and actress like scenario, and the word sentiment is

473
00:26:50,160 --> 00:26:54,440
Speaker 1: right there in the title. Fortunately, Yoakam Trier is too

474
00:26:54,480 --> 00:26:59,320
Speaker 1: smart a filmmaker to fall prey to sentimentality, and scars

475
00:26:59,320 --> 00:27:04,240
Speaker 1: Guard doesn't let any of it seep into the performance either.

476
00:27:05,280 --> 00:27:12,040
Speaker 1: His character is distant, he's detached, he's certainly solipsistic. He

477
00:27:13,000 --> 00:27:19,679
Speaker 1: exudes characteristics of a selfish artist, but he's also not cold.

478
00:27:20,240 --> 00:27:25,000
Speaker 1: He's not unfeeling either. And despite knowing how good he

479
00:27:25,080 --> 00:27:29,280
Speaker 1: is as an actor from other performances and my respect

480
00:27:29,320 --> 00:27:33,679
Speaker 1: for Trier as a filmmaker, I somehow kept waiting for

481
00:27:34,440 --> 00:27:38,000
Speaker 1: this character. And I suppose then Scarsgard's performance to fall

482
00:27:38,040 --> 00:27:41,280
Speaker 1: into this cliche version of this character that I had

483
00:27:41,320 --> 00:27:46,920
Speaker 1: in my head. Charismatic, the charismatic artist, the tempestuous director.

484
00:27:47,280 --> 00:27:51,760
Speaker 1: He's arrogant, he's older, right, so of course he's probably

485
00:27:51,840 --> 00:27:56,040
Speaker 1: too problematic, and he's embarrassing even perhaps, And I think

486
00:27:56,040 --> 00:27:59,399
Speaker 1: you can argue that there are shades of all of

487
00:27:59,400 --> 00:28:02,800
Speaker 1: those things I just said in this character, but that's

488
00:28:02,880 --> 00:28:09,320
Speaker 1: just it shades. He's a very nuanced human being, and

489
00:28:09,880 --> 00:28:15,560
Speaker 1: the performance that Scarsgard gives doesn't insist on his character's

490
00:28:16,119 --> 00:28:21,120
Speaker 1: worthiness for redemption. That's what lingers with me about that

491
00:28:21,200 --> 00:28:27,920
Speaker 1: performance in a film that is overflowing with wonderful performances.

492
00:28:29,160 --> 00:28:30,880
Speaker 6: Man, Adam, I'm just gonna have to take your word

493
00:28:30,920 --> 00:28:34,000
Speaker 6: on this one. I am so left out when it

494
00:28:34,040 --> 00:28:37,560
Speaker 6: comes to sentimental value. Just cannot see it. There's no

495
00:28:37,680 --> 00:28:41,240
Speaker 6: way for me to see it. Neon distributors are so

496
00:28:41,360 --> 00:28:45,000
Speaker 6: good about giving those actual physical disc packages every year,

497
00:28:45,400 --> 00:28:49,840
Speaker 6: which is wonderful, but that's sitting back home in Chicago

498
00:28:50,000 --> 00:28:53,640
Speaker 6: and it's not playing anywhere here in Scotland. So I'm

499
00:28:53,680 --> 00:28:57,400
Speaker 6: seeing all of these nominations from different critics groups rolling

500
00:28:57,480 --> 00:29:00,200
Speaker 6: in and this is one man. By the looks of it,

501
00:29:00,240 --> 00:29:02,240
Speaker 6: I'm going to even miss for our top ten show.

502
00:29:02,360 --> 00:29:05,560
Speaker 6: So unfortunate. But everything you said knowing Truer or knowing

503
00:29:05,600 --> 00:29:07,120
Speaker 6: Sky's Guard rings true to me.

504
00:29:07,600 --> 00:29:09,320
Speaker 1: So you want me to check and see what the

505
00:29:09,360 --> 00:29:12,720
Speaker 1: postage is on sending my kneeon box over to Scotland.

506
00:29:13,160 --> 00:29:15,600
Speaker 1: Only probably two and fifty bucks.

507
00:29:15,400 --> 00:29:17,600
Speaker 6: If the film spotting budget allows. I would love that.

508
00:29:17,800 --> 00:29:18,760
Speaker 3: Yes overnight, O.

509
00:29:18,800 --> 00:29:22,040
Speaker 1: Yes, overnight. Yes, I'll look into that. I'm sure that

510
00:29:22,040 --> 00:29:24,680
Speaker 1: won't jack up the price at all. Are there any

511
00:29:24,720 --> 00:29:27,640
Speaker 1: other names that we haven't mentioned that you don't want

512
00:29:27,640 --> 00:29:28,800
Speaker 1: to leave out? Josh?

513
00:29:28,960 --> 00:29:29,760
Speaker 3: I mean William H.

514
00:29:29,800 --> 00:29:34,680
Speaker 6: Macy and Train Dreams was probably my number six, just

515
00:29:35,080 --> 00:29:39,920
Speaker 6: a wonderful performance there. And the other one I'll through

516
00:29:39,920 --> 00:29:43,600
Speaker 6: out there is Archie Mattoquay in the very small film Lurker,

517
00:29:43,720 --> 00:29:47,440
Speaker 6: which is a Golden Brick contender. Actually he plays the

518
00:29:47,480 --> 00:29:52,320
Speaker 6: pop star in that film and is quite good. So

519
00:29:52,480 --> 00:29:54,760
Speaker 6: those were two that were kind of hovering around the edge,

520
00:29:55,280 --> 00:29:57,040
Speaker 6: just outside of my final ballot.

521
00:29:57,240 --> 00:29:59,560
Speaker 1: I'm glad you said that you had such a long list.

522
00:29:59,600 --> 00:30:01,440
Speaker 1: I think this this is the category where I had

523
00:30:01,560 --> 00:30:04,640
Speaker 1: my longest list of people that I was at least

524
00:30:04,840 --> 00:30:07,720
Speaker 1: giving some consideration to. And when I look at these

525
00:30:07,800 --> 00:30:11,600
Speaker 1: next six choices here, Josh, the honorable mentions, they could

526
00:30:11,640 --> 00:30:14,720
Speaker 1: be my top five. It kills me. When I saw

527
00:30:14,760 --> 00:30:18,040
Speaker 1: Train Dreams, I was sure that William H. Macy was

528
00:30:18,080 --> 00:30:21,200
Speaker 1: not only going to be on my Best Supporting Actor ballot,

529
00:30:21,320 --> 00:30:23,600
Speaker 1: I thought he was probably going to win it. And

530
00:30:23,600 --> 00:30:27,120
Speaker 1: now here he is at number six, and he's in

531
00:30:27,160 --> 00:30:32,200
Speaker 1: this grouping with Andrew Scott from Blue Moon and with Yes.

532
00:30:32,320 --> 00:30:34,440
Speaker 1: I think he's that good in this film, a movie

533
00:30:34,480 --> 00:30:37,520
Speaker 1: that everybody overlooked this year except the two of us.

534
00:30:37,520 --> 00:30:39,760
Speaker 1: We'll see if we give it enough credit here at

535
00:30:39,760 --> 00:30:43,120
Speaker 1: the end of the year. Fully, Joel Petrichis in his

536
00:30:43,280 --> 00:30:49,200
Speaker 1: film Volcani Zadora is really really good asap Rocky, Josh,

537
00:30:49,280 --> 00:30:52,000
Speaker 1: I'm with you. Not only good and highest to Lois,

538
00:30:52,440 --> 00:30:55,080
Speaker 1: but in if I had legs, I'd kick you. I

539
00:30:55,120 --> 00:30:58,040
Speaker 1: didn't even recognize him at first when he appeared on screen,

540
00:30:58,440 --> 00:31:02,160
Speaker 1: and he's great there. I like Michael Sarah, you know,

541
00:31:02,480 --> 00:31:05,240
Speaker 1: I like him as much as you do in that film,

542
00:31:05,240 --> 00:31:07,440
Speaker 1: even though you like that film a bit more than

543
00:31:07,480 --> 00:31:10,160
Speaker 1: I do. The Phoenician scheme and We're going to talk

544
00:31:10,160 --> 00:31:13,360
Speaker 1: about it a bit later, but I'm gonna go ahead

545
00:31:13,400 --> 00:31:17,160
Speaker 1: and throw Daniel Craig for Wake Up dead Man into

546
00:31:17,160 --> 00:31:22,000
Speaker 1: this category. My favorite turn by him as Benoit Blanc.

547
00:31:22,200 --> 00:31:25,720
Speaker 1: I think he's worthy, okay as well. A reminder, you

548
00:31:25,720 --> 00:31:29,080
Speaker 1: can see all of our choices over at film spotting

549
00:31:29,200 --> 00:31:31,760
Speaker 1: dot net slash lists, and we do have more picks

550
00:31:31,960 --> 00:31:37,760
Speaker 1: ahead movies you might be able to check out for

551
00:31:37,800 --> 00:31:41,840
Speaker 1: free right now as a Regal Unlimited member. Marty Supreme

552
00:31:42,200 --> 00:31:45,200
Speaker 1: number nine on Alison Wilmore's list, an eleven through twenty.

553
00:31:45,360 --> 00:31:49,120
Speaker 1: Pick for me incredible performance from Timothy Shallomey that is

554
00:31:49,200 --> 00:31:53,000
Speaker 1: playing right now at Regal. And we've talked a little

555
00:31:53,040 --> 00:31:56,200
Speaker 1: bit about some of these picks. We've highlighted some of

556
00:31:56,240 --> 00:32:00,760
Speaker 1: these repertory movies, the limited engagements Josh that has been

557
00:32:01,360 --> 00:32:04,680
Speaker 1: showing at some of their theaters, and I'm looking at

558
00:32:04,920 --> 00:32:09,160
Speaker 1: rgmovies dot com and they have a limited engagement right

559
00:32:09,200 --> 00:32:16,400
Speaker 1: now for It's what is it? It's fortieth anniversary. It's thirtieth, Okay,

560
00:32:16,440 --> 00:32:20,640
Speaker 1: only thirty years. Shouldn't age it like that thirtieth anniversary

561
00:32:21,040 --> 00:32:24,760
Speaker 1: of a movie? I somehow I can't believe I've been

562
00:32:24,720 --> 00:32:29,040
Speaker 1: admitting this. I have somehow never seen this film, despite

563
00:32:29,040 --> 00:32:33,480
Speaker 1: the fact that it stars two incredible actresses, including one

564
00:32:33,480 --> 00:32:37,360
Speaker 1: who I've always claimed to be a huge, huge fan of.

565
00:32:37,920 --> 00:32:40,680
Speaker 1: And I may have to rectify this now by seeing

566
00:32:40,680 --> 00:32:42,720
Speaker 1: it on the big screen. Getting a chance to see

567
00:32:42,760 --> 00:32:45,920
Speaker 1: it on the big screen at a Regal Cinema. Sense

568
00:32:45,960 --> 00:32:47,520
Speaker 1: and Sensibility.

569
00:32:48,360 --> 00:32:49,640
Speaker 3: Angling way to do it.

570
00:32:49,920 --> 00:32:53,520
Speaker 1: Great director too, Kate Winslett, the actress I'm referring to,

571
00:32:53,560 --> 00:32:57,000
Speaker 1: the great Emma Thompson. Never seen Sense and Sensibility. And

572
00:32:57,080 --> 00:33:01,040
Speaker 1: if you're like me, maybe you're embarrassed about it. You

573
00:33:01,080 --> 00:33:03,520
Speaker 1: can check that out now at Regal Cinemas and maybe

574
00:33:03,520 --> 00:33:07,640
Speaker 1: see it for free with that Regal Unlimited membership. Regal

575
00:33:07,720 --> 00:33:10,720
Speaker 1: Unlimited is the all you can watch movie subscription pass

576
00:33:10,760 --> 00:33:13,440
Speaker 1: that pays for itself in just two visits, and Regal

577
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Speaker 1: is offering film spotting listeners endless movies for less. All

578
00:33:17,120 --> 00:33:18,680
Speaker 1: you have to do is sign up using the code

579
00:33:18,720 --> 00:33:21,840
Speaker 1: film Spot twenty five. That's film Spot twenty five, and

580
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581
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582
00:33:29,960 --> 00:33:32,920
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583
00:33:33,200 --> 00:33:37,760
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584
00:33:37,760 --> 00:33:40,960
Speaker 1: get see any standard two D movie anytime, no blockout

585
00:33:41,000 --> 00:33:44,720
Speaker 1: dates or restrictions. We encourage you to sign up now

586
00:33:44,760 --> 00:33:47,720
Speaker 1: in the regal app or just click the link in

587
00:33:47,840 --> 00:33:51,520
Speaker 1: this show description and use that code film spot twenty

588
00:33:51,520 --> 00:33:53,160
Speaker 1: five to receive your discount.

589
00:33:58,720 --> 00:34:01,240
Speaker 6: For giving out accolades this show, Adam, let's give out

590
00:34:01,240 --> 00:34:05,320
Speaker 6: some thanks as well to our Film Spotting Family members,

591
00:34:05,440 --> 00:34:09,960
Speaker 6: especially family member Laura who's in Paris, France, for joining

592
00:34:10,000 --> 00:34:14,000
Speaker 6: the Film Spotting Family. Now, Laura's letterbox handle, this is

593
00:34:14,000 --> 00:34:16,719
Speaker 6: getting a little tricky. It's it's with a W. It's

594
00:34:16,760 --> 00:34:20,800
Speaker 6: Laura with a W. So lauwa lawa?

595
00:34:21,000 --> 00:34:21,640
Speaker 3: Is Is that?

596
00:34:22,560 --> 00:34:23,600
Speaker 1: Like? Sure?

597
00:34:23,640 --> 00:34:25,080
Speaker 3: Perhaps how she pronounces it?

598
00:34:25,840 --> 00:34:26,359
Speaker 1: I don't know.

599
00:34:26,640 --> 00:34:30,160
Speaker 6: We should probably move on before we make Laura mad.

600
00:34:30,840 --> 00:34:33,799
Speaker 6: Here are some of the comments that she shared when

601
00:34:33,840 --> 00:34:37,160
Speaker 6: she did sign up for the Film Spotting Family. I've

602
00:34:37,160 --> 00:34:39,360
Speaker 6: been listening to the podcast for about fifteen years. I

603
00:34:39,360 --> 00:34:42,720
Speaker 6: think I discovered it via the A V Club's recommendations.

604
00:34:43,080 --> 00:34:45,399
Speaker 6: Film Spotting is one of the first podcasts I ever

605
00:34:45,440 --> 00:34:48,680
Speaker 6: listened to, and it remains one of my favorites. Intelligent reviews,

606
00:34:48,719 --> 00:34:53,080
Speaker 6: fun banter, incredible tension, with film spotting, madness and awfully

607
00:34:53,080 --> 00:34:56,760
Speaker 6: cruel and entertaining feature of the podcast, and always pushing

608
00:34:56,800 --> 00:34:59,080
Speaker 6: me to discover new films and directors. The best cinema

609
00:34:59,120 --> 00:35:01,880
Speaker 6: podcast on this planet.

610
00:35:02,040 --> 00:35:04,959
Speaker 1: Wow, Wow, We're on a T shirt or billboard or something.

611
00:35:05,000 --> 00:35:05,560
Speaker 3: No kidding.

612
00:35:06,320 --> 00:35:09,719
Speaker 6: We asked what movie do you credit with becoming a Cinophile?

613
00:35:09,880 --> 00:35:12,640
Speaker 6: For Laura, easy answer, two thousand and one, A Space

614
00:35:12,680 --> 00:35:16,120
Speaker 6: Odyssey I watched in the cinema at fifteen years old.

615
00:35:16,440 --> 00:35:17,360
Speaker 3: I already loved.

616
00:35:17,160 --> 00:35:19,120
Speaker 6: Cinema by that point, but two thousand and one was

617
00:35:19,160 --> 00:35:23,719
Speaker 6: a complete sensory and emotional revelation I had never experienced

618
00:35:23,800 --> 00:35:26,480
Speaker 6: anything like before. Since then, cinema has been one of

619
00:35:26,480 --> 00:35:29,359
Speaker 6: the most important things in my life, something that can

620
00:35:29,400 --> 00:35:32,719
Speaker 6: touch me to the core, rip my heart open and

621
00:35:32,880 --> 00:35:37,280
Speaker 6: put it back together. As far as books about movies

622
00:35:37,400 --> 00:35:41,200
Speaker 6: or movie making that Laura appreciated, she said, I'll name too,

623
00:35:41,320 --> 00:35:45,360
Speaker 6: the Stanley Kubrick Archives, published by Cashion. It made me

624
00:35:45,400 --> 00:35:48,799
Speaker 6: understand how Kubrick worked on his films, how meticulous he was,

625
00:35:48,880 --> 00:35:52,160
Speaker 6: and how he made use of every potentiality cinema can

626
00:35:52,200 --> 00:35:54,800
Speaker 6: offer as an art form. More importantly, how filmmaking is

627
00:35:54,840 --> 00:35:58,840
Speaker 6: a collective, essentially practical endeavor, far from just the realization

628
00:35:58,920 --> 00:36:00,760
Speaker 6: of one genius idea.

629
00:36:01,200 --> 00:36:01,680
Speaker 3: It could not.

630
00:36:01,680 --> 00:36:04,600
Speaker 6: Exist without the equal contribution of all its participants, and

631
00:36:04,680 --> 00:36:08,920
Speaker 6: Kubrick reminds us of this constantly. Another book Laura mentioned

632
00:36:09,040 --> 00:36:11,960
Speaker 6: is Roads to Nowhere, about Kelly Reikert, one of my

633
00:36:12,000 --> 00:36:15,920
Speaker 6: current favorite filmmakers, and insightful exploration of her work. I

634
00:36:15,920 --> 00:36:17,440
Speaker 6: can't recommend it highly enough.

635
00:36:17,680 --> 00:36:19,520
Speaker 1: How about that I didn't know there was a Kelly

636
00:36:19,560 --> 00:36:21,920
Speaker 1: Reikert book out there. It doesn't shock me. I just

637
00:36:22,000 --> 00:36:23,960
Speaker 1: wasn't aware of it, Josh, and it seems like one

638
00:36:24,000 --> 00:36:26,960
Speaker 1: that maybe we should pick up. We do. Thank Laura

639
00:36:27,160 --> 00:36:29,279
Speaker 1: for being a family member and for all of those

640
00:36:29,360 --> 00:36:32,919
Speaker 1: years of listening and for the hyperbolic comments about the show.

641
00:36:32,960 --> 00:36:35,239
Speaker 1: In addition to keeping us doing what we're doing, membership

642
00:36:35,280 --> 00:36:38,160
Speaker 1: comes with perks. You get to listen early in ad free,

643
00:36:38,320 --> 00:36:41,440
Speaker 1: you get our weekly newsletter, you get exclusive opportunities like

644
00:36:41,480 --> 00:36:43,799
Speaker 1: being part of the Film Spotting Family discord, and you

645
00:36:43,840 --> 00:36:47,040
Speaker 1: get our monthly bonus shows this month here in December,

646
00:36:47,200 --> 00:36:51,640
Speaker 1: once we finish recording that Epic Films of twenty twenty

647
00:36:51,640 --> 00:36:54,040
Speaker 1: five round table where we share our top ten movies

648
00:36:54,040 --> 00:36:56,239
Speaker 1: of the year, just for family members. You're going to

649
00:36:56,280 --> 00:37:00,319
Speaker 1: hear me and Josh and producer Sam, well, well, the

650
00:37:00,360 --> 00:37:02,120
Speaker 1: two of us, we're going to share our eleven through

651
00:37:02,160 --> 00:37:05,040
Speaker 1: twenty and then producer Sam's gonna jump on and he'll

652
00:37:05,080 --> 00:37:08,600
Speaker 1: regal us with whatever he thinks are his favorite films

653
00:37:08,600 --> 00:37:10,400
Speaker 1: of the year. I don't know if he'll get to

654
00:37:10,480 --> 00:37:15,040
Speaker 1: twenty or not, but he'll certainly have strong opinions about

655
00:37:15,080 --> 00:37:18,160
Speaker 1: his favorite films of the year regardless of what number

656
00:37:18,200 --> 00:37:18,680
Speaker 1: he gets to.

657
00:37:19,360 --> 00:37:21,640
Speaker 6: Yeah, that'll be fun to do with Sam. And this

658
00:37:21,719 --> 00:37:23,319
Speaker 6: is new for us, and you know what I like

659
00:37:23,360 --> 00:37:26,600
Speaker 6: about it, Adam, After we decided on it, It's given

660
00:37:26,640 --> 00:37:30,920
Speaker 6: me some relief about that number nine to ten choice

661
00:37:30,920 --> 00:37:32,880
Speaker 6: for my top ten list because now I have a

662
00:37:32,960 --> 00:37:36,799
Speaker 6: place to talk about those movies that are getting cut

663
00:37:36,840 --> 00:37:39,719
Speaker 6: in the eleven to twenty and we can share that

664
00:37:39,719 --> 00:37:42,560
Speaker 6: with Film Spotting Family members. I just I feel much

665
00:37:42,560 --> 00:37:46,040
Speaker 6: better about those those movies not making the you know, official,

666
00:37:46,160 --> 00:37:47,439
Speaker 6: completely arbitrary ten.

667
00:37:47,760 --> 00:37:50,160
Speaker 1: There you go. More about joining the Film Spotting Family

668
00:37:50,680 --> 00:37:54,399
Speaker 1: is at Filmspottingfamily dot com. And there is another way

669
00:37:54,400 --> 00:37:58,239
Speaker 1: you can help this show, an independently produced show which

670
00:37:58,239 --> 00:38:00,840
Speaker 1: Film Spotting is Take a minute to go to Apple

671
00:38:00,840 --> 00:38:03,640
Speaker 1: podcasts or Spotify and give us a quick rating or

672
00:38:03,680 --> 00:38:06,120
Speaker 1: give us a quick review. You don't even have to

673
00:38:06,160 --> 00:38:09,600
Speaker 1: say those super nice things that Laura did. You can

674
00:38:09,640 --> 00:38:11,560
Speaker 1: just give us a rating if you want. It doesn't

675
00:38:11,600 --> 00:38:13,560
Speaker 1: matter if you're brand new or you've been around for

676
00:38:13,680 --> 00:38:18,360
Speaker 1: all twenty years. It may help us reach new listeners.

677
00:38:18,440 --> 00:38:21,480
Speaker 1: Thank you again to all of our family members and

678
00:38:21,560 --> 00:38:26,040
Speaker 1: hopefully to some future family members. I have a purpose.

679
00:38:26,600 --> 00:38:30,400
Speaker 2: Okay, let me ask you something. Do you make money

680
00:38:30,400 --> 00:38:32,880
Speaker 2: at this little table tennis thing? Not yet?

681
00:38:33,280 --> 00:38:34,040
Speaker 4: Do you have a job.

682
00:38:35,040 --> 00:38:40,200
Speaker 1: No, we're getting back into our picks for the best

683
00:38:40,239 --> 00:38:43,680
Speaker 1: performances of twenty twenty five. That's a clip from Josh

684
00:38:43,680 --> 00:38:47,000
Speaker 1: Saftie's Marty Supreme. It doesn't come to theaters until Christmas Day,

685
00:38:47,400 --> 00:38:50,239
Speaker 1: but you heard star Timothy Shalomey. He's already in the

686
00:38:50,280 --> 00:38:54,919
Speaker 1: Best Actor conversation the Chicago Film Critics Association. Josh has

687
00:38:55,040 --> 00:38:58,320
Speaker 1: him in that conversation. When you look at the list

688
00:38:58,400 --> 00:39:05,480
Speaker 1: of nominees, they've got him there with some other formidable talents.

689
00:39:05,520 --> 00:39:08,359
Speaker 1: This is another one like Best Supporting Actress, where there

690
00:39:08,360 --> 00:39:12,239
Speaker 1: were six finalists, so a tie doesn't usually happen. And

691
00:39:12,280 --> 00:39:16,640
Speaker 1: here we have two categories with six picks. Chalome is

692
00:39:16,719 --> 00:39:19,640
Speaker 1: right there at the top. Well, we're going in alphabetical order,

693
00:39:19,800 --> 00:39:24,560
Speaker 1: but Chalome for Marty Supreme, DiCaprio, one battle after another,

694
00:39:25,040 --> 00:39:28,680
Speaker 1: Joel Edgerton for Trained dreams, Ethan Hawk for Blue Moon,

695
00:39:29,120 --> 00:39:33,160
Speaker 1: Michael B. Jordan for Sinners, and Vadner Mora for The

696
00:39:33,239 --> 00:39:37,319
Speaker 1: Secret Agent. So where did you have crossover, where did

697
00:39:37,360 --> 00:39:40,000
Speaker 1: you diverge? What would you like to highlight from the

698
00:39:40,000 --> 00:39:40,960
Speaker 1: best actor category?

699
00:39:41,040 --> 00:39:45,759
Speaker 6: Josh chal May is on my honorable mentions, Adam. I

700
00:39:45,760 --> 00:39:50,120
Speaker 6: think everyone who got a nomination from the Chicago Film

701
00:39:50,160 --> 00:39:53,920
Speaker 6: Critics is on my honorable mentions. Actually, I went in

702
00:39:54,040 --> 00:39:58,840
Speaker 6: completely different directions. So let me just run down from

703
00:39:59,080 --> 00:39:59,879
Speaker 6: from five to one.

704
00:40:00,080 --> 00:40:00,400
Speaker 3: Here.

705
00:40:01,360 --> 00:40:06,359
Speaker 6: I had at the number five slot, Sargi Lopez from Sirat,

706
00:40:06,400 --> 00:40:10,239
Speaker 6: which is a movie that hasn't come up at all.

707
00:40:10,280 --> 00:40:13,880
Speaker 6: I think it opened in the States in November.

708
00:40:14,040 --> 00:40:14,720
Speaker 3: At some point.

709
00:40:14,800 --> 00:40:16,920
Speaker 6: I just caught up with it in this blur, this

710
00:40:17,000 --> 00:40:21,200
Speaker 6: recent blur, and I'm still wrestling with the full meaning

711
00:40:21,600 --> 00:40:24,719
Speaker 6: of this existential exercise, to be honest with you, but

712
00:40:25,320 --> 00:40:27,240
Speaker 6: I do know. Let me tell you what it's about.

713
00:40:27,280 --> 00:40:30,120
Speaker 6: For listeners who are like, I've never heard of this movie,

714
00:40:30,160 --> 00:40:32,120
Speaker 6: It's about a father who goes to a rave in

715
00:40:32,120 --> 00:40:35,200
Speaker 6: the Moroccan desert in search of his missing daughter and

716
00:40:35,239 --> 00:40:38,200
Speaker 6: he ends up on the road with this caravan of

717
00:40:38,440 --> 00:40:42,920
Speaker 6: itinerant partiers. So yeah, I'm still trying to wrap my

718
00:40:42,960 --> 00:40:44,880
Speaker 6: mind around everything. But what I do know is that

719
00:40:44,920 --> 00:40:49,719
Speaker 6: Lopez as the father, he's bringing a human gravity to

720
00:40:49,920 --> 00:40:53,400
Speaker 6: this story that is crucial for me.

721
00:40:53,480 --> 00:40:54,399
Speaker 3: It's anchoring for.

722
00:40:54,400 --> 00:40:58,080
Speaker 6: Me because this movie heads towards more becomes more metaphorically

723
00:40:58,160 --> 00:41:02,919
Speaker 6: abstract as it goes on. Still hypnotic, that's a word

724
00:41:02,920 --> 00:41:05,480
Speaker 6: that comes to mind for me with Sirat. But the

725
00:41:05,480 --> 00:41:07,520
Speaker 6: thing I'm anchored to right now, to the point that

726
00:41:07,560 --> 00:41:12,200
Speaker 6: he made my list was Yeah, Sergie Lopez in that

727
00:41:12,280 --> 00:41:15,560
Speaker 6: performance as the father. Okay, My number four is Theodor

728
00:41:15,680 --> 00:41:19,480
Speaker 6: pellerin from Lurker, which I mentioned earlier, a Golden Brick contender.

729
00:41:19,960 --> 00:41:23,520
Speaker 6: He's the sort of stalker of the rising pop star

730
00:41:23,600 --> 00:41:26,799
Speaker 6: that Archie Mattocoy plays. When I talked about this on

731
00:41:26,840 --> 00:41:28,840
Speaker 6: the show earlier in the year, I described his nervous,

732
00:41:28,920 --> 00:41:33,120
Speaker 6: needy intensity, and it was strong enough and potent enough

733
00:41:33,120 --> 00:41:35,360
Speaker 6: for him to that performance to last for me to

734
00:41:35,440 --> 00:41:38,920
Speaker 6: the end of the year. Here Number three Denzel Washington

735
00:41:38,960 --> 00:41:40,799
Speaker 6: and highest to lowest. I think people are writing this

736
00:41:40,920 --> 00:41:43,800
Speaker 6: off as an old man performance and kind of corny.

737
00:41:44,280 --> 00:41:46,439
Speaker 6: I don't like to do this, but it's that's part

738
00:41:46,440 --> 00:41:50,400
Speaker 6: of the point, you know. It's like, yes, the point

739
00:41:50,400 --> 00:41:54,360
Speaker 6: of this movie is this losing his touch music mogul,

740
00:41:54,960 --> 00:41:59,000
Speaker 6: getting shocked back to life by this kidnapping, and then

741
00:41:59,280 --> 00:42:03,719
Speaker 6: finding his artistic integrity again regaining it and Denzil I

742
00:42:03,719 --> 00:42:06,840
Speaker 6: think brings a lot of subtlety and dexterity to walking

743
00:42:06,880 --> 00:42:09,360
Speaker 6: that line between corniness and awareness.

744
00:42:09,640 --> 00:42:12,360
Speaker 8: On the coorus, ad lib a little bit, lay it

745
00:42:12,400 --> 00:42:17,719
Speaker 8: a vocals differently, something like where's my money? I got

746
00:42:17,719 --> 00:42:19,200
Speaker 8: the four pound of sit in right head.

747
00:42:19,200 --> 00:42:21,360
Speaker 3: I don't try nothing funny.

748
00:42:20,719 --> 00:42:23,279
Speaker 8: Something like that, you know Nazia ninety three, ninety four,

749
00:42:24,920 --> 00:42:26,880
Speaker 8: all that, ohs, we're talking about nine.

750
00:42:26,920 --> 00:42:30,120
Speaker 2: It's something all like I got the blicky omiog, so

751
00:42:30,160 --> 00:42:31,960
Speaker 2: don't try nine tricky omiog.

752
00:42:32,360 --> 00:42:34,960
Speaker 8: I got mine too, young g nine millimeters and a

753
00:42:35,000 --> 00:42:36,840
Speaker 8: lot of reasons why you shouldn't with me Ei the

754
00:42:36,960 --> 00:42:38,600
Speaker 8: young G. I'm the one that can pay you. I

755
00:42:38,640 --> 00:42:40,279
Speaker 8: don't need to be the one that's going to slay you.

756
00:42:40,719 --> 00:42:41,919
Speaker 8: Is this a battle right now?

757
00:42:42,120 --> 00:42:45,360
Speaker 6: Number two Robert Pattinson. I have not forgotten about Mickey seventeen.

758
00:42:45,400 --> 00:42:47,399
Speaker 6: I know the movie year has moved on. A lot

759
00:42:47,400 --> 00:42:50,200
Speaker 6: of people didn't like it. I loved it, largely because

760
00:42:50,239 --> 00:42:53,800
Speaker 6: of Pattinson's Three Stooges inspired performance. He's still in my

761
00:42:53,880 --> 00:42:56,799
Speaker 6: number two slot, and I've been trying to rush through

762
00:42:56,800 --> 00:42:58,839
Speaker 6: this at him because I know we're going to talk

763
00:42:58,840 --> 00:43:02,279
Speaker 6: about Wake Up dead Man. But we've promised each other

764
00:43:02,320 --> 00:43:04,799
Speaker 6: we're not going to go super long because we're trying

765
00:43:04,840 --> 00:43:08,520
Speaker 6: to keep this show relatively tight. So give me a

766
00:43:08,520 --> 00:43:12,759
Speaker 6: moment here to talk about Josh O'Connor in Wake Up

767
00:43:12,800 --> 00:43:16,600
Speaker 6: dead Man, A Knives Out Mystery Father jud the Watson

768
00:43:17,200 --> 00:43:20,240
Speaker 6: to Ben wi blancs homes in Ryan Johnson's latest Knives

769
00:43:20,239 --> 00:43:24,080
Speaker 6: Out Mystery. I thought Adam, knowing he was in this,

770
00:43:24,080 --> 00:43:27,080
Speaker 6: this was going to be the fun Josh O'Connor performance

771
00:43:27,440 --> 00:43:30,719
Speaker 6: in twenty twenty five, right the light counter say to

772
00:43:31,840 --> 00:43:35,279
Speaker 6: very good serious work like A History of Sound, which

773
00:43:35,320 --> 00:43:38,960
Speaker 6: he's fantastic in and I liked quite a bit. Turns out, yes,

774
00:43:39,000 --> 00:43:43,319
Speaker 6: he's hilarious in Wake Up dead Man, but plain by

775
00:43:43,320 --> 00:43:45,080
Speaker 6: the way, we should say he's hilarious because he's playing

776
00:43:45,080 --> 00:43:48,400
Speaker 6: this foul mouth priest who's got this violent past, and

777
00:43:48,600 --> 00:43:52,000
Speaker 6: nonetheless he's still trying to uphold a vision he has

778
00:43:52,600 --> 00:43:56,200
Speaker 6: of Jesus Christ as a healer in a world that is,

779
00:43:56,560 --> 00:44:00,960
Speaker 6: to his eyes, trying to claim Jesus to justify political violence.

780
00:44:00,960 --> 00:44:03,680
Speaker 6: I mean, this is an incredibly political film. We might

781
00:44:04,120 --> 00:44:07,160
Speaker 6: get into more later, but as far as O'Connor is concerned,

782
00:44:07,920 --> 00:44:10,640
Speaker 6: the key to me for this performance is that Jud

783
00:44:10,800 --> 00:44:14,759
Speaker 6: isn't a saint, so he's preaching this forgiveness because he's

784
00:44:14,760 --> 00:44:19,720
Speaker 6: still wrestling with accepting it for himself being forgiven himself.

785
00:44:19,760 --> 00:44:22,440
Speaker 6: There is a greaterly scene in which Blanc and Jud

786
00:44:22,440 --> 00:44:25,520
Speaker 6: engage in this theological debate. Blanks, you know, not just

787
00:44:25,560 --> 00:44:28,160
Speaker 6: a skeptic, but you could probably call him an avowed atheist,

788
00:44:28,640 --> 00:44:31,640
Speaker 6: and so they have this nice exchange, and as Jud

789
00:44:31,680 --> 00:44:35,279
Speaker 6: offers his side his testimony, these tears start welling up

790
00:44:35,280 --> 00:44:38,440
Speaker 6: in his eyes and we know, at least this is

791
00:44:38,440 --> 00:44:40,680
Speaker 6: how I took it. Thanks to the depth of O'Connor's

792
00:44:40,680 --> 00:44:43,080
Speaker 6: performance is that it's not so much he's trying to

793
00:44:43,120 --> 00:44:45,480
Speaker 6: convince Blanc of anything. I think he reads him as

794
00:44:45,520 --> 00:44:47,880
Speaker 6: a lost cause right away. It's because he's trying to

795
00:44:47,920 --> 00:44:52,920
Speaker 6: reassure himself and bringing that level to this performance on

796
00:44:53,120 --> 00:44:57,440
Speaker 6: top of all the solid laughs he delivers.

797
00:44:57,080 --> 00:44:59,000
Speaker 3: It was like I was already in the.

798
00:44:58,920 --> 00:45:01,280
Speaker 6: Bag for Josh O'Connor, and then this movie came around.

799
00:45:01,320 --> 00:45:03,200
Speaker 6: It's I'm hopeless at this point.

800
00:45:03,440 --> 00:45:06,279
Speaker 1: I'm with you, And first I want to say, I'm

801
00:45:06,280 --> 00:45:10,280
Speaker 1: so disappointed because you make my list look so pedestrian

802
00:45:10,360 --> 00:45:12,680
Speaker 1: and boring. You go completely off the grid. And here

803
00:45:12,719 --> 00:45:18,200
Speaker 1: I have four crossover picks with the CFCA. I had DiCaprio,

804
00:45:18,719 --> 00:45:23,240
Speaker 1: I had Shalome, I had Ogner Mora, I had Ethan

805
00:45:23,280 --> 00:45:27,080
Speaker 1: Hawk as well. But I want to say this about O'Connor.

806
00:45:28,239 --> 00:45:30,160
Speaker 1: I had him at number five on my list, Josh,

807
00:45:30,239 --> 00:45:32,439
Speaker 1: and he could be higher. Again, ranking is so hard

808
00:45:32,480 --> 00:45:36,160
Speaker 1: and arbitrary with these lists. I had him at number

809
00:45:36,160 --> 00:45:39,839
Speaker 1: five up until the very last minute, I mean right

810
00:45:39,920 --> 00:45:43,719
Speaker 1: up until I hit submit on my ballot, and I

811
00:45:43,760 --> 00:45:46,279
Speaker 1: could have just stuck with it because I knew that

812
00:45:46,360 --> 00:45:50,600
Speaker 1: DiCaprio almost surely DiCaprio was going to make it whether

813
00:45:50,680 --> 00:45:54,160
Speaker 1: or not I voted for him, and my pick for

814
00:45:54,239 --> 00:45:59,040
Speaker 1: O'Connor probably wasn't going to put him on the ballot,

815
00:45:59,280 --> 00:46:03,080
Speaker 1: so either it didn't really matter. But I then had

816
00:46:03,120 --> 00:46:06,160
Speaker 1: that little that little voice in my head that was

817
00:46:06,280 --> 00:46:09,440
Speaker 1: already the voice that came out of me earlier this year,

818
00:46:09,760 --> 00:46:12,839
Speaker 1: maybe maybe actually out loud, or it was just via

819
00:46:12,920 --> 00:46:15,120
Speaker 1: slack when I said to Sam, I think it was

820
00:46:15,160 --> 00:46:17,400
Speaker 1: producer Sam, maybe you as well, Josh, I said, you

821
00:46:17,440 --> 00:46:21,120
Speaker 1: know what, we just at this point take Leonardo DiCaprio,

822
00:46:21,239 --> 00:46:24,360
Speaker 1: for granted. I think we just assume that he's going

823
00:46:24,440 --> 00:46:27,200
Speaker 1: to be great every time, and he is, and it

824
00:46:27,239 --> 00:46:29,760
Speaker 1: seems so boring to praise him, and it certainly seems,

825
00:46:29,800 --> 00:46:34,200
Speaker 1: almost like Meryl Streep, so boring to give him awards.

826
00:46:34,840 --> 00:46:37,800
Speaker 1: I'm bored. I'm bored with the thought of giving him awards.

827
00:46:38,080 --> 00:46:40,000
Speaker 1: I don't want him to get I almost don't want

828
00:46:40,080 --> 00:46:43,359
Speaker 1: him to get an Academy Award nomination. I didn't want

829
00:46:43,400 --> 00:46:46,319
Speaker 1: him to get a CFCA nomination. That's where I was,

830
00:46:46,600 --> 00:46:48,439
Speaker 1: and then I just I couldn't do it. I said,

831
00:46:48,440 --> 00:46:52,279
Speaker 1: wait a second, No, this is absurd. He's great, He's

832
00:46:52,320 --> 00:46:55,399
Speaker 1: great in that film, and I'm putting him on. But

833
00:46:55,440 --> 00:46:58,640
Speaker 1: my point is I love Josh O'Connor in that film,

834
00:46:58,680 --> 00:47:00,319
Speaker 1: and we are going to talk more about that film

835
00:47:00,320 --> 00:47:04,400
Speaker 1: here in a little bit. So my exceptions Joel Edgerton

836
00:47:04,719 --> 00:47:07,080
Speaker 1: on the ballot and Michael B. Jordan sinners. Those are

837
00:47:07,080 --> 00:47:09,759
Speaker 1: two honorable mentions for me. Those are two six through

838
00:47:09,800 --> 00:47:13,080
Speaker 1: ten choices for me. So here again I am I

839
00:47:13,080 --> 00:47:17,600
Speaker 1: guess in lockstep with the CFCA. My pick. The choice

840
00:47:17,640 --> 00:47:22,720
Speaker 1: for me that was not among the Chicago Phone critics

841
00:47:23,239 --> 00:47:28,080
Speaker 1: final picks is Lee Byung Hun from Park Chenooks. No

842
00:47:28,160 --> 00:47:32,400
Speaker 1: other Choice, I said on letterbox, just a quick comment

843
00:47:32,480 --> 00:47:34,800
Speaker 1: that Park Chenook was. You know, if you talk about

844
00:47:34,800 --> 00:47:38,759
Speaker 1: tone management, Park Chenooks the president and CEO, you know,

845
00:47:38,800 --> 00:47:41,760
Speaker 1: forget the manager of tone, like nobody does it better

846
00:47:42,200 --> 00:47:46,040
Speaker 1: than him. Well, you need an actor that can also

847
00:47:46,840 --> 00:47:50,960
Speaker 1: carry that, that can perform, that can walk that tonal

848
00:47:51,560 --> 00:47:56,160
Speaker 1: line and have us reckoning with the moral weight of

849
00:47:56,200 --> 00:47:59,360
Speaker 1: the choices that he's making, that that character's making, and

850
00:47:59,400 --> 00:48:03,239
Speaker 1: then maybe even one second later, have us laughing at

851
00:48:03,280 --> 00:48:07,920
Speaker 1: the utter absurdity of the choices that that character is making,

852
00:48:08,520 --> 00:48:14,480
Speaker 1: and all the while he can't ever lose that man's humanity.

853
00:48:14,680 --> 00:48:19,839
Speaker 1: If we can't see ourselves in this person, No other

854
00:48:19,960 --> 00:48:22,920
Speaker 1: Choice does not work as a film. And as it is,

855
00:48:23,760 --> 00:48:25,600
Speaker 1: it's one of the best films.

856
00:48:25,360 --> 00:48:25,759
Speaker 3: Of the year.

857
00:48:25,800 --> 00:48:28,800
Speaker 1: And I do think that He's a major reason why.

858
00:48:28,960 --> 00:48:31,440
Speaker 1: So I had to make sure he got some credit

859
00:48:31,440 --> 00:48:32,000
Speaker 1: on my list.

860
00:48:32,800 --> 00:48:35,240
Speaker 6: Yeah, and that's when I do still need to see

861
00:48:35,320 --> 00:48:38,200
Speaker 6: So yeah, I just had to prioritize a few others

862
00:48:38,200 --> 00:48:40,080
Speaker 6: before I could get to it. But glad that you're

863
00:48:40,080 --> 00:48:40,960
Speaker 6: giving it some attention.

864
00:48:41,360 --> 00:48:43,839
Speaker 1: I had Ethan Hawk from Blue Moon at number one,

865
00:48:43,840 --> 00:48:47,879
Speaker 1: and nobody needs to hear me whax more poetically about

866
00:48:47,920 --> 00:48:50,560
Speaker 1: Ethan Hawk. So I do actually want to talk Josh

867
00:48:50,600 --> 00:48:54,200
Speaker 1: a little bit about Wagner Mora in The Secret Agent,

868
00:48:54,239 --> 00:48:55,799
Speaker 1: because I don't know if this is a film that's

869
00:48:55,840 --> 00:48:58,440
Speaker 1: going to come up on our top ten films of

870
00:48:58,480 --> 00:48:59,880
Speaker 1: the year. Is this a movie you were able to

871
00:49:00,040 --> 00:49:00,520
Speaker 1: catch up with.

872
00:49:01,160 --> 00:49:04,120
Speaker 6: Nope, it was the next one up and then time

873
00:49:04,200 --> 00:49:05,040
Speaker 6: just got away from me.

874
00:49:05,960 --> 00:49:07,840
Speaker 1: So I know he's getting a lot of love. I

875
00:49:07,880 --> 00:49:11,520
Speaker 1: know when I put the screener in or when I

876
00:49:11,520 --> 00:49:13,400
Speaker 1: clicked on the link, I knew he was getting a

877
00:49:13,440 --> 00:49:16,239
Speaker 1: lot of attention, and so I had I had high expectations.

878
00:49:16,239 --> 00:49:18,160
Speaker 1: It was kind of like show me, you know, show

879
00:49:18,200 --> 00:49:20,759
Speaker 1: me what all the buzz is about. And man, did

880
00:49:20,800 --> 00:49:26,319
Speaker 1: he not disappoint. As I'm watching it, I'm thinking this,

881
00:49:26,320 --> 00:49:28,359
Speaker 1: this feels like a new face to me, and yet

882
00:49:28,680 --> 00:49:32,359
Speaker 1: he's somewhat familiar, and so afterwards I looked him up.

883
00:49:32,640 --> 00:49:35,239
Speaker 1: I never saw Narcos, so I didn't have that to

884
00:49:35,320 --> 00:49:37,799
Speaker 1: go off of. Turns out he was in The Gray Man.

885
00:49:38,160 --> 00:49:40,959
Speaker 1: But Josh, that Netflix movie, I barely remember that Ryan

886
00:49:40,960 --> 00:49:44,800
Speaker 1: Gosling was in. He was in Civil War. He's Joel.

887
00:49:44,920 --> 00:49:48,880
Speaker 1: He's the colleague, the journalist, colleague to Kirsten Dunt's character Lee.

888
00:49:49,320 --> 00:49:52,600
Speaker 1: And that now that then rung a Bell or whatever

889
00:49:52,640 --> 00:49:55,160
Speaker 1: the visual version of rung a Bell is. I saw

890
00:49:55,200 --> 00:49:57,960
Speaker 1: that face in my head once I saw that on

891
00:49:58,000 --> 00:50:03,080
Speaker 1: the on the page, But otherwise I don't know his work,

892
00:50:03,239 --> 00:50:07,640
Speaker 1: and I'm thinking back on the character he plays in

893
00:50:07,680 --> 00:50:10,400
Speaker 1: this film, and it really is it really, for the

894
00:50:10,400 --> 00:50:13,480
Speaker 1: most part, is one character and one performance. We spend

895
00:50:13,480 --> 00:50:16,600
Speaker 1: the bulk of the film following Mora as Marcello. This

896
00:50:16,680 --> 00:50:20,680
Speaker 1: is a film said in nineteen seventy seven. He's a professor,

897
00:50:21,719 --> 00:50:26,440
Speaker 1: teaches technology and he has to move from Sao Paulo

898
00:50:27,000 --> 00:50:32,160
Speaker 1: to a smaller city during Carnival. We don't really fully

899
00:50:32,239 --> 00:50:34,600
Speaker 1: understand why. At the beginning, we have to start putting

900
00:50:34,600 --> 00:50:38,560
Speaker 1: together the pieces. We understand that he's running from something

901
00:50:39,080 --> 00:50:43,440
Speaker 1: that seems pretty heavy, and it does have to do

902
00:50:43,520 --> 00:50:49,440
Speaker 1: with this dictatorship and the pressure and the violence that

903
00:50:49,520 --> 00:50:53,839
Speaker 1: may actually be coming for him, and that was previously

904
00:50:54,280 --> 00:50:58,600
Speaker 1: coming for some of his colleagues. At the end, though, Josh,

905
00:50:59,200 --> 00:51:01,160
Speaker 1: this isn't a spoiler. At the end, it does become

906
00:51:01,200 --> 00:51:04,200
Speaker 1: a double performance. And I'm going to suggest that it's

907
00:51:04,239 --> 00:51:08,200
Speaker 1: really a triple performance because we learn that Marcello is

908
00:51:08,239 --> 00:51:13,040
Speaker 1: really Armando who we meet in flashbacks, and this is

909
00:51:13,520 --> 00:51:16,360
Speaker 1: a secret name, of course, that he's using to protect

910
00:51:16,360 --> 00:51:20,480
Speaker 1: his identity. But the man that he is now and

911
00:51:20,520 --> 00:51:22,839
Speaker 1: the man that he is in these flashbacks, they're not

912
00:51:22,960 --> 00:51:26,040
Speaker 1: just different in name and in hairstyle, and the hairstyle

913
00:51:26,120 --> 00:51:30,960
Speaker 1: is very different. Moura really just very subtly distinguishes them

914
00:51:31,640 --> 00:51:35,160
Speaker 1: by how they carry their weariness, how they carry their

915
00:51:35,280 --> 00:51:40,239
Speaker 1: understanding of the depth of the corruption that they face,

916
00:51:40,600 --> 00:51:44,280
Speaker 1: and their fear and how they're trying not to show

917
00:51:44,680 --> 00:51:48,359
Speaker 1: that fear. Carlos Agiar did a really nice profile of

918
00:51:48,600 --> 00:51:51,480
Speaker 1: Maura in the La Times that we'll link to, and

919
00:51:51,520 --> 00:51:55,640
Speaker 1: he describes the performance as simmering, and there really is

920
00:51:55,719 --> 00:51:58,360
Speaker 1: no better word to describe a man who's filled with

921
00:51:58,480 --> 00:52:02,480
Speaker 1: rage towards this fascist regime. But is powerless and has

922
00:52:02,560 --> 00:52:06,080
Speaker 1: to really focus only on staying alive. If I'm going

923
00:52:06,160 --> 00:52:11,279
Speaker 1: to put it in those stove terms, Josh, Armando is

924
00:52:11,320 --> 00:52:15,799
Speaker 1: always set to medium maybe maybe maybe medium high. You know,

925
00:52:15,800 --> 00:52:18,960
Speaker 1: he's ready to flip t high. Marcello's a notch below,

926
00:52:19,320 --> 00:52:22,920
Speaker 1: he's he's at medium low. And then this final character

927
00:52:23,320 --> 00:52:27,840
Speaker 1: we meet, that Mora plays, he's maybe not even at

928
00:52:28,280 --> 00:52:30,680
Speaker 1: a boiling point. And if if you see the film,

929
00:52:30,680 --> 00:52:33,920
Speaker 1: when you see the film, you'll understand why, and and

930
00:52:34,000 --> 00:52:38,760
Speaker 1: that that arc, that that historical arc and the jump

931
00:52:38,800 --> 00:52:42,319
Speaker 1: that the film makes is really significant, and that that

932
00:52:42,400 --> 00:52:46,279
Speaker 1: jump in temperament is significant to the film as well.

933
00:52:46,360 --> 00:52:49,640
Speaker 1: There's a scene about halfway through this one, Josh, where

934
00:52:51,320 --> 00:52:57,200
Speaker 1: Armando Marcello, but reflecting on his his time previously, has

935
00:52:57,280 --> 00:53:00,000
Speaker 1: to tell his story to a couple of new characters

936
00:53:00,160 --> 00:53:02,080
Speaker 1: that we meet, which in turn means of course that

937
00:53:02,120 --> 00:53:04,719
Speaker 1: he's now filling us in as the audience on his

938
00:53:04,800 --> 00:53:08,000
Speaker 1: story that has been elusive up to this point. And

939
00:53:08,320 --> 00:53:11,520
Speaker 1: I remember thinking, Okay, this is going to be really

940
00:53:11,560 --> 00:53:16,640
Speaker 1: tricky because for the filmmaker here, which is Cliber Mendonka,

941
00:53:16,719 --> 00:53:20,480
Speaker 1: Philho and I'm sure I just pronounced that very terribly.

942
00:53:20,520 --> 00:53:23,120
Speaker 1: I apologize, but I did my best with the name.

943
00:53:23,920 --> 00:53:27,960
Speaker 1: I thought Filho has a really tough task that he's

944
00:53:28,000 --> 00:53:32,640
Speaker 1: given himself because this is essentially an exposition dump. This

945
00:53:32,719 --> 00:53:35,239
Speaker 1: is the point where we are going to get all

946
00:53:35,239 --> 00:53:38,879
Speaker 1: of the backstory on this character, all the political backstory

947
00:53:39,280 --> 00:53:41,880
Speaker 1: that we need. And I thought, even if it is

948
00:53:41,920 --> 00:53:45,000
Speaker 1: that exposition dump, I'm okay with it because I'm so

949
00:53:45,239 --> 00:53:48,240
Speaker 1: curious and I'm so in on this film. I want

950
00:53:48,239 --> 00:53:51,279
Speaker 1: to know, but I still want it to be as

951
00:53:51,680 --> 00:53:56,480
Speaker 1: acutely handled as everything else has been up to this point.

952
00:53:57,040 --> 00:54:01,960
Speaker 1: And it is just as intense this conversation Josh, and

953
00:54:02,000 --> 00:54:05,360
Speaker 1: the way it's it's shot, the way it's handled, the

954
00:54:05,400 --> 00:54:10,480
Speaker 1: way the way Maura portrays it, the way he acts

955
00:54:10,520 --> 00:54:15,160
Speaker 1: the scene is as intense as any other scene in

956
00:54:15,200 --> 00:54:17,359
Speaker 1: the film, any other sequence in the movie. And he

957
00:54:17,440 --> 00:54:21,920
Speaker 1: just doesn't embellish anything. He doesn't need to burnish the

958
00:54:21,960 --> 00:54:26,000
Speaker 1: wickedness of the events that he's recounting. It's it's almost

959
00:54:26,000 --> 00:54:30,200
Speaker 1: deadpan how how he recalls some of it. And there's

960
00:54:30,200 --> 00:54:32,439
Speaker 1: a great line where he's he's talking about this one

961
00:54:32,480 --> 00:54:35,479
Speaker 1: man in particular, this one evil man, and he says

962
00:54:35,480 --> 00:54:39,080
Speaker 1: that I'm not a violent man. But but I'd kill

963
00:54:39,120 --> 00:54:41,960
Speaker 1: this person. I could kill this person. And one of

964
00:54:41,960 --> 00:54:43,960
Speaker 1: the guys that he's talking to says, do you carry

965
00:54:43,960 --> 00:54:48,560
Speaker 1: a gun? And and he says no, He says no.

966
00:54:49,239 --> 00:54:50,719
Speaker 1: He says, for this man, I would kill him with

967
00:54:50,719 --> 00:54:52,800
Speaker 1: the hammer, is what he says about him. And the

968
00:54:53,120 --> 00:54:54,839
Speaker 1: guy he's talking to, he says, do you carry a gun?

969
00:54:54,880 --> 00:54:57,560
Speaker 1: And he says no, But I but I do know

970
00:54:57,600 --> 00:55:00,359
Speaker 1: how to use a hammer. And and you know, that's

971
00:55:00,440 --> 00:55:03,320
Speaker 1: that's an amusing sort of line, but it's not said

972
00:55:03,360 --> 00:55:07,120
Speaker 1: with any sort of amusement whatsoever. It it's said by

973
00:55:07,160 --> 00:55:12,759
Speaker 1: a man who fully understands the complexity and the and

974
00:55:12,760 --> 00:55:15,080
Speaker 1: the weight of what he's saying there in the moment

975
00:55:15,200 --> 00:55:19,840
Speaker 1: and what he as a character is trying to navigate

976
00:55:20,360 --> 00:55:25,200
Speaker 1: emotionally politically in terms of his family, everything that he

977
00:55:25,239 --> 00:55:29,040
Speaker 1: has been through at this point. So highly recommend The

978
00:55:29,040 --> 00:55:32,280
Speaker 1: Secret Agent. If it's a film you haven't all everyone listening,

979
00:55:32,320 --> 00:55:34,239
Speaker 1: not just you, Josh. If it's a film you haven't

980
00:55:34,239 --> 00:55:37,239
Speaker 1: been able to see yet, And the Wagner Moorra performance

981
00:55:37,400 --> 00:55:41,239
Speaker 1: is everything everyone has been saying it is.

982
00:55:41,560 --> 00:55:44,879
Speaker 6: Yeah, I definitely saw that praise going around, and it

983
00:55:44,960 --> 00:55:47,400
Speaker 6: was it was like I said, the last one I

984
00:55:47,400 --> 00:55:50,080
Speaker 6: could have watched before the deadline, it would have been

985
00:55:50,080 --> 00:55:53,480
Speaker 6: the second film of that day. And I think it's

986
00:55:53,560 --> 00:55:57,960
Speaker 6: like what two twenty to forty something like that, and like, yeah,

987
00:55:58,320 --> 00:56:00,839
Speaker 6: it was like, oh, okay.

988
00:56:01,120 --> 00:56:04,880
Speaker 1: You know what, Josha totally And we've both been honest

989
00:56:04,920 --> 00:56:07,239
Speaker 1: about this at various points over the years when we're

990
00:56:07,520 --> 00:56:10,400
Speaker 1: when we're in this haze of trying to prepare for

991
00:56:10,440 --> 00:56:13,000
Speaker 1: the top ten films of the year, and not only

992
00:56:13,280 --> 00:56:16,600
Speaker 1: are we hoping for movies that are under two hours,

993
00:56:16,600 --> 00:56:19,640
Speaker 1: more often than not, I know, I'm often hoping for

994
00:56:19,760 --> 00:56:23,840
Speaker 1: movies that are just lighter. I you know, we're watching

995
00:56:23,920 --> 00:56:28,360
Speaker 1: enough heavy Star exactly right. And so The Secret Agent

996
00:56:28,440 --> 00:56:30,920
Speaker 1: is one I put off quite a bit because I

997
00:56:31,000 --> 00:56:33,239
Speaker 1: knew what the subject matter was and it was two

998
00:56:33,239 --> 00:56:35,520
Speaker 1: hours and forty minutes, and I knew it was going

999
00:56:35,560 --> 00:56:39,799
Speaker 1: to be difficult treading. And all I can tell you

1000
00:56:39,920 --> 00:56:42,120
Speaker 1: is I still put it on one night. This was

1001
00:56:42,160 --> 00:56:44,719
Speaker 1: my mindset. I put it on one night about ten

1002
00:56:44,800 --> 00:56:48,320
Speaker 1: or ten thirty, and my mindset was only, let's just

1003
00:56:48,360 --> 00:56:50,719
Speaker 1: see if I can get an hour done, because if

1004
00:56:50,760 --> 00:56:52,520
Speaker 1: I can get an hour or so done, and if

1005
00:56:52,560 --> 00:56:54,279
Speaker 1: I have to return to it the next night to

1006
00:56:54,280 --> 00:56:58,560
Speaker 1: finish it. At least I've made progress. I watched it

1007
00:56:58,560 --> 00:57:01,680
Speaker 1: the entire way through. I had no I was that

1008
00:57:02,200 --> 00:57:06,640
Speaker 1: transfixed by the movie, despite the heavy subject matter, despite

1009
00:57:06,680 --> 00:57:09,120
Speaker 1: the length, I couldn't stop watching The Secret Agent.

1010
00:57:10,719 --> 00:57:13,279
Speaker 6: Yeah, I'll get to it at some point. And it's

1011
00:57:13,320 --> 00:57:15,959
Speaker 6: funny when you talk about what it's like this last week.

1012
00:57:16,000 --> 00:57:19,320
Speaker 6: I think in that mix for me was also, we

1013
00:57:19,360 --> 00:57:21,720
Speaker 6: have not only CFCA, but we have our Golden Brick,

1014
00:57:22,120 --> 00:57:24,200
Speaker 6: you know, award that we give out and want to

1015
00:57:24,240 --> 00:57:27,760
Speaker 6: fit in some that listeners have been suggesting to us.

1016
00:57:27,760 --> 00:57:30,960
Speaker 6: So I did what I did instead was knock out

1017
00:57:30,960 --> 00:57:32,960
Speaker 6: a couple of animated films. I was a little short

1018
00:57:32,960 --> 00:57:36,480
Speaker 6: on that this year, and some Golden Brick crossover there.

1019
00:57:36,520 --> 00:57:38,200
Speaker 6: So yeah, we've got to make We've got to make

1020
00:57:38,240 --> 00:57:40,760
Speaker 6: hard choices, and you feel bad. There's always going to

1021
00:57:40,840 --> 00:57:43,680
Speaker 6: be like two or three movies no matter what you do,

1022
00:57:43,800 --> 00:57:45,880
Speaker 6: no matter what you prioritize, by the time we get

1023
00:57:45,880 --> 00:57:48,960
Speaker 6: to our top ten show two or three movies that

1024
00:57:49,000 --> 00:57:49,880
Speaker 6: we wish we'd seen.

1025
00:57:50,840 --> 00:57:54,400
Speaker 1: That is definitely the case that brings us to our

1026
00:57:54,480 --> 00:57:58,640
Speaker 1: final performance category, Best Actress. Here are the nominees, at

1027
00:57:58,680 --> 00:58:02,760
Speaker 1: least according to the Chicago Film Critics Association, Jesse Buckley

1028
00:58:02,840 --> 00:58:05,720
Speaker 1: and Hamnett rose Byrn If I had legs, I'd kick you,

1029
00:58:05,800 --> 00:58:09,280
Speaker 1: Jennifer Lawrence, Die My Love, Amanda sayfre The Testament of

1030
00:58:09,280 --> 00:58:13,960
Speaker 1: Ann Lee, and Tessa Thompson for HEADA Josh, What's say

1031
00:58:14,000 --> 00:58:16,200
Speaker 1: you on Best Actress?

1032
00:58:16,240 --> 00:58:19,840
Speaker 6: All in contention for me? That is a strong nominee

1033
00:58:19,920 --> 00:58:23,640
Speaker 6: list I have in common, rose Byrn, if I had legs,

1034
00:58:23,760 --> 00:58:26,760
Speaker 6: I'd kick you. This is you know, another I think

1035
00:58:26,760 --> 00:58:28,560
Speaker 6: we can call it a mom going through it as

1036
00:58:28,600 --> 00:58:31,680
Speaker 6: you and Mariah Gates called it for a Top five

1037
00:58:31,720 --> 00:58:36,560
Speaker 6: earlier on the show Adam Yes, and she is my goodness.

1038
00:58:36,600 --> 00:58:40,080
Speaker 6: This movie opens, so she's playing a mother, I should say,

1039
00:58:40,160 --> 00:58:43,120
Speaker 6: of a child who's seemingly suffering from an extreme meeting

1040
00:58:43,120 --> 00:58:46,000
Speaker 6: disorder to the point that her daughter has to have

1041
00:58:46,200 --> 00:58:50,640
Speaker 6: a stomach tube. And you know, Burne has some big

1042
00:58:50,680 --> 00:58:53,160
Speaker 6: breakdown moments in this movie. A lot of them are

1043
00:58:53,240 --> 00:58:58,640
Speaker 6: darkly funny, But the film opens with her face almost

1044
00:58:58,760 --> 00:59:02,920
Speaker 6: entirely filling the screen, and it's because that's how close

1045
00:59:02,960 --> 00:59:07,120
Speaker 6: the camera needs to get to register the astonishing subtlety

1046
00:59:07,160 --> 00:59:11,280
Speaker 6: of her strained performance here as this mother. I think

1047
00:59:11,320 --> 00:59:15,080
Speaker 6: we hear offscreen the daughter saying something like, is it

1048
00:59:15,120 --> 00:59:18,040
Speaker 6: Mommy is stretchable, describing her mom to like a therapist.

1049
00:59:18,160 --> 00:59:21,160
Speaker 6: Mommy is stretchable. And when we hear that, we notice

1050
00:59:21,200 --> 00:59:25,560
Speaker 6: just this, the slightest of tremors going below Burn's eye.

1051
00:59:26,080 --> 00:59:31,200
Speaker 6: And so yeah, the levels of register, the registers of

1052
00:59:31,240 --> 00:59:35,000
Speaker 6: this performance are what are incredibly impressive.

1053
00:59:44,440 --> 00:59:46,200
Speaker 1: I try very hard to be in control of her

1054
00:59:46,360 --> 00:59:49,960
Speaker 1: and everything, but amaze, I'm not I can get it

1055
00:59:50,040 --> 00:59:50,320
Speaker 1: at all.

1056
00:59:50,960 --> 00:59:52,600
Speaker 2: I don't like hell what feels are my sort?

1057
00:59:53,480 --> 00:59:54,560
Speaker 8: Okay.

1058
00:59:54,800 --> 00:59:57,960
Speaker 6: I'm also all in on Jesse Buckley and Hamnet. She

1059
00:59:58,240 --> 01:00:01,919
Speaker 6: here in this clog out along with Paul Mescal. They

1060
01:00:02,000 --> 01:00:07,960
Speaker 6: really anchor the movie. And I don't know that I

1061
01:00:08,000 --> 01:00:10,200
Speaker 6: have to get dig into what people are hating about

1062
01:00:10,200 --> 01:00:12,400
Speaker 6: this movie so much, because I know they are, but

1063
01:00:12,520 --> 01:00:14,920
Speaker 6: until I had processed it myself, I didn't want to

1064
01:00:15,040 --> 01:00:15,600
Speaker 6: look yet.

1065
01:00:15,640 --> 01:00:16,640
Speaker 3: So I'll get.

1066
01:00:18,240 --> 01:00:21,080
Speaker 1: Fascinating. Oh yeah, ok, yeah, yeah.

1067
01:00:20,880 --> 01:00:26,120
Speaker 6: There's there's some real anger about Hamnet. And you know,

1068
01:00:26,800 --> 01:00:28,560
Speaker 6: we're going to talk about this a little more, but

1069
01:00:28,640 --> 01:00:30,960
Speaker 6: I'll say now, as far as Jesse Buckley is concerned,

1070
01:00:31,760 --> 01:00:35,439
Speaker 6: from the world melting smile, she gives to to Paul

1071
01:00:35,480 --> 01:00:39,680
Speaker 6: Mescal early on, during the romantic sections to the roaring

1072
01:00:39,760 --> 01:00:43,320
Speaker 6: anguish she shares later. It just sucked me in. I

1073
01:00:43,320 --> 01:00:46,959
Speaker 6: think without her balance of loveliness and tenacity, I don't

1074
01:00:47,000 --> 01:00:49,520
Speaker 6: know that the emotional climax of this movie would work.

1075
01:00:49,920 --> 01:00:52,960
Speaker 6: It does for me, maybe it doesn't for others, but

1076
01:00:53,000 --> 01:00:54,960
Speaker 6: I think that's largely due to her. And you know,

1077
01:00:55,440 --> 01:00:58,080
Speaker 6: Buckley is interesting for me. I've I've been an admirer

1078
01:00:58,160 --> 01:01:01,280
Speaker 6: of her from a distance, I'll say, when others have

1079
01:01:01,360 --> 01:01:04,760
Speaker 6: been deeply smitten for a long time. Now, this one

1080
01:01:04,800 --> 01:01:07,280
Speaker 6: made me a true believer, so I'm all in at

1081
01:01:07,280 --> 01:01:10,520
Speaker 6: this point. I'll go quickly through the others here. I've

1082
01:01:10,560 --> 01:01:13,360
Speaker 6: mentioned Keiky Palmer earlier in one of them Days. She

1083
01:01:13,440 --> 01:01:17,360
Speaker 6: made my ballot at my number three actually this hilarious

1084
01:01:17,360 --> 01:01:22,400
Speaker 6: buddy comedy she's opposite Sizza's roommates facing unfair eviction in

1085
01:01:22,440 --> 01:01:25,120
Speaker 6: an la apartment. And yeah, I've talked about just how

1086
01:01:25,160 --> 01:01:27,600
Speaker 6: she's balanced not only the laughs, but made a real

1087
01:01:27,680 --> 01:01:33,000
Speaker 6: character in Drew, who she plays there Ava Victor. Sorry, baby,

1088
01:01:33,960 --> 01:01:37,680
Speaker 6: I mean talk about tone management you were mentioning early, Adam.

1089
01:01:38,280 --> 01:01:43,520
Speaker 6: This is a Golden Brick contender. She's the writer, director, star,

1090
01:01:43,800 --> 01:01:48,560
Speaker 6: and she handles the tone in all three facets. She's

1091
01:01:48,640 --> 01:01:51,800
Speaker 6: playing a literature professor in this small town at this

1092
01:01:51,880 --> 01:01:55,200
Speaker 6: small town university who's attempting to move on from a

1093
01:01:55,240 --> 01:02:00,479
Speaker 6: traumatic experience, and just the way she balances wit deep

1094
01:02:00,480 --> 01:02:04,160
Speaker 6: emotion and she generates a lasting empathy here. So you're

1095
01:02:04,200 --> 01:02:07,400
Speaker 6: going to be thinking about Agnes, this character and how

1096
01:02:07,440 --> 01:02:08,280
Speaker 6: she's doing for.

1097
01:02:08,280 --> 01:02:08,840
Speaker 3: A long time.

1098
01:02:08,880 --> 01:02:11,680
Speaker 6: You're just gonna wonder, is is Agnes okay? Like she's

1099
01:02:11,720 --> 01:02:15,840
Speaker 6: still okay? And that's all due to Victor's performance. My

1100
01:02:15,920 --> 01:02:17,680
Speaker 6: number one though, Adam, I'm going to go back to

1101
01:02:17,760 --> 01:02:20,240
Speaker 6: on becoming a guinea foul, And this is the lead

1102
01:02:20,280 --> 01:02:23,920
Speaker 6: performance by Susan Charity, who is, you know, a relative

1103
01:02:23,960 --> 01:02:31,160
Speaker 6: newcomer to acting, and here she's returning to contemporary Zambia

1104
01:02:31,200 --> 01:02:33,960
Speaker 6: for this multi day funeral for her uncle.

1105
01:02:35,000 --> 01:02:36,120
Speaker 3: She's very reserved.

1106
01:02:36,520 --> 01:02:41,200
Speaker 6: It's a quiet performance, but I don't think that's because

1107
01:02:41,240 --> 01:02:45,040
Speaker 6: of her inexperience. It's because of what the character needs,

1108
01:02:45,480 --> 01:02:49,480
Speaker 6: and her reticence opens up as we learn more about

1109
01:02:49,520 --> 01:02:53,720
Speaker 6: her family and her deeply conflicted relationship with them. And

1110
01:02:53,920 --> 01:02:57,680
Speaker 6: Charity is another one of those who yeah, like Agnes

1111
01:02:57,760 --> 01:03:00,400
Speaker 6: and sorry, baby, you're like, is she better now? Like

1112
01:03:00,480 --> 01:03:03,880
Speaker 6: it's been it's been six eight months since I've seen

1113
01:03:03,880 --> 01:03:04,320
Speaker 6: that movie.

1114
01:03:04,360 --> 01:03:05,200
Speaker 3: Is she is?

1115
01:03:05,240 --> 01:03:07,400
Speaker 6: She doing a little bit better maybe than where she

1116
01:03:07,600 --> 01:03:08,200
Speaker 6: was when.

1117
01:03:08,000 --> 01:03:08,400
Speaker 3: I saw it.

1118
01:03:08,600 --> 01:03:11,120
Speaker 6: So so those are my five.

1119
01:03:11,680 --> 01:03:15,680
Speaker 1: I had three crossover here again with the CFCA, I

1120
01:03:16,280 --> 01:03:19,240
Speaker 1: never had any fewer than three. I had Sey Fred

1121
01:03:19,360 --> 01:03:22,640
Speaker 1: for the Testament of an Lee. I had Jesse Buckley

1122
01:03:22,640 --> 01:03:27,000
Speaker 1: for Hamnet quite high at number two, and Nina Haass

1123
01:03:27,120 --> 01:03:30,160
Speaker 1: was number one Josh for Best Supporting Actress for Heda.

1124
01:03:30,440 --> 01:03:33,120
Speaker 1: I ended up being quite a fan of Tessa Thompson

1125
01:03:33,440 --> 01:03:36,800
Speaker 1: for Heda as well. I think I think there's a

1126
01:03:36,840 --> 01:03:39,240
Speaker 1: lot to that performance. I had her at number three.

1127
01:03:39,520 --> 01:03:44,200
Speaker 1: I think that that that very precise, kind of overly

1128
01:03:44,320 --> 01:03:49,640
Speaker 1: staccato annunciation that she gives that character is actually really

1129
01:03:49,680 --> 01:03:53,920
Speaker 1: effective as someone who It's not that she's not not

1130
01:03:54,400 --> 01:03:57,840
Speaker 1: comfortable in a way with who she is, because she's

1131
01:03:58,200 --> 01:04:01,960
Speaker 1: she's always it's seems in control or feels like she

1132
01:04:02,080 --> 01:04:05,840
Speaker 1: can be in control, but she is always playing a

1133
01:04:05,960 --> 01:04:09,240
Speaker 1: character of sorts, and I think that that is really

1134
01:04:09,520 --> 01:04:14,800
Speaker 1: really perfect for Heda. That element that Testa Thompson brings

1135
01:04:14,840 --> 01:04:16,800
Speaker 1: just in terms of her voice alone, but there's a

1136
01:04:16,800 --> 01:04:22,480
Speaker 1: lot of other wonderful aspects to that performance. The two exceptions,

1137
01:04:22,520 --> 01:04:25,560
Speaker 1: the two them that I didn't have Jennifer Lawrence. I

1138
01:04:25,640 --> 01:04:28,480
Speaker 1: love as an actress, but you know, I'm not as

1139
01:04:29,000 --> 01:04:32,080
Speaker 1: in on that film Die My Love as some others are,

1140
01:04:32,120 --> 01:04:36,960
Speaker 1: and I then am not as favorable on that performance

1141
01:04:37,000 --> 01:04:39,520
Speaker 1: either rose Byrne. If I had legs, i'd kick you.

1142
01:04:39,800 --> 01:04:42,520
Speaker 1: That performance is definitely one I had in my six

1143
01:04:42,600 --> 01:04:45,720
Speaker 1: through ten. And you mentioned the camera and how close

1144
01:04:45,720 --> 01:04:48,000
Speaker 1: it is. One thing you realize about Mary Brahunstein, what

1145
01:04:48,040 --> 01:04:50,600
Speaker 1: she's doing with the camera in that film. There are

1146
01:04:50,680 --> 01:04:54,760
Speaker 1: some exceptions to this, but very few, Josh. And if

1147
01:04:54,800 --> 01:04:59,160
Speaker 1: you talk to some moms, they rarely get a moment

1148
01:04:59,280 --> 01:05:04,480
Speaker 1: to themselves, and even when they have a moment to themselves,

1149
01:05:04,280 --> 01:05:08,080
Speaker 1: it never really feels like psychically they have a moment

1150
01:05:08,400 --> 01:05:13,760
Speaker 1: to themselves. In this film, the camera smothers rose Byrne

1151
01:05:14,400 --> 01:05:17,360
Speaker 1: in a way that makes it feel as if there's

1152
01:05:17,360 --> 01:05:20,480
Speaker 1: no escape. It feels exactly right, and I think it

1153
01:05:20,560 --> 01:05:23,680
Speaker 1: is a wonderful performance. I'm with you on Susan Chardi,

1154
01:05:23,800 --> 01:05:26,600
Speaker 1: though I had her at number four on my list,

1155
01:05:27,240 --> 01:05:31,920
Speaker 1: my number one, someone who was not among the final

1156
01:05:31,960 --> 01:05:35,840
Speaker 1: five choices. I'm going to go back to the movie

1157
01:05:35,880 --> 01:05:41,960
Speaker 1: you haven't seen, Josh sentimental value. It is Rinada Ryansfa.

1158
01:05:42,480 --> 01:05:46,240
Speaker 1: I'm going with that pronunciation. I got corrected on letterbox, Josh,

1159
01:05:46,240 --> 01:05:48,760
Speaker 1: and I hope I'm I hope I'm saying it correctly

1160
01:05:49,120 --> 01:05:51,600
Speaker 1: or closer to correctly.

1161
01:05:51,760 --> 01:05:54,160
Speaker 6: Wait, wait a minute, how are how are you mispronouncing

1162
01:05:54,200 --> 01:05:55,040
Speaker 6: things on letterbox?

1163
01:05:55,120 --> 01:05:55,960
Speaker 3: What's going on here?

1164
01:05:56,760 --> 01:05:59,840
Speaker 1: Well, letterbox is just the venue they chose to see.

1165
01:06:00,080 --> 01:06:03,720
Speaker 1: They chase, they chased you down exactly. No, they has

1166
01:06:03,760 --> 01:06:06,840
Speaker 1: a lot of added audio video. I know exactly. You

1167
01:06:06,880 --> 01:06:09,680
Speaker 1: can chase me down anywhere. I'm I'm happy to get

1168
01:06:09,720 --> 01:06:15,160
Speaker 1: scolded that. That's completely fine. The director I mentioned earlier,

1169
01:06:15,200 --> 01:06:19,000
Speaker 1: played by Stellen Scarsgard, the daughter that he is round

1170
01:06:19,000 --> 01:06:22,360
Speaker 1: about hoping to reconcile with that he's written this movie for,

1171
01:06:23,320 --> 01:06:28,200
Speaker 1: is played by Ryanzvah And of course listeners may know

1172
01:06:28,280 --> 01:06:32,520
Speaker 1: I have been smitten with her as an actress ever

1173
01:06:32,560 --> 01:06:35,120
Speaker 1: since Yokum Trier is the worst person in the world.

1174
01:06:35,600 --> 01:06:38,400
Speaker 1: There there is the opening of this film, I believe

1175
01:06:38,400 --> 01:06:40,480
Speaker 1: it is the opening. There there's kind of a prologue,

1176
01:06:40,480 --> 01:06:42,800
Speaker 1: but then the actual opening of the film. Josh is

1177
01:06:42,880 --> 01:06:45,240
Speaker 1: her and this is a theme of the year that

1178
01:06:45,320 --> 01:06:47,280
Speaker 1: maybe we'll get into a little bit in the top ten.

1179
01:06:47,440 --> 01:06:49,439
Speaker 1: Something I'm noticing here at the end of the year.

1180
01:06:49,560 --> 01:06:52,680
Speaker 1: A lot of performances within performances, and she plays this

1181
01:06:52,800 --> 01:06:56,000
Speaker 1: actress and she's she's about to go on stage to

1182
01:06:56,080 --> 01:07:00,160
Speaker 1: do a theatrical production, going through a bit of not

1183
01:07:00,240 --> 01:07:02,760
Speaker 1: a bit, going through a major freak out, having some

1184
01:07:02,840 --> 01:07:07,320
Speaker 1: major anxiety here on opening night. But when she finally

1185
01:07:07,320 --> 01:07:10,880
Speaker 1: gets on stage and she has to deliver her first

1186
01:07:11,240 --> 01:07:13,919
Speaker 1: her first line, it's really more of a sound. It's

1187
01:07:13,920 --> 01:07:15,720
Speaker 1: been a while since I've seen it. But when she

1188
01:07:15,880 --> 01:07:20,040
Speaker 1: lets out that sound the way Ryansfah delivers it, you

1189
01:07:20,280 --> 01:07:24,200
Speaker 1: just know the force that she carries as an actress.

1190
01:07:24,200 --> 01:07:26,800
Speaker 1: And then what's so interesting about it is that for

1191
01:07:26,840 --> 01:07:29,560
Speaker 1: the rest of the film, when that character is not

1192
01:07:29,760 --> 01:07:36,440
Speaker 1: on stage, she's so she's so largely withdrawn and closed

1193
01:07:36,480 --> 01:07:40,280
Speaker 1: in and all of the emotional angst and there is

1194
01:07:40,320 --> 01:07:42,600
Speaker 1: a lot of it, all of the turmoil that that

1195
01:07:42,720 --> 01:07:46,160
Speaker 1: character is experiencing, and it's it's the it is the

1196
01:07:46,240 --> 01:07:50,040
Speaker 1: conflict that inner turmoil is the conflict that's driving the film.

1197
01:07:50,400 --> 01:07:54,280
Speaker 1: It it is all something that she is she is

1198
01:07:54,360 --> 01:07:59,960
Speaker 1: largely just wrestling with internally and the way we see

1199
01:08:00,280 --> 01:08:03,120
Speaker 1: that and feel it. We understand that, and yet we

1200
01:08:03,160 --> 01:08:05,840
Speaker 1: as viewers still do understand and we see it the

1201
01:08:05,880 --> 01:08:08,920
Speaker 1: way she is processing it and the subtle way that

1202
01:08:09,120 --> 01:08:11,160
Speaker 1: Ryan's fah does it. There's a scene in the movie,

1203
01:08:11,160 --> 01:08:15,080
Speaker 1: and it's one that's available online. We'll link to it

1204
01:08:15,120 --> 01:08:17,599
Speaker 1: in the show notes so people can watch it. Sam

1205
01:08:17,720 --> 01:08:21,080
Speaker 1: may include it here in the show, but of course

1206
01:08:21,560 --> 01:08:23,080
Speaker 1: it's not in English, so I don't know how many

1207
01:08:23,120 --> 01:08:25,439
Speaker 1: of our listeners, Josh, we'll get much use out of it.

1208
01:08:25,520 --> 01:08:29,200
Speaker 1: But there's a scene in the movie that just encapsulates

1209
01:08:29,200 --> 01:08:33,840
Speaker 1: so much of what makes this performance great. Where she's

1210
01:08:33,840 --> 01:08:38,439
Speaker 1: talking to her sister and she's already turned down her father.

1211
01:08:38,560 --> 01:08:40,360
Speaker 1: This is early in the film. She said no to

1212
01:08:40,400 --> 01:08:42,599
Speaker 1: this part. She does not want to work with her father.

1213
01:08:42,880 --> 01:08:46,000
Speaker 1: She is not interested in reconciling. She can't work with him.

1214
01:08:46,040 --> 01:08:49,960
Speaker 1: This is all in the trailer. And then all of

1215
01:08:50,000 --> 01:08:53,720
Speaker 1: a sudden, the dad shows up at the house with

1216
01:08:53,840 --> 01:08:57,840
Speaker 1: el Fannings character, this famous American actress who who has

1217
01:08:57,920 --> 01:09:00,840
Speaker 1: taken on the part, who's taken the part, He's gotten

1218
01:09:00,840 --> 01:09:04,280
Speaker 1: financing for the film. She thinks this is all gone through, Josh,

1219
01:09:04,320 --> 01:09:06,600
Speaker 1: that this has all fallen through. That when she said no,

1220
01:09:07,320 --> 01:09:10,200
Speaker 1: the film fell through and it was not going to happen.

1221
01:09:10,520 --> 01:09:15,280
Speaker 1: And within a sixty second span, all on, mainly just

1222
01:09:15,280 --> 01:09:19,320
Speaker 1: on Runs's face, you see that character, the trajectory of

1223
01:09:19,360 --> 01:09:26,080
Speaker 1: her character having to reconcile feelings of jealousy that that

1224
01:09:26,280 --> 01:09:29,760
Speaker 1: or later jealousy that the film is getting made without her,

1225
01:09:29,920 --> 01:09:32,080
Speaker 1: that the part that he wrote for her, even though

1226
01:09:32,080 --> 01:09:34,320
Speaker 1: she turned it down, that it is getting that it's

1227
01:09:34,320 --> 01:09:39,800
Speaker 1: getting made without her after all that that, she then

1228
01:09:40,040 --> 01:09:43,439
Speaker 1: is disappointed in herself for feeling that way a little bit,

1229
01:09:43,560 --> 01:09:45,719
Speaker 1: and then she has to try to get herself over

1230
01:09:45,800 --> 01:09:50,040
Speaker 1: it in the moment instantaneously, and then when the actress

1231
01:09:50,120 --> 01:09:52,640
Speaker 1: and her dad show up at the house and are

1232
01:09:52,680 --> 01:09:56,280
Speaker 1: about to walk in, she actually, there's this bit of

1233
01:09:56,320 --> 01:09:58,240
Speaker 1: physical what I thought in the moment, Josh, when I

1234
01:09:58,280 --> 01:10:01,479
Speaker 1: watched it originally I thought was physical, where she actually

1235
01:10:02,080 --> 01:10:05,680
Speaker 1: she's so she's so petrified by it that she stumbles

1236
01:10:05,720 --> 01:10:10,679
Speaker 1: backwards and almost trips and has to has to run

1237
01:10:10,680 --> 01:10:12,479
Speaker 1: out of the house. She won't she won't let herself

1238
01:10:12,520 --> 01:10:15,679
Speaker 1: be seen. And when I rewatched it just earlier today,

1239
01:10:15,680 --> 01:10:21,240
Speaker 1: I realized there's really nothing funny about it. She's legitimately terrified.

1240
01:10:21,320 --> 01:10:24,840
Speaker 1: It's it's actually something that is. It feels more like

1241
01:10:24,920 --> 01:10:28,960
Speaker 1: something that is, that's anxiety, that's that's eating away at her.

1242
01:10:29,080 --> 01:10:31,040
Speaker 1: And the thought of the thought of them walking into

1243
01:10:31,120 --> 01:10:33,320
Speaker 1: the house at that moment, it's as if she would

1244
01:10:34,240 --> 01:10:36,840
Speaker 1: It's not just that she's she's nervous about it or

1245
01:10:36,880 --> 01:10:39,040
Speaker 1: she would be embarrassed. It's as if she would, she

1246
01:10:39,080 --> 01:10:42,200
Speaker 1: would maybe dissolve in front of them. That's how That's

1247
01:10:42,240 --> 01:10:45,679
Speaker 1: how much it would it would hurt her if if

1248
01:10:45,800 --> 01:10:49,240
Speaker 1: she was seen in that moment. Again, it's about a

1249
01:10:49,280 --> 01:10:52,320
Speaker 1: sixty second scene, and yet you feel all of that

1250
01:10:52,920 --> 01:10:57,240
Speaker 1: just within the performance. Even though there's there's there's not

1251
01:10:57,560 --> 01:11:01,080
Speaker 1: there's not a lot of dynamic in terms of the

1252
01:11:01,439 --> 01:11:05,280
Speaker 1: volume to the performance. I just think I think she's

1253
01:11:05,320 --> 01:11:08,679
Speaker 1: a force as an actress, and I love the film

1254
01:11:08,880 --> 01:11:11,479
Speaker 1: and it's another one of those movies that we may

1255
01:11:11,520 --> 01:11:14,360
Speaker 1: hear more about. Is the Month goes on here on

1256
01:11:14,400 --> 01:11:15,040
Speaker 1: film spotting.

1257
01:11:15,960 --> 01:11:18,400
Speaker 6: You know, you'd think the fact that I'm partner Ourwegian

1258
01:11:18,520 --> 01:11:21,360
Speaker 6: could have got me at least a screening link at him.

1259
01:11:21,439 --> 01:11:24,080
Speaker 1: I mean, come on, no kidding, Are you in Trier

1260
01:11:24,240 --> 01:11:26,880
Speaker 1: like old friends at this point or something?

1261
01:11:26,920 --> 01:11:28,439
Speaker 3: Yeah, I'm sure I were probably related.

1262
01:11:28,920 --> 01:11:33,080
Speaker 1: I was going to say somewhere down the line, right, well,

1263
01:11:33,439 --> 01:11:38,200
Speaker 1: those are our favorite performances of twenty twenty five. Again,

1264
01:11:38,680 --> 01:11:41,600
Speaker 1: you can look at all those picks, maybe view some

1265
01:11:41,640 --> 01:11:44,040
Speaker 1: of the scenes we've talked about over at film spotting

1266
01:11:44,360 --> 01:11:47,640
Speaker 1: dot net slash lists.

1267
01:11:51,000 --> 01:11:53,519
Speaker 8: Everyone thinks I did it, I didn't do it.

1268
01:11:54,400 --> 01:11:56,760
Speaker 3: This goes way beyond normal police work.

1269
01:11:57,360 --> 01:11:58,679
Speaker 2: This is something even.

1270
01:11:58,520 --> 01:12:05,240
Speaker 8: I've got experienced, a perfectly impossible crime.

1271
01:12:06,640 --> 01:12:09,639
Speaker 1: This case is solvable. Time I'm incapable of not solving

1272
01:12:09,640 --> 01:12:13,360
Speaker 1: a crime, or you'll see it's fun. Daniel Craigs Ben

1273
01:12:13,400 --> 01:12:16,000
Speaker 1: wil Blanc is back in Ryan Johnson's Wake Up dead

1274
01:12:16,040 --> 01:12:19,120
Speaker 1: Man the Third Knives Out mystery among the suspects, this

1275
01:12:19,160 --> 01:12:23,000
Speaker 1: time Josh O'Connor, Glenn Close, Jeremy Renner, and others. In

1276
01:12:23,040 --> 01:12:25,360
Speaker 1: addition to being well crafted mysteries, the films have been

1277
01:12:25,439 --> 01:12:28,120
Speaker 1: used by Johnson for some playful satire. The First Knives

1278
01:12:28,120 --> 01:12:31,040
Speaker 1: Out in twenty nineteen tapped into issues of class and race.

1279
01:12:31,320 --> 01:12:34,200
Speaker 1: The follow up Glass Onion in twenty twenty two satirize

1280
01:12:34,240 --> 01:12:37,120
Speaker 1: the ultra wealthy, and now Wake Up dead Man takes

1281
01:12:37,160 --> 01:12:40,479
Speaker 1: aim at the church, specifically here a Catholic church in

1282
01:12:40,560 --> 01:12:43,840
Speaker 1: Upstate New York, but more broadly Christianity and the way

1283
01:12:43,840 --> 01:12:46,920
Speaker 1: it intersects with politics and society. I don't know. We

1284
01:12:47,000 --> 01:12:50,360
Speaker 1: might throw just Maga in there as well. Josh, what

1285
01:12:50,479 --> 01:12:53,400
Speaker 1: did you think about Wake Up Dead Man? We know

1286
01:12:53,520 --> 01:12:57,120
Speaker 1: you love Josh O'Connor's performance, and he is a major,

1287
01:12:57,360 --> 01:12:59,559
Speaker 1: major part of this film, so I'm guessing you were

1288
01:12:59,560 --> 01:13:00,719
Speaker 1: a fan of the movie overall.

1289
01:13:00,960 --> 01:13:03,519
Speaker 6: Yeah, I'll let that speak for itself. My choice for

1290
01:13:03,600 --> 01:13:06,280
Speaker 6: him is the best performance by a lead actor this year.

1291
01:13:06,920 --> 01:13:11,919
Speaker 6: And I've appreciated the satire in all of Ryan Johnson's

1292
01:13:11,960 --> 01:13:14,840
Speaker 6: Knives Out films, but this is the one that hits very,

1293
01:13:15,720 --> 01:13:19,280
Speaker 6: very close to home. I did not expect it. I

1294
01:13:19,360 --> 01:13:21,919
Speaker 6: knew Josh O'Connor played a priest, I'd seen the trailers,

1295
01:13:22,040 --> 01:13:24,479
Speaker 6: but maybe I should have knowing that he likes to

1296
01:13:25,000 --> 01:13:27,960
Speaker 6: weave in some satire here. But man, was this potent

1297
01:13:28,439 --> 01:13:32,240
Speaker 6: on point what we need? Throw this in the group

1298
01:13:32,800 --> 01:13:35,720
Speaker 6: of wake up movies in twenty twenty five, trying to

1299
01:13:36,680 --> 01:13:39,320
Speaker 6: shake those who still need to be shaken about what's

1300
01:13:39,360 --> 01:13:45,360
Speaker 6: going on in this country. And yeah, it is absolutely perceptive.

1301
01:13:46,320 --> 01:13:48,840
Speaker 6: It's let me just say quickly, also very fun in

1302
01:13:48,880 --> 01:13:53,120
Speaker 6: twisty murder mystery. It's hilarious, but it has a provocative

1303
01:13:53,160 --> 01:13:58,280
Speaker 6: claim at its center. Interestingly, Johnson's a filmmaker of incredible talent,

1304
01:13:58,439 --> 01:14:01,080
Speaker 6: so he wraps this up in a potent image right away.

1305
01:14:01,439 --> 01:14:03,360
Speaker 6: What do we see at the beginning of this movie,

1306
01:14:03,400 --> 01:14:07,919
Speaker 6: Adam in this church the fate outline of a cross.

1307
01:14:08,640 --> 01:14:11,000
Speaker 6: So imagine, like you know there's a picture that's been

1308
01:14:11,040 --> 01:14:12,880
Speaker 6: hanging on your wall for fifteen years and you take

1309
01:14:12,880 --> 01:14:16,240
Speaker 6: it off and you've got that outline. That's what's in

1310
01:14:16,280 --> 01:14:19,680
Speaker 6: this church. There's no cross there, there's the outline of it.

1311
01:14:19,960 --> 01:14:22,760
Speaker 6: There are practical plot reasons for that, but this is

1312
01:14:23,560 --> 01:14:27,400
Speaker 6: the symbolic statement the movie is making that something is missing,

1313
01:14:28,600 --> 01:14:32,400
Speaker 6: something essential is missing from the most prominent expressions of

1314
01:14:32,439 --> 01:14:35,720
Speaker 6: American Christianity these days. And that's where the Maga comes in,

1315
01:14:36,080 --> 01:14:39,920
Speaker 6: which is not Christianity, but it's claiming it. And Johnson

1316
01:14:40,960 --> 01:14:46,599
Speaker 6: knows this and has built a fun, twisty murder mystery

1317
01:14:47,320 --> 01:14:50,800
Speaker 6: around it. That's what kind of just knocked me out

1318
01:14:51,120 --> 01:14:54,840
Speaker 6: about the film, maybe simply because it was unexpected, and

1319
01:14:54,920 --> 01:14:57,040
Speaker 6: I just want to keep emphasizing people are going to

1320
01:14:57,080 --> 01:14:58,680
Speaker 6: see this. They love these movies. So I don't need

1321
01:14:58,720 --> 01:15:00,720
Speaker 6: to encourage anyone to SA but I do want to

1322
01:15:00,720 --> 01:15:02,679
Speaker 6: emphasize how fun it is. This is not a dry

1323
01:15:03,320 --> 01:15:06,360
Speaker 6: theological treatise, right, I mean, no, it is not. He's

1324
01:15:06,360 --> 01:15:08,840
Speaker 6: also having a ton of fun with the religious setting,

1325
01:15:08,880 --> 01:15:11,679
Speaker 6: sets up a ton of sharp gags. The title alone

1326
01:15:12,520 --> 01:15:15,519
Speaker 6: hints at all the resurrection imagery he's going to play

1327
01:15:15,520 --> 01:15:19,400
Speaker 6: with here. O'Connor's performance is very funny. So many performances

1328
01:15:19,400 --> 01:15:24,759
Speaker 6: are funny. But yeah, it's it's just the the wisdom

1329
01:15:24,840 --> 01:15:27,040
Speaker 6: at the center of this is what I'm going to

1330
01:15:27,120 --> 01:15:29,519
Speaker 6: treasure about wake Up Dead Man the.

1331
01:15:29,520 --> 01:15:32,640
Speaker 1: Most, the wisdom. That's a really interesting point, and I

1332
01:15:32,680 --> 01:15:36,200
Speaker 1: don't disagree, though. I think it's something else that I'm

1333
01:15:36,240 --> 01:15:39,280
Speaker 1: going to or that I am treasuring most about this film,

1334
01:15:39,320 --> 01:15:41,439
Speaker 1: even if it's it's a word I don't know that

1335
01:15:41,479 --> 01:15:43,439
Speaker 1: I can completely put my finger on yet. We'll see

1336
01:15:43,479 --> 01:15:45,400
Speaker 1: if I can. I can get to the right word

1337
01:15:45,720 --> 01:15:47,880
Speaker 1: as we talk about the film a little bit more.

1338
01:15:48,000 --> 01:15:50,639
Speaker 1: It's unfortunate in a way that these movies always come

1339
01:15:50,640 --> 01:15:54,639
Speaker 1: out around Thanksgiving, because even though we have reviewed given

1340
01:15:54,680 --> 01:15:58,440
Speaker 1: a full review to at least one of the films previously,

1341
01:15:59,160 --> 01:16:02,280
Speaker 1: sometimes we aren't able to give them the full film

1342
01:16:02,280 --> 01:16:05,640
Speaker 1: spotting Linky discussion treatment, and this is an example of that.

1343
01:16:05,720 --> 01:16:08,280
Speaker 1: Here we are, we're already doing our top five or

1344
01:16:08,320 --> 01:16:10,559
Speaker 1: we're doing our best performances of the year, and we're

1345
01:16:10,640 --> 01:16:13,960
Speaker 1: kind of just sandwiching in this conversation. We've both alluded

1346
01:16:14,000 --> 01:16:16,519
Speaker 1: to this already. There is so much that we could

1347
01:16:16,600 --> 01:16:20,840
Speaker 1: dig into with this film, not just culturally and politically

1348
01:16:20,880 --> 01:16:24,679
Speaker 1: and in terms of the satire, but in terms of visually,

1349
01:16:25,000 --> 01:16:29,160
Speaker 1: in terms of the writing and the gags and the performances.

1350
01:16:29,760 --> 01:16:33,559
Speaker 1: I said it before, Josh O'Connor, I think is so

1351
01:16:33,960 --> 01:16:36,080
Speaker 1: good in this film, and why I say he's so

1352
01:16:36,280 --> 01:16:39,840
Speaker 1: good gets at what I really want to try to

1353
01:16:39,920 --> 01:16:45,920
Speaker 1: underline about what so surprised me with this film. And

1354
01:16:46,000 --> 01:16:47,880
Speaker 1: it's been a while since I've seen the other two films,

1355
01:16:48,640 --> 01:16:51,240
Speaker 1: and I didn't look at my notes either, so maybe

1356
01:16:51,280 --> 01:16:56,000
Speaker 1: I'm not doing these films justice with my memory. Though

1357
01:16:56,400 --> 01:16:58,360
Speaker 1: I want to be clear, I'm not saying these films

1358
01:16:58,400 --> 01:17:01,040
Speaker 1: had to deliver anything more than they did. Not only

1359
01:17:01,200 --> 01:17:04,520
Speaker 1: did they give us some really potent, fun playful satire,

1360
01:17:04,880 --> 01:17:08,559
Speaker 1: they worked as the murder mysteries, the really smart murder

1361
01:17:08,600 --> 01:17:12,439
Speaker 1: mysteries they needed to work as ye full stop. That

1362
01:17:12,439 --> 01:17:15,160
Speaker 1: that's what made them very good films that we both positively,

1363
01:17:15,400 --> 01:17:20,120
Speaker 1: very positively reviewed. And I was really expecting nothing more

1364
01:17:20,920 --> 01:17:25,200
Speaker 1: from this film. And not only did we get the

1365
01:17:25,400 --> 01:17:31,839
Speaker 1: very pointed and very playful satire and the very smart,

1366
01:17:32,560 --> 01:17:36,720
Speaker 1: fun murder mystery, but I got something that hit me

1367
01:17:36,760 --> 01:17:43,360
Speaker 1: on a very very odd emotional level. And I can't

1368
01:17:44,439 --> 01:17:48,080
Speaker 1: I can't. I can't fully unfortunately articulate it because it

1369
01:17:48,240 --> 01:17:52,880
Speaker 1: would involve me, it would it would require me to

1370
01:17:52,920 --> 01:17:56,040
Speaker 1: get into spoilers. But what what isn't a spoiler is

1371
01:17:56,080 --> 01:17:58,080
Speaker 1: to say that, of course this is this is a

1372
01:17:58,160 --> 01:18:01,800
Speaker 1: murder mystery where you know that Benoi Blanc is going

1373
01:18:01,880 --> 01:18:04,920
Speaker 1: to reveal the killer and there's going to be a confession.

1374
01:18:05,000 --> 01:18:07,200
Speaker 1: That's how these movies work. We are going to eventually

1375
01:18:07,240 --> 01:18:09,200
Speaker 1: find out who the killer is and the killer is

1376
01:18:09,240 --> 01:18:13,000
Speaker 1: going to explain something about why they did what they did.

1377
01:18:13,800 --> 01:18:17,240
Speaker 1: I don't remember previously in these films, not that there

1378
01:18:17,320 --> 01:18:22,280
Speaker 1: wasn't depth, some depth to it, or some drama there

1379
01:18:22,320 --> 01:18:26,839
Speaker 1: to it, maybe or in other murder mysteries like these films,

1380
01:18:27,720 --> 01:18:32,960
Speaker 1: but watching this one, Josh, that final scene between O'Connor

1381
01:18:33,200 --> 01:18:40,840
Speaker 1: and this performer and the different directions it goes both

1382
01:18:40,920 --> 01:18:45,880
Speaker 1: intellectually and emotionally hit me in a way that I

1383
01:18:47,439 --> 01:18:49,400
Speaker 1: want to say I could have never expected, but of

1384
01:18:49,439 --> 01:18:52,960
Speaker 1: course also is completely in line with everything I saw

1385
01:18:53,040 --> 01:18:56,520
Speaker 1: for the previous two hours. It was the perfect culmination

1386
01:18:56,680 --> 01:19:00,360
Speaker 1: of the film that I saw, except or all I'm

1387
01:19:00,360 --> 01:19:03,320
Speaker 1: trying to say is I didn't expect that murder mystery.

1388
01:19:03,320 --> 01:19:06,519
Speaker 1: I didn't expect a murder mystery to be able to

1389
01:19:06,720 --> 01:19:09,960
Speaker 1: do that. Somehow, I'm still trying to figure out how

1390
01:19:10,720 --> 01:19:18,120
Speaker 1: Ryan Johnson made this fun murder mystery satire that left me,

1391
01:19:18,920 --> 01:19:22,679
Speaker 1: that left me actually getting a little bit a little

1392
01:19:22,680 --> 01:19:27,160
Speaker 1: bit teary eyed watching a killer confess at the end

1393
01:19:27,240 --> 01:19:33,400
Speaker 1: of the film, because of the different ways a person

1394
01:19:33,800 --> 01:19:37,200
Speaker 1: the two the dynamic between the two characters in the scene,

1395
01:19:36,920 --> 01:19:41,240
Speaker 1: the levels that they are, the layers of that scene,

1396
01:19:41,280 --> 01:19:43,960
Speaker 1: and where they go with each other. I think that's

1397
01:19:43,960 --> 01:19:45,800
Speaker 1: what I'm trying to say, Where they go with each

1398
01:19:45,800 --> 01:19:50,160
Speaker 1: other in that scene. It's a surprise moment to moment,

1399
01:19:50,200 --> 01:19:51,760
Speaker 1: and I loved it.

1400
01:19:52,560 --> 01:19:55,320
Speaker 6: And I'll just add that you're right about the ways

1401
01:19:55,320 --> 01:19:57,320
Speaker 6: it works. It works on the level of the film's

1402
01:19:57,360 --> 01:20:00,400
Speaker 6: theology as well. I would also argue, and maybe we

1403
01:20:00,439 --> 01:20:02,880
Speaker 6: can dig into this further. It sounds like you have

1404
01:20:03,080 --> 01:20:07,240
Speaker 6: a potential most moving moment from Wake Up dead Man

1405
01:20:07,320 --> 01:20:11,360
Speaker 6: for our year end wrap party. My for sure most

1406
01:20:11,400 --> 01:20:13,960
Speaker 6: moving moment is coming from this film, but it will

1407
01:20:14,000 --> 01:20:17,479
Speaker 6: be from an earlier scene in Wake Up Dead Man.

1408
01:20:17,680 --> 01:20:20,160
Speaker 6: So yeah, maybe when we get to that in January,

1409
01:20:20,240 --> 01:20:22,559
Speaker 6: we could talk about these in a little bit more detail.

1410
01:20:23,080 --> 01:20:26,200
Speaker 1: Yeah, and maybe I can articulate everything I was trying

1411
01:20:26,240 --> 01:20:29,360
Speaker 1: to say a little bit better. Then, speaking of moving

1412
01:20:29,800 --> 01:20:34,840
Speaker 1: and emotional, let's talk a little bit about Himnett.

1413
01:20:41,600 --> 01:20:45,480
Speaker 3: Dream again, likening.

1414
01:20:46,960 --> 01:20:47,559
Speaker 1: He does?

1415
01:20:50,920 --> 01:20:59,400
Speaker 6: That's well, okay, yeah, this uh yeah, this was a lot.

1416
01:20:59,520 --> 01:21:02,679
Speaker 6: Hamnet is the adaptation of the twenty twenty novel by

1417
01:21:02,720 --> 01:21:08,599
Speaker 6: Maggie o'ferrell. Paul Meskill Here is Shakespeare. Jesse Buckley plays

1418
01:21:08,640 --> 01:21:12,479
Speaker 6: his wife, and we should also note this comes from

1419
01:21:12,840 --> 01:21:17,320
Speaker 6: co writer and director Chloe Jau, a favorite here at

1420
01:21:17,320 --> 01:21:20,760
Speaker 6: film spotting. The movie is about these characters meeting and

1421
01:21:20,800 --> 01:21:23,600
Speaker 6: their marriage, and then it goes on to deal directly

1422
01:21:24,120 --> 01:21:27,640
Speaker 6: with the death of their only son, Hamnet, and what

1423
01:21:27,840 --> 01:21:33,360
Speaker 6: came from their grief, including the play that is his namesake. So, Adam,

1424
01:21:34,040 --> 01:21:37,280
Speaker 6: what do you say? This is gonna be difficult because

1425
01:21:37,280 --> 01:21:39,800
Speaker 6: we've already touched on this. You weren't aware at all

1426
01:21:40,280 --> 01:21:42,680
Speaker 6: about the pushback to this movie. It sounds like I

1427
01:21:42,760 --> 01:21:47,000
Speaker 6: am only vaguely aware by seeing star ratings and Angry

1428
01:21:47,640 --> 01:21:50,599
Speaker 6: Blue Sky references to it. I don't know in detail,

1429
01:21:50,680 --> 01:21:55,639
Speaker 6: but there is some pushback from people. And how would

1430
01:21:55,720 --> 01:21:58,639
Speaker 6: you pre defend Hamnet, because I do know that you're

1431
01:21:58,800 --> 01:21:59,200
Speaker 6: a fan.

1432
01:21:59,560 --> 01:22:02,960
Speaker 1: Well, I like the movie. I don't love the film

1433
01:22:03,000 --> 01:22:05,920
Speaker 1: maybe as much as I thought I would, considering the

1434
01:22:06,840 --> 01:22:11,680
Speaker 1: talent that's in it and the director and everything about

1435
01:22:11,960 --> 01:22:15,080
Speaker 1: the creation of art. You know, is usually going to

1436
01:22:15,160 --> 01:22:17,640
Speaker 1: be a subject that is going to appeal to me,

1437
01:22:17,680 --> 01:22:19,599
Speaker 1: and it does appeal to me here. But I also

1438
01:22:19,640 --> 01:22:23,200
Speaker 1: think it's a limitation of the film, as I'll get

1439
01:22:23,200 --> 01:22:27,479
Speaker 1: into here in a moment. I'm not sure exactly what

1440
01:22:27,520 --> 01:22:30,479
Speaker 1: the hang up is, other than maybe folks find it

1441
01:22:31,160 --> 01:22:37,799
Speaker 1: a little bit too too demanding of our emotions, wanting

1442
01:22:37,960 --> 01:22:42,200
Speaker 1: too much to ring every last tier out of us.

1443
01:22:42,880 --> 01:22:46,959
Speaker 1: I went into it knowing very little about this movie, honestly,

1444
01:22:47,000 --> 01:22:51,799
Speaker 1: other than the basic the basic story that you mentioned there, Josh.

1445
01:22:51,960 --> 01:22:58,479
Speaker 1: And if we gave star ratings based on how many

1446
01:22:58,680 --> 01:23:05,479
Speaker 1: minutes we spent crying during a film, then I would

1447
01:23:05,479 --> 01:23:07,800
Speaker 1: give himn It twenty stars and it would be the

1448
01:23:07,840 --> 01:23:11,080
Speaker 1: greatest movie I ever saw. Okay, I'm telling you my

1449
01:23:11,160 --> 01:23:15,040
Speaker 1: experience with the film, and I'm I'm not I'm not

1450
01:23:15,040 --> 01:23:19,280
Speaker 1: trying to suggest that I am somehow some virile man

1451
01:23:19,720 --> 01:23:22,800
Speaker 1: who watches films and never gets emotional. But when I

1452
01:23:22,840 --> 01:23:27,000
Speaker 1: watch movies, I can get a little a little, you know,

1453
01:23:27,080 --> 01:23:30,719
Speaker 1: a little teary, or I can I can feel emotion

1454
01:23:30,920 --> 01:23:33,439
Speaker 1: welling up and I have to stifle back tears.

1455
01:23:33,560 --> 01:23:33,920
Speaker 8: I don't.

1456
01:23:34,400 --> 01:23:38,960
Speaker 1: I don't often, Josh, that I can recall actually cry.

1457
01:23:39,600 --> 01:23:43,439
Speaker 1: You know where I'm I'm actively sniffling and like the

1458
01:23:43,600 --> 01:23:47,360
Speaker 1: tears are, you know, rolling down my face. And there's

1459
01:23:47,680 --> 01:23:53,640
Speaker 1: there's a twenty minute section of this film where it

1460
01:23:53,640 --> 01:23:56,599
Speaker 1: it nailed me and and and that's that's what I

1461
01:23:56,680 --> 01:23:59,280
Speaker 1: was doing. I was. I was sitting on my couch

1462
01:23:59,479 --> 01:24:03,280
Speaker 1: watching this film crying. So if you're a person who

1463
01:24:03,280 --> 01:24:07,120
Speaker 1: maybe wants to avoid material, especially if you are a

1464
01:24:07,200 --> 01:24:11,400
Speaker 1: parent and thinking about dealing with a movie that's going

1465
01:24:11,439 --> 01:24:14,759
Speaker 1: to depict the passing of a child and and having

1466
01:24:14,800 --> 01:24:19,000
Speaker 1: to watch that kind of grief portrayed, maybe maybe the

1467
01:24:19,040 --> 01:24:23,400
Speaker 1: movie isn't for you. It it was for me an

1468
01:24:23,439 --> 01:24:28,800
Speaker 1: emotional watch. But that's that's a that's not something that

1469
01:24:28,840 --> 01:24:31,719
Speaker 1: was then a negative about the film, Josh. It also

1470
01:24:31,840 --> 01:24:36,840
Speaker 1: isn't then the basis for my positivity on the movie

1471
01:24:36,840 --> 01:24:40,080
Speaker 1: that it got an emotional reaction out of me. I

1472
01:24:40,160 --> 01:24:44,840
Speaker 1: think that the first half of this film, when we're

1473
01:24:45,000 --> 01:24:50,920
Speaker 1: especially getting to know these characters, Paul Meskal's Will, who

1474
01:24:51,000 --> 01:24:53,120
Speaker 1: I love how the movie doesn't call him Will or

1475
01:24:53,160 --> 01:24:55,760
Speaker 1: refer to him as Shakespeare until near the end of

1476
01:24:55,800 --> 01:24:58,800
Speaker 1: the film very clearly by design, they just call him

1477
01:24:58,880 --> 01:25:04,320
Speaker 1: husband and they call her Agnes, and you if you

1478
01:25:04,640 --> 01:25:07,479
Speaker 1: came in with no knowledge of what this was really

1479
01:25:07,520 --> 01:25:09,240
Speaker 1: about or that it was going to lead to the

1480
01:25:09,240 --> 01:25:11,880
Speaker 1: production of Hamlet, you you wouldn't.

1481
01:25:11,520 --> 01:25:14,840
Speaker 6: Know hand raised that was me. But go on, okay,

1482
01:25:14,840 --> 01:25:16,720
Speaker 6: think that's me. So I like this movie so much,

1483
01:25:16,760 --> 01:25:17,400
Speaker 6: but go on.

1484
01:25:17,600 --> 01:25:20,080
Speaker 1: There you go. You could come into it and not

1485
01:25:20,200 --> 01:25:22,360
Speaker 1: know that has anything to do with Shakespeare for a

1486
01:25:22,600 --> 01:25:25,840
Speaker 1: very long time. And and I love that aspect of

1487
01:25:25,840 --> 01:25:28,840
Speaker 1: the film because I think Shao does a very nice

1488
01:25:28,920 --> 01:25:34,880
Speaker 1: job of balancing this relationship and making it about both

1489
01:25:35,880 --> 01:25:39,880
Speaker 1: Agnes and the husband and making it about Buckley and Mescal,

1490
01:25:40,080 --> 01:25:42,639
Speaker 1: but still the emphasis, Josh, and I like the movie

1491
01:25:42,680 --> 01:25:48,120
Speaker 1: most when it's about Buckley's character. Yes, And the movie

1492
01:25:48,160 --> 01:25:51,640
Speaker 1: then at some point has to become the movie. It

1493
01:25:51,680 --> 01:25:55,479
Speaker 1: has to become it has to become the Shakespeare movie.

1494
01:25:55,880 --> 01:25:58,360
Speaker 1: It has to become the William Shakespeare movie that's about

1495
01:25:58,360 --> 01:26:01,519
Speaker 1: the production of Hamlet. And you said this earlier, and

1496
01:26:01,560 --> 01:26:05,759
Speaker 1: I agree with you because of Buckley's performance and also

1497
01:26:06,120 --> 01:26:10,320
Speaker 1: very much because of Paul Meskal's performance. The moments that

1498
01:26:11,120 --> 01:26:15,520
Speaker 1: the movie needed to deliver emotionally still very much delivered

1499
01:26:15,760 --> 01:26:17,960
Speaker 1: for me in the second half of this film. But

1500
01:26:18,040 --> 01:26:21,840
Speaker 1: that turn that the movie needs to make, or that

1501
01:26:21,920 --> 01:26:26,559
Speaker 1: it does try to make, I never felt. I never

1502
01:26:26,560 --> 01:26:29,599
Speaker 1: felt completely in lockstep with I never felt like that

1503
01:26:29,680 --> 01:26:33,920
Speaker 1: turn to then becoming the Shakespeare movie was as satisfying

1504
01:26:34,040 --> 01:26:38,000
Speaker 1: as the Jesse Buckley Agnes film I was getting up

1505
01:26:38,080 --> 01:26:39,200
Speaker 1: until that point.

1506
01:26:39,479 --> 01:26:41,920
Speaker 6: I think that's totally fair, and that may be part

1507
01:26:41,920 --> 01:26:44,120
Speaker 6: of the pushback that this movie is getting, which I

1508
01:26:44,160 --> 01:26:46,720
Speaker 6: could understand as I was just saying, I went in

1509
01:26:46,840 --> 01:26:48,080
Speaker 6: totally blind.

1510
01:26:48,200 --> 01:26:51,839
Speaker 3: I heard this was Chloe Shao. Had these two.

1511
01:26:51,680 --> 01:26:55,920
Speaker 6: Actors somehow related obviously from the title to Hamlet. I'm

1512
01:26:55,920 --> 01:26:58,360
Speaker 6: in don't want to know anything else, and so I

1513
01:26:58,439 --> 01:27:01,200
Speaker 6: really did go in blind until I was like, oh, okay,

1514
01:27:01,240 --> 01:27:04,640
Speaker 6: he's Shakespeare. Huh interesting, and then you do start to

1515
01:27:04,640 --> 01:27:06,680
Speaker 6: get the easter eggs. I was fine with it. I

1516
01:27:06,680 --> 01:27:10,240
Speaker 6: think there is a scarecrow moment that that would be,

1517
01:27:10,479 --> 01:27:12,080
Speaker 6: you know what they're doing in.

1518
01:27:12,040 --> 01:27:12,840
Speaker 3: Wicked for Good?

1519
01:27:13,880 --> 01:27:17,320
Speaker 6: I got it, but we could talk offline maybe about

1520
01:27:17,320 --> 01:27:19,360
Speaker 6: what we think that is. But other than that, I

1521
01:27:19,360 --> 01:27:23,080
Speaker 6: think it handles it fine. The transition overall, i'd agree

1522
01:27:23,120 --> 01:27:27,400
Speaker 6: with you to the crying question. I don't cry interestingly,

1523
01:27:27,680 --> 01:27:30,240
Speaker 6: the well I should say, I don't cry during movies

1524
01:27:30,360 --> 01:27:30,840
Speaker 6: very often.

1525
01:27:31,560 --> 01:27:34,360
Speaker 1: The last fist interjected, but I let it go.

1526
01:27:35,120 --> 01:27:38,000
Speaker 6: The last film I probably did was another Paul mescal film,

1527
01:27:38,479 --> 01:27:44,360
Speaker 6: after Sun, where yeah, things got wet, but yeah, I usually.

1528
01:27:44,479 --> 01:27:47,839
Speaker 6: This is what's interesting about Hamnet Adam is that movies

1529
01:27:48,000 --> 01:27:50,720
Speaker 6: like this, where you can sniff out early on that

1530
01:27:50,760 --> 01:27:53,880
Speaker 6: they want you to cry, No way is that going

1531
01:27:53,960 --> 01:27:57,519
Speaker 6: to work. The defenses come, the gates go up. It's

1532
01:27:57,560 --> 01:28:01,679
Speaker 6: like you try, no luck, and maybe.

1533
01:28:01,479 --> 01:28:04,679
Speaker 1: The movie's being manipulative. Did you feel like what I'm saying,

1534
01:28:04,760 --> 01:28:06,840
Speaker 1: the subject matter is the subject matter.

1535
01:28:07,200 --> 01:28:09,000
Speaker 6: This is what I was going to say is that.

1536
01:28:09,200 --> 01:28:12,680
Speaker 6: I think it's a credit to Hamnett that it is

1537
01:28:12,840 --> 01:28:17,639
Speaker 6: so explicitly emotional, and I still found it to be that,

1538
01:28:17,840 --> 01:28:20,320
Speaker 6: maybe not to the point of tears, but my defenses

1539
01:28:20,360 --> 01:28:22,559
Speaker 6: did not go up. I never felt like I needed

1540
01:28:22,600 --> 01:28:27,759
Speaker 6: to protect myself from the manipulation of the movie, because again,

1541
01:28:27,800 --> 01:28:31,559
Speaker 6: the performances are genuine, and I think Jow's conviction behind

1542
01:28:31,560 --> 01:28:35,560
Speaker 6: the camera is equally genuine, and so I didn't feel manipulated.

1543
01:28:35,920 --> 01:28:37,960
Speaker 6: I maybe didn't get to the emotional point you did,

1544
01:28:37,960 --> 01:28:39,720
Speaker 6: but I was on board with this movie all the

1545
01:28:39,720 --> 01:28:43,880
Speaker 6: way through to that ending, the climax, which you know,

1546
01:28:44,520 --> 01:28:48,360
Speaker 6: was fairly profound. I feel like in the term in

1547
01:28:48,439 --> 01:28:52,200
Speaker 6: terms of the communal compassion it evokes out of.

1548
01:28:52,080 --> 01:28:53,320
Speaker 3: This work of art.

1549
01:28:53,600 --> 01:28:57,479
Speaker 6: And so that's where I am with it. I'll dive

1550
01:28:57,520 --> 01:29:00,800
Speaker 6: into what some of the other objections are. I think

1551
01:29:00,840 --> 01:29:03,559
Speaker 6: I'll probably be able to understand just about all of them, honestly,

1552
01:29:04,120 --> 01:29:08,439
Speaker 6: as they might relate to the emotionality or the you know,

1553
01:29:08,520 --> 01:29:10,640
Speaker 6: the use of Shakespeare and the Shakespeare Easter eggs or

1554
01:29:10,640 --> 01:29:13,280
Speaker 6: whatever you want to say. But for me, it all

1555
01:29:13,320 --> 01:29:14,200
Speaker 6: worked pretty well.

1556
01:29:14,680 --> 01:29:17,640
Speaker 1: Yeah, it worked pretty well for me too, And it

1557
01:29:17,720 --> 01:29:21,080
Speaker 1: is largely because of those those performances, and not just

1558
01:29:21,439 --> 01:29:27,919
Speaker 1: Buckley and Mescal, Jacoby Juup as the young Hamnets Oh wow, gosh,

1559
01:29:27,960 --> 01:29:32,320
Speaker 1: and the stunt casting if you will, if you will,

1560
01:29:32,720 --> 01:29:37,760
Speaker 1: but but so smart to cast Jacoby Jeep and his

1561
01:29:37,840 --> 01:29:40,200
Speaker 1: brother Noah Juup, who you may know from the Quiet

1562
01:29:40,200 --> 01:29:44,080
Speaker 1: Place movies. That's his brother who we meet later in

1563
01:29:44,120 --> 01:29:48,040
Speaker 1: the film. And it makes sense whether you know that

1564
01:29:48,280 --> 01:29:50,920
Speaker 1: or not, and I didn't at the time in the

1565
01:29:50,960 --> 01:29:54,960
Speaker 1: moment watching it, but you feel it. You feel it

1566
01:29:55,040 --> 01:29:56,640
Speaker 1: in a way that you need to feel it, and

1567
01:29:56,640 --> 01:30:00,720
Speaker 1: that's all that really matters. And Mescal I already I

1568
01:30:00,760 --> 01:30:03,559
Speaker 1: already said something about this or or hinted at it.

1569
01:30:03,840 --> 01:30:09,639
Speaker 1: But the moments of performance within the performance that maybe

1570
01:30:09,960 --> 01:30:13,400
Speaker 1: we shouldn't be so impressed with because that's what that's

1571
01:30:13,439 --> 01:30:15,840
Speaker 1: what actors do, that's what they get paid to do.

1572
01:30:16,680 --> 01:30:22,879
Speaker 1: But when you have to deliver some of these lines

1573
01:30:23,880 --> 01:30:28,519
Speaker 1: on a stage and we know the weight that has

1574
01:30:28,560 --> 01:30:33,639
Speaker 1: to be carried by them, and and the the entire

1575
01:30:33,760 --> 01:30:39,160
Speaker 1: movie Josh is is really being balanced on the emotional

1576
01:30:39,200 --> 01:30:46,800
Speaker 1: Catharsis is The construct of the film demands that at

1577
01:30:46,840 --> 01:30:52,120
Speaker 1: a certain point Paul Meskal is able to deliver lines

1578
01:30:52,200 --> 01:30:57,560
Speaker 1: that we feel the totality of the of the crushing

1579
01:30:58,600 --> 01:31:04,200
Speaker 1: profound the fundity of what his character and not only

1580
01:31:04,280 --> 01:31:08,080
Speaker 1: even his character, his character within a character is expressing.

1581
01:31:08,680 --> 01:31:13,760
Speaker 1: And if it doesn't work, if it doesn't work, the

1582
01:31:14,840 --> 01:31:19,040
Speaker 1: whole ending fails. And if the ending fails, I feel

1583
01:31:19,040 --> 01:31:21,960
Speaker 1: like the movie, the movie then doesn't work. And maybe

1584
01:31:22,000 --> 01:31:24,320
Speaker 1: that is part of what's not working for people. But

1585
01:31:24,400 --> 01:31:31,080
Speaker 1: because of Mescal's ability and Buckley's ability to make those

1586
01:31:31,200 --> 01:31:36,840
Speaker 1: moments that have to be transcendent actually be transcendent, Hamnett

1587
01:31:37,320 --> 01:31:37,960
Speaker 1: does succeed.

1588
01:31:38,479 --> 01:31:43,120
Speaker 6: Yeah, without these two actors with far lesser talents, it

1589
01:31:43,160 --> 01:31:44,280
Speaker 6: could have been disastrous.

1590
01:31:44,439 --> 01:31:45,920
Speaker 3: It really could have.

1591
01:31:46,040 --> 01:31:49,200
Speaker 6: But I think they manage it quite well.

1592
01:31:49,400 --> 01:31:52,920
Speaker 1: Hamnett is currently playing in limited release and will expand

1593
01:31:53,160 --> 01:31:57,559
Speaker 1: throughout the month. Next week here on Film Spotting, it

1594
01:31:57,680 --> 01:32:00,559
Speaker 1: is that best of twenty twenty five around on table.

1595
01:32:00,920 --> 01:32:04,040
Speaker 1: Michael Phillips will join us, as he has every year

1596
01:32:04,160 --> 01:32:06,599
Speaker 1: since I don't know, at least two thousand and seven,

1597
01:32:06,960 --> 01:32:11,000
Speaker 1: and for the first time ever, how about this back.

1598
01:32:11,280 --> 01:32:14,519
Speaker 1: You know, even before COVID Josh, we used to try

1599
01:32:14,520 --> 01:32:16,559
Speaker 1: to get her in the mix. She's part of the

1600
01:32:16,560 --> 01:32:20,519
Speaker 1: Film Spotting family has been forever, and there was even

1601
01:32:20,560 --> 01:32:23,120
Speaker 1: a time where she was scheduled and then it fell

1602
01:32:23,120 --> 01:32:25,240
Speaker 1: through it the last minute. Well it's not falling through now.

1603
01:32:25,360 --> 01:32:29,720
Speaker 1: Knock on wood Vultures Alison will Moore formally a film

1604
01:32:29,760 --> 01:32:33,360
Speaker 1: spotting SVU. She's gonna be here as part of the roundtable.

1605
01:32:33,400 --> 01:32:33,840
Speaker 1: Can't wait.

1606
01:32:34,320 --> 01:32:37,760
Speaker 6: Super exciting. We've done at least two live shows that

1607
01:32:37,920 --> 01:32:43,559
Speaker 6: Allison's been involved with, maybe more, And yeah, she's incredibly fun,

1608
01:32:44,280 --> 01:32:48,719
Speaker 6: incredibly perceptive and has a very interesting top ten list

1609
01:32:48,880 --> 01:32:52,800
Speaker 6: that we've already gotten a sneak peek at, and so yeah,

1610
01:32:52,800 --> 01:32:54,760
Speaker 6: I can't wait for her to be in the mix

1611
01:32:54,800 --> 01:32:57,960
Speaker 6: for this great show, which is, honestly, you know, one

1612
01:32:57,960 --> 01:33:01,040
Speaker 6: of our favorite to do, favorite to do every year,

1613
01:33:01,439 --> 01:33:03,160
Speaker 6: And I got to ask you a question, Adam. Also

1614
01:33:03,200 --> 01:33:08,320
Speaker 6: on the docket for this show is our Golden Brick finalists.

1615
01:33:08,479 --> 01:33:08,639
Speaker 3: Right.

1616
01:33:08,680 --> 01:33:16,000
Speaker 6: We usually announce those films from new or upcoming filmmakers

1617
01:33:16,120 --> 01:33:18,799
Speaker 6: that we've been excited about from this year under seen Films,

1618
01:33:19,400 --> 01:33:21,720
Speaker 6: and we nominate them for the Golden Brick. Can I

1619
01:33:21,840 --> 01:33:25,800
Speaker 6: throw in at least one one more here before? Okay,

1620
01:33:26,400 --> 01:33:29,040
Speaker 6: so this was part of my cramming session. I mentioned

1621
01:33:29,080 --> 01:33:33,000
Speaker 6: how I needed to pick up my animation game for

1622
01:33:33,080 --> 01:33:36,519
Speaker 6: this year, and so I did watch Boys Go to Jupiter,

1623
01:33:36,640 --> 01:33:39,639
Speaker 6: which is directed by Julian Glander. It's sort of a

1624
01:33:39,680 --> 01:33:45,920
Speaker 6: low fi animated effort about a bunch of teenagers, including

1625
01:33:46,600 --> 01:33:50,240
Speaker 6: like a grub Hub gopher, essentially hanging out in Florida,

1626
01:33:50,880 --> 01:33:54,439
Speaker 6: and I can't say much more about it except to

1627
01:33:54,479 --> 01:33:56,880
Speaker 6: say that it is a strong shot at being in

1628
01:33:56,920 --> 01:33:58,400
Speaker 6: my actual top ten this year.

1629
01:33:59,120 --> 01:33:59,720
Speaker 2: It is.

1630
01:34:00,000 --> 01:34:05,320
Speaker 6: It's kind of a kinder, gentler, South Park variation on

1631
01:34:05,400 --> 01:34:08,080
Speaker 6: what it's like to live in the United States today,

1632
01:34:08,640 --> 01:34:15,800
Speaker 6: with some incredible electronic songs also, as far as I

1633
01:34:15,840 --> 01:34:19,840
Speaker 6: can tell, written by Julian Glander, that make this like

1634
01:34:20,720 --> 01:34:24,080
Speaker 6: eighty percent of musical that I've already been listening to

1635
01:34:24,400 --> 01:34:27,759
Speaker 6: just outside just doing regular work, because they're so fun

1636
01:34:27,880 --> 01:34:29,719
Speaker 6: and witty and smart as well.

1637
01:34:30,400 --> 01:34:36,360
Speaker 2: Eggs again. I think I'll have eggs again.

1638
01:34:39,439 --> 01:34:43,840
Speaker 4: There's so many different ways to have eggs, you could

1639
01:34:43,880 --> 01:34:47,840
Speaker 4: have a different way every day.

1640
01:34:48,600 --> 01:34:51,639
Speaker 6: So Boys Go to Jupiter I absolutely want to throw in.

1641
01:34:51,880 --> 01:34:57,360
Speaker 6: It's Glander's featured debut as a Golden Brick contender. And

1642
01:34:57,400 --> 01:34:59,360
Speaker 6: then another movie I want to throw in because we

1643
01:34:59,560 --> 01:35:03,479
Speaker 6: both loved Rose Byrne and if I had legs, i'd

1644
01:35:03,560 --> 01:35:07,880
Speaker 6: kick you. This is I think the second film from

1645
01:35:07,920 --> 01:35:11,880
Speaker 6: director Mary Bronstein, but the first we've seen feels like

1646
01:35:11,920 --> 01:35:15,880
Speaker 6: something of a breakout beyond Burn's performance. Do we want

1647
01:35:15,920 --> 01:35:17,000
Speaker 6: to throw this in the mix as well?

1648
01:35:17,040 --> 01:35:17,840
Speaker 3: Where are you at here?

1649
01:35:18,120 --> 01:35:21,400
Speaker 1: Yeah? This is tough. It's a case josh I threw

1650
01:35:21,400 --> 01:35:23,040
Speaker 1: out via Slack a couple of weeks ago. What do

1651
01:35:23,080 --> 01:35:26,120
Speaker 1: we do with Bronstein? I feel like she probably does

1652
01:35:27,240 --> 01:35:30,800
Speaker 1: belong in contention if you look here again. At the

1653
01:35:30,840 --> 01:35:34,799
Speaker 1: Chicago Film Critics Association, they have a Breakthrough Filmmaker Award

1654
01:35:35,280 --> 01:35:39,800
Speaker 1: and Bronstein is among the candidates there. And I put

1655
01:35:39,840 --> 01:35:43,280
Speaker 1: Bronstein on my ballot. She's on my top five. Now,

1656
01:35:43,479 --> 01:35:46,439
Speaker 1: we don't have to have exact crossover with the Brick

1657
01:35:46,479 --> 01:35:49,200
Speaker 1: and Breakthrough Filmmaker Award, but they are very similar. And

1658
01:35:49,479 --> 01:35:53,240
Speaker 1: I will tell you, in having some conversations offline with

1659
01:35:54,040 --> 01:35:58,040
Speaker 1: Eric Childress from the CFCA, who puts those ballots together,

1660
01:35:59,520 --> 01:36:03,320
Speaker 1: I don't say this in any way disparagingly. He's in

1661
01:36:03,360 --> 01:36:06,320
Speaker 1: the same boat we are, which is we're all just

1662
01:36:06,400 --> 01:36:09,320
Speaker 1: making it up as best we can. So it turns out,

1663
01:36:09,400 --> 01:36:12,120
Speaker 1: you know, there's no hard and fast criteria. It's not

1664
01:36:12,200 --> 01:36:14,920
Speaker 1: like it's not like there's there's exactly a set of

1665
01:36:15,000 --> 01:36:19,920
Speaker 1: rules that means you qualify as a breakthrough filmmaker. And

1666
01:36:20,280 --> 01:36:23,160
Speaker 1: the CFCA is largely thinking in the same terms we are,

1667
01:36:23,439 --> 01:36:26,600
Speaker 1: which is, does it feel new to us? Does it

1668
01:36:26,600 --> 01:36:29,519
Speaker 1: feel like it has been a breakout whether or not

1669
01:36:29,560 --> 01:36:32,719
Speaker 1: they've made previous films before. Are those movies that maybe

1670
01:36:32,800 --> 01:36:35,960
Speaker 1: were not just shorts, but were they movies that maybe

1671
01:36:35,960 --> 01:36:39,040
Speaker 1: only played the festival circuit and really didn't get a release.

1672
01:36:39,439 --> 01:36:43,599
Speaker 1: That's one thing the CFCA really considers, and that does

1673
01:36:43,640 --> 01:36:46,839
Speaker 1: seem to be the case with Mary Bronstein. What's harder

1674
01:36:46,920 --> 01:36:49,479
Speaker 1: is when you talk about a breakthrough or a merging

1675
01:36:49,520 --> 01:36:52,479
Speaker 1: filmmaker and they have films that go back it's twenty

1676
01:36:52,479 --> 01:36:54,599
Speaker 1: twenty five and Bronstein's where it goes back to two

1677
01:36:54,600 --> 01:36:56,880
Speaker 1: thousand and eight and two thousand and nine. Is she

1678
01:36:56,960 --> 01:37:00,120
Speaker 1: a breakthrough filmmaker? But there again, if it's just fest

1679
01:37:00,240 --> 01:37:04,120
Speaker 1: ull circuit stuff and this is where we're really encountering

1680
01:37:04,200 --> 01:37:07,639
Speaker 1: her work for the first time, then she does seem

1681
01:37:07,640 --> 01:37:11,040
Speaker 1: to fit that part of the criteria. Well, then what

1682
01:37:11,080 --> 01:37:14,040
Speaker 1: about the fact that it's an a twenty four film

1683
01:37:14,760 --> 01:37:16,600
Speaker 1: and it did play in a lot of theaters. Is

1684
01:37:16,640 --> 01:37:19,879
Speaker 1: that too big for our Golden Brick. It's very tricky,

1685
01:37:20,439 --> 01:37:23,479
Speaker 1: And I suppose at the end of the day, I

1686
01:37:23,640 --> 01:37:26,840
Speaker 1: do think that the movie is still one that most

1687
01:37:26,840 --> 01:37:29,240
Speaker 1: people listening to us right now probably didn't get a

1688
01:37:29,320 --> 01:37:32,519
Speaker 1: chance to see. And Mary Bronstein's a filmmaker that most

1689
01:37:32,520 --> 01:37:36,880
Speaker 1: people listening are just like us a month ago, not

1690
01:37:37,040 --> 01:37:41,040
Speaker 1: familiar with. And those two things being the case, if

1691
01:37:41,080 --> 01:37:43,160
Speaker 1: I had Legs I'd Kick You should probably be a

1692
01:37:43,200 --> 01:37:44,600
Speaker 1: Golden Brick nominee.

1693
01:37:45,160 --> 01:37:48,240
Speaker 6: Yeah, that's where I fall too, on the whole way. Yeah,

1694
01:37:48,240 --> 01:37:50,639
Speaker 6: for the long list for sure. The whole idea behind

1695
01:37:50,680 --> 01:37:55,640
Speaker 6: this is to highlight underseen films and up and coming filmmakers,

1696
01:37:55,840 --> 01:38:00,280
Speaker 6: and I think that applies at this stage to fired

1697
01:38:00,320 --> 01:38:02,679
Speaker 6: Legs I'd Kick You. So let's throw this on. Let's

1698
01:38:02,680 --> 01:38:05,160
Speaker 6: throw boys go to Jupiter on. And we have a

1699
01:38:05,400 --> 01:38:09,000
Speaker 6: very healthy list of contenders at this point to whittle

1700
01:38:09,040 --> 01:38:12,280
Speaker 6: down to our finalists, which we'll reveal on our next show.

1701
01:38:12,960 --> 01:38:16,120
Speaker 1: You can look at that list, that very healthy, long

1702
01:38:16,280 --> 01:38:19,160
Speaker 1: long list over at filmspotting dot net. You can go

1703
01:38:19,160 --> 01:38:21,719
Speaker 1: to the Golden Brick page. It's available at film spotting

1704
01:38:21,800 --> 01:38:22,360
Speaker 1: dot net.

1705
01:38:22,760 --> 01:38:27,200
Speaker 7: Slash Bricks This episode is brought to you by Peloton

1706
01:38:27,479 --> 01:38:29,719
Speaker 7: break through the busiest time of year with the brand

1707
01:38:29,720 --> 01:38:33,240
Speaker 7: new Peloton Cross Training tread Plus powered by Peloton Iq.

1708
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1710
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1711
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Speaker 7: push and go. Explore the new Peloton Cross Training Treadplus

1712
01:38:48,160 --> 01:38:50,719
Speaker 7: at Oneploton dot com.

1713
01:38:51,040 --> 01:38:55,879
Speaker 1: A few notes housekeeping here. Josh our producer Sam recently

1714
01:38:55,880 --> 01:38:58,880
Speaker 1: appeared on the podcast of our friend of our show,

1715
01:38:58,920 --> 01:39:02,479
Speaker 1: Aaron Neworth. The podcast is out now with Aaron and Abe.

1716
01:39:02,840 --> 01:39:06,080
Speaker 1: They talked about Noah Bombo's Jake Kelly. I don't know

1717
01:39:06,080 --> 01:39:09,080
Speaker 1: if that's a movie that's gonna get much discussion here.

1718
01:39:09,120 --> 01:39:10,720
Speaker 1: I don't know is j Kelly gonna make your top

1719
01:39:10,760 --> 01:39:11,760
Speaker 1: ten Josh spoilers.

1720
01:39:12,600 --> 01:39:16,400
Speaker 6: Uh no, it won't. Though I'm a mild fan. Could

1721
01:39:16,400 --> 01:39:17,439
Speaker 6: I say I'm a mild fan?

1722
01:39:17,600 --> 01:39:17,960
Speaker 3: Me too.

1723
01:39:18,560 --> 01:39:21,920
Speaker 6: I know that I know that Sam is a much

1724
01:39:21,920 --> 01:39:26,240
Speaker 6: bigger fan, So I'm sure that's a good conversation he's

1725
01:39:26,280 --> 01:39:29,920
Speaker 6: having there with Aaron, and yeah, he'll be able to

1726
01:39:30,560 --> 01:39:33,840
Speaker 6: sing the praises of j Kelly George Cliney, Yeah, didn't

1727
01:39:33,880 --> 01:39:39,719
Speaker 6: come up on our performances list. Though George Cline's fine

1728
01:39:39,720 --> 01:39:42,240
Speaker 6: in it. Adam Adam Sandler is excellent in it.

1729
01:39:42,280 --> 01:39:43,519
Speaker 3: Could he have used a little.

1730
01:39:43,400 --> 01:39:47,360
Speaker 6: More Adam Sandler I would have liked, considering the great

1731
01:39:47,360 --> 01:39:50,760
Speaker 6: work he's doing there. But yeah, definitely check out check

1732
01:39:50,760 --> 01:39:54,800
Speaker 6: out Sam on out Now with Aaron and Abe and yeah,

1733
01:39:54,840 --> 01:39:57,599
Speaker 6: you can find it wherever you get your podcasts real quick.

1734
01:39:57,600 --> 01:40:00,360
Speaker 1: I think there's some interesting things to discuss with Cline.

1735
01:40:00,760 --> 01:40:03,360
Speaker 1: Sam and I were having a discussion offline that I

1736
01:40:03,400 --> 01:40:05,840
Speaker 1: have to find a way to bring online here to

1737
01:40:05,920 --> 01:40:10,840
Speaker 1: the show about the only other actor that could have

1738
01:40:10,960 --> 01:40:14,519
Speaker 1: played the j Kelly part and and would have made

1739
01:40:14,560 --> 01:40:18,120
Speaker 1: the made the film better. Oh, there is one other actor.

1740
01:40:18,840 --> 01:40:21,599
Speaker 1: I think. I think Sam and I are onto something. Yeah,

1741
01:40:21,640 --> 01:40:24,200
Speaker 1: I think there's a well because Clooney, I mean, if

1742
01:40:24,240 --> 01:40:25,680
Speaker 1: you think about it, and I know a lot of

1743
01:40:25,680 --> 01:40:29,439
Speaker 1: people are saying this, but Clooney anyway fits the part.

1744
01:40:30,320 --> 01:40:34,120
Speaker 1: The every shot in that movie of the of the

1745
01:40:34,160 --> 01:40:37,680
Speaker 1: posters of the the classic Hollywood movie star and when

1746
01:40:37,720 --> 01:40:40,400
Speaker 1: he when he looks himself in the mirror at one point, yeah,

1747
01:40:40,479 --> 01:40:44,080
Speaker 1: and says Gary Cooper, and he and he recounts the

1748
01:40:44,200 --> 01:40:47,799
Speaker 1: names and Jay Kelly. You know what, Clooney's face fits

1749
01:40:47,840 --> 01:40:50,519
Speaker 1: the bill, He fits that bill of those types of

1750
01:40:50,560 --> 01:40:53,000
Speaker 1: movie stars. I think we can see him in that,

1751
01:40:53,600 --> 01:40:56,400
Speaker 1: in that litany. But there's another actor. It's not just

1752
01:40:56,439 --> 01:40:59,560
Speaker 1: that they're a better actor, Josh. It's about the persona

1753
01:41:00,080 --> 01:41:03,600
Speaker 1: in our relationship to that actor and that actor's relationship

1754
01:41:03,640 --> 01:41:07,479
Speaker 1: to their persona and their work. That would have made j.

1755
01:41:07,640 --> 01:41:11,000
Speaker 1: Kelly a very different film, but maybe a better one.

1756
01:41:11,080 --> 01:41:12,720
Speaker 1: So that's a discussion for another time.

1757
01:41:13,160 --> 01:41:13,559
Speaker 3: It is.

1758
01:41:13,680 --> 01:41:16,719
Speaker 6: I'll just add I don't think it's necessarily a Clooney issue,

1759
01:41:16,760 --> 01:41:22,080
Speaker 6: because Clooney is capable of something more than what we

1760
01:41:22,600 --> 01:41:26,680
Speaker 6: what I got here exhibit at Michael Clayton. I think

1761
01:41:26,680 --> 01:41:29,280
Speaker 6: it's more an issue of how j. Kelly is envisioned

1762
01:41:29,320 --> 01:41:33,439
Speaker 6: from a conception standpoint than how he's necessarily performed.

1763
01:41:33,479 --> 01:41:35,200
Speaker 3: See, we should have reviewed Jake Kelly. This is a

1764
01:41:35,240 --> 01:41:38,720
Speaker 3: crazy year. Too much going on. This is ridiculous.

1765
01:41:38,840 --> 01:41:40,800
Speaker 1: Yeah, and I you know, you know, I'm usually a

1766
01:41:40,840 --> 01:41:42,840
Speaker 1: no abound back guy, and I am because I like

1767
01:41:42,960 --> 01:41:45,000
Speaker 1: the film. I do like it, and I do recommend

1768
01:41:45,240 --> 01:41:47,000
Speaker 1: I think that it's I think it is worth seeing.

1769
01:41:47,040 --> 01:41:48,000
Speaker 3: But it's worth seeing.

1770
01:41:48,040 --> 01:41:49,599
Speaker 1: I have some reservations.

1771
01:41:49,640 --> 01:41:51,760
Speaker 6: Definitely worth seeing, all right, but we have to move on.

1772
01:41:52,200 --> 01:41:54,439
Speaker 6: I have to move on. I have to get up

1773
01:41:54,479 --> 01:41:57,240
Speaker 6: in like five hours to catch a flight to London, Adam,

1774
01:41:57,520 --> 01:42:00,960
Speaker 6: because and only because only because there's a film spotting

1775
01:42:00,960 --> 01:42:03,720
Speaker 6: meet up in London. I would not be going otherwise.

1776
01:42:03,800 --> 01:42:06,760
Speaker 6: But no, I cannot wait for this. It's going to

1777
01:42:06,760 --> 01:42:08,479
Speaker 6: be a lot of fun. I'm also seeing the Wes

1778
01:42:08,560 --> 01:42:13,240
Speaker 6: Anderson exhibit at the Design Museum in London. Great couple

1779
01:42:13,280 --> 01:42:17,600
Speaker 6: of days, including an evening with film spotting listeners. You

1780
01:42:17,640 --> 01:42:19,840
Speaker 6: know what, Why am I saying all this? It already

1781
01:42:19,840 --> 01:42:23,439
Speaker 6: happened by the time people are hearing this. Here's why

1782
01:42:23,479 --> 01:42:26,040
Speaker 6: I'm saying it. Here's why I'm saying it. I'll report

1783
01:42:26,120 --> 01:42:28,800
Speaker 6: on how fun it was. I want to do another one,

1784
01:42:29,520 --> 01:42:34,759
Speaker 6: and I want to do one in Madrid, So please

1785
01:42:35,080 --> 01:42:38,120
Speaker 6: let us know if we have film spotting listeners in Spain,

1786
01:42:38,720 --> 01:42:42,760
Speaker 6: preferably around Madrid, and you're available, let's say mid January,

1787
01:42:42,920 --> 01:42:46,759
Speaker 6: That's where I'm looking to head out to those parts.

1788
01:42:46,840 --> 01:42:50,160
Speaker 6: If you could let us know by emailing us, feedback

1789
01:42:50,160 --> 01:42:53,680
Speaker 6: at film spotting dot net or through social media. You

1790
01:42:53,720 --> 01:42:56,439
Speaker 6: can find Adam at Film Spotting. I'm at Larson on

1791
01:42:56,640 --> 01:42:59,679
Speaker 6: Film bunch of places, and yeah, if you're out there,

1792
01:43:00,120 --> 01:43:03,120
Speaker 6: let us know and I'll try to put together another

1793
01:43:03,280 --> 01:43:05,320
Speaker 6: meet up next month in Madrid.

1794
01:43:05,760 --> 01:43:09,080
Speaker 1: That'd be fantastic. You know that, I looked up via

1795
01:43:09,360 --> 01:43:12,920
Speaker 1: our back end system that we have downloads this past

1796
01:43:13,000 --> 01:43:15,320
Speaker 1: year in Spain, so we do. There have to be

1797
01:43:15,360 --> 01:43:16,240
Speaker 1: some listeners out.

1798
01:43:16,080 --> 01:43:19,840
Speaker 6: There, absolutely, yeah, so let's make it happen. Quick note

1799
01:43:19,920 --> 01:43:23,280
Speaker 6: also about our sister podcast, The Next Picture Show, looking

1800
01:43:23,320 --> 01:43:25,920
Speaker 6: at cinema's present via its past. They've got a new

1801
01:43:25,960 --> 01:43:30,719
Speaker 6: pairing for you right now. It's their Eternal Question pairing.

1802
01:43:30,840 --> 01:43:34,320
Speaker 6: Speaking of the onslaught of films coming at us this

1803
01:43:34,400 --> 01:43:37,040
Speaker 6: time of year, Adam, here is one that I'm only

1804
01:43:37,160 --> 01:43:43,360
Speaker 6: vaguely familiar with. Eternity sounded vaguely intriguing, as so many

1805
01:43:43,400 --> 01:43:46,160
Speaker 6: movies do this time of year. The Next Picture Show

1806
01:43:46,160 --> 01:43:49,080
Speaker 6: hosts they're going to dig into it in depth, and

1807
01:43:49,120 --> 01:43:51,880
Speaker 6: not only that, Parrot with a movie that I like

1808
01:43:52,520 --> 01:43:54,839
Speaker 6: quite a bit and can't wait to hear them discuss.

1809
01:43:54,920 --> 01:43:58,040
Speaker 6: That would be here at Kazu Karta's nineteen ninety eight

1810
01:43:58,160 --> 01:44:02,640
Speaker 6: film After Life. You can get new episodes of the

1811
01:44:02,680 --> 01:44:06,559
Speaker 6: Next Picture Show every Tuesday and find them wherever you

1812
01:44:06,560 --> 01:44:10,799
Speaker 6: get your podcasts. All right, it's time now for Massacre Theater,

1813
01:44:11,280 --> 01:44:13,599
Speaker 6: where Adam and I perform a scene and you get

1814
01:44:13,640 --> 01:44:16,960
Speaker 6: a chance to win a film spotting prize. Last time

1815
01:44:17,400 --> 01:44:22,040
Speaker 6: we massacred this scene, you sell out, So.

1816
01:44:22,200 --> 01:44:26,439
Speaker 4: Push it off it the cabinet, Minister. The whole business

1817
01:44:26,800 --> 01:44:29,200
Speaker 4: got us here today at dirty Brook. Look, we just

1818
01:44:29,200 --> 01:44:31,400
Speaker 4: stopped the major invasion and three days they'd have been

1819
01:44:31,439 --> 01:44:34,479
Speaker 4: across the border with this stuff. Why because nobody else

1820
01:44:34,479 --> 01:44:37,280
Speaker 4: could have pulled it off. You pissed about the cover story.

1821
01:44:37,320 --> 01:44:38,600
Speaker 4: I knew I couldn't get you in here without it.

1822
01:44:38,840 --> 01:44:41,760
Speaker 3: So what story did you hint to Hoppa? Look, we've

1823
01:44:41,760 --> 01:44:43,400
Speaker 3: been looking for this place for months.

1824
01:44:43,800 --> 01:44:45,640
Speaker 4: My men were in that chopper when it got hit.

1825
01:44:46,120 --> 01:44:47,680
Speaker 4: Hoppers orders would have go in and get my men,

1826
01:44:47,760 --> 01:44:50,479
Speaker 4: and he disappeared. He didn't disappear. He will skin alive,

1827
01:44:50,560 --> 01:44:52,360
Speaker 4: and my orders would have get somebody, and who could

1828
01:44:52,360 --> 01:44:54,439
Speaker 4: crack these bastards? So he cooked up a story and

1829
01:44:54,479 --> 01:44:56,200
Speaker 4: dropped the six of us in a meat grinder?

1830
01:45:00,160 --> 01:45:01,400
Speaker 3: What happened to you've dinner.

1831
01:45:02,880 --> 01:45:03,040
Speaker 6: Here?

1832
01:45:03,120 --> 01:45:04,400
Speaker 3: Used to be somebody that could trust?

1833
01:45:06,240 --> 01:45:06,920
Speaker 2: I woke up.

1834
01:45:08,360 --> 01:45:09,040
Speaker 3: Why don't you.

1835
01:45:10,640 --> 01:45:15,080
Speaker 6: That's Carl Weathers and Arnold Schwarzenegger in nineteen eighty seven's Predator,

1836
01:45:15,320 --> 01:45:18,160
Speaker 6: written by Jim Sorry, I know Predator people take seriously.

1837
01:45:18,439 --> 01:45:21,240
Speaker 6: I just chuckle whenever it comes up. It was written

1838
01:45:21,240 --> 01:45:25,640
Speaker 6: by Jim and John Thomas, directed by John McTiernan. The

1839
01:45:25,720 --> 01:45:27,800
Speaker 6: massker was part of our Running Man show a couple

1840
01:45:27,840 --> 01:45:30,280
Speaker 6: of weeks back, which also featured a review of Richard

1841
01:45:30,320 --> 01:45:33,879
Speaker 6: Linklater's Nouvelle vag There's always a tie in, So why

1842
01:45:33,960 --> 01:45:35,720
Speaker 6: that scene from Predator?

1843
01:45:36,640 --> 01:45:39,560
Speaker 1: Apparently there were a lot of tie ins. Here's Pavla

1844
01:45:39,800 --> 01:45:43,600
Speaker 1: Masic writing from Toronto, Canada. That might have been my

1845
01:45:43,640 --> 01:45:47,439
Speaker 1: favorite Masacer theater performance. I instantly recognized it. Maybe that's

1846
01:45:47,439 --> 01:45:50,240
Speaker 1: because I've seen Predator dozens of times, but more likely

1847
01:45:50,280 --> 01:45:54,080
Speaker 1: it was the spotless Austrian accent. Was a spotless job,

1848
01:45:55,000 --> 01:45:55,400
Speaker 1: thank you.

1849
01:45:55,720 --> 01:45:57,479
Speaker 3: Yes, I worked for weeks.

1850
01:45:57,960 --> 01:45:59,720
Speaker 1: Uh huh. It was an utter delight to hear this

1851
01:45:59,760 --> 01:46:02,320
Speaker 1: movie receive your attention. While I would not count it

1852
01:46:02,360 --> 01:46:04,280
Speaker 1: among my top ten movies of all time, seeing it

1853
01:46:04,320 --> 01:46:06,799
Speaker 1: on the big screen with one thousand like minded fans

1854
01:46:07,080 --> 01:46:09,760
Speaker 1: who all quoted, if it bleeds, we can kill it

1855
01:46:10,040 --> 01:46:13,080
Speaker 1: and get to the Choppa in Unison is a top

1856
01:46:13,120 --> 01:46:16,680
Speaker 1: ten movie going experience. Tie into the episode, see you

1857
01:46:16,720 --> 01:46:21,360
Speaker 1: need that experience? Josh, Yes, that's that's the key. Tie

1858
01:46:21,360 --> 01:46:25,320
Speaker 1: into the episode with Bill Lesser Schwarzenegger Vehicle of nineteen

1859
01:46:25,360 --> 01:46:29,080
Speaker 1: eighty seven being the original and Sorry Edgar Wright Superior

1860
01:46:29,280 --> 01:46:32,559
Speaker 1: The Running Man. Yeah it's true. Jesse Ventura was also

1861
01:46:32,600 --> 01:46:35,679
Speaker 1: in both films that year with Arnie. He was Captain

1862
01:46:35,680 --> 01:46:39,400
Speaker 1: Freedom and Blaine. There are also connections to Nouvelle Vahaugh Okay.

1863
01:46:39,760 --> 01:46:43,200
Speaker 1: Richard Linklater also directed Running Man twenty twenty five star

1864
01:46:43,280 --> 01:46:46,400
Speaker 1: Glenn Powell in The Wonderful hit Man, a connection you

1865
01:46:46,400 --> 01:46:48,360
Speaker 1: may have touched on in the episode and earlier in

1866
01:46:48,400 --> 01:46:51,880
Speaker 1: Everybody Wants Some. Link Later also director Laurence Fishburne and

1867
01:46:52,000 --> 01:46:57,960
Speaker 1: Last Flag Flying, who notably appeared in Predators with Adrian Brody. Wow,

1868
01:46:58,960 --> 01:47:03,360
Speaker 1: yeah deep. Here other interesting connections. Jean pelpel Mundo, you're

1869
01:47:03,360 --> 01:47:05,600
Speaker 1: gonna tell me? He was in Predators, aren't you was

1870
01:47:06,320 --> 01:47:09,599
Speaker 1: a boxer before becoming an actor, and of course, Carl Weathers,

1871
01:47:09,640 --> 01:47:13,400
Speaker 1: who played Dylan, also played the great fictional boxer Apollo

1872
01:47:13,520 --> 01:47:16,920
Speaker 1: Creed after boxing in college before focusing on football and

1873
01:47:16,960 --> 01:47:19,679
Speaker 1: playing in the NFL, and served in the French military

1874
01:47:19,720 --> 01:47:23,799
Speaker 1: in Algeria before training as an actor. Jesse Ventura served

1875
01:47:23,840 --> 01:47:28,240
Speaker 1: in the Navy during the Vietnam War. Insane, can't wait

1876
01:47:28,280 --> 01:47:31,520
Speaker 1: for the next performance. Thank you, Pavla.

1877
01:47:31,960 --> 01:47:36,559
Speaker 6: I'm that was dizzy, dizzy populaz. All I have to

1878
01:47:36,600 --> 01:47:39,559
Speaker 6: add to all of that is Predators good film.

1879
01:47:40,320 --> 01:47:43,360
Speaker 1: Of course, Josh loves the sequels way more than the

1880
01:47:44,160 --> 01:47:45,120
Speaker 1: cheesy originals.

1881
01:47:45,160 --> 01:47:48,679
Speaker 6: Always all right, here's one more comment. This comes from

1882
01:47:48,800 --> 01:47:52,960
Speaker 6: Dan p in Hillsboro, Virginia. Kudos to you guys for

1883
01:47:53,000 --> 01:47:55,680
Speaker 6: a fantastic Massacre theater. No more than a month goes

1884
01:47:55,720 --> 01:47:59,440
Speaker 6: by where I don't casually slip get to the Choppa

1885
01:47:59,560 --> 01:48:02,600
Speaker 6: in cash conversation. Much to my wife Sugar in so,

1886
01:48:02,680 --> 01:48:05,320
Speaker 6: I knew this one the moment Josh said Jabba.

1887
01:48:05,840 --> 01:48:06,320
Speaker 3: But if that.

1888
01:48:06,360 --> 01:48:09,920
Speaker 6: Hadn't sealed a deal, the name changed to Apollo would

1889
01:48:09,920 --> 01:48:10,639
Speaker 6: have cinched it.

1890
01:48:10,680 --> 01:48:11,000
Speaker 3: Adam.

1891
01:48:11,040 --> 01:48:13,759
Speaker 6: I think we can all understand and forgive you breaking

1892
01:48:13,880 --> 01:48:16,760
Speaker 6: character on this one. Thank you guys for years of

1893
01:48:17,040 --> 01:48:18,840
Speaker 6: entertaining movie commentary.

1894
01:48:19,680 --> 01:48:22,880
Speaker 1: I'll take it. I haven't forgiven myself, Josh, I really

1895
01:48:22,920 --> 01:48:28,639
Speaker 1: haven't breaking character unforgivable And it's the context in which

1896
01:48:28,760 --> 01:48:32,400
Speaker 1: Dan is constantly talking about Choppa's just heliconp you.

1897
01:48:32,439 --> 01:48:34,720
Speaker 6: Need one all around?

1898
01:48:35,160 --> 01:48:36,920
Speaker 3: Do you really need one? I don't ask.

1899
01:48:37,320 --> 01:48:40,799
Speaker 6: We'll have to ask Dan's poor beleaguered wife.

1900
01:48:41,120 --> 01:48:44,040
Speaker 1: Yes, let's do that sometime. Okay, reach into the pretty

1901
01:48:44,040 --> 01:48:47,200
Speaker 1: brimming film Spotting hat because our listeners have really good

1902
01:48:47,200 --> 01:48:50,240
Speaker 1: taste and they love this film and pick out this

1903
01:48:50,240 --> 01:48:50,840
Speaker 1: week's winner.

1904
01:48:51,120 --> 01:48:54,519
Speaker 6: Our winner is speaking of film spotting meetups. A regular

1905
01:48:55,160 --> 01:49:00,600
Speaker 6: at the Film Spotting Boulder meetup, Jonathan Anderson. He's from Denver, Colorado.

1906
01:49:00,840 --> 01:49:03,720
Speaker 1: Congratulations, Jonathan. We will say that when we saw your

1907
01:49:03,800 --> 01:49:05,879
Speaker 1: name come out of the hat, we both immediately assumed

1908
01:49:05,880 --> 01:49:08,479
Speaker 1: you've won this at least like seventeen times before.

1909
01:49:08,600 --> 01:49:09,200
Speaker 3: This is true.

1910
01:49:09,400 --> 01:49:12,479
Speaker 1: Yes, I can't find proof of that, and you're our

1911
01:49:12,560 --> 01:49:16,920
Speaker 1: winner now, So congrats. You win your very own film

1912
01:49:16,920 --> 01:49:20,720
Speaker 1: Spotting t shirt or tote bag or trial membership to

1913
01:49:20,760 --> 01:49:24,759
Speaker 1: the film Spotting family. Yes, friends, Mascer Theater will return

1914
01:49:24,800 --> 01:49:26,439
Speaker 1: whether you like it or not in twenty twenty six.

1915
01:49:26,520 --> 01:49:28,880
Speaker 1: Jonathan email us feedback at filmspotting dot net.

1916
01:49:29,120 --> 01:49:32,960
Speaker 3: Okay, forgive me, we have not met? Is that why?

1917
01:49:33,560 --> 01:49:33,800
Speaker 8: No?

1918
01:49:33,920 --> 01:49:34,640
Speaker 7: I don't think so.

1919
01:49:34,960 --> 01:49:39,919
Speaker 4: Okay, phew, because I was relatively certain i'd remember.

1920
01:49:40,680 --> 01:49:41,599
Speaker 3: I know, I've met.

1921
01:49:41,680 --> 01:49:44,439
Speaker 1: Let's wrap things up with some poll results. A couple

1922
01:49:44,479 --> 01:49:46,360
Speaker 1: of weeks ago, we asked you to name your scene

1923
01:49:46,560 --> 01:49:50,400
Speaker 1: stealer of the Year. The way we phrased it, not

1924
01:49:50,560 --> 01:49:54,200
Speaker 1: their movie, but they made it their movie. The options

1925
01:49:54,280 --> 01:49:59,160
Speaker 1: we gave you were Amy Madigan, Weapons, Benicio del Toro

1926
01:49:59,240 --> 01:50:03,400
Speaker 1: won Battle after Another, Marisa Abela black Bag, Michael Sarah,

1927
01:50:03,439 --> 01:50:08,799
Speaker 1: the Phoenician Scheme, one me, Mosaku Sinners, Ray Fines twenty

1928
01:50:08,840 --> 01:50:11,920
Speaker 1: eight years later as well, or you could write in

1929
01:50:12,160 --> 01:50:15,519
Speaker 1: other Now, every one of those names Josh, except for

1930
01:50:15,640 --> 01:50:17,840
Speaker 1: Ray Fines, who I do think is quite good in

1931
01:50:17,840 --> 01:50:21,559
Speaker 1: twenty eight years later got mentioned previously here on the show.

1932
01:50:21,600 --> 01:50:25,559
Speaker 1: Either actually is a Chicago Film Critics Association nominee or

1933
01:50:25,560 --> 01:50:29,120
Speaker 1: someone who one of us felt should be. How did

1934
01:50:29,120 --> 01:50:30,040
Speaker 1: the results come out?

1935
01:50:30,200 --> 01:50:30,360
Speaker 3: Well?

1936
01:50:30,400 --> 01:50:33,679
Speaker 6: First off, validation for Sam, I mean, come on, listeners

1937
01:50:33,680 --> 01:50:36,840
Speaker 6: give him crap about his polls, calling them flawed all

1938
01:50:36,880 --> 01:50:40,280
Speaker 6: the time. I think this shows how strong of a

1939
01:50:40,320 --> 01:50:43,519
Speaker 6: poll this was. And yeah, let's look at some of

1940
01:50:43,560 --> 01:50:47,680
Speaker 6: these results because it's pretty tight until we get to

1941
01:50:47,720 --> 01:50:51,439
Speaker 6: the winner. So other four percent Marisa Abaela from black

1942
01:50:51,479 --> 01:50:55,000
Speaker 6: Bag five percent would mean Mosaku from Sinners seven percent

1943
01:50:55,080 --> 01:50:58,919
Speaker 6: Michael Sarah nine percent for his performance in the Phoenician

1944
01:50:58,960 --> 01:51:01,680
Speaker 6: Schemeven percent of the vote went to Ray Fines. In

1945
01:51:01,760 --> 01:51:05,520
Speaker 6: twenty eight years later, we jump up to a nineteen

1946
01:51:05,600 --> 01:51:11,360
Speaker 6: percent vote for the second place, actor Amy Madigan in Weapons.

1947
01:51:12,000 --> 01:51:14,080
Speaker 6: But no one was going to take this from Benicio

1948
01:51:14,120 --> 01:51:16,720
Speaker 6: del Toro. In one battle after another, he won the

1949
01:51:16,720 --> 01:51:18,400
Speaker 6: poll with forty six percent of.

1950
01:51:18,360 --> 01:51:21,480
Speaker 1: The vote, almost fifty percent of the vote, Josh, despite

1951
01:51:21,560 --> 01:51:24,840
Speaker 1: all of those really strong candidates, Eleanor Dodson says, I

1952
01:51:24,880 --> 01:51:27,880
Speaker 1: feel like the answer is always Benisio del Toro. Maybe

1953
01:51:27,880 --> 01:51:31,080
Speaker 1: Sam should just put Benicio in regardless of what the

1954
01:51:31,160 --> 01:51:31,640
Speaker 1: question is.

1955
01:51:31,680 --> 01:51:34,080
Speaker 3: From now on, let's see what happens. I love it.

1956
01:51:34,360 --> 01:51:37,880
Speaker 6: Here's Rory Dunn while del Toro is rightfully running away

1957
01:51:37,880 --> 01:51:40,120
Speaker 6: with this. I still want to give Michael Sarah his flowers.

1958
01:51:40,160 --> 01:51:42,479
Speaker 6: He was the best part of the Phoenician Scheme, standing

1959
01:51:42,479 --> 01:51:45,880
Speaker 6: out amongst greats like Tom Hanks and Del Toro and

1960
01:51:45,960 --> 01:51:47,960
Speaker 6: made us all realize that he should have been in

1961
01:51:47,960 --> 01:51:52,000
Speaker 6: every Wes Anderson film since the Royal Tenenbaums. To avoid spoilers,

1962
01:51:52,040 --> 01:51:54,040
Speaker 6: I'll just say that the scene in which he reveals

1963
01:51:54,080 --> 01:51:57,879
Speaker 6: a truth about himself maybe his best moment of acting

1964
01:51:57,960 --> 01:52:01,920
Speaker 6: in his career. You might not be wrong about that, Rory.

1965
01:52:02,040 --> 01:52:04,720
Speaker 1: Yeah, he might just be right. Here's ken Link. I

1966
01:52:04,800 --> 01:52:07,040
Speaker 1: looked at this not just as the scenes or movies

1967
01:52:07,080 --> 01:52:10,360
Speaker 1: being stolen, but the actors from whom it's being stolen. Okay,

1968
01:52:10,720 --> 01:52:13,519
Speaker 1: By that metric, Marisa Abaila takes every scene that she

1969
01:52:13,640 --> 01:52:16,040
Speaker 1: is in out from under actors who have commanded the

1970
01:52:16,040 --> 01:52:20,280
Speaker 1: screen while concealed beneath crime scene scrubs. Blanchette Knight of Cups.

1971
01:52:20,560 --> 01:52:22,719
Speaker 1: That's a reference, I guess, Josh or a paper mache

1972
01:52:22,840 --> 01:52:26,639
Speaker 1: head Fastbender, Frank, I get that one. Taking focus away

1973
01:52:26,680 --> 01:52:29,439
Speaker 1: from these two attention magnets is like taking gold out

1974
01:52:29,479 --> 01:52:31,519
Speaker 1: of Fort Knox Man.

1975
01:52:31,600 --> 01:52:34,920
Speaker 6: I think we got to add to this Odessa Azion

1976
01:52:35,120 --> 01:52:38,960
Speaker 6: in Marty's Supreme. I know this performance came too late

1977
01:52:38,960 --> 01:52:42,920
Speaker 6: to be included in the poll, but I mean, she

1978
01:52:43,120 --> 01:52:43,519
Speaker 6: kind of.

1979
01:52:43,479 --> 01:52:44,479
Speaker 3: Takes that movie.

1980
01:52:44,560 --> 01:52:48,320
Speaker 6: She takes her scenes. Let's just say she's Timothy Chalomey's

1981
01:52:48,800 --> 01:52:52,519
Speaker 6: equal in every sequence she's in with him, if not more.

1982
01:52:53,320 --> 01:52:53,639
Speaker 3: All right.

1983
01:52:53,640 --> 01:52:57,960
Speaker 6: One more comment from Trent rob I voted other for

1984
01:52:58,080 --> 01:53:00,880
Speaker 6: Taana Taylor in One Battle after Another. I thought her

1985
01:53:00,920 --> 01:53:03,400
Speaker 6: section of the film was the best and the film

1986
01:53:03,439 --> 01:53:05,479
Speaker 6: suffers when she is no longer in it.

1987
01:53:05,960 --> 01:53:10,120
Speaker 1: Here's Holly Boyd. The correct answer is probably del Toro. Oh,

1988
01:53:10,160 --> 01:53:12,320
Speaker 1: I love this, but I have to mention Patrick Kennedy's

1989
01:53:12,320 --> 01:53:15,400
Speaker 1: wonderful turn is Ebe White and Blue Moon. Maybe more

1990
01:53:15,840 --> 01:53:18,639
Speaker 1: the perfect scene partner to Hawk than a scene stealer,

1991
01:53:18,680 --> 01:53:21,639
Speaker 1: but his warmth and presence is crucial to what makes

1992
01:53:21,680 --> 01:53:25,400
Speaker 1: the film work. I completely forgot about Patrick Kennedy, but

1993
01:53:25,479 --> 01:53:27,719
Speaker 1: called out that great performance during our review.

1994
01:53:28,040 --> 01:53:28,760
Speaker 3: We both did.

1995
01:53:29,040 --> 01:53:31,920
Speaker 6: I considered him for my ballot, but the whole Stuart

1996
01:53:31,960 --> 01:53:32,439
Speaker 6: little thing.

1997
01:53:32,680 --> 01:53:33,719
Speaker 3: I know we differ on.

1998
01:53:33,640 --> 01:53:37,120
Speaker 6: It, but I just and it's not not careless, not

1999
01:53:37,600 --> 01:53:38,960
Speaker 6: Patrick Kennedy's fault.

2000
01:53:40,040 --> 01:53:43,559
Speaker 1: That of all the things to be saying, screenplayer.

2001
01:53:43,160 --> 01:53:46,080
Speaker 6: Needs to go that direction. But it's you know what

2002
01:53:46,200 --> 01:53:48,200
Speaker 6: it cost him. It cost him my ballot at him.

2003
01:53:48,240 --> 01:53:52,400
Speaker 6: That's all I can say. Our final comment comes from

2004
01:53:52,960 --> 01:53:55,720
Speaker 6: Devin Super. A lot of very good options this year,

2005
01:53:55,760 --> 01:53:59,559
Speaker 6: even going by my own standard of cameo performances, are similar.

2006
01:54:00,040 --> 01:54:03,000
Speaker 6: All I considered John Carol Lynch and sorry, baby Oh,

2007
01:54:03,000 --> 01:54:05,320
Speaker 6: that's a good one. Ultimately, I want to throw my

2008
01:54:05,400 --> 01:54:08,439
Speaker 6: weight behind Bridget Everett and wake up dead Man.

2009
01:54:09,080 --> 01:54:11,920
Speaker 1: I know how you feel about this, Josh, Oh, are.

2010
01:54:11,920 --> 01:54:12,960
Speaker 3: We gonna spoil anything?

2011
01:54:13,040 --> 01:54:15,680
Speaker 6: I okay, I'm gonna be careful reading the rest of

2012
01:54:15,680 --> 01:54:18,599
Speaker 6: this comment from Devin. I was on board with the

2013
01:54:18,600 --> 01:54:22,200
Speaker 6: movie before she showed up, but she instantly grabs attention

2014
01:54:22,400 --> 01:54:25,440
Speaker 6: and reveals the film's beating heart. It's a small demonstration

2015
01:54:25,520 --> 01:54:28,080
Speaker 6: of what she does so well on HBO Somebody somewhere,

2016
01:54:28,439 --> 01:54:31,559
Speaker 6: pivoting from broad comedy to heart wrenching drama without breaking

2017
01:54:31,600 --> 01:54:37,400
Speaker 6: a sweat. Honestly, it's miraculous. I can't at this business time, Adam,

2018
01:54:37,440 --> 01:54:38,720
Speaker 6: I can't comment any further.

2019
01:54:39,000 --> 01:54:42,000
Speaker 1: Okay, I got it. You're you're saving it. I understand.

2020
01:54:42,360 --> 01:54:44,440
Speaker 1: We have we have a few weeks left, at least

2021
01:54:44,440 --> 01:54:48,280
Speaker 1: a month until our end of year rat party. We

2022
01:54:48,400 --> 01:54:51,800
Speaker 1: mentioned him earlier, but I think William H. Macy in

2023
01:54:51,840 --> 01:54:56,480
Speaker 1: Train Dreams is an appropriate choice for this for this

2024
01:54:56,640 --> 01:54:58,840
Speaker 1: poll because he does feel like almost more of a

2025
01:54:58,880 --> 01:55:03,360
Speaker 1: scene stealer in Train Dreams, and we talked about Ja

2026
01:55:03,480 --> 01:55:07,280
Speaker 1: Kelly earlier. You know who almost fits in this category

2027
01:55:07,320 --> 01:55:11,240
Speaker 1: as well is Billy crud Up. He has two scenes

2028
01:55:11,240 --> 01:55:15,280
Speaker 1: in that movie, Josh, here again, performance within a performance

2029
01:55:15,760 --> 01:55:18,600
Speaker 1: and he has to nail it, and boy does he

2030
01:55:18,720 --> 01:55:21,960
Speaker 1: have fun with those scenes, those those one or two

2031
01:55:22,040 --> 01:55:24,520
Speaker 1: scenes that he gets in the film once again?

2032
01:55:25,240 --> 01:55:27,640
Speaker 6: Are we gonna have to do a j Kelly bonus

2033
01:55:27,680 --> 01:55:30,560
Speaker 6: episode for the film Spotting Family at some point maybe

2034
01:55:30,560 --> 01:55:31,160
Speaker 6: in January?

2035
01:55:31,360 --> 01:55:34,520
Speaker 1: Did Billy crud up in J Kelly Josh?

2036
01:55:35,440 --> 01:55:39,160
Speaker 6: I know that's not what I'm saying, but his character,

2037
01:55:40,200 --> 01:55:43,440
Speaker 6: Uh huh. It's coming back to the it's coming back

2038
01:55:43,480 --> 01:55:49,880
Speaker 6: to the screenplay. If only we had, if only we

2039
01:55:49,920 --> 01:55:50,440
Speaker 6: had more time.

2040
01:55:50,680 --> 01:55:53,800
Speaker 1: Okay, well, we have just enough time to give you

2041
01:55:53,880 --> 01:55:57,320
Speaker 1: our final deeply flawed film, Spotting Pool for twenty twenty five,

2042
01:55:57,360 --> 01:55:59,320
Speaker 1: even though I think we're going to contend that it's

2043
01:55:59,320 --> 01:56:01,720
Speaker 1: not deeply flow at all. We're asking you to choose

2044
01:56:02,200 --> 01:56:04,520
Speaker 1: your film of the year, and yeah, we're only giving

2045
01:56:04,520 --> 01:56:08,040
Speaker 1: you two options. Though I suppose the flaw is that

2046
01:56:08,040 --> 01:56:10,440
Speaker 1: that's not true because we are allowing you to write

2047
01:56:10,480 --> 01:56:12,640
Speaker 1: an other. In this case, it's not a Redford poll

2048
01:56:12,800 --> 01:56:15,680
Speaker 1: where we only gave you, truly those two choices. Though

2049
01:56:15,680 --> 01:56:19,800
Speaker 1: we could. We could usurp Sam Josh like we are

2050
01:56:19,840 --> 01:56:21,560
Speaker 1: wont to do. We could take out other.

2051
01:56:21,920 --> 01:56:25,640
Speaker 6: You know what he's he's he did so well with

2052
01:56:25,800 --> 01:56:29,520
Speaker 6: the scenes. Stealer's pole and this I think is really good.

2053
01:56:29,320 --> 01:56:31,520
Speaker 6: I don't want to step on his toes now he's

2054
01:56:31,840 --> 01:56:33,760
Speaker 6: he's riding high. He's on a hot streak.

2055
01:56:33,880 --> 01:56:37,160
Speaker 1: Okay, so here it is your film of the Year

2056
01:56:37,240 --> 01:56:39,560
Speaker 1: twenty twenty five. The options are one.

2057
01:56:39,680 --> 01:56:45,240
Speaker 6: Paul Thomas Anderson's One Battle after another, Ryan Coogler's Sinners,

2058
01:56:45,920 --> 01:56:50,040
Speaker 6: or yeah, Sam is allowing you to choose other you

2059
01:56:50,080 --> 01:56:52,680
Speaker 6: know what, It'll be interesting for comments. I see Sam's logic,

2060
01:56:53,000 --> 01:56:54,320
Speaker 6: his producer mind at work.

2061
01:56:54,440 --> 01:56:55,800
Speaker 3: I get it. That's that's good.

2062
01:56:56,200 --> 01:56:59,080
Speaker 6: But really, okay, come on, you got to choose between

2063
01:56:59,080 --> 01:56:59,840
Speaker 6: those top two.

2064
01:57:00,520 --> 01:57:04,200
Speaker 1: One Battle, Sinners or take the field. You can vote

2065
01:57:04,200 --> 01:57:06,720
Speaker 1: in that poll and leave a comment at filmspotting dot net.

2066
01:57:06,960 --> 01:57:09,640
Speaker 1: We will share the results and your feedback on next

2067
01:57:09,680 --> 01:57:14,520
Speaker 1: week's Best of twenty twenty five round table show. That

2068
01:57:14,720 --> 01:57:16,800
Speaker 1: is this show Josh.

2069
01:57:17,120 --> 01:57:18,960
Speaker 6: Until then, if you want to connect with us on

2070
01:57:19,040 --> 01:57:23,480
Speaker 6: social media, you can find Adam and the show on Instagram, Facebook, letterboxed,

2071
01:57:23,520 --> 01:57:27,000
Speaker 6: and YouTube. He's at film Spotting. I'm at all those places.

2072
01:57:27,040 --> 01:57:31,360
Speaker 6: As Larsen on film we are independently produced and listeners supported.

2073
01:57:31,400 --> 01:57:33,600
Speaker 6: You can support the show by joining the film Spotting

2074
01:57:33,680 --> 01:57:37,720
Speaker 6: Family at film Spottingfamily dot com. If you do that,

2075
01:57:38,280 --> 01:57:41,560
Speaker 6: you're going to be able to listen early ad free.

2076
01:57:41,680 --> 01:57:44,800
Speaker 6: You'll also get a weekly newsletter, monthly bonus episodes, and

2077
01:57:45,040 --> 01:57:48,960
Speaker 6: access to the entire show archive. For show t shirts

2078
01:57:49,000 --> 01:57:52,600
Speaker 6: and other merch go to film spotting dot net slash shop.

2079
01:57:52,840 --> 01:57:55,080
Speaker 1: In the film Spotting archive, you can find reviews of

2080
01:57:55,160 --> 01:57:58,080
Speaker 1: Ryan Johnson movies like Knives Out the other parts of

2081
01:57:58,120 --> 01:58:01,880
Speaker 1: that Mystery Saga seven point fifty five, which we put

2082
01:58:01,920 --> 01:58:04,680
Speaker 1: back in the main feed this week. Glass Onion episode

2083
01:58:04,760 --> 01:58:07,800
Speaker 1: eight ninety eight, and of course we've talked about Brick

2084
01:58:07,960 --> 01:58:11,080
Speaker 1: before Josh going back to two thousand and six Chloe Show.

2085
01:58:11,200 --> 01:58:13,440
Speaker 1: The best Picture winning no mad Land was episode eight

2086
01:58:13,480 --> 01:58:16,880
Speaker 1: oh five. We also shared our top five Francis McDorman performances.

2087
01:58:17,160 --> 01:58:20,680
Speaker 1: We talked about the writer on episode six seventy nine.

2088
01:58:21,000 --> 01:58:26,200
Speaker 1: Wake Up dead Man is on Netflix now. We suggest

2089
01:58:26,560 --> 01:58:29,680
Speaker 1: that you see it in limited release. Dust Bunny, an

2090
01:58:29,680 --> 01:58:32,040
Speaker 1: eight year old girl asks her scheming neighbor for help

2091
01:58:32,040 --> 01:58:34,840
Speaker 1: and killing the monster under her bed that she thinks

2092
01:58:35,000 --> 01:58:38,680
Speaker 1: ate her family. It stars Mad Nicholson, Mad's Michelson and

2093
01:58:38,720 --> 01:58:42,200
Speaker 1: Sigourney Weaver, and our friend at rogeriber dot com, Brian Talerico,

2094
01:58:42,280 --> 01:58:44,760
Speaker 1: says this is going to be a future filmmaker's favorite

2095
01:58:44,800 --> 01:58:50,800
Speaker 1: movie as a kid. Interesting. The Shining is getting an

2096
01:58:50,840 --> 01:58:54,560
Speaker 1: Imax re release. This got the Sacred Cow treatment from

2097
01:58:54,640 --> 01:58:57,480
Speaker 1: US way back episode four nineteen.

2098
01:58:57,560 --> 01:58:59,440
Speaker 3: Merry Christmas, Everybody.

2099
01:58:59,640 --> 01:59:03,600
Speaker 1: Yeah, no kidding. In wide release, you can see Ella McKay.

2100
01:59:03,640 --> 01:59:06,400
Speaker 1: This is James L. Brooks's first film in fifteen years.

2101
01:59:06,760 --> 01:59:09,560
Speaker 1: He of broadcast news as good as it gets, terms

2102
01:59:09,560 --> 01:59:12,879
Speaker 1: of endearment as far as Ema Mackie, Jamie Lee Curtis

2103
01:59:13,160 --> 01:59:16,960
Speaker 1: and Woody Harrelson, and Yes, Merry Christmas. Indeed, Josh Silent

2104
01:59:17,080 --> 01:59:19,920
Speaker 1: Night Deadly Night, a remake of the cult eighties film

2105
01:59:20,240 --> 01:59:23,680
Speaker 1: that terrorized kids via it's VHS cover. That was enough

2106
01:59:23,680 --> 01:59:23,920
Speaker 1: for me.

2107
01:59:26,480 --> 01:59:28,880
Speaker 6: Let me just try to pull this. I've never seen

2108
01:59:28,880 --> 01:59:31,240
Speaker 6: this film. A stocking on an.

2109
01:59:31,080 --> 01:59:34,800
Speaker 1: Axe, you guys has to be. That's what I'm seeing

2110
01:59:34,800 --> 01:59:36,680
Speaker 1: in my head too. Okay, we have to be right.

2111
01:59:37,520 --> 01:59:40,720
Speaker 1: Next week, Michael Phillips will be here, Alison Wilmore will

2112
01:59:40,720 --> 01:59:44,120
Speaker 1: be here, and we will share our top ten films

2113
01:59:44,160 --> 01:59:44,880
Speaker 1: of the year.

2114
01:59:45,120 --> 01:59:47,880
Speaker 6: Film Spotting is produced by Golden Joe Deso and Sam

2115
01:59:47,960 --> 01:59:51,160
Speaker 6: Van Halgren. Without Sam and Golden Joe, this show wouldn't go.

2116
01:59:51,560 --> 01:59:55,000
Speaker 6: Our production assistant is Sophie Kempanar special thanks to everyone

2117
01:59:55,040 --> 01:59:59,600
Speaker 6: at WB easy Chicago. More information is available at wbeazy

2118
01:59:59,720 --> 02:00:03,000
Speaker 6: dot for film spotting, I'm Josh Larson.

2119
02:00:02,720 --> 02:00:04,680
Speaker 1: And I Medham Kempinar. Thanks for listening.

2120
02:00:04,880 --> 02:00:33,560
Speaker 2: This conversation can serve no purpose anymore. Good fine.

2121
02:00:25,760 --> 02:00:28,720
Speaker 1: Film spotting is listener supported. Join the film Spotting Family

2122
02:00:28,760 --> 02:00:31,680
Speaker 1: at filmspotting family dot com and get access to ad

2123
02:00:31,680 --> 02:00:35,120
Speaker 1: free episodes, monthly bonus shows, our weekly newsletter, and, for

2124
02:00:35,160 --> 02:00:37,840
Speaker 1: the first time, all in one place, the entire film

2125
02:00:37,840 --> 02:00:40,520
Speaker 1: spotting archive going back to two thousand and five. That's

2126
02:00:40,560 --> 02:00:45,720
Speaker 1: a film Spotting Family dot com panically