1 00:00:00,840 --> 00:00:05,360 Speaker 1: Great per flick with Ben out of shame. Good morning, Ben, 2 00:00:05,640 --> 00:00:07,720 Speaker 1: good morning, good morning. Before I rate the flick, I 3 00:00:07,760 --> 00:00:10,119 Speaker 1: just want to rate the drum sting that rust did 4 00:00:10,119 --> 00:00:12,239 Speaker 1: there to that Brian Adams song. That was perfect. The 5 00:00:12,320 --> 00:00:15,080 Speaker 1: air drumming you rarely see done that well. Far stars, 6 00:00:15,640 --> 00:00:19,880 Speaker 1: That's how I stretch. Let's talk it now. We'll see 7 00:00:19,880 --> 00:00:21,880 Speaker 1: if this next movie gets a score that high. So 8 00:00:22,160 --> 00:00:25,640 Speaker 1: if I had legs, i'd kick you. Starring the great 9 00:00:25,720 --> 00:00:28,280 Speaker 1: Rose Burn, the Australian actress. She's you know, sort of 10 00:00:28,280 --> 00:00:31,840 Speaker 1: a comedy great. She is so really funny, She's hilarious, 11 00:00:31,840 --> 00:00:33,599 Speaker 1: Her timing is great. She can do so much with 12 00:00:33,640 --> 00:00:36,000 Speaker 1: just the sort of a facial expression and a tone 13 00:00:36,000 --> 00:00:41,080 Speaker 1: of voice. So look this. Firstly, I'll say the film 14 00:00:41,120 --> 00:00:43,760 Speaker 1: is The film is good. Don't be wrong, don't get 15 00:00:43,800 --> 00:00:46,320 Speaker 1: me wrong. The film is good. It is one of 16 00:00:46,360 --> 00:00:49,520 Speaker 1: the most unpleasant things I've ever seen. I will never 17 00:00:49,600 --> 00:00:53,640 Speaker 1: watch this movie ever again. I struggle to recommend it's good. 18 00:00:53,720 --> 00:00:56,520 Speaker 1: I struggle to recommend it as a viewing experience. It 19 00:00:56,680 --> 00:01:02,920 Speaker 1: is excruciating of you know, it's artistic narrative, We're going 20 00:01:02,960 --> 00:01:05,839 Speaker 1: to go there. It's it is actually really well made. 21 00:01:06,040 --> 00:01:09,039 Speaker 1: So it's from the production house A twenty four, So 22 00:01:09,200 --> 00:01:10,880 Speaker 1: for a lot of people you hear A twenty four, 23 00:01:10,959 --> 00:01:12,560 Speaker 1: you get an idea in your head what that's going 24 00:01:12,600 --> 00:01:14,240 Speaker 1: to be. It's like it's it's kind of like a 25 00:01:14,240 --> 00:01:18,199 Speaker 1: bit quirky independent art house film. But they have also 26 00:01:18,240 --> 00:01:20,399 Speaker 1: had some huge hits, like Everything Everywhere, All at Once 27 00:01:20,440 --> 00:01:24,240 Speaker 1: won the Oscar Best Picture. So yeah, so they've had 28 00:01:24,280 --> 00:01:27,640 Speaker 1: some big success in recent years. And so this film, 29 00:01:28,240 --> 00:01:31,320 Speaker 1: you might look at the trailer and go, what genre 30 00:01:31,480 --> 00:01:33,679 Speaker 1: is this? Like, what even am I watching? Because it 31 00:01:33,680 --> 00:01:36,760 Speaker 1: does blend a lot of genres. There is definitely comedy, 32 00:01:36,800 --> 00:01:38,920 Speaker 1: there's no doubt about that. You've got Conan O'Brien, as 33 00:01:38,920 --> 00:01:42,240 Speaker 1: you mentioned, and Rose Byrne, who is who is a 34 00:01:42,240 --> 00:01:45,520 Speaker 1: great at comedy. There's also let me just explain what 35 00:01:45,560 --> 00:01:49,680 Speaker 1: it's about. So Rose Byrne plays a mom. Her husband 36 00:01:49,720 --> 00:01:52,560 Speaker 1: played by Christian Slater, has gone away for eight weeks. 37 00:01:52,760 --> 00:01:54,960 Speaker 1: You don't see him at all until the last scene. 38 00:01:54,960 --> 00:01:58,440 Speaker 1: Don't get excited about Christian Slater him over the Phone's 39 00:02:00,080 --> 00:02:02,800 Speaker 1: so she's stuck at home looking after her daughter who 40 00:02:02,800 --> 00:02:05,600 Speaker 1: has some sort of serious medical condition that we don't 41 00:02:05,640 --> 00:02:08,400 Speaker 1: fully understand what it is. All we know is she's 42 00:02:08,440 --> 00:02:10,560 Speaker 1: not eating, so she has to be fed via a 43 00:02:10,639 --> 00:02:13,919 Speaker 1: tube into her stomach and a feeding machine that she's 44 00:02:13,919 --> 00:02:16,560 Speaker 1: hooked up to every night. And so as soon as 45 00:02:16,600 --> 00:02:18,680 Speaker 1: you hear that plus a twenty four, you know there's 46 00:02:18,680 --> 00:02:21,000 Speaker 1: going to be some body horror involving that tube at 47 00:02:21,000 --> 00:02:24,000 Speaker 1: some point. So I'm just warning you prepare yourself. That 48 00:02:24,200 --> 00:02:28,800 Speaker 1: scene is really quite hectic. But and so the point 49 00:02:28,840 --> 00:02:32,120 Speaker 1: of it, though, is to really, I guess, explore that 50 00:02:32,280 --> 00:02:35,800 Speaker 1: motherhood is just this thing that never goes away. It 51 00:02:35,840 --> 00:02:38,240 Speaker 1: can be very difficult, can be very rewarding, and if 52 00:02:38,240 --> 00:02:41,000 Speaker 1: you're doing it by yourself, it can be you know, 53 00:02:41,080 --> 00:02:43,680 Speaker 1: a real torture, basically, I think is what we come 54 00:02:43,720 --> 00:02:48,080 Speaker 1: away from this film thinking. Because this feeding machine, right, so, 55 00:02:48,320 --> 00:02:50,720 Speaker 1: it just makes a noise, a very distinctive noise. It's 56 00:02:50,720 --> 00:02:56,959 Speaker 1: sort of a machine that goes be Oh okay, that's 57 00:02:56,960 --> 00:02:59,280 Speaker 1: a laughing in and of itself as a character. Now 58 00:02:59,360 --> 00:03:02,800 Speaker 1: imagine that in the background for an hour and a half. 59 00:03:02,960 --> 00:03:05,960 Speaker 1: Oh and so not only do you have that sort 60 00:03:05,960 --> 00:03:08,720 Speaker 1: of ramping up this anxiety that you feel, and when 61 00:03:08,720 --> 00:03:12,600 Speaker 1: the feeding machine stops, it goes so it's like you're 62 00:03:12,639 --> 00:03:16,200 Speaker 1: waiting the whole movie for this thing to go. And 63 00:03:16,480 --> 00:03:19,720 Speaker 1: on top of that, the director Mary Bronstein has decided 64 00:03:19,760 --> 00:03:24,280 Speaker 1: to use extreme close ups of Roseburn's face for ninety 65 00:03:24,320 --> 00:03:26,880 Speaker 1: percent of the movie, so you don't see the daughter 66 00:03:27,240 --> 00:03:31,880 Speaker 1: at all until the last scene, the very last scene. 67 00:03:32,320 --> 00:03:34,640 Speaker 1: So when rose Burn is looking after her daughter, talking 68 00:03:34,680 --> 00:03:37,000 Speaker 1: to her daughter doing the feeding machine stuff, you just 69 00:03:37,120 --> 00:03:39,320 Speaker 1: have her whole face on the screen. There is nothing 70 00:03:39,320 --> 00:03:42,120 Speaker 1: else on the screen. It's appealing to her whole face, 71 00:03:42,680 --> 00:03:45,080 Speaker 1: and so and so. Then every now and then when 72 00:03:45,080 --> 00:03:47,400 Speaker 1: there's a wide shot with some other characters, it's like, 73 00:03:47,640 --> 00:03:50,680 Speaker 1: oh my gosh, thank you forgiving me, thank you for 74 00:03:50,680 --> 00:03:52,520 Speaker 1: showing me that there's something else in the world other 75 00:03:52,560 --> 00:03:55,720 Speaker 1: than rose Burn's face. Although you know she's fantastic, but 76 00:03:55,760 --> 00:03:59,560 Speaker 1: it does really showcase her amazing acting ability. She won 77 00:03:59,800 --> 00:04:02,080 Speaker 1: the Best Actress prize at the Berlin Film Festival for 78 00:04:02,120 --> 00:04:05,440 Speaker 1: this movie because it's incredible. Her best performance of her career, 79 00:04:05,520 --> 00:04:08,400 Speaker 1: no doubt about it. She's still funny, but also is 80 00:04:08,400 --> 00:04:13,320 Speaker 1: showing this like anguish and stress and anxiety. It's full on. Also, 81 00:04:13,400 --> 00:04:17,239 Speaker 1: there's there's a cameo from Asab Rocky the rapper, who's surprising, 82 00:04:17,400 --> 00:04:20,080 Speaker 1: it's just a cameo He's in it a bit, but 83 00:04:20,160 --> 00:04:22,360 Speaker 1: not very much because it's really a Roseberd the Roseburn think. 84 00:04:22,400 --> 00:04:24,599 Speaker 1: Conan O'Brien is only in it a small amount as well. 85 00:04:25,080 --> 00:04:29,440 Speaker 1: He plays Roseburn's therapist, and it just kind of shows 86 00:04:29,480 --> 00:04:31,400 Speaker 1: how ill equipped she is to deal with all of 87 00:04:31,440 --> 00:04:33,440 Speaker 1: the problems in her life, even though she herself is 88 00:04:33,480 --> 00:04:36,040 Speaker 1: also a therapist and does a pretty terrible job with 89 00:04:36,120 --> 00:04:40,919 Speaker 1: her clients and self medicates with you know, drugs and alcohol, 90 00:04:40,960 --> 00:04:42,960 Speaker 1: and she's kind of And then on top of all 91 00:04:42,960 --> 00:04:45,560 Speaker 1: of that, the roof in her house caves in from 92 00:04:45,680 --> 00:04:47,599 Speaker 1: some sort of water leak, and it leaves this hole 93 00:04:47,640 --> 00:04:50,159 Speaker 1: in the ceiling, which then brings in a supernatural element 94 00:04:50,200 --> 00:04:51,960 Speaker 1: because when she looks up into the hole, she sees 95 00:04:52,000 --> 00:04:54,159 Speaker 1: these strange lights. It's an a twenty four movie. Don't 96 00:04:54,160 --> 00:04:58,520 Speaker 1: think about it, no question. So we played off. I 97 00:04:58,520 --> 00:05:01,280 Speaker 1: can tell you a raupeted though least you're well, I 98 00:05:01,320 --> 00:05:04,360 Speaker 1: am intrigued oddly appealing to me about it. I'll probably 99 00:05:04,640 --> 00:05:07,560 Speaker 1: not to come. I will not see another movie like this. 100 00:05:07,560 --> 00:05:10,120 Speaker 1: This is a this is a once only movie. People 101 00:05:10,200 --> 00:05:13,040 Speaker 1: on how many get the machine that goes bings? Are 102 00:05:13,080 --> 00:05:15,880 Speaker 1: you giving it? I'm going to give it three and 103 00:05:15,880 --> 00:05:17,960 Speaker 1: a half, three and three and a half and for 104 00:05:18,040 --> 00:05:20,599 Speaker 1: an artistic just yeah, artistic move, but just be aware 105 00:05:20,720 --> 00:05:25,280 Speaker 1: it's you might hate. It's a tough watch. It sounds disturbing, 106 00:05:25,520 --> 00:05:27,960 Speaker 1: Yeah it is. Will you want to teases during it? 107 00:05:28,640 --> 00:05:31,200 Speaker 1: I got a bag of eminem I had two. I'll 108 00:05:31,240 --> 00:05:33,200 Speaker 1: be taking it. I'll be taking the straw out of 109 00:05:33,200 --> 00:05:35,560 Speaker 1: my cloake. I know that you need the feeding machine 110 00:05:35,640 --> 00:05:41,240 Speaker 1: to get the eminem prisbees into me. Hopefully you see 111 00:05:41,240 --> 00:05:43,120 Speaker 1: something more pleasant next week to