1 00:00:00,840 --> 00:00:05,520 Speaker 1: Great per flick with Ben. Ben takes it for the tea. 2 00:00:06,920 --> 00:00:10,760 Speaker 1: Sometimes sometimes it's a good experience, sometimes not so good. Yeah, 3 00:00:10,880 --> 00:00:14,280 Speaker 1: well this time, this time pretty good, pretty good. It's 4 00:00:14,280 --> 00:00:18,159 Speaker 1: a big, bold, beautiful journey. A long title for a 5 00:00:18,200 --> 00:00:20,120 Speaker 1: film that only goes for one hundred and nine minutes. 6 00:00:21,000 --> 00:00:25,240 Speaker 1: Loves a lot of title Colin Farrell and our very 7 00:00:25,320 --> 00:00:28,280 Speaker 1: own Margot Robbie. Can I give you a controversial take? Yeah, 8 00:00:29,240 --> 00:00:30,960 Speaker 1: you know, I love Margot. Don't get me wrong. I 9 00:00:30,960 --> 00:00:33,360 Speaker 1: love Margot. I think she's fantastic. She's a great cultural 10 00:00:33,360 --> 00:00:36,280 Speaker 1: export for Australia and also a powerhouse behind the camera 11 00:00:36,320 --> 00:00:39,159 Speaker 1: as well. She's amazing. Having said that, having said that, 12 00:00:39,280 --> 00:00:42,880 Speaker 1: I'm not sure she's necessarily an amazing actor. I think 13 00:00:42,880 --> 00:00:45,199 Speaker 1: she's great. I think she's a good actor to me. 14 00:00:45,360 --> 00:00:48,000 Speaker 1: To me, she's like she's like Brad Pitt. You love 15 00:00:48,040 --> 00:00:51,080 Speaker 1: to watch their movies and you try and convince yourself 16 00:00:51,120 --> 00:00:54,000 Speaker 1: that they're serious actors. But then you know, maybe in 17 00:00:54,000 --> 00:00:55,840 Speaker 1: the back of your mind there's this nagging suspicion that 18 00:00:55,880 --> 00:00:58,320 Speaker 1: maybe they're actually not really the best movie stars, the 19 00:00:58,440 --> 00:01:02,320 Speaker 1: movie stars more than actors. Yeah, not. Darryl Daniel de 20 00:01:02,440 --> 00:01:05,880 Speaker 1: Lewis not Daniel dar he's an actor and actually's a brand. 21 00:01:06,000 --> 00:01:08,160 Speaker 1: Really yeah, and in a movie like this, which is 22 00:01:08,240 --> 00:01:11,520 Speaker 1: high concept, I'm just not sure that Margot Robbie is 23 00:01:11,600 --> 00:01:14,880 Speaker 1: the perfect person for this sort of movie. Colin Farrell, 24 00:01:14,920 --> 00:01:16,680 Speaker 1: on the other hand, I think is fantastic. It's a 25 00:01:16,720 --> 00:01:20,080 Speaker 1: wonderful He's a great actor, and you see him in 26 00:01:20,120 --> 00:01:23,400 Speaker 1: movies like The Lobster, which also was a high concept film. 27 00:01:23,560 --> 00:01:25,960 Speaker 1: It's not so suited. Odd is the perfect word. He 28 00:01:26,080 --> 00:01:30,600 Speaker 1: is odd himself said, And so I don't know if 29 00:01:30,600 --> 00:01:32,880 Speaker 1: you saw another film with Colin Farrell that was also 30 00:01:32,920 --> 00:01:37,000 Speaker 1: a bit odd, after Yang, which was where he was 31 00:01:37,040 --> 00:01:38,880 Speaker 1: the sort of the father and his family and the 32 00:01:38,959 --> 00:01:41,480 Speaker 1: daughter's having some problems. So they buy the door a 33 00:01:41,720 --> 00:01:44,800 Speaker 1: techno sapien, sort of an artificial human, and it's sort 34 00:01:44,800 --> 00:01:47,360 Speaker 1: of an it's very art support peak art house, a 35 00:01:47,440 --> 00:01:51,360 Speaker 1: support robot. The robot malfunctions and then it goes from there. 36 00:01:51,480 --> 00:01:55,320 Speaker 1: So that was by this American Korean director, Cogerada, and 37 00:01:55,360 --> 00:01:58,360 Speaker 1: he is the director of a big, bold, beautiful Journey. 38 00:01:58,400 --> 00:02:02,680 Speaker 1: So he's reunited with Colin Farrell. He knows that he 39 00:02:02,760 --> 00:02:07,880 Speaker 1: can do the quirky high concepts, the conceptual stuff, the 40 00:02:07,880 --> 00:02:10,440 Speaker 1: difference is that film was written by Cogonata, who is 41 00:02:10,440 --> 00:02:12,399 Speaker 1: a real art house guy. He didn't write this one. 42 00:02:12,440 --> 00:02:14,960 Speaker 1: This one is written by the dude who wrote the 43 00:02:15,000 --> 00:02:20,040 Speaker 1: Menu that with rape Vines, who is a chefs out. 44 00:02:20,480 --> 00:02:22,360 Speaker 1: So straight away you've got a couple of really interesting 45 00:02:22,440 --> 00:02:26,120 Speaker 1: things about this movie. But and it's kind of a 46 00:02:26,120 --> 00:02:28,560 Speaker 1: bit like a poor man's Charlie Kaufman film. So we're 47 00:02:28,560 --> 00:02:33,560 Speaker 1: talking Eternal Sunshine of the Spotless Mind adaptation being John Malkovich, 48 00:02:33,720 --> 00:02:36,520 Speaker 1: those films where they're built around a concept that you 49 00:02:36,600 --> 00:02:38,720 Speaker 1: either have to be brilliant. You either have they're brilliant. 50 00:02:38,800 --> 00:02:40,960 Speaker 1: This one's maybe not as good, but it relies on 51 00:02:41,360 --> 00:02:43,280 Speaker 1: you have to get on board with the premise right 52 00:02:43,560 --> 00:02:46,080 Speaker 1: and if you can't, you're going to struggle. And in 53 00:02:46,120 --> 00:02:49,400 Speaker 1: this case, two strangers meet at a wedding and then 54 00:02:49,400 --> 00:02:52,399 Speaker 1: they go on this sort of mystical journey traveling sort 55 00:02:52,440 --> 00:02:56,400 Speaker 1: of through the countryside in this rental car that has 56 00:02:56,400 --> 00:02:58,920 Speaker 1: a sort of a supernatural GPS that tells them in 57 00:02:58,960 --> 00:03:01,760 Speaker 1: twenty nine miles turned left, and then they end up 58 00:03:01,760 --> 00:03:04,600 Speaker 1: in this paddock where there's a doorway just sitting there 59 00:03:04,600 --> 00:03:06,000 Speaker 1: in the pad the middle of the paddock. And they 60 00:03:06,000 --> 00:03:08,280 Speaker 1: walk through the doorway and end up at a moment 61 00:03:08,400 --> 00:03:11,600 Speaker 1: in one or the other person's past, a critical moment, 62 00:03:11,800 --> 00:03:14,120 Speaker 1: so whether it was in Colin Farrell's case, they go 63 00:03:14,200 --> 00:03:16,880 Speaker 1: back to his high school when he was performing in 64 00:03:16,919 --> 00:03:19,000 Speaker 1: a musical, which is a big moment where he said 65 00:03:19,040 --> 00:03:21,720 Speaker 1: to the girl that he loved, that he had feelings 66 00:03:21,720 --> 00:03:23,360 Speaker 1: for and she knocked him back and then he cried 67 00:03:23,400 --> 00:03:25,760 Speaker 1: his eyes out. And in the case of Margot, Robbie 68 00:03:25,800 --> 00:03:27,840 Speaker 1: is going to the hospital on the day where her 69 00:03:27,960 --> 00:03:30,400 Speaker 1: mom died, so stuff like that. So they kind of 70 00:03:30,600 --> 00:03:32,640 Speaker 1: fall in love while they get to know each other 71 00:03:32,760 --> 00:03:36,280 Speaker 1: through their biggest magital from their past, which you know, 72 00:03:36,320 --> 00:03:39,000 Speaker 1: as a concept I don't mind it, but it is 73 00:03:39,280 --> 00:03:43,360 Speaker 1: very conceptual, and some bits work better than others, you know. 74 00:03:43,480 --> 00:03:45,360 Speaker 1: It kind of it kind of finds this sort of 75 00:03:45,480 --> 00:03:49,160 Speaker 1: lands in this awkward ground between some bits of realism 76 00:03:49,400 --> 00:03:52,600 Speaker 1: some bits of fantasy. It's sometimes a bit awkward putting 77 00:03:52,600 --> 00:03:56,240 Speaker 1: the two pieces together. But in saying that Margot Robbie 78 00:03:56,280 --> 00:03:58,640 Speaker 1: is so likable, you know, it's just hard not to 79 00:03:58,680 --> 00:04:00,640 Speaker 1: warm to her on the screen and on Farrell is 80 00:04:00,720 --> 00:04:04,080 Speaker 1: legitimately excellent in this movie. He is the he's the 81 00:04:04,080 --> 00:04:06,800 Speaker 1: person that really elevates it. There's nobody else really in 82 00:04:06,840 --> 00:04:12,280 Speaker 1: the film. Phoebe waller Bridge is and the great Kevin 83 00:04:12,320 --> 00:04:17,160 Speaker 1: Klein are the two widowers running the car rental agency. Well, 84 00:04:17,200 --> 00:04:18,880 Speaker 1: I hate to think a lot. It sounds like I 85 00:04:18,920 --> 00:04:22,120 Speaker 1: might have to think about this. Probably the issue with 86 00:04:22,120 --> 00:04:25,000 Speaker 1: this film is it doesn't make you think enough. So 87 00:04:25,160 --> 00:04:28,920 Speaker 1: it's it's high concept but ultimately probably a little bit superficial. 88 00:04:30,200 --> 00:04:33,080 Speaker 1: That you know, if you found films like Being John 89 00:04:33,120 --> 00:04:37,719 Speaker 1: Malkovich frustratingly confusing, this is the sort of an entry level, 90 00:04:38,240 --> 00:04:40,599 Speaker 1: entry level version, which I think there's something to be 91 00:04:40,640 --> 00:04:43,440 Speaker 1: said for that, and and the chemistry of the lead 92 00:04:43,560 --> 00:04:47,240 Speaker 1: character lead actors is great. It just maybe, just maybe 93 00:04:47,279 --> 00:04:51,440 Speaker 1: doesn't say very much ultimately. How many how has Colin 94 00:04:51,520 --> 00:04:53,720 Speaker 1: Farrell never won an Oscar's? I know I don't think 95 00:04:53,760 --> 00:04:55,800 Speaker 1: he has. Are you giving it? I'm going to give 96 00:04:55,800 --> 00:04:59,960 Speaker 1: it three? Really solid, really solid And if you're looking 97 00:05:00,040 --> 00:05:01,840 Speaker 1: for something to do for a date night, go along 98 00:05:01,960 --> 00:05:04,839 Speaker 1: worth worth one hundred and nine minutes of your time. Yeah, 99 00:05:04,880 --> 00:05:06,680 Speaker 1: I reckon. Could it could have been fit, could have 100 00:05:06,720 --> 00:05:08,400 Speaker 1: been could have been twenty minutes, It could have been 101 00:05:08,440 --> 00:05:10,400 Speaker 1: twenty minutes shorter. They got to cut out one or 102 00:05:10,400 --> 00:05:13,200 Speaker 1: two of the doors I reckon, but that's yeah, yeah, 103 00:05:13,240 --> 00:05:17,400 Speaker 1: classic ninety minutes, ninety minute Doors ninety minute film would 104 00:05:17,440 --> 00:05:20,480 Speaker 1: have been brilliant medium popcorn. All right, thank you, thank you. 105 00:05:21,320 --> 00:05:23,880 Speaker 1: We'll send you to the movies again to pick something 106 00:05:23,960 --> 00:05:24,600 Speaker 1: else for us.