1 00:00:00,400 --> 00:00:03,560 Speaker 1: Read the flick with Ben o'je on ninety six. 2 00:00:07,320 --> 00:00:10,960 Speaker 2: Now I do love David Fincher, And you've got a 3 00:00:11,000 --> 00:00:12,440 Speaker 2: David Fincher film for us today. 4 00:00:12,560 --> 00:00:15,160 Speaker 1: Yeah, well, look, dial down your expectation. 5 00:00:15,600 --> 00:00:17,439 Speaker 2: No, look, I already but I saw what it was 6 00:00:17,480 --> 00:00:17,920 Speaker 2: based on. 7 00:00:18,040 --> 00:00:22,480 Speaker 1: But go on, Okay, So you mentioned Fight Club. So 8 00:00:22,600 --> 00:00:25,800 Speaker 1: David Fincher course gave us fight Club seven. The Social 9 00:00:25,880 --> 00:00:28,720 Speaker 1: Network mank a couple of years ago was his most 10 00:00:28,760 --> 00:00:31,639 Speaker 1: recent film. And so this is a filmmaker who is 11 00:00:31,720 --> 00:00:36,080 Speaker 1: renowned for giving us these really interesting, innovative films that 12 00:00:36,200 --> 00:00:38,080 Speaker 1: make you think, maybe have a bit of a twist 13 00:00:38,159 --> 00:00:40,560 Speaker 1: at the end, and you come away from them going, 14 00:00:40,760 --> 00:00:43,080 Speaker 1: you know, I've really watched a piece of cinema here 15 00:00:44,080 --> 00:00:48,440 Speaker 1: with The Killer, this is his most straightforward film, probably 16 00:00:48,479 --> 00:00:52,320 Speaker 1: that he's ever done. It's based on a French graphic 17 00:00:52,440 --> 00:00:55,120 Speaker 1: novel series of the same name by a French writer 18 00:00:55,240 --> 00:00:58,880 Speaker 1: called Matt And so, you know, you might be thinking, 19 00:00:59,240 --> 00:01:02,360 Speaker 1: is David Share the great director the bloke we really 20 00:01:02,400 --> 00:01:06,399 Speaker 1: want attached to adapting a comic book movie about an assassin? 21 00:01:06,720 --> 00:01:10,240 Speaker 1: And is the great Michael Fassbender the guy we want 22 00:01:10,319 --> 00:01:14,360 Speaker 1: playing that character? And so, and the answer to that question, 23 00:01:14,480 --> 00:01:19,080 Speaker 1: is it ultimately probably not because there are two overqualified 24 00:01:19,160 --> 00:01:23,880 Speaker 1: for this sort of material. Yeah, and that's that's the reality. First, 25 00:01:23,920 --> 00:01:25,959 Speaker 1: I'll say it's not terrible, So I know some of 26 00:01:26,000 --> 00:01:27,880 Speaker 1: what I'll say might make it sound like this is 27 00:01:27,920 --> 00:01:30,240 Speaker 1: the worst movie of all time, but that's only because, 28 00:01:30,560 --> 00:01:34,520 Speaker 1: like ulse, I went into this very very enthusiastically thinking, 29 00:01:34,640 --> 00:01:36,959 Speaker 1: you know, like this is going to be great with 30 00:01:37,080 --> 00:01:39,960 Speaker 1: this sort of collaboration till the Swinton is in it 31 00:01:40,000 --> 00:01:42,840 Speaker 1: as well, and so on the surface it looked like 32 00:01:42,880 --> 00:01:44,800 Speaker 1: there was a lot to like. Basically, the plot is 33 00:01:45,480 --> 00:01:50,520 Speaker 1: Michael Fassbender plays this contract killer who is in Paris 34 00:01:50,720 --> 00:01:53,480 Speaker 1: to put a hit on some businessman. The hit goes wrong, 35 00:01:54,280 --> 00:01:58,160 Speaker 1: and then he in turn is sort of being chased 36 00:01:58,200 --> 00:02:00,720 Speaker 1: by assassins who are trying to kind of like clean 37 00:02:00,800 --> 00:02:03,320 Speaker 1: up all the loose ends, and he realizes that the 38 00:02:03,360 --> 00:02:05,840 Speaker 1: only way to get his life back is to you know, 39 00:02:05,920 --> 00:02:09,480 Speaker 1: sort of track down these other assassins, track down the 40 00:02:09,520 --> 00:02:13,079 Speaker 1: people who hide them, track down his boss, track down 41 00:02:13,080 --> 00:02:16,400 Speaker 1: the original client, and just kill them all in classic 42 00:02:16,560 --> 00:02:21,079 Speaker 1: kind of you know, vengeance movie style John Wicks, right, 43 00:02:22,600 --> 00:02:26,919 Speaker 1: But the thing is, unlike John Wick movie, this one 44 00:02:27,000 --> 00:02:30,160 Speaker 1: doesn't have a lot of action. This one has a 45 00:02:30,200 --> 00:02:34,920 Speaker 1: central character in Michael Fassbender's kind of like nameless killer 46 00:02:35,200 --> 00:02:37,880 Speaker 1: who listens to the Smiths, which is kind of a 47 00:02:37,919 --> 00:02:42,119 Speaker 1: fun twist. But you know, after about the seventeenth smith song, 48 00:02:42,280 --> 00:02:46,680 Speaker 1: you go like, we get it. He likes the Smiths 49 00:02:47,400 --> 00:02:50,000 Speaker 1: and and you know he spends more time doing yoga 50 00:02:50,400 --> 00:02:55,160 Speaker 1: than any sort of action, and so it's you watch 51 00:02:55,240 --> 00:02:57,280 Speaker 1: it and you go like, like, you know what it's like. 52 00:02:57,560 --> 00:02:59,680 Speaker 1: You know, some comic books are just purely for sort 53 00:02:59,680 --> 00:03:07,239 Speaker 1: of teen age boys. This film, yeah, this, and this 54 00:03:07,280 --> 00:03:09,840 Speaker 1: film is kind of a move the movie equivalent right 55 00:03:09,880 --> 00:03:12,359 Speaker 1: like it is. It is kind of just like shameless 56 00:03:12,360 --> 00:03:15,919 Speaker 1: male narcissism. And it's hard to know whether that's Fincher 57 00:03:16,040 --> 00:03:19,600 Speaker 1: getting a bit carried away with himself, whether it's Fassbender, 58 00:03:19,720 --> 00:03:21,760 Speaker 1: or whether it's just the original comic book. And they 59 00:03:21,760 --> 00:03:24,720 Speaker 1: couldn't really do much about it, but it's not to 60 00:03:24,720 --> 00:03:30,000 Speaker 1: say it's all bad. The score features the longtime David 61 00:03:30,000 --> 00:03:34,000 Speaker 1: Fincher collaborators, Trent Reznor from Nine Inch Nails and Atticus Ross. 62 00:03:34,040 --> 00:03:36,200 Speaker 1: So they have done the scores for all of his 63 00:03:36,760 --> 00:03:40,320 Speaker 1: films recently and they are absolutely amazing. And a score 64 00:03:40,360 --> 00:03:41,800 Speaker 1: is more than just a score. Though. 65 00:03:42,360 --> 00:03:47,120 Speaker 3: Oh yeah, unfortunately, you know, you know it's bad when 66 00:03:47,160 --> 00:03:53,640 Speaker 3: I start talking about the cinematography. Yeah, the cinematographer Eric Meshersmith, 67 00:03:53,680 --> 00:03:54,320 Speaker 3: there's a name for you. 68 00:03:54,840 --> 00:03:58,240 Speaker 1: So he was. He was the cinematographer on mank and 69 00:03:58,360 --> 00:04:01,280 Speaker 1: Gone Girl. And it's really a pretty film to watch 70 00:04:01,320 --> 00:04:03,840 Speaker 1: as well until the Swinton is great in a very 71 00:04:03,840 --> 00:04:08,560 Speaker 1: small role. Fassbender does the best that he can. But 72 00:04:08,840 --> 00:04:10,920 Speaker 1: you know, like I guess it, just your enjoyment of 73 00:04:10,920 --> 00:04:13,200 Speaker 1: this film will depend on how much you like the 74 00:04:13,280 --> 00:04:17,239 Speaker 1: idea of you know, Fassbender's character just doing this endless 75 00:04:17,680 --> 00:04:21,839 Speaker 1: internal monologue in his head about you know, sort of 76 00:04:21,920 --> 00:04:26,520 Speaker 1: the morality of being a contract killer, just just incessantly. 77 00:04:26,560 --> 00:04:29,680 Speaker 1: It's like, dude, like see a therapist or something. Don't 78 00:04:30,560 --> 00:04:35,760 Speaker 1: you wote your voices in your head? And ultimately, I 79 00:04:35,800 --> 00:04:38,040 Speaker 1: have to say it doesn't probably really go anywhere. It's 80 00:04:38,040 --> 00:04:39,360 Speaker 1: a film where you sort of watch it and you go, 81 00:04:39,880 --> 00:04:42,719 Speaker 1: you know, it's entertaining, like I'm going along for the ride, 82 00:04:42,960 --> 00:04:44,640 Speaker 1: and then you get to the end and you go, well, 83 00:04:45,320 --> 00:04:47,040 Speaker 1: what was the point? What was the payoff? And the 84 00:04:47,120 --> 00:04:49,440 Speaker 1: idea that he's kind of you know, out for vengeance 85 00:04:49,480 --> 00:04:51,760 Speaker 1: because of something that happens at the start of the 86 00:04:51,760 --> 00:04:54,800 Speaker 1: film to his sort of you know, sort of his 87 00:04:54,920 --> 00:04:57,240 Speaker 1: girlfriend or love or whatever she and he gets a 88 00:04:57,320 --> 00:04:59,240 Speaker 1: one minute of screen time, so you don't feel any 89 00:04:59,240 --> 00:05:02,600 Speaker 1: investment in that storyline whatsoever, and it just becomes this, 90 00:05:02,760 --> 00:05:06,120 Speaker 1: you know, male E go trip and so yeah, some 91 00:05:06,160 --> 00:05:08,839 Speaker 1: good and bad, but ultimately it's definitely not in the 92 00:05:08,839 --> 00:05:14,520 Speaker 1: same category as those eight some of those great Assassin 93 00:05:14,600 --> 00:05:16,640 Speaker 1: movies of the past, like whether it's No Country for 94 00:05:16,680 --> 00:05:22,200 Speaker 1: Old Man or Porn Trilogy or Collateral, so all of those, 95 00:05:22,279 --> 00:05:23,960 Speaker 1: all of those are probably a high standard. 96 00:05:26,040 --> 00:05:29,359 Speaker 2: How many not quite the social networks are you giving it? 97 00:05:30,760 --> 00:05:36,680 Speaker 1: Well, it just scraped to a three. Okay, you're watch 98 00:05:36,720 --> 00:05:39,120 Speaker 1: it on Netflix and by Netflix standing yes, by Netflix 99 00:05:39,160 --> 00:05:40,200 Speaker 1: standards five stars. 100 00:05:40,760 --> 00:05:42,320 Speaker 2: I mean, this is the thing is that it's getting 101 00:05:42,320 --> 00:05:46,640 Speaker 2: a little movie release today for and then it's November ten, 102 00:05:46,680 --> 00:05:47,919 Speaker 2: it's on Netflix. 103 00:05:49,279 --> 00:05:51,680 Speaker 1: Catching of Cinemas, and then it'll be out on Netflix. 104 00:05:51,720 --> 00:05:55,600 Speaker 2: And the same with the new Scorsese Killers of the Flower, 105 00:05:55,800 --> 00:05:59,840 Speaker 2: which is just too long. It is like three and 106 00:05:59,880 --> 00:06:02,440 Speaker 2: a half hours long or something that's on Apple Plus. 107 00:06:02,680 --> 00:06:06,480 Speaker 1: Really in just a couple of weeks exactly, they get 108 00:06:06,520 --> 00:06:09,800 Speaker 1: these limited theatrical windows to give them, to give them 109 00:06:09,880 --> 00:06:17,200 Speaker 1: chances at the oscars, and gone, yeah very quick. Yeah, okay, 110 00:06:17,200 --> 00:06:18,960 Speaker 1: all right, Thank you Ben. 111 00:06:19,080 --> 00:06:20,200 Speaker 2: We'll talk to you next week.