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Speaker 1: Great perflick with Good Morning Morning. Norms are out today,

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Speaker 1: so you know it's all about a million Yeah yeah.

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Speaker 1: Adrian Brodie, the brutalist Wicked got kind of like a

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Speaker 1: cold shoulder. Yeah yeah, I respect. Yeah, but and I wish, look,

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Speaker 1: I wish to start the year off. I was bringing

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Speaker 1: you a movie that was happy we could really have

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Speaker 1: some fun with. No. It's the sort of movie where

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Speaker 1: you have to bring your box of tissues into the

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Speaker 1: cinema or you'll be leaving, you know, sort of red

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Speaker 1: raw eyes from rubbing them. It's it's a weepy They

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Speaker 1: call it a rom com. We Live in Time really well,

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Speaker 1: that's you know, that's kind of what it is. And

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Speaker 1: there is there is some humor, but Sydney Sweet No, No,

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Speaker 1: definitely not. It's more like, you know, like a sort

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Speaker 1: of the fault in our stuff some of these other

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Speaker 1: movies where you go in and you go, okay, this

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Speaker 1: it's going to be pretty tough slog And it's about

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Speaker 1: this couple. It's relationship between Tobias played by Andrew Garfield,

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Speaker 1: who is a sales representative for a breakfast cereal company.

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Speaker 1: Pretty sort of unassuming, you know, maybe a little bit

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Speaker 1: boring this kind of dude, and Almont played by the

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Speaker 1: Great Florence pu Almot Almot the Great played by the

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Speaker 1: Great Florence Pew, who was a former figure skater turned

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Speaker 1: really really brilliant young chef, and so she's kind of,

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Speaker 1: you know, feisty, emotional, all this kind of stuff. So

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Speaker 1: there's sort of opposites a track situation, and the film

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Speaker 1: tells the story of their relationship and the fact that

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Speaker 1: that Almott Florence has to deal with this terminal diagnosis.

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Speaker 1: And so you straight away you go, okay, well this

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Speaker 1: is going to be sad. It's going to be a

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Speaker 1: tear jerker, you know, Marley and Me kind of stuff

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Speaker 1: we're talking about here. But that's a dog. Maybe if

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Speaker 1: you least maybe you won't find this sad at all

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Speaker 1: as long as the dog survivees. But the way they

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Speaker 1: tell this story is in a nonlinear way. So instead

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Speaker 1: of just going okay, the couple meet at the start,

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Speaker 1: and then they get to know each other, they have

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Speaker 1: a courtship, they get married, they have a kid, and

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Speaker 1: then at the end someone dies. That's kind of standard

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Speaker 1: in this it's all chopped and changed and moved around.

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Speaker 1: You get the terminal diagnosis in pretty much the first scene,

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Speaker 1: and then and then it jumps to something happens towards

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Speaker 1: the end of their relationship, and then it jumps back

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Speaker 1: to how they first met, and then it jumps to

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Speaker 1: having a kid, and then it jumps to them talking

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Speaker 1: about having this. There's a lot of jumping. There's so

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Speaker 1: much jumping, so much jumping around, and that is probably

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Speaker 1: the biggest fault with this film, because when you've got

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Speaker 1: actors like Andrew Garfield and Florence Pew, you just want

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Speaker 1: to get out of their way, just let them do

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Speaker 1: their job. But the whole we live in time is

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Speaker 1: that they're jumping about you. So the idea behind it

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Speaker 1: is that any relationship is really just kind of, you know,

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Speaker 1: sort of a sum total of individual moments that have

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Speaker 1: more meaning than everything else. Like you don't need to

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Speaker 1: see the bit where you're sitting on a couch on

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Speaker 1: a Tuesday night binge watching squid games. That's not really

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Speaker 1: that important to the relationship. It's you know, it's these

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Speaker 1: other moments. You know, where you got married or where

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Speaker 1: you first met, and so you can kind of get

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Speaker 1: the totality of the relationship if you just focus on

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Speaker 1: those moments, did you need to jump jumble them around?

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Speaker 1: Probably not. I Reckon. It's threatened by John Crowley, who

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Speaker 1: previously gave us the movie Brooklyn in twenty fifteen, which

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Speaker 1: is a real slow burned drama, amazing film. It was

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Speaker 1: nominated for Best Picture at the Academy Awards at the time.

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Speaker 1: So you know, if you like that movie I Reckon,

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Speaker 1: you'd give this a chance and you'd go, okay, like,

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Speaker 1: I appreciate what John Crowley the director is bringing to it,

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Speaker 1: and obviously you appreciate Andrew Garfield and Florence Pugh because

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Speaker 1: their performance is a really good. Florence in particular is incredible.

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Speaker 1: She is She is so good and even though the

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Speaker 1: film is often quite frustrating because of the time jumping,

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Speaker 1: you're just happy to see her on the screen. Anytime

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Speaker 1: she's on the screen, and it is pretty sad towards

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Speaker 1: the end. You know, don't mind the time jump, but

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Speaker 1: to maybe find some skill how to use your skills

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Speaker 1: in making it are just feels unnecessary in this case

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Speaker 1: because you know, the actors just do it, do it

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Speaker 1: well on their own. You don't need to kind of

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Speaker 1: like if you didn't have actors of this caliber, you

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Speaker 1: probably go, Okay, we need to do some kind of

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Speaker 1: a plot twist to make it a bit more interesting

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Speaker 1: and elevated above just being a kind of standard, you know,

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Speaker 1: sort of weepy romance film. But they're so good you

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Speaker 1: just want to leave them, leave them to let them cook. Well,

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Speaker 1: what kind of score are we giving it? Well, because

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Speaker 1: of the talent of the actors and the director and

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Speaker 1: the director give it three so very silent. Some people

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Speaker 1: will really love it, some people will find it very frustrating.

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Speaker 1: I think everybody will find it pretty sad, so they go.

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Speaker 1: We had a story, there was a story around the

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Speaker 1: other day talking about how this year is just absolutely

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Speaker 1: chouck us full of sequels, sequels coming out. There's secret

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Speaker 1: something every week. But I feel like there's some actually

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Speaker 1: some other good movies, standalone movies coming out this year.

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Speaker 1: So huge. It's going to be a huge year because

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Speaker 1: last year was a right off because of the previous

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Speaker 1: year's actors and writers straight catch everything. We finally we're

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Speaker 1: finally catching up to everything that was supposed to come

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Speaker 1: out last year. So it's going to be a bumper year.

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Speaker 1: The next few weeks alone, I imagine you've got some

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Speaker 1: great stuff, some really really great movies. All right, that's

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Speaker 1: all right, guys,