1 00:00:00,280 --> 00:00:03,920 Speaker 1: Break the flick with on ninety six. Am. 2 00:00:05,080 --> 00:00:08,360 Speaker 2: Well, they're calling it Barbenheimer or Barbie Heimer, depending on 3 00:00:08,400 --> 00:00:11,479 Speaker 2: which website. You're looking at the greatest marketing campaign ever 4 00:00:11,760 --> 00:00:15,360 Speaker 2: for two movies that couldn't be any further apart man. 5 00:00:15,800 --> 00:00:19,080 Speaker 3: No, I would actually caution seeing them both, caution people 6 00:00:19,079 --> 00:00:21,919 Speaker 3: against trying to do the Barbenheimer like it will melt 7 00:00:22,000 --> 00:00:22,400 Speaker 3: your brain. 8 00:00:22,800 --> 00:00:24,120 Speaker 1: Good ideas so different. 9 00:00:24,160 --> 00:00:26,440 Speaker 3: If you see these back to back, I don't think 10 00:00:26,480 --> 00:00:28,520 Speaker 3: you're going to come out of it as sane person. No, 11 00:00:28,720 --> 00:00:32,800 Speaker 3: They're so different in tone and theme and style and quality, 12 00:00:34,159 --> 00:00:36,599 Speaker 3: they're not meant to be seen back to back. Yeah. 13 00:00:36,640 --> 00:00:39,480 Speaker 4: The timing is incredible because even Tom Cruise, talking about 14 00:00:39,479 --> 00:00:41,319 Speaker 4: his movie, was asked if he was which one he'd 15 00:00:41,320 --> 00:00:43,640 Speaker 4: see first, and he answered, you know that's a sign, 16 00:00:43,680 --> 00:00:43,960 Speaker 4: isn't it. 17 00:00:44,120 --> 00:00:45,280 Speaker 2: Tom must have been thrilled with that. 18 00:00:46,720 --> 00:00:49,159 Speaker 1: Where do you want to start? Let's start with offen Home. 19 00:00:50,120 --> 00:00:52,360 Speaker 3: That's good deadly Toy, which I actually think is the 20 00:00:52,360 --> 00:00:53,959 Speaker 3: best way. If you were going to see them back 21 00:00:54,000 --> 00:00:55,960 Speaker 3: to back, I would see Oppenheimer first. I'll do the 22 00:00:56,000 --> 00:00:58,200 Speaker 3: open Bee. No one really talks about the open You 23 00:00:58,200 --> 00:01:01,080 Speaker 3: want a fresh brain, Yeah, you want to, I don't 24 00:01:01,080 --> 00:01:02,440 Speaker 3: know if it's going to catch on, we can try 25 00:01:02,480 --> 00:01:04,399 Speaker 3: and we can try and achieve that. But I think 26 00:01:04,400 --> 00:01:07,200 Speaker 3: that's like Barbie, that's the dessert, have the sweet thing 27 00:01:07,319 --> 00:01:10,280 Speaker 3: for dessert, right, That makes moment before the main meal. 28 00:01:10,120 --> 00:01:12,480 Speaker 1: If you've got room, Yeah, yeah. 29 00:01:12,720 --> 00:01:16,680 Speaker 3: And Oppenheimer is an intense viewing experience. It comes from 30 00:01:17,120 --> 00:01:20,959 Speaker 3: British director Christopher Nolan, who we know is famous for 31 00:01:21,000 --> 00:01:25,400 Speaker 3: the genius for brain twisting movies, whether it's Tenant or Memento. 32 00:01:26,120 --> 00:01:30,960 Speaker 3: Dunkirk with its non linear storytelling, Interstellar the Dark Night 33 00:01:31,000 --> 00:01:34,160 Speaker 3: Trilogy were probably his most straightforward films, but he really 34 00:01:34,200 --> 00:01:37,160 Speaker 3: does make a habit of making movies that cause you 35 00:01:37,240 --> 00:01:40,160 Speaker 3: to think about the themes and they don't kind of 36 00:01:40,400 --> 00:01:44,080 Speaker 3: are really obvious. The plot unfolds in a way that 37 00:01:44,200 --> 00:01:46,720 Speaker 3: keeps you guessing. You jump forward and backward in time, 38 00:01:46,720 --> 00:01:49,400 Speaker 3: and that's certainly the case with Oppenheimer. So it's about J. 39 00:01:49,640 --> 00:01:54,559 Speaker 3: Robert Oppenheimer, of course, who's the American theoretical physicist aka 40 00:01:54,640 --> 00:01:57,240 Speaker 3: the father of the atomic bomb. He led the Manhattan 41 00:01:57,280 --> 00:02:00,720 Speaker 3: Project that stage the Trinity Test, which was the world's 42 00:02:00,720 --> 00:02:03,480 Speaker 3: first detonation of a nuclear weapon in nineteen forty five. 43 00:02:03,800 --> 00:02:06,640 Speaker 3: Three weeks later, they dropped one on Hiroshima. Three days 44 00:02:06,640 --> 00:02:09,560 Speaker 3: after that, they dropped it on Nagasaki. Hundreds of thousands 45 00:02:09,560 --> 00:02:11,480 Speaker 3: of people died. So we're talking about a film that 46 00:02:11,560 --> 00:02:16,720 Speaker 3: has really serious historical implications, like this is a towering 47 00:02:16,760 --> 00:02:19,919 Speaker 3: figure of the twentieth century. And in the movie is 48 00:02:19,919 --> 00:02:23,079 Speaker 3: played by Irish actor Killian Murphy, who is amazing from 49 00:02:23,080 --> 00:02:26,080 Speaker 3: Picky Blinders. He also played Scarecrow in The Dark Knight 50 00:02:27,200 --> 00:02:30,639 Speaker 3: and so he's worked with Christopher Nolan before. He's amazing, 51 00:02:30,720 --> 00:02:34,560 Speaker 3: Like Killian Murphy will get serious Oscar buzz for this performance. 52 00:02:35,040 --> 00:02:40,320 Speaker 3: Because Oppenheimer was a very complicated dude. The idea of 53 00:02:40,520 --> 00:02:44,160 Speaker 3: him being responsible for, you know, sort of the development 54 00:02:44,160 --> 00:02:46,280 Speaker 3: of the atomic bomb and nuclear weapons, I don't think 55 00:02:46,320 --> 00:02:48,600 Speaker 3: ever really sat well with him. But at the same time, 56 00:02:48,880 --> 00:02:51,880 Speaker 3: he liked the accolades that came with being a national hero, 57 00:02:52,120 --> 00:02:55,280 Speaker 3: with being on the cover of Time magazine, like a 58 00:02:55,320 --> 00:02:58,840 Speaker 3: lot of really really smart, like genius level people. I 59 00:02:58,840 --> 00:03:01,079 Speaker 3: guess there's a bit of narcissism involved. He was also 60 00:03:01,120 --> 00:03:04,160 Speaker 3: a womanizer, so there's that aspect to his character as well. 61 00:03:04,160 --> 00:03:07,160 Speaker 3: And so we see the women he loved. His wife Kitty, 62 00:03:07,680 --> 00:03:11,000 Speaker 3: played by Emily Blunt, who gives a phenomenal performance as 63 00:03:11,040 --> 00:03:14,359 Speaker 3: sort of his long suffering wife, stuck at home raising 64 00:03:14,360 --> 00:03:16,679 Speaker 3: the kids while he's off, you know, saving the world 65 00:03:16,760 --> 00:03:17,480 Speaker 3: from the Nazis. 66 00:03:17,480 --> 00:03:21,200 Speaker 2: And these were the celebrities of the day, huge, huge celebrities. 67 00:03:21,960 --> 00:03:26,920 Speaker 3: And then you've got his mistress, Jane played by Florence Pierre. 68 00:03:26,960 --> 00:03:29,040 Speaker 1: How did he have the time? I know, I know, 69 00:03:29,200 --> 00:03:29,680 Speaker 1: And she was. 70 00:03:31,480 --> 00:03:35,120 Speaker 3: A very complicated woman as well, and so and so 71 00:03:35,160 --> 00:03:37,839 Speaker 3: you've got that fascinating aspect. But of course you've got this, 72 00:03:37,920 --> 00:03:40,560 Speaker 3: you know, sort of all the all of the historical 73 00:03:40,600 --> 00:03:43,600 Speaker 3: unpacking of the Manhattan Project. They went into this remote 74 00:03:43,640 --> 00:03:46,160 Speaker 3: desert based Los Alamos where they developed it with the 75 00:03:46,280 --> 00:03:50,360 Speaker 3: brightest minds in the world, you know, Rico Fermi, Richard Feynman, 76 00:03:50,680 --> 00:03:54,160 Speaker 3: all of these like superstar scientists of the day, played 77 00:03:54,160 --> 00:03:56,640 Speaker 3: in this film by a variety of actors. Kenneth Branner 78 00:03:57,280 --> 00:04:00,760 Speaker 3: plays Neil's bore. And so this is really really fascinating 79 00:04:00,800 --> 00:04:03,680 Speaker 3: to see how it all came together. But it's told 80 00:04:04,160 --> 00:04:08,920 Speaker 3: in flashback form, really a set starting at nineteen fifty nine, 81 00:04:08,960 --> 00:04:11,920 Speaker 3: and this kind of Senate confirmation hearing of this blog 82 00:04:11,960 --> 00:04:14,760 Speaker 3: that no Australians has ever really heard of a businessman, philanthropist, 83 00:04:14,880 --> 00:04:19,119 Speaker 3: former naval officer Lewis Strass who's played by Robert Danny 84 00:04:19,200 --> 00:04:21,680 Speaker 3: Judeo in a kind of like they've used like practical 85 00:04:21,720 --> 00:04:24,520 Speaker 3: effects to make him look like he's about sixty five 86 00:04:24,880 --> 00:04:28,360 Speaker 3: really really effectively, and he's awesome. And that part of 87 00:04:28,400 --> 00:04:30,480 Speaker 3: the film is black and white, right, So even though 88 00:04:30,520 --> 00:04:32,480 Speaker 3: it's in the future, it's black and white. When they 89 00:04:32,480 --> 00:04:35,320 Speaker 3: go flashback to the past, it's in color, which is 90 00:04:35,360 --> 00:04:38,800 Speaker 3: a little bit weird. And basically, anytime the film is 91 00:04:38,839 --> 00:04:42,279 Speaker 3: being told from Oppenheimer's perspective, it's in color. Anytime it's 92 00:04:42,360 --> 00:04:44,520 Speaker 3: anyone else's perspective, it's black and white. 93 00:04:44,600 --> 00:04:44,840 Speaker 4: Wow. 94 00:04:45,640 --> 00:04:48,240 Speaker 3: And so it creates this kind of aura around Oppenheimer, 95 00:04:48,279 --> 00:04:50,480 Speaker 3: which I think is like really adds to the drama. 96 00:04:50,880 --> 00:04:55,039 Speaker 3: The film is so tense. You've got this like as 97 00:04:55,080 --> 00:04:58,760 Speaker 3: all Nolan films do, like this kind of like anxiety 98 00:04:58,760 --> 00:05:02,440 Speaker 3: inducing score and soundscape. In this case, it's kind of 99 00:05:02,480 --> 00:05:05,279 Speaker 3: like frequently got like almost like Geiger counter clicks going 100 00:05:06,839 --> 00:05:12,720 Speaker 3: just like in the background, shivers down his spine and 101 00:05:13,960 --> 00:05:17,840 Speaker 3: Killian Murphy's performances. Oppenheimer is very kind of intense as well, 102 00:05:17,839 --> 00:05:20,600 Speaker 3: Like he's a dude who doesn't necessarily say a lot, 103 00:05:20,680 --> 00:05:23,919 Speaker 3: but you see there's a lot going on inside his head, 104 00:05:24,000 --> 00:05:27,360 Speaker 3: and we sometimes see like glimpses of what he's thinking about, 105 00:05:27,360 --> 00:05:30,320 Speaker 3: which is kind of like these particles smashing against each 106 00:05:30,320 --> 00:05:32,880 Speaker 3: other and explosions, and so it's like it's like he 107 00:05:32,960 --> 00:05:36,760 Speaker 3: never kind of really got over the idea of nuclear 108 00:05:36,880 --> 00:05:39,760 Speaker 3: power and the huge impact that it could have on humanity, 109 00:05:40,160 --> 00:05:42,760 Speaker 3: because in later life he actually protested against the development 110 00:05:42,760 --> 00:05:45,159 Speaker 3: of hydrogen bombs, which is kind of how he became 111 00:05:45,680 --> 00:05:47,880 Speaker 3: the enemy of the state kind of, and they suspected 112 00:05:47,960 --> 00:05:49,880 Speaker 3: him of being a Soviet spy, which this film touches 113 00:05:49,920 --> 00:05:51,120 Speaker 3: on as well. So it's how he goes from a 114 00:05:51,200 --> 00:05:53,799 Speaker 3: national hero to then becoming the enemy of the state 115 00:05:54,360 --> 00:05:57,479 Speaker 3: and everything that sort of happens in between, and who 116 00:05:57,480 --> 00:06:01,840 Speaker 3: are his allies, who are his enemies, And it's absolutely 117 00:06:01,880 --> 00:06:04,120 Speaker 3: fascinating to watch how he was. You know, I guess 118 00:06:04,240 --> 00:06:08,240 Speaker 3: how America creates heroes and then you know, punishes them 119 00:06:08,360 --> 00:06:10,359 Speaker 3: villifies them, which is, you know, it's really. 120 00:06:11,279 --> 00:06:13,039 Speaker 1: What you wish for a story. And it's not that 121 00:06:13,120 --> 00:06:14,359 Speaker 1: different to Dark Knight, right. 122 00:06:14,680 --> 00:06:16,440 Speaker 3: The whole thing about Christian Bale, you know, it's like, 123 00:06:16,560 --> 00:06:18,279 Speaker 3: you know, if you're a hero for long enough, you 124 00:06:18,320 --> 00:06:20,280 Speaker 3: know they'll come for It's all basically the thing. 125 00:06:20,360 --> 00:06:22,680 Speaker 4: Yeah, and it is genius casting because Killing has got 126 00:06:22,720 --> 00:06:25,400 Speaker 4: these wonderful face act but he's got an incredible, very 127 00:06:25,400 --> 00:06:26,400 Speaker 4: different look as a. 128 00:06:26,400 --> 00:06:30,680 Speaker 3: Lot of restraint to his performance. He looks like Oppenheimer. It's, 129 00:06:30,760 --> 00:06:32,200 Speaker 3: you know, like this is this is one of the 130 00:06:32,200 --> 00:06:34,520 Speaker 3: most Christopher Nolan films. Like it's got all of the 131 00:06:34,520 --> 00:06:36,920 Speaker 3: techniques that we we know and love from the director. 132 00:06:37,000 --> 00:06:40,039 Speaker 3: It's not perfect, I have to say, like there's there's 133 00:06:40,520 --> 00:06:42,800 Speaker 3: like a lot of nudity for Florence Pugh's character that 134 00:06:42,880 --> 00:06:45,480 Speaker 3: feels gratuitous, like honestly for such a for such a 135 00:06:45,480 --> 00:06:48,400 Speaker 3: fine young actress, Like I just don't know if it 136 00:06:48,440 --> 00:06:51,039 Speaker 3: really serves the plot. It just does not feel necessary. 137 00:06:51,560 --> 00:06:53,839 Speaker 3: And there's a couple of characters, small characters, and their 138 00:06:53,839 --> 00:06:59,040 Speaker 3: motivation is significant but doesn't really ring with authenticity and 139 00:06:59,080 --> 00:07:02,440 Speaker 3: so but they're really minor complaints. This is a phenomenal 140 00:07:02,480 --> 00:07:05,120 Speaker 3: piece of cinema and you see it on the big 141 00:07:05,160 --> 00:07:07,440 Speaker 3: screen and it is extremely impressive. 142 00:07:07,480 --> 00:07:08,440 Speaker 4: Is it too long? It is? 143 00:07:08,600 --> 00:07:09,560 Speaker 2: It needs an intermission. 144 00:07:09,960 --> 00:07:11,360 Speaker 1: Put it this way. It is long. It's like nearly 145 00:07:11,360 --> 00:07:11,960 Speaker 1: three hours long. 146 00:07:12,440 --> 00:07:14,720 Speaker 3: I watched it though, So when I watched it, I 147 00:07:14,720 --> 00:07:16,440 Speaker 3: had to go home and do some work afterwards. And 148 00:07:16,480 --> 00:07:20,240 Speaker 3: I got out of the cinema and remarked to my partner, Oh, 149 00:07:20,280 --> 00:07:22,200 Speaker 3: it was only thirty, no worries, I'll get home and 150 00:07:22,200 --> 00:07:24,160 Speaker 3: do some work. And she's like, no, it's nine to thirty. 151 00:07:24,520 --> 00:07:26,880 Speaker 3: So I didn't actually realize it was an hour longer 152 00:07:26,920 --> 00:07:29,920 Speaker 3: than it was, because it's like I feel, if if 153 00:07:29,920 --> 00:07:32,800 Speaker 3: you're interested in the history, you get so engrossed in 154 00:07:33,280 --> 00:07:36,800 Speaker 3: how significant the moments are that you're watching depicted on screen, 155 00:07:37,280 --> 00:07:38,600 Speaker 3: it's easy to lose track of the time. 156 00:07:38,640 --> 00:07:40,520 Speaker 1: Okay, well that speaks volumes. 157 00:07:40,760 --> 00:07:45,800 Speaker 2: And now movie that has had the biggest, most successful, 158 00:07:45,840 --> 00:07:48,000 Speaker 2: I guess marketing campaign of movies I've seen in a 159 00:07:48,040 --> 00:07:51,000 Speaker 2: long time, the Barbie movie. 160 00:07:50,760 --> 00:07:54,400 Speaker 1: Bobby No, I haven't heard of it. 161 00:07:54,640 --> 00:07:58,600 Speaker 3: Global marketing campaign has really been unlike anything else, Like 162 00:07:58,640 --> 00:08:02,080 Speaker 3: you're talking like Star Wars was kind of level marketing. 163 00:08:03,040 --> 00:08:06,680 Speaker 3: And I guess you could make the point why, like 164 00:08:06,800 --> 00:08:10,240 Speaker 3: why with so much money spent marketing a film it's 165 00:08:10,320 --> 00:08:13,960 Speaker 3: about a toy? Why this particular film and we'll look 166 00:08:14,080 --> 00:08:17,280 Speaker 3: a lot of it is about selling Barbie merchandiseosaurs like 167 00:08:17,320 --> 00:08:21,480 Speaker 3: the film comes from Mattel's studios, Mattel Films, so you know, 168 00:08:21,520 --> 00:08:25,040 Speaker 3: there's a bit of a bit of bested interest. There's 169 00:08:25,080 --> 00:08:27,320 Speaker 3: a lot of third party licensing deals that have been 170 00:08:27,360 --> 00:08:32,719 Speaker 3: done to slap the Bargaby logo on literally everything. He 171 00:08:32,800 --> 00:08:34,880 Speaker 3: turned the cup around and there was a Barbie logo 172 00:08:34,960 --> 00:08:37,480 Speaker 3: on it. But that's that's basically. It's it's everywhere at 173 00:08:37,520 --> 00:08:39,240 Speaker 3: the moment, so ubiquitous, and I think. 174 00:08:39,080 --> 00:08:40,559 Speaker 1: I had some Barbie brand. 175 00:08:41,840 --> 00:08:43,200 Speaker 3: And I think a lot of people that were super 176 00:08:43,280 --> 00:08:47,120 Speaker 3: pumped about this film because Margo Robbie's casting as Barbie 177 00:08:47,600 --> 00:08:50,480 Speaker 3: is brilliant, Like, you know, it's the role she was 178 00:08:50,480 --> 00:08:54,640 Speaker 3: born to play. Ryan Gosling as Ken seems like it 179 00:08:54,679 --> 00:08:58,440 Speaker 3: seems just amazing as well. He's a very very beautiful man. 180 00:08:59,640 --> 00:09:03,080 Speaker 3: And the trailer kind of pitched it as this fun 181 00:09:03,280 --> 00:09:09,120 Speaker 3: filled pink romp, nothing too serious. Then you actually see 182 00:09:09,160 --> 00:09:13,200 Speaker 3: the movie and that's not what it is. Oh so 183 00:09:13,720 --> 00:09:19,200 Speaker 3: it is humorless and it is so so earnest. So 184 00:09:19,400 --> 00:09:23,360 Speaker 3: imagine imagine, I guess being lectured by a high school 185 00:09:23,440 --> 00:09:30,280 Speaker 3: student on feminism, ideology and patriarchal patriarchal systems of oppressure, 186 00:09:30,720 --> 00:09:33,520 Speaker 3: Like that's that's what it is like. That's that's like 187 00:09:33,640 --> 00:09:38,600 Speaker 3: it is more like an academic lecture on gender roles. 188 00:09:38,880 --> 00:09:41,960 Speaker 1: And yeah, we're talking about the dole that it is 189 00:09:42,000 --> 00:09:45,080 Speaker 1: responsible for. Yeah, well and this is the thing, right, 190 00:09:45,200 --> 00:09:47,439 Speaker 1: so this is why I think it does it more 191 00:09:47,480 --> 00:09:48,520 Speaker 1: here about their bodies. 192 00:09:48,640 --> 00:09:50,960 Speaker 3: Yeah, it doesn't sit so well with me because like 193 00:09:51,200 --> 00:09:56,200 Speaker 3: Greta Gerwig, who's a fantastic director behind behind like actual, 194 00:09:56,400 --> 00:10:00,960 Speaker 3: actual kind of feminist masterpieces like Lady Bird, Little Women 195 00:10:01,040 --> 00:10:03,480 Speaker 3: remake was brilliant, and then You've Got It was co 196 00:10:03,520 --> 00:10:08,160 Speaker 3: written by Noah Bambach who also is an incredible indie filmmaker. 197 00:10:08,160 --> 00:10:10,520 Speaker 3: He made Marriage Story with Adam Driver and Scarlet Johansen 198 00:10:10,640 --> 00:10:13,959 Speaker 3: was Oscar nominated Francis har that starred Greta Gowig is 199 00:10:14,679 --> 00:10:17,240 Speaker 3: kind of like a feminist masterpiece as well. And so 200 00:10:17,280 --> 00:10:20,800 Speaker 3: these are legit filmmakers who can make really nuanced statements. 201 00:10:22,000 --> 00:10:24,920 Speaker 3: But with Barbie I Reckon, they've tried to justify their 202 00:10:24,960 --> 00:10:29,120 Speaker 3: involvement in such a low brow, mainstream commercial project. So 203 00:10:29,160 --> 00:10:32,880 Speaker 3: they've just laid it on so thick, and it just 204 00:10:32,920 --> 00:10:35,280 Speaker 3: doesn't make any sense because they've completely ignored the fact 205 00:10:35,480 --> 00:10:38,560 Speaker 3: that it's made by Mattel The whole point of the 206 00:10:38,559 --> 00:10:41,040 Speaker 3: movie is to make money for Mattel by selling Barbie 207 00:10:41,040 --> 00:10:44,360 Speaker 3: merch and Mattel wants to franchise it. They want to 208 00:10:44,400 --> 00:10:48,280 Speaker 3: make matchbox car movies. There's really not a lot of 209 00:10:48,400 --> 00:10:51,240 Speaker 3: artistic integrity to a project like this, but they've tried 210 00:10:51,280 --> 00:10:54,840 Speaker 3: to convince themselves and us. Yeah, totally, that's totally what's 211 00:10:54,880 --> 00:10:57,200 Speaker 3: going on here, and it comes at the expense of 212 00:10:57,240 --> 00:10:59,880 Speaker 3: making an entertaining movie. Like people will go in here 213 00:11:00,000 --> 00:11:02,319 Speaker 3: expecting to laugh and have fun, and they'll come away 214 00:11:02,360 --> 00:11:04,360 Speaker 3: going was there even a joke in this movie? 215 00:11:04,800 --> 00:11:04,880 Speaker 4: Like? 216 00:11:05,080 --> 00:11:05,720 Speaker 1: Yeah, it is. 217 00:11:05,679 --> 00:11:10,479 Speaker 3: Like like the gags are like a poor man's Zoolander, 218 00:11:10,600 --> 00:11:12,920 Speaker 3: oh imag And that's kind of a good that's kind 219 00:11:12,920 --> 00:11:14,960 Speaker 3: of a good comparison for what Ryan Gosling is doing. 220 00:11:14,960 --> 00:11:18,800 Speaker 3: He's doing a Derek Zulander, only not very funny or well. 221 00:11:19,080 --> 00:11:21,800 Speaker 3: Like it's actually made me question whether Ryan Gosling can 222 00:11:21,840 --> 00:11:24,160 Speaker 3: even act. That's how bad he is in this movie, 223 00:11:24,160 --> 00:11:26,520 Speaker 3: and the talk that he could be an oscar contender 224 00:11:26,640 --> 00:11:29,520 Speaker 3: is completely ridiculous, especially when you compare it to Killian 225 00:11:29,600 --> 00:11:32,200 Speaker 3: Murphy and what he's doing Openheim. Its like do people 226 00:11:32,240 --> 00:11:35,560 Speaker 3: even know what movies are? Yeah? And which is a 227 00:11:35,600 --> 00:11:37,280 Speaker 3: shame because it didn't have to be like that. Like, 228 00:11:37,320 --> 00:11:40,200 Speaker 3: I think there's a lot of potential to a film 229 00:11:40,320 --> 00:11:43,160 Speaker 3: like this, And even Barbie Life in the dream House, 230 00:11:43,160 --> 00:11:45,679 Speaker 3: which is an animated series on Netflix which most people 231 00:11:45,720 --> 00:11:47,600 Speaker 3: probably would never even consider watching. 232 00:11:47,600 --> 00:11:50,800 Speaker 1: It's actually hilarious. Like I rate it very highly as. 233 00:11:50,640 --> 00:11:53,440 Speaker 3: A kind of a subversive kids show that makes some 234 00:11:53,600 --> 00:11:56,120 Speaker 3: kind of like legit statements. And it's not like the 235 00:11:56,160 --> 00:11:59,760 Speaker 3: statements this film makes a terrible like the patriarchy does 236 00:11:59,800 --> 00:12:02,640 Speaker 3: have a lot of problems, and there are a lot 237 00:12:02,720 --> 00:12:06,120 Speaker 3: of companies that are run by men in the C suite, 238 00:12:06,160 --> 00:12:09,240 Speaker 3: but none of this is revelatory, Like it's kind of 239 00:12:09,280 --> 00:12:11,480 Speaker 3: stuff that we've heard before, and the film doesn't make 240 00:12:11,520 --> 00:12:13,719 Speaker 3: really any new statements. It doesn't really bring any to 241 00:12:13,760 --> 00:12:16,120 Speaker 3: the table that makes you I've never thought about that before. 242 00:12:16,400 --> 00:12:18,520 Speaker 3: It's masically like you're telling me stuff that I already 243 00:12:18,600 --> 00:12:22,160 Speaker 3: know over and over again. Like they're like, I know, 244 00:12:22,360 --> 00:12:28,360 Speaker 3: twenty long monologues about why the patriarchy is terrible, and 245 00:12:28,440 --> 00:12:30,440 Speaker 3: like after the first one, it starts to get a 246 00:12:30,440 --> 00:12:33,200 Speaker 3: bit self indulgent, and I think that's a bit of 247 00:12:33,200 --> 00:12:36,520 Speaker 3: a shame. Margot Robbie, though I'm pleased to report is phenomenal, 248 00:12:36,840 --> 00:12:40,880 Speaker 3: Like she's really fantastic. Like I don't maybe love everything 249 00:12:40,880 --> 00:12:42,760 Speaker 3: that she's done as much as some other people, but 250 00:12:42,840 --> 00:12:44,840 Speaker 3: this is one of the best performances of her career. 251 00:12:44,880 --> 00:12:48,079 Speaker 3: It shows good range, she's great at comedy. She's doing 252 00:12:48,080 --> 00:12:50,000 Speaker 3: a different accent, like she does that New Jersey kind 253 00:12:50,040 --> 00:12:51,760 Speaker 3: of thing whenever she does an American accent. 254 00:12:52,000 --> 00:12:54,600 Speaker 1: She's not doing it in this film, which. 255 00:12:54,440 --> 00:12:57,439 Speaker 3: Is great to see for wall Street and which is 256 00:12:57,520 --> 00:12:59,760 Speaker 3: kind of what she does in like Suicide Squad and everything, 257 00:12:59,800 --> 00:13:00,839 Speaker 3: but she's not doing that. 258 00:13:01,320 --> 00:13:02,200 Speaker 1: She's really really good. 259 00:13:02,320 --> 00:13:07,720 Speaker 3: The America Ferrara is a Mattel employee gone rogue who helps, 260 00:13:07,880 --> 00:13:11,000 Speaker 3: who helps Margo's Barbie is really really good as well. 261 00:13:11,360 --> 00:13:15,320 Speaker 3: There's one superb gag by Helen Mirren as the narrator, 262 00:13:16,600 --> 00:13:19,480 Speaker 3: but who breaks the kind of fourth wall and when 263 00:13:19,840 --> 00:13:23,240 Speaker 3: Barbie is saying that she feels ugly, Helen Mirren comes 264 00:13:23,240 --> 00:13:25,640 Speaker 3: in and says, oh, note to the filmmaker, Margo, Robbie 265 00:13:25,679 --> 00:13:27,240 Speaker 3: is the wrong act at a cast if you're trying 266 00:13:27,240 --> 00:13:32,120 Speaker 3: to successfully make this point, And that's a moment of actual, genuine, 267 00:13:32,240 --> 00:13:35,680 Speaker 3: genuine humor that's not taking itself too seriously. But the 268 00:13:35,679 --> 00:13:38,120 Speaker 3: rest of the film takes itself so seriously, and even 269 00:13:38,160 --> 00:13:40,640 Speaker 3: when it's kind of taking the mickey out of Mattel, 270 00:13:40,679 --> 00:13:42,880 Speaker 3: and there's a few jokes along those lines with Will 271 00:13:42,920 --> 00:13:44,960 Speaker 3: Ferrell as the kind of the bumbling CEO of the 272 00:13:45,000 --> 00:13:49,480 Speaker 3: Matel Corporation, it feels so forced because we all know 273 00:13:50,080 --> 00:13:53,400 Speaker 3: Mattel is the one laughing all the way to the bank. So, yeah, 274 00:13:53,440 --> 00:13:55,720 Speaker 3: I don't know, it's not to me, it's not super successful. 275 00:13:55,920 --> 00:13:59,320 Speaker 2: Some people disappointed, Okay, it's time to range them. 276 00:14:00,360 --> 00:14:04,160 Speaker 1: Well, however you choose Man, Well, let's let's stick to 277 00:14:04,200 --> 00:14:07,640 Speaker 1: the Barbenheimer and do Barbie first. Okay. 278 00:14:07,960 --> 00:14:10,920 Speaker 3: And so Barbie, as I said, was a bit disappointing. 279 00:14:10,920 --> 00:14:13,800 Speaker 3: I went in with high expectations. It was completely not 280 00:14:13,920 --> 00:14:17,640 Speaker 3: the fun movie that I expected, nor was it nearly 281 00:14:17,679 --> 00:14:20,680 Speaker 3: as intelligent and intellectual as it would like to think 282 00:14:20,680 --> 00:14:24,760 Speaker 3: that it is. And so, but for Margo, who's great, 283 00:14:24,800 --> 00:14:28,600 Speaker 3: I'm going to give it a two and a half's somewhat. 284 00:14:30,120 --> 00:14:32,200 Speaker 4: And I mentioned some disappointed places early on. 285 00:14:32,400 --> 00:14:33,360 Speaker 1: Yeah, what it is. 286 00:14:33,400 --> 00:14:36,320 Speaker 3: I don't bother taking anybody under twelve, they would not understand, like, 287 00:14:36,400 --> 00:14:38,520 Speaker 3: unless you want to explain to them more cognitive dissonances 288 00:14:39,680 --> 00:14:41,480 Speaker 3: like I'm not even joking, I take the whole movie. 289 00:14:41,360 --> 00:14:42,120 Speaker 1: To explain it. 290 00:14:42,720 --> 00:14:46,360 Speaker 3: And Oppenheimer, Oppenheimer. That's the other end of the spectrum. 291 00:14:46,400 --> 00:14:48,840 Speaker 3: This is what cinema should be. Should be seen on 292 00:14:48,840 --> 00:14:51,040 Speaker 3: the biggest screen possible, filmed it in imax, so you 293 00:14:51,040 --> 00:14:54,280 Speaker 3: could really go as bec as you want. Killian Murphy, 294 00:14:54,440 --> 00:14:58,200 Speaker 3: Legit Oscar contender amongst the cast that is all fantastic, 295 00:14:58,880 --> 00:15:02,600 Speaker 3: not perfect, but asolutely brilliant. Christopher Nolan has done it again. 296 00:15:02,680 --> 00:15:05,520 Speaker 3: I'm going to give this one four stars, four brilliant. 297 00:15:06,360 --> 00:15:10,880 Speaker 3: Thank you, thank you. I bet you see you both 298 00:15:10,880 --> 00:15:12,240 Speaker 3: of those as well, then mate, and see you guys.