Category Archives: Podcasts

376 – Bros

Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.

We wanted to like Bros more. Co-writer and star Billy Eichner jumped at the chance to expand the boundaries of the wide-release Hollywood rom-com to tell the story of a gay romance and give representation to people who are usually marginalised, if included at all, in mainstream comedy, and whose inclusion is often at their expense. It’s a shame, then, that it’s dull, uncreative, flat, comedically unimaginative and unskilled, and preachy. What a colossal waste of an opportunity.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

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375 – The Banshees of Inisherin

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Playwright and filmmaker Martin McDonagh, best known in cinema for his breakthrough comedy-drama In Bruges and, most recently, the critical and financial success of Three Billboards Outside Ebbing, Missouri, on which we podcasted twice, reunites with the stars of the former for an exploration of a male friendship, its dissolution, and the subsequent fallout.

The Banshees of Inisherin offers something of a chamber play: it might not be set in a single room, but the titular island of Inisherin is isolated, barely populated, and promises little by way of escape or a future. Brendan Gleeson’s Colm begins to feel this keenly, and abruptly declares his hitherto long friendship with Colin Farrell’s Pádraic over, intending to devote his life to his music. We discuss how depression might play into his actions, the role of the island in inhibiting ambition, the difficulty an intelligent actor has in playing dumb, the balance of comedy with drama in comparison with McDonagh’s other films, the peculiar masculinity of the way the breakup plays out, how the story might be seen as a modern myth, and how convincing the sense of place is.

There’s a lot to admire about The Banshees of Inisherin, which is arguably McDonagh’s best film, and (equally arguably) his least flawed – which sounds like damning with faint praise for a filmmaker whose work is typically interesting and novel, admittedly, but those flaws have sometimes cast large shadows over otherwise wonderful work (looking at you, Three Billboards). Here, such issues are easier to accept, and it’s consequently easier to enjoy the film’s achievements. In short – see The Banshees of Inisherin.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

374 – Amsterdam

Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.

We indulge in a caper inspired by a real-life attempted overthrow of the US government – no, not that one. The Business Plot of 1933 was alleged to have been planned by business leaders, aggrieved by Franklin D. Roosevelt’s election, who sought to remove him and install a retired major general as dictator, and in telling a loose version of this story, writer-director David O. Russell chucks in a doctor, a lawyer, and a wildcard, played by Christian Bale, John David Washington, and Margot Robbie, respectively.

Amsterdam has been a colossal bomb at the box office, and despite its many attractions – including surely the richest and most exciting cast you’ll see all year – we can understand why. It’s on the long side, it’s fuzzy, it’s overwritten, and its messaging, while agreeable, is banal… but it’s also full of charm and novelty, and Christian Bale hasn’t been this fun to watch for ages. Mike’s typically had a cool relationship with Russell’s films but finds this one easy to like; José is less in tune with it, particularly its comic tone, but still enjoys his time with it. It’s imperfect, but deserving of a more welcome reception than it’s had, and worth seeing.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

373 – Smile

Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.

Trauma as metaphor has become a trope of horror in recent years, and Smile features it more bluntly than you’ve ever seen. We discuss its messaging, storytelling, and camerawork, and remark upon the ways in which 2014’s It Follows may have inspired it. In the sense of Ali Baba and the Forty People Who Were Inspired.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

372 – Don’t Worry Darling

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Don’t Worry Darling, Olivia Wilde’s second feature as director, after Booksmart, which we loved, is an irredeemable mess of a psychological thriller. We pick through its carcass in an attempt to figure out which bit of it we liked the least.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

371 – Beast

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The absence of presence that is Idris Elba, who we’d like to like one day, stars in Beast, a Jurassic Park knock-off that pitches him against both his distant daughter and an excessively affectionate lion. It’s a film that Mike enjoyed unironically but can’t claim to find much quality in; José, showing off, provides a coherent response, seeing the film’s weaknesses and having no fun.

It’s a mechanical film in more ways than one. The character relationships crash inelegantly into place, the action hasn’t met an idea from a better film that it didn’t try to copy – and the seats share the load, tilting and rumbling along with the images. For reasons beyond our understanding, our local Cineworld offered Beast only in 4DX, the theme park-style augmented exhibition format that purports to enhance the cinematic experience through practical effects such as moving seats, wind, and strobe lighting. It’s a technology that José despises to its core, arguing that it betrays a lack of trust in the film’s own ability to excite its audience, while Mike, who is in his thirties, likes filling himself up with fizzy liquid and sugar and being shaken around all afternoon.

Still, no amount of physical animation can either distract from or add to the vacuum of cinematic substance that is Idris Elba, Beast‘s central problem and central lack. It makes for a film you won’t regret ignoring.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

370 – Nope

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Nope, Jordan Peele’s third film as writer-director, following his zeitgeist-capturing Get Out and complex, ambitious Us, invites its audience to speculate on audiences and spectacle. The kinds of things it wants us to think about are clear, and we discuss its themes of commercialised tragedy, fear of the audience, and photography as truth, among others – but what it has to say about them is at best muddled, and, more frankly, disappointingly uncritical. Like Peele’s previous films, Nope is a terrific conversation starter, but unlike them, its contribution to that conversation is weak.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

369 – Bullet Train

Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.

David Leitch, who directed the surprisingly enjoyable Hobbs & Shaw, delivers another surprisingly enjoyable action comedy. Bullet Train is set upon the eponymous Japanese train, which, for two hours, hosts an assortment of assassins getting into scraps and scrapes at the behest of their various employers. It’s stylish, funny, smart, and features a wonderful central comic presence from Brad Pitt, who seems to have relaxed into himself in recent years, his performances exhibiting a delightful spontaneity. Definitely worth a watch, and going on the trailers, Mike really didn’t think he’d be saying that.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

368 – Psycho (1960)

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We visit the MAC for a screening of the new 4k restoration of Psycho, one of the most analysed films of all time, and arguably director Alfred Hitchcock’s most famous. It’s a film we’ve both seen several times, but not for a few years, and in the cinema setting for which it’s meant, instead of the classroom, there’s a renewed and reinvigorated wonder to its imagery and editing.

We share our feelings about this screening, remark upon things we’d forgotten or had never noticed before, discuss how elements of the film have aged, and compare it to Brian de Palma’s Dressed to Kill, which was, shall we say, inspired by Psycho, and which we recently saw. We find plenty of room for criticism, but although we conclude that Psycho works for us more as a collection of a few iconic scenes than a thoroughly engrossing story from beginning to end, those scenes shine, and nowhere more vividly than on a cinema screen.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

367 – Elvis

Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.

Baz Luhrmann’s Elvis is here: a colourful, expressive telling of the story of Elvis Presley, through the eyes of his manager, Colonel Tom Parker, who opens the film by claiming that he’s not the villain he’s renowned to have been. But the film flattens any complexities in the history it tells so thoroughly that we have no option but to continue to see him as one.

Still, it starts vibrantly and excitingly, understands and loves the sexual allure of Elvis – the lengthy introduction to him leads up to a fabulous scene of crotch-gyration – and Austin Butler is fantastic in the starring role. But once it settles down, is it anything more than a filmed Wikipedia page? Does it offer insight into the story it tells? José will have to tell you, because Mike fell asleep.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.