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3.40 - FREE FIRE and Space

We conclude our Ben Wheatley season with his most recent offering, 2016’s FREE FIRE. After our initial responses to the film, we go on to talk about claustrophobia, empathising with the IRA (!), and whether or not Wheatley has made the ‘step up’ to Hollywood (CA) direction. Next Week Our next director is one on which Sam will sadly (good luck, Rob!) be missing out: Wes Anderson. The first film recommended by Sam’s very able replacement, Chris MacLennan, is his debut, 1995’s BOTTLE...


3.39 - A FIELD IN ENGLAND and Psychedelia

Back after a hiatus, we delve further into Ben Wheatley’s oeuvre, with his 2013 historical horror A FIELD IN ENGLAND. Our reviews are mixed, but then we do get into some very interesting discussions about genre collisions, social structure, and whether or not Ben Wheatley will be a success as a blockbuster Hollywood director with his…interesting use of generic and visual ideas! Next Week Our final Ben Wheatley film is his latest offering, FREE FIRE (2017), available here:...


3.38: KILL LIST (2011) and Ritual Punishment

This week’s film is the incredibly disturbing — don’t watch it if your constitution is in any way delicate; it will stay with you — Ben Wheatley film KILL LIST. We talk about how this film takes a while to get going, but when it does — oh boy! Also on the agenda today: social realism, Lovecraftian horror, and religious symbolism. Next Week Our next Ben Wheatley film is A FIELD IN ENGLAND, available here: This Week’s Media WHO FRAMED ROGER RABBIT (1988): Robert Zemeckis,...


3.37- DOWN TERRACE (2009) and Family

The first film in our Ben Wheatley season is his cinematic debut, DOWN TERRACE. We offer contrasting reviews in perhaps surprising directions (given our PP form), and then spend time talking about different attitudes to masculinity, what it means to be part of a family unit, and how this film — for all its apparent parochialism — could in fact be a comment on the political situation in 2008. Next Week Our next film is the *incredibly* brutal KILL LIST (2011). If you’re prepared to give...


3.36 - THE GREAT GATSBY (2013) and Decadence

This week we conclude our Baz Luhrmann season with his most recent film, 2013’s THE GREAT GATSBY. We have disparate opinions on this — and differing levels of familiarity with the story — but then we move onto a discussion of the movie’s presentation of different ideas about wealth, concepts of class and race on-screen in various countries, and the extent to which the film works as a presentation of the very social dislocation that is its subject. Next Week Next week we begin our Ben...


3.35 — AUSTRALIA (2008) and Epic

This week our focus shifts to Luhrmann’s sweeping Antipodean magnum opus, AUSTRALIA. We sort of already know what there is to be said about this film, so we spend a lot of time talking about the movie’s politics, its visuals, and how it tries to do many different things, but doesn’t always succeed — and how this isn’t necessarily a bad thing. Next Week Our final Baz Luhrmann film is his latest: the 2013 adaptation of F. Scott Fitzgerald’s THE GREAT GATSBY, available here: ...


3.34 — ROMEO + JULIET and Playfulness

Our next foray into Luhrmann territory is his version of the 16th-century play: WILLIAM SHAKESPEARE’S ROMEO + JULIET (1996). Sam goes off on one about one of his pet topics, and we take things further by discussing the playful and inventive qualities of the play brought out by Luhrmann — along with his innovative use of pop culture and the art of the soundtrack. Next Week The next Baz Luhrmann film sees us jumping into the next decade, with AUSTRALIA (2008), available here:...


3.33 — STRICTLY BALLROOM and Convention

This week we embark on our next directorial mini-season with the work of Baz Luhrmann. We start with his cinema debut, 1992’s STRICTLY BALLROOM. After opening reviews, we talk about mockumentaries, cinema aesthetic, and artistic frustration — both in the film and in Luhrmann’s direction itself. Next Week Our Luhrmann mini-season continues with the next movie in his ‘Red Curtain Trilogy’: 1996’s ROMEO + JULIET. Watch it here: ...


3.32 - THE BEGUILED (2017) and Gendered Values

The final Coppola film in our mini-series is her latest, the 2017 re-make of THE BEGUILED. After our reviews, we talk about horror, tension, and the revision of traditional gendered values. This leads us on to a final discussion of Sofia Coppola’s oeuvre, when we take a look back at some new perspectives we’ve seen over the past month. Next Week Next week we embark on our next director, Baz Luhrmann, and his first film, 1992’s STRICTLY BALLROOM:...


3.31: MARIE ANTOINETTE (2006) and Anarchy

(The audio from Rob gets better about 7 min in...) Our next Sofia Coppola film is her 2006 historical biopic MARIE ANTOINETTE. We talk about decadence, loneliness, and why this film tries to several very interesting things — but doesn’t quite succeed in pulling them off. Next Week We conclude our Coppola mini-season with her most recent film, 2017’s THE BEGUILED. Will it be LOST IN TRANSLATION, mark 2, or another MARIE ANTOINETTE? Find out here:...


3.30 - LOST IN TRANSLATION and Benign Isolation

Next in our Sofia Coppola season is another of Rob’s all-time-favourite films: 2003’s LOST IN TRANSLATION. Reviews are more or less predictable, but we quickly get into talking about what it means to be privileged yet isolated, balance in cinematography, and whether or not this film ends in the right way. Next Week Our Coppola series continues with her big-screen follow-up to LOST IN TRANSLATION, on a very different theme: 2006’s MARIE ANTOINETTE...


3.29 - THE VIRGIN SUICIDES and Teenage Memory

This week, as Sam returns from intensive Dadding, we start on our next director: Sofia Coppola. Our first focus is on her debut, her adaptation of Jeffrey Eugenides’s novel THE VIRGIN SUICIDES. After we’re both really taken by surprise by this film, we talk about nostalgic film-making, ethereal screen presences, and what it is to remember (and mis-remember) things as a teenager. Next Week Our next film, and the next in Coppola’s oeuvre, is LOST IN TRANSLATION, available here:...


3.28 - THE SLIPPER AND THE ROSE (1976) and Class

You know how it goes, Sam's not here so no notes...


3.?? - Films Of Our Lives

Due to massive over-consumption of Easter Eggs, we're taking a break from our scheduled progamming to bring you a previously Patreon-only episode, The Films Of Our Lives


3.27 - THE NEON DEMON and Beauty/Consumption

We conclude our NWR season with an episode focusing on his most recent film, the 2016 horror/psychological thriller/social commentary THE NEON DEMON. After similar reviews of the film, we look at the film’s exploration of beauty, the creepiness of both female and male gazes in this film, and what Refn has to say about a particularly...cut-throat industry. We also end with a retrospective on NWR’s work, and how it’s developed from the early days of PUSHER. Next Week Our next director...


3.26 - DRIVE and Tension

The next in our NWR mini-season is his 2011 film DRIVE. One of us has radically changed his stance on the film (spoiler alert: Rob won’t be tearing down his poster)—after a few minutes of reviews, we get stuck into psychopathy on screen, subverting type, and just why this film is s tense. Next Week Our NWR mini-season concludes with his most recent feature, 2016’s THE NEON DEMON (available here: This Week’s Media LADY...


3.25 - VALHALLA RISING and Answers

(Quick apology for some of the audio this week, between missing microphones and babies, it has some issues, bear with us, it will get better...) This week’s film — and the next in our Nicolas Winding Refn mini-season — is one close to Rob’s heart: VALHALLA RISING (2009). We get the inside scoop on some of the decisions made by the director, as well as considering some of the mythical/religious ideas behind the film — and if this is a film about giving or withholding answers. Next...


3.24 - PUSHER and Consumerism

The next director at whose oeuvre we take a look is Nicolas Winding Refn, and we start with his 1996 feature-film debut PUSHER. After similar reviews of the film, we talk about what Refn might have been trying to do with this film, the division between narrative and aesthetics, and the ways in which this shines a light on consumerist attitudes of the time. Next Week Our Nicolas Winding Refn mini-season continues with his 2010 film VALHALLA RISING:...


3.23 - CHI-RAQ and Violence

Our final Spike Lee joint is 2015’s CHI-RAQ: based on an Ancient Greek play, and set in modern-day gangland Chicago, this is both very different from and yet — at least in terms of its racial politics — remarkably similar to last week’s film. We have contrasting reviews of the film, but go on to talk about the contemporary resonances of the movie, what it tries but fails to do with some of its characters, and how watching Spike Lee’s genius over this past month has been eye-opening for...


3.22 - BAMBOOZLED and Satire

After a significant disclaimer this week, we launch — somewhat trepidatiously — into our next Spike Lee joint: BAMBOOZLED (2000). We talk about how this film didn’t get the critical love it deserved, the camera shots that make it, and the sad deficiencies of contemporary African-American on-screen representation. Next Week We conclude our Spike Lee month with his most recent film, 2015’s CHI-RAQ: This Week’s...