Avengers. Endgame. etc. etc.
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Audience choice this week, so it is with thanks to Chris Ferrier that Cross and Gordy delve into prison camp life with the inimitable Paul Newman and his movie Cool Hand Luke. A lovely introduction by Ferrier lets us talk over all manner of takes on the movie and chain gang life. The life chooses you, you don’t choose the life! Or some such… well enjoy the episode! Please follow, share, rate.
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Freedom! Wait, wrong movie. Gordy finally gets Cross to the table to talk over Outlaw King. Or better known as Black Douglas and Bruce On The Road. A film that will get into our cross border relations!
It was a good movie to finish the year with for the podcast, hope you enjoy it! A massive THANK YOU to all of you who downloaded, shared, reviewed our wee podcast. Look forward to talking with you next year! Cheers.
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Gordy n’ Cross have a look at the superficial existence of Patrick Bateman in 1987 NYC. They also draw what parallells they can… there’s lots of talk of flexing and business cards. Hope you enjoy the episode!
If you can spare a minute a rating and comment on iTunes would be most appreciated. And tell a friend! Cheers.
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Baby Driver has been quite the success story as things have turned out. A few weeks ago and fresh from having seen it, Gordy and Cross talked it out. Gordy has generally taken a stance against Edgar Wright considering him vastly overrated amongst other things, whilst Cross has been a staunch fan and loving most, if not all of the output.
Which side of the fence will they fall on with this one?
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As so many of John Carpenter’s movies were ineligible for inclusion we thought we’d just throw out the rule book and talk about all of them instead. This week we manage to get from the beginning of his career all the way up to Escape From New York.
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Gordy, Cross & Mitch take a look back over the highs and lows of 2016. Selecting some of their favourite, and not so favourite, podcast episodes & movies released over the last twelve months.
Covering such topics as:
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Is it just me? Or has the whole world gone mad? No, I don’t mean Syria or Trump or Brexit; I mean the near universal acclaim for the new Star Wars film, Rogue One. At the time of writing it’s currently sitting at 85% Fresh on Rotten Tomatoes.
Now, I’m a Star Wars fan. Return of the Jedi was my first cinematic experience, I left work early to see The Phantom Menace on the day of release and I saw the opening midnight show of The Force Awakens. I own two Star Wars t-shirts and a hoodie. I enjoyed Gareth Edwards’ previous films. I was looking forward to Rogue One. In short, I was excited. A tingle went down my spine when the Lucasfilm title came up on the screen…then nearly everything that followed was, for me, disappointing and far, far too unwieldy.
I think the disappointment was made worse by the fact that the idea and bones of a great film were there. The story contained in the opening crawl of the original (’Rebels spaceships, striking from a hidden base…etc) is an instantly appealing premise. But it failed to really deliver.
There are merits to the film but there are also major fundamental flaws which seriously undermine it.
The first and most in your face was the resurrection of Peter Cushing as Moff Tarkin. Why? Impressive in the sense that the actor is no longer here but compared to the real life actors…? It was severely distracting and entirely unnecessary. It was not at all essential. If the filmmakers were so keen to knit this film into the period just prior to the original then surely they could have used a CG version in a more sparing way, maybe from behind in a small scene with minimal dialogue. Or perhaps as a hologram which would have been far less of a distraction . Every scene with Tarkin, of which there were quite a few, took you out of the film instantly. Not ideal when you want to wallow in the Star Wars universe for a couple of hours.
A second major flaw to my mind was the abundance of characters (new and old) who were ultimately redundant as far as the story was concerned. While they, for the most part, were initially intriguing, they didn’t really gel together as a team and their character development was practically nil.
The two leads lacked any real depth, which subsequently meant their actions lacked any real emotional heft. Cassian Andor’s (played by Diego Luna) morally debatable and unflinching commitment to the Alliance was an interesting start but went nowhere. Jyn Erso (Felicity Jones) never felt real, the death of her father seemed to barely register and her relationship with Cassian never had time to build into something genuine. Their relationship was sacrificed at the altar of the Plot which has them bundled from planet to planet.
Elsewhere, Riz Ahmed’s defecting pilot had some spark but again was short changed by the narrative. Forest Whittaker’s crazed and militant freedom fighter was also intriguing but the story also had nowhere for him to go. The blind warrior played by Donnie Yen and his partner were striking characters but ultimately for nothing. One fight scene aside, these two characters and their function to the story were minimal. If they were deleted from the film, it would not make a jot of difference. Did their relationship change between their introduction in the film to their end? Did they significantly affect anyone else in the film? Plenty of film characters are inconsequential to the plot but if there is no satisfactory character arc and they play no real part in the plot mechanics why are they really there? Rogue One has more than enough characters to contend with and it would be far better if there were fewer but all fully rounded.
There is an awful lot going on in this film. The first half hour zips around from world to world with accompanying captions (to no doubt try and avoid too much confusion!). Star Wars films do best when they stick to two or three striking locales establishing the mood and character of each place. So when the action/ human drama finally occurs we feel embedded in the moment. Think Tatooine, Hoth, Endor. The destruction of Jedha is memorable visually but emotionally hollow as we’re there so briefly. Scariff itself is also a great environment but again we barely have time to catch breath before it’s guns blazing.
John Williams; His music IS Star Wars. You could erase the dialogue tracks and the films would still be great. The opening crawl is iconic for a reason. I understand the ethos of trying to get away from the episodes and have it stand apart but the choice feels wrong. Michael Giacchino’s score seems underwhelming and thus diminishes the experience. (which was especially disappointing as I enjoyed his music to Star Trek).
Finally, much was made about this film being a war/team on a mission. Such films are only as good as the cast of characters and their mission. The characters don’t have enough time to become meaningful. There was no camaraderie. The plan to steal the information was well, not really a plan. It’s more ‘we have an old code to get to the landing pad and then Godspeed…’ I was expecting a bit more strategy and thought and well, suspense. For me the ultimate sacrifices made by the team became far less emotive as a result.
I have seen it once. I may watch it again to see how a second viewing fares. There were things I liked. It was dark and brutal in places, probably as brutal as Star Wars will ever get. The cast were very good (see Mads Mikkelsen, Ben Mendelsohn) and some of the scenes revealing the politics of the Alliance were interesting. Sequences involving pilots from the original were a nice unobtrusive touch and the scenes which lead directly into the first were good, though I feel they massively betrayed Darth Vader’s character by having him rock up with sabre in hand to take out some Rebels soldiers. It felt far too much like it was done for the fans eager to see some lightsabre action. It didn’t fit. It doesn’t belong. Vader would never get his hands dirty in such a way…
…but that’s just my opinion. As is this whole piece. Maybe I’ll watch it again and like it as much as everyone else. But I’m pretty sure I’m right…the world is wrong!
I’d like to nail my colours to the mast on this one, so for the complete avoidance of doubt, it’s thoroughly pish. It’s disappointing, exploitative and ultimately uninspiring fare. My worst fears about this franchise are coming to pass.
I know it be true.
I managed to avoid a large swathe reviews beforehand; however I still caught a couple of headlines along the lines of “The Star Wars Movie for Star Wars Fans” and similarly bigging up the fact that this was ‘Men/Women on a mission’. A down n’ dirty, no saber to be seen, a brave new Star Wars vista. A STAND ALONE MOVIE!
Let me be clear, I am a Star Wars Fan.
MY STAR WARS ORDER OF PREFERENCE:
Like many kids of the 80s it was somewhat of a TV staple, though I wasn’t fortunate enough to see them at the cinema (well, until the 90s Special Edition release, with CGI Jabba and no Storm Trooper v Blast Door comedy clunking). I cherished the VHS recordings I had made from a festive screening of the movie on television, you know the kind. You sit and watch the movie recording away, you wait for the ad breaks and it’s a one shot deal. You pause precisely on cue and to restart when it resumes. You’d then break the tab so that forever more you had that Star Wars movie to keep.
Sorry, I went off-piste a little there. So, my expectation levels on Rogue One were suitably high but not maniacally so.
I did book my tickets a good 4-6 weeks ahead of time and as the night approached things did get a little more so. The cinema darkened, Lucasfilm appeared, and then we get the most majestic text…
No crawl, no John Williams bombast. Now that wouldn’t be an issue, if Gareth Edwards et al thought to themselves let’s be different, let’s be edgy, let’s separate ourselves from the main body of the Star Wars lore.
As various bits and pieces came out whilst they were making the movie, that was very much the vibe I was getting. They were trying to embrace the fact they were a stand alone movie, that there was no pressure in terms of trying to tie it to the new episodes VII, VIII and IX or the existing universe.
Free rein for all, but the whole thing came off as Movie by Studio Committee. Marvel, in my opinion, is culpable for this kind of film making, whereby the property is worth so much that you’re only allowed to be as edgy as a dual carriageway as opposed to a big, 9 lane, smog laden US of A Highway.
But if that’s how you’re rolling, then fine, don’t give me my opening crawl and theme.
But don’t then give me (Dr.) Cornelius Evazan and Ponda Baba bumping into our protagonists. If you’re not sure who they are, think back to the funny nosed chap and the bum chinned creature who take on Mark Hamill in A New Hope before being thoroughly dealt with by Alec Guinness.
Don’t give me squeaky shoe robot sounds on the Death Star.
Don’t give me the sound of the Death Star weapon powering up.
Don’t give me multiple shots of the lookout at the rebel base watching ships depart.
These are only a few of the offending moments, and they’re all clearly underhand methods to tap into my nostalgia and my love for the original trilogy.
It does annoyingly succeed in taking you back that special place just for a moment; before you’re dragged brutally back to present day by an utterly atrocious CGI zombie Peter Cushing.
The first scene framing him from behind, with a subtle reflection in the glass was effective. Then the dawning realisation that he was going to be a fully-fledged interactive presence with our imperial players and it just gets worse.
Same goes for Leia, though we only get a fleeting Polar Express-lite Princess.
These CGI creations serve to only take you out of what’s mean to be a wholly engrossing experience and they’re borderline offensive if you’re that way inclined in terms of deceased actors being used in this fashion.
In even recent movie memory, there are times when it has been done either thoughtfully with a little bit of subtlety such as The Crow, Fast 7 or The Imaginarium of Doctor Parnassus. As for CGI lead characters in a live action film, check out Gollum and Serkis if you want to see how well it can be done.
Character development is but a figment of this movie’s imagination, I have no idea about as to how it came to pass that Jyn Erso was under arrest and it was so vague it could be felt that perhaps between some severe editing and the reshoots, they’d left a whole bunch of it behind on the editing room floor. With some proper coherent backstory then I could have invested a whole lot more in her, in much the way that I totally dug Rey (Daisy Ridley).
As for the droid K-2SO, give me BB-8 any day. While you’re at it, get me Poe and Han too! This severely needed some levity somewhere, and that droid was not it.
The same can be said for the majority of the main players on the Rebel side who I found to be wholly superfluous.
Clearly there are exceptions to every rule, in this instance I found myself wanting absolutely more of Galen Erso (Mads Mikkelson) and I did enjoy Ben Mendelsohn as Krennic for the most part.
In other news, The Force Awakens showed that even John Williams rolling at 35% can wipe the floor with Michael Giacchino. The fact that Alexandre Desplat was replaced due to scheduling conflicts, directly related to the publicised reshoots leaving Giacchino to step in. And all the spin in the world will not let me be deceived and there’s no doubt in my mind that any sense of disjointedness is a direct result of that both in terms of the score and the finished film itself.
Finally, I come to the Darth Vader scene (well the final scene, the first was OK apart from him rockin’ n’ rollin’ with choke puns), which was a completely shameless and unabashed appeal to the base level of fan boy. I forgot that I’d signed up for a Star Wars Battlefront experience, and worse still, to see Darth lower himself to force flinging rebel grunts about the ship who are in turn throwing the stolen plans from one man to the next like some kind of Aerobie/Frisbee Golf hybrid.
Hey Darth, Big Cheese!
How about you put the lightsaber down. Force grab that wee disc that’s right there. That’s what you’re after, no? And then off you toddle whistling the Imperial March. Absolute bollocks.
To the folk that are giving it the big licks that this is a Star Wars WAR movie with Saving Private Ryan aspirations mayhaps, and comparing it to a proper down and dirty war movie.
Giving the odd soldier a jaunty ‘Nam style hat with unsecured chinstrap does not achieve this.
Nor was I invested enough in the whole enterprise to care as to whom was dying as the final battle unfolded (which is the polar opposite to Private Ryan. Especially the deaths of Mellish and the medic Wade).
May I say for the record, if this is what the Star Wars Spin Off Stories are going to bring, brace yourself people, Disney are going to hit us upside the head like the MCU now with multiple releases and at least a movie a year, then I for one don’t want it.
Solo: The College Years is next, which I am willing to bet significant funds that it will open with either Han completing the Kessell Run in under twelve parsecs or Han winning the Falcon from Lando in a duplicitous fashion. I don’t need to see that! Nor do I need to see Han & Chewie bromancing it up in their youth!
For the record I do remain a Star Wars fan. I really like The Force Awakens (three viewings at the cinema), and I’m looking forward to Episode VIII which is maybe down to the established love I have for Han, Luke and Leia and the through line that it creates. And long may that continue.
The nigh on universal praise for this movie is what’s caught me off guard. I’m not usually this angry. But stand alone episodes can suck my balls.