Eavesdropping at the Movies

José likes Zac Efron for once, but little else. Mike is an ITV snob and just wants the film to be more Communist. Listen in to find out how The Greatest Showman rounded out our 2017. Recorded on 27th December 2017.

José and Mike return to a galaxy far, far away, in search of new perspectives and thoughts on The Last Jedi. Mike in particular has been itching to talk more about it since he feels he was unfairly lukewarm the first time. We ruminate on what makes Star Wars feel different to other sci-fi; how films feel tighter and shorter on second viewing; Han's dice; confusion on the resistance cruiser; why we...

It's beautiful to look at. It's populated with rich characters. Adam Driver is filmed as a Byronic hero, desperately romantic and at his sexiest. Matt Moore joins us for this discussion and points to how the film focuses on female characters and interestingly alters the focus of the series. We discuss how the film represents a shift from an aristocratic focus on blood and destiny to a more democra...

Our patient, deliberate conversation closely mirrors the feeling of The Red Turtle, Studio Ghibli's wordless, Oscar-nominated fable. We consider aesthetics, allegory, gender representation and subversion of genre amongst other issues this strange, delicate film raises. Also discussed are the experiences of cinema screenings and home viewing, and José finds time to get in another swipe at The Disas...

Cinema's biggest in-joke is dramatised in James Franco's fan project about the worst film ever made. We discuss the mean-spirited nature of finding films so bad they're good, the lack of direction in The Disaster Artist, the quality of Franco's central performance, and why we find the film so self-indulgent. Recorded on 11th December 2017.

We begin with an embarrassing admission from Mike and some reminiscences of stars past from José before discussing Film Stars Don't Die in Liverpool, a biopic of Gloria Grahame's relationship with a younger man, which features two towering performances and not very much else. For once, Mike doesn't believe it's his terrible cruelty that prevents him from crying in a film - but what, then, is it? A...

Paddington returns to cinemas with a whimsical puff of upper middle class smoke from a lovely old warm cosy steam train. How nice. Mike wasn't really looking forward to this. So. Did he make it through Paddington 2? What do we make of the vision of Britain it constructs? How does its action outperform Justice League's? Is it fair to think of it as just Wes Anderson but somehow even more revoltingl...

Sean Baker's The Florida Project incites ruminations on the representation of underclasses in cinema; the emergence of a new American neorealism; clichés of slice-of-life and childhood films; what audiences owe to films that are truly reaching, even beyond their grasp; why a man who can cry at Toy Story can't open himself up to stories of genuine human pain; and how revolting the colour lilac is....

Some days you just can't help but mock a bad movie. Recorded on 18th November 2017.

We visit Sidney Lumet's classic version of Murder on the Orient Express to compare and contrast with Kenneth Branagh's. Which performances do we prefer, what do we make of the differences in style and tone? José, with Poirot-esque precision, interrogates Mike, because it's his first time seeing the 1974 film, and indeed it turns out that Mike is the real murderer. Recorded on 12th November 2017.

Innocence meets experience. Mike doesn't know whodunnit; José remembers the 1974 adaptation fondly. Mike wants to talk plot; José wants to talk cast. Mike is enthusiastic about the film's Poirot-centric approach; José is less keen. Although we approach it from different angles and don't always see eye-to-eye, we find a great deal of food for thought in Kenneth Branagh's film of Agatha Christie's c...

The Killing of a Sacred Deer becomes a kind of litmus test for our morality. Mike finds Barry Keoghan's vengeful teen hateful; to José, he's a hero. This is a film that, under discussion, opens you up more than you are able to open it up. Recorded on 2nd November 2017.

Jigsaw's back after a seven year absence, with new traps and twists and torture. One of us is very excited about this. The other has never seen a Saw film. Recorded on 30th October 2017.

A new thing from Marvel. Is it better than the average thing from Marvel? The seats certainly moved, we can say that much, and that is an acceptable substitute for character and plot. Recorded on 25th October 2017.

Sally Potter's all-too-brief comedy drama polarises us, which makes a nice change to the agreements we've been having recently. Is it smug or knowing? Is its range of incongruous acting styles engaging or distancing? Who knows. But Sally Potter is very very very important in British cinema and feminism and queer representation, says José, who then has the nerve to criticise The Party for having it...

How does Armando Iannucci's newest political satire fit in to his work over the last decade? Isn't it a joy to see Michael Palin? How did we ignore how beautifully crafted Jeffrey Tambor's performance is? How can we single out any one performance? We take our time admiring this daring, witty and surprising farce. It's Animal Farm on speed. Recorded on 22nd October 2017.

A film one of us was looking forward to enormously. A Scandinoir thriller coated with dense snow. But did it leave us cold? Recorded on 17th October 2017.

We couldn't stay away. And with a second viewing, time to percolate, and responses from friends informing us, Eavesdropping once again delves into Blade Runner 2049. What to make of the film's representation of women? How does the film use names? Why did Mike have a little weep at the end this time? Do gay women have cottages? Does the film function as a story about slavery? What about criticisms...

Blade Runner 2049 is something else. You simply must see it on the biggest screen you can find. Do not listen to us if you care about the film because we go heavy on the spoilers. (We always go heavy on the spoilers, but this film is good so it actually matters.) Mike isn't very good in this one but José more than makes up for him so it's okay. Recorded on 6th October 2017.

With a weary sigh, we get to Flatliners. Ellen Page, James Norton, Diego Luna, Nina Dobrev and Kiersey Clemons expand their minds and run around shitting themselves in fear. Questions abound: Why did they call this Flatliners when the obviously correct title is Hot Doctors? Was Kiefer Sutherland wasted? Is it wise to be wasted while appearing in a film? In precisely how many millions of ways is th...

Eavesdropping at the Movies manages to make it all the way through this film in one go. Congratulate us. Recorded on 1st October 2017.

The story of the rivalry between Bjorn Borg and John McEnroe at the 1980 Wimbledon Championships, discussed by Jose Arroyo and Michael Glass. One a hotheaded youngster, fuelled by anger and unable to keep his temper in check. The other an elder statesman, cool and calm, analytical and detached. And then there's Borg and McEnroe. Recorded on 24th September 2017.

What is It? Is It any good? Is It scary? How much of It did Mike watch through his fingers? Why would he agree to see It in LieMAX? Was he right about the bit with the sink? (Spoiler: He has googled it and discovered that he was wrong.) Recorded on 17th September 2017.

What is Darren Aronofsky's latest fever dream all about? Is the negative audience response fair? How good is Jennifer Lawrence, seriously you guys? Recorded on 17th September 2017.

Why Detroit is the best film currently on release. Is John Boyega a star? Does Kathryn Bigelow get the respect she deserves? Is race the political unconscious of American cinema? Why hasn’t a great film on such a timely subject found an audience? Recorded on 28th August 2017.