Eavesdropping at the Movies

The stage musical adaptation of Roald Dahl's 1988 novel, Matilda, about a young girl with hyperintelligence, telekinetic powers, uncaring parents and a terrifying headmistress, premiered in 2010 and has gone on to achieve enormous popularity, as well as seven Olivier Awards and five Tonys. This cinematic adaptation features the same music and the same director as the stage version, but does it hav...

An icon across continental Europe though barely known in the UK, the life of Sisi, or Sissi - Empress Elisabeth of Austria to you - has been dramatised often, including in a famous trilogy of films depicting her youth that made Romy Schneider a star. In Corsage, the role is played by Vicky Krieps, and the perspective we're given is of a woman whose societal purpose it is to bear children and look...

A mere thirteen years after the release of the highest-grossing film of all time, its sequel, Avatar: The Way of Water, arrives to a cinematic landscape that has changed significantly. James Cameron's epic sci-fi franchise Avatar began life in 2009, when Marvel had released only two of its (at present) 30 films which would make universes, crossovers, and interconnected stories de rigueur for block...

There's an unwelcome element of particularly American and ill-fitting barbarism in Glass Onion: A Knives Out Mystery, a film that we hoped would be cleverer and more charming than it is. It's also more of a straightforward thriller than a whodunnit, with one particular alteration to the murder mystery formula meaning that so much is kept from the audience that it stops being fun to play along. The...

José gave an introduction to the MAC's screening of The Old Dark House, a 1932 comedy horror directed by James Whale, focusing on queerness. James Whale was openly gay - although what it meant to be openly gay in the 1930s is up for discussion - and knowledge of his sexuality has led to interpretations of his work in that light, including Frankenstein (1931) and The Invisible Man (1933). The Old D...

The Menu is a smörgåsbord both of scenes, its plot dropping ideas as soon as it picks them up in its rush to entertain, and of styles and genres, with black comedy, satire and horror combining. But while it's witty and engaging, it's also inconsistent, unfulfilling, and, although the flights of fancy with which it imbues some of its action are good fun, fairly trite. As is way The Menu thinks of t...

The sequel to the best Marvel film by far has to deal with tragic circumstances - the star of the first, Chadwick Boseman, died at the age of 43 in 2020. His role was not recast; instead, Black Panther: Wakanda Forever shows us the funeral of his character, T'Challa, and his sister, Shuri's, difficulty in dealing with his death. Letitia Wright, playing Shuri, has primarily been a source of comic r...

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...

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 someth...

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 d...

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. Recorded on 16th October 2022.

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. Recorded on 9th October 2022.

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 mechan...

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 bes...

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, w...

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 feelin...

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 exc...

We're into the land of diminishing returns with Marvel, it seems, with the novelty of a shared cinematic universe having worn off and the big storyline everything was building to for ten years now over. Of course, another big event is sure to be on its way in another decade, but will we care by then? Not if Thor: Love and Thunder is anything to go by. Between the thinning appeal of Taika Waititi's...

A one-off experience visits Birmingham's Electric Cinema: The Afterlight, an 82-minute collage assembled from footage in which every person in frame is now dead. Director Charlie Shackleton accompanies the film on its tour, not only to give post-screening Q&A sessions, but also because he is in possession of the only copy of the film in existence - a single 35mm print that gradually degrades with...

Alex Garland's Men is as blunt as its title, with nothing of the profundity it would like to think it possesses. It's slow and boring, too. Very pretty though. Well done to the cinematographer. Recorded on 6th June 2022.

Top Gun is back after a mere 36 years away. We talk Tom Cruise's unusual longevity as a star, the ways in which this sequel uses and develops its predecessor's plots and characters, the direction and editing of the action, and how Maverick has become Obi-Wan Kenobi. Recorded on 5th June 2022.

Problematic and protested against upon its release in 1980, and remaining so today, Dressed to Kill is nonetheless stylish and engrossing, showing off some truly great filmmaking. We talk Psycho and cinema's transgender villains, why Nancy Allen should have been a star, Brian De Palma's greatest deaths, and the version of Michael Caine that José doesn't like. Recorded on 2nd June 2022.

The Italian Job is a classic British caper familiar to everyone who's grown up in the UK, so often has it been shown on telly and so embedded in British culture is the iconography of the red, white and blue Minis, the chase through Turin, only being supposed to blow the bloody doors off, and of course, the cliffhanger. Even those who, like Mike, have never watched it from beginning to end, know an...

Returning guest Celia joins us from Canada to discuss the 1970s Tyneside noir of Get Carter, a moody story of a man's investigation into his brother's death that's today considered a classic of British cinema. We discuss its setting in Newcastle, Michael Caine's stardom, the influence of its director, Mike Hodges, along with two other British directors, on Hollywood aethetics, its use of women, an...

Flatpack Festival and Birmingham Museum & Art Gallery are running a marvellous exhibition until 30th October 2022: Wonderland tells stories of filmgoing and cinema culture in Birmingham. It begins with the earliest days of cinematic experimentation, including a visit from Eadweard Muybridge to demonstrate his moving images, through the glory days of the picture palaces in the 1930s and 40s, the in...