These are fun. Off the cuff discussions on movies and streaming series, both new and old together will attempt to bridge the gap between Hollywood industry insider and the casual viewer. This is Alec and I’m Ben and you're listening to the Cinema A to B podcast. Hey, everybody. Welcome to the first ever live streamed episode of Cinema A to B. So, Ben, we've been doing this just about a year now. This is our 50th episode, so we want to do something special. So obviously we're live streaming this.
So if you're miss a live stream, no worries. It's going to be put up on our on our Facebook page as well as our YouTube channel and further our audio only listeners. You're going to get it too. So don't worry, you're not going to miss this episode. But we want to take something fun. We wanted to make something enjoyable. And I think this movie is pretty high up on our list for both of us. We're going to be talking about 2000s Guy Ritchie film Snatch.
So, Ben, I'm going to start you off with a question before getting into your thoughts. There's a theory out there because there's a lot of a lot of battle between what is better lock, stock and two smoking barrels or snatch. Okay. There's always that argument. Which one is the better film? And there's a theory out there that talks about whichever one you watched first. That's the one generally you think is best. So my first question is, which one did you watch first?
And then also which one do you think is best? I watched Snatch First. Okay. And I think snatch is best. All right. All right. So the theory, the theory holds true. It does cause for one more person. Well, and I'm going to you know, I saw Snatch first as well. That's the one I gravitate towards. Well, as much as I love lock stock snatchers, I think is the better film. But anyways, so with that, got that out of the way. How do you feel about Snatch?
It's like I fell in love with it all over again, watching it recently. It had been a while. It had been a while. This movie holds a really special place in my heart and for good and bad reasons. I think I saw it first in college on DVD. And by the way, I went to a college where I wasn't supposed to have that DVD. It it was it was a very strict Bible college. And there were not supposed to be any R-rated films in your possession. And I'm coming clean now.
I had it in a way, and we all watched it a lot. In fact, so much that I believe I did either one or two short films in undergrad, heavily inspired by Snatch. And the films themselves didn't get us in trouble, but the outtakes did, of course, And that's a whole story. On how the disciplinary committee of that college found those those outtakes on VHS. I believe. And we did. We got in a lot of trouble for that because we used as much profanity as they use in Snatch, which is good.
Yeah. And and the love for this movie went even further than that into graduate school where where I went to film school, there were a group of us that just thought that the editing in this film was next level, and it was always something we were wanting to try to emulate. That quick cutting MTV style. And I really credit Guy Ritchie and his editor for bringing that into mainstream feature filmmaking.
This feels like the first one that really did that, and it starts at the very beginning of the movie after they walk through security and then reveal that they're not rabbis, but in fact that they're robbing this diamond, this jeweler that the edits are still insane. Yeah, the freeze frames warping, warping the image, twisting it, going back in arm speed ramps. You hadn't seen a lot of speed ramps until that movie.
So this thing I kind of put it as a landmark thing sitting there at 2000, even though I think it came in the U.S. in 2001, didn't work. Yeah, that's when I saw it. So I'm there's not much to say. So I recently watched this as well and had been a couple of years and I'm kicking myself for like I'm thinking to myself, why is this not in my top five? I mean, like I it's in my top ten, but I'm like, this movie is fantastic. Like every bit the acting, the dialog.
I mean, Guy Ritchie wrote this thing himself. I think he had a little bit of help maybe, or no, just just himself. And I mean, it's so smart, it's so quick, it's so funny. I mean, it is a heist movie, but there's so much going on in this this film that I just absolutely love. And I don't know why it's not higher. I mean, like, there's so many good films, but honestly, thinking about it and looking at Guy Ritchie, he's probably one of my favorite directors of all time.
I mean, the movies that he's done, I mean, he's had you know, they haven't all been winners. Some have been. And but I mean, the lock stock, obviously, we were just talking about Snatch. I love this, but I mean, you got rock and roll the Sherlock Holmes. You've got the Gentlemen, which came out a couple of years ago, which I really enjoyed.
I mean, a lot of these movies have the same vein of like Snatch or Lock stock, but they're still so enjoyable, they're still so quick, There's still so much that pulls me and makes me watch it. That Guy Ritchie definitely has something of he knows how to grab his audience. He knows how to get them involved in the story and how to let them forget that they're watching a movie and just kind of go along with the story. We kind of talked about.
Like Ocean's 11 was kind of like a ride where you just it started and boom, all sudden you're at the end and you're like, Just pull along. That's how I feel about Guy Ritchie films, and especially with Snatch. Like you said, I mean, it opens with that little, you know, narration by, my gosh, my Turkish or whatever. Yeah. And he's, yeah, By chance, my Turkish at the beginning and some of that. But then it goes into the rabbi stuff and kind of rolls the credits and that's interesting.
And then I felt it's always been very like Reservoir Dogs kind of feeling because, you know, he's, you know, kind of the whole like talking about the virgin birth where they were talking about Madonna's like a virgin, Like, it almost feels like it's somewhat of a nod of like it's absolutely coming. But it's it's so much fun. You talked about the quick cuts. There's so many great shots in this. There's so many good. I don't want to say it like ways that they added. It's not boring at all.
Like just the visuals by themselves are so bring you into this movie and make you want to continue to watch it. Yeah, watching it. Well, the first thing that comes up is the opening credit comes up and I see. Produced by Matthew Vaughn and I bet the first 20 times I've seen this, I didn't think anything of it. Yeah. And now in looking back, that's the guy that directed Layer Cake, X-Men First Class, all the Kingsman films.
So he was his producer on this and I believe he produced Lock Stock as well with them and then went on to forge his own very successful directing career. So there's a lot of talent on hand to make this movie. Where do we kind of start? It is a very smart film and the the dialog is so good that it almost doesn't matter that a couple of the leads don't really have much acting experience outside of showing up in lock stock first.
Yeah, I was amazed at how good a performance like he gets out of out of Vinnie Jones as Bluetooth. Tony and Vinnie hadn't been in that many movies. I mean not at all. And yeah, that whole scene with him sitting in the pub with with Desert Eagle .50 and I was and I was paying more attention to that performance than I probably had in previous viewings. And it was like, this really holds up. So there's some other performances in it that are a little hit and miss.
I, I don't think Statham's performance has aged quite as well in some areas, but he's still really good. Is as Turkish and a good casting decision. This this cast is really deceptively deep with with Farina as Avi and Dennis Farina he gets plenty of Yeah. The late Dennis Freeney he gets plenty of screen time and he's great so it goes well beyond pit. In fact, it almost feels like an afterthought after watching it again.
It was like and I guess didn't want to do it because it was so close to fight Club. But he, he was like, I want to work with Guy Ritchie and just was went ahead and was willing to basically take another kind of fighting bare knuckle boxing movie. But it's such a different role, does it? I don't think that concern was was legitimate. So he had actually approached Guy Ritchie and was like, I want to be in one of your films. And then Guy Ritchie was like, You're going to be the boxer in this.
And that's when he was kind of like, well, you know, don't want to do another fighting to get typecast. But like you said, he wanted to work with Guy Ritchie so much. I think obviously it worked out. Now, originally he was not supposed to be a pike. He was supposed to be a like a British guy. But I guess Brad Pitt couldn't nail down the London accent. So he was just like, do some random like Gypsy, you know, whatever thing and just make it as unintelligible as possible.
Okay. But real quick, my favorite thing about the DVD of this movie is the fact that there is a subtitle track just for Brad Pitt's character. Like everyone else is fine. It's just him like and not even the other other. Like he's just Brad Pitt. Like, I loved it. Like it was because he's so unintelligible. Yeah. And I've watched it. Took me a while to find out how to access that. After I'd had the disc for a couple of years before I realized you could dig in and and find the key subtitling.
Yeah. And it doesn't really add anything. In fact, I think it's funnier to really not be able to tell what he's saying. Yeah. Then then to get a translation. But he's obviously very good with the. I don't want us to turn this discussion into a quote fast because but the reality is this is, this is maybe my like this might be the most quotable movie of all time for me. And I'm shout out to a former coworker Clarissa.
And we would throw back quotes from this weekly weekly you know, she would be like, you can get that. You can add it. It was of course it was in a British accent. You can get it done, can't you been? Of course I can. You know, it was always it was always stuff to do with Tyronne. Yeah. Which is American can move when he has to. It's a two ton truck tiro. Yeah. I mean the dialog is, it's superb. Superb. You could literally just listen to this movie and still be enthralled.
Like, as much as the visuals are amazing as the, you know, but just as like an audio, only you can do it. So there's a lot of times, you know, Laura and I, when we're traveling, we're driving, we'll put on there's like a website that says like, listen to a movie dot com or whatever. This is one of the ones that I always want to throw on is listen to a movie, you know, just words, just the audio, only the music and the dialog.
And I mean, I easily I can obviously I've seen this enough time, I can follow along without it. But it's so interesting just with the dialog with this, I mean, Guy Ritchie nailed to the park. It's still my it's my, my favorite of any of his writing stuff, but he is so quick in a lot of his movies, like it's so deep and he doesn't do a lot of trope ness stuff.
I mean, like it's just he does bring some stuff along from different movies like the, you know, repetitive kind of conversations that like, like you said, the of course I can. Of course I can't like just constantly kind of hitting that until it becomes just way too funny. But it never feels like he overdoes it or he never feels like he's pushing it. It just feels like a natural part of the conversation, but it just is funny. And so but yeah, he does do that. Redundancy in the script.
There's that scene with with Turkish and Tommy near the end of the film, and Tommy's kind of asking him like, Well, what happens if the Piki doesn't go down in the fourth round? And he's like, Well, I suppose we'll get murdered before we leave the ring, and they'll feed us to the pigs, and then the conversation progresses. And then he's like, Well, what if he does something else? And he repeats the exact same verbiage and it's he's you're right, he does that several times in the movie.
Yeah. It's it's excellent screenwriting. It's and it's aged well. The film is aged well. It does have I only have the DVD. It's pretty bleak movie still visually like everything's really cool colors. It's a lot of like blues and greens and it's got like a less unified look than something like Fight Club.
But there's scenes that are very reminiscent of Fight Club because they're the whole bare knuckle boxing ring is lit in a very similar manner with it, with it's almost under lit to an extent at least everything other than the ring and yeah, the saturation is not real high. It's it's not black and white, but it's it's not a strong color grade. Although I think for the 4K remaster, which they did three years ago, put they put some of the saturation back in because it was, it was almost too bleak.
But it's a beautifully shot movie on 35. And it's it's one of those early 2000s gems that that I think has aged well and that that I think more people should see and it didn't make it did very well, though. I mean it was it was a £6,000,006 million was the budget and it roughly made, I think 85 million worldwide. But with that little investment and it turns around, that's what launches his career in Hollywood.
So effectively so so Tarantino's always kind of given a lot of credit for bringing out his music choices of like finding those really unused tracks or unknown tracks and then bringing them kind of in to not so much the zeitgeist, but into like the world of like people are actually like, this is this is a really good track. I don't remember this one. I have to say, like Guy Ritchie is similar in that vein.
Not so much like the unknown tracks, but he just knows what tracks to use, like his music, musical choices and pretty much all his films I've seen is fantastic. It is, especially this one. Just some of the the choices he's made, some of the things that like he picks up, like I have the soundtrack. I love this soundtrack. Like absolutely adore the soundtrack.
I just listen to it just because it's just great hits and then some of the like even some of the just the the score is just done really, really well, too. So it's I mean, I don't know how much he had involvement, but I'm pretty sure Guy Ritchie's close to an auteur, that he has his hand in just about every aspect of his film. Well, and he got to start making music videos.
So there's a lot of connections that way within the industry because, I mean, this is the movie that turned me on to like massive Attack. Yeah, I hadn't listened to Massive Attack prior to seeing Snatch. And so and that's just a tip of the iceberg when it comes to the soundtrack. Yeah, the soundtrack still on Absolute Banger. Yeah. It's, it's, it's as good as there is.
Although when I watched it like sometimes in the movie, it feels like a set of music videos kind of buddying up next to one another. In a good way. In a good way, yeah. Like where he he lets the music just kind of do all the talking. I mean, the scene. The scene where where Pitt's mom gets burned alive and he just lets the music.
He there's a little bit of narration from Statham is Turkish, you know that Britpop thought to be a good idea to you know burner caravan with her sleeping in it and then the music rises and it's a really nice track and you get a good visual with it. And the other director that kind of went crazy doing that was Soderbergh for Ocean's 12. Yeah, but it didn't work as well, where he would just let scenes go forever with nothing but music playing in the background.
There was no dialog, and I feel like Ritchie had a good balance with this and still does still knows when to kind of flexes muscle from the music video standpoint. And his DP, his direct photography, which was Tim Morris, Jones, he has a background in music videos as well. Okay, so, so it helps. I mean, I would never have thought this would that would be such a big help, but it works well. You you're really forced to develop. You're a very, very distinctive visual style that separates you
from everybody else. If you're going to direct music videos. Unfortunately, that isn't really a like a growing segment for directors, like it's the music videos kind of scene. It's day and they still make them, but it's tough to like cut your teeth in music videos now and then try to launch a career in Hollywood and this guy Ritchie and then maybe ten years after him is kind of the window is closing where they would do that. And with varying levels of success.
I mean, was it I think it's is it Mick G. Or something that directed Terminator Salvation And they had a they had a music video background basically were hand-picked because of the success of the music videos with the visual style. So it doesn't always work well. And I remember the trailer for Terminator Salvation, it's probably one of my favorite trailers of all time, is that it's like the biggest head fake. Yeah. Ever. Yeah. Because it's like, what does it is it Soundgarden?
They're playing over top of like, the big thing or like nine inch. I forget. I forget who it was. It was some Bambi, like, you know, it come, it comes in and, you know, and the helicopter flies and he steps on the, on the Terminator set. Anyways, I digress. But okay, go back to the music in this watch There there was something I noticed I hadn't noticed before. I thought it was super funny and it shows.
Guy Ritchie really cares about the details, but so when they're introducing Bluetooth Tony like not, not from the intro but like when he's when Doug the Head and Dennis Reeves character Cousin Avi are talking about, you know, and the twins are like, what about Tony? And they cut to him and it cuts to Tony getting shot in the club or whatever. So they're playing Madonna's lucky star. Yes. In that club.
And then, of course, it comes down where they get Mullet and he's driving along and he turns on the radio and Lucky Star comes in. He's like, this is my favorite song. And I obviously had always recognized like a star in that scene, but I never really picked up in the club scene. I'm like, This is this is this is a song you got shot in. But yeah, it's still your favorite. I will. I love that.
I love that. Those small little moments that it's it's this attention to detail that makes this movie so great. Like there's a moment like when Boris, you know, his name gets spoken by Vinnie and Saul or whatever and so like that. And he goes, goes to shoot Benny shows Frankie four fingers or whatever. What he does first is he puts in ear guards are like, you know, like phone things in his ears and then shoots the guy because he knows it's going to be too loud.
And like, this is it's these small things that are just hilarious. Yeah, but my only gripe and it's with Bullet to Tony and he's got the Desert Eagle and there's no recoil on that gun whatsoever. None. None. He just he's, he's in that hallway in the pub and just gotten Boris and there's one hand one one handed the thing never there's no barrel rise. It's like yeah that's he is the easiest, strongest man in the entire apparently. Yes. But it's a movie, so what do I care?
But I was going to say one of my favorite sequences in the whole movie and it's just so beautifully done is the non kind of the nonlinear nature of when Boris is got the hood over his head and he's walking around in the street. Yeah. And the and the milk, the chocolate milk. Yeah. And then it all comes together. The edit is beautiful with that and the comedic payoff is just.
And then for as you think Boris is dead that he comes around the corner we're, we're Turkish and Tommy ah hits Tommy right in the darkness, walks in the house, gets his AK comes back It's it's a riot it's so build in this movie is flawless and that really is a credit to to the edit and to Di Ritchie and the script just it ramps up and ramps up and ramps up and ramps up. And then the payoff is not what you expect. And everything's resolved in a nice, neat little bow.
And it's it is it's from it's done so well. And I'm going to tell you right now, I think Boris is my favorite character of the entire film just because he has such great lines and he's just really hilarious. But he's a salesman and like you talked about the things that you quote. This is my favorite quote. I say this all the time. Like when he's talking to Tommy, he's like, Hold the gun. He's like, Heavy is good. Heavy is reliable.
You know, if it doesn't work, you can always hit it with, you know, hit it with him and then he's selling it to someone else and he's like the weight, you know, I think to Frankie for fingers, he's like, the weight is a sign of reliability. And I'm like, Yeah, this is his pitch. It seems to work. What they're heavy, they're having. We quote that, too. We quote it, too. It's yeah, it's fab.
It's fabulous. It's fabulous. Yeah. And the other the other one was is the how much how much more longer on them sausages. Tommy and Sturgess. How much longer. 5 minutes. It was 2 minutes 5 minutes ago. Yeah. And the problem is that Ritchie peaked too soon with this. It sits at an 8.2 and I IMDB. It's their number 121 rated movie out of the top 250 and he's made a lot of great, great movies since then.
But like, this is the second feature basically out of the gate, his first with a a big name actor and it's I wouldn't call it a perfect movie, but it's it's close. It's close. And so it's like, where do we go from here? That's really tough when you in some directors didn't seem to bother them. I mean, Spielberg, you know, and Jaws was in their first couple movies and he didn't have a problem, you know, trying to Yeah, Raiders of the Lost Ark, you know.
Well, even Close Encounters after Jaws was superb. So, yeah, I like Guy Ritchie stuff. In fact, I even like it you got maligned. But I liked his take on King Arthur. yeah, I But I think it was because the public had beaten it down so much. And by the time I got around to watching it, I my expectations were pretty low and I was like, my, I rather like this. Well, I'm I'm really sad that the man from Uncle didn't do very well because. that's a goodness. That's a really good movie.
It did so poorly. They were supposed to actually be more of them. And I was I was I was also good. It was so well done. But like, Snatch is my favorite. But I love rock and roller. I think rock and roll is fantastic. Like, there's such a great film. I really like The Gentlemen as well with, you know, Matthew McConaughey in it, even though he's in it and he's not my favorite. But like, it's they're just so well done. It's all these again, it's that attention to detail.
It's that the ability for him to, like you said, kind of talking about like the stitching that comedic is doing these kind of separate scenes that all seem separate but then combine them at the end for a wonderful payoff, whether it's comedic, whether it is for the story beat, whether it's for the emotional beat, but it just works. He constantly is doing that throughout the films.
So, you know, but again, it's it's the small moments like when I go back with Boris when he gets called by his his cousin or whatever, like the cousins calling from Antwerp, he's talking in English, calling in London, and Boris is responding in Russian. I just I feel like that juxtaposition is just hilarious. It's very good. Yeah. Yeah. Although that guy's performance that plays the. What is it? His brother. I think they're brothers or something. Okay, Yeah, there's something.
But his performance isn't very good. Like, I was watching that again. The guy on the phone call, I was like, Yeah, that's. And he's not in the movie very long. So no, but he was smart.
Richy was smart to kind of drop some of the trappings that he's been known for when he made something like the gentleman does, it still felt like a Guy Ritchie film, but it didn't feel like he was leaning on some of this stuff that that he has kind of brought to the forefront that you think of when you see a Guy Ritchie film. So that kind of shows maturation as a director. And I enjoyed that film. I just I want another I want another sequel to Sherlock Holmes.
I, I enjoyed both of those films immensely. I did. And I'm guessing the the Marvel contract with Downey Jr is Iron Man put the kibosh on a third one because from what I remember, the second one did well. Yeah. I mean, it's got My Lords favorite scene in that of when Auntie J is riding that little small pony through the through the woods where everyone's riding horses and he's coming. Yes, She cackles every single time she sees it.
She, she loves that. She loves that scene going back lock stock versus snatch was going to bring it up. One of the things I think that cements it for me is Alan Ford's performance as brick top because obviously lock stock he's the boss leaning for.
Yeah I'm just glad I'm glad you brought him up because to me he is what gives this thing its weight as as the baddie as the big baddie and without him in fact I was thinking when I was watching it, I think at least 50% of why I love this movie so much is the the British nature of it. And I, I don't know how well or bad it did in the UK, but as an American that his take on that whole crime subculture in London is just fabulous.
Yeah. And I don't care if it's realistic or not, it doesn't really matter. But the whole nature of it being this very funny, very British movie is is largely what makes it so attractive. And rewatchable and there there their differences in cadence and language that they use. And I and I like that they poke fun that Ivy can't really make sense sometimes of what they're saying. And I think there's a scene with Bullet to Tony's like, What are you saying it?
He has to basically translate the the British English for him to use to explain what's going on and yeah I mean that guy, that idiot in the back of the car pulling out that frickin katana blade and yeah, it's like, well, like, is he coming with us or. Yeah, it just depends which part of him you want to see. Don't want to come. I love the travel kind of montage that I mean, it's so quick.
It's not even really a montage of, you know, Cousin Abby coming from New York to London, like him flying the Congo. Yeah. I mean, like, I love I mean, because one, he, he would definitely fly Concorde. I mean, it's like less than 3 hours from New York to London of Why? Why wouldn't you do that? And then immediately when like, people die. Nope, I'm out. I'm gone. Like, like he's like, you know, he knows his limits. He's like, No, that's fine.
And I always I still get sad when he accidentally kills Tony. Yeah, well, I've seen this movie dozens of times, and I'm just always like, no, because that's like, my favorite. Yours is Boris. But my favorite character in the whole movies is. Is Tony. Tony. I just yeah, I think Vinnie Jones is just fantastic, you know? Yeah, But yeah, the quick cut in that over that overhead shot with him taking the shot glass and Yeah don't go to England. Anything to declare.
Yeah. It's so quick, it's such a quick film. It is. It sits on my shelf and will have a treasured place there for basically forever. yeah. Easily. Easily. How, how long is it. Actually, what is it. Was it like an hour or 45 minutes or something like that. Yeah. It's it's less than 2 hours is crazy. You're right. It moves at a breakneck speed. There's no, no wasted frames. There's no scenes where I'm like, this is dragging. You definitely doesn't need to be cut.
20 minutes or ten, even 10 minutes. I'm like, there's really there's very little here that I can even think of that I want to cut. And I would tell you, going back to the music, because it just popped into my head and I and I cannot let this part, you know, pocket episode and without me talking about this. But there is almost no better scene for me than when it's the first fight between gorgeous George and Mickey.
And it's like right after he gets kind of pushed down and he does the one punch knocks gorgeous out, and then the song Golden Brown comes out and it's just like, I absolutely adore everything that's happening. And then that song is just kind of playing this not a melancholy song, but the definitely quieter song for something that just happened.
And then it's Turkish narrating over top of it and, and just talks about Tommy being if he's not scared, he should be, you know, because he may if Coach George doesn't wake up, they're going to kill him, too. Yeah. like just the choices he makes, the ways he kind of plays with your emotions is. Is a master when it comes to directing. He's. He's definitely up there, in my opinion. Yeah. There's no other movie that looks like this, you know? And they tried to they tried to do that.
Spin-Off I never watched it, but I think 2017 they tried to do the TV show spin off of it and it didn't it didn't survive past, I think, seven or eight episodes because the world is pretty interesting and you feel like there is something there potentially to to work with. If they were going to do some sort of streaming show on it. But I think that's that's been tried.
And if he's not involved with it heavily, then it's not going to work because the dialog is what carries this whole this whole thing is definitely a dialog and also the pacing. And it's hard to do that when you're doing, you know, eight, ten episodes, 12 episodes of like, you know, this is less than 2 hours and it feels great. But like, this is not one of those movies that I would want to see 12 hours worth.
There'd be a whole lot of filler, you know, there'd be or not so much filler, but you'd have to have a really good story and good dialog because you can only do some of these so much before it becomes too repetitive where it's no longer funny. So, I mean, again, I mean, he seems to break up some of these these movies with other stuff that he does, but still keeps a little bit of it. I know. You know, there's a lot of people who hate Revolver. I don't hate Revolver.
It's not my favorite of of his. But I understand why people don't don't like it. But, I mean, he what is it he did? Which I'm looking at it now so like he did rock and roll up. But then he did a ton of things before he did. The Gentlemen, which I feel are very similar to Snatch. I mean, we're talking 11 years between those two. I mean, he did the Sherlocks in between. He didn't man from uncle. He didn't, you know, King Arthur.
So, I mean, it's not like he's just producing snatch rip offs, like he's got other things and. Right. But I think that's what makes rock and roll and the gentleman work is even though they not snatch rip offs, but they're in that vein because they're so far apart that it's like, I'm ready for a new one. I'm ready to see what else he's got in the tank in this kind of vein of heist slash underground, right and stuff. I did want to jump back on the topic of the editor, John here.
John, here is and it's interesting because snatches like his I'm based on IMDB, his first credited feature. He's done a few shorts and then some an episode of a TV series, but he does snatch and then Matthew Vaughn steals him away because he edits Lark and where he does Star and Stardust and Kick-Ass and Kingsman, the Secret Service. And he's done a couple episodes of Black Mirror, and he did the sequel to Trainspotting as well. And he's got stuff coming in, coming up.
But it's interesting that Ritchie didn't really work with him again, especially this kind of but and bring it back full circle. Layer cake is where we got that fantastic rack exposure, right? I got it right this time. A year later. I get it right. Yeah. And you know, in a lot of ways, obviously the kind of generic double feature would be to watch lock, stock and snatch. But I would, I would recommend a double feature of snatch and layer cake because of the connection with with Vaughn.
And then you've got the same editor and I think that yeah, I think that would make a because you have one you have one film with kind of a happy ending and then you have another one with the not so happy with more of the fatalist ending. So and we will do Layer Cake. We've kind of been teasing that that movie forever like basically since one of the first episodes on the podcast or even that teaser episode we did. Yeah. Where it was mentioned.
But yeah, and we've never come around to doing Layer Cake and we actually, we absolutely need to. But there's, there's a bunch of good movies that we're going to talk about this year. I could just, I can just feel it like, yeah, 2024 cinema going to be is going to have some good stuff going on, you know, and not just new movies coming out. I think it's going to be we're going to revisit some really good ones.
We hit some of the highs this time, but I think there's some gems out there that, yeah, I'm trying to rectify the fact that we've nobody knows this really, but we do break things down into seasons. But we we don't actually there's no good reason for it because we've not really done a 13 episode season with a unified theme and I want to rectify that this year. Okay?
Where we we can come up with some, some capsules of, of 13 episodes of films or streaming shows or something like that that have some sort of unifying theme. But yeah, we've been kind of just haphazardly going about it given it's whatever whatever we want to. And we do really appreciate everybody that's chosen to download episode listen episodes of the podcast. This year. This was kind of just a fun little venture almost a year ago.
It'll be a year at the end of January, and we just really appreciate it.
I mean, it's it's kind of wild and listeners all over the world and shout out to folks listening in like the UK, we've got some listeners in the UK and I know for a fact in Spain and Peru and appreciate that and I mean just yeah Sweden mean it's it's cool Yeah I mean some of them are these are friends and family and then I'm going to tell you there's locations that people are listening this at that I don't know a single person there.
So for those thank you so much for for joining us and thank you so much for find us and listening to us. We really didn't think that we would be kind of this not big because we're obviously so very tiny. But I didn't even think we'd have this many listeners just listening to you and I ramble on about movies. It's because people don't have anything better to do just it's it was a slow it was a slow news day. It was 2033 was slow. There wasn't a whole lot going on. Not your content drought.
I mean, writers and actors strike, obviously, you know so you had to find your your content somewhere else. But yeah yeah absolutely. But with that just want to say a huge thank you to all of our listeners whether you are doing the audio only you're on YouTube or if you're just watching the shorts, just we really appreciate all of you very much for kind of tuning in, listening to us and kind of keeping us been pushed on. I mean, we're both enjoying this. I know I'm still having a blast.
We did this just for us. And if it brings any kind of enjoyment to you all, we really we really appreciate that and we're really hopeful for that. So then final thoughts. Anything you want to add before we end this episode? If somebody hasn't watched Snatch in a while, I think you need to go ahead and do it and shout out to Thomas for for his listenership. And he he he told me this was in his top ten. And I think that's an excellent choice in the top ten. Yeah, it's not in mine.
I don't there's just only ten slots. I just it's hard to reach. I might have to reconsider this, but it's just outside. It's probably top 20 if I had to pick my favorites. So many good stories. It's hard. It's hard to. I got to do that a little like click the movies again to really, really kind of get a feeling of what's in my top ten.
Now, before we go, though, I do want to say one of my favorite scenes that just captures everything is when Toni enters the hallway, when everybody's going down onto the ground and he shot, he's already shot through the wall and there's a music track that picks up there. I think it's like a I don't know what the instrument is. I think it's a woodwind of some sort. And he he releases his clip, it falls to the ground and it's a it's a dolly out away from him. And it's just so damn cool. Yeah.
And that was kind of what drew me to this movie is I just think this thing is still oozes. Cool. Yeah. It's so especially. Yeah, especially Tony. And then yeah then we launched into the the recoilless Desert Eagle .500 no I idea we appreciate everybody listening to the pod. Next week we will release an episode.
Well okay so we'll push this episode to the podcast Monday following one day just to tease, it will be Mad Max Fury Road, which we've already recorded, and I look forward to pushing that one out. That's a fantastic piece of filmmaking as well. Excellent. So we're spoiled, man. There's so many good movies. There's so much good. Thank you. Didn't matter when they went on strike.
There was no there's so much stuff to discuss and watch and it's to either a revisit or just stuff that's already out that I haven't gotten to because there's so much new stuff coming out all the time. It's so I like my little like my list of this is the stuff I want to watch. Like I didn't hit half of it for 2023 because there was just so much that was what was coming out. Yeah, that was hard to go back and, you know that's some of the stuff that was leftover from 2022 that I never got to.
And so it's, it's difficult, but man, I'm excited for this year. It's going to some good stuff but wow. All right. Well, that's Snatch Well, just again, huge. Thank you to everybody. Thanks for joining in. And we'll see you next time.