The Perfectly On Time Films Of The Year 2021 Special w/ Nish Kumar • Films To Be Buried With with Brett Goldstein #198

niche quote from Doctor Zeuster. I hope he's all right. Every week I invite a special guest diver. I tell them they've died. Then I get them to discuss their life through the films that meant the most of them. But this week is a very special and bang on time Films of twenty twenty one special, The End of Year Special with Nish Kumar Part one. It's too early,

you say, I think we're right on time. There's also a Patreon to this podcast at patreon dot com forward Slashbreck Golstein, where you get extra long episode secrets from the guests and whole ups uncut ad free check it out over at Patreon dot com, forward Slashbreck Goalsteain. Tickets are selling fast for the big live Films to be Buried With Live at the Hackney Empire on July second. Make sure you get your tickets from Plosive dot co

dot uk or Hackney Empire dot co dot UK. So here we are very much the episode you've been waiting for, me and Nis Kumar going over the films of the Year twenty twenty one. We tried to make it a tight hour obviously when over by an hour, which is why this is an hour two part. It's always a delight to talk with Nis. I loved it. I love him. You will two. So that is it for now. I hope you're all well and I very much hope you enjoy episode one hundred and ninety eight of Films to

be Buried With. Hello and welcome to Films to be Buried With the end of the Year special. It is I Brett Goldstein and I am enjoined today by a man who has died, been brought back to life, died, died, died, died again. And we're not just talking about his tour. We're talking to Micma. Please r to the show, the amazing, the wonderful. He's a lovely boy and a very clever man, a very funny comedian and also a brilliant mind and someone I would love to hear their views on any subject,

particularly whilst I'm on the toilet. Please run to the show. He's done. Cut, it's mister Mishkamer. Hello Brett. I enjoy the strict adherence to my Hindu beliefs that I just keep dying and coming back again on the podcast. Just keep dying and coming back again on the podcast. See it and you get better every time. And should I guess we should start by addressing the elephant in the room that it's the seventh of May twenty twenty two as we record, Is this the earliest we've done films

and films of the year. We are doing the films of twenty twenty one, as you well know, I like to. I never want to make a decision at the end of the year having maybe missed a film. So it's taken this long to see all of the films of twenty twenty one. I've now seen them all, have you, Yeah, we've seen them all. I mean I think I feel at some point like the snake is going to beat

yourself and eventually we'll be recording. I think to be safe, we should actually record in December for the whole previous year. That's a good that's a good idea. I mean, I think I think I've seen everything, and I'm going to be very annoyed if i havn't, because it's it's been a real effort to see him. What's it interested doing them a little bit later? Is it shows you the films that last? There were films that I was like, really really love and then you kind of think, I

haven't really thought about that film. S Yes, you know what I mean. I won't name them, but like, that's an interesting thing. That probably means this list might last a bit longer. I look back at some of my lists of films of the year that I've done and I'll go like, oh, yeah, I forgot about that film, you know what I mean? It was number three on the lift. Oh yeah, I really was deeply in love with that film. I couldn't give a shit, you know

what I mean. I also think that because we do them from UK release dates, sometimes you sort of look at a movie and you go, didn't that come out five years ago. Yeah, and especially because like if we do the best of twenty twenty one, I mean, we did start twenty twenty one in an absolute classic lockdown, so it sort of feels so long ago. Oh and listen,

everything is chaos my new motto, Everything is chaos. The rules used to be only from released UK release date January the first to decemberthety first, and it has to have had a cinema release. I mean, now who knows what anything is. I don't know what anything is anymore. So now it's like it appeared somehow in the UK, somewhere, somehow within between January first to decembertety first. I went

to see it in a dream. I went to see it within the year of twenty in the UK if you were on American Soil Dream in dunk count the film you know, my current film of twenty twenty two, mass I saw that last year, right right, right, right right, Yeah, everything is chaos, Everything is absolute chaos. Yeah, I saw liquorice Pizza last year. But also, Brett, that's because you and I increasingly are managing to black our way into early screams of things. That's true. There is that as well,

we're very lucky boys. The more Emmys you win, Brett, the more free films I see, We're very lucky boys. But it doesn't make it does make this episode confusing, doesn't it? There are down bloody stuff. There are administrative issues, certainly to executing it. Now. One thing we should check in with you firstly, how is your tour? Gang? I made a joke about your tour and actually felt sick about it. It It was purely a sort of rhythm jake, and I thought, it's not my cup of tea. That's

sort of joke. Actually, I'm sort of deeply filled with shame. How is your tour? Speaking of things that are deeply filled the show, let's get onto my tour. For the love of God, my tour is the UK tour is coming to an end. I've done as we record fifty one dates, I think, and there are still another ten to go. In fifty one performances of this show, how much has changed over the course of fifty one How now percentage wise? How many different words are you saying

in performance fifty one? Well, this like ten minutes in the show that I kept flexible to accommodate for changing topical events and that, so that's changed sort of constantly. It's actually it's actually probably been the same for the last two weeks. That that's the first time that's happened at the tour. I was just constantly having to rewrite

that bit. And then this kind of seventy seventy five minutes that is just that is pretty much steady and staying the same, you know, plus or minus the odd strange piece of audience behavior or fun piece of audience behavior. And so, yeah, and then I'm going to go and do that show. I'm doing it in America, I'm doing it in Canada, I'm doing in Australia, I'm doing it everywhere. Wow, you're doing it in Canada. I'm going to do Montreal. I don't know if I say that yet because it's

not been announced, but I am doing Montreal also. Who cares. I don't think there's any This is not a Marvel movie release. This is not I'm doing an hour of it in the middle of the next Yeah, I'm doing an hour of it in the middle of the next Door film. That's the next Door film is just going to stop and I will just do my entire tour show in the middle job. I would absolutely love that. That's the sort of thing that would really shake up

the universe, and it's probably near. Yeah, the multiverse of Madness would have been very strange if Doctor Stranger landed in one of the universes and it's just been him in the audience of my tor show, Lucky Doctor Strange. I say, now, the thing we need to check in on your year twenty twenty one is I think I could be wrong, but you've been on the podcast many times in every time you threatened to have therapy and never do have you. Well, I've got such sensational news

for you. I have started therapy. I'm very proud of you. How is it going. It's going very well, Brett. It's been It's been a very useful. It's been a very useful process for me. I had a bit of the old PTSD to some name drop, sorry to drop, sorry to drop a name so early at the podcast Clang, But I've had a bit of the old PTSD and been off with some em clang. Ever hear pras cbt

bong I it says that was doing very well. It was yeah, it was some you know, some residual leftover problems from some some death threats, and some some fallout from you know, some press, some unwanted press attention. But the process has been great. I'm embarrassed, of course that it took me this long to do it, and I should also acknowledge the fact that my my girlfriend and dear partner, Amy in it, was very correct in suggesting that I have it many years ago, and I do

buy do delight in saying, boy, it's great. The Brett finally convinced me to go to therapy. Isn't it great? The Bret and Bread alone came up with the idea for me to take care of my mental health? Yeah? That guy is That guy is as generous and as

knowledgeable as he is handsome. Yeah. Yeah. The reason it's frustrating, well for all of you, but the reason it's very frustrating for Amy is because Amy sort said at the start of the process of me getting written about the papers, and particularly with the sort of political and racial undertones of some of the writing, wouldn't it be useful if you did this preemptively? And that is just that is not the Kumar family crest, which is the Kumar family

motto is why not wait? Until things get absolutely awful, and the family Crest is just four people sat in a house on fire, sipping tea, Yeah, sipping tea and waiting for the flames to start actively singing before they do anything productive about it. But it's you know, it's been a great and fantastic process, and actually it's an interesting thing to examine why I was so resistant to it.

And it's been an interesting thing in terms of how it relates to me doing comedy, Like in a lot of ways actually helped me in terms of, you know, how I work on stage, But most importantly, it has sort of sorted out some of my some of the old personal issues that I was having, And it's an ongoing process. Can I ask how it affects you on stage,

how it's changed your comedy? What do you mean by that sort of just I'm actually able to do so the show that I'm doing is the most personal show I've ever done, and I think I'm only really able to talk about some of the issues around it because I have some perspective on them. I think it's I think there's an idea sometimes when people talk about stand up comedy that it's like I think it's largely because the way that sat up comedy is depicted in popular culture.

If somebody goes, oh my god, I'm just feeling so depressed, and then they go on stage and they say I'm depressed, and the audience goes, best comedy ever, Whereas in real life, if you walked out in front of an audience and said I'm depressed and then offered no punchline, someone would rightly find the Samaritans. Yeah, you know, like it's it's you have to have some you have to be talking about things that you have some sense of perspective on

to tag a joke on the end of it. I think you're giving a lot of credit to audiences in clums I think if someone came on and said I'm depressed and said having someone would just go get off the stage. Yeah yeah, yeah, yeah, yeah yeah yeah yeah. They're just a bottle of men. Yeah, stop bringing us down. And how is your year, Brett Emmy Award winner another like fifty Awards, sag, Sag, you won the Saggiest Boobs Award, Bretts, I got Saggiest Boobs in Entertainment, swizzing on it. It's

huge on it. And but what what a mad listen if I maybe earnest for a moment. Brett, I'm so very proud of you found I found it, I found you. Emmy speech genuinely moving. Well, thank you this. That's very kind of you to say, and I'm very grateful. Oh I've forgotten to tell you something. He's moving on. He can't talk about his success. You've died. You're dead. You're dead again, He's dead. I just killed you. How did

you die? I can't remember how I've died before. I think like heart attack, bread, roll to the face, crossing a road whilst listening to podcast. I can't remember all of That's right, that's that sounds about right. How are you doing this tone by my hands when you're trying to say nice things about me? Yeah, yeah, that's it. That's what I died. Yeah, Brett choked me to death while I was trying to compliment him on his every win. Good death. Actually, so here we are to talk about

the films of the year. So what I've done is sort of I'm not going to ask all the questions. Some of the questions we'll see how we go, but we're kind of going to make it. We're going to do some questions, we'll answer them each and then at the end we'll do our top ten. Yeah, that's the general format in it. And you know what we're going to try and do this time, Bret, which you're going to try and keep it to one part as opposed to last year one which spilled over into atoll like

Godfather trilogy length. So let's make this an acceptable listening experience rather than the marathon. Strap on your colostomy bags, everyone. I mean, it's a podcast. You could just take a ship and pits while you're listening to it. I don't know why you've chosen to do that, but strap amm, here we go. What was the first film you saw in twenty twenty one? This Kuma the first film I saw in twenty twenty one. I was watching in my

house because we were in the lockdown. And it was One Night in Miami film that was adapted by Kemp Powers from his own play, and it's about as an a fictionalized account of a night in a hotel room after Muhammad Ali won the heavyweight title after we beat

Sunny List in the first time. And it's Muhammad Ali, Malcolm X, Sam Cook and Jim Brown and it's this sort of alliance of sport, culture and politics and these four people that had a very very significant imprint on culture and politics, particularly from an African American perspective, and

I enjoyed it. I think that it's I think that it's always these kind of these sort of fictionalized imaginings can sometimes feel a bit empty because you sort of go, well, at the end of the day and how much of this, what's the point if none of this happened, and it's all pure speculation. But I think that the writing managed to take in a lot of the kind of social, political and racial issues but deliver them in a way that I think felt organic to the characters in the

in the film. And I thought the performances were great. I mean, particularly Leslie Odam as Sam Kirk. I thought was just absolutely great. And it is kind of responsible for the sort of standout sequence which is a kind of a memory Malcolm X has of watching him seeing Chain Gang when the electrics in the venue has gone down, and for something that is quite you know, is a theatrical adaptation, I thought there's a really nice like cinematic flourish to have in the middle of the film. That's true.

The film, it's Fixing the Last as in I think this is right. We don't know what they said, but they did, they said they were they were all together. Yeah. Yeah.

There are very very famous photos which which Malcolm X took, and there's some photos that Malcolm X is in in this kind of milkshake bar that that they were in and they had to go to Miami because they the fight had happened in a place that was segregated, and so they kind of gone gone out afterwards, and so we do know that these these people were together that night.

I think it's great and Kingsley benderds fucking great in it, and yeah, I really think he was sort of overlooked in the awards, and it's always it's because he was quiet. It's always quiet performances that get overlooked, and it's like he's being fucking brilliant. He's just not He doesn't have a big shouted speech like that. Yeah yeah, yeah, yeah,

so good in it. Anyway, I like that film. My answer is I believe the first film I saw that year was Promising Young Woman, Ah very nice, the great and brilliant Emerald Fanelle, and I loved this film I think it's fucking brilliant, and I think when I saw it, I was like, what's interesting about that film is it kind of became quite controversial. People turned against There was real mixed lots of people not like it, and I felt like it was entirely that thing that happens where something.

It was almost like an Edinburgh show in that it started as this small film, it's a small fish that was coming from nowhere, and then it became very big film and people were saying it's the greatest film ever. And then I think people then have a million hot takes, and I was sort of annoyed by that because I was like, this is a really good film, and I

kept comparing it too. It's not the same, but in terms of get Out, I kept comparing it to get Out in that it is a film about something incredibly serious. You know, it's basically a me too film, but it's fucking entertaining and it's thrilling and it's funny and it's scary, and it's what it isn't is a heavy, difficult drama, which it very much could be, you know, the million

ways of telling that. But what you don't expect is a kind of poppy, fun, almost right roller coaster ride that still manages to get across the same very difficult messages and very challenge It's incredibly challenging that film. It really stayed with me, and and yet the experience of watching it is kind of a ride. It's fun, like, yeah, yeah, I think it's I think it's fucking brilliant. I really

think she's done an amazing joke. One of the things that I really enjoy is the sort of casting of the various terrible men and the use of mcloving mclovin from I Don't Believe I just hit the g and mcloving. I think that's the most English thing I've ever done in my entire life. Ah, mister mcloving of the of the Scottish clown mcloving. Yeah, but mclovin Schmidt from New Girl, and you know, with all sort of spoiler alerts attached

to it. Obviously Bo Burnham as well, But by taking these kind of comedy soft boys and you know, beloved sitcom character, beloved beloved kind of beta male, a beta male in the context of super Bad, a film where everybody is a beta male, but taking the kind of Beatrice b toa male and I thought that was a really interesting casting flourish because actually, these are are men who are famous for being kind of this sort of soft boy, kind of like nice guys like Schmidt and

New Girl is the sort of softest version of a kind of womanizer that it is possible to have. And there was something powerful in taking the nice guys and having them be the abuses, because I mean, that's so much of what we understand about, you know, the kind of male predators. You know, we work in comedy. We know if there's there's one industry that doesn't need to be reminded that somebody can very much be sending out all the right signals but doing the absolute worst possible things,

it's comedy. What's the scariest film you saw in twenty twenty one this year? So listen, Brett. You know, I've still gone on this journey where I like horror movies and I stopped giving cute answers to this question, and you know, stopped he gone from inside Lewen Davis and trying to sort of, you know, and stop trying to be too clever about it. And I would love to have picked a straight up horror movie this year, but unfortunately, Brett the Father is the most frightening film I've ever

seen in my entire life. And I do think that there is some some of the music cues and some of the way that it was shot felt like it was he was very consciously I felt borrowing from horror as a genre, and I think it is absolutely you can have that. Yeah, it was an It felt like a nightmare, you know, because it's what I thought was

really terrifying about it was the idea. You know, the film is essentially set inside his mind effectively, you know, because at one point the flat is just a different flat, and he's sort of almost not noticed that he's moved from one to the other. And so it's not even fair to say that it's set in the flat, because actually the location is shifting, The other actors are shifting. Olivia Coleman becomes Olivia Williams. You know, it's yeah, that's

absolutely it's it's terrifying. But it's also terrifying from the perspective, which I think is a real skill of it is that you also get a bit of Olivia Coleman's perspective, which given at one point she's played by a completely different actress, is genuinely remarkable, but you get the horror of her perspective of like slowly losing her father, but obviously the horror from Anthony Hopkins's perspective of like his mind sort of slowly slipping away from him, and you

just sort of think, how can this possibly end? It's a part of you that's like, is there some hope that it's just awful? It's really fucking horrible film, and I don't know why anyone would watch it. That's what I thought. Having watched it, I was like, why would anyone choose to watch this? This is horrible? I think you know what I think. If you're like, if you're caring for I know this is something that people I've expressed,

if you're caring for somebody in that situation. Seeing Olivia Colman's frustration and her guilt of that frustration, I think probably makes people in that position feel less alone and feel less guilty, because actually it's a very human and understandable emotion that when you're the primary care giver for that person, there are points where you actively resent them, and that because I was trying to work out as I was watching it because I do think it's a

brilliant All the performances are brilliant. I also think adapting a play is really hard, and turning it into film. It's funny because we've already talked about two films, but this is like floren Zella wrote the play and has adapted it as into the film. And often when plays, really good plays get turned into films, something gets lost because the structure of a play often doesn't lend itself well to cinema, and often there are long speeches that

sometimes people don't necessarily break up. And now I haven't seen the play that this is based on, but I thought, just as a piece, if you can step back from the horror from it for a second, as a piece of adaptation of something that was originally written for the theater, this movie was fucking cinematic, even though it's set in such a limited place. It used the tricks of cinema and the fact that things can shift and change within a scene and we can look back and see the

same footage again. I thought it used the tricks of cinema really brilliantly and just sort of purely on a technical perspective, I thought that it was a really impressive piece of adaptation. But I mean as a film, I mean, it's absolutely horrific. What this is the darkest thing you could ever see. Yeah, it's very well made. And I think having the two Olivia's play the same part, it's a really really smart clasting because they do look slightly similar and they are named the same, and you often

people confuse them. I think not people without dementa confused those two. Anyway, That's brilliant. But still, why on earth would you watch that filmmake that film and and go through it. It's it is very depressing that film. My goodness me what it does? It's yet very good. It's a horror movie. It's a horror horror movie at the most purest level. It is the most sort of deeply horrific thing you can imagine. My mother's review of that

is probably my great my friend. My mother watched it and said, I mean, at the end of the day, why do we bother? And I don't know whether she was talking about the film. I don't know what she was talking about life Brett. I don't know if she was talking about being alife that that is at the end of the day. Why do we bother? That's the takeaway of that film. At the end of the day? Way mother, missus Kober, imagine that on the posters as the flames of going around their house at the end

of the day, Why do we Bother? What was your scariest film? I couldn't think of that. Many scary films are so but I guess the closest to a horror film I saw, which I was surprised that much I really enjoyed, was In the Earth, the Ben Wheatley film that during the pandemic during lockdown. I believe he made it. Have you seen it? No, I haven't seen this movie. It's so talk to me about it. It's good fun.

It's good fun. It's set in in the woods in the Earth, and Joel Fry, who is excellent, is like scientists going into the woods during an unnamed pandemic, and there's just a cool thing that is all the trees are communicating with each other through the soil, which I believe is factual, but that there's sort of like, you know, the Earth is sort of maybe out to get us, I think, is the point of it. And in the end it goes mad and psychedelic and sort of he likes a bit of that. He does like a bit

of it. But I really enjoyed it. It's good and it's got jar Smith in it as a natter. It's kind of funny. It's just very odd and it's it's it's impressive because I think they made it in like it's one of them films you watched and I think they made it in six Days in the Woods or something like how did you do this? Fucking out? And it's quite fun. It's quite fun as well. I liked it. Yeah, yeah, did it have scary elements to it? Or is it more than like, yes, it is scary. Rye Smith is scary.

Is there's Nutter in the woods and like there's a moment where he there's sort of this like horrible, like funny dark like I think Joel Frey injures his toe and r Smith, who lives in the wood, he's like, well we have to chop it off then, and there's this whole long thing of him trying to chop off his tail like still and and you're just like sucking out, oh god. And Joel Frey, what's funny is Joel Fry is quite polite through the whole thing. Just was like, Oh,

I'd rather you didn't. You know, Smiths would be top of my list of British comedic actors who would do a one hour photo style or insomnia style starring as a real because comedy. Even when he's playing comedic characters, he's sort of on the edge of being really scary. Y. What is the film that made you cry the most, miss Kuma. You're big, sufty. Well, I think we're going to talk about this. I'm going to guess that we're going to talk about this film in some detail at

some point over the course of this show. So all I will say is, at points in when I watched Come On, Come On, I thought I was It's probably the only time I've genuinely thought that I would have to leave the cinema really because I was absolutely inconsolable through various points. I think it's an absolute sort of miracle of a film. I really really loved it deeply, and I think it's something that we would probably come

back to at some point in the conversation. But I would just say, in terms of sheer volume of tears, come On, Come On. It just you know it hit home in a way that I thought I actually found. I know that I've read mixed reviews of it. I've read people saying that they found the documentary elements felt sort of tacked on. I thought that that was absolutely brilliant. I loved the incorporation of those real interviews. The premises of the film is that, you know, whacking Phoenix is

also a slightly portly bearded creative. So I mean, amazingly, Brett, I somehow found a way to see myself in that character. I somehow managed to find myself in this somewhat shambolic, unshaven man who works in the media. I don't know how I did that. This is the thing about cinema, Brett. It's the empathy machine, and you can cross all sorts of boundaries if you just try and step out of your comfort zone from one second. It's really impressive. This

therapy's really working. Look look how good your mind is. Yeah, it's like what I said that I enjoyed. This was years ago when I told my friend that I enjoyed funny people, and he was like, of course you did. If you don't enjoy funny people, then no one has enjoyed funny people. But yeah, I thought I thought the black and white photography was stunning. I thought Joaquin Phoenix was incredible. I love him. You know, I really disliked

The Joker. I really deeply dislike it as a film, and I sort of one of the reasons I sort of resent the fact that he wanted an ask her for that because I think I just think he's done versions of that foot Like I think his performance in The Master is the performance that people seem to think he gave him The Joker, Like, I think he's so good in The Master. But and I loved this version of him. I loved the slightly sweeter the side of him.

His sister is kind of dealing with her partner's mental health problems and trying to get him to help himself, so he kind of has his nephew foisted on him. Your girlfriend was going, I really relate to this film with your like, what is going on with the two

of us? This film is for us. But he kind of has this kid sort of foisted on him, and there's an interesting backstory where, you know, something like he's given his sister clearly a close and Gabby Hoffman is great in the movie as well, But him and his sister are clearly close, but you very quickly established that there's been some sort of schism, and you sort of slowly discover over the course of the film what that is and the shape of it. But I just thought

I thought the kid was brilliant. I thought the kid was great, and I just thought that he's like I think there's something like if you're sort of a person who has been around children as an older person, I think it was something very relatable about the slow discovery of how difficult it is to be a parent and the idea that being a fun uncle is like actually quite easy, but actually having to look after them on a day to day basis is incredibly stressful in the

way that it helps rebuild his relationship with his sister. And I just thought that again, like I love, you know, I love title tracks in films, and I love when the film gets its title from the kid has a sort of monologue, And again, the kid was brilliant, And the kid could so easily have been annoying. Yeah, but yeah, the kid was only annoying when the kid was supposed to be annoying. I just thought that it was, like I thought it was so beautifully Darne, and it made

me laughing. But also I found it so profoundly moving that fucking ending. I'd forgotten how fucking lovely that ending is. But also it's like the whole film. I believe you would call it humanist. Is that what we would call him? Yeah, it's like if you it's it's almost kind of two lovely in terms. When I was thinking of it, like i'd almost show it to your mom after watching the Father watch come up in mind, and it's like it's

like an hour and a half. I however long, it is of like lovely believing people his full sensitive relationships, everyone would sort of coming from a place of kindness and love. It's a really lovely, lovely film. Yeah. I just thought it was beautiful, and I just found that

relationship so plausible and sweetly drawn. And I sort of loved all the interviews with the real kids talk about growing up in America, and yeah, I just thought it was, you know, somebody struggling to manage their partner's mental health. I thought that was really beautifully drawn, and like she could have been she could have been sort of left out given The most important dynamic is the dynamic between

Waki Phoeneas's character and the kid Jesse. It could so easily have marginalized her, but actually she's brilliant in the film, and you get a real sense, a three dimensional sense of that dynamic that exists, particularly between the three of them, and you know, the Jesse saying it is hard, it is really horrible, but sometimes you just have to you just have to come on, come on, and like there's

something about that. You're just expressing that as a kid expressing that that felt really sort of organic, and you do. I do find myself thinking sometimes okay, I know, but you just gotta you just gotta come on, come on. I don't even thought that that's beautiful, man. Yeah, what was the film that made you cry? I think it was Pig, the Nicholas Kailm Pig. Have you seen Pig? So I didn't see this movie, but I, having read about it, I do deeply regret not having seen it.

Pig is fucking brilliant, and I think, what's weird about it is I don't I cry loads, but I definitely cried. And it was like surprising because no one, oh certain I wasn't going into a film in which Nicholas Cage is trying to get back his travel pig that's been stolen, and there's lots of scenes of him going where is my Pig? I didn't think that this film would be a profound meditation or grief and incredibly moving. It's so good.

It's so good and it's beautiful and it's odd and it does I think, like I almost don't want to spoil anything, but what I will say is it kind of suggests a load of tropes that happen in films and then takes a very surprising roots with them. And it's deep. It's like it's a kind of metaphorical, allegorical all these things, but it's also just specific to this weird story of a man in this travel pig. It's

fucking beautiful. It's really good. I think it's his best film for many times, for many times, just every so often he just goes, yeah, I actually can do this. Yeah. It's just such a surprising film because even the trailer it seems like it could be, oh, it's Cage doing a mad Nicholas Cage film. Yeah it's not mad. It's beautiful, and he's so understated in it, and Oh, it's great. Highly recommend pick Well beautiful. I also cried in No Way Home. All right, talk to me about that, Brett.

That's very interesting to me because obviously I cried in No Way Home, Brett. Yeah, obviously because I am Spider Man and I love Spider Man. Yeah. But like, you know what, what do I love? Brett? I love Spider Man, and I love Richard Linklayer movies where he fills them over thirty years and every one ages in real time. No Way Home is the closest the MCU is ever

going to get to before sunrising, before sunset. I was really impressed with the writing of No Way Home, as in, I worry about, if I can say such a thing, I worry about eating itself, worry about yeah, you know whatever you want to call it, fan service, the thing of let's bring back everything we've ever loved and put everything together in one big thing of everything, and let's never do anything new and just keep bringing back old

stuff and putting it in new things. It worries me that, however, Yeah, if you are going to do it, I think Spider Way, No Way Home was as good as you can ever do that. It was so well crafted and written and the use of spoiler elect Tommyboy and Andrew Garford. I thought it was genuinely beautiful and felt meaningful, felt like here's a way of answering questions that were left, of fixing things that work quite right, of like, it's really

genuinely a lovely thing. If yeah, if we're all going to eat ourselves and that's it, what a way to go. I think it's a sort of an argument. I think it's sort of an argument potentially to never do it again, almost because I don't know how you could, and like

I don't want to give too much away. We could talk maybe more about this at the end of twenty twenty three when we do a verse of twenty But I've seen I've seen sometimes that have come out outside of the year that we're discussing that maybe don't do it as well, And they may or may not exist in the same cinematic universe of Spider Man Their Way Home. But the reason it works is that it's all goat. It's they make it work in the context of the

plot of the film. And also I just don't think, you know, in terms of like I just don't think they've put a foot wrong with any of the Spider Man films. I think they deliver what those films are supposed to deliver. They're really entertaining, they're very fun, and the chemistry, particularly between the three teenage leads, I think it's just great. It's just great and works really beautifully

in every film. But yeah, I did think Andrew Garfield, Toby Maguire, I did think it was done really, really beautifully. I'm just I'm I think it's a huge compliment. It's not a compliment to the film that I cried through that it would have been a profound failure on their part if I hadn't just wept through the whole of Spider Man their way home, because it's so bound up in my whole child. I insist on dressing a Spider

Man from the neck down for my third birthday. My mum wouldn't let me put the mask on, and the compromise was that I wore entirely. I don't know I was because people wouldn't recognize here. Yeah, yeah, I think she was. I was trying to protect my secret identity. This woman giving it away left right. If you're walking around with the Spider Man mask, everyone's at your birthday? Where's this? He put the mask? But so for me, you know, just just seeing Toby Maguire in the Spidery

suit and like that. But I do think I genuinely thought it worked really well. And I was surprised because Into the Spider Verse was brilliant and they managed to sort of do something else with essentially the same raw materials. But I thought, yeah, it's almost as good as superhero

films get. I think it's funny, it's sweet, it's the leads are all very charismatic, and I thought the you know, they managed to kind of code some character significance into the action sequences, you know, and Andrew Garfield sort of rescuing MJ resolving his characters trauma is a really nice is a nice little moment, and they do they do very nicely. It's very good. What is the film that you love but most people don't? It certainly wasn't critically acclaimed,

But you why don't you? Why don't you tell me what yours was? I've decided the main works. I had a few of them, but the one I'm going to go with was the m Nights and my Land film Old Wow, Old, And I stand by Old. Here's why. Here's here's the truth of what I think is the thing with Old. I think this is pure speculation. I have no idea how it really worked. I think that what was filmed was probably a fairly early draft. I think, oh,

it is filled with really good ideas, really great concepts. Everything, all the elements are there. It just hasn't been knitted into a seamless quilt of a film. But all their patches are there, and they could have been put together a slightly slicker maybe or some I don't know what the word is. But I love the ideas of Old.

I love the ending, I love the concept. I loved the various cool, scary, weird ideas that she gets pregnant and then five minutes later is giving birth and those sort of things that happened and then and then it was actually quite moving in the end, and when he says, I don't even remember what we were fighting about, it's beautiful, like it's got everything in it. It's just not quite put together in the best way it probably could be. But I really like it, and I and I salute you,

m Nasmiln And why bother doing more rewrites? If I may if I may speak in defense of my fellow gentleman of South Asian extraction. Yeah, they're always filled with really interesting ideas. Whether whether they're executed well or not

is a different thing. But if you think about how seriously Unbreakable took the superhero genre and where we are with superhero movies now, you're sort of like, you know, there's lots of really interesting there's lots of really you know, they're all even even signs of which I think is an absolute piece of shit. It is an interesting concept, Like, there are really interesting ideas and concepts kind of at

work in all of these movies. Did let out that would I wouldn't go that far, but it's like, it's really interesting. They're always, especially if you like genre movies. There is always something interesting going on in these movies. And I think he's a good director. I think he's I think he suits them well. Yeah, I'm I'm going to stand by Yeah, what's your answer? What's the film

you loved him? That many people did? I would say, I think this might have been pretty roll reviewed, but I mean I would say it's one of the strongest cups of coffee I've ever taken. In my life as a film, it's a really bitter black cup of coffee. But the card counter the Paul Schrader movie. Okay, I saw it. Yeah. I went to see it with my brother and my dad and we all actually quite liked it. But I've had nothing but I've been met with resistance Outside of that, I thought that it was great. I

thought it was great. I thought it was it's bleak, It's kind of relentlessly bleak, and I think the ending that is supposed to offer you some sense of redemption or home. I thought Oscar Isaac was great in it. I mean there's some elements of it that are like I mean, the lead character's name is William tell you know, like it. There's there's bits of it that feel almost risable in But I thought William Dafoa was great, and I thought it grappled with something that cinema hasn't American

movies have not really properly engaged with. There are very few good War on terror movies, and there is certainly, especially when you compare it to the sort of glut of Vietnam movies and even things like Taxi Driver that's sort of Vietnam adjacent and this I think is strayed a sort of trying to write Taxi Driver for the War on Terror and the wars in Iraq and Afghanistan, because again we're watching it through the prism of a veteran.

But the difference between Oscar Isaac's character and Travis Bickle is that he knows he's profoundly damaged, and so he's actually trying. You know, Travis Bickle is a man walking around with a set of psychological traumas that he's picked up from being at war that he doesn't know about. And Oscar Isaac is a guy who knows that he has those traumas and but isn't able to deal with them, but instead has removed in films himself from society. So

it's another Schrader God's Lonely Man movie. And his relationship with this young kid that he encounters, who we sort of slowly realized his fat as a kind of as farther as a connection to Oscar Isaac's backstory, and then this kind of romance that happens between him and Tiffany Haddish. Also,

I didn't know what Tiffany Haddish. She's a brilliant actor, but I didn't know what how she functioned in a Schrader movie, and I thought what was lovely was actually she kind of brought her own personality to it, and that Schrader sort of found room for that in this kind of movie. But it grappled with, you know, the military industrial complex and the part that it played in

Iraq and Afghanistan. William Dafoe playing this kind of you know, a representation of these faceless subcontractors that were involved in places like Guantanamo Bay. I think Oscar Isaac is extraordinary, and I liked seeing him with the kind of charisma turned like deliberately dialed down. I liked seeing quite an

internal performance. I also just like I found an unlikely point of relatability just in terms of, you know, going into a hotel room and covering up the fun really because like just because like anything you can do to personalize a hotel room, me me, Oscar, for me, I'd take an HDMI cable so I can plug my computer into the screen. That's how you've decided to do it, because you're only really comfortable in prison, and I mean it's quite a different thing. You're sort of dealing with

a lot of drawers from military prison. And I just spent quite a lot of time in travel lodges in the late twenty in the late two thousands, quite different situations. But just you know, anything you can do to make yourself feel more at ome in a hotel room. But I just thought it was a very strong and bleak cup of coffee of a film, very well argued, specially shout out in this category to Army of the Dead and Don't Look Up, both of which I enjoyed and interesting.

I don't care. I was just saying this Don't Cook Up is a yeah and one of the few defenders a Don't Look Up. I think that the people that don't like Don't Look Up want it to be a different film than what it is. That's what I think. Yeah, that's my hot take. It isn't the film that you want it to be, but the film that it is. It's very entertaining. I've got no beef of it. I really enjoyed it. Yeah, I get I know what you mean.

I think, and I know, and I think I would be somebody who I didn't I hate to be the person who's like I actually thought it was okay. I didn't absolutely love that, And I didn't absolutely love it. I'm you know, it feels like I'm deliberately trying to annoy everybody. But I just thought I thought there were bits of it. I'm a fan of the kind of righteous hectoring Adam McKay movies, you know, like I like Vice.

I like to big shot I you know, I share his politics and his inability to not scream them in your face. You know, it would be it would be a bold move for me to start castigating people for yelling their politics of people, given that that's what I do every single fucking night. Oh my god, damn life.

But I just thought I thought the analogy. If somebody was doing stand up about climate change and the analogy that they drew was a meteor, I would sort of say that it doesn't quite track as an analogy, just because like, if that was the case, we would have had fifty years of a kind of pro meteor lobby funding, prometia sentiment in the press, you know. And I think this isn't something that's kind of come out of the sky.

This is something that's brood and brood and brood, and something that's been allowed to ferment you know, BP hired Ogilvin Mother, an advertising company, to popularize it's a semi obscure piece of academia called the carbon footprint. And the reason they did that was they wanted people to focus on their carbon footprint, even though an individual actually can't

do anything. And you know, oil companies and governments, you know, the American, Chinese governments and then oil companies like BP, you know, they should be talking about their carbon footprint like I'm sorry, but like as individuals, we can only move the dial so much. And yes, it is good to be aware of your carbon footprint, but that was a piece of corporate marketing by BP, and that that's where that's what I think I missed from doga Car.

But that doesn't that doesn't preclude me from doing being guilty of exactly what you've just said, which is wanting you to be a different film than it was. But for me, if I was watching somebody do stand up about climate changes, they tried to draw that analogy, I would say, but you know, where is the pro me to your lobby? Because that's basically like, sorry, you know, where's the prome to your lobby? What? Sorry? I said, Sorry, mane, what where's the pro me to your lobby? I don't sorry,

I don't know what you're talking about. I'm just trying to do my set. Boo. Okay, what's the basically what I've said. What I've done is I've said, Oh, Adam kay, I see your capacity to humulously crow by your politics into another eise of irrelevant subject matter, and I will raise you. What a cliffhanger? What's the answer? Oh my god? I guess you'll have to find out next week. So

that was episode one hundred ninety eight. Head over to patreon dot com forward Slashboo Goldstein for the extra chat, seepers and videos with Nis. Don't forget to get your tickets for the live show at the Hackney Empire July second. Tickets at Hackney Empire dot co dot uk or Plasive dot co dot UK. We'll have fun. Oh what I'm We've had so Thank you so much, TONI for giving me this time. Thanks to Scribious, Peep and the Distraction Pieces of Network. Thanks to Buddy Piece for producing it.

Thanks to Acass for hosting it. Thanks to Addam Richardson for the graphics and least Alden for the photography. Come join me next week for part two of the perfectly timed end of year films are twenty Journey one and Special Part two. I hope you're all well, Thank you for listening. That is it for now. In the meantime, have a lovely week and please be excellent to each other