Ship Happens (ft. guests, Callum Turner & George Mackay)

22:20Let

22:21Chris Hewitt:Helen's eating something I'm having a piece of chocolate This never happened when Helen was here. Since Laura Dern took over the role of Helen, her unprofessionalism has been off the fucking charts. What are you eating? Piece of chocolate. Did you bring enough for everybody? Technically. Did you offer it to Chris? I would say, did you offer it to me? But you actually did before the show started. What? I can't really say that. This is unbelievable. He asked for it. He asked for it. Yeah. All right. I didn't have to ask. We're going to sort this out. We're going to have a little bit of infighting right now.

22:47Chris Hewitt:We're just going to have some home truths are going to be said. We're going to have to take a little break. And then we're going to come back. and everything's going to be sorted. So here we are. We're going to take a little break and then we'll come back and we'll talk about movie news. Enjoy. Okay, we are back and we're all friends again, aren't we, Helen? Yes, mostly because I've been eating chocolate, so I'm fine. Yeah, and you've given me how much chocolate? No chocolate. Excellent. But then again, I brought you guys no gifts back from the ship. I did notice that. No, you didn't bring us any gifts at all.

23:16Chris Hewitt:Yeah. I ate them. Explain yourself. I ate them all. Also, I hate you guys. I mean wow yeah so okay fresh start bye Gont alright so should we talk about movie news can I just say I'm going to pull back the curtain here so we recorded the podcast last Wednesday you sent it to me when I was in Manchester and Yorkshire and I was editing it and then literally as you sent it to me some news broke because you were struggling for news in last week's podcast and some news broke big news surrounding Joseph Kaczynski's Miami Vice reboot and the trailer for Clayface which is the next film in James Gunn's DC universe after Supergirl of course and I was like guys should we maybe try and jump on to talk about this stuff to you know add a little bit of ballast to the movie news section and we couldn't do it because of Shedging Reasons and also I didn't have time to incorporate that into the edit I am so fucking glad we didn't because nothing has happened since.

24:22Chris Hewitt:There has been, like, no news. Like, zero news. I mean, some stuff has happened. In the real world, some stuff has happened. But in the world of movie news, very little has happened. So, thankfully, we can talk about the Miami Vice 85 news because this is confirmation. Joseph Kaczynski, director of Top Gun Maverick and F1. His next movie is going to be a remake, a big screen version of Miami Vice but but this one in case you can't tell is going to be set in the 1980s just as the Michael Mann TV show was in the 1980s starring of course Don Johnson and Philip Michael Thomas as Crockett and Tubbs this is going to star Austin Butler and fresh off the Oscar Michael B.

25:17Chris Hewitt:Jordan Ooh. Yeah. Exciting. I quite like that they're forefronting the fact that unlike the Buckethead film version of this, they are going to embrace the era. Yes. So, espadrilles, you know, shoulder pads. Phil Collins. Yeah, Phil. All of that. Jan Hammer. It's going to be amazing. Yeah. The style will be extreme, yeah. And at least, you know, we have the advantage that Austin Butler looks okay as a blonde, which was not the case, in my opinion. He doesn't have to be blonde. He doesn't have to be, but they shouldn't have made Colin Farrell blonde then, should they? I hold a grudge. I know this is your opinion.

25:52Chris Hewitt:You have said before on the podcast that Colin Farrell is one of nature's natural brunettes. And that he doesn't look good blonde. I think he does. No, no, no. He obviously still looks good blonde. Don't be ridiculous. Not good, Helen. Great. But he looks less good. Can I say... He looks unnatural. I think the problem in Michael Mann's 2006 version of Miami Fire is, in case you don't No, Michael Mann was not the creator of Miami Vice, but he was certainly instrumental in establishing the look and tone of that show and giving it its cool, and he directed the pilot and blah, blah, blah, blah, blah.

26:26Chris Hewitt:Yeah. And, you know, he directed, obviously, in 2006, a big screen version, which is much maligned, but I really, really like, starring Colin Farrell, Jamie Foxx as Crockett and Tubbs. So, so many people like it. I went back and re-watched it last year because I was like, what am I missing? Everyone else loves this movie. there must be something wrong with me. No, it's bad. It's not bad. It is bad. You're bad. It doesn't have an involving plot. It doesn't... It's not... It's not about a plot, Helen. It's about vibes. It's like the vibes are confused, even. I just... No, no. You just can't get past the fact that...

27:03Chris Hewitt:I tried. I really did. I put it to you. It's not Colin Farrell as a blonde. It's the fact that his haircut is awful and giving him that stupid porn star tash as well. That also doesn't help. Which doesn't help also. But even then, even then, no, it's not a good film. I didn't like it. Okay. James, do you have an opinion on either Miami Vice TV show or Miami Vice the 2006 film? I very much enjoyed Miami Vice the TV show and it had a banging soundtrack. I don't know quite what Austin Butler's going to look like in a white suit, a fluorescent pink t-shirt and loafers, but you know, I'm excited to see that.

27:35He's going to look pretty cool. He's going to look like Austin Butler. Yeah, I mean, he's going to look like Austin Butler. Exactly that. The actual film, so I have not revisited Michael Mann's film since I went to the press screening of it. And the thing that I remember most about that, as I believe I've mentioned many times in this podcast, is that the sound mix was so terrible, I found at least half the dialogue almost incomprehensible. So I don't know whether that is still the case when you listen to it at home, but the screening was a horror show. I actually turned on subtitles, and usually I think that's a sign of, you know...

28:06Chris Hewitt:Weakness. Yes. Encroaching age. All of these things. Look, hey, many good people use subtitles as standard. I like it. I don't wish to judge. Text me out of the film. I've adopted that process. No. Yeah. No. You were born in the dark. I merely adopted it. You merely adopted the dark. I was born in it. That's right. I always get that wrong. It's the same thing. It took me years to get the curiosity thing, you know, from Chank When Chained. I do. You had my attention, now you have my curiosity. Now it's the other way around.

28:43Chris Hewitt:But it's the same thing with that. I can never get that right. You were born in the dark and I'm really adopted. That makes no sense. That makes no sense. Anyway. Oh, scenes in a boat. The ferry in Dark Knight. Oh, okay. Yeah, is that the best scene on a boat? No, but I'm just saying. We're just saying. We're just saying. Yeah. So that's a scene on a boat. But yeah, I'm really excited about this. The Michael B. Jordan of it all is also very, very interesting because obviously he has a shiny gold guy. And this is one of his first moves post winning the Oscar for Sinners. He's unlikely to be holding it during the film though.

29:20I don't know. I don't know. It's the kind of film where... It's a huge flex. Yeah. Can you imagine that if he's just holding it and they never reference it, but in every scene, it's just in his hand. He's also a very cool guy. It just feels like it's going to be an insanely stacked film, I think. Yeah. The attitude, you know? Massively over the top and massively 80s with, you know, I just think it'd be incredible. Bags of cocaine being thrown left and right. It's going to be extraordinary. So you think they should like really lean into just 80s, what, attitudes as well? But this is the thing. So I actually quite like the idea of something that's set in the 80s but isn't poking fun at the 80s.

30:04that's just reveling in the excess of the 80s without deliberately sending it up in a kind of satirical way. So multiple scenes in a strip club then. Yeah, and there'll be ridiculous sports cars, mad boats. Great boat scenes. All of that stuff, but without the tongue-in-cheekness, just a kind of very sort of, maybe a slight knowing smile. Okay.

30:23Chris Hewitt:Miami Vice has a good boat scene where Colin Farrell takes Gong Li to Cuba on a romantic date. That's true, that's true, that's true. It opens with boats. It opens with a shot that bobs up from, I've only seen this movie twice, I seem to know it intimately, but it bobs up from under the water to reveal muscular racing boats flying across the water. But I'm intrigued by the Michael B. Jordan casting because it's Crockett and Tubbs, right? They're very much presented as a duo in the TV show and in the film. And in the film, they're given pretty much equal weight, Colin Farrell and Jamie Foxx. But certainly in terms of the TV show, Don Johnson became the big breakout star of that show.

31:01Chris Hewitt:and I haven't gone back and re-watched Miami Fires the show but I imagine that Crockett became the main star of that show and here you'd imagine that you know the guy who's just won an Oscar is going to make sure that he is not playing second fiddle to the guy who doesn't have an Oscar so I think that could be a really really good thing that it could actually be a Crockett and Tubbs equal partnership Tubbs and Crockett Tubbs and Crockett fuck it yes actually I mean do we know for sure that which one is Crockett and which one is Tubbs I mean the names. I'm doing the Laura Dern, Helena Bonham Carter thing here, but yeah, I'm pretty sure that's that.

31:38Just saying.

31:38Chris Hewitt:Yeah. And Joseph Kaczynski is a director who, very, very stylish, quite stylish, and I think this could, I think I'm really excited about this. I think this could be a belter. I'm going to say it. Yeah, all right. I'm putting my reputation on the line here. This could be a belter. Also, something we didn't talk about last week, and I'm glad we didn't, because we can talk about it now, is the teaser trailer for Clayface. So have at it. What happens in this teaser trailer for Clayface? Very much kind of a teaser teaser trailer, but we get to see the Clayface-iness of Clayface. So it's a kind of, yeah, what if he could take his face off, I guess, is essentially the idea here, right?

32:26This is the superhero movie as a horror movie. Yes. This is full-on body horror. An actor who he was originally, this is Matt Hagen, who's played by Tom Rhys Harries. Yes. Has a horrifying sort of disfiguring accident. And before you can say Dr.

32:44Chris Hewitt:Peyton Westlake. Essentially, yes. Turns to Naomi Aki, apparently playing a scientist who can transform his body and give him this clay-like substance to cover his face. Sort of Aardman style, not really. That'd be amazing if he had this massive overbite. Whenever he goes out, he turns into Wallace. Jeez. No, it's more horrifying than that would be. That would be pretty horrifying, I think, to be honest. Yeah, so it looks pretty scary. It genuinely looks quite scary. So this was a film that wasn't in James Gunn's plans until Mike Flanagan, who obviously knows his way around a horror film, pitched it to him and James Gunn went, oh, that sounds great.

33:29Chris Hewitt:And so Mike Flanagan has written the screenplay. Hossin Amini is also credited with the screenplay. Maybe he came on after Mike Flanagan because Mike Flanagan is a busy dude. Too busy directing the new Exorcist movie to direct this. So James Watkins, fresh off, speak, no evil, great British horror director. He is handling this and the trailer, the teaser looks really, really freaky. So it's basically the guy who is clay-faced lying in a hospital bed bandages around his face and the camera pushes in on him and then we cut to various horrors happening. So this looks like a really freaky, potentially gory body horror probably fucked up properly fucked up, like me saying properly.

34:14Chris Hewitt:And this looks, yeah, I'm very very excited about this and I'm excited by the fact that it wasn't in James Gunn's plans and now it is and so therefore there's a compelling reason to do so. Yeah, I like that it leans into the horror in a way, because we've had, you know, we've had lip service to horror. I mean, I guess Multiverse of Madness plays lip service to horror. And New Mutants was, I guess, technically a horror film as well. It was horrifying for so many reasons. But I think this one, like, I was properly chilled by the trailer. And I like the idea of a proper horror in this world. And yes, I could, of course, make an oh-so-funny joke about how I thought Superman was also a horror movie.

34:50but while I'm not really as you know in the tank for Guns Vision for DC I've noticed this one interests me yeah I think it is interesting I think like we said just the fact that the script was good enough is exciting because no one's clamoring for Clayface otherwise I don't think

35:06Chris Hewitt:I hope that's a tagline no one's clamoring for Clayface but like this is the way that movies should be made it's like somebody sees a good story and something that will be striking on screen and therefore makes it not just because Q4 is light on tent poles. Do you know what I mean? We need to exploit our IP, ASAP. Like, you know. That guy didn't get a dividend this year. Exactly. And so I'm excited for that. I think that's a really good reason to be making a film. James Gunn is also making Superman 2 at the moment. Superman. Man of Tomorrow, right? Yes, Man of Tomorrow. So that's exciting as well.

35:44That's not gone into production. There are more and more rumors of casting and things for that, which is cool.

35:48Chris Hewitt:I liked your theory the other week that Adria Arjona is not playing the character that she's been announced as but she might be playing Wonder Woman. I don't think it's going to pan out that way. I think he's pretty much he plays a straight bat to James Gunn for the most part. I don't think he does lots of bells and whistles and you find a lady. I just asked the question. This is not I don't do them on guarantees or a few better believe it. But it just seemed like a possibility at least. I think that we know that they're talking about Wonder Woman you know Anna Nogueira who wrote the screenplay for Supergirl has also that's one of the other things on her to-do list along with Teen Titans I believe so you know it's in their minds it's on their minds it's something they're thinking about they'd be foolish not to she's right there and she looks like Wonder Woman I would cast her but hey hey hey one thing I liked about the Clayface trailer was that it uses the flaming lips do you realize which was also used by James Gunn in Guardians 3 hey I did not realize crossing the streams exciting do you realize James that you have the most beautiful face yes and do you realize that everyone you love someday will die yes good I will put that on my list of films to watch also on the list should be Jackass.

37:18Chris Hewitt:Oh, I haven't seen this trailer. It's just another Jackass trailer, but it's just very sweet. They all love each other and then they try their best to kill each other or at least destroy one another's reproductive organs. So good. So good. Okay, just imagine, if you will, that I am the kind of person who cannot sanction this kind of buffoon. Imagine, also, if you will, that I've in my life never voluntarily or indeed involuntarily watched a Jackass. Yeah. Spike is going ads right now. What is the appeal of this? Because it seems like puerile shit. Yes, absolutely. Yes, you've put it on the head.

37:51It's such a pure form of puerile shit. It's so... Putting the pure in puerile. Like, I didn't love it back in the day. I didn't watch the TV show regularly. I was, you know, I was horrified for them that they were doing this to each other. But there's something about them still being here 20 years later and still doing it to each other that I find genuinely moving. And like, Jackass Forever is honestly one of the best cinema experiences I've had in the last 10 years. I don't know what to do with that comment. It is, because yes, yes, horrible things are happening, mostly to reproductive organs, okay?

38:28Yes, that's true. That's locked in.

38:30Chris Hewitt:I don't know how Johnny Knoxville has children. Yes, people are being fired from cannons and gored by bulls. That's not great. But they just love each other and they cheer one another on. And it's a weirdly non-toxic display of masculinity. It is non-toxic male emotions being expressed through the medium of admittedly kind of self-violence. But there's just something beautiful about it. And I'm not condoning it. And you and your friends at home should not act this way to one another. but I do think there is a purity and a beauty to this push to the extremes that they cheer one another on for and laugh with one another about.

39:14Chris Hewitt:And they inflict it on themselves and not others. I love that Helen, by the way, has intellectualized this. It's funny because they get hit in the balls repeatedly, which is funny. But also the invention by now, the movies, there's a larger scale to a lot of the stunts and a lot of the stuff that they're doing, which is absolutely incredible. But sometimes it's the things that are the lowest fi, if that's a word. I was reminded, I saw a clip the other day, I'm not sure from which jackass it was, but they punch up their class warriors as well. So they don't inflict pain on others, but they do inflict mental anguish on others.

39:55Chris Hewitt:So they go to a golf course and a really, really high class, well-to-do golf course. and as golfers are taking their backswings, they blow off an air horn and make the miss and it ends with one of the golfers being so irate that he starts hitting golf balls directly at the trees which Johnny Knoxville and his gang are ensconced and it is one of the funniest things. Johnny Knoxville's ad-libbed responses to this guy are absolutely phenomenal and it's just ultimately a very, very funny, very, very sweet series of movies in which people get hit in the balls. Yeah. I mean, they did a whole sort of stop motion, or not stop motion, but kind of almost animated man in suit sort of attack, sort of mini disaster movie at the beginning of the last movie that was actually somebody's penis attacking a sort of a city.

40:51And it's freaking hilarious. At no point are you selling this to me.

40:54Chris Hewitt:It's so inventive. It was Johnny Knoxville and the Jackass gang. escaping from a Godzilla attack, from a kaiju attack. But the kaiju was... I can't remember whose penis it was. I can't remember whose penis it was, but a penis that had been made up to look like Godzilla. And it was attacking them and hitting them with various fluids. And it's... It just sounds so infantile. I can't even with this. Genuinely, I think you might love it. I think... No, I don't think he would. But I would just go, Hi, I'm Chris Hewitt. Welcome to Jackass. And then just show James all the Jackass movies as the stunt.

41:39Chris Hewitt:And you would just be sitting there stony-faced for five and a half hours or however long it takes to watch this. So this is the new one, right? This is the new one. Last and best. Best and last. Yeah, whatever. I don't know what it's called, but it's coming out. It's great. It's coming out. And yet, there's more punching. I don't know what to tell you. that's mostly what there is like how can they top themselves as well based on what they've done hopefully not yes don't do that yeah but it should be it should be a lot of fun exciting stuff uh Brian Helgeland is going to write this screenplay have you seen this story yes for a crossover movie that will pit sorrow as in sorrow from the mask of sorrow against and then obviously team up with Django from Django Unchained this was this was talked about a while back they had my curiosity now they have my attention so there was a comic from 2014 where they meet and team up and it sort of just about works timeline wise sort of only you would care about such a thing of course I care about such a how dare you sir no one else does this is what I'm saying but anyway yeah so so this that's literally sort of what happens in the comics.

42:57Like, they meet, they fight, and then they team up and take down bad guys. But if you think about it, it makes sense because, like, Zorro's whole thing is taking down, you know, evil Spanish landowners in California. And Django's whole thing is taking down evil slave owners in the South. So, they're against the upper classes whatever way you look at it.

43:15Chris Hewitt:Like the guys from Jackass. And it makes sense that they would team up to, you know, take down, like, you know, exploitative people. Helen, judging from James' face, this has captured neither his curiosity nor his attention. And just to be clear, they do not repeatedly hit each other in the balls. That can be arranged. We can't rule it out. Sure. We can get in touch with Brian Helgelind and ask him to include a couple of scenes. They could be attacked by a giant dick monster. Is there a big overlap between the Django and Zorro audiences, are we saying? I mean, I've seen both films. So has you.

43:48It's me. I'm the problem.

43:50Chris Hewitt:Is this something that Tarantino's becoming a bit more relaxed about this stuff? Does he own the rights to this character? He's apparently signed off or it has his blessing. Yeah. As he's still like faffing around trying to decide what movie he's going to make as his last movie. I'm not sure we say faffing around. I'm saying faffing around. Wow. Yeah, I wouldn't say it to his face. No. But I'll say it on a podcast. And then if it gets played to him, I would deny it. Well, that'll work. Yes. You'll be like, that's AI. I would never say that. I would never say faffing, Quentin Tarantino. No? Obviously, you'll be glad to know I've covered this in a Quentin Tarantino dictionary.

44:28Chris Hewitt:Oh my God, of course. Available now at All Good Book Shops? All Good Book Shops. Mostly I was desperate for Zed's. Zed's dead, baby. Oh, well, that's in there as well. That's like me when I hit the pillow at night. I'm desperate for Zed's. We started by talking about Michael B. Jordan. We're going to finish by talking about Michael B. Jordan. What a day. Because he has apparently been shopping around town an adaptation of the hit video game Battlefield, which I never played. I played Call of Duty, but I never played Battlefield. Jimbo, you can tell us about this in a few seconds. And he is apparently teaming up in this with Christopher McQuarrie.

45:08Chris Hewitt:Mmm. A horse just ran in here for a second. Look, I'm in here for the people. I have no idea what the game is, and I probably won't care, but tell me more. Jimbo. Yes. Tell us, Jesus Christ, tell us about Battlefield. It's much like Call of Duty, but it's a larger scale with more players and more vehicles. You drive around in tanks, you can fly planes, helicopters, do all the shit. It's still just blowing people up. Henry Cavill is a big fan. He likes to fly the helicopters. Okay, and is there movie potential in this? I mean, the single player, in my personal opinion, and let's be honest, most people's, the single player component of those games is definitely not the strong point.

45:45It's the multiplayer that they live and die by. The single player stories are quite disposable. So, but could you, I mean, in that it is a game about soldiers shooting each other, it's relatively easy to adapt for the screen.

45:58Chris Hewitt:So in other words, Chris McQuarrie could just have a World War II tale that he wants to tell, and then just... Well, it wouldn't be a World War II tale. No, don't be silly, Chris. Oh, would it not be World War II? I thought it was World War II. No. It's not World War II? It is not. What is it then? I mean, generally speaking, it's contemporary warfare. Like, they've moved around the timeline a little bit, but contemporary warfare is what it's most famous for. I thought War Stop would be World War II. if only that were true yeah yeah so it's more likely to be like a modern warfare type thing alright so Chris McQuarrie has a World War 2 story that he wants to update for the modern day and just plunk the battlefield name on it but you could like in the same way of Call of Duty they've done different eras like Taylor Swift yes much like Taylor Swift so I think they've done World War 2 they've definitely done World War 1 at one point but I think they're definitely best known for their contemporary alright that's exciting well done everybody Okay.

46:50Well, I mean, not yet. Presumably it hasn't happened yet.

46:52Chris Hewitt:Listen, if I were a studio and these two guys came in shopping a Battlefield movie around, I would snap their hands off. I think I'd done a Vietnam one as well at one point. What happened in Vietnam? Everything's fine now. Don't worry about it. All right, good. Okay, let's move on. Should we have a guest? Let's. How about guests? Ooh. Yes. Because Mark Jenkins' Rose of Nevada came out last week and it is about what happens in a small Cornish fishing town when a ship that was considered sunk like the Elizabeth Dane in John Carpenter's The Fog returns, mysteriously returns after 30 years away. And it stars George Mackay, who has been on the podcast many, many times, and Callum Turner, who's been on the podcast once before, I think.

47:36Chris Hewitt:I'm not entirely sure. And this is a big deal because Mark Jenkins is obviously this, you know, very lo-fi indie British filmmaker whose movies have been very, very gritty and low budget up until now. And these are name actors that he is working with in this, which is a, I don't want to say progression because that sounds like I'm denigrating his previous work, but it is an interesting development. Thank you, Helen. A development for him. And we sent along last week to the BFI. This was recorded at the BFI. You ask for Miracle Theo, I give you the BFI. We sent along Alex Godfrey to have a chat with George Mackay and Callum Turner.

48:20Chris Hewitt:Apparently, this is Callum Turner's only interview about this movie. Yeah, he chose us. We are the vessel through which he speaks. And now you will hear him talking to Alex Godfrey. Enjoy. So, hi, Callum Turner, George Mackay. Thanks for joining me today. Thanks for having us. So, I just saw you. We're here on a beautiful sunny day in London town at the BFI. I just saw you greet each other as you are. Have you not seen each other in a while? because it looked like maybe not. No, no. We can't even remember last time. I think maybe Venice. I think Venice, yeah. Well, yeah. Film's premiere, yeah.

48:54Yeah. That's just how it is, right? You'd make a film and then you don't really see each other much. We fell out massively on the shoot. It's been really awkward since. Day one. Nightmare. It was my guy. I think I saw some of it on film. Yeah. No, you know, it's just, you kind of, it ships in the night in a way, you hop onto another job and then when one's home, the other one's off on a job. It sounds like we're married. Co-parenting, separately. No, it's the nature of the beast, I guess. You get to go and join these projects and have a great time, hopefully. Then you go and do another one, hopefully.

49:30George is someone that, I'll get straight into it, George is someone that has risen with me as I've been doing this. George, we're the same age, so we started around probably the same time. I've always wanted to work with George. you know, I was one of my favorite actors. So getting to do that and with Mark was, was a real pleasure. We had a really fantastic time. All three of us. George, now you have to say that Calum was one of your favorite actors. No, no, absolutely. Absolutely. No, no, no, honestly, no, but, but truly like not, not even being funny and just, you know, blowing smoke. It's, I was so thrilled when, when I heard that Calum was, was part of this because, because of the work that Calum's doing and like the moves that he's making, the choices that he's making.

50:12and I've been an admirer of Callum's work for a long time. So, you know, as soon as I knew he was part of this, I just wanted to be here. There is something, I think, of growing up with someone and alongside someone. And George and I actually didn't really know each other. We saw each other at the theatre one time and had a chat and that was about it. And there is something about that because doing it from 21 or 22 or whatever and just growing and growing and growing and growing and just having admiration for someone alongside. And sometimes you don't get, there's lots of people that I have admiration for that I haven't worked with yet you know alongside us and hopefully that happens too but you know it's especially when it does yeah how did you get to know each other did you have time together before this film shot at all or is it straight into it no it was straight into it we we kind of came down to Cornwall with a a week before shooting that was like a week of rehearsals and fittings but really when we got there Mark just wanted it was about time spent so we kind of did most of our getting to know each other then i mean the first the first thing that we did mark was like i don't want to look at the script i want to go for a walk and we'll go for a swim so so we did that the swim was a rehearsal where were you swimming it's in agnes it's in agnes yeah yeah on just we just went down to the beach and it was just yeah it was just about time and we kind of got back and he said right this is the production base the best thing you guys can do is go around have cups of teas and get to know everyone and um so yeah we just that was us really and we went to all the locations and just did everything as a wee gang and um and that time spent is it's like an ephemeral thing but it's it's all part of it and certainly part of mark's process because about building that community and having us come be part of it i should so i should fill in the gaps just for people listening roses of nevada which i've seen twice and love to bits a fishing boat gets lost at sea and appears back in this small village out of nowhere uh little town about 30 years later and then you two get involved on a fishing expedition and then i don't want to spoil it much i mean it's it's out there but i knew nothing about this film going in and i think it was all the better for it um so reality starts to shift i would say and identities get blurred um something i loved about that though was that it's not done in a fantastical way at all i mean i've seen people call it sci-fi i've seen people talk about time travel and maybe on paper but it doesn't feel like a sci-fi film or a fantasy film or a time travel film and i think because of that because it's just told through the eyes of of your two characters it's really unnerving and really unsettling did it come across like that when you read the script because i'm guessing it was there but so much of it is about what mark does with this well that's that's what i was about to ask you if you'd read the script and i think no i haven't really interesting in a few months if mark did release the script because i remember reading it in my kitchen and just it kind of dripped off the page and just seeped into into you and it was like it's like reading a poem almost and obviously understanding within the context of mark's films the films that he made before what was coming and how he wanted to shoot it and and and what that would look like you could really feel it and it was it was a fascinating uh process that that reading of the script because it was just there it was just all there and then upon numerous reads there's so many questions and we would play this game like all right let's ask mark let's say to mark we've got it now because we understand what the script is and he'd go no i don't know i don't know if that's it and i think that's what lends he lends that that mystery to you as the audience member being i don't know if this is a sci-fi i don't know if this is a horror i don't know if this is you know social realism drama i don't know what this movie is but i'm there and i'm present with it and i think that's his you know superpower as a director totally yeah when he says i don't know i think that means i'm not telling you yeah definitely after you go no yeah just because like to follow on from what cal was saying this the script is the writing is so sparse and i think that's that's reflected in the action of that you see and and what what cal was saying about mark's kind of reaction anytime we'd posit a a theory about the script is he doesn't like to spoon feed an audience ever i think he really respects the audience in that sense and and the sort of sparsity of the writing and of elements of the action or the story is there to welcome people's interpretation or projection and understanding and he knows that as soon as tempting as it may be as soon as he kind of gives a theory people will people will attach themselves to that or attach you know and let go of their own understanding of it where it's it's really open to all's interpretation and i think he's so careful about keeping that openness always the other thing that i loved about the the script and then the film is i don't know what's the beginning the middle and the end i don't know what part of the journey yeah we're starting at and if where the film starts is the beginning or if it's the end or if it's the middle and that adds to the the mystery and the beauty of it and the poetic feel and the you know the the the i don't want to say confusion because it's mystery right mystery is a better word than confusion you're selling a movie but but but it is it's the mystery it's the mystery to to this moment and and you feel like the the people yeah and i think that's the greatest gift the director can give the audience if if he can translate that feeling from the characters through the way that he edits or she edits or shoots it um transmitting that energy and that feeling off the screen to the to the audience yeah that's that's what was so effective especially for it because it's mostly told i think through the eyes of your character george and you're basically spending you know the back half of this film going what the fuck is happening to me am i going mad are you taking the piss yeah i don't want to go into the you know the plot details like i said but i think that's why I came out of it thinking this is like a weird horror film because if that were to happen if something was happening like that to you in real life where you felt like where you're questioning your own identity and you feel like you're are you being driven mad or not that would be absolutely horrific and I think that's what this film does yeah totally and I think I'm so wary of giving anything away or you know changing the openness that Mark is so careful to hold but um um for me as well there's that exact feeling that you described in case with my character as as you say there's themes of shift in identity what i think is so clever is without ever being overt those feelings that i'm feeling as one person feel akin to the life that you perhaps are starting to enter and therefore as callum said in the same way with the very nature of the idea of time throughout the film where things begin and end becomes so difficult to grasp hold of and that you know that is such a a particular feeling and um and i think this film does that beautifully i just i just thought of something that you just made me realize something that maybe he's gone mad he did there is another theory that this is in we're in his head and he's he's gone completely mad as mark we say could be well that's the beauty of it we just discovered two years later well that sort of ambiguity is always powerful and that's what makes it easier to relate to otherwise like you say you'd be spoon fed I think films are powerful when they pose questions rather than giving answers and that's what this film does had you both seen Mark's other films beforehand?

57:58so was that the draw for you because I imagine if I were an actor and had seen those films I'd be thinking I want that experience I haven't you know because every director is different but mark is so unique and has got such a distinct voice and also the way he makes the films was that the script aside did you just want a piece of that experience totally wanted a piece of jinx yeah i didn't want to say that no totally i mean for me i just want to work with the best directors be part of the best work and and i say you know actually you know best is perhaps a an incorrect term to to to use but unique work and work where the process is bound into the final piece which which is the case with all but particularly um things that will change my process or celebrate various different processes of work and having that purity be at the core of the the reason for the film's making or any piece is making that's that's the stuff that really excites me and that i want to be part of so this is the perfect example of that and i agree with that entirely and but also additionally to that the way that mark has built this community i think for george and i was especially special because we we got to go down and join a community that was already kind of like a troop of of artists and actors and creatives that had, you know, this is their third film.

59:33Mark's third film, but Mary and Ed and all those guys that have been working with them. That was a real honour to dip into their, to completely be strangers and be welcomed into their world was an additional bonus. Sorry, Tully. What about the tech, which seems like the wrong word, but Mark uses quite… Oh, you should see the tech. yeah well so he filmed it on 16 mil right on on a on a bolex right did that or does that change your experience of making a film and anyway apart from you know it's a good question i asked you that question at the the beginning if you remember and i said does it does it change is it going to change the process is it is it going to change your approach and you said no i don't think so i mean because it ultimately you're kind of working towards the take yeah you know you're working towards the take the way that it altered is we got less of them um and sometimes we would stop in the middle of them as the camera got wound back up mark's arm was hurt you know um but ultimately no and i the learning for me on this one was you know to keep you aiming at the target i think some jobs some jobs you get and the satisfaction is that you know because of the ability of the tech that allows you to try every option and that part of the creative process with this one is that it will be decided in the edit where with this mark if he needs you just sip in the glass of water for the tape you run the scene but in only film you sip in the glass of water yeah and and that specificity and accuracy um just makes you aim at the target i think in terms of right this is what i think the character wants to say in this moment so that's that's what i'm going to give and i think the the isolation of him as a director you know there's no dp with him there's no gaffer there's no i mean there was a gaffer actually it was sorry but there's no sound and there's there's there's a really stripped back crew uh and it they're all there but they're in his head the crew yeah the team is there and he's there's a dialogue that's continuous as we're doing the thing i found that pretty interesting but the but the 27 second takes i guess it's kind of like And just running out of a roll of film.

1:01:45If you were to run out of a roll of film, if you were shooting on a film camera, you'd just go back. That was interesting. We would say if a scene was 45 seconds, we'd do first 27 seconds and then we'd go back a few lines. Yeah. And sort of plaster over it and then run into the last bit of the scene. It was interesting, definitely. It was unique. Well, another nerdy question. Correct me if I'm wrong, but I believe he can't record sound and dialogue with these cameras. So it's all ADR, right? Meaning you had to, a few months later, go into the studio and re-record all your dialogue. What is that like as actors when you're on set or on location, giving it your all, performing, delivering the lines?

1:02:30I mean, I take it that that didn't influence how you did them. You're still giving it as if it was being recorded. But knowing that no one's going to hear what you're doing there at all, you're gonna have to go in and does that put you in a different frame of mind at all and is it weird then a few months later then having to do it precisely to the way you did it visually in the first place well uh no because you know when you start the film what yeah it is what you're getting into and you understand that this is mark's process but i'm a bit of a pure i think of myself as a purist and like whenever i do adr i really don't like going back over and if there's a line that can be saved there's someone walking over it please save that because it's on the day and it's true and it's in the moment and so there is there is something that you're you're you're relinquishing with that yeah for me anyway and uh but you're you're you're getting something which is mark which is mark's process which you've bought into and you believe in yeah and you trust ultimately and i i was the last guy to come in and do the adr so i don't know what state of what it was like probably with mark's voice doing all the yeah yeah probably more interesting yeah than i said but no to meet my experience because your experience was with mark doing yeah it was it was i think it was kind of silent from memory for some of it but there is a version of this of the the film that exists at one point where mark adr's the whole thing himself he'll just do all the characters dialogue really temp so there is some sound yeah release the jenkin cut yeah yeah the total in in this in his head version i was the impression of me that he does it yeah I don't think yeah he wasn't doing voices there's a sort of strange mark entirety neutrality throughout the whole thing okay but yeah another thing that's really great about the atmosphere of the film is the place itself I think you mentioned it's in Cornwall somewhere right where is it Mulligan Mulligan Mulligan Mulligan Mulligan Mulligan okay and did you I can't imagine it was a long how long was it by the way no it wasn't it was like six weeks seven weeks okay actually it was longer than I thought but did you get a chance to did you live there the whole time you were doing it yeah so did you get a chance to embed yourself in that world in that community did you i mean did you sort of live that life for for a while no i mean not entirely like like the characters i mean cornwall as a place genuinely really got under my skin in like the best the best way i as we were just saying at the beginning we're lucky enough to jump around to these wheat islands of people and places with this with this job yeah and i get quite used to sort of saying goodbye to places and feeling very okay about that enjoying them presently and then going cornwall i really missed cornwall and i haven't missed places like that when i when i've left yeah cornwall's magic yeah cornwall's a really beautiful place yeah you love it yeah i've been down so many times i love it there go on holiday and take the dog um but but more importantly i mean i want to wax lyrical about cornwall but it's the community of people that yeah that mark has built and they're really special brilliant talented people down there that that they've collected together and that was just the joy really to be part of that process but we did have we were on the boat a lot and with lee and yeah yeah yeah like lee carter who whose boat it was that we used was a fisherman who actually i've sort of studied his accent to get my cornish accent okay um so i'd sort of was you know i've been watching and listening to a lot of lee before we met him and then And yeah, everything we did in the film, everything you see us doing in the film, we did, you know, and we were taken through that.

1:06:00Yeah, we were taken through that quite rigorously. And, you know, the fascinating thing about fishermen, what we learn is that the brutality of the life, you know, they go out and they're sort of the last hunters that exist. They go out and they don't know if they're going to find anything. And they look on their radar and they see, you know, a shape and they go, oh, let's go there. and then hopefully there's not a boat from France or from further down in Devon or wherever or Ireland that they have to compete with and they go and try and catch these fish and they don't know if they're going to make money when they come back.

1:06:31And I find that fascinating, that existence and that hardy existence and then the pubs that are open, they open at 3 in the morning or 4 in the morning for the fishermen to come home after 3 days to have a drink. Did you go to the pubs at 3 in the morning? We went to the pubs. We left at 3 in the morning. I don't think we did it all actually. No, I think we played it safe. No, there was a great quote from a fella on this documentary series that Mark got me to watch as reference for The Accent. And I remember this fella saying after he'd been out there for hours, potting these lobsters, he's left the pots out there for, so it wasn't the fishing that we were doing.

1:07:06He was potting lobsters. And in three days they'd been in the water and he caught one. And he went, well, that's why they call it fishing, not catching. but just that attitude is that we're so used to controlling everything and wanting to be like you know but you're so at the mercy of the tides you know you only go when the tide lets you you only go you only catch what's there and the weather you're at the mercy of so many of these higher powers which I think nowadays and in the city you're so used to being ahead of all of that you can set an alarm and get beyond the daylight you can do this and if you can't get a train you can get an Uber you can get whatever it is like and just that attitude of being at peace with sometimes not being at peace but just having to accept that there are these bigger forces at play and that all plays into the theme of you know the story as well and the integrity and the moral guidelines of the boat I remember Lee who was we used his boat he'd come in one day and he had a big black eye and cut lip and said what happened and he'd been out with his crew and he said argument so you need yeah what happened argument and then all right yeah sorted out out in the the sea they just had a fight bust up just men hit each other a few times and then that was it it's a really uh fascinating fascinating guys um you didn't know each other you knew of each other very well before and you didn't know each other before before you'd done this it seems like a very intense way of getting to know each other i mean it looks you know it looks like a like a very self-contained cut-off sort of experience that boat looked pretty claustrophobic you were out at sea you were you know gutting fish together what was that like just as a bonding experience and just two guys getting to know each other in such a specific context it's pretty easy it's great yeah it's pretty easy yeah but you know george and i yes we we bonded very quickly but there's also a big crew of people that we're part of and there's francis and ed and mark and then the crew that were there and just i think everyone bonded pretty quickly and got got together well i mean the most of them knew each other anyway yeah yeah we were sort of joking we're like the new boyfriends at the wedding kind of thing you know coming into the family but but going out mark yeah it's a frapple but i think you know with all of these things is you jump into these things but you you enter into with a really open mind as well you're looking forward to to getting on and you know you so i'm i was so excited to work with cal and to meet cal and so of course that that speeds and smooths any kind of like um getting to know each other process because you're both you're both open to it yeah all right brilliant well it's beautiful to see it to see on screen uh is there any your brilliant brilliant partnership on screen it's really it's really something else it's such a unique film so thanks for talking it's really great to meet both of you today thank you so much alright okay

1:10:08Chris Hewitt:that was Callum Turner and George Mackay talking about Rose of Nevada we neglected to review it on last week's show because we and I say we I meant these two nincompoops had not seen it guys have you rectified that no what happened Chris is we did a review and then it just disappeared but then many years later it's going to come back it's going to come back and you'll be able to listen to it then yeah well we should see what happens because who knows what supernatural shenanigans may take place during the recording of this very podcast. Wow. I mean, if you're calling us nincompoops, you must have seen it yourself, of course, Chris.

1:10:41Chris Hewitt:Helen, I refer you to where I was. I was on the ocean. Yep. Surrounded by water. And then in Manchester, Surrounded by water. Both canals. Both have canals. Both have canals. Or rivers. And nowhere that was showing Rose of Nevada. Wow. And don't look that up. Okay. Okay. So, no Rose of Nevada review just yet, but instead we are going to review The Devil Wears Prada 2, because in case you haven't guessed, this is the reviews section of the show. Hells Bells! Hello! Tell us about The Devil Wears Prada 2, which I believe is a sequel to 2006's breakout comedy hit. I believe in you. You can do this.

1:11:28Chris Hewitt:The Devil Wears Prada? Amazing! Wow, yes. Ghost ship. No. Okay. So yes, this has director David Frankel back with the same screenwriter as well, Aileen Brosh McKenna. And this is the sequel, as you said, to the original. So Meryl Streep is, once again, Miranda Priestly, the high priestess of Runway magazine. If you think it's a bit like Vogue, you would be 100 % right. But these days, I don't know if you're aware of this, guys, magazines have it a little bit harder than they did in 2006. and so her life is a little bit more difficult. In fact, there's been a little bit of a scandal at Runway as we rejoin proceedings.

1:12:07Yes, her right-hand man, who is Nigel, played by Stanley Tucci, has tried to help her through it. But basically, her publishing boss decides he needs to take a hand and he hires back the recently laid-off Andy Sachs, a.k.a. Anne Hathaway, who is going to come back to Runway as features editor and try and help Miranda through this difficult time. Miranda, characteristically, is not thrilled about this development because it didn't come from her. Well, aren't they friends at the end of the last one? No, they were sort of a frenemies is about as close as I would go. So, Andy basically has to try and help Miranda through this despite Miranda not really wanting her to.

1:12:49Right. Emily, played by Emily Blunt, is also kind of back in the picture. She doesn't work for Runway anymore. She was Miranda's assistant alongside Andy. I'm sure you remember this. I remember this.

1:12:58Chris Hewitt:I saw the Devil Wears Prada musical just a few months ago. There you go then. I had a great time. It's a good night out. So she is now head of marketing at Dior when we meet her. So she's like an important advertiser. And they need to keep her on board as well, which kind of explains why she's around. They also have Kenneth Branagh as Stuart Wildey overqualified for this role, which is an unusual surname. Yeah, but he's Moran's new husband. To Mr. and Mrs. Wildey overqualified for this role, a son, Stuart. Correct. You also have Simone Ashley as a marry, who is Miranda's new sort of head assistant.

1:13:36Justin Theroux plays a billionaire. Lucy Liu plays his ex-wife. Patrick Bramall, who you know is... Of Colin from Accounts. Colin from Accounts. Speaking of people overqualified for the roles that are in this film. Indeed, is a sort of love interest for Andy that she meets at one point. Some of her friends are back.

1:13:54Chris Hewitt:This is a very attractive cast. It's a very good-looking cast. and they wear unbelievable clothes. If anyone would like to send me, say, six of the coats that Miranda wears in Milan in particular, I would be very good. Only six? I think I don't need all of them. I don't need the leather one. I don't need the one with the feathers. I definitely need the one with both the sequins and the jewels. That was unbelievable. What about the tassels? The tassels are good. I'd take the tassels, but I'm more obsessed with the purple one with the sort of flowers shelling on it. Sure. Jimbo, what would you take?

1:14:28I would take anything that Stanley Tucci's character gives out because his full name, I don't know if you know this, is Stanley Kipling, and he does make exceedingly good suits. Wow. Look, this is a lot of fun. I'm not explaining the plot because it's all twisty and turny and it sounds really boring if you explain it, but it's actually quite a lot of fun to watch. I don't think it's quite as fun as the first film. I don't think it's quite as... I don't think the lines are as iconic. I don't think they're going to haunt pop culture in the same way.

1:14:58Chris Hewitt:We don't know that, though. We don't know that yet, but I don't get that vibe from them. But at the same time, I had a really nice time watching it. I've now seen it twice, and I just think it's quite fun. And these people clearly love each other and are happy to be back working together. And it's kind of interesting just to see how far they've come, you know. So I had a really nice time. Helen had a really nice time. Jimbo, did you have a really nice time? I had a quite nice time. I would say so this is obviously I mean people have been saying this is based on Revenge Wears Prada which I believe is the second book in this picture series I don't think it has anything in common with that at all it's a completely new confection it just felt to me a little bit lightweight in that you know I quite like the idea that you know it's quite triggering and everything but they're talking about the demise of print media and how digital is overshadowing everything and everyone's having to make commercial compromises just to hang on to their jobs you know all of that felt quite real don't know what you mean mate yeah exactly But all of that, again, it doesn't quite feel like the stakes are there.

1:15:57And there are some interesting nods to, and I swear to God, I didn't realise that was Justin Thru until after the film. It was almost unrecognisable to me. But that particular plot line felt like it was a bit of a nod towards Anna Wintour's relationship, or shall we say, adversity, whatever you want to call it, between Jeff Bezos and Lauren Sanchez. It felt like there was a little bit of commentary in there. Who knows? Maybe it was a coincidence. It's fun. These characters are fun to be around. It's great that Emily Blunt is back. Miranda Priestly is a fantastic character and Streep is obviously fantastic at playing her and I like seeing the evolution of the dynamic there's a great moment where you see Miranda trying to hang up her own coat because she's so used to throwing it at her assistants and she's kind of struggling little callbacks like that are actually quite nice her language is now being policed right which I thought was quite funny as well I mean again that's a really hoary old trope for this kind of thing but there was a lightness of touch to that which I quite liked what the fudge right but generally speaking the plot is a little disposable some of the beats are a bit familiar I don't think it really pushes the boat out that much and I just felt a little bit that I mean it's a vastly inferior sequel but it's still a good time like it's fun and it's been 20 years fuck it watch it but I've completely changed my mind do it watch it now which I believe he was the tagline it's been 20 years fuck it watch it watch it but what else are you going to do if you love the Dev West Prada and many people do it's a little disappointing I actually think I think the fans are going to love this.

1:17:21Oh, I'm sure they will.

1:17:23Chris Hewitt:It's going to be huge. Things like the musical as well. It's been very much within the zeitgeist for the last 20 years. It's already been building and building and building. Apparently, it's going to be pretty big at the weekend. Not Michael Big, but then again, what can you do, right? But yeah, sounds good. I haven't seen it yet. John, what did you think? I haven't seen it either. Okay, thanks, John. John. Hello. John Nugent is here. We should have a lot of other efforts. anyway three stars three stars for the devil wears part of two three stars is fair okay is that what we gave it? that is what we gave it that is what we gave it alright exciting exciting stuff John Nugent has indeed joined us because supernatural shenanigans do indeed abound and John's here to review Rose of Nevada because unlike these two nincompoops you've seen it John yes now we're getting into real cinema yeah John's done the bare minimum his job what have you done this week I only watch films if they're hand cranked and shot on 16mm thank you very much that's absolutely true he hasn't seen Devil Wears Prada how is he doing it's not hand cranked on 16mm that's how he gets his thrills his sick fuck was Devil Wears Prada too processed in like old coffee or something if it wasn't I'm not interested are there backwards bits in this John I'd like a backwards bit there's probably some backward bits okay good good good This is Mark Jenkins' most accessible movie yet.

1:18:49Chris Hewitt:So it's 90 % injectivacian. What's going on with this one? Yeah, I think there is some debate about whether this is accessible. Neil Alcock, who wrote the review for us for this film, and he thinks Bait, which was his first film, is his most accessible. I mean, it's all on a relative scale. I think all three of his films are relatively inaccessible to the average viewer. Mark Jenkins is a Cornish filmmaker who makes, he's sort of a one-man filmmaking machine. He's an amazing artist. He directs, he writes, he camera operates, he hand cranks the camera himself. He also writes the score, he produces, he does quite a lot of the producing.

1:19:32He's basically his own genre. And he makes these films in a very, very analog way. He makes them, you know, with barely any digital effects.

1:19:43Chris Hewitt:Ennis Mane was the second one wasn't it? Ennis Mane was the second one and that was incredibly weird basically almost no plot to speak of whatsoever this definitely has a plot there is a plot to speak of it is still quite woozy, it's mysterious it's unclear what's happening in a lot of it so the Rosa Nevada, the titular Rosa Nevada is a fishing vessel in Cornwall, all of Mark Jenkins is from Cornwall and all of his films a shot on location there um and there's yeah this sleeping sleepy fishing village in cornwall where uh the the economy has hit a bit of a downturn you know it's it's a it's a village that like his first film you know has been beset by holiday makers second homeowners airbnbs that sort of thing the the economy is not once it was what it once was yeah uh and then this old uh fishing ship the rose nevada mysteriously comes into port and two fishermen uh played by callum turner and george mckay uh take a job to go on a on a on a long fishing trip out to sea for a few days when they come back to the ports the town is mysteriously in the 1990s it's like back to the future but cornish and with fish um yeah and so it's a sort of a time travel film but but it's it's not as like explicitly yeah sci-fi like that it doesn't really fall into genre tropes it's more of a it's more of a vibes movie it's more atmosphere um and it's you know it's dealing with a lot of stuff that mark jenkin has been interested in in the past you know things like the effect of the you know austerity in the modern modern day capitalism on a small community like the one in that he lives in in cornwall um it's also just a really beautiful piece of art i think it's you know because it is shot on 16 millimeter film it's processed in a really old school way it's got this strange like post sync sound so none of the audio is taken from the film and the whole film has this sort of very uncanny vibe to it it feels a little bit off it's like slightly otherworldly but you can't quite put your finger on i i thought it was fantastic i had a great time with it i think it's really unsettling and weird and gripping and sort of oddly riveting it will not be for everyone i think that is fair to say of most of mark jenkins films um but i really think you should make time for it it's it's really cool it's it's just cool as well to see like movie stars in his one of his films this is the first film where you know he usually just hires his his mates or his wife mary woodvine who's in all of his films is in this one but yeah callum turner and george mckay they're proper proper movie stars and they just went to this cornice village and just did this very analog film so yeah i i recommend it four stars fantastic four stars then for rose of nifada john in a weird way you've also just described Damien McCarthy, I think, who is the Irish filmmaker who makes very, very creepy horror films like Oddity, which was his last movie.

1:23:04Chris Hewitt:And his next movie, which we're just about to discuss, is Hocum. And for that, he has also recruited a great big shining star in the form of Adam Scott, star of Severance, of course, and Ellen's beloved stepbrothers. it's a fucking Catalina wine mixer it's a fucking Catalina wine mixer what a film and he plays an American writer who goes to an Irish hotel and there he learns of the legend of a witch who may or may not be trapped in the hotel in a specific room Hell's Bells yeah so this is Adam Scott as Om Bauman that is his actual name that's an actual OHM OHM yes who travels as you said to Ireland to spread the ashes of his parents who once visited this hotel in their younger and happier days and he clearly has some issues he's a really he's kind of playing against type actually Adam Scott here because he's a total dickhead to everyone he meets pretty much everyone he meets apart from like one member of the hotel staff who gets on with and a man in the woods who offers him essentially mushrooms just, you know, out of the goodness of his heart.

1:24:20But it does become clear that something is awry in this place. And so it's kind of folk horror tinged, but also kind of hotel horror. I thought it was a really nice mix of, you know, of that kind of shining energy with the energy of something like the hallow. Right?

1:24:41Chris Hewitt:Yeah. Or the uninvited. Carn Hardy's film. Carn Hardy's, which was also, you know, Irish set, or the Uninvited similar plots a couple of years ago. This has some of that energy to me, but a much less likable protagonist, which is a really interesting thing because you're not quite sure at times whether... It introduces a lot more tension because you really don't know if Adam Scott is going to get out of this and if you want him to, and if he does, if his sanity will be intact, and if you want it to be. You know, it really kind of keeps you guessing that way. I wasn't sure what way this film was going to go at pretty much any moment of its running time, which I really enjoyed.

1:25:22And it's quite stylish looking and it does some things that I haven't quite seen done before in this way. I was thoroughly scared by this. I don't think it's one of the all-time great horrors just because you aren't sure if you are rooting for him for quite a lot of the running time. And I think that maybe puts you at a slight remove from him in a way that you aren't with, I don't know, some of the really likeable or child protagonists of some of these films, you know? But at the same time, it did succeed in keeping me very much on edge the whole way through.

1:25:54Chris Hewitt:I like that he's a prick. I mean, look, it's an interesting myth thing to add to the mix, don't get me wrong, but it just meant I wasn't sure how I was going to feel about it if, you know, let's say if he just did... If a witch showed up. Yeah. Yeah. I mean, was I rooting for the witch? Maybe. Just saying. That's, assuming there is a witch. If there is a witch. There may not be a witch. May not be a witch. but if there was a witch if there were a witch yeah a werewitch oh my god oh my god did she just turn into a witch at the film I mean I guess that's possible anyway yeah I thought it was really successful in scaring me silly but again as I always have to say usual disclaimer replies I am a big wimp a big old wimp says Hellspells John what did we give this one?

1:26:36Chris Hewitt:I believe this was four four stars in for the werewitch otherwise known as hokum I agree I thought it was really really cracking a good little horror that scared me even though I watched it as Damien McCarthy intended on my laptop with my name emblazoned all over the action oh no that did not that fate did not befall me with Greenland 2 migration we've been begging for this to show up since it opened in the States in January it is of course Jimbo the sequel to the amazing Rick Roman Waugh can't believe I say that the first time every time movie with Jerry Butler in which the Earth is bludgeoned to bits by a giant asteroid.

1:27:16Chris Hewitt:I loved Greenland so much. Sort of Donald Trump, he tried to buy it repeatedly. Yes, I was going to say, I can't think of any reason why Greenland migration wasn't raised before now. It's not like there's been any controversy about that particular place. Who knew? Who knew? Anyway, so here comes the sequel. I haven't seen it, Jimbo, because quite frankly, A, I haven't at the time. B, I'm scared. Yeah, with good reason, I would say. Because like Greenland, when it arrived during the pandemic, It was kind of a fun little gem that just sort of dropped out of nowhere. It was a great disaster movie, a comic called Clark, you should always name your comets, coming to destroy the Earth, and the only safe haven was this huge bunker in Greenland, so everyone needs to get to Greenland.

1:27:56And, spoiler, they get to Greenland. Now, it's been six years since that film. Finally, the sequels have come, and the question is, and I'll answer it now, no, should they have gone back to this well because ultimately they've been in the bunker now for five years they have recast his son to represent the five year time jump that's harsh even though five years right exactly so clearly that one year was a deal breaker but Marina Baccarin and Jerry Butler are back and environmental fallout from the comet still ravaging the earth the air is kind of toxic everything's underwater or not as the case may be it's slightly inconsistent Liverpool's underwater but the English Channel is bone dry and the idea is that there are sort of radiation storms, there are earthquakes, there's lots of plate shifting, and the bunker takes a hit.

1:28:47They have to leave the bunker, they have to go out into the world, and they decide that the only way they can possibly survive is to go to the crater, which is basically an area in the south of France, because of course it is, where, for whatever reason, the impact crater has created this sort of lush paradise which is untroubled by the radioactive storm. I was so... Do you think so? I was like, this is the Howard Rips! I don't stand.

1:29:09Chris Hewitt:How do they know this? Because. Because science. They are talking to people by radio quite a lot. And they seem to have some access to maybe some satellites, which is surprising given the amount of shit that's supposed to be up there in orbit. But okay, fine. I guess. Maybe. But I think the answer, honestly, Chris, is none of this makes a lick of fucking sense. Don't worry about it. But it doesn't really matter because it's not what I would describe as a particularly plotty film. Because essentially they leave the bunker and then it's just, they kind of roughly string together maybe eight or nine set pieces, which charts their journey from Greenland to the south of France.

1:29:46Yeah. Via Liverpool, which is obviously where they want to go, which is underwater. And some of these are okay. There is a sequence with falling bits of the comet, because basically bits of the comet are broken off and they're in orbit and they periodically sort of shower the earth with fiery balls of rock. That's quite fun. There's a bit involving a channel crossing and a ladder, which is quite tense. But broadly speaking, the action sequences are quite forgettable. And there's not so much in the way of characterization. And the plot is quite plodding. Unfortunately, it's what Greenland wasn't.

1:30:18It's just boring. It's just a boring film.

1:30:21Chris Hewitt:The first one was really a lovely surprise. It's a great first hour when they're building up to the revelation that the comet is actually a really serious threat to Earth. And you got the sense that it was a fairly, quote-unquote, realistic depiction of what the government's response to that. Up to a point, yeah. So those chilling moments when he's in the supermarket and only he gets a message and no one else does and little things like that and he has to leave people behind as he goes to the shelter. The second half of the movie is perhaps less successful than the first, but I would still say that the first movie is a very, very solid disaster movie.

1:30:54But this is just absolutely standard. Shite. Bog standard. Well, I wasn't going to say shite, but I was going to say bog standard post-apocalyptic twaddle. Yeah, it's post-apocalypse 101. like it's really really uninspired and as Helen says it makes absolutely no sense whatsoever when you think about honestly any of it especially the crater itself and not just the geography of it the fact that anyway I'm not going to I'm not going to spoil this film should you wish to watch it but there's a lot in there to get cross about and it's a real shame because Greenland was a lot of fun I just I think do a Highlander 2 on this excise it from the canon pretend it doesn't exist they were all aliens they went back to the planet I never think about it again.

1:31:35There can be only one! How's Jerry? Okay. I genuinely think if you were going to do a sequel to this, you should do a sort of quiet place day one, like somebody else going through it. Yeah, that would be an interesting take on it. Because that's the most interesting part of this story. And it's very dour, the film is as well. It really is. It takes it very seriously. But yeah, it was really disappointing because I've been so excited about seeing this because I really enjoyed Greenland, so I was a bit gutted. Really? You guys have never mentioned it. You haven't harped on about it for years at all.

1:32:07Chris Hewitt:Oh, I'm sorry. Colin Farrell is one of nature's true brunettes. All right, well, this is disappointing. This has tripled the budget of the first film. It died on its arms at the box office in the States, which I think is why it crept out on Prime Video last week. It was one of those knockdown ginger releases when they go, hey, everybody, Greenland 2, migration's on Prime Video, and then they fucking run away. And then you have to discover it under your own skin. But the thing is, and we often say this, I'm not sure I can even recommend this if you have a Prime subscription and you're just like, I'm bored of an evening.

1:32:39I would honestly save yourself the hour and a half.

1:32:41Chris Hewitt:James, are you recommending people cancel their Prime subscriptions? No. In case you accidentally watch this film. You still need quick deliveries. Did you guys review Mark Wahlberg, Peter Farrelly movie, Balls Up, which is also on Prime Video? No. And looks like the worst movie ever made. I reviewed that. I gave it one star. One star. Yeah. It was a Balls Up. I was going to watch it and then I got another couple of movies that I thought were better. Holy shit. My word. What did we give Greenland Migration, John? We don't currently have a review of that. I mean, it's perhaps unreviewable. I'd say it's probably a two, not a one, but I also just don't recommend anyone watch it.

1:33:21Chris Hewitt:So you're saying, Waugh, what is it good for? Absolutely nothing. Rick Roman, Waugh. No, we hear you, though. Okay, so five stars then for Greenland 2, migration sounds absolutely tremendous and on that note that is it for this week's Empire Podcast join us next week for more film related fun when we'll be joined by this is pretty incredible actually a double whammy of James' BFF James Francis Cameron and the star and subject of his new film also the co-director of his new film which is entitled Billie Eilish Hit Me Hard and Soft Billie Eilish that's right James Cameron and Billie Eilish will be our guests on next week's show that is pretty fucking spectacular very very excited about that Jimbo you didn't do that one I didn't do that one no and I actually quite like Billie Eilish I'm excited to see this but you would go shut up Billie Eilish James Cameron is talking James Cameron is talking at least when he can get of wording.

1:34:31James Cameron is the one listening to me just monologue at him.

1:34:35Chris Hewitt:About aliens. About aliens. About aliens, again. He's like, Jesus Christ, this guy again. Anyway, that's exciting. It's exciting. Very, very excited about that, indeed. But until then, until we meet again, until that auspicious occasion, it's goodbye from my now-count-em-three colleagues of such lethal cunning. Goodbye, John Nugent. Goodbye. Goodbye. Goodbye. Goodbye to James Dyer. Bye, Chris. Goodbye. I'm going off to cut down a tree. that's it they messed with the wrong marine you're not never mind shut up Helen it's goodbye from Laura Dern goodbye Laura Dern woman inherits the earth toodaloo and it's goodbye from me I am off to head back to the ship because you know what I think I can hear the band breaking into something and bandioki is just about to start we're gonna sail away I've got to be there for wait a second that taut iron cable that is up there is just about to oh no and let's go ship all over again thanks for listening see you next week bye