Nish Kumar - Films Of The Year 2022 (2 of 2) • Films To Be Buried With with Brett Goldstein #245 - Films To Be Buried With with Brett Goldstein

Episode Transcript
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Speaker 1 (00:00):
Look out.

Speaker 2 (00:01):
It's only films to be buried with. Hello, and welcome
to films to be buried with. My name is Brett Goldstein.
I'm a comedian, an actor, a writer, a director, a

(00:21):
beef jerky, and I love film. As Voltaire once said,
appreciation is a wonderful thing. It makes what is excellent
in others belong to us as well. Like if you
really love the film Hook, then it will always live
inside you as your own happy thought. Oh that's lovely, Voltaire.
Every week I invite a special guest over. I tell
them they've died. Then I get them to discuss their
life through the films that meant the most of them.

(00:43):
But not this week. This week it's the when you
think about it. Way ahead of schedule Films of the
Year twenty twenty two Special Part two with Mister nish Kuma.
You can watch all of Shrinking on Apple tv Plus
and ted Lasso Season three episodes now one to seven
on Apple tv Plus. Watch them, love Them, Thank you,
nice one, Good luck to you. Head over to the

(01:03):
Patreon at patreon dot com Forward slash break Golds team,
where you get all the extra videos, you get secrets,
you get all the stuff you don't get on this one.
You get all sorts of things. Just check it out
over at patreon dot com. Forward slash Break Golds team.
So if you are new to the podcast and you
missed last week's Every year, me and this Kuma do
our films of the year. We never do them in

(01:24):
December because we haven't seen them all and we want
to make sure we do this properly. This edition is
way ahead of schedule. We left last week on a
massive cliffhanger. I believe the question was what was the
sexiest film of last year? Ready to find out?

Speaker 3 (01:36):
Oh?

Speaker 2 (01:36):
I bet you are. Here's part two. So that is
it for now. I very much hope you enjoy episode
two hundred and forty four of Films to be Buried
with When you think about it, way ahead of schedule.

Speaker 3 (01:48):
Films of the Year twenty twenty two Special Part two.

Speaker 1 (02:01):
Why don't you start off with your sexiest film? Given
that this is the question you care about the most?

Speaker 2 (02:06):
Yeah, I gotta be I gotta be honest this one,
and this is no disrespect to twenty twenty two, but
not the sexiest year in film. I didn't have a
load of options unless I'm forgetting do you know what
I mean? I was like, oh, I said, long list
sexy stuff to choose. The answer is I think unequivocal public.

(02:27):
Top Gun Maverick got to.

Speaker 1 (02:29):
Wow, I'm surprised it's taken this long to come up,
because also Top Gun Maverick should, if we're honest, be
everyone's answer to film you thought was going to be
ship but was amazing, Like Top Gun Mavericks should be
so fucking shit, everyone's it should be so bad. It

(02:50):
was brilliant. I saw in the Imax in the Lincoln Center,
in the AMC and the Lincoln Center of New and
like I saw it with my friend and Fred the
podcast where as about FAO, And at one point she
turned to me and said, this is the greatest piece
of cinema of all time.

Speaker 2 (03:09):
I think.

Speaker 1 (03:11):
I can't think it might have been after the volleyball scene,
but she was like, this is the greatest film of
all time. Also, you know, it is just amazing. How
you know you can like we can like build whole worlds.
You know, you can you can put an actor in
a green screen room and we can build whole worlds
around them, and so you don't even need the actor
sometimes you can just create a whole reality. But at

(03:32):
the end of the day, you whack a fucking massive
camera in a plane and fly around and nothing is better.
Nothing is better, Like no computer effect can be better
than a massive camera in the fucking pilot's seat of
a jet, and then the jet is Sometimes when the
jets were blasting, I was like, I think my insides
are gonna rupture. Like it was thrilling. Do we know

(03:57):
the na should they were invading? No? Does it matter? No,
best not to best not, that's not to ask questions
like that, but.

Speaker 2 (04:06):
Helmets and the bad guys, so we can't see anything
very wise, doesn't matter. It's cold where they are. Does
that mean that could be any I mean.

Speaker 1 (04:19):
That could be anyway. There's a lot of countries that
are cold.

Speaker 2 (04:21):
They're in the east, west, north, south. Okay, it was,
It was.

Speaker 1 (04:29):
It was great. Miles Teller is a weirdly applausible child
of Meg Ryan and Anthony Edwards. Yeah, it could, but
it was fucking great. It was. You know, it was
so much fun, so much fun. What's your sexiest talk
about the sex aplt of it? Because I mean it's
like Tom Cruise as he gets older, it's sex sexy

(04:53):
is not top of my list. I think it's impressive.

Speaker 2 (04:56):
I think what I'm I think I'm saying. It's like
the whole film is so slick and well put together
and well made up, and it does have Jennifer Conley,
who is yeah, let's yeah in my top five, you know,
and just cleaner and anything. You're like, Okay, this puts
it in the list, and it's just you know, it's

(05:19):
like four in it that film. What's your answer?

Speaker 1 (05:26):
I mean, look, my answer is well, my answer will
lead us on to troubling boners. Okay, like the subcategory, Brett,
please introduce it.

Speaker 2 (05:36):
The subcategory to the sexiest film is troubling boner is worrying?
Why I done so? Film? You found arousing? You weren't
sure you should.

Speaker 1 (05:43):
Now, Brett. You may say it was maybe not a
great year for sexy movies, but I'll tell you re
troubling bonus our cup runneth Over. Twenty twenty two was
many things, but it was also the year of the
troubling boner in cinema. It was the year it if
titane was a year, it was twenty twenty. It was

(06:04):
troubling Boner after Truble. I was troubled by most of
my erections this year. The film that I've gone for,
any of these are troubling bonis. The film that I've
gone for is Decision to Leave, which I thought was
amazing for Park Cham would absolutely love it. I just

(06:28):
thought the atmosphere of it was it was very sexy.
I thought the vibe of it was very sexy. I
thought Tangway was very sexy, and I felt it. I
believed it completely plausible that somewhat that she would be
brought in for potentially murdering her husband and the policeman
investigating would go well. First things first, Holy Mama, I

(06:54):
think it's important to say that I believe that, and
like you know, with like the handmade Park chambook is
very he makes great sexy movies and the sort of
atmosphere of eroticism.

Speaker 2 (07:07):
He does make sexy films.

Speaker 1 (07:09):
They're all sexy, and eroticism is a big and important
part of cinema and cinematic history and we should not
be ashamed of it. Right. But in terms of the
troubling Bonus, my god, Brett, what are you Because Decision
to Leave is in of itself quite a troubling boner.

Speaker 2 (07:23):
What's troubling about the boners? Well, I didn't feel shame.

Speaker 1 (07:28):
I didn't necessarily feel shame, but you know, Tangway's character
sort of gets put through quite a lot and you
have to see her in various states of distress. So
I don't think I sailed through it, sailed through it,
but that sort of leads me on to a like

(07:48):
true like string of troubling boners, key amongst them. And
this is like sort of troubling. But like, there's an
Indian movie this year. Obviously the big one that everybody
he's talking about is R R R. And also I'm
not bringing this to an audience at all because this
movie that I'm about to talk about was on Mark

(08:10):
Kermo's Films of the Year, So it's a movie that
people have talked about. It's called Gungobye Kathia Wordy, and
it's about a sex worker, a woman who's like sold
into sex work by her boyfriend, who then kind of
rises up sort of through the ranks of the kind
of hierarchy of that world and ends up becoming a

(08:31):
madam and running her own brothel. And it's shot kind
of like a Tarantino movie, and it feels kind of
like kill Bill, but it is also based on a
true story and this is a real woman. And listen,
the second you were talking about things big sexy in
the circumstance of this film, it is a disgrace. It

(08:52):
is an immediate disgrace. Here's the problem, though, Alia but
who plays Gungabye, the main character is she's very sexy.
And there is a sequence in it where a man
comes to measure her for a sari, and like, it's
quite an he's a young man, he's a handsome man.
It's quite an intimate process. And she gives him a
look and like she's attracted to him. There's a kind

(09:15):
of brief romantic subplot and she gives him a look Brett,
and I thought I was going to lose consciousness the
look she gives him. And there's a point where she's like,
why don't you stand closer? When are you measuring a tree?
And I was like, oh god, I was like a
Victorian lady that needed to take her vapors. It was

(09:35):
it is and again, like I'll also just say like
in terms of movie style performances, like all Invited, this
movie is incredible. Her character intro is spectacular. It's pure charisma.
She holds the screen with complete swagger, but she looks
like she could burst into tears at any point, like
it's a sort of it's a proper Lake movie star
character actor Denzel in Training Day, Julie Robertson Erin Brockovich,

(09:58):
it's a proper la. There is not a better performance
on film that came out this year. But my god,
she's sexy and I didn't feel good about it. But
that's not even my real answer. My real answer is blonde,
and I wish to Blonde made me want to trot
my own deck off. Because it's a film about an
exploited movie star. There's constant nudity in it. I would

(10:19):
argue there doesn't need to be as much nudity as
there is in it. So we're making a movie about
a woman actress exploited by a system, and we're also
making an actress walk around naked the whole time. But
it's also Andadai almost is very attractive playing one of
the most famously sexy women of all time. I don't
feel good about it, Brett. I hate myself. I never
hated myself more in my life.

Speaker 2 (10:39):
Every year. Every year you deliver, you deliver, and no
one could take that away from you, no one in
the history of films to be buried with. That's traveling
Boners as well as you and I respect it, and
I am grateful. What my answer is men Rory constantly
giving birth to himself out with ourselves.

Speaker 1 (11:10):
Truly, Brett, you and I are the Roger Federer and
Rafa Nadal of troubling Bonus. Every year we push each
other to new heights.

Speaker 2 (11:20):
Shiit, what's the what's the best action film.

Speaker 1 (11:29):
Of the year? Straightforward? For me? Top Gun two? It
blew my mind. It was thrilling. I loved it.

Speaker 2 (11:35):
For you, I'm picking this because Top Gun obviously is
top I'm going to give a special shout to The
Women King, which I loved and did like weirdly again
a sort of marketing thing. Women King was kind of
presented as an important movie.

Speaker 1 (11:53):
Yeah, yeah.

Speaker 2 (11:54):
Before I saw it, it felt like this is going
to be hard work. It's what I assumed, this is
gonna be like a heavy movie, when in fact, what
is this a fucking book? Yeah? I was like, this
is gonna be another book when it's a fucking great
actions film. It's incredibly well made and entertaining and yes,
as all the deep stuff and it's sure, of course
it does. But it's a fucking banging action film. Yeah,

(12:17):
really really good, exciting, thrilling, proper great accent. Loved it.
I highly recommend as an accent film.

Speaker 1 (12:24):
It's yeah, it's really great. Also the action is so
well shot as well, like it's properly like, it's good,
it's really exciting.

Speaker 2 (12:32):
And they're doing it, they're really doing it well. Yeah,
there's a lot of real stunts and very exciting.

Speaker 1 (12:39):
Yeah. I saw Sheila Atam in the Bob Dylan musical
Jukebox Musical in the category of things that should have
been awful but were actually amazing. I saw her in it,
and she sings honestly like an angel. And when I
saw her in this movie like bashing people over the head,
I was like, Sheila Atam, I think can literally do
anything like I think. If you know, if you're looking
for a start of George Miller's new movie about mice

(13:01):
doing a musical in Hell, I'm I'm pretty sure she
could pull laugh.

Speaker 2 (13:05):
What is the filming most related to this year?

Speaker 1 (13:09):
The film I'm most related to this year, is everything
ever oral at once, and this is absolutely the thing
that you were alluding towards earlier. The first time I
saw it, I went with ed Gamble, and afterwards he
was like, when the mother didn't know what to say
to the daughter and called her fat, I knew you
were in trouble. He was just like, I knew, I

(13:34):
knew you're in trouble immediately. I think it's an amazing movie.
It's a lot of things, but I think it's an
incredible movie about immigrant parents and immigrant children and how
the expectations of immigrant parents can sometimes be a burden
on their children, but also how their children can sometimes
lose sight of what their parents have been through. I

(13:56):
thought it was such an even handed You know, there's
so many movies where grand parents are just one dimensional
characters who just want to spoil their kids fun. But
to me, it felt like a really really nuanced portrayal
of that relationship and that dynamic, and you know, you
sort of understand the pressure that Michelle Yoe's character was
under from her father, and how that kind of pressure

(14:18):
and the sort of generational trauma of leaving your home
and upending your life then creates that sense of expectation
on your children and how that gets passed along, but
it also showed that you can sort of heal that
relationship and just like at the end, like when they're
like getting sucked into the sort of vortex and the

(14:39):
daughters being held by the mum who was being held
by her dad. That film to me was so much
about again like the weird thematic overlap between that and
After Son, this like idea of forgiving your parents for
making mistakes and for just being human beings. And also
just further more to that, you know, like I was
a kid who you know, my parents were immigrants, and

(14:59):
I the entire way that I interacted with the world
as a child was through science fiction and superhero films
and comedy. And so to see a film for me
that was about how immigrant parents and children relate, filtered
through the prism of really superb comedy and a multiverse

(15:20):
based plot line, I couldn't I couldn't believe that anyone
else understood that movie because it felt like it was
made for me. And I think that interestingly that you
sort of highlighted the relationship between the moment that which
is obviously also brilliant. But I think maybe that's why
that film is so successful, is that there's a lot
of different people who believe that film was made specifically

(15:42):
for them and was talking directly to them. But they
might have five or six different reasons as to why
that is.

Speaker 2 (15:48):
This.

Speaker 1 (15:48):
Have you forgiven your parents yet, like my parents said
something terrible, They really didn't.

Speaker 2 (15:55):
We know what happened.

Speaker 1 (15:59):
I don't think I really have an I think they
really have anything to be forgiven for. But like I
think it's just like that act of empathy with your
parents is so important, but also for parents. I think
it's the empathy is a two way street. I think
that's what that film. So much of that film is about.
It's about trying to understand where someone else was coming from,

(16:19):
whether it's your partner or your child or your parent.
So much of that film is about how important empathy
going in both directions.

Speaker 2 (16:28):
Is.

Speaker 1 (16:28):
I just I could not have related to that film more.

Speaker 2 (16:32):
Yeah, beautiful, beautiful. My answer is just to use films
that we haven't used. Even though I could say everything everywhere,
and I also could say and I could say, but
it would be the worst woman in the world.

Speaker 1 (16:48):
Frett what a freudiance lip No, no, truly the worst
woman in the world.

Speaker 2 (16:58):
The worst person in the world in which I related
to the worst woman in the world.

Speaker 1 (17:03):
Loved it.

Speaker 2 (17:04):
Great movie.

Speaker 1 (17:05):
Yeah, I'm so happy. I'm so happy you mentioned it.
It was a great The worst woman of the world. Shit,
that was the original name for the ron Lady, wasn't it.
Bang he will do politics. You can't stop stop. This

(17:28):
is not fore turning. What was it? Because I thought
it was a brilliant movie. It could have been my
answer with many categories. What was it that you related.

Speaker 2 (17:41):
The sort of thing of she is kind of just
I read somewhere so I can't take care of this.
But this line that I was like, yes, that's exactly.
It's the constant process of becoming.

Speaker 1 (17:55):
Yeah.

Speaker 2 (17:56):
She's like, I'm this, no, I'm this, I'm in love
with this, I love this and this, and even by
the end she's still not she's still finding who she is,
what it's all about, all of it. And I think
they like, it's just very real. It feels very very real.

(18:17):
I think the sequence when she tries to break up
with her boyfriend and then and it goes on for
so long and then they have sex and they learn
that it's so real, and then the feeling of when
she first meets the other guy, like, all of it,
it was all very very I thought, very very relatable.
And yeah, and this idea of like it keeps feeling

(18:38):
like she's got it, she's figured it out.

Speaker 1 (18:40):
Yeah, no, and yeah, and by the end, I mean,
and they do something sort of nice, even with like
her hair colors completely they make her like physically look
like a different person by the end, and it is
like it's a great movie about how someone's brain evolves
and how someone's personality changes, and it, yeah, eventually feels

(19:00):
quite radical, but it all feels quite subtle, like it's
like a slow moving thing.

Speaker 2 (19:04):
And it's also the thing of weirdly like it's a
kind of positive ending in which she's alone and everyone
that she loved has moved on, and yet she's probably
the best, you know, as in it's like it leaves you,
it leaves her like yeah, cool, what's next?

Speaker 1 (19:23):
Yeah, yeah, what's next? Yeah? Yeah, yeah, it is a
positive ending. Also, what a soundtrack?

Speaker 2 (19:29):
What a soundtrack?

Speaker 1 (19:30):
A fantastic soundtrack. That golf Uncle song at the end,
the Nielsen song, It's all I've also tried to get
people to dance in a context that's not appropriate by
playing one thing by Amory. So I also very much
related to this movie. Yeah, it was a great movie
and one of those films that I was talking about
that I think on some of the year end lists

(19:52):
it felt it either didn't feature or it featured quite
low down. And I think it's literally just because it
came out in January, you came out in January. I
think it's a brilliant film.

Speaker 2 (20:01):
What was the greatest film of the objectively the greatest tough.

Speaker 1 (20:06):
I mean, yeah, it is. It is a real tough one.
I mean, in the interest of giving one that I
think probably isn't going to be my number one, I'll
say Living Okay, because again I thought it was brilliant
because again it didn't sort of think does it need
to exist? Like IKIU is already a movie that lots
of people have watched and people love. But I thought

(20:28):
it was brilliant. I thought Amy Lou Wouold was incredible
in it, and I also like, I love Bill Nye
and I also like I love the Bill ni thing
that he does so often, you know the kind of
character that he plays in like sort of versions of
this sort of swaggeringly charismatic English gentleman in things like
State of Play, and then like the sort of most

(20:49):
commercial version of it is the thing that he does
in love actually, but with this it was like he
was so in this part, and he was so plausible
as the incredibly restrained man who like doesn't know how
to express the Shia terror that he's found out he's
going to die, and like, I just you know, he

(21:11):
decides to do something with whatever time is left for him,
and the other kind of guys around him almost don't realize, like, well,
we're all dying, like at the end of the day,
Like we're all to some extent in the situation he's in.
So it should inspire you to take risks and take
chances and do things that you want to do, and
he inspires the two younger people in his life. But yeah,

(21:32):
I just thought it was beautifully made, Like the script
was great, Ishi Guru, just classy, beautifully executed. What was
your greatest film?

Speaker 2 (21:41):
My greatest film is mass as it was at the
beginning of the.

Speaker 1 (21:45):
Year, and.

Speaker 2 (21:48):
I think that Matt and It's it's difficult because all
these films are great amazing. But I do think that
Mass is which I've obviously talked about this podcast, but
not for a year because I've been holding off for this.

Speaker 1 (21:57):
Yeah.

Speaker 2 (21:58):
Mass is a small film that's an hour and a half,
that is essentially four people at a table talking, and
it is incredibly cinematic for a film that on paper
is like a play, and it is about an incredibly
difficult Again, on paper, I go, oh, I didn't want
to see Mass. That sounds not fun, and it isn't fun.

(22:19):
It isn't fun. It'll be fair, but what it is,
you know, I've talked about it with you, this idea
of hopelessness that I hate in art. And if the
message of the film is, what's the fucking point?

Speaker 1 (22:31):
As fucked.

Speaker 2 (22:32):
And this film takes an incredibly difficult, difficult subject and
I think it treats it with respect and dignity and
thoughtfulness and incredible piece of writing. The characters are so specific,
and none of them seem like sort of stereotypes. They're
all weird, they're quite weird. And Daud's character is weird,
like kind of uncomfortable and you don't sort of warm

(22:53):
to her, and yet she's a very tragic character. And
yet the end of the film, the sort of point
of it, it is a genuine solution. It isn't just like, well,
here's a note of hope to leave you with within
this heavy, heavy, incredibly sad, difficult subject. Here is a thoughtful,
actual solution that could lead to a better world, you

(23:16):
know what I mean. And it's based on those I'm
so sorry that I don't know the official term for it,
but I believe they did it in the fucking basically
making victims meet with.

Speaker 1 (23:29):
Yeah, the fact, Yeah, the families are the victims of
the families of the perpetrators with each other.

Speaker 2 (23:36):
To try to find some forgiveness and understanding and hopefully
be able to move forward in some way from this
very severe grief tragedy. And I think that if the
acting's amazing, the director is amazing, the writing is I
think it's an amazing bit of writing, and it's just phenomena.

Speaker 1 (23:56):
Yeah. I watched it because you were so insistent about
how much you loved it, and there was a moment
I was really in it and I thought it was brilliant,
and there was a moment where I was like, man,
I'm genuinely surprised that Brett likes this only because one
of the things that you really don't like is films
that seem like plays. Yeah, well yeah, one of the

(24:17):
things you don't like is placed full stop. But like
definitely like films that seem theatery. And I did think
there was a point because also it's I think the
way that it's film is really interesting because the camera
is quite sort of fixed and it doesn't really go
handheld for a lot of the beginning of the film.
It's often like quite locked off shots, and then suddenly

(24:41):
as the kind of there's like an argument happens and
the camera suddenly starts to go handheld, and it's like
it's that same thing where a technical thing has a
really emotional and rhythmic impact because suddenly you like feel
it makes your stomach go, like you suddenly feel like, fuck,
this thing's unraveling. And as it starts to unravel, the

(25:02):
kind of icy technique starts to unravel, and then it
suddenly hard cuts to the view outside the church, and
I just thought that, and then I was like, oh, right, Okay,
that's why Brett likes it, because actually it's a film
and it's filmmaking, and the just because the techniques are
subtle and subsumed doesn't mean that they're not there and

(25:23):
choices haven't been made. I thought it was absolutely brilliant.
I thought, yeah, I just thought that, like, fuck fucking
Jason Isaac's face in that film, like he's just this
like contorted ball of like grief and rage and yeah,
and yeah, the four performances are incredible, Like without the
four performances are extraordinary. The script is brilliant. Yeah, I

(25:46):
thought it was. I thought it was absolutely brilliant.

Speaker 2 (25:48):
I also think the moment at the kind of very
near end, like like they seem to have kind of
reached a conclusion in their conversation and the father of
the shooter leaves and they kind of say goodbye to
each other, and then the mom and dad comes back, yeah,
to say one more thing, and it's such a sort
of heartbreaking thing that she says. And genuinely, what I

(26:09):
think is amazing about it is it it doesn't let
it off the hook, you know what I mean, It
sort of goes whatever the solution you now have in
your head, there's also this and this is fucking difficult
for all of them. It's and I just think it's
an incredible piece of empathetic writing that he Frank Cranz,

(26:30):
who I met and was on the podcast and is
like twelve years old, that he could have that he
could have got so deep into this in such a
way that doesn't feel remotely didactic or preachy or like archetypal.
It's like so specific these characters, and so I just
particularly love that and dad and her husband in it

(26:50):
that they're quite odd and uncomfortable, don't you don't warnt
to them for a long time.

Speaker 1 (26:57):
Well, and also there's lots of unspoken stuff like he
he lives they live separately now, yeah, yeah, you know,
and that and that's sort of just casu that's quite
casually thrown away and mentioned, but obviously it's hugely important
because it's happened. This is I think we're six years
after the shooting at the point that this conversation has happened,

(27:18):
And you know that it's great just throw away detail,
you know when in one sentence someone basically just says
a film and then moves on, you know, like the
film a film about the sort of relationship between two
people breaking down because their son killed. That's I mean,
that is literally that's pretty much we need to talk
about Kevin, like but we need to talk about Kevin's

(27:41):
just like quite elegantly said almost the side.

Speaker 2 (27:46):
There's also the thing that the beginning of the film
that that plays into my whole thing of like life
of like life is sort of mundane tiny things and
huge seismic things, and the kind of funny it's almost funny.
It's funny of like where do we put the seats,
how are the reality of how are we setting up
the room for this thing, and just the mechanics of it,

(28:08):
and this woman being trying to do the right thing
and it's arguing over whether you put nibbles on a table.
It's amazing.

Speaker 1 (28:16):
But also those two characters that work at the church
are comedy characters, like again completely wrong footed knowing the
subject matter and going in You're like, these are like
Cohen Brothers characters, Like they're like sort of weird, small
town American like eccentrics. But you're like, of course they're eccentrics.

(28:37):
They're people who like regularly volunteer at a church, like
we know people that volunteer in like community theaters and
community churches. They can sometimes be a little odd and
they did remind me of like the venue stuff in
like a small art center, like charming, eccentric, goofballs, And obviously,
just because what's about to happen is very heavy, it's
still happening in a community hall, in a church hall,

(29:00):
the people running it. But for the first five minutes
I was literally I was more confused than I've been
in a film at any point this year, because I
was literally like, what the fuck is going on? I
thought this was like like school shooting drama, and now
I'm watching this kind of sitcom episode about but you. Yeah,
yeah it was. It was brilliant. It was really really brilliant.

Speaker 2 (29:18):
Good all right, good, all right, that's that's that done? Right?
Oh he's a good one. What's the funniest film of
the year.

Speaker 1 (29:25):
Well, why don't you go for this one? Let me
tell me what the funniest film with the year.

Speaker 2 (29:29):
I loved Bros. I loved Bros. I went to see Bros.
Quite late in the in the world of Bros. I
went with a friend of the podcast, Camille, who was
heavily pregnant. We went and watched Bros. And I loved it.
I thought it's fucking funny. I think it's a massively
underrated film. I completely understand why it was. I think

(29:53):
it had excellent reviews and then it didn't do particularly
out of the box office, and people, yeah right, there were
all these arguments of why that was. I think what
it is is it's a lot of films, and I
like all of them. It's a really fun traditional rom com.
It's also quite a raunchy gay comedy and like what
hardcore in that side of it, And it is also

(30:14):
like a Spike Lee film.

Speaker 1 (30:16):
Yeah.

Speaker 2 (30:16):
Yeah, there's parts in it when they're in that museum
where you're given flashes of the history where it's like,
this is a Spike leef h. This is also a
Spike Lee film. And the other side of it is
it's fucking funny. Yeah. Yeah, genuinely made me laugh out
loud many times. I think it's in excellent film and deserved.

Speaker 1 (30:35):
Yeah, I thought it was very funny. I definitely agree
with you that it felt like a few different movies,
and I felt maybe the third one of those, the
kind of Spike Lee film, all felt too much like
a different film. But I would also have liked to
see but I didn't feel got developed. The Actually I
was perfectly happy watching the straight up rom com Slash,

(30:57):
the sort of more adult version of a rom com
like raun cheer version of I was very happy watching
that and didn't necessarily need or would have like been
happy and watching a separate version of that third film.
But it's definitely very funny, Like it's definitely got really
good jokes in it and really funny performers in it.

Speaker 2 (31:16):
Yeah, what's your funniest family is?

Speaker 1 (31:18):
Well, there were lots of comedy movies that I enjoyed,
really liked Funny Pages a lot.

Speaker 2 (31:24):
That's great, really like really.

Speaker 1 (31:27):
Like massive shout out for Funny Pages because I thought
that that was a really like what a fucking grubby, fucking.

Speaker 2 (31:34):
Yeah, it is full gravy. There's an old Chris Rock.

Speaker 1 (31:42):
Routine about how he finds Jamaine Jackson greasy and he
says that he has to he has to wipe his
TV down every time Jamaine is on TV. And after
Funny Pages, I was like, I gotta give this TV
a white like that. It was like the flat that
he goes. Anyway, it's a wonderful movie, and I hope
people go and watch it, But if I'm being completely

(32:02):
honest with you, the film that made me laugh the
most this year, just I'm purely doing it in terms
of I thought Knives Out Too was so funny.

Speaker 2 (32:11):
It was really funny, and I thought it was.

Speaker 1 (32:14):
Consistently funny throughout. I think that there are genuinely great
jokes in it. I think that Jared Lito's hard komboocher
is hilarious. I think that they are like also really
fun little meta jokes for film fans, which obviously I love.
In the one of the flashback sequences, a clue that
Edward Norton is the biggest dickhead in the world is

(32:35):
that he is. He has come out that night dressed
like Tom Cruise's character from Magnolia, and that it's such
a brilliant way of going This guy saw Magnolia and
thought Tom Cruise was somebody should dress like that. He's
such a fucking bell end and like a misogynist and
all of these things. And also I thought it was

(32:56):
a brilliant satire about disruptors, and you know that we
sort of constantly seeing people describe themselves as disrupting things,
and generally what it means is I don't really pay
a full lack of tax, like that's like the main
thing that they disrupt is the taxation system and the

(33:17):
coffers of the public purse. And I thought that all
of that stuff was great, and then I thought it
became a kind of satire that became embedded within the mystery.
And like Nins Out, one had lots of satirical elements,
and it was a kind of goof on satire and privilege,
but the mystery of it is still preserved, Like the
mystery of it is specific, and what happens to Christminer

(33:38):
Plumber is a specific anthichristic mystery. In this one, the
satire seeps into the mystery, so at the end there
is no mystery. It was the person you thought it
was the whole time, because disruptors and people that claim
to be disruptors are simply not interesting enough. And like
Daniel Craig's exasperated speech at the end, I thought was
so funny and like such a perfect like this installation

(34:01):
of something in the culture that I was houting. I
was properly like lost my mind laughing. I thought it
was so funny, and also like at the opposite end,
I loved it because it was a film that hated
a lot of its characters, like it loves obviously, it
loves ben one Blanc, and it absolutely loves Jenellemane and
who was great in it as well, Like that double

(34:21):
performance thing is fucking brilliant. I thought she was brilliant
in it. It loves Genelman, but it hates all of
its other characters and lots of the Like TV and film,
that's kind of depicting the super wealthy by necessity in
order to sustain the drama, especially if it's a TV show,
it has to be nuanced and it has to give
you layers to these people. This was fucking two hours

(34:42):
and it was a comedy movie and they were just
like fuck these people.

Speaker 2 (34:46):
But I say this, this is this is my point. Yeah,
I think it it thinks they're all idiots, but I
think it joyfully thinks that. Yeah, yeah, it loves them.
I think it is loving hanging out with them and
making fun with you.

Speaker 1 (34:57):
Yeah, yeah, it's loving. It's loving hanging out with them.
It's loving it. But it is deeply loving giving the
consequences to them and giving Janelle Mona and like you know,
she's so like he's like like Annadamas in the first movie,
like She's such a like likable central presence, and the
film clearly loves her, loves Benoa Blanc, but it properly

(35:18):
like it made me laugh out loud consistently, and I
saw it in and again like just they should have
released it for longer in the cinema because it was
a pleasure to see it in a pack cinema, people laughing,
people gasping. I thought it was really fucking funny.

Speaker 2 (35:31):
Good answer, do do do? Do? Do do do? Welcome
to the patret section. Ah, come on in this you've
been missed, sailo. Also tell us the secret. You fucking
tell us a fuck or will kick you out.

Speaker 1 (35:53):
I'm trying to think about what a good secret would
be this year. I guess like it's funny that I, well,
here's a good secret. I attended a screening of Liquorice Pizza,
a press screening of Liquorice Pizza with a Q and
A with Alana Him and Paul Thomas Anderson. And when
they asked me whether my name was on the list,

(36:15):
I said yes. They said what's your name? I said,
Brett Goldstein And I walked in because it was your ticket.
You were away at the Q and A and you
were like, just take my ticket, and I just assumed
they'd be a ticket. There wasn't. There was a guest list.
I looked about in the eye and said, my name
is Brett Goldstein, I would like to see liquorice pizza please, And.

Speaker 2 (36:33):
They let you in right because in the UK.

Speaker 1 (36:36):
I was I was wearing my AFC Richmond top and
I did go up and went, let me in, your
fucking cunts.

Speaker 2 (36:44):
Ka Kay.

Speaker 1 (36:46):
I made James A. Caster a couple of dresses, Keeley,
I love that, all right. No, I'll be honest with you.
They knew I wasn't Brett Goldstein. They might have even
known who I meet and James A. Custer were. They
just couldn't be bothered a lot. It was a business
was going to do it. It was a busy screeting.

Speaker 2 (37:05):
What's the film that changed your perspective on something this year,
miss Komer?

Speaker 1 (37:10):
Okay, I'm okay. I definitely yes. I'm very happy to
talk about this film because I really liked it and
it did. I think it sort of changed my perspective
on a few things. Benediction, which is Terence Davis's film
about the war poet Siegfried So Soon, and it's like
another one of those movies where like, what I associate

(37:32):
those war posts with, unfortunately is being forced to read
them at school. And I thought that this would be
a boring film, and I wasn't particularly interested in seeing it,
but then for some reason I saw I think I
might have seen the trailer and thought, oh, well, actually
that looks interesting. And also everything Terence Davis does is interesting,
Like whether you know whether it's successful or not, everything

(37:56):
is interesting. You know, whether it's like I mean, Distant
Voices Lives is fucking incredible, but like he is one
of the great British filmmakers. And I went to see
it and I loved it so much. It's absolutely one
of the best films I saw this year. And I
think that it made me think a lot of things.
I talk about it quite a lot in therapy. Yeah, really, yeah,

(38:20):
because I just think that generation, particularly of gay men,
were put through so much trauma. They had to live
these like secret lives. They all end up getting into
these unhappy marriages to equally unhappy women and both of
their lives get ruined and the trauma warps them. And
I think one of the things that you understand is
you get older. Is like I think when you're a kid,

(38:42):
you're like, well, you hit twenty one, and then you
saw of the same person until you're about thirty, and
then you're just that person until you die. And people
talk a lot about self improvement, but also the opposite
is true, you can get worse as a person. And
Benediction is the story of Siegfried Tosoon's personality being bent
out of shape by his life experience and his trauma,

(39:04):
Like and he sees terrible things in the First World War,
but then he has to, like he comes back and
there's no like hero worship if he has to live
alive for his entire life. And then also he's in
love with Wilfred Owen. Wilfred Owen is killed, and then
it's almost almost beyond that. And maybe this is something
that I just thought, like if you produce cultural work

(39:25):
on art of any description, there's like a pettitoess to
him about how he's received critically that I also really
related to that, I thought, But all of that like
warps him and makes him really sad, And I thought
it was a really brilliant depiction, Like the transition from
Jack Loudon, who plays him as a younger man to
Peter Capaldi, I think is so wonderfully done. And also

(39:47):
there's just lots of like funny and sort of joyful
scenes when he's like in his twenties and early thirties
and he's just there's this whole like secret subculture of
gay men who live these kind of life and they
have the you know, they have they sleep with each other,
and they you know, go to these fabulous cocktail parties
and then they all sort of have to sadly go

(40:08):
off and get married. And also I did think so
it made me think differently about how tragedy and trauma
can warp you as a person and your life experience.
You don't just live through things like life has an
impact on you, and if you don't take care to
maintain your personality, it can collapse without you even realizing that.
He doesn't realize how bitter has become by the end

(40:28):
of his life, and his son is just like, you know,
why are you so angry about all of these things?
And there's literally a point was like, why are you
angry with new things? He's like, because it's young and
it's the most honest thing. He says, like he's bitter
that his youth has kind of disappeared, but also it
really made me. And this is the sort of anger

(40:49):
you can only have if you're not from a marginalized
community and having it semi patronizingly on their behalf. But
like we studied so much Wilfred Owen and Sacrets to
Suit when I was at school, and at no point
did it ever come up that they were gay, at
no point, And just you think about, like it isn't
just that it's an active suppression of information, you know,

(41:10):
Like we were still at school when Section twenty eight
was a law, and like it was you know, there
was a law on the statute books to prevent the
promotion of homosexuality whatever they called it. And it's just like,
you know, these people who we like force you to study,
they were gay men, and like Wilfred Owen and Secret
to do huge parts of the national story we tell

(41:30):
ourselves about the sacrifice at war. We're not even going
to fucking give them the dignity of telling you that
they were gay, and we're going to continue to suppress
their sexuality as we did to them when they were alive.
After they're dead, and I sort of walked out of
it being like we've we like it's so wrong, Like
it's you know, like obviously a gay person knows all

(41:53):
of this stuff, and it's like, yeah, we've been angry
about this for a long long time. But I walked
out of it thinking how different a country we'd be
if these people who were like we venerate as like
titans of the story. We tell ourselves about the sacrifice
of our boys, and we say things I never forget,
you must never forget, but forget this, get this, you

(42:14):
forget this huge fucking part of their lives and personality.

Speaker 2 (42:20):
But ignore that.

Speaker 1 (42:23):
Actually, you know what, Brett, that's the perfect description of
the British attitude to his never forget but do ignore, ignore, ignore,
please do. I hope it's on Netflix in the UK,
but I don't know if it's globally available, but Benediction
is on Netflix in the UK, and I just I

(42:44):
think it's I think it's a brilliant, brilliant film, and
we're very lucky to We're just very lucky to have
a filmmaker like Terrence Oervis.

Speaker 2 (42:53):
And Jack Louden is a brilliant actor ever since fighting
with my family. He's brilliant. All right, question is good
luck to you Leo grand lovely or Leo graogra good
luck to Leo Grande, which I just really liked. I
liked as a script, as performance, as an argument. I
just liked it. That's another film. As two films that

(43:16):
on paper could be like plays. Yeah, yeah, but they're films.
And I thought, what did it change my perspective on
I'm not sure it entirely changed the perspective, but it did.
I liked the I don't know, it just showed you
something that you that you don't usually see, which was
an older woman with a sex worker trying to experience something,
and it felt very real, the nervousness of her and

(43:38):
the insecurity, and I thought it was a lovely, sort
of wonderful thing that he never makes her new come
she does it and it's like it's a nice.

Speaker 1 (43:49):
It definitely shows you something you don't really see on
TV anymore, you know, with that age express against sexuality
and it not being like it's not like a totally
serious movie, like it's funny in place, but it's not
like that element of it and her sexuality is not
like played for jokes.

Speaker 2 (44:05):
No, the only bit that I was like, the only
bit in the whole film that I was like, that's
mad is when she disappears for a moment and he
eat He just stuffs a kick kat In and then
goes to kiss her. I'm like, that's You've lost me.
I had got rid of your immediately.

Speaker 1 (44:24):
It's cheue a gub or nothing.

Speaker 2 (44:26):
What is the best opening to a film?

Speaker 1 (44:30):
Straight up? Women King? I thought the opening of The
Woman King was incredible. That attack scene and again it
you know, you get the information about what you need
to know about the aureo and the the homemade and
then you just immediately bang, you're into it. The shot
of Viola Davis standing up from the kind of long grass,
and then the shot of them all joining her, and

(44:53):
then just straight into that fight scene. I thought it
was like I was giddy at the beginning, you know,
like when a film really starts fast, it's sort of
a dreamal rush of it just going. It captured that
thrill of like how exciting it is when a film
just goes his absolutely minimal exposition. I mean, it's an
odd comparison to make, but it is sort of is

(45:15):
the star Wars thing you get the crawl and then
bang straight into the actual I thought it was great.
What was yours?

Speaker 2 (45:19):
I think I'll go with a few, but I think
I'll go with Yemen's Lovely, which I love. That film
is such a dark film, such a weird film, moving
and a film entirely about death, which you know.

Speaker 1 (45:34):
Yeah, yeah, perfect for the podcast as well.

Speaker 2 (45:37):
And the fact that's kind of a you know, prologue
which is the beginning, and it's fucking heavy. Yeah, it's
really really heavy, and I'm begging to stop motion. And
it's just beautiful. And the dad, the performance and the
animation of the dad in that film. It should win us,
should have wanted ask for best. It's just such a
good it's and also when you think about the magic,

(46:00):
it's the magic of the actor's voice, but in conjunction
with the artists who have made yeah, puppet moving that way.
It's such a detailed face he has in the micro
expresses all. It's just really something special with that.

Speaker 1 (46:14):
That's great.

Speaker 2 (46:15):
So I'll give it to Panka, right. What is the
greatest ending to a film this year?

Speaker 1 (46:20):
Final Sequences definitely special mention for the end of Triangle
of Sadness, a movie which I will mention great I
have for one of the other artists, but like, I've
never been in a cinema before where the entire audience
is thinking, smash that woman over the head of the
rock when she when she basically says to her, don't worry.

(46:41):
We could go back to civilization and you can be
my helper or made or something, and she realizes that
actually is better for her to be in the community
they've created because she's at the top of the hierarchy,
and the entire audience like, yeah, you have to bash
him on the Absolutely, there's no other way for it.
But I'm going to say the best closing was Hit

(47:02):
the Road, which I also thought was an amazing movie,
and it sort of summarizes everything that is amazing about
that film, because you know, it sort of is a
heavy film, like it's a movie about a family who
have hit the road because they're basically this son is
in trouble with the Iranian authorities and he's basically fleeing

(47:24):
the country. But there's a little kid in the car,
and so the whole film is kind of the little
kid's perspective, and it's mainly the little kid being a
little kid and talking about the batmobile and stuff, and
sort of on the peripheries you go, oh, there's something
quite serious and bad happening here. But mainly it's like
funny dialogue between the dad and the kid, and the
mum is occasionally looking worried at the older son who

(47:47):
is the person that's fleeing, and it's like mainly like
very naturalistic in the car, you feel immersed in it.
And then this one moment where this kind of special
effect thing happens with the dad and the son are
talking and they're like lying it looking up at the stars,
set up camp on their journey, and it almost becomes
like this weird like nineteen sixties Doctor Who shot of
like space and the kid flying, and then the second

(48:09):
flourish is the end because of the sun has got away.
For all the fun and joy of it is very
traumatic and it's very upsetting, and then their dog dies
and they're burying the dog and it's just this fucking
bleak thing. And then just like right at the end,
throughout there's been like these like Irunian pop songs running
through the whole thing, and then just right at the end,

(48:30):
the kid lip syncs the song right down the barrel
of the camera like this little kid and it's I'm
I apologize, I'm about to absolutely mangle the pronunciation of
all of this, I'm sure, but the song is called
sub Z by a guy called Ebbi, and I definitely
have pronounced that incorrectly. But it's this like really like croonery,

(48:51):
rich melodic pop song and the kid starts lip sinking
it looking down the barrel of the camera, and it's
such a like funny and some rising and like charming
end to this movie. And it's like, you know that
you sort of come away from it with the sense
of like they still got each other and they might
be okay. And the way that that's communicated is the

(49:12):
kids seeing down the parallel of the camera. It just
like it just made me feel elated at the end
of that movie. I think the movie is great in general,
but yeah, that ending made me feel elated.

Speaker 2 (49:24):
That's great. My answer to best ending. I mean, loads
of them, lads of them. But I'm going to pick
because I haven't mentioned this film and it's one of
my films of the year. Watcher Watch, Yes, did you see?

Speaker 1 (49:36):
I didn't see Watcher? I would have liked to see Watcher.

Speaker 2 (49:38):
Watch it deserve more, as in I wouldn't see at
the cinema, and I was like, God, it's nice to
see a film like this at the cinema. It's I guess,
you know, a B movie made exceptionally well, right, yeah,
And it's about a woman and it's so good. It's
one of the best depictions of being a foreigner in
a country. Like just there's scene where she's just walking around,

(50:01):
not understanding the language and like going to museums and
trying to kind of enjoy her life, but the whole
time she can't understand what anyone's saying. And so sometimes
so there's this sense of paranora. Are they talking about her?
Are they? But they might not be. She just genuinely
doesn't understand what anyone's saying. And so there's a scene
with her and her husband in the back of the
cab at the beginning of the film, and the husband

(50:22):
they're clearly talking about her, but she doesn't know what
they're saying, and the husband keeps sort of translating. But
there's an element there's one thing that husband doesn't translate, right,
So it's like, what did he just say. I mean,
it's really sort of good. And she believes she is
being watched by someone in the apartment opposite and that
she is kind of being stalked. But as it goes on,

(50:43):
he the person watching, goes to the police and accuses
her of because she's so obsessed that it looks like
actually she's watching here, right And anyway, I won't spoil
the ending, but something happens at the ending, and it
is literally there is a look at the very end
of the film, and the look is it's just one
look and the look is sort of I won't even
say what it means, but it's fucking like. It's a

(51:09):
very good film. Recommend.

Speaker 1 (51:12):
I gotta check it out.

Speaker 2 (51:12):
Really good. Best set piece, favorite set piece of you
any film. It could be in the middle of any film.

Speaker 1 (51:18):
Well, I definitely think the entire city freezing in Worst
Person in the World was incredible. Yeah, but I am
going to say, just everybody's viewing triangle of sadness, everybody's
spewing that refused song from the Shape of Punk to Come,
which weirdly also is like all over the bear, Like
it's so strange when like a song that came out

(51:38):
ages ago. Suddenly two people both decide to use it
in quite pivotal ways in a TV show or a film.
That song that fucking dank dun dun dunn, that sort
of like like hooky guitar thing, and then just everybody
puking and shitting, and I am embarrassed by how much
that woman vomiting into the toilet and then the boat

(51:59):
to get her big lad away and go mind, we
screamed with laughter. Phenomenal, what's yours mine?

Speaker 2 (52:08):
Is? I picked this also because it wasn't talking about
sireno sirena, which is how they pronounce it in the
film Ciren the Peter Dinklins Joe Wright Cyrino, which I
wasn't sure about seeing. I ended up watching on a plane.
And it's a musical. It's a musical adaptation of Sereno,
and he's phenomenal in it. Yeah, it's it's really like, oh,

(52:32):
this was the part, this is the part, this is
the greatest part for you. Yeah, he's he's he's really really,
really good. And it's quite sort of theatrical and weird.
And I'm not saying it's perfect, like there's it's it's
a it's certainly an acquiet taste, I would say, but
it was certainly I really enjoyed it. And there's a

(52:53):
sequence three quarters away through where a load of characters
you have never met and are not part of yours
sing a song as they're about to go to walk.
They're basically about to go over the top to their
deaths in the war. They're being sent to like go
over the top, and it's very clear they're all going
to die, and they sing this song wherever I Fall,

(53:13):
and they're basically writing letters, they're final letters home to
their fathers, and it's so good. It's really really beautiful.
And I listened to a thing which I write where
the producers or the finances whoever it was, were like,
you need to cut that scene because it's not about
the lead characters. And so he very deliberately at the
end of this song, Yeah, the camera pulls back and

(53:35):
their syranide. He's in it, so you can't cut it.
But it's just a really yeah, it's just one of
them really like powerful moments of this is the end
of all these people's lives and you totally care about it.
You've never met him. When you care about them, it's
really it's good, good stuff.

Speaker 1 (53:55):
Yeah, just to briefly mention it, because we haven't really
talked about it all quite on. The Western Front has
like kind of all like a version of that in
the scene, and it's there's just a really not sung,
not Sun not sung. It would have been a quite
extraordinary decision. But yeah, there's a really good scene where
you just see people like you just you're just seeing

(54:16):
people like hops up on nationalism. Like it's almost like
it's depicted like a drug that they're all on and
they're just like, yeah, I can't wait to get to
war like and then it's basically just for three hours,
ruining their sense that they're doing something good. Yeah, it's
very well made film. But yeah, it's funny because it
has the exact same sentiment, just not sung.

Speaker 2 (54:39):
If I've got any note, can they sing this? What
is your here? We go? I think we're here? What
is your favorite film?

Speaker 1 (54:49):
I could not split after soun and everything everywhere?

Speaker 2 (54:53):
We tallied the votes, Well why don't you take you
take after sound and out take everything everywhere?

Speaker 1 (54:58):
Okay, great, perfect? Is that what you're gonna say? Anyway?
Were you also in the similar quandary?

Speaker 2 (55:02):
Yeah, but I think I was leaning Everything Everywhere purely
because of the amount of things it is in one film,
and all of those things are amazing. Yeah, and I
think it deserves and it's fun.

Speaker 1 (55:15):
Do you think that there might have been there has
been a little bit of a backlash against it. Do
you think if it hadn't won, if it hadn't won
the Oscars, it would have in a way it would
be better for the immediate reputation of the movie.

Speaker 2 (55:27):
I haven't seen this backlash, but I'm assuming, yeah, that
would The worst thing that could happen to a film
is to win best.

Speaker 1 (55:37):
You're yeah, You're absolutely right, Like I would say, apart
from Moonlight and Parasite, I'm not sure there's a film
that I can remember that it hasn't in the short
term damaged its prospect. But yeah, listen, after Everything Everywhere,
couldn't choose between them. I'll go after sun you go
everything overwhere?

Speaker 2 (55:54):
Right, We conclude with our top ten top ten in order?

Speaker 1 (56:00):
Do you want to do the honorable mentions? First?

Speaker 2 (56:02):
Well, I've realized we have mentioned all of the honorable mentions.
Yeah that I ad did we mention all of yours?
I know you had exits the only honorable mentions.

Speaker 1 (56:09):
I would say, I thought The Quiet Girl was brilliant,
and I thought it would be boring, but actually it
was really brilliant. I thought it was really good. I
loved Moon Edge Daydream. I'm a big Bowie fan, like
Brett Morgan, the sort of sound collage and the use
of video, and it is really really incredible, Like I
would go as far as saying, even if you're not
a Bowie fan, it's worth seeing just a piece of filmmaking.

(56:31):
And also like a quick honorable mention for Kimmy, which
is like not really a movie that gets made, Like
it felt like a like nineties like really entertaining, fast paced,
paranoid tech thriller, like and Zary Kravitz was great in it,
and like Steve Soiderberg. Blake is another one of those
like George Miller characters where you like you can't really

(56:52):
pin down what he's going to do next, and what
he did next was Magic White three, Like you know,
it's like he and the next movie does might be
like an experimental digital film after he's like shoved an
iPhone up a dog's ass or something like, it's like
you really just have no idea what he's going to do, Kimmy,
Magic Mic three and Dogtown Upper Dogs Ass. There's an

(57:15):
iPhone Upper Dogs ass. Julie Roberts is in it. You
just can't see it.

Speaker 2 (57:20):
We shot this one upper dog's ass one day. It
was while I was.

Speaker 1 (57:28):
Making Magic Mike three. Just in the background, I just
had a dog with an iPhone up its ass.

Speaker 2 (57:36):
Okay, your top ten in order, please.

Speaker 1 (57:40):
My top ten in order. I'm just making sure that
there's not more than ten here. Okay. My top ten
in order is hit the Road Living Parallel Mothers, which
we didn't talk about at all. Pedro, No, he's never
went away, and he's like filmed. His film's getting like

(58:01):
sadder but also still out as outrageous, Like this is
still like a sort of soap opera. It's just it
also has really serious things to say about the Spanish
Civil War and the legacy of fascism, like it is
The Best Man Souvenir Part two, Decision to leave Benediction,
the worst person in the world, everything everywhere after Sun.

Speaker 2 (58:19):
Okay, give me your ten, Watcher at ten, Nice at nine,
good luck to you, Leo Grande, lovely Hey, top Gum
every seven Bros. Six, Pinocchio five, Worst Person of the
World four, Area three After seven two Mass one everything.

Speaker 1 (58:43):
Ever its fantastic. Well that's hard, isn't it? Is that right?

Speaker 2 (58:50):
I don't have to think mass I'm famous and greatest,
all right, we get it.

Speaker 1 (58:54):
I can't believe that I haven't got knives out too
in there because I've really loved it. Yeah, there's no
way that I'm going to feel the same about this tomorrow.

Speaker 2 (59:04):
You know what else we've missed out? What Brian and Charles. Oh, yeah,
I'd say briefly, this brianon Charles is a wonderful film,
Brian Gidson's. I worked with Brian for many, many years.
I love Brian. I was so happy and proud that
Brian Gidtins has existed in so many different YEA forms,

(59:25):
all of which have been amazing, none of which have
been particularly successful, and so for him to have found
this thing where it was like this film and suddenly
it was like a hit, critical hitting of awards hit,
and it was like, you've fucking done it. I love it.

Speaker 1 (59:37):
Yeah, it's great. That could also been like one of
the meaningful experiences because my friend Jim Rsher has also
directed it. And it's it's fucking great. It's really, it's really,
it's wonderful.

Speaker 2 (59:48):
Nish You've been wonderful. But when you tried to confident
me on another Emmy and I murdered you with the
me I beat you to death with it. And I'll
be honest, didn't take as long as you might do.
It's one of the spikes straight for your eye into
your brain done. I almost didn't even use the base

(01:00:10):
of it at all. Was mostly top half of emmy
stab stab eyes eyes, to cut your eyes through the brain,
and then just bashed it in. You were dead, and
that is the last time you're paying me a compliment, son.
And but then I find you because I just killed you.
Yeah yeah, and I'm like, oh blood yeah, what a mess.
So I'll put you in a coffin I've always got.

(01:00:32):
I've got a coffin put you in. All the stuff
is full in there. There's only enough for him to
take one film of the year with you, to take
the movie night when it is your movie night in heaven.
What film you take it to show people of Heaven
in movie night when it's your turn, mister Dishkubra.

Speaker 1 (01:00:47):
Well, I think everything everywhere after sun people will bring them.
So I'm going to bring Benediction.

Speaker 2 (01:00:52):
You are such a bummer, you bring such a down
sucking out all the people in heaven. Welcome this what
we want, the saddest film with the thanks mate. Can
we send him back again? We keep sending him back. Yeah,
but he sat it down.

Speaker 1 (01:01:13):
Take your medicine, Heaven, take your medicine.

Speaker 2 (01:01:17):
Well done.

Speaker 1 (01:01:18):
This, well done to you. Another great year.

Speaker 2 (01:01:21):
We did it in only two hours. He really did
it this day.

Speaker 1 (01:01:30):
That again. Listen. The important thing is we're keeping it
down to a two.

Speaker 2 (01:01:35):
Part Yes, it's two part classic this hope I see
you very soon. And I realized we've never done your
judgment day, have we?

Speaker 1 (01:01:47):
No?

Speaker 2 (01:01:47):
I just sort of killed him by directed killed him.
Director never judged you. It's time we did one day.
We'll see.

Speaker 1 (01:01:52):
Well, I'll tell you what else, Brett. I've seen some
films in twenty twenty three. I've seen some films. Let
me tell you.

Speaker 2 (01:02:01):
I see and I'll tell you here's my review FI
the year twenty twenty three. The mainstream it's doing. Yeah,
good ship man, the mainstream. Good ship covers like some
good main Hollywood films. Yeah, like oh, someone's remembered how
to make good films.

Speaker 1 (01:02:19):
Yeah, here we go and people are going to see
them as well, which is fucking great. It's really exciting.

Speaker 2 (01:02:24):
And like, anyway, where's wait till June next year? All right?
Well done? Oh yeah, when do we listen to toilet? This?
And the pod?

Speaker 1 (01:02:35):
Toilet on? The pod starts on May the fourth. It's
called pods like the UK. Regrettably. Thank you, Brett, thank you,
I see you so peace out. So that was episode
two hundred and forty four. Head over to the Patreon
at patreon dot com Forward slash Back Goldstein for all
the extra videos, chat and stuff and secrets with Nish.

(01:02:58):
Remember to watch Shrinking and Ted Lasso on Apple TV Plus. Also,
this week is my final week with a cast. I'm
moving to iHeartRadio next week. Nothing will change in the
service here. I want to say thank you to a
cast who've been absolutely brilliant. They've been here from the
beginning and they've been wonderfully supportive and wonderful and I
love everyone there and I will miss them.

Speaker 2 (01:03:19):
Thank you very much for everything. Thank you to Scrubius
Pitp and the distraction pieces of network. Thanks to acast
for hosting this for so long. Thanks to Buddy Peace
for producing it, Thanks to Adam Richardson for the graphics
at least Alight Them for the photography. Come and join
me next week for a brand new episode We're We're there,
you know, an absolutely banging guest. So that is it

(01:03:41):
for now, Thank you very much for listening, and in
the meantime, have a good week and please be excellent
to each other.

Speaker 1 (01:04:07):
Back back backs out sick by FSA by bos backs
outside back back back bays backs out says back back
back

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Nish Kumar - Films Of The Year 2022 (2 of 2) • Films To Be Buried With with Brett Goldstein #245

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Nish Kumar - Films Of The Year 2022 (2 of 2) • Films To Be Buried With with Brett Goldstein #245