Baby Girl: Nicole Kidman, Controversy, and the Power of Performance - S04E03 - First on Film & Entertainment

Episode Transcript
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Speaker 1 (00:00):
First on Film and Entertainment.

Speaker 2 (00:01):
We have got Greg King, Peter Krause, Sandy Kay and
Jackie Hamilton. So the gains back together again, and last
week we had a bit of fun talking about a
number of the Oscar nominated movies. There are a few
others that we need to talk about that missed out
potentially but are still worthy. One of them is Baby Girl. Now,
it's a very controversial film, and it's controversial because obviously

(00:25):
it talks about sex, involves sex, involves kinks.

Speaker 1 (00:28):
All of that stuff.

Speaker 2 (00:29):
But it's also about Nicole Kidman taking on roles that,
let's say, adventurous.

Speaker 1 (00:35):
And I've got to say, I don't know about the
rest of you, but.

Speaker 2 (00:37):
I admire the fact that she chooses films that are
not necessarily easy topics.

Speaker 1 (00:42):
What do you think, Sandy, I, well, I.

Speaker 3 (00:46):
Agree with you one hundred percent in that she was
quite amazing in this film. And you're right, it's right
out there. I know you're going to tell everybody what
the story is here, but you've got to be prepared
for a bit of a sex ride in this film.
And I'm just left wondering what Keith Urban had to

(01:07):
say and what he thought of her role in this.

Speaker 1 (01:09):
Well, I mean it's not when you say it's right
out there.

Speaker 2 (01:12):
Okay, it's got certain elements, but it's not basic instinct.
I reckon a lot of it's suggestive rather than explicit,
and that's obviously they wanted to play it. So yeah,
I didn't think it was all you know, it was
all that far. I think they could movies go a
lot further than that. And it's just I think linking

(01:34):
the subject matter with Nicole Kidman doing what she's doing
and being a cougar and all of that stuff, I
think that's what's got the attention of a lot of people.

Speaker 1 (01:43):
What about you, Jackie, what did you think of it?

Speaker 4 (01:45):
Well, Alex, I don't necessarily agree with you when you
say it's suggestive but not explicit. I think it's extremely explicit,
just because it doesn't Oh, this is all right. Sandy's
dog barking?

Speaker 1 (01:59):
Is it? Sand to it? Dog gone?

Speaker 4 (02:02):
Now?

Speaker 1 (02:03):
Do you see it?

Speaker 2 (02:05):
Do you growl back at dog the same way that
dog growls at you, Sandy.

Speaker 5 (02:08):
No, he's just barking at something outside.

Speaker 4 (02:11):
He likes me.

Speaker 1 (02:13):
Okay, sorry, go ahead, Jackie.

Speaker 4 (02:16):
I was saying I think that Nicole Hidman's role in
this is very explicit and shown in explicit close up.
It's just because you're used to the idea that you know,
nudity and showing sex acts in full body is what
being explicit is.

Speaker 2 (02:37):
Well, but hang on here, Okay, let's be clear for
people who are going to go along and see this
film for titillation reasons. I was going to say that
we see her from behind, and we.

Speaker 1 (02:48):
We we just we see a flash or two of
a nipple. That's it. I mean, it's not exactly that's
what I'm saying. Well, that to me is not okay, mate.

Speaker 2 (02:58):
I've just gone to see as part of Midsummer the
most explicit show I've ever seen, and that sort of
went down to treat with the audience. But you know,
I suppose I'm I can only compare it to other
movies that we've seen, and I mean Basic Instinct was
a lot more explicit than this.

Speaker 1 (03:14):
And that was nineteen ninety two. So what about you
better find detail or the subject matter.

Speaker 2 (03:23):
But in terms of Nicole Kidman playing it, how sexually
explicit you think baby Girl is?

Speaker 1 (03:31):
Peter?

Speaker 6 (03:32):
Oh sorry, I was getting double conversations. Look, I think
we're missing the point of the film because yes, there
is some sexual explicitness in so far as that she
is a sex addict, but it's about power relationships and
power plays and about women having power.

Speaker 1 (03:52):
I'm not questioning that at all.

Speaker 2 (03:53):
But I'm saying, would you consider this to be an
explicit movie?

Speaker 1 (03:58):
Mildly explicit? Right, Miley?

Speaker 7 (04:01):
Okay, Greg, Yeah, while we're explicit, there are a few
sort of confronting, problematic scenes there, but it's not as
explicit as some of the films You've said, we've seen
some eu opeion films.

Speaker 1 (04:14):
Yes, exactly.

Speaker 2 (04:14):
Look, I suppose also it's interesting here because it's is
it long gender lines, Jackie?

Speaker 1 (04:20):
Perhaps in terms of perception.

Speaker 4 (04:23):
Absolutely, I think it is, Yes, totally. I think I'm
saying it completely differently from how you.

Speaker 2 (04:31):
Yeah, you too, that's great, and that's why it's terrific
that we've we've got you and Sandy on.

Speaker 4 (04:35):
I mean, this is this is a real close up,
the close closest close up you can get during sex
of a woman's most intimate moments. I mean, how much
more explicitly than that.

Speaker 2 (04:51):
But it's not it's on face rather than elsewhere. Okay, Sandy,
do you and.

Speaker 3 (05:00):
To agree with Jackie. I mean even the soundtrack has
moaning in it. I mean, you've got to be careful
who you attend this movie with. I have to tell you,
if you're on a date and you haven't gone to
bed with that person yet, this is not the movie
that you want to go see.

Speaker 4 (05:17):
Not a first date on.

Speaker 5 (05:19):
It's definitely a few movie.

Speaker 1 (05:22):
I don't know if you've picked your partner carefully. Maybe
it is.

Speaker 4 (05:24):
Who knows.

Speaker 3 (05:25):
No, it's full on and she's in such compromising situations.
I mean, it doesn't when we say it's graphic and
out there, it's not that we see genitals and things
like that.

Speaker 5 (05:37):
It's much more subtle than that.

Speaker 4 (05:38):
I think exactly. Yep, and she's at her most vulnerable,
and you know, I think that's explicit.

Speaker 1 (05:47):
Well, let's talk about the film a little bit more.

Speaker 2 (05:49):
It's rated runs for hundred and fourteen minutes, and to
the outside world, this woman has the perfect life.

Speaker 1 (05:55):
She's CEO of her own company. The company's going places.

Speaker 2 (05:59):
She's up this doting theater director husband played by Antonio
banderas couple of daughters, and she still has this metaphorical
itch that has long needed scratching and in the most.

Speaker 4 (06:20):
Well, okay, sorry, sorry, it's just a very.

Speaker 2 (06:23):
So no, no, I'm sorry, I'm merely meally male, and
that's the way I'm putting it. But in the most
unlikely of circumstances, Jackie in the indeed is scratched and check.

Speaker 1 (06:36):
The same at the same time.

Speaker 2 (06:38):
Doing so puts in peril all that she's worked so
diligently to attain. And I speak of a woman who's
played by Nicole Kidman, whose character name is Rommy Mathis,
and she's fashionable, she's highly regarded, and she's got a
successful warehouse automation business. She during the business itself, engages

(06:59):
several new in turns, and one of these immediately catches
her eye. Earlier on the street, she had actually witnessed
this particular intern Calming, a ferocious dog who was in
attack mode, much like Sandy's dog was recently. No anyway,
Samuel is his name played by Harrison Dickinson, and he's

(07:21):
not backward in coming forward. He knows what he wants
and he goes for it, and he chooses the Rommy character,
the Nicole Kidman character as his reluctant mentor. And I
say reluctant because she doesn't want to do it, and
the tension in the air is palpable, so it's clear
that physical intimacy between them just a matter of time.
He's the one who will call the shots. He will

(07:43):
turn up unexpectedly. She will succumb to the thrill and
the danger, and Rommy has a decided kink, as does Samuel.
She's though used to vanilla sex with her husband, that
this is anything but that, and the age difference well
no impacted.

Speaker 1 (08:01):
Both continue to push the boundaries.

Speaker 2 (08:03):
Unsurprisingly, matters will inevitably come to her head, and it's merely.

Speaker 1 (08:07):
A question of when.

Speaker 2 (08:09):
So, as Peter said, Baby Girl is about power and control,
and it's also about women climbing the corporate ladder.

Speaker 1 (08:15):
And I'm not just talking here about Rommy.

Speaker 2 (08:18):
But also her personal assistant, Esme played by Sophie Wilde
as May has long sought a promotion, and even though
Rommy has an equal opportunity firm and praises Esme's work,
Rommy has been prevarrogating about giving her that promotion. So look,
I said, it's in the same sexually charged medieu as Fatal.

Speaker 1 (08:40):
Attraction that came out in nineteen eighty seven. And basic instinct.

Speaker 2 (08:44):
So the writer and director Helena Rain, who did instinct,
draws us into this web of deceit, where the risk
of exposure remains an ever present threat. A further sexual
element in the story is Rommy's eldest daughter. Her name is Isabelle.
The character name is Isabelle played by Esthera McGregor, and

(09:04):
she's exploring her sexuality as well interest.

Speaker 1 (09:08):
In the same gender.

Speaker 2 (09:10):
So it's tense throughout Baby Girl. With the music and
sound effects and already we've referenced sort of heavy breathing
and moaning, they help to drive the narrative and Nicole
Kidman really does throw caution to the wind another fearless performance.

Speaker 1 (09:24):
She gives herself over to the risque storyline.

Speaker 2 (09:26):
She really is a force to be reckoned with, whether
wielding power or simply displaying vulnerability, which is what the
role calls for.

Speaker 1 (09:34):
And look Harrison Dickinson.

Speaker 2 (09:38):
I can't say that he's entirely likable as the ball
she lead, far from it, but that makes him eminently watchable,
and again that's what the role calls for. And truth
be told, he's the bad boy of the piece and
I don't need to tell any listener. I don't think
that this isn't the first time, nor will it be
the last, that women are drawn to bad boys.

Speaker 1 (09:57):
Antonio benderis well, it's a largely thank less part of.

Speaker 2 (10:00):
The straight laced husband, and Sophie Wilde makes her mark
as the executive assistant who learns how to step things up.
So I mean yeah, and I kind of like Destain
McGregor as well, quite a meaty role as the daughter
unafraid of spreading her wings.

Speaker 1 (10:16):
So it certainly attracts attention Baby.

Speaker 2 (10:18):
Girl, and let's be honest, sex cells and it always has,
always will. I can't say though, I was totally sold
on what I thought was a convenient ending. I mean,
I just thought, really, would this honestly happen in real life?

Speaker 1 (10:34):
I don't buy it.

Speaker 2 (10:35):
But regardless, no doubting that this is Nicole Kidman's vehicle
and one where she deserves the accolade. So let's start
off with you, Sandy, what did you think of Baby Girl?

Speaker 3 (10:46):
I hate to admit I really enjoyed it.

Speaker 5 (10:48):
I was on the edge of.

Speaker 3 (10:51):
My seat the entire time, and I was quite intrigued
by the whole cougar theme.

Speaker 5 (10:56):
Which seems to be quite prevalent in films these days.

Speaker 3 (10:59):
It's little bit of a fashion for older women with
younger men, And you kind of get.

Speaker 5 (11:05):
It in that setting.

Speaker 3 (11:07):
As you said, her marriage is, you know, it's quite stale.

Speaker 5 (11:11):
The sex she's having with a husband is pretty who hum.

Speaker 3 (11:15):
And this guy comes along and he's this ray of
sunshine and spark of life. I mean, she has no
idea when she gets involved with him that he's going
to turn into this dominating character and make her do
all sorts of crazy things.

Speaker 1 (11:29):
We didn't even have to make her.

Speaker 5 (11:30):
She was so compliant, she was willing to go along.
And it really shows you that sex love with the
question mark is a complete addiction.

Speaker 3 (11:41):
Nicole Kidman became addicted to this behavior and was.

Speaker 5 (11:46):
So vulnerable in that area.

Speaker 3 (11:48):
And could have lost everything, all the career that she
built up so hugely, her family, her whole life could
have been smashed.

Speaker 5 (11:59):
And I kind of get it. I don't say too
much about that, but I kind of get it. So
I did. I did really enjoy this and it was
quite a refreshing take.

Speaker 1 (12:12):
I thought, there we go personal revelations here. What about you, Jack.

Speaker 4 (12:20):
Well, I want to disagree with you on everything Alex
as usual, just the most fun good I would have liked.
I would have liked to have known why right from
the start Ronnie herself or with her husband didn't go
to some form of counseling, because we wouldn't have had

(12:42):
a movie. I know if it had worked it anyway,
I would have liked to Jackie.

Speaker 5 (12:47):
The counseling may not have worked anyway.

Speaker 3 (12:49):
You can't just assume that if they had gone that
it would magically fix their situation.

Speaker 4 (12:54):
No, no, but I would have liked some suggestion in
the movie of why they didn't work or happened. But
obviously her husband wasn't listening to her because she did
attempt to draw him into this. It really is about
the risk taking, and really that what is why I
did like the ending Alex very much.

Speaker 1 (13:17):
I thought that it wouldn't No, I did, I did.

Speaker 2 (13:20):
Never, But I mean, if you relate everything to real life,
this wouldn't.

Speaker 4 (13:25):
Sorry, I didn't realize it was a documentary.

Speaker 5 (13:27):
I thought it was a movie.

Speaker 1 (13:30):
You've got to buy what they're selling, don't you or me?

Speaker 4 (13:32):
And I didn't buy most of the movie. Okay, I
really didn't buy most of the movie, but I liked
the ending because a it showed that her husband finally did.
Are we giving away the ending? How can I say
why I like the ending If I can't.

Speaker 1 (13:47):
No, they were, You've got to be vague.

Speaker 4 (13:52):
I like the I like the ending both in terms
of her her family life and in terms of the
final scene in her professional life where she's in her
office and has a conversation with an older gentleman. Anyway,
so I liked that.

Speaker 1 (14:10):
I was for a moment. Let me at Sandy, did
you buy the ending or not? Do you know what?

Speaker 5 (14:15):
I can't even remember the ending?

Speaker 4 (14:18):
Let me tell you.

Speaker 1 (14:20):
Amor obviously I know.

Speaker 5 (14:22):
What I do remember is that the marriage is resolved.

Speaker 4 (14:26):
Oh okay, guys, she's given it away. Okay, spoiler Anyway.
One thing that I wanted to point out was how
much the gist of this film, A Baby Girl reminded
me of the film Last Summer, the French film about
a similar aged woman who's a lawyer and has a

(14:50):
wild affair with her husband's son, so her stepson, and
this again is the same concept of the taking that
gives the thrill that's missing from her life and her marriage.
And I didn't like that film either. To me, again,
that didn't ring true. I just you know, I just

(15:13):
didn't ring true.

Speaker 1 (15:14):
Which films cer sex have you liked? Jackie Well?

Speaker 4 (15:19):
Sex is only one compliant these.

Speaker 1 (15:23):
Felt I understand that. Sorry I was being a bit cheeky,
But what I'm really asking.

Speaker 4 (15:29):
I actually thought Nicole Kidman, you know, acted, performed, but
was on camera was She's extraordinary. I've always liked her
as an actress anyway, she hasn't always chosen the right films.
I haven't always liked films, but kids, she should have.
The one film she did consult me on was many

(15:53):
years ago. I think it was probably about ten fifteen
years ago was Rabbit Hole and I that's her in
I viewed that's her best acting performance of all time
and the best film she's ever appeared in. And I'll
just that's one of my favorite films of all time. Actually,
And while I'll always think she's a wonderful actress because
of her role in that, but she was very good

(16:13):
in this. I just didn't particularly like the story and
I in particularly like the direction of it either choppy
And did you think she was sexy?

Speaker 1 (16:25):
Do you think she was sexy? No?

Speaker 4 (16:28):
Not really?

Speaker 3 (16:29):
No, It's interesting people are really polarized by the way
she looks. Some I think she looks fabulous, and some
gentleman that I was speaking to going, Nah, she's a
bean pole. She's up and down straight, she's not filuptuous,
she's not good looking.

Speaker 4 (16:45):
She didn't she didn't even smile in the film. Her
role wasn't as warm. She wasn't a warm hearted, smiling person.
And I think that's a lot of Yeah.

Speaker 1 (16:56):
So no, I don't think she I mean Cindy.

Speaker 2 (16:59):
It depends the end, so that that question is it
depends on your taste, I suppose. I mean, I think
she looks extraordinary as well, So there you go.

Speaker 4 (17:06):
But it's the character she was playing, didn't he But
I hum across as sexy?

Speaker 1 (17:11):
No, well, yeah, again I think she was sexy. But
there you go. Greg, did you think she was sexy?
Oh yeah, oh yeah. But here's the ahead with the
let us leave and so not really getting excited, am I? No, No,
Gully raised the temperature a little bit. Greg, tell me

(17:34):
about what of the film? Please?

Speaker 8 (17:38):
You forgot to mention a film called Disclosure with Jimmy
Moore and Mike Douglass about sexual harassment in the workplace
as well, which I thought of when I was watching
this film and changing power dynamics between Nicole Kidman's character
and that of Harris Gipson. So yeah, but film those
scenes of power, dynamic, sexuality, control and all that kind

(17:59):
of stuff I didn't enjoyed as much as obviously Sandy did.
I've thought the shifty natured of the relationshipship between the
pair raised a lot of issues there, But for me,
that faithful attraction that threatened their lives and reputation didn't really.

Speaker 1 (18:22):
Click for me.

Speaker 8 (18:24):
I thought it's a handsome looking production, glossy production values,
nicely shot, I thought as well. And I thought Kidnam
was quite strong as a tightly around Roman rommy ceo
thriving in a male dominated world. Also bought some touches
of vulnerability and uncertainty.

Speaker 1 (18:44):
Did role as well.

Speaker 8 (18:45):
I agree it's a brave and revealing performance in more
ways than one.

Speaker 1 (18:49):
Reminded me a little bit of her work in Eyes
Wide Shut.

Speaker 8 (18:53):
Actually yes, and the probing grammar, and I thought Diffinson
brings a smoldering intensity to his role as a more
enigmatic character.

Speaker 1 (19:02):
It didn't always convince me though, there you go, but
I thought, with sorry Green, can you tell me why
he didn't convince you? What? What? What? What sort of
stood out? Yes, something that's a bit stand offish about him.
I thought, just.

Speaker 2 (19:16):
Seeing maybe that was the character today, Maybe that was
the character was trying to play.

Speaker 1 (19:19):
But it was a stand off.

Speaker 8 (19:20):
He probably wouldn't have structed someone like your whole kidman's character.
So I'm not sure that for me it didn't quite work.
But okay, that's certainly provocative and challenging enough film there,
and it's problematic, and it's issue towards sexuality, gender roles,
and power and domination. But it's certainly better than those
tufty shades of gray films.

Speaker 2 (19:43):
That would be That wouldn't be too difficult, though, I
had it if they set the bar pretty low?

Speaker 1 (19:47):
Did they? I reckon that? Yeah? Was there a bar
there at all? Is my question? Okay, so what about
you now?

Speaker 2 (19:54):
Okay, pleader, I can only imagine as a film what
you thought of this?

Speaker 1 (19:58):
That that's my preamble to you. Go for it, my friend.

Speaker 6 (20:02):
Okay, now, let me put some sanity into this discussion.

Speaker 1 (20:06):
Who wants sanity? Come on, that's right, that's what they
said at Christmas.

Speaker 6 (20:10):
We don't want a sanity clause Anyway, if we talk
about this film, Helena Rain is the filmmaker, and she
previously had made a film called Body's Body's Bodies, and
she loves exploring issues about women, their gender identity, and
their role in life. And she's done this in Baby

(20:30):
Girl to some extent. I don't think she's done it
completely successfully because from the outset we meet Nicole Kidman
as her sexual character, and what the film progresses to
show is that she's attracted to this younger man to

(20:50):
accept her sexual proclivities and as a counterpoint to her
mundane marriage to Antonio Banderas. So that is sort of understandable.
What is not understandable is that she's never really at
risk of being exposed because she's in charge of the company.

(21:10):
She heads it up. She's impervious, in other words, to
what anyone might find out or say about her, which
makes the narrative a little bit weaker for my liking.
And Helena, as I mentioned, a Dutch filmmaker who's had
a lot of acclaim in her films. She has tried

(21:32):
to navigate this not entirely successfully. Also, Harris Dickinson's character
is underdeveloped in so far as his character he goes
along for the ride because he thinks he might get
some power or traction from it, But really we don't
know much about him, and that's one of the failings
of the film, apart from perhaps the ending, Apart from

(21:57):
the mother daughter relationship, which I felt could have been
more strongly developed. Hence, baby girl, who is the baby
girl in this film? Is it me pol or is
it her daughter?

Speaker 1 (22:08):
So Peter, he calls her baby girl that yeah, you can.

Speaker 2 (22:11):
You can call somebody anything you want potentially yes, as
a term of endearment. So now just stop for a
second with regards to the ending. What did you not
like about the ending? Did you not think it was
really in the context of what was being talked about
or what did you not like?

Speaker 6 (22:26):
I think it was a convenient, almost me too type
ending it. But that's as far as I'll go with that.

Speaker 1 (22:34):
Okay, No, that's very well.

Speaker 2 (22:36):
We already we've already given everybody's script virtually throughout this conversation.
All right, So given all of this, given that we
started off by saying, well, some people are going to
be attracted to it because of its subject matter, let's
start with you, Peter, with a score out of ten.
I'm presuming that you're not going to give it much
more than a six.

Speaker 1 (22:55):
Go through your spot on. I gave it six out
of ten, Jackie.

Speaker 2 (22:59):
I I suspect that if you give it a six,
that would be a surprise.

Speaker 1 (23:05):
But that's about as far as you'll go, too.

Speaker 4 (23:08):
Yes, well, I did just want to mention since Peter
reminded me Bodies, Body's Bodies by the director of twenty
twenty two. I love that film. That was a bit
kind of macarb and mad cap and crazy and fun
and gory. I really like that. I was surprised I
like that. So this film is as a follow up

(23:29):
by the director, is a bit of a disappointment for me.
But I will give my extra points on it for
Antonio Benderos, who is terrific as the as Rommy's husband.
I gave Baby Girl five out of ten.

Speaker 2 (23:41):
Yeah, that's right. I was expecting a low ball score. Okay,
it's left. It's left to the real people who like
this movie. Sandy and I reckon, Sandy, you and maybe
maybe I'll give it even a higher mark than you.

Speaker 1 (23:55):
But go for it. What are you giving it?

Speaker 3 (23:57):
I would give it a seven, but I don't understand
why Antonio Banderas was so unappealing. He's supposed to be
a sex symbol in himself, and when you look at
her with him in this marriage, you go, yeah, I
get it. I get why you'd like this, this young
man who's so full of confidence in Bravado.

Speaker 5 (24:16):
And I think it says a lot about.

Speaker 3 (24:18):
Modern sexual relationships today as opposed to the traditional stereotype
of relationships in the past. And maybe we're all too
old to be judging relationships like this, but you know,
I'm always open to learning, so yeah, I would give
it a seven. I thought her performance was good. I
liked the young man's performance too. Banderas didn't have to
do much, he was pretty sidelined. And I quite enjoyed

(24:41):
the thought provoking nature of this film, which kind of
questioned how the world has changed and where women do
stand today, well, where both genders step all genders stand today.

Speaker 2 (24:55):
Yeah, look, you clearly got a lot out of this one,
which it's interestingferent perspectives amongst all of us here, I thought,
apart from the ending, which, as we've talked about enough,
I thought it was good.

Speaker 1 (25:07):
Seven and a half out of ten for Baby Girl.

Speaker 2 (25:09):
It's MA rated runs one hundred and fourteen minutes, and
go along and make your own judgment based on this.

Speaker 4 (25:14):
What about me?

Speaker 1 (25:16):
Oh, I'm sorry, Greg said anything fair? I want my share?

Speaker 4 (25:21):
Holy was a numb his face, Shanon Noel.

Speaker 1 (25:26):
Oh, golly, I would Jeffy on this one? Five out
of ten for me. I'm mortified. I'm sorry, Greg, I
totally forgot you.

Speaker 8 (25:33):
It's literoight, I'm used to being ignored and overlook, Alex,
way about it?

Speaker 2 (25:38):
All right, Well, hang on, you can have your first
say on being my Companion, which is the next movie
we're talking about.

Speaker 1 (25:44):
You're on Jay Air by the way, eighty eight FM.
He contribute. Why not? Fifty four bucks gets you membership.

Speaker 2 (25:49):
Just go to jdash Air dot com dot au and
we need your support. We want to have you listen,
and yeah, we want to keep the station on air.
So Companion the a of the movie m A, rated
ninety seven minutes. And I'll start by saying, be careful
what you wish for, because that really is one of
the takeaways from the psychological thriller. And what I really

(26:13):
liked about this movie is it goes in one direction
and then all of a sudden goes click, and oh
my golly, it really ramps up so very first, I
don't know whether you any of us remember your first
meeting with your partner. I certainly do, because here I'll
do a little bit of seeing you have done a
lot of the personal initially. In terms of talking about

(26:36):
the previous movie, Sandy, I'll talk a little bit about companion.
I remember my first meeting with my wife. It was
incredibly memorable.

Speaker 8 (26:45):
You're sure there is a real meeting and not a
figment of your programming it?

Speaker 1 (26:50):
Well, it could be my mind.

Speaker 4 (26:52):
Eh, don't know.

Speaker 2 (26:53):
Spoiler spoiler, Yeah, hang on, what is going on here?

Speaker 1 (26:57):
Guys? We do not want to give away too much
about him? All right? And I assume your trailer knows
what the movie's about.

Speaker 4 (27:05):
Well, yes, but somebody might go without saying the trailer
erect correct.

Speaker 2 (27:10):
Anyway, I remember what my wife was wearing, how she looked,
and the impact she had on me when we met
all those years ago.

Speaker 1 (27:19):
It was phenomenal.

Speaker 4 (27:20):
So don't you make a movie about it?

Speaker 1 (27:24):
Well?

Speaker 2 (27:24):
Yeah, because I'm a reviewer not a movie maker, so
you can make it.

Speaker 1 (27:28):
You'll give me your take on it.

Speaker 4 (27:30):
But who would play you in the movie? Would it
be Tom Cruise.

Speaker 1 (27:35):
No, it's interesting.

Speaker 2 (27:37):
I some people have equated me to another actor.

Speaker 1 (27:41):
His first name is Ryan. What's his surname? God's just no. No,
it was a oh great, my mobile phone is ringing?
What we're doing? Don't people know not to disturb me
in this context. I don't know what to do here.
How do I switch? Turn it off? Turn it off, folks,
I don't know. I'm trying to it often it doesn't
turn off. I'm visiting a.

Speaker 5 (28:02):
Lot of technical problems today.

Speaker 1 (28:05):
You know what it is. I mustn't have put it
on silence, so I bring them back. So I apologize
for everybody listening. This is chaos, okay. The reason I'm
mentioning all of this.

Speaker 2 (28:15):
And I've got to say that my wife was in
a jumpsuit with a purple shell in the middle of
her mid riff and her eyes and makeup.

Speaker 1 (28:23):
Oh my golly. Anyway, this big I was turning into
a relationship show. And it's very strange. It is. Look,
that's the beauty of live radio. Decidedly awkward.

Speaker 2 (28:39):
First meeting at the supermarket for the star of this one,
a lady called Iris played by Sophie Thatcher. I wonder
whether she's related to Margaret anyway? He is she related
to the former British prime minister, Why, I'm probably not anyway.

(29:01):
Her name's IRA's and she meets Josh played by Jack Quaid, who, yes,
is Dennis Quaid's son, isn't he?

Speaker 1 (29:08):
Yes? Nisquayed mcryan, Yes, So there you go.

Speaker 2 (29:13):
So why wouldn't Sophie Thatcher be related to Margaret? I'd
say ask again?

Speaker 1 (29:17):
Anyway? The connection in this supermarket is palpable. It's a
question of which child did they meet in the meatile?
Did they meant it?

Speaker 2 (29:24):
No?

Speaker 1 (29:25):
Anyway? True aile, they did meet. Yes, they went fruit
loops for each other.

Speaker 4 (29:30):
Oranges?

Speaker 9 (29:30):
Was that?

Speaker 1 (29:31):
Yeah? So it was really?

Speaker 4 (29:35):
What?

Speaker 1 (29:35):
So it's matching oranges with apples?

Speaker 2 (29:37):
Anyway, IRA's falls hard for Josh and they become a couple.
And sometime later they take a trip to visit Josh's
friends in this beautiful.

Speaker 1 (29:46):
Home in remote bush land by the sea. Villain, let's quick,
the interrupt Alex.

Speaker 8 (29:51):
Sophie Thatcher is actually American. Well she's probably why she's
not related to mother Teucher.

Speaker 1 (29:55):
There you go, I got it. I was totally screwed up.
No one to I've got a second apology for you today, Greg.

Speaker 2 (30:02):
So having said all of that, Iris is very very
nervous about saying and doing the wrong things around Josh's friends,
but he.

Speaker 1 (30:10):
Basically says, don't worry about it. Everything, I'll be fine.

Speaker 2 (30:13):
Iris is particularly concerned about a female friend of Josh
called Cat played by Meghan Suri, who Iris basically believe.
She believes that that Cat doesn't like her, and this
luxurious home, well, it turns out to be that of Cat.

Speaker 1 (30:32):
That friend I've just spoken about. She's got a.

Speaker 2 (30:34):
Russian gangster boyfriend called Serge and he's the one who
owns this house. Serge played by an almost unrecognizable rupert friend.
And also there is a gay couple called Ellie and Patrick,
and like Iris and Josh, they were besotted when their
eyes first met.

Speaker 1 (30:53):
In rather absurd circumstances.

Speaker 2 (30:55):
So yeah, first meetings, it's all about anyway, all seems
to be in order. SERGEI overreaches badly and thereafter they'll
be hell to pay. And when thinking about this movie,
the first thing I thought of, the expression first impressions
can be misleading immediately.

Speaker 1 (31:13):
Comes to mind.

Speaker 2 (31:13):
And not to put too fine a point on it,
blood will be spilt more than once. The title comes
from what we're dealing with here, namely lifelike companion robots,
so you know this is a guilty pleasure. I really
enjoyed the wild ride became more intense and far fetched
as it progressed, and one of the golden rules of

(31:34):
robotics is in this movie is.

Speaker 1 (31:37):
That humanoids can't lie.

Speaker 2 (31:40):
And dare I say, A brave new world awaits The
writer directors Drew Hancock. He cut his teeth on television
and he clearly has a vivid imagination, and an advantage
of the script is that you really never know where
the narrative is heading. There's shocks and surprises of plenty,
and Factor transitions nicely from needy and compliant to rather

(32:00):
resourceful and pragmatic, and Quaid shows Josh's ugly side friend.

Speaker 1 (32:06):
Well he invokes fear as Sugo.

Speaker 2 (32:07):
He really does, and I thought the two boys were
quite a polished and playful.

Speaker 1 (32:13):
So I appreciate it.

Speaker 2 (32:14):
Also, there's a highway cop here played by Mark Manetchaka,
and I thought he was a sort of cameo role,
but it was memorable.

Speaker 1 (32:22):
So yeah. Performances were good, while the dangers.

Speaker 2 (32:26):
Of Ali and robots taking over are certainly apparent in
this movie. What's also on show here is greed, And
I'm here to tell you that, despite Gordon Gecko's creed
in Wall Street, greed ain't good. Right, Let's be honest
in terms of this movie. Still there's a lot of
the carb Thunderby had in Companion.

Speaker 1 (32:44):
Isn't there greed?

Speaker 4 (32:45):
There is?

Speaker 8 (32:46):
Indeed here You mentioned the fact that a robots there. Now,
the show reminded me a lot of Westworld, the model
quite in film from nineteen seventy three where robot goes, hey,
why breaks down and it's on a killing stree. So
that's where I thought. That's what first one I thought
of I was watching this one. But it is a
lot of fun. It keeps subverting your expectations. You never

(33:07):
saw where it's going. It's always sort of changing there.
I thought the performances were good as well.

Speaker 1 (33:12):
Shot.

Speaker 8 (33:13):
There's a lot of humor in here, and for such
a small cast there is actually a high body count.

Speaker 1 (33:18):
Yes, well, movies like this are like that.

Speaker 2 (33:21):
But isn't it interesting how it starts off as decidedly
one thing and ends up as something entirely different?

Speaker 1 (33:28):
But it's done.

Speaker 2 (33:29):
The note I suppose the notes are associated with it
are winners as far as I'm concerned, Greg, Yep, yeah.

Speaker 1 (33:36):
Yeah, I like the fact that I had a potted
the depiction of that gay couple for it a while
there as well.

Speaker 8 (33:42):
Yes, well, I mean, which is unusually in a mainstream
Hollywood film.

Speaker 2 (33:45):
Well, Eli or Ellie played by Harvey Guillel and Patrick
by Lucas Gage. So yeah, as I said, both of them,
I mean, Gauge is quite polished as Patrick, and Glen
is playful as Eli or Ellie.

Speaker 1 (33:58):
I'm not sure. I can't remember I had their own
cute make cute sorry as.

Speaker 2 (34:03):
Well, don't they they do, indeed very much. So, Peter,
did you did you like Companion?

Speaker 1 (34:10):
Not particularly? I've seen a number of of course, why
would you? Why we Peter.

Speaker 6 (34:18):
AI robot related films x Mashner, The trouble was Being Born,
et cetera. There are a number of good films, and
this one doesn't quite work for me. In fact, it
felt for me like it was an extended student film
that needed a few more script drafts because it sacrificed
the AI component for the revenge crime body count component,

(34:44):
which the film then settles into I really felt that
the characters were underdefined. I felt the storyline was a
big tweet at the start and then became rather pointless
as it progressed in terms of the revenge aspect.

Speaker 1 (35:03):
I was quite disappointed by it. I expected this to
be a much stronger film. So hang on.

Speaker 2 (35:09):
When they didn't you like the romantic meetings between the
parties at the start?

Speaker 1 (35:15):
You didn't like it at.

Speaker 6 (35:16):
All, contrived and sacrificed for what the film really was about.

Speaker 2 (35:22):
Later on, come on, love and sex, you know, go
for it. This is what this whole program.

Speaker 1 (35:27):
Is all about. Loved sex on film. See to be
a scene running through this program today exactly.

Speaker 2 (35:34):
Maybe we got to rename it for this particular. Well
do we put it in sort of a black paper
bag or something?

Speaker 1 (35:40):
Six lines and videotape? How's that? Very good? Thank you, Greg?
I take it up.

Speaker 2 (35:46):
My people will take it up with your people. Okay,
So what about you, Jackie? I surely you like this one.

Speaker 4 (35:54):
I didn't like it.

Speaker 1 (35:55):
I loved it good stuf.

Speaker 4 (35:58):
This is like, did not expect to like it. I
actually don't like sci fi films, and I was a
bit u when I saw the photo on the poster.
But it's such a romp it really is. It's about
fun entertainment, Peter. It's not necessarily about it. And I
didn't like the start because I was thinking, Oh, this

(36:21):
is a kind of a dull rom com sort of thing.
And then it starts the twists, and it's a twisty tail,
and it just keeps going and it builds up into
this kind of gory horror sci fi, keeps the romance going,
and it's a thriller, and it's sort of got a
bit of everything. Yes, it throws everything in there, and

(36:41):
I thought that was good fun and I really enjoyed that.
It's a little bit ridiculous at times that so you
could have a bit of a laugh. And yet I
really liked all of the characters. Okay, maybe they weren't
all fully developed, but as we got to know them,
we sort of worked out where their place was in
the film. And I was quite invested in all of them.

(37:05):
I'm human and not and so the story was clever.
The story was fun. I loved a home in the woods.
It was a good setting and a beautiful architecture there
for me to enjoy. And I also liked as you
mentioned that one scene with the highway policeman, that was

(37:28):
probably my favorite scene in the film in German by
the side of the road, because there was so much
going on in the undercurrent there and the looks in
the faces and the contengulish and that it was just
a clever dialogue and a really snappy, fun, little memorable
episode in the film. Companion.

Speaker 1 (37:48):
You know something, Jagie, it's funny you're mentioning this.

Speaker 2 (37:51):
I reckon there should be an award for the best
scene of the year, right, I've never I'm not aware
that there is one, but I mean.

Speaker 4 (37:58):
See, how would you judge that?

Speaker 2 (38:00):
Well, I think it'll be damn hard, But wouldn't it
be that'd be a lot of fun.

Speaker 1 (38:04):
I reckon you could get.

Speaker 4 (38:05):
But so times the best scene Alex will be because
of what's gone on before. So the scene in itself,
you know, might not work unless you know what's built
up to it.

Speaker 1 (38:19):
Why don't you add another another Oscar for best scene
of the year. I mean, let's do it.

Speaker 5 (38:24):
Then, hold on, let's do it for them, you know.

Speaker 2 (38:26):
And there needs to be ten, up to ten categories
of best Director. I still say, if you've got ten
categories of best film. Do they direct themselves? That's been
my bug bear, Sandy did did you see it?

Speaker 4 (38:39):
Oh?

Speaker 1 (38:39):
You didn't say? Okay, no worries you.

Speaker 3 (38:41):
By the sounds of all of you talking about it,
apart from you, Jackie, I'm not sorry.

Speaker 1 (38:47):
Oh this guy, I.

Speaker 4 (38:48):
Can't help it if the boys aren't enthusiastic.

Speaker 1 (38:51):
Exactly, and I like it. It's only Peter, mister grumbleguts
la Peter, that's entertainment. It's entertainment exactly, all right, go on,
layball it for me, Pete, okay, four out of ten
from me to the g that is that's Peter. The

(39:13):
greench is your name? From here on. Wow, Companion's a
ninety seven minutes. Okay, Greg, go for it. Seven mm hmmm, Jackie,
I was going to tell.

Speaker 4 (39:23):
You about my first meeting. Oh, okay, I partner, Piper.

Speaker 1 (39:29):
This is a dog. We're not We're not.

Speaker 4 (39:30):
Yes, that's all right, okay, Companion. I gave Companion's out.

Speaker 2 (39:35):
Of ten are we talking about animal husbandry now right?

Speaker 1 (39:40):
Okay?

Speaker 4 (39:41):
Out of ten? Lovely, good, fun, entertaining and okay, maybe
some people are a bit old for it. No, I
shouldn't say that. I shouldn't say that, but I what
what one thing that did come across for me is
it is a very fresh, young, modern film. But that,
you know, anybody can enjoy that. I was just being cheeky, then.

Speaker 1 (40:01):
No, you were.

Speaker 2 (40:01):
And I've got to say, it's kind of interesting. We're
all around the same age, folks. In case you thought
that was a real dig, we all.

Speaker 1 (40:09):
Are around the same age.

Speaker 2 (40:10):
Anyway, Let's let's let's go on to the next movie,
like seven and a half.

Speaker 1 (40:15):
Greg, Great, so you're forgetting a lot today.

Speaker 5 (40:18):
Now that's because it reminds him of his wife.

Speaker 2 (40:21):
Well, no, then it would then it would be a ten, right,
So having said that, unfortunately she's never listened, so my
references are totally lost.

Speaker 1 (40:32):
Have he said all of that?

Speaker 2 (40:34):
Let's let's talk about a really important movie called September five,
which is ninety five minutes rateed M and.

Speaker 1 (40:41):
Boy, this is a good film.

Speaker 2 (40:42):
I mean really, I'm surprised that this didn't pick up
so that this, to me, should have been given quite
a few Oscar nominations. But anyway, it was the day
live sports coverage became live news coverage of the most
heenous kind. And we're talking September five, nineteen seventy two,
and it's at the athlete's village in Munich at the

(41:05):
twentieth Summer Olympics, and terrorists, for those people who are
around would remember this, affiliated with this milletant organization known
as Black September, captured and killed eleven Israeli athletes and coaches.
And this movie tells the story from the perspective of
the American television network that was covering the games that

(41:26):
being ABC in the United States. And I've got to
say these Olympic Games that we're talking about were the
first to be broadcast live around the world via satellite.
So you've got Jeffrey Mason played by John mcgaro, a
young ambitious producer and he's keen to prove himself to
his mentor Marvin Bader played by Ben Chaplin, and their boss,

(41:49):
who happens to be a legendary television executive called Rune
art Ledge played by Peter Sarsgard or not with a
t r ledge rather than art Ledge, Rune art ar Ledge. Mason,
this young ambitious producer, is behind the control panel when
shots that shook the globe bring out and suddenly it's

(42:11):
all hands on deck as Sarsgard fights for the sports
arm of the network, which is on the ground in Munich,
to retain control of the unfolding story because usual practice
would have been to immediately divert to news and they
would have covered it remotely from the United States. So
with the help of a German interpreter called Marianne Gebhard
played by Leoni Benesh Mason and the crews scramble to

(42:35):
bring the world the unfolding events, and there's no shortage
of internal and external tension as live pictures capture hooded
guerrillas on a hotel balcony and hostages.

Speaker 1 (42:46):
In extreme peril. And I mean, it brought it all back,
and I found.

Speaker 2 (42:50):
It really affecting, really distressing to sit through this. I
was quite emotional, and it's been remarkably crafted. The production
values in this movie are nominal. It mixes broadcast vision
from the time with a dramatization of the events that
went down.

Speaker 1 (43:05):
The looks on.

Speaker 2 (43:06):
The faces of the key players say it all. They're interchanges.
What they do feels real, really impressive, And bear in mind,
this is unlike anything that the TV Sports team had
previously confronted. And one of the key question the questions
it's posed is just how far should they go in
telling the story?

Speaker 1 (43:25):
What do they actually show on television?

Speaker 2 (43:27):
What don't they Then there's the politics of the situation
and the behind the scenes political byplay. So there's a
lot going on here and it's a movie that I
would highly commend. I think there's going to be a
lot of people who appreciate what's pictured here as Mason,
John mcgaro comes across as dynamic and competent. Ben Chaplin

(43:49):
as Beta really keen to ensure that they're safe, on
that they are safe, on sorry, that they are on
safe grounds, and Sarsgard shows leadership as Alge, and Benish
adds character and depth as the German interpreter, highly attuned,
I might say, to the country's ignominious past.

Speaker 1 (44:09):
I'm talking about the Holocaust, and for.

Speaker 2 (44:10):
Those who've lived through the horror of what unfolded at
the time, as with me, I dare say the film
will bring it all back and for others who didn't
or weren't even aware of this stain on the Olympics
and on common decency.

Speaker 1 (44:24):
It's a real eye opener.

Speaker 2 (44:26):
And the co writer with Maurice Binder and Alex David
and the director Tim Felbaum. I think it's to be
highly commended for his focus on authenticity, which extends to
the actual broadcasting equipment, the original broadcast equipment.

Speaker 1 (44:40):
Amazing stuff.

Speaker 2 (44:42):
And whilst it's far from an easy watch, September five
is undeniably ritty and gripping and as far as I'm concerned,
it so must see. What did you think of it, Peter?

Speaker 1 (44:54):
I agree with you.

Speaker 6 (44:54):
It's an excellent film, almost like a docu drama recreating
the events of the time, and I know it was
shot at the Bavarian Film Studios in Munich to give
it to that authenticity. Yes, it's an excellent casting for
everyone involved. But the whole notion of the ethics and
the politics and the historical perspective that the Germans were

(45:18):
careful not to deal with because they didn't want to
be shown as interrogating or as providing sort of negative
sort of coverage for the Olympics. It's really fascinating stuff
and as I said, the ethics and power play are
really beautifully done. The only Benisch who's that plays the translator.

(45:41):
I'm sure people recognize her from the teacher's lounge. The
excellent German film. So there is so much to like
and admire about the recreation of the events of this film,
and a lot to think about. Tim Felbaum, who is
the Swiss German and write director of this film, who's

(46:04):
made some other terrific films, has really portrayed the events
of that era extremely well, and it gives you a
real insight into how a newsroom or a sports journalist
collective will deal with unfolding events that are very difficult
to deal with in the first place. What do you

(46:24):
show on screen?

Speaker 1 (46:25):
Do you encourage the plo so much going on in
this film? Very impressed.

Speaker 2 (46:31):
Yeah, And I also thought of The Teacher's Lounge is
a phenomenal film if people haven't seen it, because the
leone Benish plays the sort of teacher trying to get
the bottom of a particular matter involving theft, and it
goes far further than that. So if people haven't seen
that one, I would highly commend it. What about you, Jackie,

(46:51):
what did you think of this movie September five?

Speaker 4 (46:56):
I all agree with pretty much everything said about September five.
Real sense of immersion in it, and I think that's
thanks to the obviously the painstaking research that they've done,
and as you say, using authentic materials and dialogue and
all those sorts of things. A real sense of you know,

(47:18):
kind of being there behind the scenes and not always
really knowing what's going on and having to make decisions
on the fly. And one thing that apart from the
actual story of what's going on and that that I
found interesting as a byproduct of looking back, is it
does show how much technology has advanced in fifty years,

(47:41):
which we know, of course, but it's really interesting to
look at the immediacy of the comparison of what they were,
how they were gathering news back then, and yet how
some things have never changed of the way I use
hound will chase a story and you know, go for
the best angle and be making decisions on the fly
about what they can and can't use ethics and using

(48:05):
their contacts, and and the politics of course that are
going on within the within the sports area there in
the news area. So really interesting and very involving, especially
if you don't have two people in the audience at
the cinema just talking NonStop and looking at their phones

(48:26):
all the time, which was really annoying.

Speaker 1 (48:27):
But there you go, Yes, Okay, Unfortunately you had to
put up with that.

Speaker 2 (48:31):
The I did the I find it fascinating because I
was in both radio and TV sort of soon after
this this film was set, and I remember the equipment
that we used.

Speaker 1 (48:43):
I remember. It's it's fascinating you.

Speaker 2 (48:46):
Too, Sorry you said that, Yes, ye did you You
must have used in radio. If you were in radio,
they used to cut actual tape, right, splicing was it
was a big part of what you were doing. And
it was so archaic looking back. I mean, I was
brought up in the era of portable typewriters and things

(49:09):
of that nature, and of course remember white out and
tipics and all of those sorts of things. And it's
fascinating to look back and how technology really has changed.
Because I mean, Greg, you who you like your music,
and Sandy as well. You remember cassette tape and even
and even on records they weren't they weren't all forty

(49:29):
fives and what was there were different There was forty.

Speaker 8 (49:32):
Five, third, forty five and seventy eighths.

Speaker 1 (49:35):
Yeah, in the seventy I mean, it's all of this stuff.

Speaker 2 (49:38):
Like if you speak to our kids, they wouldn't they
wouldn't know what you're talking about.

Speaker 1 (49:44):
It's final, that's back this way.

Speaker 8 (49:49):
I go into JB HI find there and the CD
section which used to sack up probably a lot of space,
has now been compacted and the vinyl section is spread
like someone turned the lights off and it's multiplying.

Speaker 1 (50:00):
Yes, which I'm very pleased about. There's any expecsive must
have an expensive.

Speaker 10 (50:03):
Now to tend the lights off. Following on is this
is this AI? The AI of sex on records? Is
that we're business, Greg right, it's pretty little.

Speaker 1 (50:14):
The little hard Live goes into the do it please please?
We're going to put it. You know we're going to
be taken off here in a moment. Good golly man.

Speaker 2 (50:24):
Okay, so I've totally lost it it.

Speaker 1 (50:27):
So where were we? Who was talking?

Speaker 5 (50:30):
Coment about September five? Because I really liked it.

Speaker 3 (50:34):
I remember living through it and watching it that broadcast
go on air.

Speaker 5 (50:38):
Apparently over a.

Speaker 3 (50:39):
Billion people watch that happen. I love the way that
the sports guys handled the whole thing. My only my
only thing about movie was that it was slightly too technical.
We didn't get any of the emotionality of the of
the athletes at all.

Speaker 5 (50:59):
We didn't get to know any of the people.

Speaker 3 (51:01):
It was all from the perspective of the technology and
the team that were handling it, which was obviously the
way it was designed.

Speaker 5 (51:08):
I just would have liked to have a little bit more.

Speaker 3 (51:10):
Connection, personal connection to the victims of that and the
perpetrators as well.

Speaker 4 (51:16):
Perhaps I think other films have done that, though, Sandy,
this one sets itself apart by dealing from this point
of view exclusively but better.

Speaker 2 (51:26):
There was also there was also a reference to the
you know, the Israeli who was an American that there
could have been more of that.

Speaker 1 (51:34):
But do you remember him, Sandy, No, no, oh, the yeah, yeah,
the no, the guy who it was one of those
who died.

Speaker 2 (51:42):
But that there was there was a reference to him,
and in fact they played an interview with him, which
I think was the real footage.

Speaker 9 (51:49):
That wasn't the gist of this, of this fire this
general I get that, I get that, but it was
very I wondered how people who I mean, we we
got a lot out of it because we've been in
the industry and.

Speaker 3 (52:01):
Because to see all those technology changes that have happened
to recall, you know, that time back in the seventies
when we were working with all that technology. I wonder
how the average punter will relate to it when they
couldn't give a hurt about the technology or the fact
that it was sports as opposed to news handling it
because it wouldn't mean a lot to them. It meant

(52:22):
I mean, we understand that a whole lot better, having
having lived through those times and having undergone your roles
within that industry.

Speaker 1 (52:31):
This is silly, but this is an adjunct.

Speaker 2 (52:34):
I remember when you had cassette recorders in cars, and
what cassette recorders as well, and when the blasted thing
didn't work and you had to use a pencil to
spoil it back, and oh my golly. You know, it
just feels clunky to even talk about it. So let's
get some scores. Greg, you liked September five?

Speaker 1 (52:51):
Well, yeah, haven't even asked my opinion office. We're wunny.

Speaker 4 (52:56):
He's on a roll. Where's he's consistent with forgetting?

Speaker 1 (53:01):
We're running very short of time. Give us your thoughts please.

Speaker 4 (53:04):
Yeah.

Speaker 1 (53:04):
Look, this was very claustrophobic film.

Speaker 8 (53:08):
It was mostly a short place within that control room
there whether yeah, people were watching events, working out what
to show what not, the show.

Speaker 1 (53:17):
Planning how they could get around it and what they
could do.

Speaker 8 (53:21):
But I like the astral technology and how they had
to adapt and change things as well as they moved
on there.

Speaker 1 (53:27):
But I like what I think we're saying.

Speaker 8 (53:29):
You said about the not knowing the carriages and everything
of the you know, the athletes, Now that didn't matter
who You've got the insights of to the the actual
broadcast American team there and what they were going through
and what they were thinking and how they were responding
to the events there, which I thought bought it in
an immediacyitue. And I liked the way that they incorporated

(53:49):
that archive wal forties as onto the TVs there, so
they gave it almost a documentally feel and immediacy that
you're almost there watching events unfold.

Speaker 2 (53:59):
Yeah, which is really impot See. I'm going to ask
you something. This is because today has been really bizarre.
If you look at we're recording this as we're going
as well, can you just look at your time piece
and tell me where we're up to because I'm going
to have to stop it at some point and I think.

Speaker 1 (54:14):
I've got over gone overboard? What does it say?

Speaker 5 (54:17):
Hello, I haven't been recording it.

Speaker 4 (54:21):
Fifty six minutes. Fifty six minutes that started ten.

Speaker 1 (54:26):
I've got fifty four on my screen. Oh do you
not me? Some restrons? Well, so by you? Yeah, lovely.

Speaker 2 (54:32):
Well, we're technically prolific and efficient. I want scores and
then we're out of here. So Peter score for September five,
rated M ninety five minutes.

Speaker 6 (54:43):
Yes, it has an Oscar nomination for Original Screenplay. I
give it nine out of ten.

Speaker 1 (54:48):
It needed more eight and a half for me, Sandy.

Speaker 5 (54:52):
Yeah, I'll give it an eight.

Speaker 3 (54:53):
And I thought that the ninety however minutes you said,
was a perfect length, none of this two and a.

Speaker 5 (54:57):
Half or three hour rubbish.

Speaker 1 (54:59):
Yep, very good, right, Greg, I remembered you and what's
your name? Jacqueline?

Speaker 4 (55:07):
Yes, sorry to be the on the low ball here.
I really did enjoy it. But I gave it seven
point five out of ten.

Speaker 1 (55:13):
Oh well, look it's a solid, solid seven point five.

Speaker 2 (55:16):
Solid seven seven seven eight.

Speaker 1 (55:22):
Thank you, folks. It's been a lot of fun.

Speaker 2 (55:24):
Sandy k Jackie Hammerton, Peter Kraus, the Grinch, and Greg
King keep on grinching. Peter, Well, speak to you very
soon on a non invisible man. Oh I did say
Hello Greg, Yes, you are the invisible man today we
will well, we'll have more of this nonsense very soon.

Speaker 1 (55:42):
First on film and entertainment.

Speaker 2 (55:44):
Signing off and watch a lot of cinema because we
love talking about it.

Speaker 1 (55:49):
Catch you next time.

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Baby Girl: Nicole Kidman, Controversy, and the Power of Performance - S04E03

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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;}Baby Girl: Nicole Kidman, Controversy, and the Power of Performance - S04E03