May 22, 2026 • 36 mins
The Mandalorian and Grogu's Big Screen Adventure
This week, Ben and Brose are taking you on a journey to a galaxy far, far away. Exploring the highly anticipated cinematic release of the Mandalorian and Grogu.
The film brings the beloved characters from the Disney+ series to the big screen but does it live up to the hype? TV Reload share their thoughts on the film's visuals, action sequences and emotional beats., Discussing whether it's a worthy addition to the Star Wars universe or just an extended Disney+ episode with an IMAX budget.
The conversation delves into the film's strengths and weaknesses, including its stunning visuals, impressive action sequences and the addition of Sigourney Weaver to the Star Wars universe. However, both Ben and Brose also expresses some disappointment with the character development, particularly with Grogu and the lack of a clear plot twist.
The speaker also shares their thoughts on the film's cinematography, praising the work of cinematographer Greg Fraiser, who brings a naturalistic touch to the CGI environment. They also discuss the film's score, which they believe is a highlight of the movie. The conversation is a must-listen for Star Wars fans and film enthusiasts.
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Episode Transcript
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Speaker 1 (00:00):
It's in the news today, but it was actually on
TV Reload the podcast last week that life Yeaday. Guys,
welcome back to TV Reload. My name is Benjamin Norris,
and today's episode, we're heading back to a galaxy far
far away with one of the most anticipated cinematic releases
this year and a return to Star Wars universe, the
Mandalorian and Groku, and also welcome back to Broose of
(00:21):
Art the Jedi of movie Knowledge backwards.
Speaker 2 (00:24):
That be may I don't know if I am the Jedi,
you are the Jedi.
Speaker 1 (00:29):
You are my Jedi?
Speaker 2 (00:30):
Have Mark like, oh, that's okay. That just shows you
how little you know. But yes, we did get to
see Mandalorian and Grogu. It was spectacular to see it.
Thank Disney very much for letting us attend the preview,
But seeing it on that big screen house spectacular.
Speaker 1 (00:45):
Is that after completely reshaping Star Wars on Disney plus
Dingjarren and everyone's favorite tiny green chaos machine, Grogu, have
officially made the leap to the big screen. But has
the magic translated into a feature length blockbuster we're going
to talk about today or does this adventure feel more
like an extended Disney Plus episode with an Imax budget.
(01:05):
Was it just made as an Imax experience? What do
you think about that?
Speaker 2 (01:08):
Yeah, it's interesting, isn't it? Because I mean, for me,
I haven't been Imax for quite a while and not
being in three D. I think the last time moment
was during the three D craze, during that Avatar kind
of three D craze. So saying something on a big
screen like that not in three D was kind of
a bit weird to me. But it was spectacular. And yeah,
I mean, if you can't see it on Imax, then.
Speaker 1 (01:26):
Don't see it at all.
Speaker 2 (01:28):
Well, you're doing yourself a disservice, let's put it that way.
Because of all the faults and benefits of this film,
the Imax screen was didn't Don't you think that was spectacular?
Speaker 1 (01:37):
It was so good? And I don't know if you noticed.
Sitting next to me, but like, I get so distracted
for the first of being an Imax I like to
look down and like, ooh, what's happening right down there?
Speaker 2 (01:47):
There are a few times that you popped up in
your chair and looked at the bottom of the screen
to see, oh, is e anything down there? I should
be looking at Is there a little easter egg?
Speaker 1 (01:55):
What have I missed? And then I started to think
about the screen movie. Scream seven came out and they
made an Imax version, which I didn't go and see,
and I'm kicking myself about that, but I just didn't
think that Scream seven deserved to be imaxed in general.
Speaker 2 (02:08):
So but Matt Laurie and I'm glad it was.
Speaker 1 (02:10):
I loved looking around and also not just looking down,
but sort of looking around the scopes of the entire
edges of the screen. You know, It's a feast for
the eyes this film and the.
Speaker 2 (02:20):
Way they used depth of field and this was amazing
and some real subtle work with that which may not
translate on a normal screen, but yeah, spectacular to see
that stuff on on the Imax screen. I thought it
was great.
Speaker 1 (02:31):
Well, a big thank you as well. You also did
just mention this before, but thank you to the people
at Imax Melbourne and to the team at Disney, you know,
and today we are going to unpack the Star Wars
of it all, you know, the action, the fan service,
the emotional beats, the visual spectacular and whether this film
proves that Star Wars is finally back on track or
whether it's steered off course.
Speaker 3 (02:53):
I can use some information for this price, I'll tell
you whatever you want. I'm looking for a heart, calls
for the late, thank you, gangsters or criminals.
Speaker 1 (03:05):
Long live the Empire.
Speaker 3 (03:08):
We'll take out every bad guy in your tack of cards.
Speaker 1 (03:18):
This isn't about revenge. It's about preventing another war. Strapping
you will suffer.
Speaker 2 (03:40):
And then it will be his time.
Speaker 1 (03:44):
Are you scared?
Speaker 2 (03:46):
You should be?
Speaker 3 (03:49):
Do we run.
Speaker 1 (03:52):
Or do we fight?
Speaker 2 (03:53):
I likely scared.
Speaker 1 (03:56):
I mean, Sigourney Weaver of being back in this like
a lot. That's the price of the ticket.
Speaker 2 (03:59):
Right that, that's well worth it. If you ever been
super nerdy like everyone else, hoping for Scorny Weather to
move from the Aliens franchise into Star Wars at some point,
you wouldn't be disappointed. Star Wars, Aliens, Ghostbusters. What else
do we need from this woman? I mean, that's all
I need?
Speaker 1 (04:13):
Is there a Batman Villa Warren?
Speaker 2 (04:16):
Oh yeah, let's have a chat to her people.
Speaker 1 (04:18):
So the Mandalorian and Groku follows Dnjarin and Groku as
they leave behind the smaller bounty hunting adventure of Disney
Plus series and become entangled in a much larger conflict
threatening the new Republic. As old enemies return, a new
alliances formed the Pair of Force to confront what family,
loyalty and destiny really mean in a galaxy still recovering
(04:39):
from the fall of the Empire. This film acts as
both a continuation of the Mandalorian TV series and a
major expansion of the whole Star Wars cinematic universe. Now, Bros,
I want to talk about something right here, and that
is did they design the first twenty minutes to be
I think you discussed this after the film about Front Load.
(05:00):
This particular movie with something so amazing, like the first
twenty minutes is phenomenal.
Speaker 2 (05:06):
So much action, so much going on.
Speaker 1 (05:07):
Yeah, it's something that I feel like every Star Wars
fan has recreated with our action figures at home as
a kid.
Speaker 2 (05:15):
Yeah, definitely.
Speaker 1 (05:16):
Whoever came up with that whole cliff side part of
the film, I can't give too much away, but it
just visually was cinematic perfection.
Speaker 2 (05:24):
Yeah, and some of this is in the trailer as well.
So the return of the at At with new guns
and kind of new modeling on the at Ats is amazing,
and that whole action sequence. It's kind of a callback
to Empire in the Snow, Like there's a lot of
that kind of nostalgia going on. But it is like
really spectacular visually and just some the scale of things
(05:44):
in this sequence, especially on the iMac screen, is amazing.
And they did show that twenty first twenty thirty minutes
to media. We weren't invited, but we weren't invited. That
first twenty thirty minutes of the film, sorry, were shown
to media last week, and yeah, it was a great ad.
It's almost like that's all they should have shown scenon
on Thursday.
Speaker 1 (06:02):
Well, it's funny though that you say that, because like
the first twenty minutes is so well done that I
kind of feel like that that was a movie in itself.
And I can imagine myself rewatching the first twenty minutes
of this movie quite a few times, do you know
what I mean.
Speaker 2 (06:15):
I'm kind of excited just from listening to talk about
it to watch it again that first tournaments. I wonder
if I'll give you a cheaper ticket if I just
want to go on and watch the first.
Speaker 1 (06:22):
Bit, Like there's people that went to go and watch
like a movie in nineteen eighty nine, just to see
the Batman trailer exactly.
Speaker 2 (06:30):
I just want to see the trailer and then I'll leave.
Can I get in for two dollars? Is that okay?
Speaker 1 (06:33):
Tomorrow? Just being like, I'm here for the first twenty
minutes of Vandalerian and Gropu. How much will that cost me?
I will be leaving.
Speaker 2 (06:42):
Oh, I've got myhoy its membership VIP thing. Come on,
come on. So the cast obviously summer back from the
TV series, and there's some new characters as well. But
man of the hour, the guy that's everywhere, the guy
that everybody loves. How did you feel about our friend
Pedro Pasca?
Speaker 1 (06:59):
Well, Pedro Pasca is someone who I think started off
as sort of like a cult favorite for a lot
of people. But look, he really has owned his dimensions
of the entertainment universe with the last of Us Gladiator
two of course. Oh yeah, I actually did like Gladiator two.
That's a different podcast. People will send me Anthrax in
the mail. But I think that he has been lucky
(07:23):
enough to have like a harn solo type character with Dingjaron,
you know, with the Mandalorian, because people love him in
this film but he gets top billing right, and he
gets paid a lot of money to basically never be
on screen and be a voice you are.
Speaker 2 (07:37):
Also, there's three actors that play Mandalorian. So there's one
that does like all the stunts and so forth, there's
one that does the just the gun slinging on its own,
and then there's Pedro Pascal as Dingjarren. But this is
very Robert Downey junior iron Man at this point where
there's the less and less scenes with his face in
it because they can only afford him for a week
or two of the shoot. To me, less so than
(07:58):
that visual reponisent of Pedro Bascal, I found the Mandalorian.
There's nothing new, and if anything, there was less than
we got in the TV series. It was kind of
just I don't know, we're just following a metal robot
around almost rather than finding out more about who Gin
Darn is.
Speaker 1 (08:12):
Well, you're kind of bringing up what this one note
for me, like this one note that I would give
the director John Favreau, is that this film could have
been saved with a third act revelation about our Mandalorian,
about Dingjarren, Like I feel like, had we learned something
new about him, or had there been sort of a
juicier plot twist for this character that you know, we've
(08:32):
had three seasons of the Mandalorian. This film might have
had a little bit more juice to it, you know exactly.
Speaker 2 (08:37):
And in the TV series there's just so much of
an evolution of gin Daren and his Mandalaurian. He meets
other Mandalorians, he finds out that you know, he subscribes
to perhaps a more cultish element of the Mandalorian ethos.
You know, he teams up with teams of Mandalorians. There's
so much more going on in that series, you know,
all the stuff about his armor. We learn more about him,
you know, getting more and better armor, and then this
(08:59):
is just a guy floating around in space trying to
help the rebels. It doesn't the character's not quite there.
The development of the character's not there that I wanted. Otherwise,
it's spectacular, like the stunts and everything are fantastic, and
it's that thing of we know he can fly, but
he only uses the flying element of his defense or
his attack when it's absolutely necessary. It's like, you could
be flying around these people. No, I'll use it just now.
Speaker 1 (09:20):
Because there's a gas. He's got the gas in the
tank here. That's right to use the gas in the tank.
Speaker 2 (09:24):
I can't use too much too early, you know, he's
when to pull the bomb out. Yeah, so that stuff's
still really cool. It's just that the character stuff on
its own that I found a bit It would have
been nice to have a little bit more development which
takes us throughout the film.
Speaker 1 (09:34):
And then you've got Sigourney Weaver, who we sort of
talked a little bit about before. But you know, it's
something so sweet and what a treat. And I hope
she got paid stupid money. Back in the day, she
was only paid a million dollars to do Aliens, Like,
you know, it's crazy to think how little that money
is in terms of what people get paid these days.
But I'm hoping she got paid ten million for this
because she has to sell that we really care about
(09:57):
the New Republic. Anyone that would have been lighter in
this role, like the only other person I could imagine
giving this role the juice that it needed was maybe
like a Tilda Swinton or someone. But you had to
really believe in the New Republic and the mission because
this film is quite light in terms of the setup.
But I did laugh very hard when and this happens
to me a lot when I see movies with you. You
(10:18):
point out something that's really fucking obvious to everyone but me,
but s Courney Weaver, a man explains the entire Mandalorian like.
Speaker 2 (10:27):
Yeah, she explains what the film's going to be. Is
like here, you got to do this and this and
then this is going to happen. Then you go and
do that, and he does know that, like, oh, well,
something's going to go wrong in the middle there. But
basically that's the whole film. I lend over to the
guy on my left at one point and said, I
didn't know so that Gorney Weaver's middle name was Exposition.
But she definitely lays it all out for us, and
you know, we can work out what's going to happen.
(10:48):
But I mean that's all right too. I think she's,
like you were saying, she's so strong and it's just
so much pathos and so much commitment. She's just she's brilliant.
Speaker 1 (10:56):
Also, they save so much money on not putting any
makeup on her for the first couple of scenes, not
a shred of makeup with she turned up and she
said in the Alien universe. I am going to wear
no makeup, and we've.
Speaker 2 (11:07):
No time for makeup. I'm trying to save the world.
Speaker 1 (11:09):
She did end up with some eyeliner on when she
turns up in that X wing at the end. Notice that, okay,
bringing the gay element to our Star Wars chick today. Also,
the interesting thing about watching these movies that rely so
heavily with CGI characters is that you are listening out
for cameos from legendary people. Jeremy Allen White is the
(11:32):
voice of Rod at the Hut. But I also it
took you seconds to pick Martin Scorsese as the voice
of the.
Speaker 2 (11:39):
Fry cook on Well Ardenian. Yeah. I knew that his
voice was in there somewhere, wasn't sure how substantial. And
then the more the fry cook talk, I'm like, that's
Martin Scorsese and it's kind of the Italian Martin Scorsese
sounding kind of Jewish for some reason.
Speaker 1 (11:52):
But that was great. I loved that. I think that
gave this character more gravitas. I love that. I felt
like that character was genius. Like, I loved that character,
and I thought Martin scor says he brought a lot
of life to it.
Speaker 2 (12:05):
And because I don't know, it gave him he felt old,
you know, like he felt like he'd lived in that
Frey Cook station a long time. He felt like he
belonged there, really well, much better than his efforts in
a Shark Tale.
Speaker 1 (12:18):
I love that, Martin Scorsese. It's like, you know, if
you've got some voiceover work, I've got a big personality.
And I'm not just director, you know.
Speaker 2 (12:24):
I did love the Jeremy Allen White's character, much like
Jeremy Allen White was also ripped. It's the first Hart
in the history of Star Wars that had I don't
know what was it, like a twelve pack or something,
because he was so so long and elongated. And also
loved that the weird city that he's fighting in which
he is part of a fighting kind of syndicate, like
(12:45):
an MMA type thing. It was in a city called Chicago,
which sounds suspiciously like Chicago, which looked suspiciously like Chicago, and.
Speaker 1 (12:53):
It also looks suspiciously like Gotham City for Elms, it
was shot in Chicago, but you know it was funny.
You know, when you're watching this film, there is a
arrival on that planet and We'll talk about the score
a little bit later in regards to this moment, but
I think that as they were coming in, are they
easter eggs, because that scene and the train line looked
(13:16):
so much like Batman Begins, like it was they do for.
Speaker 2 (13:19):
Gul to come down and blow up the tracks, you.
Speaker 1 (13:22):
Know, So Groku, it's interesting that we don't have a voice.
Because he doesn't have a voice. He's lying on sort
of a cute see comical genius, But it's interesting to me.
I actually thought they could have had a Maggie Simpson
moment here and someone voice him saying something in this
film that that might have been. I mean, Star Wars
fans might come for me and say no Groku.
Speaker 2 (13:42):
But when you go back to the Pedro pascalum at all,
Grogu had the same problem that there was no character
arc in this film for him. We didn't like. The
thing that bugged me is I don't know why he
is an apprentice Mandalorian. It makes no sense because of
his size and even his abilities are developing so slowly
that we don't even see I get that is compassionate.
I get that he was towards third act there is
(14:03):
obviously you know, an integral part of the survival of
the main character there and stuff. But it's just a
bit too slow. And you're right, a little first word
moment or you know, language with a cameo with the
actor that's going to carry on. But how is he
a Mandalaurian? How is he going to be able to
do all the things that din Jarren does. It doesn't
make any sense to me in this film. Grogu felt
(14:24):
like the Great Gazoo from The Flintstones. I felt like
they just put a cute character into Star Wars to
make it more appealing to people that don't care about
the serious stuff and that we could giggle along. He's
like the jar Jar Binks of this film or the
Ewoks of Jedi like it just I don't know what
times it just seemed useless.
Speaker 1 (14:41):
When we see Grogu, we see muppets, and I love
a little bit more, you know, less CGI and a
little bit more puppetry. I appreciategree that, Yeah, how good
the puppetry was for Grogu actually sort of counteracted against
the huts, the huts being only of a CGI further
to have seen some more puppetry with the huts but
(15:03):
then we had so much heavy lifting from the huts
in this movie that maybe they had to just be like,
we're only cgiing them, because otherwise the transition between those
two things might be too ridiculous.
Speaker 2 (15:14):
There's something not quite tangible about CGI characters if they're
not careful, and it was something a bit weird. Also,
the puppet with Grogu is a bit limited. They did
cross between CGI and the puppet with him a little bit,
but it's almost like, can't we redesign the puppet a
little bit to have a little bit more movement. There's
more technology they can use in puppets than they are,
I feel, But yeah, it is that weird thing. You're right,
(15:36):
Like the dog that's in this film as well, is
all CGI and has all this incredible movement, but still
doesn't have quite have that tangibility that a puppet might
at times as well.
Speaker 1 (15:47):
Yeah, and I just think as well, with so much
heavy lifting from those huts, I have kind of walked
away in some ways thinking I may look back at
this film as the slug movie, like.
Speaker 2 (15:58):
I call it the Lockdown movie, because I reckon I
looked like one of those hearts during.
Speaker 1 (16:01):
Lockdown, didn't we all bros, didn't we all? My friend?
I think we all.
Speaker 2 (16:05):
They just weren't drinking as much as I.
Speaker 1 (16:07):
Moving into John Favreau and so John Favreaux, like, I mean,
come on, this guy actually has earned his stripes in
terms of making some classic films like Iron Man. The
first Iron Man is my favorite iron Man film, and
I remember fantastic. It was so amazing at the time. However,
he has made things like The Lion King, and I
will say something about The Lion King here. The remake
(16:28):
was missing and lacking a bit of heart from the
cartoon into the live action. And it's interesting that we're
looking at this film and this Star Wars movie is
also lacking a similar amount of heart to it.
Speaker 2 (16:40):
You know, So yeah, I think so yeah.
Speaker 1 (16:42):
John Favreau could definitely make action, There's no doubt about it.
But he is starting to be a little bit like
just we're running through the motions. We need to hit
these moments without actually is it hard? Is that the
word that I'm trying to find that.
Speaker 2 (16:55):
I know he's ay. I mean, he did Chef as well,
which I thought was incredibly well developed in terms of
characters and heart and so forth. But yeah, there is
something that gets missing, goes missing. And when he's making
these types of films, and I mean Lion King, and
if you watch the making of stuff, you see these
animators and there might be six or seven animators that
did all the key characters, and you listen to the
way they talked about how they animated the characters and
(17:16):
how much of themselves they put into it, and how
much they thought about the development and so well, you
don't ever see that with CGI films, which I think
is interesting. So with CGI films, is there like a
lead animator that does Run of the Heart or whatever,
or is there a main animator that does Grogu. I
want to hear them talk about how they animate the
characters and what they put into it. And I don't
know if that happens. I don't know if it's just
a team of CGI either there's not one lead or not.
(17:38):
I'm not sure. But yeah, there seems to be a
disconnect somewhere and I'm not sure where it is if that. Yeah,
from what you're saying there, Yeah, it's.
Speaker 1 (17:45):
A really interesting take there. Something so simple as having
a team that has control over one particular character would
probably give the character more dimension. And then also for
us super fans out there who love to go behind
the scenes of this, it would be amazing to unpack
a team of people that so connected to one character.
Speaker 2 (18:01):
I don't know enough about the production process in that
CG environment, so we'd have to investigate a bit further.
But I am very, very curious overall Favreau. I mean,
he gives us the Mandalorian, right, he created the series
and he's kind of given it to us. I think
he does an okay job, but it's yeah, it is
a lot trigger trying to do a two hour film
rather than what would this be probably a whole season
(18:22):
at Mandalorian almost.
Speaker 1 (18:23):
If you're looking for a six part or an eight
part series from this particular story, it's not strong enough,
and that's probably where this film falls down. In general.
It feels to me like they set around a boardroom
and was like, this would be a great return of
the Jedi return. Let's bring the Huts back, Let's get
the Mandalorian on a mission to do with the Hut.
Let's have the Huts double back on that, that was
(18:45):
not a strong enough concept to evolve.
Speaker 2 (18:47):
There's a couple of things to add on to that
is it did feel like twenty minute chunks, twenty five
minute chunks the whole film, back to back to back,
So it did feel kind of episode like but all
linked together.
Speaker 1 (18:56):
It's like the one battle after the another, which we
should say thank you to David No.
Speaker 2 (18:59):
David Knox was saying that and TV tonight.
Speaker 1 (19:02):
It's like it did sort of feel like that. And
I kind of felt like when we get to the
third act and we get a Grogu kind of like
moment that could have been, you know, like in the
Last of Us there was a standalone episode with the
two games.
Speaker 2 (19:13):
Oh yeah, yeah, that was great.
Speaker 1 (19:14):
That was really meaty and juicy. I thought that's what
they were trying to do. It kind of felt like
a return to the Dagabart, do you know what I mean?
Speaker 2 (19:21):
Where the Twins ran the hut criminal I Dynasty was
felt like Dagabart, and it felt a lot like it
as well, like it was a huge throwback, especially but
especially a certain part of it as well. But there's
a character in that third act that helps Grogu ultimately
and it comes out of nowhere. It's not even set up,
but feels like a television episode. It doesn't feel organic.
(19:42):
Usually in a film, anything that happens on the third
act is set up in the first act. That's just
basic and that's the way things are constructed. But to
have a character just appear in the third act and
then be an integral part of the plot and then
disappear again was so weird and kind of television. You
could have set that guy up at any time, like
we're on that planet in the first act, but just
to yeah, pop him up out of nowhere. What did
(20:03):
you call him, Swamp Samuel L. Jackson.
Speaker 1 (20:06):
No, it's not Swamp Samuel Jackson, because it would be
foolish of them to make Wind a character, you know,
like you can get an actor to play two different
roles on Neighbors or Home and away forgotten about it not.
I did kind of feel in retrospect when I look
back to it, like maybe Snoop Dogg was a little
bit of an influence to this, This character and the
(20:27):
character work and that particular and the animation of that
was quite endearing. Yeah, very much though, Yeah, and so
I could see what they were trying to do. But
it does return me to the idea of this would
have been a great standalone episode like that Last of
Us episode that took us out of just Monster Zombie
Monster Zombie and then.
Speaker 2 (20:44):
Gave yeah heart.
Speaker 1 (20:45):
You know, I feel like that's what they were trying
to do. It just didn't work. I just didn't enjoy
it the way that I know that Jon Favreau was
expecting me to.
Speaker 2 (20:53):
Yeah, exactly, making a bit folksy, a bit homely, and.
Speaker 1 (20:56):
Like at that point, you like, get back to the action.
This movie really works when you in the action. So
it's like, let's go back to big sets, big moments.
We're done with for the return to the Dagabyte.
Speaker 2 (21:08):
I just wanted to mention just quickly, the Dave felony
of it all. Dave Filoni has come in and replaced
Kathleen Kennedy, who was the executive producer for the Star
Wars Lucas Arts Star Wars et cetera when Lucas sold
it to Disney. She'd been working with Spielberg and Lucas
since the seventies. She's got an incredible career. She got
a lot of the blame from the fans, the Star
(21:28):
Wars fans. Dave Filoni came in underneath was doing animated
series obviously worked on Mandalorian an other live action series
since then and has kind of been groomed and to
replace Kathleen Kennedy. He's very good for fans. There's a
lot of fan service in this film. There's a lot
of references to different animated series, different other live action series.
If you know what they are, then it's really cool.
If you don't, it doesn't really affect the film at all,
(21:51):
except if they were relying on those references for the
depth that we feel this film is missing, then they
should have relied on a few more factors than just
fan service. And he also appears in one of the
scenes as well as his Star Wars character in the background. Again,
really cool. If you know who that is and all
of that stuff, that's great. If you don't, it's not
going to affect you.
Speaker 1 (22:09):
Well, it's kind of like this movie in general. You
don't need to watch The Mandalorian like this film exactly.
You standalone. There's the treats for the Star Wars fans, absolutely,
but yeah, you can go into that. You can fly
into the Mandalorian blind, is what I'm saying.
Speaker 2 (22:22):
Yeah, yeah, yeah, you know what I was just thinking.
And this has just come into my head.
Speaker 1 (22:25):
Now.
Speaker 2 (22:26):
As much as the Mandalorian is like the Western of
all this, you know, the Western of Star Wars, how
cool would this film have been if it was like
the dirty Harry of Star Wars? How cooluld been if
the Mandalorian was like the rule breaking now that there
are rules with a new republic and he's working for them.
If he was like the rule breaking and the establishment character,
that would just want to mean so cool and such
a different turn anyway.
Speaker 1 (22:46):
Funny when you started talking then, I was like, oh fuck,
what the hell is this dirty Harry analogy? But you
are right. I would have liked to have seen some
more going against the and how.
Speaker 2 (22:55):
Good Sigourney we would have been?
Speaker 1 (22:57):
Is like that frustrated to challenge him? I don't know, bros.
If you ever thought about being a Star Wars scriptwriter,
do you have Jon Favreau or Dave or Kathleen's number
on hand?
Speaker 2 (23:07):
Anyone listening? You can have that sentence for free. That's
as much as I'm going to write.
Speaker 1 (23:12):
If that ends up happening in the universe, we will
timestamp this. Then we'll come back with our legal team.
You know, I just want to spin off with something
for a little bit in Spitball an idea, someone was
talking to me about the absolute hatred of Kathleen Kennedy
and how much responsibility she got slapped with with in
terms of Star Wars becoming too Mickey Mouse to Disney.
(23:32):
I feel like there's a bit of male misogyny when
it comes to this. I really hear a lot of
the Star Wars fans going after her, and I wonder
whether or not people would have been as harsh had
it been a male in that position.
Speaker 2 (23:45):
Yeah, I agree, because she's been there a long time,
so you can't say that it's only since Disney bought
it that she stuffed it up. And of course Disney
going to have an influence.
Speaker 1 (23:52):
We should talk about our cinematographer, and Greg Fraser is phenomenal.
There's no denying this. Like my first relationship with this
person was with Rogue One. The cinematography in Rogue One
is something that that film, to me, is what I
remember the most. But also his work with the Batman
and June is exceptional. So he brings all of that
(24:15):
to this And there's really two key elements to this film,
which is five stars if you ask me, and cinematography
and we'll get into composer shortly. Where this movie really works.
What are your thoughts.
Speaker 2 (24:26):
He brings a natural, a naturalism to the cinematography in
a CGI environment. He can take a CGI like CGI
sets and characters everything, but he makes it feel like
a naturalistic scene and you know, the camera movements and
the like I was saying, the pulling of focus and
the close ups. Like, he's just spectacular and he delivers
in this and like his work in June was just
incredible as well. But yeah, he is a remarkable director
(24:49):
of photography and god, he just makes this film like
the IMAX experience wouldn't be anything without his work. He
just knows how to combine all those elements together and
make something look just incredible.
Speaker 1 (25:00):
And a huge fist pump to us as well, because
we love to be patriotic and he is one of
Australia's biggest cinematographers.
Speaker 2 (25:05):
Yeah he's Ozzi Asiossi.
Speaker 1 (25:07):
But this film is a feast for the eyes. And
again not to harp on it, but the first twenty
minutes Chef's Kiss, even.
Speaker 2 (25:13):
Some of the most standard looking shots are just so
exciting in that opening just wow, actually just.
Speaker 1 (25:18):
One thing I will say about the opening, where I
thought was a little bit let down. Did you think
that the acting was a little bit distracting with the
characters sitting around that boardroom.
Speaker 2 (25:27):
Table boardroom table was so flat. That scene was so bad.
Speaker 1 (25:30):
If I was Disney and I watched that scene in
the dailies, I would be like, where did you find
these actors? Honestly, it looked like they went to a
bus stop in lost.
Speaker 2 (25:40):
No character and no charisma or whatever that being said.
And this is a nitty bitty kind of like a
real like tiny criticism, but that bit where the bad
guy shoots one of the guys for complaining about the
tariffs going up, there was too much of a delay.
It should have been just bang dead, not he pulls
his gun out, we see it, then he fires. It's
just go just bang, just kill him on the way out.
(26:02):
But just like Star Wars doesn't do that Star Wars,
the bad guy just banged that.
Speaker 1 (26:06):
It was very astin powers. If you ask me like
I felt like they were doing, your.
Speaker 2 (26:11):
Tariff would be one million dollars.
Speaker 1 (26:15):
It felt like they were trying to sort of have
a nod to our Han solo moment with whose first
type thing, but like it didn't it sounds it felt
more Austin Powers because the actors were so shit I
think you know what I mean. I don't know. That's
my take on it. So people, when you're watching this film,
I'd love to hear your thoughts on whether those people
look like they've been collected from a bus stop in
(26:36):
Los Angeles or whether they were incredible.
Speaker 2 (26:38):
Likely they like look, they looked like they was still
at a bus stop.
Speaker 1 (26:41):
It was confused as to where they were. They were like,
are we get a Star Wars movie? The way to
the on the way to Santa Monica, pear like on
the way to the bus that the food shelter.
Speaker 2 (26:51):
You know, I love it.
Speaker 1 (26:54):
When it comes to our composer as well, Like you
walk out of this film and I defy anyone who's
not going to talk about the score of this film.
And Ludwig he did Oppenheimer, he did Black Panther, He's
obviously done the Mandalorian.
Speaker 2 (27:07):
Series, Centers, he did Centners.
Speaker 1 (27:10):
It feels very Star Wars. He but then it also
doesn't stay in that place. It also brings in some
real well how would you describe it? When we land
on our Chicago island, the Chicago Island, the Chicago Planet
or what every week Chicago? But how do you describe
the sort of synthesized pop that gets brought into the
score at that point.
Speaker 2 (27:30):
It's incredible because he has these incredible he uses those
kind of those.
Speaker 1 (27:36):
Bas drop Yeah, yeah, that's a really it's.
Speaker 2 (27:39):
Called a bass drops. But on, but then he has
then he has like real percussion as well, like acoustic
percussion all the way through it. Like it's just the
energy and the and the emotion he just generates. I
don't know that, and I might be wrong here. I
don't know if there's been such a combination in Star
Wars in film anyway, it's a big electronic and an
acoustic music. It's just the way he interweaves the orchestra
(28:00):
for all acoustic orchestral stuff with his electronic synthesized keyboard
stuff is just phenomenal. There's even just straight piano at
one point, which I don't think I've ever heard in
a Star Wars score before, which seems really obvious. But
he's just oh and those drums all the way through it.
You just want to get up and just dance, like.
Speaker 1 (28:15):
Don't you think that this is the entry point to
wanting to see this film again. If you said to me,
do you want to not see this film again? The
main reason for me going back and considering I've harped
on about the first twenty minutes, which is a visual spectacular,
I feel like I want to go back just to
hear that score again in some of those moments where
he took some of the biggest risks. Because Star Wars
fans will crucify you for stepping too far outside of
(28:37):
something that they're familiar with, but I felt like his
choices were bold and unique and surprising and somehow elevated
the film every single time he took a risk with
the score.
Speaker 2 (28:48):
Absolutely yeah. And it still had those you know, the
high horn section, It still had the deep string section
with the cellos and so forth. Still had a couple
of callbacks to John Williams kind of stuff in there,
just very sut, very occasionally kind of woven in. It
was just the most amazing Gore. I mean, John Williams
is retired now, he's not going to do anymore apparently,
but Gorean Gorenson's just Wow. When you think of replacing
(29:11):
John Williams, you don't think it's going to be this
strong and this incredible. Even seemed like there was a
reference to fandom Menace with a bit of the choir
stuff that happens in the fight scene, Like just so
much stuff going on that, Yeah, it doesn't feel repetitive
or it doesn't feel like he's ripping anyone off. It
just feels like they're homages. But then also so much
new and so much risk.
Speaker 1 (29:30):
So the first reactions to this have been very interesting.
I've sort of touched on this a little bit, so
people are out there like us right now commentating on
this film. So the first reactions have been very mixed.
We've got a sixty percent right now and Rotten Tomatoes,
which it's in the top four worst Star Wars movies.
Speaker 2 (29:46):
Basically right okay overall, but.
Speaker 1 (29:48):
It's still very mixed because I think what is happening
with the mixed reaction is when this movie works, it's phenomenal,
and when this movie fails, it's boring. And so I
think people are stuck between these two, and I think
that could be it's going to be interesting when you
and I unpack our scores because of that reason.
Speaker 2 (30:05):
There are differentely elements in this film where it felt
like a dragged a bit. But I think that comes
back to what you're saying. Some parts of it work
really well, and when they do, it flies along, and
when it doesn't work quite as well, yeah, drags, it
makes you feel like, you, you know, we should move
on a little bit by now. So maybe it, you know, one,
you know, one more tight, tighter edit might make this
film quite watchable and really enjoyable. So I mean, it
(30:27):
is watchable now. I'm not going to say it's.
Speaker 1 (30:28):
Not watchable, but it needs twenty minutes taken out of it.
Maybe had we not had that third act moment where
we went back to the Dagabar, you know, maybe that
movie would have felt to you know, action action action
Like maybe they tried to slow it down to that point, but.
Speaker 2 (30:41):
That's where they're trying to inject a bit of heart perps.
Speaker 1 (30:43):
Yeah, that's what they were trying to do. But the
heart didn't work, And maybe it will for fans out
there that love Baby Yoda, do you know what I mean?
The Baby Yoda people out there that bang their hands
together every time that muppet pretends to eat a cookie like,
and they love that shit they're mad for.
Speaker 2 (30:57):
It, so you could rename it one Mando and a Baby.
Speaker 1 (31:00):
Yeah. Also, I do think that when it comes to
Pedro Pascal. My other thing is why I pay someone
so much money, so iconic to not have his face
on screen?
Speaker 2 (31:10):
More Like, I'd like to know how many days he
actually shot?
Speaker 1 (31:13):
Was it just two days out of a nine year shoot?
Speaker 2 (31:16):
And during his lunch break on The Fantastic Four?
Speaker 1 (31:19):
I mean, sorry, guys, I've just got to put down
my sausage role to go and film the new Star
Wars movie, Goodbye Bro? Should we talk about how many stars?
Speaker 2 (31:30):
Look, I'm going to give this two and a half stars.
If you're a Star Wars fan, you'll see it. You know,
you don't have to worry Disney know they've got that
money in their pocket. It's worth seeing it Imax. If
you're going to see it, definitely try and get to
Imax to see it because you won't be disappointed of
the scale and just that the visual is sensational. Obviously
Greg Frasier and then Gorenson on the soundtrack. I mean,
that stuff is incredible. So if you can't see Imax,
(31:52):
see it in the best cinema you can in terms
of audio, and you won't be disappointed for everyone else.
Once it's on Disney Plus, you're gonna have a great time.
Like I think, if I watch this on this Plus
as a rewatch, I'm just going to fall in love
with it. And I'm not going to say it's gonna
have a Rogue one type streaming life, where Rogue one
we all started to appreciate more and more the more
we watched it streaming. But yeah, so two a half stars.
(32:12):
It's allays the look. If you're curious and if you're
a fan, for everyone else, wait for Disney Plus.
Speaker 1 (32:16):
What do you think, Ben, I'm going to go with
this is a two star film for me. However, I'm
going to give half a star for the insanely good
first twenty minutes of this movie, and I'm going to
give another half a star for the score of this film.
I think that I'm going to bring this up to
three stars. Oh, I'm only bringing it here to three
(32:36):
stars for this reason. It did feel as though I
walked out of Oh that was a weird slug movie,
and I was a little bit disappointed. But am I
being a little bit too jaded in the sense that
upon reflection. This cinematography and the score and the imax
of it all was quite large, and I'm probably not
(32:57):
giving it enough credit considering how entertaining those elements of
it are. What are your thoughts about me leveling up
and going from a two starter with three start because
of those things.
Speaker 2 (33:06):
Well, I mean those two factors are incredible. Like, visually
it is great, and the score again, I listened to
it last night. I'm going to listen to it again today,
So that's fine. I can't criticize your final score. I
think that's worthwhile.
Speaker 1 (33:19):
Now, next week, we are getting very excited because we're
doing something unusual. There's two movies coming out that potentially
could be quite light and that is It's Scary Movie seven,
but they are calling it scary movie like Scream called
twenty twenty two just Scream. So we're getting a bit
of a reboot of that comedic take on the Scream Universe.
And we're also going to be unpacking Masters of the
(33:41):
Universe because we're seeing two films next week. We're going
to try our best to sort of work these films together.
I have been told from a friend of mine who
saw Masters of the Universe last week that Masters of
the Universe is much better than what people are expecting
because it doesn't take itself too seriously.
Speaker 2 (33:56):
Okah, well that could work. And look, we've mentioned the
trailer already on here, and we have very low expectations
at this point based on the trailer.
Speaker 1 (34:04):
You know, if one of these movies is particularly shit
and we might want to sidestep, but we might not
talk about both of these films next week.
Speaker 2 (34:10):
Yeah.
Speaker 1 (34:10):
True, there's the review right there. You know, if you
don't hear us talking about scary movie all Masters, maybe
we've dropped it because because it's not fair to talk.
Speaker 2 (34:18):
About I'll tell you, for a toy etic film, the
biggest compliment for the film from me can be if
I leave the film and want to buy the action figure,
that means I enjoyed the film. And that's happened through
you know, a lot of films, to the point where
when I left Gladiator years ago, all I wanted if
someone was selling like plastic swords and shields outside of
the cinema, I would have bought them and played Gladiator
(34:40):
for the whole weekend after I'd seen that film. So absolutely,
if I get excited by the toys which a lot
of Master Universe toy collectors are already chasing them down
and buying them. That's going to be my A plus
moment is if I want that he Man.
Speaker 1 (34:51):
Figure, and I think that no one's going to buy
the he Man figure of our new he Man because
like deflated human unless.
Speaker 2 (34:57):
They want to play Sheep Detectives.
Speaker 1 (35:01):
Imagine the transition from being that weird character on Sleep
Detectives to being in the Universe. And I have to say,
when he was in Sleep Detectives, he looks like he
filmed that.
Speaker 2 (35:11):
After Masters, he's still like the blonde hair.
Speaker 1 (35:13):
It was like too buffed up to be that character
and Sheep Detectives, but he was not uugh enough in Masters.
Speaker 2 (35:21):
I know what he is saying.
Speaker 1 (35:22):
For anyone looking for a family film and a bit
of Nostalgdirama, definitely head along and see The Mandalorian and Groku.
It is IMAX only viewing, so if you are going
to see it at a regular cinema, you might be
slightly disappointed because this film was specifically made for Imax
and be a missed not to go back. So guys,
(35:42):
go out return to Star Wars. It's been seven years
six point five to be precise've seen a Star Wars movie,
and if you don't buy a ticket to this, it's
going to be much longer, exactly, so maybe invest in
your Star warsdom and head along and see this film
this weekend.
It's in the news today, but it was actually on
TV Reload the podcast last week that life Yeaday. Guys,
welcome back to TV Reload. My name is Benjamin Norris,
and today's episode, we're heading back to a galaxy far
far away with one of the most anticipated cinematic releases
this year and a return to Star Wars universe, the
Mandalorian and Groku, and also welcome back to Broose of
(00:21):
Art the Jedi of movie Knowledge backwards.
Speaker 2 (00:24):
That be may I don't know if I am the Jedi,
you are the Jedi.
Speaker 1 (00:29):
You are my Jedi?
Speaker 2 (00:30):
Have Mark like, oh, that's okay. That just shows you
how little you know. But yes, we did get to
see Mandalorian and Grogu. It was spectacular to see it.
Thank Disney very much for letting us attend the preview,
But seeing it on that big screen house spectacular.
Speaker 1 (00:45):
Is that after completely reshaping Star Wars on Disney plus
Dingjarren and everyone's favorite tiny green chaos machine, Grogu, have
officially made the leap to the big screen. But has
the magic translated into a feature length blockbuster we're going
to talk about today or does this adventure feel more
like an extended Disney Plus episode with an Imax budget.
(01:05):
Was it just made as an Imax experience? What do
you think about that?
Speaker 2 (01:08):
Yeah, it's interesting, isn't it? Because I mean, for me,
I haven't been Imax for quite a while and not
being in three D. I think the last time moment
was during the three D craze, during that Avatar kind
of three D craze. So saying something on a big
screen like that not in three D was kind of
a bit weird to me. But it was spectacular. And yeah,
I mean, if you can't see it on Imax, then.
Speaker 1 (01:26):
Don't see it at all.
Speaker 2 (01:28):
Well, you're doing yourself a disservice, let's put it that way.
Because of all the faults and benefits of this film,
the Imax screen was didn't Don't you think that was spectacular?
Speaker 1 (01:37):
It was so good? And I don't know if you noticed.
Sitting next to me, but like, I get so distracted
for the first of being an Imax I like to
look down and like, ooh, what's happening right down there?
Speaker 2 (01:47):
There are a few times that you popped up in
your chair and looked at the bottom of the screen
to see, oh, is e anything down there? I should
be looking at Is there a little easter egg?
Speaker 1 (01:55):
What have I missed? And then I started to think
about the screen movie. Scream seven came out and they
made an Imax version, which I didn't go and see,
and I'm kicking myself about that, but I just didn't
think that Scream seven deserved to be imaxed in general.
Speaker 2 (02:08):
So but Matt Laurie and I'm glad it was.
Speaker 1 (02:10):
I loved looking around and also not just looking down,
but sort of looking around the scopes of the entire
edges of the screen. You know, It's a feast for
the eyes this film and the.
Speaker 2 (02:20):
Way they used depth of field and this was amazing
and some real subtle work with that which may not
translate on a normal screen, but yeah, spectacular to see
that stuff on on the Imax screen. I thought it
was great.
Speaker 1 (02:31):
Well, a big thank you as well. You also did
just mention this before, but thank you to the people
at Imax Melbourne and to the team at Disney, you know,
and today we are going to unpack the Star Wars
of it all, you know, the action, the fan service,
the emotional beats, the visual spectacular and whether this film
proves that Star Wars is finally back on track or
whether it's steered off course.
Speaker 3 (02:53):
I can use some information for this price, I'll tell
you whatever you want. I'm looking for a heart, calls
for the late, thank you, gangsters or criminals.
Speaker 1 (03:05):
Long live the Empire.
Speaker 3 (03:08):
We'll take out every bad guy in your tack of cards.
Speaker 1 (03:18):
This isn't about revenge. It's about preventing another war. Strapping
you will suffer.
Speaker 2 (03:40):
And then it will be his time.
Speaker 1 (03:44):
Are you scared?
Speaker 2 (03:46):
You should be?
Speaker 3 (03:49):
Do we run.
Speaker 1 (03:52):
Or do we fight?
Speaker 2 (03:53):
I likely scared.
Speaker 1 (03:56):
I mean, Sigourney Weaver of being back in this like
a lot. That's the price of the ticket.
Speaker 2 (03:59):
Right that, that's well worth it. If you ever been
super nerdy like everyone else, hoping for Scorny Weather to
move from the Aliens franchise into Star Wars at some point,
you wouldn't be disappointed. Star Wars, Aliens, Ghostbusters. What else
do we need from this woman? I mean, that's all
I need?
Speaker 1 (04:13):
Is there a Batman Villa Warren?
Speaker 2 (04:16):
Oh yeah, let's have a chat to her people.
Speaker 1 (04:18):
So the Mandalorian and Groku follows Dnjarin and Groku as
they leave behind the smaller bounty hunting adventure of Disney
Plus series and become entangled in a much larger conflict
threatening the new Republic. As old enemies return, a new
alliances formed the Pair of Force to confront what family,
loyalty and destiny really mean in a galaxy still recovering
(04:39):
from the fall of the Empire. This film acts as
both a continuation of the Mandalorian TV series and a
major expansion of the whole Star Wars cinematic universe. Now, Bros,
I want to talk about something right here, and that
is did they design the first twenty minutes to be
I think you discussed this after the film about Front Load.
(05:00):
This particular movie with something so amazing, like the first
twenty minutes is phenomenal.
Speaker 2 (05:06):
So much action, so much going on.
Speaker 1 (05:07):
Yeah, it's something that I feel like every Star Wars
fan has recreated with our action figures at home as
a kid.
Speaker 2 (05:15):
Yeah, definitely.
Speaker 1 (05:16):
Whoever came up with that whole cliff side part of
the film, I can't give too much away, but it
just visually was cinematic perfection.
Speaker 2 (05:24):
Yeah, and some of this is in the trailer as well.
So the return of the at At with new guns
and kind of new modeling on the at Ats is amazing,
and that whole action sequence. It's kind of a callback
to Empire in the Snow, Like there's a lot of
that kind of nostalgia going on. But it is like
really spectacular visually and just some the scale of things
(05:44):
in this sequence, especially on the iMac screen, is amazing.
And they did show that twenty first twenty thirty minutes
to media. We weren't invited, but we weren't invited. That
first twenty thirty minutes of the film, sorry, were shown
to media last week, and yeah, it was a great ad.
It's almost like that's all they should have shown scenon
on Thursday.
Speaker 1 (06:02):
Well, it's funny though that you say that, because like
the first twenty minutes is so well done that I
kind of feel like that that was a movie in itself.
And I can imagine myself rewatching the first twenty minutes
of this movie quite a few times, do you know
what I mean.
Speaker 2 (06:15):
I'm kind of excited just from listening to talk about
it to watch it again that first tournaments. I wonder
if I'll give you a cheaper ticket if I just
want to go on and watch the first.
Speaker 1 (06:22):
Bit, Like there's people that went to go and watch
like a movie in nineteen eighty nine, just to see
the Batman trailer exactly.
Speaker 2 (06:30):
I just want to see the trailer and then I'll leave.
Can I get in for two dollars? Is that okay?
Speaker 1 (06:33):
Tomorrow? Just being like, I'm here for the first twenty
minutes of Vandalerian and Gropu. How much will that cost me?
I will be leaving.
Speaker 2 (06:42):
Oh, I've got myhoy its membership VIP thing. Come on,
come on. So the cast obviously summer back from the
TV series, and there's some new characters as well. But
man of the hour, the guy that's everywhere, the guy
that everybody loves. How did you feel about our friend
Pedro Pasca?
Speaker 1 (06:59):
Well, Pedro Pasca is someone who I think started off
as sort of like a cult favorite for a lot
of people. But look, he really has owned his dimensions
of the entertainment universe with the last of Us Gladiator
two of course. Oh yeah, I actually did like Gladiator two.
That's a different podcast. People will send me Anthrax in
the mail. But I think that he has been lucky
(07:23):
enough to have like a harn solo type character with Dingjaron,
you know, with the Mandalorian, because people love him in
this film but he gets top billing right, and he
gets paid a lot of money to basically never be
on screen and be a voice you are.
Speaker 2 (07:37):
Also, there's three actors that play Mandalorian. So there's one
that does like all the stunts and so forth, there's
one that does the just the gun slinging on its own,
and then there's Pedro Pascal as Dingjarren. But this is
very Robert Downey junior iron Man at this point where
there's the less and less scenes with his face in
it because they can only afford him for a week
or two of the shoot. To me, less so than
(07:58):
that visual reponisent of Pedro Bascal, I found the Mandalorian.
There's nothing new, and if anything, there was less than
we got in the TV series. It was kind of
just I don't know, we're just following a metal robot
around almost rather than finding out more about who Gin
Darn is.
Speaker 1 (08:12):
Well, you're kind of bringing up what this one note
for me, like this one note that I would give
the director John Favreau, is that this film could have
been saved with a third act revelation about our Mandalorian,
about Dingjarren, Like I feel like, had we learned something
new about him, or had there been sort of a
juicier plot twist for this character that you know, we've
(08:32):
had three seasons of the Mandalorian. This film might have
had a little bit more juice to it, you know exactly.
Speaker 2 (08:37):
And in the TV series there's just so much of
an evolution of gin Daren and his Mandalaurian. He meets
other Mandalorians, he finds out that you know, he subscribes
to perhaps a more cultish element of the Mandalorian ethos.
You know, he teams up with teams of Mandalorians. There's
so much more going on in that series, you know,
all the stuff about his armor. We learn more about him,
you know, getting more and better armor, and then this
(08:59):
is just a guy floating around in space trying to
help the rebels. It doesn't the character's not quite there.
The development of the character's not there that I wanted. Otherwise,
it's spectacular, like the stunts and everything are fantastic, and
it's that thing of we know he can fly, but
he only uses the flying element of his defense or
his attack when it's absolutely necessary. It's like, you could
be flying around these people. No, I'll use it just now.
Speaker 1 (09:20):
Because there's a gas. He's got the gas in the
tank here. That's right to use the gas in the tank.
Speaker 2 (09:24):
I can't use too much too early, you know, he's
when to pull the bomb out. Yeah, so that stuff's
still really cool. It's just that the character stuff on
its own that I found a bit It would have
been nice to have a little bit more development which
takes us throughout the film.
Speaker 1 (09:34):
And then you've got Sigourney Weaver, who we sort of
talked a little bit about before. But you know, it's
something so sweet and what a treat. And I hope
she got paid stupid money. Back in the day, she
was only paid a million dollars to do Aliens, Like,
you know, it's crazy to think how little that money
is in terms of what people get paid these days.
But I'm hoping she got paid ten million for this
because she has to sell that we really care about
(09:57):
the New Republic. Anyone that would have been lighter in
this role, like the only other person I could imagine
giving this role the juice that it needed was maybe
like a Tilda Swinton or someone. But you had to
really believe in the New Republic and the mission because
this film is quite light in terms of the setup.
But I did laugh very hard when and this happens
to me a lot when I see movies with you. You
(10:18):
point out something that's really fucking obvious to everyone but me,
but s Courney Weaver, a man explains the entire Mandalorian like.
Speaker 2 (10:27):
Yeah, she explains what the film's going to be. Is
like here, you got to do this and this and
then this is going to happen. Then you go and
do that, and he does know that, like, oh, well,
something's going to go wrong in the middle there. But
basically that's the whole film. I lend over to the
guy on my left at one point and said, I
didn't know so that Gorney Weaver's middle name was Exposition.
But she definitely lays it all out for us, and
you know, we can work out what's going to happen.
(10:48):
But I mean that's all right too. I think she's,
like you were saying, she's so strong and it's just
so much pathos and so much commitment. She's just she's brilliant.
Speaker 1 (10:56):
Also, they save so much money on not putting any
makeup on her for the first couple of scenes, not
a shred of makeup with she turned up and she
said in the Alien universe. I am going to wear
no makeup, and we've.
Speaker 2 (11:07):
No time for makeup. I'm trying to save the world.
Speaker 1 (11:09):
She did end up with some eyeliner on when she
turns up in that X wing at the end. Notice that, okay,
bringing the gay element to our Star Wars chick today. Also,
the interesting thing about watching these movies that rely so
heavily with CGI characters is that you are listening out
for cameos from legendary people. Jeremy Allen White is the
(11:32):
voice of Rod at the Hut. But I also it
took you seconds to pick Martin Scorsese as the voice
of the.
Speaker 2 (11:39):
Fry cook on Well Ardenian. Yeah. I knew that his
voice was in there somewhere, wasn't sure how substantial. And
then the more the fry cook talk, I'm like, that's
Martin Scorsese and it's kind of the Italian Martin Scorsese
sounding kind of Jewish for some reason.
Speaker 1 (11:52):
But that was great. I loved that. I think that
gave this character more gravitas. I love that. I felt
like that character was genius. Like, I loved that character,
and I thought Martin scor says he brought a lot
of life to it.
Speaker 2 (12:05):
And because I don't know, it gave him he felt old,
you know, like he felt like he'd lived in that
Frey Cook station a long time. He felt like he
belonged there, really well, much better than his efforts in
a Shark Tale.
Speaker 1 (12:18):
I love that, Martin Scorsese. It's like, you know, if
you've got some voiceover work, I've got a big personality.
And I'm not just director, you know.
Speaker 2 (12:24):
I did love the Jeremy Allen White's character, much like
Jeremy Allen White was also ripped. It's the first Hart
in the history of Star Wars that had I don't
know what was it, like a twelve pack or something,
because he was so so long and elongated. And also
loved that the weird city that he's fighting in which
he is part of a fighting kind of syndicate, like
(12:45):
an MMA type thing. It was in a city called Chicago,
which sounds suspiciously like Chicago, which looked suspiciously like Chicago, and.
Speaker 1 (12:53):
It also looks suspiciously like Gotham City for Elms, it
was shot in Chicago, but you know it was funny.
You know, when you're watching this film, there is a
arrival on that planet and We'll talk about the score
a little bit later in regards to this moment, but
I think that as they were coming in, are they
easter eggs, because that scene and the train line looked
(13:16):
so much like Batman Begins, like it was they do for.
Speaker 2 (13:19):
Gul to come down and blow up the tracks, you.
Speaker 1 (13:22):
Know, So Groku, it's interesting that we don't have a voice.
Because he doesn't have a voice. He's lying on sort
of a cute see comical genius, But it's interesting to me.
I actually thought they could have had a Maggie Simpson
moment here and someone voice him saying something in this
film that that might have been. I mean, Star Wars
fans might come for me and say no Groku.
Speaker 2 (13:42):
But when you go back to the Pedro pascalum at all,
Grogu had the same problem that there was no character
arc in this film for him. We didn't like. The
thing that bugged me is I don't know why he
is an apprentice Mandalorian. It makes no sense because of
his size and even his abilities are developing so slowly
that we don't even see I get that is compassionate.
I get that he was towards third act there is
(14:03):
obviously you know, an integral part of the survival of
the main character there and stuff. But it's just a
bit too slow. And you're right, a little first word
moment or you know, language with a cameo with the
actor that's going to carry on. But how is he
a Mandalaurian? How is he going to be able to
do all the things that din Jarren does. It doesn't
make any sense to me in this film. Grogu felt
(14:24):
like the Great Gazoo from The Flintstones. I felt like
they just put a cute character into Star Wars to
make it more appealing to people that don't care about
the serious stuff and that we could giggle along. He's
like the jar Jar Binks of this film or the
Ewoks of Jedi like it just I don't know what
times it just seemed useless.
Speaker 1 (14:41):
When we see Grogu, we see muppets, and I love
a little bit more, you know, less CGI and a
little bit more puppetry. I appreciategree that, Yeah, how good
the puppetry was for Grogu actually sort of counteracted against
the huts, the huts being only of a CGI further
to have seen some more puppetry with the huts but
(15:03):
then we had so much heavy lifting from the huts
in this movie that maybe they had to just be like,
we're only cgiing them, because otherwise the transition between those
two things might be too ridiculous.
Speaker 2 (15:14):
There's something not quite tangible about CGI characters if they're
not careful, and it was something a bit weird. Also,
the puppet with Grogu is a bit limited. They did
cross between CGI and the puppet with him a little bit,
but it's almost like, can't we redesign the puppet a
little bit to have a little bit more movement. There's
more technology they can use in puppets than they are,
I feel, But yeah, it is that weird thing. You're right,
(15:36):
Like the dog that's in this film as well, is
all CGI and has all this incredible movement, but still
doesn't have quite have that tangibility that a puppet might
at times as well.
Speaker 1 (15:47):
Yeah, and I just think as well, with so much
heavy lifting from those huts, I have kind of walked
away in some ways thinking I may look back at
this film as the slug movie, like.
Speaker 2 (15:58):
I call it the Lockdown movie, because I reckon I
looked like one of those hearts during.
Speaker 1 (16:01):
Lockdown, didn't we all bros, didn't we all? My friend?
I think we all.
Speaker 2 (16:05):
They just weren't drinking as much as I.
Speaker 1 (16:07):
Moving into John Favreau and so John Favreaux, like, I mean,
come on, this guy actually has earned his stripes in
terms of making some classic films like Iron Man. The
first Iron Man is my favorite iron Man film, and
I remember fantastic. It was so amazing at the time. However,
he has made things like The Lion King, and I
will say something about The Lion King here. The remake
(16:28):
was missing and lacking a bit of heart from the
cartoon into the live action. And it's interesting that we're
looking at this film and this Star Wars movie is
also lacking a similar amount of heart to it.
Speaker 2 (16:40):
You know, So yeah, I think so yeah.
Speaker 1 (16:42):
John Favreau could definitely make action, There's no doubt about it.
But he is starting to be a little bit like
just we're running through the motions. We need to hit
these moments without actually is it hard? Is that the
word that I'm trying to find that.
Speaker 2 (16:55):
I know he's ay. I mean, he did Chef as well,
which I thought was incredibly well developed in terms of
characters and heart and so forth. But yeah, there is
something that gets missing, goes missing. And when he's making
these types of films, and I mean Lion King, and
if you watch the making of stuff, you see these
animators and there might be six or seven animators that
did all the key characters, and you listen to the
way they talked about how they animated the characters and
(17:16):
how much of themselves they put into it, and how
much they thought about the development and so well, you
don't ever see that with CGI films, which I think
is interesting. So with CGI films, is there like a
lead animator that does Run of the Heart or whatever,
or is there a main animator that does Grogu. I
want to hear them talk about how they animate the
characters and what they put into it. And I don't
know if that happens. I don't know if it's just
a team of CGI either there's not one lead or not.
(17:38):
I'm not sure. But yeah, there seems to be a
disconnect somewhere and I'm not sure where it is if that. Yeah,
from what you're saying there, Yeah, it's.
Speaker 1 (17:45):
A really interesting take there. Something so simple as having
a team that has control over one particular character would
probably give the character more dimension. And then also for
us super fans out there who love to go behind
the scenes of this, it would be amazing to unpack
a team of people that so connected to one character.
Speaker 2 (18:01):
I don't know enough about the production process in that
CG environment, so we'd have to investigate a bit further.
But I am very, very curious overall Favreau. I mean,
he gives us the Mandalorian, right, he created the series
and he's kind of given it to us. I think
he does an okay job, but it's yeah, it is
a lot trigger trying to do a two hour film
rather than what would this be probably a whole season
(18:22):
at Mandalorian almost.
Speaker 1 (18:23):
If you're looking for a six part or an eight
part series from this particular story, it's not strong enough,
and that's probably where this film falls down. In general.
It feels to me like they set around a boardroom
and was like, this would be a great return of
the Jedi return. Let's bring the Huts back, Let's get
the Mandalorian on a mission to do with the Hut.
Let's have the Huts double back on that, that was
(18:45):
not a strong enough concept to evolve.
Speaker 2 (18:47):
There's a couple of things to add on to that
is it did feel like twenty minute chunks, twenty five
minute chunks the whole film, back to back to back,
So it did feel kind of episode like but all
linked together.
Speaker 1 (18:56):
It's like the one battle after the another, which we
should say thank you to David No.
Speaker 2 (18:59):
David Knox was saying that and TV tonight.
Speaker 1 (19:02):
It's like it did sort of feel like that. And
I kind of felt like when we get to the
third act and we get a Grogu kind of like
moment that could have been, you know, like in the
Last of Us there was a standalone episode with the
two games.
Speaker 2 (19:13):
Oh yeah, yeah, that was great.
Speaker 1 (19:14):
That was really meaty and juicy. I thought that's what
they were trying to do. It kind of felt like
a return to the Dagabart, do you know what I mean?
Speaker 2 (19:21):
Where the Twins ran the hut criminal I Dynasty was
felt like Dagabart, and it felt a lot like it
as well, like it was a huge throwback, especially but
especially a certain part of it as well. But there's
a character in that third act that helps Grogu ultimately
and it comes out of nowhere. It's not even set up,
but feels like a television episode. It doesn't feel organic.
(19:42):
Usually in a film, anything that happens on the third
act is set up in the first act. That's just
basic and that's the way things are constructed. But to
have a character just appear in the third act and
then be an integral part of the plot and then
disappear again was so weird and kind of television. You
could have set that guy up at any time, like
we're on that planet in the first act, but just
to yeah, pop him up out of nowhere. What did
(20:03):
you call him, Swamp Samuel L. Jackson.
Speaker 1 (20:06):
No, it's not Swamp Samuel Jackson, because it would be
foolish of them to make Wind a character, you know,
like you can get an actor to play two different
roles on Neighbors or Home and away forgotten about it not.
I did kind of feel in retrospect when I look
back to it, like maybe Snoop Dogg was a little
bit of an influence to this, This character and the
(20:27):
character work and that particular and the animation of that
was quite endearing. Yeah, very much though, Yeah, and so
I could see what they were trying to do. But
it does return me to the idea of this would
have been a great standalone episode like that Last of
Us episode that took us out of just Monster Zombie
Monster Zombie and then.
Speaker 2 (20:44):
Gave yeah heart.
Speaker 1 (20:45):
You know, I feel like that's what they were trying
to do. It just didn't work. I just didn't enjoy
it the way that I know that Jon Favreau was
expecting me to.
Speaker 2 (20:53):
Yeah, exactly, making a bit folksy, a bit homely, and.
Speaker 1 (20:56):
Like at that point, you like, get back to the action.
This movie really works when you in the action. So
it's like, let's go back to big sets, big moments.
We're done with for the return to the Dagabyte.
Speaker 2 (21:08):
I just wanted to mention just quickly, the Dave felony
of it all. Dave Filoni has come in and replaced
Kathleen Kennedy, who was the executive producer for the Star
Wars Lucas Arts Star Wars et cetera when Lucas sold
it to Disney. She'd been working with Spielberg and Lucas
since the seventies. She's got an incredible career. She got
a lot of the blame from the fans, the Star
(21:28):
Wars fans. Dave Filoni came in underneath was doing animated
series obviously worked on Mandalorian an other live action series
since then and has kind of been groomed and to
replace Kathleen Kennedy. He's very good for fans. There's a
lot of fan service in this film. There's a lot
of references to different animated series, different other live action series.
If you know what they are, then it's really cool.
If you don't, it doesn't really affect the film at all,
(21:51):
except if they were relying on those references for the
depth that we feel this film is missing, then they
should have relied on a few more factors than just
fan service. And he also appears in one of the
scenes as well as his Star Wars character in the background. Again,
really cool. If you know who that is and all
of that stuff, that's great. If you don't, it's not
going to affect you.
Speaker 1 (22:09):
Well, it's kind of like this movie in general. You
don't need to watch The Mandalorian like this film exactly.
You standalone. There's the treats for the Star Wars fans, absolutely,
but yeah, you can go into that. You can fly
into the Mandalorian blind, is what I'm saying.
Speaker 2 (22:22):
Yeah, yeah, yeah, you know what I was just thinking.
And this has just come into my head.
Speaker 1 (22:25):
Now.
Speaker 2 (22:26):
As much as the Mandalorian is like the Western of
all this, you know, the Western of Star Wars, how
cool would this film have been if it was like
the dirty Harry of Star Wars? How cooluld been if
the Mandalorian was like the rule breaking now that there
are rules with a new republic and he's working for them.
If he was like the rule breaking and the establishment character,
that would just want to mean so cool and such
a different turn anyway.
Speaker 1 (22:46):
Funny when you started talking then, I was like, oh fuck,
what the hell is this dirty Harry analogy? But you
are right. I would have liked to have seen some
more going against the and how.
Speaker 2 (22:55):
Good Sigourney we would have been?
Speaker 1 (22:57):
Is like that frustrated to challenge him? I don't know, bros.
If you ever thought about being a Star Wars scriptwriter,
do you have Jon Favreau or Dave or Kathleen's number
on hand?
Speaker 2 (23:07):
Anyone listening? You can have that sentence for free. That's
as much as I'm going to write.
Speaker 1 (23:12):
If that ends up happening in the universe, we will
timestamp this. Then we'll come back with our legal team.
You know, I just want to spin off with something
for a little bit in Spitball an idea, someone was
talking to me about the absolute hatred of Kathleen Kennedy
and how much responsibility she got slapped with with in
terms of Star Wars becoming too Mickey Mouse to Disney.
(23:32):
I feel like there's a bit of male misogyny when
it comes to this. I really hear a lot of
the Star Wars fans going after her, and I wonder
whether or not people would have been as harsh had
it been a male in that position.
Speaker 2 (23:45):
Yeah, I agree, because she's been there a long time,
so you can't say that it's only since Disney bought
it that she stuffed it up. And of course Disney
going to have an influence.
Speaker 1 (23:52):
We should talk about our cinematographer, and Greg Fraser is phenomenal.
There's no denying this. Like my first relationship with this
person was with Rogue One. The cinematography in Rogue One
is something that that film, to me, is what I
remember the most. But also his work with the Batman
and June is exceptional. So he brings all of that
(24:15):
to this And there's really two key elements to this film,
which is five stars if you ask me, and cinematography
and we'll get into composer shortly. Where this movie really works.
What are your thoughts.
Speaker 2 (24:26):
He brings a natural, a naturalism to the cinematography in
a CGI environment. He can take a CGI like CGI
sets and characters everything, but he makes it feel like
a naturalistic scene and you know, the camera movements and
the like I was saying, the pulling of focus and
the close ups. Like, he's just spectacular and he delivers
in this and like his work in June was just
incredible as well. But yeah, he is a remarkable director
(24:49):
of photography and god, he just makes this film like
the IMAX experience wouldn't be anything without his work. He
just knows how to combine all those elements together and
make something look just incredible.
Speaker 1 (25:00):
And a huge fist pump to us as well, because
we love to be patriotic and he is one of
Australia's biggest cinematographers.
Speaker 2 (25:05):
Yeah he's Ozzi Asiossi.
Speaker 1 (25:07):
But this film is a feast for the eyes. And
again not to harp on it, but the first twenty
minutes Chef's Kiss, even.
Speaker 2 (25:13):
Some of the most standard looking shots are just so
exciting in that opening just wow, actually just.
Speaker 1 (25:18):
One thing I will say about the opening, where I
thought was a little bit let down. Did you think
that the acting was a little bit distracting with the
characters sitting around that boardroom.
Speaker 2 (25:27):
Table boardroom table was so flat. That scene was so bad.
Speaker 1 (25:30):
If I was Disney and I watched that scene in
the dailies, I would be like, where did you find
these actors? Honestly, it looked like they went to a
bus stop in lost.
Speaker 2 (25:40):
No character and no charisma or whatever that being said.
And this is a nitty bitty kind of like a
real like tiny criticism, but that bit where the bad
guy shoots one of the guys for complaining about the
tariffs going up, there was too much of a delay.
It should have been just bang dead, not he pulls
his gun out, we see it, then he fires. It's
just go just bang, just kill him on the way out.
(26:02):
But just like Star Wars doesn't do that Star Wars,
the bad guy just banged that.
Speaker 1 (26:06):
It was very astin powers. If you ask me like
I felt like they were doing, your.
Speaker 2 (26:11):
Tariff would be one million dollars.
Speaker 1 (26:15):
It felt like they were trying to sort of have
a nod to our Han solo moment with whose first
type thing, but like it didn't it sounds it felt
more Austin Powers because the actors were so shit I
think you know what I mean. I don't know. That's
my take on it. So people, when you're watching this film,
I'd love to hear your thoughts on whether those people
look like they've been collected from a bus stop in
(26:36):
Los Angeles or whether they were incredible.
Speaker 2 (26:38):
Likely they like look, they looked like they was still
at a bus stop.
Speaker 1 (26:41):
It was confused as to where they were. They were like,
are we get a Star Wars movie? The way to
the on the way to Santa Monica, pear like on
the way to the bus that the food shelter.
Speaker 2 (26:51):
You know, I love it.
Speaker 1 (26:54):
When it comes to our composer as well, Like you
walk out of this film and I defy anyone who's
not going to talk about the score of this film.
And Ludwig he did Oppenheimer, he did Black Panther, He's
obviously done the Mandalorian.
Speaker 2 (27:07):
Series, Centers, he did Centners.
Speaker 1 (27:10):
It feels very Star Wars. He but then it also
doesn't stay in that place. It also brings in some
real well how would you describe it? When we land
on our Chicago island, the Chicago Island, the Chicago Planet
or what every week Chicago? But how do you describe
the sort of synthesized pop that gets brought into the
score at that point.
Speaker 2 (27:30):
It's incredible because he has these incredible he uses those
kind of those.
Speaker 1 (27:36):
Bas drop Yeah, yeah, that's a really it's.
Speaker 2 (27:39):
Called a bass drops. But on, but then he has
then he has like real percussion as well, like acoustic
percussion all the way through it. Like it's just the
energy and the and the emotion he just generates. I
don't know that, and I might be wrong here. I
don't know if there's been such a combination in Star
Wars in film anyway, it's a big electronic and an
acoustic music. It's just the way he interweaves the orchestra
(28:00):
for all acoustic orchestral stuff with his electronic synthesized keyboard
stuff is just phenomenal. There's even just straight piano at
one point, which I don't think I've ever heard in
a Star Wars score before, which seems really obvious. But
he's just oh and those drums all the way through it.
You just want to get up and just dance, like.
Speaker 1 (28:15):
Don't you think that this is the entry point to
wanting to see this film again. If you said to me,
do you want to not see this film again? The
main reason for me going back and considering I've harped
on about the first twenty minutes, which is a visual spectacular,
I feel like I want to go back just to
hear that score again in some of those moments where
he took some of the biggest risks. Because Star Wars
fans will crucify you for stepping too far outside of
(28:37):
something that they're familiar with, but I felt like his
choices were bold and unique and surprising and somehow elevated
the film every single time he took a risk with
the score.
Speaker 2 (28:48):
Absolutely yeah. And it still had those you know, the
high horn section, It still had the deep string section
with the cellos and so forth. Still had a couple
of callbacks to John Williams kind of stuff in there,
just very sut, very occasionally kind of woven in. It
was just the most amazing Gore. I mean, John Williams
is retired now, he's not going to do anymore apparently,
but Gorean Gorenson's just Wow. When you think of replacing
(29:11):
John Williams, you don't think it's going to be this
strong and this incredible. Even seemed like there was a
reference to fandom Menace with a bit of the choir
stuff that happens in the fight scene, Like just so
much stuff going on that, Yeah, it doesn't feel repetitive
or it doesn't feel like he's ripping anyone off. It
just feels like they're homages. But then also so much
new and so much risk.
Speaker 1 (29:30):
So the first reactions to this have been very interesting.
I've sort of touched on this a little bit, so
people are out there like us right now commentating on
this film. So the first reactions have been very mixed.
We've got a sixty percent right now and Rotten Tomatoes,
which it's in the top four worst Star Wars movies.
Speaker 2 (29:46):
Basically right okay overall, but.
Speaker 1 (29:48):
It's still very mixed because I think what is happening
with the mixed reaction is when this movie works, it's phenomenal,
and when this movie fails, it's boring. And so I
think people are stuck between these two, and I think
that could be it's going to be interesting when you
and I unpack our scores because of that reason.
Speaker 2 (30:05):
There are differentely elements in this film where it felt
like a dragged a bit. But I think that comes
back to what you're saying. Some parts of it work
really well, and when they do, it flies along, and
when it doesn't work quite as well, yeah, drags, it
makes you feel like, you, you know, we should move
on a little bit by now. So maybe it, you know, one,
you know, one more tight, tighter edit might make this
film quite watchable and really enjoyable. So I mean, it
(30:27):
is watchable now. I'm not going to say it's.
Speaker 1 (30:28):
Not watchable, but it needs twenty minutes taken out of it.
Maybe had we not had that third act moment where
we went back to the Dagabar, you know, maybe that
movie would have felt to you know, action action action
Like maybe they tried to slow it down to that point, but.
Speaker 2 (30:41):
That's where they're trying to inject a bit of heart perps.
Speaker 1 (30:43):
Yeah, that's what they were trying to do. But the
heart didn't work, And maybe it will for fans out
there that love Baby Yoda, do you know what I mean?
The Baby Yoda people out there that bang their hands
together every time that muppet pretends to eat a cookie like,
and they love that shit they're mad for.
Speaker 2 (30:57):
It, so you could rename it one Mando and a Baby.
Speaker 1 (31:00):
Yeah. Also, I do think that when it comes to
Pedro Pascal. My other thing is why I pay someone
so much money, so iconic to not have his face
on screen?
Speaker 2 (31:10):
More Like, I'd like to know how many days he
actually shot?
Speaker 1 (31:13):
Was it just two days out of a nine year shoot?
Speaker 2 (31:16):
And during his lunch break on The Fantastic Four?
Speaker 1 (31:19):
I mean, sorry, guys, I've just got to put down
my sausage role to go and film the new Star
Wars movie, Goodbye Bro? Should we talk about how many stars?
Speaker 2 (31:30):
Look, I'm going to give this two and a half stars.
If you're a Star Wars fan, you'll see it. You know,
you don't have to worry Disney know they've got that
money in their pocket. It's worth seeing it Imax. If
you're going to see it, definitely try and get to
Imax to see it because you won't be disappointed of
the scale and just that the visual is sensational. Obviously
Greg Frasier and then Gorenson on the soundtrack. I mean,
that stuff is incredible. So if you can't see Imax,
(31:52):
see it in the best cinema you can in terms
of audio, and you won't be disappointed for everyone else.
Once it's on Disney Plus, you're gonna have a great time.
Like I think, if I watch this on this Plus
as a rewatch, I'm just going to fall in love
with it. And I'm not going to say it's gonna
have a Rogue one type streaming life, where Rogue one
we all started to appreciate more and more the more
we watched it streaming. But yeah, so two a half stars.
(32:12):
It's allays the look. If you're curious and if you're
a fan, for everyone else, wait for Disney Plus.
Speaker 1 (32:16):
What do you think, Ben, I'm going to go with
this is a two star film for me. However, I'm
going to give half a star for the insanely good
first twenty minutes of this movie, and I'm going to
give another half a star for the score of this film.
I think that I'm going to bring this up to
three stars. Oh, I'm only bringing it here to three
(32:36):
stars for this reason. It did feel as though I
walked out of Oh that was a weird slug movie,
and I was a little bit disappointed. But am I
being a little bit too jaded in the sense that
upon reflection. This cinematography and the score and the imax
of it all was quite large, and I'm probably not
(32:57):
giving it enough credit considering how entertaining those elements of
it are. What are your thoughts about me leveling up
and going from a two starter with three start because
of those things.
Speaker 2 (33:06):
Well, I mean those two factors are incredible. Like, visually
it is great, and the score again, I listened to
it last night. I'm going to listen to it again today,
So that's fine. I can't criticize your final score. I
think that's worthwhile.
Speaker 1 (33:19):
Now, next week, we are getting very excited because we're
doing something unusual. There's two movies coming out that potentially
could be quite light and that is It's Scary Movie seven,
but they are calling it scary movie like Scream called
twenty twenty two just Scream. So we're getting a bit
of a reboot of that comedic take on the Scream Universe.
And we're also going to be unpacking Masters of the
(33:41):
Universe because we're seeing two films next week. We're going
to try our best to sort of work these films together.
I have been told from a friend of mine who
saw Masters of the Universe last week that Masters of
the Universe is much better than what people are expecting
because it doesn't take itself too seriously.
Speaker 2 (33:56):
Okah, well that could work. And look, we've mentioned the
trailer already on here, and we have very low expectations
at this point based on the trailer.
Speaker 1 (34:04):
You know, if one of these movies is particularly shit
and we might want to sidestep, but we might not
talk about both of these films next week.
Speaker 2 (34:10):
Yeah.
Speaker 1 (34:10):
True, there's the review right there. You know, if you
don't hear us talking about scary movie all Masters, maybe
we've dropped it because because it's not fair to talk.
Speaker 2 (34:18):
About I'll tell you, for a toy etic film, the
biggest compliment for the film from me can be if
I leave the film and want to buy the action figure,
that means I enjoyed the film. And that's happened through
you know, a lot of films, to the point where
when I left Gladiator years ago, all I wanted if
someone was selling like plastic swords and shields outside of
the cinema, I would have bought them and played Gladiator
(34:40):
for the whole weekend after I'd seen that film. So absolutely,
if I get excited by the toys which a lot
of Master Universe toy collectors are already chasing them down
and buying them. That's going to be my A plus
moment is if I want that he Man.
Speaker 1 (34:51):
Figure, and I think that no one's going to buy
the he Man figure of our new he Man because
like deflated human unless.
Speaker 2 (34:57):
They want to play Sheep Detectives.
Speaker 1 (35:01):
Imagine the transition from being that weird character on Sleep
Detectives to being in the Universe. And I have to say,
when he was in Sleep Detectives, he looks like he
filmed that.
Speaker 2 (35:11):
After Masters, he's still like the blonde hair.
Speaker 1 (35:13):
It was like too buffed up to be that character
and Sheep Detectives, but he was not uugh enough in Masters.
Speaker 2 (35:21):
I know what he is saying.
Speaker 1 (35:22):
For anyone looking for a family film and a bit
of Nostalgdirama, definitely head along and see The Mandalorian and Groku.
It is IMAX only viewing, so if you are going
to see it at a regular cinema, you might be
slightly disappointed because this film was specifically made for Imax
and be a missed not to go back. So guys,
(35:42):
go out return to Star Wars. It's been seven years
six point five to be precise've seen a Star Wars movie,
and if you don't buy a ticket to this, it's
going to be much longer, exactly, so maybe invest in
your Star warsdom and head along and see this film
this weekend.
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