Due to some version confusion we had to push our review of Guilty of Romance to next week. In its place we’re going to talk about the movie that put Sion Sono on the map for western audiences: Suicide Club. It’s difficult to summarize the movie and do the horrific imagery and biting commentary justice, but we do our best. Just the opening few minutes of the movie should clue you in on the doozy of a film you’re about to experience.
Our Sion Sono retrospective continues with the rap opera Tokyo Tribe, a doozy of a film that starts out rough and then ends with one hell of a punchline. It features a cast of fascinating and colorful characters that sing their way through bouts of ultra-violence. It features perhaps one of the most fun and over-the-top villains we’ve seen yet on this podcast. And if that weren’t enough, it features the daughter of a satanic high priest kicking all kinds of ass with her banana-eating kid sidekick. Have we convinced you to watch the film yet?
We’re back from our break and we thought it would be a great idea to kick things off with a retrospective on director Sion Sono. You might remember him from our episode on Why Don’t You Play In Hell. Yeah, that guy. Anyway, we’re starting with his 2015 film Tag, featuring perhaps one of the most surprising openings to be put to film. Seriously, you might want to be sitting down for this one.
We close out our month of That Wasn’t The F**king Plan with the best movie out of the four we talked about, although that’s not saying much: The Emperor’s New Groove. It’s a strange film in the Disney archive, fraught with all kinds of production drama. We talk a bit about what the original plan was, and then try to figure out where things went wrong. We also note how the film has a great third act and how Kronk probably should have been the star considering how much of the movie he stole from everyone else.
This also marks the end of Behind the Hype for 2020. We’ll be back a little bit later in the new year with more zany retrospectives that challenge how we think about films and the filmmakers who work on them.
You’d think that a movie about a filmmaker at war with himself that took ten years to make would be more interesting, but here we are. We’re discussing Terry Gilliam’s The Man Who Killed Don Quixote and let’s just say that we had a lot of issues with it. Are we talking about an unwatchable dumpster fire of epic proportions? No. Not even close. It’s just a very messy production that shows its seams at every turn and ends up being more boring than bad. If you like early Gilliam you won’t find much of him here and that’s a shame. The performances are good, but what would you expect from the likes of Jonathan Pryce and Adam Driver? We talk about all that and more in this week’s episode.
This week in our month of “That Wasn’t The FF&#king Plan” we’re talking about the David Ayer film Suicide Squad. The David Ayer film Suicide Squad is what we’re talking about this week as we deep dive into films that weren’t part of the FF&#king Plan.” As we dive into movies that didn’t turn out the way they were planned, we thought it would be proper to talk about the David Ayer film Suicide Squad.
Okay, I think that hammers home the point that Suicide Squad takes forever to get out of its introduction and never gets fully out of its own ass. Oh yeah, we brought in our Matt Dykes to help us talk about the absolute “trash fire” film Suicide Squad. We have a lot of fun, but there’s no more time for these shownotes so just know we tear the movie a new asshole. Cheers.
That wasn’t the f**kin plan! This month is all about the screw ups, the garbage fires, the things that didn’t turn out the way they were initially intended. We’re kicking off this month with the garbage film Star Wars: Rise of Skywalker and diving into all the things that went wrong with it. Turns out there’s a lot. Now, before you – a Rise of Skywalker fan – get all huffy, we had one or two things that we liked about the film and we made sure to give those points their due. On the whole, however, we found the film to be bantha poo-doo. Enjoy our rant and may the force be with you!
Happy Thanksgiving! We know it’s a bit tough this year around the holidays so we decided to invite you into our homes figuratively to talk about the last film in our Hugo Weaving retrospective: The Adventures of Priscilla, Queen of the Desert. It’s a great film filled with amazing performances. There’s a lot to love here and we talk about it all. The film does struggle to stick the landing with one character deadnaming another, and guys, that’s a fucking bummer. Consider this a bit of a caution as you proceed with both the movie and our discussion of the scene.
Stay safe out there, everyone, and enjoy our episode!
We continue this roller coaster month of Hugo Weaving films with Last Ride, a father and son road trip movie that’s as dour as it is excellent. Weaving gives a stellar performance here as Kev, an abusive father with almost no likeable or redeemable qualities. Almost. Somehow, despite an entire movie of being an absolute shit, you still feel bad for the guy and his situation. And Tom Russell is no slouch either, playing the son Chook. With their powers combined, they really make us miserable, and that’s a good thing. Is this film a great idea during these challenging times? Maybe not. But you owe it to yourself to see a movie that does right by its genre.
Unfortunately we’ve got a bit of a downgrade this week as we talk about Mortal Engines for our month of Hugo Weaving. There are things to like here, the setting being the chief among them. It’s an interesting world with some equally interesting lore, and it all looks absolutely gorgeous. Where the film loses us is with everything else. The plot is bland and at times nonsensical, and no one is giving much in the way of their performance. Hugo Weaving has almost nothing to work with here with his first draft villain Valentine, and line reads that should play with gravitas just fall flat. The leads have no chemistry, which makes the eventual “falling in love” that’s required of all YA feel like it comes out of left field. We discuss plenty more about it, but you’ll have to listen to find out what we say.