Eavesdropping At The Movies

A heist movie for the twinkly wrinklies, with a nostalgic and homophobic angle we disliked. Based on the true story of the 2015 Hatton Garden burglary, King of Thieves features an all-star British cast and one joke: they're all old. Mike is keen to give the film credit for its charm early on, as well as its sensitive depiction of the sense of loss felt by Michael Caine's recent widower. But the film is uninspiringly shot, incompetently and unwisely edited - it's absolute mayhem - and when it swaps its charm for aggression after the heist, it loses all interest. Ray Winstone comes in for particular criticism from José, and Mike explains why he found The Theory of Everything wanting. Recorded on 17th September 2018.

A contemporary Western played by non-professional actors and based closely on their real lives, The Rider is both heartfelt and riddled with cliché. Brady is one of a group of young men in the American Midwest who ride bucking horses and bulls, risking severe injury and death, in what can be seen at once as both a vital act of keeping tradition alive and a tacit admission that the opportunities offered by America are dwindling and serve to keep people in their place. Mike also describes it as "a stupid sport". José sees a kinship with American Animals in its portrayal of young American men with no sex lives or apparent interest in sex lives; Mike believes it's a film that will flatter those who like to pride themselves on seeing "quality" cinema. There are scenes of beauty, including those with a former rider profoundly injured and restricted to life in an assisted living facility - Brady's love for his friend, expressed throughout the film, is touching. And the horse wrangling is simply spectacular and wort

Cold War is Paweł Pawlikowski's follow up to the Academy Award winning Ida. We delighted in the Midlands Arts Centre’s fabulous projection system, which Mike says makes these beautifully lit and composed images "sing", allowing their poetry to resonate. The film is unashamedly a love story, framed in a 4:3 ratio that best frames faces and sharpens the focus on the feelings they express, in glistening black and white. Cold War begins unusually in that the love each of the protagonists has for the other is never in doubt. The problem, the threat, the barrier, is how the geopolitics of the post-war period interrupt that love - the whole world is against them! We discuss the resonances of the film’s setting, the period 1949-1964, and the significance of the film moving back and forth from Paris and several Eastern Bloc countries; with settings in the Polish countryside, Warsaw, Berlin Yugoslavia, Zagreb and then back to Poland. Is part of the theme that in the Eastern Bloc they’re forced to prostitute their art

An utterly charming, friendly rom-com set in and amongst the very wealthiest of the Singaporean elite, Crazy Rich Asians is also full of odd tensions and problematic complexities. In one sense a highly specifically Chinese story of a second-generation American immigrant's return to Asia and the conflict she experiences in negotiating her way into a world that finds her somewhat unwelcome; on the other a genre comedy that would feel no different were the characters all white. It's a friction that bubbles under everything, but the film is so light and likeable that it never spoils anything. We find Michelle Yeoh's performance as the intimidating mother-in-law a delight, her character completely avoiding the one-dimensional dragon mom stereotype. On the other hand, there are stereotypes in which the film does indulge, though we disagree on how critical we should be of that. Thinking back to Searching, Mike feels that that film's joy of seeing ethnicity have no bearing at all on anything is not replicated here,

An imperfect combination of documentary and dramatisation, American Animals gives us a lot to talk about. Its story of four college students embarking on a heist raises ideas of privilege, ambition and hope (or lack thereof), self-image, and above all, masculinity. In its self-conscious invocation of the kinds of films twenty-something white guys adore, such as Fight Club and Reservoir Dogs, American Animals builds a portrait of the modern young man with which Mike sympathises but which José cannot tolerate. Neither of us finds the film without deep flaws, and indeed we could not claim to have really enjoyed it. But it is valuable and leads to a lively debate. We use the phrase "American masculinity" a lot without burdening ourselves with defining it, and Mike observes that all films with American in the title are full of themselves. Recorded on 10th September 2018.

Jump scares, a spooky castle, ghosts, nuns, and a demon. What a recipe. José decries the lack of internal logic. Mike embraces it. There's artistry in the visual and production design that the rest of the film doesn't live up to, but there's an audacity in the film's wackiness. Neither of us can recommend it, but we had loads of fun talking about it. Mike uses the word "creepy" about forty times. Recorded on 9th September 2018.

You wait all day for a new type of film and then two turn up at once. Hot on the heels of Unfriended: Dark Web, which we discussed a few weeks ago, is Searching, another desktop film (as we're calling them). John Cho plays a father whose teenage daughter goes missing and conducts a search for her using her laptop and an old family PC. It's formally a little different from Unfriended, and we consider that even more formal difference might have suited the story. But the form does allow the film to cleverly and subtly address themes of generational difference and familial disconnection, and the drama the film builds is deeply involving. We also remark upon the film's surprisingly unique and welcome depiction of an Asian-American family, and Mike misremembers the origin of the term "woman in the fridge". Recorded on 3rd September 2018.

We catch up on home media with an erotic thriller that, while it fails to titillate, offers a fascinating portrayal of totalitarianism, sexuality, control and ownership of the female body and the way power is expressed through it, revenge, and more. Jennifer Lawrence stars as a ballet dancer forced into working for the state as a honeypot, tasked with seducing Joel Edgerton's CIA operative for the purpose of smoking out his mole. We are in agreement on the extravagant thrill of the opening, and the electifying darkness of the sex school's complex dynamics and brutal methods. Mike is less interested in what occurs when the action moves into the field, and holds out hope for an ambitious (and insane) conclusion; José, more realistic, expounds on why the film's developments should be interesting enough for Mike as they are. The plot grows convoluted, the visual design less expressive, but ultimately we love what Red Sparrow offers and wish we'd caught it when it was at the cinema. Recorded on 29th August 2018.

Raunchy, vulgar, adult puppet comedy. You'd think it'd be right up our street. But The Happytime Murders is incompetent, embarrassing and infantile, with almost no comic instinct - the couple of moments that drew laughs from us did so primarily through sheer insistence and excess. Mike tries to reckon with what the difference is between the likes of this and something like Team America: World Police, which he likes but is superficially similar. José can't comprehend how simply bad the filmmaking is. A conversation about Melissa McCarthy ensues, with differing opinions on her talent, but her box office appeal is not in question - at least until now. Recorded on 28th August 2018.

Quiet, meditative, sensitive, gradual. Not the first words that come to mind when considering 2014's vigilante thriller The Equalizer - though they do apply at times - but certainly descriptors of its sequel, which we loved. Denzel Washington's ex-spy, Robert McCall, who had managed to extricate himself from a life of state-sanctioned violence and murder, now works as a vigilante for hire, an avenger, conducts himself as a role model, mentor, and cheerleader for those whose lives with which he comes into contact. We discuss The Equalizer 2's ethos of personal responsibility and self-improvement, and its meditative tone. José orates on his love of Denzel and his position as perhaps the most significant figure of black masculinity throughout the history of cinema. Mike adores Antoine Fuqua's aesthetic of long lenses, shallow focus and moody lighting; a visual sensibility that looks wonderful and intimidating on the big screen, but somehow makes small screens seem big too. While it's certainly cut from the sam

It's Eavesdropping's first anniversary and we celebrate with a film Mike's been looking forward to seeing for almost a decade. Alfred Hitchcock's Dial M for Murder was released at the tail end of the short-lived Fifties 3D craze, and has rarely been seen in that format (even at the time). But it rolls around every so often and this week came to the Electric, so we jumped at the chance to see it. A dialogue-heavy chamber piece, Dial M for Murder might not seem the obvious choice for the spectacle of 3D, but it's for this reason that we find it interesting. José, who has seen it before in 3D, recalls his previous impressions of the importance of items - the keys, the handbag, the scissors - and how the stereoscopy relates to it. Mike, who wrote on 3D film at university and has defended it ever since, places Dial M for Murder in context, comparing it to both 3D of the time and today, suggesting how it was ahead of its time. Away from the 3D, we find the film slight, a trifle, though enjoyable throughout and re

We breathlessly debate BlacKkKlansman, Spike Lee's comic drama based on the true story of Ron Stallworth, a black police officer who infiltrated the Ku Klux Klan in the 1970s. With limited time - Mike has to leave for work at some point and he'll only let himself be so late - we dig right in. Discussed is the film's point of view on culture and particularly cinema, arguing that a single film can wield the power to affect an entire nation; John David Washington's performance, the influences we can see in it, and whether a more charismatic star might have been beneficial; our attitudes to Lee's pamphleteering and the pros and cons of propagandistic cinema; the film's direct address of Trump's America and its tragic, somewhat surprising ending; and more. We question whether the film's comic treatment of David Duke, head of the KKK, carefully undercuts our delight in mocking him or dangerously indulges it. Duke is rendered a figure of fun in some notable and hilarious scenes, but the film ensures we recognise th

It's been out for four weeks and finally we decide to grapple with Mamma Mia! Here We Go Again. Mike has just recently caught up with the first film, a jukebox musical that José disliked, and both are disappointed with the sequel's lack of instinct as to what makes a musical actually work. Mike points out some elements of story structure he found original, and Jose is impressed with how the film juggles its vast cast of characters, but they disagree on Cher. (Spoiler: José really loves Cher.) Neither comes away really having enjoyed the film, though neither is really the target audience either. But there's fun to be had in critiquing it! Recorded on 19th August 2018.

José finds a lot to remark upon in The Darkest Minds that Mike didn't see, helping him appreciate it more. It's a story of a society broken down by fear of children and a group of young survivors negotiating their own development and making their way towards liberation. It is representationally interesting, the central character a young black girl through whose eyes the film is filtered. Depictions of children being rounded up into concentration camps disturbingly echoes the actions of ICE under the Trump administration, not to mention countless other examples of segregation and incarceration of peoples throughout history. The central theme of a young woman making herself invisible in order to satisfy others and smooth her path through life is worked through intelligently and tragically. It's visually uninspiring, and lacks charm and flair, but The Darkest Minds is an interesting and heartfelt teen movie for an increasingly enlightened young audience. Recorded on 15th August 2018.

Designed entirely to simulate the desktop interface of a Macbook, Unfriended: Dark Web enthusiastically adapts modern fears of surveillance and digital stalking to the horror genre (drawing on the style of 2014's Unfriended, to which this is a sequel). It's a stylistic achievement that never once feels unconvincing, even if the route the plot takes is far from unpredictable. We discuss the way the film hides its most graphic elements and is able to create tension and horror from the very opposite, and the wonderful evocation of distracted attention, with the main character jumping between Skype, Spotify, Facebook and more, that remarkably never becomes overwhelming or incomprehensible. Some of the performances aren't the best, and we each found the film uninvolving at different points and for different reasons, but generally speaking we enjoyed the film's experiment and found it interesting. We also discuss the two producers, each of whose names caught our eyes, and how Dark Web fits in to the current cinem

Big shark, big Cockney, big fun. We dive into The Meg, a film we can all agree should have been called Chomp. It's definitely trashy, though precisely how trashy is an area of disagreement. For José, it's a bad movie. For Mike, it's a good bad movie. Recorded on 12th August 2018.

Low-budget, unexceptionally made, and absolutely vital. The First Purge takes the story of the Purge series back to the beginning, with a poor community composed of people of colour being savagely experimented upon for political purposes. Mike slightly had to drag José to see it, as it was showing only in single late-night screenings, but both were glad he did, as it's perhaps the most direct and powerful critique of white hegemony that popular cinema has offered in recent memory. We examine the imagery of the deliberate terrorisation of black communities in the USA. It draws on real-life attacks on black churches, Ku Klux Klan members wielding guns in pick-up trucks, and the resurgence of Nazis - one image of a blackface mask being removed to reveal an Aryan stereotype is particularly poetic. Mike finds that the film protects the white audience from their own complicity in the inequality portrayed, but it's only a nuance, and as José says, we should be so lucky to have such flaws in most films! And José exp

The sequel to 2015's Ant-Man maintains that film's lightness of tone, happily comic sensibility, and fabulously enjoyable visual effects. So often today we take exceptional effects work for granted but the conceptualisation and realisation of the images in Ant-Man and the Wasp make you notice, make you remark upon them. We had a great time. We find room for nitpicks, of course, with José expressing irritation with Ant-Man's malfunctioning suit and Mike finding the quantum realm too vague to provide real jeopardy, but our quibbles are minor. It's a lovely film, it got big laughs from the audience, and even gasps at one notable point. You should see it! Recorded on 2nd August 2018.

A mega bumper double podcast today, as we see Mission: Impossible - Fallout twice and incorporate both discussions into one episode. Long story short, we had tons of fun both times and you should see it. We both adore the visual storytelling and the elegance of the action. We fawn over gripping sequences which evoke silent cinema. We discuss in depth the idea of Ethan Hunt as a moral character, something that the film places front and centre throughout, giving him choices to make and emphasising the protection of innocents and self-sacrifice. José doesn't quite buy it but Mike does his best to talk him round. Neither of us is quite sold on the concept of the villain - he's not enough of an idealist - but Cavill's performance unquestionably elevates him and he's a constant delight to watch. To José, he's the new Errol Flynn. Mike focuses on two implausible scenes to compare and contrast, exploring why he believed in one but not the other. José describes how the action scenes develop like good jokes, with ide

We are joined by Celia Nicholls, another former Warwick student, for a discussion of Paul Schrader's First Reformed, a careful drama following a Protestant minster's personal crises and relationships with his parishioners and community. Comparisons with Robert Bresson, informed by Schrader's Transcendental Style in Film, are drawn; we consider how trite or meaningful we find the film's moral questions; and we pick apart the film's flat aesthetic and occasional flights of fancy. Recorded on 25th July 2018.