Kermode & Mayo’s Take - Johnny Flynn, See How They Run, Bodies Bodies Bodies, Crimes of the Future and The Score

Episode Date: September 9, 2022

This episode was recorded before the announcement of the passing of HRH Elizabeth II. This week Simon speaks to the multitalented Poet, Musician, and actor Johnny Flynn about his new film ‘The Score.’ Mark reviews new comedy horror ‘Bodies Bodies Bodies’ - about a group of spoilt friends whose party game goes horribly wrong, ‘See How They Run’ - a mystery/crime set in the 1950’s, starring Sam Rockwell, Adrien Brody, and Saoirse Ronan, ‘The Score’ - a British musical/heist film starring Will Poulter, Johnny Flynn, and Naomi Ackie, and David Cronenberg’s latest body horror ‘Crimes of the Future.’ You can contact the show by emailing [e-mail] or you can find us on social media: @KermodeandMayo EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Somethin’ Else & Sony Music Entertainment production.   Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts   To bring your brand to life in this podcast, email [e-mail] Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, before we start, just to say that this episode of the take was recorded before the announcement of the death of the Queen. Metro links and cross links are reminding everyone to be careful as Eglinton Cross-Town LRT train testing is in progress. Please be alert, as trains can pass at any time on the tracks. Remember to follow all traffic signals. Be careful along our tracks, and only make left turns where it's safe to do so. Be alert, be aware, and stay safe. Something else. Do you do fancy dress? No. So if someone invites you to fancy dress party, do you instantly go, great, that's going to be really fun or do you think I think I might be busy? I went to a fancy dress party as the Proclaimers, and all I did was I just went there

as myself, but I think I put a bit, I think I put on like a tart and come a bond or something, because... No, I know, I know. There's something you won't have won, I'm saying. Exactly, but that was like, okay, fine, you know, that's it. I've done my bit now. Specky guy with a 50s haircut. So Cosplay is not a thing in my, do you think it could be? If I'm worried where this is going, well, Cosplay does James Dean for most of my life, but it just never, well, you know, we have our biggest live show ever. Oh, yes, coming up at Halloween at the end of October.

Yes, it's exciting. See, we're Halloween is obviously at the end of October. Yes, it's exciting. See where Halloween is obviously at the end of October. Yeah. So this is the Indigo at the O2 in London. Yes. And I just thinking so we should probably wear costumes, do you think? No. Oh. Well, hey, if you were going to, what would you cause play as? I don't know. I don't know. I mean, we encourage people coming to cause play. I mean, there was loads of cause play at Frightfest. Well, that's that.

Well, what kind of thing did they wear? Well, you know, people dressed up as, you know, Michael Myers or they dressed up as Jason or they dressed up as if somebody was there as Reagan McNeil. You know, there were some really good costumes. If you dress up as Jason Isaacs, what's that look like? Just super swath. Yeah, just super handsome, super, super buff, super handsome.

They kind of vampires in the monsters and, I didn't see any monsters. There were definitely vampires. There was a lot of, you know, it was just gullishness, but a good gullishness. So yes, but we encourage, but I don't know whether it would take, would it not undermine our authority if we were interested, like if you were Batman and I was Robert. That's true. Should we do that? Should we do Batman and Robert? That's not Halloween.

Well, all right, then, well, is that, I'll do for the Merrin and you do Reagan. No, this is because we're doing what's's called our first annual Halloween bash which kind of it can't be annual if it's the first well It's rather presumptuous to assume that it will happen again So there's gonna be the normal show will have a bunch of spooky guests Excellent Halloween cosplay competition. This is where obviously we'll be judging and now either we're gonna be Super Dapper and just look fantastic just to mark us out different or we'll be in horrendous costumes provided by our production company. Well, if we're going to do cosplay, I am going to come as Father Carus, which

will basically just involve me wearing the black suit that I always wear with the dog collar. Okay, I'm not quite sure what you could come as Father Mary, like you come as Father Carus, it's just dogs. Can I come as father Ted? You could come as father Ted, if you'd like to- Random priest. Anyway, there'll probably be a quiz because that always fills a bit of time, doesn't it? Random priest, as opposed to Randy priest,

which was- Oh, those two. No, what was the, you know, Fleabag. Oh, here, yes. Yes. Can we get Andrew Scott? That's right.

I'm sure he's not busy. Andrew Scott will be mentioned later on in this particular episode. Anyway, so there's going to be lots of all Hallows Eve fun and you might want to know where people can get tickets, Mark. Simon, where can people get tickets, Mark? You go to kermadomeo.com. That's where you go to and all the details are there and it would be great to see whether you're cosplaying or not cosplaying.

It's our biggest live show of all time. It's the first annual Halloween bash at the O2 in London, kermedameo.com. I saw Georgie Fain play last night at Ronnie Scott, he was fabulous, and he told a story about a musician, very famous musician, having a musician, a very famous musician, having a conversation with a less famous musician, and the less famous musician said to the famous musician, when was the last time we played together? And the famous musician said, tonight.

Very good. And we're just, George, you're going through all the hits. He was, yeah, he started off with, yeah, yeah. Wow. Did he do the ballad of Bonnie and Clad? He did? Really? Yes, he did. He actually played all the he would imagine that did he do Rosetta? Are you better?

Are you well, well, well, with Alan and Price? I know, exactly. No, but Zoot Money came on in the middle of the set. He could have done the Alan Price bit. You'll know, exactly. What's on the show today? You don't have to cosplay for today. But I'm going to be reviewing,

see how they run, bodies, bodies, bodies, which is written here as Bodi, bodies, bodies, crimes of the future, and the score, which brings us to our special guest. Yes, which is the always interesting Johnny Flynn. We're going to have a conversation with him. He is one of the stars. He's the executive producer and the provider of the music for the school.

And as if that wasn't enough. Oh yes, as if that wasn't enough on Monday. It's on the script. Oh yeah. Read the piece on Monday for the Vanguard. There'll be another extra take, which will be expanding your viewing in our feature one frame back inspired by Bodhis and bodhis bodies. We've been asked you for your weekend away movies on our social channels, lots to

choose from. Would you say on that? Lots to choose from. Like what, for example, like lots. Okay, lots. Excellent. Take it away. You decide a word of mouth on a podcast. Richard Marks going to be talking about. Oh, Mark. Send your suggestions for great streaming stuff that we might have missed to Correspondence at www.commona.com. Just anything that you think is super buzzy and exciting, which is super buzzy. Yeah, either we should be talking about or you just think everyone needs to know about it because there's so much stuff out there at a snow.

Correspondence at www.commona.com. Please sign up to our Premium Value Extra Takes to dig into all that stuff. You can access all the extra stuff through Apple podcasts, or if one prefers a different platform, then one should head to extra takes.com. I like this one. If one prefers a different platform. And if you're already a Vanguardie's turn, as always,

thank you for subscribing. Here's a thing. Good jokes, by the way, coming up later. Excellent. Are they written by you or by your child? No, no, no, no. Well, I have one written by child three, but mainly they're all provided by the Vanguard. Oh, okay.

So the audience are now providing the jokes. Yeah, well, you'll see, you'll see why. Steve Bachelor, Deer Reveater, and Little Dinosaur, LTL and FTE, in reference to Mark's query about the difference between a ship and a boat. Yes, I think I may have the answer. Okay, a ship. Can I just say, I said a boat can go on a ship

but a ship can't go on a boat. This is much better. A ship is a big floaty thing with lots of people on it, whereas a boat is something built in a Nicholas Sparks film. I have no idea. Yes, you don't get a sad man of people on it, whereas a boat is something built in a Nicholas Sparks film. I hope so. Yes, you don't get a sad man standing down a ship. It has to be standing down a boat.

He says, I hope that helps. Down with the Nazis and ridiculously lengthy leadership contests. Very good. Also, a ship is a big floaty thing with lots of people. Whereas a boat is something built at the end of Shawshank redemption. He's not building a boat at the end of Shawshank, but it's his own vanishing. It's handing it down. That's the tradition. It's the thoughtful older gentleman, sanding down a boat.

John Penny, dear Mal and Demare, I enjoyed your conversation about sea sickness and agree that it can be absolutely terrible. I have heard it said that if you have bad sea sickness you start to fear that you will die, but if it's really bad you start to fear that you won't. Anyway help is at hand. My cousin who runs the lifeboat in the Isles of Silly told me of a fail-safe cure. Okay. All you have to do to cure sea sickness is to sit under a tree. Take a deep tongue and the arm and all things that should stay. The arms of silly are of course the the kind of napless ultra of sea sickness because the salonian is a flat bottom boat in order to get in between. Is that a song by Queen? What flat bottom boat? Yeah, it's pretty good. In order to get into the shallow waters around the archipelago.

So if you go over on the salonian and the crossing is flat, that's fine. But if you go over and it's a little bit lively, a little bit lairy, sea sickness can result in absolutely staggering quantities. It is a very, very floaty boat with a very flat bottom and apparently it's very, we went once, we flew over because I haven't done the salonian

and we went into the office because I'd forgotten so I had left something, I had to pick it up and somebody was in front of us and said, I was in the Navy for 20 years and I'm not going back on the floor. Really? Because I'd be hit by the same thing. Dear Porton Starboard, for a long time now says Aaron, I've listened to your film and non-film-based witcherings. I consider myself very much part of the coterie of the church of Witter. Do we still call it that even though we're in the new world? Anyway, yes we do. And we recognise most of the coterie of the church of Witter. Do we still call it that, even though we're in the new world? Anyway, yes we do.

And we recognise most of the long-running in jokes and no-mic references. However, there is one element of your witterings by which I'm genuinely perplexed. OK. Do you both go on a month-long cruise? Yes. When it gets to August and you both sail off wherever it is you go,

I initially thought the comments about going on a cruise were simply a joke. No. However, in true British fashion, your comments on the matter are so dry. I cannot work out whether you're joking or dry, they're just actually true. Or whether you're actually sailing the seas on earth. I was going to Google, do Mark and Simon actually go on a cruise but didn't want Google to see that I had searched. I clearly have too much time on my hands that it evidently not being well spent.

Adding to my confusion on the subject, at the end of the recent pod, you even had boat noises in the background. Are they on a boat at the bottom of the sub? They can't be, can they? Just like the best movies, I can no longer tell what is real and what is not. I haven't missed the boat on this one. No, we do go on a cruise. We kind of exaggerate sometimes about, you know, Spandar Valley won't actually on the cruise. That was a, it was a Spandar Valley Tribute Act. Yeah. And tribute was paid. But, but, but the cruise is a real thing. But we did have Durant, Durant. Which is fine.

Aaron, thank you very much indeed. Now, correspondence at kebuna.com, by the way, more queues of C-Sickness, that'll be good. But you want plenty of time to talk about our next movie. And I am now offering you plenty of time. Crimes of the Future, which is the new film by David Cronenberg, of whom I'm a huge fan, as you know, Premi Ede, a can in May. Shares a title with an experimental, sort of underground film that you made in 1970. If you're a Cronenberg fan,

stereo and Crimes of the Future are the kind of, you know, the early ones before the features kick in. This isn't a remake of that film, though it shares the title with it. Although it is very much a throwback to the body horror films with which Cronenberg sort of made his name, Shivers Rabbit, Vidya Drum Brood, you know. And all what those films did was they use the mutations of the flesh as physical metaphors for matter of life and death. I'm going to play you a

brief clip in which anyone who's familiar with Cronenberg's, oof, will know that this is kind of, this is like... Is it Gory? No, it's not Gory, it's that, but it's long live the new flesh, old, fashion Cronenberg. Here we go. Caprice, you have no idea how hard it's been for me to find plastic surgeons who understand. They do not wish to be made more beautiful. The surgeons tend to be very focused and unimaginable to

consider the strength. I was a surgeon myself. A cosmetic surgery though. Trauma. Trauma. But that's very him. Provocative. So this is set in the near future.

The human body is in revolt due to accelerated evolution syndrome. Viga Mortensen, who of course has been in, you know, history of violence, Eastern promises, is Saul Tencer, who's a performance artist, whose body is consistently producing new organs. Organs which are then removed publicly as part of the theatre of surgery. Incidentally, that's why medical theatres are called theatres because they were originally on display, played by Lesa Doe and she removes the organs, which incidentally she tattoos in situ as they are growing because they have to be registered by the National organ registry, which is trying to keep track of an archit human development.

The registry is still a fairly modest affair, but working at it is a character played by a Christian Stuart who's called Tim Lim, who becomes clearly aroused by what's happening with the performance art, and who says at one one point surgery is sex, isn't it? Surgery is the new sex, which is a very, very sort of chronic burgeon thing. Meanwhile, there is a a sort of a parallel plot, a young boy who we meet at the very beginning of the film, eating plastic becomes the center of this whole other plot which will kind of lead them comes the center of this whole other plot, which will kind of lead them into uncharted territory with a meteradical called Lang who says it's time for human evolution to sink up with human technology. We've got to start feeding on our own industrial waste. Now, Cronenberg has

said, I quote, fans will see key references to other scenes and many and moments from my other films and he's not kidding. So if you're familiar with Dead Ring, there's the conversation about, you know, I want to have beauty contest for the insides of bodies. Not the Radio 4 comedy quiz. No, Dead Ring is the David Cronum, but yes. Well done for distinguishing between the two because Alissa could have been confused otherwise. One could have sued the other.

So that absolutely kind of resurfaces here. The sort of long with the new fleshed mantras of video drum are reworked. The story's about human bodily eruptions and viruses just being part of a natural process. These all kind of weigh their heads again. And as somebody who grew up loving that sort of Cronenberg canon of Body Horror, which he sort of moved away from in the wake of Dead Ring

as any moved into the stuff that was more psychological, really from crash onwards. All of the things like existence, which was a kind of, you know, a sort of partial return to genre. kind of, you know, a sort of partial return to genre. This feels like, okay, this is an old, old-style Cronenberg movie. The problem, I think, is firstly, it's nice to revisit that stuff, but it is a step backwards. It's not an evolutionary leap forward. The second thing is, it's not one of the great, I mean, it's a footnote to Cronenberg's body of work as opposed to, you know, a new evolutionary development. There are some fundamental flaws in it. I mean, there are weird moments of kind of soft core sexiness that look like they should have come from a Roger Corman video from the 1980s. There are some oddly ill-fitting comedic elements. Christenshire, who I absolutely love and I know you do too, delivers what I think is her first mischarged performance, which is kind of teetering on the brink of somebody doing a parody of her breathless staccato.

You know, when people do, and it's kind of like, okay, well, I understand that maybe this is meant to be sort of ironic or sadonic. On the other hand, Vigamortan is terrific. Where's the do is terrific. The design is classic, you know, there are these beds and chairs and sarcophagus that all kind of have a genetic connection to the mugwamps of naked lunch. to the mugwamps of naked lunch. But it feels like a step backwards. Now, I have seen some people talking about it and talking about the ideas in it that are saying, they've got these brilliant ideas of this and that and the other.

As if those ideas weren't explored before many decades ago, here's the thing, if anyone is going to do a tribute actor David Cronenberg, it might as well be David Cronenberg. And I there are things in crimes of the future that I like because I liked those films the first time round. But it does feel like if you if you were somebody who was there through Rapid Scanners, the brood, video drum, the fly, it's like, yeah, okay, I did like those films and existence already felt like let's go back to video drum and give it a proper ending And this now feels like when this script incidentally is based on a script that's That's quite old anyway, but this feels like somebody going, okay, I'm gonna play the hits

You know, it's like you know when a when you know I, you don't want to hit my new album, here's the hits. And it's fine. It's not provocative in the way that crash is. It kind of felt oddly safe to me. I mean, I liked it enough because I liked Cronenburg, but if you know and love Cronenburg, you've seen this all before. Still to come on this very, very entertaining pod. A review of bodies, bodies, bodies. More bodies. See how they run. And our special guest, Johnny Flynn, a star of the score or one of the stars. Certainly, you're here from him in just a moment. Time for the ads. Very exciting. Unless you're in the vanguard. In which case, we'll be back before you can say extra takes.

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Our link will also give you four extra months for free on the two-year plan. There's no risk with Nord's 30-day money back guarantee. The link is in the podcast episode description box. Hi, esteem podcast listeners, Simon Mayo. I'm Mark Kermot here. I'm excited to let you know that the new season of the Crown and the Crown, the official podcast, returns on 16th of November to accompany the sixth and final season of the Netflix epic Royal Drama series. Very exciting, especially because SuperSub and Friend of the show Edith Bowman hosted this one. Indeed, Edith will take you behind the scenes,

dive into conversation with the talented cast and crew, from writer and creator Peter Morgan to the crown's Queen Elizabeth, Emelda Staunton. Other guests on the new series include the Crowns research team, the directors, executive producers Suzanne Mackey and specialists such as Voice Coach William Connaker and propsmaster Owen Harrison. Cast members including Jonathan Price, Selim Doar, Khalid Abdullah, Dominic West and Elizabeth Tabiki. You can also catch up with the story so far by searching The Crown, the official podcast, wherever you get your podcast. Subscribe now and get the new series of The Crown,

the official podcast first on November 16th. Available wherever you get your podcasts. This episode is brought to you by Mooby, a curated streaming service dedicated to elevating great cinema from around the globe. From myConnect directors to emerging otters, there's always something new to discover, for example. Well, for example, the new Aki Karri's Mackey film Fallen Leaves, which won the jury prize at Cannes, that's in cinemas at the moment. If you see that and think I want to know more about Akikari's Maci, you can go to Mooby the streaming service,

and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January Priscilla, which is a new Sophia couple of film, which I am really looking forward to since I have an Elvis obsession. You could try Mooby free for 30 days at Mooby.com slash Kermit and Mayo. That's M U B I dot com slash Kermit and Mayo for a whole month of great cinema for free. Welcome back and listen of course you weren't away in the first place in which case. Hello. This is just a continuation Last week we asked you for your high for lutin jokes. High-falutin, rootin, too? Yes, because I had the top joke from the economist about the French Constitution. That's right. You remind me again. Man walks into a library, says I'm like a copy of the French Constitution. Library says, sorry sir, we don't do periodicals because they change it so regularly. If you're an economist subscriber, that was perhaps the, you know,

better than anything on the Edinburgh fringe. And certainly when we do our Hollywood show, when we do our Hollywood show, when we do our Halloween show, sorry. Well, you never know. That's right. We should certainly have a whole raft of laughter lift, how, because there are so many Halloween jokes.

There are so many. We will, we should get you all lined up and then you come up to the microphone and you can tell her Halloween. Why didn't the ghost go to the party? I don't know. Why? Because you had no body to go with. There you go.

So it's that kind of comedy gold. Here's a little taste, though, of the high-falutin' toot and jokes that you've been sending in. Yeah. okay. Steve Roland, BSC, PGCE, X Physics Teacher, X Rocket Scientist, currently out and proud, PowerPoint nerd. He's in BSC vaccination. Oh, no, that's BCG, sorry. No, he's a BSC.

BSC, from Bachelor of Science. Heritage List, a second time emailer, imagine my joy after chuckling at the French Constitution joke, you see, when you ask for high-folleting jokes. My main claim to fame is that I sent you this very joke, no, I sent this very joke to Jeremy Paxman when he used to send a daily newsnight email out and he used it the next day. Now, so this is a 20 year old joke. Ladies and gentlemen, now this is around 20 years ago before podcasts were really a thing. So I reckon the statute of limitations on reuse has expired and I have been waiting for another

opportunity to use this ever since. I would genuinely like to know for next week if anybody actually laughs when I get to the punchline. Okay. Will I or will I not understand it? Well, let's find out. I don't want to preach. Let's find out. Let's find out. I don't want to preach that. Here's the joke, possibly only funny to those with physics-based degrees. Renowned German theoretical physicist, Werner Heisenberg, real person, was driving healthily down the motorway when he heard sirens. Looking in the rearview mirror, he saw the flashing lights of a police car signalling him to pull over.

He stopped the car and the police officer pulled out behind him and stepped out of the patrol vehicle. Here you may wish to, as I always do, imagine the ill-fated cop in Thelma and Louise. The police officer motioned to Heisenberg to roll down his window. I can't help you, Officer. I'm... It's very good. You're doing all the voices. Inquired Heisenberg. Do you know how fast you were driving?

Replied the police officer rather sternly? No, said Heisenberg. But I know where I am. Here's the explanation. Heisenberg introduced the uncertainty principle of quantum mechanics in 1927. To boil it down, it states that for very small particles, such as electrons, you can never know both the speed and the position of a particle at the same time. If you measure one, then the other is somewhere in a statistical range of values.

It is because small particles behave both as objects and waves, but it's probably best left there. And it's amazing that Heisenberg then turned up in Breaking Bad, which we'll be talking about next week. Incredible. My guess is that even the economists will go, I don't know, that's a little bit high-end for us. I wasn't even sure that that was the punchline. Well exactly, that's the thing. But if you have a physics-based degree, that was possibly the funniest thing you've heard for 20 years. So if you have a physics based degree, that was possibly the funniest thing you've heard for 20 years. So if you actually laughed in that gap, please let us know. Genuinely. Yes.

Don't make it out. Not for self-aggrandizement. Exactly. It's only let us know if you actually laughed. Yes. And if you can top the joke, correspondentsacourement.com. Box office top 10 at 24, Blackbird. Right. Are you going to say any emails? Yes. Okay. This is from Tom.

Yes. Hello. We immediately ignored Mark's advice and went to see Michael Flatley's blackbird at London's Prince Charles cinema. Yes. Perhaps most striking was what wasn't there. For an action thriller, there was almost no action. One critical battle was entirely off camera and conveyed only by sound effects. In another scene, exactly as Michael flatly's character, Victor Blackley, you see what he did there, and Sidekick drew their pistols, there was an inexplicable cut to the next scene. The only scene in which Michael did some running and shooting was in a flashback, and this was so fleeting and dark, it was hard to make out. Despite the same segment being

shown a fair few times, I assumed that a crack team of editors cut around anything that involved Michael moving very much. Ironic given that he's famous for an art form pretty much defined by movement at least of the legs. Despite this, with dialogue like sidekick, they have a toxin that could wipe out whole villages, towns or cities. Exactly. Blackly. What's your point?

It was pretty unmissable. Thank you, Tom. And someone who, via our YouTube channel, calls themselves white Sepica 13. Thank you, Mr. 13. I went to see this movie yesterday. I had to walk out 30 minutes in. Never walked out of a movie before. It was torture. It's not even worth going to see it for a laugh. If you want the fog of depression to engulf you, to lose the will to live,

then go for it. It's been over 24 hours since I saw Blackbird and I'm feeling so low, I wouldn't wish it on my worst enemy. There you go. That's the whole thing. So many people saying, let's go and see it for a laugh. Yes. Well, if you remember, the review that we did ended with you saying, shall it, you know, is it worth it for a laugh? And I said, no. Yes. And I wasn't kidding. That's why people have been talking about, you know, the Prince Charles having it as the new room by Tommy Wiseau. What I would like to say is this, like, um, some, you know,

once I get the bit between my teeth about something, I tend to not let it go. I was astonished to find that Michael Flatley had won an award for this film, which he financed, wrote, directed, produced, and starred in, as I said, not so much a vanity project as an insanity project. He won Best Actor at the Monaco Streaming Film Festival in 2021. So I tweeted them to say at the Monaco streaming film festival in 2021. Right. So I tweeted them to say the Monaco streaming festival. The Monaco streaming festival, to say, can you tell me who else was in competition? They didn't get back to me. I tweeted them a

couple of times. They didn't get back to me. Then I emailed them. And on the second email, I did indeed get an answer. And they said, why do you want to know? And I said, because obviously context is everything. And I want to know, you know, who the other people were that Michael flatly beat, because I'm genuinely interested. And I've had an email back from them said, thank you for your email. We'll provide you with the full information shortly as we have to go back into the 2021 archives. The archives from last year. So, I mean, that could obviously take quite a long time. Yes, but they will provide me with full information shortly.

And I'm very grateful to them for replying because I am genuinely, genuinely interested to know who Michael flatly beat since he won. If you win something, you have to be better than somebody else. Okay. So because I genuinely can't imagine a worse performance. Imagine losing it. Yeah. Exactly.

Like when Adam Sandler won the Independent Film Festival Best Actor Award, he said, I'd like to thank all my fellow nominees, who will forever be remembered as the people who lost to Adam Sandler. I would like to know who Michael Flatley's performance was considered better than. And as soon as I know, I will let you know, but the festival have replied to my inquiry and I'm very grateful for the reply. And I look forward to finding out who else was in competition because I'm at a loss. If you presumably, there were other people at the Monaco's streaming festival.

Maybe 2021, maybe you watched it, maybe you were there, maybe you were a part of it. If you witnessed this event, we would like to know. Just because I'm genuinely, genuinely baffled and interested to know how a performance as, and you know, let's make no bones about this, spectacularly dismal as the one that Michael flatly delivers in the film that he financed, wrote, produced and directed, can of won anything. But then I'm a critic, what do I know? If you were a part of this streaming festival Which I'm sure is a is a very fine thing I find think and people had a good time We would like to hear from you just get in touch correspondence at Kodamurder

Thank you Rebecca says I went to see Michael flatless James Bondesque Vanity project blackbird on opening night the lighthouse cinema in Dublin Not only was it one of the worst movies I've ever seen, but it was also the best experience I've ever had in this cinema. From start to finish, the crowd were in absolute stitches. They wooped, cheered and laughed their way through the entire thing. Yes, the story is terrible with every possible spy movie cliché shoved into it, and the script is hilarious for all the wrong reasons, but it's a clear cut case of a movie so bad it's good. A packed screen is what you need to enjoy Blackbird. There was even a drinking game to go along with it.

So there was a truly awful movie. I had more fun watching Blackbird compared to most comedies. It's unintentionally hilarious. In the drinking game, and I've got the card for it, you drink or dance every time he has a new hat. When he changes his hat on screen, you down your drink. Every time he says blackbird, chieftains or slick, then you dance.

Superfluous gaelic, then you can do both. Ominous tracking shot, drink. Every time there's a flashback drink, when an outrageously hot woman hits on him or checks him out, drink, weird cutaway in the middle or a very different set piece, drink, let's dance, down your drink, and so on. And you can imagine that if you're taking part

in the Victor Blackly Challenge, you would have a much better time than you did just sitting in the theater. Can I tell you the best way to see Blackbird? Don't. Okay, thank you very much. Correspondence at Kermannamand.com. Back to the chart. Yes. I mean, clearly that's charted at 24. Well, wow. In with a bullet. In with a bullet. Number 15, the forgiven. Which, yes., some solid performances, ray finds is pretty good, Jessica Chastain is pretty

good. It just felt like a slightly inert adaptation to me. It's a solid but unremarkable adaptation of an interesting but not necessarily particularly cinematic story. Jonathan Melier says, anyone moaning about how this is just a modish attack on white privilege should read EMForsters 1905 novel where angels fear to trade. Are people moaning about that? Which has a similar idea. No idea. But Jonathan has obviously heard people.

Okay. Andrew Balshaw, best thriller I've seen for a while, loved the ending and the fact there's no musical credits, seems to pack much more of a punch that way. Love the joke with the Dalek toy. I thought the Mats Smith actually gave the best performance, finds was great, but a bit too stilted, I thought, and Chastain's character was a bit cliché. So very quickly something on the subject of that, all the credits at the beginning of the film, so that it ends and it just ends. And that used to be how films, well, if you look at classic Hollywood, that's, and it's lovely to see a film that just ends. The thing happens and then it ends. And it is a good ending.

And very rarely does that happen. Number 10 in the UK, 12 in America, 3000 years of longing feels like something you should be reading or listening to as an audio book, but definitely not watching. It is a very, very flawed film. Aschima from Lausanne in Switzerland, I went to watch 3,000 years of longing this week. Basically, I loved it. And as a Mad Max Fury Road superfan, I was happy to see that George Miller and his team did the thing that I loved them for yet again, which is utilize all the tools that modern filmmaking

has to offer to weave stories that one cannot help get drawn into. I loved it. It was simple and complex at the same time. And the music Solomon played for Sheba will not leave me anytime soon. The music of the film, which is it's Junkie XL, it's a Junkie XL score,

and the score album is absolutely brilliant. And interestingly, Asheema says, I didn't listen to your old podcast, so I don't know what to do with the Thing, etc. Down with whatever Asheema you can do with it what you want. Yeah, really. Down with the Nazis, that's the thing. Yeah, that was which is For Asheema and the new arrivals, it's the the late Queen mother Yes, who signed off during the war, who signed off her letters, genuinely ticketing

Tom Goldfruit and Dan with the Nazis. We've seen to catch people's imagination and so that's why we've been, we've been doing it in honour of the Queen Mother. We have Anna Goodlife. Thank you, Ashima. Someone, if you're on the YouTube channel, you can't be called Bob or Dave or Samantha. channel, you can't be called Bob or Dave or Samantha. H Poonis, 2010, are you, do we call him H or her? I don't know. Further to Mark's analysis of the video story being distracted by CGI. Yes. What I will say is, had this been a movie made 30 years ago, there would have been more emphasis in the story as any effects would have been harder to create. Precisely so. This is probably an endemic problem inherent in all modern films, which utilizes CGI just because you can.

Because I mean, you should. There you go. Very good. That's 3,000 years of longing in number 10. Number nine in the UK, number six here is Beast, which is Idris Elber and, you know, big Beastie. I said to you, I'm going to go and see it over the weekend. I didn't lie. I lied. Number eight here. Number 14 in the States is Elvis, which I could happily go and see again

anytime your child too went to see it twice on the trot. I'm delighted that it's still in there now in week 11. Number seven in the UK ET 40th anniversary, here's a nice email from Lee Cooper. I have just watched ET for the first time, EBS on the big screen and forgive me for the lack of suspenseful buildup to my conclusion. But it's a melancharming five-star knockout in the film. Not only is it still a delight, but it's a fantastic cinematic experience.

Fizz that the film would not be as remembered, that it may be a warped memory through rose-tinted nostalgia goggles were instantaneously obliterated, even in the technical aspects. It was not as dated as expected, only really noticeable detractions on the ship and flying effects and in the wardrobe department.

Even the lack of modern technology is only really apparent in the scenes where the TV is on. Sharing the experience with my seven-year-old, watching for the very first time ever, made the experience so much more enjoyable. Her absolute heartbreak and floods of tears during that scene, which helped me, mask my own blubbing, a cultural touchstone for people my age, and her joy during the subsequent bike chase leading to the finale felt like witnessing a real turning point in her film viewing evolution. The emotional battering she endured, making a film much more invested in the film's resolution. Upon quizzing over a burger afterwards, my daughter declared the famous scene was her famous part

of the, was her favorite part of the film. And although she struggled to articulate exactly why this was, I know that sound strange, daddy. She said, I understood and marveled as a little piece of her emotional maturity clicked into place before my very eyes thanks to Spielberg's wonderful tale. It really is a perfect story brilliantly told here's to the next 40 years. Love the show Steve from Lincoln. If you haven't done so, check out the Henry Thomas audition tape for ET. You've seen it right. Which is absolutely, which ends with Spielberg going,

you know, you got the job. It's almost so Hollywood you think, it can't have to happen like that, but it did. But it's brilliant. And it is, the thing that Spielberg managed to do was to create on set the sense that what was happening was really happening. And just check out the Henry, so you can find it, just Google it. It's just wonderful.

I did make me think, again, not saying anything earth shattering at all, what a genius Spielberg is. And we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we've had, we Six in the UK number 11 in America is nope. I'm divided about it. I think it has lots of good ideas But I think it is structurally a mess. I think it is Jordan Pills weakest film, although I think Daniel Collouse performance is wonderful Number five here number three in America Spiderman. No way home. You know reissued so fast and I mean, it's remember these to be those things, You know, I remember the aces or I love the not, and then the last one was I, you know, I love yesterday. Yes, it's been like that. And Collins and McConey would always turn up and bury it.

That's right. Because they're great. Andrew Collins, Jim McConey, we're just great. Point the camera, they could, they could give you a great anecdote on all of that. Number four in the UK, number two in America is bullet trash. bullet trash, yeah. It's just, you know, they just take the basic principle and which is, you know, a musical chair's at high speed

and then they mess it up. It starts as a guy rich, you feel, and it goes downhill from there. The American number one, which is incredible. Number three here, still top gun maverick. Top gun maverick. Top Gun Maverick. I mean, that seems like ages ago. And we did that whole thing in the Union Chapel

in Islington in London for our first outside broadcast adventure. We did the whole Top Gun Maverick. And here we are, many months later. And still going Top Gun Maverick. Number one in America, three here. Two in the UK, DC League of Superpets. And number one in the UK, number seven in America three here two in the UK DC League of Superpets And number one in the UK number seven in America minions the rise of grew We had an email last week from somebody saying can we be honest minions rise of grew wasn't funny

Yes, it was At least it was funny all the time minions were on screen the rise rise of Gruy was less interested in, but it's a huge big deal and there it is at number one. Now, yesterday is singer, songwriter and actor, stars alongside Will Poulter in the score. You'll hear my interview with him in just a moment after this clip from the film, which is Johnny singing, because it is a musical, there is speech as well. You'll hear all the details in just a moment, but here's Johnny singing on the track Hard Road. I'll roll under the night star, keep on traveling fairly well. Oh, the sea came in, washed me out, the way it was carved in ice. The tokens of the buried parts, the shavings on the heavy line. And that's a clip from the score, singing from executive producer and composer and one

of its stars, Johnny Flynn. Hello, Johnny, how are you, sir? Hey, I'm good. I'm good. How you doing? I'm just looking at the room. You're speaking to us in that looks fairly spectacular, Jim or Art Gallery. I can't quite make it out. We live in a house with a weird old staple building at the back which we bought separately and this has become a kind of flexi space basically. Yeah. Anyway, it's a good space. It's nice talking again. So the score is your new movie described as a crime thriller slash musical? What words would you use or a heist musical? I don't know, how would you describe it? You know, the first thing, the first encounter I

had with it was the script and you know, didn't know that Maliki had the idea of inserting my songs in it until I was reading it and it's like page two, the characters are singing one of my songs, which is a pleasant surprise, but definitely a surprise. I like films with hiking, dialogue, slightly surreal, dialogue, there was a sort of poetry to it that I felt was almost like the kind of plays that I like. So I was drawn to it in through the language,

through Malakie's language. So I guess I just thought of it as this quite sort of poetic exploration of a very fake place and time and these things and these characters that slowly emerge, they kind of come out of the murk, you know, and you slowly get a sense of them and they're not what they seem at first. And the songs allow for that, you know, in the soup of that confusion, they kind of, you get a very surreal and abstract sense of these characters, but I feel like they do come out,

they do come clear in the end, but it comes out of a real abstraction. So I guess that's the way I thought of it. And I find it hard to categorize it. New York Times came up with a phrase, small scale existentialist musical. Yeah, that'll do. So the Maliki you're talking about is the writer and director Maliki Smith. So did you know him?

What is your inspiration? Yeah, because this is his first feature, isn't it? First feature. He's written a lot of screenplays before, and that's how I met him. I did a reading of a screenplay of his that I really enjoyed that Ben Pullen, who's one of the key producers of our film, he had introduced me to Maliki and got me in for a reading years ago and I'd worked for Ben as a composer on a short film that he was making. So that's how I knew them and basically for years I'd bump into Ben and he'd say,

we've got to make a musical and I was like, I don't think I like musicals. But it was Ben that took me for coffee and gave me the script and said, this is the musical. And it was kind of, I don't, I don't like, I do like classic musicals, but I've had trouble enjoying a lot of recent musicals, the kind of band, some of the band, biopic stage musicals, I find a bit difficult. So yeah, I always wanted to play with the form and I had half thought, oh, I'd like to do, you know, I'd like to write something from scratch, basically. And so is it a little bit put out that somebody basically done it using my songs and then I thought, well, it'll take ages for me to get around to doing that, so I might as well collaborate with these guys.

Anyone who's listened to your music over the years, Johnny, knows that your music could not be described as cabaret or 42nd Street, particularly. So, how would you describe the musical tone of the film? Most of songs are old, songs of mine, which appear on records that we put out over the last 11, 12 years, I think the first one came out in 2008, and the songs were sometimes earlier than that, so they really old songs for me. I really know how they sound when we play them as a band, and it was really interesting to go, okay, how can I re-treat them, re-imagine them for this Okay, how can I, you know, retreat them, reimagine them for this new story and setting and also give them to these actors to sing.

And, you know, so completely dissected the way that we play them as a band and tried to change the emphasis, the rhythm, the sonic palette. There's a lot more electronic sounds than I usually use with my band when we're doing albums. I wanted a kind of an unplaceable, I didn't want it to use to go, oh that's like folk rock or a Americana, I wanted to be quite unplaceable kind of let the classicness of the songs shine out without being able to be pigeonholed

and and something quite modern but something quite ancient as well, the kind of tribal rhythms and things like that. So, yeah, sort of something unplaceable basically. That's quite a lot of retooling that you had to do to your song. Yeah, and that was for me, that was the fun challenge because I looked at it as a chance to do something really fresh with these old songs. I worked with some of the musicians that recorded them originally at Adam Beach and Joe Zitland who were friends who'd play in the band, who played with for like 15 nearly 20 years. And we just completely ripped them up, basically ripped up the songs that we knew and started afresh and used different instruments, kind of had a different starting point.

And what quite, it was so fun collaborating, reimagining them with these guys that had done them years ago and trying to forget what we knew of the songs. And then have Will and Naomi come into a studio and kind of coach them into the songs, because we had to do that, of of course before we filmed the film. We didn't have the, it wasn't like a lame-is budget. We couldn't do live music on the day.

So we had to pre-record them and then lip sync. So the music came first for me and that was a lot of work, the songs. And then afterwards I did the score of the score, which was confusing talking about it at the time. So the will and name of your target is, will Paul to a Naomi Aki? Have they done anything like this before? Had they been in a recording studio? Had they sung?

Not as far as I know, no. Yes, so that was a lovely, there was an excitement and a nervousness for them. They were very gay and gave themselves to the project, which was so heartwarming and touching and Maliki was there in the studio. We were trying to also imagine the characters in the songs before we'd filmed anything. So it was like, it was quite a lot of work in the studio over a couple of days with them imagining how they had to tell their stories. How difficult is lip-sync? There's definitely a technique. I mean, basically, I've just played the song really, really loud and

sing along. Otherwise, the breathing's all wrong. So, yeah, the best thing is if the act was really doing it on the day, but it's loud enough for you to hear that you're completely in time, and you have to do a really hard hard kind of, it's harder than learning lines because you're learning rhythm as well, really specific phrasing and things like that and trying to match it. But that's, you know, it's kind of, it's a fun challenge because what our job is, it's very technical and so it's another technical thing that I enjoy. Just on that, on that technical side, that you were decade ago, with Mark Reiland's in Jerusalem. Yeah.

And I know you've spoken before about what a mentor and what an inspiration Mark Reiland is. And I wonder if Jerusalem, I mean, obviously, it's very, very, it's a different story. But would you say it's fair to say it has a similar tone to this movie? Yeah, that's interesting. I think that, when I mentioned the kind of plays that I like, that would be in that in that cascary, you know, that kind of dialogue that is, it's real. You've got to believe the characters in the situation to invest in it, but also there's a heightened poetry that you can hear along, alongside that realism and that play was such a template for a generation and obviously it's been on again recently but everyone who saw it I think was influenced by it and I think I can definitely see this world that's like rural murky somewhere at the end of the world basically. Yes. I spoke to Sean Penn and this is a number of years ago he did a movie with Mark Reiland and Sean Penn says, you can always tell when you're working with actors who have done theatre.

There is just something different about, I don't know quite what he was getting, whether it be pacing or presence or physicality, I don't know. Do you think that's essentially true as somebody who loves theatre? I came from theatre and when I started doing movies, I really noticed a lot of great movie actors have done theatre and but then you work with somebody who has an incredible reputation of film and hasn't done any theatre and you realise when it's their coverage they're not quite as engaged with you as an actor that has come from theatre that's relying on

those responses. You can turn around and do the coverage over your shoulder and sometimes they're not even looking in the eye. They're just kind of doing what they have to do for the camera and they're so aware of the camera. And that was a shock for me. I've got more use to, you know, because actually it's got to be both. You've got to be super aware of the camera as well.

But I love working with theatre actors on screen and I got to work with Mark for the first time. Mark Ryan, it's on a film last year, the outfit and it was just amazing because seeing his process that I know really well, I did sort of three plays with him in a row starting with Jerusalem 10 years ago and it was such an amazing kind of, I felt like it was an acting apprenticeship that I really needed. And to then come back and see how he employs those, that wonderful intuition on screen was amazing. Speaking of notable stage actors and film actors, you're

working, oh, you may be already finished talented Mr Ripley with Andrew Scott, who is just incredible on stage. Was that a similar process? It must have been great working alongside him. Yeah, it was wonderful. He's one of my absolute favourite actors, so it was a joy to work with him. And in Ripley as well with those characters, there's such a kind of crazy dance that they're doing, so it was lovely. know, I can't imagine doing it with somebody with less of that theatrical sense of collaboration that I think does come from years of doing theatre and so his sense of play with me and, you know, the ability to kind of shift and change and

melt around each other in the scenes was just was really delightful. When you wrapped on the score, did you think I'd like to do that again? Yeah, I loved it. It was a surprise for me. You know, with, I think that's what I love making small films because it's like, you know, it's an incredible, it's like an incredible magic trick that you really don't know if it's gonna come off, you know.

It's like, you're putting all these elements so he's very changeable, movable elements together, performances, you know, cameras, like, whether scenes, scenery, you know, and then you just don't know if it's going to come off, if your story's going to land. And I had most of my stuff with Will and I loved working with Naomi, but I had a lot of scenes with Will and we had a long-standing relationship, our characters, and I just is so fun with him, and that was what made it for me was the play that we got to have. We had a lot of laughs, and we just, we really enjoyed it. Was it talented Mr Ripley that we see you in next Johnny. I think so. I've just finished a series called The Lovers, which is for Sky AMC, which was an amazing experience in Belfast.

So that might come out because that will be a smaller post production, that might come out before. And I'm just yesterday had my first day rehearsing for a film that, I start filming next week called One Life with Anthony Hopkins that we're sharing apart. Well, it might be one of those three. Fantastic, very exciting projects. Johnny, always good to speak to you. Thank you very much. If you're time today. You too. Thanks so much for having me. Thanks. Johnny Flynn, talking about his new movie The Score, which is, as I think you can gather from that, I found the whole thing quite hypnotic.

But anyway, let's just surprise you didn't make the joke. You said it's a heist musical, you didn't say high school musical. No, I mean that's why they pay you the big bucks. Come on with that. So wonderful interview with Johnny Flynn, who I think is terrific and he was very engaged. He said that thing about when you're making this kind of move, you don't know whether it's going to come off. And I have to begin by saying that I think the score doesn't. But I think there are interesting things happening as it doesn't work. And, you know, I have said this thing many times

before. I'd always rather see somebody aim high and trip than just play it safe. That description of it is a small-scale existential musical. Based around songs that you know that aren't written for the film, I was just reading an interview with Marcus Smith in the film stories and in which he talked about originally writing it as a sort of low-budget film that you know it was trying to think of a way of making it something that would stand out that it wouldn't just be another low budget British film and he had a joke with his producer which was well let's make it a musical and this time he was listening to Johnny Flynn's songs whilst he was doing it and then went well actually why not and when I was a kid when I was very young I had a copy of Shawadi

Wadi's step two and there is a point to this story, which I listened to album over and over again. And I ended up writing a story to go around it because even at the age of 10 I had dreams of making films because I never ended up doing. Maliki Smith has actually done this and hats off to him. The story is, you know, these two Nairdu Wells are, you know, at a cafe with a bag full of money and they are the point of stepping up to the next level by dealing with professionals, however, the cafe owner or the person who's serving, the cafe starts to develop this relationship with one of them while the other one is cooking something up themselves. I really like Johnny Flynn. I think he is a magnetic screen presence. I loved him in the outfit before the, which again was a sort of, you he is a magnetic screen presence. I loved him in the outfit before

the which again was a sort of, you know, a small scale production. He talked about this as a play and actually I do think it has the feel of a play about it, even though I know it was, it was always intended as a film. Will Poulter, you know, I'm alright Lee. Because it will Poulter is one of the finest screen actors around. I could watch Will pull to it in anything. I absolutely love him. I think he's really, really great and he gives 110%. And so I think what doesn't work is I think that in the end the meshing of the songs and the drama doesn't quite feel organic enough. And it's got an odd sort of where is this going feel, which you can describe rightly as hypnotic at times, but also I think at times it's kind of frustrating

because it never actually quite takes off. It never actually quite takes flight. But there are some very good performances in it. Now, Miyaki, we're going to see in the not-to-distant future as Whitney Houston. But I was really reminded of that thing of listening to Step 2 by Shui Wadi. I'm not embarrassed. It was the first band I ever saw live. And just listening to this album of songs, and thinking, oh, I should write a narrative around that,

which, of course, I didn't do because I have no talent for creation. That's why I would never make a film. That's why I would never make it. Because, in even if I did, you wouldn't want to see it. In the case of this, they have done, and it's ambitious. I love musicals. I've got a real soft spot for musicals, and I'm always happy to see somebody go, you know, why not? Let's do something with the fact that we have the, you know, it's a low-budget film, we can take risks, and that's just not be boring.

And I think that although this doesn't work and it doesn't hang together, it's kind of, it's good to see somebody thinking, well, why not? You know, why not? What are you feeling? Yes, pretty much. Yes, the same I did, there's lots to admire. I particularly like the opening 10 minutes and they do this song,

Barley Corn. Yes. It was an old folk thing really, but with a lot of electronica in there and I've still got that tune going through my head at the moment. The songs are oddly haunting, but I'm just not sure that they're interwoven well enough with the story. But well worth checking out I would say. Yeah. And as I said, I would always rather see somebody aim high and fall, then just go, let's just do two people in a cafe. That movie is The Score. Coming up after a very short break, everyone's favorite trip of the week as we enter the laughter lift. Really? Right, welcome back, and here we go, it's laughter lift time.

Sort of a special edition really, because last week we asked you for your high-falutin jokes. They might make the economist. Okay, and they have been flooding in. So, let's go to the very top floor please with this week's love to lip. Rick Harris says, I mean, this is a written joke, but I have to perform it. Okay. There are 10 types of people, those who understand binary and those who don't.

So really, this has to be there are one zero. Oh, I see five finally. Those are then rolling in the aisles as the number 10 one zero in binary is the number two in the standard decimal element. Howard from raucous record says, I told my psychiatrists that I have a fear of overly engineered buildings. It turns out I have a complex, complex, complex.

This one came in, I do like this one. Who started the petence revolt? Answer which Tyler? Okay. Simon Lawrence says there are two types of people in the world, those who can extrapolate from incomplete data. Peter in Glasgow says, why did the Italian joke cross the road?

Because they hit, adjust, meta, the chicken. The key is that a dodgy Italian accent saying, met, you may say, meta. And as Mark will know, if something is meta meta it is self-referential so therefore the use of the word meta here allows the joke to interact with itself. Which Tyler? Yes. What Tyler was the guy who started the peasant's revolt? Which Tyler? So therefore which Tyler is the yeah what time? And a couple of literary ones to finish. My friend is opening, this is David Fitzgerald. My friend is opening a bookstore to tell German philosophy

to sell German philosophy texts. I tell them it wouldn't work. It's too much of a niche market. And which Tyler? Which Tyler? What Tyler? Tim writes, did you know Alexander Solgenitsin has just written a cookbook?

I understand one of the more popular recipes is Goulash Archipelago. Did you know Alexander Soljynitsyn has just written a cookbook? I understand one of the more popular espaces, Goulash Archipelago. And under, they went down. It's not an absolute. They went down fantastically well. Over the weekend, my mom's not very well and so we visited her in hospital

and I said to child three, can you send me a joke, which will make granny laugh? Yes. And he sent me this, okay? Okay. It's a conversation between Julius Caesar and Brutus. Okay. Brutus says, how do you get to Dover?

Julius Caesar says, A2, Brutay. A good. Like it. All right. Well. And can I say, that's a very child, three joke. Is it child three or child two? Child three.

Child three, yes. Thank you. That was a very child three. Anyway, thank you for that. Say, ifthree? Child-three. Yes, thank you. That was a very child-three. Anyway, thank you very much. Say, if you, hopefully, in jokes, I like them. They're very good. I say one of the things that that proves is that because I laughed at which Tyler, but I didn't get it, what it proves is that there is something in the rhythm or the music of jokes that makes you laugh no matter what. No matter what, Tyler. No matter what Tyler. And I just think it's particularly fascinating that a joke, if there is something about the music

of the construction of a joke, even when you're murdering them, even if it's about a German theoretical physicist. That's still a... I don't know why I laughed, because I didn't get it. It's a correspondence at www.cerminamayo.com. Let's get a review underway. Okay, so new film out called See How They Run, which is a kind of goofy caper set around

100th forms of the mouse trap, which, as you know, is the longest running play in Eves for Eves. It's a who-done-it, the mouse trap, that famously ends with the audience being told well now you know who done it You are party to murder so it's Daniel Craig, isn't it you must never you must never say it's Daniel Craig Okay, fine. I I took

Child to child one wanted to go and see the mail strap and child two came along rather begrudgingly fairly recently, well, I mean, a few years ago. And then Child 2 got swept up in it and then the play plays out. It's very, very old fashioned, sort of lovingly old fashioned. And then at the end of it, the person goes, and I say that it was so and so, and Child 2 completely involuntarily went, no, really loudly,

which I think must be great that after all these years, they're still performing to people who don't know, who done it. So, you know, Agatha Christie, the Maus trap began life as a radio play, which apparently drew inspiration from a real life scandal, broadcast in 47, then there was a short story.

The Agatha Christie said, should not be published whilst the play is still running in the West End. So in the UK, that short story still hasn't been published. The party has been published in the US. This is set in the 50s. An American producer has come to London to get a film of the Maus trap off the ground. There is an obnoxious director played by Adrian Brody.

You think that all who done it are just nonsense. And he just, you know, he wants to change it. He wants a brutal murder in the opening pages. He wants it to end with a shootout and explosion. Instead, what happens is at the party celebrating the performance, he gets into a fight with the leading man Richard Attenborough, played by Harris Davidson, you know, who was genuinely there and winds up murdered. He says, you know, all these who done it to the same. In the first five minutes, the most obnoxious character gets bumped off. And then he gets bumped off. That's a good joke. Sam writes a very good joke. Sam Rockwell is the disheveled inspector stop-hard who is assigned to the case and discovers that everybody had a motive like with the master up.

Everybody has a reason. Everybody has a motive. And Surscher Ronan is Constable Storker, who is this very, very keen PC, who loves theatre, but hasn't been to see the Maustrep, but would love to, and finds herself assigned to the case as a clip. I understand you met WPC Storker last night. I did, yes. Constable. That's better.

A very capable officer. Or at least she will be once she gets the proper instruction. So it's I'm not sure I you don't mean you want me to. Yes I do. I'd like you to show the ropes. I'm hoping some of her enthusiasm for police work might rub off on you. But the bullet sir is at wise. This is not a debate stophard. I have a reputation as a modernizer, I have to be seen to keep it up. I have said in public that I think women are the future of the force. Absolutely, sir. I agree. But we're not looking for stone in sweets or a lost bleeding bicycle.

This is a murder investigation and she is inexperienced. So obviously what's going to happen is, you happen is they're going to be paired up. She writes everything down in a notebook, including being told not to write everything down in a notebook and not to jump to conclusions. I went into this not knowing anything about it but having just somebody told me the premise and I thought, well that sounds creaky as anything. And then I found myself, it's that lovely thing when you're three minutes into it, you start laughing, and you go, oh, this is actually really good.

Directed by Tom George from a very funny script by Mark Chappell, Chappell, Chappell, has extensive TV credits. The performance is a great fun. Sursherone is just terrific. I mean, she is just really, really funny and demonstrates she's got really great comic chops. It is a really

good cast, David Yelow, as the screenwriter, who's lovely, lots of self-referential gags about flashbacks. I hate flashbacks during a flashback. The next thing, there'll be a thing which says three weeks later, there's a very nice kind of, the way in which they do the extended gag about who done it, about in which it is about who done it. Sounds like, well, that will only last for a five or ten minute sketch, but somehow they manage to make it last the whole length of the movie. It's self-referential, but it's also open up that if you don't know anything about the Maustrap, you will understand it. It also doesn't spoil the Maustrap, which is pretty clever considering that you'd kind

of think that that's what would have to happen. Honestly, it was a treat. I went in with my slightly grumpy, Monday morning face on thinking, I don't know anything about this, but I've got very, very low expectations. Three minutes in, started laughing, came out, and that thing, but everyone in the foyer going, well, that was an absolutely unexpected joy. It was really funny. Excellent. We need more of that. We need more of that.

Correspondence at CurveName.com. Once you've seen it, let us know what you think. Quick bit of what's on now. This is where you email us a voice note about your festival or special screening from wherever you are in the world. Again, correspondence at CurveName.com. This week we start with Joe. Hello Simon and Mark, this is Joe from the Charter & Willwich Free Film Festival which starts on 10 September. Our films include Summer of Soul, The Apartment, Pride, Dad's Army from 1971, Then Barbermet, Alan and Dune. Please visit freefilmfestivals.org and click on explore our festivals for more.

Hi, Sal here from Cinema Under the Stairs, Oxford's Monthly Underground Cinema. This October we will return with our and click on explore our festivals for more. October, tickets have just gone and sell and you can purchase them from cinemaandedestays.com. Thank you. Fantastic delivery, Sal. Thank you. He had a script. He had a boom, boom, boom, boom, boom, boom watch. Is you? How long he needed to get that all in for. So Sal and Joe, thank you very much. Send your 20 second audio trailer about your event anywhere in the world to correspondence at KonoA.com. A couple of weeks up from will be nice. We'll give you a shoutout or obviously you give yourself a shout out See how they run. So we've done that and that sounds from what else is out there bodies bodies bodies Which is black horror comedy from the a24 stable directed by Helena rain just the a24 go to do it does go to do Yeah, yeah Simon pull

Making her English language feature debut as director written by Sarah de lape who wrote to the play The Walls, who was credited to a story from Kristen Mepinion, who wrote the original spec script that was then rewritten. So Amanda Stemberg is Sophie, a rich young woman who travels with her Eastern European lover B, Marie Baklover to a hurricane party. There's a hurricane coming in, they're going to a party while the hurricane happens. And I mentioned, owned by her childhood friend, David played by Pete Davidson. As soon as she gets there, jagged edges of everyone's relationships emerge. There is petty fights, social one-upmanship, all fueled by alcohol, drugs, and spoiled narcissism. In particular,

David is crossed that podcast to Alice has turned up with a hot boyfriend, Greg, who he doesn't think is whole, is a clip. But he's like, not hot. You know what I mean? He's like, like, your mom would be like, well, he's hot. Not your mom. I mean, mom's in general.

Mom's that have been married for like 10, 15 years, and they see like him going out of a star box. Alice got to bring some without telling anyone. So you do read the chat. Why is everyone so obsessed with the chat? They hear here, I'm here, we're here together, right? Why are we worrying about the chat when we could just live in the moment?

Yeah, it's because you want to rehab and you're not on drugs. So like, everything's like, Ooh, I don't we just all be cool, man. And that's what they're all like. They suggest a murder in the dark star game called Bodys Bodys, which we are told always ends in tears. And so why do it?

Well, because they're those kind of people. And very annoying kind of people. So it starts and it does end in tears. And the next thing is someone's throat gets slashed and game gets real. This is another example of a low-budget film that's doing very well. It's taken 10 million the last time I looked. It's drawn comparison with things like Jennifer's body and scream, you know, post-moderns, or typical horrors. I thought it was actually really well done. The reason it works is there are very, very irritating group of people who

have all got these interrelational, as I said, jagged edges, which are all very, very spiky. As everything starts to fall apart, their spikiness and their desire to just rip into each other becomes more and more accentuated. But while that's happening, while the body's bodies start to pile up, I mean, funnily enough, in a way, you can see this is a who done it as a kind of companion piece to see how they run, because, you know, there's a murder, an unlikable person gets killed at the very, very beginning. Everyone else is holed up in a house, and then we have to decide which person was doing it.

There's even a power cut. But what makes it work is that you believe that the monstrousness is the people's relationship. I mean, there is particularly funny scene in which they all start having a huge verbal slanging that really each other over a dead body, over whether or not somebody's parents are indeed upper middle class, they're professors. Yes, but they taught it a publicly.

It's got a very sharp script. The performances are very well done. You do believe that these characters are as annoying as they appear to be. Makes very smart use of a confined location. Cinematography does that thing, which is kind of, you know, you're there and it kind of becomes weirdly urgent. So it's funny and it's dark and it's got a very sort of,

it's got a kind of killer wit to it. And I, having begun it thinking, these people are really, really, really annoying. The smart thing is that the film understands that that's the point, and that's also the thing that's driving the plot. And I thought it was really good for them. Body's bodies bodies. Now that's the end of take one. Production management and general all-round stuff was Lily Hamley.

Cameras by Teddy Riley videos on our tip top YouTube channel by Ryan O'Meara. Johnny Socials was Jonathan Imiere, Studio Engineer Josh Gibbs. Flynn Rodham is the assistant producer, Hannah Tulbitt is the producer, guest research is Sophie Ivan and the red actor was Simon Pull of course. Mark, what is your movie of the week? See how they run? Excellent. Look forward to that next week. We're going to say hello to the star of Coffee, Foxy Brown, Scream, Blackyla Scream, and the titular character in Quentin Tarantino's Jackie Brown. She's of course Pam Grier. Thank you very much, Deep For Listening. Extra takes available

on Monday. Mark, you were very fine today. And so we use Simon. And thanks again for the bed and the coffee. Well, it's a pleasure. Just don't make... No, I'm just going to make a happy of it. I have made a happy... You have made it. Like a nun, I have indeed made a habit of it. you