Kermode & Mayo’s Take - Ordinary Angels, Boy Kills World, I.S.S., Challengers & The American Society of Magical Negroes

Episode Date: April 26, 2024

This week there’s no guest, but lots more witterings from the good doctors to make up for it.   Mark gives his take on a swathe of new films, including ‘Ordinary Angels’, a Hilary Swank-starring emotional drama about a hairdresser who rallies an entire community to help a widowed father get his critically ill youngest daughter a liver transplant; ‘Boy Kills World’, an action thriller about a martial arts expert who goes on a campaign of vengeance after he is rendered deaf-mute by an attack that killed his entire family; ‘I.S.S.’, a science fiction thriller, which sees tensions flare aboard the International Space Station when a worldwide conflict breaks out on earth; and ‘Challengers’, Luca Guadagnino’s latest, which sees Zendaya star as a former-tennis-prodigy-turned-coach who transforms her husband into a world-famous grand slam champion only to become embroiled in a love triangle when he competes against his former best friend – and her former lover.   The big review of the week is ‘The American Society of Magical Negroes’, a comedy-drama, which sees a young man join a clandestine group of magical African Americans committed to enhancing the lives of white individuals, satirising the Magical Negro trope.   Timecodes (relevant only for the Vanguard - who are also ad-free!): 09:39 – Orindary Angels 16:42 – Boy Kills World 20:45 – Box Office Top Ten 35:19 – I.S.S. 43:33 – Challengers 50:27 – American Society of Magical Negroes 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 Sony Music Entertainment production.     Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts    To advertise on this show contact: [e-mail]  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Right, Mark. Up next, that was another ad for NordVPN. Well, seeing as we've done so many riveting ads for NordVPN, how shall we make this one stand out, Simon? Surely everyone, and I mean everyone who listens to this show already knows about the benefits of NordVPN. Well, that's a good point. I mean, we could say that by using NordVPN you can access films in regions outside of your own. Would that work? Well, that is a good point, but I think we have already done that. What about mentioning that NordVPN can act as your cyber bodyguard, your virtual Kevin

Costner? Yeah, we've definitely done that because you've made that joke before. Okay, how about this? NordVPN can save you money on a range of online purchases by switching your virtual location. We've done that in the virtual location too. You're just being difficult. I'm just telling you what we've done. What about just mentioning the huge discount that our listeners can get?

Yeah, and again, how many times have we said huge discount? Make up a new jingle? Okay, all right, go ahead. Actually I think we could just keep it simple and say this. To get the best discount off your NordVPN plan, go to NordVPN.com slash take. Our link will also give you four extra months 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.

The simplicity is everything. Go to NordVPN.com slash take for the best discount, which is huge, and get four extra months on the two-year plan. Simple as that. Hi. Hi. Actually, here's the confusing thing. In Denmark, hi is fine. Hi hi is okay for hello, but hi hi is basically a way of saying goodbye. So if you say... Well, yeah. Hi-Hi is basically a way of saying goodbye. That must be true also in Dutchland because my agent who is Dutch-ish, she says Hi-Hi.

That means goodbye in Dutch. Okay. All right. Well, there you go. I'm ear deep in Danish traditions having been off last week because child one got married properly. So I know he was got married before, but it's the same woman to daughter-in-law one before it was like the registry office bit in Denmark, which made it therefore easier to have the

bells and whistles version in Suffolk last weekend. It's 50% Danish, 50% British. Have you ever been to a wedding where there are lots of Danes? No, I've been to a wedding in Sweden. I went with Peter Bradshaw, the Guardian film critic, to the wedding of our very good friend Duncan Cooper in Sweden, but not in Denmark. No. How is it? Well, it's amazing. I knew that these traditions were there, but I didn't know quite what it was. You know when you go to a wedding reception and it goes on forever? That kind of vibe. Well, this was a long one, but what they do is there is a tradition whereby if anyone

clinks their glass with their cutlery, it means that the bride and groom have to stand on a chair and kiss. Then if you stamp your feet, they have to go under the table and kiss. This happens at regular intervals throughout the reception. Then the other thing is, if the groom, for any reason, has to leave the room, all the men line up and kiss the bride. And then if the bride leaves the room for any reason, then all the women line up and kiss the groom.

And this again happens at regular intervals throughout. Okay. Is this a real thing? Is this a real tradition or is this basically people combining stag nights and hen nights with the wedding? No, it's a real tradition and it's fantastic. It makes the whole thing far more fun and energized. And then, and they don't do, you know when you, there's lots of speeches and

you raise a glass to and you go, oh, happy couple. Yeah. They don't, they don't do that. What they do is this, okay, they finish the speech and then they go, hoo-rah, hoo-rah, hoo-rah. And then there's a pause and then they go, and it's like you're about to be invaded. So that's a thing. So if you ever get a chance to go to a Danish wedding, I thoroughly recommend it. Wow. Wow.

I'm pretty exhausted. Yeah. But it sounds like it all went fabulously well. No, it was fantastic and we had a great time. And it was overwhelmingly, can I pass on this tip? If possible, when arranging a wedding, organise a brunch for the following morning at the local pub for all wedding guests, and it will become the best breakfast you have ever had. Because everyone is tired and sleepy, and in some cases slightly hungover. So if you arrange a breakfast, a brunch for all the guests, you will be the greatest person in the world.

Was it, if it was in a pub, was it like hair of the dog breakfast? Was it like, you know, I'd like a Bloody Mary, would you like any food with that? Yeah, stick some, stick a bit of celery in it. or was it a breakfast, breakfast? It was a flagon of coffee, egg sandwiches, bacon sandwiches, pastries, the whole works, even cereal for the feeble-minded. Wow. And it was great. But it's, you know, so that's why we weren't here last week. Well, one of the reasons.

And what were you up to? Well, it was the good lady, Professorring-Dawes had a birthday. And happy birthday. I hope she enjoyed her turntable. Yes, about which you know. It's been the vinyl revolution because after I was at yours and coveted, I know coveting is a sin, but I coveted the Bluetooth turntable that you had. Then I said to you, can you tell me exactly what the model of it was? And then you sort of failed to do so. And then you said, ring me at a certain time when I'll be home and then I'll send you a picture of it. And you did that anyway. So yes, it went down very well. I was going to say, don't tell the good

lady professor her indoors, but then I've just realized that this is a podcast that she might listen to. Oh, okay. That's true. What piece of vinyl has been played the most? Well, weirdly enough, because my dad's record collection was really fantastic. It's got loads and loads of old jazz records. We've been playing really, really old jazz stuff, which is great. It's really, really good. It's filled the room with sound.

We did that, and then we were on the Roseland in Cornwall, which is absolutely beautiful. And then we went up to Howarth because the good lady professor at Earingdors used to live in Hepton Bridge. We went up to visit the old house and then we went to Howarth and did the thing about walking around the Bronte stuff. It was all very literary. So we're very kind of invigorated. We are.

And full of the joys of spring, even though spring has been a bit rubbish so far. Later on in this particular podcast, you will be reviewing what precisely? A ton of stuff. Ordinary Angels, Challengers, ISS in the National Space Station, Boy Kills World, and the American Society of Magical Negroes. So it's an absolutely packed show. Also, we have in our extra takes, which has landed alongside this one, our recommendation feature, we can watch this, the weekend not list. One frame back is films featuring space stations, of which there are quite a few. You don't have to wait till Wednesday for questions, Schmestgens, because they are now

in take two, if you're wondering where it went. So Take It or Leave It, You Dec decide is Three Body Problem, which is on Netflix with a great podcast. Nicely done. Thank you. You can access this all via Apple podcast or head to extra takes.com for non fruit related devices. If you are already a Vanguardista as ever, of course we salute you. James Pooley has an email here. Dear Simon Times Mark or Simon X Mark, brackets, the X is silent because it signifies what the kids call

a co-lab or collaboration in old money. I didn't know that. So is that what it is? Well, we had this discussion because my friend Linda Marrick said to me, the Godzilla Kong thing, it's silent because X. And I said, why is it silent? She said, well, because that's what the kids do. So yeah, it's just a thing. Mason- It was ridiculous though to put something on the poster, which is silent. What's the point of that? Jason- Yeah. I just always remember that, the old joke about Thompson and Thompson, the P is silent as in Bath. Mason- I quite like that. Anyway, it comes from James Pooley. The story of a cinema erupting into laughter at the word baghead, this was from a couple

of weeks ago, reminded me of a similar event in the art cinema in Cambridge in the early 90s. Apocalypse Now had been re-released and was playing to a packed house. Towards the end of the film, Marlon Brando is giving his mumbling, rambling monologue about the Heart of Darkness when he says the line, you'd think that heaven just fell on the earth in the form of Gardenias. A big cheer went up from the crowd who then fell about laughing. Why?

Because Gardenias was Cambridge's premier kebab shop. It was just a few steps from the cinema. I can confirm that their kebabs were indeed heavenly, especially late at night, after a few pints. I love that. That is fantastic. Do you remember there used to be those brilliant, I think we've probably talked about this before, those brilliant cinema adverts, which was just a generic advert for say, you know, an Indian restaurant. And it went, you know, all the wonder of India, fabulous food, marvelous surroundings. And then it would just go cut, just three minutes walk from this cinema down the road and turn left

at the tip shop. Exactly right. Exactly. And it was somehow it was meant to be like, it was just this generic advert for a restaurant. And then you just put the thing on afterwards. And it was like the last bit had been read by the cinema manager, or maybe even the projectionist. I mean, it was, yeah, I long for those days. An email from Paddy, by the way, you emailed correspondence at curbandomeo.com. Paddy says, had a very similar experience to your baghead emailer from last week involving

an unintentionally funny trailer. The trailer in question was for a film I haven't actually seen, but it seemed very romantic and was positively throbbing with smoldering gazes and coy smiles. At the end of the trailer, the title faded in, The Longest Ride. The entire cinema erupted in laughter, completely undercutting the intention of the trailer.

Because in Dublin and in Ireland, to ride or a ride is very commonly used phrase meaning to get along famously with someone. So it might easily be asked, how did it go last night? Did you get the ride? A ride can also be used to denote a person with whom you would like to get along famously. So therefore a film called The Longest Ride is as an entirely different meaning. I like that. That's very good. I particularly like the Gardini's one. But anyway, if you have a similar experience, and I think I mentioned the Woody Allen film where he says he's gone out with Margaret Beckett, who at the time was leader of the

Labour Party, but any correspondence at kerbindomejo.com. What is out and what is interesting? What might we see? Okay. Ordinary Angels, which is, generically these are called faith based dramas dramas, inspired by a true story from 90s, that noise that you just made. I know. So, this is directed by John Gunn from an original script by Meg Tilley, Dee Meg Tilley, and Kelly from Craig, the latter of whose credits include Edge of 17 and Are You There, God, It's Me, Margaret, both of which I liked. Although apparently, their draft of the screenplay was substantially

rewritten by the director and John Irwin. Hillary Swank, who's a great actor, is Sharon, single mother, hairdresser. We meet her getting smashed and falling off a bar. She gets up on a bar and she's dancing on it, not like a bar, where they sit down to have a bar. You understand fine. Her best friend is worried about her, and so are we. She reads in the paper the story of a young girl who needs a transplant.

Her mother has just died. Her father, Ed, played by Alan Richson, is struggling with grief. They were a church-going family, but he is basically falling out of love with the church and with God. She has got her own problems. She's got her own demons. She sees in the paper where the funeral is taking place and she just turns up at the funeral. She turns up wearing these big high heels that clank on the floor and everyone turns around and wonders who she is. She's asked, you know, what are you doing here? She said, well, I saw it in the paper and I just wanted to come along if there's anything I can do, which of course there isn't anything she can do. But clearly, she is looking for something to do to help somebody else in order to help herself. She befriends the family

against all the odds because she and the father are completely chalk and cheese. She's all bold and brassy and he's very, very quietly spoken. The family are in financial diastrates. She starts to say, okay, we've got to get your finances organized. We've got to do this, that, and the other. And she also says, I don't ever take no for an answer. What do you need? I can start sorting things out. And one of the things they need sorting out is the fact that they are completely financially messed up because the bills for the daughter, the medical bills, are absolutely terrible. So she goes to the medical care and demands that they get rid of the bills. Here's a clip. Michelle, her treatment costs thousands of dollars a month her family can't afford. Know

why? Because after you sent her mama to the morgue, you sent them a bill so high their family couldn't pay it off in 100 years. You realize the message you're sending this girl, right? You're saying we charged your mama so much to die that you got to die too. We can't just eliminate hundreds of thousands of dollars in medical bills. Now, I'm sorry. I truly am.

Virginia, what if it was your daughter? Forgive me, but I did a little homework, and I know you got a beautiful 11-year-old girl. What if it was her eyes here trying to save? You'd want to find a way, right? me, but I did a little homework and I know you've got a beautiful 11-year-old girl. What if it was her eyes here trying to save? You'd want to find a way, right? For her to have a future?" So, essentially, she says, look, I'm not going to take no for an answer. You have to do something about these bills. And all the way through the film, we see her not taking no for an

answer. And as I said, she's got her own demons. She's estranged from her son. She's trying to sort of face up to the fact that we see her at one point going to an Alcoholics Anonymous meeting, which she's taken to by her friend. And she says, okay, well, this is who I am and I'm not an alcoholic. But the story basically is about lost people finding themselves by finding each other and therefore by extension, finding God. Now you made that kind of slightly groany noise when I said it's a faith-based film and I know exactly why because I feel the same way. All the best faith-based films are ones that keep the religion to some extent in the background rather than ramming down your throat. I have to say in this case, largely that is the case. So, when during one sequence a helicopter appears, somebody says, it's a miracle, and the rest

of us can go, no, it's a helicopter. When the hospital bills are managed to be dealt with, it's a miracle. Or is it just somebody being backed into a corner and going, yeah. Of course, what's altogether more demonic in all of this is the very fact that the US healthcare system can leave a bereaved family with a sick child facing the loss of their house because of these astronomical medical bills. I would say if there's a hell, it's this. The film's answer is, well, God and love and the community.

My answer would be, no, have a general election and get in a government that actually believes in paying for people's healthcare, not in taking healthcare away from people. So, you know, what you bring to the film, the film will give back to you. The drama is pretty pedestrian. The storytelling is wantonly manipulative. And I have to say that I was manipulated, you know, against my better judgment in the final act. I found myself tearing up because you'd have to be really, really hard-hearted not to do so. The biggest selling point is Hilary Swank giving it real full-on, blousy, gutsy bravado. Nice book by Nancy Travis.

To quote something I've said before, goes down well with a cup of tea, Mrs. That is the kind of film it is. It is unremarkable and you will get from it what you bring to it, but it does have a good performance by Hilary Swank. Blousy is a very good word. I love that word. Which you don't hear very often. Also, the best faith-based film of all time has to be Jesus of Montreal. And if you want to see, you know, and let's just watch that again, I would say.

That is a fantastic movie, isn't it? It's absolutely brilliant. And again, I would say that The Thing with Jesus of Montreal, although it is absolutely secular, you can take from it whatever you bring to it. And if you want to see it in a completely spiritual way, you can do. And also, Gospel According to Matthew, I think is the same thing. Shawshank Redemption. Yes. If only somebody had written a handy bite-sized book that was all about the religious significance of Shawshank Redemption, that was about to be reissued as an anniversary reissue. If only that had happened. Yes.

I'll talk to the BFI. And maybe someone who could explain that scene where I think it's 12 people on the rooftop. On the roof. A scene which even the director couldn't explain when I pointed out to him, do you know how many people are up there? He went, go on, tell me. Yes, a little bit of a last supper going on. Okay, so that's very good. Still to come on this here, Pod, what are you going to be reviewing? Challenges, very interesting film, ISS, which is International Space Station, Boykills World and the American Society of Magical Negroes.

Back after this. Jon Stewart is back in the host chair at The Daily Show, which means he's also back in our ears on The Daily Show Ears Edition podcast. The Daily Show podcast has everything you need to stay on top of today's news and pop culture. You get hilarious satirical takes on entertainment, politics, sports, and more from John and the team of correspondents and contributors. The podcast also has content you can't get anywhere else, like extended interviews and a roundup of the weekly headlines. Listen to The Daily Show, Ears Edition, wherever you get your podcasts.

So we just wanted to tell you about what our friends at Rooftop Film Club are up to. As you know, they are London's king of outdoor cinema. More than just a movie with rooftop experiences located at Bussey Building in Peckham and Roof East in Stratford. Sit back, relax, get cosy in a blanket and use the QR code on your seat to have food and drink delivered directly to you. They're playing all the award-winning films like Past Lives, Anatomy of a Fall, All of Us Strangers, but also classics like Interstellar when Harry Met Sally and more recent films like Challengers and Fall Guy. Rooftop Film Club offers memberships for as little as £25 per month.

That's not all, as a Vanguard Easter you get 2 for 1 tickets on a Wednesday with the code THETAKE24. That's T-H-E-T-A-K-E-24. Visit RooftopFilmClub.com And we're back, unless you're a Vanguard Easter, in which case we never went anywhere. That's the advantage of being in the elite. Anyway, correspondents of CurbInNomad.com, if you want to get in touch about anything, give us another movie that we might go out and see, Mark. Okay, Boy Kills World, action thriller directed by Moritz Mohr, a feature directorial debut.

He has described it as an effed up fairy tale, a funny martial arts film screenplayed by Tyler Burton Smith and Arand Remers, produced by, amongst other people, Sam Raimi. Sam Raimi, of course, famously responsible for The Evil Dead, which at one point was outlawed in Britain under the Obscene Publications Act. Wow, what a different time. They went on to make Spider-Man, and is now the home of popular entertainment and royally. Stars, Bill Skarsgard, Michelle Dockery, Femke Janssen, filmed in South Africa, set in a non-specific dystopian world ruled over by cruel rich elites. We meet Garza's character as a boy living in the jungle called Boy. He is mentored by Yantiguan Shaman.

He cannot hear or speak, but we can hear his inner voice. His inner voice is narrated in the manner of a video game that he once loved. Here is a clip. The clip honestly really only works visually, but what happens is we hear him narrating his story in this video game voice and usually he can lip read people. But in this particular case, he can't lip read the person he's attempting to lip read. And so what they're saying sounds like gibberish. Total bars for long lips.

Uh oh, can't read his lips. Is he mumbling in a different language? Sounds like gibberish. Snickleboobdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdubdu who is the leader of this post-apocalyptic dynasty. On the eve of a Hunger Games style annual culling of dissidents, the boy teams up with rebels joined in his head by a vision of his sister, who of course he has lost, but who speaks to him and who bickers with him as he goes on the adventure. The visual style is near future sci-fi, balletic martial arts action, all filtered through this graphic novel comic book lens. It looks like it should be a comic strip adaptation, though it is an original script. As with Remy's Evil Dead films,

and more recently, I think Matthew Vaughan's Argyle, the violence, it's knockabout, it's slapstick. I remember Sam Remy famously described Evil Dead as the three stooges with blood and guts standing in the custard pies. The plot is entertainingly, if kind of predictably twisty, it's got nice payoff revelations that aren't diminished by the fact that if you're paying attention, you can see them coming a mile off, but that's fine.

It just means that when they pay off, they do so satisfyingly. I mean, at times it can feel like a video game, but that is of course in the DNA of it because we're listening to it being narrated in the voice of a video game, but that is of course in the DNA of it because we're listening to it being narrated in the voice of a video game. If there are faults, it could probably lose 15, 20 minutes. In an ideal world, it would be a 93-minute movie as opposed to a two-hour movie. But the Sugar Rush aesthetic is fun. The humor is droll. The design is very eye-catching.

Scenery cheering is plentiful. There's another scene- term from Shodok Hopley who of course, this made me think if you put this on a double bill with Monkey Man by the time you got at the end of it, you'll be absolutely exhausted. But it's brash, violent, fun, longer than it needs to be, but I enjoyed it. And I think if you go into it with the right attitude, which is, it is that three stooges, custard pies, but using thumps and blood and guts. I enjoyed it. I had a good time with it. What's it called again?

Boy Kills World, which is a great title. It is. Okay. And also it gives the right tone from what you're saying in terms of the aesthetic of the movie. That sounds like it fits rather perfectly. Nobody could legitimately go and see a film called Boy Kills World and come out and go, well, that wasn't what I expected. No, precisely right. Box Office Top 10, which comes courtesy of Comscore movies. Excellent. Whenever I need a Top 10, I go to Comscore. Okay, that's done. Number 10 is the first omen. Mateja Jadovi. I suspect I've got that wrong Mateja, but thank you very much for

getting in touch. Mark and Simon, I'm a long-term listener who's never written in before. However, a comment Mark made during his recent review of the first Omen compelled me to do so. Go ahead. Namely, the good doctor claimed that the protagonists of the original film found Damien's mother, a jackal, not a nun, in a cemetery in Megiddo. They don't.

The grave of the jackal in the original omen was found at the Sevateri cemetery in Italy and not in Megiddo. Exactly. While the protagonist did eventually travel to Megiddo, the only things they found there were Leo McCurn and David Warner's ultimate demise. Best wishes and regards from far off Serbia and not Megiddo. Thank you. That is entirely correct. And actually, here's a weird thing. A couple of people got in touch with me firstly to say, look, if you're going to be picky about your facts, get your facts right.

And you're absolutely right. Second thing is somebody got in touch and said, look, I think you're being really unfairly harsh on this. It attempts to redo the, um, the, the ball of a jackal. It, you know, it attempts to work with it. And also you should read this interview with a director who clearly knows the Omen mythology inside out. And I did. And actually I, having read that and thought about it, I think I was, I mean, the one thing I would say in my defense is I was sick as a pig the last time we were on air. I mean, I was literally had a sick bag that I was having to stop. But I think I was unfairly dismissive. I think I might have got that wrong. And I'm going to go back and watch the film again, in the light of that. So there you go. Look, that's a rare instance of me being reasonable.

It is, and very good, and to be cherished. Mateja, thank you very much for getting in touch from Serbia. Number nine in the UK, nowhere in the States at the moment, Vashan Gal Gu Sheshem. I hope that's right. This wasn't press screened. Indian film, period. Comedy drama. If anyone's seen it, write in and let us know.

The fabulous Monkey Man is at number eight, number nine in the States. Again, as I said, do that on a double bill with Boykills World and then go and have a lie down. June part two at number seven. The Star of Witch, Zendaya, we will be talking about in one of our reviews this week in Challengers. Ghostbusters Frozen Empire is at number six, number seven in America. Fifth week in the charts. This is why the Ghostbusters films keep getting made.

Because no matter how rubbish they are, and I'm not going to reassess my view of it, I think it is rubbish. The fact is that the Ghostbusters franchise has enough name recognition that you just make them and they just stick around in the top 10 because, hey, it's Ghostbusters. I honestly don't know anyone who thinks that the Ghostbusters Frozen Empire film is good. I know some Ghostbusters fans who think it's all right, but I don't know anyone who thinks it's good. America's number two, number five in the UK is Abigail.

Okay, so this came out last week and we were off, as I said, last week I was in the Roseland and I was up in Howard so I haven't seen it. This is a vampire horosato. It's inspired by Dracula's daughter. I am going to go and see this actually, weirdly enough, this evening because I'm quite looking forward to it. Sounds like your kind of thing. It does.

Number four here, three in the States, Godzilla, Silent, X, Kong, The New Empire. And well done for getting the title right. Again, the whole issue of, okay, fine, big monsters, hitty, runny, smashy, crashy, but in the light of Godzilla minus one, really? I mean, really? Could you not just have done one of the stories and made them work? Number three is Kung Fu Panda 4. Was there ever a more depressing title? I mean Kung Fu Panda 5, that will be a more

depressing title. A couple of emails about Civil War, which is number two in the UK and number one in the States. Rachel, first of all, I'm very glad I took your advice to see Civil War, but wow, do I need to decompress now. It's visually impressive and undoubtedly a rollercoaster of emotions, but it is the sound design I particularly wanted to praise. From the ear-splitting explosions to the piercing gunshots and thumping helicopter rotor blades, the soundtrack is incredibly immersive and shocking. But then there are the quiet moments, the silences and the use of music. It's beautifully crafted and during those moments, the movie is truly in show-don't-tell mode.

The silent communication between two characters as one mops up a friend's blood, for example, or the screaming of a character caught up in the agony of grief shown without ever hearing his voice. Thank you both and the wonderful production team for all your witterings. Thank you, Rachel. Also, Mike says, Mike here, long-term listener, first-time emailer. I must admit I was somewhat taken aback, Mark, by your admittedly warm, though not sadly blistering praise for Alex Garland's Civil War. Whilst I feel I had been somewhat lucky to be given a heads up in advance of seeing this movie by the always excellent Wendy Hyde, your colleague of course, Mark.

Yes. I feel the suggestion in her review that this film was first and foremost about the subjective experience of war, photographers and journalists in any war zone, not necessarily a modern day America dystopian or otherwise, encouraged me to approach this brilliant film in just the right way. Much in the way that Jaws is not about a shark. Come on, Mike, we've already sorted that one out. The book isn't about a shark, but the film definitely is. Steven Spielberg told Mark that and Mark

secretly obviously accepts that. Mike says, civil war is not about war in America. As such, its political stance can afford to be fudged. Given where the emotional centre lies, its geographic location is largely irrelevant. It is primarily and most satisfyingly about the relationship between all the characters involved, the way they react and interact as circumstances in which this has been allowed to happen, and their responses to its resolution as they seek to record and inform. As such, it is phenomenally effective. Alex Garland's use of intercut stills, many in black and white are incredibly effective, plus the stunning music. The haunting

slow-mo image of the thing where that happens and Jesse Plemons doing that thing was horrifying and breathtaking. Where were we? Bergen-Belsen, Vietnam, the World Trade Center, Washington, DC, film of 2020 far so far for me, according to Mike. I think that's half right. But if America wasn't where America is, this film would be only half as scary, in my opinion. Yeah. I think that it does have a real relevance to contemporary politics. I think that when you asked Alex Garland very specifically about, you said, I think it's

about the fight against fascism. And he sort of agreed. And you said that at the same time, his leading actor, Kirsten Dunst was nodding. Absolutely. It was almost as though they were relieved that it was said and they could agree with it. And I do think that, particularly with everything that's going on with the Manga Mussolini currently, he'll be in court for the next six weeks and every time he comes out of court, he just

rants and raves like a lunatic. A substantial proportion of people think he makes sense. I think that's a really dangerous thing. I think civil war, I think it does have contemporary relevance. Obviously, you read it as you will, but I think it provokes debate and I think that's a really dangerous thing. So I think civil war, I think it does have contemporary relevance. I mean, obviously, you know, you read it as you will, but I think it's, I think it provokes debate and I think that's what it ought to do. Yes, the potency of the film. I mean, obviously there's an element of truth in what Mike is saying, but the potency comes because people are genuinely scared and they have talked about civil war, however far-fetched it seems, that it is about America now. And that's what I think to that extent, I think it is about America.

Obviously, there are truths about civil wars, which are always the most horrendous of conflicts to report on. But I think you cannot take America in 2024 out of this particular movie. Anyway, number one is back to black. It hasn't charted in America. This from Kev Pickard in Livershed, West Yorkshire. Four of us ventured to our local showcase in Bristol, West Yorkshire, where the temperature was one degree Celsius and the snow and sleet were coming at us sideways.

Now one of my pet hates of modern TV is the obsession of coming up on today's show where they show you everything that's about to happen in the next hour. So we were settled into our glorious comfy seats, waiting for the main attraction and up pops an advert for Back to Black. If I know I'm going to see a film, I avoid all contact with it, including the fast forwarding of Mark's reviews on the podcast. How annoying it was that I couldn't fast-forward the advert. As for the film, we all enjoyed it, but all said it was just okay and nothing special. Despite brilliant performances from Marissa Abela and as Amy and Jack O'Connell

as Blake, there was something missing. I'm sure we will see a lot more of Marissa and Jack in the near future. The film ended with an explanation that Amy died of alcohol poisoning, but there should have been, says Kev in this email and attached saying aided and abetted by the despicable British gutter press. That's what Kev says. Number one, back to Black. I mean, the despicable British gutter press was something that I think Asif Kapadia did attempt to address in his documentary. I remember us having a conversation with him about the thing about footage that's in that documentary is footage that both reflects and uses stuff that was taken at the time.

It is absolutely terrifying now looking back on it. I still think, I mean, it's interesting. This film seems to have polarized people. I have read one-star reviews and I've read four-star reviews. I think the film has flaws and I think the film certainly makes some decisions that not everyone will go along with. But I think it's a kind of, you know, as somebody who's a big fan of sort of the biopic genre, for all its flaws, and you know, heaven knows it is a very, very flawed genre. I mean, Bohemian Rhapsody, I really enjoy Bohemian

Rhapsody, but there's so much that's wrong with it. I think this is, it's, I had kind of gone in with fairly low expectations and it didn't live down to them. And I do think the central performance is really, really terrific. but I think no one's going to come out of it and think, yeah, it absolutely satisfied me. I think everyone's going to come out thinking, it didn't do this, it didn't do that, it should have done that, it should have been harder on this person, it should have been cut. I just think that's in the nature of the beast. Correspondence at koemanamo.com, the ads in a minute, but Mark, first of all, let's step

with joy in our hearts into our fabulous laughter lift. Must we? Well, we're going long form and surreal, by the way. Hey, Mark, went into the local bank last week. Quite an extraordinary whimsical and fantastical sequence of events unfolded. A frog walked in. Molder's Brass walks up to the cashier. Patricia, her name was, lovely local lady, Patricia Whack, to give her her full name.

Anyway, I'd like to take 10 grand to go on holiday, says the frog. Okay, says Patricia, let me start by taking down some details. What's your name? My name is Kermit. Come off it, says Patricia, you're not Kermit. No, he said I'm not THE Kermit, but I was named after him. My name is Kermit Jagger. Yes, of the Jagger. Mick Jagger is

my father. Anyway, I want a loan, 10 grand now and I want to go on holiday. Okay, so can I just say this had better be a really good punchline to justify this setup. J-A-G-G-E-R. Okay, purpose of loan, holiday. Now Mr. Jagger, we will require some collateral. Do you have anything? As a matter of fact, I do, says Kermit. And he pulled out of his pocket an adorable little brass kitten in a teacup statuette. I told you it was surreal. Anyway, I'll have to consult with the branch manager, Mr. Jagger. Please bear with me for a few moments.

That's fine, croaks Kermit. Tell him I said hello. We go a long way back. Patty goes into the manager's office. Jeff, it's gone a bit weird out there. A frog called Kermit Jaggers just walked in, asked for a loan for a holiday and put up this as collateral. He says he knows you. She holds up the adorable little brass kit and a teacup statuette.

I mean, what even is this supposed to be? The bank manager looks back at her and says, here we go. It's a knickknack, Pattywhack. Give the frog a loan. His old man's a rolling stone. Good Lord. This episode is brought to you by Secret. Secret deodorant gives you 72 hours of clinically proven odor protection free of aluminum, parabens, dyes, talc and baking

soda. It's made with pH balancing minerals and crafted with skin conditioning oils. So whether you're going for a run or just running late, do what life throws your way and smell like you didn't. Find secret at your nearest Walmart or shoppers drug mart today. Hello Kermode and Mayo listeners. Shoppers Drug Mart today. at a restaurant chosen just for them, no repeats. Past guests include Sophia Vergara, Brian Cranston, Mandy Moore, Chelsea Clinton and Ed O'Neill. More than 30 episodes are available right now, wherever you get your podcasts. I suspect that joke will get lots of emails from people

wanting to applaud. In fact, as they heard the punchline, they kind of stood up where they were and they just needed to clap because it was such an extraordinary crowd. I remember in a previous age, Dave Lee Travis telling a joke on the radio, the punchline of which was, on the radio, the punchline of which was, Colin knocks two pence off into Planetary's craft. Visions of that joke, which you can back engineer for yourself, came flooding to my mind when you finally got to the punchline. Will Barron Okay, whilst we're on that then, this is a Noel Edmonds line. Wow. Here we go. What would be, I'm sure I've said this, I'm convinced I've said this to you before. What

would be the headline in a newspaper if it was carrying a story about a taxidermist landowner who was caught smuggling nightwear to Tibetan priests? Thrill me. In Barma Farma in Lama Pajama drama. You can have that one. Okay, one for free. But it made, you know, there was a titter there. There was more of a titter than there was about it's a knickknack paddywhack, give a frog a load.

His father's a rolling stone. Also, I suspect a certain age of listener, like anyone under 40, probably doesn't know that song. Yeah. Yes. Well, I can't even remember how the original version gets the… Also… This soul man came rolling home. That's right.

Anyway, let's carry on. And correspondence at kodamaio.com if you can enlighten us on any of that. What else is out? Tell me about… Oh, actually, I'm quite intrigued by this next film, I think. Iss, which is sci-fi or wifi or hi-fi, depending on which genre shortening you'd like to call it. I think what was the sci-fiction? Is that the one that we settled on last week? I think so. Yes.

Okay. So from director Gabriella Calpethwaite, who's actually best known as documentary maker for that film Blackfish, BAFTA nominated for Blackfish about, you know, killer worlds in Sea World. I mean, it was a brilliant documentary. So script by Nick Chafir, it appeared on the blacklist in 2020. I refer to this a number of times, but I just flag it up what it is. The blacklist is a list of the most admired yet still unproduced screenplays of the day. It has become a kind of place that people go to look for hot scripts that everyone thinks great but somehow hasn't been made.

It's set on the International Space Station, the ISS of the title. Here we find a group of American and Russian astronauts working together until something terrible happens down on earth. Here's a clip. Hey guys, I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting.

I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think I'm seeing a volcano erupting. I think she's looking at the Yucatan Peninsula.

No it was east of all of that. Oh wow. You all just flashed right? What the hell? What's going on down there? We gotta get out to the couple. Now guys! Get out!

Now! Faster! Let's go! Faster! So, terrible stuff happening on Earth. Explosions, not volcanoes. Messages sent to the ISS from the respective countries of the astronauts. We're not entirely sure what everyone's been told, but it seems pretty likely that they've been told, take control of the space station. CAST includes Ariane de Beaux, Chris Messina, John Gallagher Jr. Central Idea is very, very good. It's a very, very simple setup.

It's that kind of same confined space setup as The Thing, which is confined in space, confined space. In The Thing, they're in an Arctic station. There's a group of them together. There's something in there, and they're all going to start turning on each other, but they don't know who or how or why. Here, you have, as with a number of canned paranoia thrillers, they're in this isolated thing, they're out in the middle of nowhere, there's a group of them, and it looks like they're going to start turning on each other because of something that's happening

beyond their control. Also, weirdly enough, as I said, this was on the blacklist in 2020, there was a news report that I saw completely coincidentally just recently about Russian and American astronauts on the International Space Station likely to be safe from the diplomatic tensions over Ukraine unless their home nations go to war, a former US space official has said. This was a piece that appeared in The Independent some time ago. This weird thing about this idea about you can be on a space station and something can happen down on Earth and there can be even the possibility of that producing completely

unexpected tensions in space is a real thing. Comparatively low budget, I think it's about $14 million. Looks very good on it. I mean, we've all got very used to weightlessness on screen. As somebody who grew up gawping at the anti-gravity stuff in 2001, if you remember the bit when the hostess in the space shuttle walks all the way around 360 degrees, and we see it going upside down, and actually they used Velcro to do that, and the spinning set seemed amazing when I first saw it.

Nowadays, we've all got completely used to the idea that people float around in zero gravity on screen, it's fine, I'm still amazed by it. Inevitably, as the plot becomes more kind of action packed and overwrought, the inherent tensions abate. This stuff is best when it's understatement. Again, to refer to 2001, if you remember the silence of HAL killing the astronaut in 2001 and then the confusion over whether or not HAL actually did do it, whether it was a mistake

or whether HAL's turned on the astronauts. That's the most eerie stuff. This has got some very committed performances, good central theme. It doesn't really come up with much more than its central theme, but it's an enjoyable B-movie in that it's a simple setup and it's convincingly played and it is directed with enough panache to have you go, okay, fine, I'll buy into this for the length of the drama. I thought it was a good, solid B movie. In previous decades, would this have been a submarine film? Actually, I hadn't thought of that, but that's a very good point.

Yeah, because a submarine film is exactly the same. It's basically, it's any confined locale in which you've got a group of people who are all getting on absolutely fine and then something happens that means they start to turn on each other and there's nowhere to go because there is nowhere outside other than the sea or the space or the ice. An email from James A. In relation to your interesting discussion last week about when it's okay to give away film spoilers, and you were just talking about 2001 there, so I think that's okay. I think it's like a graph of annoyance with three peaks. Nobody wants spoilers when a film is

released. The level of annoyance at any spoiler would be at maximum for say, inside out two, if you gave that away. So that would be peak one. After a few weeks, most people who wanted to see the film in the cinema would have done so. So the annoyance level would fall quickly over time. Some of them might happily listen to a spoiler-free podcast dedicated to discussing, say, Dune II. When the film comes to streaming, or in before times, DVDs or broadcast television, those who hadn't managed to catch the film in the cinema or couldn't afford it or hadn't heard of the film would be very annoyed at spoilers. Anatomy of a fool, for example. So that's peak two of the graph of annoyance.

Then there's a very gradual decline in annoyance level over years as more and more people have seen the film. At what point it's okay to spoil a film without warning at this point on the graph is unclear. If it's a good film, you're ruining it for those who might like it. Don't spoil a rival. But is it okay to spoil the emoji movie? Probably yes. At an indeterminate point in time, some films become classics and spoiling them is very annoying for the next generation. And this is peak three. Don't ruin Citizen Kane. So can you spoil the unfortunate event in Harry Potter and the Half-Bub Prince given that it's not a classic?

I'd say not, because there are children reading the books and discovering the films all the time. After the classics, the graph of annoyance trails off, because film is too young a medium for there to be spoilers embedded in culture. Okay, so eventually the graph of annoyance, it seems to me, appears rather useless because it tails off into insignificance, but it's an interesting idea. In the specific case of spoiling Citizen Kane, I mean this is a serious question, okay? So, the whole thing about Citizen Kane is that it, you know, Kane dies at the beginning. And then we see somebody saying, we need to find out who was he and what did he,

you know, what was he all about? And then the film kind of plays out effectively as an investigation in flashback. And what we know from the beginning is that the last thing he said was Rosebud. And then there's the joke about, can you spoil Citizen Kane by explaining what Rosebud. And then there's the joke about can you spoil Citizen Kane by explaining what Rosebud is by giving it away? To which I think the answer is no, it's not. Here's my question about Citizen Kane. How does anyone know what his last words were? He's on his own. I mean, unless I'm missing something, I mean, this is a genuine question. Maybe I'm being really stupid. Is somebody in the room with him? I think he dies on his own. Anyway, let me know. Answers on a postcard.

Correspondence of comandomeo.com. Obviously, that's not where you send your postcard, but I guess so. What else is out then? So challenges. This is the latest film from Luca Guadagnino, who's the Italian director of I Am Love, Call Me By Your Name, A Bigger Splash, and the Suspiria remake, which if you remember, twice as long and half as scary. Now, I confess I have not in the past been his biggest fan. The script is by American playwright and novelist Justin Kiritschkas, who is also, as it turns out, Mr. Celine Song.

Of course, you remember Celine Song came on the program and was absolutely fabulous and directed what I think was both your and my, if not my favorite, I mean, in my case, it was my favorite film last year, Pulse, which was absolutely fabulous. This is described in Wikipedia as a romantic sports comedy with a tennis setting, which I have to say I think is probably the worst description of a film. I mean, for a start, if you say romantic sports comedy with a tennis setting, that implies Wimbledon, which is a film that we've talked about a lot more than I would have expected. But believe me, this is nothing like Wimbledon. The story is told in solidly nonlinear fashion. It jumps back and forth in

time, three weeks earlier, midnight, 13 years earlier, four days before. Josh O'Connor and Mike Feist are Patrick and Art, old school friends who see and fall in love with Tashi at a tournament when she's playing tennis. The film opens with her later in her life, watching the two of them later in their life playing a game. And they're all exchanging looks between you know, balls between ball play tennis. I mean, tennis is a sport in which you know,

love is a point thing and they have mixed doubles. And so anyway, it's obviously right for this kind of interpretation. Then we spiral back to their first meeting with her. The fact that when they both see her on the tennis court, they both desire her and they clearly to some extent desire each other. Here's the trailer. Tashi Duncan. She's in another league. You were incredible today. To have a fashion line, foundation. Just going to turn a whole family into millionaires. What are you going to do now? Unfortunately, my only skill in life is hitting a ball with a racket. I want you to be my coach. I want you to be my coach. How often does this happen? Going after the same girl?

Come here. Which one of us? Okay, so if you look back at the history of tennis related romance films, which is a fairly short history, you think about things like, do you ever see that film Players, which I think is a late 70s disaster? A long time ago, yeah. Long, long time ago. Not a good film. And then Wimbledon. So it's not a great heritage. What Challengers does, and I think this is quite the thing, is it somehow manages to make the sport of tennis sexy.

And before a whole bunch of people that play tennis and have always thought it was sexy right in, I have never, ever, ever thought of tennis as anything other than gladiatorial combat. I don't think of it as a place in which you can have arguments about relationships through the way in which you deliver a serve or the way in which you call a fault. But somehow, the film manages to do that. It makes us believe, unlikely as it sounds, that as the central character says, tennis is a relationship. Zendaya is terrific in the lead role, as are the two main guys. You do genuinely get a sense that there is a passionate love-hate triangle

being played out on this hard court. The time shifts are done very well. You get the sense of watching people in different periods of their life. Funnily enough, although it's an odd comparison, I was thinking of When Harry Met Sally, which is one of the few films in which you see the central characters through a number of periods of their life and you genuinely believe that you're watching them grow up. When you meet Billy Crystal and Meg Ryan right at the beginning, you know, the college thing, getting in the car, going on the road trip, and then you see them later on, and they've developed different haircuts and different

mannerisms, and then you see them later on again when they sort of, you do believe that you're watching people in different stages of their life, And I think you do get that from this. Time shifts are done very, very well. The final act of the film, and it's a lengthy film, it's like two hours 15, is a masterclass in dialogue without words. It is, it plays, the final act plays out on a court in which everything is to do with gestures. It's literally to do with how is somebody holding a tennis ball? How is somebody holding a tennis racket? Did the ball skim the top of the net or not? Is it a fault?

What's happening with the fact that they're all looking at the same person? What did that glance mean? What did that nod mean? What did that shake of the head mean? And now, how a ball is parried and served and volleyed and all the rest of it. As somebody who's kind of a great fan of the visual language of cinema, I did think the final sequence was absolutely superbly done. It is, as with all the directors work, it's typically overcooked.

It's got this pumping, Resna Ross soundtrack which electrifies everything and literally makes everything throb and thump. It starts with a close of close up on sweaty bodies and sweat pouring off skin. And that is how it stays all the way through. I mean, it is true that Guadagnino does have a talent for tactility.

Sometimes the overcookedness becomes way, way overcooked. There is a point in which during a particularly stormy interaction, the stormy interaction plays out literally in the middle of a storm. There's a lot of stuff flying around. In the storm, there's a lot of stuff flying around. You do feel like going, it's okay, I've got it. I've got it. It's a stormy moment.

I know there's stuff happening, lots of stuff flying around. It looks pretty jaw-dropping. The cameras fly around. I mean, somebody must have sat down and thought, okay, how can we shoot every possible angle? We can put the camera on the tennis ball, we put the camera on the tennis racket. Can we at one point shoot them from underneath as if the floor is invisible and we're looking up at them? They have shot every possible

tennis angle. The thing is that for all the razzmatazz, it is the more intimate stuff that really works. There's a scene in it that really reminded me of Josh O'Connor's brilliant physicality in Only You, which is a film that I absolutely love because it's so tactile. So it's overcooked, it's overcranked, it's overlong, but none of those things are necessarily criticisms and it is absolutely my favorite Luca Guadagnino movie by quite some distance.

Will it become the film of the week? You'll have to hang around for a few moments longer. We'll be back with another review after this. Ever since the start of this program, a while back, you mentioned the name of this next film, and I haven't seen it, and I am intrigued because it's one of those titles that is, oh right, what is going on there? So take us into the American society of magical Negroes. Yes. Okay. So Satirical Comedy Fantasy written and directed by actor, comedian, filmmaker, Koby Liby. It opens with an explanation on screen that the magical Negro, in inverted commas, is a character that exists in fiction and

exists purely to advance white characters. And then it says, people think this is fiction, but others know the truth. We then meet Justice Smith, who's incidentally, whose Twitter bio says, human actor, not Will Smith's son. So just to be clear, because everybody apparently makes that mistake, he's Aaron. He's an artist who works in yarn. We meet him in an exhibition where his is the only art not to sell. Why? Well, partly because he's not very good at selling. He doesn't sell himself. Also, because everybody there apparently thinks he's a waiter rather than an artist because all the other artists are white. Then he meets an actual

waiter who tells him that he's hypersensitive to white people, something he figured out by watching him walk through the room. The fact that he apologizes every time a white person almost walks into him, he says, I'm sorry. He's constantly worrying about his presence. He's told this quality that you have about being overly worried about white people makes you perfect for the potter-esque society of magical Negroes whose mission is to use their powers, which are kind of magical, to make white people's lives easier and make them feel better about themselves. Why?

Because black people are safer when white people are happy. When white people are unhappy or scared, things get dangerous for black people. The plot then revolves around Aaron, he said, okay, I'll take the job. His first job is in a design agency where the white guy whom he has to make happy has fallen for a girl who happens to be the girl of his dreams, played by Onley Bogan. Then there's a question about whether or not it's okay to put white people's comfort over his own personal growth. Now, apparently, there was some fuss.

I had to look this up because I didn't know about it. When the first trailer came out, people had thought that the title made it sound like it was Hogwarts in the Hood. It was going to be like a black Harry Potter. Then when they saw the trailer, which was a parable about white tears, about which there are numerous explicit jokes, they went, no, that's not what I want. Others complained about anti-white racism,

all of which of course is utter nonsense, utter tosh. I'm very, very happy to slap all that down. I just wish the film itself was better. The idea of a magical society of black people having to keep white people happy for their own safety, that's a good idea for a short film. As a feature, it runs out of steam and then downshifts into being a non-love triangle rom-com because it doesn't really know what else to do. It's tempting to compare it to when we reviewed American fiction.

I said that I thought the problem with American fiction is that it started out as having a really good political satire idea and then it lost its way and became something else. I think in comparison with this, American fiction is absolutely ruthlessly, I mean, in terms of bite, American fiction is jaws compared to this. Also, from a fantasy point of view, if you put this next to something like Sorry to Bother You, you realize that it's not only utterly bereft of magic, but what it lacks is that sense of anarchic strangeness or weirdness that mean that you can pull off this very convoluted conceit. The performance is good.

I think the two central leads have good chemistry. It's not bad. It's not bad at all. It is an interesting idea. But as a feature, it does feel like it's a much too bland idea to make the feature length exposition of it work. The more you watch it, the more you just end up thinking this doesn't make any sense and that's a problem.

If you're going to do something which is magical and anarchic, it has to be both magical and anarchic. This might have worked as a short film. It really doesn't work as a feature, which is a shame because I do think performances are good. That is the end of take one. This has been a Sony Music Entertainment production. This week's team has been Lily, Gully, Vicky, Zachy, Matty and Bethy, the producer was Jem E. The redactor as ever was Simon Paul. Mark, what is your film of the week? Well, it's interesting because I didn't think I'd ever say this in a week in which there's a space station movie, but I'm going for Luca Guadagnino's tennis-related romantic playoff

challenges. Excellent. Thank you very much indeed for listening. If you'd like some more, take two is available right now. Get in touch, correspondence at kerbidermayor.com, and we'll see you soon.