Gaz and Mel review one of the biggest blockbusters of 2024, the sequel to the 2000 classic, Gladiator 2. There's a monkey fight, there's a rhino battle, and they even flood the colosseum, but is the movie any good? Is Paul Mescal a good Russell Crowe replacement? How accurate is the movie to the real story? Has Ridley Scott still got the old magic? Listen now to find out.
Mel and Gaz critique the true history behind the 2024 Netflix hit Scoop, the compelling story of BBC Newsnight's infamous Prince Andrew interview by Emily Maitlis. We talk about how the real Sam McAlister played her pivtol role, discuss the relationship between Jeffery Epstein and Prince Andrew and the reasons behind how their crimes remained covered up for so long.
Mel and Gaz critique the true history behind the 2022 film She Said, the compelling story of how NYT reporters Jodi Kantor and Megan Twohey investigated the sexual abuse and misconduct of film producer Harvey Weinstein. We talk about the brave women who inspired the worldwide #metoo movement, discuss the system of enablers that allowed Weinstein to stay in power, and provide insight into the real people.
Twister-fans, it's time to celebrate. Gaz and Mel review one of the biggest blockbusters of the summer, the sequel to the 1996 disaster classic, Twisters. Yes, there are tornadoes, there are explosions, and there's Glen Powell in a tight white t-shirt, but is the movie any good? Mel speaks to her deep love for the original movie. We dive in to talk performances, plot, and gender roles. Does it create a storm or is it just hot air?
It's a movie that peaks behind the curtain into the domain of a world renowned ballet company, Ballet Lermontov. Fiction of course, which is just as well as it allows its audience to escape into a world of beauty, art and heartache.
If the prospect of Len Wiseman directing and Keanu Reeves being retained in a supporting role inspires little confidence, the collaborative oversight of producer Chad Stahelski ensures that the high water mark for John Wick’s standard of visual quality is thankfully maintained.
You have to admire Wes Anderson’s steadfast artistic principles, prolific and yet wholly dedicated to a type of sly, cute, irony-laden, self-conscious aesthetic that comments on filmmaking itself as a form, as a deconstruction.
With the eighth entry, Mission Impossible – The Final Reckoning, the franchise has unfortunately decided to fully commit to romanticizing its own mythology, providing us a film that feels weighed down by self-serious grand-standing and a retconned story that’s only interested in looking to its previous entries with rose-tinted glasses.
Adding to the growing list of art about tempestuous chefs in the trenches of the service industry, La Concina, within its stark black and white framing, speaks righteously to those of us disillusioned and chewed up by the gears of capitalistic greed.
In a movie pining to celebrate independent journalism, Kriv Stenders’ The Correspondent straddles the line between award-baiting sincerity and unsettling docudrama, managing to be both convincing in its need to exist but also unconvincing in its emotional execution.
