Film vs Film Podcast
Denis Villeneuve Films - Prisoners vs Blade Runner 2049
This week on the podcast as the highly anticipated sci fi epic Dune finally hits cinemas in the UK and state side, we will be picking our favourite films from its director, Denis Villeneuve.
Warning we will be talking SPOILERS.
Boaz's pick for this week is one of Villeneuve less talked about films which I think is fair to say, Prisoners. On this one we talk about again the intense brilliance of Hugh Jackman. We talk about how interesting the two protagonists arcs go in opposite directions two each other emotionally. IMDB page
Martins pick this week is its first sci fi epic, Blade Runner 2049. We talk about the incredible visuals and just how massive this feels. We talk about the amazing confidence in pacing this film achieves. And Boaz is obsesses about a character that might surprise you. IMDB page
Twitter
Instagram
As ever please enjoy
Join hosts Will and Marisa as they dive into the most entertaining moments from reality TV
Listen on: Apple Podcasts Spotify
Peanuts, Popcorn & CrackerjacksPeanuts, Popcorn & Crackerjacks is baseball and entertainment industry podcast...
Listen on: Apple Podcasts Spotify
This week on the podcast as the highly anticipated sci fi epic Dune finally hits cinemas in the UK and state side, we will be picking our favourite films from its director, Denis Villeneuve.
Warning we will be talking SPOILERS.
Boaz's pick for this week is one of Villeneuve less talked about films which I think is fair to say, Prisoners. On this one we talk about again the intense brilliance of Hugh Jackman. We talk about how interesting the two protagonists arcs go in opposite directions two each other emotionally. IMDB page
Martins pick this week is its first sci fi epic, Blade Runner 2049. We talk about the incredible visuals and just how massive this feels. We talk about the amazing confidence in pacing this film achieves. And Boaz is obsesses about a character that might surprise you. IMDB page
Twitter
Instagram
As ever please enjoy
Join hosts Will and Marisa as they dive into the most entertaining moments from reality TV
Listen on: Apple Podcasts Spotify
Peanuts, Popcorn & CrackerjacksPeanuts, Popcorn & Crackerjacks is baseball and entertainment industry podcast...
Listen on: Apple Podcasts Spotify
Hello film fans welcome to the film versus film podcast. My name is Martin Harries your host and I'm joined by the filmic Cyclopedia man pious Dix. We are a couple of filmmakers on occasion but mainly Can't Stop yapping about movies. On this podcast every episode, we pick a topic from a film that's coming out at the cinema, or on VOD, myself and buyers pick our favourite film from that topic, and we battle out to decide which film will become the greatest film of all time. According to two film geeks from Wiltshire, England if you enjoy this podcast please leave us a review and subscribe Hello Potter Rooney's Welcome to the film versus film podcast. How was that Potter Rooney's I'm using that from now? We're gonna lose everyone now. I was just gonna unsubscribe pottery. This week as dune hits cinemas in the UK and America. We're going to have a look at that film's director. And that director is Denny Villeneuve. So I'll be picking our favourite films of his work. And of course, I'm with the replicant himself, Mr. Boaz, Dix how easy Yeah, I'm fine. I'm very good, good. The responsible and pleasant replicant. As you may already know, we have a buy me a coffee account. So if you want to show us your appreciation and just say a big thank you, you can just follow the show notes below. Follow the link and just say thank you with a coffee out it'll be very much appreciated. Should we go with your pick first spowers? What did you go with for denny Villeneuve? I went with prisoners. Nice. Yes. Why did you pick the prisoners? Because I've seen this trailer. I saw the trailer for it at some point. I think it's just one of these where I'd never I don't really know the director that well, and I was checking his short, okay, you know, his list of movies. And I was like, other than Blade Runner, which you know, you've got an arrival because we've we've already picked her I've already picked her rival. And so other than that, I don't really know any of them. So it was like, I've seen a trailer for prisoners. So I was like, Yeah, okay, let's do that. So what happens in prisoners? So, a killer is a family man. He's got two kids like an older teenage son, and young infant daughter. He's very much a survivalist. You know, if shit hits the fan, you know, you got to be prepared. He's very religious as well. Most people in their community are. So he goes to a friend's house who has also got a family. And while they're celebrating and eating and stuff, both the daughters go missing his daughter and his friend's daughter, they just disappear. So, Detective Loki who is not played by Tom Hiddleston, but is played by stereo. He is on the case to try and find the girls. They have one suspect, played by Paul Dano, called Alex who has got kind of learning difficulties. He's you know, he's not very there. He's described as mind of a 10 year old mind of a 10 year old Yeah, he doesn't really understand what's going on. So he's the only leading suspect and Keller is certain that he kidnapped the daughters. So he abducted him, takes him to an abandoned house and tortures the hell out of him to try and you know, get him to confess. Meanwhile, Detective Loki is on the case trying to find the kidnappers because you know, so it's basically two investigations going on. Kela using his methods, which are quite questionable, and Loki trying a torture chamber to everything. Yeah, to to do everything possible. Nice. So what did you make of this one? I yeah, I thought it was really great. To be fair. Yeah, I thought I thought it was pretty good. I'm not sure if it's gonna stay with me for like, like ages and ages. But I do think it was a good film. Certainly performance wise, it's really impressive. Hugh Jackman is it's pretty terrifying. Hugh Jackman. I mean, we've done Hugh Jackman films before and I do. I think I said even then, you know, he can have this intensity about him. Like when he's sad or he's pissed. I think those are the best performances that he can do. Rather than try to be he does a very Good piste. And whenever you have a film where his character has to go, there, it is always very impressive and he's there a lot. Calm family man, not for very much of the film. And then it's just distraught. And like, doesn't even know what to do with himself. And he's like, just like so fucking irritating. More than irritated, he's distraught. He's pissed. He's angry as fuck. And, you know, that's where Hugh Jackman excels. Anyway, so, great casting in my opinion, you know. So directing, then I do like how, like the uneasiness of this film has a very slow burn to it. You know, it slowly builds. You know, the opening shot is a really patient shot on some woods, then very slowly pulls out to reveal Ralph Dover played by Dylan Minnette, holding the rifle as he's about to shoot a deer. Then later, you have the same shot a bit shorter, but you have Ralph and his sister and friends walking down the street, in short, and we pull out to see the old caravan or RV, where someone sinister is in sight, we think is sinister inside great mirroring the you have a great shot just on the tree outside as well, the house just outside the house moving in really slowly. You just get this atmosphere of people could be watching you at any moment. You know, it's just a nice opening to this film. Yeah, definitely. Yeah, where the camera is, it feels like you're behind some person. But it's almost supernatural, like a ghost or something as he just edges closer and closer to the house closer and closer to you know, the kids or three windows. I think there's a directing tech Nique, I would say or style that's constant in the film, which I think also helps it which is like use of you know, wide shots, just kind of further back from the action, you do have a lot of stuff that's close up. But you have a lot of incredibly eerie moments where the camera or really tense moments where instead of the camera being like right in into the action is quite distant from it. And I do think that gives the feeling this this sort of voyeuristic. Like you're witnessing a crime, you're witnessing all of this, this kind of detachment from this this? Yeah. And they do that a lot. And I think that's very effective. It's very effective thing, especially actually even in the torture of Paul danos character, you know, where he's got him on the wall and he's picked out a hammer. And you think that would be kind of close up stuff. But no, it's from the doorway. Yeah, it feels it does feel like you've you've really kind of entered this house and you're like, Oh, Jesus Christ, I shouldn't be watching this rather than you're actually definitely one of the characters. I mean, and I thought that was very effective, you know, especially like he's beating everything but his hand, he's gonna break it down into two. But I just think that was yeah, that was just done well, and they do keep doing that of this. pulling you out of the action you're in the just pulls you out so that you watch it, you know, yeah, I think you find that a lot in Sunnyvale nerves work in general. I you have that a lot in Sicario, which I nearly picked for this podcast. And certainly in Blade Runner as well is a lot of wide, wide stuff of just there are a lot of letting everything just immerse on the screen, you know? Yeah. And this is no different. I don't think I really liked how they reveal the honour and joy go missing because there's no like fancy sequence showing someone taking taking them. You know, the last you see other kids is them playing is them like singing jingle bells with Terrence Howard who plays Franklin birch on the trumpet. Then the next scene is on Hugh Jackman who plays the dad Keller over asking the older kids where their sisters are. And it develops from there. And I think it's just how you would experience it in real life when you lose anything. You're desperate to try and remember what happened. And I love the confidence of not making it showy or dramatic. Well, basically not even showing it at all, you know, it's just like, so focused on the characters that we've been introduced to. It's kind of the slow realisation because it is a slow build up. It's like, you know, where's your sister? Well, you know, I don't know. She must be around here somewhere. It's like they check everywhere. No, she's not here. Maybe she went back home. Go home. She's not there. Okay, shit. Now we're really starting to worry. Just going up and down the street in the pouring rain until you realise is gone. But I do agree with that. That is a great way to set it up as quite realistic. You know, if they were just abducted or whatever, even if you lose something regularly, you know, in your life. It can take some time. Do you ever get that where you're like, oh, yeah, well hang on a minute. And then you just you look everywhere and then you're like, oh God, where's my pen? I headed here. But you know, obviously like 1000 times worse. I do like my this film certainly does have some very like Old suspense scenes I would call them you know to keep this film very grounded. And I think my favourite is when like detective Loki he finds Keller pretending to be asleep in the abandoned building and Loki makes Keller give him a tour of the building and tries to walk him up away from the bathroom upstairs, where he has pulled a nose character in the torture chamber. But Loki goes in that direction. As he's picking up the phone call you get a brief shot from inside the bathroom where Alex's as Loki walk straight past the door. And it's just a great like fleeting moments of high tension. Because if he just turns his head slightly to the right, he will see something that's certainly not right in that room, then of course, it's flipped on its head for Kela were right at the end where he's in the big hole under the car. You know, Loki can hear something but the film cuts to black before he finds him or does he you know, it's just quite a good mirroring there as well. The film takes like a really interesting turn, we really don't expect because you get the sense that David nationales Sheehan's character Bob Taylor has something to do with the kidnapping and not Alex at this point in the film, and Loki turns up at his house arrest him quite brutally. You know, smashes his head on the wall and like oh shit, then the atmosphere of the place is like really weird. You have all these maze drawings on the wall like a pig's head in the sink. He was like what the hell? What movie Am I in now? I think that was pretty creepy and done effectively because when he looks at the sink, you can see all these flies going off. And I was like, Yeah, is that one of the girls seven heads? Yeah, then all these boxes on the floor Loki opens one of them and finds like bloody clothes and and a bunch of snakes. And it just wears you out? Like what the hell is going on? And you're just like, Who is this guy? But I was also like, why are you opening more boxes? Did you not see the snakes? Yeah, I would at least close one box of snakes before opening another box. You go, dude. Yeah, but he's like, everywhere, just all around his feet. I think all the boxes have like little air holes in them. So I'm like, there's gonna be snakes and all of them Dude, stop opening a professional animal control. Professional hazmat suits. The film certainly keeps to this uneasy, quiet dread with the suspense and the scenes with Kayla and Holly Jones. The kidnapper is very underplayed, like the natural narrative just plays out there's nothing fancy with the reveal of her holding the gun at Keller you know the pace is slow the same is when Loki finds Holly with Anna. Nothing fancy nothing particularly dramatic until like a big flash of violence with the gunfire when Loki kills her. But the dramatic scene is when Loki is driving and her to the hospital you know Loki is can barely see the road as blood is pouring into his eyes. It's pissing down with rain. So many near misses with other cars, you know, as the film has been fairly unpredictable until this point you you half expect him to crash and I think it works really well. The fact that the dramatic scene is with Loki saving and his life in his car taking taking her to the hospital, not taking out the kidnapper because all the emotion has been kind of channelled into finding who finding the girls and not finding the kidnapper. So I quite liked that distinction that the filmmakers is it's kind of like say, you know the opposite of Silence of the Lambs, you know, where she finds the, you know, kidnap victim of Buffalo Bill, and there's a huge build up in that gunfight, but then it's like are the girls safe? This is like no kidnapper is done for Holy shit. Like we've got to focus on saving the girl. So I don't know if you notice that but it is kind of reverse of the see. Yeah, definitely. But I think silence the lambs. Its attention is a lot higher. Yeah. And the characters are probably a bit more compelling, I would say yeah, valiant effort, though. But yeah, all I'm saying is this is certainly built on. Certainly the emotion and the innocence of this child saving her life and Silence of the Lambs. It's is Jodie Foster going to get out of this? Is she going to take down Buffalo Bill? You got a favourite shot then or seen? Let me hear you. It was first than anything. Okay. I quite like the moment when Nancy Burch finds out that Keller and Franklin have kidnapped Alex Jones. And I like the composition of the scene where Alex has sat on the floor with his head in a bag behind the broken sink. You can't see the bag much you just have like the broken sink where his head should be and the bag and sinker like similar colours this beige colour. You know this cuz all messed up like his his actual face, which is absolutely blown up like a bruise tomorrow, you know, like he's had 20 rounds with Mike Tyson is incredible makeup. Yeah, I find it kind of what was it? She's trying to show him the picture of her daughter was like, listen, look, this is my daughter just helped me. Yeah, it's like Can he even see? His face is a giant red sponge. I don't see any eyes, ma'am. You know, what are you trying to get him to look at? But yeah, he got fucked up. Yeah, he looks really bad. So it's just a nice like, pre warning of like, what his face is gonna look like where you have, you know, the the broken sink where his head should be just quite like that, you know? Yeah. And his head is good. And she takes it off. And Estelle still again a wide shot and she's like, horrified. And then you see what it looks like? It looks all puffed up. Fucked up. Yeah, yeah, no, I would say my favourite scene, you've actually reminded me of what my favourite scene is. And I even just mentioned it a minute ago. But it is the one where He's torturing him. I think maybe the second time or whatever. And he pushes him up against the highway, you know, the cabinet. And he's gonna break his hand with a hammer on the sink. And he just starts wailing at the sink and the wall, you know, the skin? Yeah. And that was great, because I wasn't expecting that I was like, bad and then the sink fell apart and holy shit. But that whole scene was just, it was intense. So the intensity of it, you know, destructible props. I mean, destructions always great. It was just really freaky. I thought, you know, blood was gonna fly and stuff at the anger about it. But also, as I said before, I like the fact that you know, he likes to do wide shots, but even that we're out of the doorway watching this has a kind of a kind of more real feel. It's not like we're in this it feels like, we are literally watching it, you know, just like, Yeah, you know, you've sort of stumbled on the wrong room. Um, yeah, I quite like that. I quite like that scene. I thought that was pretty good. Yeah, very much full Wolverine mode there. Yeah. Could you imagine if I'd like to close this giant hammer? Yes, that would be it. Say directing score for me. I think I will go. I mean, it's really Denny Villeneuve is like a modern master for me. I really do. I think his work is amazing. So I will go with a 8.8 I think Wow. Okay. Wow. Have to low. No, no, no, no, no, no. Yeah, I'm feeling like an 8.5 Maybe. Okay. Yeah, yeah, I wouldn't say this is his best film. I don't think I've I mean, I've not seen m&e and incendio. Ease whatever he called that one, but I've seen all the others I would put this probably at the bottom of all the other films he's made, but so not not by a long way. It's all really really close. You know? I think what was it you know, when we're comparing it to like, Blade Runner 2049 and even some of the stuff in the arrival because I I was talking about how I just love the CGI and the arrival. I think the fact that this is this is quite grounded. I mean, it's really good. But yeah, you know, some of the other stuff isn't so grounded you know, so to compare it with Blade Runner 49 really goes out of its way to be crazy. So I would give that like a really high school but oh yeah, yeah, no, this this one is good. This one is good. It's directed Well, yeah, write a screenplay then. I like the scene where detective Loki finds the father's really creepy basement. Oh yeah. Roger Deakins can really shoot black and shadow like really well by the way and he finds like a dead serial killer in there then cut to today detective Loki hanging the father in the doorway of the basement questioning him as it's got no stairs basically torturing the guy then throughout the film he's under time pressure because the longer he can't find the girls the more likely they're going to be dead and Loki basically loses it on Bob Taylor in custody in the interview room and then he next one of the one of the cops guns and shoots himself with it you know he's basically is going from bad to worse for for that character. And I would say Loki and Keller have are fairly similar. They both resort to trying to hurt people physically to get answers because they're so desperate and the police system is failing them both Loki and Keller to get the job done. But what's different about them is Keller is really angry and crazy at the start of the film, and then gradually gets calm. karma as the film goes on, and with Loki, it's the opposite that he starts off calm and gets angrier and angrier, where you learn that he really doesn't like keyboards in the office. But I also have this particular note like, when he's after what was the name of the either actor or character that the second secondary antagonist, you know, stole his gun and blew his face. Oh, Bob Taylor. But yeah, I love his stuff with him because you know what, he chased him and all this stuff, but I like when he's really had it with him when, as you said, his arrest because I think that's the height of his like, into, he like smashes him against the wall and puts him on the ground. And he literally threatens him because he's going to check the place. Because if you move on, put a bullet in your head. It's like what cop can say that? This is just, but it is definitely a difference from when he's first introduced. And he's basically begging Kela to be calm and to calm down. Listen, just trust me this police manner and he seems very sort of distant from the case this is a case and stuff like that. And yeah, towards the end he is he's he's very aggressive. And yeah, I agree it's it does mirror kind of different sort of path like an opposite to Keller who burns so hot but then I like that bit where he's saying like a prayer you know, next to pull down a torture chamber and he's like, Father who art in heaven and and and forgive us our trespasses and forgive those who try and he can't even get himself to say that. He's like, should I should I forgive this guy? But he's like he's kind of breaking down and he's even begging him just please tell me he doesn't want to be that anymore. He doesn't really want Yeah, yeah, he's very much losing steam and losing emotional strength throughout the film and colour you know, whereas with with Loki basically can get so frustrated because he's he's written at the start as this detective that solved all the cases he's been given. So there's an element of like, he doesn't want to ruin his 100% record as well. Yeah, and plus, I would also say I would also say with his interactions with Keller like Keller is rubbing off on him as well as he is rubbing off on Kelly and yeah, so like, Yeah, I know more and more every interact. Yeah, I know how much this case means, you know? Yeah, like this guy is in pieces I need to throw like he loses his way. It's interesting with the parents emotional state in this film because both Kayla and grey Stover played by Maria Bello are both looking for a reason why this has happened and looking for someone to blame. You know, for Kayla, he's convinced it's Paul Dino's character, Alex Jones, but grace is kind of blaming Keller when she's crying in bed and Grace says to him, you, you made me feel so safe. You told us you could protect us from everything, which is certainly her emotions going wild and trying to realise rationalise the situation by blaming Keller but it just makes Keller do something stupid and, you know, kidnapping Alex as well, you know, so that was interesting. She's really kind of suffering in a pretty much self loathing way. I guess she's in bed like for most of the you know, and Keller just becomes consumed by rage and totally, is totally convinced that Alex took the doors and he hears like Alex, sing like, the jingle bells, Batman smells song, which was the same song The goals were seeing before someone who adopted them. But they were singing it, you know, outside and Alex was inside the RV, and he may not have heard it. Plus, it's a very common song that kids of that mind would sing. You know, Keller is just latching on to anything to convince himself. He's doing the right thing. You know, he even says, he's not a person anymore. No, he stopped being a person when he took our daughters, you know, and I'm like, well, you're on the edge of not being a person to by creating a massive torture chamber. It can burn him or freeze him at the same time. I mean, who does that? You know, so it's just completely Overeem that say, yeah, he's basically completely blinded by rage. You know, when Keller has gone completely way too far and builds this torture room for Alex, where like, no light can get in and he has a you know, which can either you know, run cold or scolding the shower in the torture. Franklin says because he's Franklins character has been helping him and he he says to Kela Have you lost your mind? And Keller says Go ahead, let him out. If you want. I'm not going to stop you. If that's really what you want. Go ahead. And Keller uses a bit of like, you know, reverse psychology. They're on Franklin, but it kind of works more on Nancy. His wife, more Franklin begins to break out ALEKS, but then Nancy says Franklin, stop, think of joy. And he stops. And when they get back to the house, Nancy says we're not going to help Keller but we won't stop him either. They're both being dragged into this morally grey area that kind of Keller has dragged them into. They both agree with what Keller is doing to Alex. But I mean, they both don't agree with what Keller is doing to Alex. But at the same time, there's something at the back of their mind saying, What if Keller is right? You know, they don't want to rule anything out. I mean, I do think this this film is incredibly morally grey if, if not to be almost no nihilistic parts. Because Kurt, you know, cuz it's like, it wrestles with if he's doing the right thing here. But if you think about it, in some ways, he kind of is if he if he didn't do this, he wouldn't have got any sort of information or indication that it wasn't actually Paul dinos character, it was his aunt, you know? And then how do you not kidnap this guy when he gets kidnapped by the and they only go to her house to say we've retrieved your nephew and got a clue. He's down there? Yeah, no, they don't like there. There is absolutely no evidence to link any of this to the end. It all really goes to pull that out, or that other guy, Bob? And yeah, I mean, you know, had he not, like, abducted him and tortured him? They probably wouldn't have got anything. I don't know. But it is kind of sad. Because I mean, she she's pure evil, like the Oh, yeah. Because her motivation is the fact that she lost her daughter to cancer or something. And she's very religious as well. So she's like, Well, I'm gonna, yeah, children. Yeah. Why? Why does it have to be me? You know, kind of thing? Yeah. So as I said, Before, it was kind of this film, like the script, I do think it veers on it talks about morality, and the morally grey and all this stuff, and rules and order and love and all that. But it does have this kind of nihilistic overtone that, you know, maybe, maybe there is no point maybe there is no purpose. And what the the woman, you know, the villain is essentially doing is like, you know, her and her family are doing a war, her and her husband who died, doing like a war against God is like, you know, their daughter died. And they're like, this world, is it, they can't be a god or they can't be terrible. It's not just so they go around, making kids to make people also just have a crisis of faith and just go, Yeah, this world is just, there's no goodness, well, this is ridiculous. So they're trying to spread nihilism. And so yeah, it doesn't work in this instance, because, you know, they find the daughters but you know, they've made all of these people break their Yeah, you know, their moral rules, things that they thought were absolutes, you know, yeah. So I do think it the subtext behind it is a film about Niall ism, certainly the other than probably Blade Runner 2049. A lot of Danny VANOS films certainly deal with morality, morality is certainly a theme that he Villanova is very interested in. And probably this one is arguably the best example of that, you know, they certainly go with us that a lot in arrival. For me, it doesn't work entirely. Well. At the end, for me, personally, we've dealt with that in films, but also in Sicario. It's really good as well, in terms of the law, like how far do you go in terms of capturing, you know, drug lords beyond the border and all that? Yes. Akari is a really great film to like, do you have to be just as bad to do so? Yeah, but yeah, no, that is a good point. He does like picking the scripts that have to do with morally questionable protagonists and kind of pushing the envelope of what what in fact is the right thing to do? Does anybody know? And I think this film does that a lot. Every question every character is questioning like are we doing the right thing? He certainly going away from that theme now we've sci fi you know, Blade Runner, and now dune which is which is awesome. If you've got a favourite line just before she kills Loki detective Loki kills you know, the man who I forget her name. Yeah, like he's got her and he's like, put your hands behind your head. And then she just as she's poisoning Anna, she's putting them here. She just says something like off the cuff. I had to rewind a couple of times where she goes, just let them cremate me I don't want to be buried and you like that is such an ominous way. And obviously cuz she knows she's gonna die. I don't think she knew she she knew she wasn't going to win that draw. She just wanted her suicide by cop. And I thought that was that was a pretty dark line. You know crummy I'm gonna be buried in a box and she says to Caleb when she's putting him in the hole, she says, I'd love for you to still be alive when I dump your daughter's body down there. You know, it's like, yeah, shoot me. That's cool. Yeah, I think what was what was crazy about her character is she's so like, friendly and wholesome with all these. Oh, yeah, it's just a little boy, we took him in. He's just a little boy. And talking about all this, like cutesy stuff or whatever, she's not in the film that much before. And then at the end, she has like, full on, you know, she has some damn good lines, like really good lines, and she's really evil. I like where he's, she's got the gun pointed at him. And he's like, you know, she's just saying some really cool stuff. Like horrible cool. She's like, she gives him the drink. And he's like, what was it someone your size? You need to drink about a third of that, you know? Yeah, make you more manageable. You like and then he starts drinking little more, a little more. And you're like, Man, this is just so cold and calculated. Like she's done this many, many times. I like when what was it? He says, I'm not getting down that damn hole. You're gonna have to shoot me and she just shoots him in. Like kidding. Yeah, she was really she was dark god. Yes. Good. Yeah, I think my favourite is when when Loki is following Keller and, and Kayla is about to go in, comes out of the liquor store and gets in his car. And Loki says, Where are you going just now and Kayla says, I parked at the liquor store. I have a bottle of liquor. You're the shit heart detective work it out. That was quite humorous. Score for me for screenplay. Yeah. I mean, I like the unpredictability of how the characters were written. And certainly the first time I first time I watched it I did not see coming that it was going to be Holly Jones his character. You know, the old aren't. That did it. I was like, well, that's That's insane. But I just kind of really like, you know, the this uneasy feeling you get in the film. And just certainly the morality of this, as you said, like it kind of brings it has undertones of nihilism. And Holly James's character is certainly bringing out the ugly, horrible side of all these characters. And I really, really like that, so I'll go like 8.7 Especially because she looks so wholesome. As I said, like she acts so wholesome. So it's kind of I think it does sell the shock that she's just the most wicked, saddest, angriest character there is. Yeah, it's quite interesting. Good twist. It was good twist. Yeah. 8.7 I think that's that's pretty good. Yeah, yeah, I think I'll go with that. Acting. Then. For me, this is all about Hugh Jackman. Right. Oh, yeah. This is our fifth film we've covered with Hugh Jackman, by the way, is it really? Yeah. I'll fifth one. I'll leave. We did. Logan. Yeah. Yeah. Logan the press stage. Yeah. What are the other ones Eddie Diego. Oh, yeah. Oh, yeah. Yeah, he's popped up a lot. I think we've probably picked him as our favourite performance in all of them. Yeah, probably. I mean, he's bloody good. I don't know after Jack. But yeah, Hugh Jackman is amazing. This film like early on in the film, where he's so on edge and really angry throughout is really amazing. The first scene where he really loses it is fairly early on in the film when he meets detective Loki for the first time, and Detective Loki says, the guy they talk to in the RV has a mind of a 10 year old. There's no evidence that it's him. And Kayla can't understand why it's not him as he ran. If the guy of the mind of a 10 year old has a mind as a 10 year old, Why can he drive an RV? All of a sudden, Kayla tells Loki to shut the fuck up, like really loudly. And I felt like the microphones were completely maxed out on it was that loud, and he really just go through there in that scene. It's really quite interesting. And you know, he's he's, he can certainly, like see that he's really suffering. It's not like it's an emotional anger. It's a real emotional anger, not like a really aggressive anger if you know what I mean. So as I said, it's just all these little things like, you can see that it's almost like there's water in his eyes. You can see he's shaking. You can see like, you know, his lips are quivering. It's that sort of anger. It's like, this is not fair. This just is really not for yeah, as you said, it's an emotional anger. I mean, anybody can just shout their head off. You know, you say be angry and you just yell. I think Hugh Jackman is really good because you can put be, you know, angry, angry and he could do that be angry, sad and he can do that. But you're angry like you're losing your mind and he can do that. He's very good at being angry. I mean, he really goes through the wringer. In this film and as I said he's he's very much get he gets calmer and calmer and if not more emotional in his calmness if you're not, I mean, you'd like you can feel his sort of distress and his sort of, you know, sadness about this whole thing. It's almost like, you know, he wants forgiveness. You know, you feel that. Yeah, yeah, definitely. But one of the most emotional moments I think he has in the film is actually one of the most calmest when he's looking through the pictures of the bloody clothes with Loki and sees one of and sees one he recognises. He becomes so emotional, and you know, he has the wobbly lip thing with genuine tears, but it's not like ugly, ugly crying at all, which I think he did in like, greatest showmen. I think it's it's fairly calm, trying not to completely lose it in front of Loki, but still blaming it on him. But without shouting, you know, this is your fault. You did this, but just as emotional, you know? Yeah. No, I even like that exchange, where he was saying, you know, you wasted your time following me, you know, this is your fault. It's just like, you could feel like he wants to bowl but he's holding it back. And I like performances like that. Because, you know, that requires a lot more nuance requires a lot more self control. And I suspect Hugh Jackman had a big lie down after this shoot. Yeah, it does. It does look like it was emotionally draining was even watching him. And I find Jake Dylan halls performance in this really interesting as well, because he has like this twitch in his eyes. Do you notice that for other film? Yeah. He like blinks like a lot, which is kind of interesting, because as I said, he's kind of getting angrier and angrier and angrier. And it's kind of like, a no, like a ticking clock signal of just him exploding on people. At the end, BMI favourite performances. Hugh Jackman? Yeah, I think I think so. So acting wise, I think is really impressive. And there's some really subtle stuff in there and, arguably, possibly, maybe probably second to Logan. In terms of performance for Hugh Jackman. What do you think? Is he better in this or in Logan? Seville? That is a really difficult one. Yeah. Yeah. I'm not sure. I think probably better in Logan, because I think he's, he's pretty much in every scene in that so yeah, true. True. But you know, I wouldn't downplay this. He definitely does bring the the emotion into it. Okay. 8.8 I think I'll go 8.7 Actually, I'll go 8.9 Okay. Okay, right, let's add up the scores then for prisoners. Good score prisoners gets 52.4. Right. My film then, is arguably Danny vilner VHS best film in my opinion, obviously. That's why I picked it. Yeah, I went with Blade Runner 2049. I think this is arguably the best experience I've had in like an IMAX screening on IMax cinema. I would have loved to watch this and IMAX. Just amazing experience. Yeah, it was just like, oh my god, this is huge. You know, just so immersive. I was surprised you didn't pick this up because it was your turn to go first. Yeah, he's gonna pick Blade Runner. Yeah, I was just so prepared to pick Sicario I should have was like, what? Okay, I'll pick Blade Runner now. Yeah, maybe I handed this to you. I just felt sorry for you. I think I could have easily picked this. I think the reason maybe I didn't is because if I had picked this and you would pick Sicario, which are the only ones that I recognised. Really. I've watched them. And I just kind of wanted to watch something here. But yeah, no, I'm glad you picked this though. Film and upon rewatch is my second. This is my secondary watch of it. It was good the first time there's so much I didn't pick up on that. I got the second time. Yeah, I've seen this quite a lot of times. I think you can I think you should watch this quite a few times. I never get bored of this film. I really don't. There's a lot of details in this film that you could just keep going back to and visually it's it's very stunning and there's just a lot of stuff going on and the acting is really great as well because I thought like you're bound to pick Blade Runner I was an because I really wanted to pick the choreo because that's a great film as well because he didn't pick it I was like, well I have to pick Blade Runner now I would just regret it if I so I kind of felt compelled to like well I have to now the first time I watched this I'd never watched the original Blade Runner. I just went in I do think you can just watch this. I don't think you necessarily have to watch the other one. It does fill you in on what the other stuff what happened and yeah, but I did watch the first one this time? So you know, I'm engaged in this world, but I do think you can, this can stand on its own it references the previous movie enough that you can pick up basically what happened? Yeah, I think I probably agree. So you know, if anybody wants to watch this, and they they also like I've never gonna get rid of the first one, just watch this, you could just watch this, this is a really good film, and you will immediately understand what's going on it is explained at all, but not in a ham fisted way. I guess the only real version you can watch is the final cut of the original Blade Runner. There is the theatrical cut, which has VoiceOver on it, and has like the opening shots of the shining in it as well at the end. So that's interesting version to look at where like Ridley Scott basically phoned up Stanley Stanley Kubrick and just said, Can I need something I need some like country vigils or whatever. And he was like, Yeah, you can use my stuff in The Shining. But if I decide to use it in the shining, you can't use it. You know, so that was that's interesting. But that stuff isn't actually in the final cut. Yeah, so there's lots of different versions of the original film. Anyway, what happens in Blade Runner 2049? Well, we start off with some title cards explaining background where the Tyrael company of replicants, all kind of went rogue and site started attacking people. And eventually the Tyrael company went bust. So the new company called the Wallace Corporation has taken over the replication programme and now has built new replicants that will obey there's no doubt about it, they will obey. So we kind of come to this story with a character called K. a replicant Blade Runner, who is tasked to retire or kill old models of the replicant programme from the Tyrael era. So he goes off to this farmhouse and retired sapper Norton Morton Yeah, also called Frank's Safir Norton. So he kills him, but then surprised he could see him. Yeah. I got Drax jokes all day long. His drone scans the ground round this dead tree and they find a box. And this box is filled with bones of an old Tyrael replicant. It happens to be a woman and it happens to give birth, which is just like, Whoa, what the hell, from the lieutenant Josh's point of view, this is so dangerous for the world order of things. You know, this could create a massive uprising from the replicants if they know that they can reproduce. So k is tasked to find the child and destroy it. Were a meanwhile, the Wallace company is basically tracking Kay's movements as well, because they want the child to experiment on and create their own replicant children, if you will. Yeah, it's a nefarious sort of capitalistic thing it would cut down on production costs, if you like, pretty much that's horrible. Like, yeah, the treatment of replicant it is it is gross, but you know, because I thought it was machines, but anyway, and throughout this story, Kay thinks he's the child that they're looking for. So which is really interesting, and he has an interesting relationship with a another AI called Joy, played by Ana de Armas. And he ends up finding wreck decades, Harrison Ford's character from the first film the father of the daughter, and then decade gets captured by the Wallace company, and they're going to take him off wells to torture him to find out where the child is, and then K finds out that he's not the child is this Memory Maker in this quarantined area to protect her Who were you know, she's hidden? Well, okay learns that he's not the child from these replicant revolutionists. Yeah, he's tasked to kill decade but he actually saves him instead so he can see his daughter at the end because obviously Decherd has completely just split ties with her daughter to protect her so yeah, and then the end is K takes decades for his daughter and it's a really nice lovely moment to end the film on. You know, it has a very like film noir sorry, Detective flight following breadcrumbs type story. For other film it's just really beautifully written really beautifully shot. I fucking love this film. So much. So yeah, that's the story. What are your thoughts on it? Yeah, man. It's It's amazing bit of cinema. It's, it's amazingly It's colourful as hell. It's really nice to look at visually directing then. Right from the first few shots of the Film like immerses you right into this vast world. The first bird's eye view shot is amazing on all these mirrors, and you're not quite sure what they are. Are they? Is this an indoor shot outdoors? What is this? Then you have Kay's car like zoom past. And you see this vast sundial form which goes on for endless miles, you know, right from the off, you get the sense that this film is going to be huge. Then the next thing you know is that I really love Kay's coat. And I was like, That looks amazing. I want it and then you have like the juxtaposition of Safa Morton's farmhouse, which is like so small and feels very dark and normal, you know, it feels very plain. And it reminds me of a Western almost this kind of beginning, you know, a huge desert landscape. And then you get the interiors of this small wooden house, it's really reminiscent of a Western, that opening. And I love so many of the design elements of this film, it definitely feels like a natural evolution of the technology from the first film. You know, Kay's car is, is quite frankly fucking awesome. You know, really nice and sleek. But the tech feels very tactile, he writes something down on like a clunky tablet, they still use like plastic wallets to put evidence in not fancy at all. Rarely, in those terms, just still very practical things we would use today even unlike the device, doctor and ceiling uses to create the memories. It's not like an interactive holographic projection projection like you see in every sci fi film now it's a little like cylinder that twists and has actual buttons on it. You know, and then when Kay comes back to LA, you know, it looks massive. And K doesn't have like a lavish apartment. The apartment is really small, the kitchen is tiny, which tells you an awful lot about his character, the you know, replicant Blade Runners is never going to be a wealthy occupation. Yeah, also the the holograms just everywhere. I like how it's like they're really big, like in your face and intrusive and they're everywhere, but they just fit in with the world. It's like they've just fit in naturally like billboards or all the kind of advertisements we have now. Which are just everywhere, they just don't everything, you know, lunchboxes, and they're huge as well there's a like a ballerina that's like as tall as a building. And I like how like to everybody this is just completely normal, you know? And it's even mixed in with the kind of regular drudgery of life you know, traffic and take out places and yeah, whatever. And I love the contrast of all the different locations they're all so different. Like street level la as you say is like dank dirty and wet always seems to be raining in LA always seems to be a night on the scenes or at night or just very very cloudy. Yeah, there's so much like neon colour with the projected advertising you know, the Wallace headquarters is so sleeking clean with clean straight lines. You know really nice wood design. The lighting from Roger Deakins is incredible away you have this reflective water ripples on the walls, which serves zero purpose other than to be like self and Dolgin to the characters, you know, of Wallace. So I think even when when Wallace like he refers to himself as like a garden, you know, and his children, his angels and all this, you have all this. The robotics in the machinery feel very natural, like all the cameras look like stone and it looks just amazing. It's glistening. And it's, as you said, very strange. It does look like heaven. The Wallace Corporation. It looks incredible. Like you know, it looks just yeah, just so pristine. So it does look like heaven. And it's kind of funny because he's got this huge god complex. But yeah, it's very different from everything else in the in the film. And like when the replicant comes out on to the drops down on the floor is like, like it's coming out of a package. Yeah. And you have things like the the wasteland in San Diego where it's all grey and brown. In all the buildings are rusting away. And then you have the casino city where it's just has this orange glow to every area in this world is just so distinct and so different from each other. Yeah, they've got like a different colour palette palette, a different sort of environmental cue sort of feel to it. I love the crash landing sequence in San Diego in the wasteland. That was really impressive. Especially in IMAX. The film certainly isn't devoid of humour as well. There's some nice touches there. Love has these glasses on and he's seeing what's happening and fires these bombs down on the scavengers. While she's having her nails done in like bright colours. That was nice, a nice touch for the character And nice piece of development for loves character that she can multitask. Yeah, I think that gets like the two things about her character is she's beautiful and trendy. She's trying to be like a real woman. But she is a complete psychopath so that he can do something as nice as getting nice nails done and have like this wonderful dress and you know, shoes and stuff. But it's still just kill a bunch of men at the same time. Just like it's nothing. She's crazy strong. Yes, yes, yes. It's quite a surprise. I love the confidence in Danny Vale nerve to keep the pacing slow at times to create maximum atmosphere and impact. You know, with a huge film like this with a huge budget, huge spectacle. The temptation would be to keep the pace up to keep going from scene to scene. But this director lets you immerse yourself into this world. There's a few scenes where this works really well. When k is in the wasteland orphanage and finds the wooden horse he sees in his dreams, K walks really slowly to you feel like you get the chance to see every little detail before you cut to the next shot. But the music is so impressive as well. It just builds and builds and builds until you see the date on the horse. And the other one is when Kay explores the abandoned casino, which has this incredible orange glow to it. Okay, it's walking incredibly slowly. And then you have these incredible massive drumbeats with the music, you know, then he enters the hotel. And again, each shot takes its time until we meet Harrison Ford. Coming out of the shadows finally, plus the confidence to reveal decades an hour and 45 minutes into the film is pretty ballsy. You know, the star of the first film I was like, that's impressive. Up until that point, I was never wondering, oh, where's decade? You know, where's decades, I was just so compelled in the story and individuals that, you know, decade for me turns up at the right time and the right time in the film. You know, were you ever wondering Oh, where's decade or you just so? You know, I was pretty in it? Yeah, I think you know, I knew that Harrison Ford was obviously in it in the film. But you do get really invested on in what K or as he's called, you know, he renamed himself Joe or joined renames and J, what he's doing and his journey that yeah, you do sort of, you're more you're very invested in him. And you just everything else falls away. You're not really paying attention to any kind of preconceived things that you want in the film. And then yeah, decade shows up and that's a good that's a really good surprise. You know, Harrison Ford is there and you're like, oh my god, you know, I forgot he was gonna be in this, you know? But I do think Yeah, I agree. I think they did make the character incredibly compelling, you know, and he's going through a lot and the focus is definitely on him that even by the time that shows up, you feel like he's coming to the conclusion of his journey. Do you know what I mean? You're really there with a really there with him? You're very focused on how it's gonna end for him. Because he's already been through a lot, you know, even before Harrison Ford shows. I like how the action scenes and stuff like that remind you just what powerhouses replicants like you kind of forget how strong Yeah, I kept do I kept doing this I kept forgetting how strong KK was and the other ones, but it's like, dude, they could destroy mankind so easily. I just like how they just throwing each other through walls, and it does seem to be like, it's one of those things that it doesn't so much take you out of it. It's just go Oh, shit. Yeah. Okay. I remember he's not a real human being. He can get thrown through a wall because he takes out Dave pretty so quiet. Yeah, that was a great scene. I love that. Well, he does like Bash him. And Dave, Dave even stabs him a few times. He's just beating the crap. punches the fuck out. Yeah, he doesn't react at all. Also, what was it when he's going around Harrison Ford's home and he sees like the bee's knees keeping and he just sticks his hand in there and all the bees over his hand. Like why isn't he shouting again? Well, of course. He's, he's not a human being. Yeah. I think the character that does that best constantly does that best is love. Just how she can like, come across as so feminine. And then just snap a dude's neck like that. Bang. And he's, you know, his stuff like that, you know, Holy fuck, after she kills Joshy Lieutenant Joshi and she scans her head and the head just like bangs off the table. And that was funny. When Sean Young turns up who plays Rachel to see decades in Wallace's water dungeon, I really can't tell if they use da ting technology or use the double to look like her or not because she looks exactly the same. In the first film, because Sean Young is definitely in the credits. She is in this movie and if it was, you know D ageing technology, then they did an incredible job there. You know, when people say oh D ageing technology isn't quite there. Yeah, just show them this film because it looks fucking good. That really is a damn good example if that was I think it probably was the ageing or maybe a mix of a double and D ageing for bit. I think definitely more impressive, because one that I see that constantly gets dragged on on D ageing is Rogue One. And I think they just I think Peter Cushing just looks a bit it looks off, you know, especially the longer they look at him like someone's a bit off. Yeah. And a lot of people bring that up and other things in recent films. But that is near to damn perfect. I think people should really pick this. Yeah. Have you got a favourite shot or sequence? My favourite sequences are to do with the hologram joy. Okay. Yeah. Just because of how it looks amazing. And it's something that I've never really seen that much before. And it's just so strange. Just I they get holograms really? Right here, you know? Yeah, just how is she? Well, like a hologram. She's very seethrough. Because, you know, it's like, you know, just how it's done. And I think particularly that the scene that like mess with my head, there's two with her that I thought was shot, like the just the shots and like what the hell is going on. One is where he's looking through a microscope at the DNA code of the child, or something. And she kind of go straight through his head to look at the Yeah, to the other side to look through what he's looking at. And I'm like, Whoa, and the other one is where he she has sex with him with the body of that process. And that that was weird, cuz she's, like, matching up with her face and body. Yeah, and she does it for the most part. But you know, she can't get it just right. Dude, how long must have taken to try and match them up like that? And also, because you want them or not? You want them to match sometimes, but not match a lot of it must be so that was a really weird scene. I love that scene. I thought it was an anchor. Yeah, I realised that though. On certainly on a technical level, so impressive. Like they've got to decide like, like, which character is going to be at the surface, what? What character you're going to see, you know, which bits to cut out for this person? And then yeah, for that, but when are they going to, you know, intersect and like you see them both and when you but it's seamless, you don't think about just thinking wow, this is this is, you know, so all the stuff with joy. The hologram I thought is just visually incredible. My favourite shot is actually a like a transition shot as you love your transitions. Transition, where like Kay is like lying down by a fire with the revolutionaries. And the camera focuses on the sparks of the flames of the fire. And the cameras pulling out and twisting and then you cut to the streetlights of La as we follow the flying cars. That was that was pretty cool. Yeah, that was beautiful. So directing score buyers, what are you going for? I'm going to go 9.6 Cool. Yeah, I think just on a technical level, and just how visually appealing this film is alone is just incredible. But I think the impressive thing is is that pacing, Denny Villeneuve is just not afraid to slow things down. To really slow things down, let the audience soak everything up. And when he needs to go fast with the fight scenes he can and again, like you said, in prisoners, he's not afraid to just pull the camera out and let the actors do their thing. That happens time and time and again. Certainly with the fight stuff. There aren't that many tight shots at all? Yeah, no, he does like to, as I said, you know, before that, and he does with it. Yet on this very voyeuristic sort of here's the stage. It's almost like a play. Here are actors. Here's the set. They can work their magic or whatever. Let the set work. It's man. Yeah. So I'm going to go like 9.8 I think this is pretty impressive. I would say the the fight with Harrison Ford is a good example of that as well. You know, it drags out and you said and also that's very visually impressive, because you've got that's just also a technical marvel because you have his theatre. The glitters for this. It's glitching Yeah, so you've got the glitching like, lights and stuff, but also the holograms. Like different he's got a Marilyn Monroe show going on Elvis Presley show and different shows going in and out while they're trying to beat the shit out of each other. It's like, it was just it's just really incredible. Adds like an element of humour as well to me. Yeah, you know, it's kind of funny just randomly Elvis just ends up like, Lou. Yeah, just really clever. Cat and Mouse stuff there. So score for me. Yeah. 9.8 is that the highest you've ranked a movie? Probably. And I get deserves it. Yeah, it's damn good screenplay. Then for this one. I find the relationship with Hey, I enjoy like really interesting because they both are like artificial characters. Technically, you know, joy being in AI production companion you can buy off the street, and k being a replicant. But their story is kind of touching and slightly emotional. You know, it starts with Kay buying Joy advice, so that she can take her out of the apartment and go anywhere. They have a kiss in the rain, but of course, he's kissing nothing at this point, and then she just freezes well, Kay listens to a voice message from Joshy. But I think why it's so emotional is when when Joy gets broken is because when they both think K is a real boy, a real boy, Joe hires as you said, a prostitute and so Joey can sleep with K, you know, whilst being synced to the prostitutes movements. But then we cut to a big projected advert for joy. So then it becomes quite tragic. And then joy has no individuality at all. And then K sees the advert for himself later on with the tagline joy, everything you want to hear or see. So it's kind of quite tragic, when when she does, well get broken. And I can't say die cuz she was never real in the first place, which, which is just sad in itself. One of the big questions is, in this film, especially with Kay's story is like what is real, you know, when a proper individual when, because I like when he's even talking to the detective. And she's has this kind of everybody has this kind of scornful view of replicants as they're not. They're not real people and not proper people. They're just artifice. Yeah. And what was it? So where she saying, you know, if you've got to kill the child, and he's like, it's just a bit strange. You know, I've never killed anything that was born before. Feels like the soul. And she's like, well, it never bothered you. And it's like, What do you mean, you know, as he's going to different? Yeah, basically say, she goes, something like that. But you've never had a soul. And he's like, Yeah, okay, you just leave. But that insecurity that he isn't a proper thing. And then he feels like he's real because he thinks he's the child. But then his relationship to humanity, I think is almost like the holograms to replicants. Like even his relationship is replicant a hologram is might be considered pretty strange, because maybe he can empathise with that she doesn't think of herself as real. And she's insecure, because she's not tangible. And she's like, just data on a stick. But he also doesn't think of himself as real because he's also detached from true people. Yeah, it's, it's there's a lot of like mind blowing stuff, really, and that you can't really fully comprehend. Yeah, it's like, you know, the nature of a soul and consciousness. And I love it in films where you have like a great metaphor to describe what this film is all about, essentially, you know, they find out that the bag of bones was a woman, pregnant and replicant which shouldn't be possible in this world. And Lieutenant Joshi says decay, you know, the world is built on a wall, it separates kind, tell either side, there's no wall, you've bought a war or a slaughter, this world has an established order to things everyone knows their place. If Republicans know they can reproduce. And they on the same level as a human and should have the same rights as humans have, you know, and it's just a great way to establish your stakes early on in the film in just a simple line. And it has weight to it already. Because there's been several cases of Republican prejudiced just it out, you know, in the beginning already, you know, and of course, there's irony there because k as asked to destroy the evidence and he's a replicant. Yeah. So who who must obey? You know? Yeah, well, I think, you know, even Dave Protista calls him up on it, and it comes back into his head at just after everything. It's like, how does it feel killing your own kind? And at first, he is very, quote unquote, robotic. It's like, four that's what I'm doing. Yeah. And you new models are happy scraping this shit because you've never seen a miracle. Yeah, I really like the baseline tests Kay has to do as he's a replicant. You know, the interviewer asks like a lot of questions and throws in random words, and k has to repeat the random words and ignore the questions, which I thought was a really great test to establish whether he's emotionally stable or not. The first 1k passes with like flying colours, but the second one, he fails miserably. And if you know is he has a long pause after the interviewer says, What's it like to hold the hand of someone you love? And it's like Kay is genuinely trying to imagine that because he thinks he's a real boy a real why at this point in the film There's certainly some Pinocchio themes going on in this film. It's just a really, really interesting, like test he has to go through. And he felt like the writers have really thought about what they, you know, need to do here to make sure this character is on baseline, as they call it. Yeah, I really liked that. That was also a very suspenseful suspense full, because you know, he's gonna fail. And then the guy says, You're not even close to baseline. And, you know, he's Yeah, you know, has to see, you know, Lieutenant Joshy, I thought first time, they're gonna execute him or something, because he is malfunctioning equipment at this point. Oh, that he might tell her, you know, I'm the, I'm the child or whatever. And I like where it's like, you know, what the fuck is your problem? You do you know what I have to do? And he's like, it's done. You know, the child is dead. And you think, you know, you see the relief on her face, and everything comes there. And it's like, she understands why he would be so perturbed, but that's not why he's perturbed. He's perturbed because he thinks he's, you know, he's the one he's the boss. He's the child. Yeah, he's the boy. But you know, she's like, Oh, now Now I understand where you're coming from. And she's like, you know, okay. But in the next 48 hours, take the test again, you know? Yeah, when Kay finds out, he's not a real boy. He's genuinely disappointed. phrase, the leader of the revolutionaries of the applicants says to Kay, you imagined it was you. We all wished it was us. That's why we believe then after that, he feels pretty worthless. You know, plus, he's now been given the task to kill decades, which obviously doesn't faze him instead, you know, it's just a pretty bad day at the office. Okay. Okay, now, he's been, he's been moved quite a lot, you know, from one extreme to the other very quickly. What do you think of the ending I quite liked. We've decade and his daughter were decades just puts his hand on the glass and smiles. And then we just cut to black before he says anything. And I feel like that's all you need. Because if you had like a line there, then decades, whole storyline of this film could potentially feel a little fake with just like, a line just to describe his love for her. Because it could sound in do you not? I mean, yeah, no, no, I think that was a wise move. Yeah, I think so. I think sometimes there are no words or, you know, that old alley adage, where, you know, the audience could probably come up with something better than the screen writer. So yeah, he's gonna say something that's obvious. He's gonna say how much he loves her and misses her and stuff. But maybe that's best. You just make that up. Or it's a very private moment. And perhaps even just him smiling. They maybe that's enough. I don't think you have to overdo it. Really? So yeah, I think that's fine. There's some really interesting beautiful lines in this you know, from Harrison Ford. Like sometimes to love someone you got to be a stranger. And there's some really cold stuff from from love as well. Love is brilliant. I do hope you're satisfied with our product. Smash. Yeah, just as she kills. Yeah, she was Oh, man. I've you know where she likes scissor kicked him in the head is like bad dog. You like what? I think she has some amazing lines. When she saves his life. And she's like, No, get up and do your fucking job. Yeah. After she just flat out murders, laser scavengers. Yeah. And she's still doing nails and this is like, get up into here. You got a favourite Lynn Harrison Ford intro was pretty good. Where Heron Harrison Ford was saying like, Oh, yeah. Do you have a piece of cheese or something? And he's like, Treasure Island. He's like, you read good. Like he knows. Yeah. Yeah, that was cool. Yeah, that was pretty cool. Um, mine is kind of a really, really interesting one from Wallace, philosophical one, where he's meeting one of his children in air quotes, as she comes out of the packet as we as we called it earlier, and he says, Oh, before we know what we are, we fear to lose it. Happy birthday. I thought that was quite interesting. That line meaningful, you know, just, yeah. I think he's probably quite right there. What was it? I like when Harrison Ford gets captured by him when he's trying to, you know, bribe him with anything. And he says to him, Wallace says to him something like, oh, no, Harrison says to him, do you even have any children? He's like, I've got millions. Yeah, he is. He's a very kind of strange character, as I said, like, he's got this god complex. And it's bizarre that he thinks of these replicants as his children, because he treats them like crap because he just like cuts open her abdomen for like no reason. No reason at all. Like he is incredibly just because he can No. And has, what was it when they offer him? Uh, you know, Rachel, when we were talking about that, and he can he can have Rachel again. You know, they've made another one. Yeah. And he's like her eyes were green or something. Yeah. And he just orders love to just blow her brains out, you know? Just nod to her. Yeah, it's just like, he is incredibly cold. You can even think like, love the reactions that she gives him. You know, when his back is turned like she's very uncomfortable with him. And she's nuts. But she knows like her master could just Yeah, killer at any moment. Yeah, love is so devoted to Wallace can so devoted to him? You know, she will basically do anything for Wallace. Yeah, I think she's like afraid of him in a well in a servant, you know, slave kind of way. Because that's what she is. But I find her character fascinating just because of how absolutely cruel she can be. Yet her face. I don't even know what's going on there when she's doing this stuff. Do you know what I mean? I'm not sure if she's, she's like, gleeful or like, pest or whatever. There's something going on with her where you're like, there's something not right with her. And I just like how the actress conveys that. She just seems like a psycho school for screenplay. Balance. Yeah, maybe like a like a nine. Yeah, I can't I think the screenplays really impressive. You know, this film is a long film. Again, this is a case of a film where I wanted more. Yeah, I wanted more. Dammit. I agree. I think if you made this half an hour longer, I would watch it. Yeah, half an hour long. Yeah, I'd watch it. I'd watch it definitely. Even with this pace. This was a three hour or even a four hour movie. Yeah. So watch it, or a series. You know, I had 100% versus I think the the only negative I think, for me, you know, I love all the like the film noir, three aspects to the detective story, finding out this mystery type story that I you know, I love that. I just think maybe they probably don't touch on the emotions quite well enough for me. I think I'm being incredibly picky here. But I think they may have done that that stuff a little bit better. Maybe with Harrison Ford and his daughter. I'm not sure but certainly with with Kay and joy, they could have made that a little bit stronger. And I don't I don't know how I think when she does die, it is sad. But it's not like ridiculously tragic is not tragic. I think that's partly to do with maybe Ryan Ryan Gosling's performance, but I think if he strays away from this very emotionless performance, and it wouldn't work as well. So it's difficult one, well, I think he only has like one scene where he full on goes, you know, he has a different emotion. It's very visible, and he is just like, completely different. And that's when he thinks he's a he's real. You know, he thinks he's born. And the girl says, yeah, no, that memory is real. And he's just like, again, expressionless like he is through most of them, and then goes like that. He's just go, yeah, frickin Looney loopy for a couple of seconds. And I think that's as much as you get out of him. But I would say it's kind of strange, because he is like the quintessential three, most of it wrote perfect robot. And that's what he is. That's what he is, is a character a perfect robot. And this is him learning to be human. And so he is kind of very OneNote through a lot of the film, but he's meant to be, and I do kind of get what you mean. Like when Joy dies. It's sad, but and, you know, it's devastating for him. But I you know, you can't really feel that it's that devastating. Yeah. That's why I wouldn't mind being longer. Yeah. I think maybe if he had, like, just a breakdown scene or another one, you know, maybe just another one where he just kind of loses. Yeah, something like that. Or, or, you know, if you had a scene with her where he was a lot more, you know, vulnerable. But this is me being like, incredibly picky. Ya know, incredibly nitpicky. Yeah. Because I mean, her death was pretty sad. So I'll go like 8.9. Yeah, 8.9. Right. Acting then, you know, when k speaks with Lieutenant Joshy. In her office, there's like a little soul debate. When Katie says, I've never retired something that was born before you kind of touched on this earlier, but Joshy says, What's the difference? And then Kate says to be born, is to have a soul, I guess. And then at the end, Joshy says, hey, you've been getting along fine without one. And then Kate says, what's that, madam? Soul? And it's the way like Ryan Gosling just holds his position and just looks at her for a moment contemplating the question while Robin Wright as Joshy is just getting on with her work and doesn't look at him once while she He says a soul like the distinction between like human and replicant is very clear for her. But for K, it starts to become blurry. So that was just a really interesting performances. And the scene that you kind of touched on with, like K, like burst out with emotion with Dr. styleline. I love the acting from Carla Jerry and Ryan Gosling, in that, when she's looking at Kay's memories through this device to see if it's real, see if the memory is real. And of course it is. And Anna gets emotional and starts crying, and you think it's because she feel sorry for him because it's illegal. But she has like a sneaky look at K, which feels off. And of course, it's because it's her memory. You know, then Ryan Gosling does this shaky breathing thing. And he keeps repeating. I know it's real. I know, it's real, before showing god damn hat. You know, it's quite shocking that moment, because before He's so calm and collected, like he, like he was made to be, you know, I think the ultimate question in this film, and the original film is his decade, a human or a replicant. And if you ask Ridley Scott, who directed the first film, I would say he's definitely a replicant. With Danny Valle nerve, like, he thinks there definitely is some doubt there. You know, Valle nerve continues to explore this question in this film, you know, yeah. Well, I mean, when when decade is captured by Wallace, he, he even like, queries him if he was not designed to fall in love with Rachel, and you're like, Wait, hang on a minute. What? Yeah, so he's even toying with that idea. It's not that Wallace is coming out and saying it, because he doesn't know he wasn't Terrell or whatever. But he's kind of questioning decade on it. Maybe you were designed to just you were manufactured to do that? I don't know. It could be Yeah. He says, Did it never occur to you, that's why you were summoned in the first place. To me, you know, Rachel, in the first movie, designed nothing short fall for her right there and then automate that single perfect specimen, that is, if you are designed love or mathematical precision, you know, then decades simply says, I know what's real. And then usually, if a character says that sort of thing. He's telling you, you know, he's real, but decade begins to get emotional. It's like he's doubting himself saying, Am I actually real or not? I don't know. You know, it's been such a long time, in this world in this situation. And it's, it's incredibly well performed by Harrison Ford, you know, he says, oh, yeah, I know what's real. But on his face, he said, not saying that. Yeah. So it's a great performance? Or do you think, is he a replicant? Or human? I think it's, you know, like that. So for me, ones for me, I think, I think the fact that they mention it a lot, and they allude to it in the first one, having just watched the first one, you know, not long ago, and that they allude to it at the end of this. The only reason you would try to keep a question open is if, you know, it's the, you know, you know, it's an important question to ask. So I think it would be disappointing if he isn't, if he's just a regular human, why raise this down? I think maybe he was designed, you know, maybe he was, but because the thing with all the other applicants is they're they are human plus, you know, they're, they're more intelligent, they're faster. They're smarter. Harrison Ford, isn't that, you know, like, it's not as bright as any other applicants. He's not as calculating he's very, you know, he's like a human being he's emotionally irrational, or he's not as strong. But it could be that they designed a replicant to be more human, because you have the chance to make a baby. So I think that's what Wallace is certainly trying to say that, like, decade was, was created for the sole purpose of seeing if he could fall in love with another replicant and reproduce a child. So that's what this film brings that the first one didn't really, but there was a purpose to his programming if he was a machine, but maybe this maybe this was a problem with all the other replicants they were too artificial, so that they couldn't make babies you know, maybe they have to be a perfect like men to do so. So really interesting debate that keeps going. I think it's best not to solve it, but I think yeah. Yeah, I think if you even speak the question, you know, even if you keep repeating the question, then you already know the answer, you know, otherwise, disappoint. It's just disappointing. But I would rather they don't answer it because yeah, I definitely don't want another movie. I mean, these two are certainly perfect in their own right. I wouldn't mind stuff based in this universe, but I think leave decade alone. I think he's had his, you know, and Denny Villeneuve has been quoted to say he He dreams of Blade Runner, apparently. So it's not beyond the realm of say you might return to this world directors dream of androids dream sheet. Yeah, yeah. That's incredible. Yeah, maybe he was literally directly referencing that. I don't know. So my favourite performance is actually Harrison Ford just for that single performer. I think Harrison Ford is is an amazing is amazing in this film, actually. Yeah, it's not on screen for that much. Yeah. How about you, me if we're talking about my favourite performance? Again, I keep coming back to it. Love. Love, man. Love. Love, love. I just love Sylvia holics Yeah, I just thought she was just creepy as hell. And yeah, just very unnerving. By right to the end, just everything about her is just creepy. It's just, she doesn't seem like she should be a threat. And she's very, very feminine. Yet she's a complete psychopath with the things that she does the lines that she says she can be very cruel and very vindictive. Her facial expressions, you're not sure what's going on? If it Yeah, if it's fear, sadness, anger, stress, like, she's all over the place, like visually, and I think that's good, because it gives her this sort of unhinged. Yeah, I can't I can't read you. Her to me very dangerous. And then, you know, she does like these really playful, funny things, just how she delivered on even going on, like, you know, when she fights, Ryan Gosling at the end, and she stabs the fuck out of him and then kisses him on the lips. Like the kiss of death. Yeah, but like the blood on her lips and stuff, and then just go, you're like, Man, she's so weird. Like, yeah, I just thought she was a very weird character. I think it's just like the arrogance of like, she knows she's gonna kill him, even though Yeah, she does die as well. But, you know, even like, when she, you know, I just found her a very unnerving character. And I think she was just brilliant to be the villain. When she's killing Joshua. She's like, crushing the whiskey glass in her hand. You know, she's crying. She's got tears down her face. Like she's just so determined to get the job done. It's just like, wow, just for Wallace. It's pretty extraordinary. Well, I think also, she says something that should really unnerved anybody about new models of applicants, you know, they said to be loyal, which isn't the case, you know, when you know, for, for k, because, you know, he has sort of lapses in this sort of judgement because you're with him, but with love. Like she said that thing to Joshy where she's like, what was it? The child is dead? And he goes, what is that? Something he told you? And you believed him? Because you don't think we can lie? He's like, I could just kill you and then say that I killed you in self defence, you know? Are you like, wow, that is really? That's really duck man. This is like a future I don't want. Yeah, I just found her incredibly unnerving. I thought she was. And you know, obviously, the, you know, the actress I think did a good job of making her more unnerving score for acting. But yeah, everybody else is fantastic that we've talked about, I just really, I like her because I like my villains and score and acting. I'm either thinking 8.9 or 9.1. I'll do 9.1 I personally think the acting in prisoners is slightly better. I'll go 8.90 Come on, right. No, screw it. Screw 9.1 Yeah. I I do think I see probably right. But did you want to genuinely change it? Yeah, I think I will. Actually, I was thinking yeah, 8.9 I think sounds okay. Yeah. Yeah, I think is better in prisoners. I think the emotions are really there on each character. That's and there's quite a few characters with here with here. It's certainly a very different performance. I really love Ryan Gosling in this film of what he does with the character. I mean, Ryan Gosling's is a proper movie star. He really is. He's just got that movie star quality about him that you get in a lot of westerns. You know, I'd love for him to do a Western. When Harrison Ford turns up, he's incredible. A lot of the other characters around him I mean, loves great as well, that they're fine, you know, and even Ana de Armas, you know, she's fine, so I'll go like 8.6 Right, and let's add up the scores then for Blade Runner 2049. Blade Runner 2049 gets a very, very healthy score of 54.8. So Blade Runner 2049 wins this week over prisoners who got 52.42 very exceptional films from quite frankly an exceptional filmmaker in Danny Villanova and I cannot wait to see dune in a few weeks. Next week, we will be focusing our attention on last night in Soho, which will be hitting theatres in the UK, and us, and of course, Edgar Wright, who literally grew up a few miles down the road from where we are, we'll be having a look at our favourite great films. And we've covered Shaun of the Dead already in way back when in zombie films, so we won't, we won't be picking that one. And of course, if you want to say thank you, you can buy us a coffee shop, just follow the link in the show notes below. And you can say thank you with a coffee that would be very much appreciated abou as you have been rather good as always, as our resident replicant. You're like the what? Yeah. No, forget it. I didn't know I just said you're like, Oh, fine. All right. Bye. That's it for this week's pod. Thank you for listening. We hope you enjoyed it. If you would like to find out more about the podcast or suggest future topics for us to discuss related to upcoming releases. Let us know on Instagram at film versus film podcast and on Twitter at fVf underscore podcast. Remember, please subscribe pod signing off