Film vs Film Podcast

Edgar Wright Films - Hot Fuzz vs Baby Driver

October 30, 2021 Martin Harries Episode 49
Film vs Film Podcast
Edgar Wright Films - Hot Fuzz vs Baby Driver
Show Notes Transcript

This week on the pod, as one of our most anticipated films of the year finally come to our big screens, Last Night In Soho. We will be picking our favourite films of its directer Edgar Wright. Well our favourites that we haven't picked yet on the pod.

Warning we will be talking SPOILERS.

Martins pick is of course the modern masterpiece that is Hot Fuzz, you know its true! On this one we talk about amazing the action is and how this type of action is dying out in cinema today. We talk about the incredible script and that every little detail is important at the end. And its funny as hell! IMDB page   

Boaz's pick for this week is the only action musical heist film I can think of is of course Baby Driver. On this one we talk about again how brilliantly directed the action scenes are especially to the music. We talk about what that end could actually mean. IMDB page

Please enjoy.


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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. This week on the film versus film podcast, we are having a look at the latest release that is last night in Soho, a horror film and Edgar Wright's first horror film so we focusing on our favourite Edgar Wright films. And as always, we have a buy me a coffee account. So if you want to say thank you, then just follow the link in the show notes below and buy us a coffee that would be amazing. And as always, we are joined by the crusty juggler himself who loves to shoot guns up in the air and go out there with a big bushy beard. Yeah, I was Dix. How are you? Sir? I'm cracka lackin. I'm good. My film then. For Edgar Wright is Hot Fuzz. I fucking love this film. I don't care what anyone says this is a masterpiece. It's a great film. This is all shot in Edgar Wright's hometown in Wales, which is literally like, I don't know, 40 miles down the road from us. So it's not very far away at all. It's just kind of cool. Yeah, so I really love this film. It's certainly my favourite Edgar Wright film today. But you're still really looking forward to last night in Soho. So what happens in Hartford as well. We are introduced to the super cop that is Nicholas Angel. And he is in an incredible policeman, the top of the class in all his departments. And he is way too good for his job. So the Chief Inspector cast him aside to the country town of Sanford in and he meets a lot of interesting characters, Danny Berman. And he soon discovers there are lots of accidents in this town. But it's okay because they're for the greater good, the greater good. And he figures out that these all these accidents are murders and they're all linked to Simon Skinner. But then later on the story, he finds out that the NWA were behind it. Basically, the whole village were behind all these murders, so they can literally just win the Village of the Year competition. Yeah, and if anybody's listening that doesn't stand with Edwards with attitude, like complete a neighbourhood Neighbourhood Watch Alliance. And then when he discovers that, it basically becomes a 90s action film with gun porn everywhere. And that's the film. What did you make of this one, Mr. Uncyclopedia? Man, a lot of gun decks and gun holes. It was awesome. I mean, I know this film. I've watched it many times. Yes. I quote this film a lot. Yes. Yeah. You know, even from around here. It's a Yeah, it's a great film. yarp it's it's amazing. Yeah, and yeah, I mean, I enjoyed it. The SEC this watch and I gained a lot of insight into things that I didn't remember. So I mean, it's there's amazing so much going on. And it's so funny. I you know, I've watched a few Edgar Wright films, and all I can say so far. Edgar Wright can do no wrong. All his films are really good. Alright, directing then. The montage is in this film are really cool like the first one at the start where we find out about how amazing Nicholas Angell is played by Simon Pegg Of course, how good he is as a cop, and it's totally filled with every dramatic camera technique you can think of like crests, zooms, handheld shots under cranking over cranking, whip pans the film is whip pan tastic in this film you know the opening just gets you into the this high energy nude for this film plus a great cameo from Peter Jackson dressed as Father Christmas. Do you know I had no idea. Wow, that's crazy. Yeah, right. The second montage where Nicholas travels to Sanford is visually great to have lots of like jump cuts through represent passing of time. Yeah, no flashes of taxi signs and trains whizzing past. Yeah, I think what you call these cuts are like Smash cuts because they're not just jumping like they are. Yeah. Coming at you, you know? Yeah. And it's it's kind of amazing you don't see it in many films these days, but it can make something quite dull like, whoa, what's going on? Oh my God when we do it, like even waiting for the train looks amazing. You know the way you know Nicholas Angel travels from London to Sanford is great, because it's not just a few big white shots to represent, you know, the passing of time, which is a very overused trope, I think. So it's a great use of montage there. There's a montage where Edgar Wright makes paperwork looks so dramatic where he under cranks and over cranks the fuck out of it, you know, very similar to what like Tony Scott does in his films. And of course, the gearing up scene montage is awesome, finished off with a toothpick, you know, as he's giving Yeah. Yeah, that was amazing. What's interesting about this film, though, like a lot of action films are criticised a lot for using like too many shots to create the action that aren't particularly compelling and you just get lost in the action. You don't know where you are. You know, one example like in taken three like Liam Neeson jumps over a fence that takes like 10 shots to achieve. Like, why? Because he's an old guy. You gotta mainly for that reason to hide, you got to hide the age. But a lot of action films today use pretty wide lenses and just show you the action and saying, look, the actors are doing it for real, but this film certainly shows you you can make a really good action film with lots of shots and fast cuts, you know, in the foot chase scene is really great, you know, really quick, and I was never lost or confused about what was happening in the film in any of the action scenes. Really, you'd never lost. It's just it feels perfectly pitched with all the cuts, even though they are really fast. Yeah, no, I agree. I mean, there is because they do happen fast. But there is a a continuity between cuts, you're like, boom, you know, here's him, boom, is outside, boom, here's the guy he's chasing, boom, here's, you know, where he's aiming hit, boom, here's where he needs to look at next, it tells a story it is even though it's happening really quick. It tells a coherent Chronicle, you know, account of what's going on. So I think that's kind of one of the reasons you're not lost. I think a way that speedy cuts or smash cuts are done wrong, is if it's just everywhere, you know, there isn't like some, you know, you're like, oh, it's to the left to the right down above. Why is it looking over there? I think this has got a very it's like his purpose. It's got purpose. Yeah. Even though it looks like frenetic it has purpose because I feel like this type of action is kind of dying out a bit because the temptation is just to keep it wide. You know, look, you know, as I said, the actors are doing it for real and possibly reason for that is that shooting action like this takes a fucking long time to do that. I think when you do it, right like that. It's it's so worth it, you know? Oh, yeah. I like how the film gives you a little tease about Nicholas's gunplay protests at the village fete. You know Nicholas just caresses the air rifle before cocking it then a few simple shots of the little metal men going down in close shots, then ends with Nicholas pulling up the rifle all done really quick and smooth and you don't actually see Nicholas fire the rifle, then Danny accidentally shooting the doctor is quite funny. I love the way Nicholas and his Stanford on a horse at the end is exactly like a spaghetti western. For one he's on a horse, you know, he drops down the street, then the whole village starts to notice him. Then you have like a million closeup shots on everyone getting faster and faster until Nicholas says morning. Then they all like spring into action just a great riff on like Italian westerns. But I think my favourite action scene is when Danny and Nicholas dive through the into the pub firing guns in both hands. And there is about eight different shots of them diving through the air. It's so FH and it's also kind of taking the mick out of like 90s action films you know, where they're dead serious in their eye like every time the the hooded figures on there, there's, you know, there's always focused Yeah, he's kind of very unfocused. You know what I mean? The camera doesn't necessarily, it's kind of a bit wavy. And you also have this kind of distortion thing that happens a lot with the Smash cuts, especially during the murders, where I can't really describe it, but everything is kind of ajar and rocking and stuff like that as just Yeah, yeah, that's like the cranking. I think what he does, so you're well, under cranking over cranking is it's an old fashioned term in one second you have 24 frames per second. So under cranking, you would slow that process down to less frames going through or over crank. So you have a lot more frames going through. So you kind of have that effect basically fast for speeding up or slowing down. But then you kind of like mess around with light and stuff. I'll tell you a scene that I thought was great deal of suspense and was just crying. Kind of amazing. There's so many of these but where the reporter gets his head crushed. Oh, yeah. That's my favourite shot. Just all these cuts of looking at the time the murderer is unleashing the stone, you know, Angel is reading out stuff, like zoom up into the papers, and it's like, it's the time 12 And he runs there. And yeah, man, it was so it was so grotesque. It's so over the top. You're like Jesus. Yeah. And you don't know like how much they're gonna show. But his head gets literally splattered right in close up. But I think the shocking shot is the wide shot as the spike is like instil in his body standing up for me. Yeah, just brings the film like brilliant shock value, you know, more of a like folk horror feel, which you get more of later on, which is quite, quite nice. Near the end, that might be my favourite shot. There was one transition. I never noticed until watching this later. And it was towards the end. And it's after one of the last members of the NWA. They were all celebrating you think it's a job well done. And he tries to shoot Angel, and you know, shoots daddy. And then the mind blows up and you think Danny's day and it zooms out and like the smoke from the debris from the blown up building. And it transitions into a cloud. It's five years Oh, yeah. And I was like, why are one year late? And I was like, wow, smoke into a cloud. That is pretty awesome. Pretty damn good transition. You got a favourite Shortland horror scene? My favourite scene? Maybe them beating each other up in the model. In the model village Yeah. Mainly because it's so epic. You know these characters hate each other. I bow their fight a they like like Godzilla and King Kong. Yeah, the sound effects come a lot deeper and slower. Like yeah, yeah, it's just like, Oh, that was a really cool score for directing powers. What are you going for? For this masterpiece? By the way? Yeah, me? Yeah. Oh, I'm gonna go 8.9 Yeah, I just really appreciate you know, you had greats great, like 90s style action done for laughs and done seriously as well at times. And I think he certainly can do this style of action really well today and more directors should be doing it is so effective. But then again, if everybody did it, then it wouldn't be so unique. Yeah. I feel like it's dying out and I don't want it to. I think definitely something should be shot like this. So I'll give it a nine. Right screenplay. Of course, the most important question in this film is, have you seen bad boys to or points? Or which films should you watch first? Yeah. I think you should probably watch point break first. Because you know, if you get tired or something you've certainly watched a better film before you get too bad boy. You motherfuckers need Jesus. I love how the film blatantly gives you the real reason for the upcoming murders, like the crusty jugglers and the living statues spoiling the Village of the Year contest, but it kind of is dismissed by Nicholas because it's ridiculous. You know, it's right there in front of you early on in the film, but you just don't You don't come back to it until a good hour or so. Then the film is manipulating us to think you know, the murder murderers Simon Skinner Timothy Dolan's character where he's saying things like what say we drink to their demise and I'll be in bits tomorrow. Yeah, you've got so many secrets. I could bash your head in and spill them all out. You're like yeah, that's really even the first line when you see him as he says he runs alongside a Angel just arrived in the town. He goes I'm a slasher you but what slasher of crisis is like Yeah, I like how this film just uses one character for Nicholas to focus his suspicions on which brings him to the NWA in the end, but the film deliberately doesn't play out like a who done it because all the murders are pointing to Simon Skinner. You know so much that something else is at play here but you can't put your finger on it. In a who done it. There would be like multiple suspects for necklace to follow before finding out it's the end of NWA. Throughout the film. You're just trying to figure out who the murderer is and trying to keep up with Nicolas but with this it makes it's so obvious it's Skinner. It just doesn't feel right. And it just allows you room to enjoy the funny stuff and enjoy the ride, you know? Not trying to like keep up what the hell's going on? Yeah. You don't think it's a mystery? Like, yes, obviously Skinner. It's obviously how he's done it, but it's him obviously. Well, it's not so much how he's doing it. It's like, it's fairly obvious you like the town is stupid. But villages is a bunch of idiots. But yeah, I do like how it kind of ties it up together where it's like he actually the whole scene of he, you know, investigates his leg. He doesn't have a cut on it, because that's where it changes. And then he, he goes through all of the tapes, and he's like, Yeah, you know, I guess they were all accidents. And it's where the girl says, No luck catching those killers, then. It's like, the one killer actually is like, oh, shit thing. Yeah. multiplicities Yeah, almost the rest of the damn village. Yeah, I love how intricate this script is where such little things have such brilliant payoffs at the end, like Nicholas and Dally, Danny are in the car, looking at people walking down the street and Nicholas asked Why is Mr. Creature wearing a big overcoat? You know, he can't be cold and later, it's because he's carrying a massive shock. Danny is looking at DVDs in a supermarket and reads super cop the cop that can't be stopped. Edgar Wright and Simon Pegg have really thought about every moment in this film and decided, you know, could this be important later? You know this? I mean, that's just a few examples. There's loads of other stuff as well, as well. This one? Yeah. This one is a running joke. Yeah, yeah, exactly. Yeah. Oh, you take he's he's the one that takes down. Frank Berman, Jim Broadbent. Exactly. So the swan is incredibly important. There's a lot of silly things that show up to be like incredibly important at the end. There's a lot of moments where you're like, why is that in there? And but they're, they're all like Chekhov's gun. Moments. Yeah. Yeah, they do factor in at the end. I love the triple quadruple twists near the end, where like Nicholas finds out that the NWA have killed all these people because they just want to win the Best village award, you know, is the first one then you find out his own boss, Frank Buttman was behind it all and their leader, then Danny Nicholas, his best mate is in on it, too. then moments later, Danny uses the catch up to fake the knife injury to get Nicholas out of there. Of course, that trick wasn't out of the blue because Danny has done the catch up trick already. And I just love how the film surprises you so many times in quick succession. And it feels like really, and it's not cheap. It's like, oh, I can't believe you did this. And then it's like, you know, especially with the stabbing catch up one because Yeah, they did it before. And then he flouts stamps in blood comes out of his chest, and you're like, Oh, Jesus. But even on a rewatch, I was like, Okay, that's pretty clever, because he gives him the notepad, which has the ketchup in it, because he says to him, don't forget, you know, Pat? Uh, yeah, yeah. He put the ketchup in a notepad because he knew he was too close to the truth. And so there's a lot of stuff where you're like, yeah, no, that was very, that was well, well, and then for one last surprise is the tone of the film completely ceases to be like a folk horror comedy, and becomes a full on action movie. And I love how all the best action in this film is at the end, you know, no complicated plot to follow just pure gun porn. You know, Nicklaus and CO taking down the old people. It just feels so much more satisfying when your best action is at the end. Even then, the film has one last twist where Tom Weaver is still in the station. And as he said, he falls on the sea mine and blows up the station. You know, you think Danny is dead? Because obviously one year later, Nicholas has got flowers to lay in the graveyard. But no, Danny is alive. So it's just a nice moment of happiness for the end of the film on Danny being alive. And I wish kind of more films would do that insert certainly in the action. Have your best action stuff. At the end? Yeah, I think there is. There's way too much of a thing. You know, especially if the film is an action film like this. You could go in not expecting it to be an action film because it's marketed as a comedy. So you can be like, oh, yeah, it's funny. And then you're surprised that it's actually you know, at the end it delivers is an action movie. But yeah, I feel too many action films. They like to put too many fight scenes in a film. That's not a problem. The problem I have is what you said is like, there's so many films where even the ones we reviewed where you go, wow, the actual scene at the beginning of the film, or in the middle of the film is the best amazing yeah. Why on earth wouldn't you just pack the budget to the finale? It just doesn't make any sense to me. From like, a plot perspective. You know what I mean? Yeah, I think it's because They certainly focus on the emotions more at the end. But there's no reason why you can't have your best action with your emotional stuff at the end as well. Yeah, yeah. I always think it's a mistake when a film does that if I don't leave the cinema, like I should leave the cinema or whatever thinking, holy shit, like, I can't believe what I just watched, you know? Like, just the end. I'm like, because that's gonna stay with you. Rather than Yeah, the end kind of sucks. But do you remember that awesome thing that happened an hour ago in the film? Yeah, there's so many films I can think of recent films with the best action stuff is not the end like, like one of the best action films in recent memory. Like, John Wick three is the best action stuff at the end. No. Even the latest Bond film, I won't spoil it, but the best action scene at the end, no way. So yeah, you know, it's kind of unfortunate, but there's, there are too many films that do that. And yeah, I think really, if you want to please me, like really, please me. It's like, you gotta use your pinky. You gotta use your pinky. No. No, vaction Christ. But yeah, I think you should do all the stops at the end. You know, just throw it all in. Yeah, like because all of the previous action in this film is more like played for laughs even. I think the biggest action scene before the end is like, where he chases after that kid, which is really cool. Do you know what I mean? He chases after a teenager but it's not like mind blowing action. It's you know, it's kind of a very funny chasing. I like the little visual gag when Nicholas is being shown around the police station. And on the swear box. All the swear words have some letters replaced with like different symbols except isn't replaced by any is fun. I think they probably did that to piss off the Americans. Soon as it goes in America, just like I love the scene where Danny is. Oh, yeah. Has to bring Walker to the farmer cutting the wrong hedge had rose. Because he has such a strong country accent he needs Walker to translate what the farmer is saying. You know? Yeah, yeah, that was funny. That was just hilarious. Yes. Oh, yes. Yeah. Yes. Yeah. Suppose what was another running joke? Like? I think it's also the same country accent guy. That every time the girl makes a joke. Yeah, so she makes a dirty joke about like, her boobs or whatever. Anything like, boobs. tetes cool. Yes, brilliant. Funny lines. There is so many funny lines in this film. No money. Were making you sergeant. And then Nicholas says I see in Stafford. He says it's like Sorry, what? Do I have any choice in this new? I'm Joyce Cooper. I trust you had a pleasant trip. Fascist. Yeah, that was funny. Yeah, yeah. No, I was fine. hyg It's like what it's like. Yeah. 1212 down. Did you click any falls? Excuse me? Is it true that there is a place in a man's head that if you shoot it, it will blow up? That was a good one. How about when the female police officer hits that fucking girl in the face? You know, Wet Floor sign. She's like, nothing like a bit of Girl on Girl ain't no boys. That's good. It's about a two foot tall. long, slender neck kind of orange and black bill. Anything else? Well, it's a swan. Yeah, you want to be a big cop in a small town? Go fuck off up the model. Billy. You said I could be an amazing policeman officer. Andy. It's just bolognese. It's not Judge Judy and executioner. You're a doctor. Deal with it. Yeah, motherfucker. Head him off. Fuck yeah. Oh, do you remember what he was talking about? Cuz that's the hound. Did you know that? The big the big guy but yeah, yes. The Hound er. Yeah. I like that. When they when he was first shown and they're like, yeah, he lives with his mother and his sister. Mother and sister. He goes and what do they do? It's like the same person. Mother is a sister. Yeah, God is a small village so we got a favourite line then you first and I think one markers car is Big Brother. Steady finger up the duck pond. Yeah, that's hilarious. That always makes me laugh a bit naughty, but you know it's funny. Yeah, maybe maybe when he's talking to that bloody Ray Winston looking child, that must be very Winston or Ray Winston's boy, you know? He says, Oh, yes, ginger, but he looks exactly like him. And then he says to her, like, when's your birthday? And he's like, you know, June the 20th. And he's like, What? year every year? I'm gonna use that with a really good comeback. Yeah. When were you born? 1969? Was he say? Yes. Yeah, you're 38 or something? And he's like, yeah, oh, yeah. No, he's like, yeah, he's 42 or something. The greater good. That's that's a good one. Oh, great. Okay. I'll tell you what a good line. I quite like that. I say this with my dad. Is where he's pretending to be the trolley boy after knocking him out. And he's like, have you taken care of angels like yarp? So He's out cold er. He's not getting back up. NARP good. Yeah. Screenplay School, Mr. Cyclopedia. Oh, man, you know, it's a barrel of laughs Yeah, maybe annoying. Yeah, I just love how Edgar Wright and Simon Pegg just make everything so important in this film. And obviously, how the film is structured. I love you know, that the tone of the film just completely changes from being like a comedy horror thriller mystery to a full on action film. It's just brilliant. You know, obviously, as I've said that they save all their best action stuff for the end is is brilliant and so satisfying to watch. So go like 9.1 Acting then. I quite like how this film has a lot of characters in it, but they're all quite distinctive. You know, Cole Johnson, who plays PC Bob Walker, who just randomly randomly says, which is just really funny. But I think my favourite side characters are Paddy Considine and Rafe spall who played the Andes, there quite like caricatures. There's a great moment where the Andes are talking to Nicolas after the fancy house blows up. And paddy Constantine character says, if you didn't see anything suspicious, then hoody, then he walks out of shot and then comes back again to stare Mel is just really a piece of like, improvised comedy acting that bit must have been, you know, improvised. I just love how this film is kind of self aware at times, like that moment just to create like, great comedy. You know, all the actors bring something to their characters to make funny. Yeah. Is it Paddy? Considine? He's my favourite handy, because yeah, he's the he's the only real Andy let's be, you know, like, the other one is like his cheerleader. He's an amazing tip. You just want to punch him in the face. Skid Marks now who's been childish? Yeah, that's funny. I like when he takes a sip of his drink. Because he's having a go at him. And he's like, got a milk moustache on his moustache. Like you have a moustache. He's like, I know. Oh, yeah. Yeah. So I love that you're acting from Simon Pegg when he's completely convinced that everyone that's died was murdered. You know everyone in the station is calling out names asking if they were murdered. You know pegas shouting yes to all of them. And then Andy says mind blower and peg says calmly. No, actually, everyone says really and then pack shouts cause a fucking loss it's just a great comedy acting going from being really calm to really angry really quickly is this great app it from peg but yeah, I was kind of half hoping that Patti concert said that you know that Andy? Would would just not listen to him and join him you know the rest of them joined him. I wish he didn't so he could shoot him anyway. Fuckin face. Like I hate him. But I hate him. I hate him so much. Good at Yeah, like he's a great worker work bully. Yeah, I quite enjoyed the fight in the model village between Simon and pagan Timothy Dolan. Yeah, which feels nice, intense. You know, Dalton is not holding back very reminiscent of his bond. He's brilliant when he's running it peg screaming his head off and then slips on a toy truck. And then his chin lands on the church spike, which looks nice and disgusting. The first time I watched that, I was like, I just couldn't. I was like, whoa, okay, now I'm getting out of the room. Like, yeah, it's just it was something I wasn't expecting. I mean, yeah, you know, he deserved it. It's so it's so nasty even now. I'm like, Oh, man. He's just vile. But he's like, I go to need some ice cream. It's really. Yeah, it's a funny just like he's a little boy in that moment. But I gotta say my favourite performance is actually Nick Frost as Danny Butterman. He so has like this innocent charm to him, certainly through the content of the trilogy, or certainly in the first two, you know, Shaun of the Dead and this one, Simon Pegg is being the straight guy and Nick Frost is being the comedy guy. And obviously, it switched around in worlds and which works great as well. But I think I just love Danny Butterman in this fucky just really leaning into the action stuff. Brilliant. What's your favourite performance? Yeah, I think I might have to agree with you. Yeah, I think I think Nick Frost character is just an you know, how he does it is endearing. He's so childish, and so stupid. very lovable, and just like just a great character. I mean, at the end, like the thought that he could die is awful. And I'm glad he didn't. And I think that's where you you know that you know, the character is right and the acting for the characters, right? If I didn't like him, I would have been like, Fuck it, whatever. But I'm like, Oh, shit. Not not Danny. Not Danny. Anybody But daddy. No, yeah. Yeah, no. So yeah, I think he does a good job with it. Okay, right school bow as facting I'll give it slightly less, because I don't want to like, you know, I definitely think you know, the, the directing and the writing is where it's at the acting is good. But I'm not gonna give it like an insane thing. Because there have been a lot of films that we've reviewed in the nines that the performances are just insane. So maybe like an 8.8 point one. Yeah, I think that's totally fair. You know, I don't think there's anything terribly special. I think it's all a lot of great comedy. And as I've said before, on previous pods, you know, I certainly appreciate more of the subtle stuff. Yeah, it's Phil Maymester. Also, but it's not to say he's really funny performances. So I'll I'll go like 7.8 Because I can't I just can't say that there's, like, really special performances because they're not really, you know, I enjoy their performances, but ya know, like, the main thing about this film, it's all about Yeah, writing and the directing. Absolutely. Actually, like, this is gonna sound terrible, but could I actually change it to 7.9 more than close, I think, okay. 10.9 That sounds more right for me. But yeah, no, I agree. I think there's great comic timing. And there are good characters, but I do think the writing and the directing is where it's at. And yeah, there are films that we've reviewed where you like, like they would knock it way out of the park this doesn't even come close like to yeah to some of those I think with this like Edgar is so integral to this film, you know, obviously helped writer and director there's so much greatness in this he just wouldn't be the same without him. Yeah, my acting so right let's at the scores then for hot furs, Hartford's gets 51.7. This could be a tight one. Right, Mr. Cyclopedia? Man, what is your pick for Ed great films. There's only two to choose from. But there we go. What did I pick baby driver, baby driver. There you go. Well, remember. I did it. Why did you pick this over welds? And I prefer this to kind of okay, yeah, yeah, I just really liked baby driver. I don't think it gets talked about enough. So and it's kind of strange, because when you you you picked that. You said, you know, I've picked Hot Fuzz was great choice. And he said, Baby driver or World's End. I was thinking about baby driver that very day, just just randomly throughout the day. I really I was thinking about that film. Okay, then you said that I'm like, damn, I want to watch it. So you know, that's kind of cool. So what happens in baby driver? So it's about a baby who becomes a professional driver? Yes, no, he has a special car because he can't touch the weird film. Touch them. Push the pedals, anyway. No, it's not about that. So sequel is no the pre core. Yes, yeah. It's it's related to Boss Baby. It's in that universe of films. This is his driver, his show for fuel now. So this this film is about a a guy who goes by the code name baby like, everybody knows him as baby. Yeah. And he's the protagonist. He has like tinnitus from an accident, you know, because his parents got in a car crash while he was in the car. And they died immediately and he has tinnitus with a pretty sad story. And he becomes a getaway driver. mobsters and that's essentially a story he's he's trying to pay off a debt to one more mobster he owed a lot of money to play by Kevin Spacey This is prior to his disgrace here No. Yeah so it's kind of it's just about that really then doing heists and him going out and him trying to leave this world behind and settle down with this this wave Deborah played by Lily James, this charming worker at a waitress at a diner. Yeah, I think this film was really great. I think this is certainly like, what I would call like pure Edgar, right? Unless you just remove the comedy side of it. But other than that it's pure Edgar Wright was just great direction and his love of film and music just mash together. Yeah, because he he's a massive music nut as well. I heard once he has 1000s and 1000s of songs on his, you know, like baby does on his iPod or whatever. Along with his films as well. So he's a massive cinema and music nerds. So certainly this is a combination of both Yeah, I think the budget on licenced music alone must be tremendous. So directing then the opening car chase is just brilliant in my opinion for a car chase that doesn't have any crashes in it or explosions is pretty impressive. I think what I love about it is how the camera is always so close to the cars there's so many like great shots where the camera and the car like whips past each other you know the angles are all really low. Like you're in the action the way baby loses the cops with the two other red cars was was quite clever as well. What do you make of the opening car chase? Yeah, I thought it was awesome. Yeah, it was a hell of a thing to introduce the movie on it feels like you're gonna get hit by the car. Yeah, it was phenomenal. And it's just there was a lot of clever storytelling throughout the chase. You know how he has to avoid them. And then he's found again it does it a lot I think it does chases very well in this film. Where you're like you avoid them and then you do something wrong and then they're back on you again to like, so it builds up that anticipation oh my god how is he gonna get out? Oh, he's out. Oh shit, they found him again now. And even from the first Chase they do that i love how we he leaves them behind how he can't seem to get rid of them. And he finds two other red cars that are just like his red car. And he does this whole What the hell would you call it it's kind of like a magic trick like three card monte which are Yeah, like find the lady or whatever you like brakes hard right in front of the middle one so he moves out the way everybody knows he's in the middle one it's like boom he's in the middle one he's just swooped in he's not fooling anybody goes under a bridge and then goes to the side and sort of nudges the one in the middle. Yeah, then disappears off so they're after the wrong car. Yeah, that was a very thick bridge but yeah. I kind of like how the film is structured certainly in a directional way of how they shoot the action in the three heists like the first one right the star is really slick and smooth. The second one with you know whether the GI Joe soldier is chasing them you know that the car gets stuck under the the big lorry at one point so it's a bit messy. The second one and then the third. The third one is a complete mess. It's it's quite like how the action is kind of structured for other film really like that. Yeah, you know when we talked about you know, Shaun of the Dead on our zombie films episode we mentioned about the Don't Stop Me Now scene where they beat up the zombie in the pub to the music of Queen. Well, this film is pretty much all choreographed to music. On the whole, you know, the confidence in egg right to do that is pretty impressive. But to do it really well is amazing. There are loads of great examples. You know, one, good one is during the credit scene where baby is getting coffee, I love that see here blew me away. The whole scene is done in one shot. But that's not the impressive thing about it. It's how babies movements are in sync with the music. And what he says is cool, like when he's in the coffee shop, the guy asks him what he wants and baby says yeah, yeah, yeah. When the music is saying the exact same thing. And if you notice the words of the lyrics are shown in graffiti, I love that. You can see almost, you know, a lot of the lyrics in the environment. I think that shit blows my mind. It's like you designed this to set up for the music. It's like, yeah, he's walking down and there's graffiti with the word on it. There's graffiti on the floor. There's signs you know, there's it's like how the hell do you get the camera? TESOL CGI by the way? Yeah, yeah. Okay, then that that makes a lot of sense is less impressive now, but still very good CGI, but I didn't realise you've ruined it for me, man. But it was pretty cool. It's visually quite amazing. And I love as well when he gets to the you know, the sax solo. It goes by a sax right at the moment the sax starts up that just pretends to play one of the sax. I thought that was just really well choreographed. Yeah, that could be a music. That little bit can be a music video otherwise that that's great. Yeah, certainly I would describe this film as like an action musical. Yes. But saying that the action scene where baby escapes on foot is really good. But it doesn't entirely sync with the music with all the running scenes. You still have like all the gunfire like synced, which is great. But they clearly made the decision not to sync the running stuff. Because I think if they may have thought they could be forcing the running action to sync with the music, which might not make it look natural. Or it might look goofy. It could be like a creativity. I'm not sure. I think it is the former where they're just like, yeah, we're not going to force this bit to make it seem to the music, which I think was probably a quite a good move there. But you know, maybe maybe it's a case of like, he's not really in control of that scene, like, yeah, the other one is where it kind of links in, I think you could almost say it's like, it's baby playing for the camera. It's like he is in control of the vehicle. He knows what's happening. He has everything scoped out. And he is essentially constructing something to fit the music. But when everything goes Shit, shit creek in that thing, you have like the music, he's playing on the car, that car gets totaled. He's got the track on his iPod, that iPad, iPod is fucked. He has to pick another car, find another station, like you have parts where there's also not diegetic music. So where he's running and He isn't listening to music, you're hearing music. So I think it's a case of he's just not in control. I think he's trying to find a rhythm. And that's why the Chase isn't rhythmic. You get what I mean. I might be Yeah, I love the last action scene at the end in the multi story car park. Because it's less of a car chase more of a car battle. You know, Doc gets smushed the stun, where baby jumps over the cop car coming at speed is awesome. Some traditional car chasing, but with baby's car going backwards. You know, there's some great western close ups there for good measure, of course. And then some cat and mouse work with Buddy trying to find baby and baby ramming him and nowhere. Then they ran each other and then ending with a cop car falling and crashing several stories. Just really creative action scene keeping the pace up just really unexpected. You don't know what it's what's going to happen next is Yeah, as he said that, like the last action, just you don't is not smooth at all. It's just all very erratic, but in a good way. Yeah. It's also like a case of neither of the characters really know what the other one's gonna do. And you don't know what the other one's gonna do. You know? And, you know, because they keep doing these fake accounts of like, he slams the car, and then like baby has gone from the car, or, you know, where he pushes his car over. Or, you know, when he's searching for him and then bumps into Debbie and he's gonna shoot her and then baby slams in with another car. Like they switch a lot of cars. Yeah, yeah. It's really cool. And then, yeah, and then obviously, you think he's even killed buddy pushed him off. But he jumped out of the car at the last minute and hasn't. So it's very much like, yeah, you know, you're like, oh, is this over? Kind of like with them? You like, Did I kill him? No, he got out of fuck shit certainly becomes very unexpected. It was quite an unexpected scene. But I think my favourite sequence is the gunfight scene with the butcher's guys to the song tequila. Because the music is so fast with the drumming section of the song and it just works really well with the gunfire. It's really slick stuff and so satisfying to watch that moment. The killer especially especially when he blows up the car. It's a grenade in the car and tequila. Yeah, just how you know the drumming just sync up so well with the gunfire. It's so cool. You know seamless. We got our favourite shot or scene. My favourite scene for cathartic reasons. Is Jamie Foxx dying. Christ. I've never hated fucking hate character. Bats, bats. Ah, god, he should have died worse than that. But you know. Well, it's pretty brutal. It was brutal, but it's way too good for him. I really hate him. Through it all you like this guy has given me real anxiety. I hate that it's kind of funny, actually. Because when we will talk about the script how they do swit they flip the script Yeah. Of the actual bad guy not being bad. But being the guy that's always nice to baby. It's like, Wow, that's crazy. Yeah. Would you prefer to church spikes landing on his head? Yeah, something much worse. Yeah. All of the deaths and maimings from hot fires if they were all to happen, very happy. So directing score for me, I think I'll go pretty high as well. I'll go like 9.2 Because I think it's just so. So well done and the balls on Mr. Right to just do like, an action musical. I mean, there's nothing like this film. Yeah, really? I don't think like an actual musical think of another actual musical like you can't. So yeah 9.2 I'll go 9.4 It's also like, just visually really good. We should. I mean, we should discuss this more. Yeah, just the way everything looks. It's incredible. It's an ideal paradise. You know, it just looks really nice. You know, at night day. Everything just looks good. They all Pope I think is the cinematographer. Yeah, I mean, he just makes a good colour for this film. Do you know what I mean? It just has this kind of really amazing sort of American Dream apple pie. Sort of just Yeah, swear look to it. Everything's quite colourful, even with like these colourful characters, some of which are just the worst human beings. Alright, screenplay, then. The dialogue definitely has like a nice rhythmic quality to it, which works well with the tone of this film. Just a few examples. When doc introduces the crew, he says, over here is Eddie No, no. So normally Eddie the nose. You know when Doc is talking about baby's backstory, says, of course he didn't know who I was, or the worth of the junk in the trunk once he dumped it in a bit of a tongue twister. It's just got like a nice rhythmic quality to it. Whether music is not overpowering, but it just the music just complements the great there really rhythmical dialogue. Certainly from Kevin Spacey, his character dog, Kevin Spacey has some amazing lines. Yeah, I like that where he's, he's basically paid up. And he goes to see him at the restaurant because he's like, I'm finally free of this thing and offering him another job like I use offering in quotation marks. Because he says like, yeah, he considers baby his lucky charm. He needs him for a job. And I like where he's like, Yeah, you're you're a pizza boy. But he's saying like, what was the pizzeria was like daddy's pizza. No, good guys. Good fella. Yeah, something Goodfellas. Yeah, he said, but you could work with a real good fella and make some real dough. And I'm like, wow, that's actually really clever. And where he was like, you know, so what? Be baby, you know, are you in? And he's like, I don't know, am I he's like, you know, he's like, Yeah, cuz I really like this slide as well. Like, I think the last thing he said, will it be behind the wheel or in a wheelchair? He's like, behind Yeah, that was a good line. So dark has just some phenomenal line. quite like the second heist action scene with bats. The Start goes wrong and baby has to start the song again. Then when they have to change cars on the highway baby has to like rewind the song again before they drive off. It's just a nice interesting quirk to the character of baby were things about rhythm for baby like he can only do this job well, when he's you know, listening to music and playing the right song for the right heist, you know, and obviously to drown out that tinnitus in his ears. Yeah, it's just kind of a nice interesting quirk for babies character. I like how in the in the script, the real threat to baby running away with Deborah is buddy John Hamm's character the obvious bad dude is bats. You know, he seems to not like anyone and kill them if needed. Yeah, for like no reason. Yeah. And he really doesn't like baby. Just for some reason. As soon as he reads it is like anyone Yeah. Yeah, he's objective over you think he's always at risk. Whereas like, buddy in the beginning has respect for baby. They listen to Brighton Rock. You know, the Queen song, which is kind of a nice cool scene. When baby decides to sneak off to meet Deborah to em. You think bats is going to catch him? But no, it's buddy. Looking pretty mess. menacing. But again, you're drawn to bats as the big bad as he finds the recorder, but then baby unexpectedly he kills bat. So it's like, Oh, okay. It's between buddy and dark of light. Who's going to be the main villain in the end? Then as soon as darling dies? You know, it's definitely going to be buddy. Yeah, the has to face off again. Yeah, I love that bit because you know where him and bats basically verbally spar at the diner. And bats is trying to get under his skin darling says about him. You know, don't fuck with my man and stuff. He goes, because when my buddy sees red, you'll be seeing nothing but black and you're like, Are you sure? Like he seems like a really chill guy. Yeah. He's a lunatic. I'm like, Will Jon Hamm actually survive and encounter but then I love when darling dies. You know, you get that close up of his face like fuck this and you just see him load coldly and just slay all those offices. Like bang bang, bang, bang bang. You're like yeah, okay. Yeah, no, he's pretty done. pictures, you know, that's the body you get. The end of this film is really interesting baby does face real consequences as he gets caught by the cops and they're sentenced to prison, you know, baby is is a really likeable character but still a morally grey character and has to face up to his crimes which he willingly does. What's really interesting about the very last scene where you see Deborah next to her like a classic car in black and white, and then we get the colour back, and baby gets out, gets out and they kiss. I'm not fully convinced this scene is real. And I think there's a possibility that this is all in his head, one, you know, it does feel a tad cheap that he serves five years in prison then just gets out like pretty quickly in the in the cut, too. You see, like a perfect rainbow in the background. That never happens. I feel it's too perfect. So there's a there's some ambiguity there, which I quite like, find really interesting. It kind of reminds me of the whole ending of Greased Lightning, where they fly off in the car, and you think that's just insane. All right, yeah. What do you remember that everybody's cheering them on, they get in their car, and it flies off. Or you like, though just That's absurd. But it's like, you know, people can interpret it that is either this is an incredibly, or even the end of taxi driver where everything's just perfect at the end. But you can interpret those endings is yeah, this is either one in a million chance that actually this tragedy ends happily. And you can accept that. Or, in fact, you know, this is just, you know, this is kind of like, hey, it wouldn't end like this. But the audience wants a happy ending. He goes tagged on, but it's, it might be fake. I quite liked the character of baby. I think he's a, he's a really cool guy. And he's definitely more capable than anybody gives him credit for because he doesn't speak very much. And I think one of the things that you could say that at the end, there is like an alternative thing that he could have done, he did have a way out when they caught him leaving because he said he, you know, all of this has been forced to do and then right at the end, he's gonna leave at 2am. And it was actually like, Jon Hamm is like, go ahead and leave. And then he's caught by bats. And then you have this thing where he's nearly killed. But then, you know, they find his CDs. And it's like, no, he's telling the truth. He's not recording it. And everything. Everybody wants the job off every you know, like, Kevin Spacey. Especially Kevin Spacey is like, now call it off. Yeah. And everybody's like, Listen, kid, we don't need you anymore. Like, we don't trust you. And you think out every part in the film, he didn't have a choice. But he has a choice just now. And he chooses to do it. Why on earth did he do that? Was it was it a pride thing of like, yeah, no, I'm the driver, because you were trying to escape this the whole damn film, and then they give you an option and you decide to do that. Yeah. And then, you know, it fucks up his life at the end. But Doc still has all the tapes, though. He still has all his tapes. Yeah, that's true. So he could blackmail him. And also, you know, he wants them back. And also, you know, if they get another driver like, because he does try to save lives, and that's what fucks up the heist. I don't think any other drone tried that shit. Yeah. No. Edgar Wright has certainly said in the past that if he was to make a sequel to any of his films, it probably would be baby driver. And obviously with this ending, it kind of leaves it open if he ever does one, whether that was just a fantasy sequence, or did he actually get out so it kind of he has options there where he wants to start the sequel if he ever makes one. For me anyway, as we said, there's some really cool lines in here. That is the finest wining and dining of all the wining and dining in town. Diamond. I had that job. GI Joe motherfucker Dead to Rights. In this business. The moment you catch a feelings is the moment you catch a bullet. Yeah, that's cool. Yeah, JB folks, that's a really good one. I like that one where he says I was with the cops. Yeah, the undercover cops. Because he's like, the guy's like, do I recognise you? He says, are you still alive? He's like, Yeah, then you don't fucking recognise me. You know, it's like but it's like yeah, that is a pretty insane thing to say. Yeah, another one from Doc. By the time this job is over, you'll be rolling in money buying Maseratis and feeding your gal cat fish dipped in gold as a great stuffer. Yes, that's pretty good. I love that line that he keeps saying to him is like you're not just saying what I want you what you think I want to hear. He's like, No, you know, we're friends. We're a team we're in this together. And you know, sir, thank you. I mean, tries to say that at the end he's like, Don't feed me that shit. I know that lines from Monsters Inc. He's like, it's one of Sam's favourite. Yeah, he says don't feed me any more lines from Monsters Inc. It pisses me off. Yeah, that's my favourite. I love the fact that a modern movie quotes a pics Oh, you know, references or Pixar? Elliott. That's cool. That's another great Bit when baby kills bats by driving the car into it into a you know, a spike in the scalp and buddy says, What the fuck did you do? I knew Yeah, I love. I love that scene. Move motherfucker. He's also like when he thinks he's killed buddy. He's like, Fuck you, buddy. Oh actually, here's another line that I thought was amazing. This whole sequence of lines is just after he shot his shot, buddy. That was great. The cop was even like, where are you shot? You know, where did he shoot you? And he was like, bang right there. But I like when they pull over because they need a car and music or whatever. It's like, you know, he sees this guy with a car and he's pulls a gun on them. So have you ever have you ever used that kid? He's like, literally five minutes ago. Get out there like Can I at least have my iPod? It's like no. Have you got a favourite then? Probably the one with Pixar. The one with screenplay school for me. I don't think it's as good as Hot Fuzz. I don't think you know I kind of like how you know all the all three hice kind of go from perfect to completely messed up. Last quite clever. I don't think Lily James as Deborah gets enough good stuff to do. I think she gets left behind a little bit. Maybe being a bit harsh. But yeah, I think I think it's one of those things where I think initially she's quite well written. So when they first meet she's incredibly gentle and charming and quite funny. And it does seem obviously as the movie progresses and even when he's with her a lot towards the end. You know, she doesn't really get that much to do or really anything vital that said that, you know, sticks in my head very much. She's She's basically what he has to save. But I don't think she's like terribly written. I think when they actually they meet the first first couple of times and they have dates. You're like, yeah, no, she's genuinely quite a funny person. You know that they're discussing music and are there there are no songs called Deborah and there's so many songs called Mary my sister's name. Yeah. What's your name? Baby? Oh, man, there are millions of songs with your name we could we could travel the world and never run out of songs. You know, so she's quite nice. And you think Yeah, it kind of makes sense. Yeah. Maybe like half a scene extra with her would have been great. Yeah, for me. Yeah, so I'll go like 8.7 How about you sir? Now go 8.88 Yeah, okay. Right acting for baby driver. I love the acting from Ansel Elgort right at the star where he mouths away to the lyrics of bell bottoms. And all his movements are in you know completely in time to the music then Jon Bernthal points forwards but baby reverse of the car which is quite funny. But it's all like a homage to Edgar Wright's own music video he did with no fielding to meant Royals blue song is basically the same thing and you see like a glimpse of it when baby watches TV check out on YouTube. But yeah, I just love that whole opening where you just think you know you're going to be focused on the the guys in the heist doing the heist in the bank. But no, it's just on Ansel Elgort just dancing in the car you know, with the wipers and stuff it's kind of cool. Yeah, with the wipers, banging his door to the drums and shit. And yeah, and the steering wheel. Amazing. I quite like the acting from an oil guard when Doc is explaining the plan for the heist and all the sound effects like dropout. And all we hear is the music and you see baby like tapping away gently to the piano music perfectly in sync. And we see bats getting pissed off looking at over a baby thinking he's not listening and then baby explains the whole plan in detail. So calmly so swiftly it's kind of cool storytelling there with baby just enjoying himself but he knows exactly what's going on but bats just does not trust this guy at all. Quite quite liking the acting as well. There's a little moments with Deborah and baby when they're like tapping their heels to the music. It's not it's all really quite subtle but like completely in sync as well. You know it's not over emphasised which I quite liked. I love the diner scene where bats force his baby to stop at the diner where Deborah works, you know and bats is guessing how buddy got into the business and you can tell bats is like completely spot on because Jon Hamm is looking more and more pissed at bats. You know, and then darling answers for him and then that moment you kind of should know that like buddy is definitely the real bad guy. Well, I think it's buddy is he's serious shit. But he is always trying to be cool. But he is he is a serious fucking force to be reckoned with. And I mean they are gonna kill each other you know Batson buddy. He was gonna Kill him like one of them was gonna kill one of them after the heist you know I like even when they talk about it where bats goes out to get some cement so whatever it just rubs Galle Yeah, get some gums and he just robbed the place. And they're talking and you know, darlings like you remember when you you killed that guy for me or something? He goes which one? The one that touched your answer the one that looked at you funny. Yeah. The one that looked at me funny. Oh yeah, I remember that. He's like, Well, bats looked at me funny. Kill bats. It's like not right now. Should baby hear this? I like how he's very concerned. And he's quite he seems quite timid even with this, but even with that conversation, you're like, Oh, this guy is fucking hardcore. You know, he's gonna wait till after to, you know. Then when darling answers for him. Bats is like, claps enthusiastically patronising him. Yeah, saying that some asker shit right there. The situation is already awkward, awkward for baby. But then when Deborah comes with the three Cokes, and bats is talking to wondering why baby doesn't like this place, and the tension just goes up a notch. And it's just like really awkward and uncomfortable watching. Yeah. And it's all from like, Jamie Foxx is really intimidating performing. I think I think Jamie Foxx for me is a standout. Because he is just, it's just anxiety inducing anytime his characters on you know, on this screen, because you just get the feeling like and it's not even just his act actions. I think even before he actually starts to kill people, he is very intimidating. He's incredibly imposing very loud. He's incredibly ignorant. He's always angry. And you just get this feeling that he is going to just like, you know, he's either going to try and say something funny, and like batshit crazy or is just going to kill someone. Right? Just out of nowhere. You just get this Yeah, this feeling from him. So when he goes batshit insane, and then kills someone out of nowhere. Like, you know, the tequila scene when the in the warehouse you like, you can kind of expect it. He always seems like he's gonna kill so yeah, that's why I just feel like baby was always in danger with him around. And that's why it was so satisfying when he died. You know, I think Jamie Foxx really sold that he really made me absolutely fearful and, and you know, just hateful about this character. I was like, God, you know, I think you know, you're doing something right. If you're acting as the bad guy when I can like literally I yell, like, yes, when he fucking dies. I'm like so yeah, I think Jamie Foxx does a really good job as bats. He was very scary. Yeah, he's certainly my favourite performance. But yeah, you get this sense every time he's on screen. Like, certainly when he's in the car with baby. That baby is not saying no in the sky. This maniac knows that he could just shoot him in the face at any point in time. It just feels like like you remember the first proper conversation they have? He's like, did you make me miss my shot? And then he pulls the gun on him. And you're like, he could have killed you right there and then but he doesn't you know? Yeah, I just never feel you know, baby is never safe with him around. So acting score for me. I think it is better than Hot Fuzz. You know Jamie Foxx again. Brilliant. Jon Hamm amazing. Just certainly like more dramatic acting and some great subtle stuff. From all of them. And yeah, I mean, the cast is really good. Really cast really well. Big fan of Lily James as well. Yeah, the kid that plays baby who I haven't memorised his name. I think this is the only film I've ever watched him in. I thought he did a banger. Great. He was great. Axl good. Old Axl. Yeah, but chose there. And so did you say Hansel or I say his name again? And so a n s e l and so, so not not Axel? And so on. So, no, it would be cool if it was XL because an axle is on a car. And he drives a car. He was born for this part. He was called axle baby. Man. That's basically why it was cast. Axle baby face. Get him so I'll go like 8.4 I'll go like 8.69 ish, right. Let's add up the scores then for baby driver. Ooh, baby. No, hang on. Let me check. Dammit. Yeah, baby driver wins with 53.1 It's an upset people. Not for me. Whereas Hot Fuzz only gets 51.7 That's not bad. It's just two points shy. Come on, you know? Yeah, you're acting as if it's 20 Point different. It's close. Yeah, so maybe driver wins this one. Somehow, by my grace, that's But hofers will always be one of the best films ever made, in my opinion, but I don't care what anyone says. Anyway, next week, we are returning to Marvel people as the Eternals hits the big screens around the world, a new property for Marvel, which looks amazing, really looking forward to this one, directed by an Oscar winner Chloe Zhao, but we'll be having a look at our favourite comic book teen films. So yeah, that'd be really interesting to listen to that one. Again, we have a beaumier coffee account. And if you really like what you hear, follow the link below. And if you want to, you know, show your appreciation and say thank you, you can buy us a coffee. That'll be really nice bounce. You have been rather good as our resident crusty juggler with a big bushy beard. I've been I've been BAP why, baby. Yeah. All right. So yeah. 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. 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