Browse content similar to A United Kingdom, Allied, Paterson. Check below for episodes and series from the same categories and more!
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Thanks for staying up to talk movies. | :00:25. | :00:29. | |
This week we're mainly talking the thinking woman's | :00:30. | :00:36. | |
Fight Club? Thelma and Louise? | :00:37. | :00:41. | |
Or my personal favourite, Benjamin Button. | :00:42. | :00:43. | |
Let us know, the details are on the screen now. | :00:44. | :00:46. | |
Passion and patriotism. David Oyelowo and Rosamund Pike star in A | :00:47. | :01:17. | |
United Kingdom. And poetry, public transport and Adam Driver in | :01:18. | :01:22. | |
Paterson. Just don't call it dull. Boredom is a good thing. | :01:23. | :01:27. | |
Plus, it's that magic moment, our first Christmas film of the season. | :01:28. | :01:30. | |
Billy Bob Thornton stars in Bad Santa Two. | :01:31. | :01:32. | |
Joining me on the sofa is festive favourite Rihanna Dhillon | :01:33. | :01:38. | |
Hello both of you. Hi. Break a leg! I will try to. | :01:39. | :01:44. | |
Kicking us off this week is director Amma Asante's A United Kingdom. | :01:45. | :01:47. | |
The story of a Botswanan Prince who caused some stiff upper lips | :01:48. | :01:50. | |
to quiver in the late 1940s when he married a white | :01:51. | :01:53. | |
The persecuted lovers are played by David Oyelowo and Rosamund Pike. | :01:54. | :02:01. | |
My father, he wouldn't approve. I am just two streets away. Can we could | :02:02. | :02:11. | |
this again? I mean, meet. Is that too forward of me? No. What? Queen | :02:12. | :02:27. | |
Victoria, the men who negotiated for her protection. He was my | :02:28. | :02:37. | |
grandfather, a King. I am his heir. Oh! I see. I play Seretse Khama, he | :02:38. | :02:49. | |
was the heir to the throne of Botswana. While studying in London | :02:50. | :02:53. | |
he meets and false in love with Ruth Williams and their marriage which is | :02:54. | :03:00. | |
an interracial one, causes a diplomatic earthquake with South | :03:01. | :03:07. | |
Africa, Botswana and the United Kingdom. If you choose to marry the | :03:08. | :03:11. | |
leader of an African nation you will be responsible for the downfall of | :03:12. | :03:15. | |
the British empire in Africa. Have you no shame? For me it was always | :03:16. | :03:18. | |
important when I came on board this couldn't just be a love story. This | :03:19. | :03:23. | |
had to be a love story that involved politics because there are people | :03:24. | :03:26. | |
out there that view interracial relationships as a political | :03:27. | :03:32. | |
statement. So to ignore that would have been foolhardy, independenting. | :03:33. | :03:35. | |
Also any politics that you saw should come through the prism of the | :03:36. | :03:42. | |
couple's love. Are you insane? White, British. I think the reason | :03:43. | :03:49. | |
we don't know about this story is because at the centre is a black | :03:50. | :03:54. | |
protagonist and I think history is told by the victors and if a lot of | :03:55. | :04:03. | |
the people telling stories don't look like Seretse Khama they're not | :04:04. | :04:07. | |
interested. We have concluded you should be exiled. I belong with my | :04:08. | :04:13. | |
people. As someone of African descent myself, someone who has | :04:14. | :04:17. | |
loved period dramas growing up and never saw anyone like me in them, | :04:18. | :04:22. | |
when I saw the cover of that book, I thought, eureka, there it is, a | :04:23. | :04:26. | |
story I would want to see as an audience member let alone to be in | :04:27. | :04:31. | |
as an actor. I am told you no longer wish for me to honour my duty as a | :04:32. | :04:34. | |
King because of the colour of the wife I have chosen. These are | :04:35. | :04:38. | |
stories of my wild, they're stories that interest me, they pull together | :04:39. | :04:42. | |
themes that have impacted my life so it feels very natural. I feel that | :04:43. | :04:47. | |
we are very young in our story-telling journey as people of | :04:48. | :04:51. | |
colour and directors who are putting characters of colour at the centre | :04:52. | :04:54. | |
of their own stories. But there is a naturalness to what I do and I think | :04:55. | :04:59. | |
that's important. I am ready to serve you because I love my people! | :05:00. | :05:04. | |
I love this land! But I love my wife! | :05:05. | :05:12. | |
Oh, stirring stuff! Danny, was this really a story that was begging to | :05:13. | :05:17. | |
be told? I think it absolutely was. It's a great untold story and those | :05:18. | :05:21. | |
are very rare. Maybe in the telling of the story it feels sturdy and | :05:22. | :05:25. | |
cosy but I don't care because the story is anything but cosy. The | :05:26. | :05:30. | |
story is electric. It has to feel like Sunday night TV to reach the | :05:31. | :05:34. | |
kind of numbers of people who watch Sunday night TV, I am totally fine | :05:35. | :05:38. | |
with that, I admire this film hugely. It's hand some, it's a smart | :05:39. | :05:42. | |
movie: I urge people to see it. Don't you think there is a reason | :05:43. | :05:46. | |
why it was untold? I think the director sort of specialises in | :05:47. | :05:49. | |
these stories, she sort of digs up and actually I am not entirely sure | :05:50. | :05:54. | |
if it's sort of, it will make any difference this film, what do you | :05:55. | :06:03. | |
think? Well, I think, you know, you talked about Asante's past films, | :06:04. | :06:07. | |
one of a woman of mixed heritage and dual heritage and seeing a role | :06:08. | :06:10. | |
model like that in period dress was so wonderful. I had grown up | :06:11. | :06:13. | |
watching all white period dramas and loving them and wishing I could be | :06:14. | :06:17. | |
in them and to see a film like that I was thankful it was brought to our | :06:18. | :06:23. | |
scenes. So, I think the same is true for A United Kingdom. It doesn't | :06:24. | :06:27. | |
necessarily feel relevant in the way that it is however many years old. | :06:28. | :06:33. | |
Did you really feel you identified with somebody who married - who was | :06:34. | :06:37. | |
in Kenwood House? I think people who are, you know, my age now would have | :06:38. | :06:43. | |
been the children of those parents. I think that's really fascinating. | :06:44. | :06:46. | |
It's not that far off history. I think it is definitely relevant. We | :06:47. | :06:49. | |
don't see that many stories like that on our screens. Does it bother | :06:50. | :06:55. | |
you at all that actually the story was told in an incredibly route one, | :06:56. | :07:06. | |
incredibly beNiall way. It was structured like a rom-com. There was | :07:07. | :07:10. | |
a great emphasis applied to the fact, why would she marry him? Why | :07:11. | :07:13. | |
would she risk everything? She's rejected by her family. People sort | :07:14. | :07:17. | |
of attack them on the street. I think why would he marry her, she's | :07:18. | :07:22. | |
really boring? She is a really smart working woman at a time where there | :07:23. | :07:27. | |
weren't a huge amount... No evidence for that, but. It was 1947. There | :07:28. | :07:31. | |
was no evidence she was really smart. The point is she's ordinary. | :07:32. | :07:36. | |
She's involved in the jazz scene, has a job, out there, clearly | :07:37. | :07:39. | |
interested in different cultures which wasn't a given in 1947 in | :07:40. | :07:44. | |
England. Absolutely why would you not make a film about this love | :07:45. | :07:49. | |
story? It changes history. I don't know, maybe it's different. My | :07:50. | :07:52. | |
school I didn't learn about a story like this which changed the world, | :07:53. | :07:57. | |
genuinely, all the cliches we pick up from movies about true love | :07:58. | :08:00. | |
changing the world that happened with this one. It's fascinating we | :08:01. | :08:03. | |
are talking about love, this is a political drama more than I think | :08:04. | :08:07. | |
it's a love story. I think it's a shame that Rosamund Pike is | :08:08. | :08:11. | |
sidelined a lot in this film. Obviously we know... The only person | :08:12. | :08:18. | |
who isn't sidelined is him. It's mostly an opportunity for him to get | :08:19. | :08:21. | |
up and do his civil rights voice, I am afraid. He is excellent at doing | :08:22. | :08:25. | |
that. It would have been great to see Rosamund Pike doing something of | :08:26. | :08:31. | |
the same. She's sidelined to these wry smiles. Don't you think in 2016 | :08:32. | :08:35. | |
also there's something, you talk about relevance of the film, do you | :08:36. | :08:41. | |
not think we are supposed to be - you take a film that says actually, | :08:42. | :08:45. | |
the British Empire wasn't all good news for everyone. Even Churchill | :08:46. | :08:49. | |
wasn't a saint. That seems like a radical message. I agree there, the | :08:50. | :08:54. | |
way the civil servants are portrayed are ridiculous. Jack Davenport, have | :08:55. | :08:59. | |
you no shame? Who says that in a proper movie? Obviously the | :09:00. | :09:02. | |
apartheid wasn't something the film made up. This existed. I think | :09:03. | :09:05. | |
they've really nailed those attitudes. I think it's important | :09:06. | :09:09. | |
that we don't forget how culpable we were. It gets the history right. | :09:10. | :09:12. | |
Thank you. Yes, no, maybe. | :09:13. | :09:16. | |
Next is Back To The Future director Robert Zemeckis with Allied - | :09:17. | :09:19. | |
a wartime thriller starring Brad Pitt and Marion Cotillard. | :09:20. | :09:21. | |
The tasty twosome find love as undercover spies behind Nazi lines. | :09:22. | :09:28. | |
But can their love survive back home? | :09:29. | :09:30. | |
Being good at this kind of work is not very beautiful. After the war do | :09:31. | :09:45. | |
you have a place? When the war is over what matters where imI am. It's | :09:46. | :09:51. | |
a love story, but it begins with two people who don't know each other. | :09:52. | :09:59. | |
Both of them are spies. They meet on a mission in North Africa during | :10:00. | :10:06. | |
World War II. They're going to fall in love and obviously in this | :10:07. | :10:09. | |
atmosphere of war it won't be that easy. | :10:10. | :10:13. | |
There's no easy way to say what we are about to say. We suspect your | :10:14. | :10:21. | |
wife is a German spy. That's insane. If you are right all this will be | :10:22. | :10:26. | |
forgotten. But if she is you execute her with your own hand. If you do | :10:27. | :10:34. | |
not comply you will be hack hanged. We weren't paying homage to any | :10:35. | :10:36. | |
specific film of the past although what was very obvious when I read | :10:37. | :10:40. | |
the screenplay from the first moment, that was the main | :10:41. | :10:43. | |
inspiration and then all the departments kind of felt that and | :10:44. | :10:44. | |
guided us to the style of this film. I was fascinated by American movies | :10:45. | :10:56. | |
from the 40s and the 50s when I was a kid. So, of course I was inspired | :10:57. | :11:05. | |
by this very special rhythm, this special energy and I was fascinated | :11:06. | :11:10. | |
by all those actresses. The first actresses who fascinated me actually | :11:11. | :11:14. | |
were actresses from this era. You were different with me last night. | :11:15. | :11:20. | |
Different? Like you were angry. As the conflict in the world starts | :11:21. | :11:26. | |
closing in on our characters, our feeling was that the whole design of | :11:27. | :11:30. | |
the film should start closing in, as well. The film should start closing | :11:31. | :11:45. | |
claustrophobic as the plot thickens. So we are talking lovely sets, | :11:46. | :11:49. | |
beautiful drapings, a lot of clothes. Is it sort of Allied or | :11:50. | :11:57. | |
Allied Carpets? Just to clarify, did you say sets or sex? But we could | :11:58. | :12:01. | |
talk about the sex if you like. The sets are beautiful. It's gorgeous, | :12:02. | :12:09. | |
set in Casablanca, harks back to one of the most beautiful movies. There | :12:10. | :12:12. | |
is a great scene where they climb into a car in the middle of a sand | :12:13. | :12:17. | |
storm and get it on. I thought that was incredibly hot. Didn't you think | :12:18. | :12:24. | |
the fact she climbed over him while trying to remove her 40s underwear | :12:25. | :12:28. | |
made her look like a fat tourist trying to sit on a camel, that's | :12:29. | :12:35. | |
what I thought? They're not teenagers, to - I think it kind of, | :12:36. | :12:39. | |
you know, the problem with this film is that everything hasn't quite been | :12:40. | :12:42. | |
thought through. There are amazing set pieces but they don't really | :12:43. | :12:45. | |
come together. I don't know if you thought that, Danny? The problem is | :12:46. | :12:48. | |
it's very camp but it really doesn't want to be. It works very hard not | :12:49. | :12:54. | |
to be camp, Brad Pitt is taking this very seriously. Quickly into the | :12:55. | :13:00. | |
film you have a throttling in a Phonebooth and blood on the marble | :13:01. | :13:04. | |
staircase. We are on the brink of show tunes at any given moment. Do | :13:05. | :13:09. | |
you think Brad's capable of doing a romantic lead? I thought I am not | :13:10. | :13:14. | |
sure this is his thing. The issue is that he is confusing gravitas. He is | :13:15. | :13:19. | |
a man of a certain age, he is confusing that with not moving your | :13:20. | :13:25. | |
face. That may not be deliberate, I don't know. It is Benjamin Button. I | :13:26. | :13:34. | |
thought Marion Cottillard was doing more of the work. She outclassed him | :13:35. | :13:39. | |
so much. They're both completely hostage to the costume department. | :13:40. | :13:43. | |
They're running this entire movie. They're used like dress-up dolls | :13:44. | :13:46. | |
from scene to scene and both of them have the look of, you know if you | :13:47. | :13:51. | |
see a little dog that's been done up with the little booties and looks | :13:52. | :13:55. | |
miserable and ashamed. That's Brad and Marion in this movie. It was | :13:56. | :14:01. | |
like how to kill the German ambassador through linen alone. All | :14:02. | :14:06. | |
they thought about was the outfits. He ought to be a good director and I | :14:07. | :14:09. | |
don't understand how this project spun out of control. He makes fun | :14:10. | :14:15. | |
films and entertaining films that are slick and stylish. Allied, | :14:16. | :14:23. | |
perhaps it doesn't have as much substance as it should. For example, | :14:24. | :14:25. | |
Marion's character gives birth during the blitz and they manage to | :14:26. | :14:31. | |
make it look romantic and exciting. You would be absolutely terrified | :14:32. | :14:33. | |
and probably miscarry I think at that point. I like that scene. The | :14:34. | :14:39. | |
script write certificate a good writer and when he goes for this, | :14:40. | :14:42. | |
these big moments, so sufficient the sex scene in the sand storm and the | :14:43. | :14:46. | |
giving birth, those work. Those are moments you think it works. | :14:47. | :14:51. | |
Especially with her shrieking through the blitz and she was meant | :14:52. | :14:55. | |
to give birth that you never believe they've had together because there | :14:56. | :14:59. | |
is zero chemistry. I thought, I mean, it's not like they've even met | :15:00. | :15:03. | |
each other before. I think it was what was lovely, when she kind of | :15:04. | :15:06. | |
comes up to him on the roof and they have to be play agenting and it's | :15:07. | :15:10. | |
like a fantasy because they haven't met before and they're having to | :15:11. | :15:14. | |
build this relationship from scrap. I think it's a great idea on film. | :15:15. | :15:19. | |
That's a lovely scripted moment. I mean, it's bringing me out in hives | :15:20. | :15:22. | |
to agree with you, but you are right. We can't agree! | :15:23. | :15:34. | |
You loved this film? It is really entertaining and it will bring | :15:35. | :15:42. | |
people out of their homes and that is a good thing. There were some | :15:43. | :15:48. | |
very deft classic, but there was a lot of camp touch. A tweet from | :15:49. | :15:55. | |
Michelle says, I think the first time I noticed him was in Thelma and | :15:56. | :16:00. | |
Louise and he made quite an he did. Sean Griffiths says Jesse James. Not | :16:01. | :16:14. | |
only is the film a masterpiece, Brad Pitt's performance is a masterclass | :16:15. | :16:18. | |
in understated menace. I would not go as far as that. I did not expect | :16:19. | :16:24. | |
him to be funny after he gave a goofy smile I was laughing louder | :16:25. | :16:28. | |
than Brian Blessed that. I totally agree, I would say it was | :16:29. | :16:35. | |
my favourite performance in Burn After Reading. What is your | :16:36. | :16:43. | |
favourite moment? Fight club because he is dark in that, but oceans 11. | :16:44. | :16:53. | |
What about you? 12 Monkeys. He is doing something with his hands all | :16:54. | :16:57. | |
the time where is at the moment he is statuesque and slightly weird. | :16:58. | :17:03. | |
Next Adam Driver stars as a New Jersey bus driver and | :17:04. | :17:05. | |
part-time poet in Jim Jarmusch's Paterson. | :17:06. | :17:10. | |
When you are a child you learn there are three dimensions, height, width | :17:11. | :17:17. | |
and depth, like a shoe box. Later you hear there is a fourth | :17:18. | :17:25. | |
dimension, time. Paterson is about a guy named Paterson who lives in | :17:26. | :17:28. | |
Paterson, New Jersey, who drives a bus. Is your name Paterson or did | :17:29. | :17:35. | |
they just give you that? My real name is Paterson. He is a bus | :17:36. | :17:41. | |
driver, but he also happens to be a poet, or you could say the opposite, | :17:42. | :17:46. | |
that he is a poet but he happens to be a bus driver. Your poetry is | :17:47. | :17:51. | |
really good and some day you might let the world read it. I mean it, | :17:52. | :18:00. | |
you are a great poet. It is not a story with a lot of conflict, it is | :18:01. | :18:08. | |
the exact opposite. My wife wants me to take her to Florida, but I am | :18:09. | :18:13. | |
behind the mortgage payments, my uncle is coming from India and I | :18:14. | :18:17. | |
need money for the wedding and I have a rash on my back. How about | :18:18. | :18:25. | |
you? I am OK. I had to learn how to park a bus in Queens and that tests | :18:26. | :18:33. | |
your patience. I have a situation. It could have exploded into a | :18:34. | :18:40. | |
fireball. Oh, Danny. Snog, married or avoid? I am not answering that. | :18:41. | :18:49. | |
It is a very Jim Jarmusch movie and it is deadpan and deliberate and | :18:50. | :18:52. | |
sometimes that charms me and it drives me up the wall sometimes. | :18:53. | :19:00. | |
Here it works. It has the slightly adolescent quality, it wants to show | :19:01. | :19:04. | |
you its book collection and its record collection. Is it needy? Yes, | :19:05. | :19:10. | |
but what elevates it is the perfect casting. He takes this conceit, this | :19:11. | :19:18. | |
idea of a character and he makes him seem real. I am still a little bit | :19:19. | :19:24. | |
torn about Jim Jarmusch, but I am a major fan of Adam Driver. A minor | :19:25. | :19:32. | |
crash. A little bit. He has got a fabulous face, I could watch it all | :19:33. | :19:37. | |
day. You do not necessarily want to have sex with him to see him more on | :19:38. | :19:43. | |
screen. I am glad we have reached that point very fast. Did you find | :19:44. | :19:49. | |
this film seductive or blind? I did not find it bland at all. It looks | :19:50. | :19:58. | |
into your eyes. I think Adam Driver is spectacular, but also his | :19:59. | :20:03. | |
on-screen girlfriend who is quirky and makes cupcakes. She was so | :20:04. | :20:08. | |
irritating and so annoying and I could not take her seriously when | :20:09. | :20:13. | |
she said, I love your poetry. The poetry is naff and that is part of | :20:14. | :20:20. | |
the charm. I loved the poetry. But it got better and better and towards | :20:21. | :20:23. | |
the end you could see it being published. But the fact that she | :20:24. | :20:29. | |
believed in him, your poems should be published, and you really | :20:30. | :20:33. | |
believed in the couple. Did you like him because he was a sort of folk | :20:34. | :20:38. | |
hero, he has a modest job, he writes poetry by water balls? I want to go | :20:39. | :20:45. | |
back to the quirkiness. A bit of a weakness with Jim Jarmusch movies | :20:46. | :20:55. | |
means he is focused on the girlfriend character, unfortunately. | :20:56. | :21:00. | |
But when he comes home and he has had a terrible day at work and the | :21:01. | :21:04. | |
bus has collapsed and she says, is there anything I can do for you? He | :21:05. | :21:12. | |
does not say, I want you to play a song on the acoustic guitar. The | :21:13. | :21:18. | |
movie allows something else to happen and it is quirky. Jim | :21:19. | :21:25. | |
Jarmusch is aware. I do not think that is a problem. I think it is | :21:26. | :21:29. | |
interesting, New Jersey, backwater type fields here. Jim Jarmusch is | :21:30. | :21:36. | |
older than me with an elaborate pompadour quiff and he still needs | :21:37. | :21:41. | |
to show us that he has read certain novels, mannered is the word. I | :21:42. | :21:48. | |
think it was taking the Mickey and it was very tongue in cheek. Do you? | :21:49. | :21:56. | |
Yes, and it was inclusive and it was a very multicultural film and it was | :21:57. | :21:59. | |
not rammed down your throat and back is very important. It is nice to see | :22:00. | :22:08. | |
a movie that is not even remotely offensive, you can drive a bus and | :22:09. | :22:13. | |
write poetry as well, and there is nothing remotely conflict in with | :22:14. | :22:20. | |
that. That nothing happens in this movie. Yes, I agree. Most people | :22:21. | :22:30. | |
might die of boredom. Sorry. Maybe they have done tonight. | :22:31. | :22:31. | |
Bust open the baubles and ready the whisky, | :22:32. | :22:35. | |
it's the first Christmas film of the season. | :22:36. | :22:37. | |
Don't get too excited, though, as this particular man in red | :22:38. | :22:39. | |
is the last guy on earth you'd want to be ho-ho-ho-ing | :22:40. | :22:42. | |
Billy Bob Thornton stars in Bad Santa 2. | :22:43. | :22:49. | |
Be prepared for some fruity language. Merry Christmas, | :22:50. | :23:00. | |
disturbing children. Come on you Dick heads. Well, you still hit like | :23:01. | :23:11. | |
your daddy. Eat me. You do not trust your mum? I trust her about as far | :23:12. | :23:18. | |
as I can throw you. I didn't even know you had a mum. Has this just | :23:19. | :23:26. | |
hatched? I travel across the country for charities. Have you got a | :23:27. | :23:33. | |
problem with that? Downright I have a problem with that. No way have | :23:34. | :23:39. | |
these guys got 2 million bucks. You have got smaller. Have you got a | :23:40. | :23:49. | |
problem with that? You need a hug. Let go of me. It feels like | :23:50. | :23:56. | |
Christmas. You are both miserable. When you do not have a family, you | :23:57. | :24:04. | |
have to have a new one. I am going to tear all my clothes off and say I | :24:05. | :24:09. | |
really enjoyed this film. I thought it was really funny, it was better | :24:10. | :24:15. | |
than the last one. The last one was well received and I thought the | :24:16. | :24:20. | |
script was great and Cathy Bates was the gangster granny. I did enjoy it | :24:21. | :24:25. | |
and I will say that, but you will disagree with me. I agree, I think | :24:26. | :24:31. | |
it is better than the last one, but that is not saying much. But it is | :24:32. | :24:40. | |
very unsavoury. I unsavoury? It did not feel like any of the actors | :24:41. | :24:44. | |
wanted to be there and it was a slog for them to be in the movie and a | :24:45. | :24:49. | |
slog for us to watch. It was difficult to tell because his | :24:50. | :24:51. | |
character is meant to be unenthusiastic. Except when he is | :24:52. | :24:58. | |
getting lucky with a lady. That is what is weird about the movie | :24:59. | :25:03. | |
because this guy wets himself and vomit on himself and all these | :25:04. | :25:06. | |
incredible women want to... Is that rude? I thought the Christina | :25:07. | :25:13. | |
Hendricks character came out and they had this sort of thing and she | :25:14. | :25:18. | |
is suddenly dropping her pounds and he is screwing her up against a | :25:19. | :25:22. | |
wheelie bin. We have all been there. What did you make of it? I think the | :25:23. | :25:28. | |
original in its wake is a great movie and is not. If you are going | :25:29. | :25:36. | |
to do a cheap and nasty character 13 years later so Billy Bob Thornton | :25:37. | :25:40. | |
can buy whatever he wants with his salary, if you are going to do that, | :25:41. | :25:47. | |
make it really terrible. Make it the spirit of the original and make it a | :25:48. | :25:52. | |
terrible movie. It is half funny and they throw so many jokes at you, but | :25:53. | :25:57. | |
by a lot of average some of it works. It is a bit of a commercial | :25:58. | :26:03. | |
enterprise and you understand that people like Octavia Spencer who has | :26:04. | :26:08. | |
an Oscar is going to return as a prostitute. Maybe there was a | :26:09. | :26:12. | |
terrible clause in her original contract. The women do badly out of | :26:13. | :26:20. | |
this. She does badly out of it and Christina Hendricks has to hire a | :26:21. | :26:25. | |
new agent or something. Cathy Bates, it is about the fact she is a little | :26:26. | :26:31. | |
larger. I think there are some brilliant monologues. The one where | :26:32. | :26:38. | |
he tries to tell the child, the 21-year-old character, how to have | :26:39. | :26:46. | |
sex is absolutely hilarious. It is sure-fire funny, ridiculous, | :26:47. | :26:51. | |
disgusting. I think, Danny, you are grossed out by how disgusting it is | :26:52. | :26:56. | |
and you cannot take it. Is that what it is? You may well be right. You | :26:57. | :27:05. | |
have rolled over. You are right, I think moment is the best character | :27:06. | :27:10. | |
and he is very sweet. I wish they would find more for him to do in it. | :27:11. | :27:16. | |
I have seen the sweet side before in the film Elf. Well, I really enjoyed | :27:17. | :27:27. | |
it. Decision time, what is your film of the week? Allied was a lot of fun | :27:28. | :27:31. | |
and entertaining and slick and Brad Pitt is still fit. Danny? I, Daniel | :27:32. | :27:42. | |
Blake, which is still on. It is one of the most inspiring films from one | :27:43. | :27:48. | |
of the greatest directors Britain has ever produced. I would urge | :27:49. | :27:54. | |
people to see it again and again. I liked bad Santa two. | :27:55. | :27:55. | |
Next week it's Have I Got Views For You Paul Merton at the helm. | :27:56. | :28:03. | |
But for now, we'll leave you with an early look | :28:04. | :28:05. | |
at Kong: Skull Island, starring Brie Larson | :28:06. | :28:07. | |
and Tom Hiddleston, due out next year. | :28:08. | :28:08. | |
These are photos of an island in the South Pacific. We will use explosive | :28:09. | :28:22. | |
to shake the earth, help us to map the surface of the island. You are | :28:23. | :28:28. | |
dropping bombs. Scientific instruments. Is that a monkey? | :28:29. | :29:02. | |
She pretty, Reg? Hard to say from this angle. | :29:03. | :29:04. | |
Well, you keep your hands to yourself. | :29:05. | :29:07. | |
Don't you worry, I've done this before. | :29:08. | :29:12. |