:00:26. > :00:30.I'm Antonia Quirke sitting in for Claudia, who will be
:00:31. > :00:35.We'd love to hear what you think about tonight's films,
:00:36. > :00:45.Chiwetel Ejiofor and Kate Winslet star in high-stakes heist
:00:46. > :00:53.Blood-soaked trouble in the Old West.
:00:54. > :00:55.Kurt Russell plays cowboys and cannibals
:00:56. > :01:06.The only advantage we have over these cave dwellers is being
:01:07. > :01:09.smarter. Let's not lose that. And stand up for your love rights -
:01:10. > :01:11.Julianne Moore fights Plus, Chris Pine battles
:01:12. > :01:21.the snow-crunching Atlantic Sharing the sofa with
:01:22. > :01:25.me tonight, as ever, And we're joined by
:01:26. > :01:28.critic Ashley Clarke. First up, director John
:01:29. > :01:31.Hillcoat's Triple 9 - a police corruption thriller
:01:32. > :01:33.starring Kate Winslet like you've never seen her before,
:01:34. > :01:58.as a Russian-Israeli Mafiosa Triple 9 is basically the story of
:01:59. > :02:01.an ex-military guy who is put in a situation by the mother of his
:02:02. > :02:11.child. He enlists a number of cops to help him pull off a heist so that
:02:12. > :02:16.he can get his son back. We are not finished, Michael. There is another
:02:17. > :02:21.job. She said she will kill every last one of us if we do not get this
:02:22. > :02:24.thing. So they are put into a corner where they have to find a way of
:02:25. > :02:29.getting more time to do a certain am a very difficult job. And so they
:02:30. > :02:33.decide that with the help of the police officers in doubt group,
:02:34. > :02:39.their one avenue is to try to orchestrate a Triple 9. What is
:02:40. > :02:44.that? It means a cop has been killed. Every cop in the city runs
:02:45. > :02:50.towards that car. We will have all day. It is actually a code which
:02:51. > :02:53.means an officer is down. There is an understanding in America that if
:02:54. > :03:02.they hear that, they will all go to the scene of the crime. Officer
:03:03. > :03:08.down! Your job - get home at the end of the night. No-one is quite what
:03:09. > :03:21.they appear to be. So it is every shade of grey, really. With a gang
:03:22. > :03:24.of people, and then, the puppet master of all of that being Kate
:03:25. > :03:33.Winslet, in a really different role for her. We would like to know how
:03:34. > :03:42.things are progressing. Tell them we are going to make it work. This is
:03:43. > :03:47.fantastic. It is incredibly cool, something totally different for me,
:03:48. > :03:53.playing a truly brutal, horrible, horrific human being. She is the
:03:54. > :03:56.matriarch of a Russian criminal family and she is running her
:03:57. > :04:02.husband's operation while he is in prison. She is a very, very powerful
:04:03. > :04:06.individual. I suppose I just had not imagined that I would be asked to
:04:07. > :04:08.play a role like that in my lifetime. There is no limit to what
:04:09. > :04:23.desperate men will do - when pushed. Danny, this opens so promisingly,
:04:24. > :04:27.with a car chase, very reminiscent of Hit, and then we are down in a
:04:28. > :04:32.bank vault, by the safety deposit boxes, which reminded me of Inside
:04:33. > :04:40.Man. And then somebody holds up a plastic bag full of fingernails and
:04:41. > :04:44.teeth... We should stop there. It is interesting, because so many heist
:04:45. > :04:50.movies are glamorous. Really they serve as adverts for a life of
:04:51. > :04:54.crime. Not Triple 9, which is a film where things go wrong, chaotically
:04:55. > :04:58.and violently and unexpectedly. It has got that 70s vibe, it is going
:04:59. > :05:04.for the French connection, I think it wants to rub shoulders with those
:05:05. > :05:11.70s crime Classics. Also, it has every box set of The Wire lined up
:05:12. > :05:15.chronologically. It wants to tell this mesh of storylines and
:05:16. > :05:19.characters, in a two-hour movie. I think it is one of those areas where
:05:20. > :05:26.TV has merged film out of the territory. It maintains an admirable
:05:27. > :05:30.pace. I thought it was propulsive. But it gives itself so much plot to
:05:31. > :05:34.resolve that it cannot help but start to drag. Apparently the writer
:05:35. > :05:39.came up with the story when he took a long train journey or car journey
:05:40. > :05:43.with an under cover not takes agent. And he jotted down all of the
:05:44. > :05:47.stories. And I think they have shoehorned to many of them in. The
:05:48. > :05:52.strength actually is the atmosphere of the thing. It is thick with
:05:53. > :05:57.atmosphere. 70% of its takes place at night, and the bits in daylight,
:05:58. > :06:02.it is a really specific kind of daylight. Atlanta in the deep South,
:06:03. > :06:07.it feels cold. They have got that precise light, when you are kind of
:06:08. > :06:11.hungover. It has got something about it. That is the strength of it. But
:06:12. > :06:17.you're right there is too much story. Who is in charge, is it the
:06:18. > :06:20.shadowy character in prison, or is it his wife, Kate Winslet, who I
:06:21. > :06:25.think steals this movie? How did Kate Winslet get... Unless they were
:06:26. > :06:33.literally picking names out of a hat. They thought, we want more of
:06:34. > :06:38.this? But it sort of works. I do not even know if she thinks it is
:06:39. > :06:43.working while she is doing it. But because the film has that off-kilter
:06:44. > :06:48.kind of energy, her being such an or odd piece of casting... She is very
:06:49. > :06:52.good. It seems like stunt casting. She is born to be this controlling
:06:53. > :06:56.woman who is in charge, she just walks into it! I say that as a
:06:57. > :06:59.condiment. Underneath the beehive walks into it! I say that as a
:07:00. > :07:08.cast. It is a great example of a walks into it! I say that as a
:07:09. > :07:13.film which is a great cast, lifting fairly average, solid material into
:07:14. > :07:19.a different realm. Chiwetel Ejiofor is fantastic as a will. Casey
:07:20. > :07:25.Affleck is great. Woody Harrelson can do this in his sleep. And
:07:26. > :07:30.Michael Williams pops up. We should not say what he does in it. They
:07:31. > :07:33.were consciously downbeat about all of their performances. The film
:07:34. > :07:38.itself is very heavy-handed, which is par for the course for John
:07:39. > :07:40.Hillcoat. His films are pretty sledgehammer heavy. Sometimes you
:07:41. > :07:43.want a sledgehammer. Our next film also stars
:07:44. > :07:52.Casey Affleck, alongside Chris Pine, Set in 1952, it is the true story
:07:53. > :08:15.of a fearless rescue mission Set in 1952, it is the true story
:08:16. > :08:32.There is this terrible storm in 1952, in an
:08:33. > :08:42.There is this terrible storm in look. Jesus, Mary and Joseph! The
:08:43. > :08:43.There is this terrible storm in front half of the
:08:44. > :08:48.There is this terrible storm in completely. That is where most of
:08:49. > :08:53.the officers were. On the back half, there was a bunch of men who were
:08:54. > :08:58.still afloat. -- sunk completely. We had two or three hours, and then we
:08:59. > :09:03.sank. Choose yourself accrue and assess that ship. This is a true
:09:04. > :09:08.story and I think it is as much about the people in danger as it is
:09:09. > :09:10.about the people doing the rescue. It was only a small coastguard
:09:11. > :09:19.rescue team which went out. And it was impossible conditions. And these
:09:20. > :09:24.four young guys went out at six o'clock at night in February, in
:09:25. > :09:37.sub-freezing weather, to try to rescue 32 men. The compass is gone!
:09:38. > :09:41.We are in Massachusetts, nearing winter, and we are out in the
:09:42. > :09:46.winter. And it can get very cold, and the days can get very long.
:09:47. > :09:50.Complaining stops really fast once you see the real guys and what they
:09:51. > :09:55.went through. But it is good to have an experience somewhat of what they
:09:56. > :09:58.might have gone through, because it helps with the reality of the
:09:59. > :10:07.situation. We have got about five seconds, boys! If I were a much
:10:08. > :10:13.better actor, I could probably just always fake it. But I am always
:10:14. > :10:17.thrown by how fake stuff is. Here, it is actual rain, I am actually
:10:18. > :10:22.freezing cold. The wind is blasting in your face. And so there is not a
:10:23. > :10:28.lot of acting. You stay in doubt, take your punishment, you shout your
:10:29. > :10:40.lines, and then you dry off! This ship will be sunk by nightfall!
:10:41. > :10:45.Ashley, it is 63 years since this happened, and it is still considered
:10:46. > :10:51.the most daring sea rescue in American history. I think there are
:10:52. > :10:57.two films here. One is the oil to at sea, the big budget spectacular CGI
:10:58. > :11:03.filled disaster movie, with Casey Affleck as the hero. He is great,
:11:04. > :11:07.and when the film is at sea, it is very tense. I am not very good with
:11:08. > :11:12.water. I cannot really do the canoe across the lake, as my family found
:11:13. > :11:15.out this summer. It was not fun. At the other movie here is the
:11:16. > :11:22.old-fashioned love story, with Chris Pine and his paramour to be. He is a
:11:23. > :11:26.coastguard. It lost me, I thought it was really weak and limp. I could
:11:27. > :11:32.not disagree with you more. I am with you. I fell in love with it
:11:33. > :11:36.because it is not like Carol, it is not a movie which is this gorgeous
:11:37. > :11:40.version of what life was like in the 1950s. It is like a 1950s movie
:11:41. > :11:44.which has been brought back to life. Chris Pine and Holliday Grainger,
:11:45. > :11:51.they made my heart swell. Even the name! She has got that all about
:11:52. > :11:54.her. Chris Pine, he has to struggle with his good looks, but then he
:11:55. > :11:59.steps up and becomes a hero. Holliday Grainger waiting for him
:12:00. > :12:06.back on shore. Like a robot! What kind of robot?! Apparently Chris
:12:07. > :12:10.Pine said he did this because Bernie Webber, the character he plays,
:12:11. > :12:14.always admitted that he was afraid throughout the whole thing. That is
:12:15. > :12:19.the thing. There is no one-liners. You assume the real Bernie Webber is
:12:20. > :12:24.a strong and silent type, and the character is the same, there is no
:12:25. > :12:28.pithy one-liners. There is a difference between being understated
:12:29. > :12:32.and not really registering as a presence. I felt that Casey Affleck
:12:33. > :12:36.was so strong, that he dwarfed what Chris Pine was doing. Every time the
:12:37. > :12:43.action moved back to the town, it lost me. This is a actually in 3D. I
:12:44. > :12:45.saw it in 3D. I had no idea of that. 3D always profoundly irritates me,
:12:46. > :12:50.but I really enjoyed it in 3D. There 3D always profoundly irritates me,
:12:51. > :12:56.is something about the effect. With the oil tank and the tilting of the
:12:57. > :13:00.camera, and the queasiness. It has that extra dimension. I think we
:13:01. > :13:04.both saw it in 2-D. If I had the third dimension, I might have had a
:13:05. > :13:10.better reaction. I am fine with two dimensions. If this film had been
:13:11. > :13:14.made in 1952, it would have had the tiny little boat made of peanuts and
:13:15. > :13:19.match ticks. But you would not have had the effect. You would have had
:13:20. > :13:23.to have the hard-core suspension of disbelief when it came to the storm.
:13:24. > :13:28.You would have just had the actors wobbling about on the set. It is an
:13:29. > :13:33.improvement on The Perfect Storm. Anything would be! But there are
:13:34. > :13:37.moments of real calm which I thought were splendid. The bit where the
:13:38. > :13:42.compass is lost... I remember everything about this film. He says
:13:43. > :13:49.he is navigating at this point just the feel of the wind on his face.
:13:50. > :13:53.Little things like that, which are true to how it happened. And would
:13:54. > :13:58.be very useful in a nautical contest for any of the three of us. All when
:13:59. > :14:01.I go canoeing in the summer. I was expecting to be underwhelmed and I
:14:02. > :14:05.came out thinking, for a brief moment, I wanted to be a better
:14:06. > :14:10.person at the end of it. Let me say it is entertaining in places. As a
:14:11. > :14:15.whole it did not grab me but I thought the scenes Patsy were really
:14:16. > :14:22.well done. It is like walking into the picture Palace in 1952. I agree.
:14:23. > :14:25.You must stay to the end of the credits, when you see photographs of
:14:26. > :14:30.the real crew, and it is heartbreaking how young they were.
:14:31. > :14:31.Next up, the intriguing Bone Tomahawk, starring
:14:32. > :14:34.Sheriff Kurt Russell at the mercy of cave-dwelling cannibals.
:14:35. > :14:37.It is a horror Western that did very well at the London Film
:14:38. > :14:57.This is Sheriff Franklyn, identify yourself right now or I'll shoot you
:14:58. > :15:04.dead. There's a situation. Mrs O'Dwyer was abducted. Bone Tomahawk
:15:05. > :15:08.is's Kew mission where some of the inhabitants of the town, called
:15:09. > :15:13.Bright Hope, are kidnapped and a group is assembled to go rescue them
:15:14. > :15:18.from an unknown tribe. It ain't going to be easy making camp - I
:15:19. > :15:27.know it won't. We need to keep ourselves collected. Well it ain't
:15:28. > :15:32.going to be easy. Action! There are going to be people who find it slow
:15:33. > :15:37.and not delivering in things and then certainly over delivering in a
:15:38. > :15:42.hideous fashion, but this is a deliberately paced western without
:15:43. > :15:50.atmosphere and all the spaces and the uncomfortable pauses of people
:15:51. > :16:01.in that world. This tastes like corn. It's corn chowder. Oh. Then
:16:02. > :16:07.things are lining up. I I wanted to do something different, and I think
:16:08. > :16:14.it's different. Ambush. Are you seeing all this? We didn't know what
:16:15. > :16:18.it was like. You can't go anywhere on that leg. It needs to be operated
:16:19. > :16:23.on. You combine these horror elements and this thriller aspect
:16:24. > :16:28.and taking a lot of sterotypes and turning them sideways. Brace him. So
:16:29. > :16:32.you get the classic western feel of these guys going on their yourny,
:16:33. > :16:38.but what they go through, and what Ned say, I've never seen before in a
:16:39. > :16:41.film. I got into horror when I was very, very little. In Terrells of
:16:42. > :16:48.the violence, I need stuff that actually will shock me and make me
:16:49. > :16:51.uncomfortable. -- terms. There are a couple of scenes in particular that
:16:52. > :16:58.people seem to have a hard time with in this movie. I did when I wrote
:16:59. > :17:03.them as well. When it gets nasty, it gets very, very nasty. So it feels a
:17:04. > :17:08.little bit like a genre combination to a lot of people. If you want to
:17:09. > :17:12.question my morals, do it later. People who I know have been asking
:17:13. > :17:18.what's wrong with me for so long that it's not really a surprise at
:17:19. > :17:20.this stage any more. My mum is not going to watch Bone Tomahawk. We'll
:17:21. > :17:32.make sure all this has value. Danny, I was really impressed by
:17:33. > :17:36.much of of movie. Made in 21 days. What did you think? It has speed and
:17:37. > :17:41.momentum to it. It's interesting because a bit like the Finest Hours,
:17:42. > :17:45.the old school proposition. A western made up of at first quite a
:17:46. > :17:49.long stretch, saloons and jail houses and men in their long Johns
:17:50. > :17:54.it becomes something else. Something different with blood on its hands
:17:55. > :18:00.and nasty around its chops. A horror movie - Brutal. Genuinely horrific.
:18:01. > :18:03.Unusual. It's interesting because sometimes you are tempted to close
:18:04. > :18:07.your eyes. The sound, people may have got a whisper of it, the sound
:18:08. > :18:13.is gruesome and horrific - it make it is worse. You can tell what is
:18:14. > :18:17.going on. It proves that film itself is an audio as well as visual
:18:18. > :18:21.medium. I couldn't agree more. Very little music in the film, isn't
:18:22. > :18:27.there? There is a lot of space in the movie. It takes confidence for a
:18:28. > :18:33.film-maker to do that It's his first film. I think it's an interesting
:18:34. > :18:37.experiment. It was interesting, I keep saying "interesting" it came
:18:38. > :18:43.out similar time to Hateful Eight that takes the western as its basis
:18:44. > :18:48.and intergrates elements of horror, the Hateful Eight look at the the
:18:49. > :18:54.Thing. There are unsettling things in it. It was a slog. I found it
:18:55. > :18:59.very long and boring. Almost like a cult classic that was trying to
:19:00. > :19:11.announce itself as a cult classic without getting that reputation.
:19:12. > :19:17.Many of the - It is a truly frightening film. It would be wrong
:19:18. > :19:23.to call it a cod comedy. Moments that came out of nowhere. We saw in
:19:24. > :19:29.the clip, Richard General kins about to tuck into his chowder. He takes a
:19:30. > :19:36.mouthful, Russell waiting for his reply. Holds his finger up, three
:19:37. > :19:42.seconds go by. He is getting on with his dinner. You never see that in a
:19:43. > :19:46.movie. Holding the film because he is eating his chowder. We are taken
:19:47. > :19:52.to the cave. We need to talk about this cave. Don't go too far. It
:19:53. > :19:59.reminded me of The Des sent. It needed to go a little bit furthers
:20:00. > :20:03.ast a a critique of American myths of the Old West a dodgy line
:20:04. > :20:08.reputation Ali with what it does with the bad guy aages. They bring
:20:09. > :20:13.in a Native American to say, they are not one of us. They get rid of
:20:14. > :20:19.him again. It's brave about the savages. We don't know - they could
:20:20. > :20:26.- Why is that brave? It's left with a question mark. They are just
:20:27. > :20:32.there. I really like that was just - In and of itself is a good feature.
:20:33. > :20:36.Within the myths of the Old West and troublesome reputation it's an area
:20:37. > :20:40.worthy of study. It left me feeling un#k078 foshl. It's tricky when you
:20:41. > :20:44.mess with the old western. There are a reason why people look at them and
:20:45. > :20:47.think they were problematic. When the first cry goes up down that
:20:48. > :20:52.canyon. It happens so rarely, doesn't it these days in cinema you
:20:53. > :20:55.think - I'm glad I'm not there. Well made. The slowness as well. We have
:20:56. > :21:02.to stop. Do see it. I loved it. And last, Julianne Moore stars
:21:03. > :21:05.in Freeheld, the real-life story of a terminally-ill cop who fought
:21:06. > :21:08.the mulish New Jersey authorities If
:21:09. > :21:15.benefits to her partner, If
:21:16. > :21:22.would it be? What is your dream? A house, a dog, the woman I love, who
:21:23. > :21:27.loves me. Me, too. Domestic partnership is new. I like the idea
:21:28. > :21:32.of being a kept woman. What's the matter I think I pulled a muscle.
:21:33. > :21:36.Get it checked out. Yeah. It is a human rights story, a gay rights
:21:37. > :21:41.story. It's a police story as well. And, you know, it's a major, major
:21:42. > :21:47.love story. Could I have your number? That was the most important
:21:48. > :21:51.thing that you see that connection, the deep love that they had for each
:21:52. > :21:57.other and the kind of support that they offered each other, too. I
:21:58. > :22:02.guess that make it is official? Official, baby. They were ordinary
:22:03. > :22:06.people Iing, living ordinary lives who found them snefs an
:22:07. > :22:10.extraordinary situation. Because of their courage and the depth of
:22:11. > :22:14.feeling they discovered that they had for each other, they made a
:22:15. > :22:17.difference in the world. My name is detective
:22:18. > :22:19.Laurel Hester, I've worked for the Ocean County Police
:22:20. > :22:22.Department for 23 years. Recently, I was diagnosed
:22:23. > :22:27.with stage four lung cancer. When my heterosexual colleagues
:22:28. > :22:29.die their pensions go to their spouses but,
:22:30. > :22:32.because my partner is a woman, In my 23 years as a police officer
:22:33. > :22:36.I've never asked for special treatment, I'm only
:22:37. > :22:40.asking for equality. We anguished over this situation,
:22:41. > :22:44.but we have to deny your request. There was this loophole that let
:22:45. > :22:47.Count whyy officials decide who got the pension benefits and who didn't.
:22:48. > :22:51.They say no to Laurel. Then, basically, the whole story becomes
:22:52. > :22:56.this really inspiring fight for justice during a time in two
:22:57. > :23:01.individuals life that is just a tragedy and difficulty of
:23:02. > :23:06.unimaginable proportion. We're just average people. We have a house and
:23:07. > :23:15.we worked so hard on it because we thought we were going to live in it
:23:16. > :23:24.forever. But I guess that's not going to happen. So the house will
:23:25. > :23:29.just really like to hold on to it, you no he, to remember... To
:23:30. > :23:45.remember how much we love each other. Thank you. Ashley, this was
:23:46. > :23:49.written by the Oscar and daft ya nominated writer of Phil defl ya.
:23:50. > :23:53.Concerned with quality and rights. Is it stirring stuff? No, in a word.
:23:54. > :23:58.It isn't an earnest and well intentions film about a very
:23:59. > :24:01.important subject. It's based on a short documentary from 2009, which
:24:02. > :24:06.is well worth checking out. I just found the script really, really ham
:24:07. > :24:10.fisted. A lot of the time it seems characters are reading descriptions
:24:11. > :24:14.of themselves or - I live by the sea. Things like that. You know we
:24:15. > :24:18.know because we can see your house by the sea. The score is intrusive
:24:19. > :24:27.too. I was wondering who is responsible for this? It turns out
:24:28. > :24:33.it's Johnny Marr from The Smiths. Morsi was always the talent. Ellen
:24:34. > :24:38.Page didn't she come out as a lesbian. Six years she spent trying
:24:39. > :24:44.to get it off the ground. I'm sure that is right. A passion project.
:24:45. > :24:50.Julianne Moore is great. It's like a euphemism people trot out when the
:24:51. > :24:56.film is cased in stoj. It could become the all purpose social fuf
:24:57. > :25:00.missism. When there is an awkward pause - wasn't Julianne Moore great.
:25:01. > :25:04.There was a feeling that Spotlight which was about important things was
:25:05. > :25:07.weighed down by that importance and was grey and flat. I think the
:25:08. > :25:11.people who said that were very, very wrong. You could hold up Freeheld as
:25:12. > :25:15.an example - no this is the film that is grey and flat and weighed
:25:16. > :25:21.down. For character drama it's uninterested in the central pair.
:25:22. > :25:28.Michael comes along, it should have been cold Michael Shannon Freedom
:25:29. > :25:32.Fighter. Once it is's established that Julianne Moore is not well her
:25:33. > :25:39.character and Ellen Page's character recede into the background. In comes
:25:40. > :25:43.- It's Steve Carell. He plays the Lader of the Garden State Equality
:25:44. > :25:51.Movement from that time. A gay lawyer. He looked up this guy Steve
:25:52. > :25:56.Goldstein on YouTube. He is doing a good imposition. It's all over the
:25:57. > :26:02.place. Unless you have a banner along the screen explaining what was
:26:03. > :26:06.going on it seems glaring. You get the sense of the characters falling
:26:07. > :26:11.in love am they have this island of happiness. Things shattered. In the
:26:12. > :26:16.middle of this under stated film you look like a character plot of from
:26:17. > :26:19.Are You Being Served. Steven Goldstein has this thing he does to
:26:20. > :26:24.draw attention to the cause. It makes perfect sense in that context.
:26:25. > :26:30.Steve Carell, an intelligent actor, it looks terrible 246789 is a moment
:26:31. > :26:42.where you think - wasn't Julianne Moore great. We haven't got time for
:26:43. > :26:45.any more. Film. Week. Triple 9. The Finest Hours. Me too.
:26:46. > :26:49.Playing us out tonight is Eddie The Eagle.
:26:50. > :26:51.Released in April, the thrillingly promising Taron Egerton plays Eddie,
:26:52. > :26:53.the Alpine athlete from Middle England who dreamt
:26:54. > :26:56.of becoming the first British ski jumper to compete in the Winter
:26:57. > :27:07.For as long as I can remember it has been my ambition to become an
:27:08. > :27:15.Olympian. Eddie, are you not an athlete. You're right, I'm never
:27:16. > :27:21.going to go to the Olympics. I'm going to go to the Winter Olympics.
:27:22. > :27:29.You will never be Olympic material. Let's do it. I really need a coach.
:27:30. > :27:35.You do realise the time to start jumping is when you're five or six.
:27:36. > :27:41.What do you know about it? 1968 Champion. How come I've never heard
:27:42. > :27:47.of him? He kicked him out. He was disrespectful of the sport. He just
:27:48. > :27:53.after a few tips. Give up, there's one for free. Could you give me a
:27:54. > :28:03.push, please. A push? It's higher than I expected it to be.
:28:04. > :28:11.You're not going to give up, are you? I'm going to do it. I was
:28:12. > :28:16.kicked off every time I was on before I got to prove myself. That
:28:17. > :28:22.is why I need my own moment. It's a world that doesn't want to know you.
:28:23. > :28:28.What's new. I know what it's like to be written off. It will hurt like
:28:29. > :28:32.hell. W-very no desire to be associated with ludicrous antiques
:28:33. > :28:40.and defeat. You're a disgrace to the sport. Really. Personal best and
:28:41. > :28:45.we're a disgrace. Here he comes, Britain's Eddie Edwards. You're
:28:46. > :28:53.Eddie the Eagle, just fly. COMMENTATOR: And he's off.
:28:54. > :28:54.Can he do the impossible? Hands up, that was my fault.