Ticket to Paradise; Moonage Daydream; The Railway Children Return; Bodies Bodies Bodies; Pinocchio

First on Film & Entertainment S01E07 AI Transcript

Alex: First on film and entertainment. My name is Alex. First. Joining me, Peter Krause and Jackie Hamilton. The two of you, are you excited? Are ah you excited that we're almost at the grand final?

Peter: Peter Krause, uh, what grand final? What's going on?

Alex: Not exactly. And Jackie Hamilton, your team lost in abject fashion. So you don't care anymore, do you? What did they lose between the two? This is like the blind leading the blinder. Uh, it is very sad. And this is the time to get excited. The Spring Racing Carnival is coming. This is entertainment.

Jackie: The poor horses.

Alex: I like foot here. The queen loved horses. Come on. Your daughter loves horses, Jackie.

Jackie: Yes, so much she doesn't want them to race. What's it got to do with my daughter? But there we go. Film show.

Alex: Oh, we're not doing this again. It's an entertainment program, and you provide life out of entertainment for me. What could be better than that?

Jackie: You do make me laugh, Alex.

Alex: Now, have you been watching the world? Millions of people literally traversing past the coffin of the queen. I expected it to be like this, but there's something, uh I just appreciate what has been happening. I know she's a human being, but she was a very special human being. And we spoke about this briefly last week, peter, the way that the Brits do this is above and beyond, and you've got to commend even 22 hours in a line. I was hearing that yesterday. Wow. Filing, uh, past a coffin. Have you been to Russia ever, Peter?

Peter: No, but I've seen a documentary where Stalin's funeral, um, also was attended by millions of people.

Alex: I was filing past a coffin in Red Square, et cetera, when Nadine and I visited. Nadine being my wife, and we were queuing there, but obviously nowhere near as long as this. Have either of you ever queued for anything for hours on end? I'm really curious because I have I remember curing at the City Olympic Games.

Jackie: What about tickets to the Bob Dylan when he was here?

Alex: How long for?

Jackie: Uh, overnight.

Alex: Did you really?

Jackie: I think it was Russell Street or Exhibition Street. There was a ticket seller office. This is obviously going way back.

Alex: Oh, yeah. But sorry, in terms of overnight now, you didn't expect to have to queue overnight, did you? You just turned up and you then had to wait.

Jackie: Yes, I did.

Alex: Oh, you did. So, in other words, uh, you didn't sleep.

Jackie: I can't remember. No, probably not. I didn't need sleep back then. I was young. It was worth it for Bob Dylan.

Alex: I bet it was. Peter, have you ever queued?

Peter: The longest queues I've been involved with, uh, years ago at the Melbourne International Film Festival, where sometimes the queues could take an hour before we would get in.

Jackie: An hour? Peter, you're not even trying.

Alex: No. I was going to say no. Well, one of the scariest moments that I had Jackie was White Knight. You know how like the crush of human beings and people, God forbid, but they're killed in this sort of environment. And I remember not being able to move. I lost my wife, absolutely no question. And she got very upset that somehow we disconnected with one another. But you can imagine there were hundreds of thousands of people in the city.

Jackie: But that's a bit more chaotic, Alex, than an order.

Alex: Yeah, exactly. That's why I'm commending, uh, the Brits in terms of what they've done, handing out the name tags on the wristbands, et cetera, et cetera, so you can go to the portaloos and come back in your place. And obviously there was a story yesterday about David Beckham queuing up and it's terrific that celebrities and, uh, he felt the need. And obviously it met the monarch on a number of occasions, but it brings it all back to the pack. And there was a sense of Bono me, they were saying about how people made friends in the queue, which I do recall from the city Olympic Games. That was another thing.

Jackie: If it's orderly, Alex, you can do that. It's only when there's anxiety that someone is jumping the queue or something that people get fractious and then emotions run high or something like that. But I don't think this is the kind of event, for example, sports, the English soccer finals. And that where it's gone to the extreme, uh, queueing to walk past, um, the body of the queen or the former queen is, um, not going to be that sort of situation on what you just said. I have a very distinct memory. It was the end of, uh, New Year's Eve fireworks in the city. And our daughter was very young. We had her with us for the fireworks, the excitement, and the queue crossing princess Bridge was so crushed. And of course, this was not a queue, this was an out of control, um, thousands of people trying to get onto the train to leave, all at the same time, of course. And our daughter was quite small. And, uh, I looked down and I was afraid she actually couldn't breathe because of the crush of people around. And of course, she was only kind of hip height or chest height or whatever and we had to lift her up. But yes, so I know the situation, but it wasn't like that, Alice. I haven't been watching that ever since I got sick of hearing about all the queens. And what I did was turned over and started watching The Crown on Netflix.

Alex: You can watch that at any time. This is a historic event that has obviously gone on for a number of days because of the pop and ceremony involved in all of that. And we shouldn't forget. And this is something that really struck me on a number of occasions, that you've got people, their intimates, if you like, that the children, the grandchildren, etc. Uh, feeling that loss and having to be on public show for all of this time. So there's an expectation. In other words, if somebody looks the wrong way, then the whole world reports on it.

Jackie: Exactly. And that's almost excruciating Alex too. Well, it is going through that.

Alex: There really I had that feeling as well. At times you just want to be by yourself. I know that the King Charles III had one day off, but there was commentary about body language. There was commentary about this, that and the other. And I mean, you scrutinize everybody within an inch of their lives, pardon the punt. There's something awkward about it from my point of view, as well as you can't but help look. But, uh, you wonder whether there's another way of doing it where they can have their quiet moments as well.

Jackie: Well, maybe that's why I'm not looking.

Alex: Peter, uh, what's your view on all of that?

Peter: Yeah, I haven't been watching it. I think it is all quite i, uh, mean, I understand it perfectly from the British point of view, but I think it's all somewhat excessive that the coverage, the media coverage is just over the top. And, uh I don't know. I still have mixed feelings about all of this. Um, mixed feelings in that respect. Mixed feelings insofar as, um I don't know if it's time, perhaps to start talking about a republic.

Alex: Oh, really? Well, that conversation, it's edged up a little bit in the past few days. But again, what's reverential and it's an interesting discussion point because in terms of Shane Warne and that conversation having a mini series or whatever it might have been on Channel Nine and one of the daughters coming out and sort of lambasting Channel Nine the whole family, actually, all the children have, I will understand that. And I also think that it's far too early. I understand that he was colorful and all that sort of stuff. But what makes it really worse for me is that, uh, a lot of things that he did and he did very well were at Channel Nine. So I, uh, understand that his managers met his long serving manager has met with Channel Nine and they said it's not going to be salacious, et cetera. And he believes them. But it's not as if you can say, okay, it's going to be one year, two days, and whatever it might be. But, uh, an appropriate amount of time surely needs to go by. And Shane Warne was a larger than life figure and his funeral was extraordinarily well covered in terms of the way that Eddie McGuire and his team handled that. And everybody applauded them for that. Uh, it just doesn't feel right to me, does it, for either of you?

Peter: I think there's a lot of hypocrisy attached to this. I mean, public figures, um, will always have documentaries, uh, many series narratives, uh, made about them.

Alex: Yes, but timing.

Peter: Timing, peter, look, where do you get this timing idea? I mean, look at Shane warned the musical. Was that the right, uh, timing? Um, look at, uh, the documents.

Alex: Sorry. Shane warned the musical. Has that come out subsequent to his passing? I think it wasn't I didn't think no. Uh, again, I don't think it was. And it feels icky. That's the right word. It just doesn't feel right to me. Jackie, you.

Jackie: I don't mind. I think the main difference is if you like the age or the way they died or the shock of it, I think that you have to be a little more circumspect when, for example, the queen's passing is so very different in reaction to Diana's passing because of the shock, um, with the queen. 96 had a good evenings in the cricket terms. Um, but, um, I think also shane warnes was a big shock, and so perhaps a little more space might be respectful, but in the end, by the time this miniseries, or whatever it is, has been made and makes its appearance on TV, I think people will be okay about that. We all had our own thoughts on it.

Alex: Doesn't really, uh look, reverence is what this to me, is all about, ultimately a story about Shane warn's life. He's led a very colorful existence, there's no question about that. And that color needs to be in there for people to sort of feel that they've got a view that is formulated by truth.

Jackie: Uh, what you're saying, Alex, is if there's too much color, people will say it won't be respectful, too.

Alex: Yeah, I think whatever is said okay, I'll step back. What has been said to the manager of Shane warren is that everything is drawn from interviews that Shane actually gave. So, in other words, it's his words that we are going to be hearing. I feel a bit better about that too, I've got to say.

Jackie: Well, it's in the editing, isn't it?

Alex: Yeah, it is in the editing, and there'll be a lot of interest in it, no question, because even though he was a legendary cricket figure, he was also somebody who did a lot of good by way of charity work. He, uh, was very kind to other human beings. There's a lot of facets to him, apart from obviously being caught in his underwear. And all of those elements that came to make up the Shane warn that I suppose the public got to know when these midi series come out, you also want to learn something about him or the person that you don't know. So whether or not there are elements of Shane warned that none of us know, we will only find out in time. And also whether it's a reflection of the truth. Now, I've never watched the crown, but how accurate a representation is that of Alex?

Jackie: You're going to have to watch it, because all I heard about was how fantastic it was. And then once I've started, I am absolutely hooked. It is such an authentic feel about it and I think I'm getting a whole new sense of what that woman was about.

Alex: Wow. Peter, have you seen it?

Peter: Yes, I have. And you mustn't, uh, forget that, uh, all of the dialogue and conversations and so on, even though partly has been reported, is mostly made up and even though they've been very careful about the way they've represented the queen and the, ah, royal family, uh, all the dialogue and discussions, et cetera, are pretty much, um, in the mind of the screenwriter.

Alex: So that's the difference here against what I just said about Shane Wan. If indeed they stick to what they've.

Jackie: Said this week, it's quite different. Is that going to be a dramatization or you said the words will come from interviews.

Alex: No, the words will come from interviews. I presume that you don't know how they're going to look and sound and feel, et cetera. But if the words are the words from M, Shane Warren, uh, I can't imagine it will only be from him because obviously it'll be interacting with other people. So how you can get all of the words unless I suppose every conversation is a two way conversation. So I suppose you're recording both sides. Maybe that's what it'll be. I don't know.

Jackie: Alex, overall, I would suggest that in all your spare time that downtime.

Alex: Yes, you take a look at the.

Jackie: Crown, uh, with Claire Foy as the queen because it really is just absolutely fantastic series.

Alex: Well, let's talk about Hollywood royalty because they are, uh, starring in a sugar and spice feelgood piece of entertainment called Ticket to paradise. And it is 104 minutes in length, it is M rated and I reckon the chemistry between them is really strong. They've worked together well. This is their 6th go, isn't it? Ticket to paradise. So they've been working together for a long time. It is a romantic comedy and I supposedly start by saying that 25 years ago, a love story between David, played by Clooney and Georgia Roberts played out, which saw them marry and soon after they had a child. That daughter, uh, Lily, played by Caitlin Diva, is about to graduate with a law degree. Her parents separated acrimoniously five years after they married. And although they strictly keep their distance, that is not happening at the graduation ceremony of their daughter, they continue to take potshots at one another, even though they both love their daughter dearly. And now Lily is headed for holiday to Bali with her best friend and roommate whose name is Ren, as in the Bird, played by Billy Lord. Once she arrives in Bali, Lily falls head over heels for a local seaweed fisherman whose name is Gade, which I thought was a nice touch. But Gade is spelled G-E-D-E. So there you go. Played by Maxine Boutique. And going and falling in love totally upends her life in a good way. Next thing, Lily has given up her starting position of law practice and decided to wed the man of her dreams and live in Bali. So she invites her parents to the wedding, which they intend to shanghai buy a sleuth because they want her to be a lawyer. Hijinks, Abound. And in the process, David and Georgia come to realize that their spark hasn't been totally extinguished. The person behind it, old Parker, who did Mama Mia, Here We Go Again, he is the cowriter and he also directs, he co writes with Daniel Pipsky, and that is Ticket to paradise. So, as I say, sugar and spice, all things nice and predictable. Nevertheless, I thought there were a number of times that I found myself laughing aloud and I know my wife was loving it. What did you think of Ticket to Paradise, Jackie?

Jackie: Um, not what your wife and you thought of it, obviously. Um, I thought there was no chemistry.

Alex: But particularly hang on, hang on. They've worked together six times and they know each other the way that I thought. Really?

Jackie: So you're talking about Clooney and Julia Roberts here?

Alex: Yes, I am.

Jackie: Okay, so chemistry together. No, I know the story has them squabbling and arguing and personally, I hate movies that are based on married or formerly married couples who simply squabble. Unless it's really funny and wicky and sharp and quick, they're not quite to enjoy it. This was not that case, really, for a comedy. Was this a comedy? It really wasn't funny. Um, but the couple I was talking about as well is Lily and Ghetti, who have been obviously so instantly attracted to each other that they have to marry, um, cross culturally. Um, where was the chemistry between them? Uh uh, maybe it was covert that was keeping them fair. I don't think I even saw them. Well, there was no romance there. Alex was there. I just thought the whole film, Ticket to paradise, was nothing like its title. It was so bland and, um, to the point of boring.

Alex: Actually, hang on. Let's just step through a couple of these things. Would you agree that Clooney looks debonair?

Jackie: George Clooney. Looks like George Clooney. You're looking at George Clooney. There's no real background. There's no story to him. There's no character development. He just has the one big drunken moment when he lets himself go. He enjoys himself. Maybe he was drunk because he tries to be entertaining there, but the rest of the time, honestly, he just came to Queensland for a bit of sunshine.

Alex: Well, look, he makes everything look effortlessly simple. I reckon his smile charms and disarms. And don't you think robert seems to enjoy her barbed back and forth showcase lines with him. You didn't think that?

Jackie: She certainly puts more effort into it than George Clinton.

Alex: She gives as good as she gets.

Jackie: But neither of them is going for an acting award here, right?

Alex: No, but hang on. Just looking picture. Jackie, the Cinematographer. Ollie Brat. Brickerland I reckon he's done himself proud. Bear in mind you're right. It was shot in the Whitsundays, which substituted for Bali. And hopefully both tourist destinations benefit enormously as a result. I thought it was a gorgeous looking picture. You don't agree with that?

Jackie: Okay, so it was a film about taxation benefits.

Alex: Come on. This is incredibly cynical. Okay, Peter, can you give me anything?

Peter: I can give you something, but, uh, I think there is a phony to this film. Um, especially shooting it in Queensland, mimicking, uh, Bali, which, uh, reflects the overall, uh, storyline. Uh, look, this was no War of the Roses where there was that great bickering between the couple and, um, ah, turning into something more machiavellian. This one is so predictable and so bland. We know that Julia Roberts and George Clooney are going to get back together again. We know that they improvised that they improvised some of their lines because they had such a good time in Queensland because they were able to shoot a film. But, uh, yes, the young couple, uh, that all just seemed manufactured. And I also thought it was mildly sexist in the view that, um, perhaps she should have had a career, their daughter. Uh, and yet she was discouraged to some extent by her parents, um, or at least trying to get her to, uh, have a career. And then she herself decided she would prefer to live on the, uh, island and be married and harvest seaweed or whatever it is with her husband. I mean, the whole thing just seems so bland and old. Parker, who, uh, directed the sequel to Mamma Mia, as you mentioned here We Go again, is such a superficial, bland sort of filmmaker that, um, obviously trying to go for an audience pleasing type of film. Yet I didn't feel particularly pleased as an audience member of this film. In fact, I thought the whole thing was just so manufactured and phony that, uh, I just gave up by the end of the film.

Alex: Wow. Okay, you two agree. And it's funny because my wife loved it, really enjoyed herself. And yes, you get exactly what you expect to get. I don't disagree with that at all.

Jackie: But, no, Alex, I didn't expect I expected to get a bit of fun out of it.

Alex: Um, I'm a sucker for this kind of lightweight fare.

Jackie: What did you think of the pilot? George's boyfriend? The surprise pilot? Who do you want your pilot to be? The goofy sidekick?

Alex: Honestly? No, you do not. But it's a fun type film and it's make believe. I mean, that's what romance is, this happily ever after type thing. And it's easy on the eye, it's a pleasant distraction, it's soft, it's a romp. That's what it's meant to be. And dare I say, in this day and age, I'm not even allowed to proffer an opinion, but I will. It's female skewed, I think, and it should attract yeah, thank you. It's female skewed. Except jackie uh, but it should attract an audience. And it will attract an audience. They might not love it, but my wife was chuckling right the way through this, so not everybody is going to take it the same way. Uh, I just think people should go.

Jackie: And see something else, that's all.

Alex: Well, my mark is going to be no reflection of your mark. So what are you going to give? Tickets to paradise, which, by the way, is M rated again, and 104 minutes in length.

Jackie: Um, I'm going to give the marriage two years and the movie four and a half out of ten.

Alex: Okay, so that's a file, Peter.

Peter: And there's a conundrum attached to what you're saying, Alex, because a film that is popular is not necessarily a hundred percent. We have to go with those. All right. Well, overall, very bland. Uh, five out of ten.

Alex: Okay. So you're passing it, though? Uh, barely.

Peter: Barely.

Alex: Okay. I'm giving it a seven. I knew you wouldn't appreciate it, Jackie.

Jackie: Alex, you won't even remember this film twelve months from now.

Alex: No, there's not much to remember, that's true, but in the sense that it just washes over you and I got exactly what I expected to get.

Jackie: I reckon people would be happy if you just go and see the trailer. When you're going to see another film, have a look at the trailer for this, and you'll probably quite enjoy it. It runs a good three minutes, encapsulates the entire narrative. And you'll have seen Clooney and Roberts.

Alex: Well, we're talking about a movie next week called Fall, and that's one of my concerns, that I'd seen the trailer and that's why I don't like seeing trailers. I want to see a movie without knowing anything about it, to be quite candid. Now, we will talk about a movie which we saw a few weeks ago, but is rather important that we talk about because it's about David Bowie. What was David Bowie's real name? Do we know anybody? No. Silence on the line. David Robert Jones was his real name. So Bowie sounds a lot more exciting to me, but nothing wrong with the Jones name. But there you go, david Bowie. I'd like to know why. M, I think maybe there was around the same time as there was another Jones, wasn't there? Was that the, um jones? Was that the Partridge Family or no, what was it? Monkeys. Monkeys.

Jackie: He took his stage name. I'm reading from James Bowie, who invented the famous knife, literally announcing himself as cutting edge.

Alex: Oh. Ah, thank you. Very good. So it's hard to believe, when I was looking at this, I thought, when did he pass away? M january.

Jackie: Did you find out anything of this in this film?

Alex: Well, look, there's no question he was a creative genius. And for him, safe. Middle of the Road just didn't cut it. He was innovative. He pushed himself, like, to live life on the edge. And he admired others who did live life that way. So, according to what is a family endorsed documentary, Moonage Daydream, he was heavily influenced by his older half brother, Terry, who was the one who introduced him to, quote unquote, outsiders. And more than anything, though, he was curious about the world around him. Boy, did he travel extensively. He never liked to feel comfortable. And to that end, he moved countries regularly and lived a number of these out of the way places. He was spiritual his output. Boy, was that prolific. Not just as a singer songwriter. One point of the docko, Jackie. By the age of 33, he'd released 17 albums. He'd starred in a couple of feature films, he appeared in a Broadway play, and he was an accomplished painter and sculptor. Wow. How many people, uh, could lay claims of that collection? And he was adored musically. He drew large, huge crowds. Groupies were in tears before it was fashionable to do so. He declared himself bisexual. His look was androgynous he proudly wore makeup, he painted his nails. And there's a catalogue of his songs, many of them global hits. And his remarkable life story unfolds. And when we say remarkable lifestyle. So he had an unremarkable childhood, but clearly he had a thirst for knowledge and understanding from an early age. And he embraced different. So all the color and the glamour are on show in Munich Daydream, as well as the adoring concert crowds. So to some of the quieter moments. And throughout this documentary, we hear Bowie's thoughts through a series of interviews and note how his opinions changed over time. It was really evident between his early twenty s and mid thirty s. And life took a significant turn when he met and later married his wife, Iman, at the age of 45 minutes. That reference only appears briefly towards the tail end of what I thought was a compelling documentary. What did you think of it, Peter?

Peter: I think this is less a film about David Bowie and more a film about Brett Morgan, the director, who has used a kaleidoscope of images, many of which are not necessarily relevant or appropriate ah, as well as a huge amount of footage that he has sort of jumbled together into this very long sort, uh, of, uh, sort of documentary. I call it a narrative, to some extent, uh, about David Bowie. We learn very little about his private life or his personal life or his real attitudes. We don't hear from other people telling us more about him. I've seen other documentaries about David Bowie which are much more insightful and, uh, discursive than this.

Alex: Does that mean you didn't enjoy this?

Peter: I didn't. I was very disappointed by this film. I really thought that it was a kaleidoscope of imagery and oral um, sounds, which ah, were, as I said, more of an artistic, uh, collection by uh, Brett Morgan, who did a much better documentary, um, uh, a few years ago on Kurt Cobain. Uh, but this one, he just went overboard and just tried to plow in as many uh, bits of footage and other things that are not really related or relevant, but was more about Brett Morgan's, I suppose, perspective on David Bowie. And I'm not sure if you'd call this at all a definitive documentary. I've seen far better than this one.

Alex: Jackie.

Jackie: Peter, I think we're twins today.

Alex: Wow. Okay. Because Jackie, it took me a while to get into this, but when I did, I really got into it.

Jackie: I was hoping to get into it. Alex and the documentary wasn't about Bowie, the man or us getting to know him. And I do know that it was deliberately done that way, because they say there are plenty of other dockers about him where you can find out his name and when he died and what his albums were and all that sort of thing. But I wanted something of the man in this film that was more than, as Peter said, paint splotches and kind of random. I did like the archival footage, but why does it have to be repeated over and over through the film, dragging it and it was too long. It didn't need to be.

Alex: Yes, it did not. I did struggle, uh, with that because it went for 2 hours and 20 minutes. Em rated moon age daydream. Uh, look. He maintained a pace few others could. He made an indelible mark on the world. He touched so many people. His message, the message from this docko to me was clear. Life is transitory, so it's what we do with it that counts. And he loved the rich and colorful existence he had. Uh, didn't you find it visually arresting?

Jackie: Huh, Jackie? Just too much. It was about the visually arresting stuff that's quite deliberately loud and gaudy and in your face, um, and deliberately random all over the place. I wanted more context of what I was looking at, particularly in the interviews. And we could only really grasp that really by the way Bowie was dressed, or his hairstyle, or how old his face motor, how aging he was. And we kind of guessed at it, but I actually wanted to know it didn't need to be, um, progressively through his life. But as we saw the interviews, I wanted to know what stage he was at there. So what I was watching, I wanted some more context or some sort of signage or not necessarily a full narration at all. I like a docker that doesn't have full narration. But I did want to know more of what we were looking at.

Alex: Well, I mean, written and directed by Brett Morgan. I do think the start could have been paired back, but once I got into. It, uh, I was quite riveted, I say that as someone who admired David Bowie, but I wouldn't call myself an aficionado. And it's rich, it's colorful. That's the existence that he had. So, yeah. Again, I'm sure that I appreciate this a lot more than the two of you. Peter score out of ten for moon age daydream.

Peter: I'll just mention a 2016 documentary called The Man Who Changed the World, which I think is much more insightful about David Bowie. Uh uh, I think I'll give this film because it is visually arresting. And the soundscape is very good. I just wish it was more about David Bowie. So I'll give it six out of ten.

Alex: Jackie, do you know I've got something.

Jackie: In common with David Bowie?

Alex: Let's try and guess. Um, the fact is that you both like unusual things.

Jackie: I don't know if I want you guessing. Oh, yes. What is that, Jackie? Um, and in fact, it's probably really the only thing I learned about David Bowie in the whole film. Um, no, he has the eye condition and a sequoia, which is why his eyes look weird. One pupil is larger than the other. But, uh, he was caused in a fight when he had a punch up with another boy over a girl in primary school or something. And his eye pupil stayed larger than the other one. Um, whereas mine comes and goes. So there you go. And I gave the film in.

Alex: Did you ever punch up as well?

Jackie: No. It can be a genetic thing. It can be just a thing. In fact, 20% of the population has it hang on.

Alex: 20% of the population has one pupil larger than another? Is that right?

Jackie: Yes, but sometimes it's only one or 2. Mm. So that's why it's not noticeable. Um, but of course, the more dramatic it is, the more someone might say.

Alex: Our ears the same size. Jackie, should our ears be comment on ears?

Jackie: I'm sorry.

Alex: Uh, what useful part are you playing in?

Jackie: I've given you as much as I can, and I'm going to give Moon H Day Dream six out of ten. Peter, i, uh, said we're twins.

Alex: And I gave a score two marks above you, Peter, with the first movie. And I'm going to be two marks above you with this. I'm giving this an eight out of ten. I enjoyed it so far.

Jackie: Peter. The boat is in. That's right.

Peter: It's already rules.

Alex: Okay. The railway. Children, return. Now, did you see the original Railway Children? Because you would have been about you did okay. Jackie?

Jackie: Uh, well, I know of it. I can't remember whether or not I can't recall either.

Peter: Yeah, it was a lovely 1970 film. Lionel Jeffries, the actor, uh, stepped into directed, and he did such a nice job, uh, of that film. And of course, Jenny Agata was one of the children.

Alex: Yes. In fact, one of the children. Now, she comes back as a grandmother. I think that's terrific. 52 years between drinks. Very nice indeed.

Jackie: Yeah.

Alex: So it's a family movie about the impact of war in the UK on children. And it is. And a new wave of German bombing has British families on edge. So parents scramble to get their children out of steam trains bound for the country to families who care for them temporarily. And so it is from Mother and her three youngsters who live in Salford, which is in Manchester. The children, 13 year old Lily, played by Beau Gadsden, eleven year old Patty Eden Hamilton and Ted Zac Kudby, who is aged six, head to a, ah, Yorkshire village named Oakworth. The three, who are keen not to be separated, end up staying with the ed mistress of a local school. And her name is Annie sheridan Smith plays her. Her husband is off fighting the Germans. She lives with her mother, Bobby, and that's the Jenny Agata character who, as we've mentioned, reprises her iconic role. And so she lives with a mother, Bobby, and son Thomas, played by Austin Haines. And Austin, like Lily, is 13 years of age. Austin Thomas, played by Austin Haines, is 13 years of age. And in no time, the Manchester children are quite at home with their adopted family and also with the open spaces that their new local affords them. They get along just fine with Thomas. They enjoy playing in the local railway yard where Thomas has a secret hideout. So it's all one big adventure until they discover an injured American soldier called Abe K J Atkins, whose backstory is not a pleasant one. He's on the run, being chased by the military police. Although it's not as it seems. What the Railway Children discover is an ugly byproduct of war that does not sit comfortably with the kids. So it's a largely glossy representation of the period the Railway Children return, tempered with darker moments. It's one of these darker moments give the movie its major plot point and bite. Mind you, I thought there were a number of moving components that helped build the tension and it's got a younger audience in mind. It's PG rated, but it's been written by Daniel Brocklehurst and Gemma Rogers, while Morgan Matthews is the director of the piece. I mean, much of the heavy lifting goes to Bodston, the 13 year old, who has come from Manchester. And I thought she sort of admirably captured the mix of responsible pragmatic and playful. That the role dictates. Did you enjoy Jackie or not?

Jackie: I didn't see this one, Alex.

Alex: Well, there we go. What about you, Peter?

Peter: Uh, I enjoyed it. I thought it was a pretty good sequel, two years down the track of the original film. And I like the way they wove in, uh, a racial, um, cultural sort of aspect.

Alex: Well, they have to these days, though, Peter, don't they?

Peter: It's not compulsory, but I think.

Jackie: In.

Alex: This politically correct age, uh, you need to have diverse parts. Do you know what I mean? Hollywood made that edict some time ago. I presume the Brits are following suit and it's almost a requirement in movies. M most movies we see now have got more diversity and I don't think that's a bad thing. But um some people have a problem with it, maybe.

Peter: But I think it works very effectively in this film. Uh, and it had this sort of nice spirit and flow to it which the original had and it was so nice to see Jenny Agata back as uh uh, the uh, grandmother and uh she had her own issues with her daughter who's uh waiting to hear news. Um, and it sort of gives you that feel of uh the dislocation that children had when they were sent away. A bit like the kinder transport uh where Jewish children were, of course uh uh, taken into the countryside uh so that they wouldn't be uh bombed, et cetera or affected by the Holocaust and so on. So look, this was a really nice version. My only regret is that they didn't use that beautiful theme music that was used in the original form here. They've used um uh a different uh uh. School score uh which I thought was so but uh it didn't have quite the same feel and emotion to it but it was beautifully shot ah and certainly getting the feel of the forties. The countryside. Uh and of the railways and of that whole notion of being isolated and remote and uh finding out what's going on in the real world. If you like to put it that way. Uh, it's just part and parcel of this really nicely observed film.

Alex: Gentle, uh, the gentle at times. No question about that. You didn't have the video games and you made adventure on your own, didn't you? That was what really struck me as well. And they represented that beautifully. Um, bear in mind I mentioned Bogadstone. There's a bit of a spark about her which is also present, I thought, in the younger sister as portrayed by Eden Hamilton. I thought they worked really well. And Austin Haines. Very pleasant demeanor to his character. Thomas. I also thought that the adults played their parts pretty well too. I mean, Sheridan Smith is the schoolman. And there was John Bradley. Now, wasn't he a bit of a hooters? The Oakworth station master. Richard Perks, the grandson of the previous station master. Again, really nice. It's a pleasant trip down memory lane and that's how I would describe it. Peter.

Peter: Look, I agree and I think, uh, younger audiences will still like it. They don't have to have seen the original film, no, to appreciate this. Uh, but older audiences who do remember Lionel uh Jeffrey's film uh, will have fond memories as well. I think it's well done. It's a good family film and it certainly uh does not outstage welcome it's really nicely, uh, directed and well written and, uh, I think it has a very appropriate conclusion.

Alex: So, score out of ten for the, ah, Railway children, 99 minutes, PG arrayed.

Peter: I give it seven out of ten. I enjoyed it.

Alex: As do I. So there we go. We finally agree on something, Peter. Uh, that's rather scary.

Peter: It, ah, is scary.

Jackie: It is.

Alex: Uh, quite a diverse bunch of films and I should say that the next one we're going to talk about is very different and it's called Bodies, Bodies, bodies. So an interesting title because you're immediately thinking horror, aren't you, when you hear those three words. But we're talking about a small group of doped up rich kids with far too much time on their hands. And that alone is enough to tell us that this is bound to end badly. And of course it does. They're 20 somethings and, uh, they plan what is called a hurricane party. So a hurricane is upon them and they're at a remote family mansion. So what could possibly go wrong? Well, everything. And before this is over, they are going to have blood on their hands and plenty of it at the last minute. Into this sort of gathering walk, sophie played by Amandla Stenberg, who's, um, making a bit of a splash in terms of her acting career, and her new Russian girlfriend, who's known as B Maria Baccalova, for whom Sophie has professed her love. The pair hardly draws breath from their lip locking. I've got to say, uh, the cinematography really hones, um, in on that. This group of youngsters is used to playing a game that starts with tequila shots. I think it's tequila, isn't it, Peter?

Peter: I think so, yes.

Alex: And they follow that by a hard slap on the face. Very unusual way to start a game, I would have thought, but there you go. Very unusual. Uh, and the game itself is called Bodies. Bodies, bodies. And it involves moving around in the dark and a mock murderer. Now, in spite of the fact that it always ends in arguments, the game that is this group is at it again. This time the game turns deadly and everyone is under suspicion. So. What's that agatha Christie movie. Yeah. And then there were none. It was kind of like that. Um, anyway, of course they profess their innocence and as they do, it doesn't stop the body count from growing. It's aimed at a young adult audience. Bodies. Bodies. Bodies. It's a darkly comedic horror thriller. I think it makes its mark. And I got to say, first up, it's very easy to form an unfavorable opinion of members of this collective right I mentioned to you. Too much time on their hands, too much money. That's, uh, what we meant to that's the opinion I think we're meant to form. Uh, they hardly do themselves any favors. Uh, the majority are constantly moaning and bitching. So each of the seven key protagonists, led by the two that I've already mentioned. They're giving their time in the sun. So the story is by Kristenu um, I'm going to get this name mispronounced. I apologize. Rupan. And the screenplay by Sarah Delap. It's cleverly pinched in both language and tone, I thought, at Generation Z. And there is a butte twist, which I really enjoyed at the end of this picture. It's called bodies. Uh, bodies. Uh, bodies. Jacqueline Hamilton. Did you like it?

Jackie: I expected to not like it. Alex horror thriller teenager. It wasn't going to be me. I went along and it almost, I would say almost came close to blowing me away. I thoroughly recommend this. If you say that's the demographic it's aimed at, I want to widen that because I think a lot of people would really get into this. Enjoy it. The main reason being it's actually a really well made film. It has ah, a beautiful natural language. Um, it's contemporary.

Alex: It's quite hang on, sorry. Beautiful natural language.

Jackie: Yes.

Alex: These kids can barely talk. Okay, go ahead.

Jackie: No, I totally disappear.

Alex: They can communicate, but they can't talk. Keep on going.

Jackie: Well, talk in terms of how you say it. I thought that their language was very natural. I thought that therefore the script, it's like you're listening to the kids on the tram with you.

Alex: Correct.

Jackie: The way they speak.

Alex: I don't disagree with that. That's true.

Jackie: Just because it's different from the way that you speak, doesn't it?

Alex: Well, I heard a radio interview.

Jackie: It's authentic. No, that's true.

Alex: It's authentic. I heard an interview on Radio yesterday with some kids who are teenagers, and every second word was like they didn't.

Jackie: Do every second word like, no, they.

Alex: Didn'T do that in this movie. That's true.

Jackie: You just shut down your argument.

Alex: I didn't.

Jackie: There was that sexual tension there. There was the stress, there was the storm, there was the fabulous lighting off the phones and that fluorescent neck wear that I think it was Alice was wearing. So the production was, I thought, absolutely beautiful. Spot on. You could see their eyes lit up by the phone. And, um, you could see it wasn't glamorous. I mean, by the end of them, they look like they'd been through.

Alex: They really had been through. Yes, that's true.

Jackie: But also the film really developed their personalities as they began to turn on each other. You could really see where they'd come from and the kind of people they were. The one thing I also love in a film like this, and it was a little bit bloody, it wasn't as gory as I thought. I just screwed up.

Alex: There was enough blood there.

Jackie: Yeah. And I thought there were a few things where it was going to go bump in the night and I was going to have not met, but I just screwed my eyes up. And it actually wasn't that bad. But what really, um, depraval that is the humor that came through and there was a nice, steady tone of humor right through it. But there were a couple of outstanding and absolutely hilarious moments of uh basically misunderstandings. Um, there was the vet, as in, uh, a veteran who had been to Afghanistan compared with was he? Well, that doesn't spoil it, does it, if I say that? Or was he a veterinarian? I just thought that was so funny because there was the misunderstanding there. And the other one that was really funny was Alice trying to explain how well she knew Greg because she had met him in a pub two weeks ago. And the way that that little uh, tit for tat and conversationally evolved was just exquisite.

Alex: I should say that the big name in this is Pete Davidson, who was on Saturday Night Live and used, uh, to be partnered with Kim Kardashian, and is one of these, uh, up and comers who arisen, shall we say, long before now. But he's probably the biggest name in the cars apart from uh what's her name? Amandla. Yes.

Jackie: Mandala Stenberg.

Alex: Amandla M with an L A. Um, yeah, they're the two big names in the cast.

Jackie: I thought they were all outstanding. All these young people were outstanding in their role.

Alex: Handheld camera movement, of course, Peter, there was that there. And the director is Helena Arraign, and she certainly keeps the action coming, does she not?

Peter: She certainly does. And uh uh, it was so interesting to watch this because I was uh, hacking back to Agatha Christie, even though this is a much bloodier version of an Agatha Christie sort, uh of um, thriller. But uh, I was quite impressed by this. It was interesting how the focus on the film was on the female characters. And I think that makes it very effective, especially in the way that the two men who in the film are represented, um and, uh, as you mentioned, Peter Davidson. Yes, but also Lee Pace is not a young man. Uh, he must be in his late 40s, early 50s. He's known for being in Lord of the Rings and uh, many other films. He's uh, a journeyman actor. And uh, I thought the way that the two men were treated in this film and uh, the twist that happens, which, of course, we won't reveal, was uh, very cleverly done. So I really enjoyed it. I think it was much better than I expected it to be. Uh, and I thought it was uh, a very clever piece of plotting because everything is very carefully plotted until the uh, end sequences. So I really enjoyed it.

Alex: Well, I mentioned the handheld camera. There was also the wind, there was the rain, there was an appropriately disturbing score. They all add to the tension. It knows its audience. Jackie just expanded that. It remains strong, it remains edgy throughout. I'm giving it a seven out of ten. What about you guys? Jackie?

Jackie: An eight out of ten from me. Alex, I thought it was great fun. Great fun film.

Peter: And Peter, I really like it too. Seven out of ten from me.

Alex: There you go. Bodies, bodies, bodies. Now, we are very limited in time, but we will mention Pinocchio, which you can get on Disney Plus, I believe. Is that right, Peter? Yes, Reimagined. Uh, by, uh, Robert Zamikis, pinocchio been fusing live action with computer generated imagery. CGI. And the storyteller is Jiminy Cricket, the voice of Joseph Gordon Levitt. Uh, it could have been better, Peter. Uh, I think it was okay without blowing me away. I mean, Tom Hanks approaches his role as Japetto with enthusiasm. He hams it up for the cameras. Look, uh, it was clever and creative to the A point, but I can't say it's totally sold out. I found it a bit stretched in terms of running time. For example, it was longer than the original Disney classic, which is very much that and a, uh, great movie. Uh, the blend of liveaction and graphics works okay, although I wouldn't call it Best of Breed. And the final sequence, for example, set in the ocean, is the least convincing of the challenges that Pinocchio faces. What did you think?

Peter: Look, I tend to agree with you. Uh, the animation, I thought was much better, and Disney is progressively doing more live actions of their animations. And I'm not sure if that's the best way to go, because this one, you're quite right, is fairly bland. Yes, visually, there are some great visual effects in the film. Yes, it tells the story, but it does introduce some darker elements into, uh, this, uh, tried and true tested, uh, tale, which I thought, uh, younger children might get a little upset by this. So, uh, this may be for older children rather than for younger ones.

Alex: Why would you give it out of ten?

Peter: Yeah, tom Hanks does a reasonable job. Look, I give it a six out of ten.

Alex: Yeah, I think that's a reasonable score. Six to six and a half out of ten for Pinocchio. Uh, and it's not terrible. It's just that the original was so breathtaking. So that's basically what we'd say about that Disney classic turned into a new movie that you can see on Disney.

Jackie: Class.

Alex: That's it, folks. We are off for another week. I hope you enjoy your movie going, and thanks you very much, Peter. Thank you, Jackie. You've been listening first on film and entertainment. Catch you next Sunday morning. Bye.