Bad Dads Film Review

Bad Dads
  • 5.0 (16)
  • Film Reviews
  • Updated Semiweekly

Several years ago 4 self confessed movie fanatics ruined their favourite pastime by having children. Now we are telling the world about the movies we missed and the frequently awful kids tv we are now subjected to. We like to think we're funny. Come and argue with us on the social medias. Twitter: @dads_film Facebook: BadDadsFilmReview Instagram: instagram.com/baddadsjsy www.baddadsfilm.com

  1. 1d ago

    Midweek Mention... Reacher

    This week on Bad Dads Film Review, Sidey, Dan and Reegs head to Margrave for the first episode of Prime Video’s Reacher, “Welcome to Margrave”, starring Alan Ritchson as Lee Child’s wandering ex-military policeman, blues enthusiast, pie-denied murder suspect and extremely large problem for corrupt small-town criminals. The dads start with their own Reacher experience. Sidey has not read the books and is watching the series for the first time, Dan once started one but did not finish it, and Reegs is currently listening to Killing Floor, the first Jack Reacher novel, on audiobook. This naturally becomes a brief celebration of audiobook actors, a debate about whether Ritchson has borrowed from the narrator’s delivery, and the important possibility that Jack Reacher might be read by Alan Carr or Julian Clary in another, better universe. The episode itself wastes no time establishing the essentials. Someone is murdered in the dark by a professional-looking killer, the body is beaten after the shooting, and then Reacher arrives in town as a pair of boots, shoulders and pure physical inconvenience. He spots a man being aggressive to his partner outside a diner, says almost nothing, and the man wisely decides that perhaps today is not the day to find out what happens if you square up to a human wall. Reacher then enters the diner, orders the famous pie he has been told about, and is arrested before he can properly eat it. The police cannot get handcuffs around his wrists, so they use cable ties, which tells you most of what the show wants you to understand about Alan Ritchson’s version of the character. Detective Finlay, a Harvard-educated outsider in a tweed suit, interrogates him, only for Reacher to dismantle the murder theory, explain that there were multiple people involved, and profile Finlay’s life with the calm confidence of Sherlock Holmes after a very aggressive protein phase. The dads follow the plot through Hubble, the terrified banker who confesses to a murder he clearly did not commit, the mysterious phone number hidden in a shoe, Chief Morrison’s suspiciously convenient evidence, and the decision to send Reacher and Hubble to prison for the weekend while the police chase bus-company footage. In prison, Hubble immediately becomes fresh meat and Reacher immediately becomes the one person you would want standing between you and everyone else. He gives Hubble practical advice, refuses a cavity search on legal grounds, and then demonstrates his conflict-resolution style: a tiny bit of verbal warning followed by broken noses, eye gouging and very efficient shower-room violence. The appeal, as the dads see it, is not subtle but it is very effective. Reacher is huge, clever, calm, decorated, right about nearly everything and capable of doing horrible things to people who have earned them. Reegs describes him as a hulking serial killer crossed with Sherlock Holmes, while Dan lands on “Sherlock Schwarzenegger.” The show leans into that fantasy rather than apologising for it, especially once Finlay discovers Reacher’s military-police background, secret medals and experience leading the 110th Special Investigations Unit. The first episode ends by making the case personal. After Reacher and Hubble are released, Reacher is allowed into the morgue, where he studies the body and realises before anyone says it out loud that the murdered man is his brother. It is a strong cliffhanger, and Dan admits it worked well enough that he and his wife carried on through the whole season together, partly because the show keeps dropping just enough cliffhanger bait to make the next episode very easy to press. There is also the unavoidable comparison with Tom Cruise’s Jack Reacher, though the dads try not to completely give away the film-review conversation. Alan Ritchson feels much closer to the book’s conception: enormous, intimidating and physically central to every scene. Reegs likes the way the character’s size informs his philosophy, especially the idea that Reacher hates seeing bigger people push smaller people around and exists to push back harder. That gives the violence a simple moral shape, even when the show is gleefully pulpy about it. Verdicts land warmly. Dan thinks the series is predictable and guilty-pleasure television, but also very watchable and stronger than the film version they are about to discuss elsewhere. Sidey is a little weary of the mysterious stranger arriving in a small town as a one-man army, but thinks this is a good version of that setup, likes Ritchson, and may download more for a no-Wi-Fi trip. Reegs is firmly on board, praising Ritchson, the character and the way the later seasons apparently widen the idea of who Reacher is beyond medals, machine guns and being very difficult to handcuff. So the Bad Dads verdict on Welcome to Margrave is a strong recommend: pulpy, chunky, well-shot Amazon action comfort food about a giant clever man arriving in a corrupt town, not getting his pie, and making that everyone else’s problem. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Midweek Mention... Reacher

  2. 6d ago

    Soderbergh Movies & Traffic

    This week on Bad Dads Film Review, Sidey, Dan, Reegs and Cris take on Steven Soderbergh’s Traffic, the Oscar-winning 2000 ensemble drama about the war on drugs, starring Michael Douglas, Benicio del Toro, Catherine Zeta-Jones, Don Cheadle, Luis Guzmán, Erika Christensen, Dennis Quaid and several thousand other people you recognise from better-lit rooms. The episode begins with Reegs back from France, a heroic return to walking football, a 6–2 win, snacks from Grand Marché, Rioja on the table and the usual sense that the podcast might be more structured if anyone genuinely wanted that. Recent viewing includes Dan on Early Man, Ted Lasso and Grown Ups, Reegs going deep into Reacher, Cris bringing a bit of cartel-adjacent homework energy, and Sidey watching Barry plus Netflix serial-killer thriller The Whisper Man, a film he enjoys until the last-minute ghost business turns up and starts knocking over the furniture. Before the main film, the dads count down Steven Soderbergh and Soderbergh-adjacent favourites. Cris explains how Benicio del Toro led him towards Traffic and Che, while the conversation takes in the myth and reality of Che Guevara, Soderbergh’s habit of editing and shooting under pseudonyms, and the frankly annoying fact that he appears to have made several films since this paragraph began. The list includes Solaris, Contagion, Syriana, Logan Lucky, Erin Brockovich, Magic Mike, Ocean’s Eleven, Ocean’s Thirteen, Haywire, Her, Confessions of a Dangerous Mind and Sidey’s beloved Out of Sight, which he still considers a 10-out-of-10 film thanks to Clooney, J-Lo, Luis Guzmán, Catherine Keener, David Holmes and the sort of charm that should probably be illegal. Then it is time for Traffic, a film the dads remember as serious, long, colour-coded and very much trying to win awards, which, to be fair, it did. The review follows the film’s interlocking stories: Javier Rodriguez trying to do good police work in Mexico while the system around him is already captured by cartel politics; DEA agents Montel Gordon and Ray Castro attempting to protect an informant long enough to bring down Carl Ayala; Helena Ayala discovering that being a wealthy pregnant society wife becomes much more complicated when your husband is dragged away by federal agents; and Robert Wakefield becoming America’s new drug czar just as his own daughter Caroline falls into addiction. The dads dig into the film’s bleak central point: the drug war is not really a war that can be won, because every apparent victory is also part of somebody else’s business model. Sidey describes the film as showing where drugs come from, how they move, how people try to stop them, where demand lives and why the whole machine is so futile. Cris particularly likes the Mexico storyline and the way the film’s colour palette helps you instantly know which world you are in, while Reegs connects the whole thing to the kind of institutional fatalism later explored in The Wire. A major talking point is the subtitle disaster. Dan and Sidey both watched versions where the Spanish sections were not properly translated, which is not ideal when huge parts of your Oscar-winning bilingual drama are in Spanish. Dan’s version apparently just told him people were “speaking Spanish”, which he had already managed to work out by being awake. Reegs uses this as a chance to grumble, correctly, about the loss of physical media and the way streaming platforms can serve up broken versions of films without anyone seeming to care. The film itself gives the dads plenty to chew on: Benicio del Toro’s quiet moral centre, the funfair arrest and “don’t shoot the clown”, Luis Guzmán’s excellent Ray Castro and his brutal car-bomb exit, Catherine Zeta-Jones going from shocked wife to ruthless operator, Dennis Quaid sniffing around the Ayala money, Caroline Wakefield’s awful spiral, Michael Douglas having to confront the war on drugs happening in his own house, and Javier’s beautifully modest final request for electricity so kids can play baseball at night. Verdicts are positive, but not breathless. Sidey thinks Traffic is extremely well made, handheld, fluid, serious and still strong, but also calls it a one-and-done rather than a film he would rush to revisit. Dan struggles more, partly because the missing subtitles kneecapped the experience and partly because the film is long, worthy and occasionally lost up its own arse; if forced to choose, he is watching Gladiator twice before watching Traffic twice. Cris is warmer on it, praising the acting, the structure, the Mexican material and the way the separate stories connect without turning into a neat crossover event. So the Bad Dads verdict lands somewhere between strong recommend and medium-well: a serious, grown-up Soderbergh drama about drugs, power, money, family and futility, admired more than loved, and improved enormously if your streaming service can manage the advanced technical feature known as subtitles. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Soderbergh Movies & Traffic

  3. Sep 9

    Midweek Mention... Michael Clayton

    This week on Bad Dads Film Review, Sidey, Dan and Cris review Tony Gilroy’s Michael Clayton, starring George Clooney, Tom Wilkinson, Tilda Swinton and Sydney Pollack. It is a legal thriller without grandstanding courtroom speeches, a corporate conspiracy movie without cartoon villains, and a George Clooney film where the star power is deliberately worn down into exhaustion, debt and moral compromise. Sidey has loved this one for years, Cris remembers liking it, and Dan arrives as a Michael Clayton virgin after realising the “Michael” film in his head was actually Michael Collins. The dads begin with the film’s strange, non-linear opening: Arthur Edens spiralling through a voiceover, Michael being dragged away from a backroom poker game to clean up a rich client’s hit-and-run, and the early reminder that Clayton may have a fixer’s reputation but he is not a miracle worker. He can tell a man to face the music; he cannot make the consequences vanish. The review digs into Clayton as a man trapped by other people’s mess. He is the firm’s problem-solver, not a partner. He has an ex-DA past, a failed restaurant business, a brother whose addictions helped put him in debt, and an $80,000 hole that makes him useful to Sydney Pollack’s Marty Bach. Clooney plays him as tired rather than cool: still sharp, still well-dressed, but visibly sick of being sent into the night to mop up disasters for people richer and worse than him. At the centre of the film is Arthur Edens, played brilliantly by Tom Wilkinson. Arthur’s breakdown during the U-North deposition is spectacular and humiliating, but the dads keep coming back to the idea that his madness is tangled up with moral clarity. He has spent years defending a company whose weed killer has damaged and killed people, and once he finds the smoking-gun memo proving U-North knew the truth, he can no longer keep doing the job. His obsession with Anna, one of the plaintiffs, and with the fantasy book Realm and Conquest gives the film its odd spiritual thread, leading eventually to the horses on the hill that save Michael’s life. Tilda Swinton’s Karen Crowder becomes the face of corporate panic. The dads talk about her sweaty armpits, her rehearsed speeches, her desperation to satisfy U-North’s board and her terrible decision to hire surveillance operatives who turn into assassins. Arthur’s murder is one of the episode’s key talking points because it is so coldly procedural: no big struggle, no dramatic villain speech, just sedation, injection, staged suicide and the awful efficiency of people doing a job. As Michael follows the clues Arthur left behind, the film becomes a study in compromised people trying to survive a rotten system. He finds the marked book, learns about the memo, realises Arthur had thousands of copies printed, and starts to suspect that the suicide story is nonsense. Yet when Marty offers him the money he needs, Michael takes it. That is part of what makes the film work for the dads: he is not pure. He sells Arthur out for $80,000 before finding his way back to something like decency. The finale is pure thriller satisfaction. After the bomb in Clayton’s car fails because he has walked up the hill to look at the horses from his son’s book, he confronts Karen at the U-North settlement meeting. She thinks he is dead, then thinks he can be bought. Michael pushes her into saying enough, reveals he is wearing a wire, and walks away as her world collapses behind him. The final taxi ride, with Clooney silently processing everything as the credits roll over his face, gets praised as a perfect ending. Verdicts are emphatic. Sidey gives Michael Clayton the strongest possible recommend and says he could watch it again immediately. Dan calls it one of the best midweek films the podcast has done this year and wants more undiscovered films like it. Cris loves that the legal world is not glamorised: it is late-night rooms full of lawyers billing hours, protecting corporations and turning human cost into numbers. The dads praise the whole cast, especially Clooney’s pared-back performance, Wilkinson’s haunted intensity, Swinton’s Oscar-winning panic and Pollack’s completely believable law-firm authority. In short: a brilliant grown-up thriller about corporate greed, moral exhaustion, legal compromise and the terrifying power of a memo everyone wants buried. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Midweek Mention... Michael Clayton

  4. Sep 4

    Giants & Giant

    This week on Bad Dads Film Review, the dads review Giant, the Prince Naseem Hamed biopic starring Amir El-Masry as Naz and Pierce Brosnan as legendary Sheffield trainer Brendan Ingle. It is a boxing film, a mentor-protégé story, a study of fame and arrogance, and a surprisingly knotty argument about whether loyalty, recognition and money can ever stay clean once a child prodigy becomes a multi-million-pound champion. The episode opens with Reegs still absent in French France, which means no clever intro but plenty of warnings about swears and spoilers. Dan has watched classic film noir Laura and revisited Universal Soldier for the Midweeker, Cris has been watching Pierce Brosnan in western series The Son alongside some nostalgic X-Men ’97, and Sidey has been back into Barry while also sampling a Netflix serial-killer thriller involving De Niro and missing boys. There is also football, DIY, paint guns, teal walls and the sort of domestic detail that proves cinema podcasting is mostly glamour. For Top 5 Giants, the dads go suitably massive. Dan starts with The Iron Giant and the animated BFG, while Cris brings in Romanian basketball player Gheorghe Mureșan via Billy Crystal’s My Giant, then stretches the theme through the MonsterVerse, The Odyssey, Leprechaun 4: In Space and Rush Hour 3. Sidey nominates Fezzik from The Princess Bride, They Might Be Giants, The The’s “Giant”, Game of Thrones’ actual giants and finally the Giant from Twin Peaks, giving him another chance to declare David Lynch’s nightmare television more or less untouchable. The Stay Puft Marshmallow Man, Attack of the 50 Foot Woman, Riding Giants and several real-life giants also get thrown into the oversized mix. The main review focuses on Giant as a story about two men rather than one. Prince Naseem is obviously the famous fighter, but the film arguably belongs just as much to Brendan Ingle, whose Sheffield gym gives young lads discipline, community and a way to redirect anger. The dads talk through the early scenes: Brendan spotting young Naz’s footwork, taking him into the gym, making new boys sing before they fight, teaching movement before punching, and helping him deal with racist abuse in an environment where National Front attitudes are never far from the surface. As Naz rises, the film follows the familiar sports-biopic path of talent, training, showmanship and success, but the more interesting material comes from the relationship slowly cracking. Brendan nurtures Naz’s cockiness because it fuels the fighter, but that same confidence becomes harder to control once promoters, sponsorships, family influence and huge money arrive. Frank Warren sees the commercial value of Naz’s brash persona, the family starts questioning Brendan’s cut, and the childhood handshake deal over 25% becomes the moral fault line of the film. Sidey and Dan both find that argument more complicated than the film first appears to suggest. Brendan clearly changes Naz’s life, puts the money back into the gym, builds champions and cares deeply about the boy he trained from childhood. At the same time, agreeing a huge percentage with a 12-year-old is uncomfortable, however much both of them believed in the dream. The imagined reconciliation scene near the end gives the film its strongest emotional beat, because it lets Naz say he was a child and Brendan say he gave everything. The sting is that, in real life, they never properly reconciled. The performances get the strongest praise. Pierce Brosnan is very good as Brendan Ingle, and the various actors playing Naseem — especially Amir El-Masry as the adult Naz — capture the movement, swagger and showboating well. The fight scenes are convincing, the Sheffield material gives the story texture, and the film does enough with a modest-feeling British production to stay watchable throughout. The verdict is positive but measured. Sidey thinks it is pretty paint-by-numbers and admits he was never a huge fan of Naseem’s arrogance, though he respects the story and really likes the performances. Dan enjoys the sports-movie structure and the tragic mentor-student angle, but does not think the film quite lands a knockout blow. Cris had not seen it in time for recording, but the discussion leaves the film sounding like one he would still watch. Overall, the dads call it a moderate to strong recommend: interesting, well acted and easy to watch, if not quite a heavyweight classic. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Giants & Giant

  5. Sep 2

    Midweek Mention... Universal Soldier

    This week on Bad Dads Film Review, Dan, Sidey and Cris revisit Universal Soldier, the 1992 sci-fi action thriller from Roland Emmerich starring Jean-Claude Van Damme and Dolph Lundgren as Vietnam soldiers killed in action, frozen, revived and turned into government-controlled super-commandos. Naturally, nothing about that plan goes wrong apart from absolutely everything. The episode opens with the realisation that the podcast has not covered nearly enough Van Damme, despite some hazy memories around Bloodsport, Kickboxer and the sacred word “Kumite”. From there the dads head into the film’s Vietnam prologue, where Luc Deveraux discovers that Dolph Lundgren’s Sergeant Andrew Scott has gone completely bananas, started collecting ears and decided that everyone is a traitor. Luc refuses to execute civilians, Scott kills one with a grenade, and the two men finish the scene by shooting and stabbing each other to death. Twenty-five years later, both men are back as Universal Soldiers: refrigerated black-ops zombie-cyborg-commandos who need cooling down, daily injections and convenient memory suppression. Their first big showcase comes during a hostage crisis at a dam, where they are dropped from absurd height, swim, climb, snipe and punch their way through the terrorists while the military tries very hard to keep the press away from the weird dead-men-with-cameras situation. Unfortunately for the programme, a freshly unemployed reporter sneaks into the operation, sees more than she should, and ends up on the run with Luc after Dolph’s Scott starts remembering Vietnam and immediately chooses murder. What follows is a wonderfully daft road-chase movie in which Luc removes a tracker, discovers nudity-based comedy, learns that food tastes good, orders nearly everything in a diner, drinks heroic amounts of Pepsi, beats up a chef for expecting payment and slowly becomes more human while the military and a rapidly unraveling Dolph hunt him down. The dads also get into the supermarket/freezer sequence, Dolph’s speeches about traitors, the prison-van chase, grenades being thrown back through windows, Luc returning home to Louisiana, Dr Gregor’s extremely generous pseudoscience and the final barn fight in the rain. It is classic Van Damme business: spinning kicks, split kicks, slow motion, a syringe of Mega Juice and a massive agricultural machine waiting patiently to mince the villain at exactly the right moment. There is room for plenty of action-movie nostalgia as well. Cris remembers the film as part of a shared VHS diet alongside Kickboxer, Bloodsport, Double Impact, Commando and Total Recall, including wonderfully flat Romanian dubbing. Dan talks about Van Damme and Dolph being near the peak of their powers, while Sidey admits he skipped the film back in the day because it looked like a poor man’s RoboCop, only to discover it is much more enjoyable than expected. The verdict is positive. Universal Soldier may be silly, sweaty and scientifically indefensible, but it is also fast, funny, practical, quotable and powered by two properly iconic action bodies. Sidey lands on a strong recommend, with the caveat that he is not quite ready to go spelunking through all the lower-budget sequels. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Midweek Mention... Universal Soldier

  6. Aug 28

    Wolves & The Wolf of Wall Street

    This week on Bad Dads Film Review, Wolf Week continues as Sidey, Dan and new dad Jamie sink their teeth into Martin Scorsese’s riotous financial crime epic The Wolf of Wall Street, starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Kyle Chandler, Rob Reiner, Jon Bernthal, Jon Favreau and Joanna Lumley.  With Reegs absent and therefore no proper intro to keep things vaguely professional, the dads begin by catching up on what they’ve been watching. Dan has largely swapped screen time for Cold War spy histories while his wife is away in the Czech Republic for the summer, Jamie has returned to the comforting embrace of Blue Bloods, No Offence and Stuart Fails to Save the Universe, and Sidey has endured Jason Statham’s Mutiny, a revenge-on-a-boat action thriller with suspiciously Die Hard-adjacent poster energy.  The Top 5 this week is Wolves, which naturally sends the conversation roaming all over the cultural wilderness. There’s Winston Wolf from Pulp Fiction, Moro from Princess Mononoke, Teen Wolf and the obvious sporting advantage of being Michael J. Fox with werewolf powers, plus Shrek’s Big Bad Wolf and a detour through wolf-related music from Warren Zevon, Ozzy Osbourne, Metallica, Duran Duran, Howlin’ Wolf, Steppenwolf, Los Lobos, Wolfmother and Wolf Alice. Liam Neeson’s miserable survival odds in The Grey get a mention, as do Bad Wolf and Rose Tyler from Doctor Who, Jack Nicholson in Wolf, Remus Lupin, Dances with Wolves, Portia Crystal from Sing 2, Lupine Howl, the direwolves from Game of Thrones, How Wolves Change Rivers, Rainier Wolfcastle and Oz from Buffy the Vampire Slayer.  Then it’s on to The Wolf of Wall Street, a film the dads note is arriving neatly alongside Jersey’s current Martin Scorsese cinema season. They follow Jordan Belfort from his first day as Wall Street pond scum through Matthew McConaughey’s career-rescuing lunch scene of coke, booze,chest-thumping and “rookie numbers”, before Black Monday promptly ends any chance of a respectable finance career. From there it’s penny stocks, Spike Jonze, 50% commissions and the arrival of Donnie Azoff, whose cousin-wife logic, blinding white teeth and crack-pipe networking help turn Stratton Oakmont into a full-blown fraud machine.  Along the way, the dads dig into the film’s most notorious moments: the “sell me this pen” lesson, motivational speeches, middle fingers to clients, dwarf tossing, strippers, head shaving, Rob Reiner as Belfort’s furious father, Margot Robbie’s Naomi making her entrance, Donnie’s appalling first impression, the famous 11-second romance, Vegas excess, penicillin shots and a superyacht wedding present. They also cover Kyle Chandler’s FBI agent Patrick Denham closing in, Jon Favreau’s lawyer trying desperately to make Jordan stop, the Steve Madden IPO, hidden stock ownership, Joanna Lumley’s Aunt Emma and the Swiss bank account, plus Jordan’s spectacularly arrogant attempt to bribe the FBI with lobster, prostitutes and absolutely no self-awareness.  The review also takes in the yacht storm and Italian rescue, the infamous Lemmon Quaaludes sequence with crawling, ham-choking and the destroyed Lamborghini reveal, Jordan wearing a wire while warning Donnie not to incriminate himself, and the ugly final collapse as Naomi demands a divorce, Jordan turns violent and everything finally crashes. By the end, the dads are left wrestling with prison, sales seminars and the uncomfortable question of whether the film really works as a cautionary tale, or whether it is simply too entertaining for its own good.  Verdicts are strong across the board. Sidey recommends it, while still insisting it is far too long. Dan also gives it a strong recommend, particularly for the endlessly quotable scenes, and Jamie calls it a must-watch — although preferably consumed as three one-hour chunks rather than one enormous sitting. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Wolves & The Wolf of Wall Street

  7. Aug 26

    Midweek Mention... An American Werewolf in London

    This week on Bad Dads Film Review, it is Wolf Week, which means we are heading to the moors, the Tube, the London Zoo wolf enclosure and one of cinema’s all-time great transformation scenes for An American Werewolf in London. Sidey and Dan are joined by guest dad Jamie for John Landis’s 1981 horror-comedy about two American backpackers, one very unwelcoming pub, and the worst possible way to discover that “stay on the road” was not just local colour. Sidey had somehow never watched the whole film before, despite having seen the famous transformation sequence many times. Jamie definitely saw it before, but at an age where he absolutely should not have. Dan brings the cult-classic affection, and the result is a review full of practical effects appreciation, Yorkshire pub suspicion, Jenny Agutter, decomposing best mates and moon-based needle drops. Along the way we discuss: Jamie’s debut as a Bad Dad and the need for subtitles/phone voiceThe Slaughtered Lamb and Britain’s least welcoming pintRick Mayall, Brian Glover, Frank Oz and other “what was he in?” faceswhy the film does not bother over-explaining the village, the cover-up or the logistics of getting David to LondonJack returning as an increasingly decomposed undead adviserthe nightmare sequences, including the Nazi werewolf home invasionJenny Agutter as Nurse Alex Price and the film’s spectacularly fast romanceDavid being oddly honest about his visions, nightmares and wolf problemRick Baker’s Oscar-winning makeup and the transformation scene that still holds upwhy practical effects age so much better than dodgy CGIDavid waking naked in London Zoo and trying to buy a small boy’s balloonsthe doomed attempt to get arrested by abusing the police and the monarchythe porno-theatre support group of victims suggesting suicide methodsPiccadilly chaos, armed police, decapitation and catastrophic traffic managementthe moon-heavy soundtrack, from Blue Moon to Bad Moon Risingwhether the film is horror, comedy, romance, body horror, or all of them at onceThe dads come away with a very strong recommend. It is brisk, funny, gruesome, strangely sweet, brilliantly made and still properly entertaining. The werewolf may occasionally look like it is on a dolly, but the transformation remains magic, the comedy still lands, and the whole thing has exactly the right amount of nonsense. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Midweek Mention... An American Werewolf in London

  8. Aug 21

    Gangs/Revolutions & True History of the Kelly Gang

    This week on Bad Dads Film Review, we review True History of the Kelly Gang, Justin Kurzel’s bleak, stylish and aggressively unromantic version of the Ned Kelly myth, starring George MacKay, Essie Davis, Nicholas Hoult, Charlie Hunnam and Russell Crowe. Before we get to Australian outlaw trauma, we discuss the important stuff: Dan’s adult-nappy experiment, whether “pound a piss” is a viable subscription model, and Sidey’s long-standing policy of treating every body of water as a toilet. Our top five is gangs / revolutions / rebellions, featuring: Chris remembering the Romanian Revolution of 1989, childhood gunfire and shiny spent shellsThe Warriors and “Warriors, come out to play”The Wanderers and its soundtrackthe Rebel Alliance as freedom fighters / terrorists, depending on perspectiveSpartacus and historical inaccuracy done properlyPolice Academy 2 as, apparently, gang cinemaDaniel Day-Lewis method-acting complaints during Gangs of New Yorkthe Fremen from Dune and spice-fuelled jihadthe Baader-Meinhof gang, Joe Strummer T-shirts and Luke HainesGreen Street Hooligans and football-fight bravadochildhood gangs from Stand by Me and Itthe War Boys from Mad Max: Fury RoadThen we get into True History of the Kelly Gang, including: the film’s fake-truth title gaga red dress, a white horse and an apocalyptic Australian bushyoung Ned Kelly watching his mother bargain with Charlie Hunnam’s police sergeantRed Kelly, stolen cows, hidden dresses and emasculated fathersEssie Davis as Ellen Kelly: protective, seductive, terrifying and constantly pushing Ned toward violenceNed being offered a possible escape through education, only for his mother to sabotage itRussell Crowe’s Harry Power, an enormous beard, and a family singalong about the “Constable C**t”Ned being sold into outlawry and refusing Harry Power’s pancakesCharlie Hunnam having a very bad day in a whorehousethe Sons of Sieve, dresses, mud-blackened faces and theatrical rebellionGeorge MacKay’s adult Ned arriving through brutal prize-fightingNed and Joe Byrne’s intense, ambiguous bondNicholas Hoult’s Fitzpatrick in suspenders socks, spreading vice and misery wherever he goesMarlon Williams’ astonishing hair and “I’m gonna be your daddy” energyFitzpatrick’s predatory deal over Ned’s sister and the confrontation that finally tips everything overEllen Kelly asking why Ned did not kill himpolice murders, severed ears, hostage-taking and bank robberythe famous homemade armoura botched train derailment plana strobing, bloody final siege where the police do not care who else is in the buildingEllen’s command to “die like a Kelly”whether Australia’s Ned Kelly mythology is heroic, poisoned, or bothIt is not an easy watch. Dan finds it long, bleak and punishing, though brilliantly acted. Reegs thinks it looks amazing and digs the way it interrogates Australian identity, colonial oppression and generational trauma. Chris appreciates the harshness and lack of romance. Sidey thinks this is probably closer to what survival and outlawry actually felt like than the cleaner folk-hero versions. Verdicts: Dan gives it a mid recommend; Reegs, Chris and Sidey are on strong recommends. You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out! We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

    Gangs/Revolutions & True History of the Kelly Gang
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5
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16 Ratings

About

Several years ago 4 self confessed movie fanatics ruined their favourite pastime by having children. Now we are telling the world about the movies we missed and the frequently awful kids tv we are now subjected to. We like to think we're funny. Come and argue with us on the social medias. Twitter: @dads_film Facebook: BadDadsFilmReview Instagram: instagram.com/baddadsjsy www.baddadsfilm.com

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  • Creator
    Bad Dads
  • Years Active
    2019 - 2026
  • Episodes
    643
  • Rating
    Explicit
  • Copyright
    © 2026 Bad Dads Film Review
  • Show Website
    Bad Dads Film Review