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.
The History of Future Folk & Captain Pugwash
It's never easy writing the show notes when you weren't present for the podcast itself and consequently don't have the overall tone of the discussion to guide you. For instance, the guys talked about the Top 5 Hacking or Computers Scenes, but was any of it interesting? Almost certainly not. And what will special guest Rupert have to say about it all? And who is Rupert anyway?
THE HISTORY OF FUTURE FOLK (2012) has sat unwatched in my Netflix queue since I first joined the service, so I was delighted when listener Pearcey suggested we should watch it. Charming, low-budget sci-fi which sees Nils d'Aulaire as Bill aka General Trius who came to Earth many years in search of a new home for his fellow Hondonians but decided to stay after hearing music for the first time and falling in love. Soon his blissful and peaceful new life is disturbed by the presence of another of his race, the not quite right Kevin. With a refreshing lack of cynicism and a strong alien bluegrass soundtrack, I'm hoping the rest of the Dads and the enigmatic Rupert feel the same about this indie treasure.
CAPTAIN PUGWASH is the spineless and stupid animated pirate captain of the Black Pig and is renowned for being awash with sexual innuendo. Everyone knows for instance about the characters Seaman Stains, Master Bates and Roger the Cabin Boy, and that ‘Pugwash’ itself is derived from an Irish word for rimming except of course none of that is true, and reality is far less exciting though there is a character called Willy if you really love that sort of thing. Hopefully the mysterious Rupert will set us all straight.
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Until next time, we remain...
Listener Suggestion... The Green Mile
In the spirit of the movie we are reviewing I thought it would be humorous to make the show notes excessively long so that it would take you three hours to read them but it turns out that a) no one reads the show notes anyway and b) that would take me an extremely long time so instead you can recreate that experience by simply looping over these next sections a few thousand times.
Frank Darabont had already directed the Stephen King adaptation THE SHAWSHANK REDEMPTION, initially a box office disappointment which at some point was apparently unanimously declared a modern classic, before he worked on bringing another of the Maine-born authors stories to the screen with 1999's THE GREEN MILE.
Paul Edgecomb (Tom Hanks) is a Warden Supervisor at Cold Mountain Penitentiary's Death Row, given the movies titular nickname because of the green linoleum floor which leads from the doomed prisoners cells to the electric chair. Assisted by a team including David Morse's powerful but respectful Brutus, Barry Pepper's youthful Dean and Jeffrey DeMunn's humane Harry, his aim is to provide condemned men with dignity in their last days, an endeavour complicated by the sadistic Percy (Doug Hutchison), foisted upon him by virtue of the state governor's nepotism. When the physically imposing but gentle and childlike John Coffey (Michael Clarke Duncan), sentenced to death after being convicted of the rape and murder of two young girls, joins the rest of the inmates on Death Row, inexplicable events will bind both prisoners and guards for the rest of their lives.
It's fair to say that Darabont takes his time breathing life into King's characters on screen; the movie has a whopping 189 minute run time and focuses heavily on drama and relationship building before introducing the supernatural elements to the story. Thankfully it is a superb array of actors that he has assembled, with the late Duncan giving perhaps a career best performance (Kingpin aside), a truly unforgettable villain in Hutchison's Percy and a talented ensemble cast featuring the likes of Bonnie Hunt, James Cromwell, Sam Rockwell and mouse-fondler Michael Jeter.
I didn't join the rest of the Dads for this review so I have no idea what they are going to say. I imagine at least one of us finds this maudlin, over-wrought and just too long. If I had been there, I might have talked about the troubling 'magical negro' aspect to the story (quoting Spike Lee there my friends, don't judge me) so consider yourself lucky you were spared that. Most of all I'm wondering just how long they will spend talking about the part where Michael Clarke Duncan touches Tom Hanks's penis. I reckon some of the guys could do 3 hours on that alone.
Listener Suggestion... Falling Down
FALLING DOWN (1993) begins innocuously enough when an unnamed white male in his 50's abandons his car in the blazing heat of downtown Los Angeles traffic with the simple and relatable enough desire to get home to his family. Meanwhile Martin Prendergast (Robert Duvall) is having a sh*tty last day on the job, stuck in that same congestion and heading towards a retirement he doesn't want from a police force that doesn't respect him, in order to become a carer for his unstable wife. As reports emerge of an unusual robbery at a supermarket and a gang-land dispute gone horribly wrong, Prendergast finds himself largely alone on the trail of "D-FENS" who leaves a trail of violence in his wake.
The double D's - Duvall and Douglas - are both excellent; Douglas in particular as William Foster, the simmering ball of rage and alienation at the centre of the movie, while there's many memorable and well-executed scenes which have had a lasting impact on popular culture but this has always been a movie with some dubious messages and a very dark point of view. As an audience we're invited to enjoy Douglas's rebellion, to somehow see him as defiant in the face of oppression and therefore by extension we should enjoy him terrorizing his targets which consist largely of low-income migrants, service or retail staff and blue-collar construction workers. Prendergast's wife's illness is treated fairly insensitively even for the 90's and there's a weirdly misogynistic scene where a police officer implies Foster's wife may have demonised her former partner. The confusing encouragement and insistence the film has on portraying Foster's gripes as legitimate are totally at odds with the parts about the racist white man with a machine gun, fascism and the unchecked entitlement of the Boomer generation which is really what this is all about. Unfortunately cited as an inspiration for disenfranchised and psychotic mentalists who believe that cathartically sticking it to the man involves going crazy with firearms, which let's face it is essentially anyone who supports The Second Amendment at this point.
Listener Suggestion...So I Married an Axe Murderer
We have been subjecting ourselves to THE PENTAVERATE for reasons it is hard to explain so when Johnny Utah responded to our call for suggestions of movies that listeners think are worth revisiting, Mike Myers 1993 follow up to the pop culture smash hit WAYNE'S WORLD seemed like a good fit with our viewing trends. It was a surprise to me though that this week’s movie, SO I MARRIED AN AXE MURDERER, would reference the recent Netflix's series central conceit, proving the Canadian has had the idea in gestation for over 30 years.
Charlie (Myers) is a commitment phobic beat poet who meets butcher and potential serial killer Harriet (Nancy Travis) when purchasing a haggis at "Meats of The World" in San Francisco. Featuring many of the Myers staples which have persisted into his recent output; portraying multiple characters on screen (how long until a Mike Myers film only stars Mike Myers?), schediaphilia, genre or self-aware characters, euphemisms and Scottishness, this is a pretty mediocre movie with a decent idea at its core; the commitment phobic man who finds reasons not to be with women finally taking the plunge with someone only to find out that they are hiding a few secrets.
Sadly, the leads have absolutely no chemistry (and now that I think about it, Myers is sort of weirdly asexual given how much of his stuff is about innuendo and how often it relies on the reproductive parts of the human anatomy), and the jokes veer dangerously into bad comedy club style improv at times. It has an absolutely f****g awful 90's soundtrack featuring "There She Goes" on four occasions during the films run time and unironic use of the Spin Doctors "Two Princes", there are plot holes everywhere, Harriet is a terrible butcher and you know how concerned I am about proper meat preparation, and everyone's hair is appalling.
Given all of this it would seem a no-brainer that we would be advising that you give this one a wide berth but with the Bad Dads ultimate arbitration of taste reduced to a single question of "were you not entertained?" and most of us agreeing that there were enough good cameos, weird or unusual touches or sharp writing that we were to some degree or another, well, make of that what you will. Probably that we have terrible taste or that we're easily pleased simpletons, either are true.
The Holy Mountain
We're on something of a hiatus this week but a few months ago Dan and I watched something a little bit different...
I'm probably not going out on a limb when I suggest that Chilean surrealist filmmaker Alejandro Jodorowsky's THE HOLY MOUNTAIN (1973) is not for everyone. Here is the plot as regurgitated using excerpts from my notes:
Twin girls in white are undressed and have their heads shaved while the drums on the soundtrack try to break my skull. Stuffed goats adorn a throne room that's painted like a Dulux colour chart. A hippo is in the bath. Jesus who was stoned to death by children has been revived by a man who has no arms or legs who then rolls a spliff for him. The conquest of Mexico is re-enacted using Toads and Iguanas. In a factory, artists produce masterpieces by using their naked painted asses. A mechanical penis and vagina about 2 metres tall does sexy things. A well-dressed woman leading the military explains that a computer is fed data about wars and revolutions which in turn tells the government what to do, for example creating toys to condition children from birth to hate Peru and become machines of war.
An alchemist can turn faeces into gold by vaporising it and breathing in the fumes.
A man in silk pyjamas with a face mask is being spanked by a chubby woman riding a mechanical horse. Children dressed as mickey mouse in a house like Swiss cheese; a man like a jedi, bearded, the kids celebrate him. They make purposefully s****y condos; at a huge meeting, the jedi speaks of conditioning people to work while an ice sculpture of a penis is brought in.
An old lady wielding a bloody soaked sword in a tree made of chickens, she castrates a man. Another man is covered in tarantulas and screams.
Under a tarpaulin a naked hermaphrodite jizzes milk from his tiger t**s.
That's really just a snapshot of this experimental film which relies heavily on symbolism, a great deal of which flew way over my head. A loose narrative does emerge from the chaos which sees a group of people representing the planets - or perhaps the actual planets themselves, that seems equally plausible - ascend to the summit of the Holy Mountain in order to kill the Immortals and steal their secrets. An insane and often quite beautiful movie, when it's not completely and overwhelmingly oppressive that is, there's often incredible creativity and imagination on screen as we veer from one darkly comic scene of psychedelia to the next. Unforgettable.
In an alternate universe somewhere, Jodorowsky made a version of DUNE. I would love to see that!
Midweek Mention... The Big Heat
Dan nominated the brutal and violent 1953 Fritz Lang film noir THE BIG HEAT starring Glenn Ford for us to watch and I’ll admit to being slightly less than enthusiastic when he did. How wrong I was. When Police Chief Tom Duncan dies by suicide, hardboiled Sergeant Bannion finds himself waging a one-man war with gangsters Mike Lagana (Alexander Scourby) and Vince Stone (Lee Marvin) as well as the corrupt political establishment in this searing pulpy revenge thriller.
As better reviewers than us have noted, including Roger Ebert who loved this movie, Bannion's almost pathologicial pursuit of justice comes at a high cost, borne principally by the female characters: Bertha Duncan (Jeanette Nolan), the manipulative Police Chief's widow who is shot and killed, Lucy Chapman the unlucky potential witness, beaten, tortured and killed, Bannion's wife Katie (Jocelyn Brando) fated to be in the wrong place at the wrong time (and killed) and the superb Gloria Grahame as the disfigured femme fatale Debby (who is killed).
Subversive even by todays standards with a scorching script, sharp dialogue and moody visuals, this is one to check out and recommended even to those who would normally avoid this kind of thing.
They don’t know what they’re doing, but that’s half the fun. Great recommendations for what to watch
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Enjoyed every second I have listened to thus far! I loved their Top 5 and just their vibe in conversation! Having sons it’s great to have some adult time review followed by good recommendations and reviews on shows for the kids! I like how they know what’s coming next and tell you where to find the show on which streaming device! Definitely should listen and subscribe!
Great Podcast for Any Movie Fan
Been having an absolute blast listening to Bad Dads. Great concept of being dads and trying to catch up on everything they missed, puts a nice twist on being a movie buff. Their Top 5 segment is a personal favorite.