Greetings programs! This week on the podcast, we are looking at the divisive new Marilyn Monroe movie Blonde, starring Ana de Armas as the titular blonde bombshell, before moving on to the latest entry in the Star Wars franchise, Andor. We spend half the episode swooning over one of these; listen to find out which!
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Expectation, thy name is Dune. Years in the making and then delayed for an entire year thanks to the ongoing COVID-19 pandemic, Dune has the weight of expectations hanging over it. Director Denis Villeneuve is an accomplished visionary with a clear eye for details and world-building alike, but how can the story of Dune –a famously dense work– be adapted into a movie?
If you have been paying attention to cinema these last few years then the name Denis Villeneuve should be an exciting one to you. His particular aesthetic sense for visual narrative has made him one of the most well regarded director of the day.
If you’re a fan of science fiction then the name Dune should also excite you, being that Dune is one of –if not the– most influential and important science fiction novels of all time.
“Denis Villeneuve has been making a Dune movie” is maybe the most exciting sentence I have read or uttered this year.
The rivalry between Bjorn Borg and John McEnroe was one of the ages, and their match at the 1980 Wimbledon Championship is probably one of the greatest matches in tennis history. On track to win his fifth consecutive title, Borg had a reputation as being cool and graceful under pressure. McEnroe, the newcomer at the beginning of his ascendancy, had a reputation as a hothead who regularly threw tantrums on the court and argued with umpires. Even their styles of play were opposite, with Borg playing from the baseline and McEnroe rushing to the net. Literally, everything about this match makes it ripe for a great movie which is why it’s so frustrating that it isn’t one.
The latest edition of Marvel’s assault on cinemas everywhere is a charming little beast. Thor was always going to be one of the more difficult characters to make the transition from inky page to silver screen, (certainly when compared to his Avengers brethren) but given most of the legwork was done in *Thor* and *The Avengers*, very little time is wasted getting on with the plot, such as it is. Rather than *The Dark World*, they should have called it *The Wibbly Wobbly Time/Space Shifting Shenanigans*. Anthony Hopkins knocks out a bit of exposition (primarily to let you know who to boo – it’s evil elves this time, led by Malekith, played by a virtually indistinguishable Christopher Eccleston) and on with the show we go.