In Bruges and The Banshees of Inisherin

Weird. So it has been a while since you and I have done two movies at the same on the same episode. I actually can't remember the last time we did two movies you and I weren't I don't think we've ever done I don't think so either. I don't think we were podcasting acquaintances like early on, like I did that, but like podcast acquaintances, I guess we would have like barely known each other right at the tail end when I stopped doing like two episode two movies an episode. But that was something that was like long gone for a long time, because.

It's a lot it's it's a lot of preparation. Yeah, it's a lot of preparation. I mean, I think this makes sense for a number of reasons. Obviously, I almost think that these movies are linked at the face, maybe not the face, linked at like the shoulder. I don't think that these movies are like mirror images of one another.

But it's not just the main character casting that is the mirroring of these movies. There's a lot of themes that mirror one another. Is in both these are deeply irish movies. They're linked at the heart. Wow, that was a good one that was good.

Yeah, it's on this episode of the Culture Cast too deeply Irish films. Yeah, I yeah, there's probably no better way to put it, as Father Malone just aptly put it. And I am still your host, Christachue, and we are joined by Father Malone all the way from various podcasts over weirdingwaymedia dot Com, including but not limited to, Noise Junkies Night, Mister Walter's Dark Destinations, Midnight Viewing, Chronicles from the Crypt, and Dreams for Sale. That's a lot of things, Father Malone, What. The fuck, it's a lot.

But you know, listen, I didn't come here for LyX. I came to the opposite of Lex. So on this episode of the Culture Cast, we are talking about Martin McDonough's two films that are worth talking about at the same time or together, a little film from two thousand and eight called In Bruges and a little film from twenty twenty two called The Bonches of Inn a shit and so again. I again, I don't know if we need to talk about them in order, but let's, I think chronologically, let's talk about In Bruges first. So film came out in two thousand and eight, written and directed by Martin McDonough, which is going to be a carryover to both including our leads Colin Ferrell and Brendan Gleaeson.

Colin Farrell plays a He plays Colin Farrell in a lot of ways, the human being in a lot of ways that I think Colin Ferrell probably identifies with the most in terms of characters he's played. And he is a hit man who fucked up. And Brendan Gleeson is the other hit man who is having to deal with the fact that his hit man partner fucked up and how does he deal with it, Well, he's probably gonna have to kill his partner. And those orders are coming from the one and only Rafe Fie, who makes an impact in this movie even though he's not in it. Throughout a couple other people show up, Clement's Posey, Jeremy Renier, but primarily it's a Colin Farrell and Brendan Gleeson joint.

And little did we know we'd get another one fourteen years later. But Father Malone, I'll kick it to you first first time he saw this movie, What you thought then? What you think now? Why did you say yes to this episode? Saw it in the theaters originally in Bruges.

Saw it then because I fucking adore the two leads, you know, my pensiant for Irish actors, actresses acting, and I've loved Colin Farrell from the fucking moment I saw him, which I think was Tiger Land was the first thing I saw him in, and then immediately sought out everything, which was very easy because he became very very hot, very very. Quickly, because he is very very hot. Oh certainly sure, but there's. That's one of the reasons is the late nineties was looking for a hot UK star to jump on, and boy, Colin Farrell was right there. Yeah.

Well he's got those giant, bushy eyebrows, isn't they He Not only is he like sort of vastly attractive, but he is a fucking really good actor. Like he a versatile, always believable, always delivers, and the two choices we have here, like you know, no better examples of that, and Brendan Gleeson, my god man, just want to force a nature. The first thing I saw him in, I think was there was a movie called The General where he played like an Irish like mobster. He was massive in that and then and I saw him in Braveheart of course, which you know that's a that's a big, silly, dumb movie. But part of me loves that movie.

And I've never seen it. Wow really wow. Really, I mean I'm not a mel Gibson guy. Yeah, and it's easy to understand why, but yeah it is. But imagine like sort of you know, lovable Brendan Gleeson amidst all these insane celts, you know, running through fields and hacking the English to apart, and you know, part of that movie is real, real good.

He's always wonderful Brendan Gleason. And found out today that up until the age of thirty seven, he was like a teacher and then you know, but was doing a little bit of acting, But up until then was basically that was his Like his family knew him as a teacher, and then suddenly he's acting in like major motion pictures. I'd listened to an interview with Donald Glees and his son today who said, like, if that taught him anything, it was like becoming an actor or becoming a filmmaker was entirely possible, which is funny to me because you always hear people when they say like growing up where I was, you know, making a movie seemed like going to Mars or something, And here's the opposite, Like somebody who saw a regular person make it and go, hey, I could do that anyway.

Love those two. Guys, not just make it, but make it in Like he's in Harry Potter. Yeah, he's in a huge movie. Yeah. Yeah, like the I mean like the I mean the biggest of biggest franchise.

Things like and great in all of them. Yeah. He elevates things that he's in, that's. For sure, And I mean good God, like gangs in New York is a mess, but he's great in that. So my first impression of this movie was I adored it.

This was kind of this was pulp fiction for me. I didn't need all the flash of the uh of the pop culture and the the the wormy kind of uh turning in in itself to to tell me that the Tale of Two Hitmen this is kind of more one that resonates with me. Uh. I did say this is a deeply irish film, didn't I The deep strain of melancholy that ran through it that I just you know, felt like God, that's another delightful layer here, uh, and and what wonderful characters are. Obviously McDonough is just a powerhouse of a writer.

Like it's not fair that he's as good a filmmaker as he is, too, because this fucking playwright can just nail every every bit of emotion. You know that, even even the stuff that's not coming out of the mouths of the characters is on the pay with this guy. And uh, I think it's a I think it's an unsettling movie. Uh. And an incredibly funny movie.

Uh. I don't think I expected it to be half as funny as it was when I first saw it, like without ever teetering into sort of slap stickery, you know. And uh, I don't know, good God, I just I dug the hell out of it when I saw it. I was glad to rewatch it. So I saw this movie when I was eighteen, which at this point is quite some time ago.

I used to get out of high school early in the day, and so I went and skipped the last period and just went and saw this movie. Uh in the Angelica Theater, which was the you know, hoity toity theater of the time because it was showing art house movie. Art houses which is it was an art house theater. Don't what is Elda's air quotes and fucking hoity toydy shit, Right, It don't. Feel groat because it wasn't because it wasn't an art house theater, is my point.

Like it's it was art house in that it was like it showed those kinds of movies, but it felt very corporately like even like I you know what I mean, Like that's for what I'm getting at, like that there it wasn't like the kinds of places I imagine you talking and the kinds of places that you have talked about showing movies. It was very like this just wouldn't play at the major motion picture theater that we have in town, like, which I think is weird to me now because to your point, like everything about this movie really works. It is a deeply nihilistic movie in a lot of ways, but I think that's Martin McDonough is clearly understands that if not embraces it, at least it is creative endeavors. Maybe not personally, but this and Banshee's of minash here and even more so kind of verge on that like almost being too nihilistic for people, and I can understand that.

I mean again, I think that some of it is the irishness of it. I think that plays into it, because again I mean Irish, you are a fucking tough people. You have to be if you live on a fucking island for fuck's sake, like and and just all the other things including being oppressed by the British for hundreds of years and all those other fun things that everybody in this country wasn't necessarily taught. So it makes people that are very strong and very no nonsense, which I think is again the honesty with which so much of this movie is portrayed is probably for me. The thing that still stands out is just like movies like this in two thousand and eight didn't feel this honest that were like with these big a level of actors coming out in again, like ostensibly big enough that's being picked up in most movie theaters.

I'm assuming, I mean, I'm assuming you saw this somewhere that was like a movie theater, movie theater, Oh yeah, yeah, Like it's just this movie is pretty dark, but at the same time, like there's a level of I don't know, there's a level of fun to this movie. That's kind of hard to ignore because the movie is a lot more fun than like, like you said, like it would seem to be. But I like the pull fiction comparison. That's an apt one. It speaks to similar themes.

I think this just again, Martin McDonough's a better writer than Quentin Tarantino. All I gotta do is watch this movie to figure that out. He doesn't need a glowing suitcase or a miracle of not being struck by bullets like and yet this one is much more deeply spiritual than that sort of surface class of like the magic moment that changes one person's mind, you know, the guilt that sort of also runs through the movie. That's another's that's a catholic thing, if every there was one. Yeah, and all these characters are drenched in guilt and bound to codes that predate them, and yet they have to adhere.

Particularly, Ray finds character, perhaps the most moral character in the film is the one who's the greatest threat to everyone. Well, and that's the thing about the movie that is the one of them. And again, it's because it's written by Martin McDonough that the Ray finds character in any other movie could theoretically be the film's hero because again, like, yeah, the decision that he's making might not be the easy one to make, but it is the right one. Because Colin Farrell is a liability. In the line of work that they work in, which is some people cook, some people clean, some people make widgets.

These guys kill people for a limit that just happens to be their profession. And here are the intricacies and the problems that come with that, including but not limited to killing someone who wasn't meant to die by accident and oh, by the way, whoops, it's a kid, which makes it essentially the moralistic worst possible thing that you can do. Moralistic negative eleven in this movie's moral compass at least bearing because what Ray Fines does at the end of the movie would inform me that that's how at. Least his character feels, like I said, he's he's I don't know if moral is the right word, but he certainly follows a code, and at least at least there's that right in a deeply amoral profession, at least to know that there's someone out there who has a compass of some kind.

Because the rest of this movie's compass is as slippery as hell. Brendan Gleeson. The scene that stays with me that I loved when I saw it and resonated again when I rewatched it. There's a scene where Colin Farrell is about to kill himself and Brendan Gleeson stops him while at the same moment he's there to kill Colin Farrell. It's the greatest scene in the movie.

It's dizzy ing, it's so fraught with so much like it. You know, it's the kind of scene that makes me like or reinvigorates one's hope in cinema, you know, like people say they're like, nothing good and whatever. I'm like, you're just not looking. Because that scene I'd put up against anything. And it's one of many in that film, one of many complex and challenging scenes.

Each of our characters are at turns lovable and despicable. What other movie is doing that, what other actors are saying, Yeah, I want to show that I'm also a fucking horrible piece of shit at some point in this. Movie, right oh on that and that's and that is the thing that I do appreciate about this movie is that there is like the black and whiteness is really reinforced by one character, but everything else is just morally beyond gray, like living in the land of Gray, and it's and in this an in Banshee's like that is the area with which so much of the interesting conflict comes out of is just humans acting seemingly the way humans would act. Like again, like I think Martin McDonough writes realistic human characters and that are fully realized and characterized in a way that again it doesn't feel like, oh, these are two guys putting on a show like this is theoretically, if there were two hit man, this may be the way that they feel about one another if one of them fucked up, because yeah, there I would be conflicted.

But ultimately, as we see in the movie, Brendan Gleeson is going to do the job. He's gonna do it. He even says, you know, I'm sorry, but he was gonna do it, and well right until he was. Does that make him? You know, Chris, earlier you said that this is like a deeply nihilistic movie.

I disagree with that. I think this is actually wildly hopeful. I know it's one of these slaughterfests at the end where everyone you care about is going to not make it to the credits. But something about everyone's actions there I felt to be uplifting. Brendan Gleeson trying like for this last breath, his last moment.

Oh, it's such a splattery, beautiful thing. And then you know, and Colin Farrell like he's trying to do the right thing, and Ray Fines is doing the right thing by his thing, and then and then really punches it home at the end, like he really, he really does the right thing, even if it's a mistake. And what's what's amazing about the movie to me is it's it seems so shaggy dog where it's just like a couple of characters wandering around and like you know, exploring and you know we're waiting for this payoff. And but it's also so densely plotted. But the plot is ridiculous involving this dwarf and and like that all plays into the moral code ending and like it's you know, in a way you could dismiss this movie plot wise is just like a like a Seinfeld episode.

You know, this this mistaken identity thing and yeah, something you know it could be maybe that's. Just the Dwarf. I don't know, you said, say the Dwarf. The Dwarf, but that was that was the Billy Bardy, But that was an assassins what I thought he was. An assass Yeah, but there was there was an assassin name, but the Dwarf for that movie.

That's right. No, I just mean the plotting just seems like so it could be kind of trophy, but what everything else is so fucking good that it feels it feels not only authentic to the to the piece, it feels like fresh. Right. That's that's a pretty great feat to pull off. I think most that comes from Brendan Gleeson and Colin Farrell having the most realistic friendship possible on screen.

Like it's clear that, I mean they're real life friends, like deeply close human beings in a way that like few people probably have with people in their lives. And again you get that from working with people, being close proximity to them for days on end, and then yeah, I mean you can tell how real their real life friendship is and how well they work together because they they I don't know, they balance each other out really well in this movie I mean in both movies and the other movie, they're kind of playing the other version of themselves. They're playing the versions themselves that they're not in this movie. In Banches of Indus here and it's like just the opposite from this movie in a lot of ways.

But Brendan Gleese, it's these two characters. Have they continued to live and moved to an island off the coast of Ireland. Oh that's fair. I obviously it's not a sequel and it's not blah blah blah. But like Brendan Gleeson's character and Banches of Indusharon takes less of shit from Colin Farrell than he does in this puts up a lot of Colin Farrell's shit.

In this right because he has to, because he has to save this kid, and. So right, right, he feels obligated. Yeah, whereas had they had he saved the kid, and now they had been living for twenty or thirty years and seeing each other every day, perhaps. It's like the sick of this fucking guy. Yeah, you know what, I did the right thing by you.

Now you have to leave me alone. Interesting, I mean it, it would I mean again, in a lot of ways. I mean again, they're not sequels, like you said, but they are narratively linked because you have these two actors portraying friends. Yeah, friends and friends in horrifying circumstances. Right, and you know, I think for me in Bruges, you know, their friendship obviously really is the core of the movie.

And Sam and Banshie's benish here. But I like the trappings of this movie a lot, them being assassins, it being in Bruges, clements posey. She's actually pretty good. I like her a lot. I like I mean, look, we mentioned Ray Fines.

Ray Fines almost steals this goddamn movie from underneath Colin Farrell and Brendan Gleeson because he is his character. When I think of Ray Fines, this is the Ray Fines performance I think of, is this character in this movie and him saying you're an nananimate fucking object, which is one of the great insults of all of all movie history. But he just plays the character in this movie so perfectly, and I love angry pissed off Ray finds he plays it better than anybody. Yeah, I uh, it's a remarkable Here's the thing he does almost steal the movie, right, which a herculean effort, given who he has to steal it from, and given the amount of time he has to do it, which is very limited. Right.

So look, he he's a presence throughout the entire movie. We hear his voice throughout the entire movie. And it is at turns. I keep saying that turns. It is at turns.

Like he's very funny and also very terrifying over that phone and. That fucking this and fucking Madden, fucking this and fucking mad boy. Don't he delivered when he shows up to like if you hadn't recognized the voice and then he steps on screen, I'm sure it was like a wonderful uh uh surprise, you know. And and that he's uh, I guess we've seen him be pretty villainous before this. That there's an entire generation who probably thinks of Ray Finds as a villain with no nose.

But uh oh, I thought you were talking about Refines as a Nazi. Oh well, applicable, yeah, man, But then you know he's also John Steed, so. That's fair, yeah, I mean, And the funny thing is he's I mean, the funniest thing one of the funniest scenes in this movie is the inanimate fucking object scene because again the juxtaposition of he's doing this in his office in his house, and you don't see it until they cut to what he's looking at, and it's just his family in the other room. As he pummels this phone into his desk and screams and yells, and his screaming profanity, and then his family's just in the other room. It's actually fucking insane, just to show how beyond reproach this guy is and how little he gives a shit about the social bories that so many of us would assume our a thing given he's just screaming in front of his kids about murdering someone.

Well, to be fair, Brendan Gleason has pushed him to this point. That's true. I mean, that's your again one percent action. I mean, this is we see he is a man of his word. And the fact that Brendan Gleason is not yet killed or at least lied and said yeah, it's done, and then hads to plan for him to get away like his indecision is his ultimate downfall here.

Brendan Gleason, you know, yeah, now, I and you're right, you know, the third act of the movie, it really does pick up when Ray Fines shows up, only because again, like his presence and his energy is such a weird injection into Again, the movie's not low energy, but it kind of is. That's kind of the point, and it's kind of the better fit it is. It is kind of in a lot of ways. It's kind of like a hangout movie for the first half, just these dudes wandering around Belgium, Like, which, who who better to wander around Belgium with than Brendan Gleeson and Colin Farrell. As much as Colin Farrell hates every fucking second of.

It, which I I don't. Again, I don't know if that's his real feelings, probably not, but he he uh, he looks. He looks perfectly disgusted constantly. Yeah, just and even when he's sitting on the boat and Brendan Gleeson is enjoying himself as they're going through the canals, it's just a fucking. Miserable pretty It's pretty great considering how gorgeous that city is, you know, right, and uh.

We haven't mentioned it, but there there's a scene in a restaurant where Colin Farrell just starts beating the ship out of uh what's that actor's name. It sucks Zelcho Evonik when he's the cigarettes. Oh my god. It's like again, like but you get to see in that scene that version of Colin Ferrell that we've heard about this kind of like, you know, no nonsense motherfucker who actually again, like he is still a hitman, even if he's not the best hit man, he does know his shit, like he can handle. Himself absolutely, Like he got the gig for a reason, Like he just fucked it up now.

Right, But I like that again, like they give him that moment, these moments in the movie to show that, and it's not just hearing about it, and oh, like let's just believe that Colin Farrell is a hit man. Like no, we get to the Clemens Posy character, like her kind of side plot injects that into the and I think she's I think as a love interest, she's fine. I don't know if it's completely needed. I think again, like Banji's a Minisharon doesn't have it, And I think it's just as I think it's just as good of a movie with or without it. So well, she's there to sort of represent the possibility of a new life, you know right, and we're seeing that and beating through her eyes, which is she's absolutely horrified by you know right.

That's all I got to say about her. Yeah, I mean they I mean, she's not. It's not really that great a character. I'm not, you know what, It is a pretty good character. I just don't think about her when I think about this movie, for sir.

Well, that's my point. It's like, it's not it's not that it's not good, it's just that it's not really needed because the romance at the heart of the movie is between Colin Farrell and Brendan Gleeson. Like that's what it is. It's it's the love of two friends, not the love of a man and you know, his girlfriend or the woman he meets in Bruges. It's these two guys and the love that they have for each other.

Because, like you mentioned, Brendan Gleeson's character has to make a decision based on his feelings towards Colin Farrell to not kill him because he feels so strongly for him, and that's the thing, while. Meanwhile, Colin Farrell wants to kill himself, right, right, So he has to protect Colin Farrell not only from Ray Fiines, but he has to protect him from himself. What a what a dilemma? Yeah, it's a I really love this movie. I think it.

Yeah, it does. It does so many things right and so I mean again, it does so few things not wrong. But I don't think it really spins its wheels. It's not a bloated movie. I don't think it's one of those things where it's like, oh, you know, could take ten minutes out.

It's one hundred and seven minutes, not even two hours. It's a fun little movie. And by the end of it, you know, I feel like the ending. I think the movie deserves the ending that it gives itself. I think it makes sense in terms of like the direction that the story goes.

It's an inevitable ending, and that's the best kind agreed. More often than not, movies just fall apart in that third act. Right, there's so much potential, and they can figure out a way to ramp it up in the second act and then let it all dissolve and fall the fucking crumbling pieces in the third and here we get you know, what is a pretty gentle movie for two thirds of it, and then could have continued to be gentle and we would have adored it pretty much the same. But then it goes for what it was originally intending, which is this blood path. Yeah.

Yeah, And I like that third act kind of set piece I guess as it were outside of that church where you know, Brendan Gleeson falls and then Colin Ferrell's being chased after and they go back into the hotel, and I think it all works rather well. I don't think it. I don't think it's unwelcome and it it doesn't feel like it, it doesn't make sense. I feel like this movie, yeah again, inevitably is building to the moment where there's Ray finds there's Colin Ferrell. Oh shit, like what will happen now?

And yeah, I think the movies twist at the end with what happens to Ray fines is also makes perfect sense. They've been essentially alluding to it the entire movie, and it's a nice little. Everyone says something like that and no one does it, and to see a character do it was a beautiful thing. Right, Like It's that moment of like, okay, you have been saying this is what would happen. This is how you feel.

Well, bang, yeah, it's and I love that he doesn't even wait for Colin Ferrell to tell him. No, he sees it and knows what he has to do. Even though it's not actually what he needs. Yeah. Yeah, oops, that's the that's the other brutal, better irish ending.

Right yeah, I agree. Well, and that's that's where I said it's deeply nihilistic because it's like you didn't, like you didn't have to, and you did if you had waited two seconds longer. Yeah, no, fuck it, like fuck it Like it's it's like, you know what it reminds me of. It's like the ending of the Mist, but it doesn't. But it's to the character that it needs to happen to, so it's not that big of an irony.

Is good for the blood baby, Yeah it's it's it's the same ending as the myst I guess, except that this is the happy versions in. It, right, Yeah, don't wait. Yeah. The thing about Martin McDonough is like you could easily see him if you wanted to just write like comedies with you know, characters going about their lives, and those would be fucking great too, But God bless him, he's decided to go to a different route and there will be blood. And that's the thing about Martin McDonough.

I mean, in between In Bruges and The Banshees of min A Sheeran are two movies that one of which I have heard nothing but good things about Three Billboards outside of Ebbing, Missouri. And then another movie that I've pretty much heard nothing but good things when I have heard about it, but I haven't heard about it from as many people, which is Seven Psycho. Path not as well thought out as in Bruges or Banshee's Seventh Psychopaths, but fun, very meta about a writer named Mark who's writing a script called Seventh psychopath. Oh boy, I can. I mean, I would be interested only because it's Martin McDonald doing them.

You should definitely see it, no question about that. At Martin McDon as a fucking is a hope for the future. And then I haven't seen Three Billboards either, not for any specific reason. That's that's good. I think that was over praised maybe.

I mean it was nominated for a bunch of Oscars, and. I think Francs mcdarmoth, Yeah, didn't she win? I believe she did win. And Sam Rockwell did as well, which never. A bad ye oh no, yeah it Look, I'm not saying that movie is bad.

It's just like it's not the it's Look, we shouldn't be comparing for filmmakers' films from one to the other when they're as good as they are. But it wasn't in Bruce. Yeah. In Bruce is such a good first movie. It's really it's hard to get back up to that level when the level is like astronomically high stratisy here, It's like, it's not really that big of a deal that you never got back up there, because to get back up there is really far up.

But he did get back up there. Because we're talking about we're talking about the other one now. Yeah, so yeah, so now let's talk about twenty twenty two's again, I would say black comedy The Banshee's of Ben A shar So once again, written and directed by Martin McDonough, starring Colin Farrell, Brendan Gleeson. Names you've heard before, Carrie Condon and Barry Keowen, who you know is in a lot of things. All of a sudden and fantastic here as well.

Colin Farrell and Brendan Gleeson play two friends once again, who, to Colin Farrell's surprise, fall on the outs for seemingly no reason best he can tell, and Brendan Gleeson tells Colin Farrell's character in no uncertain terms, if you talk to me, I will start cutting my fingers off every time you do. And to Martin McDonough's credit, that is the setup and the wind up toy goes from there and it goes all over the place, and it's again. If in Bruges is stratospheric, I think that this is at least as high, possibly not higher. So botim malone, I'll kick it to you a bon cheese a in a shed. And sot you know.

Just recently but it became available. This was not in the theater. I saw this on streaming. I like this more than in Bruges. I think it's a better movie.

And part of me is, let's say, predisposed to like this movie. For the sheer amount of Ireland on display. Something makes my heart sore. Seeing those green bogs and the like the farm land leading right up to the cliffs, and the amount of mist in the morning. That really does it for me.

And then you knowsically drop in this plot that does not that you know that I'm going to cut off my fingers thing that doesn't happen until like, you know, the end of the first act, the beginning of the second act. Basically like it's a long time before we get to the stakes of this movie. Uh yeah, I kind of don't do the movie justice by mentioning the plot because the plot is kind of secondary. It's just like it's like in bru Yeah, it's even more secondary than it was in. Brud right and somehow now more powerful because you know, we're going to get a fiery climax here, but like it isn't as phrenetic, and it feels more organic and a deeper payoff here than in Embruce.

And this again, I'm not I shouldn't be comparing them, but we are comparing them because we're talking about the fucking back to back and you know, I don't know, I just I you know what, Actually, let's talk about bansheese for a second. Chris, have you done that scary stories we tell about ban cheese? Yeah? I have not. I should be on that one if you do it because I know a lot about them.

Listen. So in Ireland, before there was anybody, there was the Tartha Data and on okay, they were like the gods of Ireland. And then and then when the first people showed up, then they became the She. They were known as the She, the fairy folk. They all kind of, you know, got transmographied into these fairy folk who went beneath the ground and they lived with the Irish people, the very first Irish people, for a while.

And then you know, then Ireland became what it is, and there was you know, different invasions and different the celts and whatever. But banshees are uniquely Irish. They are The original appearance of a banshee was a withered woman in a green dress wearing a cloak, and they would appear when a family member was going to die and they would keene, which is this high kind of crying whale basically, and only the members of the family could hear it. I don't even think the person who's going to die I could hear it. Honestly, it was the It was a warning for the rest of the family.

And that's all a banshee was and then you know in the in the eighteenth century, during the sort of when Ireland was rediscovering itself, that's when when people started fancifying the banshee and it became like a creature that would come for you, or it was a ghost of somebody who died, and it could be a beautiful young woman in white. Uh and uh, you know it it did. It wasn't wasn't its original intent, which was this sort of alarm bell for for for you to not tell you that someone is potentially saveable. It's just to let you know, prepare yourself your family member is going to die. Weirdly, it's so tied to the original Irish people that the only people that can be affected by a banascie their names either begin in oh or or mac so like I know herle he or like a McGowan.

They're they're they're they're not in trouble. They're actually it's kind of a cool thing that, you know, they've got this supernatural warning bell that a family member is gonna die. So the thing is in this movie, it's obviously called Banshee's Finish Aaron, and there's a banshee in the movie from almost the opening scene, and Brendan Gleeson's take on the banshee is the and obviously Martin McDonough's Martin McDonough's conception, because it comes out of Gleeson's mouth, is that I think there are still banshees, you know, but I don't think they're I don't think they wail anymore. I think they just observe and chuckle. And that's what we get physically on screen.

It is so definitely handled like any other film inserting a supernatural character would have smacked us over the fucking head with it, and here it's done so organically and wonderfully, like she really is spooky, yeah, and serves her purpose so wonderfully. Yeah, it's so I think I would go as far as you did. In terms of my enjoyment of this movie. I do think I enjoy this movie and what it has to say a little bit more than in Bruges. But I also think that Banshie's Amniseron is a is a movie that is less specific.

It's talking more holistically about things in Bruges. Because of the profession of the people involved. It does take on a little bit of a specificity to like you made a mistake, and this is you know, like it's like making mistakes in life is a thing that happens, and like it's how we handle it and move on from it. That is what defines us. And that's part of what that movie is talking about.

It's part of the redemptive arc of the Colin Farrell Care. This movie kind of also has that, but it doesn't have the assassin trapping, so it automatically feels like a more approachable and relatable story about two friends who have not fallen out of sorts, but one of them has said I don't want to spend time with you any no reason why initially, and that is I don't know who that isn't imminently relatable to if you're not a fucking human being, Like we have all had friends that we have all fallen out of sorts with. That is the entry point to this movie. There is so much more going on than that, but that is an imminently relatable entry point to get people at least kind of on the same page. Whether or not everybody ends up on the same page at the end of this movie is a different story.

Only because this movie, Martin McDonough uses the filmic language about as good as anybody does. And I'm talking like a Jordan Peel or a Scorsese, or I mean when Spielberg was really doing it, or plenty of other auteurs, Alex Garland, I mean, people who understand how to use visual language as well as the dialogue on the page. And Martin McDonough, I mean, he really understands it as good as anybody, as good as the greats, because I think he's in that conversation even with only four movies. But this movie, I think presents the audience with more to chew on as a whole than in Bruges does. I don't know if I like this more than in Bruges.

I think this is a harder movie to swallow, but that's the movies. That's the point of a movie. This is not an easy movie to swallow, that's the point. I mean almost like one of the points of this movie is like life is fucking tough and like and this movie ain't gonna sugarcoat shit, So there you go again, like deeply irish. So I think the movie is eminently more relatable than in Bruges, given it isn't a hit man's story where we have to have you know, right, I killed the kidd and my boss is coming to kill me.

It's you know, everyone has fallen out with somebody, a friendship's end. That it happens all the time, and sometimes for no good reason or sometimes for reasons you'll never know. But so in that way it's much more relatable. But then it's also wildly distant, I would think for a lot of people in that it's set in nineteen twenty three on in one of the Aaron Islands. I think it's a fictional Aaron Island off the coast of Ireland in life in nineteen twenty three, so which means that the revolution of the Irish Revolution is occurring as a backdrop for this thing.

So whereas in Bruges it's just there're a couple of tourists in modern times running around there. So that makes that more relatable. And yet given how distancing all the other trappings of Banshees is, it's still much more accessible. I think, yeah, I would agree with that. I think it's I think just what the message of the movie.

I think just is a more I think it's easier to sink your teeth into even if it doesn't necessarily go down that easily. We're getting older. I'm certainly much older than you, so I think I feel this a little more strongly than you. But the notion that we've only got so much time left and how I'm spending the rest of my life, it isn't see, that's the ultimate thing. It's not really a slight to Colin Ferrell.

It is because they're best of friends and you know they've been doing this for years and years, but it isn't at him at all. It's about Brendan Gleason wanting to make the most of his time because it's so fleeting. And he is much older than Colin Ferrell. Yeah, so it's. And be like if you said to me, I don't want to do this with you, that is exactly what it would be like in terms of like age difference and stuff.

And like I don't know how, I don't know if I would do the Colin Farrell route, but it would be something to struggle with for sure, But I would understand. I mean, that's the thing Colin Farrell never understands. Why he never gets it until like right at the right at the end, he does, which is the fun part of the movie, which is the kind of sick satisfaction of the irony of the movies that the lenks that have to be impressed upon him for him to fucking understand what Brendan Gleeson is trying to tell him. But uh yeah, I would struggle with it too. But Colin Ferrell just doesn't take no for an answer.

That's stubborn. Well, Colin Farrell is kind of a dullard, yeah, is the thing. And what I like particularly, it's so rich. I love this fella, this filmmaker is he knows it, you know. And it's his biggest fear actually is that he's uninteresting and he's kind of dumb, and he kind of keeps asking around throughout the movie and he needs reassurance throughout the movie that he's not that.

And one of my other favorite moments in the movie is they have the Barry Keagan character over for dinner and Gary Barry Keegan is the vaguely on the spectrum kid running around this island and everyone thinks is a total fucking idiot, And here he's got the total fucking idiot of the island at dinner and he knows a bit of French that mystifies Colin Farrell and then he's like, oh my god, even this kid, this kid is smarter than Yeah. I love this character that Colin Farrell was playing. It is oh my god. He plays this like just dull guy who is so I know, he just exists is probably the best way to put it. Like he exists and asks very little of life other than to have his donkey, Oh Jenny named Jenny.

Uh oh, I love Jenny. I'm not gonna send the donkey out of that house when I'm sad, but. But I love that. It's like the guy in his donkey like that's it. Like he plays it perfectly and it's not I don't know, there's They're one of my favorite actors played the sad sack like played the sad sack role perfectly.

That's Jack Lemon as Shelley the Machine Levine, like the one of the perfect sad sack characters of all time. This character is fucking up there with it just like like just a sad sack dude. Like like you said, when he doesn't know French, like he's so offended by his inability to be more interesting than this guy. And it's like dude, it's because you love your donkey and ask for very little else in the world. Like, don't you get it?

Like don't. But there's an exchange in the in the bar where he says, you know, I've got other things to do than talk to you. He's like, what what do you have to do? I could read? Oh you're gonna read.

You've been reading, you know, Like, yeah, he is content in his life, but like, you know, that doesn't mean that everyone else has to participate. And I love that well. I love the idea of Brendan Gleeson being like, I'm going to start cutting my fingers off, and again it goes back to the idea of Rafe finds in in Bruges and like, if you kill a kid. You should kill yourself. Okay, you kill the kid, Yes, you have to kill yourself now, Like so I guess Colin farre will talk to you.

So I guess you have to cut Oh shit, you're cutting your finger Like that's. Martin gonna you know, he's a hard line. I love he follows through where other others would not, where others would shy away from taking it to that The next logical direction that the characters have said it is going and the fact that it not only goes there, but then it factors into how the plot unworks itself into where we end the movie is again like it's it's so smart, and again Martin McDonald just makes it look effortless. You know, it's funny, you said at the end, like you know, Colin Farrell finally he gets it at the end, he gets the what Brendan Gleeson has been trying to hammer home the entire time, right, but they're now at a point where they can't ever be friends, and the irony is that Brendan Gleeson now does want to be friends with him.

Like there's a scene earlier in the film where Colin Farrell gets very very drunk and finally confronts Brendan Gleeson and is screaming at him, and then as he's taken away, Brendan Gleeson's sister Kerry Condon comes into apologize and Brendan Gleeson is basically like that he's never been more interesting. Like so, so it is this like horrible thing of this, you know, it looks the allegory for the Irish Troubles can't be underestimated. In this movie where you know, you push and push for something until the fight becomes everything and then there's no going back from it, you know. Yeah, push and push and push and push and pushing. Oh, I don't want to push anymore.

Too bad. Can't once once it's been fucked, it can't be unfucked. And some things cannot be unfucked no matter how hard you try to unfuck it. And yeah, I mean when Colin fails, Donkey dies because she chokes on Brendan Gleason's fingers. I mean, I mean that that moment, whatever that moment is in any real person's life, like the moment your donkey chunks dogs, chokes on someone's fingers, your best friend's fingers, Like, yeah, that moment, there is no coming back from that moment, no matter how hard that person tried.

And you know what, again with the sort of the troubles, the sort of parallel with it with the Irish like revolution going on, like it's it's self mutilating, you know, like, and that sort of comes comes off like like Brendan Gleeson wants time alone so he can compose music on his fiddle. It's like the Irish music he wants to compose, and he's so adamant that he doesn't want that his previous life anymore, that he's willing to cut the fingers off of his fiddle hand, like not the boeing hand, the fingering hand. And when he does the first one, it's like it's shocking and horrible, but like he can still get away with four fingers that three fingers and a thumb, and the fact that he's willing to do it to go all the way by the end, so it's just a stump, effectively thus ending his own dream for no other reason than to be right or to demonstrate.

Like you know, it's that's like killing the culture to just just for the point of winning. It's so self destructive and horrifying. Ugh. Yeah, I mean the Irish troubles are a good are obviously the I think the allegory that is being used and gone after here and that's kind of what we're supposed to draw the conclusion to. But not to be that guy.

But you could draw the same conclusion to things happening in our own country right now, and people. Go, you can draw it to every conflict. Ever, it is kind of the you know. Right, yeah, and obviously that's why I think this movie for me is I mean, right now, this is Martin McDonough's best movie, you know what I mean? Like right now it is.

But I would be inclined to believe that Martin McDonough's best movie is maybe not his next movie, but three movies down the road when he makes one more movie with Colin Ferrell and Brendan Gleeson or the next movie he makes with them, right, Like, there's got to be one more. There needs to be a third movie in thisout want. To call this it would be a great trilogy. But even without them, I have no doubt that the best of Martin mcdonnough is on the way right right. But my further point being, it seems to be he really hums when it's these two actors saying his dialogue.

Yeah, they sort of get him and he gets them, and it's magic when the three of them are working together, And yeah, I wish they would do it more. But like if if it takes another fourteen years, I don't know, I'm sorry to say this, but I don't know. Frantically it's got that long. But if you know, maybe maybe do something quicker. But at the same time, Like what I understand is like he had initially written this script years and years and years ago and then rewrote it again, Like originally it was much more action packed, and then he kept scaling.

Yeah, like there was there was a gun battle at the end with like an Irish soldier had come over from the mainland and anyway, and then he just kept reducing and reducing and reducing, and that's it became better and better and better as far as I can sell. Whoa man, what would that movie have look like? Weird? Wild? That would have been wild.

It would have been in Bruges again is the thing. So thank god he didn't do it. And that well, and that is the thing I mean in terms of like level of excitement this movie does not have In Bruce beat it is the other way around. This is a very like go to the pub watch these people talk. It is.

It's a stage play. It really is a stage play. And I look on a surprise Martin mcdonnough in Bruce feels like less of a stage play than this movie does, primarily because of the finale. Yeah, well, if you're jumping on boats from in canals off of bridges and stuff. Yeah, you got action wise, you got this movie beat, But I don't know.

I think that, like the violence here is much more intimate, even so much as like when Colin Farrell has he's decreed that to get back at Brendan Gleeson for killing his donkey in advertently that he's going to burn his house down, like as he's piling the kindling and pouring on the liquid Like that alone was horrifying for me. And then seeing Brendan Gleeson just sitting in the house too, like Jesus, just the spark, just the throwing of the of the lanterns, was much more affecting to me than anything at in Bruce. Yeah this, I love their character interactions in this movie more than I do an inedge again, compare is unfortunate. But also again, you have these two guys in these two movies by this one director, What the fuck do you expect us to?

Uh? I think I think you can watch both movies and get something similar but different from both. I think this movie. Yeah, I think that for the themes of this movie, it is a like you said, much more approachable movie. I uh.

And I love Colin Ferrell's performance in this movie more than his performance in Bruges, because it's it's a little against type. Like it's a little against type. I don't Colin Ferrell's not a dullard in real life, far fucking from it, and him having to play this like kind of dope character. I love dope characters in movies, but I always worry that they go a little too far. And Colin Ferrell is just the right amount.

I mean again, like Jack Lemon as Shelley the Machine Levin and Glen Gary. Glennross is that perfect amount of just like dope. But he's not a dope all the way. If you do push him, he will explode. And Colin Ferrell, like you said, there's that moment where Colin Frarell does explode and it's like whoa, yeah, he had in and in this whole time, huh, where the fuck was it?

Then broke? Yeah, Well, his inability to change his you know, his ability to evolve in any way, shape or farm. The general this is good enough attitude. And it's bad enough that they're on a fucking island off the coast of an island, you know, like not participating in the world at all. Can we talk about Kerry Condon for a minute, the amazing Kerry Condon, so good in everything she's in.

Most people know her, but they don't know her. She's the voice of Friday, iron Man's assistant for most of those Marvel movies. So nice. Yeah, And she was on Better Call Saul, the prequel series to Breaking Bad, and she's fucking phenomenal in that too. She's been in a bunch of other stuff I'm leaving a bunch of but she's great, and she's great here, like just wonderful.

She really asserts herself in this movie in a way that no other character in Bruges does other than Raye finds. She is this movie's ray finds in a lot of ways, like she's so good that she I mean, her interactions with Brendan Gleeson and Colin Ferrell are both really, really, really compelling because it's again you get to see through her eyes, the fucking horseshit that these two morons are embroiling themselves in as that third party just being like, oh my god, like the level of just I'm you think I'm leaving this island because of you. It might not be because of you, but you're the part of the fucking reason, like that level of just despondency with this human being that she's related to, is there are people that also can can one hundred percent feel that part of the movie, And that's part of the movie that isn't really in Bruges.

There is this weird like subplot in this movie that works in tandem with what the movie's already talking about, which is feeling fed up with one person to the point of not wanting anything to do with them or not wanting to want anything to do with them and leave completely. She would rather go to an actual civil war than deal with these idiots fighting over nothing. Yeah. It's like the level of her just being, like the level of her autonomy in this movie is so admirable, you know what I mean. She's just like, I'm fucking done, good bye.

Yeah. And she's very funny throughout the film too, Like the scene with her and the bandsheet basically is very She's very, very gifted comedically too as well. What I'm trying to say that seemed to me is hilarious, where it's just this they keep revealing things to this old crone that nobody wants to deal with, Like embarrassing things about one another, and she's marvelous in it. Yeah, I do like the idea of a supernatural specter in the movie. It adds like it honestly adds more of a theatrical quality to it, like more of like like Shakespearean quality to it, you know, like in the Wings the band Cheese Watches, you know, like something to that effect.

Right, And look, the name of the the name of the piece that Brandon Gleeson writes in the movie is called say with me now the Banchees of in a sheer, So like there you go. I mean we have the banchie literally, and then we have the music that's being written that is the seemingly this movie's driving force for Brendan Gleeson's character. Part of the. Driving force that tune written by Brendan Gleeson, by the way, Yeah of course, yeah, yeah, you know, you can't escape the Banchees. I like that, he like.

I like that. His reasoning is he likes the double shush sound from banchies and in a sharon together like there's no other reason for it. Uh and uh. But yeah again, I think in lesser hands than than him, the Banshie would you know, it would be like the Indian and the Doors. You know that the symbol of death.

Have you seen the Doors? I'm not I gotta put it on the list. It made the list. Put on the list of not even joking in that they have this you know, native American character representing death that keeps showing up throughout the entire movie. And it's very clumsy and sort of silly, and and in here we have what is clearly a supernatural being, but she's also you can you totally buy her as just this crazy old woman that nobody wants to deal with, but be oh my god, can be?

Can? And is? She definitely is because she she shows a family member where there there they're dead, are you know? Before it would be discovered otherwise by the end we're fishing him in with the hook that he fished out of the sea himself. Yeah.

I love that kind of character in these kinds of movies, like a just supernatural element just in there just because And I think I think it works here. I think it works. And yeah, that she looks odd enough, but not all the way like off putting. She has that like supernatural reigned in quality that again makes me think of like more on stage aged and like normally in film. So again, once more about the Banshee.

I just I like, I would like people to if they took anything away from this movie, to think about a banshee being like this and less what it's been perverted into and countless you know, silly fantasy novels and comic books and stuff. She's somehow now this like demon a vengeance and really she's she's associated with death, but it's it's it's a much more gentle and familial a thing. Like you know, it's it's upsetting when she shows up, but you know there's not a lot you can do about it, and uh, it's better? Is it better to know? I mean maybe it's a punishment.

Donner, Well, that was what I wanted to ask. What if there is a question that I have about this movie, because again it feels like there might be an answer, and your answer may be different than mine. What are the banshees of it A share? What does that mean in terms of what the movie presents to because is Martin McDonough, there's no way there's not like some sort of overall overarching meaning dull. Yeah, Well, I would say that that sort of subtle conflicts, can you know, portend the death of everything, of all civility, of all reason, of all hope toward reconciliation.

Yeah, I agree, I think I think it does. Just it cuts to the idea of like those little things that we think don't add up too much, add up way too much sometimes to things that cannot be overlooked undone even if you make all the promises in the world that things will change, is too far down the road. We're too far gone. We can't change it at this point. And then, yeah, the the best part of the movie is the irony of well, when things do change, sometimes people don't want to do them anymore.

Isn't that a shame? Oh? Yeah, I mean, well. They're different, and now we don't want to be fred or you want to be friends with me and I don't want to be friends with you. Like when when push comes too and people to change, are we even the same people anymore?

Or have we gone through a kind of spiritual death as it were, and changed into someone else? Because I know since the last time I saw you two years ago, almost yeah, two years almost two years ago, now I feel like I'm a different person. Than even the person I was when you and I saw each other the first time or the second time, and like there's that weird like sense of like, well, I'm not dead, but that person that I am is different and changed. And again in this movie, it's like if that were to go to the shove and pushed off the edge, would we have would we want to do anything with one another again? And in this movie it's like no, no, yeah.

And the sad thing is, and I don't know maybe this is true or not, but when Brendan Gleeson's character is firm with him, he has kind of the most effect. He does kind of keep his distance for a little while, but whenever he's a little bit nice to him, then Colin Farrell immediately starts acting like everything's okay, and then that the situation gets worse and worse. So I don't know what that says, Like, you know, it was there a scenario where Brendan Gleeson could have explained that I need a break from you? You know, Yeah, I wonder the same thing because it comes down to the communication part of this, right, Like right, he's communicated and communicated that to him in a way that worked for the bull and.

Look, obviously the Brendan Gleason character, this isn't just some one day he woke up and decided this there, we're getting him after a period where he was in despair. They say that a bunch of times. When he goes to confession, the priest asked him, how's the despair and he says, oh, it's good now, like it's it's finally lifted, which means that part of the association with Colin Farrell's character is obviously a time of grief for Brendan Gleeson's character. And so that's another thing. You know, well, once you get associated with a period in your life where things are fucked up, unfortunately, you don't want to be around that anymore.

And that's a valid reason. But just slamming the door and saying fuck off is the wrong method. Right, And that I think is the thing that can be taken away from this movie is like, conflicts exist, and conflicts will always, but how we handle getting into them and getting out of them is more important in a lot of ways than what the conflict is about. Because this conflict in this movie is about nothing. It's literally about nothing.

There's nothing at the center of it other than I just don't want to be around you. And if I had said right now, things may not have played out the way that they did. But because I couldn't tell you it was just for a time, because I didn't even know that that's what I needed, then it becomes this whole fucking thing, and it's the lack of communication between the two and that breakdown to the point of I'm going to burn your house down with you inside of it, which is the fur this logical step from any sort of rational decision. But all right, Yeah, there had to be a way to get Colin Ferrell's character to the point of evolution without having his donkey choff and your fingers that you cut off and threw at his door.

Yeah, it's all mad at that point. There's nothing but the conflict at that point, and that's all there's ever going to be. Right and that, and that, in a lot of ways, is the ultimate message of this movies. Don't ever let it get to the point where there's just conflict and nothing else where the relatability is gone, where the common ground can be even found, as opposed to we're just stomping more blood into the ground. Because conflict is fun and I like the way it feels to punch your face because that's what this becomes.

At the end, it's like, I don't want to be your fucking friend, and there it is okay that there are some things that we cannot come back from. Fuck you like that, and that's called that's Colin Farrel. At the end of the movie's like, You've pushed me so far that I'm fucking I'm the guy who's fucking done now. Yeah, are we square? Like no, if you had stayed in the house, you would we would be square.

If you were dead right now, then I would be happy. Yeah. It's like this guy who at the beginning of the movie was so keen to be this man's friend, has now been pushed to the point of like if you're if you being alive. Is now a prop Yeah, good place to be in your golden Yeah. I absolutely I adore this movie and I have watched it way too many times since it came out, which I think speaks volumes to my maybe love of this more more than In Bruges, because I have only seen in Bruge a handful of times compared it.

But I'll definitely watch both again. Sure, Oh yeah, I'm not going to say no to either being put on. Now we're comparing these movies and saying ones better than the other. They're both masterpieces. I just want to be clear, Yeah, for sure, like genuine contemporary masterpieces that I'm surprised don't have stage adaptations because of how well written they are and how.

I'm sure there must be somewhere. Right right, yeah, if they, if there haven't already. So I'm glad we talked about these movies. I really am excited to see what Martin McDonough does next. Uh, probably have to wait a while, which good art takes time.

I will say, though. The unfortunate thing in between in Bruses and Banshee's of it a Sharon, is I kind of can't see Brendan Gleason not looking like Donald Trump anymore because of that goddamn Donald Trump thing that he did for Showtime. And it's like, man, he kind of just like the here in this movie, even like he kind of just looks like him now to me all the time. It's it's unfortunate, it's unfortunate. It is unfortunate.

What's really funny is like, is Donald Trump now seems like fucking quaint compared to like where where where we are now in terms of like the timeline. But I rewatched like clips from that and I was like, what a weirdo thing to have existed, and a weirdo actor to have played it, Like, of all the people, this Irish actor playing one of the most well known people in the world. Have you seen I think it's called Frank. It's the series that Donald Gleason, Brendan Layson's son wrote. It stars two of Gleason's sons, Donald and another one I'm sorry, I don't know his name, and it's about the second.

It's about the not Donald Gleason, and he's just this like loser character. And at some point in the show Brendan Gleeson shows up as their father and he's it's a light, fucking silly comedy and he's fucking hilarious and that he can do no wrong. This man I love. I love Brendan Gleeson so much. He is I mean, we kind of mentioned how good he is in this blake and again we mentioned how Goodie is and everything else.

But Paddington too. Have you seen Paddington two? That's not oh he's so good in that he plays like the cook in prison where Paddington goes to and it's like again, I mean there you go, like you can already imagine the fun to be had with with that, with that character and again that actor, and you know what, I just watched that he was in and I completely forgot that he was in Lake fucking Placid. He's the best thing in like Placid. Yeah.

I'm a Bill Pullman fan, but Bill Pullman is pretty boring in that movie. I mean Bill Pullman, He's not given much to do. Unfortunately, No, that's a terrible script. But Olliver Platts fun. In it, and so is so is Brendan Gleeson.

But I don't think that's not the case ever. And I didn't get a chance to mention the thing I saw Colin Farrell in first Phone Booth. Oh yeah, which right on the heels of tiger Land. Bone Booth is a weird movie that I have not seen in a very long time. I'm assuming it probably doesn't hold up, but.

I did not like it at the time. I thought, you know, yes, you can make a movie that takes place entirely in a phone booth, Sure should you? I don't know. Now that I think back on it, it seems probably more like it was a failed script for like Tales from the Crypt or Twilight Zone or something. Just think about it, Like what that movie's fucking set up is how the movie ends like seems like a Twilight Zone.

Or my understanding that it was like an idea that Hitchcock had that he couldn't crack, so somebody was waiting to do it, you know. So yeah, so so there you go, like this this was a thing that's been kicking around for a while. Yeah, basically, yeah, but Colin barrel Man, he's fucking effortlessly charming that brick. Yeah. I am a fan of Colin Farrell.

I also recently rewatched Horrible Bosses, and he's hilarious in being weird, like just being completely whackazoid. And yeah, I don't know, he always gives it as all and everything that he's in, including but not limited to Daredevil and that Miami Heat movie or Miami Bice movie that was shockingly good. Uh yeah, oh yeah, he's never not good in these movies. He's you know, he's really fucking affecting in was and the movie overall is not great. But saving mister banks.

Did you see this about god? What's her name? She wrote the Mary Poppins books. It's about p L. Travers, Yeah, Peel Travis.

So it's about trying to convince Peale Travers to let Disney make Mary Poppins into a movie. And the movie contains flashbacks to her time living in Australia, and Colin Farrell plays her alcoholic ne'er do well father, and he's so fucking heartbreaking in it. Huh. I would watch that. No, what else?

You should watch? Dumbo? Tim Burton's Dumbo. You're like the only person I know who has gone out on a limb for that. I'll continue to go out a Olympi movie.

I think it's really good. Not only is Colin Farrell fucking fantastic, but the villain is Michael Keaton. That is the only reason I wanted to watch that, because it's Michael. Keaty, white haired, Walt Disney. Michael Keaton made by Disney, like the most Disney of movies.

The villain is effectively Walt Disney in that movie. It's really subversive. I don't know. If people didn't like it, people are crazy. I'll have to watch it.

I'll have to watch it. I was gonna I thought you were gonna say Colin Ferrell's great and fantastic piece. I actually think that's one of the things I've seen him in where they give him nothing to do intentionally give him in that movie. Right, So it was he was the like the Red Herring, like, oh, he's the fucking Valdemart character or whatever. Well he was the character into guy, right, and.

Then it turns out to be Johnny Depp at the end, right. Which when Colin Farrell turns into Johnny Depp, we're really we're going from gold to silver, not from gold to platte. No, man, they thought they were getting that, and I was just like no, Like I was like, oh my god, we're gonna get Colin Farrell in like a series of movies as as this character. I'm so excited. No grindle Wald or whatever the fuck he was.

But but in the movie, no, nobody said grindle grindle Wald, what's fucking name. But to be fair, we did get Mad's Michelson as Grindlewold in that third So. I haven't it. I couldn't. I can't, I couldn't.

I could barely get through the second one, and then they're like. Second one was the second one was an. Uffront blog man. Yeah, I didn't see the third one either. I have not watched it.

And as is not that the one with Jude Law or does the second one have Jude Law? JUDEA is the best of all of those movies. As young Dumbledore, he wasn't funny enough though as for my for my like, oh no, no, he's definitely a enough, but he. Just got what promised. Colin Farrell is you know, the most recent thing that I remember him in is The fucking Batman and as the fucking Riddler, that's the fucking penguin and he's.

Fucking seeing it. Oh my god, go what just stop. You're the only person that I know that is telling me to go watch that movie. No joke. Is everyone insane?

I don't know. Listen, that's a fucking good movie. If you like Batman, if you actually like the character of Batman and not the idea of Batman. This fucking pop culturally bullshit thing we've been getting for twenty five years. If you want to see a Batman movie, the Dark Knight Detective, you gotta watch The Batman.

It is so assured and wonderful and like in like early Batman, like young Batman, but like not gimmicky. I don't know, I dug it, man. I did? I know. Colin Farrell is amazing in it.

That's what I've heard to the poor where they gave the guy his own show. He's fucking incredible in that makeup. Weirdly, I was thinking about this movie today and that makeup is one of the best makeups I've ever seen any movie ever. No hyperbole there, that's it's incredible. Yeah, I should, I probably should watch.

I mean, I love I mean, Batman is my favorite superhero. But I just I never got around to it because I heard good things and then all of a sudden I started hearing bad things. So it was like, it's three hours. It's a pretty big time commitment. I would probably have to watch it on my own, So.

Will it's worth it. It's worth it. It's got Colin Farrell, It's it's not a hard sell. Oh my god. You know what.

I don't mean to say that this is the best version of Batman or whatever, because every flavor of Batman is valid. That was the great thing about comic books. You know, you'd get a different artist every once in a while and different writer, and you know, suddenly your character is a whole different character in a way, you know, with the fundamentals obviously still in tank. So everyone's interpretation cinematically of Batman is it is valid? For me?

The Batman that I read in the comics, that I liked in the comics is on display here and in virtually no other Batman film like that. The detective work in the in the Christopher Nolan movies might as well be magic, you know, it's just like machines and holograms and whatever, like here's what it would be. This guy on the street, like you know, with sweat and you know blood right right? And yeah, no, that's uh, I don't know that. That's the thing about the new stuff that we see when it comes to superhero stuff, is I it has to really be different to set it to stand out from everything else at this point, and I know it, I know it was, but everything else is so kind of fun and frothy all the time.

And it's not that I want something serious, but I don't need fucking quips constantly. You psychos with you equip Let's get Martin McDonough to direct a Marvel movie. Let's waste his time with Marvel. Wouldn't that be fun? I mean, Phoebe waller Bridge, his partner, seems to love working with Disney.

Can't you just put in a good word for Martin McDonough. No, please stay away from those things unless you want to make them better, which I guess they probably wouldn't let him, to be fair. Hey, listen, if they want to give him like a horror movie or something, and they are like if they because Marble's eventually got to fucking figure it out and do genre movies now, right, they have to. They have to. I don't think they have a choice at this point.

No, they can't keep making the superhero movies. They have to get as diverse as comics themselves, Like they. Have a weird thing for them to think about. It is because they're obviously so trepidacious to do it. Because we were supposed to get a horror film with fucking Werewolf by Night last year and they fucking made it black and white and they cut the shit out of it, and they took all the blood and the gore out of it, and like just completely you know, got cold feet, and they need to not get cold feet.

They need to embrace the fact that there are other ways to tell comic book stories. Yeah, I I I uh, yeah, I joke about Martin McDonough, but like, I don't know, he seems like too high high profile of a director for Marvel, though they did have Kenneth Brona make a. Movie for them. Listen, they're they're, they're, they're they're foundering, They're they're heading for the rocks. So like a shake up, like getting somebody like that and going do what you want to do with these characters.

We'll figure out a way to link it up to the rest of our universe. Go ahead, that would be the best thing they can do at this point. Yeah, I man, I really shouldn't have made that crack about Brendan Gleeson looking like Trump, because now I really am having a hard time. I'm seeing Jesus Christ, Jesus, they just stop. I know.

It's what's really funny is there haven't been a lot of people who have played him in movies yet. I don't know why. I mean, I do know why, But what's funny is, like, of all the people, it's an Irish guy. Yeah, like what are the odds like the most and like super irish too, not just like you know, I like Dominoll Gleeson is like he can pass less Irish than his father, which is why Lake Placid is so funny because it's like this dude is like trying to be Americans. So are oh god Father Malone.

Final thoughts on in Bruce slash ban. Cheese of Minish here And if you haven't seen these movies, you should see the movie. I think they're both nuanced. They're both gonna look, you're gonna have to put your phone down, uh and uh and invest some time with these two characters. And it's not that much time, like less than two hours about these movies.

Maybe not Banshi's just maybe a little bit longer, but they are you know. Like I said earlier, I don't think I can give a movie higher praise than it reinvigorates you in your love of cinema. And that's what Martin McDonough has done twice. Now I agree one hundred percent. When I watch a movie and it makes me just like ah man, I love watching movies like this is why I like watching I remember thinking that when I saw mbrus in the theater like, this is a fucking good movie, and there should be more movies like this movie.

And there have been more movies like In Bruce since In Bruges came out, and frankly better movies, like you know, but also movies that are doing what Mbruge did not as good. But thank god In Bruges exists so that those movies have something amazing to look at and see and say, well, this is something worth doing, and he did it well, so we can also do it. And Banchi's him Inasher and I think, yeah, it's just I don't know, Yeah, it's if you thought m Bruises was good, just wait and yeah, by the end of Banshee's of Inus here and I just want to see more of what Martin McDonough has to do, and more Colin Farrell and Brendan Gleeson like all the time. Give me one of them doing something every year together of something, maybe not even Martin McDonough, and it would probably be good just the two of them going drinking fucking beer in a pub together for fuck's sake.

I mean, I know Colin Farrell is I think Colin Farrell does not drink anymore no, which there's a whole story about him and Brendan Gleeson spending time together at Brendan Gleeson giving him water and like you want to drink and he just gave him water. They sound very wholesome together too, which is also very great. But in addition to another Martin McDonough trio of these three movies, I would also accept a travel show where Colin Farrell and Brendan Gleason visit places or just do everything get out. Yeah, yeah, an apartment for a mo like Oz Oz and James May on BBC traveling Fred France drinking wine together. But these two traveling Ireland drinking beer together.

I would who the fuck wouldn't watch? I don't know they would be drinking beer. Well, one of them was no, just have it to have it be at cheese Selections. They're just going around eating fine cheeses. It doesn't matter what they're actually doing.

They can be visiting forts, you know. Like speaking about the bogs, speaking eloquently about the bogs. Yeah, that yeah, and that just I think that speaks to them and their relationship and the relationship that Martin McDonough is able to capture on screen. Because when he's right, I know, I know when he's writing these movies who he's writing them for. He's not writing them for somebody else and casting Colin Farrell and Brendan Gleeson.

He's writing these characters and tailoring them to these two actors because he knows they're going to do it. So and that's why these movies sing as as loudly as they do, is because it feels very real. So, Father Malone, until you join me or I join you on something. Where can people find all the things that you work on? Go check out Weirdingwaymedia dot com.

To mention, you mentioned all the shows at the top that I'm involved in. Go check them all out. Noise Junkies, that's that's going right now. How about how about do you like that show Taxi? Well, I got one of those.

That's uh, that's night mister Walters with with with HP and Midnight Viewing the Horror Anthology podcast where we're doing currently Night Gallery. Check that one out. That's fun anyway those process. I can attest to it being fun. I'm on that show.

Yeah. Weirdingwaymedia dot com is where you can find this and this show and all the other shows that I work on with Father Malone and Mike White, Father Dre and and everybody else who does great shows and does great workover Weirdingwaymedia dot com. As for this show, culturecast dot com, Patreon dot com, slash culturecast. You know the drill ten twenty and fifty. You've heard it here before.

I just said it, so I don't need to say it again for another empass. Father Blu, Thanks so much for joining me. This was a lot of fun. Oh my pleasure. Any chance to talk about Colin Farrell?

All right right there, Yeah, I'm with you and uh and as always, well we'll catch on the next episode. M