Oh Brother
Real brothers, Reel Talk: Dan & Mike Smith cover film, TV, & artist interviews 🍿📺🎤
My brother Mike and I launched the “Oh Brother” podcast in 2020. The show’s primary objective is to share our enthusiasm for film and cinema in an informative and entertaining way. We also enjoy interviewing artists with diverse backgrounds in film and television who work both in front of and behind the scenes.
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Oh Brother
Kinds of Kindness: The Art and Absurdity of Yorgos Lanthimos
How do you make sense of the bizarre yet captivating world of Yorgos Lanthimos? That's what my brother Mike and I aimed to uncover in our latest Oh Brother Podcast episode. We kicked things off by wrestling with the perplexing narrative and stylistic choices in "Kinds of Kindness." While I couldn't get past the dissonant music and stilted dialogue, Mike helped me see the method in the madness by connecting it to Lanthimos's other works like "Poor Things" and "The Lobster." We also chatted about the stellar performances from Emma Stone and Jesse Plemons, and how they navigate the unsettling territory typical of Lanthimos's films.
From there, our conversation veered into the realm of shocking and artistic filmmaking, especially within a trilogy of films that left us both disturbed and intrigued. Themes of control, dependence, and sexual perversion took center stage, with unforgettable performances by Willem Dafoe, Jesse Plemons, and Emma Stone. We couldn't help but compare these avant-garde movies to classics like "Eyes Wide Shut" and "Sex, Lies, and Videotape," ultimately finding a new appreciation for Lanthimos's nuanced storytelling, even if the explicit content continued to spark debate between us.
To lighten the mood, we reminisced about a hilarious Saturday Night Live skit featuring Sean Hayes, Jimmy Fallon, and Will Ferrell. This set us off on a tangent about the role of absurdity and realism in film. We marveled at how dark material can unexpectedly be punctuated with humor, thanks to performances by actors like Jesse Plemons and Emma Stone. Wrapping up the episode, we gave a heartfelt shout-out to our loyal supporters, especially our friends from the Rexer Show. We raised our "Oh Brother" mugs in gratitude and shared our excitement for future episodes. Join us for an engaging discussion filled with film analysis, humor, and a dash of absurdity!
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Welcome to the O'Brother Podcast with hosts Dan and Mike Smith, brothers from the same mother with different opinions on movies, tv, video games and more, plus celebrity interviews. Get ready, get set. It's time for the O'Brother Podcast. Welcome to the O'Brother Podcast. I'm your host, dan Smith. Alongside me is always my brother from the same mother, mike Smith. How are you doing tonight, dan? It's like twinsies. Look at the shirts. You can't really tell what it is supposed to be.
Speaker 1:Spotlights in in person, you can tell and then it says, oh, brother, and it says real brothers, real talk. Let me chit chat a little bit here up front. So we're talking about kinds of kindness. Yeah, this is a yorgos lanthimus film. Um, we're going to talk a lot about the Yorgosphere. This is another one. I feel like I say this at the top of every episode, but this is another one where this was not the episode that we were going to deliver. First of all, we didn't know. You know, we're kind of talking it out and figuring out the idea Right. And then Love Lies Bleeding, I noticed was streaming.
Speaker 1:And I kind of wanted to check that out, you know from when we did a first look on that quite a while back and you steered me away from that. Yeah, this was a new word so I thought it was. Yeah, which we do?
Speaker 2:classics, we do all kinds of right, you know movies, but um but this is something people listening can go see right now if they stream.
Speaker 1:As they can Love Lies Bleeding, yeah, so anyways let me finish my little setup. I started watching the film. This is now streaming on. Is it Max? Is that where it is? I think so. I think it's Max, and I don't know 15, 20 minutes in. I was so angry that you were making us watch this film. I well, I was beside myself that I was watching this movie and I stayed through the whole thing. Two hours and 44 minutes and I tried to intervene.
Speaker 1:You gotta give me that you did and I knew. So here's mike starts to backpedal once he gets a look at the film. I it's.
Speaker 2:It's a trilogy, it's a trilogy.
Speaker 1:It's a triptych. A trip, yeah, yeah.
Speaker 2:Anthology three stories, the same actors playing different characters in each story, and after the second one I was like we can't do this conceptually I was in conceptually like before.
Speaker 1:Well, I'm like, okay, this sounds interesting, whatever right. And then I get, like I said, 20 minutes in and I'm just now. I wasn't sure. All these years we've been doing the podcast, all the episodes we've done, uh, about Disney and movies streaming on Disney. Now we just did Deadpool and Wolverine not that long ago and you know that was one that was long time anticipated to get into the Disney universe, especially on Disney Plus because of the R rating for Deadpool films. And I now know what the plus in Disney plus is it's Disney plus soft core. I finally figured it out. It took me all these years and I figured it out Well, you wouldn't have watched this on Disney Well, so it must be on Hulu.
Speaker 1:Hulu, right, yeah, so I watched it through Disney Plus, courtesy of Hulu. Right, okay, because there's a tie in there. Right, good for pointing that out. So you're right, hulu is where, not Max, but Hulu Now to defend my decision.
Speaker 2:This is the same director that Did poor things. That did poor things which wonma stone her second oscar. Yes, but I I got to admit something. That's really not good. I tapped out of that. I was watching poor things and for people who don't know it's about, it's like the bride of frankenstein. Yeah, they bring Emma, emma Stone back to life and all she wants to do is have sex right and she's nude half of the film. It's disturbing right right.
Speaker 1:So, all right, let let's not get too deep into that yet. So, yorgos Lanthimos? Right, he's a Greek filmmaker. Um, he wrote the co, wrote this with ep. I'm gonna try this. Epthemis philippou. All right, I know I have that right because I heard it pronounced. Okay, uh, the cast is starring emma stone, jesse plemmons, who we love. Uh, willem defoe, margaret, is it? Quali, margaret quali? I think right, she was in, uh, once upon a time in hollywood, the tarantino film. Uh, and hong chow, that's like your main cast of characters and as you said, conceptually it's an interesting idea, right they?
Speaker 1:they play different characters in these three different vignettes basically, and there's there's a relationship between each one right now. I had not seen poor things and I hadn't seen any other of yorgos's films, so I wasn't really familiar with his style of filmmaking, because there's more than just what you pointed out.
Speaker 1:I mean lobster, yeah, lobster, killing of a sacred bizarre, etc so, anyways, um, there's something in in the the the way the characters speak, right there's like this stilted dialogue that he's known for. Um, the way that he shoots, right, the composition that you know you can tell it's his film you can. However, I watched this twice, mike.
Speaker 1:However, I watched this twice Mike twice and I've seen poor things and I've seen most of killing of a sacred deer. So I did a dive into his film, I guess, and I will say my first pass through this film, as I told you, I was just beside myself the whole time the, the dissonant music and that, that, that, that type of speech, everything was like grading on me. It was giving me anxiety watching it.
Speaker 2:Yeah, can you relate to that? I can. I had you know, I think I told you in the email after I watched the first segment and I wasn't sure whether or not to keep going, and I think I told you. I said I think this is a cross between Stanley Kubrick and Wes Anderson. Yet the humor did not work for me, the dark humor it was too dark.
Speaker 2:The things that were intended to be funny weren't correct, except for one exception when Emma Stone does a victory dance in the third film. I thought that was funny, but that had been shown to death. I hadn't seen it.
Speaker 1:Oh, I had seen it leading up to the film. I didn't realize like, if you look, poor Things and Kinds of Kindness are only four months apart in terms of their release date. Poor Things that came out in February and that to date worldwide has done about $117.6 million on an estimated budget of about $35 million. But the budget on Kinds of Kindness kindness was about 15 million Again, it's estimated, and worldwide. What does it made? 14.7 million. It opened less than $400,000.
Speaker 2:I know it's a very art house kind of film, correct, correct, and it showed up very quick to streaming, which was should have been my, my first hint.
Speaker 1:Maybe this isn't a good pick it's, uh, it was filmed in louisiana, uh, and, as you said, the three, the three again, it's an anthology. You should get these three vignettes that that play out. I don't know if you can. Really, I don't think it's, we even need to go in and describe each one of them. I think it's really more like thematically right, the different themes that are being covered throughout. I think it's we even need to go in and describe each one of them. I think it's really more like thematically right, the different themes that are being covered throughout.
Speaker 1:I think that's really what his films are about, right, it's. It's all of these themes that you can relate to, but he presents them in such a bizarre and absurd fantastical way, bordering on like poor things gets into like some sci-fi, fantasy stuff with the world building and and so forth. So all of the things, like we mentioned, the, the, the dialogue and the dissonant music, which was um jerskin fendrix, who did the music for poor things too, so you got a lot of the same collaborators. He was a stone, of course.
Speaker 1:This is her third film with him and they're already in production on another film, wow called colin colin farrell has worked with him on two films sacred deer and lobster right both bizarre films, I mean he's worked with all the top cammin yep, so um, but I went back around and gave it a second watch, wow, and my reaction to it was different. I hated it less and here's what was going through, you know, because I wanted to make sure I wanted to come back and try to be as objective as I could, right, and not just write this guy off because of some. What I felt, at least the first go around, and I still believe this the gratuitous sex, uh right, this was just it was like shock for the sake of shock.
Speaker 2:Good luck sitting down with any family members and watching this film I was gonna say, if we were in any kind of disagreement, I was gonna ask you, would you sit and watch this with your girl?
Speaker 1:there's there's n credits, you know, after each of the three segments yeah, and at one point at the end of the first one it's like dogs, I mean. It's just so well.
Speaker 2:That was the second one where emma stone admits she comes from a place that dogs are in charge correct, which control is one of his themes throughout she was supposedly stranded on an island, correct?
Speaker 1:and then she talks about this dream she had well, I think, while she was there about, like you said, the dogs are in charge, and so it sets up that kind of metaphor. But I started to think of this mike, I started to think of david memet, I started to think of steven soderbergh kubrick, who you mentioned, and the second time through I thought I had a lot more respect for, like, I'm not going to deny the guy's ability to, um, you know, frame a scene and his shot composition and or the acting.
Speaker 2:The acting is.
Speaker 1:I have no problem with the acting uh, I got a little problem with not in this one, not in this film. I agree with that. Um, so I shouldn't. I don't want to deviate too much, but I have to go back to poor things having just seen it right. Um, mark ruffalo was terrible in that movie, terrible and I don't even remember him.
Speaker 1:That's because I tapped out of it okay, yeah he was a main character in the film, but um, but I came to appreciate that the music seemed to grate on me a little less. As you said, the acting started to take over, because the performances are undeniable. Yeah I have no problem with the performances especially. I have to say we're biased. But again for me, plemons, yeah, steals the show and every scene that he's in he steals the scene and he gets his actors to do very.
Speaker 2:They have to be uncomfortable filming some of these sequences like I kept thinking about that and poor things how emma stone was nude through most of the film right in like hardcore.
Speaker 1:I mean this. This makes game of thrones look like sesame street.
Speaker 2:Yeah, and and plemons want to watch like self-created, and the sexual perversion is another theme well, yeah, they, he exactly they're.
Speaker 1:They're like swapping couple, you know swapping partners and whatnot, right? So, and, and that, and, and, and. That's the thing. Yorgos deals with a lot of these taboo topics, right? He's definitely not afraid to do that. I mean rape and um uh, subjugation, deceit, love.
Speaker 2:You haven't seen one down right.
Speaker 1:I haven't seen the lobster, no lobster.
Speaker 2:The premise is you have 45 days. You go to this retreat and you have 45 days to find a mate to get married. If not, you get put in an animal's form, which colin ferrell picked lobster.
Speaker 1:So just me saying that sounds bizarre which is why and you're more into sci-fi fantasy than I am so it's interesting that you tapped out of of yes yes and I stuck it out the entire way and when she won I was like whoa and see, I don't get that, I don't get that.
Speaker 1:That to me is not now who I forget who else was up this past year? Yeah, that to me is not an oscar-winning performance. I think it seemed that to me is not now who I forget who else was up this past year? Yeah, that to me is not an oscar winning performance. I think it seemed that to me either.
Speaker 2:No, it's, it was. I thought her performance in this was better yeah, I agree with that than what I saw, you know and and there's no denying that this is one of those movies that you think about. You know like these themes get in your head and you start thinking through them and I wrote down like key relationships, control. There's a control over each one, right? Uh? Dependence um sexual perversion shock right no free will right.
Speaker 2:These characters act like they have no free will they have to do. And two of them what willem dafoe says? Right you know, and the third one's more like a cult film.
Speaker 1:You know I and speaking of dafoe, I think that would be a reason to stick it out with poor things. To me he's he's the best thing about that film. But um, yeah, I I was again at first. I'm like this is so overly esoteric, self-involved, it. Just I'm like this is a guy that just wanted to, wanted you to know that he went to film school and he just regurgitated all the stuff, all the tricks and things he'd learned. But again, after a second run through, I had a different take on it.
Speaker 2:I really did. I couldn't see myself giving this a second run through Well the material isn't easy to watch, for sure.
Speaker 1:Right, it's not an uplifting film, but some of the little connections he made.
Speaker 2:And again you really got to pay attention. Like Jesse Plemons has this purple suit in the first leg of this trilogy, turtleneck right, and he looks kind of funky and and he had lost weight. You could tell he lost weight and willem dafoe's character says you're too thin, you gotta eat a lot of weight yeah and then in the third trilogy, that same purple, is emma stone driving a car, a mustang. That's the exact same shade of awkward purple that I don't think exists right, right, except maybe the joker's outfit.
Speaker 1:But yeah, you know, I was thinking of things like um, that was the thing I'm like okay, is this? Is this avant-garde or have we seen this before? And that's why I listed off all of those things that started coming like Eyes Wide Shut, sex Lies and Videotape came to mind, which was helping me respect him more in what he did with this film than I did the first time through, because if you think of I mentioned this stilted dialogue, this very specific way that his characters speak, and it can be comical at times sex eyes and videotape has a lot of that too. Right, you go back and watch that with james spader, and.
Speaker 2:But you know none of like kubrick's film eyes wide shut. I consider a great work of art this, although he steals the music like note for note. I swear the piano notes ding, ding. It was like, okay, he's trying to do Kubrick here. Some of it is just so shocking and offensive, just for shock's sake.
Speaker 1:I just that's how I felt. Yeah, I don't think it needed to be that vulgar, that gratuitous Right.
Speaker 2:I think it could have got these themes across of control and free will without some of the shocking stuff.
Speaker 1:I don't think I can look at Emma Stone the same way again.
Speaker 2:Well, that's how I felt when I watched Poor Things. I'm like I don't want to watch any more of this because I like her too much.
Speaker 1:And I learned two things, two things. This because I like her too much. And I learned two things, two things. I don't want to see willem defoe nude and I don't want to see him in any sexual situation whatsoever like that. If I don't see those two things ever again in my life, I'll be a happy camper.
Speaker 2:But and burned into my memory is him and jesse plemons swapping tongues, and this is oh god, that's that says enough, right there that's not a good match there.
Speaker 1:That's not a good match but the you know it's not even sensual or erotic or anything like that, it's just crude it feels, as you said right then, are where?
Speaker 1:right that's the difference with eyes wide shut is, although there's a lot of sex in that, it's, it's not, you know, just for the sake of it, it's to set up these big and listen speaking of free will, I mean, you know emma stone, you know she takes the role or these roles and and does this so, but at a certain point it's kind of like this objectification that it's just sort of uncomfortable to to bear witness to, I don't know. You know what I thought of too, again the first time through. I was making all these notes, like this mfr, and I was mad at you and all this right feelings. I was feeling, which, which I know is the point right, I understand that's the point.
Speaker 1:It's due this film. All the vignettes are supposed to keep you feeling a bit off balance. Not only the music, but the way he shoots. He shoots up a lot.
Speaker 2:And seeing the credits roll after the first one like 50 minutes. You're like wait a second and then all of a sudden cuts right it's a harsh switch right and the second one. The second film ends so abruptly without any explanation of why he ended it that way yeah it was just a little bizarre.
Speaker 1:Maybe this is the point, this is your right point. You know this dialogue, but and it's art Again, it's art, right, so you take from it what you want. But I thought about remember the skit on Saturday Night Live with it was who's the who's the actor from Will and Grace? Who's on the smartless podcast with um, uh, will arnett?
Speaker 2:oh, I know who you're talking about. You don't talk about his name.
Speaker 1:Oh it's terrible, but um, he's uh, our audience will know who I'm trying to sean hayes, sean hayes, that sean hayes? He, um, it was him jimmy fallon and will ferrell, and they did this skit where hayes and Fallon were working at this real, you know, this bourgeois kind of boutique or something. Yeah, and Will Ferrell comes in and it's just this very kind of overly eccentric situation and each is trying to outdo the other with their eccentricities or whatever, and at one point Will Ferrell pulls out a cell phone.
Speaker 1:It's like a tic tac yeah, I remember that it's it's a, it's a flip phone and he they work at a clothing store. They work at a clothing store right and it just that the vibe of that is what this was making me think like this guy is just trying to show hey look what I can do as a filmmaker, right.
Speaker 2:But again I felt and there's something to be said when the quality of acting is so good and and so big but he, why are they?
Speaker 1:doing this.
Speaker 2:He is a good filmmaker, though I mean he really and and I don't you know if it's borrowed from that's there's no originality anymore everybody lobster, you could say it's not original, because there was another film, walrus, which was very similar, where the main character transforms into a walrus lobster. I see the humor and Colin Farrell's performance here. I didn't get it and again I thought he was just.
Speaker 1:Well, I think Well, I don't know, because I haven't seen that particular film, but I think it's this juxtaposition right. It's so dark, the material in most of these films that you're not really expecting humor. It kind of comes out of nowhere and you're like am I supposed to laugh at this? Right right, am I not supposed to laugh at this?
Speaker 2:you know. So, like emma stone feels like you know she resolved her conflict and goes into this victory dance a little premature. But and then the guy did you watch after the end credits? Because there's the character I know. I wrote his name down rm rmf. Yeah, the character that has his moniker, older guy right at the very end, though they're all titled with him in it, like rmf flies, rmf eats, and then the last one after it finishes. If you wait for the credits, he's like at this taco stand. And right, I saw it.
Speaker 2:Yeah, he drips like some sauce he almost like squirts it on himself on purpose.
Speaker 1:Again, it's the absurdity of again the juxtaposition right of what we just witnessed, right With this very kind of inane sort of like the guys you see, humorous moment.
Speaker 2:Yeah, but I think you said the perfect word. I think he was going after absurdity just for absurdity's sake. I did.
Speaker 1:I did Like he has some of the cast, that he has the cast, uh, that he has I it. I get the impression that these are folks that haven't been acting long, or maybe haven't acted at all in some cases, or they're just that good where there's this real, strong sense of realism in these characters. There's a, there's a bartender in one of the vignettes that jesse plemmons keeps going to, and there's just something about the way the performance that that actor delivers is so natural and so yes and I think that that grounds the film, when everything around it is, like you said, so absurd.
Speaker 2:Right, it's just, it's a very again and we don't know what that bartender is going to do, whether he's going to do what Plemons says or deny him again the control, or do what Willem. Dafoe is clearly a narcissist and wants to control everything, from what he eats to when he has sex, to everything.
Speaker 1:Yeah, to the point that he writes it down. Okay, it's 730.
Speaker 2:Have sex with your wife and he drills Plemons on Did you do this then, did you do this then? And if Plemons gives the wrong answer, he goes in the doghouse, right. And if Plemons gives the wrong answer, he goes in the doghouse.
Speaker 1:Right, which none of that means anything except to support the themes that you know Yorgos is trying to get across Right Now. I don't know what we make of this, but I want to get you. We always bring this up, so I want to get your take on it. But IMDB, as of right now, this has a meta score of 64.
Speaker 2:It feels a little high for me.
Speaker 1:Feels high okay.
Speaker 2:Feels a little high because, honestly, if I didn't tell you to watch it, I would have never brought it up, I would have never even said so, I wouldn't say after watching it, I wouldn't say say, hey, check this out.
Speaker 1:And I was so angry that by the time you sent me the email going hey, I think maybe we should not pivot you. Yeah, and I was like you. I'm in. I'm already right halfway.
Speaker 2:I could tell I was like you finished it because I hadn't finished the third vignette. Yeah, I was done I was done, but you had wrote back that I'm done. I was like, oh yeah, I said I already watched the film, but you didn't let on no how you felt about it. So I was like maybe he liked it.
Speaker 1:Well, look it I. I had a second.
Speaker 2:I can't believe you watched it a second time I don't think I could take a second watching. I think you should at some point go back to it other than to pick up on some of the things like the, the purple suit and the. You know the things that if you juxtapose, you know put them in juxtaposition.
Speaker 1:Compare the, the two now the you know the nudity and the sexual content in in this. I didn't find it as bothersome and we're no prudes. But I didn't find it as bothersome and we're no prudes, but I find it as bothersome as poor things was just too much well, there's the one scene.
Speaker 2:There's a rape scene in it which bothered me well, that's true, that's right.
Speaker 1:Thank you for bringing that up yeah, that was really. That was really disturbing that was very.
Speaker 2:you know it was a husband, that's right. But her wife belongs to this cult and he follows their rules.
Speaker 1:He played it out very well, because you don't really know up until that. You're like is he, is this, yeah, is he doing what I think he's doing? And that's Joe Alwyn, who, again, he's in all three vignettes as different characters. He plays her husband in that one, but the guy that you're talking about, that RMF that's in it. His first name is Yorgos as well, so he must be a fellow, you know, from Greece, I guess. But so the Rotten Tomatoes again, we don't give that as much weight, but the critics have it at 72%, which is more where I am now at the second. Look, the popcorn meter, formerly known as the audience score. Yeah, 48%, see, that's probably where you are.
Speaker 2:Yeah, yeah, because let me ask you, would you recommend this Bill?
Speaker 1:It depends on who it was. It depends on who it was.
Speaker 2:That's what the score does for me. If it's below a five, I'm not going to recommend it.
Speaker 1:I would, with a disclaimer right, because I think if it's somebody I know who appreciates filmmaking, right, then I think I would Right If it's more of a casual moviegoer. No, I don't think I'm going to certainly not watch it with the family. Please don't do that.
Speaker 2:He yeah Right, don't get the wife and kids up and say, hey, no, because the title's deceiving. Right Minds of kindness.
Speaker 1:Yeah, what is this going to be? What does he mean? She's not contaminated anymore. But I have I have to say I have more respect for him as a filmmaker now, but that's not again. I still have a problem with his what I think is an overuse of the sex and the shock factor.
Speaker 2:Yeah, it's just it. It bored, it was crude, it was crude. You know it's bizarre. When you did the money figures, I think poor things did the money because Emma stone won the Oscar.
Speaker 1:I think I. I would like to look at that.
Speaker 2:That was a catalyst for people to watch it.
Speaker 1:Do you think a lot of the earnings was post academy awards?
Speaker 2:that's I. I will go back and look at that. That's interesting because I think it must be, because look at, look at his, this film, kinds of kindness, right.
Speaker 1:Same director, same cast but it's also make any money. But, as you said, it also was in the theater for a very short time right, there's got to be a reason for that.
Speaker 2:Although how long was poor things in the theater?
Speaker 1:well, but the budget, it's not a big budget film, right? So you're talking, uh, quite a different. It's like poor things was twice the budget of this. So yeah, I it might not have intended to be anything but, like I said, little art housey film and then it goes right to streaming right you know, and fans of his.
Speaker 2:It's more of the same right. It's more of the absurd it's more of the crazy so maybe they're gonna like it, but I cannot recommend it and the killing of a sacred deer.
Speaker 1:So far I'm enjoying it minds me. It has like an the ice storm vibe to it. Yeah, we love you know that I haven't finished that one either.
Speaker 2:I that's the one with the cole kidman in it right and colin farrell again and barry keegan that's right as well.
Speaker 1:That's right, yeah, so you can see where that would be a little lighter a little bit, but it's uh, but uh, it doesn't take long to look and say, yeah, this is one of his films. Like you said, he's got his own kind, even though he's probably it's an uh, an amalgamation of different influences. Right, yeah, as everything is at this point, but, um, but I he is a good filmmaker.
Speaker 2:If you're super open-minded and and I've mentioned all the themes I think that are relevant and you want to see something with those themes, maybe check it out. Otherwise I've got to say pass.
Speaker 1:I know people that are very open-minded who've seen this and they have the same feeling. They're kind of bothered by the same stuff. It's disturbing. They were kind of bothered by the same stuff.
Speaker 2:It's disturbing. I mean it's disturbing that just lemons is mourning his wife being lost and wants to watch a sex tape where they switch partners. I mean that's bizarre. It is just to be bizarre.
Speaker 1:Right, right. But again, that's the point here. Right, so you could say he is doing things. I mean, do we? What other filmmakers can you name off the top of your head that are presenting content in this kind of way right now?
Speaker 2:Yeah, no, he's definitely not that he's the only one, but, yeah, he's a unique director that people who like him are going to like this, probably because it's shot Well, it's well acted.
Speaker 1:I would like to see what else he can do, like I'll go back a little further into his resume, but yeah, because killing of a sacred deer seems like a little bit now. That's prior to, that's like 2017 or something, but right, so I would like to see, like this begonia, I think, is um, if, if I can pull it up, it's uh, is that the?
Speaker 1:one that's coming yes, it's an emma stone is in that again yeah, here she's got to really trust him begonia maker two oh, she does, she said as much because she puts herself.
Speaker 2:They have a really difficult spots they have a.
Speaker 1:They have a, you know, kind of a second hand. Two conspiracy obsessed young men kidnap the high-powered ceo of a major company, convinced that she's an alien intent on destroying planet earth. That might be more up your alley. Maybe you know that description she must be the more sci-fi-ish. She must be the corporate ceo. That obviously, yeah. Well, anything else to say about kinds of kindness? I think I would say listen to us.
Speaker 2:We're trying to be kind.
Speaker 1:Don't watch this this is a kind of kindness to this film. Yeah, it's uh, maybe a little bit of a backward kindness, so you, you don't recommend it at all.
Speaker 2:I might recommend it to people who are real art house people. But then again, you know, film noir is art house. That's what I think of as art house.
Speaker 1:This is just so bizarre, Okay, but think about some of the scenes from the shining.
Speaker 2:Think about you know there's certainly but nothing that shocked me to this, to the sense that this did nothing, that I looked at and was like oh, you know like poor things. I did not want to see emma stone nude all the time.
Speaker 1:Uh tell you that, what? That one is a lot harder to hang with than this. Yeah, this is an easy watch compared to that?
Speaker 2:wow. That makes me think I made the right choice.
Speaker 1:I mean this really. I could watch this a third time, no problem, and I don't know, how do you win the oscar? In a film like that that I don't know, I really don't, and and again will love emma stone. She's great. She's great. Yeah, but Willem Dafoe was the best thing about that film. He gave a really solid performance in that.
Speaker 2:But yeah, it's not an easy watch.
Speaker 1:He was like the Dr Frankenstein character, so yes, correct, so tell us what you guys think.
Speaker 2:If you've seen this film, drop some comments in the video and if you see it because of us, don't send us hate.
Speaker 1:Correct comments and if you see it because of us, don't send us hate you correct again, we're. I'm recommending it with a disclaimer, little caveat, that, right, you know, if you're like mike said you got an open mind, you're not easily offended, right, and you're a cinephile then this is going to be probably something you want to check out. If you haven't seen it.
Speaker 2:Yeah, I think the meta score. There was some pretty high scores. So I just glanced at it, but to get to 64 it needed some 80s and 90s yeah but I can't, I can't, good conscious, recommend this film yeah, all right.
Speaker 1:Well, it's a bit of a split decision, but I, you can't, you can't say I didn't give it a fair shake.
Speaker 2:Oh man I can't believe you rewatched yeah, and I think now that you have and appreciate certain things, I think you'll like Lobster for the humor.
Speaker 1:I'm enjoying Killing of a Sacred Deer. So far, I'm liking that one. I'm looking forward to finishing that one off. But well, there you go. Nothing else to say about that one. So there you go. Kinds of kindness For those of you that are not currently following us. What are you doing? Why are you not following us, please? Is it dance language? Make sure that you do. You won't find any nudity at the O'Brother website Not anymore. We cleaned that up. But go out to the official oh brother website, which is oh b as in brother podcastcom, ohbpodcastcom. You notice something about my mug, dan. I can't see it. What it's, give it, put it up to the camera.
Speaker 2:I'm just looking at that inside it, you mean well it's, it's dark, I don't have red oh, that's right, because, oh, my skit, yeah, that's too early, but okay.
Speaker 1:So, uh, you can follow us on Instagram as well, at OHB as in brother podcast, at OHB podcast and on YouTube. We are at oh brother podcast. That's our handle on YouTube. Um, just look for the logo that you see up there in the in the corner of the screen. Um, we would really appreciate if you'd subscribe to the channel. Like our videos, get the helps us get the show out to more and more people.
Speaker 1:Yeah, we really appreciate the support that we've we've received so far so far from folks, and we we've we've hit a milestone recently, but we're not done. We're hoping to keep growing things. So, yeah, I appreciate all the support Shout out to our friend Paul um, yeah, but appreciate all the support shout out to to our friend paul um. He's been a devoted supporter for some time now. Uh, by way of the rexer show, that's right, a couple of our buddies there. So, uh, a tip of the oh brother mug to the boys. Yeah, but that's going to do it for another episode of the oh brother podcast. When your host, dan smith, lines. I'm, as always, my brother from the same mother, mike smith, and we will see you next time. Bye everyone.
