Show Notes
"More human than human is our motto." This week we take on Blade Runner (1982), a film that looks like a masterpiece but often feels like three scripts in a trenchcoat, arguing about who is going to be the legs.We discuss whether the film's symbolism is profound or heavy-handed, why the replicants often seem more sympathetic than the humans hunting them, and whether Deckard is actually the least interesting person in his own movie. Along the way we get sidetracked by unicorns, artificial memories, and the eternal question: can a film be a masterpiece if you're not entirely sure what it's trying to say?
More from The Invasion of the Poddy Snatchers
“There are two kinds of lawyers... one that knows the law, and one that knows the judge.”The iconic poster, the Duke Ellington soundtrack, Preminger behind the camera, and Jimmy Stewart leading the charge... but does Anatomy of a Murder still work? Join us as we step back into Preminger’s courtroom to unpack its boundary-pushing drama, dissect its gender dynamics, and put the performances on trial.
“Rosebud…” This week we finally tackle the monolith itself: Citizen Kane. Long hailed as the greatest film ever made, Welles’ debut arrives with a mountain of reputation and a century’s worth of film-school baggage. We dig into the myth of Kane as a “perfect” film, the innovations that still impress, and the moments that feel more like homework than revelation. From deep‑focus shots to fractured timelines, from newspaper empires to lonely palaces, we ask whether the legend enhances the film or gets in the way of actually watching it.
"Just say the word and I'll throw a lasso around it and pull it down." This week we sit down with "It’s a Wonderful Life", a film with a near-sacred status.. Frank Capra’s Christmas classic promises warmth, hope, and the ultimate affirmation of a life well lived. We talk small-town virtue, and the weight of nostalgia, ask whether the film’s reputation does the heavy lifting.
"What the fuck happened to you, man? Your ass used to be beautiful."
"You're not listening... well, your heart is not. Love is deaf as well as blind."Join us this week as we plunge into the mist-shrouded realm of Excalibur, John Boorman’s bold retelling of the Arthurian legend. We’ll talk about that unforgettable opening sequence, the shifting tones between myth and brutality, and whether the film’s enchantments hold up 40+ years later. Expect tangents about cinematography, Wagnerian echoes, the use of color and shadow, and moments that stuck with us long after the credits rolled.