Podcasts about our kind of traitor

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THE BOYS ARE BACK IN TOWN. Tom's baby has arrived and Dave's back from holiday so it's movie time again. Feature review of Oliver Stone's Snowden plus news plus a trademark lightning round consisting of: Flesh and Blood, Ministry of Fear, Shotgun Stories, Our Kind of Traitor, Weiner, Popstar, Three and Half Minutes Ten Bullets, Jennifer's Body, Brokeback Mountain, A Beautiful Mind, The Cook The Thief His Wife and Her Lover, Dracula: Dead and Loving It, Tenacious D in The Pick of Destiny, Wayne's World 2, The Truman Show, From Dusk Till Dawn aaand Star Wars Episode V: The Empire Strikes Back.

Our Kind of Traitor - when a Mafia money-launderer wants to defect to Britain, a teacher and his wife find themselves caught in a deadly game of treachery. Starring Ewan McGregor, Naomie Harris and Damian Lewis.

On At The Movies, Simon Morris reviews the minimalist The shallows - just actress Blake Lively and a shark. And two films that take very different looks at military secrets - John Le Carre's Our kind of traitor, starring Ewan McGregor and Damian Lewis, and War Dogs, starring comedians Jonah Hill and Miles Teller.

After we talk about some listener email questions (well, multiple questions from one listener), Jack sees a little movie that no one has seen before except EVERYONE ON THE INTERNET RIGHT NOW. He also goes on about the latest from Nicolas Winding Refn, Bryan Cranston, Ewan McGregor and a trashy bad-movie modern classic. Mostly new movies, and a selection ranging from a blockbuster to crime to the most artistic statements you can come across. 1) GHOSTBUSTERS (2016) (starts at 12:43 into the podcast) 2) SHOWGIRLS (1995) 3) THE NEON DEMON (2016) 4) OUR KIND OF TRAITOR (2016) 5) THE INFILTRATOR (2016) wagesofcinema@gmail.com clips from Ghostbusters trailer

Our Kind of Traitor may well be the least confusing film adaptation of a John le Carré novel that we are ever going to see. If you enjoy political thrillers but don't exactly the have the head for real, convoluted espionage, Susanna White's film is sure to be the thing for you. Unlike the rather cold and brittle Tinker Tailor Soldier Spy, this story of a man about to inform on the Russian mafia has a much stronger human element, one that often even takes precedence over the political machinations, which are explored in unusually sparse detail. Dima (the always brilliant Stellan Skarsgard) wants to defect to Britain, using the central intelligence he has been privy to in order to gain safe passage from the British Secret service for himself, but also, more importantly, his family, whose lives have been threatened by the vengeful new mafia boss, "The Prince" (Grigoriy Dobrygin). MI6 won't officially go anywhere near Dima, but an agent named Hector (a perfectly British Damien Lewis) reaches out to him without official sanction and offers to get him sanctuary, provided the man can give him enough information to bargain with. Dima doesn't want to give the secret service everything he has, everything they need in order to take down The Prince and the treacherous Aubrey Longrigg (Jeremy Northam), only to be left for dead. Hector won't be able to put a strong enough case to the service unless Dima gives him everything he has. To get things past this standstill, Dima reaches out to the holidaying English couple Perry (Ewan McGregor) and Gail (Naomie Harris), who he's only just met but who have already shown themselves to be trustworthy, principled people. He asks them to be present for all the negotiations, to put their safety on the line to ensure the safety of Dima's family. Dima's wife and children, and the thorny question of who should be responsible for their survival, is ultimately the heart of this story. The family themselves all look to Dima, who is not just the self-proclaimed patriarch but also the instigator of all this, to protect them all, and put him down whenever he looks to be failing to fulfil this duty. Dima, and indeed Hector, look to the secret service to fulfil their duty to those who are giving them information at great personal risk, to be better than the criminal organisations they are working to bring down and the oppressive political regimes that they fight against. On the other hand, the service, embodied here by the character of Billy Matlock (Mark Gatiss) is looking to Dima and Hector to give them enough to go on that will ensure that this operation doesn't ruin them. Meanwhile, all of these parties are looking to Perry and Gail to offer the independent assistance they so desperately need. At first the couple echoes the words of the service, that they are not the ones who put Dima's family in this dangerous situation and that it is not their responsiblity to get them out of it, until Hector shows them photos of The Prince's terrible handiwork and cunningly triggers their empathy. The lowly agent is certainly very well versed in the power of personal motivation. Much of his determination to finally bring down Longrigg is personal vendetta after his last attempt to expose the big shark saw his son imprisoned. At least in this adaptation, that particular element of backstory feels a little haphazardly thrown in to humanise his character at the last minute. It's talked about but never really felt. On the other hand, the conflict between Perry and Gail, while very clichéd, is evident visually as well as verbally. White places her two best directed scenes in the first ten minutes of the film. The first is of a grizzly, politically motivated murder by The Prince that perfectly sets up the impetus for the rest of the story, the terrible danger that Dima is fleeing from. The second is a painfully poetic scene of intimacy interrupted by an old wound that Gail is still healing from. It is later revealed that Perry slept with one of his students, and that this trip to Russia was meant to help repair their marriage. There's no denying that this is an overused plot line, but it works because, as with the cruelty of The Prince, we can see it as well as hear about it, and seeing is believing. Hector's grief might not have the space to be shown, but his rage is palpable, both politically and personally. His only scene with the nefarious Longrigg managed to do the most with the least, and his rant to his peers about the world's complacency in running on black market economies is the flm's great dialogue centrepiece. Fans of the more cerebral le Carré adaptations will probably be put off by this one's more emotional bent, but ultimately it makes for a stronger and more memorable cinematic experience. Review written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Our Kind of Traitor may well be the least confusing film adaptation of a John le Carré novel that we are ever going to see. If you enjoy political thrillers but don't exactly the have the head for real, convoluted espionage, Susanna White's film is sure to be the thing for you. Unlike the rather cold and brittle Tinker Tailor Soldier Spy, this story of a man about to inform on the Russian mafia has a much stronger human element, one that often even takes precedence over the political machinations, which are explored in unusually sparse detail. Dima (the always brilliant Stellan Skarsgard) wants to defect to Britain, using the central intelligence he has been privy to in order to gain safe passage from the British Secret service for himself, but also, more importantly, his family, whose lives have been threatened by the vengeful new mafia boss, "The Prince" (Grigoriy Dobrygin). MI6 won't officially go anywhere near Dima, but an agent named Hector (a perfectly British Damien Lewis) reaches out to him without official sanction and offers to get him sanctuary, provided the man can give him enough information to bargain with. Dima doesn't want to give the secret service everything he has, everything they need in order to take down The Prince and the treacherous Aubrey Longrigg (Jeremy Northam), only to be left for dead. Hector won't be able to put a strong enough case to the service unless Dima gives him everything he has. To get things past this standstill, Dima reaches out to the holidaying English couple Perry (Ewan McGregor) and Gail (Naomie Harris), who he's only just met but who have already shown themselves to be trustworthy, principled people. He asks them to be present for all the negotiations, to put their safety on the line to ensure the safety of Dima's family. Dima's wife and children, and the thorny question of who should be responsible for their survival, is ultimately the heart of this story. The family themselves all look to Dima, who is not just the self-proclaimed patriarch but also the instigator of all this, to protect them all, and put him down whenever he looks to be failing to fulfil this duty. Dima, and indeed Hector, look to the secret service to fulfil their duty to those who are giving them information at great personal risk, to be better than the criminal organisations they are working to bring down and the oppressive political regimes that they fight against. On the other hand, the service, embodied here by the character of Billy Matlock (Mark Gatiss) is looking to Dima and Hector to give them enough to go on that will ensure that this operation doesn't ruin them. Meanwhile, all of these parties are looking to Perry and Gail to offer the independent assistance they so desperately need. At first the couple echoes the words of the service, that they are not the ones who put Dima's family in this dangerous situation and that it is not their responsiblity to get them out of it, until Hector shows them photos of The Prince's terrible handiwork and cunningly triggers their empathy. The lowly agent is certainly very well versed in the power of personal motivation. Much of his determination to finally bring down Longrigg is personal vendetta after his last attempt to expose the big shark saw his son imprisoned. At least in this adaptation, that particular element of backstory feels a little haphazardly thrown in to humanise his character at the last minute. It's talked about but never really felt. On the other hand, the conflict between Perry and Gail, while very clichéd, is evident visually as well as verbally. White places her two best directed scenes in the first ten minutes of the film. The first is of a grizzly, politically motivated murder by The Prince that perfectly sets up the impetus for the rest of the story, the terrible danger that Dima is fleeing from. The second is a painfully poetic scene of intimacy interrupted by an old wound that Gail is still healing from. It is later revealed that Perry slept with one of his students, and that this trip to Russia was meant to help repair their marriage. There's no denying that this is an overused plot line, but it works because, as with the cruelty of The Prince, we can see it as well as hear about it, and seeing is believing. Hector's grief might not have the space to be shown, but his rage is palpable, both politically and personally. His only scene with the nefarious Longrigg managed to do the most with the least, and his rant to his peers about the world's complacency in running on black market economies is the flm's great dialogue centrepiece. Fans of the more cerebral le Carré adaptations will probably be put off by this one's more emotional bent, but ultimately it makes for a stronger and more memorable cinematic experience. Review written by Christian Tsoutsouvas

Somehow a conversation about moving on this week’s show turns into a digression about sippy cups where Evan shares why he needs them. The episode opens with a first ever joint segment of “Riedel’s Recaps” and “Keepin’ up with the Jensons,” where Kris and Dave talk about MCCABE & MRS. MILLER (at 4:26), one of Dave’s all-time favorite movies. They fill in some blanks left by Charlie’s exploration from the previous episode and use the segment as an opportunity to discuss Robert Altman in general. Then Kris reviews THE BFG (at 18:30), a movie that is neither Disney nor Steven Spielberg’s best work, but it does contain very very very good motion capture. After that Dave covers EAT THAT QUESTION: FRANK ZAPPA IN HIS OWN WORDS (at 36:22), a talking head documentary that only contains one talking head—Frank Zappa himself. He ends up talking about the Zappa family’s recent drama for a bit before Evan wraps up with OUR KIND OF TRAITOR, a bromantic and tedious spy flick featuring Stellan Skarsgard with a BFM (Big Fuckin Mullet) and a silly Russian accent.   

It's a "royal flush" of talent on BEHIND THE LENS as we navigate the poignant and comedic minefield of friendship with BFFs, and then go deep undercover in John le Carre's world of friendship and espionage with OUR KIND OF TRAITOR. It's all about BFFs as we welcome writers/producers and actresses TARA KARSIAN and ANDREA GRANO, and actors JEFFREY VINCENT PARISE and DAN GAUTHIER live to BTL to talk about, what else, BFFs. Hilarity ensues with Tara and Andrea, but then explodes at the midpoint of the show with Jeffrey and Dan. Amidst the laughter, however, yous'll get some terrific insight from Tara and Andrea on the creative process of writing and pitfalls of producing, while the boys talk performance, finding scripts, the excitement of the BFFs script, role appeal, and more. And yes! All the "General Hospital" fans will love hearing Jeffrey Vincent Parise talk about GH and his character "Carlos Rivera" (especially with a few hints of what may be yet to come), plus some thoughts just for all of the GH faithful. In the last segment of the show, director SUSANNA WHITE clues us in on elements of OUR KIND OF TRAITOR, including her casting, cinematographer Anthony Dod Mantle and helming a spy thriller. And at the top of the show, hear excerpts of film critic debbie elias' exclusive interview with actor AL CORONEL talking TNTs's THE LAST SHIP. http://behindthelensonline.net http://eliasentertainmentnetwork.com

Cannes er full av stjerner, og Birger Vestmo har truffet flere av dem. Det blir intervju med Russel Crowe, Marion Cotillard og Anders Danielsen Lie. Vi får høre om årets beste festivalfilmer og om et par festivalskandaler. På kino denne uken vender X-Men tilbake i Apocalypse. Og så er vi skuffede spionfilmfans som ikke likte "Our Kind Of Traitor" veldig godt. TV-serien Preacher likte vi derimot veldig godt. Og så kommer den gamle skytespillfavoritten Doom tilbake i et splitter nytt spill - vi har anmeldelsen klar.

Kase and Van look at Jeremy Saulnier's Green Room, video-game adaptation The Angry Birds Movie, Turkish drama Mustang, horror remake Cabin Fever, and John Le Carré adaptation Our Kind Of Traitor. See acast.com/privacy for privacy and opt-out information.

This week, Ewan McGregor talks Our Kind Of Traitor and Trainspotting 2; and Richard Linklater talks Everybody Wants Some!! and exclamation marks.