When Harry Met Sally (1989, Rob Reiner, Meg Ryan, Billy Crystal): SPOILER Episode 24

January 26, 2017
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“When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible” 

It’s the end of series 4 and love is in the air in this bumper length show as the team discuss Rob Reiner’s romantic comedy ‘When Harry Met Sally...’ As Rachael and Paul tussle with the distinction between rom-coms and chick-flicks, Andy slightly flusters the rest of the team by declaring his love for them, before unleashing a five minute diatribe on the state of the modern romantic comedy. Paul reminisces about the video shop at the end of his street, Rachael tries to define what makes Meg Ryan so damn captivating and Andy comes up with an analogy for why the famous orgasm scene works so well that might just get the whole team banned from further broadcasting. Rachael offers a touching tribute to the film that sparked her own lifelong love affair with jazz while Paul tries to crib notes from Andy’s adoring stories about his wife and, despite claiming to be little more than an awkward boy at heart, shares his own love for making his wife laugh.

But it’s not all flowers and chocolates, as elsewhere Rachael looks at the disappointment that can result from letting rom-coms set your romantic expectations and Andy takes a look at one-line wonders, our cinematic surrogates who somehow manage to bag the best lines.

This week’s scale: I’ll have what she’s having or a wagon-wheel coffee table

High-Rise (2015, Ben Wheatley, Tom Hiddleston, Sienna Miller): SPOILER Episode 23

January 12, 2017
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“I don’t work for you. I work for the building”

This week we’re watching Ben Wheatley’s film adaptation of J.G. Ballard’s supposedly "unfilmable" dystopian thriller ‘High-Rise’ and the team are at odds again, though not about Tom “so handsome it hurts” Hiddleston. With Andy occupying Paul’s usual spot on the fence, Paul wonders how anyone could possibly put themselves through this film more than once, while Rachael advocates reading the original novel as a possible way to unlock the film’s appeal. While Andy compares ‘High-Rise’ to the music of The Fall, Paul experiments with a new way of saying Rachael’s name while Rachael tries to find a point of entry, causing everyone else to look for a point of exit! Despite Paul’s hankering for some politically-inspired vandalism, everything remains fairly harmonious until the subject of ‘No Country for Old Men’ comes up.

Elsewhere in two very different features, Rachael takes a dreamy look at the highs and lows of being a Hiddlestoner while Andy plunges headlong into the nightmare world of screen violence.

This week’s scale: Soft, delicious mashed potato or 1980s robot-advertised instant mash