Fuds On Film

We take a look at two mid-fifties creature feature responses to the advent of the nuclear age, with Godzilla and Them!. Will they hold up in Space Year 2021? Tune in and find out!

Join us on our fictional scientific exploration to determine if A Trip to the Moon, Metropolis, Things to Come, The Day the Earth Stood Still, The War of the Worlds, Forbidden Planet, and Ikarie XB 1 have stood the test of time!

We take a wander down the paths of January's batch of films, including Wonder Woman 1984, Wolfwalkers, Sound of Metal, Soul, and Another Round. Are they worth the journey? Join us and find out!

Gorillas. Man's best friend, or our greatest enemy? Both? Neither? Well, we won't be answering that today, but we will talk for a while about Gorillas in the Mist and Congo and tell you if we liked them or not, which is almost the same thing. Join us!

The halcyon days of the nineteen-nineties saw a slew, relatively speaking, of Neo-Noirs unleashed upon us, and we thought we'd take a look at a few of them. How well do One False Move, Red Rock West, Romeo is Bleeding, The Last Seduction, La Cérémonie, Bound, and Insomnia hold up? Listen in and find out!

As 2020 staggers to a merciful end, we see out this dumpster fire of a year with a look at (what else) a bunch of films. Do Black Bear, Possessor, Mank, Unhinged, Tenet, and Recorder: The Marion Stokes Project enhance the 2020 experience, or somehow, unbelievably, make it worse? Tune in and find out!

Dearly beloved, we are gathered here today to take a butchers at two films that routinely vie for top spot in any self respecting list of British gangster movies. Both are more concerned with gangsters performing investigations, both refuse to sugar coat the nefarious activities of the their leads, and you could probably make a case for each film reflecting the mood of the decade they lead into. We are speaking, of course, of Get Carte_, a firm favourite around these parts for many a year, and The Long Good Friday, which despite the reputation it has garnered has so far been a stranger to me. Let's get that sorted and see if its as good as it's cracked up to be, and indeed if Get Carter is as good as we remember it to be.

We chow down on Quentin Tarantino's directorial output in our latest exciting episode. Join us if you dare!

Welcome to Fuds on Film, semi-officially the 22nd most popular movie podcast in Egypt. We need to up our game in the Czech Republic though. In this episode we take a look at American Utopia, On the Rocks, Peninsula, The Eight Hundred, Borat Subsequent Moviefilm, and The Trial of the Chicago 7. Come get some.

Japanese director Seijun Suzuki had been on my list to catch up on for some time now, long before his death in 2017. He's cited as an influence on Tarantino (but who isn't?), Jim Jarmusch, Wong Kar-wai, John Woo, Takeshi Kitano, and surely Takashi Miike, both in style and career arc. Suzuki started directing primarily B-movies that were, as I am led to understand, fairly formulaic gangster flicks for the most part, growing increasingly strange and iconoclastic up until the 1967 effort _Branded to Kill_, which we shall speak of today, which is now regarded as a cult classic but was such a financial disaster that the lawsuit laiden fallout saw Suzuki blackballed from the industry for 10 years. We'll go on to discuss the very loose sequel, released some 34 years later, _Pistol Opera_, his penultimate film.