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Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more!
This week, Ryan and Chris dive into three films that explore Stockholm Syndrome. We understand that this may be a tricky topic for some, so we want to acknowledge it up front. We start with Pedro Almodóvar's provocative 1990 dark comedy "Tie Me Up! Tie Me Down!", a tightrope of a premise that shouldn't work, yet largely does due to Almodóvar's grasp of the tone and terrific work from Antonio Banderas and Victoria Abril. Then, we move into a film that has the opposite of assured tone and terrific performances with Guy Ritchie's toothless 2002 remake of Lina Wertmüller's incendiary 1974 film "Swept Away." We acknowledge that the knives were probably out from critics at the time, but also concede that it deserved every bit of scrutiny it got. Finally, we end with Umberto Lenzi's 1989 direct-to-video oddity "Hitcher in the Dark."
Hello, and welcome to another episode of The Good, The Bad, and The What!? The show in which we discuss three films that we have deemed "good," "bad," or "what!?" within a subgenre, theme, motif, director or actor's filmography, and more!
This week, Ryan and Chris dive into three films that explore Stockholm Syndrome. We understand that this may be a tricky topic for some, so we want to acknowledge it up front. We start with Pedro Almodóvar's provocative 1990 dark comedy "Tie Me Up! Tie Me Down!", a tightrope of a premise that shouldn't work, yet largely does due to Almodóvar's grasp of the tone and terrific work from Antonio Banderas and Victoria Abril. Then, we move into a film that has the opposite of assured tone and terrific performances with Guy Ritchie's toothless 2002 remake of Lina Wertmüller's incendiary 1974 film "Swept Away." We acknowledge that the knives were probably out from critics at the time, but also concede that it deserved every bit of scrutiny it got. Finally, we end with Umberto Lenzi's 1989 direct-to-video oddity "Hitcher in the Dark."