The Good, The Bad and The Remake: Movie Podcast

It's the end of season 3, its Neal's choice and it's... not really a remake? Or is it? Rules being broken left, right and centre in this episode...

High Noon is considered a classic of the American West, one of the most significant Westerns ever made and an influence on an entire sub-genre. And none of the GBR crew have seen it before. No pressure then, High Noon.

Outland is a fondly remembered, if underseen, sci-fi appropriation, which everyone is quick to point is really stretching the definition of "remake". But it's got Sean Connery, exploding heads and an impressive, Jupiter moon-base set. And at the end of the day, isn't that all we really want?

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Two of the greatest performers in martial arts history go head-to-head this week.

Firstly, one of the most iconic actors of all time, the inimitable, the game-changing, the one and only Bruce Lee. Before Enter the Dragon made him a worldwide star, Fist of Fury (AKA The Chinese Connection) displays Lee's furious speed and charisma in a barnstorming action adventure. Awesome fights, gorgeous cinematography and an early 20th century tale of honour and conspiracy.

Twenty years later, the equally incredible yet, stylistically, very different Jet Li took on the same role in Fist of Legend, teaming up with legendary choreographer Yuen Woo-ping in the process. The styles of fighting and film are massively different, but are the results? And who will come out on top?

FIGHT! FIGHT! FIGHT!

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One of the most beloved Ealing comedies of all time takes on one of the most beloved filmmaking duos of our time.

Alexander Mackendrick's The Ladykillers has long endured, thanks to its brilliant concept, dark humour and excellent cast. So, why on earth did the Coen brothers, coming off of nearly two decades of critical adoration, choose to remake it? Well, we think we know and we've got some feelings about both films too. Join us.

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The grandaddy of all modern zombie films is our subject this week, as we take a look at the OG, George A Romero's black and white gamechanger, The Night of the Living Dead. The team all have varied history with it, but also all felt the impact of key scenes.

So when it comes to watching an all-colour remake by makeup maestro Tom Savini, working from a reworked script by Romero himself, does it have any chance of being Remazing, or was it always destined to be an also-ran?

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This week, we're getting sweaty and clenching our buttocks tightly, because we've got two renowned movies filled with tight-fisted, white-knuckled tension.

The Wages of Fear (AKA Le Salaire de la Peur), from director Henri-Georges Clouzot, is a proto-action thriller from the 1950s, which takes a while getting to its set-pieces and then doesn't let up until the final frame. Twenty-some years later, William Friedkin (The French Connection, The Exorcist) decided to (not) remake it as the poorly-titled Sorcerer, updating those incredible action scenes with a massive budget and a more socio-politicial undercurrent.

As always, we're here to weigh up the pros and cons of both approaches, before pitting them against one another.

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Season 3 is here and we're kicking off with a much requested and somewhat controversial remake.

Alfred Hitchcock's 1960 horror-thriller Psycho changed the game. An iconic score, moody black and white photography, some of the most parodied sequences and dialogue in cinema history and the first ever appearance of a flushing toilet. So, naturally, Gus Van Sant followed up his biggest hit with a colour, shot-for-shot remake, taken from the exact same script.

Have we got another Point Break on our hands, or did Van Sant pull it off? Vince Vaughn certainly did...

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If you're interested in the team's views on non-remake properties, you can follow us on Letterboxd:

Neal's profile - ⁠https://boxd.it/1EHhT⁠Ben's profile - ⁠https://boxd.it/1lH3J⁠

We want your feedback, 3-word reviews and suggestions for any other films that have been remade, so find us in these places:

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And get in touch here: [email protected]

Music is 'Bring Me the West' by phlaala