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Our penultimate heist film is the 2004 teen movie THE PERFECT SCORE. We talk about how this film doesn’t take itself too seriously, and doesn’t deserve the panning it got from the critics, as well as the idea that this is a mash-up of the heist film genre with teen films about progress of various kinds.
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Our film this time is Guy Ritchie’s 1998 break-out film, which spawned a host of not-always-successful imitators — even among the work of Ritchie himself! We talk about whether a film sometimes has to do no more than just look cool, what changed in pop culture around the time of the Millennium, and where the heist even is in this film.
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This week, we focus on a doubly discredited (director and star) but undeniably classic film: THE USUAL SUSPECTS. After some reviews (and you can guess what they’ll be, with this film), we talk about a fundamental change in the heist genre, how we’re still not sure what happens in this film, and the story of the first time we saw this, over 20 years ago.
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This week’s film is an early one from Michael Mann, king of the crime genre: THIEF. After some reviews, we talk about whether Frank’s personal ethics are more like those in PARKS AND REC or OROCHI, as well as discussing the acting successes of Jim Broadbent, and thinking about the BREAKING BAD moments towards the end of the film.
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This week’s film is the 1973 multiple-Oscar-winning classic THE STING. After (certainly not mixed!) initial reviews, we talk about how this film is more about a con not a heist, it’s links to more modern films like John Wick, and the use of obvious artificiality on screen.
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This week, our focus turns to the 1969 classic THE ITALIAN JOB. After our usual opening reviews, we go on to talk about the development of the on-screen working-class criminals, British v Italians on film, and the continuing evolution of the heist genre.
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This week we discuss the landmark historical film BONNIE AND CLYDE. Our reviews are followed by discussions about how this film was a cultural jumping-off point, and how it’s filled with examples of iconoclastically pushing back against society.
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This week we tackle the original OCEAN’S ELEVEN — over 40 years before the Soderbergh re-make, and set in a very different time. After…mixed reviews, we talk about this film’s military roots, why the focus on friendship is a poignant one, and how this is a heist film that’s probably not about the heist.
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This week, we begin our heist movies mini-season with the 1955 French film noir RIFIFI. After our usual reviews, we get into what this film is really about — including a bit of a history lesson from Rob — as well as discussing how this film is less ‘shiny’ than many of the films it spawned, and is all the better for it.
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In this episode, Rob and Karin dive into the 2019 release, Aniara.
We recorded this back earlier in the year, but given the state of the world soon after, we held off on releasing it. Some time has passed and whilst the world isn't much better, we felt we could release it without inducing too much anxiety. But please, go into this episode knowing that this film is not a fun time...
Karin is a voice actor, podcaster and drama teacher. She creates and produces Y2K, an audio drama in 54 parts about love, identity and long-distance friendship set in two timelines on opposite sides of the world. She also produces and co-hosts Det nya svarta, a pop culture podcast in Swedish. Audio drama acting credits include Mirrors, Vampires of White Chapel, Copperheart, The White Vault and Hit the Bricks. Karin lives in Gothenburg, Sweden. You can find her on Twitter @karinheim and her shows @Y2Kpod and @nyasvarta
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