This isn’t a tomb, it’s an audio prison. It takes a couple of monsters in hosts Steve Norman and Owen Hughes to create a podcast episode (and nobody else) reviewing Universal’s first foray into their new Dark Universe, The Mummy. It’s just the two of them and they can make it if they try.
Cue the sax, it’s the Failed Critics Podcast: Latenight Softcore Edition, where host Steve Norman finally gets his wish to make Owen Hughes review Emmanuelle In Space, possibly the boobiest of all our quiz booby-prizes thus far. If you giggle when you hear naughty words, you’re going to, well, giggle, when you hear our quiz.
Another month into Andrew Brooker’s self-imposed challenge to watch 365 films in 365 days. See how he’s been getting on below.
Welcome to the Failed Critics Podcast as we review The Fate of the Furious, the eighth entry in the Fast & Furious series.
It’s an emotional rollercoaster this week. Tears have been shed about the noticeably absent (and some would even say crucial) member of the team, whose mere presence is what has made the previous entries so entertaining, so absorbing, and so full of heart and character. Alas, even without Owen around, Steve Norman, Callum Petch and James Diamond soldier on regardless.
“That’s it. Game over man. Game over…”
…although it’s not quite “game over” yet for Andrew Brooker who continues his challenge to watch 365 films in 365 days.
The year is 2029. The world is a horrible place where those who are different are deemed a threat. Those with special or otherwise exceptional talents, skills and abilities are segregated out from the rest of society. Shunned. In some cases, destroyed. Hunted.
Fortunately this precludes Steve Norman, Owen Hughes, Andrew Brooker and Tony Black, who are allowed to just carry on as normal producing episodes of the Failed Critics Film Podcast for your delectation. Just in time for us to review the latest thriller in the X-Men movie franchise, Logan, starring Hugh Jackman as the titular mutant, aka Wolverine.
On this weeks show, Steve wonders why anybody would ever want to watch anything like the Dave Courtney straight-to-DVD geezer movie Thugs, Mugs and Dogs. We also have our regular What We’ve Been Watching, where Tony begins plotting a trip to Derby after Brooker reviews the new Iko Uwais actioner, Headshot; Owen rewatches Kill Bill Volume 1 and decides he definitely won’t be returning to Volume 2; Steve runs through the Netflix Original movie Tallulah; and Tony ponders the unfortunate situation where Friend Request is about as good a social-media influenced horror as we’re likely to get.
Join us again next week for blockbuster monster-movie, Kong: Skull Island.
Bad episode titles, published at 3am, and two miserly gits moaning about the world? It can only be the return of Failed Critics Podcast in 2017!
Hosts Steve Norman and Owen Hughes are on their Todd for the first podcast of the new year to talk about Scorsese’s latest drama, Silence, as well as supernatural hocus pocus shenanigans in The Invitation. The pair also end up chatting about the iconic Steven Spielberg after Steve’s first ever watch of The Color Purple – and perhaps more surprisingly, Owen’s first ever watch of Schindler’s List.
In the news, there’s a chat about Carrie Fisher’s passing, which leads to a discussion about the use of CGI to replace actors in movies. We also quickly skim through the winners and losers of the recent Golden Globes and the speeches that were worth paying attention to.
Join us again next week for reviews of La La Land and Manchester by the Sea.
The Earth still spins, the sun still shines and Hollywood still makes trilogies that nobody in their right mind wants, with Ron Howard’s third Dan Brown adaptation, Inferno, hitting cinemas last weekend.
Rather than expend any amount of energy reviewing the Tom Hanks led mystery thriller, the Failed Critics instead run through a triple bill of film franchises that should have ended before getting to the trilogy stage. Boy, were there plenty to choose from!
With regular host Steve Norman off celebrating his birthday, we drafted in Matt Lambourne to swivel on the comfy high-backed armchair and guide Owen Hughes, Brian Plank and Tony Black through another podcast. There’s no quiz this week, but a discussion about the new Star Wars: Rogue One trailer arose, as did a short summary of this year’s London Film Festival.
In What We’ve Been Watching, the team cover Netflix series Luke Cage and half of their newest feature-length comedy, Mascots. There’s even time for a chat about HBO’s latest smash hit, Westworld, up to episode three (spoiler free!)
Join us again next week as we’re back with a Halloween triple bill, resurrecting the dead… Spooky!
Welcome to the second episode of our third stab at this Front Row malarkey. Dan Morris has clicked his heels and returned to Kansas, or Wales, or Stoke, or wherever it was he was from, and it’s led to a poorly received, slightly odder follow-up, as we Return to Owz. Owz… like, Oz, but with ‘Owen’, because he’s back this week alongside co-host Paul Rutland.
Owen+z. Owenz… Owz… You know what? Never mind.
On last week’s Bucks101 Radio show (broadcast Monday’s at 2pm) both Owen and Paul delved into just why exactly it was that one of them walked out on a screening of Star Trek Beyond – an issue raised on the first episode of this series. We also have our regular sports round-up, replete with a preview of the Olympics in Rio – something you can watch Paul do again in a slightly more organised fashion for Buckingham News. We also roll the dice and end up extolling the virtues of more Netflix shows as Owen gushes over both Stranger Things and the third season of BoJack Horseman.
Welcome to this week’s Failed Critics Podcast, where the traditionally entirely-male line-up has been replaced, with hosts Stephanie Norman and Olivia Hughes, and their guests Andrea Brooker and Brianna Plank – and if anything, it’s an improvement over the originals.
The re-imagined, re-booted, re-failed foursome review the comedy film that seemingly hasn’t been able to escape public opinion over the past fortnight (for both good and bad reasons) – that is Paul Feig’s Ghostbusters, starring Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones and Chris Hemsworth.
The Ghostbusters appreciation doesn’t stop there for one of the guests, as prior to our main review, Brooker enthused over fan-doc Ghostheads, which is available on Netflix. As, coincidentally, is the latest Netflix Original, the sci-fi fantasy drama Stranger Things, which receives heaps of praise from both Steve and Owen. We’re all about the praise on this episode apparently as Brian also lavishes some on Guy Ritchie’s spy-comedy from last year, The Man From UNCLE.
There was even room this week for the group to discuss the Emmy nominations and for Steve to not mess-up the quiz!
With temporary host Paul Field getting to the ballot box and voting in blind panic to leave the Failed Critics Podcast after two long successful weeks, we finally have our Steve Norman back!
Luckily, Steve hasn’t done a Roy Hodgson as his team of Owen Hughes and Andrew Brooker don’t bottle it on the grandest stage of all. Assuming that you agree that the “grandest stage” is of course a free audio podcast.
Although they are still a bunch of fucking £50k fucking cocaine prostitute fucking limousine fucking cunts.
This week’s episode features reviews of three brand new releases, with a main review of Roland Emmerich’s sci-fi disaster feature (well, what other kind of film was he likely to make?) Independence Day: Resurgence. Set 20 years after the original, the aliens have come to reap their revenge – only this time, they’re… just… going to do the same thing again. Probably because they knew there would be no Will Smith this time.
Owen and Brooker also find time to discuss a fantasy movie worth watching as the Italian-French-English Tale of Tales arrives in cinemas – and on VOD services such as Curzon and Google Play simultaneously – just a touch too late to show how well the UK can work with our European brethren.
Speaking of Italian productions, Brooker also talks up Suburra, the crime film of the year that you probably haven’t heard of. Meanwhile Steve conjures up a review of The Conjuring (see what I did there?) and Owen continues the horror-film discussion by reminding everybody how great Hellraiser is.
All of this plus Steve’s reaction to Adam Sandler’s latest Netflix feature The Do-Over, James Earl Jones voicing Darth Vader in Star Wars: Rogue One, and the tragic death of Anton Yelchin.
Battle lines have been drawn. Treaties are being drafted. The U.N. were informed.
It’s Steve ‘Captain Anyway’ Norman on one side, using his sense of justice and principles to determine what’s right. Opposite is Owen ‘Irony Man’ Hughes, putting his logic and rational thinking to the test. Listeners, choose your side as Civil War erupts on this week’s Failed Critics Podcast!
Andrew Brooker and Brian Plank are caught in the crossfire, therefore rather than being referred to as “guests” this week, you can legitimately call them Failed Critics collateral damage.
If you haven’t guessed what the main review on the latest episode is yet, then go speak to your doctor. But just for clarification, it is indeed the latest Marvel Cinematic Universe blockbuster, Captain America: Civil War – and boy do we talk, and talk, and talk about this one. We have our usual spoiler-free review later in the show, followed by a Spoiler Alert after the end credits, where the team go into more depth without worrying about ruining the plot, twists, characters… or anything else for that matter.
It’s not only Marvel on the pod this week, although the show does kick off with a chat about a potential Punisher solo-series on Netflix after a short hastily prepared quiz. Speaking of, Steve sinks his teeth into the latest Netflix movie Special Correspondents, starring Ricky Gervais. Owen and Brooker also review the latest James Cullen Bressack / Zack Ward indie-thriller Restoration (out today (3rd May!)), before Brooker also tackles video-game adaptation Ratchet & Clank and Brian has a look at cult classic Rollerball.
Join us again next week as we pray that our cinemas show something, anything, other than just Civil War for the next three months.
Firstly, thanks to everyone who joined in on our live broadcast of episode 202 on our YouTube channel on Monday. We’re considering it a success – whether it was or wasn’t isn’t really up to Steve Norman, Owen Hughes and Andrew Brooker to decide! But people chatted to us during the show, we received messages via Twitter, and the live stream didn’t crash once. Huzzah!
This week’s podcast is pretty much a rip of the YouTube video edited into a more audio-friendly format. Jingles have been edited in, whilst the majority the references to stuff that happened visually that wouldn’t have made sense on an audio only podcast have been edited out.
What has been left in is our chat about this week’s film news, including another new Netflix movie acquisition starring Will Smith, directed by David Ayer, plus a set-top box that could potentially change the way we view cinema releases forever.
We’ve also got our round up of what we’ve been watching. Steve talks us through the generic but decent action film London Has Fallen; Owen discusses the first five episodes of the second season of Daredevil; and Brooker does his homework ahead of Batman v Superman by re-watching Nolan’s trilogy plus Man of Steel. Our new release reviews saw the team take in the safe-for-work porcelain doll horror The Boy, Ben Wheatley’s latest weird class-war narrative High Rise, and the thematic sequel to 2008’s monster movie, 10 Cloverfield Lane.
There’s even room for our regular film quiz and Steve’s reaction to Pudsey the Dog: The Movie, his booby-prize for losing last week’s quiz. Oh, and Owen’s mad rapping skills. Wiki-wiki-wild wild west…
Join us again next week as things return to normal for a review of DC’s newest blockbuster.
Watch the full un-edited live broadcast of the episode (with webcams an’ all) on our YouTube channel.
This week’s Failed Critics Podcast is a two-part Netflix Original special as hosts Steve Norman and Owen Hughes are joined by guests Chris Haigh and Phil Sharman. Similar in format to our TV specials, this episode is all about the Netflix – with very little chill. Some chill. A bit of chill. But not a lot of chill.
In part one, the team discuss the rise of Netflix Originals, from their conception to recent additions. With no movies to review, there’s chat about the shows that we’ve been watching lately, plus a few of our other favourites.
Part two is a triple bill where Steve, Owen, Chris and Phil each pick their favourite Netflix Original comedy, drama and feature, before recommending shows for listeners to try out themselves.
Join us again next week as Steve and Owen return alongside Brooker and Paul to dissect the Oscars results.
Ahead of this week’s Netflix Original special edition of the Failed Critics Podcast, Owen Hughes guides us through why exactly Netflix is becoming such a dominant force.
In 1997, I don’t think I even had a computer at home. I, like most people back then, rented films that I wanted to watch from Blockbuster or another local video store. Nostalgia alert: At about 11 years old, my mates and I would ride our bikes the 15 minutes down the road to the big Tesco superstore and rent VHS tapes of (usually) WWF main events from the Blockbuster outside. Old Wrestlemania’s, Royal Rumble’s, Summerslam’s etc, that sort of thing. If we could sneak in a Predator or a Terminator amongst the collection, we would. But they were rarities.
In 1997, a company in the US called Netflix probably quite cannily recognised that not everyone had a Blockbuster within a quarter-of-an-hour bike ride from their home, so instead decided to set up a Blockbuster-by-post type affair. Taking advantage of the new Digital Versatile Disc, much lighter and smaller than a VHS tape, you could rent a movie from them and the shiny new DVD would land the other side of your letterbox within days. Similar to LOVEFilM here in the UK.
Much earlier than pretty much any of its competitors, it expanded to launch a streaming service two years later in 1999. I don’t know about whatever internet connection you had back then, but we had a 56k modem in 1999. It would not have taken too kindly to streaming a 90 minute movie.
After years of operating under this model, expanding its streaming service into other regions around the world (including the UK) they basically took a step back and realised that rather than keep paying a license to other studios for their productions, they actually owned the means and the platform to create their own content. Financially, it was pretty savvy. Now that they had a reputation, people would soon start joining Netflix for their shows, and not other people’s. Their brand was to become renowned.
Looking at it purely from an advertising or marketing perspective; Netflix knew exactly who was watching what content, when they were watching it and where. To paraphrase Nick Bailey, the chief executive and executive creative director of Isobar UK, who gave a talk at the University I’m studying at last week, Netflix knew which dramas that their audience viewed most. Thus, taking a model already in place from an older British show – chiefly the story and setting – they created House of Cards, just over 3 years ago, in February 2013 because apparently their audience liked political dramas and Kevin Spacey.
What was immediately different about House of Cards from Network shows, was that Netflix made all of the episodes available in one go, advert free. Can you imagine just how mind-blowing that must’ve been, particularly for Americans, who don’t have the BBC the way that we do? Just a brand new show that you haven’t got to sit through 15 minutes worth of adverts to enjoy? This wasn’t a box-set released 12 months after airing. It was there, all of it, for you to watch as much of whenever you liked. Current subscribers didn’t even need to pay extra to watch this original content. All you needed was an account and an internet connection.
One of the other innovations that has let Netflix flourish so spectacularly is how they have embraced technological advances. Even moving from tapes to DVDs because they were cheaper to post was pretty innovative. Amazon are arguably their main competitor for streaming content on a subscription basis, particularly over here in the UK, yet they lagged behind quite tremendously when it came to streaming on mobile devices, tablets, TVs, computer consoles etc. Amazon previously used their streaming service to drive sales of their Kindle devices, making it exclusive content. Whereas Netflix were at the forefront of this revolution, setting the market-standard that audiences have come to expect from any provider they now use.
Whether reviving shows from the cold, dark, lonely pit of TV hell, such as Arrested Development, The Killing or Trailer Park Boys, or creating brand new stuff like Sense8, Narcos or Master of None, or even collaborating with other studios for shows such as Lilyhammer, or Marvel’s Daredevil and Jessica Jones, they just seem to be unstoppable at the moment. Free from the same level of restrictions from sponsors, prime-time slots or watersheds, they have been able to create whatever shows they think their audience want.
The Netflix of today are a far cry from the “bargain bin” label they were tarnished with when they first arrived this side of the Atlantic. Hundreds of films, hardly any of which you would want to spend 90 minutes of your life on, was not that alluring. Securing deals to distribute shows in the UK like Breaking Bad is where they mainly earned their crust.
In fact, the most fun you could have had with Netflix back in 2012 was flicking through their endless catalogue of crap looking for the one gem hidden within – but by the point that you found it, you’d be too tired and bored to even bother watching it, as Kate explained a few years back.
Compare that to now… ok, the selection is certainly not always overwhelmingly positive! But comparably they have upped their game on all fronts from what they used to be. Producing their own documentaries, stand-up shows, on top of their Netflix Original TV shows; and now creating movies – award-winning movies, no less, in the case of Beasts of No Nation – it’s no wonder that studios like NBC are getting extremely defensive, trying to exert pressure on them.
It’s not that NBC are entirely wrong. Netflix does not hand out viewing figures, subscription numbers or other statistics (such as how long people spend trawling through their site before giving up entirely) willy-nilly. You can’t even find the overall star-rating for a film on Netflix that isn’t in some way tailored to match your expectations based on whatever algorithm they use; and that’s no surprise. They are under no obligation to share this with anybody. After all, this data mining is exactly why Netflix are getting things so right. This is their audience who they are creating content for. You can understand why they would be apprehensive about publicly sharing this information with the competition.
But the fact that traditional television networks are frightened by the competition that streaming provides just shows how big and influential Netflix are becoming.
They may make blunders occasionally, like Adam Sandler’s unfathomable four-picture deal – critically speaking, I mean, I’d consider it a blunder. The Ridiculous 6 was dire and quite deservingly panned by critics, yet it still became an instant hit and the most watched film across all regions somehow straight after release.
The only way that Netflix could lose grace with their fans would be to, say, I don’t know…? Allow them to see the catalogue of movies and shows available on much larger regions such as Canada and the US, and then to step up their attempts to block people from other regions gaining access to said content. That would just be foolish, right? Regardless of the quality of the product they’re putting out in the UK, for example, no matter how much better it is now than it was four years ago, it would be crazy to start telling people to pay the same amount of money for their subscription when clearly other countries have it better? The grass isn’t always greener on the other side, but when you’ve already spent the afternoon barbecuing at your neighbour’s garden picnic and come back home to your regular brown, patchy, dried-out lawn…
It remains to be seen how the long-term future of Netflix will pan out. However, already this year, the engrossing true-crime story, Making a Murderer, has become a huge phenomenon after its Christmas holiday release induced binge-watching hysteria around the world. Judd Apatow’s series, LOVE, has been an immediate success amongst fans and critics alike. With a new series of Daredevil imminent, plus more movies like the Crouching Tiger, Hidden Dragon sequel starring Donnie Yen and Michelle Yeoh, as well as the fourth season of their most watched drama (formerly comedy), the multiple award-winning series Orange Is The New Black – not to mention the dozens of other original content on its way in 2016 – it certainly seems as though there’s a lot to look forward to for the customers who stick around once their DNS-changing service of choice is finally shut down.
Owen will be talking about his favourite Netflix Originals with Steve Norman, Phil Sharman and Chris Haigh on the podcast due out later this week.