Nish Kumar (The So On Time It's Almost Early Films Of The Year 2O25 Special • Part 2) • #391

Summary

Films To Be Buried With – Nish Kumar (The So On Time It’s Almost Early Films Of The Year 2025 Special • Part 2) – #391

Host: Brett Goldstein
Guest: Nish Kumar
Release Date: April 22, 2026

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Episode Overview

Brett Goldstein and Nish Kumar reconvene for Part 2 of the annual Films of the Year special. With their signature blend of sharp wit, warmth, and film geekery, they run through the most notable films of 2025 across creative and comedic award categories. The episode covers films that surprised them, moved them, made them laugh, or left them troubled—complete with digressions on sexiness in cinema, genre reinventions, and the recurring emotional themes and cultural undercurrents spotted in this year’s releases.

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Key Discussion Points and Insights

Sexiest Film

• Nish’s Pick: "Baby Girl"
  • Nicole Kidman’s role was formative for Nish:
    "I'm afraid to say that for me, Nicole Kidman's quite an important part of my emergent sexuality as I bloomed." (02:13)
• Brett’s Pick: "Naked Gun"
  • Focused on on-screen chemistry, not just the comedic elements.
    "They had a real... chemistry. They were very. It was like they were sexy." (03:09)

"Troubling Boner" Category

• Brett: "Pillion"
  • Both discuss the problematic relationship and boundary dynamics in the film.
  • Standout moment: Discussion of the notorious Primark scene in Bromley and the complexity of sub/dom relationships. "It also has arguably the scene of the year, the dinner with the parents and the mum's line in that. Which again, I don't. I mean, are you a cunt?" (06:41, Nish)
• Nish: "Die, My Love"
  • Can’t rationalize his response to Jennifer Lawrence’s performance. "It turns out all I want is Jennifer Lawrence walking around in dungarees being insane, just using a breast milk to write stuff." (07:31)

The Greatest Film of the Year

• Both Agree: "Sinners" and "The Brutalist" (08:22–11:50)
  • "I'm gonna make a fucking four hour epic, important masterpiece with an interval." (09:07, Brett on "The Brutalist")
  • "The Brutalist" praised for its ambition, social commentary, and standout performances, especially Guy Pearce.
  • "Sinners" is referred to throughout as a top pick and becomes focus later.

Surprising Film They Loved

• Nish: "Maria" (Maria Callas biopic)
  • Unexpected conversion to opera as an art form through this film; lauds Angelina Jolie’s performance. "It actually made me understand the power and emotional force of opera. So it actually converted me on a whole art form." (14:48)
• Brett: "Hard Truths"
  • Initially “homework”, ended up one of the most empathetic and funny films of the year; special praise for Marianne Jean-Baptiste. "It's a really interesting, like, portrait of someone you would hate... And you love. It's a real act of empathy." (16:05)

Funniest Film / Best Comedy

• Consensus: "Naked Gun"
  • Liam Neeson’s Pamela Anderson “toilet/bottom” line and the snowman set piece cited as comedic highlights. "No line that has made me laugh harder… than Liam Neeson describing Pamela Anderson as having a bottom that would make any toilet beg for the brow." (18:24, Nish)
• The creative density of jokes in the film is celebrated. "Sometimes it's fine, just throw it all out the window and put as many jokes in as you can." (19:33, Nish)

Special Mention: "The Ballad of Wallace Island"

• Both express deep personal joy seeing friends succeed; reflect on the value of comedians showing genuine emotional range. "You feel just such an overwhelming pride because I think you're used to... seeing you and Key be funny, but when I see you sell those emotional beats... you can act, Brett." (24:13, Nish)

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Feature Film Focus: “Sinners”

• Best Musical, Best Overall Film, and More
• Breathes with the scope and depth of a novel, intricately developing characters, place, and community before exploding into violence and music. "It was like a really rich storytelling... And you really, like, invested in all of these people. And it all comes to a head musically and horrifically. And with fire." (26:15–26:26, Brett)
• Performances by Michael B. Jordan, Delroy Lindo, and Miles Caton highlighted.
• Lauded as a new high watermark in genre-blending, tackling race, colonialism, and music with intelligence and mass appeal.
• Standout quote: "See, white folks, they like the blues just fine. They just don't like the people who make it." (28:13, Delroy Lindo's character in film, quoted by Nish)
• Coogler named as "the real cinematic inheritor of Spielberg and Christopher Nolan" for his ability to blend deep insights with entertainment. (29:22)

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Genre and Format Throwbacks

• “90s Movie They Don’t Make Anymore”
  • Nish: "One of Them Days" – A classic mismatched buddy comedy with SZA and Keke Palmer.
  • Brett: "Roof Man" – 90s-style indie, real-life story of a man hiding out in Toys R Us to see his daughter.
    "It's really lovely and great... it's the sort of film they used to make lots of films like this." (34:01, Brett)

Bleakest Film / “Life Is Pointless” Category

• Nish: "Begonia" – A Yorgos Lanthimos film that digests modern realities and corporate exploitation, with strong performances by Emma Stone and Jesse Plemons. "I came away from Begonia being really depressed ... we're all existing in different realities." (35:48)
• Brett: "Mighty Supreme" & "Warfare"
  • "Mighty Supreme" – Explores cycles of narcissism and disconnection; ends with crying babies as a metaphor for existential pointlessness.
  • "Warfare" (Alex Garland) – A naturalistic military film concluding with the sense that all the trauma was ultimately for nothing.

Best Relationship

• Nish: "Hard Truths" – Explores damaging and loving relationships. "...the cost of loving someone who is incapable of loving themselves and who has this kind of brutal negativity at the core of their being and the toll that that takes on the people that love them." (43:00)
• Brett: "Together" – Body horror meets relationship drama/comedy with Alison Brie & Dave Franco. "You can be soulmates with anyone. If you completely give up, if you completely surrender yourself to each other, then it's good." (44:55)

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Favorite Quotes & Memorable Moments

On Embarrassing Movie Moments:

• "A man walked into the room and his body was coconuts." (05:16, Nish riffing on erotic fiction)

On Operatic Conversion:

• "It actually made me understand the power and emotional force of opera. So it actually converted me on a whole art form." (14:48, Nish)

On Comedic Writing:

• "Sometimes it's fine, just throw it all out the window and put as many jokes in as you can." (19:33, Nish)

On Artistry & Friends' Success:

• "You can act, Brett. This is like Mickey Rourke in the Wrestler. Like, you can act." (24:13, Nish)

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Timestamps for Key Segments

• Sexiest Film: 02:09–03:32
• Troubling Boner: 03:39–08:09
• Greatest Film Debate ("Sinners" & "The Brutalist"): 08:13–11:50
• Films They Didn’t Expect to Love: 12:26–15:38
• Funniest Film/Best Comedy: 18:02–20:08
• The Ballad of Wallace Island & Comedy/Drama Blend: 20:15–24:59
• Best Musical ("Sinners" Deep Dive): 25:33–31:38
• 90s Movie Throwback: 31:46–34:38
• Bleakest Film / "Life Is Pointless" Films: 34:47–42:01
• Best Film about a Relationship: 42:22–46:16
• Top 10 Films of the Year: 47:39–48:29

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Top 10 Films (as picked by Nish & Brett)

Nish:

1. One Battle After Another
2. Sinners
3. A Real Pain
4. Sentimental Value
5. Die, My Love
6. Nickel Boys
7. Blue Moon
8. Hard Truths
9. Cover Up
10. I’m Still Here

Brett:

1. I’m Still Here
2. Sinners
3. Train Dreams
4. Sentimental Value
5. The Brutalist
6. One Battle After Another
7. Weapons
8. The Long Walk
9. Ballad of Wallace Island
10. Together

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Tone & Style

True to form, the episode is fast, irreverent, and packed with both deep critical insight and outright mischief. Brett and Nish move seamlessly between comically candid admissions (troubling boners, erotic confusion) and pointed analyses of craft, genre, and social context. Their long friendship and love of cinema imbue the episode with both infectious enthusiasm and easy, ribbing banter.

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Conclusion

A quintessential "Films To Be Buried With" episode: part heartfelt, part hysterical, and always full of surprising wisdom, this is film podcasting at its most entertaining and insightful. Whether you care about this year’s films or just love hearing funny, clever people riff, this episode delivers.

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For the full list of films and Nish’s comedy tour details, visit nishkabar.uk.

Transcript

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[Nish Kumar]

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[Nish Kumar]

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[Brett Goldstein]

Look out. His only Films to Be Buried with the End of Year so Early It's On Time Special Part two. Hello and welcome to Films to be Buried with the so On Time. It's practically Early Films of the Year Special Part two. We will pick up exactly where we left off on a huge cliffhanger with the brilliant Mr. Nish Kumar. To get all the extra stuff, the video, the three extra questions, where we talk, beginnings, endings, Films of the Year, secrets, everything. Head over to the [e-mail] BrettGoldstein but that's it for now. I very much hope you enjoy part two of the so Early It's On Time Films of the Year Special. Now, what is. Should we get to this? What is the let's do it. What's the sexiest film? Well, Brett, the tricky one, this one.

[Nish Kumar]

I'm 40 years old, so you know a lot of the films that I grew up watching.

[Brett Goldstein]

Yeah.

[Nish Kumar]

And I'm afraid to say that for me, Nicole Kidman's quite an important part of my emergent sexuality as I bloomed. Brett.

[Brett Goldstein]

So we're looking at Baby Girl.

[Nish Kumar]

We're looking at Baby Girl. We were looking at Baby Girl, the whole movie.

[Brett Goldstein]

You had a lovely look at Baby Girl. Did you?

[Nish Kumar]

I had a lovely look at Baby Girl, yeah. Everyone kept saying, what an incredible expression of female sexuality. I said, let's not leave out the men here because the men are enjoying some things about that as well. Let's leave it at that, Baby Girl. Okay, what was your sexiest film?

[Brett Goldstein]

I think it was. I think it was Naked Gun. I think they had such good chemistry.

[Nish Kumar]

Listen, I'm only laughing just at the sheer Surprise. Of hearing the Naked Gun. I knew we were going to talk

[Brett Goldstein]

about it and not because the gun was naked. She's. She's fit. He's fit.

[Nish Kumar]

Yeah.

[Brett Goldstein]

They had a real.

[Nish Kumar]

They did. Yeah. They had real chemistry.

[Brett Goldstein]

Chemistry. They were very. It was like they were sexy.

[Nish Kumar]

Possibly into a fake relationship for publicity.

[Brett Goldstein]

I don't know this story, but they were like fun together. And, yeah, I think it was sexy.

[Nish Kumar]

Yeah.

[Brett Goldstein]

I think what people. People talk about how funny it was. Not our. People talk about how sexy it was. I liked, you know, I liked hanging out with them.

[Nish Kumar]

Yeah. Yeah. There was an air of genuine chemistry in there. I think that's partly why it worked so well.

[Brett Goldstein]

Obviously, the subcategory traveling bone is worrying why don't. Which I had to explain to Elizabeth Moss. Never been. Never had to go into such detail to explain the worrying why don't. But I think everyone's quite up to speed now.

[Nish Kumar]

It's my favourite bit of any one of these podcasts I listen to when it's you interviewing someone that you're not friends with. This bit of the podcast, when you start going, now,

[Brett Goldstein]

I have to. I don't know why I have to ask, but I do have to.

[Nish Kumar]

Poor Brett with himself at war.

[Brett Goldstein]

I guess I could drop. Probably not us this bit, but it is on the list.

[Nish Kumar]

It's on the list.

[Brett Goldstein]

My traveling boner.

[Nish Kumar]

What was your troubling boner?

[Brett Goldstein]

Pillion.

[Nish Kumar]

Yes. That is troubling. The initial thing I was about to say was like, why was that? Oh, yeah, it was troubling. Oh, it was absolutely troubling.

[Brett Goldstein]

It's a troubling relationship.

[Nish Kumar]

It's a troubling relationship.

[Brett Goldstein]

I like that film very much. I don't know how I. I've read many hot takes.

[Nish Kumar]

Yeah.

[Brett Goldstein]

I don't know if it's how I. I personally feel like it seems like a bad relationship.

[Nish Kumar]

Yeah. Yeah.

[Brett Goldstein]

But what do I know?

[Nish Kumar]

I think it feels like a bad relationship. Cause at the end, when he sees. When he meets a guy, it feels like he's like, it's, you know, this is a sort of sub dom relationship.

[Brett Goldstein]

Yeah.

[Nish Kumar]

Between one of the kids from Harry Potter. Let's not beat around the bush. One of the kids.

[Brett Goldstein]

One of the kids.

[Nish Kumar]

Harry Potter and Alexander Sarsgaard.

[Brett Goldstein]

Yeah.

[Nish Kumar]

But the thing that's uncomplicated, the thing that's untroubling is he's so fit like that is bananas.

[Brett Goldstein]

Yeah.

[Nish Kumar]

That man's body is absolutely coconuts.

[Brett Goldstein]

Listen,

[Nish Kumar]

this is why I can't write erotic fiction. A man walked into the room and his body was coconuts.

[Brett Goldstein]

His body was coconuts.

[Nish Kumar]

It's. Yeah, it's a really.

[Brett Goldstein]

He's fit and there's a lot of sex in it.

[Nish Kumar]

Yeah, there's a lot.

[Brett Goldstein]

But it is a troubling. And I am. No. Forgive me, Nish. Yeah. I am not an expert in the field of bdsm.

[Nish Kumar]

Sure.

[Brett Goldstein]

And sub dom culture.

[Nish Kumar]

Yeah.

[Brett Goldstein]

So maybe what we are observing is really loving. I don't know. It seems complicated to me. I think that's why the film was so interesting and good. But occasionally I felt like it was really troubling.

[Nish Kumar]

I think it is possibly troubling. I think it would be. I think that the relation at the very end, you see him chatting up a guy right at the end and he's very clear in what his boundaries are and what he will and won't do. And that's what I felt about this film. There's an amazing bit that I've argued. Well, not argued, but I think people have different opinions. I don't know how much we want to give away, but there's a point where you can have an argument about what Alexander is feeling, whether he is invested in this relationship or whether he always knows he's gonna leave. And it's. There's a. There's a whole sequence also it's all set in Bromley, which is like. I never thought I'd. I never thought I'd enjoy a film that involves a blowjob outside the Bromley Primark. And yet here we are. It also has arguably the scene of the year, the dinner with the parents and the mum's line in that. Which again, I don't. I mean, are you a cunt?

[Brett Goldstein]

Yeah.

[Nish Kumar]

It's one of the great lines of

[Brett Goldstein]

the year, but that's speaking for some of the audience.

[Nish Kumar]

Yeah, yeah, but I thought it was about an unhealthy relationship and it was about someone who learns how to find healthy boundaries within the structure of one of those relationships. That's how I felt about it. That's nice, but let's not beat around the bush.

[Brett Goldstein]

The man's fit.

[Nish Kumar]

Fucking hell. My troubling boner was. Let me get the timecode for all of you up. You can see Brett's ass. No, nothing troubling about that.

[Brett Goldstein]

Nothing trouble about that.

[Nish Kumar]

Good looking couple getting it on. Consensually fantastic. My troubling boner was die, my love. And that's the end of this section.

[Brett Goldstein]

Your trouble was die, my love. I'll be taking no follow up questions.

[Nish Kumar]

I will be taking no follow up questions. Okay. What? Jennifer Lawrence having an absolute breakdown and

[Brett Goldstein]

you're rock hard all the way through.

[Nish Kumar]

I'm sorry to say I thought she was unbelievably attractive through that whole movie. It turns out all I want is Jennifer Lawrence walking around in dungarees being insane, just using a breast milk to write stuff. I can't, I don't. I can't defend this, Brett, even for me. And I know I have a history with getting the real good trouble. This, this was a bad one. This was a bad one.

[Brett Goldstein]

What's the.

[Nish Kumar]

One of my worst boners. And they can have that for the DVD release. Quote.

[Brett Goldstein]

The Guardians in this. What is.

[Nish Kumar]

She was very sexy. It's entrapment.

[Brett Goldstein]

She was very sexy. What is the greatest? Not your favourite. The greatest. This is tough.

[Nish Kumar]

So I've done a split again, as I always do, between greatest and favorite. And I've been unable to choose between the two of them. And we don't have to talk about it now because I know we're gonna talk about it a lot, but Sinners for me. Yeah. And we can talk about sinners in a bit. But let's talk about what your greatest was.

[Brett Goldstein]

Can I have two? Yeah, I'd like Sinners.

[Nish Kumar]

Yeah.

[Brett Goldstein]

But I'd also like the Brutalist. And this is the problem with.

[Nish Kumar]

But let's talk, let's talk about the Brutalists because we're going to come back to Sinners. So the Brutalist, I mean, it's a pretty extraordinary achievement.

[Brett Goldstein]

Like it's extraordinary achievement. Made it for £2.

[Nish Kumar]

Yeah.

[Brett Goldstein]

What I really, what I like about the Brutalist, whatever you may think of it, is that it is a film where they've gone, where Brady Courbet has gone. I'm gonna make the great American movie.

[Nish Kumar]

Yeah, yeah, yeah.

[Brett Goldstein]

And he isn't being ironic and he isn't shy and he isn't like, careful. He goes, I'm gonna make a fucking four hour epic, important masterpiece with an interval.

[Nish Kumar]

It's that big. It's that bigger. It's that.

[Brett Goldstein]

And there's no apologizing for it. There's no like, it's like big swing. I'm fucking doing it. And I think he did it. Yeah, I think it's great.

[Nish Kumar]

I think it's based on some real people, but maybe not even that particularly intensely. But yeah, it's that sort of fictional story of, you know, this Bauhaus trained architect who comes to the States fleeing like just like after the Holocaust. And like what his life is. And it essentially is that. That is it. Like, it's. It's a biopic of someone that didn't exist.

[Brett Goldstein]

Yeah.

[Nish Kumar]

The soundtrack was incredible. It looked extraordinary. It has. Maybe if Pillion hadn't come out this year, it would have had the bleakest blowjob in any movie. Yeah, it's a bleak blowjob. It's a bleak blowjob, but at the same time, it's not a blowjob in front of the Bromley Primark. And if anyone goes to Bromley High street, they will confirm that. Getting a blowjob out there, I think

[Brett Goldstein]

they'll put a plaque there. The fittest man ever got sucked off here.

[Nish Kumar]

Yeah, it was. The scale and scope of it is incredible. I think they're really interesting. Brady Courbet and Mona Fastball are a very interesting sort of partnership.

[Brett Goldstein]

Personally love to talk about the Testament of Van Lee, but it would be convenient if we could talk about that. Yeah, but obviously that's for next year, but, yeah.

[Nish Kumar]

I thought. I thought Guy Pearce was fantastic in this film.

[Brett Goldstein]

He was great.

[Nish Kumar]

I know that it feels odd to sort of breeze past Brody and Felicity Jones, but I thought Guy Pearce in this movie was so good. And again, I loved. I think he's such a brilliant and oddly underrated actor. I thought he was great in this film. And there's something about. There's an American refusal to engage with the idea that the country has an aristocracy. And there's an idea that America is a sort of classless society. And I thought, what. One of the things that was amazing about the Brutalist was the way that it engaged with the fact that there absolutely is an aristocracy in America and they believe themselves to be better than other people and they consider themselves to be more legitimate than other. They consider themselves to be more legitimate Americans than other Americans. And also, Laszlo Toth, who's Brody's character, is sort of aware of the contempt that they have for him because he's an immigrant and because he's Jewish. Like, he's totally aware of that. They're not sneaking. Nothing is being sort of snuck past him. Like, his wife is like. I hate the way they speak to you. Yeah, I know, but what are you going to do? There's some really brutal moments in the film. But, yeah, it's. I'm glad that it's good. I'm glad for big swings.

[Brett Goldstein]

Yeah. Sinners.

[Nish Kumar]

We should talk about sinners. But it comes up in a few of your categories. We'll bring it up.

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[Nish Kumar]

There's plenty to say about sinners.

[Brett Goldstein]

I don't know what category to put this in. Oh, how about film you were. You didn't really want to see but you loved.

[Nish Kumar]

Yeah. I'll say this. I had the exact right film for this. Maria.

[Brett Goldstein]

Okay.

[Nish Kumar]

And I say this because I really don't like or understand opera. Call me Brown Chalamet. Call me Brownime.

[Brett Goldstein]

Uh oh.

[Nish Kumar]

Uh oh.

[Brett Goldstein]

Looks like I've sticking it to opera. Looks like piling on on opera.

[Nish Kumar]

Looks like Nishi supreme has done himself out of an Oscar. I. Yeah, I've never really got opera. However, I am a huge fan of the first two parts in what I can only describe as the Sad lady trilogy. How else are we supposed to describe that trilogy? It's the Sad Lady. It's the slcu famous Sad Lady. It's the Sad lady cinematic universe.

[Brett Goldstein]

Also.

[Nish Kumar]

It is the real Sad lady because it's Pablo Larade's films. He made Jackie about Jackie and Assis Brilliant Spencer, which I loved and is a really very unusual, strange, chilly movie with a great performance from Kristen Stewart about Queen of our hearts. Forever in our hearts, Princess Diana, we love her. And then when it came to the third part, I thought I don't know anything about Maria Carlos beyond the fact that she's like an opera singer and I really don't like. And they called her the diva.

[Brett Goldstein]

Right.

[Nish Kumar]

I didn't really know anything beyond that. And I went to see it. I thought Angelina Jolie was brilliant. I thought it was different in so many interesting technical ways. I thought the structure of it was fascinating. It sort of. It has the thing that the other two films have, which is this sort of character moving through their past and remembering things in a different way. But the esthetic of the film changed so violently. You know, some of it's in black and white. It's all shot really beautifully. And I was completely hooked by it and I thought it was really beautiful. I thought her performance was incredible. And it actually made me the music and it actually made me understand the power and emotional force of opera. So it actually converted me on a whole art form. It's like when we watched Drive my Car a few few years ago and you know, I have to say to my friend I think Chekhov is good. I don't think Chekhov's really fucking boring like I thought it was. And this movie, I came out of it and said to my partner, Amy Nett, who is a trained singer, did a lot of singing in.

[Brett Goldstein]

I didn't know this.

[Nish Kumar]

She's an amazing singer, but also she's got an amazing voice. But also she did lots of trained singing, so she can sort of sing opera. It's kind of amazing when you can hear just somebody in the shower throwing. Just throwing her voice. Yeah. And I said to her after I watched that film, I said, oh, yeah, I get it, I get it. I was completely moved by the music in it. And because of the presence of JFK and the connection between. So Maria Callas had an affair with Aristotle and Nasis, who then obviously ends up marrying Jackie. It becomes part of the universe. And JFK is in the movie and Aristotle, Nasis, this movie presents her as the sort of real great love of his life. I don't know what the truth is of that, but it does have the feel of the slcu, the Sad Lady Cinematic Universe. I was totally blown away by it. I really loved it.

[Brett Goldstein]

My answer is hard truths.

[Nish Kumar]

Oh.

[Brett Goldstein]

I sort of felt like, oh, this is. You know, I have to see this. But here's my homework. I love that film. And it's so funny. It's one of my comedy. It's one of the funniest films of the year.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And it's very sad, but it's fucking great. And Marianne, John Baptiste, so good and has so many great lines. And it's a really interesting, like, portrait of someone you would hate.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And you love. It's. It's a. It's a real act of empathy. You go, here is a person that you would see at the supermarket who you would hate, who is so rude to everyone and so angry and she's so funny. And then it's a really. And it's got one of my favorite bits. Favorite lines. She goes home, Ted. Haunted. It's really good. It's a good. I think it's.

[Nish Kumar]

Yeah.

[Brett Goldstein]

If not my favorite Mike Lee fill. I think it is maybe the most I've enjoyed of his.

[Nish Kumar]

It was one of the best in terms of my. It was one of the ones I initially had down as my best experience of watching a film because I saw it with a Q and A with Mike Lee and Marian John Baptiste and a couple more of the cast after the film. In the Ritzy in Brixton. Yeah. I thought it was Incredible. I thought it was. Now, this is going to sound insane. I thought it was an attempt to make a psychologically insightful version of as Good As It Gets. Because as Good As It Gets is a romantic comedy about a man with anger issues and no filter. And this film, the first half got massive laughs. Completely full cinema, massive laughs. And in my head, because I'd read, I think, maybe an interview with Mike Lee about the film, I remember thinking, I think you might be in for a very rude shock. About halfway through and the turn of the film. So she starts. There's a lot of comedy scenes where she's just being like, jack Nicholson is as good as it gets. But then the film tries to explore why she's like that. Why is she this spiky person, why she's so horrible and why is she like this? What's made her like this? And that's when it turns from comedy into tragedy. It is a sort of perfect Mike Lee film. If you wanted to explain to somebody what Mike Lee does and what his kind of tragi. Comic tone looks like, this would almost be a perfect film to show. It's one of the performance. It's one of the performances of the decade. It's brilliant. It's such a good movie.

[Brett Goldstein]

What is? You're in comedy. What. What film made you laugh the most?

[Nish Kumar]

Well, I was laughing while you were rock hard at the Naked Gun. While you were turned on beyond belief at the Naked Gun.

[Brett Goldstein]

Brett, what is everyone laughing at in this porno? I've come to see what everyone's distracting me.

[Nish Kumar]

Yeah. I mean, we could talk about it for Best Line, but for me, and I don't feel proud of this, but there is no line that has made me life harder in any film I've ever seen than Liam Neeson describing Pamela Anderson as having a bottom that would make any toilet beg for the brow.

[Brett Goldstein]

I think the set piece with the snowman is. Oh, that was the. That was the bit that I lost my boner because I was laughing so much. I love the snowman sequence.

[Nish Kumar]

What? The sketch that's just in the middle of the film.

[Brett Goldstein]

It's the best bit.

[Nish Kumar]

It's so funny because we talk so much. You know, we work in writers rooms, we make comedy shows. We talk so much about how there's a need to kind of create a reality and not overstuff with jokes and not have jokes that, you know, like, you will often talk about. Like, you can only have one type of joke. But there is another line later on in the film where he Says she had a body that carried her head around and a butt that seemed to say, hello, I'm a talking butt. And it is. The Naked Gun is a real.

[Brett Goldstein]

That's good. That's good.

[Nish Kumar]

It's a really great example of. Sometimes it's fine, just throw it all out the window and put as many jokes in as you can. And it was really exciting to see a film that committed to the comedy. Anything any of those lonely island boys touch, I think comes out so nice and like they are really smart and. Yeah, I just. I thought that this was. I thought it was great. Fuck character. Fuck. Picking one out of two jokes. Put it all in, have a sketch about it.

[Brett Goldstein]

Put them all in and tell a really moving, sexy love story.

[Nish Kumar]

Brett, did you watch the Big Sleep? I'm worried that you watched the Big Sleep.

[Brett Goldstein]

We've got to talk about the Ballad of Wallace Island. Of course.

[Nish Kumar]

Yeah, I have it for one of my answers for one of them down. Down the line. But we've got. Let's talk about the Ballad of Wallace Island. Why not?

[Brett Goldstein]

Fantastic.

[Nish Kumar]

Another one of those very special moments in the cinema. Yeah, it was very special to see my dear friend Liz Kingsman in the IMAX in F1. That. That was another really. It was a really exciting moment to see her in that. Really, really exciting. But, yeah, Ballad of Wallace Island. We both love Tim Keith, Loved him very dearly. And I got loved Tom Bastin. Love Tom Bastin. Love Tom Basdon. Love Carrie Monkey.

[Brett Goldstein]

Monkey. Don't know her. Love her.

[Nish Kumar]

Met her once, met her twice. She seems very nice.

[Brett Goldstein]

Good.

[Nish Kumar]

She seems very nice. And she was kind of the perfect person to kind of anchor the film and sort of sit in between the two of these guys.

[Brett Goldstein]

I also think that that film is beautifully directed by James Griffiths. I think it's phenomenally directed because it is very stylish without drawing attention to itself. Yeah, it's a really beautiful looking film in a really subtle way. It just tells the story, but it tells the story whilst also being pretty cinematic and beautiful.

[Nish Kumar]

And it cost 12 pence and they had 45 minutes. Yeah, from what I understand.

[Brett Goldstein]

And they slowed it down and it made a 90 minute movie and it's really good. It's also surprising it didn't go the way I thought it was gonna go.

[Nish Kumar]

So many jokes in it. But the. That is an example of a comedy film where the comedy is really funny but the character development is there. And you know, the premise that somebody has won the lottery twice. It's so funny. It's so funny. And all he wants to do is have a special concert by his favorite musician. Tom Basdon is brilliant.

[Brett Goldstein]

Tom Basdon, his songs are brilliant.

[Nish Kumar]

His songs are brilliant. He doesn't like me bringing this up because I saw his first Edinburgh show and I still think about one of the songs in it, which is a very short song and it's just gang bang, girl, how do I get you on your own? And Basdon, he looks like he could have been in Noah and the Whale or Mumford and Sons, which is such an era specific musician that the film is trying to evoke. And it's so brilliant at evoking it both in the songs, which Basdon wrote and so wonderful, and his aesthetic. Like, he really looks like he could have been in any of knowing the Wild Mumford and Sons, that era of British bands. He's totally plausible as one of those people. But the scene in it where they sing the song together at the dinner table. And like Tim Key, we know Tim Key is so funny. Tim Key is also one of those people where people say, oh, you must be. When you're hanging around with comedians, you're like, no, mostly we have normal conversation. Tim Key is so funny, always on stage, offstage, so funny. And so when he's, you know when he refers to Curry and Rice as a doctor Carl Shipman with a side of Condoleezza Rice, first of all, Americans watch that movie. What are they thinking when he says Dr. Carroll Shipman? Cause when you explain it, it's worse. Oh, he's said Curry. And he substituted the word Curry over the word Harold in the name. Harold Shipman, who. Who was a mass murdering doctor in real life. The explanation makes it even worse, but so funny. And then you slowly understand that there is a sadness behind in this man's life and he's won the lottery twice. But there is like real grief at his core. And it comes up with a dramatic reason for why he's just constantly talking. It's because he's trying to fill. He's been on his own, he's trying to fill the silence. And also he's trying to keep everything light because there is genuine sadness and grief behind him. So he's constantly making jokes to cover that. And then it all kind of breaks down in just this moment where these reunited musicians, played by Carey Munnigan and Tom Basdon, who he's brought back together for this concert, sing a song together. And the song is great and it sounds beautiful. And then the camera turns to Tim Key and his face, it's heartbreaking. It's so good.

[Brett Goldstein]

Good film.

[Nish Kumar]

It's really interesting to see something like that. And it's been a really great year for me of, like, seeing my friends be in movies and just. You feel. When I see you with Poots at the end of that movie and see Key at the dinner table, you feel just such an overwhelming pride because I think you're used to. I'm used to seeing you and Key be funny, but when I see you sell those emotional beats, it's like when I. When in the end of the first series of Ted Lasso, when she tries to touch you and you sort of flinch. And I texted you and I was like, you can act, Brett. This is like Mickey Rourke in the Wrestler. Like, you can act. And. Yeah, it was. It was. Yeah, it was a really, really special thing.

[Brett Goldstein]

I texted you you should straighten your hair.

[Nish Kumar]

You replied, you can't do comedy.

[Brett Goldstein]

I did not.

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[Brett Goldstein]

Best musical.

[Nish Kumar]

Gotta Be Sinners.

[Brett Goldstein]

Gotta be Sinners. Let's talk about Sinners. Come on.

[Nish Kumar]

Let's talk about sinners. Come on.

[Brett Goldstein]

Here's the many things. I mean, obviously there's a lot to say about Sinners. It's brilliant, it's original, it looks amazing, it's acts amazing, it's exciting, it's sexy, it's got great music. What I really thought about Sinners, and there's a couple of films, was like, it felt like a novel. And I mean that as a compliment.

[Nish Kumar]

Yeah, I know you mean as a compliment. You didn't say it felt like a. You didn't say it.

[Brett Goldstein]

I didn't say it felt like a play. Like it's a real. Like it takes its time and the first hour is like, here's this character, here's this character. Here's the world, here's. And it's building out this picture of a community, of a time, of a place.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And it's completely enthralling and so it builds and it's building towards this thing.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And it was like a really rich storytelling.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And you really, like, invested in all of these people. And it all comes to a head musically and horrifically. And with fire. And it's just fucking incredible. Actually. Actually, Nish, let's be honest. Sinners is fucking. Has anyone ever said this? Sinners is fucking brilliant.

[Nish Kumar]

The thing that it does is that it buys the right to do that. Because the opening three minutes of Sinners is so exciting and genuinely scary. Like, properly jump scary, because, you know, it has the kind of narrative structure of it starting at the end of the majority of its plot. And you just suddenly, out of nowhere, see this kid burst into a church. And the preacher, I think you established quite quickly as his dad, and he's covered in blood, got a scar on his face, and he's got a smashed guitar with him. And then as he's walking down the kind of middle aisle of this church, it just flashes, just, you know, quick shots of unimaginable violence happening. And it's a hell of a way to open a film. And so then he almost buys himself the right to let it breathe and give you all of the setup. Michael B. Jordan, all of the performances. Unbelievable, Unbelievable. Like that kid Miles Caton, first movie, Unreal.

[Brett Goldstein]

Del Rolino, one of my favorites.

[Nish Kumar]

Wummy Wummy Masaka. Like, what. What a performance she is. And you're right, it is. It was everything. It was intelligent, it was sexy, it was funny. He was incredibly moving. Coogler is. He's the guy.

[Brett Goldstein]

He's the best.

[Nish Kumar]

I really seriously think that when you look at a movie like Sinners, because he's not distancing himself from his experience in genre cinema, he's actually using things that he learned making Black Panther and Creed to help essentially provide this kind of entertaining package that allows him to talk about race, colonialism, the thing, the themes that Sinners takes in. One of the best lines I've ever seen. One of the best lines in any film is when Del Roindo's talking about playing the blues and he's in the car with Miles Caton and Michael B. Jordan. And I think Miles Caton expresses some surprises. Like, oh, he's talking about performing for white people. And he says something like, oh, you played the blues. And Delroy Lindo says, see, white folks, they like the blues just fine. They just don't like the people who make it. And that is when someone drops that, you're like, oof. And it's like Michael Beach. It's like Killmonger's line at the end of Black Panther when he says, you know, throw me overboard at sea like my ancestors, because they knew death was better than bondage or something, you know, and you're like, oh my God. But it's also a vampire movie and it's really scary and incredibly entertaining. And I genuinely think if we needed more evidence, this should be the confirmation that Coogler is the real cinematic inheritor of Spielberg and Christopher Nolan. This is the person who makes cerebral films that are also unbelievably entertaining. He's making deeply intelligent, profoundly moving and quite important films for the biggest audience possible without dumbing them down in any.

[Brett Goldstein]

It's like if Oklahoma. Had been written with Lawrence Hart.

[Nish Kumar]

It is. It is the fear at the end. So I love blues like. I love blues music like. Cause I was a Hendrix obsessive when I was a kid. And so one of Jimi Hendrix's key inspirations is Buddy Guy, right? And so at the very end of the film, you think the film has ended. And then it suddenly flashes forward to the young kid who's now way older, in Chicago in the early 90s. And he is played by Buddy Guy. And if you were a blues fan, that piece of stunt casting is just incredible. Cause Buddy Guy's one of the most important electric blues guitar players. And he has said that he was asked to do it and he had no idea who Ryan Coogler was.

[Brett Goldstein]

And.

[Nish Kumar]

And he said. But I think his kids and his grandkids said, you gotta do this, you have to do this. And so he's playing the kind of old Sammy. There's also a lovely touch which I don't think a lot of people realize, which is Buddy Guy has his own blues club. And I think in the narrative of that sequence, Sammy has his own blues club. And the club is called Purlines, which is the name of the girl who he lost after that night. But there's a bit at the end where he says Michael B. Jordan and Hailee Steinfeld, both brilliant, have come to see him dressed in some unbelievably era appropriate early 90s gear. They've survived the movie, they're both vampires. And they come to see him at the very end of the film and he's now played by Buddy Guy. So there's this great sort of. It's really funny because they're dressed like they're on their way to a party at the Fresh Prince of Bel Air's house. And it's true. And so it's funny. And also it's really amazing piece of stunt casting. And then Buddy Guy says, maybe once a week I wake up paralyzed, reliving that night, but before the sun went down. I think that was the best day of my life. Was it like that for you? And Michael B. Jordan says, no doubt about it. The last time I see my brother, the last time I see the sun, just for a few hours, we was free. And you know what that is? That's levitation. That's levitation. That to me at the end was pure levitation. I thought it was. Yeah, I think it's extraordinary. I think it's an amazing film.

[Brett Goldstein]

It's fantastic.

[Nish Kumar]

Coogler, man, he's the best.

[Brett Goldstein]

He's the best. Hasn't put a foot wrong.

[Nish Kumar]

No.

[Brett Goldstein]

What is a 90s movie? They don't make anymore, but they did in 2025.

[Nish Kumar]

I answered this immediately. One of them days.

[Brett Goldstein]

Oh, yeah, great answer. Absolutely right. Absolutely right.

[Nish Kumar]

Yeah. Mismatch. Buddy comedy.

[Brett Goldstein]

So fun, so funny.

[Nish Kumar]

Weirdly low stakes, that. Really funny. Both really charming. Scissors. Keke Palmer. We know Keke Palmer's a star. We know Keke Palmer's a star.

[Brett Goldstein]

No one's arguing with that.

[Nish Kumar]

No one's arguing that.

[Brett Goldstein]

And if they are, did we know Sza could act? We do now.

[Nish Kumar]

We do now. Sza's fucking amazing in it. Keke Palmer is brilliant in it. Her greatest performance since. Sorry to that, man. But yeah, she's brilliant. I'm very excited that she's in Boots, Riley's new movie. I'm really, really excited about that. But we'll talk about that in about

[Brett Goldstein]

five years from the producers of all of you, I'll have you know.

[Advertiser]

Is it really.

[Nish Kumar]

Yeah, that's very exciting. Yeah, very exciting. I love Boosters, but yeah, I thought one of them days was great. I thought that Scissor was great. Keke Palmer was great. It was a proper 80s 90s double act comedy film. Beautiful.

[Brett Goldstein]

My answer for a 90s movie they don't make anymore, but they do in 2025. Roof Matt.

[Nish Kumar]

I didn't see Roof Matt. Oh, tell me about roofman.

[Brett Goldstein]

You like 90s movies?

[Nish Kumar]

I love 90s movies.

[Brett Goldstein]

Indie films.

[Nish Kumar]

Yeah. I love 90s indie films.

[Brett Goldstein]

90s indie film. It's great and I loved it. And what is interesting is you watch it and you go. It's like a character piece.

[Nish Kumar]

Yeah.

[Brett Goldstein]

Channing Tate is great. Kirsten Dunst, great. Everyone's great. It's kind of sweet and moving and kind of exciting. But it is a kind of small true story.

[Nish Kumar]

Yeah.

[Brett Goldstein]

Of a guy who breaks into a Toys R Us and lives there secretly. Cause he wants to see his daughter and he can't. He's not allowed to. And he lives in the Hidden in a Toys R Us and sort of looks at the.

[Nish Kumar]

Even Toys R Us feels 90s. I don't know if it still exists anymore.

[Brett Goldstein]

It doesn't exist anymore, I don't think. And he has this relationship with this woman and it's kind of. I guess it's a true crime story, essentially. Cause it is a true story. And at the end they show you loads of footage of like, oh, this really was all real. It was one of those. Yeah.

[Nish Kumar]

Oh, cool.

[Brett Goldstein]

But what is, I guess, kind of sad and curious about it as a thing is that they don't make films like this anymore. And I don't think it did very well, sadly, commercially. Even though I think it's a fantastic film. It's really lovely and great.

[Nish Kumar]

Yeah.

[Brett Goldstein]

But it is a kind of thing where you go, yeah, I don't. I don't know where this sort of story, which is kind of a small curiosity. It's like an interesting story.

[Nish Kumar]

Yeah.

[Brett Goldstein]

Really well done, really well acted, lovely characters, just great. But it doesn't have, I suppose, a big. Yeah, it's the sort of film they used to make lots of films like this. Yeah. And they don't really anymore. The problem is I don't know where it goes now.

[Nish Kumar]

Well, the worry for me is when they are made now they're stretched out into six part TV shows, which doesn't make sense for some. Not everything can be a TV show, you know.

[Brett Goldstein]

I'd recommend it. It's a really great film.

[Nish Kumar]

I sold me on it.

[Brett Goldstein]

I wish more people had seen it. Okay, here's a question for you. Best film that tells you life is pointless?

[Nish Kumar]

Begonia.

[Brett Goldstein]

Oh, great answer.

[Nish Kumar]

Begonia. I liked a lot of stuff about it. I really. Again, very happy with Yorgos. Very happy with the Yorgos Stone axis. They're both great. She's wonderful in it. Jesse Plemons. Every year we take a second to discuss Jesse Plemons. And we are right too. He's our Gene Hackman. He's such a brilliant actor. I really, I. One day I will advance my theory in a full thesis about how Plemons is really the 21st century. Gene Hackman. I think he's incredible. He's great. Stavi was great in it. Yeah, he's really good seeing Stavi pop up in it. For the comedy fans, I thought it was really great. I thought it digested some really interesting conversations that we're all having about online radicalization. It felt very. I liked the ending. I think the ending is divisive, but I enjoyed the ending. But at the End. I thought, well, we're fucked. I came away from Begonia being really depressed. I think the idea that we're now opera, like, we're all existing in different realities. Not even we disagree on something. We've got completely separate realities. And also, I think the thing that the film did really well was showing you how much corporate exploitation of poor people is driving further kind of online radicalization. Like, people are in more extreme circumstances, so they're looking to more extreme solutions. And I think it's really good. I think it's a really, really good film. And it bummed me the fuck out, man. I was fucking. Avi was like, what's wrong with you? I was like, I've just watched Begonia.

[Brett Goldstein]

It is a real Debbie Down.

[Nish Kumar]

The last one of those movies AV Saw was Poor Things. So AV Saying, well, the Poor Things, guys. I was like, yeah, it's not.

[Brett Goldstein]

It's.

[Nish Kumar]

It's bleak, man. It's dark. It's dark.

[Brett Goldstein]

It's really good. It's very dark.

[Nish Kumar]

The kind of her performance and that kind of satire of corporate speak and the sort of language that's used to cover up bad behavior was extraordinary. She is extraordinary. She's so brilliant. She can do anything. She's our Katharine Hepburn. Like, I also think that there is a real kind of Katharine Hepburn quality to Emma Stone in general. And I thought that they exploited her kind of inherent likability in a really interesting way in Begonia, because you warm to her and yet she's a dick. And I thought that it played off that in a really interesting way.

[Brett Goldstein]

You're right.

[Nish Kumar]

What was the film that bummed you out?

[Brett Goldstein]

I had two Warfare and Mighty Supreme.

[Nish Kumar]

Why did Marty Supreme. Oh, that's interesting.

[Brett Goldstein]

Well, so Joe Kelly, who I wrote the J. Lo film with, he saw Mighty supreme and he loved it. And he told me, he said, I've seen Mighty Supreme. So great. It's really uplifting ending. I went to see it. I was like, is it. It's great. But the ending, I think. And then I told him it, and he went to see it again, and he was like, oh, no, I think you're right.

[Nish Kumar]

Why did you think the ending was depressing? Because we must assume everybody.

[Brett Goldstein]

Okay, Please skip this if you haven't seen.

[Nish Kumar]

Yeah.

[Brett Goldstein]

Because he's this kind of, you know, narcissist, like, chasing things. He isn't emotionally connected to anything. And then at the end of the film, he sees his baby.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And he cries. And so for a moment, for a split second, he feels connected and he cries.

[Nish Kumar]

Yeah.

[Brett Goldstein]

But then the film, what happens actually is he cries. So for one minute, he has it. He has the answer. And then his face slightly drops and you just hear a baby crying. And then you hear more babies crying more and more and more babies crying. And then it fades to black and then the credits is just babies crying.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And I think the film is telling you, you know. Yeah, it's all fucking pointless. And this baby's gonna be fucked up too. And then all these other babies being born, they're all gonna be fucked up and no one's really connected. It just goes on and on. It's all fucking chaos and nothing.

[Nish Kumar]

I think that's a valid interpretation of that ending.

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[Nish Kumar]

Done.

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[Nish Kumar]

I thought, because I thought it was so cartoonish in the way it was ending. I felt. It was almost. I felt.

[Brett Goldstein]

Yeah.

[Nish Kumar]

That he really. He's connected for a moment. And my feeling is that it was really syrupy, but he feels every emotion way too loudly. But that doesn't mean he's actually changed.

[Brett Goldstein]

No.

[Nish Kumar]

So for me, five minutes after that, he's gone back to trying to play.

[Brett Goldstein]

He's gone back to chaos. Yeah.

[Nish Kumar]

He's gone back to chaos.

[Brett Goldstein]

Yeah.

[Nish Kumar]

Abel Ferrara, one of the great cameos of the year.

[Brett Goldstein]

Oh, yeah.

[Nish Kumar]

Great filmmaker, cameo.

[Brett Goldstein]

Yeah.

[Nish Kumar]

Really good. Tyler, the creator, I thought was brilliant. I thought if he didn't know who he was, you would assume he was, you know, a New York theater actor. I thought he was. I thought he was great in it. Listen, we can't talk about it, but Mary Bronstein wrote, God, it'd be great

[Brett Goldstein]

if we could keep you. We have to wait till 2027.

[Nish Kumar]

Ronald Bronstein Co Wrote Marty supreme and Uncut Gems and if I Had Legs again. We'll talk about it later. But it is basically mum cut gems. And you've got to believe that Mary and Ronald Bronstein's household.

[Brett Goldstein]

Stressful.

[Nish Kumar]

That they live in together must be so stressful. Or it's the most Zen place in human history because they've got all of their neuroses out in their work. But yeah, I liked Mighty Supreme. I. I would not recommend, if you haven't seen it, watching Uncut Gems. Too close to it.

[Brett Goldstein]

Yes.

[Nish Kumar]

Because Uncut Gems is the sort I think is the platonic ideal of that type of film. And I think Mighty supreme is really great. Just not if you've watched Uncut Gems the night before.

[Brett Goldstein]

My other answer is Warfare, which I think is a really good film.

[Nish Kumar]

Right.

[Brett Goldstein]

Did you see War?

[Nish Kumar]

I didn't see it for the reasons I thought. I was just like, oh God, this is going to.

[Brett Goldstein]

It's a really, really good film. And what I love about it, it's an Alex Garland film. And I think the kind of mission was. It was he co directed it with a person who has actually served in the army and it was like an attempt at recreating an actual thing that I believe the other director had experienced during some conflict.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And so it's kind of sad, I think like 24 hours and this army kind of go into this house in. I don't know that it's ever specified where we are or what time it is. Maybe I'm wrong about that. But they take over this house, kind of scare the family and they take over this house and they're kind of hunkering down there and then they are surprise attacked.

[Nish Kumar]

Yeah. Right.

[Brett Goldstein]

And it's really shocking. And all of them have kind of shell shock and lose their hearing and can't cope. And you watch them deal with this very, very intense, scary thing. And then when it's all done, they just drive off and leave this family, this house. Like there's just been all this destruction and in a really like, subtle sort of cool way, it's as if the ending was like. Well, that was fucking pointless, wasn't it?

[Nish Kumar]

Yeah.

[Brett Goldstein]

Like all of this death and. And it isn't. It is a War is Hell film, but without being about. It's just this very small thing. It just takes place around a house.

[Nish Kumar]

Yeah.

[Brett Goldstein]

And in the end, what was the fucking point of that? Yeah, and I really. I mean, it's really depressing, but I really respected that. Just the kind of no frills. It's just. This is what it's like. And at the end of the day, what was the fucking point of that?

[Nish Kumar]

Well, at least America is not engaging in another illegal war in the Middle East. Brett, thank you. So I have always supported the President's actions.

[Brett Goldstein]

Thank you. Nish. What we probably. Okay, last question. Okay. Best film about a relationship.

[Nish Kumar]

Well, I thought I'VE gone with the bleaker interpretation of this. I thought Hard Truths was an amazing exploration of a really. Of two really difficult relationships between two sisters and between a husband and wife. And I thought. Haunted. Haunted. I thought it showed you in both instances, the cost of loving someone who. Who is incapable of loving themselves and who is constantly kind of has this kind of brutal negativity at the core of their being and the toll that that takes on the people that love them. And so I thought it was a very.

[Brett Goldstein]

You thought this is what it's like for Amy. Yeah,

[Nish Kumar]

And a sunny. And on a sunnier side. I thought that the relationship between the sisters and sentimental value was. Filled my heart with love. I thought it was wonderful.

[Brett Goldstein]

Beautiful answer.

[Nish Kumar]

What was yours?

[Brett Goldstein]

Well, I like the relationship in Black Bag. I like what dad said about relationships. But my. And it arguably is on my list of favorite film of the year because it completely took my surprise is Together. The film Together.

[Nish Kumar]

So I haven't seen this. Tell me about Together.

[Brett Goldstein]

I fucking love Together. It's Alison Brie and Dave Franco. And it is a kind of. Arguably, it's like a fun body horror film. But I genuinely think it is a profound statement about relationships because it's these. They play a couple. They're a real life couple and they play a couple who are not meant to be together. Who you meet them early on and you're like, this is a bad relationship. And they're moving away together and it's very clear they shouldn't be. You know, by any sort of measure, this is not a good fit, these two. And they go to this place where there's some weird shit going on and basically they go for a walk and they fall into this. They basically get kind of. I don't know what the word for it is, cursed or struck by a thing. Which basically makes them physically drawn to each other in a way that they can't control. So much so that, like, their fingers latch onto each other and they can't pull apart. And so it's kind of a fun idea of, like, codependency and things like that. But in the end, the real. It's kind of. I think I'm spoiling the kind of message as far as I read it is it's saying any relationship can work.

[Nish Kumar]

Yeah.

[Brett Goldstein]

You can be soulmates with anyone. If you completely give up, if you completely surrender yourself to each other, then it's good. I don't want to tell you exactly what happens at the end, but it is basically like, give up all the things that are in the way of you two is your own shit and your own trying to have your own identity and your own life and everything. And together it's like just fucking give up. You're together and just be one. And then it's a positive ending.

[Nish Kumar]

Sometimes films are a Rorschach inkblot and the interpretation tells you more about the interpreter than the film. I think the message of this is everyone in a relationship's giving up.

[Brett Goldstein]

Just fucking give up anyway. It also has an incredibly. For a film that's kind of funny and fun. Horror.

[Nish Kumar]

Yeah.

[Brett Goldstein]

Has one of the scariest moments in a film.

[Nish Kumar]

Really.

[Brett Goldstein]

Yeah. Genuinely quite early in the film. There's this one moment which I won't spoil for you where I went, whoa, fucking shit. I think it's hugely underrated and underseen. And I loved it.

[Nish Kumar]

I'm into it. You've sold me on it. 100%. You've sold me on it.

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[Brett Goldstein]

We don't have time to talk about it, but obviously weapons is fucking brilliant. Okay, so have we not talked about weapons? We don't have time. It's so good. Everyone knows it. And that's another one that's like a novel.

[Nish Kumar]

Zack Krieger.

[Brett Goldstein]

Zack Krieger.

[Nish Kumar]

What does that man. Also. It's like it's another movie like Barbarian. You were the one that told me that. It's an improv game. And it feels like an improv game. So you have a scene and then you follow the other character and then it flashes to what happened with the other character. And the ending of that film is perfect. Yeah, it's perfect. Amy Madigan's performance. Extraordinary.

[Brett Goldstein]

Wonderful.

[Nish Kumar]

So glad she won the Oscar.

[Brett Goldstein]

Me too.

[Nish Kumar]

Two of the great Oscar moments of all time. Her winning and also her refusing to clap. Elia Kazan when he won his lifetime awards chief at Oscar because he named names for the McCarthy Commission.

[Brett Goldstein]

We have one minute left. Nish. You. You've been. You've been wonderful. So much so. Well. What. But before you go, what's your top 10?

[Nish Kumar]

Okay. This is very quick. It might change at any point. But the only reason I knew that I had to talk about COVID up Was that. It's in there. So my 10 in reverse order is I'm still here. Cover up Hard truths Blue moon, Nickel Boys Die, My love. Sentimental value, A real pain. Sinners, One battle after another.

[Brett Goldstein]

Mine are the Ballad of Wallace Island. The Long Walk Together. Weapons. One battle after another. The Brutalists. Sentimental value, Trained dreams. Sinners Number one. I'm still here. Nish, what would you like to take with you? You died getting shot by the man. I stuffed you in a coffin. There's no room in it. There's only enough room, one DVD for you to take across the other side. Moving out every night. What film from 2025 are you taking to show the people in heaven after you've been righteously assassinated?

[Nish Kumar]

I can't do this. I have no ability to do it. So I'm just gonna do this purely on the fact that I've seen one battle after another five times. So I'm gonna go one battle after another.

[Brett Goldstein]

Wonderful. Nish.

[Nish Kumar]

I have taken.

[Brett Goldstein]

Oh, oh, do I go too?

[Nish Kumar]

Yeah, you go. What are you taking?

[Brett Goldstein]

I'm taking. Do you know what I would take? Train dreams. And everyone would be like, whoa, man, we're in heaven. Nish, what do people need to do?

[Nish Kumar]

Go to nishkabar.uk to buy tickets for my tour and to watch my stand up special. Nish, don't kill my Vibe.

[Brett Goldstein]

Flanny's favorite special of all time. Nish. What a joy. Thank you for doing this. It's lovely to see you here in the. You in there. Have I got news for usa. Have a wonderful death. Good day to you. Thank you. So that was part two. Thank you so much for listening. I hope you're all well. I really appreciate you. Thanks to Scrubius Pip and the Distraction Pieces Network. Thanks to Buddy Peace for producing it. Thanks to Adam Richardson for the graphics and Lisa Lydon for the photography. Come and join me next week for another smasher of a guest. But that is it for now. I hope everyone is well. Thank you very much for listening, but in the meantime, have a lovely week and please, now more than ever, be excellent to each other.

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[Brett Goldstein]

Hey, Mama.

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Thanks for making all my favorite recipes.

[Brett Goldstein]

Hi, Ma. Thanks for your unfiltered advice. Hi, Mom.

[Advertiser]

Thanks for always being by the phone.

[Brett Goldstein]

Hey, Mom.

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Happy Mother's Day.

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