The Invasion of the Poddy Snatchers

“Rosebud…” This week we finally tackle the monolith itself: Citizen Kane. Long hailed as the greatest film ever made, Welles’ debut arrives with a mountain of reputation and a century’s worth of film-school baggage. We dig into the myth of Kane as a “perfect” film, the innovations that still impress, and the moments that feel more like homework than revelation. From deep‑focus shots to fractured timelines, from newspaper empires to lonely palaces, we ask whether the legend enhances the film or gets in the way of actually watching it.

"Just say the word and I'll throw a lasso around it and pull it down." This week we sit down with "It’s a Wonderful Life", a film with a near-sacred status.. Frank Capra’s Christmas classic promises warmth, hope, and the ultimate affirmation of a life well lived. We talk small-town virtue, and the weight of nostalgia, ask whether the film’s reputation does the heavy lifting.   

"What the fuck happened to you, man? Your ass used to be beautiful."   This week we’re talking about Jackie Brown. A film that didn't get the a huge audience on release, it’s less about chaos and more about character. We get into Pam Grier’s performance, the brilliant supporting cast, and how the film’s writing and music give it such a cool, lived-in feel. There’s plenty to unpack about tone, pacing, and what makes this one stand apart from the rest of Tarantino’s work.

"You're not listening... well, your heart is not. Love is deaf as well as blind." Join us this week as we plunge into the mist-shrouded realm of Excalibur, John Boorman’s bold retelling of the Arthurian legend. We’ll talk about that unforgettable opening sequence, the shifting tones between myth and brutality, and whether the film’s enchantments hold up 40+ years later. Expect tangents about cinematography, Wagnerian echoes, the use of color and shadow, and moments that stuck with us long after the credits rolled.

"There's nothing to be afraid of. They were right. It's painless. It's good." In this episode, we watch Philip Kaufman’s 1978 remake of Invasion of the Body Snatchers. Often praised as a paranoid sci-fi classic, the film has atmosphere, star power, and that unforgettable final shot. We found ourselves less enthralled than expected, and our conversation unpacks why the film’s reputation might outstrip the experience of sitting through it today. Join us as we dig into what works, what drags, and why this alien takeover didn’t quite capture our hearts.  

Don’t cry. I’ve got another – genuine plastic. Just right for a little brat like you. In this episode of Invasion of the Poddysnatchers, we slip into the neon-soaked, noir-tinged world of Diva (1981), Jean-Jacques Beineix’s cult classic that helped define the Cinéma du Look movement. We caught it on the IMAX at Bristol’s Watershed, where it was featured as part of Cine Rediscovered — a perfect setting to revisit this audacious slice of French cinema. Opera, motorbike chases, hitmen, tape recordings — and the coolest sandwich in the history of cinema. But beneath the slick surfaces and iconic visuals, is there substance? Or is Diva all style, no soul? Join us as we decode the film’s bold aesthetics, cool detachment, and unexpected charm — and reflect on how it plays today, over 40 years on.

"We'll tell you anything you want to hear, we lie like hell." This week, the Poddysnatchers tune into the airwaves of righteous rage and media madness with Sidney Lumet’s 1976 classic "Network". From unhinged news anchors to corporate overlords with god complexes, we dive into the prophetic chaos of a film that predicted reality TV, influencer culture, and the commodification of outrage long before the internet ever got its hands dirty. Is Howard Beale a tragic hero or a cautionary tale? Has TV ever really stopped exploiting us for ratings? And are we still mad as hell, or just too tired to notice?

I've told you a hundred times. I don't want to win awards. Give me pictures that end with a kiss and black ink on the books.   This time on IotPS, we dive into the glitzy shadows of Hollywood’s golden age with Vincente Minnelli’s classic melodrama. From ruthless ambition to romantic ruin, we unravel how this 1952 gem lays bare the cost of chasing cinematic greatness. Join us as we dissect Kirk Douglas’s Oscar-nominated portrayal of a charismatic yet morally bankrupt producer, the film’s striking structure, and why its themes still hit hard in today’s industry. Glamour, betrayal, and the price of legacy — let’s talk about The Bad and the Beautiful.

"If you got a friend that you know does bad things, I mean real bad things, and you still keep him as a friend even though you know what he's like, do you think that's wrong?"   Step into the beautifully lit streets of 1940s Los Angeles with our latest podcast episode, where we dive deep into the gripping world of Devil in a Blue Dress. Based on Walter Mosley’s acclaimed novel, this neo-noir film follows Ezekiel “Easy” Rawlins, an African American WWII vet turned reluctant detective, as he unravels a web of secrets, power, and betrayal in a racially divided city. We’ll explore the film’s complex characters, its sharp social commentary, and the timeless allure of film noir through a modern lens. Join us as we examine how Devil in a Blue Dress brings fresh perspectives to the genre in post-war America.

I speak for all mediocrities in the world. I am their champion. I am their patron saint.   In this episode, we dive into Amadeus (1984), Miloš Forman’s Oscar-winning masterpiece that explores the rivalry between the brilliant Wolfgang Amadeus Mozart and the envious Antonio Salieri. From the dazzling performances by Tom Hulce and F. Murray Abraham to the film’s lush cinematography and unforgettable soundtrack, we discuss how Amadeus blurs the line between historical drama and high art.

We didn't need dialogue. We had faces!   Join us on this episode as we dive into the iconic world of Sunset Boulevard! This 1950 film noir classic directed by Billy Wilder still leaves us in awe with its haunting story, unforgettable characters, and timeless themes. We break down exactly why we loved this film, from Gloria Swanson's "exceptional" performance as Norma Desmond to the unforgettable line, "All right, Mr. DeMille, I'm ready for my close-up." We explore the film's portrayal of Hollywood, ambition, and the darker side of fame—and why it still resonates today.

I am tasting my favorite new perfume - success!   In this episode, we're watching The Sweet Smell of Success (1957) starring Burt Lancaster and Tony Curtis. This is a film that critics love but it died at the box office on its release. We try to work out why...   We also tried out new recording equipment...not too sure if it works!

I do wish we could chat longer, but... I'm having an old friend for dinner.   We both loved this horror-thriller when it first came out in the '90's, but has it aged like a fine Chianti?

I've got some news for you, Johnny. I'm going to do exactly what I please, when I please. We've spent a brilliant week at the Cinema Rediscovered festival at the the Watershed in Bristol. One of the films we watched was this restoration of Charles Vidor's film-noir, starring Rita Hayworth and Glenn Ford. What is it about this film that makes it so striking?

In this episode we have opinions about film directors, and chat about the styles of film-making we both enjoy. If you'd like to suggest any films foe us to watch (especially Indian or African films, as we know absolutelynothing about these) please leave a comment.

You're a big man, but you're in bad shape... This time we've watched Get Carter (1971) starring Michael Caine in one his iconic roles. Directed by Mike Hodges we try to decide if this film deserves it's reputation as a one of the best British films of the 70's.

Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil? This time we've watched Charles Laughton's only film as a director, The Night of the Hunter (1955), starring Robert Mitchum. Famed as a horror movie with qualities of a Grimm fairy tale, does this film deserve its reputation as an masterpiece of expressionist allegorical film-making?

Ch’uis vraiment dégueulasse In this episode, we watch À Bout de Souffle (1960). A keystone of the French New Wave, is it a masterpiece or a pretentious bore-fest. 

This is your receipt for your husband... and this is my receipt for your receipt We've just watched Brazil (1985) at the Bristol Old Vic. This was part of the Bristol Slapstick Festival and there was a Q and A with the director, Terry Gilliam. We loved watching the film with other people, but has it stood the test of time?

Paddy and Niel run through 10 of their favourite films. 

”All These Years, You’ve Been Playing Me for a Sucker” This week, Niel and Paddy watch "A Touch of Evil"(1958) starring Orson Wells, Janet Leigh and the legendary Charlton Heston as the least convincing Mexican since Speedy Gonzales. The film is famous for its trick shots and long takes, but is this a case of style over substance?

One is starved for Technicolor up there. We went to our local indie cinema, the Watershed, to watch "A Matter of Life and Death" (1946). This film holds a place in both our hearts from BBC2 Sunday afternoons, and seeing it at the cinema was amazing. Do we still love it after all these years?

I Write with a Goose Quill Dipped in Venom In this episode, we watch Laura (1944). Is it a classic film-noir or a hammy melodrama? Paddy and Niel do not agree and get into unnecessary detail.

Stay Gold, Ponyboy In this episode we watch The Outsiders (1983). It features a great director with an amazing cast and is adapted from a classic book, so surely it will be brilliant?

All of our shows are secret shows. In a break from tradition, we watch a new(ish) film - Scott Pilgrim vs the World (2010). We love the film, and try to work out why it was a box office disaster.

Forget it, Jake. It’s Chinatown. In this episode, we watch the 1974 Neo-Noir, Chinatown.  This is undoubtedly one of the powerhouse films of the 70's, with outstanding performances from Dunaway and Nicholson, but why do we feel so uncomfortable watching it?

Rome! By all means Rome! Paddy gets misty-eyed over the classic 1953 William Wyler movie, "Roman Holiday", starring Gregory Peck and Audrey Hepburn. Is Niel as impressed?

A Boy’s Best Friend is his Mother We watch the 1960 Alfred Hitchcock movie, Psycho, starring Anthony Perkins and Janet Leigh. We chat and get into nerdy detail about why it's a classic and what makes it so effective.

The Stuff that Dreams are Made Of.... In this episode we watch the Maltese Falcon (1941) starring Humphrey Bogart and Mary Astor. We love classic film noir and have a chat about the origins of the style and about the stars of the film.  *We were going to call this the Sunday Cinema Club, but there is already a pod called that, so we changed it. **In the pod,, we get the date of the Hays Code wrong - it started in 1934 - and can't remember which side of the film is which. I bet we got other stuff wrong.