Episódios
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Do you feel like you are in a transitory place where things are familiar but not quite right? Is your sense of reality feeling a little unstable? Don’t worry, you haven’t wandered into the Backrooms, you’ve just reached the threshold of the Shoot the Hostage Season 15 wrap show. Come out from under those flickering fluorescent lights, put the kettle on and we’ll help you escape the void. That’s right Hostages, we’re back for one last discussion about liminal space movies.
In this episode, we lean into the eternal struggle of art vs entertainment: Dan argues for Michael Bay-style bad guy clarity, while Sarah ties to justify why we spent eight weeks in a shroud of mystery. We’re also fully transparent about the behind the scenes chaos, including an update on Sarah’s health and Patreon pauses.
What to expect from the episode:
A complete recap of our liminal space journey, from Triangle to the “anti-god” liquid in Prince of Darkness.Sarah justifies her choices and why she chose to trap everyone in the void for eight weeks.We discuss the vibes and merits of Messiah of Evil, although one of us maintains, it’s still not a movie.Dan admits he actually enjoyed an unhinged 1970s Australian movie even if nobody’s head exploded.A look back at our favourite conversations, including why we spent thirty minutes talking about Dwayne the Rock Johnson during a Peter Weir discussion.Dan puts Sarah through a ringer with an eight-question quiz.If you would like to listen to the full episode, head over to Patreon to get access to this and all of our previous wrap shows from seasons 1-14.
We shall return!
On August 3rd we're back with a brand new season. This time chosen by Dan. The new theme is "Size Doesn't Matter and the first film we're sizing up is Ant-Man (2015).
Would you like to see the full lineup for season 16? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup when it drops any day now.
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Join us one last time in Liminal Spaces as we peer into the green swirling abyss for another visit to John Carpenter town. It’s time to talk about Prince of Darkness (1987), a film that proves that when it comes to 80s horror, nobody does it like the master of horror himself.
In this episode, we dive into cosmic horror, subatomic evil and the ultimate showdown between religion vs science. We discuss the legendary Donald Pleasence (playing a very different role than his alcoholic turn in Wake in Fright), the return of the incomparable Victor Wong and why Dennis Dun is the essential comic relief we all need when the world is ending. We explore how Carpenter utilised a modest $3 million budget to create some of the most memorable images in late 80s cinema including that gateway mirror scene.
Expect plenty of our usual tangents, including a deep dive into the big key theory – because we’re convinced that the church was taking security advice from the set of 90s Gladiators. We also talk about John Carpenter movies in general, his apocalypse trilogy, and why Alice Cooper should never be allowed near a bicycle.
What to expect in this episode:
We debate if an abandoned church teeming with students can truly be considered a liminal space.Dan explains how the size of a key us directly proportionate to the security of a gladiator’s sleeping quarters.A look at the iconic reunion of Big Trouble in Little China stars Victor Wong and Dennis Dun.Why John Carpenter chose to hide behind a pseudonym for one of his best written scripts.Sarah traces her obsession with religious horror back to a childhood cartoon about hoarding dragons.The low-budget ingenious solutions to the practical effects needed to tell this story.A heated discussion on the ethics of a professor using his students as disposable demon bait.We argue over whether the score is a pulsating masterpiece or just a Danny Elfman knockoff.The existential dread of wondering if your colleagues are actually10,000 bugs in a trench coat.A first look at our upcoming season and why Paul Rudd is the perfect palate cleanser for the apocalypse.We'll be back on August 3rd for Season 16
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
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Estão a faltar episódios?
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We’re entering the Shimmer for the penultimate episode of the season! Or as Dan insists on calling it, (much to Sarah’s annoyance) the “penny”. Join us as we discuss Alex Garland’s 2018 sci-fi weirdness, Annihilation.
As the 7th entry in our Liminal Spaces season, Sarah explains why this dreamlike and ethereal landscape is the ultimate subversion of the genre, moving away from empty car parks and into a hauntingly beautiful, mutating wilderness. We dive deep into why this stands as one of the most essential contemporary sci-fi movies, blending high-concept cinema with skin-crawling body horror.
Sarah dons her “feminist wig”, (a hat so big it would make David Lynch proud) to discuss how Garland crafts some of the most complex, non-sexualised roles for women in modern film. We analyse the powerhouse cast, including Natalie Portman, Jennifer Jason Leigh, Tessa Thompson and Gina Rodriguez and debate why Garland’s writing is what other directors only pretend to achieve.
From the horror of the screaming skull bear to the philosophical questions of human nature, we explore how this book adaptation deviates from Jeff VanderMeer’s novel to focus on the terrifyingly relatable theme of self-destruction. It’s a weird movie that demands your full attention, so put down your second screen and get ready for a refraction of our usual hopeless pedantry.
What to expect from this episode:
Dan explains his logic behind calling this the “penny” episode just to wind Sarah up.Discussions around our favourite Alex Garland films including one we covered (Ex Machina)We explore why Alex Garland is one of Sarah’s favourite filmmakers for writing meaty, complex roles for women.A look at the “inverse Nolan” trope and how Oscar Isaac serves as the story’s catalyst.We break down the ethereal visuals of the Hox gene and those haunting human-plant hybrids.A retrospective on the bear sequence and why it’s a masterclass in cosmic horror.We discuss the self-destructive motivations of every member of the expedition.Parallels between the plot and the real-life story of Henrietta Lacks.We debate the dreamlike ending and whether assimilation is the same thing as annihilation.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Don’t Wake in Fright because you’ve got a massive hangover; wake up and join us in The Yabba for a cold midi! This week on Shoot the Hostage, we are continuing Sarah’s Liminal Spaces season with a journey into the sun-drenched beer-soaked nightmare of Australian cinema: Ted Kotcheff’s 1971 film, Wake in Fright.
In our 6th episode of the season, we follow Gary Bond as John Grant, a bonded schoolteacher who finds himself trapped in a nightmarish cycle of substance abuse and aggressive hospitality in the outback town of Bundanyabba. If you’re looking for weird movies where the heat is as sticky as the floors in the local pub, this one might be for you. We explore how a simple overnight stop transforms into a personal purgatory of horror and nihilism, featuring a terrifying performance from Donald Pleasence and the final screen appearance of the legendary Chips Rafferty.
The cinema of Australian new wave doesn’t get much more brutal than this, as we tackle the sausage fest of toxic masculinity and the infamous, real-life kangaroo hunting footage. It’s a bond you can’t escape and a reminder that sometimes the most terrifying thing in the outback is a bloke who just wants one more skooner.
What to expect from this episode:
Dan kicks things off with a pop quiz about the decimal currency system and espresso machines.We discuss why Wake in Fright is arguably the most Australian movie ever made, despite the director being Canadian.A look at director Ted Kotcheff’s career, from First Blood to the philosophy of Weekend at Bernie’s.We explore the liminal space of Bundanyabba and why it feels like a dusty, inescapable purgatory.The mystery of the aggressive hospitality and why Dan is suspicious to any cars that give way to pedestrians when it conflicts with the highway code.We tackle the elephant in the room: the brutal and controversial kangaroo hunting scene.We break down the repressed feelings and the Socrates of the Outback vibes of Doc Tydon.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
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It Follows that we should probably talk about this movie before Dan stages a coup. We’re five episodes deep into our Liminal Spaces season, and Sarah has chosen David Robert Mitchell’s It Follows (2014).
While Sarah has watched this enough times to be legally haunted, Dan is still convinced that a Detroit setting should automatically involve more OCP interference or at least a robot that can’t climb stairs.
From the weird dreamlike vibes of the anachronistic production design to Disasterpeace’s unforgettable synth score, we’re asking the big questions: Is it about ghost crabs or just the inevitable, slow-walking march towards death? We also explore the cinema of the suburbs where Maika Monroe is often floating on water and Keir Gilchrest is always holding a beer.
What to expect from this episode:
Dan explains why his knowledge of Detroit begins and ends with Robocop and car manufacturing.Sarah breaks down why David Robert Mitchell used 360 degree pans to create a sense of hyper-alert horror.We debate if Maika Monroe’s character qualifies as a final girl.Chats around the anachronisms, including that legendary (and non-existent) electronic clam-shell phone.We discuss the real-life body found during location scouting that changed the productions plan.We ponder the potential sequel and whether it will go in a full Aliens style James Cameron direction.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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We hope you don’t get lost on the highway to this episode because we’re taking a detour into the obtuse, dreamlike world of 90s cinema with David Lynch’s 1997 head-scratcher, Lost Highway.
As the fourth entry in our Liminal Spaces season, we’re trying to figure out if we’re on a road to nowhere or just stuck in a psychogenic fugue state. To help us navigate this noir nightmare. We’ve bought back Jamie from the Final Transmission podcast! You might remember Jamie from his debut in our Season 4 episode about The Blair Witch Project, and he’s returned to help us solve a movie that even the director refuses to explain.
We tackle the ethereal dualities of Patricia Arquette, wonder why Bill Pullman is so committed to strobe jazz sax solos, and witness the final, heartbreaking performance of Richard Pryor. We also dive into the horror of the Mystery Man played by Robert Blake, discuss the 90s movies trend of circular plagiarism, and finally address why Balthazar Getty has been a rising star since the Filofax era. Plus, Dan reveals his theory that the script was written by Barry Gibb and we explore the cinema of industrial soundtracks featuring Rammstein, Marilyn Manson and David Bowie.
What to expect from the episode:
We debate whether Fred Madison is the alpha or just a gut with a very overactive imagination.Jamie explains why this is his favourite Lynch film while Dan struggles to find any evidence of someone being kicked from the head or jumping onto a helicopter.We explore the theory that the entire movie was subconsciously inspired by the O.J. Simpson trial.Discussion around David Lynch’s big hat and megaphone approach to on-set social distancing.We investigate the vampiric makeup choices and the quintessentially noir lighting of Peter Deming.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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We’re climbing back into the void for the third instalment of our Liminal Space season. After the chaotic vibes of last week, Sarah has led us into the hazy sun-drenched mystery of Peter Weir’s 1975 masterpiece, Picnic at Hanging Rock.
It’s a film that defines Australian cinema and remains one of the most haunting pop-culture touchstones of the 1970s, even if Dan is convinced the titular landmark is a self-powered, solar-propelled magic rock with a hidden toaster outlet for your crumpets.
We anchor ourselves into the cinema of Victorian repression, exploring how a group of schoolgirls from Appleyard College vanished on Valentine’s Day in 1900. Is the rock simply a geological wonder, or is it an ancient, cosmic horror entity capable of folding time and space?
We discuss the ethereal atmosphere created by Weir and the legendary “great wig drama” involving a formidable Rachel Roberts. From Jackie Weaver’s flat cap adventure to the mystery of the 1900 era thin bananas, we’re leaving no stone unturned.
What to expect from this episode:
Sarah explains why this is the quintessential entry for our liminal space movies season.Dan reveals his theory about the rock being a self-powered solar panel for picnickers.A look at the tyrannical performance of Rachel Roberts and her refusal to look at her co-stars.We discuss the ethereal cinematography and framing.The mystery of the thin bananas and a tangent about why fruit was better in the good old days.Why an American distributor was so angry about the ending, he threw coffee at his TV.A breakdown of some of the deleted scenes from the theatrical cut and the motive behind Peter Weir’s directors cut.The secret clock-stopping powers of the book’s eccentric author.How a teenager almost made the movie before Patricia Lovell stepped in.Dan tries to reconcile if this is a Lovecraftian horror or just a very long afternoon without enough snacks.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Welcome back to the second stop on Sarah’s tour of liminal space movies, and this week we’re descending into the 1973 cult cinema classic, Messiah of Evil. It’s the film that sparked this entire season, and while it might have sat on a shelf for years, it’s currently having a bit of a second coming on the pod.
We’re breaking down the dreamlike logic of Point Dune (formerly new Bethlehem) and exploring why this film feels so much like David Lynch’s style, even though it was hitting screens before Eraserhead was a glimmer in Lynch’s eye. We discuss directors Gloria Katz and Willard Huyck ambitious artistic vision and how editor Scott Conrad (of Rocky fame) managed to piece together such an atmospheric experience from a production that literally ran out of money.
Beyond the hanging beds and important Mr Blobby tangents, we wade through the claret to get to the iconic supermarket scene to discuss the consumerist ghoul angle. Dan finds a rare moment of connection between the film’s hand-painted murals and his own Dad’s late-night black-tape art projects, while Sarah defends the Dick Smith neon-lurid blood recipe as peak 70s cinema aesthetic.
What to expect in this episode:
A breakdown of why Walter Hill’s throat-slitting open features the loudest shoe foley in the history of cinema.Sarah explains why the weird movies energy of Messiah of Evil was the specific catalyst for this entire season of liminal space movies.Dan reveals why he’d rather be watching Noel’s House Party.Discussion around the true liminal space horror of derelict theme parks and Mr Blobby World.The obvious but necessary comparisons to David Lynch.We explore the logistical genius of the hanging bed and why it’s the ultimate space-saver unless you live in the Sistine Chapel.Sarah geeks out over the peak 70s era production design, including the Michael Greer white suit and those polyamorous drifter arrangements.We suggest which scenes would have been improved with swapping characters out for clones of Noel Edmunds in a Mr Blobby costume.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Don’t be a square, it’s time to get an acute perspective on our latest pick as we sail into a brand-new season! Dan is convinced we’re kicking off a “season of shapes” having already prepared notes for The Circle, Hex the Hexagon and the Secret Life of Rectangles but Sarah is here to steer the ship back towards her actual theme: Liminal Space Movies. And we’re launching with Christopher Smith’s Triangle (2009).
This mind-bending entry into the world of time loops takes us far beyond the Bermuda Triangle and into a dreamlike, transitionary world where the rules of reality are flexible. We delve into Melissa George’s performance as Jess, a mother whose spontaneous trip on a yacht becomes a punishing exploration of identity. Joining her is Michael Dorman, whose character might be a “nice guy”, we’re not quite sure, and a young Liam Hemsworth who is very confident about his Greek mythology pronunciations.
From the Overlook Boatel vibes of the ocean liner Aeolus to the meticulously crafted script that rewards repeat viewings, we’re trying to get to the hull of what makes this cult movie so special. Just don’t ask us to explain the mechanics of the time-loop just yet. Give us another ten thousand years!
What to expect from this episode:
Sarah attempts to define liminal spaces while Dan wonders if his Tiktok feed of endless swimming pools is actually a cry for help.We discuss whether Christopher Smith reached his magnum opus early with this low-budget indie horror masterclass.A deep dive into Melissa George’s incredible ability to maintain emotional continuity.We break down the Sisyphus connections and why pushing a rock up a hill is basically just a 90s retail job.Sarah geeks out about the VFX and that incredible “through the mirror” camera trick.A look at how the UK’s National Lottery helped fund this $12 million time loop nightmare with a big foam finger.We explore the purgatory theory and why you should never, ever make a promise to a cab driver in a black suit.Our seemingly traditional mention of Chris Barrie.This season has eight episodes, concluding July 6th
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Apologies in advance if this one stings a little. Yes, it’s a bee pun. What else! While we’re currently between seasons, we’re keeping the hive alive by raiding the Patreon archive to bring you this bonus discussion. Today we’re talking about another entry in the Statham vocation cinematic universe, The Beekeeper (2024).
In this outing, directed by David Ayer, Statham plays a man who literalises his hobby, proving he’s the Buffy the Vampire Slayer of honey production. We explore why Josh Hutcherson is playing a crypto bro villain, how Jeremy Irons ended up as a fixer, and why Minnie Driver is only on screen for minutes. It’s a film for cinemagoers who want John Wick vibes but with more Sergio Tacchini tennis grear.
What to expect from this episode:
We discuss why Jason Statham won our 2023 king of turds award.Sarah tries to make sense of the shadowy government syndicate lore that claims there is only ever one active Beekeeper.Dan pitches a gritty spin off titled “The Toilet Keeper”.We marvel at the scripts ability to mention the word Beekeeper roughly five thousand times.We look at Josh Hutcherson’s progression from painting himself into a tree to villainous tech bro.Sarah wonders why Iko Uwais isn’t being cast in these roles and what we must do to make that happen.We shall return!
On May 18th we're back with a brand new season. This time chosen by Sarah. The new theme is Liminal Spaces and the first film we're wrapping our heads around is Triangle (2009).
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup when it drops any day now.
Instagram | TikTok | Threads | YouTube
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Come in and make yourself at home. Feel free to lie down on the couch and tell us about your mother. If not, why not check in for one last session in our season of films exploring identity. Before we move on to Liminal Spaces in season fifteen, it’s time to revisit some of our favourite chats from the last eight episodes.
We dived into the cinematic identity of everyone from Gotham’s elite to ballet dancers losing their grip on reality. We praised the chameleonic genius of Gary Oldman and questioned Liam Neeson’s facial hair. And we explored how personal character is forged through external events involving a taxi driven by a robot Robert Picardo.
What to expect from this episode:
Dan explains why he curated a season dedicated to the theme of identity in cinema.We remember the year the Crazy Frog infected our culture while Batman began.We debate whether Liam Neeson suits the 90s street magician look.Discussion around Gary Oldman’s career and his transition from True Romance to Slow Horses.A look at why Darren Aronofsky spent a decade trying to turn a werewolf movie into a swan story.Sarah confesses her love for controversial fiction.We revisit the grotesque experience of watching Dennis Quaid devour shrimp in The Substance.Dan reiterates his one and only rule: Jared Leto is only allowed in movies if he’s playing Jeffrey Tambor.We discover a little-known, deep-cut indie flick called Total Recall and its sweaty puppet Kuato.We shall return!
On May 18th we're back with a brand new season. This time chosen by Sarah. The new theme is Liminal Spaces and the first film we're wrapping our heads around is Triangle (2009).
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup when it drops any day now.
Instagram | TikTok | Threads | YouTube
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We’ve reached the end of our season on identity in cinema, and frankly, we’re more confused than when we started. But none the less, it’s time for our end of season wrap show preview.
In this “Total Recap”, a name we’re definitely not trying to brand, we swear, we dive into everything from Christopher Nolan’s Batman Begins to the horrors of The Substance. We’re dissecting the psychological themes in movies debating nature vs. nurture and asking the hard questions: like why Brian De Palma taped two lenses together for Dressed to Kill and what happens when Lenny Henry kicks off a white face cinematic universe.
What to expect from this episode:
We recap the entire eight movie lineup, starting with Christopher Nolan’s Batman Begins.Discussion around movies that almost made the cut and the risk of making the season 25% Ethan Hawke.The mystery of Lenny Henry’s True Identity is explored as the “proto–White Chicks”The pitfalls of painting your own porn.Sarah tests Dan’s knowledge with a quiz and debate the utility of bats in the Dark Knight trilogy.A look ahead to season 15 which begins May 18th where we’ll be exploring Liminal Spaces, starting with the film Triangle (2009).If you would like to listen to the full episode, head over to Patreon to get access to this and all of our previous wrap shows from seasons 1-13.
We shall return!
On May 18th we're back with a brand new season. This time chosen by Sarah. The new theme is Liminal Spaces and the first film we're wrapping our heads around is Triangle (2009).
Would you like to see the full lineup for season 15? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup when it drops any day now.
Instagram | TikTok | Threads | YouTube
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Open your mind and join us for one last ride in our Identity season as we discover Paul Verhoeven’s Total Recall (1990).
We dive into the cinema of Arnold Schwarzenegger, debating if he makes a good secret agent of if he’s too conspicuous for anything other than a bodybuilding competition. Along the way, we pay tribute to the legendary Sharon Stone, the terrifying Michael Ironside, and our ultimate cinematic protector, Dean Norris, who proves he’s a daddy even when he doesn’t have a badge.
We explore the corporate satire and brutalist architecture of Mars, while mourning the days when 90s action movies had enough in the squib budget to paint a whole metro station in claret. We tackle the heavy character identities at play, from Ronny Cox’s corporate greed to the dual roles that leave us wondering if you are defined by what you remember, or as Kuato says, “you are what you do”.
What to expect from this episode:
Discovering this hidden gem that hasn’t been covered by any other podcasts.A recap on the production of Total Recall including the early involvement of Ronald Shusett who acquired the rights from Philip K. Dick.How character identities are forged by memory and why Arnold Scharzenegger is a terrible choice for a spy.We examine the brutalist architecture and corporate satire that define the film’s unique aesthetic.Paying homage to the practical effects genius Rob Bottin.We discuss why Priscilla Allen’s performance as the “Fat Lady” is the glue holding together one of the best scenes in the movie.Dan makes a case for why Dean Norris is the ultimate protector of people.Debate around the “real vs dream” ending and whether that fade-to-white is a definitive lobotomy or a happy ending.We bid farewell to the Identity season and announce our first movie for the new season starting May 18th.If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Welcome to the seventh stop on our tour of Identity movies, where we’re discussing the bone-white brilliance of Mary Harron’s American Psycho (2000).
In this episode, we get into why this is one of the most misunderstood movies in cinema history. While certain corners of the manosphere, incels and the red pill community treat Patrick Bateman like a looksmaxxing icon, we’re here to remind the dweebs that they’re the butt of the joke. It’s consumerist satire so brazen that it literally starts with blood-red raspberry sauce, yet people still manage to miss the point.
We explore the essential feminist touch that director Mary Harron and writer Guinevere Turner brought to the production, turning Bret Easton Ellis’s controversial source material into a sharp psychological horror comedy.
We also discuss how Christian Bale delivered a performance for the ages, partly by channelling the unhinged energy of Nicolas Cage in Vampire’s Kiss (a film we’ve previously covered).
Expect the usual Shoot the Hostage nonsense as we dog pile Jared Leto once again, try to understand why Justin Theroux’s dancing lives rent free in Dan’s middle-aged memory, and debate whether the potential Luca Guadagnino remake is a masterpiece in waiting or a meaningless and pointless exercise.
What to expect from this episode:
Broken promises around Jared Leto movies no longer appearing in our lineups.The “magic E” theory that separates a hero like Batman and a villain like Bateman.A deep dive into collective identity and why all these yuppies are just one amorphous blob.How Mary Harron and Guinevere Turner’s feminine insight saved this movie from being a total misfire.The hilarious “business card war” and why we’re all anxious about the “subtle off-white coloring and tasteless thickness” of a rectangle.The connection between Christian Bale in American Psycho and a 1992 Tom Cruise interview.Why Phil Collins provides the ultimate masculine soundtrack.The great debate: Did Patrick Bateman actually kill anyone, or is it all just drawn fantasy?Our collective reluctance to the remake of American Psycho.This season has eight episodes, concluding April 20th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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It’s time to swan-dive into the sixth episode of our Identity season. This week, Dan has chosen to subject us to the dark, grainy and deeply uncomfortable world of Darren Aronofsky’s 2010 psychodrama, Black Swan. After surviving Requiem for a Dream during our season of films about drugs, we’re back for a second helping of Aronofsky-flavoured self-destruction.
We’re talking Natalie Portman in possibly, her career-best role as Nina, a ballerina on a quest for artistic perfection that makes the guy from Whiplash look like a hobbyist. We’ve got Mila Kunis as the seductive Lily, Vincent Cassel playing his creepy Frenchman archetype, Barbara Hershey putting the mother in smother and Winona Ryder who thought she was signing up for a Face/Off sequel.
What to expect from this episode:
Dan explains why he chose a ballet movie for a season about identity despite usually only watching films about disenfranchised men.A deep dive into why Darren Aronofsky is the undisputed king of making his protagonists suffer for their art.Making connections with Aronofsky’s filmography between self-destruction, loss of innocence and duality.Sarah shares her genuine physical trauma regarding the nail-clipping scene.We discuss the keratin connection between fingernails and feathers that makes the body horror so much worse.Why The Wrestler is the perfect companion piece to Black Swan.We explore the fan theory that Nina’s mother is actually a predator, not just an overbearing show mum.A look at the colour theory and what they represent for the protagonist.This season has eight episodes, concluding April 27th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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We’ve hit the midpoint of our Identity season, which Dan has effectively turned into a curated gallery of “disenfranchised men,” and our latest target is the A24 cringe comedy masterclass, Friendship (2024.)
We explore the desperate lengths someone will go to for a bit of validation and the uncomfortable gap between who we are and the character identities we perform for others. Introducing Craig Waterman, a colour-blind passive man who only wears Ocean View Dining trousers but comes alive when he meets Austin, played by Paul Rudd.
What to expect from the episode:
We explore why A24 continues to corner the market on gdang weird cinema.Sarah explains why the first ten minutes felt more like a horror movie than a comedy.Dan defends his specific niche for film choices featuring disenfranchised men.We analyse Paul Rudd’s Austin and decide if he’s a cool adventurer or if he’s ticking off a midlife crisis checklist.Unpacking why the speed bump is the funniest recurring motif in the history of cinema.A serious inquiry into whether licking a toad is a viable alternative to therapy for insecure people.We discuss the “Jimp” incident and why it proves that comedic delivery is the only thing standing between a comedy and a psychological horror movie.Debating the character identities of the leads and specifically whether we’re watching a narcissist in the wild or a study in neurodivergent masking.Stay curious Craig.This season has eight episodes, concluding April 27th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Inject this into your ears and pray that a better version of yourself doesn’t pop out of your spine. We’ve reached the fourth episode in Dan’s Identity season where we’re discussing Coralie Fargeat’s the Substance (2024).
This isn’t one of those slow French movies where characters meditate on a fireplace for three hours, it’s an $18 million bloodbath that treats Hollywood beauty standards like a personal insult. Demi Moore delivers a career defining turn as Elizabeth Sparkle, while Margaret Qualley provides the ultimate “parasitic” companion for anyone struggling with character identities.
Between Dennis Quaid behaving like a pig with a plate of prawns and a third act that left our jaws on the flaw, this film proves why body horror is best served with a side of satire and some very expensive tile work.
What to expect from this episode:
We reveal why we watched the trailer 28 times and still weren’t prepared.Sarah explains her cynical view on why children are basically parasites.Explanation for why babies aren’t born with names.Attempts to pronounce Coralie Fargeat’s name at least four different ways.Discussion around Hollywood beauty standards.We decide whether this film is style over substance or a masterpiece of the crunchy and wet variety.Chat about why Dennis Quaid’s eating habits are the real horror of the movie.Explaining why Dennis Quaid’s tobacco-stained teeth are the real horror of the movie.Pondering why Dennis Quaid’s character name is the real horror of the movie.This season has eight episodes, concluding April 27th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Welcome back to Shoot the Hostage! We are three episodes deep into Dan’s Identity season, and things are getting… well, icky. This week, we’re tackling Brian De Palma’s 1980 classic/controversy magnet, Dressed to Kill.
Retroactively functioning as a best of De Palma, this film features many of the hallmarks you would expect from the director – voyeurism, shower scenes, and enough split diopter shots to make you feel like your eyeballs are watching separate movies.
Join us as we unpack this 80s slasher-adjacent thriller. We discuss why Nancy Allen deserved better than a Razzy nomination, and how Angie Dickinson proves that being nearly 50 is the new 21. We also dive into the character identities and why the twist is about as subtle as a brick to the face. Plus, we explore why watching movies on Tubi means being interrupted by Danica Patrick trying to sell us car insurance.
What to expect from this episode:
Why Brian De Palma is basically a giant pervert with a very expensive camera.Dan’s “bonfire of opinions” regarding the 10-minute dialogue-free art gallery scene.A breakdown of why a binary calculator that only holds 20 numbers is the worst invention ever.Sarah’s internal struggle between Michael Caine being a “Tory” and being a “Great.”A dive into 80s slasher tropes and why this is basically Psycho with more pubic hair.The mystery of whose leg is on the movie poster.A completely unsolicited but necessary tangent about Andrew MacCarthy and the movie Mannequin.Our attempts to sensitively navigate this films “Wild West” approach to transgender representation.Why Nancy Allen kicking a bloke in the balls is the peak of her filmography.This season has eight episodes, concluding April 27th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Welcome back to our Identity season, where Dan continues to force his personal favourites onto the show. This week, we’re here to discuss Andrew Niccol’s 1997 directorial debut, Gattaca (1997).
We dive in to see if this 90s sci-fi classic still holds up or if it’s just a sterile nightmare of brutalist architecture and electric cars. We’re examining the character identities in a world where your career path is determined by a vial of pee strapped to your leg and where the “trash man” himself, Danny DeVito, is lurking in the producer credits.
If you’re looking for movies about genetic engineering that feature 12-fingered pianists and a suspicious lack of clutter, this is the episode for you. We discuss the iconic cast, featuring Ethan Hawke as a “God birth” infiltrating the elite, Uma Thurman being generally flawless and a “smug-faced” Jude Law who is legally perfect but shattered emotionally.
We also unpack the heavy themes of capitalism and how these films about gene manipulation often predict a terrifyingly white future.
What to expect from this episode:
Fond recollection of 1997 VHS rentals and the surprising emergence of the “slightly smaller” video casesSarah questions the logistics of the “Clark Kent principle” and how a pair of glasses can fool a high-tech societyUnpacking the meanings behind character namesDiscussion around the retro futuristic production design and why every cop is wearing a big hatTheories on how the swimming sequences fit into the wider narrativeExploration of the heavy themes of capitalism and how the world of Gattaca is built for profit rather than peopleDan reveals the secret Cronenbergian deleted scene involving snooker cues for armsThis season has eight episodes, concluding April 27th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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Holy identity crisis Batman! It’s time to tumble into a brand-new season of Shoot the Hostage. This time, the theme is Identity and we’re kicking off with Christopher Nolan’s “grounded” take on the superhero genre, Batman Begins (2005).
While Nolan was busy trying to convince the world that a billionaire in a rubber suit is grounded, we’re here to ask the tough questions like why Christian Bale sounds like he’s gargling gravel and how Liam Neeson ended up looking like a 90s street magician with a Fu Manchu complex.
We’ll be navigating the cinema of the mid-2000s, discussing whether Gary Oldman is just a collection of various chameleons in a trench coat and why Cillian Murphy seems to be the only person who realised he was actually in a comic book movie. We also look at the character identities of altruistic billionaires and wonder if Michael Caine is just playing everyone’s favourite Tory father figure.
In this episode, you can expect:
Dan’s reasons for choosing the theme of “Identity”We discuss the Darren Aronofsky Batman film that probably would have had Martha Wayne shooting up in crime alley.The croissant-based origins of the Batmobile.We revisit the dark days of 2005 when the Crazy Frog was the pinnacle of cultural achievement.Debate regarding the physics of a water vaporiser that somehow ignores the fact that humans are made of mostly water.We discuss why Christopher Nolan films are best enjoyed at 3pm on a Sunday with very specific speakers.The sliding doors moment in this movie with Joe Chill in the courthouse.This season has eight episodes, concluding April 27th
Would you like to see the full lineup for season 14? The only place you can see it is on Patreon but you don't need to be a paying member. Sign up for a free membership and get access to the lineup.
If you're a fan of the show and want more content, check out our £3.00 a month tier on Patreon where we release our end of season wrap shows and a minimum of 2 reviews of brand new movies every month. Plus you'll get access to our back catalogue from 2023 onwards.
Enjoy the show but can't support us financially? We get it. You could submit a review on the podcast player you're reading this on right now. Or if you listen on Spotify and you haven't given us a five-star rating yet, what are ye waiting for? It's easy.
If you've done some or all of that and still want to do more, we would love it if you tell a friend about the show.
Or come find us on social media:
Instagram | TikTok | Threads | YouTube
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