Complaining about the Oscars ✔️ (see our prev episode) complaining about BAFTA ✔️ 

The BAFTA results are just around the corner (18th Feb) warning, Twitter uproar = imminent so Peter Bradshaw, chief film critic at The Guardian, chats to Emilia Rolewicz about BAFTA snubs, predictions and the infinite possibilities aka Oppenheimer will probably win. 

Plus, Peter gives us the inside scoop on how BAFTA voting and juries work; his convo with Sandra Hüller (BAFTA nominated for supporting actress in The Zone of Interest and lead actress in Anatomy of a Fall), if Poor Things is a feminist film or a man’s world, where is Andrew Scott’s best actor nom, why people say meh to Maestro and what really could win the Outstanding British Film Award. 

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The 2024 Oscar nominations are here, and everyone knows what that means. Time to lament it all and throw some shade at people who didn’t vote for Margot Robbie and Greta Gerwig.

Peter Bradshaw, Chief film critic for The Guardian, and Emilia Rolewicz also chat Killers of the Flower Moon vs Oppenheimer, does Robert Downey Jr really deserve that best supporting actor Oscar, the world’s love-hate relationship with Maestro, where tf are Priscilla and Saltburn, Peter’s campaign for Tom Cruise to secure a CBE, the documentaries that didn’t make it, and of course how Society of the Snow inspires us to think about how soon we would start gnawing on a best friend’s parent’s partner’s arm to survive the aftermath of a plane crash in the Andes.

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Peter Bradshaw speaks to Emilia Rolewicz about something he has never publicly discussed before.....why of course it’s the 1975 film Report to the Commissioner, directed by Milton Katselas.

This gritty, overlooked crime film, set and shot in the bustling streets of New York City, delves into the dark world of police corruption and cover-ups. It follows an undercover female detective on a dangerous mission to expose a drug lord, a rookie cop determined to bring moral integrity into the picture, and even features a young pimpin’ Richard Gere complete with cowboy hat – what more could you wish for?

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How does The Exorcist: Believer (2023) live up to William Friedkin’s 1973 classic? Could it be one of the worst films ever? Is it possible for big-budget horror films to capture the imagination of fans anymore? Do clergymen in dog collars just do it better? Peter Bradshaw, chief film critic at The Guardian, and Emilia Rolewicz discuss the important questions of the day.

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