Shoot The Hostage

Dollman (1991) - S16 E129

It’s time to shrink your expectations and doll out some pocket-sized justice because Shoot the Hostage is back for the penultimate episode in Dan’s carefully curated “Size Doesn’t Matter” season. This week, Dan and Sarah take a short journey into the 1991 sci-fi action absurdity Dollman, directed by cult b-movie maestro Albert Pyun and produced by the legendary Charles Band of Full Moon Pictures. We’re examining Brick Bardo, a 13-inch alien cop played with relentless, stoic grit by Tim Thomerson, who brings pure tiny Dirty Harry energy to the grimy streets of New York. After crash-landing from planet Arturus, Bardo finds himself locked in a low-budget showdown against South Bronx gang leader Braxton, played by a pre-Watchmen Jackie Earle Haley channelling a twitchy David Patrick Kelly. Along for the ride are local neighbourhood activist Debbie (Kamala Lopez), Bardo’s floating-head nemesis Sprug (Frank Collison), and Bardo’s frustrated precinct boss played by Nicholas Guest. We break down why Charles Band films are “the TK Maxx of the movie industry” – a bargain bin where you must dig through piles of trash to find a rare kernel of genius. We explore how Dollman inflates its diminutive run time using five uninterrupted minutes of sidewalk stock footage, Garth Marenghi style slow motion lingering, and recycled Buck Rogers space shots. Plus, we take a small detour into 1991 nostalgia – discussing 20p newsagent hair gel, scratch and sniff t-shirts, Magic Eye puzzles and SeaQuest DSV before dissecting whether Bardo’s universe shattering blaster is merely a phallic extension for a lawman of tiny proportions. What to expect in this episode: Nostalgic tangents exploring 1991 pop culture, including Global Hypercolor shirts, Magic Eye pictures and 20p tubs of hair gel. A tribute to Albert Pyun’s prolific career, Roger Corman roots and surprising historical ties to Total Recall. Celebration of Tim Thomerson’s iconic performance as Brick Bardo, the ultimate pocket-sized lawman. A breakdown of the planet Arturus opening hostage scene and its bizarre dialogue choices. Our full pitch for a modern Dollman reboot A preview of next week’s episode This season has eight episodes, concluding September 21st 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. 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

• Transcript

Gremlins 2: The New Batch - S16 E128

Welcome back to Shoot the Hostage for the sixth instalment of our “Size Doesn’t Matter” season where this week, Dan has dragged us to the high-tech non-functioning corridors of Clamp Tower. Yes, we’re tackling the pinnacle of chaotic movie sequels: Joe Dante’s 1990 live-action cartoon, Gremlins 2: The New Batch. What to expect in this episode: Sarah explains why her maternal instincts are triggered by Gizmo and the strange resemblance he has with her cat. We try to solve the ultimate Mogwai hygiene mystery. Praise for John Glover’s performance and why we warm to a character designed to parody a certain orange balloon man. We celebrate Rick Baker’s practical effects and debate our favourite Gremlin designs, from the Spider Gremlin to the Gargoyle Gremlin. Gizmo’s incredible Rambo-style montage and how Sylvester Stallone personally signed off on the gag. This season has eight episodes, concluding September 21st 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. 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

• Transcript

Jurassic Park 3 - S16 E127

Welcome back to Shoot the Hostage, the movie podcast where we tackle your favourite films one themed season at a time. We are officially five episodes deep into Dan’s “Size Doesn’t Matter” season and we’ve hit the apex of early 2000s studio chaos. This week we’re talking about Jurassic Park 3 (2001) – the shortest, weirdest and most script-deficient entry in the pantheon of dinosaur movies. To say this film had a troubled production is an understatement; director Joe Johnston famously ran the cameras without a finished script, resulting in a cast that was visibly questioning their life choices on screen. We have William H. Macy and Téa Leoni playing an estranged couple with zero romantic chemistry, whose entire parenting strategy is screaming “Eric!” and “Mr Udeski!” into the jungle. Then there’s Alessandro Nivola as Billy, a man who somehow invents 3D printing in 2001 using only a toothbrush and Michael Jeter as a highly unconvincing mercenary. This is also the first time we’re talking Sam Neill movies on the main feed. We unpack why the iconic actor turned down Lord of the Rings to get chased by Raptors, how Laura Dern secured the ultimate daily rate and why we’re still salty at the Spinosaurus bullying the T-Rex. What to expect from the episode: Why Dr. Grant agreeing to go anywhere near Isla Sorna makes zero-character sense. We discuss how Billy basically pioneered the future of 3D printing in 2001. We look at the failed 2001 marketing disaster involving a competition and 1000 Jurassic Park themed disposable mobile telephones. Why starting a $93 million blockbuster without a completed script made William H. Macy and Téa Leoni miserable. We have fun talking about that infamous talking raptor dream sequence that Stan Winston called “the great Muppet shot” We debate whether a fight against fifty tiny ankle biting dinosaurs is actually safer than facing a single Spinosaurus. Why the movie should have skipped the pro-military rescue and instead cut to a rogue rocket blowing up the helicopter, leaving the pterodactyls beautifully silhouetted against the fireball This season has eight episodes, concluding September 21st 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. 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

• Transcript

Child's Play (1988) - S16 E126

This week we’re slicing into the 1988 classic Child’s Play, the slasher film that proved sometimes “an annoying little s***” in dungarees is all you need to launch one of the most resilient horror icons in cinema. We dive into how creator Don Mancini managed to maintain incredible consistency and longevity by never retconning the crazy logic of the series. We discuss the creative clashes between Mancini and director Tom Holland (not the one who wears spandex), the legendary vocal work of one Brad Dourif, and how Catherine Hicks and Alex Vincent survived the most chaotic breakfast ever put to film. Plus, we marvel at the practical effects of Kevin Yagher, proving that an animatronic doll is infinitely more terrifying than any modern CGI. We also dig into the wild rumour that Gary Oldman was once considered for the voice of the slasher doll and how Fiona Dourif eventually joined the family business by playing her dad. What to expect from this episode: Find out how Sarah got Dan to watch the entire Chucky franchise way back before season 1. We discuss the ADHD breakfast from hell at great length. The mystery of the “peddler” and why buying an animatronic doll in a 1980s back alley for $30 is a total steal. Why Brad Dourif’s maniacal giggle adds two weeks to Sarah’s lifespan every time she hears it. The tension-filled car reveal where Chris Sarandon finally realises size really doesn’t matter when a doll has a knife. A look at the practical effects that allowed a Good Guy Doll to progressively look more human and haggard. The surprising revelation that legendary critic Roger Ebert gave this slasher film a thumbs up. We debate whether the “child prison” sanatorium had a ball pit and individual mini pizzas for its pint-sized inmates. Why “burnt to a crisp chucky” remains one of the coolest looking villains in horror movies. This season has eight episodes, concluding September 21st 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. 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

• Transcript

Tiptoes (2002) - S16 E125

We are reaching new heights in the third instalment of Dan’s “Size Doesn’t Matter” theme, and Sarah’s jaw is quite literally still on the floor. This week, we are unpacking the 2002 cult curiosity Tiptoes, a misguided movie so notorious that is has sat on YouTube for eight years without a single copyright claim. We dive into the troubled production of director Matthew Bright, exploring how a supposedly “gorgeous” three-hour cut was hacked into an 86-minute cinematic failure that effectively ended a career. For the hardcore cinephiles who love a train wreck, we analyse the perplexing casting choices that led to the legendary Gary Oldman playing a person with dwarfism. Between the rubber legs, the fake nose, and the sombre “issues” based drama that suddenly shifts into slapstick, it is a misguided directorial vision for the ages. We also take a short look at the rest of the A-list cast including Matthew McConaughey as a wall-punching firefighter trainer, Kate Beckinsale in her lucky Scrooge McDuck hat, and Peter Dinklage sporting a French accent that defies explanation. With dramatic tone shifts that rival The Room and Battlefield Earth, we ask the big questions: Why was this made? How did it cost $1.2 million? And is this truly the terrible movie to end all terrible movies? What to expect from this episode: Dan explains why he chose Tiptoes as the anchor for this season’s theme. Sarah describes the literal physical toll of watching the film with her mouth agape. We discuss the career-ending fallout for director Matthew Bright following the release. A deep dive into the technical wizardry and horror of Gary Oldman’s dwarfism prosthetics. We analyse Matthew McMconaughey’s early 2000s performance and his strange habit of punching hospital walls. The mystery of Kate Beckinsale’s lucky hat and its possible connection to her future career. Peter Dinklage and Patricia Arquette’s inexplicable subplot involving motorcycles and Marxism is dissected. We debate if the legendary three-hour director’s cut could have actually saved this. This season has eight episodes, concluding September 21st 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. 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

• Transcript

The Host (2006) - S16 E124

Don’t be a bad host – grab some stolen squid legs and pull up a chair for the second instalment of our Size Doesn’t Matter season! This week, we’re hitting the Bong Joon-ho hard to discuss his 2006 South Korean movie masterpiece, The Host. Is it a monster movie? A family drama? A fearless satire on bureaucratic incompetence? It’s all the above, plus a healthy dose of anarchic slapstick and a very critical look at international relations. We dive into the murky waters of the McFarland Incident, the real-life catalyst where the US military decided the Han River was a great place for a formaldehyde dump. Featuring the legendary Song Kang-ho as a borderline narcoleptic hero, the film brings together a dysfunctional family including Byun Hee-Bong, Park Hae-il, Bae Doona and Ko Ah-sung to fight a creature that was apparently named Steve Buscemi on set. It’s a fearless juggling act of tones that will leave you wondering why American remakes always pull their punches. What to expect from this episode: We speculate whether the baby who played the sun from the Teletubbies is a Patreon subscriber. A look at the McFarland Incident, the real-life event that inspired The Host. We discuss why South Korean movies like The Chaser and I Saw the Devil respect the audience way more than western movies. Dan explains how Bong Joon-ho made him sympathise with a “CGI blob” and nudged him toward veganism. A fun coincidence involving Scott Wilson and a previous season. A critical look at the film’s anarchic family dynamics and why a Molotov cocktail is a great sibling-bonding tool. We discuss the fearless social commentary regarding “Agent Yellow” and the anti-American sentiment. A terrifying warning about next week’s film choice. This season has eight episodes, concluding September 21st 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. 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

• Transcript

Ant-Man (2015) - S16 E123

We’re back for a brand-new season of Shoot the Hostage, and Dan has officially established a theme that Sarah finds entirely hypocritical: “Size Doesn’t Matter.” To kick things off, we’re looking at a cinema entry where scale is quite literally the only thing that matters, Ant-Man (2015). This episode marks our first full-length dive into the Marvel Cinematic Universe, specifically during the era before the quality dropped off a cliff. We spend a fair amount of time sifting through the wreckage of Edgar Wright’s Ant-Man, debating whether his standalone vision would have been superior to the more by the numbers heist-lite movie we ended up with. We also attempt to make sense of the shrinking technology, though we eventually conclude that the quantum realm is mostly just the place Marvel writers smash two words together to make it sound real. What to expect from this episode: A breakdown of why Dan’s “Size Doesn’t Matter” theme is fundamentally ironic given the film choices. The reason why Thomas the Tank Engine was legally required to keep smiling while crushing a police car. A mourning period for the Edgar Wright Ant-Man we’ll never get to see. Misplaced optimism over the possibility of quantum immortality eventually propelling us into the reality where Edgar Wright did direct Ant-Man. The scientific realisation that “Quantum” is just a prefix Marvel uses to make magic sound like physics. Appreciation for the innate charisma of Paul Rudd. Recognition for a suit well-tailored. The reason why Michael Douglas’s wig in Endgame was for more distracting than any de-aging effects. This season has eight episodes, concluding September 21st 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. 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

• Transcript

Backrooms

We managed to find time to wander aimlessly through the fluorescent lit yellow wallpapered nightmare of Kane Parsons’ Backrooms. Join Dan and a moderately functional Sarah as she recounts the joy of following a horror movie with a 3am trip to a real-life liminal hospital corridor for a CT scan. In this episode we dive into: The rise of Kane Parsons and how a 20-year-old turned a creepy pasta inspired YouTube series into a feature film. Why 75% of the budget was seemingly spent on suspended ceilings and why that works. The unusual vibes of the film. How Dan managed to connect with this one while filling his disenfranchised man quota. Why movies like Obsession and Backrooms are dominating the box-office now. 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. Instagram | TikTok | Threads | YouTube

• Transcript

Best of Liminal Space Movies

Welcome to this bonus episode of Shoot the Hostage, where we are lingering in the hallways of our favourite moments from our Liminal Spaces season. If you’ve ever felt like you’re trapped in a dreamlike transitory space between a swimming pool and a never-ending warehouse, you’ve come to the right place for some Liminal Space cinema chat. We’re crossing over from the uncanny to the absurd as we revisit the movies that made Dan question Sarah’s sanity and his own grasp on geometry. In this best of compilation, we dive back into the eerie, sparsely populated worlds of some of the best movies with liminal spaces. We revisit Christopher Smith’s time-loop feature Triangle, where Dan finally learns how many points a triangle has. We also tackle the art-house vibes of 70s cult horror like Messiah of Evil, which Dan argues isn’t a movie but rather a collection of images that would be vastly improved by a guest appearance from Mr Blobby. The journey continues with Peter Weir’s Picnic at Hanging Rock, featuring a magic rock that may or may not be solar powered for your 1900s toaster. We also get a pinch of Lynch with Jamie from Final Transmission as we attempt to decode David Lynch’s Lost Highway and the rising star power of Balthazar Getty. From the slow march to death in David Robert Mitchell’s, It Follows to the aggressive hospitality of Wake in Fright, we’ve curated a lineup that is definitely more vibes that linear narrative. We also touch on Alex Garland’s Annihilation, the dessert of the season and John Carpenter’s Prince of Darkness, featuring the legendary Dondald Pleasence and a very large, very secure wooden door. Whether you’re a fan of liminal space horror or just here for the film criticism and humour, this episode has it all – including a discussion on whether a crab is technically a “floor fish” What to expect from this episode: Dan tries to convince Sarah to pivot the season into movies featuring basic geometric shapes. A definitive (and possible incorrect) explanation of what actually constitutes a liminal space. The revelation that the Messiah of Evil might have been a piny, yellow spotted ghoulish figure from 90s British TV. The logistics of plugging a laptop into a 6 million year old magic rock in the year 1900 Dan’s theory that the size of the church key is directly proportional to how much evil you’re hiding in the basement. A debate about some of the Brian Johnsons and whether they hold the key to ancestral immortality. A sneak peek at our upcoming season where we finally prove once and for all that size doesn’t matter. 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. Instagram | TikTok | Threads | YouTube

• Transcript

Season Fifteen Wrap Show Preview

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. Instagram | TikTok | Threads | YouTube

• Transcript

Prince of Darkness - S15 E122

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: Instagram | TikTok | Threads | YouTube

Annihilation - S15 E121

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

• Transcript

Wake in Fright - S15 E120

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: Instagram | TikTok | Threads | YouTube

• Transcript

It Follows - S15 E119

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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Lost Highway - S15 E118

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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Picnic at Hanging Rock (1975) - S15 E117

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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Messiah of Evil - S15 E116

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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Triangle (2009) - S15 E115

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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Bonus : The Beekeeper

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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Best of Identity Movies

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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