Patty Jenkins has done what Joss Whedon, George Miller, Ivan Reitman and Joel Silver failed to do. 

Make a film about Wonder Woman. 



Out in cinemas June 1, we discuss what the film got right, the critical buzz around the project in the last few weeks - and answer the question, is Wonder Woman actually any good?

As always, you can find us on Facebook, Twitter and iTunes - let us know what you think of the show. 

Taking a wee break after the recent weeks of sturm and drang for two quieter dramas, before the much belated arrival of Wonder Woman next week, we discuss John Butler's Irish comedy drama Handsome Devils and Mike Mills' semi-autobiographical film 20th Century Women. 

Handsome Devil is a sweet drama featuring a stand-out performance from Andrew Scott as an English teacher in an Irish boarding school obsessed with sport. 

Ned (Fionn O'Shea) is an alienated student at the school who is excluded because he has no interest in sport. Subjected to homophobic bullying, he creates a sarcastic outsider persona as a defense. When a new boy arrives at the school and becomes Ned's room-mate (Nicholas Galitzine), early resentment between them slowly evolves into a fragile friendship. But what led to Conor, a stunning rugby player, being expelled from his last school - and what will Ned do once he learns his only friend's secret?



Annette Bening's Oscar snub seems more unbelievable now this film is out in Australia. Heading up a stellar cast including Elle Fanning, Greta Gerwig and Billy Crudup, Mike Mills draws on his childhood for this story of a young teenager being raised without a male role model and his strained relationship with his mother. 

Quietly powerful and featuring interesting digressions into the histories of the characters' lives with archive footage, 20th Century Women is a time capsule from a vanished era of Californian optimism and free thought. 

This episode is dedicated to the memories of Roger Moore and Dennis Johnson. 

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Two movies that couldn't be more different - but what can we learn from how John Wick: Chapter 2 and King Arthur - Legend of the Sword use onscreen violence?

Or punctuation,  for that matter!

As our resident morbidly obsessed hypochrondriac, Emmet interviews scientist, educator and author Paul Doherty on the many interesting ways the human body can, er, snuff it. 

Emmet asks Paul Doherty to explain how the project first came about, the book's use of gallows humour and what steps can be taken to resist the anti-science movement in the world today. 

Jordan Peele's debut mixes horror and social commentary on race relations to impressive effect. Smashing the box office, this film has won over audiences in the States and is now screening in Australia. 

Peele's greatest success with this scary and fitfully very funny movie is the passion pounding away at its core. The story concerns a young man Chris (Daniel Kaluuya), whose white girlfriend Rose (Allison Williams) invites him home to meet her parents, avuncular well-to-do liberals played by Bradley Whitford and Catherine Keener. Yet despite the kindness of Rose's family, Chris cannot escape the feeling that something is wrong. 

Peele's script has Chris assume at several points that the problem is his being black - and that gets to the heart of out Get Out treats of racial tension. 

Get Out is discussed within the context of films that have used the constraints of genre to explore social commentary - such as Starship Troopers, Children of Men, Night of the Living Dead and Idiocracy.

 - Emmet O'Cuana