Welcome to a special clip show of Shoot the Hostage, where Dan and Sarah revisit the highs, the lows, and the incredibly bleak mid-points of our true crime films season. Whether you’re a regular listener of a newbie looking for the best true crime movie podcast to binge while hiding from the “water wars,” this episode is the perfect entry point.

We’ve spent the last few months analysing flicks depicting real-life lawbreaking, covering everything from the relentless misery of Snowtown to the questionable Italian accents of House of Gucci. We’ve analysed the psychology of serial killers, discussed gender identity in film, and spent an unhealthy amount of time wondering why Jared Leto decided to play a Gucci heir like he was auditioning for Super Mario Bros.

In this episode, we look back at the stellar work of filmmakers like Patty Jenkins, Ridley Scott and Spike Lee, while giving flowers to Margot Robbie, Hilary Swank and the undisputed king of the season, Paul Walter Hauser. We also touch on Martin Scorses’s filmography, with Sarah offering the glowing endorsement that she likes “about half” of his movies. It’s a criminally packed episode featuring talk of physical media hoarding, South Korean thrillers, and why Clint Eastwood might just be a “frosty old man” making one take movies.

What to expect from the best of true crime movies episode:

• Reaching triple digits triggers a contemplation on legacy versus obsolescence.
• Streaming availability in East Asia leads to a call for virtual private network sponsors.
• Sarah explains her retirement plan involving a VHS store and hoarding water.
• Urine-processing technology becomes a central pillar of a post-society business plan.
• A deep dive into the “subtle” bookends of Ridley Scott, as explained by Dan.
• The shocking revelation that Tom Savini actually created the entire universe.
• A final reminder to rate the show five stars before the AI avatars take over the podcast

We are back on February 9th with Dan's identity season and our first episode is all about a small indie film you may not have heard of called Batman Begins.

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 when it drops.

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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We are committing to our final sentence as we deliver a verdict on our true crime films season. Before we shred the documents, please enjoy this sneak peek regarding our malfeasance-themed recap. We traversed the globe – from desert landscapes to separate nations to investigate these dark stories, making the last eight weeks feel like a life sentence.

Sarah explains how her academic path in behavioural science and shock-value tapes from her youth sparked an interest in true crime cinema. She also explains why she dragged us through the grim streets of Snowtown and the high-stakes fraud of the Wolf of Wall Street.

Whether you’re looking for true crime podcasts or just want to hear us argue about whether Ridley Scott’s House of Gucci is a masterpiece or a total train wreck, this episode has you covered. We give our final verdict on the performances of Margot Robbie, Charlize Theron and even that Zac Efron Ted Bundy movie we can never quite name.

What to expect from the episode:

• The sound of the traditional can opening to begin the show which was definitely a real can.
• A breakdown of the full season lineup from Monster (2003) to the flamboyant House of Gucci.
• Sarah explains how a teenage interest in psychology led to a season full of serial killer cinema.
• Dan reflects on how analytical shields helped him endure the depressing nature of the lineup.
• A look back at our “long road” recording across different countries and how it aged us.
• The ultimate paradox: how one film can be both terrible and a favourite of the season.
• Our traditional wrap show quiz, this time, prepared by Dan.
• Details on how to access the full episode and the new season which begins February 9th.

We shall return!

February 9th sees the beginning of season 14 which Dan gets to choose this time. Be there or be square!

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 when it drops any day now.

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For the epic wrap-up of our journey through true crime films, Sarah finally threw Dan a bone, or rather, “an entire skeleton” by programming The Wolf of Wall Street (2013). We’re diving into the depraved depths of films about stockbrokers to see if director Martin Scorsese created a satirical masterpiece, or just a three-hour recruitment video for “absolute wankers”

Featuring Leonardo DiCaprio’s increasingly insane performance as Jordan Belfort alongside Jonah Hill’s over the shoulder jumper wearing Donnie to Margot Robbie’s “walking red flag” energy, we’re getting under the hood on this one. We explore some of the development process of the production – including the ironic fact that Red Granite Productions was mired in its own controversy around the funding of the Wolf of Wall Street. It is a Jonah Hill we are prepared to stand on as we shout about Martin Scorsese movies, pill-induced chaos, and record-breaking vulgarity.

What to expect from this episode:

• Sarah challenges the depiction of success, debating whether financial wealth is the only motivating factor shown.
• We examine the magical formula of Scorsese’s pacing and his long-term collaboration with editor, Thelma Schoonmaker.
• Discussion about intention and responsibility around filmmaking.
• Tallying of the 579 profanities in the Wolf of Wall Street and speculating which ones belong on the list.
• A look at the “vitamin” dust that sent a lead performer to the hospital after too much inhaling.
• Sarah shares her confusion over why men are fascinated by tattoos of lions and clocks.
• Dan reveals the theme for season 14, which begins 9th

That's a wrap on Sarah's season of true crime movies, but have no fear, for we shall returneth. Put 9th February in your calendar for the start of season 14! A brand new season with a brand new theme chosen by Dan and announced at the end of this episode.

If you would like to find out the full lineup for the next season, sign up to Patreon as a FREE member to see the schedule when it drops, in a few weeks. If you have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-12 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023-2026.

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’s time to cut to the chase as we dive into episode seven of Sarah’s true crime movies season! This week on Shoot the Hostage, we are venturing back into the world of Korean cinema with the 2008 breakout hit, The Chaser. Sarah is continuing her trend of making Dan watch the best serial killer movies he’s never heard of, though Dan is still recovering from his time in Morocco and feeling like a bit of a “soulless husk”.

We’re breaking down the feature film debut of Na Hong-jin (The Wailing) which stars Kim Yoon-seok as Joong-ho, an ex-cop turned pimp who is trying to find “his missing girls”. Inspired by the real-life case of the “Raincoat Killer”, we also follow the Seoul Police force as they Mr Magoo their way through the investigation while young women are preyed upon by Ji Young-min (Ha Jung-woo).

What to expect from the episode:

• Sarah explains why this film is a pivotal entry in modern Korean cinema.
• We discuss director Na Hong-jin’s knack for making incredibly dark feature films.
• A look into the grim real-life crimes of the South Korean “Raincoat killer”
• Sarah defends the character progression of the protagonist.
• We analyse the “Keystone Cops” energy of the fictionalised police force.
• Dan wonders why there weren’t more “Banderas-style” guitar-case rocket launchers.

Would you like to see the full lineup for season 13? 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 do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-12 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023, 2024 and 2025.

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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Welcome back to the sixth instalment of our true crime movies season, this week Sarah forces Dan to endure Ridley Scott's divisive 2021 biopic, House of Gucci, a film that Sarah has deemed “both true and a crime in many senses of the word”.

At two hours and 37 minutes, this is a girthy film that needed to be dramatically shorter, but somehow still rushes through key character developments. We unpack the strange tonal choice that borders on parody, debating whether the master filmmaker intended to lean into a theatrical comedia dell'arte style or simply didn't know what perspective he was trying to achieve.

We delve into the central performances: Lady Gaga’s committed portrayal of Patrizia Reggiani, which humanized the character even as she spirals; Adam Driver’s subtle work as Maurizio Gucci; and the bizarre prosthetics and "Super Mario Brother" accent delivered by Jared Leto, which we agree feels less like acting and more like a hate crime. Plus, we celebrate Al Pacino’s relatively subtle performance and the unexpected appearance of Jeremy Irons and Salma Hayek as the psychic.

Here’s what to expect in this episode:

• We attempt to justify the film’s baffling 2 hour and 37 minute run time.
• A serious discussion about the merits of Ridley Scott as a filmmaker.
• We unpack Lady Gaga's commitment to staying in her Italian accent for nine months.
• Dan explores the subtle visual bookend using Maurizio on a bicycle at the start and end of the movie.
• We question why Jared Leto's Paolo Gucci felt like he was starring in a completely different film.
• The confusion over the film's muted and washed-out colour grading.
• Our critique on the abrupt character reversals.

Would you like to see the full lineup for season 13? 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 do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-12 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023, 2024 and 2025.

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

It’s time to settle in for the fifth episode of our true crime season! While Sarah is dangerously underslept and Dan is recording through a case of Moroccan flu in a noisy Casablanca hotel room, we’ve found a way to joke about the monstrously dark 2003 film, Monster. This isn’t the Gareth Edwards sci-fi flick Dan was hoping for, but a gritty look at one of the most famous American serial killers, Aileen Wuornos.

We dissect the chameleonic performance from Charlize Theron who avoided the trap of a mere impression to truly nail Wuornos’s mannerisms. Sticking with cast we discuss the rebellious era of Christina Ricci leading to her inclusion in Monster. We also look at some of the supporting cast including Bruce Dern, Lee Tergesen and Scott Wilson.

Never missing an opportunity to discuss female directors, we dive into Patty Jenkins career and what we make of her trajectory from Monster to Wonder Woman. Planning every detail of her projects, Jenkins only commits to films she is truly passionate about which is showcased here in all its glory. Drawing on her own background in a military family, Jenkins infused the script with a deep understanding of PTSD, creating a sympathetic bridge between the characters of Aileen and the veteran, Thomas.

What to expect from the episode:

• Sarah discusses her intense hyperfixation on Aileen Wuornos and her favourite documentaries on the case.
• Dan argues that the film feels less like a biopic and more like a vigilante origin story, making a bizarre comparison between Aileen Wuornos and Batman.
• Comparisons of abuse and neglect to the trauma suffered by veterans.
• We dive into the psychology of female serial killers and specifically here, the systematic failures that may have led to the tragic outcome.
• We discuss the "nature versus nurture" argument and the "childlike optimism" found in the film's opening.
• Tangents and rabbit holes including trying to connect the cast to The Walking Dead and Wayne’s World.

Would you like to see the full lineup for season 13? 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 do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-12 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023, 2024 and 2025.

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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Welcome back to Shoot the Hostage, where Sarah and Dan continue their season dedicated to true crime films with Episode 4 of 8. This week, we take on our first Spike Lee joint in his 1999 New York based film, Summer of Sam.

This episode acts as the second movie in our "Big Apple double bill" since it’s our second film featuring the incomparable John Leguizamo (or Johnny Legs) playing an Italian man living in New York. Although in this one, he’s swapped his wrench for some scissors and leopard print underwear.

As we get into his leopard print pants and the surprising extent of his improvisations on set, we discover that although the film is set during the Summer of Sam in 1977, the film is less about the specifics of the case itself and much more about the effect on the local Bronx community.

What to Expect in this Episode:

• Differing opinions on 70s fashion, specifically the dagger collar.
• We ask whether the film's shift in focus makes it more, or less respectful to the victims' relatives.
• A look at the film's technical style, including Spike Lee’s signature double dolly shots and Scorsese-esque influences.
• How Adrien Brody’s character, Richie, embodies the fear and paranoia directed toward outsiders in the community.
• Discussion of the film’s theme of identity and the hypocrisy exposed by the neighbourhood’s judgments.
• Commentary on Vinnie’s vile nature and the hosts' "Johnny Legs bias".
• The connection between the shift from the disco to the punk era and the film's excellent music selection.

Would you like to see the full lineup for season 13? 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 do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-12 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023, 2024 and 2025.

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

We’re back for our 3rd episode in True Crime season and this week we’re diving into the tragic reality of 1999’s Boys Don’t Cry. Discretion advised as we discuss major spoilers and triggering topics inherent in this true story of Brandon Teena, played by Hilary Swank.

Before the dread sets in, the film, directed by Kimberly Peirce, initially looks like a ‘90s hangout movie, complete with discussions of “muddin” and truck riding. We dissect how Peirce uses this lighter tone to lull you into a false sense of security before the second half of the movie. We also examine the Oscar winning performance from Hilary Swank and the disturbing portrayal from Peter Sarsgaard as real-life scumbag John Lotter. Meanwhile, Dan focuses on the actors through-line to Green Lantern.

Sarah explores how the casting of Chloë Sevigny as Lana links back to other ‘90s indie cinema thanks to Music Supervisor Randall Poster’. And yes, it’s another episode featuring Brendan Sexton the third.

What to expect from the episode:

• We discuss the surprising 90s hangout movie aesthetic of the first half.
• We analyse how director Kimberly Peirce quickly establishes Brandon’s comfort with his self-found identity.
• Dan breaks down the ominous shift in the narrative that happens halfway through the film.
• Expressions of our collective rage at the police officer who failed to protect Brandon.
• Sarah unpacks the significance of Music Supervisor Randall Poster’s involvement in many 90s independent films.
• Discussion about the nuances surrounding Brandon’s mistakes, the concept of informed consent, and the dangers of confirmation bias among netizens.
• Debate and conversation around the decision to exclude the murder of Phillip DeVine from the final cut of the film.

Would you like to see the full lineup for season 13? 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 do have some loose change consider signing up as a paid member. Our £3 a month Patreon tier will grant you access to all of our end of season wrap shows for seasons 1-12 and a minimum of 2 reviews of brand new movies each month. Plus the back-catalogue of reviews from 2023, 2024 and 2025.

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