Critically Acclaimed #398 | Onslaught, The Runner, Fall 2: Deadpoint, By Any Means

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[SPEAKER_01]: Greetings friends.
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[SPEAKER_01]: Welcome back to the critically acclaimed podcast.
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[SPEAKER_01]: They film review podcast hosted by Two really good film critics.
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[SPEAKER_01]: That's that's me, my co-host here.
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[SPEAKER_01]: Oh, we occasionally make a noise
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[SPEAKER_01]: we make a lot of whimpering noises.
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[SPEAKER_01]: That's for sure.
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[SPEAKER_01]: My name is Whitney Sybold.
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[SPEAKER_01]: I film critic.
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[SPEAKER_01]: I contribute to a slash film.
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[SPEAKER_01]: And with me as always is my uh, sentillating intelligent and devastatingly handsome co-host William what don't you introduce yourself.
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[SPEAKER_00]: Thank you.
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[SPEAKER_00]: Oh, you're more my name.
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[SPEAKER_00]: Yes, don't thank you.
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[SPEAKER_00]: Thank you.
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[SPEAKER_00]: Let me have this.
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[SPEAKER_00]: Okay.
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[SPEAKER_00]: Let me have my moment.
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[SPEAKER_00]: Hi everybody, my name is William Bibbiani, I am a film critic, I read for the rap and everybody calls me bibs and this week on critically claimed, we are reviewing onslaught the latest film from Adam Windgard, director of year next to the guest on the last two legendary Godzilla movies.
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[SPEAKER_00]: We've got the runner!
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[SPEAKER_00]: uh... new amazon prime thriller starring gal Gadot uh... we've got fall two dead point uh... which is the sequel to fall one life point uh... and uh... the historical drama slash thriller by any means and that's it that we're not we're not doing like a twelve-in-one catch-up special or you know huge pile of film reviews just you know usual amount
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[SPEAKER_00]: Yep, no, it's good stuff.
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[SPEAKER_00]: Oh, and yeah, I think the big release.
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[SPEAKER_00]: of this week, probably safe to say, although it could be his price.
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[SPEAKER_00]: Who knows?
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[SPEAKER_00]: We're doing this one.
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[SPEAKER_00]: We have the box office results, but I think the big film is probably onslaught.
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[SPEAKER_00]: Yeah, onslaught is a new ultra violent kind of low budget genre thing from Adam when Garden Simon Barrett.
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[SPEAKER_00]: Now they made quite a few like low budget genre films when
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[SPEAKER_00]: blockbuster material, but they're one-two punch in like the early 2010s of your next, which is a very, very smart like slasher slash siege picture, and the guest, which is a little hard to quantify, it's like half condemnation of America's like military policy, half isn't
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[SPEAKER_00]: Dan Stevens, the sexiest human alive, and half, like what if Captain America was Michael Myers?
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[SPEAKER_00]: And that's fucking cool.
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[SPEAKER_01]: Yeah, the guest was one of the best films of its year.
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[SPEAKER_01]: It's, I do like to qualify it as a Captain America picture because partway through the movie, and this kind of comes on a left field.
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[SPEAKER_01]: It's revealed that the Dan Stevens character is part of some kind of vaguely sketched out
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[SPEAKER_01]: program to be a killing machine so he's like this crazed serial killer but he used to work in the army and even though it's not there's only like one or two things that connect the guest to this new picture on slot they are of a piece
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[SPEAKER_00]: They all feel like if they're not necessarily directly connected, they are definitely like in the same type of slightly exaggerated world in which this kind of thing happens.
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[SPEAKER_00]: That's not like a broadly cartoonish world necessarily, but it's definitely in a very arch.
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[SPEAKER_00]: B-movie zone where everyone who is a badass acts like a super badass and everyone who is like an X Army or Marine Corps so-and-so is colyerly the protagonist of an action movie and if you work for the government of course there's a conspiracy that you're trying to cover up But if you're none of those things you're probably like a normal person who is caught up in the crossfire of some bullshit
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[SPEAKER_00]: Yeah, I am a huge fan of your next and the guest, which I typically recuse myself from reviewing because even though when it first came out, I reviewed it, I called it one of the best movies of a tier.
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[SPEAKER_00]: I think it's actually one of the best movies of that decade.
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[SPEAKER_00]: But for years, I ended up working with one of that film stars, Brendan Meyer on the movie trivia Schmoden.
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[SPEAKER_00]: In fact, I actually betrayed you.
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[SPEAKER_00]: in order to form a team with him and it was there was a lot of drama involved and so he's not involved with onslaught and again my my thoughts on the guest were very well known but I thought it was important to keep praising the film that I have like a connection to it that
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[SPEAKER_00]: I wouldn't say that connection is severed, but we don't work together anymore, so I'm still gonna not, you know, gush too much, but again, my thoughts are, are well-articulated.
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[SPEAKER_00]: I think the guest is out of one guard's best film.
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[SPEAKER_00]: I really enjoy his legendary monsters, movies he did, Godzilla vs. Kong,
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[SPEAKER_00]: And he did Godzilla X-Kong the new empire the new empire got all those subtitles mean nothing and it came out like within like two weeks of ghost busters the frozen empire which is weird because there's like ice there's an ice monster in secret empire is that what we just said?
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[SPEAKER_01]: There's, that's a lot of fun, the new empire is the title, and yeah, there's there's like an ice dragon in that movie and part of the new Ghostbusters film was called Frozen Empire is about being frozen and a few people remember this, but there was also a crime picture that came out that same weekend that was just called Empire.
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[SPEAKER_01]: Yeah, we're one at all.
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[SPEAKER_00]: Which is funny because there's a movie that's opening this week called The Runner and there's a movie opening next week called Runner and both films are about people racing the clock to save like a child's life.
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[SPEAKER_00]: And it's like very hyper specific.
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[SPEAKER_00]: So it's always weird how that happens.
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[SPEAKER_00]: But in any case like Adam one guard has now moved away and from the blockbuster realm, and I feel like normally When an indie or genre filmmaker moves into a blockbuster realm and they return, there's like this attitude where it's like, aha, I get to go back to my roots where like no one can tell me what to do, right?
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[SPEAKER_00]: But his godzilla movies were fucking wild.
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[SPEAKER_00]: Like they were full of like weird random shit.
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[SPEAKER_00]: It doesn't feel like anyone was telling me no.
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[SPEAKER_00]: Like let's give God a power glove and have him beat other giant apes to death using a baby ape.
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[SPEAKER_00]: And I'm like, what the fuck?
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[SPEAKER_00]: I lost him and lost him but what the fuck?
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[SPEAKER_01]: He gets to use the actors he he likes working with he got to work with Dan Stevens for the most recent one to replay this rock and roll kaiju dentist uh... and and then a Rebecca Hall who evidently is very good friends with Dan Stevens uh... got to appear in those godzilla films as well she's also an onslaught uh...
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[SPEAKER_01]: And you even listen to the music in those Godzilla pictures Adam Wingard's very fond of that kind of electronic very Sint heavy like kind of John Carpenter derived score and that was I mean that's all over onslaught of course But that's a kind of an element of the Godzilla pictures as well.
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[SPEAKER_01]: So he's going back low budget because onslaught of surely that didn't cost a lot
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[SPEAKER_00]: I'd be worried if it did.
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[SPEAKER_00]: I'm sure it wasn't as cheap as, you know, I feel like there's the movie that the types of movies that onslaught is harkening back to these kinds of sort of 80s genre-bending films.
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[SPEAKER_00]: The type of films John Carpenter would do, skate from New York.
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[SPEAKER_00]: Yeah, yeah.
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[SPEAKER_00]: Bitch on the little China is not the same extent, but certainly that sort of genre play.
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[SPEAKER_00]: And those films were often like very low budget.
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[SPEAKER_00]: uh... and here he's like he's clearly comfortable but he's playing in that space where we are keeping things very ground level even though we're the story is taking place against a larger backdrop uh... the plot of the film is is very simple uh... uh... out of the world out of the world is uh... plays a military sniper uh... who is now living
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[SPEAKER_00]: in the middle of nowhere in a desert.
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[SPEAKER_00]: And she's got PTSD, she's got a cache of weapons, and at the beginning of the movie, her ex-husband drops off their daughter and says, listen, I tried to call you, I need to go out of town someone needs to take care of her.
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[SPEAKER_00]: And she's just like, ah, man, but she takes her anyway.
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[SPEAKER_00]: And then there's a countdown.
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[SPEAKER_00]: And the countdown is a little non-specific as to what it's counting down to, but when we introduce the B-plot, it's clear we're counting down to the, what I'm going on slot, where Dan Stevens, not playing his character from the guest, which I'm a little disappointed about, but he's playing a mad scientist, like left over from was a project paperclip, or operation paperclip,
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[SPEAKER_01]: The project paperclip, that was the real life project to bring Nazi scientists out of the Nazi party and into the American governmental scientific institutions.
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[SPEAKER_00]: Yeah, one of the great shames of our government's history and that's saying something but or at least in the last hundred years actually no, I don't even shit.
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[SPEAKER_00]: We've done some shit.
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[SPEAKER_00]: I don't even know if that's top 10 anymore, but that's bad.
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[SPEAKER_00]: Anyway, he is doing what all mad scientists do building super soldiers because no one has ever read a comic book or played a video game.
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[SPEAKER_00]: And he is turning war criminals, like people who snapped in a war zone and started like killing civilians into unstoppable zombie Jason Voorhees rage monsters because it seemed like a good idea at the time.
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[SPEAKER_00]: And of course, that will backfire spectacularly very quickly in the movie to the effect of bad fires so badly, I thought he did it on purpose.
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[SPEAKER_00]: And then he let the soldiers out.
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[SPEAKER_00]: Yeah, I thought maybe that was like the plaque as there's this whole thing about how like Michael Bean shows up with like a platoon of mercenaries and they're gonna like sort of test the fields readiness of the super soldiers.
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[SPEAKER_00]: And that goes really, really bad.
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[SPEAKER_00]: And I thought, okay, maybe Dan Stevens intended for this to happen and that's why he's so mad.
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[SPEAKER_00]: But based on the way the story goes, I don't think that's what was intended at all.
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[SPEAKER_00]: long story short, they end up, you know, absconding into the open world.
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[SPEAKER_00]: And they are making a beeline for that trailer park, which is more of a coincidence than anything else, but they are headed in that direction, killing everything they see.
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[SPEAKER_00]: And there is also a government agent who is
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[SPEAKER_00]: called into service randomly because it's an emergency while he's high on Molly and so he's got to do all of the sort of the cleanup and like take care of the conspiracy shit while he's high, which is a fun set up that I don't think they do very much with and it all builds to like sort of a third act climax where.
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[SPEAKER_00]: Algeria and a few other characters, including originalville Johnson, from Dihard and the voice of the shredder fame, their vets and they fight off these other vets, and that's the movie.
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[SPEAKER_00]: It's very simple in many ways.
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[SPEAKER_01]: Yeah, it takes place mostly in this very hopeless trailer park out in the middle of nowhere.
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[SPEAKER_01]: There's only like, like, maybe it doesn't people living there, Max, most of them are veterans, and the age or a haunted character is very,
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[SPEAKER_01]: Even though she has PTSD, she's like kind of content with the remoteness of it, even though it's kind of a heart-scrabble life, and the generators don't always work, and she doesn't have any food around.
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[SPEAKER_01]: She's still like living with guns.
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[SPEAKER_01]: The characters aren't like incredibly rich or anything, but I did like the character.
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[SPEAKER_01]: Sam, I think she's great.
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[SPEAKER_00]: I think they make a convincing case that she's a big action star in this movie.
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[SPEAKER_00]: Yeah, I'd like to see more of her in that role.
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[SPEAKER_00]: Good, that's well done.
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[SPEAKER_01]: and and we have some like pretty broadly sketch that one of the evidence is played by Eric wearheim of timid eric fame and he plays kind of this like loser character he has a line early on about how
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[SPEAKER_01]: he can't make rent because his ex-wife locked up as price bonsai trees like y'all there's like little quarks and little character bits they're minimal but they're in there and I appreciate that it's not even that the quarks are minimal it's that the number of characters is minimal because
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[SPEAKER_00]: We introduce the Eric where I'm character and he's is Eric where I'm right that's the other one.
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[SPEAKER_00]: Okay, Eric where I'm and he's he's quirky.
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[SPEAKER_00]: Okay cool original fellow Johnson.
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[SPEAKER_00]: He's got like dignity and then everyone else at this trailer park is a vague notion of a person.
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[SPEAKER_01]: And well, they're background characters, then we know they're like any, I don't know any slasher movie and this is a slasher movie for to be sure that a lot of the main characters aren't really well sketched out because we know that they're, you know, they're worm food pretty pretty much.
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[SPEAKER_00]: I think there's a difference between not well sketched out and clearly sketched out and what I mean is that if you look at a lot of slasher movies, even not particularly good ones that I think make more of an impression on onslaught.
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[SPEAKER_00]: I'm not a big fan of this film.
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[SPEAKER_00]: I think if you look at like a lot of slasher films, you'll see a lot of characters who have very little depth.
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[SPEAKER_00]: But are very clearly articulated.
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[SPEAKER_00]: This guy is the sleazy guy.
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[SPEAKER_00]: This guy is the big bully jock.
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[SPEAKER_00]: This lady is the nerdy librarian type.
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[SPEAKER_00]: And yeah, these are cliches.
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[SPEAKER_00]: I'm not calling it great writing, but as you say, they're fodder.
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[SPEAKER_00]: They're here to be killed, but you need to have some impression of them.
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[SPEAKER_00]: They're at least an archetype.
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[SPEAKER_00]: and I feel as though with the exception of the three main characters and the little girl, this is a slash movie where almost everyone who dies is a character that I couldn't tell you literally one thing about them.
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[SPEAKER_00]: like not even their inert, like I don't know anything about them, and because the result, you know, the sort of the fun violence of it feels less like we're killing these like sort of two-dimensional cartoon characters and there's a certain superficial pleasure to be taken in that because the movie only takes itself so seriously, and it becomes more about
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[SPEAKER_00]: just killing lots of random people.
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[SPEAKER_00]: And I think that changes the tone.
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[SPEAKER_00]: And it makes it less of a slasher and makes it more of like a tragic tale of mass murder.
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[SPEAKER_00]: In a way that I found lots of fun.
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[SPEAKER_01]: Maybe less fun, but I think that plays into what kind of the point of this movie.
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[SPEAKER_01]: It's a slasher movie, and I'll say this, sometimes a slasher movie is only as good as it's slasher.
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[SPEAKER_01]: If you have a really charismatic monster, you're going to be drawn into it even if the film is kind of mediocre overall.
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[SPEAKER_01]: Some people have project a lot of character on to say it like Jason Voorhees, just by his movements and the people he chooses to kill.
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[SPEAKER_01]: I watch some of those old slashes and I don't necessarily see a lot of character in the killers.
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[SPEAKER_01]: I just sort of see these forces of nature.
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[SPEAKER_01]: What I like about the killers in this, and there's three of them, they escape the super soldier program.
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[SPEAKER_01]: You didn't pause to mention that Dan Stevens is playing a weird little guy, he's like really overacting, he's got a glass high, and this really bizarre hairdo, and he's
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[SPEAKER_01]: S&M relationship with the Rebecca Hall character.
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[SPEAKER_01]: So clearly there's like this element of madness running through this movie and where these killers came from.
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[SPEAKER_01]: And when the killers appear, we see them mostly in silhouette.
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[SPEAKER_01]: They're these soldiers that are just armed to the teeth.
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[SPEAKER_01]: You know, guns or chainsaws or clevers, whatever they can get their hands on.
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[SPEAKER_01]: And we see their silhouettes and we see their just their pupils glowing in the darkness.
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[SPEAKER_01]: And they're filmed in such a way that they're actually really nightmarish and terrifying.
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[SPEAKER_01]: in a way I appreciated and but what we have is more than just slasher monsters who are out you know to sort of kill teenagers who have sex or you know or some kind of like demonic figure these are products of the american military right so what there's what this movie is doing is equating the horrors of war and that tragic mass murder you were talking about with a slasher movie
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[SPEAKER_01]: and i think the coldness of it is actually a very important point that when it comes to combat and murder on the battlefield it is kind of senseless and these soldiers aren't discerning they just bring death where they're wherever they go there's a scene early on where we see some characters that we haven't really got to know very well yet at like a convenient
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[SPEAKER_01]: And it's just a, and it's just a massacre of these people come in and just start killing and we don't know if there's any sort of rhyme or reason to it and really that's all war is it just sort of charges into places and kills and and I found that to be not profound but at least it had a point.
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[SPEAKER_00]: I don't disagree with the point.
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[SPEAKER_00]: I think the movie's stance is pretty clear.
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[SPEAKER_00]: What I, I think what I'm disagreeing with is that it plays like a slasher.
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[SPEAKER_00]: I don't think it does.
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[SPEAKER_00]: I think it has slasher elements, but I actually think it has a lot more in common, structurally, with a siege picture.
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[SPEAKER_00]: Because there's literally a countdown to a confrontation where,
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[SPEAKER_00]: a bunch of guys are going to move into a place and kill everyone in that place and we spent the majority of the movie setting up those people and their environment so that this big it's it's the same thing is like the end of the two towers or problematic movie but structurally extremely sound zulu or result on precinct 13 and other John Carpenter movie where we're just building and building a building to like an epic confrontation and I found the actual
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[SPEAKER_00]: to be extremely underwhelming because all the other characters except for like the main three make no impression and they're the spatched very quickly and as a result it ends up feeling just basically like and here's three people versus three people and
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[SPEAKER_00]: They don't do anything terribly clever with that climax and it all just kind of just kind of stops after a while Like I literally thought like there's a moment in the film where like some people come in and you think maybe like Oh no the reinforcements have arrived in a bad way or whatever and then they're just basically like oh and we're just wrapping this up now And I'm like I thought the third act was just getting started
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[SPEAKER_00]: And I was actually really disappointed by how like minimal the genre element was because yes, your point is well taken about the way that the military dehumanizes people, either on soldiers and be the people of soldiers are intended to kill and that that does real harm to people, you know, abroad and at home.
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[SPEAKER_00]: But I also feel like that was a point that was made in a far more articulate,
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[SPEAKER_00]: let alone entertaining manner in the guest and as a result, even just thematically, this feels pretty repetitive to me and a little underwhelming.
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[SPEAKER_01]: Well, the only thing that, I think that the message stands just fine.
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[SPEAKER_01]: The part that really upset me was, well, I didn't upset me, but the thing I can really kind of agree with you on is that it did start to feel a little underwhelming.
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[SPEAKER_01]: The fact that it was just a siege picture at a trailer park.
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[SPEAKER_01]: and didn't sort of explode on a much larger level.
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[SPEAKER_01]: I expected the action to be so much bigger and crazier than it ended up being.
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[SPEAKER_01]: It was on such a small scale.
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[SPEAKER_01]: It did start, uh, make me start wondering why these killer soldiers were focusing for so long on this particular trailer park when they could have gone into a city center or or like a mall and just started laying waste of people.
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[SPEAKER_01]: Or if they had started the movie with that and they were kind of making their way to smaller and smaller towns.
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[SPEAKER_01]: The fact that this handler character, the one that was on drugs and is on the killer's trail, didn't come in and affect the plot in any kind of way.
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[SPEAKER_01]: It was also really perfectory.
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[SPEAKER_00]: It felt like it felt like a bad joke.
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[SPEAKER_01]: It's always like I know I've seen a lot of really terrible bee pictures that follow that kind of structure where they set something up and they don't bother to pay it off, but the thing about those bee pictures is they're bad, so what we have here is some bad decisions going into this movie now.
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[SPEAKER_01]: I did like this film however because it does have this kind of crazy drive-in quality that I did appreciate and I did like the violence with the soldiers I liked how much blood there was they didn't hold back when it come to actual murder in this picture and and and really I got a hand it to those those killers because they were just Truly utterly terrifying in ways that I don't see in a lot of slatter films these days
22:36.304 --> 22:39.847
[SPEAKER_00]: I think the cinematography and the sound design helps a lot with that.
22:39.887 --> 22:41.428
[SPEAKER_01]: Like, yeah, that's for sure.
22:41.488 --> 22:44.330
[SPEAKER_00]: I don't, I don't really like the anime much, but it's such a good story.
22:44.350 --> 22:46.531
[SPEAKER_00]: Tell her, I just don't think it's got a very good story this time.
22:47.472 --> 22:49.773
[SPEAKER_01]: Yeah, the, and the filming is really dynamic.
22:49.793 --> 22:51.094
[SPEAKER_01]: There's a lot of like fast edits.
22:51.114 --> 22:52.255
[SPEAKER_01]: It's super stylish.
22:52.655 --> 22:56.398
[SPEAKER_01]: So the, you know, the violence is like, uh, really keeps things going along.
22:56.418 --> 22:59.160
[SPEAKER_01]: And I think the energy remains high throughout, which I appreciate.
23:02.520 --> 23:16.156
[SPEAKER_00]: I think every time we're running into characters that we're not going to develop or have say interesting things and then those characters die very anticlimatically and unceremoniously, I did find that kind of boring.
23:17.102 --> 23:18.944
[SPEAKER_00]: You know, it was it because not only was it boring.
23:18.964 --> 23:19.525
[SPEAKER_00]: It was boring.
23:19.545 --> 23:21.127
[SPEAKER_00]: And it didn't build to anything is again.
23:21.147 --> 23:22.889
[SPEAKER_00]: That's that's a seed picture structure.
23:22.909 --> 23:24.070
[SPEAKER_00]: You're introducing characters.
23:24.090 --> 23:25.291
[SPEAKER_00]: You're introducing geography.
23:25.311 --> 23:26.453
[SPEAKER_00]: You're introducing subplots.
23:26.813 --> 23:31.058
[SPEAKER_00]: So that when the action finally kicks in in the second half or even the last third of the movie.
23:31.829 --> 23:52.319
[SPEAKER_00]: Everything comes to a head and we know how we know we're all the pieces on the chessboard are and then we're about to see the filmmakers like final end game And we're about to be blown away like at the end of searching for Bobby Fisher and I Wasn't I just thought it would end it in a very it built up to a very frankly kind of routine
23:53.600 --> 23:54.180
[SPEAKER_00]: finale.
23:54.201 --> 24:11.331
[SPEAKER_00]: I like I thought we were going to go into some weird fucking territory and I don't think that we take itself seriously enough to be as muted as it is and I think it is said it's taking itself so like wackily in some regards that if it's odd that it's holding itself back in so many ways.
24:13.891 --> 24:40.109
[SPEAKER_01]: I agree with that and another upsetting element was that even if you only if you look really character carefully will you see connections between this film and the guest and in fact it there's if you stayed for the credits there's like images and news paper clips that they put next to the credits is the credits roll and there is a passing reference on one
24:42.190 --> 24:48.255
[SPEAKER_01]: in the credits to something called Project David, which was the name of Dan Steven's character from the past.
24:48.735 --> 24:54.299
[SPEAKER_01]: So, this is technically in the same universe, but not in any kind of meaningful way.
24:54.880 --> 25:04.908
[SPEAKER_01]: I kind of hoped that Dan Steven's plays this like kind of cookie Nazi mad scientist that there would be at least some kind of reference to, oh yes, I have eight clones of myself, like something.
25:05.828 --> 25:24.485
[SPEAKER_00]: to really make it more explicit I honestly thought again we're talking about like oh why wasn't this movie part of a shared cinematic universe which feels a little unlike us but it's right there like the opportunity is there and there's so much fun you could do like I think there is absolutely a way to conclude this film and I'd be surprised if it didn't occur to them and I don't know why
25:25.105 --> 25:28.528
[SPEAKER_00]: If it did, they decided not to, maybe it's just the logistics and the workout.
25:29.089 --> 25:36.215
[SPEAKER_00]: I feel like there is like a sort of like an Avengers ending to this that would have allowed the characters to survive this film.
25:37.256 --> 25:40.418
[SPEAKER_00]: To team up with the characters who survived your next in the guest.
25:41.139 --> 25:46.223
[SPEAKER_00]: And create a kind of like clandestine, you know, I don't know.
25:46.984 --> 25:51.768
[SPEAKER_00]: black ops team or something and I would have fucking cheered for that.
25:51.808 --> 26:07.081
[SPEAKER_00]: I would have forgiven so much if at the end of this movie like dance Stevens from the guest and um oh god what was her name from um shernie Vincent shernie Vincent from from from your next they just like drove up in a car and just opened the door and said get in.
26:07.382 --> 26:08.543
[SPEAKER_00]: I would have been like yeah
26:09.083 --> 26:27.386
[SPEAKER_00]: like the fuck yeah because because they wanted to do sequels to both of those movies I had Simon Barrett on one of our old podcast ones and he was talking about how you know They had this idea for a sequel to your next which would actually be inspired by the female convict sport be in movies and that would have been Oh fucking wild
26:28.228 --> 26:29.529
[SPEAKER_00]: like that would have been very cool.
26:29.549 --> 26:32.750
[SPEAKER_00]: But your next even though it was like a critical success was in the big hit.
26:32.810 --> 26:37.313
[SPEAKER_00]: And I feel like the guest was also critical success was a more modest hit.
26:38.373 --> 26:40.254
[SPEAKER_00]: And I don't know.
26:40.474 --> 26:44.376
[SPEAKER_00]: I would have thought like this would have been an opportunity for them to go just kind of nuts with it.
26:45.297 --> 26:52.440
[SPEAKER_00]: And weirdly, this feels more pulled back creatively, not just than your next Sunday guest.
26:53.521 --> 26:55.362
[SPEAKER_00]: But then the Godzilla movies.
26:56.389 --> 26:58.050
[SPEAKER_00]: Those Godzilla movies are nuts.
26:58.410 --> 27:05.614
[SPEAKER_00]: Those Godzilla movies all kind of like, Godzilla rolls up into the Coliseum like I cat in a cardboard box.
27:06.054 --> 27:08.175
[SPEAKER_00]: Like that's just weird shit that happens.
27:08.575 --> 27:11.236
[SPEAKER_00]: And here we get a shootout at a convenience store.
27:11.337 --> 27:13.197
[SPEAKER_00]: And yeah, it's brutal.
27:13.498 --> 27:14.398
[SPEAKER_00]: It's not very creative.
27:15.138 --> 27:18.020
[SPEAKER_00]: So I found this movie to be a little underwhelming.
27:18.060 --> 27:18.880
[SPEAKER_00]: It's not terrible.
27:19.581 --> 27:21.882
[SPEAKER_00]: And I bet that there are people who have
27:23.453 --> 27:34.224
[SPEAKER_00]: This might be a case of expectation, but I honestly just don't think it functions terribly well on its own and I think if this was like the first win guard movie I saw I would be like I see the potential here, but I don't see this film working
27:35.195 --> 28:03.301
[SPEAKER_01]: uh... i agree with that point if it even though this is like at a one guards like tenth movie because and because he's done a lot of low budget horror films prior to your next uh... and and he always played out on the edge of the films like auto aerotic uh... didn't do one of uh... those vhs pictures uh... i think i think some of those didn't like act in auto aerotic i don't think he directed that one did he i think he wrote i think he directed that one okay hold out look that up just to be just so we can be sure
28:04.158 --> 28:08.022
[SPEAKER_00]: Yeah, I'll do you rotate.
28:08.162 --> 28:10.324
[SPEAKER_00]: Oh, this is going to be a fun Google search.
28:13.026 --> 28:15.208
[SPEAKER_01]: You can also look up Adam Wingard.
28:15.728 --> 28:17.070
[SPEAKER_00]: Uh, okay, no, no, here we go.
28:17.250 --> 28:18.251
[SPEAKER_00]: Uh, no, I'd rather go.
28:18.691 --> 28:19.292
[SPEAKER_00]: We were both right.
28:19.352 --> 28:22.855
[SPEAKER_00]: It was co-directed by Adam Wingard and also Joe Swanberg.
28:24.056 --> 28:24.596
[SPEAKER_01]: Uh, okay.
28:25.117 --> 28:28.060
[SPEAKER_00]: And it was also co-written by Swanberg Wingard and Simon Barrett.
28:28.080 --> 28:29.901
[SPEAKER_00]: So like they're all part of an on-clave.
28:32.327 --> 28:33.528
[SPEAKER_01]: Yeah.
28:34.829 --> 28:35.370
[SPEAKER_01]: But I agree.
28:35.410 --> 28:44.238
[SPEAKER_01]: I think if this had been, it feels like a first film, which is weird because this is not his first movie.
28:44.278 --> 28:50.023
[SPEAKER_01]: It feels like he's trying to get away with something is trying to stuff for the first time.
28:50.063 --> 28:52.485
[SPEAKER_01]: But yeah, he's already done multiple blockbusters.
28:52.505 --> 28:53.586
[SPEAKER_01]: He did those Godzilla pictures.
28:53.606 --> 28:55.067
[SPEAKER_01]: He also did a Blair Witch sequel.
28:55.107 --> 28:57.209
[SPEAKER_01]: So he's playing with I think it's unrelated a little bit.
28:57.610 --> 29:03.622
[SPEAKER_00]: I like that Blair which see like it's not amazing but I thought it was a pretty solid you know just supernatural found footage movie in its own right
29:04.848 --> 29:12.370
[SPEAKER_01]: Yeah, so not sure exactly what he was trying to do with onslaught other than maybe He wanted to be bloody again.
29:12.590 --> 29:18.591
[SPEAKER_01]: Like it's been a while since he's dealt with this much gore and violence He just wanted to do something really violent and it certainly violent.
29:18.631 --> 29:25.752
[SPEAKER_01]: It'll those the oscratcher violence, it's yeah Yeah, but it does feel pretty low rent for something at this point in his career.
29:25.772 --> 29:29.173
[SPEAKER_00]: Alright, we'll speaking of low rent Let's talk about the runner
29:30.658 --> 29:55.525
[SPEAKER_00]: uh... the runner is a new thriller uh... it's an amazon prime original stars galgid dot and it was uh... directed by kevin make thundled not the one from kids in the hall but the uh... the Oscar winning uh... i think i'm going to ask her for a documentary and then he's also made other films as well but uh... this is one of those movies where the bad guy
29:56.668 --> 30:10.021
[SPEAKER_00]: refuses to do his job, and he would much rather like force the hero to do it for them, which always sounds like a cooler thing than it actually is, and actuality, it's just like
30:12.213 --> 30:13.674
[SPEAKER_00]: You're not in control of anything.
30:13.714 --> 30:15.616
[SPEAKER_00]: Like it's just absolute chaos here.
30:15.636 --> 30:23.602
[SPEAKER_00]: You're not like, I mean, one thing if you were just like Jigsaw and you were doing it for your own kicks, but like you were hired to do a job.
30:24.242 --> 30:30.467
[SPEAKER_00]: And if I were the person who hired you and I found out instead of just killing a guy, which you could do very easily.
30:30.507 --> 30:31.628
[SPEAKER_01]: So many non-try things.
30:31.808 --> 30:36.812
[SPEAKER_00]: Yeah, like I'm gonna like, cause the plot of this movie is Galgadad is a, she's a lawyer.
30:37.692 --> 30:56.943
[SPEAKER_00]: and in her latest case there's like a really rich guy who was accused of murdering some people and Damian Lewis, a great actor, calls her on the phone and says, a kidnapped your son and if you don't run across London, you can't take a car.
30:57.063 --> 30:57.403
[SPEAKER_00]: Why?
30:57.643 --> 30:58.544
[SPEAKER_00]: Because it's a movie.
30:58.564 --> 30:59.744
[SPEAKER_00]: There's no good reason for it.
31:00.705 --> 31:04.447
[SPEAKER_00]: You need to run across London and kill the star witness before he goes to the
31:06.528 --> 31:16.758
[SPEAKER_00]: And like again, if this is just Damian Lewis getting his rocks off, I believe it because people don't always make smart choices if it's just for their own like evil pleasure.
31:18.540 --> 31:19.721
[SPEAKER_00]: He was hired to do this.
31:20.662 --> 31:30.092
[SPEAKER_00]: And then later we find out his contingency plan is like a wily coyote bomb, like with like three sticks of dynamite take together with like a clock and some wires, and
31:30.853 --> 31:34.675
[SPEAKER_00]: And it's like, listen, that's an in-elegance solution.
31:35.115 --> 31:36.156
[SPEAKER_00]: That would have worked.
31:36.396 --> 31:40.859
[SPEAKER_00]: You would be done by 11 a.m. and you could go about your day.
31:41.479 --> 31:45.241
[SPEAKER_00]: And instead of doing this bullshit, there's just the premise of Lomix no sense.
31:46.865 --> 32:11.241
[SPEAKER_01]: and it's this and this is a premise you've seen in a hudder movies before there there's nothing striking or notable or creative about this setup and it doesn't play fair because these types of movies are supposed to be really taught in fact this takes place mostly in real time there's a account downclock on the camera that the nine years in time the time yeah so it's it's more or less in real time
32:17.941 --> 32:23.183
[SPEAKER_01]: doesn't really have strict rules about what she's supposed to do or where she's supposed to be.
32:23.203 --> 32:25.564
[SPEAKER_01]: We're kind of barking orders.
32:25.624 --> 32:26.865
[SPEAKER_01]: I have to do this and you have to do this.
32:27.425 --> 32:45.012
[SPEAKER_01]: But later in the film we'll learn that and this is, and I hate this because rather than give us this information at upfront, they actually hide this information from us until the very end when we realize that she's actually been kind of like working against this evil collar all the time.
32:45.252 --> 32:49.914
[SPEAKER_00]: She's had a plan that she's been doing, but they kind of kept it on camera and it doesn't feel like playing fair, you're right.
32:51.274 --> 32:52.095
[SPEAKER_01]: It's not playing fair.
32:52.135 --> 33:01.679
[SPEAKER_01]: There's not this kind of sense of taught immediacy, even though it takes place in real time, there's a literal ticking clock and it's not adding tension.
33:01.879 --> 33:03.540
[SPEAKER_01]: How do you even fucking do that?
33:05.560 --> 33:08.141
[SPEAKER_01]: And, oh God, I hate this thing so much.
33:08.642 --> 33:09.162
[SPEAKER_01]: It's not so much.
33:09.462 --> 33:13.944
[SPEAKER_00]: Because here's something, this movie, here's the premise, the premise of this movie, it's super fucking contrived.
33:14.644 --> 33:30.848
[SPEAKER_00]: And I could accept super fucking contrived if, again, it felt like practicality wasn't the point of the villain's scheme, but even setting that aside, ultimately all we're doing is creating an environment for the hook of the film to happen.
33:30.868 --> 33:41.290
[SPEAKER_00]: And the hook is this, what if your child was in danger and you had to physically run for 90 minutes to save their life.
33:41.851 --> 33:43.011
[SPEAKER_00]: Now that right there,
33:43.919 --> 33:45.823
[SPEAKER_00]: is an exciting idea.
33:46.323 --> 33:49.529
[SPEAKER_00]: It's not a story yet, but it's an exciting idea.
33:49.549 --> 33:51.753
[SPEAKER_00]: It's visceral.
33:52.194 --> 33:55.139
[SPEAKER_00]: It's a run-little run without the time displacement.
33:56.451 --> 33:57.431
[SPEAKER_00]: fantasy element.
33:59.092 --> 34:04.953
[SPEAKER_00]: And with that you want a propulsive storyline.
34:04.993 --> 34:16.356
[SPEAKER_00]: You want to have this character constantly running, racing, solving problems, running into unexpected difficulties and having to like parkour their way around shit.
34:16.816 --> 34:21.697
[SPEAKER_00]: Like it is a absolute sprint of a premise.
34:22.477 --> 34:26.800
[SPEAKER_00]: and the movie fails to take any advantage of that in a variety of ways.
34:27.420 --> 34:34.805
[SPEAKER_00]: One, except for one sequence where Gal Gadot someone steals her cell phone on a subway, right as she's getting off of it.
34:35.286 --> 34:39.829
[SPEAKER_00]: So she has to run as fast as she came to the next subway stop before the subway gets there.
34:40.209 --> 34:44.292
[SPEAKER_00]: And that's clearly a scene where Kevin McDonald thought, okay, I need to pull out all the stops.
34:44.312 --> 34:45.833
[SPEAKER_00]: We need to really fill the momentum here.
34:52.377 --> 34:57.160
[SPEAKER_00]: Where's the immediacy of like Tom Cruise running at the end of mission impossible three?
34:57.180 --> 35:00.202
[SPEAKER_00]: Where's the immediacy of Frank and Pupentant that in run low low run?
35:00.222 --> 35:02.303
[SPEAKER_00]: Those are people who are racing to save a loved one's life.
35:02.964 --> 35:05.185
[SPEAKER_00]: Gal Gadot cannot be fucking bothered.
35:05.225 --> 35:07.706
[SPEAKER_00]: But the other thing, and you brought this up then, I think it's smart.
35:10.567 --> 35:13.650
[SPEAKER_00]: It's dull because there's nothing in the middle.
35:14.251 --> 35:16.913
[SPEAKER_00]: She's just running from one side of one into another.
35:16.933 --> 35:19.455
[SPEAKER_00]: Well, Damian Lewis is like talking shit into her ear.
35:19.976 --> 35:25.981
[SPEAKER_00]: The reason why I filmed, like, I don't know, look at something like die-hard with a vengeance, so maybe which is aged weirdly, but it's still very exciting.
35:26.842 --> 35:29.164
[SPEAKER_00]: There's many challenges in the middle.
35:30.208 --> 35:49.462
[SPEAKER_00]: It's not just I'm racing here and I got to get there by the end of the film it's like in the meantime I need to do this and even if that's just maybe like whittle down there will like I need to like here's what you're going to do I you're getting really cocky if you don't rob a convenience store right now I am going to kill your kid.
35:50.823 --> 35:52.824
[SPEAKER_00]: You know, like that kind of thing would be like, oh, shit.
35:52.844 --> 35:56.206
[SPEAKER_00]: So like now there's like, there's another challenge that needs to be done quickly.
35:56.786 --> 36:04.189
[SPEAKER_00]: And, you know, when a character has to make decisions very quickly and a very panicky state, they're prone to making mistakes.
36:05.030 --> 36:07.751
[SPEAKER_00]: And so this one could have had a huge chaotic energy.
36:07.771 --> 36:15.295
[SPEAKER_00]: And it said it feels very, very dull and a big part of this is not a good actor.
36:15.315 --> 36:16.415
[SPEAKER_00]: Can we, can we just say it?
36:17.636 --> 36:18.836
[SPEAKER_00]: It's been so long to tell you.
36:21.060 --> 36:22.520
[SPEAKER_00]: Like she was doing the first woman.
36:22.560 --> 36:23.600
[SPEAKER_00]: I'll give her the first Wonder Woman.
36:23.620 --> 36:24.661
[SPEAKER_00]: I think she's really good in that.
36:25.181 --> 36:26.441
[SPEAKER_00]: I haven't seen her good sense.
36:28.261 --> 36:46.284
[SPEAKER_01]: And even I said, at the time when that first Wonder Woman came out that I was closing my eyes, maybe, and maybe this is just a prejudice of mine, but I was closing my eyes and picturing an actress like somebody with a lot of personality, like Julie Strain in the role of Wonder Woman, just this gigantic cartoonish actress in this superhero role.
36:46.704 --> 36:48.345
[SPEAKER_01]: And I'm seeing Gal Gadot, she's giving you
36:50.926 --> 37:08.201
[SPEAKER_01]: A fine performance, but it's kind of like low in charisma, she's supposed to be playing it kind of dignified and okay, she's pulling that off at least, but No, I wanted somebody like somebody a lot bigger and ever since it's like I'm waiting for her to like sort of break out again.
37:08.261 --> 37:09.642
[SPEAKER_01]: It's like where where is it?
37:09.722 --> 37:11.564
[SPEAKER_01]: Where's where's the energy?
37:11.584 --> 37:15.407
[SPEAKER_01]: Where's the craziness and here she is in a film where Okay
37:16.409 --> 37:18.952
[SPEAKER_01]: You're now given license to play it big.
37:18.972 --> 37:20.553
[SPEAKER_01]: You're in this panic situation.
37:20.713 --> 37:23.136
[SPEAKER_01]: You're in this contrived action movie scenario.
37:23.416 --> 37:24.697
[SPEAKER_01]: Somebody's talking in your earpiece.
37:24.717 --> 37:26.038
[SPEAKER_01]: You can yell into the mid area.
37:26.058 --> 37:27.079
[SPEAKER_01]: You can do whatever you like.
37:27.099 --> 37:27.680
[SPEAKER_01]: I'm sure.
37:28.301 --> 37:30.903
[SPEAKER_01]: And she's just a person.
37:30.923 --> 37:32.244
[SPEAKER_00]: Yeah, just a lady.
37:33.085 --> 37:34.266
[SPEAKER_00]: I feel like Gal Gadot.
37:34.286 --> 37:35.588
[SPEAKER_00]: There's a lot of movie stars.
37:35.608 --> 37:36.609
[SPEAKER_00]: And we've talked about this a lot.
37:37.129 --> 37:41.033
[SPEAKER_00]: There's a lot of movie stars who have a limited range.
37:41.789 --> 37:47.253
[SPEAKER_00]: But if they find a role that caters to that range, they can be wonderful.
37:47.674 --> 37:50.696
[SPEAKER_00]: Like, Schwarzenegger is not a great actor.
37:51.156 --> 38:06.228
[SPEAKER_00]: But within a very narrow window of either unapologetic masculinity or conversely apologetic masculinity in something that kind of makes fun of that, like I don't know kindergarten, copper twins.
38:08.277 --> 38:09.037
[SPEAKER_00]: he can be great.
38:09.457 --> 38:17.379
[SPEAKER_00]: He can be legitimately like charismatic and fun to watch and build a character who we, even if we don't think they're complicated, we find them enduring.
38:18.280 --> 38:27.202
[SPEAKER_00]: But then you take them out of that wheelhouse and they don't know what to do you watch film like junior and it's like, ooh, no, you do not know how to play sensitive and maternal.
38:27.242 --> 38:28.162
[SPEAKER_00]: That's not your thing.
38:28.662 --> 38:31.023
[SPEAKER_00]: I feel like Wonder Woman, the original Wonder Woman.
38:32.503 --> 38:35.904
[SPEAKER_00]: played into Galgadot's very specific strengths.
38:36.084 --> 38:40.685
[SPEAKER_00]: I think she is good at looking like she takes herself very seriously.
38:41.145 --> 38:44.805
[SPEAKER_00]: And if the material warrants that, she can get away with that.
38:45.286 --> 38:46.586
[SPEAKER_00]: And Wonder Woman definitely qualifies.
38:47.686 --> 38:57.548
[SPEAKER_00]: The other thing I think she's good at, I think the movie really flies on this contrast, the original Wonder Woman, is that she's got a lot of dignity, but she's also a fish out of water.
38:59.150 --> 39:05.657
[SPEAKER_00]: And that's something that I think I'll, I believe it if you tell me that Gal Gadot looks like she doesn't belong.
39:06.418 --> 39:08.360
[SPEAKER_00]: I would be like, yeah, no, I believe that.
39:08.420 --> 39:12.744
[SPEAKER_00]: I believe that she's not like the person who should be in this situation right now.
39:13.785 --> 39:20.292
[SPEAKER_00]: Like Wonder Woman at a department store is a scene Gal Gadot can play.
39:21.784 --> 39:26.346
[SPEAKER_00]: But in the runner, she's supposed to be in her element, and she still feels at a place.
39:27.066 --> 39:33.989
[SPEAKER_00]: The opening of her first line at dialogue in this movie is an unparafraising, but it's this straightforward.
39:35.510 --> 39:39.632
[SPEAKER_00]: I have a big trial today, and I'm a bit nervous.
39:41.126 --> 39:47.410
[SPEAKER_00]: Okay, and the way she delivers that line, it's like no one told her what nervous means.
39:48.431 --> 39:55.775
[SPEAKER_00]: It's just like I have a big trial today and I'm a bit nervous and I'm like, can we put something behind that?
39:57.165 --> 40:05.967
[SPEAKER_01]: In her defense, the script to this movie sucks out loud, it is so bad, there's so much bad dialogue in this movie.
40:06.187 --> 40:11.009
[SPEAKER_01]: I was even like texting you lines while I was watching because I watched it on at home on a screener.
40:11.589 --> 40:14.770
[SPEAKER_01]: It's like this is how ridiculous this movie is.
40:16.982 --> 40:20.586
[SPEAKER_01]: Like you can't fathom how much blood there is in a human body.
40:20.646 --> 40:35.001
[SPEAKER_01]: Okay, that's that's kind of a visceral line if you're talking to like a serial killer and they've cut the blow band and they they're surprised at how much somebody bled and then she repeats that line later to a random character did you know that the
40:36.182 --> 40:45.592
[SPEAKER_01]: You can, body contains more blood than you can fathom, uh, and I'm like, isn't it like four to six point, isn't it four point five to six pints?
40:45.712 --> 40:47.794
[SPEAKER_01]: Like, I think, I can, I can, I know with that.
40:47.814 --> 40:50.537
[SPEAKER_00]: Four to six leaders, I think it's more like 10 to 12 pints.
40:50.557 --> 40:51.418
[SPEAKER_01]: Or leaders, that's right.
40:51.538 --> 40:52.439
[SPEAKER_00]: But, uh, that's right.
40:52.779 --> 40:54.541
[SPEAKER_01]: I'm wrong, wrong, wrong unit of measure.
40:54.561 --> 40:56.343
[SPEAKER_00]: I was just, you know, that's quite a bit of blood.
40:57.465 --> 41:07.151
[SPEAKER_00]: I'm not saying that's not a lot of blood, and if I saw all of that blood just kind of coming out of somebody at once, one of my first thoughts would be, that's a lot of blood.
41:07.551 --> 41:17.236
[SPEAKER_00]: I would also be responding very emotionally and very logically to that point, it's like, oh my god, we gotta tie this up, we gotta call 911, whatever, but still, yeah, that's a lot.
41:17.616 --> 41:23.720
[SPEAKER_00]: But yeah, it feels like the kind of thing that she's only thinking about academically.
41:24.620 --> 41:25.841
[SPEAKER_00]: And yeah, it's a bad script.
41:25.921 --> 41:28.702
[SPEAKER_00]: And this is like a particularly bad script.
41:29.542 --> 41:48.669
[SPEAKER_00]: But yeah, there are also a lot of movies with bad scripts that are fun to watch because the people making them, even if they're saddled with a not very good script or even a terrible script or even just cheesy dialogue, understand what it is about the material that made us want to make this movie in the first place.
41:49.750 --> 41:53.191
[SPEAKER_00]: So I feel like there's a version of this movie.
41:54.219 --> 41:54.459
[SPEAKER_00]: All right.
41:54.779 --> 42:00.242
[SPEAKER_00]: That was made like on the fly like maybe even without permits like all throughout my mind.
42:00.302 --> 42:00.582
[SPEAKER_00]: Oh, yeah.
42:00.602 --> 42:03.984
[SPEAKER_01]: Yeah, you know, and sort of go go on to the street and shoot gorilla style.
42:04.004 --> 42:04.985
[SPEAKER_01]: That'd be really exciting.
42:05.065 --> 42:06.505
[SPEAKER_01]: These people don't know what's going on.
42:06.545 --> 42:06.746
[SPEAKER_01]: Yeah.
42:06.826 --> 42:07.166
[SPEAKER_00]: Exactly.
42:07.206 --> 42:10.968
[SPEAKER_00]: So like almost done on like a Nirvana, the band, the show with a movie where it's like, how do they get away with this?
42:10.988 --> 42:12.168
[SPEAKER_00]: Like that would have been really cool.
42:12.669 --> 42:20.213
[SPEAKER_00]: Even if the dialogue sucks, there would have been this like, oh my god, I can't believe they did this or it feels real because again, the simple.
42:21.173 --> 42:28.358
[SPEAKER_00]: Thrill of it is seeing someone race against the clock in a public to save someone's life.
42:28.378 --> 42:35.723
[SPEAKER_00]: So they're highly motivated, they're deeply emotional, they're not necessarily making the best choices and they have to constantly move.
42:37.582 --> 43:02.171
[SPEAKER_00]: Like that right there could work even if the script was crap just if it felt like it had momentum and it doesn't and it's such a weird misfire because there's so many simple things you could have done to make this story work and there's one other thing this movie brought up that and it's not really just this movie but while I was watching it because it wasn't engaging me intellectually and I had time to ponder.
43:04.717 --> 43:17.433
[SPEAKER_00]: the beginning of this movie, where Damian Lewis calls Galgadot and he says I have your son and then he puts the son on the phone.
43:18.397 --> 43:42.227
[SPEAKER_00]: And this time talks about it, it's not like, oh, this guy gave me ice cream and I was like, did we never have the talk about strangers with this kid, but then we find out that the kid has been in he put the kid in a diabetic coma, right, so he wasn't talking to the kid and he says it's it's it's it's one it's it's amazing what you can do with AI and I feel like
43:43.360 --> 43:51.786
[SPEAKER_00]: You know, there's a lot of technology that when it is invented, filmmakers get really excited because we can use this as a plot point in a movie.
43:51.866 --> 43:52.967
[SPEAKER_00]: Oh, the internet exists.
43:53.307 --> 43:57.551
[SPEAKER_00]: We're going to do a whole bunch of internet thrillers, all of a sudden, like the net and fear.com.
43:58.251 --> 43:58.992
[SPEAKER_00]: Um, yeah.
43:59.692 --> 44:15.784
[SPEAKER_00]: But there's also technology that when it is invented it makes a screenwriters job harder and cell phones are the Or example of this because everything got way more convenient You know, you don't have to drive in front of separate characters anymore because they have a phone now They can just get vital information Yeah, with the touch of a button.
44:15.804 --> 44:17.686
[SPEAKER_01]: They don't have to race somewhere until someone in person.
44:17.726 --> 44:19.888
[SPEAKER_00]: Yeah, oh no Susan's husband is the killer.
44:19.908 --> 44:20.868
[SPEAKER_00]: We got to drive over there.
44:22.029 --> 44:23.130
[SPEAKER_00]: Susan, your husband's the killer.
44:23.350 --> 44:24.511
[SPEAKER_00]: Thanks, boom, done.
44:25.112 --> 44:32.338
[SPEAKER_00]: So I listen, very convenient for daily life, but in a movie, it can really rob a story of tension if you're not careful.
44:32.378 --> 44:37.823
[SPEAKER_00]: And so a lot of movies, when a cell phone would be a problem to the story, they neutralize it.
44:37.883 --> 44:38.784
[SPEAKER_00]: I'm out of batteries.
44:38.824 --> 44:39.745
[SPEAKER_00]: I'm out of service.
44:39.805 --> 44:40.705
[SPEAKER_00]: I fell in the water.
44:40.746 --> 44:41.186
[SPEAKER_00]: Whatever.
44:41.206 --> 44:42.107
[SPEAKER_00]: Something.
44:43.779 --> 44:55.905
[SPEAKER_00]: AI, I think is going to create a similar kind of problem for screenwriters because at the beginning of the movie, the bad guy says, I've kidnapped your son and I've already told you he talked to you through AI.
44:57.005 --> 45:10.131
[SPEAKER_00]: So yeah, he cannot convincingly give proof of life, which is what you need in a kidnapping thriller because otherwise the hero doesn't know that the person who is kidnapped isn't dead already.
45:11.330 --> 45:12.110
[SPEAKER_00]: That's very important.
45:12.370 --> 45:17.652
[SPEAKER_00]: That's why you have I need I need to be able to see a picture with them with like today's newspaper boom They're that proves it, right?
45:17.952 --> 45:34.036
[SPEAKER_00]: But now not only could Photoshop do that, but he I could do that really easily and Even later when he like shows her like a video of the kid that could have been a I too for all Fralci knows the kids still at school and he's just hacked her phones, but you can't call them like the teacher calls That could be Damian Lewis too.
45:34.476 --> 45:39.057
[SPEAKER_00]: You cannot convince a character as convincingly
45:40.037 --> 45:54.484
[SPEAKER_00]: that a larger-than-life situation is real anymore because so many of the things that many of the tools that a writer has to make the violence make the danger feel like it's actually happening, so many things can only be trusted.
45:54.604 --> 45:55.925
[SPEAKER_00]: We cannot trust our reality.
45:57.605 --> 46:01.487
[SPEAKER_00]: So, just even the basic premise of this fall is a part, and I just wish they hadn't mentioned it.
46:03.208 --> 46:03.908
[SPEAKER_00]: You know, to say it's a
46:06.962 --> 46:23.828
[SPEAKER_01]: Or, or, you know, if the screenwriter is now budding up against this idea that AI is now going to make proof of life or any kind of video evidence suspect, you have to now start staging scenes where I need proof of life and I need to see my son in person now that the
46:24.308 --> 46:41.900
[SPEAKER_01]: killer also has to go through all of these contrivances to get the kid to a public place where you know Gal Gadot can like see him or see him through a piece of a pan of glass or upclosed after something yeah yeah yeah and that's interesting because like that creates an interesting dialogue about
46:43.040 --> 47:02.877
[SPEAKER_00]: the world that we live in that artificial intelligence has fucked this over with where we can no longer like we were having trouble believing reality anyway just because of like political spin and publications that have a very distinct unapologetic slant in one direction or another but if you can't tell your movie
47:03.895 --> 47:19.982
[SPEAKER_00]: without, we can't tell the story of your movie without removing the technological devices that make everything so much easier, without removing a cell phone, without removing like the need, or without removing the ability to get something done when you're not in person.
47:20.903 --> 47:31.888
[SPEAKER_00]: That's a condemnation of everything going on technologically right now, you know, like we can't do this movie unless we do it in person anymore, and that's the way we used to have to do it, when Hitchcock was alive.
47:32.753 --> 47:40.218
[SPEAKER_00]: You know, so I was just thinking, that's, again, the movie is not good for bringing that up, but every movie is gonna have to deal with this on some point.
47:40.639 --> 47:42.740
[SPEAKER_00]: That's a disclosure day at the same problem at the end.
47:43.241 --> 47:48.164
[SPEAKER_00]: Oh, we're revealing all of this video about aliens to the world on the news.
47:48.965 --> 47:57.731
[SPEAKER_00]: And I'm like, I don't think most people on the planet would be willing to take that completely at face value, right at the movie.
47:57.751 --> 47:58.472
[SPEAKER_01]: Please, question.
48:00.647 --> 48:14.816
[SPEAKER_01]: I remember reading a couple of reviews about disclosure day about how this, it's like a message of hope, and it's, you know, we're, we're finally going to break through all of the BS and people will see this news story that will unify them.
48:14.856 --> 48:22.200
[SPEAKER_01]: It's like, have you been paying attention to the way the news works for the last 15 years, it's going to crack through the cynicism.
48:22.520 --> 48:24.001
[SPEAKER_01]: No, it won't.
48:25.242 --> 48:37.430
[SPEAKER_01]: It we're gonna go back to that most trusted of sources a local news station It's like what and there's like one live ADR in disclosure day where someone says we check It's not it's not AI and I'm like nap.
48:37.470 --> 48:38.050
[SPEAKER_00]: That's not enough.
48:38.170 --> 48:39.911
[SPEAKER_00]: I don't that's that I don't buy that at all.
48:39.951 --> 48:47.256
[SPEAKER_00]: Nope Yeah, Superman had the same problem like when like Lex Luthor revealed that Superman's parents weren't Benevolent.
48:47.276 --> 48:49.798
[SPEAKER_00]: It had actually sent him to Earth to conquer it and he never knew that
48:50.578 --> 48:53.159
[SPEAKER_00]: Um, they have to have a line from like Mr.
48:53.199 --> 48:55.479
[SPEAKER_00]: Terrific, who's like the super smart superhero.
48:55.519 --> 48:57.480
[SPEAKER_00]: He says, I know the guys who broke this.
48:57.620 --> 48:58.220
[SPEAKER_00]: That's real.
48:58.260 --> 49:00.740
[SPEAKER_00]: And I'm just like, that's pretty fucking thin.
49:01.500 --> 49:02.081
[SPEAKER_00]: We can't trust it.
49:02.101 --> 49:02.201
[SPEAKER_00]: Yeah.
49:02.241 --> 49:03.001
[SPEAKER_00]: We can't trust it.
49:03.021 --> 49:03.961
[SPEAKER_00]: We just literally can't.
49:06.061 --> 49:07.742
[SPEAKER_00]: Anyway, the runners are well, the runner is quite bad.
49:08.162 --> 49:09.242
[SPEAKER_00]: I have two more movies.
49:09.282 --> 49:10.422
[SPEAKER_01]: Yeah, it's so bad.
49:10.823 --> 49:17.164
[SPEAKER_01]: Oh, and one just, oh, yeah, I guess I've made this point already, but yeah, that that that they have seen near the end where
49:17.806 --> 49:22.008
[SPEAKER_01]: we're introduced to information that we weren't made privy too earlier in the movie.
49:22.808 --> 49:24.989
[SPEAKER_01]: And it's supposed to be a real-time thriller.
49:25.009 --> 49:27.810
[SPEAKER_01]: It's like, you need to set up and pay off.
49:27.830 --> 49:30.231
[SPEAKER_01]: You can't just sort of blind side us with that crap.
49:30.251 --> 49:31.052
[SPEAKER_00]: You know what you're going to do?
49:31.092 --> 49:41.816
[SPEAKER_00]: If you're going to do a thing where, you know, oh, if the camera angle had been reversed, we would have seen her, like, I don't know, like, leave a message or like whisper to a guy, or something like that.
49:43.317 --> 49:44.818
[SPEAKER_00]: Seeing her try to do that,
49:46.132 --> 49:47.413
[SPEAKER_00]: is it would be fine.
49:47.433 --> 49:48.434
[SPEAKER_00]: You can keep that in.
49:48.454 --> 49:50.116
[SPEAKER_00]: It makes her seem smart, right?
49:50.416 --> 49:56.763
[SPEAKER_00]: But what you could do if you're playful and this is something where I think you need like a filmmaker with like an Impish quality like Sam Ramey.
49:57.203 --> 50:01.748
[SPEAKER_00]: Someone who is taking some kind of maniacally in making the protagonist's life harder.
50:03.470 --> 50:29.785
[SPEAKER_00]: If we saw like what if she like left a message like she was able to quickly jot down a message and hand it to somebody but then as she like ran away thinking oh thank god I got the message out he like crumpled it up without reading it and threw it in a trash can but then maybe later in the movie you could see that the guy that that person was talking to who saw the altercation after she ran away and we were outside of her like field vision he looked at the note
50:30.665 --> 50:36.893
[SPEAKER_00]: because it seems suspicious and he read it and so things actually worked out like you could have your cake you needed to.
50:37.173 --> 50:47.546
[SPEAKER_00]: You can see her try and would make her appear more intelligent throughout the film and then still make it feel like it's not going to work and then still give us the reveal that it did in a satisfying way.
50:49.028 --> 50:49.188
[SPEAKER_01]: Yeah.
50:49.373 --> 50:54.976
[SPEAKER_01]: Yeah, there are so many ways to do this, right?
50:55.237 --> 50:56.577
[SPEAKER_01]: This is one of those movies, actually.
50:56.597 --> 51:03.822
[SPEAKER_01]: I would, if you're an aspiring filmmaker and you want to know how thrillers work.
51:04.462 --> 51:05.883
[SPEAKER_01]: don't watch a thriller that works.
51:07.083 --> 51:12.286
[SPEAKER_01]: Watch something like the runner because it doesn't work and you're only going to be able to see the things that don't work.
51:12.306 --> 51:15.348
[SPEAKER_01]: You're going to be seeing the lack of charisma from the lead actress.
51:15.588 --> 51:18.169
[SPEAKER_01]: You're going to be seeing the impossibilities in the plot.
51:18.189 --> 51:22.171
[SPEAKER_01]: You're going to be seeing and hearing the truly terrible dialogue.
51:22.431 --> 51:23.412
[SPEAKER_01]: You're going to be showing
51:24.252 --> 51:28.913
[SPEAKER_01]: understanding why it is important to parse out pieces of information in a certain way.
51:29.353 --> 51:30.893
[SPEAKER_01]: Is there a way this movie could be good?
51:31.294 --> 51:33.254
[SPEAKER_01]: Sure, but it's so unoriginal.
51:33.414 --> 51:38.655
[SPEAKER_01]: It's the only way it's going to be good as if you make it really really stylish because there's not any original ideas in this.
51:38.755 --> 51:40.275
[SPEAKER_01]: Or major, you know.
51:41.636 --> 51:45.977
[SPEAKER_01]: Yeah, or, you know, rewrite it so there's like some novel twist in it.
51:45.997 --> 51:47.037
[SPEAKER_01]: I can't say what that would be,
51:47.605 --> 51:53.808
[SPEAKER_00]: a lot of artists when they get started and this is extremely common and it's totally understandable and I'm not criticizing it.
51:54.249 --> 51:59.952
[SPEAKER_00]: But a lot of artists when they get started, they start by sort of, sorry, they're imitating their influences.
52:00.612 --> 52:06.755
[SPEAKER_00]: Like, I'm a, I want to write horror and I'm extremely influenced by Edgar Allan Poe.
52:06.775 --> 52:09.357
[SPEAKER_00]: A lot of your early works, might you might try doing a post story, right?
52:09.997 --> 52:13.679
[SPEAKER_00]: It's what you know, and then gradually as you do that, you find your own voice.
52:14.279 --> 52:29.585
[SPEAKER_00]: I maintain that, I think it's important to watch, read, listen to whatever your art form you're into, the classics, but I think it's a much more exciting exercise or at the very least a very valid alternative.
52:30.125 --> 52:38.849
[SPEAKER_00]: Instead of saying, listen, like, my favorite thriller is, I don't know, strangers on a train, so I'm going to make a strangers on a train-type movie.
52:39.643 --> 52:41.004
[SPEAKER_00]: What about, what did we do this instead?
52:41.705 --> 52:44.187
[SPEAKER_00]: Take a movie that does not work, like the runner.
52:44.647 --> 52:49.450
[SPEAKER_00]: And instead of trying to make something like something you like, fix this.
52:50.511 --> 52:56.716
[SPEAKER_00]: Take the basic premise and do it right because you can tell everything that's wrong with it.
52:56.776 --> 52:58.097
[SPEAKER_00]: And now I gotta do is fix it.
52:58.437 --> 53:00.319
[SPEAKER_00]: Think of this movie as your first draft.
53:00.339 --> 53:07.524
[SPEAKER_00]: Now granted, you might not be able to sell that, depending on like, I mean, maybe if you take the basic premise and then just change everything else.
53:08.845 --> 53:14.870
[SPEAKER_00]: I think it's a writing exercise that could be really useful in like a screenwriting class or something.
53:14.890 --> 53:15.611
[SPEAKER_00]: Yeah, you know.
53:16.992 --> 53:23.738
[SPEAKER_01]: I've heard it, uh, posited before that of a final film project at film school should be to remake a really bad movie.
53:23.858 --> 53:26.360
[SPEAKER_01]: Like here's this, here remake the room.
53:26.380 --> 53:26.821
[SPEAKER_01]: Yeah.
53:27.021 --> 53:28.742
[SPEAKER_01]: remake troll two.
53:28.762 --> 53:32.565
[SPEAKER_01]: You know, these notoriously bad movies remake them make them good.
53:32.726 --> 53:34.827
[SPEAKER_01]: What can you do with these ideas?
53:35.834 --> 53:42.036
[SPEAKER_01]: And I think that's going to be a much more valuable lesson in filmmaking the way the business works.
53:42.336 --> 53:42.556
[SPEAKER_00]: Yeah.
53:42.676 --> 53:45.997
[SPEAKER_01]: Then watching, you know, all the more in our Bergman picture.
53:46.057 --> 53:49.838
[SPEAKER_00]: One of my favorite assignments I ever had in film schools so great.
53:50.358 --> 53:52.199
[SPEAKER_00]: It was in an editing class.
53:52.859 --> 53:55.920
[SPEAKER_00]: And they brought in the raw footage.
53:55.940 --> 54:02.742
[SPEAKER_00]: Like all the takes they said cut, print it for a not, it was terrible, but it's not very good TV movie, right?
54:02.782 --> 54:04.362
[SPEAKER_00]: With some kind of cops and robbers thing.
54:05.216 --> 54:08.811
[SPEAKER_00]: And they said there are two different scenes, you can pick either one.
54:09.659 --> 54:11.880
[SPEAKER_00]: I'm not going to show you the way it was originally edited.
54:12.380 --> 54:17.101
[SPEAKER_00]: You're going to edit this scene together so that it's coherent.
54:17.321 --> 54:22.163
[SPEAKER_00]: There's character beads, the plot moves forward, everything is clear and exciting, bloody plot.
54:22.723 --> 54:24.623
[SPEAKER_00]: And then it was really great.
54:24.703 --> 54:33.286
[SPEAKER_00]: And so everyone, and it was really interesting because we watched everyone's pieces and everyone did something slightly different with the exact same material because we all had different ideas.
54:33.306 --> 54:34.106
[SPEAKER_00]: We were storytelling work.
54:34.146 --> 54:36.327
[SPEAKER_00]: But then, and this was the great part because it was a TV movie.
54:36.787 --> 54:40.630
[SPEAKER_00]: an old school TV movie, not like an HBO original, but like a network film.
54:41.530 --> 54:48.435
[SPEAKER_00]: Because a network TV movie has to accommodate commercial breaks and has to accommodate commercial breaks at a regular interval.
54:48.935 --> 54:51.977
[SPEAKER_00]: Like I forget what it is, but it's like five and a half minutes.
54:52.017 --> 54:55.339
[SPEAKER_00]: You got five and a half minutes and then you get like a ninety second commercial break.
54:55.740 --> 54:55.940
[SPEAKER_00]: Yeah.
54:56.880 --> 55:04.005
[SPEAKER_00]: So what the professor did was they watched like the piece that I did and I did this like conversation about cops trying
55:06.410 --> 55:07.533
[SPEAKER_00]: And I thought I had a good job.
55:07.573 --> 55:10.659
[SPEAKER_00]: I still think if I watched that footage again, that scene would play really, really great.
55:10.720 --> 55:13.586
[SPEAKER_00]: And then he was like, hey, this is really, really good.
55:13.906 --> 55:15.390
[SPEAKER_00]: We need you to cut it by 30 seconds.
55:17.451 --> 55:22.495
[SPEAKER_00]: And that's exactly what they do, because damn it we need time for another commercial.
55:23.315 --> 55:30.420
[SPEAKER_00]: So you need to find where in this pretty tightly constructed scene, you need to make room for 30 seconds.
55:30.520 --> 55:33.162
[SPEAKER_00]: And that might end up meaning the scene doesn't work as well.
55:33.202 --> 55:38.846
[SPEAKER_00]: But that's the path you got to follow because compromises are part of this industry.
55:40.224 --> 55:40.444
[SPEAKER_01]: Yeah.
55:40.524 --> 55:41.204
[SPEAKER_01]: So for sure.
55:41.224 --> 55:41.344
[SPEAKER_01]: Yeah.
55:41.384 --> 55:55.570
[SPEAKER_00]: So I think working on those adverse conditions and maybe trying to fix something that doesn't work or I think that's a very, very, very good exercise and I think the run or you're right, I think the run is an ideal film to play with this because there's not a lot you could do that wouldn't improve it.
55:57.690 --> 56:06.232
[SPEAKER_01]: And it's also, it's such familiar material, you know how to sort of, you know what you're handling and you know how to toy with it a little bit.
56:06.332 --> 56:12.453
[SPEAKER_01]: So yeah, if we have any aspiring filmmakers out there, we encourage you to re-edit the runner.
56:12.813 --> 56:19.295
[SPEAKER_00]: Yeah, re-edit or rewrite it, re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit or re-edit.
56:27.832 --> 56:52.172
[SPEAKER_00]: right like figure out like how do you how do you take like you know every scene is its own little index card and i don't know how many index cards the movie would have off the top of my let's say let's say let's say let's say 100 but not even though the problem we can condense it let's say it's got 60 all right fix the outline from the basic skeleton of it find a way to make this work better and i think you can do it
56:53.487 --> 56:58.869
[SPEAKER_00]: or potentially you could even look at the outline you could look at the skeleton and say you know what the skeleton isn't the problem.
57:00.229 --> 57:05.391
[SPEAKER_00]: The skeleton is, it's got flaws, but it's not like you don't need to change it a lot.
57:06.611 --> 57:08.592
[SPEAKER_00]: It's all the stuff on top of it.
57:09.878 --> 57:17.240
[SPEAKER_00]: It's all the style, it's all the editing, it's all the acting, it's like the weird, you know, opportunities missed.
57:17.700 --> 57:20.901
[SPEAKER_00]: And I think that's a good lesson to learn to, but we should move on.
57:22.101 --> 57:37.064
[SPEAKER_00]: So a couple of years ago, there was a pretty darn good thriller called Fall, and Fall was about, excuse me, two young women, one of whom was like a thrill-seeking influencer,
57:40.977 --> 58:07.473
[SPEAKER_00]: and she convinced her best friend to climb to the top of this like super tall rickety TV tower out in the middle of the desert that's already been decommissioned just to do it just for the thrill to feel alive and then when they get to the top of it and it's like it's it's like a needle like there's no there's no structure or anything when they get to the top of it the like the
58:10.418 --> 58:14.621
[SPEAKER_00]: and there's no way to get down and now they're stuck.
58:15.362 --> 58:19.365
[SPEAKER_00]: I don't know how far like two thousand feet up or whatever in the middle of fucking nowhere.
58:20.365 --> 58:22.047
[SPEAKER_00]: The cell phones don't work obviously.
58:22.067 --> 58:26.170
[SPEAKER_00]: It's middle of the desert and they're fucked.
58:27.211 --> 58:28.191
[SPEAKER_01]: Well, why wouldn't they work?
58:28.211 --> 58:29.532
[SPEAKER_01]: They're closer to the satellites.
58:30.973 --> 58:31.954
[SPEAKER_00]: I don't fucking know, dude.
58:31.994 --> 58:33.956
[SPEAKER_00]: Anyway, my point is that's another example.
58:33.996 --> 58:35.297
[SPEAKER_00]: Right, a phone would ruin that movie.
58:35.317 --> 58:36.958
[SPEAKER_00]: Your phone works like, hey, don't sell me.
58:37.318 --> 58:39.660
[SPEAKER_00]: They send rescue services, your home, and two hours.
58:40.742 --> 58:59.473
[SPEAKER_00]: Okay, but like again, you have to you have to work that out and otherwise the premise doesn't work, but we want the premise to work because it is scary to imagine yourself on top of a very tall, very rickety structure with like maybe five square feet of room to stand on.
59:01.000 --> 59:07.803
[SPEAKER_00]: like that's terrifying and the way the fall was filmed that I'm sure a lot of it was faked, but like it might have even been entirely faked and it was just pretty convincing.
59:08.304 --> 59:11.425
[SPEAKER_00]: But because in the middle of the desert it is nothing behind them.
59:11.806 --> 59:15.207
[SPEAKER_00]: We are constantly hyperware of the height.
59:16.448 --> 59:23.371
[SPEAKER_00]: And if you have yes any fear of heights or even if you just don't like the idea of falling from them, which is where I stand.
59:23.512 --> 59:27.934
[SPEAKER_00]: I'm not really afraid to be high up, but I really don't want to fall.
59:29.418 --> 59:30.519
[SPEAKER_00]: Yeah, fair.
59:30.739 --> 59:40.665
[SPEAKER_00]: So fall, even though it's not a particularly ingenious film, it makes a lot out of a solid setup, a solid visceral setup.
59:43.146 --> 59:45.067
[SPEAKER_00]: It did pretty well, and now we have a sequel.
59:45.087 --> 59:48.589
[SPEAKER_00]: It's called fall two dead point and fall two dead point.
59:50.872 --> 59:54.955
[SPEAKER_00]: it doesn't quite follow the die hard to mode, but it's pretty close.
59:55.635 --> 01:00:15.829
[SPEAKER_00]: You write recall that okay die hard was John McLean trapped in a building with terrorists and die hard too was John McLean trapped in an airport with terrorists and uh well you know not terrorists but bad guys uh the first one there were there were thieves but everyone thought was here but you want to be there's trapped in a yes contained location with a bunch of bad guys
01:00:17.238 --> 01:00:24.906
[SPEAKER_00]: There's a line of die-hard, too, Coleman die-harder, that was basically how can the same shit happen to the same guy twice?
01:00:26.467 --> 01:00:28.049
[SPEAKER_01]: And it really, and it really says out loud.
01:00:28.069 --> 01:00:34.275
[SPEAKER_00]: Which is what he needs to, because if he didn't bring that up, we would constantly be thinking it.
01:00:34.876 --> 01:00:38.519
[SPEAKER_00]: Like, something happens twice, it's a coincidence, right?
01:00:39.590 --> 01:00:48.117
[SPEAKER_00]: Like, oh, I can't believe I've only been in two accidents in my life and they were both on Figaroa road or whatever.
01:00:48.137 --> 01:00:52.300
[SPEAKER_01]: Like, well, it's like that then there's that great line of dialogue from it.
01:00:52.420 --> 01:00:54.142
[SPEAKER_01]: It's from an episode of Phidious and Furb.
01:00:54.162 --> 01:00:54.282
[SPEAKER_01]: Yeah.
01:00:54.922 --> 01:01:01.107
[SPEAKER_01]: It's like if I had a nickel for every time this happens, well, it only have two nickels, but it's still weird that it happened twice.
01:01:01.127 --> 01:01:01.748
[SPEAKER_00]: Exactly.
01:01:01.768 --> 01:01:04.630
[SPEAKER_00]: So you just need someone to mention that and you can kind of get away.
01:01:04.650 --> 01:01:08.233
[SPEAKER_00]: You can't do it too many times, but two, you can't get away with two.
01:01:08.713 --> 01:01:14.038
[SPEAKER_00]: So, and this one, one of the, and the movie expects you to know this going in.
01:01:14.058 --> 01:01:20.864
[SPEAKER_00]: So if you don't want to know what happened at the end of fall, I'll be vague, but if you don't want to know you're going to want to skip ahead.
01:01:22.826 --> 01:01:24.968
[SPEAKER_00]: At the end of fall, only one of the characters makes it.
01:01:26.750 --> 01:01:27.030
[SPEAKER_01]: Okay.
01:01:27.480 --> 01:01:38.581
[SPEAKER_00]: At the beginning of this movie, we see a montage of people talking about the survivor and the person who didn't make it and then we cut to the deceased woman's sister.
01:01:40.182 --> 01:01:42.004
[SPEAKER_00]: And okay, she is not a thrill-seeker.
01:01:42.084 --> 01:01:47.229
[SPEAKER_00]: She was very uncomfortable with like her sister was like, hey, let's jump out of a plane together.
01:01:47.249 --> 01:01:48.830
[SPEAKER_00]: She's like, that was very traumatizing for her.
01:01:49.331 --> 01:01:50.131
[SPEAKER_00]: It's not her bag.
01:01:50.992 --> 01:01:53.334
[SPEAKER_00]: And she's mourning her sister.
01:01:53.374 --> 01:01:56.657
[SPEAKER_00]: She loved her sister, but she is no interest in the things that she did.
01:01:56.677 --> 01:01:59.981
[SPEAKER_00]: And so she's actually giving away her selling a lot of her stuff.
01:02:00.141 --> 01:02:00.761
[SPEAKER_00]: And after
01:02:01.702 --> 01:02:08.065
[SPEAKER_00]: the, you know, sort of media frenzy over how novel and experience they went through was.
01:02:08.886 --> 01:02:12.868
[SPEAKER_00]: There's a lot of interesting people who are very people who are kind of swarming her.
01:02:14.228 --> 01:02:24.713
[SPEAKER_00]: She ends up selling a lot of her sister's old stuff like World Car or whatever, to one of her sister's friends and her sister's friends finds in that bunch of stuff.
01:02:27.475 --> 01:02:28.415
[SPEAKER_00]: It's not a bucket list.
01:02:28.475 --> 01:02:29.696
[SPEAKER_00]: It's called a Flucket List.
01:02:30.334 --> 01:02:39.581
[SPEAKER_00]: which is kind of funny, and it's a big, big scrapbook of all the super fucking dangerous shit she wants to do before she dies.
01:02:40.582 --> 01:02:46.106
[SPEAKER_00]: And then the best friend says, hey, to honor your sister's memory, why don't we do one of these?
01:02:47.527 --> 01:02:53.272
[SPEAKER_00]: All right, I'm like, okay, see, now that's, that's, that's, you know, and to be fair, the sister says, that sounds like a terrible idea.
01:02:53.392 --> 01:02:57.515
[SPEAKER_00]: I don't wanna do that, but then she like starts having like bad dreams and stuff and things, this might be cathartic.
01:02:58.595 --> 01:03:04.280
[SPEAKER_00]: So a little thin, but I think it's an a good enough excuse for the movie to happen.
01:03:04.901 --> 01:03:05.121
[SPEAKER_00]: Right.
01:03:05.301 --> 01:03:06.382
[SPEAKER_00]: I guess I'm with you.
01:03:06.422 --> 01:03:07.003
[SPEAKER_01]: Yeah, I'm with you.
01:03:07.203 --> 01:03:07.563
[SPEAKER_01]: Yeah, I know.
01:03:07.603 --> 01:03:10.486
[SPEAKER_00]: The thing that they decide to do is called a plank walk.
01:03:11.387 --> 01:03:15.230
[SPEAKER_00]: There is a mountain and I don't think it's a I could be wrong.
01:03:15.250 --> 01:03:16.011
[SPEAKER_00]: I tried to look this up.
01:03:16.031 --> 01:03:19.194
[SPEAKER_00]: I don't think it's a real mountain, but I think it's based on a real mountain in Thailand.
01:03:21.096 --> 01:03:23.418
[SPEAKER_00]: Where you climb to the top of this fucking mountain.
01:03:24.287 --> 01:03:38.751
[SPEAKER_00]: and then along the edge of a mountain, someone has installed wooden planks that you can just sort of walk along the edge of the mountain, like the sheer rock face.
01:03:39.972 --> 01:03:44.113
[SPEAKER_00]: And of course, they've been there for forever and their rickety and...
01:03:45.285 --> 01:03:53.331
[SPEAKER_00]: It looks like my idea of hell like it's the absolute it's something I would I wouldn't climb that TV tower, but I sure as fuck wouldn't do this.
01:03:53.351 --> 01:04:05.220
[SPEAKER_00]: There's no fucking way Kudos to all you thrill seekers who are into this kind of thing more power to you be safe, but I would never fucking do this So they go to Thailand
01:04:06.447 --> 01:04:11.048
[SPEAKER_00]: They find a guide who will take them even though it's illegal, it's off season.
01:04:11.788 --> 01:04:17.489
[SPEAKER_00]: And they said, like, there's rain, there's rock slides, it's considered more dangerous, but if you give me $5,000, I'll do it.
01:04:17.609 --> 01:04:18.229
[SPEAKER_00]: I'll take you out there.
01:04:19.589 --> 01:04:19.849
[SPEAKER_01]: Okay.
01:04:19.929 --> 01:04:20.529
[SPEAKER_00]: They climb up there.
01:04:21.650 --> 01:04:23.730
[SPEAKER_00]: They do the plank walk.
01:04:23.750 --> 01:04:25.910
[SPEAKER_00]: And sure enough, there is a rock slide.
01:04:26.731 --> 01:04:34.532
[SPEAKER_00]: And the rock slide doesn't just like take out like the planks in front of them, and it doesn't just takes out the planks behind them, it takes out planks on both sides.
01:04:36.294 --> 01:04:38.698
[SPEAKER_00]: And now, there's nowhere for them to fucking go.
01:04:41.181 --> 01:04:46.428
[SPEAKER_00]: And they have to decide, are we going to, like, they have ideas about how to send help?
01:04:47.069 --> 01:04:52.376
[SPEAKER_00]: Like they have like a laser pointer that they hope can maybe reach like a campsite down at the ground, but they don't know.
01:04:53.550 --> 01:04:54.251
[SPEAKER_00]: Um, okay.
01:04:54.271 --> 01:04:57.913
[SPEAKER_00]: They're not, they're trying to solve the problem and I'll give them credit for that.
01:04:58.633 --> 01:05:01.775
[SPEAKER_00]: Um, but ultimately, they're fucked.
01:05:02.796 --> 01:05:05.297
[SPEAKER_00]: And that is a scary proposition.
01:05:05.337 --> 01:05:07.598
[SPEAKER_00]: And I, I wouldn't like to be in that situation.
01:05:07.618 --> 01:05:09.299
[SPEAKER_00]: And I'm curious how they're going to get out of this one.
01:05:10.760 --> 01:05:14.022
[SPEAKER_00]: So, I'm with you, fall to dead point.
01:05:14.282 --> 01:05:15.623
[SPEAKER_00]: I actually think you kind of work.
01:05:16.464 --> 01:05:20.426
[SPEAKER_00]: There is a problem this movie has and it's fundamental to its premise.
01:05:21.920 --> 01:05:39.706
[SPEAKER_00]: And I think if I hadn't seen the original fall or wouldn't be thinking about it so much where because the original fall took place at the top of a TV tower in the middle of nowhere and every single angle you got in the characters accentuated our feelings of anxiety of
01:05:44.035 --> 01:05:54.679
[SPEAKER_00]: In fall two, they're up against the sheer rock face and a lot of this movie looks like you could have just filmed that on a sound stage and again, maybe fall one was And maybe fall one was and it was just really good green screen or something.
01:05:54.779 --> 01:06:10.084
[SPEAKER_00]: I don't know, but it didn't feel like it, but here it's like we're just not getting this constant sense of vertigo that the first one had And it diminishes it, especially in the second act and then the third act admittedly does go in a different direction than last time
01:06:11.170 --> 01:06:15.453
[SPEAKER_00]: it gets pretty fucking ridiculous if I'm being honest, but it was ridiculous in a fun way.
01:06:15.493 --> 01:06:17.014
[SPEAKER_00]: So I'll let it go.
01:06:17.915 --> 01:06:19.276
[SPEAKER_00]: So it's not great.
01:06:20.397 --> 01:06:23.719
[SPEAKER_00]: It is a pretty repetitive if you've seen the original fall.
01:06:24.419 --> 01:06:27.822
[SPEAKER_00]: I don't think if you've seen the original fall recently, it's gonna amplify that.
01:06:27.842 --> 01:06:31.805
[SPEAKER_00]: But if you saw a fall when it came out and you haven't revisited it, I think this is gonna play pretty good.
01:06:32.565 --> 01:06:36.208
[SPEAKER_00]: And the last thing I'll say about it and then I'm curious if you have any thoughts,
01:06:37.477 --> 01:07:04.452
[SPEAKER_00]: is a fall 2 and 3 are being filmed either back to back or at the same time and there is a cliffhanger for give me at the end of this movie and I'm not 100% sure what they're getting at but if it's what I think they're getting at I really want to see the next one because it sounds fucking ludicrous.
01:07:05.648 --> 01:07:13.395
[SPEAKER_00]: And I'm okay and I'm totally on board for it and I hope they go in the extreme nonsense melodramatic direction.
01:07:13.515 --> 01:07:19.301
[SPEAKER_00]: I think they're going in and I really want to fucking see that and I hope I'm right and I hope it's not just
01:07:20.513 --> 01:07:21.874
[SPEAKER_00]: Yeah, same shit happened again.
01:07:21.914 --> 01:07:29.723
[SPEAKER_00]: Like, no, no, no, I want you to do the thing that it seems like you're setting up the sounds like a terrible idea, but I haven't seen that movie before and I want you to do it.
01:07:29.803 --> 01:07:34.167
[SPEAKER_00]: So I'm hopeful, hopeful the next one goes even better.
01:07:34.227 --> 01:07:35.989
[SPEAKER_00]: But yeah, I felt it.
01:07:36.049 --> 01:07:36.530
[SPEAKER_00]: It's not bad.
01:07:36.650 --> 01:07:37.350
[SPEAKER_00]: What are your thoughts?
01:07:42.028 --> 01:08:10.262
[SPEAKER_01]: What are my thoughts on this movie that I didn't see it like you know like I'm curious if anything we talked about is of interest to you if you have any questions about it or It brings up a thought yeah Well the I'm I'm fond of filmmakers who can Sort of get a lot of tension out of those single Locals the problem is I think there's so many movies like this now that maybe we've explored everything that can be done and if
01:08:12.667 --> 01:08:16.457
[SPEAKER_01]: I think a lot of these movies depend on kind of their
01:08:18.278 --> 01:08:23.439
[SPEAKER_01]: actual accuracy to like the science of wilderness survival.
01:08:23.519 --> 01:08:42.602
[SPEAKER_01]: Like I'm trapped at the top of a pole, you're going to have to show me a lot of different angles to really give me that you know the fear of heights or you're going to have to show how long it's going to take before like oh no my shoe fell off and okay well just let it go it's you know we can't get it back and then like four minutes later in the movie you show the
01:08:46.743 --> 01:08:52.685
[SPEAKER_01]: Well, maybe you know, just kind of give give me a good sense as to the rational reality of the danger.
01:08:53.326 --> 01:09:00.729
[SPEAKER_01]: And then if somebody is like a skill to wilderness survival, show them trying clever things to survive.
01:09:00.809 --> 01:09:02.670
[SPEAKER_01]: Yeah.
01:09:03.150 --> 01:09:13.034
[SPEAKER_01]: Show me what it's like for them to build a shelter in the woods or fight off a wall for you know, find water in a place that has no water or fight off a
01:09:18.932 --> 01:09:25.317
[SPEAKER_01]: You have to make it really kind of visceral and if it looks cheap, then it's not going to work.
01:09:26.157 --> 01:09:32.521
[SPEAKER_01]: I saw a film kind of like, in this subgenre, I think I saw them both actually.
01:09:32.822 --> 01:09:34.183
[SPEAKER_01]: The 47 meters down movies.
01:09:34.203 --> 01:09:34.443
[SPEAKER_01]: Oh yeah.
01:09:35.986 --> 01:09:38.550
[SPEAKER_01]: where people are lost under the ocean.
01:09:38.570 --> 01:09:40.873
[SPEAKER_01]: It's like, oh, that's a pretty in a shark cave.
01:09:40.913 --> 01:09:41.934
[SPEAKER_01]: And shark everywhere.
01:09:42.195 --> 01:09:43.256
[SPEAKER_01]: Yeah.
01:09:44.237 --> 01:09:45.699
[SPEAKER_01]: And they have to survive underwater.
01:09:45.760 --> 01:09:47.842
[SPEAKER_01]: Oh, no, like, they're really fucked then.
01:09:50.486 --> 01:09:52.829
[SPEAKER_01]: And I think a big error with that film was,
01:09:54.257 --> 01:10:16.223
[SPEAKER_01]: in order to film it you can't really show you can't really film at the bottom of the open ocean with real sharks yeah so they had to really make everything look really murky in like a controlled water tank so they did film under water but at the same time I can't see anything so I think this is a neat premise but I'm not getting really involved with it because I know it because it looks really funny
01:10:16.283 --> 01:10:23.411
[SPEAKER_00]: I feel like the first 47 meters down a particular got away with that, especially if you watched it on the big screen.
01:10:23.471 --> 01:10:26.595
[SPEAKER_00]: Cause then the big screen, you're like in a void.
01:10:26.635 --> 01:10:29.098
[SPEAKER_00]: It's almost like watching the movie Gravity, right?
01:10:29.178 --> 01:10:34.965
[SPEAKER_00]: It's just like, yeah, maybe you can't see around you, but also there's not much to see except maybe your shark.
01:10:35.913 --> 01:10:42.015
[SPEAKER_00]: And it just kind of amplifies the sense of like hellish hopelessness in that.
01:10:42.175 --> 01:10:52.398
[SPEAKER_00]: But I do agree that I think that this exact formula like one or two people are really fucked and they're isolated and it's not like there's a villain doing it to them.
01:10:52.418 --> 01:10:56.699
[SPEAKER_00]: They just have to survive in a possible situation, maybe with the animal predator or something.
01:10:57.499 --> 01:11:00.740
[SPEAKER_00]: You brought a 47 meters down, that's also the shallows which is very good movie.
01:11:02.506 --> 01:11:06.697
[SPEAKER_00]: And there was also a movie that came out earlier this year called Killer Whale.
01:11:08.128 --> 01:11:15.430
[SPEAKER_00]: Which co-starred Virginia Gardener who was also one of the stars of the original fall and Oh, interesting.
01:11:15.450 --> 01:11:27.334
[SPEAKER_00]: Killer whale is just combining the shallows and Fall you are Trapped with one person you're isolated in this film.
01:11:27.474 --> 01:11:34.316
[SPEAKER_00]: They're trapped on a rock in a lagoon with an extremely pissed off orca whale
01:11:35.963 --> 01:11:38.905
[SPEAKER_00]: and if they get in the water, the worker whale tries to kill him.
01:11:38.925 --> 01:11:39.145
[SPEAKER_01]: Boom.
01:11:39.385 --> 01:11:39.665
[SPEAKER_00]: Okay.
01:11:40.526 --> 01:11:41.066
[SPEAKER_00]: Very simple.
01:11:42.287 --> 01:11:44.248
[SPEAKER_00]: And it's not on watch.
01:11:44.368 --> 01:11:53.354
[SPEAKER_00]: It's kind of fun, but as you watch it, if you remember the movie fall, you realize this is the same dramatic structure in every way.
01:11:53.414 --> 01:12:00.378
[SPEAKER_00]: The fights they have, the revelations they have, the part of the movie where one of the characters is like, it's now or never if I keep
01:12:04.423 --> 01:12:32.124
[SPEAKER_00]: uh... not have enough energy to make an actual run for it and save my own life that kind of thing yeah it's the exact same moment in the film more or less and so you realize that there is a real limitation so far at least to that formula and you need to find some other way to get around it are the all of these movies are going to get repetitive and we're not going to be more and unfortunately i don't think these have hit enough of a zeitgeist
01:12:32.905 --> 01:12:51.517
[SPEAKER_00]: it's not like there's it's not like a found footage movie where there was like one every couple of weeks and we got tired of the tropes really really fast or not that many of these but if you like these they do start feeling really sane me very quickly you're right about that yeah yeah right there's one coming out later this year it's called Walefall which sounds like
01:12:52.077 --> 01:13:01.868
[SPEAKER_01]: Killer whale falling, but no, it's just about a guy who is swallowed by a squid and then the squid is swallowed by a whale and most of the movie takes place in the whales.
01:13:02.028 --> 01:13:05.813
[SPEAKER_00]: Yeah, as he's trying to figure out how to survive, like that's fucking awesome.
01:13:07.697 --> 01:13:13.138
[SPEAKER_01]: Yeah, that is absurd, and I can't wait to see it because how the fuck are you going to do that?
01:13:13.258 --> 01:13:13.918
[SPEAKER_00]: I'm curious.
01:13:13.938 --> 01:13:19.180
[SPEAKER_00]: Honestly, the trailer gets an incredible sense of scale out of that.
01:13:19.200 --> 01:13:30.562
[SPEAKER_00]: You just the way that the guy is like, it's like every night, I used to have nightmares about Monster of the Well from Pinocchio when I was a kid, just because that movie made him seem so terrifying and so gigantic.
01:13:31.719 --> 01:13:41.427
[SPEAKER_00]: that my little brain could comprehend something, not only this gigantic, but wanting to kill me, something about that scene, so, so unholy.
01:13:41.968 --> 01:13:48.394
[SPEAKER_00]: And Will Falls, just like, man, if that movie came out when I was five, I would still be fucking dramatized by, it sounds so fucking cool.
01:13:48.994 --> 01:13:49.615
[SPEAKER_01]: I hope it's good.
01:13:49.675 --> 01:13:52.437
[SPEAKER_00]: I don't know if it's good, I don't know if it's good, but I'm super stoked for that one.
01:13:53.758 --> 01:13:56.861
[SPEAKER_00]: And I try not to anticipate movies, but I make the occasional exception, and that's one of the
01:13:57.557 --> 01:14:00.079
[SPEAKER_00]: All right, lastly, there's another new film.
01:14:01.339 --> 01:14:04.681
[SPEAKER_00]: This is a film called By Any Means.
01:14:05.782 --> 01:14:13.106
[SPEAKER_00]: And it is a historical crime drama thriller.
01:14:13.186 --> 01:14:19.810
[SPEAKER_00]: It's kind of like dancing at the edge of a bunch of different sort of related genres.
01:14:19.870 --> 01:14:21.951
[SPEAKER_00]: It's not more one than the others.
01:14:22.011 --> 01:14:25.033
[SPEAKER_00]: But basically, there is an interesting historical anecdote.
01:14:27.183 --> 01:14:38.155
[SPEAKER_00]: During the 1960s, when there was, I mean, not that it was new, but there was a lot of violence in the south directed towards civil rights activists.
01:14:39.756 --> 01:14:44.141
[SPEAKER_00]: And apparently a couple of times, the FBI,
01:14:47.345 --> 01:15:05.638
[SPEAKER_00]: had an interesting solution to their problems because okay so these like activists went missing or this civil rights leader was killed but nobody's talking because they were killed by the clan and everyone is either terrified of pissing them off and being the next on their murder list.
01:15:06.450 --> 01:15:10.751
[SPEAKER_00]: or they're sympathetic, and they're keeping them out shut on principle.
01:15:11.211 --> 01:15:18.633
[SPEAKER_00]: So even if like, you know, Linda B. Johnson and Jay Gerhoover are actually breathing down there and that can say, hey, you guys got to solve this problem.
01:15:18.653 --> 01:15:19.894
[SPEAKER_00]: You got to find these missing people.
01:15:19.934 --> 01:15:21.374
[SPEAKER_00]: You got to catch this killer.
01:15:23.035 --> 01:15:23.815
[SPEAKER_00]: Nothing is working.
01:15:25.775 --> 01:15:32.037
[SPEAKER_00]: And apparently, and there's some like, you know, the bait over how true this is, but apparently,
01:15:32.865 --> 01:15:45.893
[SPEAKER_00]: At some point, they decided to enlist a Mafia hitman named Greg Scarpa to come down to the south and do whatever the fuck it takes to solve the problem.
01:15:48.135 --> 01:15:48.855
[SPEAKER_00]: And you know what?
01:15:49.996 --> 01:15:51.517
[SPEAKER_00]: That sounds like a hell of a premise for a movie.
01:15:53.060 --> 01:16:09.339
[SPEAKER_00]: Right, and they team them up with a young FBI agent, one of the few black agents at the time that Greg Scarpa is played by Mark Wahlberg and if that revelation made you wins.
01:16:10.280 --> 01:16:20.445
[SPEAKER_00]: Yeah, he's the worst part of the movie, but the protagonist is a fictionalized version of an FBI agent and he's played by Yaya Abdul-Matteen II.
01:16:20.525 --> 01:16:21.686
[SPEAKER_00]: And that's a great actor.
01:16:22.446 --> 01:16:23.307
[SPEAKER_00]: He's awesome.
01:16:23.407 --> 01:16:24.347
[SPEAKER_01]: Yeah, I like him a lot.
01:16:24.367 --> 01:16:24.667
[SPEAKER_01]: Yeah.
01:16:24.807 --> 01:16:30.430
[SPEAKER_00]: And I've been trying to get you to watch Wonder Man because that's ultimately the well, it's a superhero show.
01:16:30.490 --> 01:16:34.792
[SPEAKER_00]: It's mostly just about out of work actors and he fucking is amazing in it.
01:16:36.631 --> 01:16:42.652
[SPEAKER_00]: So, yeah, he's playing a fictional character, fictionalized character, and he's at a crossroads.
01:16:42.752 --> 01:16:49.994
[SPEAKER_00]: He wants to be sort of a, he wants to believe in justice.
01:16:50.434 --> 01:17:02.677
[SPEAKER_00]: He joined the FBI because he wants to be part of the solution, and he wants to break through the barriers, and he wants black people to be in positions of power within law enforcement and try to change from within.
01:17:03.617 --> 01:17:04.078
[SPEAKER_00]: Noble idea.
01:17:06.420 --> 01:17:28.511
[SPEAKER_00]: but then like he'll go to a crime scene and he'll show his badge and the white cops will say I didn't see that you need to go like his power is only perceived as indeed all police power is yeah but in his case so many people are so unbelievably fucking racist
01:17:29.370 --> 01:17:36.599
[SPEAKER_00]: that they will threaten the life of an FBI agent because they know they can get away with it because they're white.
01:17:38.702 --> 01:17:41.525
[SPEAKER_00]: And this is obviously extremely demoralizing to them.
01:17:41.586 --> 01:17:47.393
[SPEAKER_00]: And then he is partnered up with a mafia hitman who has been told you can kill every need to kill.
01:17:49.117 --> 01:17:53.759
[SPEAKER_00]: You can beat anyone up, you can do whatever the fuck you do as long as the problem is solved.
01:17:53.879 --> 01:18:00.561
[SPEAKER_00]: And so he ends up like they, you know, it's sort of an original lot, a couple kind of situation.
01:18:00.821 --> 01:18:10.065
[SPEAKER_00]: And the best parts of this movie are when y'all y'all have dual meteen the second is he's had a loss.
01:18:10.145 --> 01:18:14.287
[SPEAKER_00]: Like he doesn't like he knows that what the Mark Wahlberg character is doing is wrong,
01:18:19.188 --> 01:18:22.913
[SPEAKER_00]: This is the power that has been denied him that every other FBI agent would have.
01:18:24.555 --> 01:18:29.461
[SPEAKER_00]: And he's finally allowed to, like, there's a scene where they're trying to track down who purchased a gun from this gun store.
01:18:30.603 --> 01:18:33.226
[SPEAKER_00]: And the gun store even has a sign that says white's only.
01:18:34.368 --> 01:18:40.652
[SPEAKER_00]: and y'all y'all y'all have to maintain the second character he walks in and the guy is like barely talking to him.
01:18:40.672 --> 01:18:42.833
[SPEAKER_00]: He shocks that he claims he's a police officer.
01:18:42.853 --> 01:18:47.436
[SPEAKER_00]: He's an FBI agent and Mark Walberg basically just says, you know what I'm talking to him.
01:18:47.456 --> 01:18:51.318
[SPEAKER_00]: And so he's able to beat the guy up and you can tell he's just like this is so fucking cathartic.
01:18:54.079 --> 01:18:57.741
[SPEAKER_00]: But he stops short of like really really doing any serious damage.
01:18:57.761 --> 01:19:00.023
[SPEAKER_00]: And that's when Mark Walberg says, okay, I'll do serious
01:19:04.506 --> 01:19:15.702
[SPEAKER_00]: That's the interesting part of the movie is a character who should have power has been denied power and then there's very unusual situation is able to have it in a way that makes them feel very conflicted.
01:19:17.629 --> 01:19:21.190
[SPEAKER_01]: because he likes the power, but he knows it's unethical.
01:19:21.390 --> 01:19:27.191
[SPEAKER_00]: And the audience does, too, like there's a part of me that doesn't give a shit, because I'm sorry, man.
01:19:27.832 --> 01:19:29.112
[SPEAKER_00]: This is the clan we're talking about.
01:19:29.132 --> 01:19:30.292
[SPEAKER_01]: Those are bad, yeah, that's the clan.
01:19:30.312 --> 01:19:31.052
[SPEAKER_01]: Those are bad guys.
01:19:31.192 --> 01:19:34.873
[SPEAKER_00]: Like the clan is like Nazis or zombies.
01:19:34.913 --> 01:19:38.234
[SPEAKER_00]: As far as I'm concerned in a movie, they're so unquivocal.
01:19:38.654 --> 01:19:40.435
[SPEAKER_00]: I'm sorry, unquivocable in their evil.
01:19:41.375 --> 01:19:44.716
[SPEAKER_00]: And frankly, in real life, that I don't really care.
01:19:45.476 --> 01:19:48.658
[SPEAKER_00]: like, oh no, Mark Walburn killed the clansman.
01:19:48.739 --> 01:19:53.202
[SPEAKER_00]: It's like, okay, well, we know that guy killed somebody.
01:19:53.262 --> 01:19:54.403
[SPEAKER_00]: We know he'd do it again.
01:19:54.423 --> 01:20:06.072
[SPEAKER_00]: Like, you know, I don't have my sympathies, at least as I'm watching a movie, you know, I'm, I'm on the hitman side in this particular one, you know, I can only get so mad about it.
01:20:06.612 --> 01:20:09.995
[SPEAKER_00]: So a movie is really dancing on the knife edge between being
01:20:14.137 --> 01:20:19.623
[SPEAKER_00]: because even though it's based on a true story, or allegedly true story, it's a pulpy true story.
01:20:20.023 --> 01:20:23.907
[SPEAKER_00]: And I kept watching this movie and thinking, this movie is okay.
01:20:23.987 --> 01:20:29.473
[SPEAKER_00]: It's directed by a filmmaker named, well, I want to make sure, but they're last name right, I think I'm forgetting which vowel it is.
01:20:29.553 --> 01:20:35.600
[SPEAKER_00]: elegance of Braton, I almost said Braton, it's Braton, and elegance of Braton is,
01:20:37.138 --> 01:20:38.498
[SPEAKER_00]: Like, you know, they're very talented.
01:20:38.558 --> 01:20:48.161
[SPEAKER_00]: They have a lot of very slick, smart, effective direction, but tonally, sometimes it shifts from pulpy to not pulpy, and it movie is always sure what it's going to be.
01:20:48.561 --> 01:20:53.143
[SPEAKER_00]: But as I'm watching this movie, I'm thinking to myself, this movie is just okay.
01:20:53.883 --> 01:20:55.744
[SPEAKER_00]: Like it's fine, I'm involved.
01:20:55.784 --> 01:20:56.924
[SPEAKER_00]: I think Y'all have built him in the second.
01:20:56.944 --> 01:20:58.464
[SPEAKER_00]: He's really carrying it, and he's great.
01:20:59.425 --> 01:21:02.766
[SPEAKER_00]: Um, they're the family of, um,
01:21:03.874 --> 01:21:12.420
[SPEAKER_00]: the civil rights leader who was killed in the movie, his name was Vernon Dahmer, he's played by John Carlos Esposito in the film.
01:21:12.761 --> 01:21:18.545
[SPEAKER_00]: They were apparently very unhappy with this film, they don't think it was handled very well, and I'm willing to believe them in that case.
01:21:19.950 --> 01:21:24.193
[SPEAKER_01]: But I keep thinking of myself from a sound of it, they're turning it into like Hollywood pulp.
01:21:24.413 --> 01:21:28.636
[SPEAKER_00]: A lot of it is, and they're trying not to be sometimes, but the pulp being it's kind of overwhelms it.
01:21:29.497 --> 01:21:34.060
[SPEAKER_00]: And I feel like you found a good historical anecdote, right?
01:21:34.200 --> 01:21:38.903
[SPEAKER_00]: This is where you're doing your research, reading a newspaper article, and you're like, oh shit, that's a movie.
01:21:40.184 --> 01:21:41.225
[SPEAKER_00]: We should make that movie.
01:21:41.625 --> 01:21:47.609
[SPEAKER_00]: But this is a situation where the best thing you can do if you really must make this into a movie is to fictionalize all of it.
01:21:49.215 --> 01:21:50.256
[SPEAKER_00]: just fictionalize all of it.
01:21:50.336 --> 01:21:53.779
[SPEAKER_00]: And also make it a fucking TV show.
01:21:54.620 --> 01:22:13.777
[SPEAKER_00]: If this was a show about about a black FBI agent in the 1960s, teaming up with an Italian-American mafia hitman, by the way, Mark Wahlberg, not a convincing Italian-American, but teaming up with an Italian-American hitman in the 60s to exact extra judicial justice on the clan every week.
01:22:14.277 --> 01:22:15.078
[SPEAKER_00]: I'm there.
01:22:17.067 --> 01:22:31.417
[SPEAKER_00]: I wouldn't want that show that show sounds fucking awesome so it's like it's almost good it's almost good I guess it's good but I think it's almost great and there are pieces of it that are again the leap performance is fantastic but
01:22:32.431 --> 01:22:42.015
[SPEAKER_00]: Yeah, it's just, it doesn't quite find the right consistent tone and it's frustrating because like it's like, do we want to be serious?
01:22:42.055 --> 01:22:47.617
[SPEAKER_00]: Do we want to be kind of an action revenge, you know, film and it's really
01:22:49.397 --> 01:23:01.103
[SPEAKER_01]: If it's really serious, like if it's really kind of down to earth and gritty and violent and we're really kind of focusing on the dubious ethics of this, but we're kind of like morally on the right side because you are dealing with the clan.
01:23:11.147 --> 01:23:21.235
[SPEAKER_01]: or because what you want is that violent catharsis you want to see movie violence being used to correct an actual social injustice.
01:23:22.996 --> 01:23:28.920
[SPEAKER_01]: And I think if it's too serious you're going to undercut that that need for that visceral thrill.
01:23:31.564 --> 01:23:40.089
[SPEAKER_01]: If you do all pulp, you run the risk of a disrespecting the actual people involved, especially when they're real people.
01:23:40.609 --> 01:23:51.315
[SPEAKER_01]: By turning the real deaths into movie shlock, and also you run the risk of making it into something really stupid, which I like a good stupid movie.
01:23:51.675 --> 01:23:57.919
[SPEAKER_01]: I've praised many a great stupid movie on this podcast, but if it's too stupid, that's a problem.
01:24:00.637 --> 01:24:00.857
[SPEAKER_00]: Right?
01:24:00.897 --> 01:24:09.661
[SPEAKER_00]: If we're like, oh, this movie about like a boxing match on a space station between a human and an alien is stupid and we're like, I don't care.
01:24:09.681 --> 01:24:10.241
[SPEAKER_00]: That sounds fine.
01:24:10.561 --> 01:24:16.724
[SPEAKER_00]: But once you're talking about this civil rights movement, then you're playing with fire and you're probably going to get burned.
01:24:16.884 --> 01:24:17.485
[SPEAKER_00]: Yeah.
01:24:17.505 --> 01:24:19.065
[SPEAKER_00]: Like that's a very heavy topic.
01:24:19.085 --> 01:24:20.066
[SPEAKER_00]: It's very important topic.
01:24:20.246 --> 01:24:25.908
[SPEAKER_00]: And if you were making it up, if you were telling a fictional story in that environment, you could probably get away with it more.
01:24:26.409 --> 01:24:28.109
[SPEAKER_00]: But when you're incorporating a real
01:24:32.338 --> 01:24:56.661
[SPEAKER_00]: that's probably not going to work like it's probably going to be seen at least by some as disrespectful especially if it's not like specifically about them and it's about like these like fictional fictional agents and like his like odd couple relationship with mafia hitman it's just feels like you know we're not really focusing on what was actually important about the
01:24:59.142 --> 01:25:12.028
[SPEAKER_00]: So again, I think if this was, I think the best solution for this movie, if you're going to really make tell this story about the FBI enlisting a mafia hitman to do whatever the fucking wanted to fight the clan.
01:25:14.482 --> 01:25:20.005
[SPEAKER_00]: a fucking awesome idea for a story, um, fictionalize the shit out of it.
01:25:20.125 --> 01:25:21.386
[SPEAKER_00]: I think that's the best way to go.
01:25:21.426 --> 01:25:22.927
[SPEAKER_00]: I think that would have really, really helped.
01:25:23.287 --> 01:25:24.628
[SPEAKER_00]: And then you could have gotten away with it.
01:25:24.668 --> 01:25:38.095
[SPEAKER_00]: We could have enjoyed more of the cathartic revenge violence because it's a little bit more distanced from the real life horrors that the story in the film is springing off of because it was in response to a genuine tragedy.
01:25:38.930 --> 01:25:53.318
[SPEAKER_00]: And even in a fictional context, it would be a real tragedy, but like, you know, in the fact that it was a real life tragedy adds another layer that hurts the film because the film doesn't want to be that serious.
01:25:54.679 --> 01:25:54.979
[SPEAKER_00]: Right.
01:25:55.099 --> 01:25:55.299
[SPEAKER_00]: Right.
01:25:55.319 --> 01:26:03.084
[SPEAKER_00]: Like, it's still serious, but it doesn't want to, it still wants you to be able to enjoy Mark Wahlberg beating up a plans on what the baseball bat.
01:26:04.344 --> 01:26:09.995
[SPEAKER_01]: Which, which, again, you have to be able to go woohoo and not, oh gosh, this is all, the world is just a violent.
01:26:10.075 --> 01:26:12.339
[SPEAKER_00]: And I'll say this right now, casting Mark Wilberg.
01:26:13.452 --> 01:26:21.398
[SPEAKER_00]: as the guy who beats people up because they're racist when you know the history of Mark Walburn is a choice.
01:26:22.699 --> 01:26:31.265
[SPEAKER_00]: And yeah, and it's like maybe this is him trying to kind of redeem himself for that or whatever, but like it's still is the character.
01:26:32.226 --> 01:26:40.192
[SPEAKER_00]: And I don't think it's because I don't think I can't remember anybody, you know, I would be like, I think I'm still we're all still mad at him for it, but like Jesus.
01:26:42.788 --> 01:26:58.074
[SPEAKER_01]: Yeah, the gangster character, you know, gets to go up against the clan, but is the character also racist like maybe he has no stake in this, maybe he is incredibly racist and he's just in it because he likes to beat up people.
01:27:03.356 --> 01:27:11.503
[SPEAKER_01]: Moral aspect like we're gonna hire this like total shit to do violence because he's only good at violence But he's but we're kind of wielding it for righteous cause.
01:27:11.523 --> 01:27:13.665
[SPEAKER_01]: Yeah, there's you know, it's weird tricky ethics.
01:27:13.725 --> 01:27:28.176
[SPEAKER_00]: No, it's weird And I think the movie does get into that a little bit because Walberg's character I mean he hates the clan fuck those guys And yeah, he talks about how like he doesn't and like if he thinks that the solution
01:27:29.552 --> 01:27:37.018
[SPEAKER_00]: to the civil rights issues in the country is for people of color to rise up and kill the white people.
01:27:38.139 --> 01:27:52.171
[SPEAKER_00]: And they get into a debate about that because our protagonist believes in the words of Martin Luther King and Mark Walberg's character believes in not entirely accurate interpretation of what Malcolm X said, but more along those lines.
01:27:53.071 --> 01:27:53.952
[SPEAKER_00]: And okay.
01:27:55.517 --> 01:28:00.039
[SPEAKER_00]: Like, so that makes the character a little interesting, but he's also still a white guy with privilege.
01:28:01.079 --> 01:28:17.465
[SPEAKER_00]: And he's still pretty racist, but he's racist in like a 48 hours kind of way, or something where I've got you, maybe I remember when we were that movie wrong, but like, you know, just like, he's racist, but he doesn't want to hurt anybody, he just has a bunch of racist ideas.
01:28:17.965 --> 01:28:21.687
[SPEAKER_00]: And that's not okay, but considering that all the other
01:28:27.095 --> 01:28:31.097
[SPEAKER_00]: It seems like, well, I mean, that is technically the lesser of two evils.
01:28:32.138 --> 01:28:36.280
[SPEAKER_00]: Like, I think we can all agree on that at least, but like, yeah, it's not great.
01:28:36.300 --> 01:28:42.503
[SPEAKER_00]: So like there, but that's another thing where it's like, that's a relationship you could explore week to week.
01:28:42.523 --> 01:28:45.705
[SPEAKER_00]: Like, I was remembering, and it's weird that no one talks about it, because it was a hit show.
01:28:46.725 --> 01:28:54.129
[SPEAKER_00]: I think the movie that comes to mind, like this is a burning comes to mind, but also in the heat of the night.
01:28:55.531 --> 01:29:10.602
[SPEAKER_00]: Which is another murder mystery and that and that when it's actually like a who don't it like you don't know who did it, but Great fucking movie Sidney Poidea and Rod Steiger and Rod Steiger is a racist cop
01:29:11.434 --> 01:29:26.690
[SPEAKER_00]: who's trying to solve a murder in the South and Sydney Poitya plays a black cop from the city who gets involved and I think it's the other way or I think Sydney Poitya is there to investigate the murder and Rod Stiger gets involved.
01:29:27.010 --> 01:29:29.791
[SPEAKER_00]: Well, in any case, we'll tell you what pulls him over.
01:29:29.831 --> 01:29:36.252
[SPEAKER_01]: But yeah, they team up to, yeah, they team up to solve a crime in this small racist town.
01:29:36.272 --> 01:29:39.733
[SPEAKER_00]: Yeah, yeah, we were probably remembering the set-up slightly raw, but that's the gist of it.
01:29:39.813 --> 01:29:42.534
[SPEAKER_00]: It's he's a city cop, he's a small town sheriff.
01:29:42.874 --> 01:29:52.496
[SPEAKER_00]: The small town sheriff is racist, but he's less racist than some other people, and so he's still bad, but maybe he could be a better person later.
01:29:53.276 --> 01:29:55.857
[SPEAKER_00]: And that's a great fucking movie.
01:29:57.540 --> 01:30:02.123
[SPEAKER_00]: Yeah, it led the multiple sequels and a hit TV show series.
01:30:03.004 --> 01:30:12.410
[SPEAKER_00]: Yeah, if I would start or do you fucking bunker, like it was like a hit show one Emmys it ran for like five things five season seven seasons it ran for a long time.
01:30:13.010 --> 01:30:19.234
[SPEAKER_00]: Nobody talks about it anymore and I don't know why that is, but like it was a big show and I feel like this is this should have been a show.
01:30:19.997 --> 01:30:22.399
[SPEAKER_00]: and it should have been a highly fictionalized show.
01:30:22.879 --> 01:30:23.140
[SPEAKER_00]: Yeah.
01:30:23.340 --> 01:30:26.782
[SPEAKER_00]: But anyway, it's a real mixed bag of a movie.
01:30:26.843 --> 01:30:29.485
[SPEAKER_00]: I'm not sure if the good-out weighs the bad, but there's definitely good and bad in it.
01:30:31.746 --> 01:30:32.567
[SPEAKER_00]: And that is it.
01:30:32.947 --> 01:30:35.409
[SPEAKER_00]: Let's review our films on the critically acclaimed scale.
01:30:35.510 --> 01:30:39.553
[SPEAKER_00]: As we always do, we review films on a scale of from C- to C+.
01:30:41.246 --> 01:30:43.326
[SPEAKER_00]: where a C-minus is our lowest grade.
01:30:43.607 --> 01:30:45.587
[SPEAKER_00]: These are movies that are below average.
01:30:45.607 --> 01:30:49.888
[SPEAKER_00]: We don't recommend them for one reason or another or to one degree or another of passion.
01:30:50.608 --> 01:30:56.209
[SPEAKER_00]: A C is an average movie, mixed bag or only so good overall.
01:30:56.609 --> 01:30:59.170
[SPEAKER_00]: And then a C plus is a movie we recommend.
01:30:59.190 --> 01:31:00.470
[SPEAKER_00]: We think that's above average.
01:31:00.490 --> 01:31:04.791
[SPEAKER_00]: We think it's either good or really, really great or fun or brilliant or any of those things.
01:31:06.791 --> 01:31:09.112
[SPEAKER_00]: On that note, by any means, boys in a C.
01:31:10.332 --> 01:31:16.157
[SPEAKER_00]: There are things that are really good about the AI, I don't know if it's like an Oscar performance or anything like that.
01:31:16.177 --> 01:31:20.680
[SPEAKER_00]: I don't think the movie supports it well enough for that, but he's a real good showcase for him.
01:31:21.981 --> 01:31:28.266
[SPEAKER_00]: And then the rest of the movie has a lot of problems, and I think your mile is going to vary and how far it takes you, but I don't think it's a total wash.
01:31:30.358 --> 01:31:46.926
[SPEAKER_00]: fall to dead point is a high sea, I don't think it quite captures the acrophobic terror of the original, but as like a low budget single location pot boiler, I think it does what it needs to do, and it's a reasonably good time, and I would tell someone if it was.
01:31:47.286 --> 01:31:56.230
[SPEAKER_00]: I wouldn't tell anyone who wasn't interested in that to go see it, but if that's the kind of movie you would like, this is a good example of it, and so I would say that's that's that's fitting.
01:31:56.790 --> 01:31:58.131
[SPEAKER_00]: All right, the runner.
01:32:00.208 --> 01:32:05.289
[SPEAKER_01]: The runner, this is a C-minus, this is a little, it really is the worst of the, one of the worst of the year.
01:32:06.029 --> 01:32:11.050
[SPEAKER_01]: Just in how utterly uncreative, mediocre and bland it is.
01:32:11.070 --> 01:32:16.331
[SPEAKER_01]: It takes a bland already bland premise, which needs a lot of style and personality to even work.
01:32:16.812 --> 01:32:19.132
[SPEAKER_01]: And shows you what happens when you don't have those things.
01:32:19.592 --> 01:32:25.993
[SPEAKER_01]: So it's nothing, it's just so bad and as such a terrible script, the C-minus through and through.
01:32:26.013 --> 01:32:27.834
[SPEAKER_00]: It's a huge C-minus, I think through.
01:32:29.728 --> 01:32:38.750
[SPEAKER_00]: It's might be the worst major release of the year that is bad not because it is heartless in some way.
01:32:39.750 --> 01:32:42.050
[SPEAKER_01]: Like there's like there's not based on a bad idea.
01:32:42.070 --> 01:32:44.931
[SPEAKER_01]: It's just yeah poorly put together.
01:32:44.971 --> 01:32:46.311
[SPEAKER_00]: It's not it's not racist.
01:32:46.391 --> 01:32:47.411
[SPEAKER_00]: It's not sexes.
01:32:47.491 --> 01:32:48.391
[SPEAKER_00]: It just sucks.
01:32:48.951 --> 01:32:52.172
[SPEAKER_00]: It can suck without a matter of principle behind it.
01:32:52.192 --> 01:32:53.892
[SPEAKER_00]: It's just really badly constructed.
01:32:53.912 --> 01:32:55.132
[SPEAKER_00]: So yeah, it's a big sea mine.
01:32:55.833 --> 01:32:58.233
[SPEAKER_00]: And then lastly, I think we're going to disagree on this one on slot.
01:33:00.145 --> 01:33:02.367
[SPEAKER_01]: On slot I'm gonna give a high seed on slot.
01:33:02.407 --> 01:33:08.171
[SPEAKER_01]: It's not quite because we talked about all of the problems It it it's not it doesn't go quite as crazy.
01:33:08.231 --> 01:33:11.954
[SPEAKER_01]: It doesn't have like as tight as script as I would have liked But I did like the killers.
01:33:12.094 --> 01:33:14.777
[SPEAKER_01]: I thought it was actually scary as I'm really high energy.
01:33:14.797 --> 01:33:24.224
[SPEAKER_01]: I liked the main characters Like just the central figures and yeah, but I left having a good time So yeah, I'm gonna give it a a see high sea
01:33:24.748 --> 01:33:29.031
[SPEAKER_00]: Um, I'm going to give it, um, I'm going to give it a high sea minus.
01:33:29.271 --> 01:33:37.777
[SPEAKER_00]: I think, uh, there, there's the few things I like about it, but I think overall it feels like a lot of build up to pretty big let down.
01:33:38.695 --> 01:33:51.570
[SPEAKER_00]: Um, and I feel like there's the ideas were explored better in a previous film that was very very similar, specifically the guest and the sort of visceral genre thrills don't compensate for it.
01:33:51.610 --> 01:33:52.230
[SPEAKER_00]: I will say this.
01:33:52.250 --> 01:33:54.753
[SPEAKER_00]: I think Argera Hania is a really good lead.
01:33:55.714 --> 01:34:03.457
[SPEAKER_00]: and I wish the movie had given her more to work with or even just more action to do because I would want to see that.
01:34:03.477 --> 01:34:05.237
[SPEAKER_00]: I think she's casting her was great.
01:34:06.158 --> 01:34:10.599
[SPEAKER_00]: But I don't think the actual storytelling was particularly interesting.
01:34:10.619 --> 01:34:13.180
[SPEAKER_00]: You're exciting, even at a cheesy low budget beam of view.
01:34:15.114 --> 01:34:16.276
[SPEAKER_00]: Yeah, that's not terrible.
01:34:16.316 --> 01:34:18.780
[SPEAKER_00]: It's not going to make my worst of the year list or anything like that.
01:34:18.800 --> 01:34:19.782
[SPEAKER_00]: I just don't think it really works.
01:34:20.102 --> 01:34:20.343
[SPEAKER_01]: Yeah.
01:34:20.643 --> 01:34:21.224
[SPEAKER_00]: Um, all right.
01:34:21.244 --> 01:34:23.468
[SPEAKER_00]: That's it for critically claimed.
01:34:23.508 --> 01:34:24.429
[SPEAKER_00]: Thank you for joining us.
01:34:25.190 --> 01:34:27.895
[SPEAKER_00]: We'll be back next week with reviews of runner.
01:34:29.878 --> 01:34:38.110
[SPEAKER_00]: The other film, this is the one that starts Alan Richson and Owen Wilson, as they race against the clock to save a child's life.
01:34:40.414 --> 01:34:41.095
[SPEAKER_00]: Well, it's coming next week.
01:34:41.115 --> 01:34:42.717
[SPEAKER_00]: You got the documentary Black Zombie.
01:34:43.078 --> 01:34:43.558
[SPEAKER_00]: It's coming out.
01:34:43.618 --> 01:34:44.740
[SPEAKER_00]: Oh, practical magic too.
01:34:45.040 --> 01:34:46.042
[SPEAKER_00]: It's coming out this week.
01:34:46.102 --> 01:34:58.640
[SPEAKER_01]: We're talking about practical magic too, we got, we got a couple, there's a big, a big, big action picture called Hope, we'll be talking about, yeah, and we're in film from the director of the wailing, and
01:35:01.124 --> 01:35:17.058
[SPEAKER_00]: Yeah, and also, if you haven't checked the latest podcast on our feed before this, was a preview of a new Patreon exclusive podcast that we have called Episode P. It is a podcast in which Whitney and I review the pilot episodes for popular shows that we never watched.
01:35:18.228 --> 01:35:22.872
[SPEAKER_01]: and the first episode is that we're we're we're banking on our ignorance this time rather than our knowledge.
01:35:22.892 --> 01:35:38.784
[SPEAKER_00]: There's just too much TV and I don't care how much you love TV everyone's got some big TV shows they never saw or at least call TV shows they never saw and so we're movie guys we've watched a lot of TV but there's a lot of TV we missed and this gives us an opportunity to dip our toe in the water or something without
01:35:39.845 --> 01:35:41.326
[SPEAKER_00]: You know, committing to reviewing 100 episodes.
01:35:41.346 --> 01:35:53.015
[SPEAKER_00]: So the first episode of episode B is about Dr. Quinn, medicine woman, a very long running feminist Western that ran in the mid 90s and early mid 90s, I guess.
01:35:53.275 --> 01:35:55.537
[SPEAKER_00]: And that was very, very exciting.
01:35:55.557 --> 01:35:56.497
[SPEAKER_00]: It's a fun episode.
01:35:56.517 --> 01:35:57.298
[SPEAKER_00]: We hope you enjoyed it.
01:35:57.318 --> 01:36:01.681
[SPEAKER_00]: And if you want to listen to more, they're going to come out by weekly exclusively to our Patreon page at the $5 tier.
01:36:03.082 --> 01:36:15.593
[SPEAKER_00]: The next episode is going to be about Adam 12, but we also have episodes coming up for shows in a variety of different genres, some of which are from very very popular series, some of you are first talking about them.
01:36:16.093 --> 01:36:24.140
[SPEAKER_00]: And stick around from the latest three because we might be reviewing another new idea for a podcast that will do on a regular summer regular basis.
01:36:24.840 --> 01:36:30.225
[SPEAKER_00]: And I don't want to jinx that by announcing it too early, just in case it doesn't come together,
01:36:32.507 --> 01:36:44.539
[SPEAKER_00]: And, of course, if you want to talk about anything we discussed on this episode, do you have any questions you want to ask me or Whitney about something relevant, something irrelevant, something about us, our lives, the industry, films, movie recommendations.
01:36:45.861 --> 01:36:50.125
[SPEAKER_00]: Whatever, our email address is letters that critically claimed.net.
01:36:50.205 --> 01:36:54.830
[SPEAKER_00]: We might reach your email on an upcoming episode of We've Got Mail with me, what is our PO Box?
01:36:56.450 --> 01:37:21.595
[SPEAKER_00]: send us a physical letter if you like send us a postcard send us an envelope full of chili to the critically claims network PO box 641565 Los Angeles, California, nine double of 64 and yeah and our patreon is patreon.com slash critically acclaimed network if you want to subscribe to episode B we also have a lot of other exclusive shows there we have a Star Trek show our Oscars show we haven't released a newsletter in a little bit because
01:37:24.207 --> 01:37:41.902
[SPEAKER_00]: It should probably be out if not by the time this episode goes live and shortly afterwards And that is free if you can't afford to subscribe to the Patreon you can't subscribe for free and at least get access to Original writing and links to our latest work That's right, so thank you everybody who subscribers we couldn't do this without you.
01:37:41.962 --> 01:37:46.466
[SPEAKER_00]: We wouldn't want to do this without you and It means a lot to us that you support the show
01:37:47.594 --> 01:37:49.497
[SPEAKER_00]: Uh, and that is it for critically acclaimed.
01:37:49.537 --> 01:37:53.163
[SPEAKER_00]: Thank you everybody for listening and never forget everyone.
01:37:54.745 --> 01:37:55.306
[SPEAKER_00]: Is a critic.
01:37:56.749 --> 01:38:00.074
[SPEAKER_01]: I want to go to the Midnight Show.
01:38:00.875 --> 01:38:01.717
[SPEAKER_01]: I'm sorry I wet.