Critically Acclaimed #399 | Practical Magic 2, Hope, The Uprising, Black Zombie, Runner, The Fix

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[SPEAKER_01]: Hello everybody and welcome back to critically acclaimed the movie review podcast where we have One explosion sound effect But boy howdy was that good.
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[SPEAKER_01]: I mean we've gotten a lot of you out of it.
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[SPEAKER_01]: My name is William Bibbiani I am a film critic guy right for the rap and everybody calls me bibbs.
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[SPEAKER_00]: My name is Whitney Sybold I too am a film critic.
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[SPEAKER_00]: I contribute to slash film
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[SPEAKER_01]: uh... and you can call me anything like late for dinner and i have had this podcast for three hundred ninety nine episodes and uh... for three hundred nine episode we will be reviewing practical magic to uh... the the sequel
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[SPEAKER_01]: Uh, to grab it, I was gonna come up with a funny title, he didn't beat me to it, he beat me to it.
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[SPEAKER_01]: I was thinking Eddie Murphy Raw.
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[SPEAKER_01]: I don't know why, this was the first thing that popped in my ass.
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[SPEAKER_01]: The sequel to Eddie Murphy's Raw.
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[SPEAKER_01]: Yeah, we've also got the new Korean sci-fi action movie, Hope.
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[SPEAKER_01]: The Paul Greengrass Medieval War Epic, the Uprising, starring Andrew Garfield, the new documentary Black Zombie about the real-life tradition that inspired the movie version of the zombie that we all know and have largely misunderstood.
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[SPEAKER_01]: The new Alan Richson Owen Wilson Buddy Action Movie Runner, not to be confused with the runners starring Gal Gadda, which opened last week.
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[SPEAKER_01]: We reviewed that one last week.
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[SPEAKER_01]: And then finally we've got Zachary Levi and Liam Neeson in the fix where they rob Iran and it's and I love that the trailer is advertised this 911 like this is like our holiday picture and oh my god And we can have to talk about that movie.
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[SPEAKER_01]: Just fucking crazy.
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[SPEAKER_00]: Wait a minute.
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[SPEAKER_00]: It's not January
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[SPEAKER_01]: Um, remember they did have a thing where like January had like one big pro war movie There was there was the big war picture.
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[SPEAKER_00]: It was like lone survivor.
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[SPEAKER_01]: I think was a January really lone survivor Valor was January really American sniper was technically Christmas release But only went wide in January.
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[SPEAKER_01]: There was that one with Chris Hemsworth and the horse
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[SPEAKER_01]: I remember the horse he had a horse and it was like horse He was like wields the horse back to life or something in the middle of a battle at the end Where to fuck this is true.
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[SPEAKER_01]: I swear this this is I got I do not remember the name of this maybe for the life of this is eyes glow It was like hands like Seven strong or something Oh, I think I know what you mean.
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[SPEAKER_01]: I didn't see that one
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[SPEAKER_00]: Yeah, there were were were pictures and 12 strong.
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[SPEAKER_00]: I was 12 strong your five lives.
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[SPEAKER_00]: Yeah
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[SPEAKER_00]: You must be at the five strong in between.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: There was the war, like the very Jingoistic war pictures came out in January and then there was the exorcism thrillers.
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[SPEAKER_00]: They're always like demonic thrillers.
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[SPEAKER_00]: Also came out in January.
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[SPEAKER_01]: Yeah, yeah.
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[SPEAKER_00]: And then maybe your other country and then and then sequels to either resident evil or underworld or escape was escape room.
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[SPEAKER_00]: Escape.
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[SPEAKER_00]: What was it?
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[SPEAKER_00]: Was it from two?
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[SPEAKER_00]: Both came out in January.
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[SPEAKER_01]: First week in a January memory.
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[SPEAKER_01]: So it's good times.
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[SPEAKER_01]: Good.
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[SPEAKER_00]: So this is not January.
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[SPEAKER_00]: This is late September.
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[SPEAKER_00]: Which is kind of the same.
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[SPEAKER_01]: It's actually early September.
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[SPEAKER_01]: We're recording this on September 13.
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[SPEAKER_01]: So we're talking about movies that open a couple of days.
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[SPEAKER_00]: Time is a flat circle.
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[SPEAKER_01]: Time does not fucking exist.
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[SPEAKER_00]: Okay, so point being this is not a great time for high quality releases when struggling through a little bit as we've talked about a lot, you know, critics seem to associate January with bad movies because
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[SPEAKER_01]: Most people are watching all of the big sort of Oscar hopefuls that opened and limited release in November and December That then get put into wide release in January and then the critics are stuck with the track that studios are releasing new engines We've already seen the big stuff and see it was like to put out just some some low effort genre films occasionally Really good movie comes out.
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[SPEAKER_01]: It's not like that's on a herd of but they don't usually aim for it to come out in January And it used to be the September was the same way
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[SPEAKER_01]: because the summer release has worked.
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[SPEAKER_01]: Summer's over.
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[SPEAKER_01]: Labor Day weekend is actually in the notoriously, at least historically, low-grossing weekend at the box office.
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[SPEAKER_01]: And I think that's less true now that it has been in the past, but when I was growing up, that was definitely the case.
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[SPEAKER_01]: And it was just generally seen as September as a time for studios to get some stuff out of the way before the big awards push.
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[SPEAKER_01]: It's also worth noting that right now, as we speak, they're like multiple film festivals.
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[SPEAKER_01]: going on that are kick-starting the Oscar season, like the Toronto International Film Festival, like the Venice Film Festival, that's telly ride.
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[SPEAKER_01]: We've got the London Film Festival coming up, the New York Film Festival is coming up.
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[SPEAKER_01]: AFI is coming up.
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[SPEAKER_01]: So right now, it's also a moment when a lot of the publicists are really busy and we do get a lot of stuff that doesn't seem like it's going to be a huge or the very least it's going to be a pretty simple slam dunk.
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[SPEAKER_01]: And so we did get a really big sequel.
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[SPEAKER_01]: It is a legacy sequel.
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[SPEAKER_01]: It's a movie that a lot of people want it.
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[SPEAKER_01]: Eventually and I think so this is a we're gonna review practical magic to and I didn't see it But I was a fan practical magic.
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[SPEAKER_01]: I remember practical magic came out started Sandra Bullock and Nicole Kidman as sisters Who live in a small town their ants were played by stalker chaining and Diane we used that's right And everyone every woman in their family there was a curse on them and any man they fell in love with what it inevitably died
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[SPEAKER_01]: which is true for truly every human being, but they mean like soon and badly.
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[SPEAKER_00]: They also don't address what would happen if one of the Owen's sisters was queer.
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[SPEAKER_00]: Yeah, or fell out of love.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: With that count?
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[SPEAKER_00]: I don't know.
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[SPEAKER_00]: No, you fall in love, that's it.
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[SPEAKER_01]: Yeah, basically.
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[SPEAKER_01]: You can fall out of love, it still doesn't matter.
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[SPEAKER_01]: No, rough.
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[SPEAKER_01]: And that was an interesting movie, the original practical magic, was directed by Griffin Dunn, and the tone was odd, because if you watched the trailer,
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[SPEAKER_01]: It was absolutely a girl power trough.
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[SPEAKER_01]: Yeah, well, I don't know about frost, but it was very, it looked like it was very light, it was very light for farming, it was very empowering, uh, there was the mid-a-big point about even in the trailer, Sandra Bullock's character was uncomfortable admitting that she was a witch and then at some point in the movie, she tells all of her neighbors and someone calls her neighbors and says she just came out.
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[SPEAKER_01]: And it's like, we were not being subtle about the metaphor, uh,
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[SPEAKER_01]: And we were all just sort of fine with that.
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[SPEAKER_01]: And I think the movie, the kind of okay in theaters it was in huge, but it just stuck around everyone like the premise, everyone likes the cast.
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[SPEAKER_01]: And everyone likes the cast.
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[SPEAKER_01]: Real happy cast.
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[SPEAKER_01]: It's a very good cast.
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[SPEAKER_00]: Sandra Bullock and Nicole Kidman were kind of at the height of their powers.
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[SPEAKER_00]: It's kind of unusual that practical magic wasn't a gigantic hit when it first came out.
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[SPEAKER_00]: I remember it, it's a kind of broke even.
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[SPEAKER_00]: I recall it being bigger than it actually was, because this was the late 90s.
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[SPEAKER_00]: This was when I was just voracious late.
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[SPEAKER_00]: Okay, it cost about 60 to 75 million and it made a little under 100, which is not a huge hit, but it okay.
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[SPEAKER_00]: All right, that's okay.
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[SPEAKER_00]: I saw this movie twice in theaters without trying like this was just the time when I was going to see anything and friends would meet me at the theater where I was working and we just see whatever was playing at the time.
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[SPEAKER_00]: Well, I was still in high school and almost all of my friends were girls or gay whether or not they'd come out yet and it was just a movie that everyone saw everyone knew had seen it and if not love that at least like that.
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[SPEAKER_00]: And you did say it has a weird tone because even though the previews were very life-affirming there's actually a whole the whole plot of the movie is uh and the cold kidman is fallen in with an abusive boyfriend and they have to team up to murder him yes and bury him in the rose garden and then they uncover it up and then they accidentally cast the spell that like brings him to life as a homicidal zombie it's a huge tonal shift that constantly throughout that movie uh it's
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[SPEAKER_00]: the reason people remember it is, uh, make it sandy.
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[SPEAKER_00]: They're just having a great all time.
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[SPEAKER_01]: Oh, Nick and Sandy.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: He said, Nick and Sandy.
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[SPEAKER_01]: And like, that's a director's guy.
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[SPEAKER_01]: I was unaware, right?
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[SPEAKER_00]: Nicole and Nicole and Nicole and Nicole and Nicole.
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[SPEAKER_01]: Yeah.
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[SPEAKER_00]: And, and Stockard Channing and Diane Weast, uh, just sort of hangin' out.
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[SPEAKER_00]: There's a scene where, uh, the two sisters are sort of in, they're up late and they're talking and bad and talking about their,
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[SPEAKER_00]: romantic prospects and they hear their ants stirring downstairs and they say oh boy you know what that means it's time for midnight margaritas and there's an entire MTV lift-out sequence they didn't they didn't put the little uh music video kyron and the lower left-hand corner but they could have no you could wear just take that scene put it on MTV yeah but where they're they're drinking margaritas uh to Harry
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[SPEAKER_01]: yeah which but the lime in the coconut put them both together which i think is a little bit of a cheat cuz uh reservoir dogs kind of ruin that song for me i mean this was a time when a lot of those songs are being repropriated it's a post-cell yeah there's was also a time in the nineties when a lot of movies especially movies aimed at women audiences
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[SPEAKER_01]: For whatever reason, had a scene where multiple characters, lip synced or sang to a popular song, often while using a hairbrush or other common household implement as a makeshift microphone.
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[SPEAKER_00]: I think it speaks to the way music I'll play it a bigger role in our lives back in the day.
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[SPEAKER_00]: There's an essay in that wasn't just necessarily a movie trend.
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[SPEAKER_00]: I think that's what people were just sort of doing at the time They were listening to pop music more often.
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[SPEAKER_01]: I'm trying to get movies remember that happening It definitely happened in step-step-mom as a big one Technically the ending of first-wives club is kind of that the movie just kind of stops and I do musical number and that's over
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[SPEAKER_01]: Which one has a list of its shoe lip syncing to and then it kissed me was that adventurous and baby That was it that predates it that was also because that was also part of the early trend because that was also an end-risky business Yeah, and fair spieler They're using a lot of Motown and 60 cents because that John Hughes was all over that in the teen sort of world was all of fuckin Pretty in pink with ducky and
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[SPEAKER_01]: Oh, what the hell song does he lip sync to in the in the record store that makes everyone fall in love with them Try a little tenderness great fucking bet that scene can work great, but every once in a while feels really
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[SPEAKER_00]: They're not really lip-sinking to coconut in the original.
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[SPEAKER_00]: They're just sort of dancing along to it.
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[SPEAKER_00]: But you know people are watching this movie thinking, I want to go home and do that.
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[SPEAKER_00]: And I think it's that scene that inspired its cultural tenacity.
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[SPEAKER_00]: That's why we can kind of like people started watching it as a sleepover movie.
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[SPEAKER_00]: It's like, this scene that's immense the movie is kind of a good hang out.
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[SPEAKER_00]: The part of the first movie is that
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[SPEAKER_00]: they know that if they fall in love with a man he's going to die so when she's still a girl the center bullet character cast a spell to attract somebody who didn't exist something like this unpassively perfect person he sits backwards on a horse and his eyes are two different colors and when she know it she runs into character play by Eden Quinn yeah and he fits all those descriptors yeah it actually worked everyone
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[SPEAKER_00]: him and Tom Behringer should have like had a how to movie where they they ran toward each other and just smashed into one being I wouldn't find if they just made out but all right yeah that's fine but that would also work yeah yeah anyway years later it's it's been 25 years and he and he in the span of the movie first one was longer than first one is 98 so it's been a couple of months all right so this is taking place
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[SPEAKER_00]: Not like 2023 that a bit well, it's a little hazy cuz if and Rachel would play as a like an 11 year old character in the original Yeah, and she's played by Joey King that character and this one and she's only like 25.
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[SPEAKER_00]: Oh Or maybe she's 27.
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[SPEAKER_00]: Okay, so we're really the timing doesn't quite play.
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[SPEAKER_00]: But also whatever it doesn't quite care Yeah, it's not a huge deal 8 in Quinn is now played by a tombstone and Didn't escape the curse
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[SPEAKER_00]: And it's a fake looking tombstone.
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[SPEAKER_00]: I love fake tombstones and movies just because I like corny special effects, but the the cemetery They visit does look really false like it's a Not Edward levels, but it doesn't look real and so she has the center bullet character Sally Owens, one of the Owens, but
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[SPEAKER_00]: Yeah, Sally Owens, Sally Owens is now just trying to raise her two daughters once played by Joey King the others played by Misi Williams, who became famous on Game of Thrones Yeah, I don't know why they hired Misi Williams.
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[SPEAKER_00]: She has nothing to do But wouldn't you know it the Joey King characters now old enough to fall in love with herself, but
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[SPEAKER_00]: Sandra Bullock has held from the held effects that their witches from her daughters and you're kind of born with witch powers it's like in the Harry Potter universe where you're just are you're born with magic in you you don't necessarily have to learn it yeah it's all in your it's all in your good genetics so uh don't get me started yeah she's fallen loved with uh
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[SPEAKER_00]: Oh show show no matter when ya love that guy.
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[SPEAKER_00]: I'm so glad I got him in the big roll Yeah, show no matter who do I need is is he's got like Charm for eight moves.
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[SPEAKER_00]: Oh, yeah, and he plays Perfect boyfriend.
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[SPEAKER_00]: He's like he's like flawless rescue stud care.
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[SPEAKER_00]: I'm in he's just like I've brought you flowers It's a good thing that I'm so in love with you.
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[SPEAKER_00]: I don't know if I love you.
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[SPEAKER_00]: That's okay.
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[SPEAKER_00]: I'll wait
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[SPEAKER_00]: He's like perfect super charming boy and they're actually as one incredibly Emotionally genuine very sweet scene where she admits that she kind of accidentally says that she's in love with him.
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[SPEAKER_00]: Oh, no Like she's like they run off to the heart like to the place where she stanges back in town to celebrate
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[SPEAKER_00]: Dian, we used to birthday and they run off to Convigate at a little hotel room and afterwards you kind of rolls over and just says I love you I mean, they like snap around like look each other in the eyes and they're terrified That's actually what because he knows too.
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[SPEAKER_00]: Well, they now they kind of know it about each other.
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[SPEAKER_00]: It's like, oh, now we
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[SPEAKER_00]: like it's really kind of a serious moment and then they kind of grand and start hugging.
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[SPEAKER_01]: Okay, well, my point is that he thinks it's a big serious moment.
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[SPEAKER_01]: She knows he could die.
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[SPEAKER_01]: No, she doesn't know that yet.
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[SPEAKER_01]: Oh, she doesn't know that.
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[SPEAKER_01]: No, no, no.
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[SPEAKER_01]: I kind of thought that was like, that's something I think you should tell your daughter.
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[SPEAKER_00]: Well, that's then this is where a lot of the crux of the drama comes in, you say.
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[SPEAKER_00]: Oh, no.
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[SPEAKER_00]: Because she heard all the rumors around town, you guys are witches, you guys are cursed by the mom and not mom never talked about it.
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[SPEAKER_00]: Anthony Cole, Kidman never talked about it.
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[SPEAKER_01]: That's just irresponsible.
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[SPEAKER_00]: And so, but of course, wouldn't you know it?
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[SPEAKER_00]: Final Destination style, as you've e-mose him down on a bike, like he goes out to get breakfast and gets hit by a car.
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[SPEAKER_00]: And no, it doesn't kill him.
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[SPEAKER_00]: He's only in a coma, so we get to save him.
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[SPEAKER_01]: Sandra Bullock is great experience with guys in coma.
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[SPEAKER_00]: That's right.
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[SPEAKER_00]: When did you save me?
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[SPEAKER_00]: It was a while while I was cursed.
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[SPEAKER_00]: And also, there's a little bit of tragedy because the Diana Weast character, one of the ants, she and stalker chanting are still around there, living in the same house.
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[SPEAKER_00]: She has been followed by a little beetle when that happens, it means you're going to die like within a week.
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[SPEAKER_00]: Oh, that's unfortunate.
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[SPEAKER_00]: To which lore.
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[SPEAKER_00]: So she knows she's going to die.
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[SPEAKER_00]: They're going to celebrate her birthday.
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[SPEAKER_00]: And they just kill the blue beetle.
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[SPEAKER_01]: By the way, I'm going to come.
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[SPEAKER_01]: I'm sorry.
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[SPEAKER_00]: Yeah.
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[SPEAKER_01]: The beetle.
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[SPEAKER_01]: That's why.
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[SPEAKER_01]: Oh, there's all these beetles in this movie.
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[SPEAKER_01]: It really makes sense.
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[SPEAKER_01]: Well, it's all coming together.
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[SPEAKER_01]: Aiden Quinn played one of the beetles in a TV movie.
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[SPEAKER_01]: Did he really?
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[SPEAKER_01]: Yeah, no, it was, it was called two of us.
16:09.858 --> 16:13.321
[SPEAKER_01]: And it was about the last day the John Lennon and Paul McCartney spent together.
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[SPEAKER_01]: Oh, it was pretty good.
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[SPEAKER_01]: I haven't seen it since it came out, but I remember liking it, okay.
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[SPEAKER_01]: Okay, I think it's a 99% sure that was it.
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[SPEAKER_01]: You play John, I think he played John.
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[SPEAKER_01]: There's the one thing I remember from two of us, let's see here.
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[SPEAKER_01]: Yeah, it was Jared Harris and Aden Quinn.
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[SPEAKER_01]: Jared Harris and Aden Quinn.
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[SPEAKER_01]: Aden and Aden Quinn played Paul McCartney.
16:34.790 --> 16:35.791
[SPEAKER_01]: Wow.
16:36.351 --> 16:37.952
[SPEAKER_01]: And it's really, really cute.
16:38.052 --> 16:44.717
[SPEAKER_01]: The two scenes I remember very distinctly was there's a scene where they both wanted, the first part of the movie is they're both in John's apartment.
16:45.177 --> 16:47.699
[SPEAKER_01]: And then they're like, we want to go out, but we're the Beatles.
16:48.259 --> 16:50.181
[SPEAKER_01]: People will, you know, be weird about it.
16:50.201 --> 16:51.221
[SPEAKER_01]: So we have to put on the skies.
16:51.261 --> 16:54.344
[SPEAKER_01]: And John says, don't worry, I have plenty of disguises.
16:54.384 --> 16:56.125
[SPEAKER_01]: And they both go out dressed like Ringo.
16:57.482 --> 16:58.342
[SPEAKER_00]: Which is really funny.
16:58.482 --> 16:59.222
[SPEAKER_00]: That's a door.
16:59.242 --> 17:00.263
[SPEAKER_01]: That's a really really funny.
17:00.363 --> 17:15.486
[SPEAKER_01]: And then the ended with apparently a Legitly true story where I think it was Legitly true where there was an episode of Sarah in that live We're Lauren Michaels offered to pay the beetles to get back together But he offered them like a hundred bucks.
17:15.506 --> 17:16.146
[SPEAKER_01]: That was a joke.
17:16.486 --> 17:23.748
[SPEAKER_01]: Yeah, but the gag was John and Paul were down the street And they almost like ran out and go there right then
17:23.948 --> 17:24.549
[SPEAKER_01]: Oh, that's funny.
17:24.609 --> 17:27.214
[SPEAKER_01]: But then it didn't happen, and it's like that's really cute.
17:27.234 --> 17:28.236
[SPEAKER_01]: So I remember like the movie was cute.
17:28.496 --> 17:28.677
[SPEAKER_01]: Yeah.
17:30.027 --> 17:33.269
[SPEAKER_00]: Uh, the Beatles aren't in practical magic too.
17:33.329 --> 17:34.150
[SPEAKER_01]: Just Beatles.
17:34.190 --> 17:35.171
[SPEAKER_00]: Just regular old.
17:35.191 --> 17:35.711
[SPEAKER_00]: Just repeat.
17:35.731 --> 17:39.793
[SPEAKER_00]: Well, Death Beatles, the Death Beatles, the Death Beatles, the Death Beatles, that means somebody's going to die.
17:39.834 --> 17:41.334
[SPEAKER_00]: And Diane, he knows she's going to die.
17:41.835 --> 17:42.575
[SPEAKER_00]: Diane weasts.
17:42.875 --> 17:46.118
[SPEAKER_00]: I wish this is called Practical Magic to colon the Death Beatles.
17:46.178 --> 17:46.978
[SPEAKER_00]: The Death Beatles.
17:46.998 --> 17:48.439
[SPEAKER_00]: The Deaths, I'm like a jealous.
17:50.120 --> 17:51.521
[SPEAKER_01]: So it's a good gel, I don't want to watch that.
17:51.921 --> 17:53.923
[SPEAKER_00]: The Death Beatles, my uncle, my uncle.
17:55.481 --> 17:56.702
[SPEAKER_00]: Dr. Bailluchiel Fulchie.
17:57.682 --> 18:06.588
[SPEAKER_00]: Sorry, I keep the rally nearby, but... Luckily, in one of the opening scenes of the movie, we learned that the Dianne least character found the Necronomicon in a library.
18:07.105 --> 18:18.438
[SPEAKER_00]: Yeah, actually, it's a little tiny kind of paper source brand version of the Nicard Amacon, it's like a little mass market paper Yeah, it's like a little tiny red one that you can fit in your pocket.
18:18.778 --> 18:27.007
[SPEAKER_00]: It's so convenient I think of the Nicard Amacon, I think of this gigantic hefty tone right latch on it They got a like a little bit of a big we know where it was
18:27.918 --> 18:29.078
[SPEAKER_00]: Everyone's always like, where is it?
18:29.118 --> 18:30.339
[SPEAKER_00]: You harder to hide, I suppose.
18:30.359 --> 18:30.919
[SPEAKER_00]: Exactly.
18:30.939 --> 18:34.260
[SPEAKER_00]: Yeah, this one, it's just tucked behind some other books in a library.
18:34.280 --> 18:34.800
[SPEAKER_00]: That's how we enjoy it.
18:34.820 --> 18:36.200
[SPEAKER_01]: That's how you lose it at the library.
18:36.800 --> 18:37.040
[SPEAKER_01]: Joey?
18:37.060 --> 18:37.941
[SPEAKER_01]: I hate it when you do that.
18:37.981 --> 18:41.702
[SPEAKER_00]: When Joey King's boyfriend is in a coma, she confronts her mom.
18:41.722 --> 18:42.342
[SPEAKER_00]: Hey, are we rich?
18:42.422 --> 18:44.022
[SPEAKER_00]: She's like, ah, yeah, I guess we are.
18:44.322 --> 18:45.042
[SPEAKER_00]: She's like, well, great.
18:45.062 --> 18:47.703
[SPEAKER_00]: I'm going to take this Necronome icon and go to England where the curse started.
18:48.043 --> 18:51.364
[SPEAKER_00]: Oh, and the entire second half of the movies an entirely different movie.
18:51.744 --> 18:59.316
[SPEAKER_00]: All right, we're checking around England and Oh, I wrote trip and Center Bulletin to Cole Kidman Chatter constantly.
18:59.556 --> 19:01.619
[SPEAKER_01]: Yay constantly.
19:01.659 --> 19:02.661
[SPEAKER_01]: That's my fault.
19:03.834 --> 19:06.515
[SPEAKER_01]: Not like this, you know, not like this.
19:06.555 --> 19:09.336
[SPEAKER_00]: This is not like Robert Altman people talking over each other.
19:09.356 --> 19:13.358
[SPEAKER_00]: This is two actresses who haven't found their chemistry back.
19:13.478 --> 19:14.018
[SPEAKER_00]: Yes.
19:14.198 --> 19:15.698
[SPEAKER_00]: And they're just sort of whining a lot.
19:15.738 --> 19:16.939
[SPEAKER_00]: And it's so obnoxious.
19:17.339 --> 19:20.980
[SPEAKER_00]: They need to find a warlock played by Lee Pace.
19:21.020 --> 19:22.461
[SPEAKER_00]: He's introduced lace in the late in the movie.
19:22.481 --> 19:26.642
[SPEAKER_00]: And he's another flawless rescue stud who's there to charm, Sandra Bullock.
19:26.662 --> 19:27.803
[SPEAKER_00]: I love Lee Pace.
19:27.883 --> 19:29.603
[SPEAKER_00]: Oh, he's a dash handsome.
19:29.623 --> 19:29.884
[SPEAKER_00]: Yeah.
19:31.284 --> 19:49.543
[SPEAKER_00]: And there's a this ancillary character who starts explaining things about like broken lineages and the climax of the movie is people like hurling spells at each other over flaming pentagrams and getting stabbed with cursed knitting needles and and it's just complete idiocy.
19:50.284 --> 19:51.525
[SPEAKER_00]: Yeah.
19:52.947 --> 20:00.871
[SPEAKER_00]: While all that is happening, we keep on cutting back to Blue Beetle and Akoma, and Maisie Williams at Stalker Channing, two good famous actresses.
20:01.151 --> 20:01.371
[SPEAKER_00]: Yeah.
20:02.332 --> 20:04.293
[SPEAKER_00]: Doing silly things.
20:04.433 --> 20:07.174
[SPEAKER_00]: Okay, we'll protect Tim, we'll sprinkle a riser out.
20:07.234 --> 20:08.635
[SPEAKER_00]: It's not funny.
20:08.915 --> 20:10.016
[SPEAKER_00]: It's awful.
20:10.556 --> 20:15.578
[SPEAKER_00]: It's like they needed something for these characters to do, and that's the worst kind of padding.
20:15.598 --> 20:17.780
[SPEAKER_00]: When you realize you have a great actor or actress,
20:19.682 --> 20:21.763
[SPEAKER_00]: want to make use of what you've paid.
20:22.363 --> 20:25.123
[SPEAKER_00]: So you just sort of write extra scenes where they're just kind of doing shit.
20:25.903 --> 20:26.103
[SPEAKER_00]: Right.
20:26.564 --> 20:29.064
[SPEAKER_00]: Yeah, those scenes don't add to the movie.
20:29.084 --> 20:32.845
[SPEAKER_00]: They just kind of pat it out and it just reminds you that these two people are in the movie.
20:34.345 --> 20:36.526
[SPEAKER_01]: I mean, this happens when your cast gets too big sometimes.
20:36.546 --> 20:36.726
[SPEAKER_01]: No.
20:36.746 --> 20:38.766
[SPEAKER_01]: We struggle to find a thing for people to do.
20:39.126 --> 20:45.708
[SPEAKER_00]: But everybody's weighed in to to know if there's another midnight margarita scene and there is.
20:45.868 --> 20:46.008
[SPEAKER_01]: Oh,
20:48.364 --> 20:50.486
[SPEAKER_01]: Well, I feel like that's all that shit.
20:50.506 --> 20:52.567
[SPEAKER_01]: You want the same things slightly different.
20:52.608 --> 20:57.051
[SPEAKER_00]: Nicole, well, it's Nicole and Sandy leading at this time because they've kind of... Yeah, but they're carrying on the tradition you say.
20:57.211 --> 20:57.552
[SPEAKER_01]: I don't know.
20:57.572 --> 20:58.712
[SPEAKER_01]: Let's see if they can eat it.
20:58.973 --> 20:59.813
[SPEAKER_01]: The answer to it.
20:59.853 --> 21:01.375
[SPEAKER_01]: What if it was magic carpet ride?
21:01.395 --> 21:03.256
[SPEAKER_01]: We just keep doing songs from Reservoir Dogs.
21:04.557 --> 21:05.818
[SPEAKER_01]: Magic carpet ride makes sense.
21:06.238 --> 21:07.359
[SPEAKER_01]: Well, I do dream.
21:09.536 --> 21:16.486
[SPEAKER_01]: I think if I know less a less a forceful cover of that, I'd love to see something completely A tonal for the scene.
21:16.586 --> 21:17.828
[SPEAKER_00]: Oh, okay, everybody's happy.
21:17.868 --> 21:20.211
[SPEAKER_00]: We're finally together again who wants maritas do
21:20.914 --> 21:23.116
[SPEAKER_00]: Do-ha-s, do-ha-s, niche.
21:24.797 --> 21:26.578
[SPEAKER_00]: Be fantastic.
21:27.259 --> 21:30.742
[SPEAKER_00]: No, it's, this is, it's like eating a cotton ball.
21:30.782 --> 21:32.743
[SPEAKER_00]: It's like, there's, there's no nutrition.
21:32.763 --> 21:33.684
[SPEAKER_00]: It doesn't taste good.
21:33.784 --> 21:37.467
[SPEAKER_00]: It is just like, I want to, not if not an inciting film.
21:37.567 --> 21:42.991
[SPEAKER_01]: Now, I haven't, I haven't read the Alice Hoffman books that these are based on, which is actually weird.
21:43.132 --> 21:46.594
[SPEAKER_01]: I actually meant too many years ago and I never got around to it because they're interesting.
21:47.875 --> 21:52.159
[SPEAKER_01]: Um, when I was doing some research on this movie and I was bummed it didn't get a chance to see it.
21:53.280 --> 22:01.708
[SPEAKER_01]: Uh, I found out that Macy Williams character and Tonya in the books was a lesbian.
22:02.549 --> 22:03.370
[SPEAKER_01]: That's not in this movie.
22:03.990 --> 22:07.754
[SPEAKER_01]: Like, is it like allowed that she's a lesbian or she played as like a straight?
22:08.140 --> 22:10.462
[SPEAKER_00]: They, they don't mention her partner.
22:10.562 --> 22:12.844
[SPEAKER_01]: Her romantic situation is not addressed in any way.
22:12.884 --> 22:13.605
[SPEAKER_00]: She's a nurse.
22:13.745 --> 22:16.868
[SPEAKER_00]: We only ever see her in her scrubs and she's in a hospital all the time.
22:16.948 --> 22:18.449
[SPEAKER_00]: So we never talk about her personal life.
22:18.549 --> 22:20.110
[SPEAKER_01]: I'm so glad they managed to.
22:20.191 --> 22:27.677
[SPEAKER_01]: And this movie that has been boosted by queer people for over 25 years removed the queerness.
22:27.737 --> 22:28.858
[SPEAKER_01]: Is there any queerness in it?
22:29.479 --> 22:30.279
[SPEAKER_01]: The pace isn't it?
22:30.720 --> 22:31.020
[SPEAKER_01]: Well, man.
22:31.867 --> 22:40.494
[SPEAKER_01]: That's correct, I'm not saying that doesn't count, but the character is also quite correct, but yeah, that's a bummer yeah
22:41.124 --> 23:02.257
[SPEAKER_00]: when I wish they had brought that up it's like any man we fall in love with what if I fall in love with a woman is you don't that's a great question and honestly wouldn't be great if that was a loophole yeah it's like what is the actual wording of the curse actually no one when you fall in love she's part of the coven whether she wants to wouldn't that be a story yeah it's like I'm gonna take my girlfriend home to meet my aunts oh and it turns out by dating me you have magical powers
23:03.097 --> 23:04.878
[SPEAKER_00]: I mean, yeah, that's a story.
23:05.098 --> 23:06.219
[SPEAKER_00]: I've actually never seen that.
23:06.519 --> 23:10.402
[SPEAKER_01]: A lot of like, sort of like, oh, you're rich because you're part of this family line.
23:10.422 --> 23:11.702
[SPEAKER_01]: I know you're a real girl.
23:11.722 --> 23:16.765
[SPEAKER_01]: Yeah, but like, just your rich because you're dating a rich is actually a really fun idea.
23:17.546 --> 23:20.247
[SPEAKER_00]: Like, and if we break up and that would be the climax of the movie.
23:20.267 --> 23:21.728
[SPEAKER_00]: It's like, oh, no, the demon's gonna get you.
23:21.748 --> 23:22.789
[SPEAKER_00]: Yeah, but they're only kill witches.
23:22.849 --> 23:23.970
[SPEAKER_00]: Okay, we're breaking up.
23:24.310 --> 23:25.331
[SPEAKER_00]: Oh, we're the demon go.
23:25.551 --> 23:26.651
[SPEAKER_01]: I might that would be great.
23:26.791 --> 23:27.272
[SPEAKER_01]: Be fun twist.
23:27.412 --> 23:28.252
[SPEAKER_01]: That would be really, really fun.
23:28.472 --> 23:32.235
[SPEAKER_01]: That was my problem with, um, well, one of my problems with the end of man of steel.
23:33.535 --> 23:34.896
[SPEAKER_00]: I have a lot of problems with this.
23:34.916 --> 23:36.036
[SPEAKER_01]: Well, we all have a lot of problems with this.
23:36.056 --> 23:40.718
[SPEAKER_01]: So there's a lot of things I like about that movie, but one of the things that the ending of that movie was handed to them.
23:40.738 --> 23:42.419
[SPEAKER_01]: And it would have been very satisfying.
23:42.579 --> 23:46.980
[SPEAKER_01]: Oh, yeah, this was, because the end of the logical story twist, they could have put it in this movie.
23:47.000 --> 24:01.286
[SPEAKER_01]: The end of the movie recall that the bad guy, a Zod, played by Michael Shannon, was like genetically programmed to want to protect Cryptonians, and that's why he was willing to destroy the Earth, to save the Cryptonians that were still alive on his spaceship.
24:01.666 --> 24:25.827
[SPEAKER_01]: Because saving Kryptonians was the only thing he was there to do, and then at the end of the movie Superman forced all of those other Kryptonians back into the negative zone, and I think he did and then But they're out of the picture and then Michael Shannon and Superman are confronting each other Michael Shannon's really fucking mad, and then they start to fight to the death, and I'm like no, what should have happened is Michael Shannon should have So tractor one me and said I'm here to protect you your Kryptonian.
24:25.867 --> 24:27.548
[SPEAKER_00]: That's the whole thing he believes
24:28.008 --> 24:31.550
[SPEAKER_01]: that there was this predestination element because of what they were designed to do as people.
24:32.611 --> 24:34.032
[SPEAKER_01]: That's the end of that move.
24:34.112 --> 24:37.174
[SPEAKER_01]: It's it's mildly anti-climactic.
24:37.194 --> 24:43.717
[SPEAKER_01]: You could find some other way to get them to fight before that happens, but like that would have been very satisfying and it would have been great to the character.
24:44.198 --> 24:47.680
[SPEAKER_01]: And you wouldn't have had the ending with Superman kills a guy for no reason.
24:47.960 --> 24:53.423
[SPEAKER_01]: But I know there's a reason Superman can figure out a way that not do that he's fucking Superman.
24:57.405 --> 24:57.745
[SPEAKER_00]: Yeah.
24:58.266 --> 25:00.748
[SPEAKER_00]: It just weren't creative enough to come up with something more interesting.
25:01.189 --> 25:03.792
[SPEAKER_01]: Anyway, well, sounds like practical magnitude is a bit of a bummer.
25:03.832 --> 25:05.573
[SPEAKER_01]: Is it- is it bad or just kind of a bummer?
25:06.434 --> 25:06.835
[SPEAKER_00]: Uh, it's-
25:08.422 --> 25:34.662
[SPEAKER_00]: it's too loose to really be considered a movie it's like really shabby all the scenes don't edit together well the the overlapping dialogue isn't funny it just feels like they're they're improvising once during the day it's like the polfeega approach to comedy if you chatter enough maybe something funny will happen so it just kind of like plays out in this really sloppy way and it concludes in a pleasant enough manner the tone is like the first one kind of all over the place because we have
25:35.684 --> 25:43.163
[SPEAKER_00]: Uh, Quaint, I love you scenes followed by flaming pentagrams, um, no, just nothing, nothing really falls together.
25:43.364 --> 25:43.604
[SPEAKER_00]: Bon app.
25:44.535 --> 26:02.681
[SPEAKER_01]: Alright, well, our next film is a Korean sci-fi action epic called Hope, and this hails from filmmaker Nahaeng Jin, he's made several films, his big breakout in America was a horror movie that came out like eight years ago now, or maybe more, it was called The Whaling.
26:03.181 --> 26:03.961
[SPEAKER_01]: Did you see the whaling?
26:04.001 --> 26:04.862
[SPEAKER_01]: I did not see the whaling.
26:04.902 --> 26:08.123
[SPEAKER_01]: The whaling was interesting, it was a film that was basically
26:09.523 --> 26:35.752
[SPEAKER_01]: small town, Korean exorcist horror comedy, and depending on the scene it was either extremely funny or extremely terrifying, tonal consistency was not that movies, I wouldn't say strong suit because I don't think it gave a shit, and this is only a discovery a lot through a lot of other cultures, especially for mainstream entertainment, tonal consistency is not revered all over the world.
26:35.792 --> 26:37.793
[SPEAKER_01]: In America we see that as a huge problem,
26:38.153 --> 26:45.218
[SPEAKER_00]: Well, I think the tonal consistency is one of those phrases that kind of escaped the realm of film critics.
26:45.438 --> 26:45.738
[SPEAKER_00]: Well, yeah.
26:45.938 --> 26:51.022
[SPEAKER_00]: And made its way into just sort of the general film with discourse, and it was miswielded a lot.
26:51.282 --> 26:54.484
[SPEAKER_00]: Yeah, I think a lot of people think this is funny and horrific.
26:54.504 --> 26:57.066
[SPEAKER_00]: Oh, that must mean it's tonally inconsistent.
26:57.166 --> 26:59.127
[SPEAKER_00]: No, it's consistent.
26:59.147 --> 27:00.488
[SPEAKER_00]: It just has various tone.
27:00.929 --> 27:03.112
[SPEAKER_00]: And you just imagine how well those things mesh together.
27:03.132 --> 27:12.047
[SPEAKER_01]: You can see that that's the trick if they don't mesh together That's when it feels in consistent because it doesn't feel like there's any sort of organic flow his new movie is
27:14.515 --> 27:15.576
[SPEAKER_01]: Fucking propulsive.
27:15.736 --> 27:17.177
[SPEAKER_01]: It really gets the ground running.
27:17.317 --> 27:20.599
[SPEAKER_01]: It takes place in a small town in South Korea.
27:20.619 --> 27:22.060
[SPEAKER_01]: It actually takes place in the 90s.
27:23.180 --> 27:24.361
[SPEAKER_01]: It's called Hope Harbor.
27:25.161 --> 27:34.087
[SPEAKER_01]: And the local sheriff is called out to the edge of town because a bull has been found kind of ripped to pieces by some kind of giant animal.
27:34.607 --> 27:35.468
[SPEAKER_01]: And nothing makes sense.
27:35.508 --> 27:35.628
[SPEAKER_01]: It's
27:36.148 --> 27:38.370
[SPEAKER_01]: The claws aren't big, are too big to be a bear.
27:38.910 --> 27:43.274
[SPEAKER_01]: Some people think it might be a tiger, but tigers aren't really in this area.
27:43.715 --> 27:44.795
[SPEAKER_01]: Nothing really makes sense.
27:44.836 --> 27:53.183
[SPEAKER_01]: And so he sends some of the locals off to the woods just sort of like ask a guy who said he might have seen a tiger if he knew anything.
27:54.003 --> 27:56.005
[SPEAKER_01]: And he goes back to town to go about his business.
27:56.325 --> 28:00.129
[SPEAKER_01]: And as he's driving back to town, he drives past a building with a giant hole in it.
28:02.155 --> 28:21.181
[SPEAKER_01]: like a front to back yeah and he gets out of the cars he's like this building has been destroyed everyone is dead in it and there's like a trail of devastation just going off in a straight line and he starts following it and for the first hour of the movie and it's like a two and a half hour film I think you'd be more um
28:23.625 --> 28:27.567
[SPEAKER_01]: It's just him trying to find the monster that's always killing people off camera.
28:27.727 --> 28:27.907
[SPEAKER_01]: Yeah.
28:28.588 --> 28:41.335
[SPEAKER_01]: And that sounds annoying and I'll be honest, occasionally it is, but when it finally gets to where it's going in an hour and there's this huge fucking moment that we've been waiting for, boys at fucking cool.
28:41.695 --> 28:42.676
[SPEAKER_00]: It's not a disappointment.
28:42.756 --> 28:43.196
[SPEAKER_00]: That's it.
28:43.236 --> 28:43.416
[SPEAKER_01]: Yeah.
28:45.503 --> 28:50.826
[SPEAKER_00]: But that entire first hour where he's trekking around the trash town Water of production design.
28:50.886 --> 29:02.053
[SPEAKER_00]: Yeah, just street after street have been completely trash In a way that looks like something big enough to knock over everything outside these stores It's like it's not godzilla, but it's definitely Manila
29:02.593 --> 29:16.051
[SPEAKER_00]: Like that's a big it's they're not supposed to be that big but something really big It's they see some footprints and then we hear a big loud noise and then a bicycle flies over a building Yeah, so it's like close, but he can't catch up with it.
29:16.091 --> 29:17.192
[SPEAKER_00]: Yeah, and it's
29:18.133 --> 29:21.574
[SPEAKER_00]: Really tense, but it's also semi-commedic because he's really out of his element.
29:21.594 --> 29:27.756
[SPEAKER_00]: He's not like there's a short action badass He runs into some other people and makes some pretty bad decisions.
29:27.896 --> 29:29.096
[SPEAKER_00]: Oh, well, really bad decision.
29:29.116 --> 29:31.997
[SPEAKER_00]: Looking for this monster like that that That's gonna bite him in the ass.
29:32.017 --> 29:32.957
[SPEAKER_00]: That gets some people hurt.
29:33.037 --> 29:38.798
[SPEAKER_00]: Yeah, and then when you finally see the monster, it's like oh, go monster Very cool monster.
29:38.898 --> 29:40.699
[SPEAKER_00]: The visual effects are not great.
29:41.179 --> 29:43.900
[SPEAKER_00]: No, no, there's a certain kind of
29:44.880 --> 29:56.587
[SPEAKER_00]: As somebody who watched a lot of movies in the 90s, that kind of cheesy low-rent 90s style CGI, I think has a certain kind of visual clarity that modern CGI that looks better doesn't.
29:56.747 --> 29:57.688
[SPEAKER_00]: I can appreciate it.
29:57.748 --> 30:05.192
[SPEAKER_00]: Because when they were doing it back in the 90s, they had to keep the camera still and the CGI figure framed properly so they could animate it within the frame.
30:05.492 --> 30:09.413
[SPEAKER_00]: looked like shit, but it was usually, at least you could make out what it was.
30:09.613 --> 30:09.793
[SPEAKER_01]: Yeah.
30:09.933 --> 30:15.174
[SPEAKER_00]: It wasn't like trying to make it all seem natural, so the camera wasn't constantly moving, and there wasn't a lot of fast editing necessarily.
30:15.254 --> 30:26.117
[SPEAKER_01]: Yeah, if you had a lot of money to throw at it, you could do that, but a lot of the lower budget or more quickly produced sci-fi fantasy films, of course.
30:27.737 --> 30:42.907
[SPEAKER_01]: But a lot of the lower budget and the fact more quickly produced sci-fi fantasy films of the late 90s through really the late 2000s But the CG had a very distinct you are fooling no one kind of quality to it and I think some films got away with it because they were cheesy
30:43.522 --> 30:50.352
[SPEAKER_00]: Or they were cheesy or they were like how to fantastical elements like it's a a robot or a fantasy creature Yeah, it's it's fantastic.
30:50.372 --> 30:52.776
[SPEAKER_00]: Anyway, it can look a little off and get a little off.
30:52.796 --> 30:57.783
[SPEAKER_01]: Yeah, the things the movies that I think got away with it a lot actually We're often coming out of
30:59.184 --> 31:03.045
[SPEAKER_01]: Asia and the ones of it members specifically are from Hong Kong stuff like the stormwriters.
31:03.065 --> 31:03.785
[SPEAKER_01]: So do you ever see that?
31:03.805 --> 31:04.045
[SPEAKER_01]: No.
31:04.465 --> 31:26.731
[SPEAKER_01]: Stormwriters was this big, wusha epic about, you know, these two brothers and they're at odds with each other and they have different like martial arts powers, like one guy could use like water to do martial arts or whatever and then like their dad betrays him and he has to like rip off his own arm and use the blood to attack his own father and you're watching this and I'm like the blood looks like shit.
31:29.952 --> 31:31.452
[SPEAKER_01]: That was fucking cool.
31:31.492 --> 31:33.233
[SPEAKER_01]: I'm like even at the time the visual effects.
31:33.253 --> 31:53.162
[SPEAKER_00]: We knew that they were bad But they were colorful and they were exciting and then there was this general sense of we're all just having a good time here So I think I'm watching hope yeah, I'm getting I'm getting that vibe so in my mind of being really forgiving of what I'm seeing but I can openly acknowledge and say out loud in my review that they do look kind of shit
31:53.342 --> 32:00.729
[SPEAKER_01]: Well, and I feel like there's something to be said for, and I was actually talking to one of our listeners, Alexa, I've said, I don't know, Alexa.
32:02.291 --> 32:09.758
[SPEAKER_01]: You know, when you and I, we're growing up and there are certain types of visual effects that we would look at today and say those aren't terribly convincing or maybe they look a little naive.
32:10.118 --> 32:14.082
[SPEAKER_01]: But we watch them and we're charmed by them, partly because we grew up with them.
32:16.144 --> 32:26.630
[SPEAKER_01]: I feel like this is actually a bad example because the visual effects were quite good But you and I both kind of geeked out when we watched the Mandalorian in Grogu and there was that fight with the two giant robots that actually were stop-motion Yeah, and it looked great.
32:26.710 --> 32:36.897
[SPEAKER_01]: It looked fucking cool, but also we have a soft spot for that don't wait That's true and we were both kids in like the 80s and like the early 90s and now there's a whole generation of people who are young
32:37.557 --> 32:47.300
[SPEAKER_01]: in the late 90s and early 2000s to whom that kind of CGI might have that same nostalgic quality and they might be more forgiving about that.
32:47.320 --> 32:50.000
[SPEAKER_01]: So that might be a generational thing.
32:50.300 --> 32:59.483
[SPEAKER_01]: I don't know if it's intentional per se, but they might be capitalizing off of the fact that movies that were sort of inspired by this are of an ilk with this.
33:00.263 --> 33:05.745
[SPEAKER_01]: have similar visual effects, but I think there are times when the movie gets away with it better than others.
33:05.765 --> 33:11.168
[SPEAKER_01]: Well, when they do close-ups of alien characters that have human-like faces, and they're speaking lines of dialogue, that looks bad.
33:19.151 --> 33:36.576
[SPEAKER_01]: it looks quite bad when they when it's a long shot of like an alien monster galloping through a forest that looks for the boy yeah and and the second half of the movie they start you know trying to there's a there's enough of a low that they can start put in the pieces together what are these things where do they come from why are they attacking us
33:37.835 --> 33:46.221
[SPEAKER_01]: But ultimately, that's just an excuse to ramp up the action again, and then like the last 45 minutes to an hour of this thing is another fucking freight train of none of that back to.
33:46.761 --> 33:53.125
[SPEAKER_00]: Well, and the point, the period in between, though, isn't just a rest period, it's like almost a slapstick fart.
33:53.285 --> 33:55.587
[SPEAKER_00]: The characters are all broad and kind of silly.
33:56.007 --> 34:05.694
[SPEAKER_00]: There's an entire sequence where we learn a little bit more about the aliens from a guy who tells a story about how he saw them out in the woods, but he couldn't alert himself, his presence to them,
34:07.615 --> 34:18.802
[SPEAKER_01]: Yeah, he had explosive diarrhea and he was trying to stop having explosive diarrhea because he was afraid of the explosive diarrhea would get the intention of his mother and that's
34:20.477 --> 34:21.197
[SPEAKER_01]: That's whimsical.
34:21.617 --> 34:23.198
[SPEAKER_01]: Yeah, I will say this.
34:23.378 --> 34:29.440
[SPEAKER_01]: I think this movie and he goes into detail about like it's a very long The pooping that he is trying to do.
34:29.500 --> 34:33.842
[SPEAKER_01]: Yeah, I this movie I think is is longer than it needs to be.
34:33.862 --> 34:38.284
[SPEAKER_01]: I appreciate that the director's going for this big epic quality and I think it I think it
34:38.884 --> 34:47.834
[SPEAKER_01]: it pushes it to a point where I'm just like, especially considering the way the movie ends, I found it a little just like, we know it's on a tango which is a little bit frustrating.
34:47.854 --> 34:49.576
[SPEAKER_01]: We put almost three hours into this thing already.
34:49.596 --> 34:50.296
[SPEAKER_01]: What are we doing here?
34:52.839 --> 35:00.067
[SPEAKER_01]: So I found that a little annoying, and I felt that that was, you know, maybe something that they pushed, the limit a bit, but
35:02.088 --> 35:07.871
[SPEAKER_01]: This fuckin' filmmaker knows how to shoot a fuckin' action sequence, man.
35:07.911 --> 35:09.012
[SPEAKER_01]: Not Hung Jins, excuse me.
35:09.412 --> 35:20.918
[SPEAKER_01]: Not Hung Jins uses a lot of really long takes, but not like shaky cam, wide angle, making sure we have the absolute clearest perspective on the action.
35:21.138 --> 35:24.820
[SPEAKER_01]: There's a lot of framing where you get great sense of scale of everything.
35:24.880 --> 35:30.703
[SPEAKER_00]: There are multiple sequences in the movie that take place on long straight stretches of road, where things are just sort of running back and forth.
35:31.483 --> 35:34.305
[SPEAKER_00]: And that gives it sort of like a visual clarity.
35:34.345 --> 35:36.227
[SPEAKER_00]: I was very pleased with it.
35:36.347 --> 35:38.689
[SPEAKER_00]: It does feel a little bit like a video game, but that's okay.
35:38.769 --> 35:39.249
[SPEAKER_00]: Just fine.
35:39.289 --> 35:41.771
[SPEAKER_00]: We're looking at it and deal the play with camera angles.
35:41.811 --> 35:43.293
[SPEAKER_00]: It's not just flat angles from the side.
35:43.313 --> 35:43.733
[SPEAKER_01]: Yeah, yeah.
35:44.033 --> 35:49.918
[SPEAKER_01]: But I think it's fine on a mind that a movie plays like a video game anymore than I mind that a movie plays like a play as long as it's good.
35:50.879 --> 35:54.682
[SPEAKER_01]: I will say this, and this is not the movie's fault.
35:56.747 --> 36:08.472
[SPEAKER_01]: I had the extreme displeasure of watching this movie, or trying to watch this movie rather, in a format called 4DX.
36:08.552 --> 36:12.013
[SPEAKER_00]: Demons, it's Percepto, it's not.
36:12.053 --> 36:13.014
[SPEAKER_00]: Percepto was fine.
36:13.594 --> 36:22.396
[SPEAKER_01]: 40X, and I know some people like this, okay, but 40X, if you're on familiar with it, basically turns a movie into an amusement park ride.
36:23.056 --> 36:37.259
[SPEAKER_01]: You sit on some seats, there's like four seats kind of connected to each other, and they're on kind of like some hydraulics or something, and depending on what's happening in the movie, the seats will lean forward, the lean to the side, the rumble, like a rumble pack on an old,
36:39.180 --> 36:43.667
[SPEAKER_01]: Nintendo 64 game controller there will be like
36:45.625 --> 37:11.375
[SPEAKER_01]: shots of air that will like fly in your face or something like there's like a big like helicopter shots soaring over you can go to the wind in here and I probably get that at like a music park move yes they do that in music yeah yeah well it's it's it's not entirely dissimilar from if you went to like back to the future the ride or the Simpsons the ride and but the difference is and I'm sure there are some movies that take good advantage of 40 x otherwise it would not exist
37:12.015 --> 37:17.739
[SPEAKER_01]: When you're looking at those actual amusement park rides, everything is calibrated to make the experience feel immersive.
37:18.319 --> 37:23.663
[SPEAKER_01]: Your film is filmed in such a way that we're not breaking the immersive quality.
37:24.851 --> 37:36.700
[SPEAKER_01]: Hope definitely wasn't filmed with 40X in mind because every fucking shot, every time they cut to another shot, the chair sent us into a different reality.
37:37.340 --> 37:44.305
[SPEAKER_01]: So like, there's a shot where you're in a car and you're feeling this really intense rumbling and I'm like, there is something wrong with this car.
37:44.366 --> 37:45.767
[SPEAKER_01]: A car should not be shaking this much.
37:46.867 --> 37:55.394
[SPEAKER_01]: And then but we cut the outside the car and then the seats just suddenly stop and we feel the air in our lungs There's a scene where a guy caught the shotgun and the chair's jossle.
37:55.754 --> 37:58.596
[SPEAKER_01]: I'm like are we the shotgun?
37:58.816 --> 38:00.617
[SPEAKER_01]: What is what are we doing here?
38:00.637 --> 38:13.387
[SPEAKER_01]: There needs to be some kind of Consistency so that we can get our bearing because it really does feel like every 15 seconds I have to adjust to what's happening physically
38:13.967 --> 38:17.389
[SPEAKER_01]: And after a while, because this movie is so action-heavy, so quickly.
38:18.709 --> 38:27.793
[SPEAKER_01]: After 20 minutes, I did something that I have not done in over 16 years of doing this professionally.
38:28.594 --> 38:29.814
[SPEAKER_01]: I had to walk out of the movie.
38:29.994 --> 38:30.414
[SPEAKER_01]: Oh, wow.
38:30.634 --> 38:36.077
[SPEAKER_01]: Because I have a bad knee, and I was at the point already after only 20 minutes, or I was having trouble walking out of there.
38:36.937 --> 38:40.599
[SPEAKER_01]: And I know if I had stayed for an over two and a half hour movie, I would have been an actual trouble.
38:42.105 --> 38:47.607
[SPEAKER_01]: So if you have any concerns about disability, do not see this in 40X.
38:47.668 --> 38:51.629
[SPEAKER_01]: And in fact, if you like 40X, I'm sure some movies do it well.
38:52.230 --> 38:54.651
[SPEAKER_01]: This is not one of, this is not immersive.
38:54.691 --> 38:57.112
[SPEAKER_01]: This is just a bunch of random shit happening to you.
38:57.472 --> 39:00.393
[SPEAKER_01]: Fortunately, it was able to see it again without that.
39:00.974 --> 39:03.515
[SPEAKER_01]: And I found the movie actually very immersive.
39:04.998 --> 39:13.102
[SPEAKER_01]: There's a thing that happens if you go to an IMAX movie, they have like a big, you know, countdown, where, uh, we've got IMAX format, see, or be part of it.
39:13.122 --> 39:16.444
[SPEAKER_01]: Yeah, see a movie, pause, or be part of one.
39:16.584 --> 39:22.367
[SPEAKER_01]: And I swear to God, every fucking time I see that, I think to myself, I want to see the movie.
39:23.450 --> 39:39.704
[SPEAKER_01]: I'm not here to be, this isn't a holadak, like I, if I wanted to, I'm not part of the story I'd be playing a video game right now, that, this is that kind of entertainment where I sit down and you show me something that doesn't work for me, I just, it was so annoying.
39:39.724 --> 39:45.649
[SPEAKER_01]: So I had to mention this because it was such a horrible experience, but the movie itself is quite good.
39:45.709 --> 39:46.310
[SPEAKER_01]: I don't think it's,
39:47.357 --> 39:51.302
[SPEAKER_01]: I think the flaws drag it down enough to be worth noting.
39:51.803 --> 39:57.370
[SPEAKER_01]: I think it's too long, I think the visual effects are a distraction, and I found the ending disappointing.
39:57.430 --> 39:59.172
[SPEAKER_01]: But when it's going wrong, it's going wrong.
39:59.192 --> 40:00.954
[SPEAKER_00]: The ending is the most disappointing part.
40:01.114 --> 40:04.098
[SPEAKER_00]: While I'm watching that first hour, I'm like, this is one of the best things I've ever ever seen.
40:04.298 --> 40:17.936
[SPEAKER_00]: Yeah, this is just awesome and grossing filmmaking and they kept my attention for an hour while they're racing around looking for this monster Yeah, that stuff is false and yeah, and yeah, I actually checked like the time when the monster Founded up like how far to the movie are we?
40:17.956 --> 40:21.901
[SPEAKER_01]: I was like this has been an hour It's like I would have thought like 35 minutes
40:23.282 --> 40:29.067
[SPEAKER_00]: And if it had sort of ramped down a little bit, then ramped back out that would have been great, but I think they didn't really know how to end the story.
40:29.487 --> 40:32.870
[SPEAKER_00]: So they came up with this kind of last minute alien twist.
40:33.591 --> 40:38.715
[SPEAKER_00]: And it introduces a new element, which feels like a new movie's coming, and wouldn't you know what that would be the sequel?
40:38.755 --> 40:53.599
[SPEAKER_01]: Well, there's a phrase called a Deus Ex Machina means God in the machine and what that means is that at the end of a story, something just sort of literally God is how it would, you know, in classical theater, the gods and classical, the gods would literally just shelve and fix everything right at the end.
40:53.759 --> 40:55.440
[SPEAKER_01]: It's considered anti-climactic.
40:55.740 --> 40:56.500
[SPEAKER_01]: There's an opposite.
40:56.520 --> 40:58.040
[SPEAKER_00]: Well, not now it's used as anti-climactic.
40:58.060 --> 41:03.582
[SPEAKER_01]: Well, that's used for anti-climactic, but like in bed still, it's like, you know, we're just going to sort of solve all the problems very easily right at the end.
41:04.182 --> 41:06.964
[SPEAKER_01]: and it kind of makes the journey feel like it wasn't worth it.
41:06.984 --> 41:09.785
[SPEAKER_01]: There is an opposite of that called a Diabolus X-Mock.
41:09.805 --> 41:15.829
[SPEAKER_01]: You know, this is the devil in the machine where right at the end, everything goes to shit really randomly.
41:16.449 --> 41:19.711
[SPEAKER_01]: And people don't do that very often outside of the horror genre.
41:19.731 --> 41:20.951
[SPEAKER_01]: And even then, it's pretty rare.
41:21.612 --> 41:23.213
[SPEAKER_01]: And I think it works.
41:23.233 --> 41:23.713
[SPEAKER_01]: It works great.
41:24.372 --> 41:44.435
[SPEAKER_00]: that uh... in uh... deep rising that has a great one yeah that's where on the out that's the escape of squid monster make it to an island and some have a little island uh... i think it was i'm gonna give this one away i think it was feast three of those don't lose to me i don't think i can run feast three maybe it was feast two i watch them all back to back
41:45.075 --> 41:51.864
[SPEAKER_00]: Um, but it's about these like killer monsters that just sort of attack people and copy like you any cats and all the rest.
41:52.004 --> 41:55.148
[SPEAKER_01]: I know I saw three I do not remember anything but the first one, the first one's fun.
41:55.727 --> 41:57.068
[SPEAKER_00]: Yeah, and they're all kind of the same.
41:57.128 --> 41:59.188
[SPEAKER_00]: Just a lot of gore a lot of fluids.
41:59.809 --> 42:04.951
[SPEAKER_00]: And the hero makes it out of the monsters' purview at the end.
42:04.971 --> 42:06.451
[SPEAKER_00]: They kind of lay all the monsters.
42:06.611 --> 42:08.572
[SPEAKER_00]: Make it out onto a big open stretch of road.
42:08.712 --> 42:12.814
[SPEAKER_00]: And they're kind of walking along kind of half crazed, covered in blood, ah, monsters, what do I do?
42:13.234 --> 42:15.275
[SPEAKER_00]: And then a 50-foot-tall robot.
42:15.715 --> 42:18.336
[SPEAKER_00]: Oh, it's like, god, it looks like something out of Mars attacks.
42:18.356 --> 42:22.238
[SPEAKER_00]: Like it's all bubbly and got, like, pincere steps on that character and walks off.
42:22.258 --> 42:22.978
[SPEAKER_00]: And that's the end of the movie.
42:23.178 --> 42:25.620
[SPEAKER_01]: There's no explainers though, that's just he's the head of time.
42:25.660 --> 42:27.482
[SPEAKER_01]: It's completely, I refer to God about that.
42:27.502 --> 42:28.763
[SPEAKER_00]: The robot just comes out of nowhere.
42:28.803 --> 42:31.226
[SPEAKER_00]: It's amazing that I forgot about an ending like that.
42:31.986 --> 42:34.048
[SPEAKER_00]: It is genuinely amazing that I forgot about that.
42:34.068 --> 42:34.769
[SPEAKER_01]: That's that way.
42:34.789 --> 42:35.810
[SPEAKER_01]: What a fucking incredible thing.
42:36.130 --> 42:38.132
[SPEAKER_00]: When it's not a great movie, but that's, that's fun.
42:38.152 --> 42:39.133
[SPEAKER_01]: That'll take you by surprise.
42:39.153 --> 42:39.473
[SPEAKER_01]: That's fun.
42:39.493 --> 42:40.334
[SPEAKER_01]: Yeah, gotta give me credit for that.
42:41.155 --> 42:41.816
[SPEAKER_01]: So that's hope.
42:42.416 --> 42:44.838
[SPEAKER_01]: And we're gonna move on now to kind of a major tonal shift.
42:45.739 --> 42:57.323
[SPEAKER_01]: See, but we're going to move on to a film called The Uprising, starring Andrew Garfield as a man in the 14th, late 14th century England.
42:58.904 --> 43:04.466
[SPEAKER_01]: And I don't know if you're aware of this, the middle age is kind of sucked for everybody.
43:04.746 --> 43:07.147
[SPEAKER_01]: Yeah, unless you were the king, unless you were the king, and even then!
43:08.072 --> 43:12.179
[SPEAKER_01]: You know, I mean, you have better than everyone else, but you're actually looking at the inside of a medieval castle.
43:12.539 --> 43:13.581
[SPEAKER_01]: It is dank.
43:14.482 --> 43:15.484
[SPEAKER_01]: It's musty.
43:16.250 --> 43:17.711
[SPEAKER_01]: The lighting is bad.
43:18.592 --> 43:20.293
[SPEAKER_01]: Like it doesn't seem like a fun place to live.
43:20.313 --> 43:23.115
[SPEAKER_01]: It just seems like a big place to live, but I digress.
43:23.936 --> 43:31.461
[SPEAKER_01]: Yeah, the uprising starts Andrew Garfield as a plowman, his name is plowman, and it works for the plow.
43:31.521 --> 43:36.685
[SPEAKER_01]: Yeah, and it's in the middle of the hundred years war and England is basically destitute.
43:36.705 --> 43:38.086
[SPEAKER_01]: They spend all their fucking money.
43:38.707 --> 43:40.228
[SPEAKER_01]: The king recently died.
43:40.248 --> 43:43.030
[SPEAKER_01]: They have a new king, Richard the second who's still a child.
43:43.630 --> 43:45.151
[SPEAKER_01]: Yeah, and I know Richard the second from.
43:46.610 --> 44:04.946
[SPEAKER_01]: And Richard II is portrayed in the movie as this young kid who has these terrible nightmares is very sensitive and he's got this council of religious and economic leaders who are basically doing everything and telling him he's a really great king for letting them do everything.
44:05.327 --> 44:08.890
[SPEAKER_01]: But what they're doing is taxing the shit out of the poor.
44:09.230 --> 44:10.811
[SPEAKER_00]: Yeah, running rough shot over everyone.
44:10.891 --> 44:18.417
[SPEAKER_01]: The rich have money, but they know if they tax the rich, the rich are going to ask for more political power because they're funding the country.
44:18.437 --> 44:20.039
[SPEAKER_01]: And they're like, that's not worth it.
44:20.059 --> 44:21.440
[SPEAKER_01]: We want to keep all our power.
44:21.760 --> 44:28.726
[SPEAKER_01]: So we're going to tax the people who literally don't have money, which doesn't seem like a great scheme in the long run.
44:28.846 --> 44:30.747
[SPEAKER_01]: Yeah, why would it, why would any?
44:31.528 --> 44:32.969
[SPEAKER_00]: world leaders do that.
44:33.209 --> 44:39.172
[SPEAKER_01]: Why would people tax the poor when the rich have so much money that we would solve all the problems?
44:40.473 --> 44:45.155
[SPEAKER_00]: What kind of a monstrous kind of weird dictatorship would allow that kind of thing to happen?
44:45.355 --> 44:48.917
[SPEAKER_00]: So the uprising is not subtle about its contemporaries.
44:49.317 --> 44:50.778
[SPEAKER_00]: It's really fucking timeless.
44:50.898 --> 44:51.218
[SPEAKER_00]: Yeah.
44:51.658 --> 44:56.041
[SPEAKER_01]: Like so we have this scene where like the the king's men come in.
44:56.061 --> 44:58.222
[SPEAKER_01]: They send a boom squads the town of the blue squads.
44:58.242 --> 44:58.682
[SPEAKER_00]: They're good.
44:58.922 --> 44:59.783
[SPEAKER_00]: hitting the ground running.
44:59.823 --> 45:06.687
[SPEAKER_00]: It's not like where's one scene of misery where we learned the plowman is sad and dirty and lost his family and everything's just miserable.
45:06.807 --> 45:10.429
[SPEAKER_01]: Yeah, and then boom, uprising, just thrown it in.
45:10.509 --> 45:13.011
[SPEAKER_00]: Next scene, tax collectors in town yelling at people.
45:13.031 --> 45:13.911
[SPEAKER_00]: It needs tax.
45:13.992 --> 45:14.372
[SPEAKER_00]: Like, well,
45:14.872 --> 45:16.072
[SPEAKER_00]: You pay taxes on all adults.
45:16.092 --> 45:16.773
[SPEAKER_00]: What about her?
45:16.833 --> 45:17.873
[SPEAKER_00]: She's not an adult yet.
45:18.193 --> 45:23.014
[SPEAKER_00]: Okay, well, we're going to molest her to find out like this is horrible shit It's horrible right away.
45:23.134 --> 45:32.036
[SPEAKER_01]: We don't believe that this woman is what she says right then it is so we're going to check and a violent horrible way these are not subtle parallel We're going to do genital exams.
45:32.317 --> 45:32.637
[SPEAKER_00]: Really.
45:32.737 --> 45:34.297
[SPEAKER_00]: Where have I heard that recently?
45:34.357 --> 45:41.119
[SPEAKER_01]: Yeah, and then basically Andrew Garfield is like, well, this fucking sucks And I'm going to fight you on that and
45:42.239 --> 46:05.233
[SPEAKER_01]: Luckily, I guess everyone in town is with Andrew Garfield on this and they killed pretty much all those guys Yeah, and at the end everyone's just like, you know, I'm really glad we killed all those guys And then just sucked and then some cops come by with one of the one of the grumpy old Magistrate I need just like hey, you can't do this and they're like, yes, we can It's like you don't have weapons or farmers we have tools and
46:05.313 --> 46:06.634
[SPEAKER_00]: Yeah, that's the last one of these.
46:06.654 --> 46:18.502
[SPEAKER_01]: I know I killed all those guys and now word has spread that this town has started sort of a revolution and a lot of the other towns are pissed off and they want to join and they pick up more and more people and then finally they decide what's going on.
46:18.542 --> 46:19.903
[SPEAKER_01]: There's like thousands of us.
46:20.183 --> 46:33.572
[SPEAKER_00]: Let's just fucking go to London and tell the king that we're pissed and give us and it all boils down to this like a bad contract that was signed about a century earlier where all of their land was given away.
46:33.892 --> 46:36.534
[SPEAKER_00]: Yeah, so it doesn't necessarily belong to them.
46:36.914 --> 46:39.116
[SPEAKER_00]: Yeah, but they have to stay on it.
46:39.156 --> 46:41.278
[SPEAKER_01]: And they'll be taxes on it, like nothing makes sense.
46:41.518 --> 46:46.942
[SPEAKER_01]: And so, yeah, they take all of their grievances on where they kill whoever they need to kill as they're doing it.
46:47.623 --> 46:57.590
[SPEAKER_01]: And meanwhile, as the King's Council starts realizing that this is happening, at first they think we can quell this, they're just a bunch of uneducated, you know, surfs.
46:58.971 --> 47:02.353
[SPEAKER_01]: And they don't realize, you know, be educated to realize we outnumber you.
47:02.574 --> 47:02.694
[SPEAKER_01]: Yeah.
47:03.514 --> 47:07.897
[SPEAKER_01]: So they keep marching forward and forward and forward and they keep thinking they can trick them and fuck with them.
47:08.117 --> 47:11.099
[SPEAKER_01]: And then finally, they're burning down the London.
47:11.499 --> 47:13.520
[SPEAKER_01]: And the king is like, okay, you know what?
47:13.900 --> 47:15.822
[SPEAKER_01]: You guys really fucked this up.
47:16.362 --> 47:18.443
[SPEAKER_01]: And so the king starts taking some initiative.
47:18.463 --> 47:21.665
[SPEAKER_01]: And I'm not gonna tell you what happens then because we don't remember this from history class.
47:22.526 --> 47:24.187
[SPEAKER_01]: Some parts of it may come as a surprise.
47:24.247 --> 47:24.447
[SPEAKER_01]: Yeah.
47:24.927 --> 47:25.748
[SPEAKER_01]: Uh, don't know what that's fair.
47:25.928 --> 47:26.448
[SPEAKER_01]: I think that's fair.
47:26.868 --> 47:34.412
[SPEAKER_01]: It's it's not like there is like so well-known a story that no one will be taken to surprise by that There, Andrew Garfield is sort of like the voice of reason.
47:34.432 --> 47:35.073
[SPEAKER_00]: He's the balance.
47:35.093 --> 47:38.095
[SPEAKER_00]: He's like we just want what's fair And I'm gonna fight for what's fair.
47:38.235 --> 47:41.937
[SPEAKER_00]: Yeah, Jamie Bell plays a character clergyman.
47:42.197 --> 47:42.397
[SPEAKER_01]: Yeah
47:42.597 --> 47:47.159
[SPEAKER_00]: who says we need not just what's fair, but we also need justice.
47:47.199 --> 47:50.701
[SPEAKER_01]: We need all of that's council-beheaded, basically.
47:50.941 --> 47:54.162
[SPEAKER_00]: We need actual retribution, like somebody needs to pay for this.
47:54.783 --> 47:56.223
[SPEAKER_00]: So the message is sent.
47:56.504 --> 47:59.385
[SPEAKER_00]: And the King's reaction to a lot of this might surprise you.
47:59.625 --> 48:00.085
[SPEAKER_00]: Yeah.
48:00.866 --> 48:03.427
[SPEAKER_00]: I think the actor who played the King was fantastic.
48:03.447 --> 48:05.188
[SPEAKER_01]: That kid, what was the hell is that kid saying?
48:05.228 --> 48:06.028
[SPEAKER_01]: Because that kid's great.
48:06.068 --> 48:08.869
[SPEAKER_01]: He was in a movie that I actually didn't see a couple years ago.
48:09.249 --> 48:09.790
[SPEAKER_01]: Woody Norman.
48:11.631 --> 48:19.856
[SPEAKER_01]: He was in a movie called Command Command that a lot of people really liked and somehow I didn't see and He's really good.
48:19.996 --> 48:28.201
[SPEAKER_01]: He's it's an interesting role because it first it seems like it's gonna be really one note And then in the second half of the movie that character goes to someplace
48:28.381 --> 48:29.362
[SPEAKER_00]: Oh, I recognize him.
48:29.482 --> 48:31.623
[SPEAKER_00]: He was in the electric state, if you saw that.
48:31.824 --> 48:33.805
[SPEAKER_00]: Oh, yeah, he was like the brother.
48:33.865 --> 48:36.307
[SPEAKER_00]: He was in that horror movie, Cobweb, he was the boy.
48:36.327 --> 48:37.327
[SPEAKER_00]: Yes, I love that movie.
48:37.347 --> 48:38.628
[SPEAKER_00]: The Cobweb's really good.
48:39.309 --> 48:42.911
[SPEAKER_00]: He was, he was one of the kids who got killed by Dracula in the last voyage of the Demeter.
48:44.573 --> 48:45.593
[SPEAKER_00]: So I've seen him around.
48:45.613 --> 48:46.794
[SPEAKER_00]: Yeah, yeah, yeah, yeah.
48:46.854 --> 48:47.695
[SPEAKER_00]: And he's fantastic.
48:47.715 --> 48:48.255
[SPEAKER_00]: He really does.
48:48.275 --> 48:51.818
[SPEAKER_00]: He plays a really interestingly wicked,
48:52.658 --> 48:53.199
[SPEAKER_00]: character.
48:53.259 --> 48:57.783
[SPEAKER_00]: I would love to see him play virtue of the second in a version of Shakespeare's virtue of the second.
48:57.803 --> 48:58.043
[SPEAKER_00]: Sure.
48:58.063 --> 49:02.047
[SPEAKER_00]: Maybe I have to wait a couple of years because the King's older in that movie.
49:02.087 --> 49:03.428
[SPEAKER_01]: I don't know how old the actor actually is.
49:03.448 --> 49:04.869
[SPEAKER_01]: He might be playing down a little bit.
49:04.989 --> 49:08.733
[SPEAKER_01]: Yeah, he's a lot of the movie, actually.
49:09.293 --> 49:11.956
[SPEAKER_00]: Ender Garfield is pretty good at playing just sort of
49:13.797 --> 49:18.985
[SPEAKER_00]: The noble every man you understand is suffering, but he doesn't have like a very deep character You just understand that he's principal.
49:19.125 --> 49:26.775
[SPEAKER_01]: I think that's true for a lot of the characters There's not a lot of depth in a lot of the characters especially like the king's council They're just cartoonishly evil funnily Miller is one of them.
49:26.936 --> 49:28.918
[SPEAKER_01]: Yeah, I didn't recognize Johnny Miller.
49:28.938 --> 49:30.841
[SPEAKER_01]: I was like I found out there was like oh, that was Johnny Miller
49:31.001 --> 49:34.563
[SPEAKER_00]: It's got this big villain mustache, literally mustache, swirling villain.
49:34.583 --> 49:44.630
[SPEAKER_01]: Totally flew by, I mean, that was because it's kind of like this dimly lid we're using what the actual lighting would have looked like at the time, which you gotta weigh with, but it also means it's a little less for visual clarity.
49:44.650 --> 49:52.435
[SPEAKER_00]: Well, it's also directed by Paul Greengrass, and he works with photographers who make things really kind of colorless and gritty, and he likes a lot of handheld camera work.
49:52.775 --> 49:54.836
[SPEAKER_00]: So everything's really kind of shaky and realistic.
49:55.096 --> 49:56.537
[SPEAKER_00]: That's just his aesthetic.
49:56.557 --> 49:57.258
[SPEAKER_00]: It works a lot.
49:57.278 --> 49:58.198
[SPEAKER_00]: I think it works here.
49:58.238 --> 49:58.939
[SPEAKER_00]: Yeah, yeah, yeah.
49:59.559 --> 50:08.207
[SPEAKER_01]: I think it does too, but it doesn't mean that there's going to be a certain degree of visual clarity Okay, so we're capturing a sense of chaos in that works really really well.
50:08.267 --> 50:09.809
[SPEAKER_01]: I'd be perfectly frank with this movie
50:11.280 --> 50:16.364
[SPEAKER_01]: It's blunt, but I was with it for a really long time.
50:16.524 --> 50:20.807
[SPEAKER_01]: Most of this movie, I was pretty swept up in it, had a great sense of energy.
50:20.827 --> 50:22.289
[SPEAKER_01]: Well, especially in some momentum.
50:22.329 --> 50:29.714
[SPEAKER_00]: In the back half, where there's some double crosses and twists, it's like, oh, I'll actually have a lot invested in what's going to go on.
50:30.215 --> 50:32.937
[SPEAKER_00]: And the movie has made it very clear that all of these people are expendable.
50:32.957 --> 50:34.358
[SPEAKER_00]: Like anybody could probably die.
50:34.458 --> 50:39.402
[SPEAKER_01]: I mean, it's history for their old day now, but I want to say, in this story, this isn't a happy ending kind of story.
50:39.422 --> 50:43.184
[SPEAKER_01]: This is a maybe some people will make it out of this kind of story.
50:43.725 --> 50:49.829
[SPEAKER_00]: The problem is this movie was inspired by actual history, and that actual history inspired the legend of Robin Hood.
50:50.349 --> 50:55.915
[SPEAKER_00]: Which is something they implied in the marketing very briefly before double-thinking that.
50:56.115 --> 50:58.097
[SPEAKER_01]: Yeah, there's a brief second guess in it.
50:58.117 --> 51:04.624
[SPEAKER_01]: There's a brief period where if you watch the trailer or commercial for this movie, the title was the uprising colon the rise of Robinhood.
51:05.625 --> 51:11.767
[SPEAKER_01]: I don't know why they thought that was a good idea and I'll tell you why first off Robinhood perfectly good legend.
51:12.428 --> 51:14.148
[SPEAKER_01]: I know Jackson Robinhood is a legend.
51:14.188 --> 51:15.409
[SPEAKER_01]: I think it's done a lot of good.
51:15.749 --> 51:24.072
[SPEAKER_01]: I think it's good that we have a day-of-ide figure who robbed from the rich and gave to the poor that we all universally agree was a good guy.
51:24.692 --> 51:25.472
[SPEAKER_01]: I think that's great.
51:25.492 --> 51:27.133
[SPEAKER_01]: We've had a lot of great Robin Hood movies before.
51:27.393 --> 51:28.573
[SPEAKER_01]: There a Flynn version was great.
51:28.933 --> 51:32.214
[SPEAKER_01]: The Disney version with the weirdly sexy Fox version was great.
51:32.614 --> 51:35.355
[SPEAKER_01]: I even am a fan of the Kevin Costa one for all its flaws.
51:35.395 --> 51:37.095
[SPEAKER_01]: It's actually like a really handsome epic.
51:37.115 --> 51:38.355
[SPEAKER_01]: I make some interesting decisions.
51:39.095 --> 51:39.936
[SPEAKER_01]: I like that movie.
51:39.956 --> 51:42.676
[SPEAKER_01]: There've been some really good Robin Hood movies and media.
51:43.016 --> 51:45.437
[SPEAKER_01]: But you know who doesn't like Robin Hood?
51:46.197 --> 51:47.917
[SPEAKER_01]: Modern audiences.
51:47.957 --> 51:52.778
[SPEAKER_00]: They're like just my naturally bum, because there was the one with Terran Edrickson from a couple of years ago.
51:53.018 --> 51:53.618
[SPEAKER_00]: Nobody saw it.
51:53.638 --> 51:54.638
[SPEAKER_00]: There was the really bad.
51:54.678 --> 51:57.659
[SPEAKER_00]: The really Scott film from, I think, a few years prior.
51:57.719 --> 51:58.579
[SPEAKER_01]: No, quite a few years prior.
51:58.599 --> 52:07.741
[SPEAKER_01]: That was like 2009, 2010, it was like Russell Crowe and Kate Blanchett and Oscar Isaac, that I saw, and I remember nothing.
52:07.821 --> 52:09.701
[SPEAKER_01]: It is such a generic Robinhood.
52:09.941 --> 52:14.422
[SPEAKER_01]: And apparently it started with a very revisionist screenplay and then worked its way back to the being very planned.
52:14.842 --> 52:17.964
[SPEAKER_01]: and that's very frustrating because that was just nothing.
52:18.164 --> 52:21.326
[SPEAKER_00]: There's also the death of Robin Hood, which was just this year.
52:21.447 --> 52:23.888
[SPEAKER_01]: Yeah, which I liked, but nobody saw.
52:24.048 --> 52:24.969
[SPEAKER_00]: Yeah, nobody cares.
52:24.989 --> 52:26.310
[SPEAKER_00]: Isn't a big hit.
52:27.691 --> 52:32.014
[SPEAKER_00]: The DC Comics character Green Arrow, I think, is supposed to look like Robin Hood.
52:32.034 --> 52:33.975
[SPEAKER_01]: You folks Robin Hood, he folks Robin Hood.
52:34.115 --> 52:35.676
[SPEAKER_01]: And there have been times when they played with that.
52:35.936 --> 52:42.041
[SPEAKER_01]: There was a time in the comics where part of his cover was he ran of a flower shop called Sherwood Flores.
52:42.661 --> 52:44.321
[SPEAKER_01]: And it's like, that's funny.
52:44.361 --> 52:45.642
[SPEAKER_01]: We can all enjoy that.
52:45.682 --> 52:46.222
[SPEAKER_01]: That's good.
52:46.242 --> 52:46.642
[SPEAKER_01]: That's good.
52:46.682 --> 52:47.362
[SPEAKER_01]: Clean humor.
52:47.622 --> 52:49.483
[SPEAKER_00]: I don't know the character at all.
52:49.503 --> 52:56.605
[SPEAKER_01]: Does he steal from the rich and give to the poor or is he's actually rich who hates like his wealth and ends up fighting for the poor?
52:57.085 --> 52:57.585
[SPEAKER_00]: Okay.
52:57.605 --> 52:58.465
[SPEAKER_00]: So there's a Robin Hood element.
52:58.485 --> 52:59.385
[SPEAKER_01]: There's a Robin Hood element.
52:59.606 --> 53:00.666
[SPEAKER_01]: Yeah, being that was Robin Hood.
53:00.686 --> 53:00.966
[SPEAKER_01]: Wasn't he?
53:00.986 --> 53:01.546
[SPEAKER_01]: He was rich.
53:01.586 --> 53:03.407
[SPEAKER_01]: He was disenfranchised and he decided to fight.
53:03.427 --> 53:04.467
[SPEAKER_01]: But yeah, that's basically great now.
53:04.727 --> 53:04.867
[SPEAKER_01]: He's
53:05.828 --> 53:20.099
[SPEAKER_01]: at least when I was growing up he was like the single most openly progressive liberal superhero okay but he was actually genuinely pissed at other superheroes not being more liberal there was this really famous series of comics in the
53:21.488 --> 53:32.292
[SPEAKER_01]: I think it was the 70s, it might have been the really early 80s where the green arrow and the green lantern went on an extended road trip throughout America because they lost track of what was real.
53:33.112 --> 53:38.174
[SPEAKER_01]: And they started just actually interacting with real people and real problems as opposed to alien invasions and shit.
53:38.194 --> 53:39.455
[SPEAKER_01]: Yeah, that was really game-changing.
53:40.355 --> 53:40.755
[SPEAKER_01]: So that's true.
53:40.795 --> 53:42.436
[SPEAKER_00]: I wish they did that more in superhero movies.
53:42.476 --> 53:43.636
[SPEAKER_00]: They don't talk to the regular people.
53:43.657 --> 53:44.437
[SPEAKER_00]: And I don't know.
53:44.677 --> 53:49.959
[SPEAKER_01]: And I will say this, I thought, I thought for many years, the CW arrow TV series was quite good.
53:50.599 --> 53:54.042
[SPEAKER_01]: Familiar certainly I think it was a lot to do with bad news.
53:54.062 --> 54:00.628
[SPEAKER_01]: But it was pretty well-toiled Friends, it's TV superhero story goes like I really got swept up and I didn't tell you season five when it started to lose me
54:01.658 --> 54:06.519
[SPEAKER_00]: Uh, we bring all this up because there actually is a Robin Hood scene in the uprising.
54:06.579 --> 54:06.679
[SPEAKER_00]: Yeah.
54:06.719 --> 54:07.699
[SPEAKER_00]: It's hacked on right at the end.
54:07.720 --> 54:08.580
[SPEAKER_00]: It's an epilogue.
54:08.600 --> 54:08.720
[SPEAKER_00]: Yeah.
54:08.740 --> 54:10.460
[SPEAKER_00]: It's not even- They are really part of this.
54:10.480 --> 54:11.540
[SPEAKER_01]: I'm trying to advertise it.
54:11.560 --> 54:12.841
[SPEAKER_01]: So I don't know bad about this.
54:13.241 --> 54:13.541
[SPEAKER_01]: It is.
54:14.201 --> 54:15.661
[SPEAKER_01]: This is what we're talking about.
54:15.681 --> 54:17.942
[SPEAKER_01]: We talked about a tonal shift that fucks up the movie.
54:18.202 --> 54:18.302
[SPEAKER_01]: Yeah.
54:18.322 --> 54:22.023
[SPEAKER_00]: Because this is a- This is- You can cleanly break this scene off of the movie.
54:22.103 --> 54:22.683
[SPEAKER_01]: And it's a better one.
54:22.703 --> 54:23.323
[SPEAKER_00]: And it's a better one.
54:23.403 --> 54:25.224
[SPEAKER_01]: It's a really, really, really good film.
54:25.304 --> 54:30.205
[SPEAKER_01]: Blunt and like not- Not- Not at all subtle about it's messaging and the way it relates to the present day.
54:30.925 --> 54:33.186
[SPEAKER_01]: But I don't need suddenly, if it's good and fine with it.
54:33.687 --> 54:55.779
[SPEAKER_01]: But yeah, right at the end, they decide that this is going to have like this kind of superhero element in which the movie not only abandons it's kind of grim and gritty tone, but also decides to make a point that the rest of the movie was it making about the best way to deal with this inequality.
54:56.660 --> 55:00.102
[SPEAKER_01]: And the last thing the movie espouses, I'm thinking of myself
55:01.226 --> 55:24.367
[SPEAKER_01]: there is no fucking way that the characters who make it to the end of this movie would learn that lesson from what we all just experienced yeah that is not that that makes no sense as a take I'll say this that last scene where we get and regard failed essentially in the robin hood costume is a wearing a green cloak in a mask
55:25.185 --> 55:45.813
[SPEAKER_00]: looks cool and his band of marry men also wearing similar like badass medieval fight in costumes cool cool yeah I watch a whole movie about those people I bet it's a different movie yeah and they they stop a a carriage and they can't get a rich guy and they threaten him it's like okay all of this is fine
55:47.210 --> 55:49.592
[SPEAKER_00]: I've watched this if Paul W. S. Anderson did it.
55:49.732 --> 55:55.157
[SPEAKER_01]: It's like that that's a dog you made make a great Robin Hood movie Hey, we make so stupid.
55:55.177 --> 55:59.261
[SPEAKER_01]: Yeah, I watched his three-months yesterday.
55:59.281 --> 55:59.701
[SPEAKER_01]: Here we go.
55:59.721 --> 56:03.024
[SPEAKER_01]: I've tried it all on time and I'm like that is one.
56:03.805 --> 56:27.998
[SPEAKER_01]: blisteringly in sippin' version of the game, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it's weird, it
56:29.098 --> 56:37.340
[SPEAKER_01]: and in the Paul W. S. Anderson movie of that, the way they get it back is by hijacking a war blimp and blowing up a castle.
56:37.781 --> 56:40.922
[SPEAKER_01]: And I'm like, that is not how you prevent a war.
56:41.842 --> 56:43.582
[SPEAKER_00]: That makes no it's cool.
56:43.902 --> 56:45.863
[SPEAKER_00]: I'm not pretending to get that cool, but she
56:47.044 --> 56:51.107
[SPEAKER_00]: But point being, this goes from being a Paul Greengrass movie, and to being a Paul Ebiosander.
56:51.127 --> 56:58.593
[SPEAKER_00]: Yeah, it becomes really stupid at the end, and the point he makes is so antithetical to all of the death and misery we just saw.
56:58.633 --> 56:59.514
[SPEAKER_00]: Yeah, I don't buy it.
56:59.614 --> 57:05.599
[SPEAKER_00]: It's like, it's completely, and they're doing it in a way that they're trying to make the character seem badass.
57:05.919 --> 57:08.741
[SPEAKER_00]: Okay, seems badass, but that's not the note you want to strike at this point.
57:08.761 --> 57:09.322
[SPEAKER_00]: Yeah.
57:09.362 --> 57:13.365
[SPEAKER_00]: Especially not after all of the indignities and horrors and death that is visited
57:14.686 --> 57:18.467
[SPEAKER_00]: Yeah, it really falls apart right at the end, which is it because I honestly think before that it's really good.
57:18.587 --> 57:18.847
[SPEAKER_00]: Yeah.
57:19.187 --> 57:21.468
[SPEAKER_01]: Oh, well Anyway, we got to move on.
57:21.488 --> 57:22.888
[SPEAKER_01]: We saw one other movie together.
57:23.008 --> 57:25.889
[SPEAKER_01]: It's a big big big about face in every way.
57:26.049 --> 57:26.989
[SPEAKER_00]: Another tonal shift.
57:27.049 --> 57:32.731
[SPEAKER_00]: Oh, we should call this the tonal shift episode This is a new documentary called black zombie.
57:33.151 --> 57:40.333
[SPEAKER_01]: Yes, and black zombie is a documentary about the zombie myth the actual
57:41.273 --> 57:53.804
[SPEAKER_01]: zombification concept in rituals as it emerged out of Haiti, which were then discovered by the colonialist minded westerners.
57:53.824 --> 57:56.206
[SPEAKER_00]: Didn't hear that discovered in quotation marks.
57:56.326 --> 58:04.653
[SPEAKER_01]: Yeah, yeah, yeah, who eventually white people found out about this and decided we're going to make some really fucked up books about it.
58:05.033 --> 58:05.233
[SPEAKER_01]: And then
58:06.674 --> 58:13.316
[SPEAKER_01]: really fucked up racist ideas based on real stuff that has real important baggage attached to it.
58:14.076 --> 58:24.399
[SPEAKER_01]: We're all in on the horror and racism, and so we started getting zombie movies in the 30s, like white zombies, starring Belvedere Gosey, and then eventually that kind of warped.
58:25.099 --> 58:42.320
[SPEAKER_01]: kind of almost not really in a connected way into the Georgia Romero zombies, which are the undead, but the original Vodu zombies were like people who had their agency stripped away from that.
58:42.780 --> 58:50.904
[SPEAKER_00]: And this is something that I've actually I've known about because I was interested in zombies And I actually surprised I got a lot of kind of obscure now when I was going to.
58:50.924 --> 59:02.431
[SPEAKER_00]: Yeah, I thought this was a thing and in fact there was a movie that came out in the early late 80s early 90s Late 80s called the serpent of the rainbows directed by West Craven The makers of this movie hate that film
59:03.371 --> 59:24.420
[SPEAKER_00]: And I understand what's created and what's created and what's created and what's created and what to make it that way What's created wanted to make like a serious film and the studio was like your was created And you have to make it super scary until they forced them to change it really dramatic thing but a big a Big part of that movie is they actually did try to treat a voodoo as a spiritual practice
59:25.286 --> 59:25.867
[SPEAKER_00]: They failed.
59:26.067 --> 59:29.130
[SPEAKER_00]: They may get look like something spooky that would scare white people.
59:29.390 --> 59:29.630
[SPEAKER_00]: Yeah.
59:29.650 --> 59:32.753
[SPEAKER_00]: But there was at least sort of a germ of it.
59:32.773 --> 59:36.137
[SPEAKER_00]: And I also saw a Lars Funtur's The Kingdom, another film made by a white guy.
59:36.837 --> 59:37.698
[SPEAKER_00]: Many series.
59:37.718 --> 59:38.139
[SPEAKER_00]: Many series.
59:38.159 --> 59:40.961
[SPEAKER_00]: And she's made out where there is the idea of
59:42.227 --> 59:55.327
[SPEAKER_00]: of burying someone in a coffin and sort of like giving them drugs to essentially kind of wipe their minds and like drive them a little crazy and make them a lot more suggestible and they would essentially be your servant.
59:55.860 --> 01:00:06.705
[SPEAKER_00]: The traditional classical in the sense is that a big part of Voodoo, no, it's it's a big part of Voodoo as exorcisms are to Catholicism.
01:00:06.725 --> 01:00:13.709
[SPEAKER_01]: Yeah, it's a thing we know about, but it's not actually like important or something we're really excited about or something that like even happens a lot.
01:00:13.829 --> 01:00:22.333
[SPEAKER_01]: And to watch this documentary and the documentary I feel like this movie spends as much time talking about movies and especially talking about
01:00:23.213 --> 01:00:25.155
[SPEAKER_01]: Post George Romero zombies?
01:00:26.716 --> 01:00:37.126
[SPEAKER_01]: I feel like it's mostly focusing on that in order to get people into the theater or to get people to click on it Yeah, because that's what a lot of people get excited about Don of the dead zombies walking dead zombies.
01:00:37.687 --> 01:00:38.668
[SPEAKER_01]: These are fun zombies
01:00:39.188 --> 01:00:45.149
[SPEAKER_01]: We all like these zombies and they do talk to like modern Goths and they talk to like slash from guns and roses It's a zombie fan.
01:00:45.169 --> 01:00:46.349
[SPEAKER_00]: They talk to film makers.
01:00:46.410 --> 01:00:47.910
[SPEAKER_00]: I talk to the Darsavini.
01:00:48.170 --> 01:01:07.534
[SPEAKER_01]: George Eramar is no longer with us, but the co-writer of light as living dead is and so they talk to him and It's so far removed from where the concept of zombification began and they do a really haunting job of illustrating you know that sort of
01:01:08.375 --> 01:01:36.928
[SPEAKER_01]: really horrible, terrible colonialist history of countries in the Caribbean, especially Haiti, and the way that people were enslaved and rose up against the people who enslaved them and took their country back and then that was a whole thing, but the idea of zombification is that at least in sort of a literary sense, a thematic sense, it is addressed in the movie
01:01:39.074 --> 01:02:05.988
[SPEAKER_01]: being forced back into slavery on a supernatural level and that's where the terror is and well that's where the terror is and this is what the movies are really getting out it's where the terror is for a white audience yeah what the idea is white people when focus on this kind of zombification are scared that people of color will do to white people what white people have historically done to people of color yeah there's a lot there and then
01:02:07.387 --> 01:02:14.972
[SPEAKER_00]: And they're very open about this about this analysis and this is all very It doesn't take too much analysis to get to that point.
01:02:15.292 --> 01:02:20.676
[SPEAKER_00]: No, especially when you look back at some of the voodoo films The zombie films of like the 30s and 40s.
01:02:20.756 --> 01:02:22.197
[SPEAKER_00]: I walked with a zombie is another one.
01:02:22.277 --> 01:02:31.563
[SPEAKER_01]: That's actually an adaptation of Jane Eyre, but like with Set and I remember it's actually set in Haiti or not, but like set in the Caribbean and it's
01:02:32.283 --> 01:02:34.004
[SPEAKER_01]: Yeah, yeah, yeah, that's great.
01:02:34.044 --> 01:02:35.726
[SPEAKER_01]: It doesn't expect that's a really good movie.
01:02:35.866 --> 01:02:37.187
[SPEAKER_01]: And other aspects of that.
01:02:37.207 --> 01:02:41.190
[SPEAKER_00]: But it deals with a lot of racial anxiety from white audience.
01:02:41.330 --> 01:02:44.572
[SPEAKER_00]: This idea that black people still have this power.
01:02:44.612 --> 01:02:54.780
[SPEAKER_00]: And I've said this before, I've seen a lot of movies about white characters tricking to quote an exotic location that is outside of the United States or England.
01:02:55.440 --> 01:03:09.381
[SPEAKER_00]: uh... and uh... that could be anywhere from uh... school island in kingdom of school island uh... the phrase darkest african was used a lot of the old uh... king salamans mine yeah all those kinds of things but even more modern movies and the idea is
01:03:12.245 --> 01:03:20.093
[SPEAKER_00]: The white people, the Caucasian conquerors are going into the lands they've conquered and they are beset by the magic that is there.
01:03:20.934 --> 01:03:28.061
[SPEAKER_00]: And I feel too ways about this because on the one hand, it does exotify and make into stereotypes and entire culture.
01:03:28.581 --> 01:03:34.887
[SPEAKER_00]: It turns, it cheapens entire religious groups and it cheapens an entire race of people and that's awful.
01:03:36.028 --> 01:03:40.869
[SPEAKER_00]: But at the same time, it also says, white people don't have magic anymore.
01:03:40.989 --> 01:03:47.331
[SPEAKER_00]: They tried to take over the world and destroyed all of the power that the world had already.
01:03:47.351 --> 01:03:49.511
[SPEAKER_00]: There was already been, and they didn't appreciate it.
01:03:49.531 --> 01:03:52.712
[SPEAKER_00]: So now they're being, and now the world is getting revenge on the white people.
01:03:52.752 --> 01:03:55.453
[SPEAKER_00]: So I'm kind of on the movie side on a certain set.
01:03:55.593 --> 01:04:03.215
[SPEAKER_01]: It's a message, it's a message, it's easy to, it's easy to, I think, kind of tilt your head sometimes and look at it from different angles.
01:04:03.415 --> 01:04:03.635
[SPEAKER_01]: Yeah.
01:04:03.915 --> 01:04:12.604
[SPEAKER_01]: But the negativity is still there and I think positivity is sometimes us, you know, I think maybe looking for a silver lining.
01:04:12.624 --> 01:04:23.896
[SPEAKER_01]: Well, it's going to depend on how those movies end, does the white person get away or is the point that we had to say this these these white people or is the point that you know, and if it's like the ruins.
01:04:24.597 --> 01:04:25.798
[SPEAKER_01]: The ruins is a f**k him.
01:04:25.838 --> 01:04:28.420
[SPEAKER_00]: Yeah, and if it ends on a f**k him, no, fine.
01:04:28.520 --> 01:04:33.924
[SPEAKER_01]: That's usually that, that's a man's, the, the, but, but you're also, but it, but it also depends on the audience, though.
01:04:33.944 --> 01:04:40.888
[SPEAKER_01]: And that's the trick, if, if the characters who are presented in that story is being against the white quote unquote heroes, even as the white people are terrible.
01:04:42.038 --> 01:04:56.108
[SPEAKER_01]: Um, some people on the audience may not do a lot of critical thinking about it, and even then you do run the risk of portraying people in a very stereotypical way that ultimately adds to this negative interpretation and I think
01:04:57.650 --> 01:05:02.415
[SPEAKER_01]: You know, you and I have seen a lot of movies and some movies do terrible things better than others.
01:05:02.455 --> 01:05:13.387
[SPEAKER_01]: Some movies do good things in terrible ways and it's very frustrating because you would love to be able to just give a stamp of approval on something and it's said you have to say this mostly sucks, but there's a good part.
01:05:14.068 --> 01:05:18.531
[SPEAKER_01]: You know, and that's very, very good message in the middle of all this shit.
01:05:18.551 --> 01:05:26.156
[SPEAKER_01]: Yeah, and I have actually never seen white zombie the Bellalago scene movie, which is the prototypical early zombie movie.
01:05:26.196 --> 01:05:32.440
[SPEAKER_01]: Yeah, but I've seen other early zombie movies And most of them blur it together and I'll be honest.
01:05:32.500 --> 01:05:34.502
[SPEAKER_01]: I thought all of them were badly made
01:05:35.102 --> 01:05:42.231
[SPEAKER_01]: Well, that's, and then some were just not well told stories, even for, you know, historical context, yada yada.
01:05:42.251 --> 01:05:48.960
[SPEAKER_01]: I was sort of a context which is often just a way to say, we're going to pretend it's okay to be racist while we're watching this movie.
01:05:49.520 --> 01:05:49.801
[SPEAKER_01]: Yeah.
01:05:49.821 --> 01:05:51.022
[SPEAKER_01]: That's what people mean by that.
01:05:51.082 --> 01:05:51.683
[SPEAKER_01]: I'm not okay with that.
01:05:52.023 --> 01:06:00.626
[SPEAKER_00]: And I'm so glad that they're reinterrogating the serpent of the rainbow because that was a film I saw and was very terrified by as a young child Just because the images are scary.
01:06:01.246 --> 01:06:15.810
[SPEAKER_00]: I wasn't paying much mind to the racial dynamics, but I didn't notice them even when I was in care about the myth and The thing about that movie is it was trying to when it first came out kind of rescue the zombie genre
01:06:16.650 --> 01:06:18.651
[SPEAKER_00]: from those cheap things you were talking about.
01:06:18.691 --> 01:06:34.120
[SPEAKER_00]: These are low budget films from the 30s and 40s and even a lot of low budget night of the league dead knockoffs where you just get a bunch of extras you glue cornflakes to their place, have them spit great jelly out and they just go boom you know shambles to where do you you got a zombie.
01:06:34.840 --> 01:06:36.161
[SPEAKER_00]: It looks awful.
01:06:36.261 --> 01:06:37.762
[SPEAKER_00]: You've seen that in a lot of bad movies.
01:06:40.054 --> 01:07:00.896
[SPEAKER_00]: uh... serpent in the rainbow is trying to be the class version and we're going to take it to like the actual origins of the zombie myth yeah but you're still being fucking racist about it you're still treating the culture as this exotic thing and something they bring up in the black zombie documentary is if you are really trying to be authentic about the voodoo religious experience
01:07:01.757 --> 01:07:13.330
[SPEAKER_00]: Why do you make the religion, and all of its rituals look like Halloween, like why does it look so spooky and scary and terrible, full of death and snakes and stabbing?
01:07:22.760 --> 01:07:28.826
[SPEAKER_00]: Yeah, and people really do actual practitioners of this religion, and what's there?
01:07:28.866 --> 01:07:31.148
[SPEAKER_00]: What is the actual faith believe in?
01:07:31.208 --> 01:07:32.730
[SPEAKER_00]: And what are their actual practices?
01:07:32.770 --> 01:07:35.933
[SPEAKER_01]: There's one guy who says there's a really great bit where he points out.
01:07:37.214 --> 01:07:40.819
[SPEAKER_01]: I want to believe you're going to make a respectful documentary.
01:07:41.300 --> 01:07:47.748
[SPEAKER_01]: You are not the first people to interview me, saying you wanted to be respectful and ended up doing something exploitative.
01:07:48.429 --> 01:07:53.616
[SPEAKER_01]: So I hope you're doing this for the right reasons and you're going to do a good job, but most people don't.
01:07:54.497 --> 01:07:54.898
[SPEAKER_01]: And that's...
01:07:56.244 --> 01:08:23.605
[SPEAKER_01]: fucking frustrating yeah I can only imagine how fucking frustrating that must be and out there's a lot of people have something similar well though they'll give an interview ostensibly they were told we're gonna have a serious conversation about gender identity only to be fucking taken at a context and and edit it and and use to present a perspective that they do not share support or even want to dignify with their presence um and i think this will be is incredibly good at being respectful
01:08:24.105 --> 01:08:29.710
[SPEAKER_01]: It's not my place to say how accurate the representation is, but it's clear that they care.
01:08:29.990 --> 01:08:32.032
[SPEAKER_00]: Well, it's a great media study, isn't it?
01:08:32.112 --> 01:08:32.352
[SPEAKER_00]: Yeah.
01:08:32.433 --> 01:08:39.839
[SPEAKER_00]: It looks into... Because it is interested in the religion of Voodoo and the actual origins of what we call the zombie.
01:08:40.039 --> 01:08:40.279
[SPEAKER_01]: Yeah.
01:08:40.400 --> 01:08:41.861
[SPEAKER_00]: But that's what it's about.
01:08:41.921 --> 01:08:43.783
[SPEAKER_01]: Because it's actually pretty minimal.
01:08:44.563 --> 01:08:46.885
[SPEAKER_00]: Modern Americans know about zombies to movies.
01:08:47.105 --> 01:08:49.287
[SPEAKER_00]: And I think what this movie is pointing out is...
01:08:50.128 --> 01:09:02.860
[SPEAKER_00]: how cinema can misinform so badly that something like a whole religion can be turned into a TV monster that we're still just employing without anything.
01:09:03.060 --> 01:09:03.681
[SPEAKER_00]: Yeah.
01:09:03.741 --> 01:09:04.722
[SPEAKER_00]: What is a zombie?
01:09:05.022 --> 01:09:06.243
[SPEAKER_00]: And I do like this whole time.
01:09:06.424 --> 01:09:11.949
[SPEAKER_00]: And I do like that they talk to Tom Savini and even he said when I was first doing like zombie shit in the 70s,
01:09:13.210 --> 01:09:15.474
[SPEAKER_00]: We were like, of course, we were trying to be gory.
01:09:15.694 --> 01:09:18.037
[SPEAKER_00]: We were trying to sort of do fun things with this thing.
01:09:18.057 --> 01:09:18.698
[SPEAKER_00]: Yeah, yeah.
01:09:18.718 --> 01:09:26.089
[SPEAKER_00]: He was thinking very technically, and then he did say, and then at one point something turned, and it became about the gore.
01:09:26.269 --> 01:09:26.430
[SPEAKER_01]: Yeah.
01:09:26.690 --> 01:09:27.211
[SPEAKER_00]: So even,
01:09:28.312 --> 01:09:33.635
[SPEAKER_00]: that tradition that Tom Savini grew up with ended up being bold lorized by later out stuff.
01:09:33.655 --> 01:09:37.017
[SPEAKER_00]: So we're many steps removed from the origin of the zombie.
01:09:37.097 --> 01:09:41.839
[SPEAKER_00]: And now we have live zombie walks participated in by goth kids everywhere.
01:09:42.140 --> 01:09:45.361
[SPEAKER_01]: And we don't even and we don't typically don't think of it as cultural appropriation.
01:09:45.521 --> 01:09:45.742
[SPEAKER_00]: Yeah.
01:09:46.677 --> 01:10:04.511
[SPEAKER_01]: but on some level it is on some level it's very far removed and it's its own thing but also it absolutely is that and I feel if there is on be found there is uh there is that pill to swallow you can still love zombies but you understand what you're doing right yeah there is something very and the thing is is that there are
01:10:05.614 --> 01:10:21.691
[SPEAKER_01]: really good zombie movies and actually evoke some of the themes that we're discussing it or not weird but they're discussing in black we're discussing now but they're discussing in black zombie and I present a land of the dead is actually really good one because that's one where the zombies actually
01:10:22.652 --> 01:10:41.454
[SPEAKER_01]: rise up in a in a thoughtful way they grow some agency again and like I said there's a lot of work in class black zombie actually start taking down the people who survived the apocalypse who are mostly the rich and it's like there is an actual connective tissue there thematically
01:10:41.794 --> 01:10:58.339
[SPEAKER_01]: And obviously this been a lot of time talking about night of the living dead because even though the protagonist of night of the living dead was rather famously allegedly cast just because he was the best actor they could find, even though the part wasn't written for a black man, adding that context changed dramatically the reading of that film.
01:10:58.399 --> 01:10:59.399
[SPEAKER_00]: Yes, absolutely.
01:10:59.479 --> 01:11:00.739
[SPEAKER_00]: And it became 68, too.
01:11:00.839 --> 01:11:06.261
[SPEAKER_01]: Yeah, it became a major racial allegory, and I was lucky enough I got to interview George Romero once.
01:11:06.901 --> 01:11:08.262
[SPEAKER_01]: like a year before he died.
01:11:08.442 --> 01:11:08.883
[SPEAKER_01]: Nice guy.
01:11:09.704 --> 01:11:19.232
[SPEAKER_01]: And we talked about this and he was like, I'm going to say is this, if it had occurred to us consciously that this was a racial allegory, we wouldn't have been that subtle about it.
01:11:19.853 --> 01:11:21.834
[SPEAKER_01]: Like we would have gone for it.
01:11:22.935 --> 01:11:25.017
[SPEAKER_01]: And it's funny is that it's not fucking subtle.
01:11:25.298 --> 01:11:26.238
[SPEAKER_01]: It's not subtle at all.
01:11:26.278 --> 01:11:26.399
[SPEAKER_01]: So
01:11:27.492 --> 01:11:47.057
[SPEAKER_01]: There's a, there's so much unpack here and I appreciate that not only is there a good documentary about the zombie genre, but there's a good documentary that has a really important point to make and really important history to illuminate that goes beyond and then one day night is a living dead was made.
01:11:48.579 --> 01:11:56.736
[SPEAKER_01]: It's a very good documentary, especially for horror fans, but honestly, just if you're interested in Haitian culture, because that's really what they care about more than anything else in this month.
01:11:56.796 --> 01:11:59.822
[SPEAKER_00]: On the origin of these concepts, I'm always interested in that as well.
01:12:00.890 --> 01:12:09.898
[SPEAKER_01]: All right, we have two more movies to review and I saw these and you didn't, I'm going to be pretty with one of them, although one of them we might end up getting into the wait.
01:12:09.958 --> 01:12:12.720
[SPEAKER_01]: The first one is an action comedy called Runner.
01:12:14.121 --> 01:12:23.089
[SPEAKER_01]: As we mentioned in the last episode when we reviewed the Runner, both of the movies called Runner that are coming out within like two weeks of each other.
01:12:25.137 --> 01:12:33.844
[SPEAKER_01]: are about people who have to travel like great distances in a short period of time to save a dying child with under-reticking clock.
01:12:34.977 --> 01:12:35.717
[SPEAKER_01]: Uh, and you know what?
01:12:35.877 --> 01:12:36.498
[SPEAKER_01]: It's a great setup.
01:12:37.098 --> 01:12:38.358
[SPEAKER_01]: It's a great engine for suspense.
01:12:38.398 --> 01:12:50.181
[SPEAKER_01]: We got to get here or this kid will die And the Gal Gaddaht movie someone kidnapped a lawyer's son and said I'm gonna kill him unless you kill a witness in a trial Very hitchcocky in Santa.
01:12:50.202 --> 01:12:59.884
[SPEAKER_00]: Very But they're thrived, but theoretically effective and as we reviewed last week terribly executed terrible motion picture Just really like it's a good.
01:13:00.665 --> 01:13:01.765
[SPEAKER_01]: I'll be it can drive set up
01:13:02.762 --> 01:13:04.443
[SPEAKER_01]: and they really whizzed it down their leg.
01:13:04.463 --> 01:13:06.405
[SPEAKER_01]: It just doesn't work on any meaningful level.
01:13:07.365 --> 01:13:10.788
[SPEAKER_01]: That being said, runner kicks ass.
01:13:11.048 --> 01:13:11.848
[SPEAKER_01]: Ooh, I like to hear that.
01:13:11.868 --> 01:13:13.029
[SPEAKER_01]: I was genuinely shocked.
01:13:13.109 --> 01:13:18.994
[SPEAKER_01]: So this is a direct-up by Scott Waw, a director who, I am not typically huge on.
01:13:19.374 --> 01:13:24.678
[SPEAKER_01]: He directed Act of Valor, which was arguably the film that kicked off that January Pro War movie.
01:13:24.878 --> 01:13:25.718
[SPEAKER_01]: And I hate it.
01:13:25.758 --> 01:13:27.299
[SPEAKER_01]: So I don't think it's a good movie.
01:13:27.400 --> 01:13:32.143
[SPEAKER_01]: He did the video game movie Need for Speed, which is kind of a bad movie, but has cool car chases in it.
01:13:32.523 --> 01:13:34.665
[SPEAKER_00]: I like that one, okay, new for speed is all right.
01:13:34.725 --> 01:13:35.606
[SPEAKER_01]: I don't again, plot.
01:13:36.046 --> 01:13:36.987
[SPEAKER_01]: Don't remember right here.
01:13:37.147 --> 01:13:42.252
[SPEAKER_00]: Cool car chases and that was the one with Aaron Aaron, Aaron Johnson.
01:13:42.292 --> 01:13:44.915
[SPEAKER_01]: No, it's going to Hold on something.
01:13:45.435 --> 01:13:45.936
[SPEAKER_01]: Aaron Paul.
01:13:46.096 --> 01:13:46.596
[SPEAKER_01]: Aaron Paul.
01:13:46.676 --> 01:13:47.417
[SPEAKER_01]: Dominic Cooper.
01:13:47.497 --> 01:13:49.299
[SPEAKER_01]: Our engine suits Michael Keaton.
01:13:49.339 --> 01:13:49.799
[SPEAKER_00]: Michael Keaton.
01:13:49.819 --> 01:13:50.460
[SPEAKER_00]: I was always thinking.
01:13:50.480 --> 01:13:53.783
[SPEAKER_00]: Yeah, he was like the deep Mastermind behind the race
01:13:53.943 --> 01:14:00.467
[SPEAKER_01]: And they had a couple of movies I didn't see called Six Below, Maracle on the Mountain and Hidden Strike.
01:14:00.487 --> 01:14:04.949
[SPEAKER_01]: He also did the fourth expendables movie, collectively titled, Expend for Bulls.
01:14:05.629 --> 01:14:06.630
[SPEAKER_01]: That movie's shit.
01:14:06.650 --> 01:14:08.211
[SPEAKER_01]: That movie's not good.
01:14:08.691 --> 01:14:09.692
[SPEAKER_01]: That movie's not good.
01:14:09.732 --> 01:14:12.553
[SPEAKER_01]: He doesn't have a great track record with me, but he nails this.
01:14:12.733 --> 01:14:18.537
[SPEAKER_01]: So the plot of the movie is Alan Richman is a delivery man in
01:14:21.748 --> 01:14:25.390
[SPEAKER_01]: And he lives in Australia and at the beginning of the movie, we find that he does all kinds of jobs.
01:14:25.750 --> 01:14:25.950
[SPEAKER_01]: All right.
01:14:26.070 --> 01:14:29.452
[SPEAKER_01]: So there is one part where we just, it's just him going about his day.
01:14:29.792 --> 01:14:36.135
[SPEAKER_01]: He goes to the house of a guy who's getting a divorce and he's supposed to take something to his ex-wife.
01:14:36.595 --> 01:14:38.796
[SPEAKER_01]: And it is an endangered species of parrot.
01:14:39.296 --> 01:14:41.257
[SPEAKER_01]: He was like, okay, I don't know how to fucking take care of this.
01:14:41.277 --> 01:14:42.578
[SPEAKER_01]: I'll do the worry about this later.
01:14:42.758 --> 01:14:43.798
[SPEAKER_00]: This sounds very 90s.
01:14:43.918 --> 01:14:44.879
[SPEAKER_01]: Very 90s.
01:14:45.579 --> 01:14:52.603
[SPEAKER_01]: There's another one where apparently someone in Parliament has gone on a bender and they need someone to just drag him back to work.
01:14:53.523 --> 01:14:54.744
[SPEAKER_01]: And so he has to do that.
01:14:54.764 --> 01:14:56.285
[SPEAKER_01]: That leads to a teensy little bit of action.
01:14:56.305 --> 01:14:57.485
[SPEAKER_01]: Just shows you he's a tough guy.
01:14:58.406 --> 01:15:00.147
[SPEAKER_01]: And then the big one.
01:15:00.967 --> 01:15:08.513
[SPEAKER_01]: He's got to go to an airport where there is a liver transplant that needs to get delivered to a hospital.
01:15:08.913 --> 01:15:13.437
[SPEAKER_01]: And not just any liver transplant, a liver transplant from someone with the rarest blood type in the world.
01:15:13.517 --> 01:15:13.677
[SPEAKER_01]: Okay.
01:15:13.957 --> 01:15:22.163
[SPEAKER_01]: So this isn't like another one will come along, but like 10-year-old kid who needs this will die if this doesn't get there.
01:15:22.443 --> 01:15:23.444
[SPEAKER_00]: So Roenak can send
01:15:28.832 --> 01:15:45.528
[SPEAKER_01]: I mean, kind of, yeah, we're doing this, yeah, it's a bit, it's a bit ratter, it's, um, the thing is is that the thing is in like this high tech cooling system because it has a travel great distance is to get to Australia and it comes with its own tech guy played by Owen Wilson and one Wilson told Tom, but just to make sure this machine is still running.
01:15:45.888 --> 01:15:47.548
[SPEAKER_00]: And he's like, I have the whole movie in my hand.
01:15:47.588 --> 01:15:53.309
[SPEAKER_01]: He's kind of like, I can go hard, but what I love about him in this movie, there's so many movies where this weekend would be played by Rob Schneider.
01:15:53.550 --> 01:15:54.710
[SPEAKER_01]: He'd be annoying as fuck.
01:15:54.730 --> 01:15:56.110
[SPEAKER_01]: He'd be completely useless.
01:15:56.570 --> 01:16:03.471
[SPEAKER_01]: And Owen Wilson is mildly irritating to Alan Rickson, but he's actually a constant professional who really cares about what he's doing.
01:16:03.651 --> 01:16:03.932
[SPEAKER_00]: Okay.
01:16:04.152 --> 01:16:07.312
[SPEAKER_01]: And so he's not an impediment to the story.
01:16:07.432 --> 01:16:11.173
[SPEAKER_01]: He's actually like really important to have around and that works.
01:16:12.625 --> 01:16:16.748
[SPEAKER_01]: Now, Alan Rickson picks on Wilson up, Owen Wilson tells him, okay, we gotta get to this hospital.
01:16:17.208 --> 01:16:22.612
[SPEAKER_01]: Alan Rickson says, I thought we were going to this other hospital, and Owen Wilson says, no, we're going to this other one, hours away.
01:16:22.953 --> 01:16:23.993
[SPEAKER_01]: And then they start driving.
01:16:24.274 --> 01:16:26.996
[SPEAKER_01]: And then Alan Rickson's boss says, why aren't you at the hospital?
01:16:27.016 --> 01:16:27.876
[SPEAKER_01]: I told you to go to.
01:16:28.337 --> 01:16:30.278
[SPEAKER_01]: Alan Rickson says, there was an miscommunication.
01:16:30.578 --> 01:16:35.762
[SPEAKER_01]: And then all of a sudden, they're being chased by armed guys with guns who are trying to get this fucking organ.
01:16:36.122 --> 01:16:38.924
[SPEAKER_01]: And at first they think it's because this thing's worth like a million dollars.
01:16:38.964 --> 01:16:39.465
[SPEAKER_01]: It's a rare,
01:16:40.125 --> 01:16:49.574
[SPEAKER_01]: So I'm talking about the black market, but what they don't realize is that the bad guys are led by an older woman who needs this transplant today as well.
01:16:50.495 --> 01:16:58.883
[SPEAKER_01]: And they killed a guy in order to get the organ, and now they're trying to steal it back, but they didn't count on the delivery guy being played by Alan Ritz.
01:17:04.548 --> 01:17:09.013
[SPEAKER_01]: Just like and of course he's gonna kick a lot of ass that this is drive-in perfection.
01:17:09.093 --> 01:17:09.594
[SPEAKER_00]: It's fun.
01:17:09.634 --> 01:17:23.850
[SPEAKER_01]: That's really really fun Oh Alan Rickson and Owen Wilson are really really funny together The bad guy is played by Rodrigo Centoro who is a good actor He's not typically considered a great one, but he's he's played well here as a guy who's constantly frustrated by this whole situation
01:17:26.193 --> 01:17:40.454
[SPEAKER_01]: And Scott Wah lets the comedy play, he doesn't oversell it, he doesn't make it too joky, it's just these are funny characters going through a very serious situation, and the action sequences fucking rip.
01:17:41.155 --> 01:18:03.065
[SPEAKER_01]: Okay, you get to see Alan Richen, like stab a guy with a bicycle, there's a scene where he like rams a car through a building and the car lands at an angle But like he put like a brick on the accelerator, so it's still going so Alan Richen is fighting guys and shoving their heads into the wheels So they're just manning at 50 miles an hour and you're like fucking hell who gave this movie permission to kick ass
01:18:04.672 --> 01:18:07.314
[SPEAKER_01]: And it really does genuinely kicks ass.
01:18:07.374 --> 01:18:12.838
[SPEAKER_01]: There's some really unexpected bits, I think towards the end where I was like, I actually didn't think you were gonna go there.
01:18:13.759 --> 01:18:17.822
[SPEAKER_01]: In any other action comedy, you would never have gone there.
01:18:17.862 --> 01:18:19.223
[SPEAKER_01]: That's way too intense.
01:18:19.784 --> 01:18:20.745
[SPEAKER_01]: But you did it.
01:18:21.205 --> 01:18:22.706
[SPEAKER_01]: Good for fucking you.
01:18:23.867 --> 01:18:28.611
[SPEAKER_01]: And this movie came from angel studios.
01:18:29.091 --> 01:18:31.573
[SPEAKER_00]: I think you know what, stop clock, right?
01:18:34.323 --> 01:18:36.045
[SPEAKER_01]: I got to say this for Angel Studios, man.
01:18:36.385 --> 01:18:44.693
[SPEAKER_01]: Angel Studios is a studio that is best known for producing films with a political ethos, specifically a conservative one.
01:18:44.713 --> 01:18:46.335
[SPEAKER_00]: They do a lot of Christian movies.
01:18:46.355 --> 01:18:50.059
[SPEAKER_01]: A lot of Christian movies, a lot of, you know, like...
01:18:50.539 --> 01:19:13.202
[SPEAKER_01]: Oh, human trafficking is bad because white people don't do it and it's all kinds of fucked up and a lot of like they did that terrible George young George Washington biopic Which ended with a whole bunch of like first nation people saying that George Washington was like Prophecyzed by their people to save this world and you're just like fuck you so so much They did that really
01:19:14.383 --> 01:19:16.804
[SPEAKER_00]: Fascinatingly bad animal farm animated film.
01:19:16.844 --> 01:19:39.988
[SPEAKER_01]: And we fairly picked up a lot of these films a lot of the films that they produce on site I have a very political ethos, but they also pick up some films and the thing is I don't know who is in charge of things over there But when they pick up a movie that has nothing to do with their political You know message that they usually try to push they have good taste
01:19:41.042 --> 01:19:47.948
[SPEAKER_01]: They did a really fun, they picked up a really fun kids horror movie about a year year and a half ago called Sketch.
01:19:48.548 --> 01:19:50.250
[SPEAKER_00]: That was, I remember you telling me about this.
01:19:50.270 --> 01:20:04.882
[SPEAKER_01]: It's really quite good and it's about a little girl and like her mom died and she's been like, trying to process her grief by drawing all these really scary disturbing pictures with like crayon and like a notebook and then they find like a magical pond and everything you put in the pond.
01:20:05.422 --> 01:20:12.047
[SPEAKER_01]: comes back to life or gets healed and her brother accidentally knocks her no pet in there and all the monsters come to life but they look like cartoon drawings.
01:20:12.107 --> 01:20:12.267
[SPEAKER_01]: Yeah.
01:20:12.467 --> 01:20:14.308
[SPEAKER_01]: And but they're actually genuinely threatening.
01:20:16.259 --> 01:20:17.500
[SPEAKER_01]: Awesome, good movie.
01:20:17.740 --> 01:20:28.604
[SPEAKER_01]: They did a movie earlier this year called Solomeo starring Kevin James as a guy whose wife leaves him on their vacation wedding trip to Italy.
01:20:28.944 --> 01:20:36.608
[SPEAKER_01]: So she leaves him at the altar, but he's still got the honeymoon package and it's non-refundable, so he decides to go on any way and ends up meeting the actual love of his life.
01:20:36.728 --> 01:20:37.348
[SPEAKER_00]: And you know what?
01:20:37.948 --> 01:20:38.708
[SPEAKER_01]: It's familiar.
01:20:39.009 --> 01:20:40.189
[SPEAKER_01]: It's really good.
01:20:40.449 --> 01:20:41.890
[SPEAKER_01]: It's a sweet film.
01:20:43.745 --> 01:20:46.527
[SPEAKER_01]: It's so fucking weird.
01:20:47.287 --> 01:20:57.552
[SPEAKER_01]: When Angel Studios puts out like a genuinely good film that seems to have nothing to do with their businesses, stated identity and runner is one of them.
01:20:57.893 --> 01:21:03.636
[SPEAKER_01]: It is a genuinely fun badass action comedy that did a couple of things.
01:21:03.716 --> 01:21:07.938
[SPEAKER_01]: I never thought it was gonna do and I actually highly recommend you check it out.
01:21:08.939 --> 01:21:10.159
[SPEAKER_01]: Seriously, what a delightful treat.
01:21:13.206 --> 01:21:22.915
[SPEAKER_00]: And then the fix, you know what, I didn't see that so you don't have to spend a lot of time.
01:21:22.995 --> 01:21:25.016
[SPEAKER_00]: I don't want thinking about this move.
01:21:25.177 --> 01:21:31.262
[SPEAKER_01]: I mean, I really don't want to spend a lot of time thinking about it, but I by God I saw this movie and other people need to know about it.
01:21:31.342 --> 01:21:32.243
[SPEAKER_01]: So the fix,
01:21:35.384 --> 01:21:49.102
[SPEAKER_01]: Okay, so the fix is a movie that stars Liam Neeson as like a CIA guy at the beginning of the movie, it's the evacuation of American military forces from Afghanistan, which
01:21:50.558 --> 01:22:01.846
[SPEAKER_01]: ignoring all of the political like ramifications and who actually like ordered it and how the actual implementation of it was really shabby and it was not great.
01:22:02.467 --> 01:22:13.355
[SPEAKER_01]: So in the midst of all of this chaos Liam Neeson enlists a CIA black ops squad led by the most badass action movie hero they could get Zachary Levi.
01:22:15.339 --> 01:22:39.168
[SPEAKER_01]: and they said listen there's a guy he was one of our like informants on of our translators and he was supposed to be evacuated with us he was turned away they fucked up we need you to go into like dangerous territory and pick him up and save him I'm like okay I'm I'm I'm with you so far this is actually like a pretty good set up great they get there they get there a little too late and now they need to heroically murder him
01:22:40.622 --> 01:22:42.764
[SPEAKER_01]: Okay, you're starting to lose me a little.
01:22:42.804 --> 01:22:57.039
[SPEAKER_01]: This is kind of fucked up, and I guess they feel bad about it But this is getting kind of weird and then Liam Neeson goes a wall and they find him in a brothel surrounded by a whole bunch of murdered sex workers And it's unclear if he killed them
01:22:57.860 --> 01:23:23.622
[SPEAKER_01]: or what but in any case he feels really bad because one of the sex workers is one of his informants and then he starts like babbling in coherently and giving a dramatic reading of the star-spangled banner and then we cut to like a year later why and then that really vise team his is in trouble because they they were like I don't know they're like excommunicated from the CIA and they're all doing really bad and Liam Neeson has dementia and
01:23:24.952 --> 01:23:43.679
[SPEAKER_01]: And so Zachary Levi goes to Liam Neeson to just sort of see him and then Liam Neeson reveals that there's like millions of dollars hidden in a wall and a hotel and to Ron and so Zachary Levi's like okay So we have to go to Toronto and pull a heist and then he enlists all of his guys like yeah, listen, you need the money you need the money start here
01:23:45.600 --> 01:23:46.560
[SPEAKER_00]: Right, start the movie there.
01:23:46.620 --> 01:23:47.000
[SPEAKER_00]: You don't need it.
01:23:47.160 --> 01:23:48.001
[SPEAKER_00]: So anyway, there's a height.
01:23:48.021 --> 01:23:49.261
[SPEAKER_00]: There's a money here.
01:23:49.281 --> 01:23:50.521
[SPEAKER_01]: Yeah, assemble your team.
01:23:50.621 --> 01:23:51.221
[SPEAKER_01]: Yeah.
01:23:51.461 --> 01:23:52.562
[SPEAKER_01]: He goes to his old team.
01:23:52.742 --> 01:23:53.902
[SPEAKER_01]: He assembles all of his old team.
01:23:54.222 --> 01:23:54.982
[SPEAKER_01]: You need the money.
01:23:55.402 --> 01:23:56.223
[SPEAKER_01]: You need the money.
01:23:56.563 --> 01:24:03.884
[SPEAKER_01]: YouTube guys somehow became NFT millionaires and don't need the money and could help everyone out without any fucking problem to you financially.
01:24:04.464 --> 01:24:05.885
[SPEAKER_01]: But you're not doing that.
01:24:05.925 --> 01:24:08.105
[SPEAKER_01]: So instead you're going to come with us the bull this ice.
01:24:08.525 --> 01:24:10.966
[SPEAKER_01]: And I no longer understand the premise of this movie.
01:24:15.827 --> 01:24:39.075
[SPEAKER_01]: Zachary Levi says we need a woman to join us on our team so I can pretend to be married and That woman won't make it look like a bunch of bad asses just walked into Toronto and I'm like okay I'll again the thinner territory here and then he contacts his ex-wife and says hey ex-wife You work for an employment agency could you employ an Iranian woman to pretend to be my wife and then
01:24:40.075 --> 01:24:42.276
[SPEAKER_01]: I'm really fucking losing me movie.
01:24:42.297 --> 01:24:44.358
[SPEAKER_01]: This is getting really unnecessarily complicated.
01:24:44.638 --> 01:24:47.500
[SPEAKER_01]: He finds like the one woman who is sexually attracted to him.
01:24:47.760 --> 01:24:49.241
[SPEAKER_01]: So that's a terrible fucking idea.
01:24:49.261 --> 01:24:50.322
[SPEAKER_01]: And it's not going to go well.
01:24:50.582 --> 01:24:51.602
[SPEAKER_01]: They go wrong.
01:24:51.822 --> 01:24:54.424
[SPEAKER_01]: They only way they're able to find out where the hotel is.
01:24:54.464 --> 01:25:05.151
[SPEAKER_01]: Is if they agree to rescue a woman who made some really politically rebellious social media post.
01:25:05.171 --> 01:25:07.612
[SPEAKER_01]: So they have to rescue her and I'm like, OK, I'm kind of with you here.
01:25:09.821 --> 01:25:17.684
[SPEAKER_01]: At some point you just realize, all of this is really fucking long, doesn't make sense.
01:25:18.765 --> 01:25:29.909
[SPEAKER_01]: Is really racist, is really misogynistic, and it sucks on top of that.
01:25:29.949 --> 01:25:31.130
[SPEAKER_01]: Zachary Levi.
01:25:33.136 --> 01:25:42.300
[SPEAKER_01]: I don't think I'm blowing anyone's minds when I say Zach really biased and the greatest actor of his generation few people are he's fine and shazam He's good.
01:25:42.500 --> 01:25:43.421
[SPEAKER_00]: I love shazam.
01:25:43.661 --> 01:25:45.542
[SPEAKER_00]: I think he's very good in shazam I agree.
01:25:45.962 --> 01:25:48.103
[SPEAKER_01]: I think shazam plays to his strengths.
01:25:48.163 --> 01:25:51.965
[SPEAKER_01]: He looks and acts very boyish
01:25:52.325 --> 01:25:54.548
[SPEAKER_01]: Yeah, giddy G-Wiz.
01:25:54.608 --> 01:26:00.197
[SPEAKER_00]: I'm so happy to be here today and he's playing a literal ten-year-old boy in that movie who transforms into an adult.
01:26:00.217 --> 01:26:02.180
[SPEAKER_01]: Yeah, he's genuinely well-cast.
01:26:02.420 --> 01:26:03.501
[SPEAKER_01]: It works in that movie.
01:26:04.432 --> 01:26:10.817
[SPEAKER_01]: I think even casting him as the dulled version of Harold and Harold in the purple crayon, casting wise, that makes sense.
01:26:11.537 --> 01:26:13.659
[SPEAKER_00]: He's an overgrown child, he's a good at playing overgrown child.
01:26:14.039 --> 01:26:21.445
[SPEAKER_01]: Like if you gave him like a kid's show where he was like a Mr. Rogers type, okay, I think he could probably do that.
01:26:22.305 --> 01:26:27.329
[SPEAKER_01]: And I'm don't necessarily agree with his politics, but like I think it's still, he would be really, really good at that.
01:26:27.790 --> 01:26:31.793
[SPEAKER_01]: I'm not saying I'm just saying I'm not starting to try to agree with everything he professed in it, but he'd be good.
01:26:33.717 --> 01:26:42.940
[SPEAKER_01]: There are moments, individual moments in the fix where he looks really comfortable with like a gun and looking like he knows what he's doing.
01:26:42.960 --> 01:26:44.181
[SPEAKER_01]: He looks like he's really tough.
01:26:44.641 --> 01:26:47.182
[SPEAKER_01]: And then there are a lot of moments.
01:26:48.647 --> 01:26:51.068
[SPEAKER_01]: where he looks like a deer in headlights.
01:26:51.408 --> 01:26:56.071
[SPEAKER_01]: He just sits there at weird angles, completely rigid.
01:26:56.351 --> 01:27:00.633
[SPEAKER_01]: His eyes wide open, staring ahead of him doesn't matter what else is going on in the scene.
01:27:01.013 --> 01:27:04.235
[SPEAKER_01]: And I think this is supposed to convey that he has PTSD.
01:27:05.035 --> 01:27:09.557
[SPEAKER_01]: I think this is supposed to convey that he has endured a lot of the script.
01:27:09.617 --> 01:27:10.637
[SPEAKER_00]: It technically is.
01:27:11.037 --> 01:27:12.358
[SPEAKER_01]: But it doesn't look like it.
01:27:12.798 --> 01:27:18.000
[SPEAKER_01]: It looks like he's in a Jurassic Park movie and a T-Rex just spotted him.
01:27:18.400 --> 01:27:20.001
[SPEAKER_01]: And he is trying not to move.
01:27:20.521 --> 01:27:23.962
[SPEAKER_01]: And that's what I every single time he's on camera.
01:27:23.982 --> 01:27:25.202
[SPEAKER_01]: And like half the film.
01:27:25.222 --> 01:27:26.243
[SPEAKER_01]: He's like, oh god.
01:27:28.143 --> 01:27:38.746
[SPEAKER_01]: You're you're in the wrong movie my dude like he always looks like he's in the wrong fucking movie Except occasionally momentarily He looks like he's actually like doing the job and it was well cast.
01:27:39.206 --> 01:27:43.707
[SPEAKER_01]: It's so fucking weird I don't know exactly how that happened.
01:27:43.727 --> 01:27:44.687
[SPEAKER_00]: That's just bad direction.
01:27:44.707 --> 01:27:47.648
[SPEAKER_00]: You're using the wrong takes I don't get it again.
01:27:47.708 --> 01:27:50.929
[SPEAKER_00]: You know sometimes you were better in the other scene do it like that.
01:27:50.989 --> 01:27:56.670
[SPEAKER_01]: You know I don't know, man We liked because I was just having this conversation with somebody and we were talking about how
01:27:57.907 --> 01:28:02.772
[SPEAKER_01]: You know, if you have a lot of time in a production, who knows many takes as you need, you only need to get it right once.
01:28:03.012 --> 01:28:03.372
[SPEAKER_00]: That's right.
01:28:03.493 --> 01:28:05.054
[SPEAKER_00]: You only need to get it right once.
01:28:05.234 --> 01:28:06.255
[SPEAKER_00]: For every angle you're filming.
01:28:06.275 --> 01:28:08.718
[SPEAKER_00]: Sometimes you don't have to shoot that long, because actors just nail it.
01:28:08.738 --> 01:28:12.381
[SPEAKER_01]: Get nail it on the first take, nail it on the third take, nail it on the fifth take, you're great.
01:28:12.962 --> 01:28:15.604
[SPEAKER_01]: Sometimes you end up having to take it like 50 fucking times.
01:28:15.725 --> 01:28:17.887
[SPEAKER_01]: I interviewed Kurt Russell once.
01:28:18.367 --> 01:28:21.410
[SPEAKER_01]: Okay, really, really nice guy in the interview.
01:28:21.430 --> 01:28:22.851
[SPEAKER_01]: I've always heard that I've heard that before.
01:28:22.911 --> 01:28:24.833
[SPEAKER_00]: I've also been doing it since he was a kid.
01:28:24.873 --> 01:28:27.755
[SPEAKER_01]: So if you people who seem nice who have found out we're total creeps.
01:28:27.815 --> 01:28:29.417
[SPEAKER_01]: So take it with a grain of salt, but he seemed nice.
01:28:30.017 --> 01:28:37.164
[SPEAKER_01]: And we were talking about the scene in the hateful eight, where he punches Jennifer Jason Lee on camera, like in the middle of the shot.
01:28:38.129 --> 01:28:49.935
[SPEAKER_01]: And I asked him like, how do you build trust with another actor when you have to do something like that because I thought it was to and he had a great answer.
01:28:50.175 --> 01:28:55.978
[SPEAKER_01]: He said, before we shot that scene, I told Jennifer Jason Lee said Jennifer, you know what Jennifer Jason Lee?
01:28:57.319 --> 01:28:58.880
[SPEAKER_01]: No matter what happens.
01:29:00.139 --> 01:29:02.520
[SPEAKER_01]: I will never make contact.
01:29:03.881 --> 01:29:12.084
[SPEAKER_01]: We, if we have to shoot this thing a hundred times, we'll shoot it a hundred times because it only has to look good once, and I will never hit you once.
01:29:12.824 --> 01:29:16.046
[SPEAKER_01]: I will ruin the take if that's what it means.
01:29:16.826 --> 01:29:18.767
[SPEAKER_01]: And that's how you build that trust, but you know what?
01:29:19.007 --> 01:29:21.248
[SPEAKER_01]: Tarantino can afford to do that many today.
01:29:21.288 --> 01:29:21.708
[SPEAKER_01]: That's true.
01:29:22.248 --> 01:29:27.130
[SPEAKER_01]: Sometimes, or the movie like this, which is clearly like, ambitious, it has some money behind it,
01:29:30.155 --> 01:29:57.574
[SPEAKER_01]: Well, over two hours long, and they're really seem like they're stretched fairly thin, I know like I'd be surprised if they had that many takes and sometimes it's like that's the best we got That's the best take we have And that's what we had to go with and we don't know because we don't know the for the coverage, but That's not good That's not that's not a great thing I'm trying to remember just if there's anything else about this movie other than it just really really sucks
01:29:59.095 --> 01:29:59.515
[SPEAKER_01]: Let's see.
01:30:00.216 --> 01:30:03.737
[SPEAKER_01]: There's why I'm looking at over my reviews and make sure there isn't one.
01:30:03.937 --> 01:30:05.438
[SPEAKER_01]: Let's see.
01:30:05.498 --> 01:30:07.119
[SPEAKER_01]: The guy at the NFT millionaire.
01:30:07.139 --> 01:30:08.980
[SPEAKER_01]: So why were you even doing this?
01:30:09.840 --> 01:30:10.081
[SPEAKER_01]: Yeah.
01:30:10.101 --> 01:30:10.541
[SPEAKER_01]: Yeah.
01:30:10.601 --> 01:30:11.301
[SPEAKER_01]: Yeah.
01:30:11.901 --> 01:30:13.622
[SPEAKER_01]: Oh, there's a scene where two characters are selling.
01:30:13.662 --> 01:30:15.283
[SPEAKER_00]: Why are the NFT millionaire is doing it?
01:30:15.944 --> 01:30:16.664
[SPEAKER_00]: Just for the fun.
01:30:16.744 --> 01:30:18.125
[SPEAKER_00]: For their for their friends.
01:30:18.245 --> 01:30:19.605
[SPEAKER_01]: I guess, but like you could just give him the money.
01:30:19.645 --> 01:30:19.926
[SPEAKER_01]: Yeah.
01:30:19.986 --> 01:30:20.246
[SPEAKER_01]: Yeah.
01:30:20.266 --> 01:30:20.826
[SPEAKER_01]: Need to be here.
01:30:21.466 --> 01:30:28.130
[SPEAKER_01]: Oh, there's a conspiracy that gets uncovered where I'll be a little vague.
01:30:29.048 --> 01:30:46.969
[SPEAKER_01]: turns out all of the world's problems that all the international disasters that we've seen internationally with like the Middle East, specifically Jimmy Carter's fault, not because I'm not an accident, not like Jimmy Carter, like did a Whoopsie, like no, Jimmy Carter was the most evil of all of us.
01:30:47.269 --> 01:30:48.369
[SPEAKER_01]: And I'm like, really?
01:30:49.069 --> 01:30:49.830
[SPEAKER_00]: Jimmy Carter?
01:30:50.270 --> 01:30:51.330
[SPEAKER_00]: OK, sure, why not?
01:30:51.470 --> 01:30:56.171
[SPEAKER_00]: OK, I know exactly the age of the screenwriter.
01:30:56.811 --> 01:31:00.072
[SPEAKER_01]: And the other thing I would just point out is because it was funny.
01:31:00.352 --> 01:31:05.413
[SPEAKER_01]: There's a scene where Zachary Levi and one of his dudes are talking, and they're talking about their careers, and all that kind of stuff.
01:31:05.453 --> 01:31:07.474
[SPEAKER_01]: And it's trying to be like a humanizing moment.
01:31:07.494 --> 01:31:08.274
[SPEAKER_01]: This is very real.
01:31:08.714 --> 01:31:10.254
[SPEAKER_01]: Rest of the movies are very broad and contrived.
01:31:10.534 --> 01:31:16.856
[SPEAKER_01]: This is two guys talking, and you know it, because they're both drinking a bottle of beer where the label just says beer.
01:31:17.977 --> 01:31:37.919
[SPEAKER_00]: you know what in movies people will go into bars yes and this is something my wife is pointed out to me and drives her crazy because she's a beer sob she knows the difference between beers she knows good beer and bad beer in movies people will go into a bar and sit down the bartender will say what do you have let you say beer yeah and the bartender will walk off and get them
01:31:38.722 --> 01:31:39.442
[SPEAKER_01]: Beer beer.
01:31:39.602 --> 01:31:43.983
[SPEAKER_01]: Yeah, it's not like a bar has like three dozen different types of things on tap.
01:31:44.003 --> 01:32:04.087
[SPEAKER_00]: There was bottles or there was a very least a really Very forgettable Mark Wahlberg film from about a decade ago called the gambler and And there was a scene where that scene happens where Mark Wahlberg sits down He's trying to look tough and but the bartender says what do you have he says beer and the bartender says We have 34 different kinds of beer some of they have 15 on tap.
01:32:04.428 --> 01:32:05.388
[SPEAKER_00]: What kind of beer?
01:32:07.228 --> 01:32:09.869
[SPEAKER_00]: And he's like, oh, uh, new castle.
01:32:09.909 --> 01:32:12.210
[SPEAKER_00]: Like he actually said, like call out an actual beer name.
01:32:12.330 --> 01:32:13.031
[SPEAKER_01]: I appreciate that.
01:32:13.051 --> 01:32:17.152
[SPEAKER_00]: And there is a, um, so, but they're drinking beer brand beer.
01:32:17.512 --> 01:32:18.133
[SPEAKER_01]: That means it's real.
01:32:18.573 --> 01:32:19.193
[SPEAKER_00]: There is beer.
01:32:19.493 --> 01:32:20.934
[SPEAKER_00]: I, uh, beer beer.
01:32:20.994 --> 01:32:22.934
[SPEAKER_01]: I think Kevin Smith was talking about this once.
01:32:22.954 --> 01:32:24.695
[SPEAKER_01]: I think it was on a commentary track for Clarets.
01:32:24.715 --> 01:32:26.216
[SPEAKER_01]: Maybe he was only talking about the film.
01:32:26.676 --> 01:32:27.756
[SPEAKER_01]: It could be exactly where I heard it.
01:32:28.076 --> 01:32:31.118
[SPEAKER_01]: But throughout that movie, because the main character works at convenience store.
01:32:31.138 --> 01:32:34.019
[SPEAKER_01]: A lot of people come in and just buy a pack of cigarettes.
01:32:35.291 --> 01:32:42.653
[SPEAKER_01]: And they all say packets cigarettes or packets smokes and Kevin Smith knows he worked at a convenience store That's not what they said.
01:32:42.713 --> 01:32:47.174
[SPEAKER_00]: No, they say moros or yeah, whatever their brand is But also we don't want to chill for moro.
01:32:47.234 --> 01:32:56.256
[SPEAKER_01]: No, so the his head cannon was this is a small town convenience store Dante knows everyone's brand.
01:32:56.896 --> 01:32:57.276
[SPEAKER_00]: Okay.
01:32:57.316 --> 01:32:57.716
[SPEAKER_00]: That's fair.
01:32:57.856 --> 01:33:00.937
[SPEAKER_01]: You know, so it's it's like going into a bar and saying not just beer
01:33:05.638 --> 01:33:08.340
[SPEAKER_00]: I mean, I'm just in a bar, what are you ordering?
01:33:08.360 --> 01:33:09.701
[SPEAKER_01]: I'm not really a drinker anymore.
01:33:09.982 --> 01:33:12.504
[SPEAKER_01]: I...
01:33:14.805 --> 01:33:18.068
[SPEAKER_01]: I think if, okay, depending on my mood, if I'm actually going to drink it a bar.
01:33:18.966 --> 01:33:24.508
[SPEAKER_01]: I'm either gonna have, if I'm feeling just like whatever it's a hot summer day, Corona with Lyme.
01:33:24.648 --> 01:33:26.589
[SPEAKER_01]: Simple and uncomplicated.
01:33:26.609 --> 01:33:32.791
[SPEAKER_01]: If I'm feeling a little bit more classy, I'll just have some whiskey on the rocks.
01:33:33.431 --> 01:33:36.712
[SPEAKER_01]: If I'm feeling it, but more than anything else, I'm likely to get it as a Mojito.
01:33:37.674 --> 01:33:38.014
[SPEAKER_01]: Really?
01:33:38.194 --> 01:33:39.435
[SPEAKER_01]: I am a fiend for Mojito's.
01:33:39.655 --> 01:33:39.875
[SPEAKER_00]: OK.
01:33:40.315 --> 01:33:41.456
[SPEAKER_01]: I do like a Mojito.
01:33:41.476 --> 01:33:42.376
[SPEAKER_01]: They're very delicious.
01:33:42.917 --> 01:33:43.317
[SPEAKER_01]: What about you?
01:33:44.617 --> 01:33:51.441
[SPEAKER_00]: If it's a bar I haven't been to before and they don't have specialty cocktails, I'll probably just get genetonic or a riled fashions.
01:33:51.841 --> 01:33:53.161
[SPEAKER_00]: OK. Those are my go-tos.
01:33:53.382 --> 01:33:57.924
[SPEAKER_00]: And if they do specialty, then I go for the drink.
01:33:58.024 --> 01:34:00.005
[SPEAKER_00]: I recognize the fused ingredient self.
01:34:02.778 --> 01:34:05.908
[SPEAKER_00]: It's like, I don't know what eight of these things of these non-engredients are.
01:34:05.928 --> 01:34:06.851
[SPEAKER_00]: I'm gonna have that.
01:34:06.871 --> 01:34:07.453
[SPEAKER_00]: I'm gonna try that.
01:34:08.383 --> 01:34:10.524
[SPEAKER_01]: Well, and I guess we should probably start wrapping this up.
01:34:10.564 --> 01:34:11.224
[SPEAKER_01]: The fix is quite bad.
01:34:11.604 --> 01:34:14.265
[SPEAKER_01]: We're going to review movies on a scale of C minus the C plus.
01:34:14.905 --> 01:34:16.525
[SPEAKER_01]: We're a C minus is below average.
01:34:16.545 --> 01:34:20.806
[SPEAKER_01]: These are movies that we do not recommend, whether we simply think they're not good or hate them out loud.
01:34:21.306 --> 01:34:22.927
[SPEAKER_01]: A C is an average movie.
01:34:22.987 --> 01:34:24.827
[SPEAKER_01]: Most movies are relatively average.
01:34:25.408 --> 01:34:27.968
[SPEAKER_01]: Some good, some bad, just kind of plateau after a while.
01:34:28.548 --> 01:34:30.569
[SPEAKER_01]: And a C plus is above average.
01:34:30.589 --> 01:34:36.090
[SPEAKER_01]: These are movies that we heartedly recommend, whether we simply think they're really fun or think they're one of the best movies of the year.
01:34:38.492 --> 01:34:46.615
[SPEAKER_01]: the fix, big old sea mice, just, just big old, big old ridiculous, the plot is absurd.
01:34:46.635 --> 01:34:53.378
[SPEAKER_01]: It exoticizes Persian women when it's not like viscerally shooting them in the head on cameras.
01:34:53.398 --> 01:34:55.219
[SPEAKER_01]: Like it's just all over the fucking place.
01:34:55.539 --> 01:34:57.159
[SPEAKER_01]: And none of the places it goes are good.
01:34:59.098 --> 01:35:05.525
[SPEAKER_01]: Runner, the version with Alan Richson and Owen Wilson, again, not the runner with Gal Gadot, which was a big ol' C-minus.
01:35:06.026 --> 01:35:07.407
[SPEAKER_01]: Runner is a C-plus, right?
01:35:07.607 --> 01:35:11.952
[SPEAKER_01]: It is a surprisingly fun action comedy, like it does sound fun.
01:35:12.012 --> 01:35:14.434
[SPEAKER_01]: It works as a comedy, it works as an action movie.
01:35:15.155 --> 01:35:15.455
[SPEAKER_01]: Nice!
01:35:16.396 --> 01:35:19.479
[SPEAKER_00]: Well played everybody, Whitney Blacks Zombie.
01:35:19.679 --> 01:35:20.679
[SPEAKER_00]: Blacks Zombie, C++.
01:35:21.000 --> 01:35:25.783
[SPEAKER_00]: I think it is a fascinating delve into a corner of popular culture that does tales with culture.
01:35:26.084 --> 01:35:26.604
[SPEAKER_00]: And I love that.
01:35:26.864 --> 01:35:27.385
[SPEAKER_00]: I love that.
01:35:28.125 --> 01:35:28.646
[SPEAKER_00]: I love that.
01:35:29.126 --> 01:35:35.371
[SPEAKER_00]: The approach, I love the conclusions it reaches and all of the people they get on camera, I think it's thorough for as brief as it is.
01:35:35.651 --> 01:35:57.625
[SPEAKER_01]: Yeah, it is a brief watch and I feel like they may be there's a bigger version of this somewhere I also think that they spend more time on contemporaries zombies and I think it feels like the filmmaker wants to because it When it returns to ancient culture, we never go back to that and it part of that feels like they were just trying to play to what they thought the the audience might be But that's a quibble really.
01:35:57.665 --> 01:36:04.470
[SPEAKER_01]: It's just a very informative documentary that Either is stuff you never heard of or at the very least is something you've heard of with
01:36:05.150 --> 01:36:12.752
[SPEAKER_01]: details and factual components and history that you either were only vaguely aware of before never knew these important aspects of it.
01:36:13.593 --> 01:36:22.315
[SPEAKER_01]: So yeah, it's excellent, especially for people who are interested in Haitian culture or the horror genre, but just anybody who's been documentary sea-plus, the uprising.
01:36:22.816 --> 01:36:26.577
[SPEAKER_00]: The uprising, we need to see, I think that ending really undoes a lot of it.
01:36:27.017 --> 01:36:29.278
[SPEAKER_00]: It's also incredibly simple and straightforward.
01:36:29.298 --> 01:36:29.978
[SPEAKER_00]: It could be like,
01:36:31.422 --> 01:36:37.268
[SPEAKER_00]: I guess there's not a lot to explore, but it is so straightforward, you're never going to be lost, you know, who all the characters are because they're all really simple.
01:36:38.550 --> 01:36:44.797
[SPEAKER_00]: It is incredibly engaging, and by the time they got to sort of like the big climaxes, I realized I was really swept up in a lot of it.
01:36:44.817 --> 01:36:45.638
[SPEAKER_00]: Same.
01:36:45.998 --> 01:36:50.363
[SPEAKER_00]: But yeah, but then that last scene, man, kind of really undivided, so I'm going to say say, see.
01:36:50.983 --> 01:36:52.225
[SPEAKER_01]: I think it would have been a big loss.
01:36:52.285 --> 01:36:53.626
[SPEAKER_00]: I said, cut off that last scene.
01:36:53.686 --> 01:36:54.387
[SPEAKER_00]: Probably what have been a scene.
01:36:54.407 --> 01:36:55.408
[SPEAKER_01]: Yeah, I'm just like, you don't need it.
01:36:55.528 --> 01:36:56.689
[SPEAKER_01]: You just cut it off.
01:36:56.749 --> 01:36:58.411
[SPEAKER_01]: It's depressing ending, but it works.
01:36:58.551 --> 01:37:00.233
[SPEAKER_01]: It's a good ending.
01:37:00.894 --> 01:37:03.757
[SPEAKER_01]: I agree with you, but I think it hurts the film more than you.
01:37:03.777 --> 01:37:05.038
[SPEAKER_01]: So I'm actually going to give it a see minus.
01:37:05.138 --> 01:37:05.499
[SPEAKER_01]: Real.
01:37:05.799 --> 01:37:10.003
[SPEAKER_01]: Ultimately, as much as I was swept up in it, again, blunt.
01:37:11.602 --> 01:37:13.604
[SPEAKER_01]: It's allowed to be blunt, as long as it's good.
01:37:13.904 --> 01:37:14.905
[SPEAKER_01]: It was really, really good.
01:37:15.026 --> 01:37:16.627
[SPEAKER_01]: And then I felt so betrayed.
01:37:17.028 --> 01:37:19.270
[SPEAKER_01]: It's not that it just ended on bad note.
01:37:19.290 --> 01:37:21.272
[SPEAKER_01]: It's not that it just didn't have very convincing ending.
01:37:21.893 --> 01:37:25.617
[SPEAKER_01]: The message, the last scene attempts to convey.
01:37:26.820 --> 01:37:28.562
[SPEAKER_01]: Doesn't make sense with the rest of the movie.
01:37:28.962 --> 01:37:29.783
[SPEAKER_00]: No, yeah.
01:37:29.863 --> 01:37:33.086
[SPEAKER_01]: It feels like they got like paid off at the last minute.
01:37:33.346 --> 01:37:35.788
[SPEAKER_01]: It's like that episode of The Simpsons We're across through the clown.
01:37:35.808 --> 01:37:38.690
[SPEAKER_01]: Finally became like an edgy comic.
01:37:38.750 --> 01:37:42.053
[SPEAKER_01]: And at the end of the set he started doing product placement and everyone felt betrayed.
01:37:42.133 --> 01:37:42.354
[SPEAKER_01]: Yeah.
01:37:42.874 --> 01:37:46.275
[SPEAKER_01]: It doesn't matter how good the rest of the server was, you've betrayed it at the end.
01:37:46.375 --> 01:37:47.416
[SPEAKER_01]: So I'm giving it a C-Might.
01:37:47.436 --> 01:37:49.136
[SPEAKER_01]: It's a high C-Might, a lot of it's well-made.
01:37:49.156 --> 01:37:53.217
[SPEAKER_00]: I don't think it undoes the whole movie, but it's to completely atone all.
01:37:53.257 --> 01:37:54.338
[SPEAKER_00]: It doesn't need it.
01:37:54.358 --> 01:37:56.018
[SPEAKER_01]: It it on did it for me too much.
01:37:56.278 --> 01:37:57.799
[SPEAKER_01]: Okay, I'm not saying completely, but too much.
01:37:57.819 --> 01:37:59.460
[SPEAKER_01]: Enough that it makes me not want to recommend the movie.
01:37:59.560 --> 01:37:59.780
[SPEAKER_01]: All right.
01:37:59.920 --> 01:38:00.220
[SPEAKER_01]: I hope.
01:38:00.880 --> 01:38:18.954
[SPEAKER_00]: Hope, see plus, like I said, it does go on too long and the ending is a cliffhanger that left me a little disappointed, but that first hour is the best movie of the year, that first hour is so propulsive and so great that I was just, I was high for the rest of the movie, so I'm, I'm okay with it, I'm gonna get a plus.
01:38:19.094 --> 01:38:23.197
[SPEAKER_01]: My copy out to this movie, my critique to this movie, I think effect.
01:38:24.078 --> 01:38:29.574
[SPEAKER_01]: the overall quality, I think we agree on the movie's problems, but I think they hurt the movie more time.
01:38:29.654 --> 01:38:31.881
[SPEAKER_01]: That is not surprising, but enough that.
01:38:33.088 --> 01:38:38.611
[SPEAKER_01]: I think maybe if you hadn't given it a C plus, I would have wanted to give it a C plus just to point out a good so much of it is.
01:38:39.052 --> 01:38:46.236
[SPEAKER_01]: But since you gave it a C plus, it would've come to be giving it a very high C. Yeah, I think it is so close to being genuinely one of the best movies of the year.
01:38:46.656 --> 01:38:59.164
[SPEAKER_01]: And there's just a couple of drawbacks that got in the way and annoyed me enough that I feel it's worth sort of sticking to my guns and saying those are problems.
01:38:59.404 --> 01:39:01.565
[SPEAKER_01]: And then finally, practical magic, too, which I didn't say.
01:39:01.946 --> 01:39:03.269
[SPEAKER_00]: Uh, see minus bomber.
01:39:03.670 --> 01:39:05.493
[SPEAKER_00]: It's it's a loose.
01:39:05.593 --> 01:39:07.817
[SPEAKER_00]: It's a bean bag with the beans falling out.
01:39:08.198 --> 01:39:10.182
[SPEAKER_00]: Oh no, let's get the stitching is loose.
01:39:10.582 --> 01:39:11.785
[SPEAKER_00]: There's beetles everywhere
01:39:13.123 --> 01:39:14.905
[SPEAKER_00]: The movie itself had too many margaritas.
01:39:16.146 --> 01:39:18.428
[SPEAKER_00]: It feels really kind of sloppy and too slowly.
01:39:18.448 --> 01:39:21.330
[SPEAKER_00]: Yeah, don't see practical magic.
01:39:21.390 --> 01:39:23.151
[SPEAKER_01]: That is a big old bummer that it's okay.
01:39:23.171 --> 01:39:27.435
[SPEAKER_01]: We will be back next week with reviews of the new Resident Evil.
01:39:28.035 --> 01:39:28.796
[SPEAKER_01]: There's another one.
01:39:28.856 --> 01:39:32.299
[SPEAKER_01]: Another one, this time directed by ninth times the charm.
01:39:32.319 --> 01:39:33.740
[SPEAKER_01]: I mean live action, I think.
01:39:33.780 --> 01:39:41.567
[SPEAKER_01]: Yeah, this is the latest version comes to you from Zach Kregger, director of the Oscar winning movie weapons,
01:39:42.953 --> 01:39:45.133
[SPEAKER_01]: Okay, I'm still surprised that happened.
01:39:46.094 --> 01:39:50.354
[SPEAKER_01]: You know, really good for Amy Magden, but like, seriously, who would have thought that comedy a year ago?
01:39:50.834 --> 01:40:04.197
[SPEAKER_00]: You know, in the 1980s, there was a big stand-up comedy book, and a lot of, and a lot, comedy clubs opened everywhere in the United States in the early 1980s, because everybody could now take their, their hand out of it.
01:40:04.557 --> 01:40:04.777
[SPEAKER_01]: Yeah.
01:40:04.857 --> 01:40:07.257
[SPEAKER_00]: Just became this really popular, open mic nights.
01:40:07.637 --> 01:40:09.838
[SPEAKER_00]: A lot of comedians came to be really, really famous.
01:40:09.938 --> 01:40:12.098
[SPEAKER_00]: A lot of people found that comedians were,
01:40:12.709 --> 01:40:38.675
[SPEAKER_00]: speaking truth to power and saying some very profound philosophical things it was a soapbox people were able to get up and say whatever they wanted and now of course for every you George Carlin there were 60,000 Andrew Dyshlobs yeah but a lot of them became very important comedians in the comedy world and they were still upset because their goal was in fact to get a sitcom they wanted to be discovered through comedy not
01:40:41.256 --> 01:40:52.283
[SPEAKER_00]: And you can probably imagine that the ones who are aiming for a sitcom probably weren't as good at stand-up Okay, I feel like this is what's happening with horror filmmakers They're making these really interesting films.
01:40:52.303 --> 01:40:53.524
[SPEAKER_00]: They're finding their voices.
01:40:53.584 --> 01:41:07.452
[SPEAKER_00]: There's this boom of like low budget indie Horror films that are making huge amounts of money and a lot of them are saying what I really want is make a franchise picture Why is that cragger messing around with Resident Evil?
01:41:08.072 --> 01:41:10.714
[SPEAKER_01]: Um, I mean, hopefully he does he can he might do something interesting.
01:41:10.734 --> 01:41:19.079
[SPEAKER_00]: I think it was a first time someone made an interesting franchise I think who is it the data obsession Curley Mark Curry Barker wants to do a Texas is going to do a Texas Jansaw film?
01:41:19.319 --> 01:41:21.780
[SPEAKER_01]: Well, do we fair he signed on to that before then it would became big?
01:41:21.820 --> 01:41:22.320
[SPEAKER_00]: I suppose so.
01:41:22.661 --> 01:41:32.486
[SPEAKER_00]: Yeah, but still still is going to your Texas Jansaw Still gonna do that to Jansaw and And this one really broke my heart But Jane Shunbrun has said that they want to do a nightmare on street now.
01:41:32.706 --> 01:41:33.287
[SPEAKER_00]: I want to see that.
01:41:33.487 --> 01:41:34.868
[SPEAKER_01]: I also want to see that, sure but
01:41:35.948 --> 01:41:42.012
[SPEAKER_00]: Didn't you just slash her movie's a part with can't me as no Rift slash your movie is a part.
01:41:42.513 --> 01:41:49.317
[SPEAKER_00]: I think I should have done them a lot, but yeah, it's a lot of affection there I suppose so, but I feel like It's been said now.
01:41:49.357 --> 01:41:50.838
[SPEAKER_00]: We don't we don't need to go to my mind.
01:41:51.419 --> 01:41:54.381
[SPEAKER_00]: I honestly think again I just can do whatever they want.
01:41:54.421 --> 01:42:04.048
[SPEAKER_01]: I want and I honestly think it is fair to say in A medium like Like you don't it's very rare that people remake books
01:42:05.148 --> 01:42:15.551
[SPEAKER_01]: Like, you don't see, like, you don't see, like, you don't see, like, hey, I just have, I just released my first new horror novel and I decided that for my next novel, I'm gonna remake Dracula.
01:42:16.051 --> 01:42:20.053
[SPEAKER_00]: That's not, you might play with it, but like, we're not gonna let people do that all the time.
01:42:20.073 --> 01:42:21.753
[SPEAKER_00]: There's, like, Dracula stories and...
01:42:21.853 --> 01:42:22.033
[SPEAKER_00]: Exactly.
01:42:22.053 --> 01:42:22.733
[SPEAKER_00]: I'm just a film story.
01:42:22.753 --> 01:42:23.374
[SPEAKER_00]: I'm just a film story.
01:42:23.394 --> 01:42:23.854
[SPEAKER_00]: I'm just a film story.
01:42:23.894 --> 01:42:24.934
[SPEAKER_01]: I'm just a film story.
01:42:24.954 --> 01:42:28.515
[SPEAKER_01]: I'm not talking about playing with the character or the tropes and talking about straight remake.
01:42:28.815 --> 01:42:30.916
[SPEAKER_01]: You don't just do Dracula again.
01:42:30.936 --> 01:42:32.216
[SPEAKER_01]: You have to have at least a take.
01:42:32.917 --> 01:42:33.817
[SPEAKER_01]: And I feel like...
01:42:34.617 --> 01:42:37.598
[SPEAKER_01]: film and theater and even comics.
01:42:38.758 --> 01:42:44.320
[SPEAKER_01]: Doing it again just through a different, just because a different person's doing it is more acceptable.
01:42:44.880 --> 01:42:47.721
[SPEAKER_01]: I think of a theater director said, hey, you just had to hit play.
01:42:48.261 --> 01:42:48.981
[SPEAKER_01]: What do you want to do now?
01:42:49.001 --> 01:42:51.022
[SPEAKER_01]: It's that I always wanted to do my version of Hamlet.
01:42:51.442 --> 01:42:53.422
[SPEAKER_01]: I don't think we'd be bulking at that.
01:42:53.822 --> 01:42:54.543
[SPEAKER_01]: I suppose not.
01:42:54.743 --> 01:42:58.404
[SPEAKER_01]: I'm brave at Resident Evil is in Hamlet, but it's still something that they're interested in.
01:42:58.804 --> 01:43:03.025
[SPEAKER_01]: So if they want to do it and they make something interesting of it, great.
01:43:03.726 --> 01:43:06.893
[SPEAKER_01]: That's totally cool, but too often they don't.
01:43:07.594 --> 01:43:09.037
[SPEAKER_01]: And that's where it gets frustrating.
01:43:09.057 --> 01:43:10.400
[SPEAKER_01]: It ends up like, oh, why did you?
01:43:11.350 --> 01:43:12.391
[SPEAKER_01]: Why didn't you even bother?
01:43:13.292 --> 01:43:24.321
[SPEAKER_01]: If that's, I mean, maybe their vision was ruined by a studio system, that has happened more often than anyone would like, but like, yeah, then again, I'm not the huge Azac Gregor fan, so he has room to go up for him.
01:43:24.341 --> 01:43:24.942
[SPEAKER_01]: That's fair.
01:43:25.222 --> 01:43:28.445
[SPEAKER_01]: Anyway, but that is coming up next time on critically acclaimed.
01:43:28.785 --> 01:43:30.427
[SPEAKER_01]: Thank you for joining us.
01:43:31.187 --> 01:43:35.491
[SPEAKER_01]: You may have noticed at the end of last week, we released a new podcast.
01:43:35.591 --> 01:43:37.333
[SPEAKER_01]: It is called Five Movies With.
01:43:38.013 --> 01:43:39.694
[SPEAKER_01]: This is an interview series format.
01:43:39.714 --> 01:44:06.104
[SPEAKER_01]: We've decided to try out in which we're going to take people often people that we know and work with Who have new projects coming out and we're going to interview them through the lens of five movies that influence their career or their work The first episode I We we looked into getting her, but we have bestselling novel as Kate Stamon London who full disclosure is my co-friend But her new novel C&X Tuesday is out in the book source now
01:44:07.334 --> 01:44:11.396
[SPEAKER_01]: It is a romance set against the backdrop of political campaigning in the Democratic Party.
01:44:12.397 --> 01:44:15.459
[SPEAKER_01]: And we got to talk about five movies that influenced that book.
01:44:16.039 --> 01:44:29.807
[SPEAKER_01]: And we go really deep on movies like Broadcast News, Ivan Wrightman's Dave, when Harry Metz Sally, Seth Rokin, Shirley's there and movie Longshot, which I somehow missed when it first came out of him is great.
01:44:31.047 --> 01:44:32.028
[SPEAKER_01]: And before sunset.
01:44:32.795 --> 01:44:32.995
[SPEAKER_01]: Nice.
01:44:33.276 --> 01:44:35.519
[SPEAKER_01]: And we have some other cool people lined up in the future.
01:44:35.639 --> 01:44:47.777
[SPEAKER_01]: You've managed to get someone who I think is a very cool Who will see if that happens right there's always schedule permitting which is why we're not naming any names right now But we're very excited about it and we think it's a fun way to do this and so hopefully we'll get more in the future
01:44:48.297 --> 01:45:07.477
[SPEAKER_01]: So by only check out that episode these are all going to be available on the main feed these are not patreon exclusives unlike our episode Peepodcast was dropped about a week and a half ago where Whitney and I are going to be after the first episode exclusively on patreon Reviewing the pilot episode of very long running TV shows that we never saw
01:45:07.837 --> 01:45:12.721
[SPEAKER_00]: Yeah, remember, banking on our lack of familiarity with the subjects this time around.
01:45:12.781 --> 01:45:16.224
[SPEAKER_01]: But first episode, we reviewed the pilot episode of Dr. Quaid Medicine woman.
01:45:16.605 --> 01:45:28.155
[SPEAKER_01]: And then later this week, we're going to be releasing on the Patreon, Patreon exclusive $5 tier and up, our episode reviewing the pilot episode of Adam 12, a spinoff of drag net that ran for many, many years.
01:45:28.295 --> 01:45:28.495
[SPEAKER_01]: Yeah.
01:45:28.855 --> 01:45:32.518
[SPEAKER_01]: And so our first cop show and the boy we're going to have some things to say about that.
01:45:33.759 --> 01:45:38.283
[SPEAKER_01]: Thank you to all of our patrons patreon.com slash critically claimed network for a grateful to you.
01:45:38.863 --> 01:45:42.286
[SPEAKER_01]: We couldn't keep doing this without you and we actually have some cool plans to the future.
01:45:42.886 --> 01:45:43.987
[SPEAKER_01]: So please stick around.
01:45:44.748 --> 01:45:46.189
[SPEAKER_01]: Hopefully good things are coming.
01:45:47.069 --> 01:45:52.073
[SPEAKER_01]: But we have a lot of exclusives over there and if you sign up, it would be great and we'd really appreciate it.
01:45:52.954 --> 01:45:57.838
[SPEAKER_01]: We also, if you want to talk about anything we discussed in this episode, you have any questions for us and you want to take us the task.
01:45:58.438 --> 01:46:02.100
[SPEAKER_01]: Our email address is letters at criticallyclamed.net, witting what is our PObot?
01:46:02.120 --> 01:46:11.025
[SPEAKER_00]: Yeah, send us a physical letter if you like, a postcard, whatever it is, to the criticallyclamed network, PObot 641565 Los Angeles, California, 9 to below 64.
01:46:11.105 --> 01:46:15.588
[SPEAKER_01]: And we're gonna try to record a new episode of We've Got Mail later this week.
01:46:15.788 --> 01:46:16.468
[SPEAKER_01]: Yes.
01:46:16.488 --> 01:46:20.470
[SPEAKER_01]: It's been a hot minute and we love hearing from you and answering your questions.
01:46:20.690 --> 01:46:22.291
[SPEAKER_01]: And again, letting you take us the task.
01:46:22.691 --> 01:46:23.172
[SPEAKER_01]: Also,
01:46:26.074 --> 01:46:27.736
[SPEAKER_01]: That's gonna, we hope you're, you hope you're having a good day.
01:46:27.996 --> 01:46:29.378
[SPEAKER_01]: I don't know, all right.
01:46:29.398 --> 01:46:30.619
[SPEAKER_01]: Kind of lost my train of thought there for a minute.
01:46:30.639 --> 01:46:31.360
[SPEAKER_01]: Thank you for listening.
01:46:31.380 --> 01:46:33.222
[SPEAKER_01]: You're really, really, really, really awesome.
01:46:33.822 --> 01:46:36.925
[SPEAKER_01]: And never forget, everyone is a critic.
01:46:37.947 --> 01:46:41.310
[SPEAKER_00]: I want to go to the Midnight Show.
01:46:42.051 --> 01:46:42.912
[SPEAKER_00]: I'm sorry, what?