Critically Acclaimed #401 | Digger, Verity, Beware Boiúna

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[SPEAKER_00]: Hello everybody and welcome back to critically acclaimed the movie review podcast where podcast we do the reviews for My name is William Bibbiani
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[SPEAKER_00]: I write for the rap, I'm one of those film critics, everybody talks about on the news and everyone calls me bibs.
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[SPEAKER_01]: My name is Whitney Sybel, I contribute to slash film, and I don't have a nickname, just a guy.
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[SPEAKER_01]: just a guy I don't cool thing watch us a lot we sure do watch a lot of movies wait not so much this week well our last episode was uh uh kind of overloaded we had um i think 48 films we were here for 4840 it was close to nine i think but uh
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[SPEAKER_01]: It took us so long to record it, we had to record it in shifts, and while we might have some listeners who appreciate when we go on these marathons, they can exhaust us.
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[SPEAKER_00]: So, does it consider we have to record very late at night?
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[SPEAKER_00]: That's every time.
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[SPEAKER_01]: That's why they exhaust us because our recording schedule keeps us up late So this time we're going to scale back a little bit I'm not going to review nine films.
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[SPEAKER_00]: Nope.
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[SPEAKER_00]: We're going to review three films and we're going to make it feel like nine Because every time we say Oh, we're only going to do a couple of things.
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[SPEAKER_00]: It's going to be relatively short episode of ends up being as long as usual So we'll just see how it goes.
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[SPEAKER_00]: We're going to just let it fly sort of organically
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[SPEAKER_00]: Um, and we'll see if we actually, this actually is a shorter episode, then usual or if it's the same thing and we just go on and on and on, but this week on critically acclaimed, we are reviewing uh, Alejandro Gonzalez, Inuritus, uh, new box office disaster digger starring Tom Cruise, uh, and, uh, and others as well, uh, we have the new, um,
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[SPEAKER_00]: What's calling Hoover adaptation?
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[SPEAKER_00]: Yes, starring Anne Hathaway in her 80th film this year.
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[SPEAKER_00]: And then we have a killer snake film called Beware Boyona, and which has snake.
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[SPEAKER_00]: Boy does that snake kill a lot of people.
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[SPEAKER_00]: That's a that's a really is it a killer snake That's a really pissed off snake this time.
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[SPEAKER_00]: I got to say sometimes you watch a killer snake movie a giant killer snake movie and the killer snake is like I'll kill like two people and knock off it about noon.
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[SPEAKER_00]: You know really just half-ass it Not boon a whoo All right, we're gonna get's a lot done in with her day.
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[SPEAKER_00]: I love to hear it.
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[SPEAKER_00]: Yes, but the elephant in the room is is digger
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[SPEAKER_00]: Digger is a quite a talk about film, and initially, just because this is a new motion picture starring Tom Cruise and it's his first like.
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[SPEAKER_00]: non-general film, non-sequel film in a good long while.
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[SPEAKER_00]: It feels like the first time since I think at least American made, but probably even before that, the town crews is trying to do some capital A acting.
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[SPEAKER_00]: And on top of that, it's a new film from In Yeritu, who has one best director at the Academy Awards.
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[SPEAKER_00]: Twice, for Birdman and the Revenant.
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[SPEAKER_00]: So that's a pretty,
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[SPEAKER_00]: on paper that's a killer comment.
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[SPEAKER_01]: Yeah, and an impressive cast as well.
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[SPEAKER_01]: We have John Goodman in the film center.
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[SPEAKER_01]: Euler is in the film.
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[SPEAKER_01]: Jesse Plumman's has a notable role.
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[SPEAKER_01]: Uh-huh.
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[SPEAKER_01]: We have, you know, Michael Stoolbarg, a lot of like recognizable character actors on that.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: Yeah.
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[SPEAKER_00]: Yeah.
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[SPEAKER_01]: A lot of it.
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[SPEAKER_01]: And the real, the real stars are his on ad, but we'll get to that.
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[SPEAKER_01]: Yes.
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[SPEAKER_01]: And we're going to have to get into some spoiler territory with Digger.
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[SPEAKER_01]: Well, I will be as ginger as I possibly can because I can't really talk about the movie without sort of
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[SPEAKER_01]: bringing up the points it brings up near the end of the film.
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[SPEAKER_00]: That's big part of it.
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[SPEAKER_00]: But also Dicker is a film who's advertising has been a little anic manic.
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[SPEAKER_00]: We know that if you just saw the commercials, you know that Tom Cruise is playing an old Irman.
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[SPEAKER_00]: He's under a lot of makeup.
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[SPEAKER_00]: So instead of looking like Tom Cruise looks like when he's 60, he looks like most people look like when they're 60.
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[SPEAKER_00]: And he's a blowhard oilman.
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[SPEAKER_00]: Yeah, he's a oil billionaire with his fingers in a lot of pies, deeply connected to world government.
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[SPEAKER_00]: He's one of the cornerstones of capitalism.
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[SPEAKER_00]: And as we see in the trailer, something Digger has done or is connected to is going to create a worldwide disaster.
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[SPEAKER_00]: The only other thing you could tell from the early trailers of Digger besides that Tom Cruise
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[SPEAKER_00]: really gunning for an Oscar is that the studio, which is Warner Brothers, or as it's now called Skydance.
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[SPEAKER_00]: This is the last Warner Brothers film.
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[SPEAKER_00]: The last solo run by the film.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: They're now all run by the Borg.
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[SPEAKER_00]: Yeah, basically.
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[SPEAKER_00]: But, or yeah, so the early trailers.
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[SPEAKER_00]: The first trailer I saw for Digger was a whole bunch of clips of other popular Tom Cruise movies, like Mission Impossible, Top Gun, the stuff everyone loves.
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[SPEAKER_00]: And like half the trailer was just selling you on the idea that you already think Tom Cruise is cool.
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[SPEAKER_00]: The Tom Cruise, he's back, baby.
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[SPEAKER_00]: Well, and then it just smashed cuts to him as this new character, and there's maybe 20 seconds of footage of it, which feels like they're selling us on the idea of seeing a Tom Cruise movie more than it's selling us this Tom Cruise movie.
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[SPEAKER_01]: I didn't see that preview.
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[SPEAKER_01]: I only, but I was trailer stalked by Digger.
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[SPEAKER_01]: I saw numerous versions of it.
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[SPEAKER_01]: It's, if you look back over Tom Cruise's career, the idea of him being an action star who does a lot of sequels is something that didn't come up for many decades.
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[SPEAKER_01]: He was actually kind of determined, like many actors are, to make a wide variety of films, and star has a bunch of different kinds of characters.
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[SPEAKER_01]: You could say like he played a lot of hot shots he played it hot shots were experts in things.
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[SPEAKER_00]: He was a hot shot fighter pilot He was a hot shot race car driver.
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[SPEAKER_00]: He was a hot shot pool shark.
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[SPEAKER_00]: He was a hot shot bartender
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[SPEAKER_00]: which tried to make his exciting his top gun they did not and then and he was even a hot shot Sports agent in Jerry McWire.
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[SPEAKER_01]: Yeah, but you know he was also in you Endless love endless love losing it far in a way Rain man born on the 4th of July like he's not a hot shot all the time not a nice That was his movie supper some of his more his more popular roles perhaps, but he's
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[SPEAKER_01]: really tried to kind of stretch as an actor, which is I find him best when he's actually playing against type where he's not playing a hot shot or a charmer or playing like a hot shot or a charmer with like something underneath like his misogynistic uh uh
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[SPEAKER_00]: like men's rights activist in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh, in uh
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[SPEAKER_00]: his girlfriend was attracted to his wife was attracted to one other guy once and it sends him just spiraling into his security and that feels like it was also playing off of his persona as well.
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[SPEAKER_01]: What I find curious about Tom Cruise just as a movie star is he is unique enough that he doesn't really seem human.
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[SPEAKER_01]: uh... he has uh... i think it's all made a larger than life yes i think it was cerevaloo said he's an expert at being uh... alone in a crowd uh... he's he stands apart in a way that is vaguely in human so even when he's trying to play sort of a much uh... human relatable character there's some kind of uh... eerie
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[SPEAKER_01]: ineffable distance between me and Tom Cruise.
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[SPEAKER_01]: And I think that's just him as a person.
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[SPEAKER_01]: It's not necessarily like a well we're very aware.
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[SPEAKER_00]: We're very aware of Tom Cruise because A he's just one of the same as people in the world.
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[SPEAKER_00]: He's a huge movie star.
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[SPEAKER_00]: But people know his name.
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[SPEAKER_00]: But we're aware of his relationships, less so his relationship with Mimi Rogers, but he and Nicole Kidman were Hollywood power couple for about a decade and then they got divorced and he married Katie Holmes who was significantly younger than him.
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[SPEAKER_00]: and then in order to extricate herself from that relationship and Scientology, she had to go through a series of super-spice shit, we had a secret cell phone, just to leave the Tom Cruise marriage.
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[SPEAKER_00]: Tom Cruise is deeply involved in Scientology, and I'm not going to get into that a lot, but some of the things that Tom Cruise has been a party to using people in Scientology to do
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[SPEAKER_00]: There's a lot about Tom Cruise that feels like his crowd pleaser persona, the idea that he will do almost anything to entertain you, even like, you know, drive a motorcycle off a cliff, climb the Burj Khalifa.
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[SPEAKER_00]: if there's a part of it that reeks of desperation and I feel as though we know too much about Tom Cruise and I feel like it would probably be better if we if we didn't because it's hard to I are to enjoy Tom Cruise, I think.
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[SPEAKER_01]: I don't think of the the Scientology or his marriages when I see him acting It's knocking things out right in that
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[SPEAKER_01]: I what I do but I do sense that desperation that need to entertain and I see Tom Cruise is an actor who's willing to go the distance even if it's not necessarily a good acting choice.
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[SPEAKER_01]: He really wants to prove that he's willing to stretch rather than sussing out what a part my name.
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[SPEAKER_01]: I feel that way very much about digger.
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[SPEAKER_01]: He's playing Foghorn Leghorn.
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[SPEAKER_00]: He's trying to set up my review exactly.
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[SPEAKER_01]: He's trying to play this really
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[SPEAKER_01]: big comedic character, but he's not that kind of performer.
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[SPEAKER_01]: It feels really false.
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[SPEAKER_00]: Now, there might be a reason for that, and we'll get into that too, because one of the things I was when I was talking about the trailers is that they were keeping everything but the basic log line from you.
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[SPEAKER_00]: And there is a reveal in this film that happens so early in the film.
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[SPEAKER_01]: Yeah.
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[SPEAKER_00]: So that you cannot, I, I danced around it in my review, but like I think you cannot have a meaningful conversation about digger without talking about what gets revealed at like 25 minutes into this movie.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: And this is something that I think any other movie this would be in the trailer.
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[SPEAKER_00]: Okay.
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[SPEAKER_00]: I, I really, I think that early in the film and it's, it's, you have to allow people to,
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[SPEAKER_00]: to know that's coming because I don't know what movie you're getting, so so we're going to get it.
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[SPEAKER_01]: So yeah, he's he's he's he's playing this this very large comedy character and
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[SPEAKER_01]: uh... the opening scenes of the movie is uh... this car and it feels very stagey it's in like one location and uh... it's very arched looks like west anderson designed it that's it's like really good uh... production designers like alligator sucked to the ceiling and he's charging around having phone calls a try fielding phone calls from uh... panicking environmental environmental agents who work for his company
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[SPEAKER_01]: uh... in greenland or that's right it's in greenland yeah and uh... there's an environmental disaster just uh... something about the methane that's being released is causing a big chunk of this to break off and he is ignoring everything in any possible step is bullying people he's just this rich blow hard is whole thing is take advice is something is you're telling me that what we're doing could be dangerous and i'm telling you
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[SPEAKER_00]: that won't happen.
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[SPEAKER_00]: I do not care.
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[SPEAKER_00]: It is more important that we make millions of dollars and that we suck more oil out of the earth than it is than any sort of safety.
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[SPEAKER_00]: And in his mind it's like what's the worst that could fucking happen?
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[SPEAKER_00]: Well,
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[SPEAKER_00]: immediately after he hangs up the phone with one of those environmental agents somebody else calls him as says there's been an explosion yeah riz on med walks in he's he's one of the scientists to work for him and he says uh yeah uh about sixty seconds ago greenland exploded you hit methane gas and it killed everyone working there all of your whole plant is blown up
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[SPEAKER_00]: And it has blown off a chunk of iceberg.
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[SPEAKER_00]: So gigantic that it could cause incalculable amounts of damage and death to northern Europe is, it's going to drift to the ocean.
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[SPEAKER_00]: It's going to, it's basically been pushed out like a rocket at this point, the president, played by John Goodman, shows up at Dickerson's house, partly to blame him, but also partly because he's,
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[SPEAKER_00]: he's a blowhard.
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[SPEAKER_00]: He doesn't know anything.
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[SPEAKER_00]: He's dramatically incompetent and utterly distracted and doesn't care.
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[SPEAKER_00]: It just doesn't want to be bothered.
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[SPEAKER_00]: And so everyone's basically saying, well, maybe it won't hit Europe.
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[SPEAKER_00]: And then everything will be fine.
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[SPEAKER_00]: And it is like, no, it's probably going to hit Europe.
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[SPEAKER_01]: the tone of this movie we should iterate is very cartoonish there they're they're they're going way way over the top with all of this everybody's sort of screaming and yelling and saying really on the nose satirical things i don't care about the environment at care about money they're like mr. perhaps from a sponge ball at one point while the president and digger are meeting in the that opening sequence um
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[SPEAKER_00]: Someone says something very sexist and John Goodman says gentlemen, please there are ladies present than everyone looks around and realize it's just white dudes and they're just like I can't never mind This oil tycoon is sitting in with the president and the attorney general and the vice president are all there He's like Elon Musk.
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[SPEAKER_00]: He has no elected position, but they're letting him do shit
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[SPEAKER_01]: But about 20 minutes in, they're looking out of Digger's window out on the sort of placid outside scene.
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[SPEAKER_00]: And at this point, we do have to talk about that reveal.
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[SPEAKER_00]: So if you don't want to know, you know, this is your time to skip ahead to the next review.
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[SPEAKER_00]: From here on, we have to talk about at least that initial reveal.
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[SPEAKER_01]: But the reveal is the tree falls over in this really artificial way and then a gigantic stage hand like a 50 foot tall guy calls up out of a hole and tries to write it and they say cut
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[SPEAKER_01]: Hold on, we need to rehearse something.
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[SPEAKER_01]: And we get the, and the camera pulls back the set separates.
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[SPEAKER_01]: And we realize that we're watching a tech rehearsal for some really bizarre, super elaborate play.
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[SPEAKER_00]: The world's most elaborate play.
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[SPEAKER_00]: play.
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[SPEAKER_00]: I know that plays can be very elaborate.
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[SPEAKER_00]: I know we've all seen Julie Tamor do stuff.
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[SPEAKER_01]: Like, that you can do it.
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[SPEAKER_01]: helicopter comes in at the end of Miss Saigon.
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[SPEAKER_01]: Yeah, yeah.
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[SPEAKER_00]: There's all kinds of shit you can do.
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[SPEAKER_00]: But like this is cartoonishly over the top, even in the world that's supposed to be real.
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[SPEAKER_00]: Because there's no way this play makes any sense.
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[SPEAKER_01]: So when we're sort of in the world of the, so now we have a play with gameplay.
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[SPEAKER_00]: Yeah.
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[SPEAKER_01]: And then we have the reason for why the play feels so fake.
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[SPEAKER_01]: And everything, yeah, feels really kind of over the top and staging and really mockish.
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[SPEAKER_01]: not particularly funny, not really funny about it, it's politics, but we know there's a reason why it feels that way.
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[SPEAKER_01]: And in the play within a play, the film is shot kind of washed out at everything's like kind of gray and desaturated.
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[SPEAKER_01]: We cut to the real world, and it's still stylized.
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[SPEAKER_01]: Like the sets are so elaborate and the characters are still really big.
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[SPEAKER_01]: that there's not really much of a dividing line between the real world and the world of the play.
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[SPEAKER_01]: And we keep cutting back to long portions of the play, but I don't understand why in your reto decided to do this because that means we're gonna be spending most of the movie watching a play that he has already kind of declared sucks.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: And in fact, as the behind the scenes go on
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[SPEAKER_01]: get to meet the director of the play.
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[SPEAKER_01]: They start to discuss what this play is all about.
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[SPEAKER_01]: In fact, the climax of the movie comes with a big discussion.
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[SPEAKER_00]: So someone has a big speech about, like, here's what this movie is all about, Charlie Brown.
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[SPEAKER_01]: Yeah.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: And
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[SPEAKER_01]: it's it's really frustrating because in so doing they are essentially showing us that the movie we're watching is useless and bad yeah the movie itself says that what we're seeing is not good and in fact it's a satire but it seems to be this play within digger but also movie digger itself yeah the movie digger itself seems to be a satire of a movie like don't look up
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[SPEAKER_01]: which is also pretty mockish and obvious.
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[SPEAKER_01]: I didn't hate that movie the way so many people did.
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[SPEAKER_01]: I thought it was fine, but I don't think it's a classic.
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[SPEAKER_01]: And it doesn't seem to be any, the play with play is a satire of something that really happens.
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[SPEAKER_00]: Something that really happens is it's basically a biopic about this real billionaire.
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[SPEAKER_00]: This real billionaire.
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[SPEAKER_01]: But the movie itself seems to be a satire of bad satires.
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[SPEAKER_01]: And it's not pointed enough, because it's not really making the bad satire awkward or bad enough.
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[SPEAKER_01]: It's just making us sit through this bad thing.
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[SPEAKER_01]: And in your reto is vanishing into all of his style when he's making this play within a play.
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[SPEAKER_01]: There's a scene where, and this is kind of in the centerpiece of the film, where Digger goes to this fakey version of the United Nations.
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[SPEAKER_01]: and people are sitting around him in the theater in the round.
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[SPEAKER_01]: You look carefully at the crowd.
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[SPEAKER_01]: There's like every fifth person has a mannequin.
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[SPEAKER_01]: Everybody starts chanting in unison.
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[SPEAKER_01]: Well, he has given me his version of Gordon Getko's group is good.
19:52.925 --> 19:53.885
[SPEAKER_01]: I think for always going out.
19:53.905 --> 19:54.566
[SPEAKER_01]: It was just outrageous.
19:54.586 --> 19:58.727
[SPEAKER_00]: You're talking about the centerpiece of the film and this is a big theater in the round bit.
19:58.747 --> 20:03.649
[SPEAKER_00]: And that scene is Tom Cruise showing off.
20:03.689 --> 20:04.609
[SPEAKER_00]: He likes to show off.
20:04.769 --> 20:04.949
[SPEAKER_00]: Yeah.
20:04.989 --> 20:08.410
[SPEAKER_00]: He likes, he's typically a lot for the last like 10 years or so.
20:08.791 --> 20:09.631
[SPEAKER_00]: Like to show off.
20:10.705 --> 20:36.512
[SPEAKER_00]: stunts like we really did this I was really in a fighter jet that kind of thing and you know and day where everything is very fake even if it's convincing it's it's not done for real there's a certain magic to that you can appreciate hey at least the fucker does his own stunts you know but here his big show off moment is he's gonna do a really long speech with a lot of complicated blocking in one uninterrupted take
20:37.092 --> 20:39.793
[SPEAKER_00]: And at first, do you think yourself, wow, that's really impressive.
20:39.833 --> 20:41.393
[SPEAKER_00]: And then you realize that's just theater.
20:41.753 --> 20:43.333
[SPEAKER_01]: Yeah, that's not that impressive.
20:43.353 --> 20:45.734
[SPEAKER_00]: I mean, it's cool, I guess, good for you.
20:45.794 --> 20:48.794
[SPEAKER_00]: But like, that's not a wow moment.
20:48.814 --> 20:51.675
[SPEAKER_00]: That's just you giving a speech without cover it.
20:51.755 --> 20:51.995
[SPEAKER_00]: Yeah.
20:52.435 --> 20:53.755
[SPEAKER_00]: And that's not impressive.
20:53.775 --> 20:54.395
[SPEAKER_00]: And here's the thing.
20:54.415 --> 20:58.296
[SPEAKER_00]: This movie is trying to dazzle us with its production decided.
20:58.356 --> 20:59.536
[SPEAKER_00]: And that's what I was going to get at.
21:03.807 --> 21:10.640
[SPEAKER_01]: in your who's style is just so in your face and he's trying to make this really kind of arched and have a lot of these camera flourishes.
21:10.960 --> 21:12.924
[SPEAKER_01]: The sets are really elaborately designed.
21:13.665 --> 21:15.749
[SPEAKER_01]: The production design is really I think it's really
21:16.688 --> 21:18.149
[SPEAKER_01]: It's not strangely neat looking.
21:18.209 --> 21:26.136
[SPEAKER_00]: Oh, no, I actually retro early, 60's kind of like people who did the production design did a phenomenal job.
21:26.256 --> 21:28.318
[SPEAKER_00]: Even though I actually don't think it serves the film very well.
21:28.358 --> 21:29.779
[SPEAKER_00]: It doesn't vacuum, it's very impressive.
21:29.819 --> 21:36.865
[SPEAKER_01]: It doesn't serve the film well because when we cut back to the real world and Tom Cruise starts playing this actor who's playing Digger, it's
21:38.024 --> 22:04.415
[SPEAKER_01]: it's still equally flashy and you do begin to see that some of these stylistic choices are actually clues as to what's coming on like there's a where he has phone calls and he has one of those like high-tech mirrors were like a video screen will appear on the mirror as he's putting on his makeup yeah those things exist but it's not common yeah this this kind of incongruous thing later on he pulls out this like little phone widget that we've never seen before yeah this little
22:04.495 --> 22:10.520
[SPEAKER_00]: little hints that are of things that are going to have of something that is extremely obvious less than halfway through the movie.
22:11.000 --> 22:12.981
[SPEAKER_01]: I didn't think it was extreme loud.
22:13.042 --> 22:13.802
[SPEAKER_01]: I didn't predict that.
22:14.082 --> 22:14.383
[SPEAKER_01]: Really?
22:15.043 --> 22:17.005
[SPEAKER_01]: I'd try not to do that.
22:17.025 --> 22:18.386
[SPEAKER_01]: I like the film tell me.
22:19.066 --> 22:28.653
[SPEAKER_00]: I'm not trying to, I'm not trying to win a war of wits with the movie, but if the movie gives me hints about something I go, oh interesting.
22:28.753 --> 22:30.735
[SPEAKER_00]: And then my brain goes, I want to what that could mean.
22:31.035 --> 22:31.756
[SPEAKER_00]: And I usually
22:33.657 --> 22:37.599
[SPEAKER_00]: I hope it doesn't mean this, that's really obvious, and then it turned out that was this time.
22:38.000 --> 22:49.786
[SPEAKER_00]: But, um, but no, like, I think, okay, you, you've kind of a lot of a ground here, and I actually want to backtrack through some of it because I think there's the old back to the don't look up comparison.
22:50.186 --> 22:54.349
[SPEAKER_00]: I think the reason why people didn't like don't look up.
22:54.389 --> 22:56.650
[SPEAKER_00]: It's not that it was badly produced.
22:56.990 --> 22:58.591
[SPEAKER_00]: It's not that the performances were bad.
22:58.611 --> 23:01.012
[SPEAKER_00]: It's not even that it wasn't funny, although it wasn't
23:02.533 --> 23:02.934
[SPEAKER_01]: It was smug.
23:08.188 --> 23:16.175
[SPEAKER_00]: There was, it was so proud of itself for making, and points I even agree with, but really obvious points.
23:17.136 --> 23:24.142
[SPEAKER_00]: And it's off putting to see a film congratulated itself for its obviousness.
23:24.502 --> 23:27.905
[SPEAKER_00]: And that's something that I found really annoying about don't look up.
23:27.965 --> 23:30.167
[SPEAKER_01]: And that's something I find really annoying about digger as well.
23:30.327 --> 23:34.991
[SPEAKER_01]: I didn't send, I don't send smugness from something like don't look up, I sense.
23:35.932 --> 23:38.816
[SPEAKER_01]: a sense of kind of adolescent immaturity.
23:39.417 --> 23:50.573
[SPEAKER_01]: I sense somebody who is making a salient point, but doing it very bluntly, doing it with overwhelming lack of sophistication
23:51.461 --> 23:54.423
[SPEAKER_01]: and kind of repeating the same points over and over again.
23:54.443 --> 23:54.904
[SPEAKER_01]: Yeah.
23:55.324 --> 23:58.887
[SPEAKER_01]: And trying to sell it to me as sort of a Hollywood prestige picture.
23:59.247 --> 24:08.134
[SPEAKER_00]: There's a line Thomas Harris wrote in one of his Hannibal Lecture novels and I can't remember which one I'll hand, but I'm going to paraphrase.
24:08.214 --> 24:16.019
[SPEAKER_00]: But there is an emotion of feeling that everyone recognizes, but we've never come up with a good name for.
24:16.039 --> 24:16.099
[SPEAKER_00]: Oh.
24:16.720 --> 24:19.962
[SPEAKER_00]: And that is the happy anticipation of being proven right.
24:21.023 --> 24:22.184
[SPEAKER_00]: That's don't look up.
24:22.524 --> 24:29.288
[SPEAKER_00]: The world is going to end, but at the very least, the people who made that movie will get to say I told you so that's the thing about it.
24:29.688 --> 24:30.288
[SPEAKER_00]: That's not a sense.
24:30.308 --> 24:31.129
[SPEAKER_00]: That is a sense I get from digger.
24:31.229 --> 24:32.569
[SPEAKER_00]: Digger, although it touches upon environmentalism.
24:39.208 --> 24:42.871
[SPEAKER_00]: It doesn't really care that much about it in a specific sense.
24:42.891 --> 24:43.811
[SPEAKER_00]: It's more abstract.
24:44.111 --> 25:03.965
[SPEAKER_00]: It is much more concerned about billionaires and corrupt politicians who are flucking everything up despite protestations of the people who vote for them, the people who work for them, scientists who know better, politicians who know better, and how helpless we all feel.
25:04.005 --> 25:04.466
[SPEAKER_00]: And that is not
25:05.346 --> 25:09.427
[SPEAKER_00]: an inaccurate sentiment, that is something I think we all recognize.
25:09.527 --> 25:11.788
[SPEAKER_00]: It is, it is, however, kind of the only sentiment digger has.
25:11.828 --> 25:12.508
[SPEAKER_00]: And I feel like we're good.
25:12.528 --> 25:32.855
[SPEAKER_01]: I, let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me just let me
25:33.300 --> 25:37.143
[SPEAKER_01]: the satisfaction of taking down the politicians who are ruining the world.
25:37.163 --> 25:38.124
[SPEAKER_00]: I don't think they're taking them down.
25:38.724 --> 25:48.672
[SPEAKER_00]: I actually think that the thing that I think frustrates me the most about this movie is that it pulls those punches really hard by making it cartoonish.
25:49.816 --> 25:55.340
[SPEAKER_00]: you are removing our sense of actual real world allegory for this.
25:55.400 --> 25:59.163
[SPEAKER_00]: It just becomes something that it becomes like a bad South Park episode.
25:59.463 --> 26:00.724
[SPEAKER_00]: It's so blunt.
26:00.784 --> 26:01.905
[SPEAKER_00]: It's so obvious.
26:02.505 --> 26:05.688
[SPEAKER_00]: And ultimately, it doesn't have much to say about that.
26:05.988 --> 26:15.175
[SPEAKER_00]: And even like towards the end of the movie where the movie starts sort of funneling itself into a position where, hey, at least satire gives us a sense of catharsis.
26:15.903 --> 26:18.104
[SPEAKER_00]: Oh well, that's something I want to address.
26:18.644 --> 26:24.465
[SPEAKER_00]: The movie gives us, and I realize I feel like this is supposed to be clever.
26:25.005 --> 26:27.826
[SPEAKER_00]: The movie doesn't give us that sense.
26:27.886 --> 26:29.946
[SPEAKER_00]: The movie doesn't have any sense of commitment to that.
26:30.286 --> 26:40.828
[SPEAKER_00]: And so the whole thing, the play within the play feels toothless, and the movie about that play feels toothless, and the entire enterprise feels very toothless because every
26:45.003 --> 26:51.788
[SPEAKER_00]: obvious and they have speeches congratulating themselves for making it within the movie, which is a beddop pudding.
26:52.168 --> 26:54.749
[SPEAKER_01]: Well, here's my frustration with digger.
26:54.930 --> 27:00.153
[SPEAKER_01]: I don't think it has any interest whatsoever in billionaires or the environment.
27:00.493 --> 27:00.753
[SPEAKER_01]: Okay.
27:00.813 --> 27:07.618
[SPEAKER_01]: I think that is a stand-in for standard things that people have been satirizing since the start.
27:08.410 --> 27:21.426
[SPEAKER_01]: I think this is because it lacks specificity, but it's not about one thing in the real world specificity and it's also so broad in those points that it's not speaking to the modern political landscape.
27:23.025 --> 27:24.865
[SPEAKER_01]: It's speaking to every political landscape.
27:24.905 --> 27:31.989
[SPEAKER_01]: There have always been evil people in power who wants to ruin the world And they're all over the top and they're all ridiculous, but they all have too much power.
27:32.029 --> 27:41.993
[SPEAKER_01]: Yeah, I think all of that all of the play the play within a play Is academic I don't think that's what in your e2 is interested in telling a story
27:43.205 --> 27:46.368
[SPEAKER_01]: Because by the time we get to the end, he shifts entirely.
27:46.848 --> 27:55.774
[SPEAKER_01]: The focus is off of the play, and he begins to debate the nature of satire itself.
27:57.117 --> 28:08.965
[SPEAKER_01]: and it becomes an essay on what's the function satire serves, and there's two ways of looking at it, and one is the optimistic way and one is the pessimistic way.
28:08.985 --> 28:09.966
[SPEAKER_01]: I guess we're just that I fell on.
28:10.026 --> 28:13.488
[SPEAKER_00]: Well, optimistic way of looking at the movie or hopefully there's no way of looking at the point it's trying to make.
28:13.688 --> 28:31.916
[SPEAKER_01]: of the movie the point the movie is trying to make is either optimistic or very pessimistic yeah and i'm reminded of a couple years ago when i watched the great dictator for the first time it was during the first Donald Trump administration so i wasn't having a good headspace
28:32.356 --> 28:32.957
[SPEAKER_00]: Yeah, I was pretty wrong.
28:32.977 --> 28:34.238
[SPEAKER_01]: And I'm watching this.
28:34.258 --> 28:38.102
[SPEAKER_00]: And if anyone doesn't know the great dictator is a Charlie Chaplin film and winging 40.
28:38.222 --> 28:40.264
[SPEAKER_00]: And it's kind of a prince in the popper situation.
28:40.304 --> 28:43.587
[SPEAKER_00]: He plays like a regular citizen of a fictional country.
28:43.948 --> 28:47.812
[SPEAKER_00]: And he also plays the fascist dictator who was explicitly modeled after Adolf Hitler.
28:47.872 --> 28:48.092
[SPEAKER_01]: Yeah.
28:48.712 --> 28:55.139
[SPEAKER_01]: And I remember hearing about this in film schools, I remember I've read plenty of that says about it.
28:55.159 --> 28:56.180
[SPEAKER_01]: And I felt like I got to watch it.
28:57.363 --> 29:08.055
[SPEAKER_01]: And it wasn't on its side in that I saw this satire of Adolf Hitler and there's this great speech near the end about how we need to end wars and be compassionate.
29:08.436 --> 29:12.319
[SPEAKER_01]: And I'm watching this, and I'm looking out at the world seeing evil people running a mock.
29:12.980 --> 29:16.083
[SPEAKER_01]: And I'm looking at this movie and thinking, how many lives did this save?
29:16.503 --> 29:17.804
[SPEAKER_01]: What did this movie do?
29:17.824 --> 29:20.487
[SPEAKER_01]: Did it change anyone's minds?
29:21.007 --> 29:23.209
[SPEAKER_01]: It felt really useless to me at the time.
29:23.970 --> 29:32.938
[SPEAKER_01]: And I was really kind of, kind of, evimbittered at the time of, maybe if I was in a more optimistic mood going at the time, this has your thoughts on it changed.
29:33.560 --> 29:35.161
[SPEAKER_00]: Well, I haven't seen it since, maybe so.
29:35.201 --> 29:36.002
[SPEAKER_00]: Well, maybe not.
29:36.022 --> 29:41.285
[SPEAKER_00]: You can't be specifying like this is how you felt at the moment, which suggested me that maybe you were going to.
29:41.405 --> 29:47.709
[SPEAKER_01]: No, because it was like I said, it was, I saw corrupt people acting dumb in public.
29:48.270 --> 29:50.151
[SPEAKER_01]: And they know when was there to stop them?
29:50.171 --> 29:51.952
[SPEAKER_01]: They could just run rough shot over the country.
29:51.972 --> 29:56.415
[SPEAKER_00]: I think it's possible for a movie to have an impact and that impact has diminished over time.
29:56.515 --> 29:57.175
[SPEAKER_01]: That's also fair.
29:58.862 --> 30:15.209
[SPEAKER_01]: uh at the end of digger we have a moment where now there's another function to the great dictator where you can look at this movie and see somebody making fun of Adolf Hitler and thank golly yes it's a relief to see this
30:16.890 --> 30:36.943
[SPEAKER_00]: powerfully evil person being turned into a boob even if it's just on screen for a few hours because at the time Hitler obviously was still in charge of Germany and he was being taken seriously by a lot of people some people even still thought about like the solution was to appease Hitler instead of fighting him yeah like it was he was not sort of
30:38.250 --> 30:54.482
[SPEAKER_00]: universally like all over the world people were people people were still saying like maybe we shouldn't be too hard on Germany right now and it's sort of like an eye to say it's bad like but there's there's two functions of satire in digger near the end where they start talking about
30:55.654 --> 30:59.455
[SPEAKER_01]: Uh, how a satire can either provide us with that catharsis.
30:59.616 --> 31:00.216
[SPEAKER_01]: Mm-hmm.
31:00.296 --> 31:01.056
[SPEAKER_00]: Show it to the left.
31:01.076 --> 31:10.840
[SPEAKER_01]: Show us of a person we hate and turn them into a cartoon, and we can laugh at them and hurt them on stage, and that provides us a comfortable, uh, release.
31:11.680 --> 31:24.925
[SPEAKER_01]: And in fact, even if the evil people persist, we can still, at the very least, we the people with no power, and they're ruining the world, and we can't stop them, we can at least mock them.
31:25.798 --> 31:27.039
[SPEAKER_01]: That's the positive spin.
31:27.640 --> 31:30.904
[SPEAKER_01]: The negative spin is my initial take on the great dictator.
31:31.525 --> 31:34.088
[SPEAKER_01]: We can make fun of them and it does nothing.
31:34.448 --> 31:34.648
[SPEAKER_01]: Right.
31:34.929 --> 31:40.655
[SPEAKER_01]: And if that's the point of the movie, that we're not really making a pointed satire about,
31:41.356 --> 31:52.039
[SPEAKER_01]: the rich or the environment, but instead making a comment about satire and that comment is satire is fucking useless then what the hell did I just sit through this movie for?
31:52.359 --> 31:59.601
[SPEAKER_00]: Yeah and it because it'd be one thing if it said satire is useless in order to do anything we have to actually act.
31:59.802 --> 32:00.822
[SPEAKER_00]: You're going to make that point.
32:01.542 --> 32:07.764
[SPEAKER_00]: You could have also said that or you could have made a more defeatist point saying like all they did was satire and then at the end of the movie I don't know everyone dies.
32:07.944 --> 32:25.890
[SPEAKER_00]: Yeah, or something like you you could do that Which is that's kind of the Not literally but like yeah, it's it's not a you know movie doesn't end super happy But I think you got a good point here and I think the difference between this and the great dictator besides the fact that I think the great dictator is good
32:27.491 --> 32:43.201
[SPEAKER_00]: And, and I'll say this, digger has better production design, but I think the difference is that the great dictator had a target, the great dictator pointed at one person and said this person is the root of all evil.
32:43.761 --> 32:47.404
[SPEAKER_00]: It at least, and yeah, they changed his name, but like come on.
32:48.024 --> 32:49.245
[SPEAKER_00]: There was no confusion.
32:49.545 --> 32:50.926
[SPEAKER_00]: We were always going on.
32:51.286 --> 32:53.447
[SPEAKER_00]: Hitler knew, okay.
32:55.107 --> 32:57.010
[SPEAKER_00]: in Digger, there's plausible deniability.
32:57.470 --> 33:06.483
[SPEAKER_00]: I'm looking at this movie, and I'm thinking about how Warner Bros. didn't get behind Coyote versus Acme, which Falkorn Lakehorn is the bad guy, and it's like blowing up at the end.
33:08.398 --> 33:11.759
[SPEAKER_00]: And then I'm looking at this movie, which, yeah, it's a fucking like artist the bad guy.
33:11.779 --> 33:23.244
[SPEAKER_00]: Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
33:38.655 --> 33:39.916
[SPEAKER_00]: You raised your finger and I forgot.
33:40.336 --> 33:43.298
[SPEAKER_00]: My point was, okay, here's my point.
33:43.318 --> 33:46.579
[SPEAKER_00]: No, no, no, my point was this.
33:47.580 --> 33:53.043
[SPEAKER_00]: Warner Brothers, stuck their neck out for the evil foghorn leghorn movie that could piss no one off.
33:53.943 --> 34:03.489
[SPEAKER_00]: Because no one is gonna watch digger and I mean no like billionaire and say, okay, well, I mean, I'm mad.
34:04.463 --> 34:08.677
[SPEAKER_00]: because there's it's so arch, it's so over the top, it's so joky.
34:09.940 --> 34:23.383
[SPEAKER_00]: that and it's so non-specific that it doesn't actually do that and when you compare that to what is happening right now with that new documentary about Elon Musk appropriately titled Musk to see smells.
34:24.083 --> 34:25.523
[SPEAKER_01]: It's like Kirby Dick.
34:25.543 --> 34:38.126
[SPEAKER_00]: Somebody thought it's not Kirby Dick yeah I don't remember who's doing but it's Morgan Neville someone's doing but there's like like a four hour documentary about how much Elon Musk sucks.
34:39.057 --> 34:57.412
[SPEAKER_00]: And part of me is like great and another part of me is like I feel like the people who need that message aren't going to go see a four-hour documentary But I don't know what I don't know how to fix that But my point is this Musk is pissed about that because that pisses him off because that makes him look bad that is somewhat that is it I mean, let's be honest here.
34:57.572 --> 34:58.413
[SPEAKER_00]: It's a hit piece
34:58.753 --> 35:04.094
[SPEAKER_00]: Yeah, I would be surprised if they went into that documentary thinking Elon Musk was great and only discovered he was bad.
35:04.895 --> 35:24.540
[SPEAKER_00]: That is a movie that is laser-focused on looking at someone in the public eye who has power, who is directly responsible for a lot of really horrible things, suffering and death because of like the programs that he defunded when he got his finger in the pie of the United States government.
35:27.010 --> 35:29.031
[SPEAKER_00]: That is something that pisses that guy off.
35:29.632 --> 35:32.193
[SPEAKER_00]: That has a function.
35:33.614 --> 35:37.216
[SPEAKER_00]: Digger is about that function.
35:38.037 --> 35:43.260
[SPEAKER_00]: And Digger doesn't have anything to say about that function other than it has one.
35:43.700 --> 35:46.722
[SPEAKER_00]: And I'm not fucking impressed.
35:46.862 --> 35:52.286
[SPEAKER_01]: I think all of your complaints about how it's kind of non-specific satire.
35:53.555 --> 35:59.660
[SPEAKER_01]: is it can almost be dismissed because the movie ultimately isn't even about that.
36:00.080 --> 36:05.244
[SPEAKER_01]: It's it's not about the characters that we see on screen for the majority of the screen time.
36:05.624 --> 36:07.666
[SPEAKER_00]: It's not about which is another reason it's too close.
36:07.686 --> 36:08.366
[SPEAKER_00]: Yeah, exactly.
36:08.406 --> 36:12.049
[SPEAKER_01]: It's not about billionaires or environmental disaster at all.
36:12.089 --> 36:13.150
[SPEAKER_01]: It's about art.
36:13.170 --> 36:15.672
[SPEAKER_01]: It could have worked on multiple levels and instead it works on none.
36:16.352 --> 36:18.853
[SPEAKER_01]: Yeah, because it undercuts its own messages.
36:20.214 --> 36:22.635
[SPEAKER_01]: I find this a fascinating misfire.
36:23.936 --> 36:25.097
[SPEAKER_01]: I liked looking at it.
36:25.177 --> 36:26.278
[SPEAKER_01]: It's really propulsive.
36:26.338 --> 36:27.578
[SPEAKER_01]: The energy is high.
36:27.598 --> 36:28.599
[SPEAKER_01]: It's interesting.
36:28.679 --> 36:30.420
[SPEAKER_00]: It's think about why this movie doesn't work.
36:30.440 --> 36:35.022
[SPEAKER_01]: Yeah, it's every time they did something like really over the top and joky and slapsticky.
36:35.142 --> 36:35.543
[SPEAKER_01]: It's like,
36:36.303 --> 36:47.387
[SPEAKER_01]: It felt like a fake joke, like I'm supposed to be laughing at the fact that this is a funny rather than the fact that it is, which is what we're in interesting weird tone to strike.
36:47.527 --> 36:56.470
[SPEAKER_00]: Yeah, because like at that point you're just throwing all of your, uh, uh, you're putting your whole investment into anti-intertainment.
36:56.730 --> 37:21.477
[SPEAKER_00]: Yeah, yeah, and I think there's like something kind of fascinating about it and this what's that actually kind of holds out because after the reviews came out for digger and like a week ago Give her take before the the review embargo lifted This was like all the Oscar prognosticators are like, well Tom Cruise is surely going to get nominated this movie is surely going to be now a different best picture look at how good it looks on paper, right?
37:25.978 --> 37:26.658
[SPEAKER_00]: Some people liked it.
37:27.238 --> 37:28.419
[SPEAKER_00]: So people didn't defend it.
37:28.439 --> 37:30.479
[SPEAKER_01]: It was like a 50, 50 on run.
37:30.799 --> 37:31.940
[SPEAKER_01]: Yeah, it was for what that's worth it.
37:31.960 --> 37:34.580
[SPEAKER_00]: Initially it had worse, but it's even down a little bit.
37:34.600 --> 37:38.041
[SPEAKER_00]: But it's still like last I checked still on the negative, which is not good.
37:38.481 --> 37:40.922
[SPEAKER_00]: And no one wanted to see it.
37:40.942 --> 37:51.424
[SPEAKER_00]: It made like, I think, 8 million domestically less than 20 internationally, and it cost like over 120 that they're telling us about with those usually a lot more.
37:51.705 --> 37:52.885
[SPEAKER_00]: This, this is a huge bomb.
37:52.925 --> 37:53.185
[SPEAKER_00]: Yeah.
37:53.605 --> 37:58.728
[SPEAKER_00]: But after the bad reviews came out, Warner Bros. And you know what?
37:58.908 --> 38:00.208
[SPEAKER_00]: Printing the bad reviews in the advertiser.
38:00.228 --> 38:00.729
[SPEAKER_00]: And you know what?
38:00.869 --> 38:04.611
[SPEAKER_00]: I'm going to give them credit for embracing it because what else the fucking going to do, right?
38:04.971 --> 38:11.654
[SPEAKER_00]: So they have these trailers that are basically like, here's a really bad quote, and here's a really positive quote.
38:12.154 --> 38:15.396
[SPEAKER_00]: And it's like, if it's controversial, that's going to, at least going to be interesting.
38:15.656 --> 38:15.836
[SPEAKER_00]: Right.
38:16.697 --> 38:18.458
[SPEAKER_00]: And here's why that does not work.
38:19.276 --> 38:27.585
[SPEAKER_00]: because you are telling the average mainstream audience ever because the artist people are going to be interested in anyone, just in the abstract, they are or not.
38:27.605 --> 38:28.446
[SPEAKER_00]: They have nothing to do with art.
38:28.466 --> 38:31.810
[SPEAKER_00]: I think in your resources making a movie, some people are going to show up to that no matter what it is.
38:33.890 --> 38:54.123
[SPEAKER_00]: I think when you advertise to the typical mainstream movie goer, people who may be see one movie in a theater a month or less, people who consider going to see a movie in a theater, you know, kind of a luxury, you know, something you only do once in a while, especially like these days when tickets cost so much, you can only afford to do it once in a while.
38:55.004 --> 39:00.327
[SPEAKER_00]: If you advertise your movie saying there is a 50% chance, you'll think you'll waste your waste of your money.
39:01.668 --> 39:03.170
[SPEAKER_00]: That's not great advertising.
39:03.310 --> 39:03.871
[SPEAKER_00]: I think it's great.
39:04.171 --> 39:05.252
[SPEAKER_00]: I don't think it's fantastic.
39:05.452 --> 39:12.300
[SPEAKER_01]: I think it's because Yeah, so much advertising is just endlessly positive that it becomes meaningless after a while.
39:12.320 --> 39:13.922
[SPEAKER_00]: I'm not saying it's not interesting.
39:14.362 --> 39:15.623
[SPEAKER_00]: I'm saying it's not effective.
39:16.044 --> 39:21.870
[SPEAKER_00]: I think that when you're telling people there's a lot of people out there who think you will have a really bad time.
39:22.651 --> 39:25.292
[SPEAKER_00]: A lot of people go to the movies just to have a good time.
39:25.632 --> 39:30.994
[SPEAKER_00]: If you want your movie to make $200 million just to break even, I don't think that's the best strategy.
39:31.174 --> 39:35.115
[SPEAKER_00]: Then again, I also think their back is against the wall and they're kind of fucked.
39:35.735 --> 39:47.559
[SPEAKER_00]: Because the word of mouth is this bad on a movie that has no built-in audience other than Tom Cruz, who, let's be frank, can't open a movie unless it's in a franchise he's already in.
39:47.859 --> 39:48.860
[SPEAKER_00]: Yeah, he just can't.
39:49.300 --> 39:51.081
[SPEAKER_00]: He's you put him in a you put him in a top gun.
39:51.361 --> 39:51.841
[SPEAKER_00]: It makes money.
39:51.861 --> 39:59.426
[SPEAKER_00]: You put him in a mission impossible and he usually makes money They're like one of them didn't do great, but whatever You put him in an American made nobody gives a shit.
39:59.446 --> 40:03.989
[SPEAKER_00]: Mm-hmm You have he is a legacy actor.
40:04.109 --> 40:04.929
[SPEAKER_00]: Not only that.
40:04.949 --> 40:06.210
[SPEAKER_00]: That's what he does legacy sequel.
40:06.230 --> 40:09.052
[SPEAKER_00]: He's a legacy actor That's what people like to see him in
40:10.182 --> 40:12.844
[SPEAKER_00]: And you know what, that's a tough place to be as a performer.
40:12.884 --> 40:25.133
[SPEAKER_00]: And I give him credit for trying to do something, for trying to do something interesting, for like, hey, listen, this script's fucking weird, but whatever, yeah, I'm all in, like, let's, I'm gonna give it 110% and he's trying, I'll give him credit for that.
40:25.774 --> 40:27.715
[SPEAKER_00]: But, well, he sells it.
40:27.915 --> 40:29.737
[SPEAKER_00]: He's gonna, like, not half as, and anything.
40:29.917 --> 40:32.058
[SPEAKER_00]: No, I don't think, I don't think he's giving a bad performance.
40:32.098 --> 40:35.361
[SPEAKER_00]: I think he was, I think he's giving a good performance.
40:36.694 --> 40:39.436
[SPEAKER_00]: when that performance was asked to do something quite bad.
40:40.037 --> 40:44.120
[SPEAKER_00]: And I think as a result, it's a thankless role whether he did well in it or not.
40:44.340 --> 40:51.466
[SPEAKER_01]: I would have loved to have seen what was his name, Jack Reagan, the character that Michael Keaton played in Birdman.
40:51.746 --> 40:54.628
[SPEAKER_01]: Oh yeah, that's the actor, that was that would have been great.
40:54.668 --> 40:56.329
[SPEAKER_01]: Yeah, that would have been fun, it's a sequel.
40:56.509 --> 41:02.034
[SPEAKER_00]: Yeah, but then there's the ending of Birdman, which is you would have to like settle the ambiguous ending of Birdman.
41:03.924 --> 41:10.088
[SPEAKER_00]: I just think that is a consequence you would have to think about before he made that decision.
41:10.669 --> 41:11.729
[SPEAKER_00]: Two more thoughts.
41:12.030 --> 41:18.995
[SPEAKER_01]: I think Riz Ahmed is the only actor in this movie who knows how to make the broad comedy scenes funny.
41:19.515 --> 41:21.957
[SPEAKER_01]: He's the only one who delivers his lines sharply.
41:22.077 --> 41:23.558
[SPEAKER_01]: He meets all the other characters.
41:23.858 --> 41:26.779
[SPEAKER_01]: He's a little bit more of the pragmatic ones, so he's a little bit more relatable.
41:26.839 --> 41:32.900
[SPEAKER_00]: But he's also gradually losing his mind by being in a room with people who have already lost their mind.
41:32.920 --> 41:36.741
[SPEAKER_00]: Well, they know the facts, but they've decided they're not a priority.
41:37.401 --> 41:42.143
[SPEAKER_00]: And that's absolutely mad in it, especially being a scientist.
41:42.283 --> 41:43.023
[SPEAKER_00]: Yeah, yeah.
41:43.503 --> 41:51.265
[SPEAKER_00]: And he sells that well, he is the person in this movie who understands I'm actually in a West Anderson movie.
41:51.525 --> 42:06.673
[SPEAKER_00]: Yeah, and honestly, the movie that a lot of people have been comparing this to Besides Coyote vs. Acme is Asteroid City, which is also about a play that is being told and also about the production of that play and the back story to the people in it.
42:07.194 --> 42:11.596
[SPEAKER_00]: But in that movie, they are a the movie outside of the play.
42:12.537 --> 42:16.239
[SPEAKER_00]: Still feels theatrical in a way that makes the whole thing feel like it's all like.
42:17.210 --> 42:20.915
[SPEAKER_00]: who the fuck knows what's real, and a way that's sort of playful and fun.
42:21.155 --> 42:23.398
[SPEAKER_00]: It is also genuinely funny and entertaining.
42:23.738 --> 42:25.361
[SPEAKER_00]: The performances are genuinely quiet.
42:25.381 --> 42:35.413
[SPEAKER_00]: Definitely more so than this, and although I don't think it has a particularly powerful point to make, it actually has a lot of really interesting character work.
42:35.954 --> 42:36.174
[SPEAKER_00]: in it.
42:37.035 --> 42:58.496
[SPEAKER_00]: Asteroid City is doing what this is trying to do with this sort of multi-layered story within a story, archness, and is using it to good effect because it is not only using it to make one point, and you could argue that the movie is making that point ironically or unconvincingly on purpose, but even that's really fucking obvious.
42:58.536 --> 42:58.777
[SPEAKER_00]: Yeah.
42:59.783 --> 43:01.124
[SPEAKER_00]: Uh, he said there were two things.
43:01.144 --> 43:12.032
[SPEAKER_01]: Yeah, my other thought was, um, and this is not to do with the movie to sort of, this concept of turning bad reviews into positive advertising, I've seen this happen a couple of times.
43:12.072 --> 43:14.673
[SPEAKER_01]: I remember, uh, when Lost Highway came out.
43:14.693 --> 43:15.054
[SPEAKER_01]: Yeah.
43:15.074 --> 43:18.416
[SPEAKER_01]: There was a notorious printout that said two thumbs down two more reasons to see Lost Highway.
43:18.456 --> 43:18.656
[SPEAKER_01]: Yeah.
43:18.696 --> 43:19.857
[SPEAKER_01]: I think, uh, nobody's lost Highway.
43:19.877 --> 43:21.078
[SPEAKER_01]: I suppose not, but I think there are fun things.
43:21.098 --> 43:25.741
[SPEAKER_01]: Uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh,
43:25.981 --> 43:39.004
[SPEAKER_01]: a very palpable anti-critic stance among the public that you can put bad reviews from professional critics in an advertisement to sort of mock the critic.
43:39.424 --> 43:50.287
[SPEAKER_01]: Like, look how wrong they are, or critics hate it, but critics are all hoody, toody, Olympian assholes, so why don't we just sort of put their bad reviews as a bad surprise?
43:50.307 --> 43:52.007
[SPEAKER_00]: And the abstract that makes sense.
43:52.787 --> 43:59.933
[SPEAKER_00]: I think in reality in this context, it doesn't because digger is the kind of movie that people actually do listen to critics about.
44:00.793 --> 44:03.235
[SPEAKER_00]: Digger is the kind of movie that isn't critic proof.
44:03.295 --> 44:04.997
[SPEAKER_00]: Word of mouth is really going to matter.
44:05.557 --> 44:06.418
[SPEAKER_00]: Do I want to see this?
44:06.478 --> 44:12.762
[SPEAKER_00]: Well, it's not like the next Marvel movie where I have to see it to keep watching and there's like some other compelling reason for me to want to go.
44:13.443 --> 44:15.464
[SPEAKER_00]: I will only want to see this if it looks good.
44:15.624 --> 44:15.845
[SPEAKER_01]: Yeah.
44:16.445 --> 44:19.168
[SPEAKER_00]: If everyone says it sucks, that's a genuine problem.
44:19.689 --> 44:34.766
[SPEAKER_00]: So, I think, because it is, and even though it's a big budget studio picture, it's essentially an art house sensibility, I don't think that's the mentality that's going to work here because I think, again, especially when you're trying to attract a blockbuster audience, this movie needed to make a ton of money.
44:36.979 --> 44:48.365
[SPEAKER_00]: But people who care about critics, people who get snooty and annoyed about critics, to the point that they would do something just to spite critics, which is a level beyond just, I don't really care about critics.
44:51.093 --> 44:54.934
[SPEAKER_00]: I think that crowd, A, isn't as big as people think it is.
44:55.634 --> 44:59.536
[SPEAKER_00]: Because if that were true, then there's a lot of superhero movies that would have done better.
44:59.696 --> 45:03.937
[SPEAKER_00]: There's a lot of other transformers movies wouldn't stop making money, that kind of thing.
45:05.578 --> 45:11.720
[SPEAKER_00]: But yeah, I just don't think that this is the film that makes that target, it makes sense.
45:11.800 --> 45:13.160
[SPEAKER_00]: That statement makes sense.
45:13.320 --> 45:18.302
[SPEAKER_00]: Oh, those fucking critics, if critics hated a movie that was very popular.
45:19.170 --> 45:33.218
[SPEAKER_00]: That makes sense, or if critics hated a movie and it became popular later on, I think I'm happy later on, that's another one, that's a good example as well, or if critics like a movie and everyone hates it.
45:33.238 --> 45:40.622
[SPEAKER_00]: These are the things you can say are the critics right of touch, but the same people who say critics right of touch are happy to put positive critics quotes when they have them.
45:41.643 --> 45:44.125
[SPEAKER_00]: They want people to say nice things about the movie.
45:44.365 --> 45:45.766
[SPEAKER_01]: Well, that's a nice thing!
45:45.826 --> 45:47.347
[SPEAKER_01]: They just want to find people who agree with them.
45:47.407 --> 45:52.371
[SPEAKER_01]: Yeah, they want to make sure that critics line up with this ineffable sense of popular opinion.
45:53.011 --> 45:58.755
[SPEAKER_01]: And I've read far too many articles where the state, you know, the critics were wrong about this.
45:58.996 --> 46:00.377
[SPEAKER_01]: Well, a critic is writing a review.
46:00.977 --> 46:01.998
[SPEAKER_01]: It's an opinion piece.
46:02.878 --> 46:05.679
[SPEAKER_00]: Yeah, we're not they're siding for posterity.
46:05.719 --> 46:14.701
[SPEAKER_01]: This is what they thought about the movie that it didn't line up with the majority of people is irrelevant There if they stated their case well, then they wrote a good review.
46:14.741 --> 46:23.924
[SPEAKER_00]: It doesn't really matter if they hated the thing and everybody else liked the thing or vice versa I think it can be note worthy when like a significant number of people
46:25.172 --> 46:45.120
[SPEAKER_00]: kind of miss interpret a movie and then later on we realized that the movie was more interesting than that or had something else going for it and like maybe there was subtext that a lot of like the let's be honest here throughout most of critical history the majority were straight white you know cisgender dudes and a lot of shit flies by that
46:46.000 --> 46:58.247
[SPEAKER_00]: because that's a very bubble-type personality, but I think that can be of note, but yeah, the idea that the critics are right, and the other thing about that.
47:00.029 --> 47:16.473
[SPEAKER_00]: Critics, if we really want to take that route, where you believe that critics in the aggregate, because Rotten Tomatoes and Metacritic have done more so Rotten Tomatoes since it's binary, that Rotten Tomatoes has done this to us, that critics are either all in favor or all against, right?
47:18.173 --> 47:26.495
[SPEAKER_00]: That the idea that critics were wrong would be a lot more interesting if critics weren't, let's be honest here, usually right.
47:28.765 --> 47:54.132
[SPEAKER_00]: Like if you look at most movies that people think are bad, you're gonna find most critics probably thought it was bad Yeah, and if you look at most most people think it's good unless it's a horror movie Hmm in which case they still fuck this up What was I just watching I was just watching some great horror movie and Kind of can't remember I would it's it's it's staggering how many genuinely classic horror movies You can look up on rotten tomatoes and find that they have a 49%
47:55.712 --> 47:56.693
[SPEAKER_00]: Oh, that's half critics.
47:56.753 --> 47:57.373
[SPEAKER_01]: That's pretty good.
47:58.113 --> 48:02.035
[SPEAKER_00]: But I'm talking about like people think they're all timers is my point.
48:02.095 --> 48:12.120
[SPEAKER_00]: And I just think I feel like with horror in particular There's a lot of critics who Cover like the big horror movies who aren't necessarily interested in horror
48:12.760 --> 48:29.613
[SPEAKER_00]: And they stopped caring about it immediately after that review, but then the horror crowd just keeps talking about it Yeah, and then that becomes the narrative is that most people who like horror liked it even if the critics So who aren't necessarily Specifically horror fans that didn't blow them on to what you're talking about as a huge part of can't be asthma.
48:29.873 --> 48:29.993
[SPEAKER_00]: Yeah.
48:30.013 --> 48:30.193
[SPEAKER_00]: Yeah.
48:30.353 --> 48:30.593
[SPEAKER_01]: Yeah.
48:30.874 --> 48:31.074
[SPEAKER_01]: Yeah.
48:31.134 --> 48:31.234
[SPEAKER_01]: Yeah.
48:31.254 --> 48:31.354
[SPEAKER_01]: Yeah.
48:31.394 --> 48:42.342
[SPEAKER_01]: Exactly Oh So I I find digger to be fascinating just because it's one of those movies where I have heard some critics come out in passionate defense of it
48:42.788 --> 48:45.751
[SPEAKER_01]: actually like the kind of big swings it's making and they understand it too.
48:45.791 --> 48:51.656
[SPEAKER_01]: This is actually kind of a a critical essay more than it is a satire of the environmental billionaires.
48:52.616 --> 48:59.622
[SPEAKER_01]: I'd be interested to know what the view of a film like digger would be in like 10 years, 20 years time.
48:59.782 --> 49:00.563
[SPEAKER_01]: Exactly.
49:01.063 --> 49:02.385
[SPEAKER_01]: Because this is clearly true.
49:02.745 --> 49:11.132
[SPEAKER_01]: I think maybe this is the reason why a lot of people are bristling at it because this is a time when it's kind of hard to satirize what's going on in the real world.
49:11.292 --> 49:14.596
[SPEAKER_01]: Oh yeah, there's all kinds of horrors out there that you can't exaggerate it.
49:14.616 --> 49:29.495
[SPEAKER_00]: It's already exaggerated like it is 20 years ago There'd been a movie about how the president of the United States spent half a year Obsessing over a reflecting pond because it had scum in it and he thought terrorists were trying to take it down
49:29.915 --> 49:37.337
[SPEAKER_01]: and is like ripping apart the white house and yeah like that would be using his name on to the Kennedy Center and covering with a tarp when they tell him to take it down.
49:37.357 --> 49:46.880
[SPEAKER_00]: That would either be like the like scary movie level up like blunt silly satire or it would be laughed out of the room because it's so implausible.
49:47.000 --> 49:50.663
[SPEAKER_01]: So I think that's maybe something working against something like Digger.
49:50.723 --> 49:58.670
[SPEAKER_01]: It can't make a satire billionaires because you can't exaggerate what they're already doing and there is a word for that.
49:58.690 --> 50:04.195
[SPEAKER_01]: There's like a critical word for something become so ridiculous it kind of outlives satires useful.
50:06.477 --> 50:14.823
[SPEAKER_01]: So, this is clearly a criticism of the Trump era in a roundabout way, but it's not a very pointed one and it's not a very good one.
50:15.123 --> 50:20.427
[SPEAKER_01]: Yeah, I see your point that I love you to get a pretty much this movie, but I don't like the movie.
50:20.447 --> 50:30.634
[SPEAKER_00]: Like, if you'd for generations who weren't here right now, may see this movie as an effective oversimplified summation of it, I can tell you this right now, in the moment.
50:32.033 --> 50:52.570
[SPEAKER_00]: There's a there's a thing critics sometimes say this is the movie we need right now I try to avoid saying that because it's pretty shitty and doesn't really mean much It just means it's topical and what we agree with its politics Which you know is maybe worth noting but it's such a high-falutin way to say it I'm pretty confident this isn't the movie we need right now.
50:52.650 --> 50:55.832
[SPEAKER_01]: No, yeah I really don't think this one's not gonna go down and yeah
50:57.033 --> 51:02.416
[SPEAKER_01]: If it does so lead my words, but I've been very wrong about playing a thing in the past.
51:02.456 --> 51:04.077
[SPEAKER_00]: We're to do things that happen.
51:05.218 --> 51:07.219
[SPEAKER_01]: All I can say is that Tom Cruise is going places.
51:08.618 --> 51:10.759
[SPEAKER_00]: Cruise in a lot.
51:10.779 --> 51:12.901
[SPEAKER_01]: I just made that up.
51:12.921 --> 51:14.682
[SPEAKER_00]: You're the first person I make that joke.
51:15.603 --> 51:16.183
[SPEAKER_00]: Yeah, digger.
51:16.243 --> 51:17.063
[SPEAKER_00]: I think we can move on.
51:17.364 --> 51:20.766
[SPEAKER_00]: All right, as well as not two of the movies, you saw one and I saw the other.
51:21.807 --> 51:25.589
[SPEAKER_00]: And why don't you tell me about because this is actually the biggest movie of the weekend.
51:25.629 --> 51:27.730
[SPEAKER_00]: This is the new Colleen Hoover adaptation.
51:28.971 --> 51:31.513
[SPEAKER_00]: Verity, which is a vague title.
51:32.765 --> 51:33.205
[SPEAKER_00]: Varity.
51:33.465 --> 51:33.926
[SPEAKER_00]: Varity.
51:34.266 --> 51:35.646
[SPEAKER_00]: Well, Varity is the name of character.
51:35.866 --> 51:38.348
[SPEAKER_00]: I understand that, but if you don't know that, it's a vague title.
51:38.388 --> 51:39.768
[SPEAKER_00]: Varity is also a real word.
51:40.188 --> 51:41.329
[SPEAKER_00]: It means truthfulness.
51:41.689 --> 51:41.929
[SPEAKER_00]: Yeah.
51:42.369 --> 51:44.330
[SPEAKER_00]: But like a lot of movies could be called truthfulness.
51:44.911 --> 51:45.531
[SPEAKER_01]: I suppose so.
51:45.551 --> 51:50.053
[SPEAKER_01]: But, but this is a pot boiler, you see, about the nature of truth.
51:51.373 --> 52:00.538
[SPEAKER_01]: And in fact, it's a, it also has kind of a metinarrative quality because Varity, the title character, is played by Anne Hathaway, is a writer of really,
52:01.418 --> 52:04.519
[SPEAKER_01]: bleak melodramatic pot boilers.
52:05.259 --> 52:06.720
[SPEAKER_00]: Okay.
52:06.760 --> 52:08.881
[SPEAKER_00]: Her name is Verity Campbell.
52:09.181 --> 52:09.521
[SPEAKER_00]: Okay.
52:10.521 --> 52:11.422
[SPEAKER_00]: And which is good.
52:11.462 --> 52:12.362
[SPEAKER_00]: Campbell is normal.
52:12.382 --> 52:13.603
[SPEAKER_00]: So it offsets the Verity.
52:14.103 --> 52:14.963
[SPEAKER_01]: Yeah.
52:15.003 --> 52:18.544
[SPEAKER_01]: If they call it like Verity Champagne, that would be a little too much.
52:18.564 --> 52:19.545
[SPEAKER_00]: Well, then it's camp.
52:19.845 --> 52:21.045
[SPEAKER_01]: Verity Campbell.
52:21.165 --> 52:23.086
[SPEAKER_01]: Verity Champagne is a drag queen.
52:23.126 --> 52:23.766
[SPEAKER_01]: Yeah.
52:23.866 --> 52:24.887
[SPEAKER_01]: I would like to see them perform.
52:24.927 --> 52:25.667
[SPEAKER_01]: Yeah.
52:27.314 --> 52:37.421
[SPEAKER_01]: So she has become popular for going really dark with her books and having it's like a murderous characters and all of her books are written from the perspective of these kind of wicked protagonists.
52:37.542 --> 52:38.622
[SPEAKER_01]: Okay.
52:38.843 --> 52:43.466
[SPEAKER_01]: The movie begins with Dakota Johnson playing a character named Loan Ashley.
52:44.047 --> 52:50.732
[SPEAKER_01]: And she's also a mystery author who is a big fan of Verde Campbell, but her books don't really sound.
52:51.452 --> 52:51.833
[SPEAKER_01]: Okay.
52:52.033 --> 52:57.498
[SPEAKER_01]: And she's sort of seen at the beginning of the movie giving a reading and people are like looking at their phones and only paying attention.
52:59.720 --> 53:08.488
[SPEAKER_01]: To sort of set off the tone of this movie, she goes out into the street and witnesses somebody getting completely cramed by a car and she's splattered with blood.
53:08.688 --> 53:08.909
[SPEAKER_00]: Okay.
53:09.469 --> 53:11.531
[SPEAKER_01]: And a kindly man decides to help her.
53:11.551 --> 53:12.592
[SPEAKER_01]: This is Josh Hartnick.
53:13.676 --> 53:21.401
[SPEAKER_01]: Takes her to a restaurant says here you can actually wear my shirt because you're covered in blood And so she's kind of a weird meat cute.
53:21.861 --> 53:28.446
[SPEAKER_00]: Oh, yes, it's like a gross meat meat gore With and put an A in the word meat and she's like cute.
53:28.506 --> 53:29.466
[SPEAKER_01]: She's like well, thank you
53:31.167 --> 53:32.829
[SPEAKER_01]: That's got to be a trauma film.
53:32.909 --> 53:46.320
[SPEAKER_00]: No, it's half the joke from 22 Jump Street where why it Russell and Channing Tatum met, but like one of them was like cleaned her with a Q-tip and the other one had like a sandwich.
53:47.120 --> 53:50.543
[SPEAKER_00]: Oh yeah, my meat fell in your Q-tip.
53:50.583 --> 53:51.864
[SPEAKER_00]: Oh my Q-tip fell in your meat.
53:52.425 --> 53:54.847
[SPEAKER_00]: Oh man, it's a meat-cute.
53:55.708 --> 53:56.688
[SPEAKER_00]: That's a very funny movie.
53:57.049 --> 53:57.629
[SPEAKER_01]: This is very funny.
53:59.169 --> 53:59.970
[SPEAKER_01]: I don't know.
54:00.050 --> 54:00.830
[SPEAKER_01]: She puts on a shirt.
54:01.331 --> 54:08.256
[SPEAKER_01]: She's late for job interview even though she was just splattered with the human a human's blood a little while ago I mean that's a big capital is important.
54:08.276 --> 54:09.597
[SPEAKER_01]: She has to go to a job interview.
54:09.737 --> 54:15.162
[SPEAKER_01]: Yeah, she doesn't know what did the job is for She just knows that the stakes are very high and when do you know it Josh Hartner does also there?
54:16.383 --> 54:22.748
[SPEAKER_01]: And it turns out she is being asked to ghost right and completes the next few very decample
54:23.108 --> 54:23.488
[SPEAKER_01]: books.
54:24.189 --> 54:32.494
[SPEAKER_01]: Very Campbell was recently in a car accident, she ran into a tree, and his now comatose.
54:32.694 --> 54:41.179
[SPEAKER_01]: She's aware she can eat her eyes well, actually they don't know she's aware, but her eyes are open, but she's strapped to a chair, and she has to be kneeled around.
54:41.199 --> 54:46.263
[SPEAKER_01]: They bring Dakota Johnson to, and this is all under NDA, nobody knows that she's paralyzed.
54:47.463 --> 54:53.445
[SPEAKER_01]: So they go to this house and Michael show Walter who's directed some pretty good movies.
54:53.465 --> 54:54.245
[SPEAKER_01]: He did the big sick.
54:54.445 --> 55:10.809
[SPEAKER_01]: Great movie He did eyes of Tammy Faye, which is a great acting movie, and that's a great movie per se But this is his best looking movie because he actually is like a good photographer and good Satz he's actually making this look like a good a production and this is the second week in a row where I want to go to that building this last week We had
55:12.489 --> 55:13.289
[SPEAKER_01]: Never after dark.
55:13.669 --> 55:15.890
[SPEAKER_01]: This guy's picture about this awesome looking hotel.
55:16.150 --> 55:23.532
[SPEAKER_01]: Yeah, I want to stay on that hotel This is an awesome looking house like it's maze like it's got this big zigzag It's just great production design.
55:23.832 --> 55:24.292
[SPEAKER_00]: What a treat.
55:24.512 --> 55:29.793
[SPEAKER_01]: They walk around to a bedroom It's like you'll be staying in here really like this thing that's bigger than a house.
55:29.933 --> 55:36.995
[SPEAKER_01]: This is my bedroom And in the headboard of the bed She's going to sleep in are some teeth marks
55:38.378 --> 55:39.539
[SPEAKER_01]: uh, interesting.
55:40.119 --> 55:48.002
[SPEAKER_01]: And she's going to spend some time there, try to get some inspiration by spending time with Verity and with Josh Hartnett and their young son who's like maybe six.
55:48.162 --> 55:49.482
[SPEAKER_00]: Oh, so Josh Hartnett's like her husband?
55:49.583 --> 55:50.183
[SPEAKER_01]: Is there a husband?
55:50.203 --> 55:50.903
[SPEAKER_01]: Sorry, he's husband.
55:51.003 --> 55:52.064
[SPEAKER_01]: I left out that detail.
55:52.144 --> 55:53.864
[SPEAKER_01]: He's that that meeting because he's Verity's husband.
55:53.904 --> 55:55.805
[SPEAKER_01]: Okay, I thought he was like a publisher or something.
55:55.865 --> 55:56.365
[SPEAKER_00]: Okay, that's okay.
55:56.405 --> 55:57.105
[SPEAKER_00]: That's important enough.
55:57.666 --> 55:58.186
[SPEAKER_01]: So um,
56:00.278 --> 56:07.967
[SPEAKER_01]: While she's doing her research, and this is where we kind of get the first act twist, she finds a thumb drive hidden in Verity's desk in this little compartment.
56:08.588 --> 56:17.818
[SPEAKER_01]: Pugs it in and finds the first couple chapters of her autobiography that she was in the middle of, and she starts to read the autobiography and finds that Verity Campbell
56:18.759 --> 56:24.381
[SPEAKER_01]: doesn't just write about dark characters, but is really horrible herself.
56:25.341 --> 56:28.522
[SPEAKER_01]: She didn't use to have just one child, do you say?
56:28.542 --> 56:29.403
[SPEAKER_01]: Oh no.
56:30.303 --> 56:38.966
[SPEAKER_01]: The Josh Hartner is still smarting from the death of one of their children, and Verity might have had something to do with that, that she confesses in her autobiography.
56:40.326 --> 56:49.329
[SPEAKER_01]: And that's the only twist I'm going to I'm going to stop there with the twist because there's it's a it's a pot boilery and there's a lot of oilery and of course Good twist and reverses.
56:49.929 --> 57:03.913
[SPEAKER_01]: They're not as Sturing or exciting as you might hope they don't go full lured with it although you can see them trying there's you know scenes of Flashbacks to Verity and Josh Hartnett courting and they're just fucking everywhere
57:04.893 --> 57:11.759
[SPEAKER_01]: And while they're doing so, we cut to, to cut a Johnson masturbating in a bath tub, so they're really trying to set up this thing.
57:12.320 --> 57:20.547
[SPEAKER_01]: And there's a, a standout sequence in the middle where she's having a fantasy about making out with Josh Hartnett, because she's starting to find herself attracted to him.
57:20.887 --> 57:22.128
[SPEAKER_01]: Oh, please character.
57:22.148 --> 57:24.470
[SPEAKER_00]: These people fantasize about making out with Josh Hartnett.
57:24.490 --> 57:29.475
[SPEAKER_01]: I was going to say that that's, it's easy to imagine that because Josh Hartnett is a devastatingly handsome man.
57:29.515 --> 57:29.675
[SPEAKER_00]: Yeah.
57:30.498 --> 57:50.914
[SPEAKER_01]: And while she's making our with Josh Hartnett, he turns in to Anne Hathaway and then they keep on making it out and so it's like So they're they're also Throwing in the psycho-sexual element that she's kind of getting into and also getting off on the idea of Verity even though she's learning that Verity was kind of this dark figure in real life.
57:51.034 --> 57:54.237
[SPEAKER_01]: Yeah, and twist after twist after twist it's not
57:55.193 --> 58:01.495
[SPEAKER_01]: Why clever enough to sort of transcend and be kind of a prime example of the genre?
58:01.795 --> 58:10.297
[SPEAKER_01]: Paul Figue has done this twice because I really really love to simple favor, which is in the same vein, this kind of psycho-sexual thing where people are constantly lying and there's all these.
58:10.317 --> 58:11.458
[SPEAKER_01]: That was very fine.
58:11.538 --> 58:12.318
[SPEAKER_01]: It's also very funny.
58:12.678 --> 58:16.301
[SPEAKER_01]: And he also did the housemate, which I also very much liked.
58:16.341 --> 58:19.263
[SPEAKER_00]: We also did a simple favor to, which I did not like.
58:19.303 --> 58:21.064
[SPEAKER_01]: Which I liked, but there's nowhere near as good as they were.
58:21.104 --> 58:21.745
[SPEAKER_01]: Oh goodness, yeah.
58:21.765 --> 58:25.568
[SPEAKER_01]: Like he, that one he's just swinging for the walls and going too silly.
58:26.108 --> 58:28.750
[SPEAKER_01]: But he did the housemate, and that's very much like the housemate.
58:28.770 --> 58:35.155
[SPEAKER_01]: There's a lot of sexual tension, a lot of lies, and the characters and tensions are kept hidden for a really long time.
58:35.175 --> 58:38.157
[SPEAKER_01]: And there's these big character twists, you know this genre.
58:38.557 --> 58:40.859
[SPEAKER_01]: And if it's done well, it's great.
58:41.789 --> 58:44.450
[SPEAKER_01]: This is not mediocre, but it's not great.
58:45.652 --> 58:55.335
[SPEAKER_01]: It's clever, but there is, like, some twists near the end that take the curse off of a lot of what we've seen or re-establish things out, and that's what it twists down.
58:55.355 --> 58:58.836
[SPEAKER_01]: Yeah, and kind of re-stages the action in ways that you didn't expect.
58:59.156 --> 59:07.058
[SPEAKER_01]: Does it make it a little more disappointing, rather than ratching it up to like a new level of of lies versus truth?
59:07.178 --> 59:12.780
[SPEAKER_00]: Because this is kind of a thriller movie.
59:14.220 --> 59:17.283
[SPEAKER_00]: About someone who is ghost writing a thriller.
59:17.483 --> 59:23.849
[SPEAKER_00]: Yeah, does it feel like okay if it's isn't great That's in keeping with it because that's the kind of book they would write.
59:24.109 --> 59:30.855
[SPEAKER_01]: Well, that's because we're living in the genre That they're talking about there is that kind of meta narrative So as things get a little bit crazy.
59:30.895 --> 59:32.356
[SPEAKER_01]: It's like what we kind of expected that.
59:32.376 --> 59:40.323
[SPEAKER_01]: Yeah, it's like the movie sop dish It's about the making of a soap opera, but the actors lives who are making it also have soap opera on a glob
59:40.403 --> 59:41.263
[SPEAKER_01]: All right, which is very fun.
59:41.323 --> 59:42.224
[SPEAKER_01]: So that's always fun.
59:42.344 --> 59:47.885
[SPEAKER_01]: The people who co-write lurid dark thrillers as it so happens fall into lurid dark lives.
59:48.266 --> 59:48.966
[SPEAKER_00]: Yes, fun.
59:49.026 --> 59:49.466
[SPEAKER_00]: Every time.
59:49.626 --> 59:53.047
[SPEAKER_00]: Yeah, everyone who's written a private detective story, of course, was a private detective.
59:54.228 --> 59:59.709
[SPEAKER_00]: This, this movie was based on a novel by Colleen, who was like one of the best selling authors in the world right now.
59:59.769 --> 01:00:01.910
[SPEAKER_01]: Yeah, you mentioned that and I'm not familiar with Colleen.
01:00:01.930 --> 01:00:03.991
[SPEAKER_00]: Well, she did it ends with us.
01:00:04.711 --> 01:00:18.295
[SPEAKER_00]: It became a big movie with like, lively and there was a whole lawsuit, but that was like her big one that's been turned into a movie so far, but she's written like two dozen fucking novels and they're all big big hits.
01:00:18.435 --> 01:00:19.715
[SPEAKER_00]: I am not super familiar with her.
01:00:19.735 --> 01:00:21.475
[SPEAKER_00]: In fact, like I've heard her name.
01:00:22.796 --> 01:00:25.436
[SPEAKER_00]: I didn't see it as with us, but I'm familiar with her work.
01:00:25.636 --> 01:00:26.737
[SPEAKER_00]: Oh, she also did that film.
01:00:26.757 --> 01:00:27.597
[SPEAKER_00]: We're greeting you.
01:00:28.057 --> 01:00:29.537
[SPEAKER_00]: Yes, which I did just turned it to a moment.
01:00:29.698 --> 01:00:31.298
[SPEAKER_00]: I didn't see that one.
01:00:31.718 --> 01:00:46.563
[SPEAKER_00]: But I recently read something very, very funny that was calling Hoover sort of centric that made everything you just told me seemed very, very funny, because all of the writer has all this darkness in her.
01:00:48.143 --> 01:00:54.710
[SPEAKER_00]: Joyce Carol Oates, very famous author, also very big into social media, certainly to a fault.
01:00:55.130 --> 01:00:58.554
[SPEAKER_00]: Every once in a while she says something poignant, but she'll also just say some shit.
01:00:58.634 --> 01:01:02.558
[SPEAKER_00]: It's like, are you trolling or are you just an asshole?
01:01:02.598 --> 01:01:05.280
[SPEAKER_00]: Like it's hard to tell a gale Simone control.
01:01:06.081 --> 01:01:34.985
[SPEAKER_00]: Galsamone is just been like, yeah, no, it's a shame no one's ever made a movie about robots that turn into vehicles and Somehow people take that seriously and complain and then you can just see her just like sipping her tea and joined the chaos the G.F. Rod Joyce Carol oh, it's earlier this week or late last week actually we late last week now She posted that the romance genre It's okay to use AI to write those because they're all just a formula
01:01:35.863 --> 01:01:42.445
[SPEAKER_00]: Which is a shitty thing for a writer to say about any fucking You think it's for me like that's not how that works.
01:01:42.726 --> 01:01:51.629
[SPEAKER_01]: Well, I think that's telling what what we think of AI It's like we can use AI if if you're the kind of author who's going to automatically write
01:01:52.617 --> 01:01:55.359
[SPEAKER_01]: without using any creative voice whatsoever.
01:01:55.960 --> 01:01:59.863
[SPEAKER_01]: A piece of trash that you know is bad and is just for there to sell.
01:02:00.523 --> 01:02:01.524
[SPEAKER_01]: And I can do that.
01:02:02.124 --> 01:02:05.107
[SPEAKER_00]: Yeah, but here's the thing, I think he works the other way around though.
01:02:05.127 --> 01:02:09.890
[SPEAKER_00]: And I think it's insulting to writers because you were looking down on a whole genre.
01:02:09.930 --> 01:02:16.655
[SPEAKER_00]: Now I'll be, I will grant you this, my girlfriend is a romance novelist, her new book, See You Next Tuesdays and is in Star's Down, you should read it.
01:02:17.656 --> 01:02:17.976
[SPEAKER_00]: But,
01:02:19.117 --> 01:02:33.793
[SPEAKER_00]: Even so, even on the abstract, this is the kind of thing that has made me bristle in my whole life, because I remember people saying this about like, slasher movies, and martial arts movies, and all kinds of genres that a lot of snoody American critics didn't understand.
01:02:34.843 --> 01:02:39.727
[SPEAKER_00]: And I realized we just had a whole thing about how, like, calling critics out of touch is kind of bullshit.
01:02:39.747 --> 01:02:53.437
[SPEAKER_00]: But I do believe that these things go in trends, and I think there are certainly people who have been in this industry for a long time, who aren't really familiar with what's going on with younger people, and aren't as necessarily looking at the films that they're responding to the same way.
01:02:54.378 --> 01:03:00.919
[SPEAKER_00]: And that, who's us to, you know, have more voices with more appreciation for these types of genres.
01:03:01.379 --> 01:03:09.821
[SPEAKER_00]: Again, horror fans tend to write reviews a little differently than mainstream movie fans who just happen to watch a horror movie once in a while.
01:03:09.841 --> 01:03:11.121
[SPEAKER_00]: They're interested in different things.
01:03:11.602 --> 01:03:16.282
[SPEAKER_00]: The idea is that, you know, we're, yes, there's a lot of genre elements.
01:03:16.322 --> 01:03:18.543
[SPEAKER_00]: What is a genre if not a series of expectations?
01:03:19.683 --> 01:03:25.832
[SPEAKER_00]: the idea is the audience goes in expecting some of these tropes and then you need to find a way to make that fresh again.
01:03:25.852 --> 01:03:26.573
[SPEAKER_00]: That's exciting.
01:03:26.753 --> 01:03:27.794
[SPEAKER_00]: That's exciting.
01:03:27.814 --> 01:03:28.375
[SPEAKER_00]: That's a challenge.
01:03:29.437 --> 01:03:32.401
[SPEAKER_00]: But after she posted that,
01:03:33.289 --> 01:03:34.730
[SPEAKER_00]: Uh, this was just great.
01:03:34.910 --> 01:03:35.530
[SPEAKER_00]: Joyce Carol.
01:03:35.571 --> 01:03:37.832
[SPEAKER_00]: Joyce Carol was posted after you posted her thing about how A.I.
01:03:37.852 --> 01:03:38.853
[SPEAKER_00]: She read romance novels.
01:03:39.473 --> 01:03:42.635
[SPEAKER_00]: Um, the midnight society decided to chime in.
01:03:42.715 --> 01:03:44.236
[SPEAKER_00]: Are you familiar with the midnight society?
01:03:44.676 --> 01:03:44.796
[SPEAKER_00]: No.
01:03:45.256 --> 01:03:45.997
[SPEAKER_00]: The midnight society.
01:03:46.017 --> 01:03:47.298
[SPEAKER_00]: You would love the midnight society.
01:03:47.378 --> 01:03:50.360
[SPEAKER_00]: It is a social media feed on blue sky.
01:03:50.480 --> 01:03:51.921
[SPEAKER_00]: It is at midnight pals.
01:03:53.201 --> 01:03:57.004
[SPEAKER_00]: And it is basically, if you remember the Nickelodeon TV series, are you afraid of the dark?
01:03:57.604 --> 01:04:06.522
[SPEAKER_00]: where it was an anthology horror series where kids will like meet in the woods in the middle of the night to tell scary stories over campfire midnight society is that
01:04:08.808 --> 01:04:15.235
[SPEAKER_00]: If the people around the campfire were Stephen King, Clive Barker, Dean Coots, and Drall and Poe.
01:04:15.496 --> 01:04:17.498
[SPEAKER_00]: And every once in a while, a new author comes in.
01:04:18.739 --> 01:04:22.403
[SPEAKER_00]: It's very funny whenever JK Rowling shows up, because she's actually a snake woman.
01:04:23.324 --> 01:04:24.225
[SPEAKER_00]: Okay.
01:04:24.385 --> 01:04:25.467
[SPEAKER_00]: It's very, very satirical.
01:04:25.607 --> 01:04:26.888
[SPEAKER_00]: And so,
01:04:28.039 --> 01:04:31.480
[SPEAKER_00]: in the latest Midnight Society this last week.
01:04:31.800 --> 01:04:37.182
[SPEAKER_00]: Duice Carlo shows up to make fun of romance novelists and Clive Barker who likes starting shit.
01:04:37.822 --> 01:04:43.743
[SPEAKER_00]: It says, oh no no, you need to tell them over at the romance society over there, would we've never seen before.
01:04:44.104 --> 01:04:55.427
[SPEAKER_00]: And she's like, so she goes over there and starts telling all these authors that all of their work is shit and they just let AI do it and calling Hoover freaks the fuck out and says, I will rip off your skin and eat it!
01:04:56.587 --> 01:05:01.149
[SPEAKER_00]: And now I realize there's a certain darkness to go over where that actually might make a little bit of sense.
01:05:01.489 --> 01:05:08.212
[SPEAKER_00]: I thought it seemed kind of random, but now I realize she's doing like this dark kind of thriller thing that where the author in the book
01:05:09.647 --> 01:05:12.770
[SPEAKER_00]: is actually dark, that actually is very apropos.
01:05:12.831 --> 01:05:13.551
[SPEAKER_00]: I think it's very traumatic.
01:05:13.571 --> 01:05:17.976
[SPEAKER_00]: But if you're not following them in that society, you should, it's very charming.
01:05:18.196 --> 01:05:19.057
[SPEAKER_00]: OK.
01:05:19.678 --> 01:05:20.699
[SPEAKER_00]: But yeah.
01:05:21.119 --> 01:05:23.822
[SPEAKER_00]: So in the end, Verity, just OK. Just OK. OK.
01:05:25.124 --> 01:05:29.829
[SPEAKER_01]: I am impressed with Michael Schoelter as a director, just because now I've seen him do so many different types of things.
01:05:31.618 --> 01:05:33.719
[SPEAKER_01]: This is one of the guys from the state for goodness sake.
01:05:33.739 --> 01:05:41.361
[SPEAKER_01]: Yeah, he's he's not just a comedian It turns out he's for kind of capable as a filmmaker as well And no, he's built up some real credibility.
01:05:41.381 --> 01:05:45.282
[SPEAKER_01]: Yeah, yeah, so I didn't think it was capable of something like this And I'm impressed.
01:05:45.482 --> 01:05:50.043
[SPEAKER_01]: Yeah, it is just sort of you know three star kind of a picture But I'm still impressed.
01:05:50.223 --> 01:05:52.404
[SPEAKER_00]: Oh, the three star picture is still a good picture.
01:05:52.544 --> 01:05:56.205
[SPEAKER_00]: Yeah Speaking of three star pictures Mike P. Nelson
01:05:57.205 --> 01:06:11.960
[SPEAKER_00]: as a new killer snake movie like you know some is not to be confused with the ms t3k guy it's Michael J Nelson yes my kp Nelson is a horror film maker who recently remade silent night deadly night last year i didn't see that remake i heard mixed things
01:06:13.270 --> 01:06:16.071
[SPEAKER_00]: But last year, there was another talent.
01:06:16.091 --> 01:06:17.092
[SPEAKER_00]: There was another talent.
01:06:17.112 --> 01:06:22.235
[SPEAKER_00]: There was a talent I did that night remake, like, I don't know, eight years ago, silent night, which I didn't much care for.
01:06:22.775 --> 01:06:28.818
[SPEAKER_00]: And there was another one last year, written and directed by Mike Nelson, which I heard pretty good things about, but I didn't say.
01:06:29.338 --> 01:06:29.659
[SPEAKER_00]: Okay.
01:06:29.699 --> 01:06:33.140
[SPEAKER_00]: He also did, oh, wait, yes, I saw that one.
01:06:33.160 --> 01:06:33.901
[SPEAKER_00]: Yeah, thought he did.
01:06:33.941 --> 01:06:38.543
[SPEAKER_01]: Yeah, that was, yeah, I did see the remake of Silent Night Deadline.
01:06:38.563 --> 01:06:40.604
[SPEAKER_01]: I was told from the perspective of the Santa Keller.
01:06:40.764 --> 01:06:41.745
[SPEAKER_01]: It was the only person in the fear.
01:06:42.125 --> 01:06:43.326
[SPEAKER_00]: Yeah, what I saw that one.
01:06:43.546 --> 01:06:57.073
[SPEAKER_00]: Uh, he also directed the 2021 reboot of wrong turn, uh, which credit regretted is do had a different take because the wrong turn movies were basically, uh, Texas chance on knock-off.
01:06:57.093 --> 01:07:02.836
[SPEAKER_00]: Texas, Texas, that people, people like their car broke down in the middle of the woods and a whole bunch of like,
01:07:03.809 --> 01:07:16.205
[SPEAKER_00]: in bread, you know, monster men who are a sadistic evil, you know, violent murderers, the siege them and there are a ton of sequels, maybe two of them were okay.
01:07:18.194 --> 01:07:22.816
[SPEAKER_00]: The remake or the, sorry, the reboots, sorry, that he did in 2021, because it's not telling the same story.
01:07:23.397 --> 01:07:29.360
[SPEAKER_00]: Is very similar except that they actually come across like a cult instead of just like three gross brothers.
01:07:30.080 --> 01:07:31.221
[SPEAKER_00]: And it was okay.
01:07:31.681 --> 01:07:32.061
[SPEAKER_00]: It was okay.
01:07:32.081 --> 01:07:32.681
[SPEAKER_00]: I like it okay.
01:07:32.922 --> 01:07:33.442
[SPEAKER_01]: It was okay.
01:07:33.462 --> 01:07:35.803
[SPEAKER_01]: I wasn't like, I wasn't like super impressed, but it was fine.
01:07:35.983 --> 01:07:39.025
[SPEAKER_00]: I remember the ending really well, or like the cultists.
01:07:39.965 --> 01:07:42.526
[SPEAKER_00]: turn up in an unexpected spot, but yeah.
01:07:42.726 --> 01:07:48.748
[SPEAKER_00]: Well his new film is called Beware Boyuna and I dig it a lot.
01:07:48.808 --> 01:07:52.249
[SPEAKER_00]: I think it's a very very fun scary killer snake movie.
01:07:53.249 --> 01:07:56.450
[SPEAKER_00]: It stars Jessica Rose from the heavy death day movies.
01:07:56.470 --> 01:07:56.970
[SPEAKER_00]: We love her.
01:07:57.130 --> 01:07:58.310
[SPEAKER_00]: Like her super talented.
01:07:58.330 --> 01:07:59.230
[SPEAKER_00]: She's great in this movie.
01:08:00.471 --> 01:08:04.452
[SPEAKER_00]: She and a couple other people are on a humanitarian mission
01:08:05.393 --> 01:08:12.066
[SPEAKER_00]: in Columbia, they are on a boat moving through the rainforest, stopping at various towns to
01:08:12.714 --> 01:08:13.835
[SPEAKER_00]: deliver medicine.
01:08:14.136 --> 01:08:20.462
[SPEAKER_00]: There's one sequence they remove bot flies from somebody, which if you know what that is, that is very fucking gross.
01:08:21.003 --> 01:08:21.984
[SPEAKER_00]: And boy do we?
01:08:22.744 --> 01:08:24.746
[SPEAKER_00]: Oh yeah, you might not want to look that up.
01:08:24.786 --> 01:08:26.088
[SPEAKER_00]: It's really gross.
01:08:26.108 --> 01:08:28.751
[SPEAKER_00]: Um, not recommended the bot flies.
01:08:29.171 --> 01:08:29.852
[SPEAKER_01]: How do you spell it?
01:08:29.872 --> 01:08:30.653
[SPEAKER_01]: Because I got to look this out.
01:08:30.673 --> 01:08:33.495
[SPEAKER_01]: I think it's BOT might be BOT flies.
01:08:33.576 --> 01:08:33.856
[SPEAKER_01]: Yeah.
01:08:34.577 --> 01:08:34.777
[SPEAKER_00]: You can.
01:08:36.697 --> 01:08:39.719
[SPEAKER_01]: Yeah, yeah, yeah, yeah, don't read it all up.
01:08:39.819 --> 01:08:40.779
[SPEAKER_01]: What a nasty little critter.
01:08:40.819 --> 01:08:42.260
[SPEAKER_00]: It's a really gross thing.
01:08:42.460 --> 01:08:47.363
[SPEAKER_00]: Then and you don't, you don't want any of them to lay their eggs in you.
01:08:47.423 --> 01:08:48.544
[SPEAKER_00]: I'll just say that right now.
01:08:48.584 --> 01:08:49.925
[SPEAKER_00]: That's an actual thing that happens.
01:08:51.346 --> 01:08:56.148
[SPEAKER_00]: But yeah, they're on their, they're in the rainforest, they're on a humanitarian mission.
01:08:57.889 --> 01:09:01.151
[SPEAKER_00]: And already like right from the get go.
01:09:02.412 --> 01:09:03.313
[SPEAKER_00]: Pretty bad.
01:09:03.573 --> 01:09:09.699
[SPEAKER_00]: Like, my opinion also does a really good job of making sure we understand just how like uncomfortably humid.
01:09:10.259 --> 01:09:16.805
[SPEAKER_00]: It is like this isn't a vacation like you look you watch the movie Anaconda and it seems like oh, it's a little warm out there.
01:09:16.845 --> 01:09:17.786
[SPEAKER_00]: It's like no.
01:09:18.366 --> 01:09:19.647
[SPEAKER_00]: It's a tropical zone.
01:09:20.068 --> 01:09:20.929
[SPEAKER_00]: It's very humid
01:09:21.469 --> 01:09:33.618
[SPEAKER_00]: It's already uncomfortable, and also there are alligators, someone gets eaten by an alligator, like right, or I think it's probably a crocodile, but whatever, they get eaten right in front of Jessica Roth, like five minutes into the movie.
01:09:33.778 --> 01:09:36.440
[SPEAKER_01]: Oh my God, what the fuck?
01:09:36.840 --> 01:09:44.145
[SPEAKER_00]: And then they run into some capitalist contractors.
01:09:44.685 --> 01:09:50.229
[SPEAKER_00]: There's a bunch of guys who are traveling through the rainforest, deciding, what we're gonna pay.
01:09:51.750 --> 01:09:59.917
[SPEAKER_00]: So we can put a highway through here and just go out with hates these fuckers, and they're led by Logan Marshall Green, who is a really good actor.
01:10:00.217 --> 01:10:01.358
[SPEAKER_00]: I like him a lot.
01:10:01.378 --> 01:10:06.523
[SPEAKER_00]: You may be remembering from... What was that movie where you had a chip in his head?
01:10:07.083 --> 01:10:07.423
[SPEAKER_01]: Upgrade.
01:10:08.344 --> 01:10:09.365
[SPEAKER_00]: Oh, yeah.
01:10:09.425 --> 01:10:10.546
[SPEAKER_00]: Oh, it didn't see upgrade.
01:10:10.566 --> 01:10:12.107
[SPEAKER_00]: Oh, you'd like that movie.
01:10:13.068 --> 01:10:14.810
[SPEAKER_00]: It's really cool.
01:10:14.830 --> 01:10:17.352
[SPEAKER_00]: But here's the villain, and he's an interesting character.
01:10:18.031 --> 01:10:23.212
[SPEAKER_00]: Because his whole thing is, yeah, it's someone's got to do it and we need money, you know?
01:10:23.252 --> 01:10:28.894
[SPEAKER_00]: It's like he knows, he's just not apologizing for it because he's at that point in his life.
01:10:30.174 --> 01:10:37.556
[SPEAKER_00]: He also has his brother with him and Jessica Rose decides to do some good by untying their boat from the dock.
01:10:39.105 --> 01:10:42.166
[SPEAKER_00]: Like, so we'll drift away without them.
01:10:42.226 --> 01:10:53.868
[SPEAKER_00]: Logan Marshall Green's brother shows up, attacks her, Jessica Roth and another woman who works on the boat, fight back, accidentally kill him, or throw him into the river.
01:10:53.968 --> 01:10:54.109
[SPEAKER_00]: Oh no.
01:10:54.129 --> 01:10:56.109
[SPEAKER_00]: They'll just say we're not gonna talk about it.
01:10:56.549 --> 01:11:01.690
[SPEAKER_00]: Unfortunately, his bloated corpse shows up the next day, and a couple of kids from town saw it.
01:11:02.030 --> 01:11:06.711
[SPEAKER_00]: And so they tell Logan Marshall Green, and now he is chasing them throughout the Colombian rainforest.
01:11:09.993 --> 01:11:10.793
[SPEAKER_00]: And a snake shows up.
01:11:11.014 --> 01:11:11.254
[SPEAKER_00]: Oh, yeah.
01:11:11.374 --> 01:11:12.275
[SPEAKER_00]: Oh, yeah, and they take it.
01:11:12.395 --> 01:11:13.275
[SPEAKER_00]: They take a detour.
01:11:13.295 --> 01:11:14.857
[SPEAKER_00]: There's like, oh, listen, we got to get out of here.
01:11:15.117 --> 01:11:22.643
[SPEAKER_00]: And well, this is this is technically like we're not supposed to go down this river This is like protected land, but we got it right around you.
01:11:22.683 --> 01:11:33.552
[SPEAKER_00]: So they do and they run into a fucking massacre has occurred Everything is fucking like trashed total buildings of fallen over people have been like
01:11:34.052 --> 01:11:42.694
[SPEAKER_00]: even and then regurgitated and like one of them is still alive and he's just like see in a bunch of anaconda movies I don't want to see here.
01:11:42.734 --> 01:11:59.137
[SPEAKER_00]: I think who is she and then all of a sudden because it's in the middle of the night the guy is just like something bite his leg And I pulls him out into the fucking into the night and so now they've got Logan Russell's green trying to kill them and and it's not just a giant snake It is a snake god
01:12:00.285 --> 01:12:03.648
[SPEAKER_00]: Okay, it is the it was bought you and a boy owner.
01:12:03.688 --> 01:12:05.289
[SPEAKER_00]: This is like the god of the region.
01:12:05.309 --> 01:12:08.392
[SPEAKER_00]: She decides who lives and who dies Spoiler alert.
01:12:08.672 --> 01:12:21.623
[SPEAKER_00]: She rarely chooses lives She is pissed off about fucking something and considering how much of this movie is about Maybe colonialism doesn't have a fucking place in this region
01:12:22.644 --> 01:12:30.908
[SPEAKER_00]: She's got a lot of people that she's fucking mad at people get horribly fucking murdered people You don't expect get horribly fucking murdered.
01:12:30.948 --> 01:12:49.077
[SPEAKER_00]: This is not this is a movie with a very massive kill count Some of the people who you think like oh, that person is just terrible have like these interesting World quandaries that's kind of Make you think more of them as a person, but then also their kind of pieces shit like there's a few Complicated characters and I really respect that.
01:12:49.097 --> 01:12:49.957
[SPEAKER_00]: I think that works great
01:12:51.883 --> 01:13:04.233
[SPEAKER_00]: It is a movie where it is very, very clear they either didn't have the budget, which I suspect is at least part of it, or they decided we're not going to see this snake a lot, okay, which can work.
01:13:04.293 --> 01:13:06.715
[SPEAKER_00]: I can be affected, it can also be a cop-out.
01:13:06.875 --> 01:13:10.017
[SPEAKER_01]: You keep your, look, it's a 90 minute monster movie.
01:13:10.077 --> 01:13:11.839
[SPEAKER_01]: The first 30 minutes, don't see the monster.
01:13:13.132 --> 01:13:17.234
[SPEAKER_00]: Oh, yeah, and I think once a monster attacks, you don't have to say I would see it a lot.
01:13:17.495 --> 01:13:18.875
[SPEAKER_00]: It's like under the water a lot.
01:13:19.116 --> 01:13:25.499
[SPEAKER_01]: There's one really great bit of a story shot comes two thirds of the way through and then you get to see the monster or as much as you like.
01:13:25.679 --> 01:13:27.701
[SPEAKER_01]: No, you have to see the monster as much as you like.
01:13:27.781 --> 01:13:28.541
[SPEAKER_00]: That's the formula.
01:13:28.561 --> 01:13:29.502
[SPEAKER_01]: That's the formula.
01:13:31.923 --> 01:13:33.864
[SPEAKER_00]: pick their moments where we got to see the monster.
01:13:34.144 --> 01:13:38.467
[SPEAKER_00]: There's one great bit where one of the characters has fallen basically into Quicksand.
01:13:38.487 --> 01:13:39.487
[SPEAKER_00]: Remember Quicksand?
01:13:40.348 --> 01:13:42.569
[SPEAKER_00]: Quicksand used to be a thing in movies and TV.
01:13:42.589 --> 01:13:46.131
[SPEAKER_00]: Someone like basically falls into that and they're they're not sinking anymore.
01:13:46.151 --> 01:13:47.592
[SPEAKER_00]: They're floating but they're completely helpless.
01:13:47.952 --> 01:13:51.274
[SPEAKER_00]: And boyuna just slowly slithers past them.
01:13:51.694 --> 01:13:56.297
[SPEAKER_00]: Yeah, super slowly but it gives you even though we don't get a glory shot of this thing.
01:13:56.317 --> 01:13:56.377
[SPEAKER_00]: But
01:13:58.778 --> 01:14:06.883
[SPEAKER_00]: We know exactly how long that fucking snake is and that snake is gigantic There's one shot that will fucking hot me where you know, it's raining.
01:14:06.923 --> 01:14:27.696
[SPEAKER_00]: There's lightning and we just see like Like a low angle shot of like the trees often the distance and there's one little flash of lightning And you just see like the front half of the snake kind of coiling above the trees Okay, it's like whoo That's a scary snake
01:14:29.398 --> 01:14:32.361
[SPEAKER_00]: Killer animal movies have always been popular.
01:14:32.742 --> 01:14:37.327
[SPEAKER_00]: Giant killer animal movies are hard to pull off, because they're monsters.
01:14:37.607 --> 01:14:44.114
[SPEAKER_00]: Because they're monsters, and be, because most of the time they look kind of goofy, they're come as a point where like,
01:14:45.159 --> 01:14:50.622
[SPEAKER_00]: you know, you've got like a giant crocodile in Lake Placid, right?
01:14:50.922 --> 01:14:51.263
[SPEAKER_00]: Right?
01:14:51.923 --> 01:15:00.188
[SPEAKER_00]: But it's still just a really huge crocodile, like it's the size of like a truck, but like you can look at it and go, that maybe they can get that big.
01:15:01.668 --> 01:15:18.512
[SPEAKER_00]: That's really fucking big, but maybe they can get that big, but then you watch the movie Alligator with like Rob Forster is written by John Sales, great movie, but that thing is the size of, you know, it's got Zilla It's kind of, that's not got Zilla, but it's cartoonishly huge.
01:15:18.532 --> 01:15:23.633
[SPEAKER_00]: Like it's at the point where I no longer take this seriously I'm not genuinely worried about that killing me.
01:15:23.813 --> 01:15:24.613
[SPEAKER_01]: Yeah
01:15:26.557 --> 01:15:31.280
[SPEAKER_00]: I feel as though, once you get the animal that size, it's harder to take the movie seriously.
01:15:31.560 --> 01:15:41.466
[SPEAKER_00]: If you look at the movies that sort of typified the genre, King Kong is an exception, but like the 50s, we had stuff like them, the giant Helomonster,
01:15:43.507 --> 01:15:46.988
[SPEAKER_00]: beginning of the end, which is about giant low pass hoppers, yeah, yeah, yeah.
01:15:47.168 --> 01:16:10.434
[SPEAKER_00]: These are these are things where it's like at in the abstract Oh, that's pretty scary But in reality, I'm not super worried about it and then in like the early 2000s the sci-fi channel doubled down on that And we just started getting a ton mega python a gatorrow idea Which is ridiculous because all those movies were made for like a million and a half dollars and that's like including like the one star who actually got paid So actually there are corroborts
01:16:10.694 --> 01:16:11.996
[SPEAKER_00]: It's Eric Roberts occasionally.
01:16:12.016 --> 01:16:26.132
[SPEAKER_00]: You got F Maria Abraham or someone of that ilk, but okay, he was in blood monkey and blood monkey is not bad, but But my point is that there's not a lot of room left over for the visual effects, and so why did she use zero in on the genre?
01:16:27.107 --> 01:16:30.091
[SPEAKER_00]: where there's no way you're gonna make the monster look convincing.
01:16:30.151 --> 01:16:32.114
[SPEAKER_00]: So the only thing you can do is play this camp.
01:16:32.474 --> 01:16:33.296
[SPEAKER_01]: Yeah, and that's fine.
01:16:33.436 --> 01:16:34.617
[SPEAKER_00]: It can be camp, camp is fun.
01:16:35.338 --> 01:16:36.640
[SPEAKER_00]: Boyona is not camp.
01:16:37.361 --> 01:16:39.284
[SPEAKER_00]: Boyona is like a just a straight up arm.
01:16:39.364 --> 01:16:44.230
[SPEAKER_00]: Boyona is like, what if Toby Hooper in his prime directed at a con?
01:16:44.851 --> 01:16:46.792
[SPEAKER_00]: Okay, and I'm like, that's a good pitch.
01:16:46.852 --> 01:16:47.873
[SPEAKER_00]: I won't fucking see that movie.
01:16:47.893 --> 01:16:51.474
[SPEAKER_01]: I need to know what it's scary Which Toby Hooper I said in this prime.
01:16:51.675 --> 01:16:51.955
[SPEAKER_01]: Okay.
01:16:52.215 --> 01:16:57.958
[SPEAKER_00]: I'm talking like Texas chainsaw Texas chainsaw to All right, poltergeist life force to be over.
01:16:58.198 --> 01:17:05.181
[SPEAKER_01]: Okay, because because there were two Toby Hoopers There was the one who directed sort of grounded more audience friendly movies.
01:17:05.962 --> 01:17:06.442
[SPEAKER_01]: It's a weird
01:17:07.381 --> 01:17:16.707
[SPEAKER_01]: to say that about something like the Texas Chainsaw Massacre, which is so unbearably bleak, but then when he started doing his own thing, he went way off the rails.
01:17:16.987 --> 01:17:19.308
[SPEAKER_01]: Something like a life force, that's strange moving.
01:17:19.328 --> 01:17:20.889
[SPEAKER_00]: Yeah, life force isn't the best example.
01:17:21.009 --> 01:17:24.271
[SPEAKER_00]: I admire a lot about life force, but I don't really think it works as a film.
01:17:24.311 --> 01:17:29.434
[SPEAKER_00]: But I think the first two Texas Chainsaw Masskers, the ones he did are both very different films, but they're both masterpieces.
01:17:30.575 --> 01:17:32.176
[SPEAKER_00]: one is one of the scariest movies ever made.
01:17:32.716 --> 01:17:35.758
[SPEAKER_00]: The other is one of the most outlandish movies ever.
01:17:35.798 --> 01:17:37.459
[SPEAKER_00]: Yeah, but it's still very frightening.
01:17:38.820 --> 01:17:40.441
[SPEAKER_00]: I think Poltergeist is super fucking scary.
01:17:43.063 --> 01:17:44.804
[SPEAKER_00]: Listen, he's he was a very
01:17:46.079 --> 01:17:50.000
[SPEAKER_00]: down and dirty pure scare kind of filmmaker.
01:17:50.420 --> 01:17:54.582
[SPEAKER_00]: Oh, and then occasionally he'd do like the remake of Invaders from Mars, which was, okay, yeah.
01:17:54.822 --> 01:18:01.404
[SPEAKER_00]: But like when Toby Hooper was on his shit and making a scary movie, this is the kind of thinking he'd have done.
01:18:03.479 --> 01:18:10.143
[SPEAKER_00]: And I think that's a really cool thing to be so I it's not like it's a fluttering comparison Yeah, it's not amazing.
01:18:10.163 --> 01:18:23.193
[SPEAKER_00]: I was just having this conversation on online today about my by theory of the four star three star movie Where the because of what the movie is trying to do it could never be more than three stars It's just in it's ambitions are too low.
01:18:23.293 --> 01:18:23.453
[SPEAKER_00]: Yeah
01:18:24.582 --> 01:18:28.086
[SPEAKER_00]: But it does it so well, it's like you can't imagine I'm doing it much better.
01:18:28.787 --> 01:18:30.770
[SPEAKER_00]: So it's as good as a three star movie can get.
01:18:30.790 --> 01:18:32.071
[SPEAKER_00]: This is a four star three star movie.
01:18:32.111 --> 01:18:32.332
[SPEAKER_00]: Nice.
01:18:32.692 --> 01:18:35.676
[SPEAKER_00]: It's as good as a not ambitious movie can get.
01:18:36.485 --> 01:18:37.726
[SPEAKER_00]: And I really had a lot of fun.
01:18:37.806 --> 01:18:49.255
[SPEAKER_00]: I know some people felt that, you know, with a ninth photography and the editing around the snake, we kind of missed some of the money shots of it, but personally, I was in it.
01:18:49.435 --> 01:18:51.997
[SPEAKER_00]: I was genuinely freaked out.
01:18:52.137 --> 01:18:54.318
[SPEAKER_00]: All right, and I'm not even scared of snakes.
01:18:54.399 --> 01:18:57.421
[SPEAKER_00]: Not more than any other animal that I, like if I saw a cobra, I would be like,
01:18:59.128 --> 01:19:00.429
[SPEAKER_00]: I'm going to slowly walk over here.
01:19:00.449 --> 01:19:03.369
[SPEAKER_00]: It's like I'm not afraid of heights, but I don't want to fall from them.
01:19:03.409 --> 01:19:04.830
[SPEAKER_00]: So I'm very conscious around heights.
01:19:05.410 --> 01:19:06.350
[SPEAKER_00]: That's what I feel about snakes.
01:19:06.370 --> 01:19:08.731
[SPEAKER_00]: But this is like, if I saw this as a kid, I'd be terrified of snakes.
01:19:09.371 --> 01:19:10.731
[SPEAKER_00]: That would totally be in folic snakes.
01:19:10.932 --> 01:19:11.632
[SPEAKER_00]: Nice.
01:19:12.652 --> 01:19:14.733
[SPEAKER_00]: So yeah, that is it for our movie reviews.
01:19:15.193 --> 01:19:17.834
[SPEAKER_00]: We hit before the movie review round up about an hour 20.
01:19:17.874 --> 01:19:19.234
[SPEAKER_00]: Just a little bit low for us.
01:19:19.254 --> 01:19:22.095
[SPEAKER_00]: But we'll put a little bit of a little bit of a little bit of a little bit.
01:19:22.135 --> 01:19:23.135
[SPEAKER_00]: So we spent the most of the time
01:19:23.275 --> 01:19:24.875
[SPEAKER_00]: bulk of an hour reviewing digger.
01:19:25.015 --> 01:19:25.996
[SPEAKER_00]: Yeah, that's true.
01:19:26.396 --> 01:19:29.257
[SPEAKER_00]: But that's critically clean for you.
01:19:29.297 --> 01:19:31.657
[SPEAKER_00]: Let's review our movies on the critically acclaimed scale.
01:19:31.957 --> 01:19:36.799
[SPEAKER_00]: We review movies on a scale of C- to C plus where a C minus is below average.
01:19:36.839 --> 01:19:38.479
[SPEAKER_00]: These are movies that we do not recommend.
01:19:38.699 --> 01:19:40.439
[SPEAKER_00]: Regardless of how passionate we are about them.
01:19:40.940 --> 01:19:43.140
[SPEAKER_00]: A C is an average movie.
01:19:43.200 --> 01:19:44.160
[SPEAKER_00]: It's just okay.
01:19:44.200 --> 01:19:45.161
[SPEAKER_00]: Or it's a mixed bag.
01:19:45.981 --> 01:19:47.741
[SPEAKER_00]: And a C plus is in above average movie.
01:19:47.761 --> 01:19:49.142
[SPEAKER_00]: These are movies that we genuinely
01:19:51.717 --> 01:19:54.079
[SPEAKER_00]: On that note, Bware Boyuna is a C++.
01:19:54.099 --> 01:20:02.027
[SPEAKER_00]: All right, so I can make my best movies the year, but it is about as good as a killer giant snake movie can get.
01:20:02.127 --> 01:20:07.653
[SPEAKER_00]: I can't think of a better, maybe more entertaining, like Anna Konda is fun for what it is.
01:20:08.214 --> 01:20:09.495
[SPEAKER_00]: But Anna Konda is camp.
01:20:10.636 --> 01:20:14.480
[SPEAKER_00]: This is as a scary giant snake movie I've never seen a better one, and I've seen a few.
01:20:15.899 --> 01:20:39.331
[SPEAKER_01]: uh... winning verity verity it's a sea uh... it's i wish i could say it was also a four star three star movie but it's just a three star movie uh... it's got some you know a good sexy tone i appreciate you know that there's they're put in just sex in a movie again and hit yeah but with the love of this was like a uh... a rom com with an actual sex scene for once that came out like a couple of weeks ago come back
01:20:39.631 --> 01:20:43.274
[SPEAKER_01]: I saw Gregor Rackie's most recent film, but that he's a performer.
01:20:43.334 --> 01:20:45.496
[SPEAKER_00]: Yeah, he's not weird for Gregor Rackie, yeah.
01:20:45.516 --> 01:20:48.298
[SPEAKER_01]: It's like, oh, there's sex in a Gregor Rackie film, really?
01:20:48.358 --> 01:20:48.539
[SPEAKER_01]: What?
01:20:49.639 --> 01:20:51.681
[SPEAKER_00]: Is it too much moving going to be weird?
01:20:51.781 --> 01:20:53.282
[SPEAKER_00]: Like, yeah.
01:20:53.323 --> 01:20:54.003
[SPEAKER_00]: So yeah, that's it.
01:20:54.403 --> 01:20:54.664
[SPEAKER_00]: Okay.
01:20:55.184 --> 01:20:56.025
[SPEAKER_00]: And then finally, Digger.
01:20:56.912 --> 01:20:58.513
[SPEAKER_01]: This is going to be a really weird way to put this.
01:20:58.753 --> 01:21:01.455
[SPEAKER_01]: It's of it's the highest possible C minus.
01:21:02.155 --> 01:21:06.938
[SPEAKER_01]: I think I think it has a lot of strange ambitions.
01:21:07.699 --> 01:21:11.461
[SPEAKER_01]: I love talking about this movie, but it fails.
01:21:11.601 --> 01:21:13.222
[SPEAKER_01]: Yeah, it fails at
01:21:14.683 --> 01:21:18.604
[SPEAKER_01]: Whatever we're trying to figure out whatever this movie is doing, it's failing at it.
01:21:18.665 --> 01:21:20.465
[SPEAKER_01]: I think that's fascinating.
01:21:20.565 --> 01:21:21.406
[SPEAKER_01]: I was entertained.
01:21:21.686 --> 01:21:22.306
[SPEAKER_01]: No, a lot.
01:21:22.707 --> 01:21:24.647
[SPEAKER_01]: And I walked out saying, I think I liked it.
01:21:24.727 --> 01:21:26.688
[SPEAKER_01]: But I'm not sure if I do.
01:21:26.869 --> 01:21:32.051
[SPEAKER_00]: A lot of effort and passion went into making this movie.
01:21:32.231 --> 01:21:35.693
[SPEAKER_00]: And even though I also think it's the same as I think it's really, really bad.
01:21:37.254 --> 01:21:41.257
[SPEAKER_00]: It's the kind of bad that wasn't just tossed together apathetically.
01:21:41.497 --> 01:21:41.717
[SPEAKER_01]: Yeah.
01:21:41.777 --> 01:21:48.042
[SPEAKER_00]: It's the kind of bad that happens when people are trying and don't realize that they haven't figured it out yet.
01:21:48.222 --> 01:21:48.442
[SPEAKER_01]: Yeah.
01:21:48.962 --> 01:21:51.724
[SPEAKER_00]: Maybe there's a good version of this, but this is not that.
01:21:52.245 --> 01:21:54.666
[SPEAKER_00]: I think it ultimately, it has ambition.
01:21:55.687 --> 01:22:02.133
[SPEAKER_00]: from a production perspective, but I actually think it's ambitions thematically are patheticly low.
01:22:02.853 --> 01:22:04.155
[SPEAKER_00]: I don't think it has much to say.
01:22:04.195 --> 01:22:10.400
[SPEAKER_00]: I think it is a way to proud of how little it's saying and I know you didn't think about that.
01:22:10.420 --> 01:22:11.541
[SPEAKER_00]: I can speak for us fry.
01:22:11.561 --> 01:22:12.762
[SPEAKER_00]: I can, I can, the,
01:22:13.883 --> 01:22:18.046
[SPEAKER_00]: I can't speak for what's inside someone's soul, but I can read their vibes.
01:22:18.286 --> 01:22:18.446
[SPEAKER_00]: Yeah.
01:22:18.586 --> 01:22:22.529
[SPEAKER_00]: The vibe of this movie is aren't we great for making this movie?
01:22:23.249 --> 01:22:28.492
[SPEAKER_00]: And I'm not, and you need to actually earn that, and uh, nothing you can't.
01:22:29.713 --> 01:22:30.814
[SPEAKER_00]: But this movie doesn't earn it.
01:22:30.974 --> 01:22:43.903
[SPEAKER_00]: I think it ultimately is just it's shallow and it's proud of how shallow it is because it thinks if you're proud of being shallow, it makes it deep and I don't think that works But there's some neat stuff in it.
01:22:44.723 --> 01:22:45.504
[SPEAKER_00]: Good production design.
01:22:46.104 --> 01:22:49.467
[SPEAKER_00]: Like if you're going to see a bad movie, there's on that's funny.
01:22:49.687 --> 01:22:54.710
[SPEAKER_00]: If you're going to see a bad movie because you want to see an interesting bad movie, like I've seen bad movies again.
01:22:55.051 --> 01:22:57.913
[SPEAKER_00]: Melania is terrible and you should not see it.
01:22:58.673 --> 01:23:26.940
[SPEAKER_00]: Like you can if you want I'm not going to stop you, but I don't think you're going to get anything out of it other than this is what propaganda looks like right now Digger, you know, in your reju, I don't actually like I don't he's really hit or miss with me But like even his misses are like they're not for lack of trying You know, he puts his lead puts it on a passionate to it and just sometimes he Really has too much confidence in the material and the material just that beautiful Beautiful is up
01:23:27.240 --> 01:23:41.047
[SPEAKER_01]: Oh, I hate, that's still my least favorite film, including digger, I hate, I hate, I hate, I hate, buy you to full, yeah, beautiful, beautiful and beautiful, yeah, beautiful and babble both infuriating.
01:23:41.107 --> 01:23:42.527
[SPEAKER_00]: Oh, no, I will say babble.
01:23:42.547 --> 01:23:51.872
[SPEAKER_00]: Unlike beautiful, I am actually impressed by some of the performances in babble, but not like K-Blanche and Brad Pitt, they're actually, I don't think they're very good in that one, so now.
01:23:53.833 --> 01:24:11.044
[SPEAKER_01]: But yeah, I say this a lot about movies, I would rather see an interesting failure than a successful mediocrity, like something that just sort of does what it was set out to do, and its ambitions were really low, and it doesn't really achieve anything beyond that.
01:24:11.905 --> 01:24:19.149
[SPEAKER_01]: Sometimes those movies can be fine and distracting and offensive, but in terms of like a work of art, I'd rather see something like digger, which is
01:24:21.135 --> 01:24:27.936
[SPEAKER_01]: shrill, not well put together, not well thought out, immature and fascinating.
01:24:28.096 --> 01:24:31.237
[SPEAKER_00]: Like, there's, I think there's- See, that's the quote Warner Brothers should have used.
01:24:31.357 --> 01:24:32.217
[SPEAKER_01]: Yeah.
01:24:33.377 --> 01:24:34.697
[SPEAKER_00]: And I don't even agree with that.
01:24:34.777 --> 01:24:46.239
[SPEAKER_00]: I actually find it too annoying, really, to be that kind of like recommendation, but I do believe that it is, it's fascinating failure if you're the kind of person who gravitates towards a fascinating failure.
01:24:46.399 --> 01:24:46.559
[SPEAKER_00]: Okay.
01:24:46.579 --> 01:24:49.340
[SPEAKER_00]: I think a lot of other people are just going to find it insufferable.
01:24:49.720 --> 01:25:01.981
[SPEAKER_00]: That's fair, but yeah, there is a very particular crowd who might be genuinely intrigued by the critics are completely divided on whether this is brilliant or it sucks campaign
01:25:03.400 --> 01:25:20.155
[SPEAKER_00]: it's just abundantly obvious there aren't a lot of them yeah that's a pretty small number of people apparently but i'm sure a lot of them listen to this podcast so thank you very much for listening thank you for joining us huge shout out to all of the patrons over patreon.com slash critically acclaimed network we could not do this without you we are incredibly grateful
01:25:20.455 --> 01:25:26.200
[SPEAKER_00]: Thank you, thank you, thank you, thank you, thank you, thank you, thank you, if you would like to join patreon.com slash critically acclaimed network.
01:25:26.520 --> 01:25:31.805
[SPEAKER_00]: We have a lot of exclusive material over there, giant backcat, lots, hundreds of hours that we've exclusive shows.
01:25:31.865 --> 01:25:34.847
[SPEAKER_00]: Oh, golly, yes, weekly newsletter, there's a ton there.
01:25:35.007 --> 01:25:42.093
[SPEAKER_00]: So, join up, there will be really, really great, and if you can't afford to, leave us a review, share it with your friends, there's a ton of ways you can support us.
01:25:43.454 --> 01:25:45.816
[SPEAKER_00]: And of course, we would love to hear from you.
01:25:46.645 --> 01:25:48.927
[SPEAKER_00]: Do you feel very differently about digger?
01:25:48.987 --> 01:25:51.349
[SPEAKER_00]: Do you think we shouldn't be wear boi in it?
01:25:51.369 --> 01:25:53.091
[SPEAKER_00]: And should it make really good friends with boi in it?
01:25:53.852 --> 01:25:55.213
[SPEAKER_00]: Our email address is letters.
01:25:55.273 --> 01:25:56.674
[SPEAKER_00]: I critically claimed.net.
01:25:57.135 --> 01:26:01.599
[SPEAKER_00]: We might respond to your email and an upcoming episode of We've Got Mail, Whitney, what is our PO box?
01:26:01.619 --> 01:26:09.727
[SPEAKER_01]: Yeah, PO box sent us a physical letter or whatever you like to the critically acclaimed that work PO box 641565 Los Angeles, California, nine to below 64.
01:26:09.747 --> 01:26:10.327
[SPEAKER_00]: Do it today.
01:26:11.288 --> 01:26:12.129
[SPEAKER_00]: And yeah.
01:26:12.369 --> 01:26:37.597
[SPEAKER_00]: everybody we think you're great thank you so much have a wonderful week if you're in Los Angeles like we are stay inside the heatwave is unbearable right now it's really bad it hit really hard like it was cool and off we had a really sweet September and then boom right again but another week we'll pass before it starts to oh but anyway seriously hydrate take care of yourself do whatever it is you need to do
01:26:43.409 --> 01:26:45.739
[SPEAKER_01]: Oh, to the midnight show!
01:26:46.543 --> 01:26:47.367
[SPEAKER_01]: I'm sorry I went.