Critically Acclaimed #339 | Highest 2 Lowest, Nobody 2, Red Sonja, Fixed, East of Wall 的完整文字稿

his movies. 03:46.005 --> 03:47.627 [SPEAKER_00]: Um, I didn't like it. 03:47.647 --> 03:48.048 [SPEAKER_00]: I didn't like it. 03:48.068 --> 03:49.690 [SPEAKER_00]: I didn't see his remake of Old Boy either. 03:49.710 --> 03:50.330 [SPEAKER_00]: It wasn't very good. 03:50.350 --> 03:54.916 [SPEAKER_00]: There are a couple in there that I heard were really good, but I missed like Red Hook Summer and Miracle in Santa Ana. 03:55.597 --> 03:55.637 [SPEAKER_00]: Um, 03:56.540 --> 04:00.665 [SPEAKER_00]: But I've seen a lot of his recent films and I'm fond of most of them. 04:00.685 --> 04:02.368 [SPEAKER_01]: He is not unlike Martin Scorsese. 04:03.109 --> 04:04.490 [SPEAKER_01]: He is not losing a step. 04:04.911 --> 04:05.251 [SPEAKER_00]: No. 04:05.271 --> 04:07.154 [SPEAKER_01]: He gets his movies aren't quieting down. 04:07.514 --> 04:09.517 [SPEAKER_01]: They're just as energetic. 04:09.897 --> 04:12.220 [SPEAKER_01]: They're just as excited about the filmmaking. 04:12.260 --> 04:14.063 [SPEAKER_01]: They're just as ambitious and experimental. 04:14.403 --> 04:23.092 [SPEAKER_00]: Although with highest to lowest, I'm getting the sense that like Scorsese, Spike Lee is having some trouble getting funding together. 04:23.112 --> 04:29.659 [SPEAKER_00]: I think his films while they're typically critically very lauded for the most part. 04:30.459 --> 04:31.641 [SPEAKER_00]: Nobody like that old boy movie. 04:33.838 --> 04:35.640 [SPEAKER_00]: They're not giant hits. 04:36.140 --> 04:38.182 [SPEAKER_00]: I don't know how big a hit black clansman was. 04:38.542 --> 04:39.763 [SPEAKER_01]: I think I can't even did okay. 04:39.803 --> 04:43.926 [SPEAKER_01]: And I think before that his biggest hit was probably inside man, which was quite a while ago. 04:44.126 --> 04:47.469 [SPEAKER_01]: It was also his last collaboration with Denzel Washington. 04:47.509 --> 04:48.970 [SPEAKER_00]: And there was like eighteen years ago. 04:48.990 --> 04:49.811 [SPEAKER_01]: Yeah, I think while that. 04:49.831 --> 04:51.552 [SPEAKER_01]: And then he'd find movies together, something. 04:51.612 --> 04:55.675 [SPEAKER_01]: And so now they're finally reuniting for yet another remake. 04:55.695 --> 04:57.336 [SPEAKER_01]: But this is not a remake of like 04:58.217 --> 05:02.260 [SPEAKER_01]: Listen, high-end-low, care-cross-high-end-low is a brilliant motion picture. 05:03.281 --> 05:08.405 [SPEAKER_01]: It is not however like, oh, hey, we're remaking Ghostbusters. 05:08.485 --> 05:15.091 [SPEAKER_01]: Like, you're not going to get that level of audience interest just because you're remaking high-end-low, but it is a thriller. 05:16.250 --> 05:23.636 [SPEAKER_01]: And many, in a, in a, in some respects, a conventional thriller, Spike Lee takes it in different directions in a Kira Kurosawa did, which I admire. 05:23.956 --> 05:33.163 [SPEAKER_01]: The premise of both films is that there is a wealthy man in the original film played by Toshirma Funi and in the new one, played

by Denzel Washington. 05:34.363 --> 05:36.625 [SPEAKER_01]: He had, he's, the head of a big empire. 05:36.945 --> 05:37.986 [SPEAKER_00]: Yeah, in business empire. 05:38.066 --> 05:39.727 [SPEAKER_00]: Kurosawa is he's a shoemaker. 05:39.847 --> 05:40.028 [SPEAKER_00]: Yeah. 05:40.048 --> 05:41.529 [SPEAKER_00]: He's a shou company and, um, 05:42.229 --> 05:56.101 [SPEAKER_00]: It's far more significant in Spike Lee's version that he is not just a music executive, but he's a music executive who has made his fortune promoting black artists in the early two thousands. 05:56.201 --> 05:57.041 [SPEAKER_00]: That's how he made his fortune. 05:57.122 --> 06:07.410 [SPEAKER_01]: Yeah, and earlier even we see like rolling him on Rolling Stone covers in the nineties, but like turned to the century, he was a big hit maker and was finding many of the greatest musicians of the era. 06:07.830 --> 06:09.192 [SPEAKER_01]: So he's a music mogul. 06:09.752 --> 06:12.773 [SPEAKER_00]: But they don't say who those people are in the movie. 06:12.893 --> 06:14.634 [SPEAKER_00]: It's like we just have to sort of take for granted. 06:15.014 --> 06:16.835 [SPEAKER_00]: Okay, he found all the big heads. 06:16.875 --> 06:23.038 [SPEAKER_01]: They keep mentioning that like people with like legit, like, cloud are giving him credit. 06:23.098 --> 06:26.019 [SPEAKER_01]: Like, yes, I remember, he was talking to his wife and he's like, yes, I remember. 06:26.219 --> 06:28.940 [SPEAKER_01]: So I was so scared the first time I talked to you. 06:28.980 --> 06:29.960 [SPEAKER_01]: There was so much on the line. 06:30.000 --> 06:32.822 [SPEAKER_01]: And she was like, you would just want a Grammy. 06:34.021 --> 06:36.822 [SPEAKER_01]: That yeah, it was at a party for you. 06:38.422 --> 06:42.384 [SPEAKER_01]: Quincy Jones had just said, you were one of the most important voices in black music. 06:43.524 --> 06:44.584 [SPEAKER_00]: Look, I was still nervous. 06:44.744 --> 06:46.485 [SPEAKER_00]: It's like a great thing. 06:46.505 --> 06:48.345 [SPEAKER_00]: It's like one of the best nights of his life. 06:48.365 --> 06:49.506 [SPEAKER_00]: Yeah, yeah. 06:50.246 --> 07:02.710 [SPEAKER_01]: So he's writing quite high and he has a teenage son and then in the midst of a really intense day where he had originally planned to sell his company to a big conglomerate, take a huge payday, 07:03.170 --> 07:04.971 [SPEAKER_01]: retire and he's having a change of heart. 07:05.331 --> 07:11.856 [SPEAKER_01]: He realizes that although maybe he could get this huge windfall, this conglomerate is not going to care about the music. 07:11.876 --> 07:15.298 [SPEAKER_01]: They're just going to sell it off piecemeal, probably infuse it with AI. 07:15.338 --> 07:16.178 [SPEAKER_01]: He says that. 07:17.279 --> 07:21.822 [SPEAKER_01]: And that's not going to do any good for the industry, for the art form, for the culture. 07:23.225 --> 07:28.529 [SPEAKER_01]: So he is decided he's going to try to buy it back

himself, all by himself, throw his entire fortune behind it. 07:29.049 --> 07:31.691 [SPEAKER_01]: And that is the day he finds out his teenage son was kidnapped. 07:33.052 --> 07:36.574 [SPEAKER_01]: And the kidnapper wants, like, I think it's seventeen and a half million dollars. 07:36.634 --> 07:38.455 [SPEAKER_01]: Yes, just a lot of money to him. 07:39.656 --> 07:42.018 [SPEAKER_01]: And well, that's a lot. 07:42.298 --> 07:43.278 [SPEAKER_01]: That's really, really intense. 07:43.379 --> 07:44.479 [SPEAKER_01]: Everyone's really, really nervous. 07:44.960 --> 07:48.222 [SPEAKER_01]: And then the big turning point, and this is early in the movie. 07:49.092 --> 07:55.798 [SPEAKER_01]: The big turning point is that's just as he's about ready to throw it all away through his whole career away, just to spend the money to save his son. 07:57.139 --> 08:01.943 [SPEAKER_01]: His best friend's son, it turns out, was what his show first son. 08:02.023 --> 08:02.844 [SPEAKER_01]: But he still's best friend. 08:05.363 --> 08:08.727 [SPEAKER_00]: But he is an employee, he's the help. 08:09.168 --> 08:12.612 [SPEAKER_00]: He values that guy's friendship, but he is in a subservient position. 08:12.652 --> 08:13.654 [SPEAKER_00]: And that's important. 08:13.714 --> 08:14.655 [SPEAKER_01]: And he's played by Jeffrey Wright. 08:15.136 --> 08:20.082 [SPEAKER_01]: And it turns out Jeffrey Wright's teenage son was kidnapped instead, and the kidnapper made a mistake. 08:21.344 --> 08:23.986 [SPEAKER_01]: And so everyone, so Denzel Washington's like, oh, I think God, my son is back. 08:24.267 --> 08:26.709 [SPEAKER_01]: Jeffrey Wright is like, oh, my God, my son is kidnapped. 08:27.130 --> 08:29.813 [SPEAKER_01]: And the kidnapper says, I still want seventeen and a half million. 08:30.273 --> 08:32.356 [SPEAKER_01]: And Denzel Washington's like, why shouldn't I have to pay that? 08:32.936 --> 08:37.801 [SPEAKER_01]: And now it's like, dude, you were just ready to pay that to save a kid's life, but now it's not yours. 08:39.102 --> 08:49.706 [SPEAKER_00]: There's a kind of a moral reckoning in Kurosawa's version where the methunic character says, maybe there's a way we can get out of pain and everyone is outraged. 08:50.186 --> 08:51.106 [SPEAKER_00]: What are you talking about? 08:51.126 --> 08:52.407 [SPEAKER_00]: This is a human life. 08:53.307 --> 08:57.788 [SPEAKER_00]: Now you're literally putting a dollar value on different human lives and people have different classes. 09:00.029 --> 09:03.430 [SPEAKER_00]: I think it's not just your own family, it's just someone who's poor. 09:03.670 --> 09:04.530 [SPEAKER_00]: Exactly. 09:04.570 --> 09:05.770 [SPEAKER_00]: There are less valuable to you. 09:05.810 --> 09:10.071 [SPEAKER_00]: And I feel like Kurosawa was making a very strong class consciousness movie. 09:10.952 --> 09:14.212 [SPEAKER_01]: And it's a person owning the Kurosawa film he and a chauffeur weren't close. 09:14.413 --> 09:17.513 [SPEAKER_00]: No,

the chauffeur was just exclusive to him. 09:17.533 --> 09:19.234 [SPEAKER_00]: They weren't close in the original. 09:20.154 --> 09:24.715 [SPEAKER_00]: And I feel like by the end of that movie there was a bit of a moral reckoning for that character. 09:25.595 --> 09:28.516 [SPEAKER_00]: And a lot of people are outraged that he would suggest something otherwise. 09:29.953 --> 09:35.640 [SPEAKER_00]: In Spike Lee's remake, he actually extends that bit into this minute. 09:37.422 --> 09:44.925 [SPEAKER_00]: much smaller part of the movie, but a little miniature drawn on to it's a chamber drama where he starts asking advice from all of the other people in his life. 09:44.965 --> 09:47.967 [SPEAKER_00]: There's the other record executive that he's trying to make a deal with. 09:48.427 --> 09:58.031 [SPEAKER_00]: He talks to his son who's disgusted with him and each time and then he goes into his own office by himself and asks the important black musicians of history. 09:58.051 --> 09:59.152 [SPEAKER_00]: He's gotten into their portraits. 09:59.532 --> 09:59.772 [SPEAKER_00]: What do I? 09:59.792 --> 10:00.993 [SPEAKER_00]: It's like a Shakespearean scene. 10:01.313 --> 10:01.453 [SPEAKER_02]: Yeah. 10:05.201 --> 10:12.528 [SPEAKER_00]: We get the sense that being wealthy is important to him, but not because he values the money, although he does. 10:12.588 --> 10:12.808 [SPEAKER_02]: Yeah. 10:13.229 --> 10:17.293 [SPEAKER_00]: Being wealthy is proof of black excellence. 10:17.553 --> 10:17.753 [SPEAKER_02]: Yeah. 10:17.953 --> 10:23.138 [SPEAKER_00]: So he feels like he would be sacrificing something about black culture in capitulating to the kid. 10:23.238 --> 10:27.302 [SPEAKER_01]: He, there's a line he says multiple times out the film in different contexts, not all money is good money. 10:27.422 --> 10:27.563 [SPEAKER_00]: Yeah. 10:29.433 --> 10:32.554 [SPEAKER_01]: And yet, Spike Lee is also, you know, it's a very modern movie. 10:32.614 --> 10:34.035 [SPEAKER_01]: It's taking place in the present day. 10:34.195 --> 10:40.178 [SPEAKER_01]: And I think Spike Lee is very hyper aware that nowadays, especially for people in the public eye, like me, a huge record mogul. 10:42.684 --> 10:46.665 [SPEAKER_01]: morality, the capacity for shame, is very public. 10:47.406 --> 10:55.328 [SPEAKER_01]: And a lot of people say, like, okay, yeah, maybe we'll get this kid back, but let me tell you something, what's gonna happen when people find out you didn't wanna pay this? 10:55.968 --> 11:00.869 [SPEAKER_01]: Like, you're not just you, you're your brand to will suffer. 11:01.309 --> 11:04.530 [SPEAKER_00]: Then your employees will suffer if you're not a moral person. 11:04.570 --> 11:10.052 [SPEAKER_00]: And a lot of this is based on living in public, as conversations about a son about how 11:11.072 --> 11:27.467 [SPEAKER_00]: like like sir the new currency and you know he doesn't quite agree with that he thinks that you know excellence is a little bit more important than that there's a line early in the movie where he says the sun says I have a lot of followers and Denzel Washington says where are you leading them? 11:28.047 --> 11:28.387 [SPEAKER_01]: Good luck. 11:28.427 --> 11:29.328 [SPEAKER_01]: Yeah, I like that. 11:29.388 --> 11:29.908 [SPEAKER_01]: Really good line. 11:30.268 --> 11:32.089 [SPEAKER_01]: No, he's very smart about all these things. 11:32.109 --> 11:35.471 [SPEAKER_01]: He's incorporating them in a way that makes it seem like he actually knows what he's talking about. 11:35.491 --> 11:40.854 [SPEAKER_01]: Whereas some older filmmakers, they try to make a movie about modern media and technology. 11:40.874 --> 11:42.975 [SPEAKER_01]: And it feels like they're coming at it from a very different angle. 11:43.055 --> 11:43.996 [SPEAKER_01]: It's like, no, he knows. 11:44.856 --> 11:46.337 [SPEAKER_01]: He doesn't share everyone's opinion about it. 11:46.677 --> 11:47.418 [SPEAKER_01]: And it's very tall. 11:48.678 --> 11:51.140 [SPEAKER_00]: And then there's a big centerpiece in the middle where there's a 11:52.647 --> 12:08.622 [SPEAKER_00]: 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... 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... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... uh... 12:09.488 --> 12:11.130 [SPEAKER_01]: Oh, maybe it's quite a good one. 12:11.590 --> 12:20.018 [SPEAKER_01]: But what I like is that the the kidnapper, this is personal, very clearly personal to the kidnapper. 12:20.659 --> 12:24.983 [SPEAKER_01]: And the kidnapper isn't just trying to try to voice up ASAP Rocky. 12:25.103 --> 12:26.064 [SPEAKER_01]: Yeah, it's the kidnapper. 12:26.124 --> 12:26.924 [SPEAKER_01]: And he's in the credits. 12:27.005 --> 12:27.325 [SPEAKER_01]: You'd know. 12:29.740 --> 12:32.542 [SPEAKER_01]: The kidnapper isn't just trying to take money, he's trying to prove a point. 12:32.883 --> 12:36.926 [SPEAKER_01]: And I like the way that he turns New York against Denzel Washington. 12:37.626 --> 12:44.192 [SPEAKER_01]: It's like, yeah, yeah, I'm going to make sure that you're like, I'm like an elevated train that's going right past Yankee Stadium at game time. 12:44.212 --> 12:45.833 [SPEAKER_01]: And that's going to get in your way. 12:46.113 --> 12:52.799 [SPEAKER_01]: I'm going to make sure that the drop when I grab the money and I try to run away, I'm right in the middle of Puerto Rican music festival, and I have all of these opportunities for distraction.

12:53.279 --> 12:54.060 [SPEAKER_01]: It's all very smart. 12:54.441 --> 13:00.289 [SPEAKER_01]: And then the second half of the movie, which I only want to get into very vaguely, because this is where Spike Lee really starts taking in different directions. 13:00.770 --> 13:04.153 [SPEAKER_00]: Well, and it's where he gets, it's where he becomes more interested in the material. 13:04.293 --> 13:06.916 [SPEAKER_00]: I think the first half is actually incredibly weak. 13:07.817 --> 13:17.906 [SPEAKER_00]: This film is like really weirdly structured, which Hayano was as well, where the first half is a kind of a miniature kidnapping drum on to itself. 13:17.946 --> 13:19.047 [SPEAKER_00]: It's all in one location. 13:19.928 --> 13:24.713 [SPEAKER_00]: Curse always specifically takes place under a hundred percent in this one apartment side. 13:25.513 --> 13:31.815 [SPEAKER_01]: at the house, but then until like halfway through the movie, then the investigation done expands. 13:31.915 --> 13:35.936 [SPEAKER_00]: But I think it's like this hot house drama for a lot of it's over the telephone. 13:36.836 --> 13:39.376 [SPEAKER_00]: And then it expands out into the streets in the second half. 13:39.476 --> 13:51.299 [SPEAKER_00]: But I feel like Spike Lee has made like a crime movie, and he was more interested in sort of the machinations and the action of the crime, something that's a little bit more exciting. 13:52.620 --> 13:53.920 [SPEAKER_00]: And I think he didn't really 13:55.198 --> 13:58.139 [SPEAKER_00]: pace out the drama back at home very well. 13:59.020 --> 14:00.621 [SPEAKER_00]: I think it's very poorly edited. 14:00.641 --> 14:02.962 [SPEAKER_00]: It kind of smears a man or a little bit. 14:03.182 --> 14:05.283 [SPEAKER_00]: The use of music is terrible. 14:05.383 --> 14:07.904 [SPEAKER_01]: I don't think it's really interesting, but it's very heavy handed. 14:08.324 --> 14:09.445 [SPEAKER_00]: It's extremely heavy handed. 14:09.625 --> 14:11.185 [SPEAKER_00]: It's heavy handed and it's inappropriate. 14:11.326 --> 14:14.427 [SPEAKER_00]: There's a bit where we cut away to the cops. 14:14.507 --> 14:16.108 [SPEAKER_00]: There's three cops who are working on the piece. 14:16.448 --> 14:18.069 [SPEAKER_00]: One of us is played by 14:19.049 --> 14:21.231 [SPEAKER_00]: The actor plays Mayhem and those insurance commercials. 14:21.291 --> 14:21.992 [SPEAKER_01]: Yeah, that's weird. 14:22.012 --> 14:25.195 [SPEAKER_01]: It's what he also plays a very similar top in Brooklyn, nine nine. 14:25.756 --> 14:26.496 [SPEAKER_00]: Oh, really funny. 14:27.137 --> 14:31.201 [SPEAKER_00]: And it's really funny because they make a reference to the Mayhem commercials later in the movie. 14:31.281 --> 14:34.864 [SPEAKER_00]: So I think they wrote that into the script in all of this one. 14:38.508 --> 14:41.631 [SPEAKER_00]: Yeah, like Jeffrey Wright pulls out a gun and makes like an insurance joke. 14:41.691 --> 14:43.172 [SPEAKER_00]: Oh, yeah, this is mayhem

he says. 14:43.953 --> 14:45.634 [SPEAKER_01]: No, he says it's John from State Farm. 14:45.814 --> 14:48.057 [SPEAKER_00]: Well, but then he also says mayhem later on. 14:48.217 --> 14:48.877 [SPEAKER_01]: Oh, there's another way. 14:48.917 --> 14:49.578 [SPEAKER_01]: Yeah, yeah. 14:49.778 --> 14:49.978 [SPEAKER_01]: It's right. 14:50.018 --> 14:50.799 [SPEAKER_00]: You're right. 14:51.059 --> 14:55.263 [SPEAKER_00]: But they come to those cops and they're talking about the details of the case. 14:55.283 --> 14:56.905 [SPEAKER_00]: It's like, and here's what we know and 14:57.665 --> 15:21.690 [SPEAKER_00]: some of these cops like have some special insight knowledge as to how to go about this case and for some reason the score in that scene it's not like what's played it's not diagetic music the score is like this light relaxing jazz it's really not that scene and it's distracting it's loud like it's poorly mixed and that's not the mood for that scene it needs to be if you're gonna have any music on that scene for small don't but uh like 15:22.996 --> 15:26.458 [SPEAKER_00]: something a little bit terster, a little bit more of the score. 15:26.658 --> 15:28.259 [SPEAKER_01]: Here's my, I see your point. 15:28.640 --> 15:30.001 [SPEAKER_01]: But here's why that kind of worked for me. 15:31.081 --> 15:41.648 [SPEAKER_01]: Because the first half of this movie is taking place in Denzel Washington's, mostly in Denzel Washington's Skyrise, like Pen House, right, where he lives with his family. 15:43.549 --> 15:45.510 [SPEAKER_01]: He's isolated from the world up there. 15:45.991 --> 15:48.853 [SPEAKER_01]: Everything up there is weird and detached. 15:49.573 --> 15:52.175 [SPEAKER_01]: And I think Spike Lee's filmmaking reflects that. 15:52.941 --> 16:05.149 [SPEAKER_01]: And I, you know, it's not bad, but I, for me, it worked because what happens is, especially because halfway through the movie, when the action moves down low, street level again. 16:05.229 --> 16:06.190 [SPEAKER_01]: High, high, high. 16:06.230 --> 16:08.731 [SPEAKER_00]: Yeah, that's, that's, that's, that's, that's in Kurosawa's too. 16:08.771 --> 16:12.934 [SPEAKER_00]: The, the house is up on a hill and yeah, and we see people looking up at the elephant below. 16:12.954 --> 16:14.575 [SPEAKER_01]: Spike Lee's whole filmmaking changes. 16:14.595 --> 16:16.996 [SPEAKER_01]: He doesn't really use that score much anymore after that. 16:17.057 --> 16:18.958 [SPEAKER_01]: He completely changes his editing. 16:19.478 --> 16:31.287 [SPEAKER_01]: I think it is intentionally to present that although Denzel Washington isn't a bad guy, he's about ready to make a truly unethical in a moral decision, but we also understand why. 16:35.309 --> 16:37.931 [SPEAKER_01]: He is not where he's supposed to be. 16:38.032 --> 16:39.873 [SPEAKER_01]: He's lost touch with what's important. 16:40.935 --> 16:46.781 [SPEAKER_01]: And it is only by removing himself from that isolation and getting down to his roots. 16:46.821 --> 16:53.868 [SPEAKER_01]: I mean, he ends up at one point, he ends up in a recording studio on the basement of a shithole. 16:54.028 --> 16:54.769 [SPEAKER_01]: And it's just 16:55.550 --> 16:56.913 [SPEAKER_01]: This is where he started. 16:57.594 --> 17:01.582 [SPEAKER_01]: And I feel like it's about moving him back down to a place where everything makes sense again. 17:02.324 --> 17:07.654 [SPEAKER_01]: And now you could argue that that sounds good on paper and doesn't really work in practice for me to work. 17:08.637 --> 17:11.639 [SPEAKER_00]: It worked, and if it sounds obvious, yeah, we're talking about Spike Lee. 17:11.679 --> 17:12.139 [SPEAKER_00]: He's not sure. 17:12.159 --> 17:13.379 [SPEAKER_00]: He's not sure. 17:13.399 --> 17:15.020 [SPEAKER_00]: He's not using subtle symbols. 17:15.040 --> 17:16.181 [SPEAKER_00]: I never know. 17:16.541 --> 17:19.062 [SPEAKER_00]: I feel like the strength is really as dense a watch. 17:19.162 --> 17:20.162 [SPEAKER_00]: He's amazing. 17:20.383 --> 17:22.864 [SPEAKER_00]: I mean, it's always amazing in everything. 17:22.884 --> 17:24.545 [SPEAKER_01]: He doesn't always have great material though. 17:24.645 --> 17:25.185 [SPEAKER_00]: That's true. 17:25.325 --> 17:28.927 [SPEAKER_01]: But I feel like Lee's been thinking his projects really well. 17:29.547 --> 17:31.568 [SPEAKER_01]: It's been a while since he made two guns. 17:32.548 --> 17:35.190 [SPEAKER_00]: Which really just feels like maybe these actioners to pay the bills. 17:35.210 --> 17:40.834 [SPEAKER_01]: Yeah, same house where it's yeah, it's kind of a show we roll, but it's not very good movie, but like you know what we what have we been getting? 17:40.854 --> 17:43.056 [SPEAKER_01]: We've got like bad advances. 17:43.076 --> 17:51.242 [SPEAKER_01]: Yeah, he's been a little choosier about his project for a while and I didn't see not only is he working with Spike Lee again, I'm glad because I think they bring out kind of the best of each other. 17:52.062 --> 17:57.948 [SPEAKER_01]: Um, but I think you recognize this is juicy material and he gets to play a lot like a lot of different ways. 17:59.350 --> 18:00.771 [SPEAKER_00]: Like a lot of Spike Lee's films. 18:00.791 --> 18:02.293 [SPEAKER_00]: There's a lot going on in this movie. 18:02.313 --> 18:07.498 [SPEAKER_00]: There's a lot of themes of like I was saying about the legacy of Black excellence. 18:07.558 --> 18:08.679 [SPEAKER_00]: I wish that, um, 18:10.501 --> 18:14.184 [SPEAKER_00]: Spike Lee had and maybe the budget to license more music. 18:14.565 --> 18:20.009 [SPEAKER_00]: I wish this could have been like one of the soundtrack movies because it is about a music executive. 18:20.029 --> 18:21.591 [SPEAKER_00]: The music we hear is good. 18:21.611 --> 18:25.854 [SPEAKER_00]: Yeah, we have a there's a song by a sapporaki on the soundtrack. 18:26.695 --> 18:27.496 [SPEAKER_00]: I want it more though. 18:27.616 --> 18:28.577 [SPEAKER_00]: I wanted the whole

history. 18:28.677 --> 18:29.117 [SPEAKER_00]: I wanted like 18:31.279 --> 18:36.503 [SPEAKER_00]: I could have sensed Spike Lee kind of pushing against the boundaries of his budget with this one. 18:36.523 --> 18:44.370 [SPEAKER_00]: Like you wanted to put bigger ideas in it, but he was kind of limited by the amount of funding he was able to get, which is a pity. 18:44.950 --> 18:47.772 [SPEAKER_00]: Filmmakers like Spike Lee need big budgets. 18:47.872 --> 18:49.233 [SPEAKER_00]: They deserve big budgets. 18:49.313 --> 18:50.374 [SPEAKER_00]: Oh, he absolutely does. 18:50.575 --> 18:51.455 [SPEAKER_01]: And here's what they look. 18:51.555 --> 18:52.976 [SPEAKER_01]: Spike Lee even when he makes 18:54.003 --> 18:54.804 [SPEAKER_01]: Like a drama. 18:56.045 --> 18:57.807 [SPEAKER_01]: It's electric. 18:58.048 --> 19:03.413 [SPEAKER_01]: If you use it with energy, it's never just like, don't talk about us. 19:03.594 --> 19:07.398 [SPEAKER_01]: And that I'm not making fun of who's afraid of a genuine. 19:07.438 --> 19:08.439 [SPEAKER_01]: But that's not Spike Lee. 19:08.619 --> 19:10.521 [SPEAKER_01]: He doesn't do that kind of dreary. 19:10.581 --> 19:11.202 [SPEAKER_01]: He does. 19:12.248 --> 19:21.791 [SPEAKER_01]: fucking just a bolt of lightning and even in a movie that could have been done very straightforward, because let's be honest, Kurosawa's high and low, classic movie. 19:22.212 --> 19:22.812 [SPEAKER_00]: I like it a lot. 19:22.872 --> 19:23.952 [SPEAKER_01]: Yeah, it's brilliant. 19:24.172 --> 19:28.074 [SPEAKER_01]: And yet his approach compared to Spike Lee is extremely straightforward in a lot of ways. 19:28.114 --> 19:30.815 [SPEAKER_01]: He doesn't clever things see it with color and a black light movie. 19:30.855 --> 19:31.915 [SPEAKER_01]: That's very, very cool, but like 19:32.415 --> 19:35.996 [SPEAKER_01]: Generally speaking, he's just kind of letting the material dictate. 19:36.316 --> 19:38.357 [SPEAKER_01]: And Spike Lee is adding to the material. 19:38.397 --> 19:39.977 [SPEAKER_01]: He's pulling things out of the material. 19:40.017 --> 19:45.819 [SPEAKER_01]: He's finding odd nuances and strange character beats to really linger on. 19:46.179 --> 19:50.780 [SPEAKER_00]: Well, the difference here is Kurosawa is an incredibly humane filmmaker. 19:50.800 --> 19:51.860 [SPEAKER_00]: He looks for the moral. 19:51.880 --> 19:55.481 [SPEAKER_00]: So he doesn't like to make too many movies about immoral characters. 19:55.822 --> 19:57.482 [SPEAKER_01]: Certainly not in which it goes well for them. 19:57.702 --> 20:04.626 [SPEAKER_00]: Yeah, like if he tells a story about an immoral character, their villains or they are going to be redeemed in some way. 20:05.086 --> 20:11.530 [SPEAKER_00]: I do find it ironic that a lot of people know him for the film Yorjimbo, which is really uncharacteristic for him. 20:12.851 --> 20:17.613 [SPEAKER_01]: That's like an interesting portrait as well, which is much more like daring to adventure. 20:18.534 --> 20:20.895 [SPEAKER_00]: But it's like he can do adventure. 20:21.115 --> 20:22.996 [SPEAKER_01]: That's not his typical stage. 20:23.056 --> 20:25.197 [SPEAKER_00]: Yeah, he tends to make very, very, 20:27.008 --> 20:35.774 [SPEAKER_00]: very down to earth very moral pictures and I feel like high and low is like you cover the screenplay is sort of a umoral set piece. 20:36.214 --> 20:41.898 [SPEAKER_00]: You want to sort of examine you know the morals of class and that's kind of where that movie ends as well. 20:41.938 --> 20:46.021 [SPEAKER_00]: There's a big confrontation between the the Tashirma Funa character and the kidnapper. 20:47.488 --> 20:51.912 [SPEAKER_00]: uh, especially, never wants to work that cut and dry. 20:51.932 --> 20:52.493 [SPEAKER_02]: Yeah. 20:52.633 --> 20:54.575 [SPEAKER_00]: He and Chris always were. 20:54.595 --> 20:55.576 [SPEAKER_00]: Yeah, exactly. 20:55.616 --> 21:00.820 [SPEAKER_00]: He's he's not going to in the sort of taciturn way, explore a single moral viewpoint. 21:00.860 --> 21:03.343 [SPEAKER_00]: He's actually interested in characters are very morally messy. 21:03.923 --> 21:15.387 [SPEAKER_00]: who have a lot of things to worry about, not just in terms of their own personal interests, but in terms of what money is, how it means to the people around them, every person is sort of like a network of good and bad. 21:15.567 --> 21:15.727 [SPEAKER_01]: Right. 21:15.867 --> 21:22.090 [SPEAKER_01]: And it's not as simple because if you really wanted to be reductive, you could argue that Kurosawa's film was basically capitalism bad. 21:23.090 --> 21:25.831 [SPEAKER_01]: He's not wrong, but that is something that you could kind of do. 21:26.051 --> 21:29.172 [SPEAKER_01]: And the fact about it is not going for it. 21:29.212 --> 21:30.793 [SPEAKER_00]: No, in fact, it's really daring. 21:30.933 --> 21:36.235 [SPEAKER_00]: If you're looking for the capitalism bad angle, Spike Lee's going to keep that away from you. 21:36.475 --> 21:36.655 [SPEAKER_01]: Yeah. 21:36.675 --> 21:38.376 [SPEAKER_00]: That's actually not a big part of this movie. 21:38.416 --> 21:41.957 [SPEAKER_01]: Not that it's like capitalism good, but he's making a more complicated plot. 21:41.997 --> 21:43.097 [SPEAKER_01]: Exactly. 21:43.258 --> 21:48.459 [SPEAKER_00]: Who has power, who has money, why it's important, why it's important, not just to this character. 21:48.900 --> 21:51.401 [SPEAKER_00]: And I was really annoyed for a lot of this movie because I thought, 21:53.301 --> 22:04.478 [SPEAKER_00]: The Denzel Washington character was just saying it's important for me to be rich because I like being rich and tightly doesn't doesn't late and Spike Lee doesn't leave it there, but he leaves it in there. 22:04.698 --> 22:07.042 [SPEAKER_00]: So he's making this very complex moral 22:09.766 --> 22:14.890 [SPEAKER_00]: sort of journey, and it is about highest to lowest, but for Spike Lee, it's about every stage in

between. 22:16.571 --> 22:23.256 [SPEAKER_00]: You'll notice that it's highest to lowest, traveling from one to the other, whereas Kurosawa said high and low, two days that are separate. 22:23.316 --> 22:24.116 [SPEAKER_00]: Yeah, yeah. 22:24.797 --> 22:26.638 [SPEAKER_00]: It was the highest of times it was the lowest. 22:26.738 --> 22:28.580 [SPEAKER_00]: Which of those is the more interesting angle? 22:28.680 --> 22:29.861 [SPEAKER_00]: I think they're both interesting. 22:30.801 --> 22:32.462 [SPEAKER_00]: I think Spike Lee doesn't 22:33.563 --> 22:35.184 [SPEAKER_00]: Nail it quite as hard as he has in the past. 22:35.224 --> 22:36.305 [SPEAKER_00]: Not all of his movies are great. 22:36.705 --> 22:37.065 [SPEAKER_00]: That's true. 22:37.085 --> 22:38.926 [SPEAKER_00]: There are some Spike movies I actually dislike. 22:38.946 --> 22:41.927 [SPEAKER_01]: But it's almost always because he took a really big swing. 22:42.088 --> 22:43.188 [SPEAKER_01]: He tried something big. 22:43.288 --> 22:48.211 [SPEAKER_00]: He took a big swing or he he's trying to tell some kind of moral lesson that I don't think it really has a hand-along. 22:48.491 --> 22:48.671 [SPEAKER_01]: Right. 22:48.811 --> 22:49.771 [SPEAKER_01]: It's never for lack of trying. 22:49.791 --> 22:50.272 [SPEAKER_01]: It's not quite. 22:50.292 --> 22:51.352 [SPEAKER_01]: It's never because he phoned it in. 22:52.233 --> 22:54.114 [SPEAKER_01]: Maybe old boy. 22:54.214 --> 22:56.155 [SPEAKER_00]: Old boy I think was his one studio for higher. 22:56.175 --> 22:56.975 [SPEAKER_01]: Well that's job. 22:57.776 --> 23:01.918 [SPEAKER_01]: I think it might be two but I think it's one that might be one of the only one or two movies. 23:03.034 --> 23:05.195 [SPEAKER_01]: where he doesn't say a Spike Lee joint. 23:05.575 --> 23:08.316 [SPEAKER_01]: That's the equivalent Spike Lee taking his name off the picture. 23:08.516 --> 23:11.357 [SPEAKER_00]: That's like him saying that's a Spike Lee film. 23:11.397 --> 23:13.038 [SPEAKER_01]: We're not talking about Spike Lee. 23:13.078 --> 23:13.758 [SPEAKER_01]: This isn't a thing. 23:13.878 --> 23:16.439 [SPEAKER_00]: In fact, the old boy wasn't even his production. 23:16.499 --> 23:17.639 [SPEAKER_00]: It wasn't four acres in a meal. 23:17.699 --> 23:18.040 [SPEAKER_00]: Was it? 23:18.480 --> 23:18.900 [SPEAKER_00]: I don't know that. 23:19.727 --> 23:21.268 [SPEAKER_00]: I don't have to look it off because I haven't seen it yet. 23:21.368 --> 23:23.769 [SPEAKER_01]: Yeah, but yeah, no, he'd be very notorious. 23:23.809 --> 23:25.130 [SPEAKER_01]: It wasn't happy without that turned out. 23:25.550 --> 23:30.093 [SPEAKER_00]: I love sitting through the end credits and seeing the four acres in the middle of the very end of each of those movies. 23:30.313 --> 23:30.513 [SPEAKER_00]: Yeah. 23:31.073 --> 23:31.193 [SPEAKER_00]: Yeah. 23:31.213 --> 23:31.533 [SPEAKER_00]: Yeah. 23:31.633 --> 23:32.534 [SPEAKER_00]: You dig and show off. 23:32.714 --> 23:33.254 [SPEAKER_01]: Oh, he's great. 23:35.195 --> 23:37.397 [SPEAKER_01]: One thing before we move on, there's a part in this movie. 23:37.437 --> 23:39.598 [SPEAKER_01]: I mentioned it before where Denzel Washington is like, 23:40.827 --> 23:47.933 [SPEAKER_01]: going through like the literal underground of New York City and pursuit of like a recording studio. 23:48.173 --> 23:50.035 [SPEAKER_01]: Why you'll find out. 23:51.676 --> 23:54.478 [SPEAKER_01]: And I really, really, really wanted. 23:54.518 --> 23:55.599 [SPEAKER_01]: I didn't want to be important. 23:55.639 --> 23:59.262 [SPEAKER_01]: I just wanted to sort of like turn around a corner, see Rockefeller. 23:59.903 --> 24:00.584 [SPEAKER_01]: Oh, what's up? 24:01.424 --> 24:02.745 [SPEAKER_01]: And then just move along. 24:02.865 --> 24:03.066 [SPEAKER_01]: Yeah. 24:04.227 --> 24:05.508 [SPEAKER_01]: If you don't know what I'm talking about. 24:07.102 --> 24:09.764 [SPEAKER_01]: There is a documentary that Spike Lee directed for television. 24:09.784 --> 24:11.785 [SPEAKER_01]: I think it's called Spike Lee, Does it Occupella? 24:11.805 --> 24:13.787 [SPEAKER_00]: Yeah, it's called Do It Occupella. 24:13.947 --> 24:15.448 [SPEAKER_01]: Yeah. 24:15.628 --> 24:16.348 [SPEAKER_00]: It was a record as well. 24:16.368 --> 24:16.909 [SPEAKER_01]: I have the album. 24:17.069 --> 24:17.229 [SPEAKER_01]: Yeah. 24:17.649 --> 24:26.315 [SPEAKER_01]: It is Spike Lee doing a documentary about Occupella music and one of the most amazing things I've ever seen in Spike Lee movies and it's him and who's he with? 24:26.335 --> 24:27.296 [SPEAKER_01]: He's with the famous musician. 24:27.740 --> 24:28.220 [SPEAKER_00]: Oh, I forgot. 24:28.680 --> 24:29.741 [SPEAKER_00]: I could see in the movie. 24:29.801 --> 24:30.261 [SPEAKER_00]: I'm just seeing it. 24:30.281 --> 24:30.441 [SPEAKER_00]: Oh, yeah. 24:30.461 --> 24:31.202 [SPEAKER_00]: I just have the record. 24:31.422 --> 24:31.922 [SPEAKER_01]: I've seen the movie. 24:31.942 --> 24:32.182 [SPEAKER_01]: It's guy. 24:33.182 --> 24:35.564 [SPEAKER_01]: But he's one of the famous musicians. 24:36.144 --> 24:39.685 [SPEAKER_01]: And they're going to like some secret location in New York. 24:39.705 --> 24:41.506 [SPEAKER_01]: And they're like driving in the cab. 24:41.546 --> 24:43.207 [SPEAKER_01]: And they're all very excited about it. 24:43.247 --> 24:43.567 [SPEAKER_01]: Oh, yeah. 24:43.587 --> 24:45.068 [SPEAKER_01]: This is very, very hush-hush. 24:45.088 --> 24:46.248 [SPEAKER_01]: We're not supposed to be talking about this. 24:46.268 --> 24:47.389 [SPEAKER_01]: So don't tell anybody we're doing this. 24:47.689 --> 24:49.490 [SPEAKER_01]: And they're like, go to like this mysterious building. 24:49.730 --> 24:50.710 [SPEAKER_01]: And they go into the basement. 24:51.231 --> 24:52.431 [SPEAKER_00]: Oh, it's Debbie Allen. 24:52.551 --> 24:53.852 [SPEAKER_01]: There you go, Debbie Allen. 24:54.572 --> 24:55.373 [SPEAKER_01]: How did I forget Debbie

Allen? 24:55.393 --> 24:55.633 [SPEAKER_01]: Amazing. 24:57.097 --> 24:59.537 [SPEAKER_01]: They go on into the basement of this dilapidated building. 24:59.998 --> 25:22.162 [SPEAKER_01]: And then there are two Ocapella bands, and they're gonna battle like a step up movie, but with Ocapella music, and Rocapella, perhaps the most famous Ocapella band of the twentieth century, things entirely, to, uh, where in the world's current San Diego, uh, they went about a killer zombie jamboree. 25:22.781 --> 25:24.663 [SPEAKER_00]: That's that's that's their signature too. 25:25.244 --> 25:39.359 [SPEAKER_01]: After after after Carmen's in those there too, but like it's like and it's just Spike Lee and Debbie Allen like it's like they're watching like the night fight and west side story and this was nineteen ninety so this is like prime rock is all lineup 25:39.439 --> 25:40.520 [SPEAKER_01]: It's also quite Spike Lee. 25:40.580 --> 25:42.582 [SPEAKER_01]: He had just done do the right thing. 25:42.622 --> 25:43.543 [SPEAKER_01]: That's what he was doing. 25:43.563 --> 25:44.223 [SPEAKER_01]: That's what he was doing. 25:44.243 --> 25:44.904 [SPEAKER_01]: That's what he was doing. 25:44.924 --> 25:45.424 [SPEAKER_01]: That's what he was doing. 25:45.465 --> 25:45.985 [SPEAKER_00]: That's what he was doing. 25:46.005 --> 25:46.866 [SPEAKER_00]: That's what he was doing. 25:46.886 --> 25:47.386 [SPEAKER_00]: That's what he was doing. 25:47.406 --> 25:48.167 [SPEAKER_00]: That's what he was doing. 25:48.187 --> 25:49.208 [SPEAKER_00]: That's what he was doing. 25:49.228 --> 25:50.069 [SPEAKER_01]: That's what he was doing. 25:50.149 --> 25:50.990 [SPEAKER_01]: That's what he was doing. 25:51.010 --> 25:51.650 [SPEAKER_01]: That's what he was doing. 25:51.670 --> 25:52.611 [SPEAKER_01]: That's what he was doing. 25:52.631 --> 25:53.332 [SPEAKER_01]: That's what he was doing. 25:53.352 --> 25:54.072 [SPEAKER_01]: That's what he was doing. 25:54.092 --> 25:54.713 [SPEAKER_01]: That's what he was doing. 25:54.773 --> 25:55.294 [SPEAKER_01]: That's what he was doing. 25:55.314 --> 25:55.854 [SPEAKER_00]: That's what he was doing. 25:55.874 --> 25:56.675 [SPEAKER_01]: That's what he was doing. 25:56.695 --> 25:57.235 [SPEAKER_01]: That's what he was doing. 25:57.255 --> 25:58.056 [SPEAKER_01]: That's what he was doing. 25:58.096 --> 25:58.917 [SPEAKER_01]: That's what he was doing. 25:58.937 --> 25:59.758 [SPEAKER_01]: That's what he was doing. 25:59.918 --> 26:00.979 [SPEAKER_01]: That's what he was doing. 26:00.999 --> 26:01.599 [SPEAKER_01]: That's what he was doing. 26:01.619 --> 26:02.740 [SPEAKER_00]: That's what he was doing. 26:02.760 --> 26:03.341 [SPEAKER_00]: That's what he was doing. 26:03.361 --> 26:04.122 [SPEAKER_00]: That's what he was doing. 26:04.142 --> 26:04.762 [SPEAKER_00]: That's what he was doing. 26:04.782 --> 26:05.623 [SPEAKER_00]: That's what he was 26:05.803 --> 26:07.144 [SPEAKER_00]: He just wants to get the film out. 26:07.564 --> 26:09.085 [SPEAKER_00]: He has an idea he's going to throw it out there. 26:09.105 --> 26:10.286 [SPEAKER_00]: He's going to throw it together. 26:10.306 --> 26:10.506 [SPEAKER_00]: Yeah. 26:10.786 --> 26:16.249 [SPEAKER_00]: And I feel like highest to lowest, there's more sloppiness than usual. 26:16.349 --> 26:16.609 [SPEAKER_01]: Maybe. 26:16.969 --> 26:17.489 [SPEAKER_01]: I will say this. 26:17.790 --> 26:20.411 [SPEAKER_01]: You just reminded me, he's like, I went to a screening of this. 26:20.431 --> 26:21.151 [SPEAKER_01]: There's the only screen. 26:21.231 --> 26:31.157 [SPEAKER_01]: Sometimes when you're press or critic, you go to like a screening and it's like sometimes it's like they rent out like a screen in the AMC local or whatever like that. 26:31.577 --> 26:36.380 [SPEAKER_01]: Sometimes they have private screening rooms like a studio or an off-site thing. 26:37.080 --> 26:38.541 [SPEAKER_01]: It sounds more glamorous than it is. 26:38.601 --> 26:41.523 [SPEAKER_01]: It's really just sit down and watch the movie get the hell out. 26:43.144 --> 26:48.767 [SPEAKER_01]: But sometimes they only have a certain number of screenings and they do invite you to quote a quote an event. 26:50.068 --> 26:51.549 [SPEAKER_00]: It's just like drinks you can talk to. 26:51.589 --> 26:53.110 [SPEAKER_01]: Yeah, and they always stop. 26:53.130 --> 26:54.511 [SPEAKER_01]: They're always packed. 26:54.551 --> 26:56.312 [SPEAKER_01]: They always start extremely late. 26:56.892 --> 26:57.452 [SPEAKER_01]: I never go. 26:57.553 --> 26:58.573 [SPEAKER_01]: I try never to go to those. 26:58.593 --> 27:01.715 [SPEAKER_01]: I made an exception for this because it was my only opportunity to see the film this week. 27:02.535 --> 27:05.917 [SPEAKER_01]: And, you know, it's half an hour late and it's a long movie. 27:06.358 --> 27:08.599 [SPEAKER_01]: And then a guy came up from, like, age twenty four. 27:08.619 --> 27:12.141 [SPEAKER_01]: And he was like, hey, this, you know, people are here to make the movies. 27:12.181 --> 27:12.881 [SPEAKER_01]: Well, I'd say thank you. 27:12.901 --> 27:14.262 [SPEAKER_01]: There's been dream dream dream dream. 27:14.542 --> 27:16.303 [SPEAKER_01]: And now, like, a few words from Spike Lee. 27:16.623 --> 27:18.965 [SPEAKER_01]: And Spike Lee walks out and says, let's go. 27:19.685 --> 27:22.847 [SPEAKER_01]: That's it. 27:23.067 --> 27:24.527 [SPEAKER_01]: He wants to move me the fucking star. 27:24.707 --> 27:25.648 [SPEAKER_01]: It's likely for it. 27:25.668 --> 27:28.409 [SPEAKER_01]: Yeah, I don't think it's going to make for itself. 27:28.469 --> 27:31.311 [SPEAKER_01]: It's quite articulate about its best. 27:31.631 --> 27:32.071 [SPEAKER_01]: We should move on. 27:32.751 --> 27:35.132 [SPEAKER_01]: Our next film is a film called Nobody Two. 27:35.152 --> 27:36.453 [SPEAKER_01]: All right. 27:36.953 --> 27:39.995 [SPEAKER_01]: Nobody Two is a sequel to Nobody. 27:40.635 --> 27:44.557 [SPEAKER_01]: And I did not review

nobody when it came out because somehow I missed it. 27:44.657 --> 27:45.597 [SPEAKER_01]: Missed the screening or whatever. 27:45.617 --> 27:46.658 [SPEAKER_01]: Did you review when it came out? 27:47.502 --> 27:48.743 [SPEAKER_00]: I know I caught up with it as well. 27:48.783 --> 27:50.845 [SPEAKER_00]: I didn't see it when I was first released. 27:51.145 --> 27:54.549 [SPEAKER_00]: It's an action picture very much of the John Wick mold. 27:54.809 --> 27:55.950 [SPEAKER_00]: I think it's one of the writers of John Wick. 27:56.130 --> 28:00.714 [SPEAKER_00]: Yeah, and it stars Bob Odin Kirk as the unlikely action hero. 28:01.495 --> 28:06.099 [SPEAKER_00]: The first part of the first nobody is kind of showing what a nobody he is. 28:06.139 --> 28:07.601 [SPEAKER_00]: His life is kind of falling apart. 28:07.641 --> 28:09.102 [SPEAKER_00]: It's everything's great and shadowy. 28:09.322 --> 28:10.023 [SPEAKER_00]: Yeah, he does. 28:10.063 --> 28:10.243 [SPEAKER_00]: He does. 28:10.263 --> 28:10.663 [SPEAKER_01]: He does. 28:10.703 --> 28:10.984 [SPEAKER_01]: He does. 28:11.024 --> 28:11.304 [SPEAKER_00]: He does. 28:11.324 --> 28:11.504 [SPEAKER_00]: He does. 28:11.564 --> 28:11.885 [SPEAKER_01]: He does. 28:11.905 --> 28:12.445 [SPEAKER_01]: He does. 28:12.505 --> 28:12.805 [SPEAKER_01]: He does. 28:12.866 --> 28:13.226 [SPEAKER_01]: He does. 28:13.246 --> 28:13.586 [SPEAKER_01]: He does. 28:13.606 --> 28:13.846 [SPEAKER_00]: He does. 28:13.866 --> 28:14.247 [SPEAKER_00]: He does. 28:14.307 --> 28:14.867 [SPEAKER_00]: He does. 28:14.887 --> 28:15.788 [SPEAKER_00]: He does. 28:33.365 --> 28:42.552 [SPEAKER_00]: Yeah, so he goes out into the world and as he is investigating, we learn not only does he have connections in the underground, but he actually has a reputation for being like the world's worst badass. 28:42.792 --> 28:44.294 [SPEAKER_00]: Yeah, like he's just going to kick your butt. 28:44.374 --> 28:51.519 [SPEAKER_01]: Yeah, and it's fun to see Bob Odenkirk, if guy who's famous mostly for comedy and better than whole Saul, which is not, you know, it's not Charles Bronson. 28:52.160 --> 28:54.121 [SPEAKER_01]: Uh, fun to see him kick ass. 28:55.022 --> 29:13.341 [SPEAKER_00]: like like in a John Wick way like in a truly epic brutal fight fast lot a lot of really good brutal violence jobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobbobb 29:13.861 --> 29:21.384 [SPEAKER_00]: He's lost the respect of his family, and the only way he can really gain it back is to return this violent lifestyle that he's trying really hard to repress. 29:21.404 --> 29:24.585 [SPEAKER_01]: And that's not just violent lifestyle, it's a violent like masculine lifestyle. 29:24.945 --> 29:38.931 [SPEAKER_01]: It's equating

his loss of masculinity, his loss of manhood, with the fact that he set aside violence, and it is only by returning to a life of violence that he reclaims his self-respect and respect of others, his family, his virility, 29:39.511 --> 29:41.793 [SPEAKER_00]: And that's not great. 29:41.873 --> 29:42.754 [SPEAKER_00]: Well, I'm sorry. 29:42.814 --> 29:43.675 [SPEAKER_00]: I feel like that's it. 29:43.775 --> 29:44.676 [SPEAKER_00]: It's told ironically. 29:44.716 --> 29:57.809 [SPEAKER_00]: I think it's a lot like Croninburg's history of violence, which is also about this fellow with a history of violence who starts to express these violent tendencies again and does regain the respect of his family. 29:57.949 --> 29:58.149 [SPEAKER_00]: Right. 29:58.249 --> 29:59.771 [SPEAKER_00]: But it's Cronenberg. 30:00.152 --> 30:02.514 [SPEAKER_00]: So he's presenting this in a very bleak way. 30:02.554 --> 30:09.141 [SPEAKER_00]: You know, it's kind of sad that we as a society respond to violence, I'd equate it with masculinity. 30:09.201 --> 30:13.967 [SPEAKER_00]: So I feel like there's a dark edge to that first nobody film, and even it's theming. 30:14.007 --> 30:18.592 [SPEAKER_01]: I feel you're giving me a little more credit than it deserves, but I do think nobody too hammers that home. 30:18.972 --> 30:22.273 [SPEAKER_00]: Well, nobody, too, is not the same kind of movie. 30:22.313 --> 30:26.734 [SPEAKER_00]: This is actually a much brighter straightforward B picture. 30:27.094 --> 30:28.754 [SPEAKER_01]: And that's a comedy, to be honest. 30:28.794 --> 30:29.855 [SPEAKER_01]: Nobody was kind of funny. 30:29.935 --> 30:30.755 [SPEAKER_01]: This is a comedy. 30:30.775 --> 30:31.675 [SPEAKER_00]: This is a straight-up comedy. 30:31.695 --> 30:32.675 [SPEAKER_00]: It's a different director who does it. 30:32.695 --> 30:33.135 [SPEAKER_00]: He wrote to John Tell. 30:33.155 --> 30:33.856 [SPEAKER_00]: He wrote to John Tell. 30:33.876 --> 30:34.336 [SPEAKER_00]: He wrote to John Tell. 30:34.356 --> 30:35.056 [SPEAKER_00]: He wrote to John Tell. 30:35.076 --> 30:35.556 [SPEAKER_00]: He wrote to John Tell. 30:35.576 --> 30:36.016 [SPEAKER_00]: He wrote to John Tell. 30:36.056 --> 30:36.516 [SPEAKER_00]: He wrote to John Tell. 30:36.536 --> 30:36.996 [SPEAKER_00]: He wrote to John Tell. 30:37.016 --> 30:37.677 [SPEAKER_00]: He wrote to John Tell. 30:37.697 --> 30:38.117 [SPEAKER_01]: He wrote to John Tell. 30:38.137 --> 30:38.577 [SPEAKER_00]: He wrote to John Tell. 30:38.597 --> 30:39.177 [SPEAKER_00]: And he wrote to John Tell. 30:39.197 --> 30:39.757 [SPEAKER_00]: And he wrote to John Tell. 30:39.777 --> 30:40.297 [SPEAKER_00]: And he wrote to John Tell. 30:40.337 --> 30:40.877 [SPEAKER_00]: And he wrote to John Tell. 30:40.897 --> 30:41.397 [SPEAKER_01]: And he wrote to John Tell. 30:41.417 --> 30:41.998 [SPEAKER_01]: And he wrote to John Tell. 30:42.018 --> 30:42.798 [SPEAKER_01]: And he wrote to John Tell. 30:42.818 --> 30:43.438 [SPEAKER_01]: And he wrote to John Tell. 30:43.458 --> 30:44.038 [SPEAKER_01]: And he wrote to John Tell. 30:44.058 --> 30:44.998 [SPEAKER_01]: And he wrote to John Tell. 30:45.018 --> 30:45.638 [SPEAKER_01]: And he wrote to John Tell. 30:45.658 --> 30:46.599 [SPEAKER_01]: And he wrote to John Tell. 30:46.619 --> 30:47.159 [SPEAKER_01]: And he wrote to John Tell. 30:47.179 --> 30:47.759 [SPEAKER_01]: And he wrote to John 30:48.219 --> 30:51.100 [SPEAKER_00]: which is only here in fits and starts. 30:51.260 --> 30:53.301 [SPEAKER_01]: This is a work for higher studio. 30:53.321 --> 30:56.182 [SPEAKER_01]: I think he's trying to, you know, so that he can turn it down as smidge. 30:56.382 --> 31:00.064 [SPEAKER_00]: Yeah, the joke this time is the Bob Oden Kirk character hutch. 31:00.084 --> 31:00.884 [SPEAKER_00]: I think it's the characters. 31:00.904 --> 31:01.044 [SPEAKER_00]: Yeah. 31:03.545 --> 31:08.807 [SPEAKER_00]: Now he he's back in doing the violent lifestyle as wife is played by a Connie Nielsen knows about it. 31:09.027 --> 31:14.649 [SPEAKER_00]: Yeah, but now he's a workaholic Yeah, and he's absent and he's like missing his kids sporting events because he's too busy working. 31:14.749 --> 31:16.090 [SPEAKER_00]: He just happens to be an assassin. 31:16.130 --> 31:23.473 [SPEAKER_01]: Yeah, I like and I like that that's where we start because one of my concerns about this was He solved his problems by becoming a violent guy. 31:23.513 --> 31:24.313 [SPEAKER_01]: It's like no, no, no, no 31:25.228 --> 31:27.109 [SPEAKER_01]: Now he knew problems being a violent cop. 31:27.250 --> 31:29.351 [SPEAKER_01]: This is why he gave it up in the first place. 31:29.371 --> 31:31.573 [SPEAKER_01]: And it's still not right. 31:31.633 --> 31:33.634 [SPEAKER_01]: He's damned if he doesn't damned if he does it. 31:33.774 --> 31:39.159 [SPEAKER_01]: And what this movie makes it more of a point of is that Hutch is a victim of his own nature. 31:39.679 --> 31:45.223 [SPEAKER_01]: It's either ruling him because he is denying it or it's ruling him because he can't control his violent impulses. 31:45.764 --> 31:46.564 [SPEAKER_01]: So now he's 31:47.745 --> 31:49.626 [SPEAKER_01]: just constantly doing violence for work. 31:49.866 --> 31:57.991 [SPEAKER_01]: And when he realizes that he's starting to alienate his family, he decides to take them on a family vacation to this water park where he went when he was a kid. 31:58.011 --> 31:59.772 [SPEAKER_01]: This is only like happy childhood memory. 31:59.792 --> 32:01.433 [SPEAKER_00]: Yeah, I went there with his brother. 32:02.374 --> 32:04.655 [SPEAKER_00]: His dad took him as dad is back in this movie. 32:04.795 --> 32:05.976 [SPEAKER_00]: I just played my Christopher Lawyer. 32:06.036 --> 32:06.216 [SPEAKER_01]: Yeah. 32:06.955 --> 32:10.018 [SPEAKER_00]: And Christopher Lloyd was in the last movie, too. 32:10.038 --> 32:12.560 [SPEAKER_00]: I don't remember, like, not my childhood. 32:12.820 --> 32:18.385 [SPEAKER_01]: He was

like, his dad was like in, like, assisted living facility. 32:18.945 --> 32:21.628 [SPEAKER_01]: And he was just kind of like, sin watch and TV the whole time. 32:21.648 --> 32:22.949 [SPEAKER_01]: And it didn't really seem very present. 32:23.009 --> 32:26.372 [SPEAKER_01]: But at the end of the movie, when they tried to kill him, he whips out of shotgun. 32:26.392 --> 32:29.254 [SPEAKER_01]: And he was, you know, part of that, the business. 32:30.135 --> 32:31.757 [SPEAKER_01]: There's this weird bit. 32:32.457 --> 32:39.243 [SPEAKER_01]: at the beginning of this movie, that I kept waiting for them to follow up on and they never did. 32:40.424 --> 32:46.270 [SPEAKER_01]: When he decided to take his family for a vacation, he shows them a commercial for this water park. 32:46.330 --> 32:47.311 [SPEAKER_00]: Like a vintage commercial. 32:47.351 --> 32:48.272 [SPEAKER_01]: Yeah, that's after the nineties. 32:50.720 --> 33:10.258 [SPEAKER_01]: his family is like well that looks fun and all but isn't this like really old is it still there is it still like up to speed and he's like yeah no sure yeah yeah it's still there and I kept waiting for them to get there and find out it's like falling apart like that's the obvious payoff to that set up but they get there and it's fine and I'm like why did we even ask that question 33:10.918 --> 33:14.361 [SPEAKER_01]: Why did you set up the joke and not do it? 33:14.421 --> 33:14.941 [SPEAKER_01]: It's weird. 33:15.541 --> 33:23.707 [SPEAKER_01]: But in any case, they go on vacation and things like things are going to go well and then his son is accosted by a local. 33:24.408 --> 33:30.952 [SPEAKER_01]: Try to respond with violence, touch, try to stop it, try to be responsible, but then like the security guard at this arcade that they're at. 33:31.973 --> 33:38.041 [SPEAKER_01]: A, talk shit to them, and B, as they're leaving, he smacks such as daughter on the back of the head. 33:38.501 --> 33:40.504 [SPEAKER_01]: She's like, oh, not even that. 33:40.564 --> 33:41.545 [SPEAKER_01]: Like, she's a little kid. 33:41.705 --> 33:45.289 [SPEAKER_01]: And it's like, and it's not like, you know, punches her to the ground, but it's like, it's like a lap. 33:45.670 --> 33:47.993 [SPEAKER_01]: But it's like, dude, fucking know. 33:48.513 --> 33:49.514 [SPEAKER_01]: And so he leaves. 33:50.435 --> 34:14.365 [SPEAKER_01]: he can't help but he comes back in and he beats the shit out of everyone and now he's on the local police's radar and of course it turns out that this tiny town in the middle of this so-called this tiny town in the middle of nowhere is like the single most important crime hub for like illicit drugs guns nuclear material whatever 34:14.745 --> 34:16.247 [SPEAKER_01]: It all comes through this town. 34:16.267 --> 34:24.697 [SPEAKER_01]: This is like the most important criminal town in America and the person ruling over all of it is Sharon Stone. 34:25.579 --> 34:29.463 [SPEAKER_00]: Sharon Stone, who is collecting a paycheck? 34:29.523 --> 34:30.625 [SPEAKER_00]: She's not the holy committed. 34:31.446 --> 34:34.389 [SPEAKER_00]: She's put on a cool outfit and she's trying to like really 34:36.278 --> 34:37.418 [SPEAKER_00]: Bring some verb to it. 34:37.438 --> 34:38.579 [SPEAKER_00]: You can tell she's not that interesting. 34:38.619 --> 34:47.085 [SPEAKER_01]: She's treating this like She got to play a random villain on an episode of the Adam West Batman for an episode. 34:47.265 --> 34:49.306 [SPEAKER_01]: Yeah, like I'm not taking you too seriously. 34:49.366 --> 34:58.672 [SPEAKER_01]: I get to do a little dance I get to kill a couple of people and cackle like a maniac and that's kind of it And that's all we need and it's fun to see Sharon Stone good for you. 34:58.932 --> 34:59.873 [SPEAKER_01]: You get that paycheck 35:00.873 --> 35:03.355 [SPEAKER_01]: I always, it's always piss me off at Sharon Stone. 35:03.375 --> 35:04.736 [SPEAKER_01]: Oh, she got a new car or whatever it is. 35:04.756 --> 35:05.396 [SPEAKER_01]: She was like, sure. 35:05.456 --> 35:06.897 [SPEAKER_01]: She was a great actor. 35:06.997 --> 35:08.598 [SPEAKER_01]: Oh, yeah, legitimately great actor. 35:08.618 --> 35:11.160 [SPEAKER_01]: And she got really pigeonholed by like the erotic thriller genre. 35:11.641 --> 35:14.002 [SPEAKER_01]: And she was like, she's just really getting out of it for a while. 35:14.102 --> 35:16.003 [SPEAKER_01]: She was like, oh, she got the astronaut emanation. 35:16.064 --> 35:17.284 [SPEAKER_01]: I can see no, she deserved it. 35:17.525 --> 35:23.829 [SPEAKER_01]: And then, and then, at just, I don't know if it was just the projects weren't coming together or some behind-the-scenes bullshit, whatever like that. 35:23.909 --> 35:26.250 [SPEAKER_01]: But her star just gradually fell. 35:27.331 --> 35:30.053 [SPEAKER_01]: And I always thought that was bullshit and it's always been a shame. 35:30.413 --> 35:34.015 [SPEAKER_01]: I really just feel like she's deserved bigger better roles to this day. 35:34.595 --> 35:37.197 [SPEAKER_01]: And so it's fun to see her in a bit of a, you know, 35:38.882 --> 35:45.344 [SPEAKER_01]: Again, it's not like a showstopper performance, it's not a scene-stealing performance, but she's having fun and then having fun watching her and that's great. 35:45.424 --> 35:46.604 [SPEAKER_00]: I'm having a bit of fun. 35:48.064 --> 35:49.305 [SPEAKER_00]: Is this film illogical? 35:49.345 --> 35:49.925 [SPEAKER_00]: Absolutely. 35:49.945 --> 35:52.005 [SPEAKER_00]: It does the best. 35:52.065 --> 35:52.785 [SPEAKER_00]: It's really controlling. 35:52.866 --> 35:53.666 [SPEAKER_00]: Is the violence going? 35:53.686 --> 35:54.626 [SPEAKER_00]: Yeah, the violence is pretty good. 35:54.646 --> 35:55.726 [SPEAKER_00]: Yeah, actually fun. 35:56.406 --> 35:58.367 [SPEAKER_00]: There's a great kill with an anchor. 35:59.307 --> 36:01.528 [SPEAKER_00]: But a lot of it's really confusingly staged. 36:01.568 --> 36:03.549

[SPEAKER_00]: There's a fight on like a tourist boat. 36:03.829 --> 36:08.691 [SPEAKER_00]: And there's tourists and the captain are on the boat while like three guys are like having a death fight in the back. 36:09.091 --> 36:10.191 [SPEAKER_00]: And they don't seem to notice. 36:10.212 --> 36:11.232 [SPEAKER_00]: Well, they got headphones on. 36:12.008 --> 36:12.529 [SPEAKER_00]: No, they don't. 36:12.589 --> 36:12.969 [SPEAKER_00]: No, they didn't. 36:13.349 --> 36:13.650 [SPEAKER_00]: Did they? 36:13.830 --> 36:13.990 [SPEAKER_01]: Yeah. 36:14.591 --> 36:16.472 [SPEAKER_01]: They're like, the guy is a piss, it's a loud engine. 36:16.492 --> 36:21.097 [SPEAKER_01]: The guy is like on like a microphone and there was some things it has like guided tour on headphones. 36:21.157 --> 36:22.058 [SPEAKER_00]: Oh, I think I missed that part. 36:22.098 --> 36:22.518 [SPEAKER_01]: It's okay. 36:22.558 --> 36:23.779 [SPEAKER_01]: They had to be fair. 36:23.839 --> 36:25.161 [SPEAKER_01]: They did not call attention to it. 36:25.301 --> 36:27.002 [SPEAKER_01]: I was looking because I was confused too. 36:27.043 --> 36:27.283 [SPEAKER_00]: Yeah. 36:27.323 --> 36:28.964 [SPEAKER_01]: And I was like, oh, they're wearing headphones. 36:29.485 --> 36:31.267 [SPEAKER_01]: Really should have had a close up of that one. 36:31.367 --> 36:34.370 [SPEAKER_01]: Just to make that clear because it doesn't play very well. 36:35.210 --> 36:39.353 [SPEAKER_00]: And it all climaxes of course into big gun battle and amusement park. 36:39.453 --> 36:39.973 [SPEAKER_00]: Yes, fine. 36:41.655 --> 36:42.535 [SPEAKER_00]: Does this feel like? 36:43.876 --> 36:44.797 [SPEAKER_00]: It doesn't feel like death. 36:44.817 --> 36:48.279 [SPEAKER_00]: The first movie felt a little bit like death wish and that sort of turst darkness. 36:48.399 --> 36:50.040 [SPEAKER_00]: Yeah, kind of morally ambiguous. 36:50.140 --> 36:52.382 [SPEAKER_01]: The downfall of suburban males. 36:52.802 --> 36:54.563 [SPEAKER_00]: We've skipped straight to death wish for. 36:54.723 --> 36:56.604 [SPEAKER_00]: We know about it too. 36:56.965 --> 36:58.686 [SPEAKER_00]: It's already completely crazy. 36:58.706 --> 36:58.806 [SPEAKER_00]: Yeah. 36:59.862 --> 37:03.484 [SPEAKER_00]: We have abandoned any note of seriousness and commentary on masculinity. 37:03.524 --> 37:05.164 [SPEAKER_00]: This is just about the thrills. 37:05.804 --> 37:07.185 [SPEAKER_00]: That's a little far. 37:07.285 --> 37:16.949 [SPEAKER_01]: I think the idea that here's someone who is fighting their inner nature to give you into a toxic masculinity and he talks about it with his brother, the idea that 37:17.449 --> 37:21.634 [SPEAKER_01]: You know, our dad gave us this and I'm hoping it doesn't filter down to my side. 37:21.654 --> 37:25.078 [SPEAKER_01]: Yeah, though there's a they kind of do lip service to but it's there. 37:26.059 --> 37:31.665 [SPEAKER_00]: It's the it's the one scene and there's a great scene where um they do get

to talk to the two brothers are back together. 37:31.705 --> 37:35.450 [SPEAKER_00]: The the adult brothers played by um it's the risa right it's the risa. 37:35.630 --> 37:37.392 [SPEAKER_00]: That's right plays the adult brother and yeah 37:38.412 --> 37:42.433 [SPEAKER_00]: and dad gets to sort of have a moment with them and it's it's so small. 37:42.473 --> 37:43.613 [SPEAKER_00]: It's like such as such as the moment. 37:43.633 --> 37:44.113 [SPEAKER_00]: It's in there. 37:44.393 --> 37:45.113 [SPEAKER_00]: It's in there. 37:45.354 --> 37:45.754 [SPEAKER_00]: It's in there. 37:45.894 --> 37:48.334 [SPEAKER_01]: It's in there because without it this movie would have been. 37:48.354 --> 37:49.194 [SPEAKER_00]: It would have been about nothing. 37:49.234 --> 37:52.355 [SPEAKER_01]: It would have been about nothing and here it's about a little something and I appreciate that. 37:52.395 --> 38:02.577 [SPEAKER_01]: And I like that in the end and what could actually make this like and it's not doing very well at the box office but if they ever wanted to make another one I'd be like yeah that could work because all you really need is 38:03.217 --> 38:06.199 [SPEAKER_01]: Bob Odenkirk can't control his violent impulses. 38:06.239 --> 38:12.783 [SPEAKER_01]: There's always some giant asshole out there doing some horrible thing and he can't resist the urge to kick their ass. 38:13.943 --> 38:16.045 [SPEAKER_01]: Even though he knows it jeopardizes his family. 38:17.182 --> 38:19.043 [SPEAKER_01]: Uh, and that's it. 38:19.403 --> 38:20.363 [SPEAKER_01]: Put him in a new place. 38:20.983 --> 38:21.403 [SPEAKER_01]: Oh, no. 38:21.423 --> 38:23.084 [SPEAKER_00]: Uh, oh, oh, thank God. 38:23.104 --> 38:29.246 [SPEAKER_01]: I finally got to, I finally got to, I finally got to go to Portugal. 38:29.346 --> 38:32.227 [SPEAKER_01]: I was the prettiest place in all of the world. 38:32.247 --> 38:33.767 [SPEAKER_01]: Look at these giant castles. 38:33.787 --> 38:35.868 [SPEAKER_00]: Look at these wonderful tax rebates. 38:35.948 --> 38:36.368 [SPEAKER_00]: So great. 38:36.508 --> 38:37.689 [SPEAKER_00]: Yeah, yeah. 38:37.729 --> 38:41.090 [SPEAKER_01]: And it turns out Portugal is the most evil country in the world. 38:41.110 --> 38:43.991 [SPEAKER_01]: Like just whatever, just put him in a situation. 38:44.871 --> 38:45.931 [SPEAKER_01]: and didn't let him go. 38:45.951 --> 39:03.537 [SPEAKER_01]: It reminded me a little bit of like almost like a Zatoichi movie, where it's just about, he's a wonderful, he's drifting, he's wandering samurai everywhere he goes, thanks to the fact that the world is full of corruption and crime, and also that he can't help himself from, he gets involved every single fucking time. 39:04.670 --> 39:15.101 [SPEAKER_01]: I like that it turned what seemed like a pretty straightforward, reclaim your masculinity through violence, solve all your problems thing, became a character defect. 39:15.602 --> 39:15.822 [SPEAKER_00]: Yeah. 39:16.062

--> 39:20.527 [SPEAKER_01]: I thought that was a smart play, and as a result, ultimately, I like this movie better than the first. 39:21.315 --> 39:29.959 [SPEAKER_01]: Okay, I find it more entertaining from beginning to end because they're not trying to hide something from me that isn't very convincing in the first place. 39:31.320 --> 39:38.783 [SPEAKER_01]: And yeah, I think the fact that we get to see him just fighting his inner nature constantly makes the character more interesting. 39:38.923 --> 39:40.104 [SPEAKER_00]: It makes the character more interesting. 39:40.624 --> 39:42.406 [SPEAKER_00]: It's not particularly deep or meaningful. 39:42.486 --> 39:43.426 [SPEAKER_00]: No, no. 39:44.047 --> 39:45.948 [SPEAKER_00]: I do appreciate the action. 39:45.968 --> 39:52.373 [SPEAKER_00]: I think they keep everything in terms of like action choreography, very bright brisk and clear. 39:52.754 --> 39:57.217 [SPEAKER_00]: There are a few fun novel things, especially when they're setting like booby traps in a amusement park. 39:57.257 --> 39:59.038 [SPEAKER_00]: There's some wit to the action. 39:59.519 --> 40:00.980 [SPEAKER_00]: It's greatest virtue, really. 40:01.457 --> 40:04.838 [SPEAKER_00]: is that with its credits, it's eighty nine minutes in life. 40:05.018 --> 40:06.758 [SPEAKER_00]: Oh my god, that was such a great thing. 40:06.778 --> 40:07.798 [SPEAKER_00]: It's such a mercy. 40:07.818 --> 40:08.719 [SPEAKER_00]: I just don't have it. 40:09.419 --> 40:16.540 [SPEAKER_00]: Tell these like very slight themes, this very light story, this very fun, easy to digest, this action-confection. 40:17.220 --> 40:20.541 [SPEAKER_00]: And in the late summer, and it doesn't need to be hefty. 40:20.561 --> 40:22.822 [SPEAKER_00]: It doesn't need to be an important part of something larger. 40:22.842 --> 40:25.662 [SPEAKER_00]: And we're not saying, like, why's we dollar-reena for instance? 40:25.682 --> 40:25.762 [SPEAKER_00]: Yeah. 40:25.782 --> 40:29.263 [SPEAKER_01]: And we're not saying this because we just wanted to be short and move on with our day, which ends because 40:30.143 --> 40:31.785 [SPEAKER_01]: It doesn't feel short. 40:32.446 --> 40:33.727 [SPEAKER_00]: It doesn't feel complete. 40:34.047 --> 40:37.291 [SPEAKER_01]: It doesn't feel like there's like stuff missing that we never got around to. 40:38.052 --> 40:40.635 [SPEAKER_01]: And it's packed with action from beginning to end. 40:40.675 --> 40:42.196 [SPEAKER_01]: You get everything you want. 40:43.177 --> 40:48.023 [SPEAKER_01]: And then you also get to like get back to your car in time before the validation runs out. 40:48.864 --> 40:49.324 [SPEAKER_01]: It's a win. 40:51.103 --> 41:04.232 [SPEAKER_01]: It's just great and it just proves that you can have these incredibly satisfying audience pleasing movies and it doesn't have to be this three-hour epic to give us everything we want and to make us feel pretty satisfied. 41:04.252 --> 41:05.453 [SPEAKER_01]: Again, nobody, too. 41:05.933 --> 41:12.037 [SPEAKER_01]: It's a bit of a trifle, but as far as these summer entertainments go, it's one of the better ones I've seen this summer. 41:12.397 --> 41:12.678 [SPEAKER_01]: It's true. 41:12.698 --> 41:14.741 [SPEAKER_01]: It is just, you know, light and enjoyable. 41:14.802 --> 41:15.623 [SPEAKER_01]: I've liked other stuff. 41:15.643 --> 41:17.707 [SPEAKER_01]: Like I liked Jurassic World rebirth. 41:17.727 --> 41:18.568 [SPEAKER_01]: There's nothing to it. 41:18.588 --> 41:20.372 [SPEAKER_01]: It's just a silly monster movie, but I enjoyed it. 41:20.572 --> 41:21.774 [SPEAKER_01]: I'd rather watch nobody to again. 41:22.403 --> 41:22.983 [SPEAKER_00]: I think so too. 41:23.043 --> 41:24.264 [SPEAKER_01]: Yeah, it's got more personality. 41:24.745 --> 41:27.767 [SPEAKER_01]: I think it's actually just a little bit of a treat. 41:27.807 --> 41:34.131 [SPEAKER_00]: There's a one one moment that I love that has nothing to do with action, which was the only moment that I think had like real emotion to it. 41:34.532 --> 41:37.214 [SPEAKER_00]: And it's when Bob Oden Kirk is like having a memory. 41:37.954 --> 41:43.098 [SPEAKER_00]: He goes into a diner and he just sort of has this flashback to when he was a kid and he was sort of having a meal with his brother and his dad. 41:44.658 --> 41:47.640 [SPEAKER_00]: That felt very real to me if I felt well considered. 41:47.880 --> 41:48.420 [SPEAKER_00]: Ah, that's nice. 41:49.520 --> 41:53.962 [SPEAKER_01]: Alright, well moving on, there's another action we would open this weekend not that anybody was told about it. 41:53.982 --> 41:57.523 [SPEAKER_01]: And I wanted to see this, but I missed it. 41:57.683 --> 42:00.785 [SPEAKER_01]: It is a new film version of Red Sonia. 42:01.485 --> 42:03.566 [SPEAKER_01]: Now, Red Sonia is a character with interesting backstory. 42:03.586 --> 42:09.548 [SPEAKER_01]: I mentioned at the top of the podcast, but Robert E. Howard created a character named Red Sonia in the early nineteen thirties. 42:10.499 --> 42:15.260 [SPEAKER_01]: in the nineteen seventies, the fun barbarian warrior character. 42:15.480 --> 42:20.041 [SPEAKER_01]: Yeah, but not really a lot like the one that we know, it's just to kind of just had the same name. 42:20.861 --> 42:29.322 [SPEAKER_01]: In the nineteen seventies, more of a comics was producing Conan the barbarian comics and they were flying off the shelves. 42:29.362 --> 42:36.764 [SPEAKER_01]: It was an incredibly popular series and they kept trying to like find more material in it, find more like, you know, try to beef it up. 42:38.944 --> 42:49.019 [SPEAKER_01]: They found this character from Robert E. Howard and they decided to kind of rework it almost from the ground up and turn her into like his Conan's equal. 42:49.580 --> 42:49.780 [SPEAKER_01]: Yeah. 42:50.401 --> 42:53.105 [SPEAKER_01]: So we got Red Sonia and in the comics 42:53.846 --> 42:57.927 [SPEAKER_01]: And let's be fair, at best, this is Taudry at

worst, it's pretty gross. 42:58.787 --> 43:03.929 [SPEAKER_00]: She's a woman who... It's the deja forest thing, the chain mail bikini. 43:03.949 --> 43:04.649 [SPEAKER_00]: Yeah, yeah, yeah, yeah. 43:04.709 --> 43:05.469 [SPEAKER_00]: But even that. 43:05.949 --> 43:16.632 [SPEAKER_01]: But even that, but like her plot, like her character thing, like driving her, she will not let any man sleep with her, unless they defeat her in battle. 43:16.892 --> 43:17.132 [SPEAKER_01]: Okay. 43:17.252 --> 43:20.953 [SPEAKER_01]: And it's because bad things happen to her a long time ago, but it's sort of like, oh, 43:22.182 --> 43:23.503 [SPEAKER_01]: So you've commodified that. 43:23.723 --> 43:27.145 [SPEAKER_01]: It's not great. 43:27.586 --> 43:28.646 [SPEAKER_01]: But that was like the selling point. 43:28.666 --> 43:30.928 [SPEAKER_01]: And they've moved on from that in the comics as my understanding. 43:30.948 --> 43:31.848 [SPEAKER_01]: I haven't read them in a while. 43:33.589 --> 43:40.614 [SPEAKER_01]: In the nineteen eighties after they had produced Conan the Barbarian, which was a huge hit, and Conan the Destroyer, which I think they're okay. 43:40.654 --> 43:43.476 [SPEAKER_01]: It's not very popular, but I think they're good. 43:44.396 --> 43:48.299 [SPEAKER_01]: They were looking to do more films like that, and they realized full of just two red Sonya. 43:49.353 --> 43:56.695 [SPEAKER_01]: So once they did Red Sonia, they brought in Bridget Nielsen, who was having a moment in the mid-eighties. 43:56.835 --> 43:59.476 [SPEAKER_01]: She was in Rocky for, he was in Beverly Hills, copped to. 43:59.996 --> 44:04.157 [SPEAKER_01]: She's a very statuous, muscular, very stylish presence. 44:04.497 --> 44:07.158 [SPEAKER_01]: She's just like a model, but she looks like you can kick your ass. 44:09.098 --> 44:12.762 [SPEAKER_01]: So they cast her as Red Sonia, makes sense on paper. 44:12.782 --> 44:17.126 [SPEAKER_01]: She's not a great actor, but you know, she fit the role physically. 44:17.146 --> 44:19.208 [SPEAKER_01]: And that's what they got from Arnold Schwarzenegger and that worked out. 44:19.648 --> 44:23.231 [SPEAKER_01]: They also listed Arnold Schwarzenegger, not playing Conan. 44:23.251 --> 44:25.213 [SPEAKER_01]: I think a very Conan-like character. 44:25.233 --> 44:25.513 [SPEAKER_01]: Yes. 44:25.754 --> 44:31.799 [SPEAKER_01]: And apparently, Arnold Schwarzenegger agreed to have a small supporting role in this movie as a favorite to the producers. 44:33.527 --> 44:38.801 [SPEAKER_01]: They spaced out his role throughout the entire movie, turning him into a co-lead so they can market it as a Schwarzenegger movie. 44:40.881 --> 44:41.361 [SPEAKER_01]: That's fucked up. 44:42.502 --> 44:43.342 [UNKNOWN]: That's really fucked up. 44:43.782 --> 44:46.844 [SPEAKER_01]: Also, it's fucked up because it takes the movie away from Red Sonia, which is not really fair. 44:47.964 --> 44:49.425 [SPEAKER_01]: The movie is not great. 44:49.605 --> 44:51.826 [SPEAKER_01]: It is more entertaining than I think people give it credit for. 44:51.866 --> 44:53.627 [SPEAKER_01]: It's definitely got a camp value to it. 44:54.087 --> 44:56.408 [SPEAKER_01]: But it's got earnings raise, juniors, a hell bad, could it be? 44:57.889 --> 44:59.069 [SPEAKER_01]: But I don't dislike it. 44:59.229 --> 45:06.213 [SPEAKER_01]: And as a bit of a historical tidbit, because that movie is based off of the comic book version of Red Sonia, 45:07.073 --> 45:10.656 [SPEAKER_01]: Technically, that's the first feature length live action movie based on a morphotonic. 45:11.397 --> 45:15.841 [SPEAKER_01]: Everyone gives credit to Howard the Duck and they're always a little embarrassed by it, but it should be read Sonya. 45:15.901 --> 45:18.303 [SPEAKER_01]: And I realize you might also be a little embarrassed by that. 45:18.423 --> 45:22.226 [SPEAKER_01]: But if we're willing to give it to Howard the Duck, we should give it to Red Sonya too. 45:22.747 --> 45:24.828 [SPEAKER_01]: So actually, strike that instead. 45:25.729 --> 45:26.830 [SPEAKER_01]: Let her have it, I say. 45:26.930 --> 45:31.314 [SPEAKER_01]: So I'm going to be banging that drum for the rest of my career because I think it's bullshit. 45:33.065 --> 45:39.032 [SPEAKER_01]: But I guess it wasn't huge, but the character of main popular in the comics, and they've been talking for a really long time about rebooting it. 45:39.333 --> 45:44.299 [SPEAKER_01]: Robert Rodriguez and Rosemary Gowan were going to do it for a while, but that version would have been cool. 45:45.540 --> 45:52.568 [SPEAKER_01]: But then they were going to make a new one very, very recently, and the hired is a director Brian Singer. 45:54.094 --> 45:55.916 [SPEAKER_00]: Oh, did something happen with Brian Singer? 45:56.276 --> 45:58.778 [SPEAKER_01]: Yes, something happened with Brian. 45:59.138 --> 46:02.121 [SPEAKER_01]: There's a reason why we don't talk about Brian Singer anymore. 46:03.582 --> 46:12.629 [SPEAKER_01]: So they took him off and it seems that the production kind of shrank in ambition and budget after that. 46:13.510 --> 46:18.438 [SPEAKER_01]: So we have a much more modest sort of story film. 46:18.919 --> 46:21.183 [SPEAKER_01]: It's now directed by MJ Bassett. 46:21.764 --> 46:23.287 [SPEAKER_01]: She does a lot of television. 46:23.627 --> 46:25.691 [SPEAKER_01]: She did a really fun movie. 46:27.393 --> 46:34.982 [SPEAKER_01]: A couple of years ago with Megan Fox, where she played a mercenary, and a big shootout with a whole bunch of, and also there's a whole bunch of killer lions. 46:35.562 --> 46:36.303 [SPEAKER_01]: It's called Rogue. 46:37.465 --> 46:42.170 [SPEAKER_01]: It's not amazing, but it is really, really fun, and you do just want to throw money at her, and we're making other movies. 46:42.210 --> 46:42.570 [SPEAKER_01]: That's cool. 46:44.312 --> 46:46.616 [SPEAKER_01]: And yeah, so we're going to turn it. 46:46.856 --> 46:47.337 [SPEAKER_01]: She's

back. 46:47.477 --> 46:51.203 [SPEAKER_01]: She's now played by Matilda Lutz, who you might remember from Revenge. 46:51.804 --> 46:52.024 [SPEAKER_01]: Yes. 46:52.966 --> 46:54.909 [SPEAKER_01]: Really cool casting, really cool casting. 46:55.950 --> 46:57.352 [SPEAKER_01]: And yeah, she is 46:59.295 --> 47:04.879 [SPEAKER_01]: She thinks she's the last member of a, you know, a tribe of civilization. 47:04.899 --> 47:08.622 [SPEAKER_01]: I think they say tribe, but like that got brutally murdered by barbarians. 47:09.123 --> 47:12.285 [SPEAKER_01]: And now she is wandering the forest one with nature. 47:12.345 --> 47:16.048 [SPEAKER_01]: So one with nature, she can take honey in the bees or like help yourself. 47:16.649 --> 47:18.930 [SPEAKER_01]: Like she's just a forest child. 47:19.791 --> 47:23.494 [SPEAKER_01]: And then a bunch of evil guys come in and they start poaching the various animals. 47:23.874 --> 47:25.595 [SPEAKER_01]: And so she's like, well, I'm not going to have any of that. 47:25.635 --> 47:26.876 [SPEAKER_01]: So she goes to try to teach them a lesson. 47:27.997 --> 47:50.394 [SPEAKER_01]: it goes badly there's a cute bit actually she goes to like this like This like camp we're like a whole bunch of like evil empire guys are staying and they're visited by their emperor who's played by Robert Shean who is not who I would get to play the evil emperor of anything 47:51.521 --> 47:55.704 [SPEAKER_01]: He literally, when he walks out of his carriage, and it's like a tank by the way. 47:55.744 --> 47:57.445 [SPEAKER_01]: He has like a neck-renistic technology. 47:57.485 --> 47:58.446 [SPEAKER_01]: It's how he's taking over the world. 48:00.227 --> 48:02.348 [SPEAKER_01]: He gets out and like big dramatic intro. 48:02.368 --> 48:04.650 [SPEAKER_01]: I think he just kind of looks at the camera and goes, what? 48:05.530 --> 48:09.833 [SPEAKER_01]: And I'm like, did you not tell him what movie he was in until just now? 48:09.933 --> 48:11.614 [SPEAKER_01]: Did you like, was it like a fun surprise? 48:13.606 --> 48:14.287 [SPEAKER_01]: is weird. 48:14.527 --> 48:18.189 [SPEAKER_01]: Weirdly not very good known, but I was looking up Robert she had. 48:18.229 --> 48:20.571 [SPEAKER_00]: I know from the mortal instruments moving. 48:20.611 --> 48:22.832 [SPEAKER_00]: Yeah, it's just one of those sexy nerds. 48:22.852 --> 48:24.153 [SPEAKER_01]: Yeah, it's one of those handsome guys. 48:24.333 --> 48:26.134 [SPEAKER_01]: Yeah, I don't dislike him or anything. 48:26.154 --> 48:27.555 [SPEAKER_01]: I just think he's weird casting for this part. 48:28.075 --> 48:32.718 [SPEAKER_01]: He has, he has a henchwoman played by Wallace Day. 48:33.819 --> 48:41.324 [SPEAKER_01]: And she fought her way up from the gladiator arena, but now like the ghosts of everyone she killed to get her freedom haunt her, which is kind of neat. 48:41.930 --> 48:42.170 [SPEAKER_01]: Wow. 48:42.951 --> 48:45.595 [SPEAKER_01]: She sees Red Sonia like lurking around beating up some guys. 48:45.635 --> 48:54.505 [SPEAKER_01]: She starts to fight her and Red Sonia grabs the sword and tries to fight this badass, you know, evil night. 48:55.246 --> 48:56.268 [SPEAKER_01]: And she sucks. 48:57.289 --> 49:00.192 [SPEAKER_01]: And while I stay, it's like, I thought you'd be better at this and she's like, I need to. 49:01.653 --> 49:20.640 [SPEAKER_01]: I just sort of assumed I'd be good at this I didn't really so the kidnapped her and she has to work her way out of the gladiator arena She meets a whole bunch of people one of was played by Rhona Mitra who probably in another ten years ago would have been right so just good presence they don't get enough that she should have been in the movie more that's a sham but um 49:22.407 --> 49:32.015 [SPEAKER_01]: Yeah, and it turns out Robert Xi Hen has like half of a magic book, and that's where he learned all of this technology and is looking for the other half, and he thinks Red Sonia can lead him to it. 49:32.496 --> 49:40.883 [SPEAKER_01]: So he leaves her in the gladiator arena, so she could maybe get randomly killed by a cyclops. 49:41.003 --> 49:41.824 [SPEAKER_01]: Plot doesn't really work. 49:43.405 --> 49:48.410 [SPEAKER_01]: He also has a mind-controlled technology that he uses on various monsters once. 49:49.913 --> 50:05.940 [SPEAKER_01]: You think that would come up a lot, like you think that would be like a useful thing to keep using, but now, um, Giscapes starts rebellion, they fight, it's kind of standard, I like, I like what they're aspiring to. 50:06.140 --> 50:08.521 [SPEAKER_01]: I don't think they had the budget to pull it off. 50:08.681 --> 50:09.042 [SPEAKER_00]: Okay. 50:09.082 --> 50:11.683 [SPEAKER_01]: It feels rushed, it feels cheap, it feels like, 50:12.900 --> 50:25.806 [SPEAKER_01]: You know, if this was like a Xena reboot, like if that's like the tone we were going for, that would be great, but it's not really like fun enough to get away with that. 50:26.827 --> 50:31.631 [SPEAKER_01]: And it's still trying to kind of be a big movie, and it's never really very convincing. 50:31.671 --> 50:35.535 [SPEAKER_01]: And although definitely parts of it are kitsch, it's not really kitsch enough. 50:36.415 --> 50:40.338 [SPEAKER_01]: Like the original Red Sony is more entertainingly silly and to odd. 50:40.999 --> 50:43.921 [SPEAKER_01]: So it doesn't quite work as a series film, but it doesn't quite work as camp. 50:44.342 --> 50:46.764 [SPEAKER_01]: It just feels kind of like just half, half baked. 50:47.584 --> 50:49.466 [SPEAKER_01]: I do like, what did I do like? 50:49.486 --> 50:51.648 [SPEAKER_01]: And I actually thought they were like, they're going for something here. 50:53.265 --> 50:59.928 [SPEAKER_01]: The last scene with Red Sonia and the evil emperor is surprisingly thoughtful. 50:59.948 --> 51:02.990 [SPEAKER_01]: I won't say what happens because it's literally the last time I moved. 51:03.410 --> 51:12.175 [SPEAKER_01]: But like,

there's so many ways you could have played that, they actually picked the most mature one, which is unexpected in a film. 51:13.715 --> 51:15.816 [SPEAKER_01]: Like a peplum movie, a certain sandal film. 51:15.836 --> 51:19.778 [SPEAKER_01]: You don't usually go for thoughtful at the end of one of these. 51:20.099 --> 51:21.059 [SPEAKER_01]: And I respect it for that. 51:21.099 --> 51:22.400 [SPEAKER_01]: And it's one of the things that makes me think, 51:24.067 --> 51:29.971 [SPEAKER_01]: somewhere in the production, they thought they would have everything they needed to make this work. 51:31.312 --> 51:38.976 [SPEAKER_01]: And it is very, very clear that at some point they found out that they weren't gonna have all that, and they had to make do and try. 51:39.417 --> 51:44.820 [SPEAKER_01]: And I respect the effort, I do not think it is a terrible movie, but it isn't a very good one. 51:45.540 --> 51:51.484 [SPEAKER_01]: And unfortunately, even though like it's got a lot of pieces that I think could have been great, I still prefer the original. 51:52.757 --> 51:54.058 [SPEAKER_01]: as not good as the original is. 51:54.378 --> 51:56.479 [SPEAKER_01]: It's a more entertaining film from start to finish. 51:56.799 --> 52:01.981 [SPEAKER_01]: However, I have run from several people that they really enjoyed this movie's way of life. 52:02.101 --> 52:03.162 [SPEAKER_01]: It's kind of low-fi. 52:03.182 --> 52:05.603 [SPEAKER_01]: There's integrity. 52:05.763 --> 52:06.523 [SPEAKER_00]: There's integrity. 52:06.543 --> 52:07.243 [SPEAKER_00]: There's integrity. 52:09.385 --> 52:38.000 [SPEAKER_00]: yet not wholly successful be filmmaker and I think this movie has integrity actually willing to admit that and there's also comes together there's a lot of super low budget movies that I love when they try to I've said this before big action pictures from mainstream studio films where they don't even do stunt people it's all like CG and they're using these balletic animations to show these really amazing action sequences those are way less visually interesting to me yeah then 52:39.625 --> 52:57.553 [SPEAKER_01]: Twenty guys with an old junker and a stick of dynamite that they just drove out into the desert and blew up a car and I think because they actually did Yeah, yeah, and I think if this movie had more of that I wouldn't like it more, but it's still trying to other stuff There's the like the centerpiece is still a big fight with a CG monster Hmm, but the CG monster couldn't even look good. 52:57.573 --> 53:01.415 [SPEAKER_01]: Yeah, and it's not like doesn't look so good that like it's kind of fun. 53:01.455 --> 53:02.255 [SPEAKER_01]: It just looks like 53:02.715 --> 53:03.776 [SPEAKER_01]: Oh, you really didn't have the money. 53:03.796 --> 53:11.161 [SPEAKER_00]: Well, if you have like one bad CGI glory shot of the monster, but then there's like a lot of cover editing and you have rubber claws. 53:11.221 --> 53:12.362 [SPEAKER_00]: See, that would have been really cool. 53:12.542 --> 53:13.362 [SPEAKER_01]: They should have done that. 53:13.422 --> 53:13.603 [SPEAKER_00]: Yeah. 53:13.883 --> 53:14.263 [SPEAKER_01]: But they did. 53:14.303 --> 53:16.605 [SPEAKER_01]: It was just why it feels like it's trying to be. 53:16.965 --> 53:19.947 [SPEAKER_01]: It's trying to achieve something it doesn't have the materials for. 53:20.327 --> 53:27.052 [SPEAKER_01]: It's like I have a jigsaw puzzle and I don't have all the pieces and I know what's supposed to look like the statue of Liberty. 53:28.430 --> 53:31.914 [SPEAKER_01]: It might be able to finagle the tower of London somehow. 53:31.934 --> 53:33.395 [SPEAKER_01]: That feels like what they're trying to do. 53:33.415 --> 53:34.636 [SPEAKER_01]: But it's not bad. 53:37.452 --> 53:40.014 [SPEAKER_01]: It's not good, but it's not really that bad. 53:40.054 --> 53:44.979 [SPEAKER_01]: This is one of those moments where I felt like, you know, putting in my rotten tomato score felt a little rude. 53:45.459 --> 53:47.701 [SPEAKER_01]: Like, I don't want to give this like a big all thumbs down. 53:48.042 --> 53:50.884 [SPEAKER_01]: It doesn't work, but it's not for lack of trying. 53:50.904 --> 53:52.566 [SPEAKER_01]: And I respect what they were going for. 53:52.746 --> 53:57.770 [SPEAKER_01]: I really do feel like the people who made this could have made a better movie under different circumstances. 53:57.810 --> 54:02.515 [SPEAKER_01]: I don't know what their circumstances were, but I guarantee you they would have loved another twenty million dollars. 54:03.015 --> 54:12.278 [SPEAKER_01]: I'm sure almost anyone won, but like in their case it's like no, no, we really could have thrown that at like the sets and the effects and had a few extra shooting days to make the fights look a little better. 54:13.058 --> 54:14.999 [SPEAKER_01]: It really would have helped this movie a lot. 54:15.399 --> 54:17.759 [SPEAKER_00]: I'm looking up MJ Bassett. 54:17.779 --> 54:19.100 [SPEAKER_00]: It's someography here. 54:19.340 --> 54:20.400 [SPEAKER_00]: Yeah. 54:21.100 --> 54:22.421 [SPEAKER_00]: It's a pretty hidden mess. 54:23.001 --> 54:26.862 [SPEAKER_01]: She's right the Solomon Kane, which has a big cult following. 54:27.769 --> 54:32.051 [SPEAKER_00]: And little, uh, Spike Lee connection. 54:32.191 --> 54:32.531 [SPEAKER_00]: Oh, really? 54:32.892 --> 54:37.154 [SPEAKER_00]: Um, MJ Bassett did inside man Colin most wanted. 54:37.374 --> 54:39.795 [SPEAKER_01]: Oh, the sequel to the inside man. 54:39.835 --> 54:40.155 [SPEAKER_01]: That's a door. 54:40.195 --> 54:40.415 [SPEAKER_01]: Yeah. 54:40.955 --> 54:47.118 [SPEAKER_01]: Um, she also directed Silent Hill Revelations, which is just, oh, it's so bad. 54:49.457 --> 54:50.939 [SPEAKER_01]: It's incomprehensible. 54:50.979 --> 54:53.283 [SPEAKER_01]: Like I recently watched that for an article I was writing. 54:53.684 --> 54:55.807 [SPEAKER_01]: And I was like, surely it can't be as bad as I remember.

54:56.308 --> 54:57.369 [SPEAKER_01]: And it's like, no, it is. 54:58.251 --> 55:03.679 [SPEAKER_01]: Like, because I actually also rewant the first live action Silent Hill movie which for a long time people said was like the best. 55:04.580 --> 55:08.102 [SPEAKER_01]: Like, if not Mortal Kombat, then Silent Hill was the best live action video game movie. 55:08.122 --> 55:12.045 [SPEAKER_01]: And I always thought calling one combat the best live action video game movie was like, wow, the bar is low. 55:12.085 --> 55:13.265 [SPEAKER_00]: The bar was already pretty low. 55:13.405 --> 55:16.507 [SPEAKER_01]: It's kind of fun, but that's as far as I'm willing to go on that. 55:16.668 --> 55:19.549 [SPEAKER_00]: And then Silent Hill's, the first Silent Hill isn't near that guy. 55:19.629 --> 55:23.432 [SPEAKER_01]: No, it's not like, wow, it's been comprehensible. 55:23.452 --> 55:24.913 [SPEAKER_01]: The plot is terrible. 55:24.953 --> 55:27.134 [SPEAKER_01]: The character work doesn't really function. 55:27.214 --> 55:28.815 [SPEAKER_01]: The themes are all over the place. 55:29.375 --> 55:30.556 [SPEAKER_01]: There's some good imagery in it. 55:30.636 --> 55:33.178 [SPEAKER_01]: The score is good because it's just the score of the game. 55:33.798 --> 55:42.262 [SPEAKER_01]: Like it doesn't work and I was like well surely sound a revelation couldn't be worse and I was like oh no, it's oh God, it's a lot worse. 55:42.642 --> 55:53.887 [SPEAKER_01]: Oh my god So much so it's like I fell there for a second so I'd up and down career up and down for a different way Bass it, but I think she does good works sometimes, so it's one of those things where it's like 55:55.366 --> 55:56.688 [SPEAKER_01]: What's the real MJ Bassett? 55:57.328 --> 55:59.611 [SPEAKER_01]: Is it the MJ Bassett who produces good movies sometimes? 55:59.651 --> 56:02.194 [SPEAKER_01]: Or is the MJ Bassett who sometimes produces a bad movie? 56:02.254 --> 56:09.722 [SPEAKER_01]: But if you told me that a studio came in and really fucked up Silent Hill revelations, then I would not be shocked. 56:10.440 --> 56:12.041 [SPEAKER_00]: I got, I got to interview her once. 56:12.281 --> 56:12.661 [SPEAKER_00]: Oh really? 56:12.801 --> 56:12.981 [SPEAKER_00]: Yeah. 56:13.842 --> 56:15.822 [SPEAKER_00]: I don't, I don't come a con. 56:15.942 --> 56:18.203 [SPEAKER_00]: Many, right before Silent Hill. 56:18.263 --> 56:19.084 [SPEAKER_01]: Oh, so it's for Silent Hill. 56:19.184 --> 56:19.404 [SPEAKER_00]: Yeah. 56:19.604 --> 56:21.225 [SPEAKER_00]: Okay, that's fine. 56:21.405 --> 56:26.427 [SPEAKER_00]: And the description, you talk to filmmakers, you talk to producers, you talk to screenwriters. 56:27.207 --> 56:29.428 [SPEAKER_00]: They'll give you a really interesting description. 56:29.448 --> 56:31.330 [SPEAKER_00]: A really interesting pitch. 56:31.470 --> 56:31.790 [SPEAKER_01]: Yeah. 56:32.210 --> 56:34.172 [SPEAKER_00]: For the movie and make it sound really great. 56:34.432 --> 56:34.872 [SPEAKER_01]: Yeah. 56:35.132 --> 56:37.974 [SPEAKER_00]: I was really looking forward to Silent Hill revelations. 56:38.154 --> 56:39.935 [SPEAKER_00]: Oh, this is going to be better than the most of it. 56:40.195 --> 56:42.437 [SPEAKER_01]: I remember hearing Mark Steven Johnson talk about. 56:42.857 --> 56:48.941 [SPEAKER_01]: Mark Steven Johnson talking about his daredevil movie and his ghost-rated movie and it sounds like he has all the best ideas like, oh, keep this guy, get set. 56:49.181 --> 56:49.862 [SPEAKER_01]: And then you watch him and say, 56:50.762 --> 56:52.843 [SPEAKER_01]: Oh, you really can't execute that very well. 56:52.863 --> 56:55.264 [SPEAKER_01]: Yeah, I mean, you're like, your hearts in the right place. 56:55.624 --> 56:57.285 [SPEAKER_00]: And I'm not really nailing it. 56:57.385 --> 57:02.607 [SPEAKER_00]: And I'm not putting MJ Bassett and Uva Bowl in the same camp. 57:03.128 --> 57:04.708 [SPEAKER_01]: No, it's like talking about a lot of filmmakers. 57:04.728 --> 57:05.909 [SPEAKER_01]: I just mentioned Mark Steven Johnson. 57:05.929 --> 57:08.090 [SPEAKER_01]: I think Paul Dubois Anderson is falling into this trap as well. 57:08.170 --> 57:11.311 [SPEAKER_00]: Yeah, like, can these are filmmakers who can sell a picture. 57:11.331 --> 57:11.851 [SPEAKER_01]: Yeah. 57:12.091 --> 57:13.112 [SPEAKER_00]: But they can't always pull it off. 57:13.577 --> 57:15.798 [SPEAKER_01]: Yeah, but I do think I'm gonna pass it sometimes pulls it off. 57:15.838 --> 57:18.239 [SPEAKER_01]: And that's something I can't say for, for example. 57:18.259 --> 57:19.519 [SPEAKER_00]: Like you were a fan of, bro. 57:19.599 --> 57:20.659 [SPEAKER_01]: Bro, it's okay. 57:20.759 --> 57:29.042 [SPEAKER_01]: It's not like a brilliant movie you need to see, but it's like you watch it and like, I mean, yeah, I wanted to watch Bank and Fox fight fucking manning lines in a middle of a huge shootout. 57:30.443 --> 57:31.623 [SPEAKER_01]: You gave me that. 57:31.983 --> 57:32.823 [SPEAKER_01]: Thank you for that. 57:33.203 --> 57:35.324 [SPEAKER_01]: That's what I wanted today, so good job. 57:37.085 --> 57:39.105 [SPEAKER_01]: So anyway, but we should move on. 57:39.185 --> 57:40.346 [SPEAKER_01]: You saw movie I didn't sing. 57:40.506 --> 57:40.726 [SPEAKER_01]: Yes. 57:42.200 --> 57:46.426 [SPEAKER_01]: It is the latest animated opus from Gendi Tartakovsky. 57:47.087 --> 57:50.451 [SPEAKER_01]: I mean, I haven't seen everything he does. 57:50.471 --> 57:52.915 [SPEAKER_01]: Like, he'll do like TV shows and I missed it. 57:52.935 --> 57:56.860 [SPEAKER_01]: He'll do this one like Kaysman, Primal Primal. 57:57.101 --> 57:57.822 [SPEAKER_01]: Primal was really good. 57:57.842 --> 57:58.302 [SPEAKER_01]: I missed it. 57:59.480 --> 58:02.203 [SPEAKER_01]: But almost any time he makes anything, I'm appreciative. 58:02.864 --> 58:09.312 [SPEAKER_01]: When I watch it, I'm like, okay, he really put a lot of effort into this and he's trying to do

something interesting with the animated medium. 58:09.672 --> 58:10.233 [SPEAKER_01]: Is that this? 58:14.238 --> 58:17.642 [SPEAKER_00]: But have you wanted to see him work blue? 58:20.104 --> 58:21.185 [SPEAKER_00]: Not a special man. 58:21.365 --> 58:25.449 [SPEAKER_00]: You know, Gindy Tertakovsky is a very interesting filmmaker. 58:25.509 --> 58:33.275 [SPEAKER_00]: He came up during that wave of animation in the late nineties where it went curtain network was really starting to blow up. 58:33.335 --> 58:36.638 [SPEAKER_01]: And when they started to make their own curtains, they started to power up around. 58:36.738 --> 58:39.400 [SPEAKER_00]: And he is the creator of Dexter's laboratory. 58:39.681 --> 58:40.341 [SPEAKER_00]: Great cartoon. 58:40.501 --> 58:43.604 [SPEAKER_00]: And he was really good at capturing a very 58:44.063 --> 58:48.489 [SPEAKER_00]: certain kind of blocky, super stylized form of animation that first came into Vogue in the sixties. 58:48.949 --> 58:49.930 [SPEAKER_00]: They kind of brought it back. 58:50.091 --> 58:52.854 [SPEAKER_00]: He could like give it a sort of a thicker line, give it a new aesthetic. 58:52.974 --> 58:55.898 [SPEAKER_01]: And a lot of energy, like the really just fast pace. 58:55.998 --> 59:02.366 [SPEAKER_00]: And he's really well, he's really expert with pacing because some of it's really fast pace, but he knows how to like really elongate stuff. 59:02.906 --> 59:05.747 [SPEAKER_00]: I love his TV series, Samurai Jack. 59:06.067 --> 59:07.067 [SPEAKER_00]: Samurai Jack's right. 59:07.187 --> 59:08.927 [SPEAKER_00]: It's this fantasy science fiction thing. 59:09.267 --> 59:11.288 [SPEAKER_00]: It's just has a really interesting piece. 59:11.328 --> 59:13.848 [SPEAKER_01]: It's a lot of quiet in that story. 59:14.168 --> 59:18.749 [SPEAKER_01]: I don't know if maybe that's fallen out of like generational favor or something. 59:19.089 --> 59:31.431 [SPEAKER_01]: If you've never seen it a samurai warrior and like this evil sorcerer were fighting and the samurai warrior was about to win so the evil sorcerer like opened a portal through time and sent him into the future so he'd be future me's problem. 59:31.851 --> 59:37.775 [SPEAKER_01]: And he now he's in a post-apocalyptic wasteland full of every kind of genre you could possibly have. 59:37.995 --> 59:40.217 [SPEAKER_00]: There's high tech, but magic as well, yeah. 59:40.397 --> 59:40.797 [SPEAKER_01]: Yeah. 59:41.137 --> 59:43.979 [SPEAKER_01]: And it's just one fucking great episode. 59:44.239 --> 59:45.880 [SPEAKER_01]: There's an episode of that show. 59:45.921 --> 59:47.422 [SPEAKER_01]: It's on my favorite episodes of television. 59:47.842 --> 59:50.323 [SPEAKER_01]: That's just Samurai Jack trying to cross a bridge. 59:51.284 --> 59:53.205 [SPEAKER_01]: And there's a static guy in front of him. 59:53.325 --> 59:54.446 [SPEAKER_01]: And he refuses to move. 59:55.227 --> 59:56.808 [SPEAKER_01]: That's the whole episode. 59:56.868 --> 59:57.908 [SPEAKER_00]: All on the bridge. 59:59.690 --> 01:00:01.672 [SPEAKER_00]: Samurai Jack is really fantastic. 01:00:01.732 --> 01:00:15.787 [SPEAKER_00]: I've really admired Wendy Tartakovsky and he actually did something really interesting that I feel like we need to be talking about more because when you made those hotel Transylvania movies, not classics in terms of their humor and content. 01:00:16.107 --> 01:00:17.448 [SPEAKER_00]: The first one is pretty close. 01:00:17.488 --> 01:00:18.308 [SPEAKER_00]: First one's pretty close. 01:00:18.889 --> 01:00:24.012 [SPEAKER_00]: But he has spoken about how CG was not his medium. 01:00:24.032 --> 01:00:25.893 [SPEAKER_00]: We always like doing hand-drawn animation. 01:00:26.193 --> 01:00:31.016 [SPEAKER_00]: Because you couldn't stretch visually a CG creation. 01:00:31.056 --> 01:00:31.856 [SPEAKER_01]: CG work work. 01:00:31.896 --> 01:00:32.837 [SPEAKER_01]: You have to really work over. 01:00:32.917 --> 01:00:36.599 [SPEAKER_00]: Yeah, the CG were programs to be like puppets. 01:00:36.619 --> 01:00:37.840 [SPEAKER_00]: They could only stretch so far. 01:00:38.020 --> 01:00:39.020 [SPEAKER_01]: We created this model. 01:00:39.180 --> 01:00:39.981 [SPEAKER_01]: It's going to move around. 01:00:40.021 --> 01:00:41.121 [SPEAKER_01]: It's going to be on model. 01:00:41.161 --> 01:00:44.503 [SPEAKER_01]: If you wanted to go off model, we have to do it all over again. 01:00:44.543 --> 01:00:45.383 [SPEAKER_01]: And it's a whole process. 01:00:45.423 --> 01:00:46.603 [SPEAKER_01]: And a lot of the things that was worth the bottom. 01:00:46.703 --> 01:00:49.945 [SPEAKER_00]: And I feel like Gandy Charter Cops can a couple other filmmakers as well. 01:00:50.905 --> 01:00:56.987 [SPEAKER_00]: The makers of like the peanuts movie and the makers of the Captain Underpants movie really started to stretch what CGI could do. 01:00:57.047 --> 01:00:57.768 [SPEAKER_00]: Was that the same people? 01:00:58.668 --> 01:00:59.649 [SPEAKER_00]: Um, I don't think so. 01:00:59.689 --> 01:01:00.950 [SPEAKER_00]: I think there's a lot of different teams. 01:01:00.990 --> 01:01:01.430 [SPEAKER_01]: I'll look it up. 01:01:02.010 --> 01:01:03.271 [SPEAKER_01]: It's very similar style. 01:01:03.391 --> 01:01:04.252 [SPEAKER_01]: Yeah. 01:01:04.932 --> 01:01:08.615 [SPEAKER_00]: But Gendi Terracowski really tried to make them not be puppets anymore. 01:01:08.695 --> 01:01:12.937 [SPEAKER_00]: It was trying to use CGI in the way he would hand her on animation. 01:01:13.237 --> 01:01:16.520 [SPEAKER_00]: And I feel with the hotel Transylvania, he was largely successful. 01:01:16.960 --> 01:01:21.903 [SPEAKER_00]: It changed what CGI animation could do, I think, with those movies. 01:01:21.983 --> 01:01:24.745 [SPEAKER_00]: Yeah, not the same filmmakers, but if you had told me they were, I would have believed you. 01:01:25.105 --> 01:01:32.050 [SPEAKER_00]: Yeah, but they were starting to stretch and kind of expand CGI

animation and character animations in particular. 01:01:32.110 --> 01:01:38.694 [SPEAKER_00]: They were like flat and two and a half D. They could do what drawings could do now, but still think of advantage of like three D spaces. 01:01:38.714 --> 01:01:38.994 [SPEAKER_01]: Yeah. 01:01:39.415 --> 01:01:41.396 [SPEAKER_01]: I started feeling more tactile, too, what I liked. 01:01:42.397 --> 01:01:43.537 [SPEAKER_00]: Fixed is not that. 01:01:43.658 --> 01:01:49.642 [SPEAKER_00]: Fixed is straight back to hand-run animation, and every frame is painstakingly animated. 01:01:50.062 --> 01:01:54.465 [SPEAKER_00]: Because the characters are constantly off-model, and I love that. 01:01:56.640 --> 01:02:06.727 [SPEAKER_00]: When we say off-model, there's an animation, there's a model sheet, like a kid, what the characters look like, and there's usually a set of emotions that the animators can refer to, so they can streamline the animation. 01:02:06.867 --> 01:02:07.688 [SPEAKER_01]: I think of it this way. 01:02:07.848 --> 01:02:16.814 [SPEAKER_01]: If you're going to draw Mickey Mouse for Disney, the proportions of his ears to his head have to always be just so. 01:02:16.954 --> 01:02:19.295 [SPEAKER_01]: That's the rules and that's on the model sheet. 01:02:19.375 --> 01:02:21.657 [SPEAKER_01]: He's always this tall compared to goofy, that kind of thing. 01:02:22.217 --> 01:02:25.359 [SPEAKER_00]: Not just that, but there's like emotion examples. 01:02:25.839 --> 01:02:27.499 [SPEAKER_00]: Here's what happy Mickey looks like. 01:02:27.560 --> 01:02:30.721 [SPEAKER_00]: When you're drawing a scene with happy Mickey, use that model. 01:02:31.341 --> 01:02:35.023 [SPEAKER_00]: And that works, the great work can be done by the model. 01:02:35.063 --> 01:02:42.566 [SPEAKER_01]: And it's especially important when like everyone is animating a different shot in the thing and you want to make sure they match that tracks. 01:02:43.046 --> 01:02:46.550 [SPEAKER_00]: But some animators got really frustrated with this. 01:02:47.932 --> 01:02:50.174 [SPEAKER_00]: He's a creep, but he really did push animation forward. 01:02:50.194 --> 01:02:59.044 [SPEAKER_00]: John Kaye was a big proponent of going off-model and drawing every animation, every emotion as if it was for the first time. 01:02:59.436 --> 01:03:03.379 [SPEAKER_01]: Yeah, and always exaggerated and gigantic. 01:03:03.920 --> 01:03:15.350 [SPEAKER_01]: Yeah, Ren and Stimpy has a really ugly legacy now, but it's also, there's kind of before Ren and Stimpy and after Ren and Stimpy and in terms of modern animation. 01:03:15.470 --> 01:03:23.577 [SPEAKER_00]: It was a battering ram that, the Ren and Stimpy show was a battering ram that like kicked open the doors of animation and it wasn't until later that we realized it was rotten wood. 01:03:23.877 --> 01:03:24.217 [SPEAKER_01]: Yeah. 01:03:26.069 --> 01:03:26.650 [SPEAKER_00]: That's what happened. 01:03:26.670 --> 01:03:29.832 [SPEAKER_01]: Yeah, I feel like it's like you see it was already cemented by the time people found out. 01:03:29.932 --> 01:03:32.714 [SPEAKER_01]: Yeah, so like you couldn't like unlearn. 01:03:33.014 --> 01:03:34.735 [SPEAKER_00]: Yeah, the doors were all that helped me. 01:03:35.215 --> 01:03:43.821 [SPEAKER_00]: And I feel like getting her Tartakovsky was trying to go retro with something like fix and fixed is just barely leaking out on Netflix. 01:03:43.841 --> 01:03:45.902 [SPEAKER_00]: Yeah, it was this it's a Sony animation product. 01:03:46.482 --> 01:03:47.382 [SPEAKER_01]: that Netflix boss. 01:03:47.402 --> 01:03:54.124 [SPEAKER_01]: But they're so busy focusing on making sure everyone's saying K-pop, Demon Hunter, is that they're not, they're not giving anybody else away. 01:03:54.264 --> 01:03:56.505 [SPEAKER_00]: And this has been in development for a long time. 01:03:56.905 --> 01:04:00.606 [SPEAKER_00]: They started to talk about fixed, like way back in two thousand nine. 01:04:01.326 --> 01:04:09.028 [SPEAKER_00]: And the idea was he wanted to do an animal road trip movie, but he wanted to make it a little bit naughty. 01:04:09.528 --> 01:04:10.329 [SPEAKER_00]: Yeah. 01:04:10.609 --> 01:04:15.374 [SPEAKER_00]: And so he decided to make it go as r-rated as he possibly could. 01:04:15.434 --> 01:04:17.637 [SPEAKER_00]: So this is a very r-rated picture. 01:04:17.657 --> 01:04:20.240 [SPEAKER_00]: This is an animated dog film, hand-drawn animation. 01:04:21.661 --> 01:04:27.067 [SPEAKER_00]: The main character is a dog named Bowle, who's played by Adam Divine. 01:04:29.771 --> 01:04:31.112 [SPEAKER_01]: I just don't think he's very funny. 01:04:31.192 --> 01:04:34.754 [SPEAKER_01]: He's just one of those actors who I got, for all I know is a wonderful human being. 01:04:35.194 --> 01:04:38.796 [SPEAKER_01]: I've only actually liked him in like one or two things. 01:04:39.156 --> 01:04:42.358 [SPEAKER_01]: Oh, just whatever reason, whenever he's in something, I'm like, oh, this scene won't be funny. 01:04:42.498 --> 01:04:44.559 [SPEAKER_01]: Okay, I'll just, I'll just wait until it's over. 01:04:44.599 --> 01:04:46.600 [SPEAKER_01]: And then eventually, Pitch Perfect will continue. 01:04:48.881 --> 01:04:50.523 [SPEAKER_00]: And he's the only one they got for the TV show. 01:04:50.723 --> 01:04:51.443 [SPEAKER_01]: I know, I know. 01:04:51.724 --> 01:04:57.488 [SPEAKER_01]: I did, I did like him in the final girls, because like he's played with a lot of that abrasive persona. 01:04:57.528 --> 01:04:58.529 [SPEAKER_01]: I think that worked. 01:04:59.469 --> 01:05:02.812 [SPEAKER_01]: So I'm not, okay, probably I was one of him and being, but I just don't think he's funny. 01:05:03.172 --> 01:05:07.715 [SPEAKER_00]: But, but Bull is unlike the other dogs in his friend group. 01:05:07.755 --> 01:05:09.076 [SPEAKER_00]: He has other dog friends. 01:05:09.397 --> 01:05:13.760 [SPEAKER_00]: One of them is a boxer terrier played by Idris Elba. 01:05:14.901 -->

01:05:17.522 [SPEAKER_00]: There's a doxence played by Fred Armisen. 01:05:18.566 --> 01:05:22.935 [SPEAKER_00]: And there's like a little nervous dog played by Bobby Moynihan. 01:05:24.670 --> 01:05:28.151 [SPEAKER_00]: He has a crush on the showdog who lives next door. 01:05:28.191 --> 01:05:30.232 [SPEAKER_00]: The showdog is played by his name, honey. 01:05:30.252 --> 01:05:31.952 [SPEAKER_00]: He's played by Catherine Han. 01:05:32.013 --> 01:05:32.813 [SPEAKER_00]: Yeah! 01:05:32.853 --> 01:05:34.313 [SPEAKER_00]: Catherine Han was wonderful and everything. 01:05:34.433 --> 01:05:36.014 [SPEAKER_00]: Can do no wrong. 01:05:38.135 --> 01:05:47.858 [SPEAKER_00]: And he's very pleased with his life, his family spoils him, and he is allowed to poop in the yard and hump whatever he likes. 01:05:47.918 --> 01:05:50.419 [SPEAKER_00]: And one of the first scenes we see him in, he's humping grandma's leg. 01:05:51.369 --> 01:05:52.870 [SPEAKER_00]: He loves humping grandma's leg. 01:05:52.910 --> 01:05:57.192 [SPEAKER_00]: And he loves humping grandma's leg because he unlike his friends still has his testicles. 01:05:57.893 --> 01:05:58.993 [SPEAKER_00]: He has not yet been neutered. 01:05:59.013 --> 01:05:59.974 [SPEAKER_00]: He's not fixed. 01:06:00.134 --> 01:06:00.754 [SPEAKER_00]: That's the title. 01:06:02.175 --> 01:06:04.356 [SPEAKER_00]: And he, well, it's playing at the dog park. 01:06:04.536 --> 01:06:06.677 [SPEAKER_00]: He sees a friend with a cone on his head. 01:06:06.697 --> 01:06:07.598 [SPEAKER_00]: Like, oh, no, what do they do? 01:06:07.838 --> 01:06:09.299 [SPEAKER_00]: They took my balls, man. 01:06:10.470 --> 01:06:10.810 [SPEAKER_00]: What do you mean? 01:06:10.851 --> 01:06:11.491 [SPEAKER_00]: They took your balls. 01:06:11.511 --> 01:06:12.272 [SPEAKER_00]: Yeah, they took them all. 01:06:12.292 --> 01:06:14.294 [SPEAKER_00]: Yeah, we've all been neutered, man. 01:06:14.334 --> 01:06:15.995 [SPEAKER_00]: You're weird and that you still have your balls. 01:06:16.015 --> 01:06:17.577 [SPEAKER_00]: Like, but I love my balls. 01:06:17.617 --> 01:06:20.540 [SPEAKER_00]: I've given them names a lot of talk about balls. 01:06:20.860 --> 01:06:23.823 [SPEAKER_00]: The boy is about his balls. 01:06:24.804 --> 01:06:25.064 [SPEAKER_01]: Okay. 01:06:25.324 --> 01:06:28.828 [SPEAKER_00]: So they're animated flying around in the breeze. 01:06:28.848 --> 01:06:30.750 [SPEAKER_00]: We never see dog penis in the film. 01:06:30.890 --> 01:06:31.470 [SPEAKER_00]: Only balls. 01:06:31.611 --> 01:06:32.551 [SPEAKER_00]: Just bought a lot of balls. 01:06:33.905 --> 01:06:36.326 [SPEAKER_01]: And I'm not even gonna eat a dog. 01:06:36.386 --> 01:06:37.926 [SPEAKER_00]: I'm a lot of dog eating this as well. 01:06:38.226 --> 01:06:39.787 [SPEAKER_01]: I actually bother to animate those. 01:06:39.827 --> 01:06:40.187 [SPEAKER_01]: That's good. 01:06:40.227 --> 01:06:43.428 [SPEAKER_01]: He listened to what everyone said about movie cats. 01:06:44.089 --> 01:06:47.250 [SPEAKER_00]: This is like we're not gonna pretty much the fun whole kind. 01:06:47.290 --> 01:06:51.371 [SPEAKER_01]: There is no non-but whole kind of fix and I respect that I do. 01:06:51.471 --> 01:06:56.133 [SPEAKER_00]: And he says the day will come when your owners will let you do whatever you want. 01:06:56.553 --> 01:06:57.793 [SPEAKER_00]: And they're gonna lead you to the toilet. 01:06:57.833 --> 01:07:00.014 [SPEAKER_00]: It's gonna be full of cool aid for some reason. 01:07:00.394 --> 01:07:01.975 [SPEAKER_00]: Don't drink the toilet cool aid. 01:07:03.395 --> 01:07:22.552 [SPEAKER_00]: I don't know I'm not a dog I'm in this in this movie leading the dog into Like to the toilet and giving like putting the medicine in the toilet water and letting them drink out of the toilet is gonna it's like an attract them into drinking this medicine I've literally you bring the dog into the vet and they do all that there 01:07:22.852 --> 01:07:23.453 [SPEAKER_00]: That's what I thought. 01:07:23.593 --> 01:07:35.422 [SPEAKER_01]: I understand spoiling the animal ahead of time because he feels kind of guilty but like that that I've seen but that's a thing but like the day does come when his owners like throw trash on the ground and let him roll around and do whatever he wants and then they lead him to the toilet water. 01:07:35.482 --> 01:07:37.663 [SPEAKER_00]: I that's okay. 01:07:37.843 --> 01:07:41.426 [SPEAKER_00]: No whatever he knows he knows the next morning. 01:07:41.446 --> 01:07:44.989 [SPEAKER_00]: He's gonna be taken to the vet to be neutered and he can't stand this. 01:07:45.829 --> 01:07:48.892 [SPEAKER_00]: He wants to take his balls out on the town. 01:07:49.352 --> 01:07:52.356 [SPEAKER_00]: Yeah, he and his friends break out the dog version of the bachelor party. 01:07:52.456 --> 01:07:52.837 [SPEAKER_00]: Exactly. 01:07:52.857 --> 01:07:54.359 [SPEAKER_00]: And they have a wild night on the town. 01:07:54.399 --> 01:07:56.702 [SPEAKER_00]: There's a scene where they break into a dog show. 01:07:56.942 --> 01:07:57.103 [SPEAKER_00]: Yeah. 01:07:57.143 --> 01:08:00.267 [SPEAKER_00]: There's a scene where they kill a squirrel and they're covered in squirrel blood. 01:08:00.727 --> 01:08:04.152 [SPEAKER_00]: It's a lot like the there's another ranchy dog comedy. 01:08:04.172 --> 01:08:07.056 [SPEAKER_00]: Yeah, I think it was just called good boys or some 01:08:07.156 --> 01:08:13.340 [SPEAKER_01]: Yeah, something like that, and yeah, it even has that scene where they like do the color really well. 01:08:13.360 --> 01:08:14.761 [SPEAKER_01]: Yeah, it's really very horrifying. 01:08:14.781 --> 01:08:16.762 [SPEAKER_00]: It's the same sort of thing, but now it's an animation. 01:08:16.802 --> 01:08:20.285 [SPEAKER_00]: I think it's a lot easier to take an animation just because these are anthropomorphic dogs. 01:08:21.523 --> 01:08:32.645 [SPEAKER_01]: Yeah, the the film we're alluding to had train

animals straight straight straight that was funny. 01:08:32.765 --> 01:08:36.146 [SPEAKER_01]: I thought the rabbit scene was off puttingly dark. 01:08:36.846 --> 01:08:37.866 [SPEAKER_00]: Dogs do kills. 01:08:37.966 --> 01:08:48.248 [SPEAKER_01]: No, but like you don't have yeah, but they didn't put that in homework bound the incredible journey because that might have made you lose interest in the dog like I'm a little less like 01:08:48.968 --> 01:08:53.329 [SPEAKER_01]: Like, if Stuart Little had just been eaten by the cat halfway through the movie, you go, well, cats do that. 01:08:53.369 --> 01:08:56.890 [SPEAKER_01]: But also, that's not why we bought the ticket. 01:08:56.970 --> 01:09:00.591 [SPEAKER_00]: Look, there's only so many facets to a dog's experience. 01:09:01.271 --> 01:09:03.171 [SPEAKER_00]: Well, that's just the crisis of creativity. 01:09:03.191 --> 01:09:04.012 [SPEAKER_00]: I suppose so. 01:09:04.092 --> 01:09:06.732 [SPEAKER_00]: So, it's covering a lot of the same ground as Straze. 01:09:07.232 --> 01:09:14.234 [SPEAKER_00]: It's possible this one's been in development a much longer than Straze and Straze kind of came and went while Gendi Tartakovsky was still working on it. 01:09:14.274 --> 01:09:14.594 [SPEAKER_00]: Who knows? 01:09:14.694 --> 01:09:16.835 [SPEAKER_00]: And Straze just to have it happen to come out first. 01:09:16.975 --> 01:09:17.675 [SPEAKER_01]: Weird things have happened. 01:09:17.775 --> 01:09:17.855 [SPEAKER_00]: Yeah. 01:09:19.496 --> 01:09:22.720 [SPEAKER_00]: I like both movies just because they dare to be as gross as they are. 01:09:22.820 --> 01:09:26.064 [SPEAKER_00]: There's plenty of, you know, poo and genitals jokes. 01:09:26.744 --> 01:09:28.406 [SPEAKER_00]: Every scene mentions the balls. 01:09:29.748 --> 01:09:30.008 [SPEAKER_00]: Yeah. 01:09:30.028 --> 01:09:31.149 [SPEAKER_00]: And they break into a dog show. 01:09:31.169 --> 01:09:33.492 [SPEAKER_00]: This is supposed to be overnight, but there's a dog show. 01:09:33.692 --> 01:09:35.895 [SPEAKER_00]: I'm not exactly sure what the timeline of all of this is. 01:09:36.155 --> 01:09:38.516 [SPEAKER_01]: There's also some fantasy elements because there's also like an orgy palace for dogs. 01:09:38.536 --> 01:09:40.256 [SPEAKER_00]: It's like well organized and you have to pay admission. 01:09:55.342 --> 01:09:56.844 [SPEAKER_01]: It's like eyes wide shut for dogs. 01:09:56.944 --> 01:09:58.966 [SPEAKER_00]: Well, no, it's more like it's like a nightclub. 01:09:58.986 --> 01:10:02.249 [SPEAKER_00]: It's like flashing lights and everybody's just fucking on the floor. 01:10:02.269 --> 01:10:04.232 [SPEAKER_01]: So it's like a fun eyes wide shut for dogs. 01:10:04.312 --> 01:10:13.702 [SPEAKER_00]: Yeah, fun eyes wide shut for dogs and there's a stripper there in this stripper is a literal bear that likes to wag its balls around there's that we get to some bear balls as well as well. 01:10:14.738 --> 01:10:19.403 [SPEAKER_01]: It's fun

to imagine animators spending years out of their lives animating these testicles. 01:10:19.723 --> 01:10:21.224 [SPEAKER_00]: I bet they had a wonderful time. 01:10:21.244 --> 01:10:22.685 [SPEAKER_00]: I hope they had everybody's time. 01:10:22.726 --> 01:10:30.292 [SPEAKER_00]: Everybody seemed to have a great time and it's it's foul mouth like crazy everybody gets to sort of cost up a blue streak in this animated film. 01:10:32.214 --> 01:10:32.634 [SPEAKER_00]: I like it. 01:10:32.654 --> 01:10:35.317 [SPEAKER_00]: I like it because of how gross it is. 01:10:35.997 --> 01:10:38.420 [SPEAKER_00]: I admire films that dare to be 01:10:39.668 --> 01:10:42.729 [SPEAKER_00]: Gross in a way that I can tell the filmmakers are all about. 01:10:43.730 --> 01:10:47.772 [SPEAKER_00]: Strays, I feel like I couldn't tell whether they like or dislike dogs. 01:10:48.552 --> 01:10:48.992 [SPEAKER_00]: I can do that. 01:10:51.273 --> 01:10:54.915 [SPEAKER_00]: Fixed, I can tell they like dogs and they like kind of how gross dogs can be. 01:10:55.251 --> 01:10:55.391 [SPEAKER_00]: Yeah. 01:10:55.751 --> 01:10:56.472 [SPEAKER_00]: Dogs can be gross. 01:10:56.492 --> 01:10:57.032 [SPEAKER_00]: Dogs are gross. 01:10:57.112 --> 01:10:58.814 [SPEAKER_00]: If you live with an animal, you're living with it. 01:10:58.874 --> 01:11:02.396 [SPEAKER_00]: You're cleaning poop up and dealing with it's animal impulse. 01:11:02.456 --> 01:11:03.457 [SPEAKER_02]: Yeah. 01:11:03.477 --> 01:11:04.337 [SPEAKER_00]: That's what you sign up for. 01:11:04.457 --> 01:11:09.281 [SPEAKER_00]: Dogs can't help but be dogs and you give them a voice and they're just going to be gross humans. 01:11:10.021 --> 01:11:10.602 [SPEAKER_00]: And that's fine. 01:11:10.862 --> 01:11:11.242 [SPEAKER_00]: Yeah. 01:11:11.262 --> 01:11:11.662 [SPEAKER_00]: That's fine. 01:11:11.783 --> 01:11:12.883 [SPEAKER_00]: And I feel like 01:11:14.090 --> 01:11:19.096 [SPEAKER_00]: I'm not laughing at the gross out humor, I'm just sort of enjoying its temerity. 01:11:20.198 --> 01:11:24.643 [SPEAKER_00]: And something that we could use a lot of in the world of animation. 01:11:24.663 --> 01:11:28.889 [SPEAKER_00]: Now, there are animated films that try to play blue. 01:11:28.929 --> 01:11:30.391 [SPEAKER_00]: There's some like sausage part. 01:11:33.582 --> 01:11:38.343 [SPEAKER_00]: But, uh, a full-length sausage party, they think that the, or it goes outpark. 01:11:39.103 --> 01:11:43.904 [SPEAKER_00]: Those are, uh, using shocking jokes, but kind of a crude form of animation. 01:11:43.924 --> 01:11:45.684 [SPEAKER_01]: Um, very solid like form of animation. 01:11:45.724 --> 01:11:45.904 [SPEAKER_01]: Yeah. 01:11:45.944 --> 01:11:48.485 [SPEAKER_01]: You know, like, like, just to make it feel like that's the contrast. 01:11:48.965 --> 01:11:51.485 [SPEAKER_01]: What if something that looks cute was gross? 01:11:51.805 --> 01:11:51.985 [SPEAKER_00]: Yeah. 01:11:52.706 --> 01:12:00.227 [SPEAKER_00]: But, uh, they're banking on the, the humor being shocking enough to cover for the fact that the animation isn't super dynamic. 01:12:01.027 --> 01:12:02.888 [SPEAKER_00]: Can he try to kovsky is not going to do that? 01:12:02.928 --> 01:12:03.389 [SPEAKER_00]: That's true. 01:12:03.729 --> 01:12:10.532 [SPEAKER_00]: He actually worked overtime to make sure all of these dogs are super expressive and they're completely off-model. 01:12:11.152 --> 01:12:18.536 [SPEAKER_00]: Maybe even a little off-putting throughout the entire moving and he's trying to come up with new visual ways to animate dog balls. 01:12:18.976 --> 01:12:22.738 [SPEAKER_00]: There's creativity in the dog balls. 01:12:22.798 --> 01:12:23.398 [SPEAKER_00]: Yeah. 01:12:23.578 --> 01:12:25.900 [SPEAKER_00]: It's a crass dumb film about balls. 01:12:26.520 --> 01:12:27.460 [SPEAKER_00]: Is it going to make you laugh? 01:12:27.740 --> 01:12:28.361 [SPEAKER_00]: Maybe not. 01:12:29.157 --> 01:12:29.917 [SPEAKER_00]: gorgeous. 01:12:30.677 --> 01:12:31.978 [SPEAKER_00]: It's not Bowser. 01:12:32.378 --> 01:12:32.638 [SPEAKER_00]: Okay. 01:12:33.158 --> 01:12:34.499 [SPEAKER_00]: I think it's the dog's box. 01:12:35.659 --> 01:12:37.700 [SPEAKER_01]: All right. 01:12:37.860 --> 01:12:41.281 [SPEAKER_01]: It's a shame it's not getting at the actual release because that that should be on a poster. 01:12:41.601 --> 01:12:42.501 [SPEAKER_00]: It's the dog's box. 01:12:42.841 --> 01:12:45.542 [SPEAKER_01]: I know I always look down like oh, we're really gonna. 01:12:46.710 --> 01:12:49.171 [SPEAKER_01]: Say something really quoteable, but that that one's good. 01:12:49.711 --> 01:12:50.531 [SPEAKER_01]: I'm gonna let you ask that. 01:12:51.071 --> 01:12:51.771 [SPEAKER_01]: All right. 01:12:51.871 --> 01:13:01.614 [SPEAKER_00]: It's it's so crude, but it's it's so alive in its animation and that's what I respect love that about I'm gonna see it at some point, but I risked that's what makes you want to see it. 01:13:01.634 --> 01:13:04.795 [SPEAKER_01]: It's just the fact that it's kind of your task is not only just doesn't throw anything in 01:13:05.235 --> 01:13:06.756 [SPEAKER_01]: Yeah, always trust service. 01:13:07.277 --> 01:13:13.122 [SPEAKER_01]: All right, there's one more film we're reviewing and it is a new drama called East of Wall. 01:13:13.902 --> 01:13:17.685 [SPEAKER_01]: This parade at Sundance earlier this year and won an audience award and I can see why. 01:13:20.247 --> 01:13:25.351 [SPEAKER_01]: So this star is Tabitha Samiga and her daughter Pursha Samiga. 01:13:25.871 --> 01:13:28.614 [SPEAKER_01]: They play and this is a really good bit of casting, by the way. 01:13:29.434 --> 01:13:33.818 [SPEAKER_01]: Tabitha Samiga and her daughter Pursha Samiga play themselves. 01:13:34.518 --> 01:13:37.781 [SPEAKER_01]: The director of this movie, Kate B. Croft, she wrote and directed it. 01:13:39.542 --> 01:13:42.284 [SPEAKER_01]: Stumbled upon them in their journeys. 01:13:43.563 -->

01:14:09.184 [SPEAKER_01]: uh... and uh... thought they were really interesting people so they like embedded with them learned more about their life and decided to make a movie about what they've been going through uh... and what they've been going through is uh... tabitha who's this really just just really cool looking woman like you just want to be like oh i bet she's cool like a friend she's got like a cool like scrilyx kind of haircuts covered in tattoos 01:14:09.906 --> 01:14:13.598 [SPEAKER_01]: She always looks very comfortable in a situation, but also very confident like you trust her. 01:14:15.122 --> 01:14:15.945 [SPEAKER_01]: She runs a horse ranch. 01:14:17.332 --> 01:14:21.174 [SPEAKER_01]: She has two kids, wait, I think maybe three kids? 01:14:21.454 --> 01:14:21.995 [SPEAKER_01]: Well, here's the thing. 01:14:22.355 --> 01:14:27.638 [SPEAKER_01]: She has kids, including her oldest daughter, and a very young son. 01:14:29.339 --> 01:14:43.986 [SPEAKER_01]: But also, she has a whole bunch of other kids that have found their way to her ranch, either because their parents have been neglecting them and they have nowhere else to go, or because their parents have said, listen, I'm just gonna neglect my kids, why don't you take them? 01:14:45.147 --> 01:14:47.268 [SPEAKER_01]: So she's just, she's got a big heart. 01:14:47.328 --> 01:14:48.028 [SPEAKER_01]: She can't say no. 01:14:48.108 --> 01:14:51.088 [SPEAKER_01]: I'm just trying to help them all out, but she doesn't have the money for any of this. 01:14:51.268 --> 01:14:53.469 [SPEAKER_01]: It's really, really struggling to make ends meet. 01:14:54.549 --> 01:14:58.050 [SPEAKER_01]: And her husband ended his own life a couple of years ago. 01:14:58.070 --> 01:14:58.630 [SPEAKER_02]: Okay. 01:14:58.750 --> 01:15:02.111 [SPEAKER_01]: After a long bout of depression, and she's still wrestling with that. 01:15:02.151 --> 01:15:06.392 [SPEAKER_01]: And she's not talking about it with her daughter and this pisses her daughter off, as you can understand. 01:15:06.972 --> 01:15:10.273 [SPEAKER_01]: But they're really, really, really talented horse trainers. 01:15:10.913 --> 01:15:16.917 [SPEAKER_01]: They can make horses do amazing things, they respect the horses, it's really wonderful, but they can't make a living at it. 01:15:17.278 --> 01:15:21.080 [SPEAKER_01]: They'll train these horses to do all these incredible things and they'll go to these horse auctions. 01:15:22.161 --> 01:15:24.042 [SPEAKER_01]: Here's all these things these horses are trained to do. 01:15:24.062 --> 01:15:25.063 [SPEAKER_01]: They're not afraid of this. 01:15:25.363 --> 01:15:28.065 [SPEAKER_01]: They can walk sideways, they can do this without it. 01:15:28.105 --> 01:15:37.432 [SPEAKER_01]: It's all stuff that makes the horse clearly something you don't want to spend a lot of money on, and everyone lowballs them, probably because they know they're desperate and they'll take what they can get. 01:15:37.932 --> 01:15:38.733 [SPEAKER_01]: So they're really struggling. 01:15:40.256 --> 01:15:45.982 [SPEAKER_01]: into their lives comes a rich rancher from Texas named Scoot Mc uh played by Scoot McNairi. 01:15:46.042 --> 01:15:46.943 [SPEAKER_01]: Sorry, he's not playing himself. 01:15:47.564 --> 01:15:48.205 [SPEAKER_00]: Um, okay. 01:15:48.225 --> 01:15:49.206 [SPEAKER_00]: See a creep again. 01:15:50.247 --> 01:15:53.050 [SPEAKER_01]: You think he will be okay, but this is not that kind of movie. 01:15:53.110 --> 01:15:55.493 [SPEAKER_00]: Scoot McNairi is so good at playing creve character. 01:15:56.534 --> 01:15:57.354 [SPEAKER_01]: It's multifaceted. 01:15:57.414 --> 01:15:59.075 [SPEAKER_01]: It's just kind of like show where your roles are. 01:15:59.095 --> 01:15:59.435 [SPEAKER_01]: It's creeps. 01:16:00.136 --> 01:16:00.476 [SPEAKER_01]: No, no, no. 01:16:00.516 --> 01:16:01.456 [SPEAKER_01]: This is not that kind of movie. 01:16:01.476 --> 01:16:05.278 [SPEAKER_01]: You feel like it might be because his whole thing is he finds them very interesting. 01:16:05.318 --> 01:16:10.280 [SPEAKER_01]: He like wildly overpays for one of their horses to kind of like getting good with them. 01:16:10.801 --> 01:16:12.261 [SPEAKER_01]: Starts betting all his time at the ranch. 01:16:12.321 --> 01:16:17.484 [SPEAKER_01]: Starts like showering presence on Porsche and you find out his own daughter died a few years ago. 01:16:17.564 --> 01:16:21.606 [SPEAKER_01]: And this is starting to feel a little projecty onto the family. 01:16:22.466 --> 01:16:24.447 [SPEAKER_01]: And he goes to Tabitha and says, 01:16:27.033 --> 01:16:28.115 [SPEAKER_01]: You're brilliant at what you do. 01:16:28.315 --> 01:16:29.618 [SPEAKER_01]: I want to invest in what you do. 01:16:29.638 --> 01:16:30.620 [SPEAKER_01]: So how about this? 01:16:30.821 --> 01:16:33.186 [SPEAKER_01]: I buy the ranch and you stay here and you just work here. 01:16:33.707 --> 01:16:34.228 [SPEAKER_01]: Okay. 01:16:35.270 --> 01:16:35.811 [SPEAKER_01]: Here's the thing. 01:16:36.818 --> 01:16:38.699 [SPEAKER_01]: It's technically not her ranch. 01:16:39.519 --> 01:16:44.961 [SPEAKER_01]: The ranch belongs to her three-year-old son, who will only come at the possession of it when he's a teen. 01:16:45.301 --> 01:16:46.681 [SPEAKER_01]: That's what the Will said. 01:16:46.701 --> 01:16:49.142 [SPEAKER_01]: So he's just a caretaker of this. 01:16:49.742 --> 01:17:02.227 [SPEAKER_01]: So although this would solve a lot of immediate problems, A, who knows if this guy's going to keep his end of the deal, who knows if the deal is going to still be in play five years from now, and is she throwing away her child's legacy with this? 01:17:02.267 --> 01:17:04.488 [SPEAKER_01]: So it's a really complicated conversation that they're having. 01:17:06.510 --> 01:17:10.913 [SPEAKER_01]: And that's the whole movie, like the guy in the world's his mustache and does is anything dastardly. 01:17:11.213 --> 01:17:13.915

[SPEAKER_01]: He's got to kind of selfish reasons for doing it, but he's not evil. 01:17:14.695 --> 01:17:16.937 [SPEAKER_01]: And it is, that's, that's fine fodder for a drama. 01:17:16.997 --> 01:17:17.797 [SPEAKER_01]: It's fine fodder for a drama. 01:17:17.818 --> 01:17:18.958 [SPEAKER_01]: It's very understated. 01:17:19.779 --> 01:17:20.920 [SPEAKER_01]: The performances are amazing. 01:17:21.060 --> 01:17:24.062 [SPEAKER_01]: And, you know, the Zamillas are playing themselves. 01:17:25.552 --> 01:17:32.314 [SPEAKER_01]: It's harder to play yourself than I think most people realize, especially when you're not playing like a fun version of yourself. 01:17:32.674 --> 01:17:32.854 [SPEAKER_01]: Yeah. 01:17:33.094 --> 01:17:39.035 [SPEAKER_01]: Like when Neil Patrick Harris plays himself in like the current dorm, he's playing it up, he's having fun. 01:17:39.396 --> 01:17:44.437 [SPEAKER_01]: But like to play yourself in a serious drama about yourself and what you're actually going through. 01:17:46.492 --> 01:17:46.992 [SPEAKER_01]: hard. 01:17:47.793 --> 01:17:49.133 [SPEAKER_01]: People struggle with that. 01:17:49.393 --> 01:17:50.494 [SPEAKER_01]: It's really, really difficult. 01:17:51.114 --> 01:17:52.675 [SPEAKER_01]: And they're both wonderful actors. 01:17:53.095 --> 01:17:54.295 [SPEAKER_01]: They're really, really natural. 01:17:54.315 --> 01:17:55.196 [SPEAKER_01]: They have these really great. 01:17:55.476 --> 01:17:56.536 [SPEAKER_01]: There's this amazing scene. 01:17:57.357 --> 01:18:01.038 [SPEAKER_01]: The only other like big name actors in the movie is Jennifer Ellie. 01:18:02.419 --> 01:18:06.160 [SPEAKER_01]: And you, what would you probably know her from? 01:18:06.540 --> 01:18:08.281 [SPEAKER_00]: I don't know Jennifer. 01:18:08.301 --> 01:18:11.523 [SPEAKER_01]: I'm just trying to think of like, I thought it was pronounced L. You know what? 01:18:11.623 --> 01:18:12.123 [SPEAKER_01]: I could be wrong. 01:18:12.703 --> 01:18:12.903 [SPEAKER_01]: Yeah. 01:18:13.183 --> 01:18:13.784 [SPEAKER_01]: I could be wrong. 01:18:14.825 --> 01:18:15.745 [SPEAKER_01]: But, you know, she's been everything. 01:18:15.765 --> 01:18:16.666 [SPEAKER_01]: She was in the King's speech. 01:18:16.686 --> 01:18:17.787 [SPEAKER_01]: She was in zero dark thirty. 01:18:17.807 --> 01:18:18.247 [SPEAKER_01]: She was in fifty. 01:18:18.287 --> 01:18:19.008 [SPEAKER_00]: Oh, yeah. 01:18:19.028 --> 01:18:20.469 [SPEAKER_00]: She's had a huge long career. 01:18:20.509 --> 01:18:22.310 [SPEAKER_00]: I've seen her in numerous decades. 01:18:22.390 --> 01:18:24.232 [SPEAKER_01]: It's someone who, if you don't know her name, you know her face. 01:18:24.572 --> 01:18:25.072 [SPEAKER_01]: Yeah. 01:18:25.252 --> 01:18:27.154 [SPEAKER_01]: And she plays Tabitha's mother. 01:18:27.674 --> 01:18:31.177 [SPEAKER_01]: And Tabitha's mother has not been a great mom and she owns that. 01:18:31.637 --> 01:18:32.578 [SPEAKER_01]: And she's trying to do better. 01:18:33.158 --> 01:18:37.722 [SPEAKER_01]: But there's a scene in the movie about two thirds of the way through where it's her mother's birthday. 01:18:39.165 --> 01:18:44.968 [SPEAKER_01]: and a whole bunch of her mother's friends, older women, show up, just to get drunk and hang out around a fire. 01:18:45.008 --> 01:18:46.388 [SPEAKER_01]: We've never met these people before. 01:18:47.029 --> 01:18:52.711 [SPEAKER_01]: And just, the whole scene is just, each one of them just talking around the fire about the shit that they're going through. 01:18:53.071 --> 01:19:00.075 [SPEAKER_01]: And it's just, these are people we've never seen before, act to people who are probably playing themselves as some version of themselves, and everyone gets a moment. 01:19:00.195 --> 01:19:02.456 [SPEAKER_01]: Everyone gets a great fucking speech. 01:19:02.976 --> 01:19:05.597 [SPEAKER_01]: Everyone has something really genuine to express. 01:19:05.617 --> 01:19:07.158 [SPEAKER_01]: This is a real bonding moment. 01:19:07.538 --> 01:19:09.518 [SPEAKER_01]: is an emotionally honest moment. 01:19:09.879 --> 01:19:11.739 [SPEAKER_01]: I love how generous this movie is. 01:19:12.079 --> 01:19:17.480 [SPEAKER_01]: Every single part, how small, feels like you've been given a gift. 01:19:18.200 --> 01:19:23.221 [SPEAKER_01]: It's just an interesting, earnest, kind, but very difficult movie. 01:19:25.202 --> 01:19:25.882 [SPEAKER_01]: It's great. 01:19:26.422 --> 01:19:27.522 [SPEAKER_01]: I really hope people see it. 01:19:27.802 --> 01:19:28.563 [SPEAKER_01]: It's really wonderful. 01:19:30.443 --> 01:19:32.686 [SPEAKER_01]: You know, it's got one of those small releases. 01:19:32.806 --> 01:19:34.648 [SPEAKER_01]: Hopefully we got a bigger push around Oscar time. 01:19:35.148 --> 01:19:39.633 [SPEAKER_01]: But like what you whether or not it does when the opportunity arises to see East and Wall of Hell, I recommend you. 01:19:40.374 --> 01:19:41.556 [SPEAKER_00]: The sound's like up my alley. 01:19:41.576 --> 01:19:42.176 [SPEAKER_00]: I tried to get me to. 01:19:46.821 --> 01:19:48.862 [SPEAKER_01]: I tried to see fixed in time I didn't have it. 01:19:48.882 --> 01:19:52.545 [SPEAKER_00]: I could say the animated bowls movie, but I can't see. 01:19:52.905 --> 01:19:56.267 [SPEAKER_01]: We're doing our best, but I hope you see it put in the earpicks. 01:19:57.248 --> 01:19:59.809 [SPEAKER_01]: Alright, so that's our movie reviews for this week. 01:19:59.930 --> 01:20:05.193 [SPEAKER_01]: Let's do our review roundup, where we review movies on a scale of C minus the C plus. 01:20:05.253 --> 01:20:08.936 [SPEAKER_01]: The best we can give a movie is a C plus because we're jerks. 01:20:10.036 --> 01:20:11.737 [SPEAKER_01]: A C++ means it's above average. 01:20:11.798 --> 01:20:15.440 [SPEAKER_01]: These are movies that we highly recommend, whether we think they're all time classics are just really fun. 01:20:16.441 --> 01:20:19.083 [SPEAKER_01]: A C is an average movie, a

mixed bag. 01:20:20.373 --> 01:20:23.657 [SPEAKER_01]: Only does what it does well, but only so well that kind of thing. 01:20:23.797 --> 01:20:26.461 [SPEAKER_01]: And then or not very good, but not terrible either. 01:20:27.141 --> 01:20:28.243 [SPEAKER_01]: And then there's C-minus. 01:20:28.263 --> 01:20:29.044 [SPEAKER_01]: That's below average. 01:20:29.064 --> 01:20:30.566 [SPEAKER_01]: These are movies we think are quite stinky. 01:20:31.146 --> 01:20:33.669 [SPEAKER_01]: And we don't particularly recommend them on that note. 01:20:34.130 --> 01:20:34.630 [SPEAKER_01]: East of wall. 01:20:34.811 --> 01:20:35.512 [SPEAKER_01]: They will see plus. 01:20:35.732 --> 01:20:36.753 [SPEAKER_01]: All right, just genuine. 01:20:36.793 --> 01:20:39.476 [SPEAKER_01]: Sometimes the audience had Sundance and one of the audience where? 01:20:40.117 --> 01:20:41.117 [SPEAKER_01]: Sometimes they know what they're doing. 01:20:41.497 --> 01:20:42.418 [SPEAKER_01]: Sometimes they got good taste. 01:20:43.058 --> 01:20:44.078 [SPEAKER_01]: And this is a really, really good one. 01:20:44.838 --> 01:20:47.919 [SPEAKER_01]: So, yeah, just a really wonderful drama, very understated. 01:20:48.399 --> 01:20:53.300 [SPEAKER_01]: It screams Sundance, but not in a fakey way. 01:20:54.000 --> 01:20:58.502 [SPEAKER_01]: Not in an arch kind of way, just in a, yeah, that's the kind of movie you'd want to see at Sundance, perfect. 01:20:59.302 --> 01:20:59.582 [SPEAKER_01]: Fixed. 01:21:00.202 --> 01:21:00.482 [SPEAKER_00]: fixed. 01:21:00.722 --> 01:21:01.943 [SPEAKER_00]: I'm going to give it a C plus. 01:21:02.183 --> 01:21:02.384 [SPEAKER_00]: Great. 01:21:03.244 --> 01:21:04.065 [SPEAKER_00]: I love the animation. 01:21:04.085 --> 01:21:06.626 [SPEAKER_00]: I love that it tries to be gross and succeeds. 01:21:07.867 --> 01:21:10.769 [SPEAKER_00]: It's one of the least intelligent companies I've seen in a long time. 01:21:11.610 --> 01:21:13.291 [SPEAKER_00]: But I really enjoyed watching it. 01:21:13.311 --> 01:21:14.412 [SPEAKER_00]: I just love the animation. 01:21:14.452 --> 01:21:21.456 [SPEAKER_00]: I love the passion and the design and the verb, the visual verb that went into a film even if it is totally sick. 01:21:22.517 --> 01:21:23.058 [SPEAKER_01]: Well, that's great. 01:21:23.618 --> 01:21:24.258 [SPEAKER_01]: Red Sonia. 01:21:24.799 --> 01:21:25.219 [SPEAKER_01]: It's a sea. 01:21:25.680 --> 01:21:27.001 [SPEAKER_01]: Just kind of a textbook sea. 01:21:28.502 --> 01:21:30.483 [SPEAKER_01]: Definitely is trying to do a lot of things right. 01:21:30.523 --> 01:21:36.628 [SPEAKER_01]: And it's certainly watchable, but it never really... It's never really super exciting. 01:21:36.668 --> 01:21:38.990 [SPEAKER_01]: The performances are never really super good. 01:21:39.050 --> 01:21:40.991 [SPEAKER_01]: The action is never super amazing. 01:21:41.311 --> 01:21:44.033 [SPEAKER_01]: And it's also never super campy and funny either. 01:21:44.454 --> 01:21:45.494 [SPEAKER_01]: So it's just kind of like... 01:21:47.616 --> 01:21:48.276 [SPEAKER_01]: Something's missing. 01:21:49.156 --> 01:21:51.357 [SPEAKER_01]: Something could have driven this over the top, but we never quite got there. 01:21:51.377 --> 01:21:53.178 [SPEAKER_01]: It's a shame, but it's not terrible. 01:21:53.218 --> 01:21:57.400 [SPEAKER_01]: It's arguably better than the original red Sonya, but I'd rather watch the original red Sonya. 01:21:57.460 --> 01:21:57.680 [SPEAKER_01]: Yeah. 01:21:57.740 --> 01:21:58.220 [SPEAKER_01]: It's more fun. 01:21:58.941 --> 01:21:59.401 [SPEAKER_00]: Nobody too. 01:21:59.901 --> 01:22:00.301 [SPEAKER_00]: Nobody too. 01:22:00.341 --> 01:22:00.802 [SPEAKER_00]: That's a see. 01:22:01.502 --> 01:22:02.803 [SPEAKER_00]: I wish it were a little more ambitious. 01:22:03.103 --> 01:22:04.803 [SPEAKER_00]: I like the action. 01:22:05.124 --> 01:22:05.544 [SPEAKER_00]: Yeah. 01:22:05.684 --> 01:22:12.827 [SPEAKER_00]: I wish it were a little bit more thoughtful, but if it were, it would have sacrificed that precious precious short running time. 01:22:13.247 --> 01:22:13.888 [SPEAKER_00]: So yeah. 01:22:15.728 --> 01:22:18.749 [SPEAKER_00]: So I enjoyed myself, but it is a trifno. 01:22:19.830 --> 01:22:20.670 [SPEAKER_01]: I liked it more than you. 01:22:20.690 --> 01:22:22.671 [SPEAKER_01]: I'm going to give a C plus for entertainment value. 01:22:22.811 --> 01:22:23.031 [SPEAKER_01]: Okay. 01:22:23.191 --> 01:22:41.918 [SPEAKER_01]: I also liked the way that it sort of reframed the not very good, not very interesting message of the original as, and made it more of a character piece than rather like a big reveal and a big thing about how masculinity is wasted and you need to go act out. 01:22:42.538 --> 01:22:53.167 [SPEAKER_01]: That's all very tedious, but like the new one's fine, and I think the new one really expands on the character and uses it for good comedy and there's even a teensy bit of pain fell, so I appreciate that. 01:22:53.867 --> 01:22:55.729 [SPEAKER_01]: And lastly, highest to two lowest. 01:22:55.949 --> 01:22:58.711 [SPEAKER_00]: I'm going to give it a really high sing. 01:22:59.412 --> 01:22:59.592 [SPEAKER_00]: Okay. 01:22:59.652 --> 01:23:00.593 [SPEAKER_00]: Just I can't. 01:23:01.127 --> 01:23:05.370 [SPEAKER_00]: Because it's Spike Lee, he has so many fun, good, interesting, well not fun. 01:23:05.730 --> 01:23:18.318 [SPEAKER_00]: But just a complex, interesting idea is about the dove tailing of wealth and the legacy of Black excellence and how he kind of folds it into this interesting crime drama and this kidnapping 01:23:19.498 --> 01:23:44.726 [SPEAKER_00]: Thriller is actually a lot of really fun thrilling moments especially throughout the middle section and and right near the end all of the confrontations are really really great But it doesn't stick together super well like I've said I feel like Spike Lee is He felt kind of rushed or he was straining against low

resources something was making it not coherent very well and it felt really shoddy especially through that first third 01:23:44.926 --> 01:23:48.670 [SPEAKER_01]: See, again, I disagree with you about Bitcoin hearing. 01:23:48.710 --> 01:23:53.775 [SPEAKER_01]: I think the whole point is that it's not supposed to perfectly go here because this is a dramatic contrast. 01:23:54.076 --> 01:23:56.038 [SPEAKER_01]: Whether or not that was done well, it's another question. 01:23:56.078 --> 01:23:59.241 [SPEAKER_00]: Yeah, but if you think that was the point, then okay, you succeeded. 01:23:59.401 --> 01:24:00.542 [SPEAKER_00]: It's not coherent. 01:24:00.562 --> 01:24:00.883 [SPEAKER_01]: Fair enough. 01:24:01.223 --> 01:24:01.724 [SPEAKER_01]: I thought it was. 01:24:02.024 --> 01:24:03.125 [SPEAKER_01]: I'm giving this a C+. 01:24:03.405 --> 01:24:09.170 [SPEAKER_01]: I think this is a really intelligent, really bracing update of this material. 01:24:09.591 --> 01:24:18.159 [SPEAKER_01]: While I was watching it, I wasn't certain if I liked it because it was clear Spike Lee was doing something different than Kurosawa and I couldn't tell if what he was doing was wise. 01:24:19.000 --> 01:24:20.841 [SPEAKER_01]: By the end, very wise. 01:24:21.182 --> 01:24:24.124 [SPEAKER_01]: Very modern, very interesting, very relevant. 01:24:24.344 --> 01:24:25.145 [SPEAKER_00]: So what we're doing now? 01:24:25.225 --> 01:24:26.266 [SPEAKER_00]: Some things did. 01:24:26.667 --> 01:24:26.847 [SPEAKER_01]: Yeah. 01:24:27.727 --> 01:24:44.056 [SPEAKER_01]: Come together a little bit, but some other things were I felt we're left a little down on that fair and I I clearly liked it more than you, but it really resonated with me and I think this is and it's not as best or anything like that, but it's like when he did inside man technically that's just like a heist thriller, but he just gave it more than you need it. 01:24:44.096 --> 01:24:45.316 [SPEAKER_01]: He put more intelligence in it. 01:24:45.597 --> 01:24:46.777 [SPEAKER_01]: He put more character in it. 01:24:46.817 --> 01:24:50.819 [SPEAKER_01]: He put more just wild ideas in it than it really needed. 01:24:53.348 --> 01:24:54.068 [SPEAKER_01]: But thank God he did. 01:24:55.129 --> 01:24:57.850 [SPEAKER_01]: So yeah, I think this is a really interesting film. 01:24:58.470 --> 01:24:58.810 [SPEAKER_01]: I like it. 01:24:58.830 --> 01:24:59.550 [SPEAKER_01]: I enjoyed it a lot. 01:24:59.590 --> 01:25:00.330 [SPEAKER_01]: Denzel Washington is great. 01:25:00.350 --> 01:25:01.911 [SPEAKER_01]: And then I do recommend it. 01:25:01.951 --> 01:25:02.311 [SPEAKER_01]: See plus. 01:25:02.331 --> 01:25:02.991 [SPEAKER_01]: All right. 01:25:03.071 --> 01:25:04.352 [SPEAKER_01]: That is it for critically claimed this week. 01:25:04.392 --> 01:25:05.272 [SPEAKER_01]: Thank you everybody for listening. 01:25:05.312 --> 01:25:05.932 [SPEAKER_01]: Thank you for joining us. 01:25:05.972 --> 01:25:07.893 [SPEAKER_01]: Thank you for being cool. 01:25:08.033 --> 01:25:08.913 [SPEAKER_01]: You can email us. 01:25:08.973 --> 01:25:10.354 [SPEAKER_01]: Our email address is letters. 01:25:10.374 --> 01:25:11.874 [SPEAKER_01]: I've critically claimed that net. 01:25:11.914 --> 01:25:13.135 [SPEAKER_01]: We'm sure we have a backlog of that. 01:25:13.175 --> 01:25:13.515 [SPEAKER_01]: We need to do. 01:25:13.535 --> 01:25:14.335 [SPEAKER_01]: We've done it all this week. 01:25:15.456 --> 01:25:16.956 [SPEAKER_01]: But so please send them on in. 01:25:17.056 --> 01:25:17.977 [SPEAKER_01]: We'll read your letters soon. 01:25:18.217 --> 01:25:19.057 [SPEAKER_01]: Wait, what is our PO box? 01:25:19.077 --> 01:25:19.177 [SPEAKER_00]: Yes. 01:25:19.197 --> 01:25:20.617 [SPEAKER_00]: Send us a physical letter, postcard. 01:25:20.637 --> 01:25:21.198 [SPEAKER_00]: What if you're liked it? 01:25:21.218 --> 01:25:22.138 [SPEAKER_00]: The critically claims network. 01:25:22.477 --> 01:25:29.521 [SPEAKER_00]: PLOX-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X-X- 01:25:51.215 --> 01:25:53.337 [SPEAKER_01]: Weird, you're quite an odd year. 01:25:53.457 --> 01:25:56.880 [SPEAKER_01]: And it is one of the worst movies to ever win best picture to. 01:25:57.661 --> 01:25:59.583 [SPEAKER_01]: So that was a hard conversation. 01:25:59.603 --> 01:26:01.725 [SPEAKER_01]: But it's fun episode. 01:26:01.745 --> 01:26:02.586 [SPEAKER_01]: I'm going to help you check it out. 01:26:03.887 --> 01:26:10.534 [SPEAKER_01]: And even if you want to sign up for free, you'll get a free weekly newsletter from us every single week. 01:26:10.594 --> 01:26:12.475 [SPEAKER_01]: New writing links to our most recent articles. 01:26:12.495 --> 01:26:14.177 [SPEAKER_01]: So you can check it out. 01:26:15.699 --> 01:26:16.941 [SPEAKER_01]: Again, thank you everybody for joining us. 01:26:16.961 --> 01:26:17.703 [SPEAKER_01]: Thank you for being great. 01:26:17.763 --> 01:26:18.684 [SPEAKER_01]: We're going to win. 01:26:19.586 --> 01:26:20.247 [SPEAKER_01]: And never forget. 01:26:20.708 --> 01:26:21.389 [SPEAKER_01]: Everyone's a predict. 01:26:21.409 --> 01:26:26.238 [SPEAKER_00]: I want to go to the Midnight Show. 01:26:27.079 --> 01:26:27.861 [SPEAKER_00]: I'm sorry I wet.