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Transcript

MaXXXine · Citizen Frame

• 0:00
  Music.
• 0:06
  Sorry, I'm late. I was... Don't. Hearing you blame something will only irritate me more.
• 0:12
  The most precious thing we have in life is our time. We never have enough,
• 0:15
  especially on a production.
• 0:19
  If you waste mine again, you're out. I can have the second best girl on the
• 0:23
  Concorde tonight frothing at the mouth to take your place. Is that clear enough?
• 0:26
  Music.
• 0:31
  You Hollywood girls are so desperate to become famous, Miss,
• 0:34
  you don't even realize how easy it is to become infamous.
• 0:38
  Could be you on one of these slabs, Maxine.
• 0:40
  Music.
• 0:55
  Fucking restart. Hey, everybody. Welcome back. That's right.
• 1:00
  Guys, a little special as well. It's not really a special treat because you
• 1:03
  guys knew it was coming. It just took a while for it to get.
• 1:07
  I had to see it twice, so I had to wait for a video on demand.
• 1:10
  Luckily, it's available now.
• 1:12
  And we're here to end our retrospective, the Ty West retrospective of Maxine
• 1:17
  or the X series, I guess you can say. Yeah.
• 1:21
  The Pearl franchise. There's so many different names you can call this.
• 1:26
  Which is kind of fun because we're about to dive into Mad Maxes,
• 1:30
  which I promised you guys a while ago. But again, we wanted to wait until Furiosa
• 1:34
  is more available so we can watch it a couple times. But...
• 1:39
  I just figured this out. What way to start the Mad Max retrospective with Maxine?
• 1:46
  See what I did there? Yeah.
• 1:49
  That's very clever. Very clever there. Even if it doesn't mean it, you know?
• 1:54
  Yeah, exactly. Don't say that. It's a secret. They don't know.
• 1:57
  Yeah. They don't know that I'm that clever.
• 2:00
  All right. So, yeah. So, real quickly, X to me, a couple years back, we did it.
• 2:07
  But X to me is one of the, I think one of the best slasher films I've seen in years and,
• 2:12
  and just everything about it was a happy throwback to what I grew up watching,
• 2:20
  whether it's through Texas Chainsaw,
• 2:22
  Friday Through Teeth, you know, The Prowler, all those classics that are close
• 2:28
  and near dear to my heart as a slasher fan,
• 2:31
  X definitely ticked all the boxes and then some.
• 2:34
  I don't know how to crop that. We recently talked about that with,
• 2:39
  I'm having a brain freeze.
• 2:41
  Oh, what? Brain freeze. It's Rudehouse.
• 2:45
  No. Oh, you wrote a, the fuck? It has a crocodile.
• 2:51
  No, I'm not talking about the fucking crocodile. I'm not talking about the fucking
• 2:53
  crocodile. Oh, and a violent nature. And a violent nature. Thank you. Wow.
• 2:58
  And how they take in the slasher genre and made it something different,
• 3:02
  you know? Whether you liked it or not, they did something different.
• 3:04
  Well, X did that. I really do.
• 3:07
  X almost boogie nights meets Texas Chainsaw. Yeah.
• 3:12
  Well acted, great fun, and I was dying for a sequel.
• 3:16
  As we know, we got Pearl out of that sequel, well, prequel technically,
• 3:19
  and I didn't like it. We won't go through the whole thing.
• 3:23
  I thought it was nothing like the original.
• 3:25
  He kind of went outside the box, which I guess I can respect.
• 3:29
  Mia Goff was just fucking annoying and screaming through the whole film.
• 3:33
  I just thought it was dreadful. It was dreadful. And some of the really good
• 3:38
  performances out of that film, but she just was terrible in it and it's unfortunate.
• 3:43
  So I was scared how they were going to end this because I knew where Maxine was going.
• 3:49
  It was going to the old Vice Squad, gritty crime dramas that was coming out
• 3:54
  in the late seventies, early eighties. Palma.
• 3:57
  Movies like, like, you know, 10 to Midnight, Vice Squad, Fort Apache,
• 4:02
  The Bronx, even The Death Wishes. Yeah.
• 4:05
  Peppered in with Maniac. Giallo films as well.
• 4:09
  And yeah, Giallo films as well.
• 4:11
  And that was where it was going
• 4:14
  but i was concerned because i hated pearl that
• 4:17
  much well i really like i like both i really like
• 4:20
  both of them x and pearl and i thought me it
• 4:23
  goes whites can be a bit shirty and i get that so do how that could become great
• 4:27
  and um the people i thought her performance especially in a couple of scenes
• 4:31
  where she gives that monologue near the end i thought she was outstanding but
• 4:36
  you know i i get the the screamy and thing can be a bit annoying you know i
• 4:40
  mean And I imagine that in real life.
• 4:43
  Oh, God. Yeah, you know, and she's wonderful. She's good in it. I can't say she's not.
• 4:48
  But again, that could be the director's choice. It's not her choice.
• 4:52
  And you're right. When she does give a performance which is more grounded in
• 4:55
  that, she does do a nice job.
• 4:57
  But with the help of all the actors around her, that really does help.
• 5:01
  But yeah, so I didn't know where Maxine was going.
• 5:05
  And good news is, people, we get a more grounded person here.
• 5:10
  We got to keep in mind Pearl was not Maxine.
• 5:14
  Different character. Pearl was just a, was a prequel to the villain in X.
• 5:19
  So that whininess we were getting from Pearl will not be in this one because
• 5:23
  I keep forgetting this is the lead actress, the lead final girl from X.
• 5:29
  This is not Pearl. So she won't be that whiny character.
• 5:32
  Completely different character. Exactly. Both played by Mia Goth.
• 5:36
  And so let's just jump into it here. And when we talk about,
• 5:39
  you know Maxine, do I have my notes up? Why do I have my notes up?
• 5:42
  There we go God, my notes are terrible So well prepared Oh, wait Oh,
• 5:47
  crap Those are the wrong notes Hold on.
• 5:52
  Fuck off Excuse us, people We're having technical difficulties Oh,
• 5:55
  yeah, hold on Yeah, let's go with that Hold on, where is it?
• 6:01
  Shit Did I send it to me? Oh, got it, I got it Normal service has been resumed
• 6:08
  A little concerned there people But we're being professional here Oh totally,
• 6:13
  professionalism is not an option Fuck.
• 6:16
  Yes. I do like when the film opens up the quote. Betty Davis.
• 6:20
  In this business, until you're known as a monster, you're not a star.
• 6:23
  And then it closes with Betty Davis' eyes.
• 6:25
  Exactly. It starts with the Betty Davis quote, and then it ends with Betty Davis.
• 6:30
  It's funny, I was curious why they mentioned Betty Davis, and I can kind of
• 6:34
  get it, because in Hollywood in her day, Betty Davis would be considered the diva. Yes, totally.
• 6:41
  Of her time. Not to take away, she's a wonderful actress.
• 6:44
  She's definitely one of my favorites.
• 6:46
  But her was definitely on a pedestal when she played some crazy, crazy characters.
• 6:52
  Yep. And you can see a little of Bette Davis in Mia Goss' performance.
• 6:56
  I'll tell you right now, Mia Goss' performance in this is by far her best performance in the trilogy.
• 7:02
  It's also the whole Bette Davis thing, you know, it sort of ties in with the
• 7:07
  whole Hollywood, dark side of Hollywood that the film's basically about, you know?
• 7:12
  You know, it's funny you mention that because I had a little,
• 7:16
  little bit, little, little bit of lynching this.
• 7:21
  Oh, yeah, I was going to say it. And you know what film I'm talking about?
• 7:24
  Mulholland Drive. What film? Mulholland Drive. Yes. Also, the score.
• 7:28
  Now, obviously, there's a score on the soundtrack. There's a lot of, you know, 80s songs.
• 7:33
  Great music choices. So they almost fire and give me all your loving and stuff like that.
• 7:37
  But the actual score, you know, that's used as well is pure Angelo Badalamenti,
• 7:44
  David Lynch, especially with the likes of Twin Peaks Firework with me and Mulholland Drive.
• 7:48
  But yes, there is the definite feel of Mulholland Drive, especially at the end,
• 7:53
  you know, when she goes up to the house.
• 7:55
  Well, yeah, the whole thing comes off very, especially the ending. Yes.
• 8:02
  Where it's almost dreamlike. Dark side of Hollywood plus the dreamlike.
• 8:06
  And the shots of the door.
• 8:08
  Yes. Where these girls have been taken. We get that at the end when she goes
• 8:11
  to the guys. And the neon. Producers. The neon lighting at times and stuff as well. Yeah.
• 8:16
  Yeah. It's definitely reminiscent of even some shots from Deep Red. Oh yeah.
• 8:22
  The Rosenthal stuff. Yep. Well, this is Diallo film to me.
• 8:26
  Yeah, it is. But the great thing about Ty West, just like he did with X,
• 8:31
  he really tackles all genre.
• 8:33
  Yes. Even though we're getting a slasher film, technically from X,
• 8:36
  you see a lot more genres in there.
• 8:40
  And he blends it extremely well.
• 8:42
  Yeah. He definitely plays nods the hat to his favorite filmmakers.
• 8:45
  You can see it clearly, like a Tarantino kind of style.
• 8:48
  But he makes it his own. Yeah. Although there's a lot of influences here.
• 8:52
  And yes, he totally makes it his own as well.
• 8:55
  But not just in terms of other directors and stuff.
• 8:58
  There's obviously the influence of that whole period of satanic panic,
• 9:02
  you know, the video nasties you know, who are referenced, you know Psycho is openly referenced,
• 9:09
  you know so there is a lot going on and it works, but yes.
• 9:15
  Let's jump into the characters here. Obviously, we got Maxine, Elizabeth.
• 9:19
  I love the Kevin Bacon. Labatt. Brilliant. Detective Williams,
• 9:23
  Detective Torres, Molly, Leon. I feel sorry for Leon. Yeah.
• 9:27
  And always nice to see Teddy Knight, played by Gino Cano, Esposito. Yes.
• 9:33
  Yeah, really cool. A lot of cameos. Lily Collins plays Molly.
• 9:37
  Very creepy cameo, actually. Yeah. And we'll get into that.
• 9:40
  You got the FX artist, which is another fucking great scene.
• 9:43
  Yeah. This film is peppered with some wonderful long shots or just a camera
• 9:49
  still just looking at the actress and her reactions. One when she's getting
• 9:52
  technically mummified, she's going to need to plaster her face and it's a great
• 9:56
  scene. We'll get to it in a second.
• 9:59
  Now, here's the wonderful thing about Maxine. Pearl can go fuck itself.
• 10:04
  You don't need to know Pearl. Pearl never existed.
• 10:08
  It has more, this film has more relevance for X. You can watch X and Maxine back to back.
• 10:15
  Like I always say, a good sequel back to back and you have yourself a nice little package.
• 10:21
  You could remove the shit that was Pearl.
• 10:23
  It has no reference to it besides the beginning of a little dancing video,
• 10:28
  which kind of references, you know, the way like the way part. Yeah.
• 10:31
  Yeah. Yes. Yeah. But that's it. Right. This has you.
• 10:34
  You need to see X before you watch this again, but you do not ever have to watch
• 10:40
  Pearl and you're welcome. Well, I would also say that this could even stand alone.
• 10:45
  I went to see this with my mum, and my mum hadn't seen either Pearl or X.
• 10:49
  I could never take my mom to see this. Well, my mum's like a horror fan.
• 10:54
  I know, but I don't think this is horror. No, no, it's not really.
• 10:58
  Well, it's sort of horror mystery thriller.
• 11:00
  But yeah, but I couldn't take my dad because he's just not a horror fan.
• 11:04
  He just doesn't get horror.
• 11:05
  He would be like, what's this nonsense? You know what I mean?
• 11:08
  I mean, I want to put on a gangster film or, you know, something like that, you know, or a Western.
• 11:13
  I just wouldn't get it. Whereas I took my mom to see this and she hadn't seen
• 11:17
  the previous two, Pearl or X, but she still was able to jump into the story.
• 11:22
  You know, yes, I explained a wee bit about the previous films beforehand,
• 11:25
  but, you know, it wasn't that necessary.
• 11:28
  I'm a big fan of Pearl. I know you didn't like it at all. That's fair enough.
• 11:32
  But yes, to me, this can stand alone, you know.
• 11:37
  People can jump into this. Yes, there is certain things you do need to know about X and stuff.
• 11:42
  Oh, by the way, see in X, you know there's a brief scene with a televangelist?
• 11:48
  You know who the televangelist is in X? Yeah, it's the father.
• 11:53
  And that's what I'm saying. That's why X I think is kind of important to see.
• 11:58
  Little things like that. Yeah, there is little details that do add up if you're
• 12:02
  really paying attention and really into it. but I think casual mainstream cinema
• 12:07
  viewers could watch this without having seen the previous two and still enjoy it.
• 12:12
  Yeah, I still think it's CCX. Yeah, no, I would recommend seeing both actually
• 12:18
  but obviously, but yeah, I think it could still work as a standalone.
• 12:24
  I love one of the opening sequences when she's going to a big Hollywood edition.
• 12:29
  She's obviously a porn star right now which is what she wanted to be. For the Puritan 2. And X.
• 12:36
  I just love the whole hypocrisy of Hollywood. It's wonderful because they,
• 12:40
  it, the audition scene is really good.
• 12:42
  And this is, uh, and, and she has to sell it and they, they ask you,
• 12:48
  why are you going from porn to this?
• 12:49
  And they kind of made like porn was, you know, seedy, you know, ew.
• 12:54
  Yeah. But she gives this amazing performance, well played by Mia Goff in her audition.
• 12:59
  And they all, they all looked at her and then they pause and they say,
• 13:02
  wow, that was, that was really good.
• 13:04
  Now, can you take off your shirt and show us your breasts?
• 13:07
  And it was like, it just shows you the similarity of what the porn industry,
• 13:12
  which is you, and what they're asking her to do there at an interview in a Hollywood major studio.
• 13:18
  So it kind of plays on that. There's also a brilliant touch where,
• 13:21
  just before the credits come up, where she, after the audition,
• 13:25
  she goes out and all the other girls are waiting for their audition.
• 13:28
  And she goes, you may all fucking go home because I fucking nailed that.
• 13:32
  It's just, it's just brilliantly done by goth.
• 13:36
  Now we're in 1985. Yep. That's where this little takes place.
• 13:40
  Now it's kind of fun. I like when they pepper in reality with, you know, fiction.
• 13:45
  Clearly there's this nice stalker killer. Now the nice stalker killer did exist.
• 13:49
  Richard Ramirez. From 1984 to 1985.
• 13:52
  Yes. Richard Ramirez.
• 13:54
  He killed about 14 people. Something like that. In that span. Yeah.
• 13:58
  And maybe more. He just passed not too long ago. God rest his soul,
• 14:03
  piece of shit. Yeah, scumbag.
• 14:04
  And a creepy fucker. Yeah. Man, he was a creepy fucker.
• 14:13
  But there's a nice little twist, nice little-
• 14:17
  A little rug pull they give us where she's doing a show.
• 14:25
  Peep show. A pound. Yeah, peep show. Peep show, that's it.
• 14:28
  Sorry, I don't know what it is. You probably. No, I just, I fucking.
• 14:31
  Yeah, I know. You just knew exactly what it was. That's cool,
• 14:33
  man. No, but whatever you do on your time, Trevor, that's fine.
• 14:38
  You like your peep show. I never had peep shows here, but I don't know what
• 14:40
  a peep show is. Well, no, it's cool.
• 14:42
  You don't have to, don't worry about it, man. It's okay. hey,
• 14:45
  L.S. Science will not judge you. You like peep shows.
• 14:51
  So, perv. There'll be no peep show. So, sure.
• 14:57
  You got your own booth. I should do one.
• 15:01
  But then you see this guy, and he's obviously the killer, the violent temper,
• 15:07
  he breaks the, you know, which we find out is her father. Yes.
• 15:10
  Oh, by the way, spoiler alert.
• 15:12
  Just spoiler alert. Yeah. Yeah, I should let you know.
• 15:15
  I also want to fill out at this point that it's not really the Night Stalker. It's a copycat.
• 15:21
  It's her father, which we've just learned. Yeah.
• 15:25
  But the scene, anyways, we see her. So she's leaving, and she's walking down
• 15:30
  this alleyway, and she's being chased now by this madman that we think is the killer.
• 15:34
  The Buster King. Kind of throws you off, and then you find out that she's been
• 15:39
  actually baiting him. She turns around.
• 15:41
  She has a gun, and she's not panicking. She's turned around,
• 15:44
  aims it, and she's going to kill him I think she was panicking at first She
• 15:47
  doesn't kill him Oh, this scene Oh dear.
• 15:54
  Any male Will wince extremely At this scene Where she crushes his balls Under her stiletto heel,
• 16:03
  And you see it You see it all And it's just like,
• 16:09
  See when I watched this in the cinema I was like, oh, I actually jumped down
• 16:13
  to my seat a bit and was like, oh, and crossed my legs just,
• 16:17
  you know, like instinctively.
• 16:19
  So that, you know, yeah, it's rough as hell.
• 16:23
  Fucker deserved it though. Oh yeah, I mean, he was quite raw.
• 16:27
  It's one of those things that you can't go, oh, did they have to show that?
• 16:30
  You kind of said, yeah, they did, he deserved it.
• 16:34
  Fucker. And the gore is hardcore in this when it happens, but it doesn't,
• 16:38
  I mean, it's not, well, it is It sort of is gratuitous when it happens,
• 16:42
  but at the same time it is, you know, there's not that many scenes of gore,
• 16:46
  but when it happens, it is full on.
• 16:50
  She receives that tape from the Texas Police Department.
• 16:54
  And pretty much what's happening is the killer is taunting her and telling her,
• 17:00
  and is, I know your story. Yes.
• 17:03
  You need to. Because she's gotten away with the, you know, with the basically,
• 17:10
  I love that reference, by the way, in the newspaper to Texas Chainsaw Massacre.
• 17:14
  It was the headline says Texas Porn Star Massacre. but
• 17:18
  she's gotten away with her involvement in it and that she
• 17:21
  although obviously she was it
• 17:24
  was self-defense she you know she killed pearl and her husband in x but she
• 17:29
  has gotten away with any sort of you know blame or police involvement or whatever
• 17:33
  yeah yeah she just ran away i never understood why she just didn't tell what
• 17:39
  happened because she would probably be all right yeah but with self-defense, essentially, you know?
• 17:45
  No, the film did have those nice little cutaways.
• 17:49
  Kind of like when we talk about long legs. Yeah. With the old,
• 17:52
  you see it through the old, an old recorder through modern film.
• 17:58
  Yes, yes, yes. Kind of like back and forth a bit. And there's great touches
• 18:02
  where it's, with the video scenes, there's like, it's like you see the wee lines
• 18:09
  going up and all, you know, like you would have seen on videos and stuff.
• 18:11
  So it's very well done. Attention to detail.
• 18:16
  I like the fact that I never understood why the two cops, Torres and Williams, were really after her.
• 18:24
  They just knew it was connected to her because it was her friends.
• 18:28
  It was her friends, Amber and I think it was Amber and Tabby. Yes.
• 18:33
  She was, I think that was their names, but they were dotting all their I's and
• 18:38
  crossing all their T's. These detectives, they were good detectives,
• 18:40
  actually, you know, good at their job.
• 18:41
  But they knew that she was the last person that they were seen alive with.
• 18:47
  So, you know, they were just investigating. But then when she starts getting
• 18:50
  on all suspiciously and stuff, they didn't know about X, you know,
• 18:53
  the events of X. And it didn't really occur, to be honest, either.
• 18:57
  Because there's even a line later on where they say, basically,
• 19:01
  look, we don't give a shit about your drug habit, about what, we're not vice.
• 19:05
  You know what I mean? We're not narcotics. We're homicide.
• 19:08
  So but but maxine's obviously very cagey and
• 19:12
  obviously that raises our suspicions you know
• 19:15
  it's basically her fault you know for having
• 19:18
  a load to do save her at the end you know
• 19:21
  so she can't be too moany about it and it all works out for her so when she's
• 19:28
  going to get the mask fitting yes i was talking about this in the beginning
• 19:31
  of she gets the role in the puritan too i love that That whole sort of satanic
• 19:36
  sort of video nasty type video throwback.
• 19:40
  You know? Yes, she got the part.
• 19:43
  So she's getting a mask made out of her like you do in most horror films. Yeah.
• 19:47
  And there's a nice shot where the FX girl is talking to her and she goes, are you okay? Okay.
• 19:51
  Take, you know, obviously her face is covered and she leaves the room and the
• 19:56
  cameras are sitting right in front of her and slowly, I mean,
• 20:00
  very slowly panning toward her.
• 20:02
  As she's doing this, you can see Mia Goff really sells it. She's starting to
• 20:06
  have flashbacks. Yeah. We get little glimpses of X.
• 20:08
  Yeah. Hence the reason why I think it's nice to see X before you see this.
• 20:11
  But she's having flashbacks of what happened because of all this happening,
• 20:15
  all these videos she's getting and all these Kevin Bacon's taunting her.
• 20:19
  And it's, she's starting to remember or not want to remember,
• 20:24
  but she's starting to have these flashbacks of what happened.
• 20:25
  And so she's covered in goo.
• 20:27
  So she's having these, now she starts having panic attacks because now you've
• 20:31
  got the claustrophobic feel because she's, you know, covered in all this goo.
• 20:35
  And there's a nice shot where you see the goo just dripping from her nose.
• 20:39
  And it's almost looks like she's melting. Yes.
• 20:42
  And it's just, this is something you'd get.
• 20:45
  This is, this is kind of a shot you would get from, from Lynch.
• 20:48
  Yep. Very, it almost had a, not a blue velvet feel.
• 20:51
  I can't remember. But. Twin Peaks Firewalk with me or something like that.
• 20:55
  No, I hate that. I hate that shit. I'm not comparing it to that.
• 20:57
  That's fucking amazing. So it's crap. They should just call it Firewalk with Tratton.
• 21:01
  Right. I'm not going to argue this is about Maxine. It's not about Firewalk.
• 21:04
  Oh, now you're, we should do that.
• 21:06
  We got it people. we we actually have trevor
• 21:09
  now upset you see that how he just fuck you
• 21:12
  getaways yeah i got your halloween you
• 21:15
  know what you know what yeah you know what really works in this scene just you're
• 21:19
  talking about whenever the camera is zooming in on her and there's a certain
• 21:24
  section of the score just kicks in just as the goo drops you know off her off
• 21:30
  her face so it's really it's It's brilliantly edited,
• 21:33
  and this is edited by Ty West himself.
• 21:36
  Yeah, he does a lot of his own stuff. Yeah.
• 21:39
  Smart man. When Peaks Firework with me is a classic. We'll get to that one day, trust me.
• 21:44
  Uh-huh. Yeah. Okay. Yeah. Dancing dwarfs talking backwards. Yeah.
• 21:49
  That's going to be great.
• 21:50
  It's a classy piece of shit. Give me a break.
• 21:53
  Oh my God. I get it. One of my favorite films. I get it. The log lady. I understand her need.
• 22:00
  For God, you bunch of freaks. Bunch of freaks. Hey, I've complimented Lynch.
• 22:06
  I've complimented Lynch, but I'm going to tear him to shreds if I want to when
• 22:09
  it comes to the eye of the shit.
• 22:10
  Well, here, you know what I mean? You know what I mean? calling us Lynch fans
• 22:14
  a bunch of freaks but this is the man who basically.
• 22:19
  A slicer is like him going to a peep show. Cairn doesn't need to go to peep
• 22:23
  shows. He just sticks on slicers. That's how he gets his kicks.
• 22:26
  But anyway, we're digressing. What?
• 22:30
  Slasher films are fine. That wasn't You get off on them.
• 22:33
  You go to peep shows instead of watching slasher films? I've never been to a peep show in my life.
• 22:39
  You just said you You don't like slasher films. You'd rather see the real thing, a peep show.
• 22:43
  No. You sicko. No, I didn't say that. No.
• 22:46
  I was saying. You just said that. Oh, my God. Our listening audience jaws have just dropped.
• 22:51
  Slicers are like porn to you. This is. You get off on slicers and you call us freaks. Yeah.
• 22:58
  Slicer films, stupid people making wrong decisions, getting killed by a man
• 23:04
  who's walking. Yeah, go ahead, Jason.
• 23:06
  Yeah, more, more, Jason. More machete kills. This is good stuff.
• 23:12
  Jesus, Trevor. That was a little too... Whoa. Yeah. But anyway,
• 23:18
  Maxi. We're talking about Maxi.
• 23:21
  There's one of my favorite shots. It's a shot where it's just dialogue.
• 23:25
  And it's where Elizabeth, the producer, the director, who I really like,
• 23:30
  Dabiki, is that her name? Dabiki? Elizabeth did...
• 23:33
  Is it Dabecki? Yeah, Dabecki or something. I'm not too sure of the fusion. Yeah.
• 23:37
  Tall. Yeah. Damn. Yes. But she's giving her advice.
• 23:43
  Yeah. Because the great thing about the character, that she's the director of
• 23:47
  the film, and in the beginning, you kind of think she's kind of a bitch,
• 23:49
  but actually, she's pretty much her guardian angel.
• 23:52
  She's her mentor. Really is. Her mentor, technically.
• 23:56
  While she's tough, you have to be, especially in that business,
• 24:00
  at the time, well, any time.
• 24:02
  So it's actually a very well-rounded character. you know and also a woman director
• 24:07
  in Hollywood at that time would have had to stand up for herself too you know yeah exactly and.
• 24:15
  I like the fact she's kind of like her guardian angel a little bit because you
• 24:20
  have all these seedy, seedy characters.
• 24:22
  Oh, they're everywhere. Who are pretty much all men.
• 24:24
  So it's nice to have a woman who's a lot more grounded and professional and
• 24:30
  the leader in the industry playing this kind of part.
• 24:35
  Because after that tour, and that's where we get the Psycho House tour,
• 24:38
  which I just fucking loved.
• 24:39
  Ike Biener. Don't care what they're talking about. Ike Biener,
• 24:41
  that's the Universal backlot. And a lot of this was done on the same sets.
• 24:45
  That are used for Hell Valley and Back to the Future. I was there. Yeah. Yeah.
• 24:50
  You can see the diner and stuff from Back to the Future and stuff. It was just great to see.
• 24:55
  You know, it was- Again, I think that's Ty West, you know, just peppering and
• 25:02
  something, let people know how much he loves movies. Yeah. Yeah, totally. So, yeah.
• 25:06
  And that's why there's a big part of this does play on the movie set.
• 25:09
  What I did like as well concerning the director is there's a line where she
• 25:14
  says, you know, So it's obviously a commentary on elevated horror,
• 25:18
  which is a modern day contemporary thing where she says that,
• 25:23
  you know, I don't want to make it just another slicer.
• 25:26
  I'm an artist, you know, type thing.
• 25:28
  So this is going to be cinematic. So that's obviously there's so much commentary
• 25:32
  on here, which I loved about the horror, the history of horror films,
• 25:37
  essentially, that I loved.
• 25:38
  You know even going right back to the silent era you know where Maxine puts
• 25:43
  out her cigarette on Theda Barra's star and stuff Theda Barra appears in Pearl
• 25:48
  you know and she's watching him.
• 25:51
  They're watching her on the movie. So, I mean, this is just a whole sort of
• 25:55
  love letter to not just Hollywood, but Hollywood horror films.
• 25:59
  Yeah. No, yeah, it definitely pays, nods the hat to a lot of the genres,
• 26:05
  other sub-genres, you can say. Yeah.
• 26:08
  But Kevin Bacon plays Labatt. He is, he's that, you know, that sleazy private investigator.
• 26:17
  Brilliant. And he, we don't know who he's been hired by, but we know he's been
• 26:20
  hired by the killer to You kind of taunt and you get her to come to this killer's location.
• 26:26
  And after she has this conversation with Elizabeth, the producer there,
• 26:29
  you can see her starting to, you know, I'm fucking not doing this.
• 26:34
  I'm not taking this shit anymore.
• 26:35
  So she goes to meet Kevin Bacon. Yeah. She puts the keys between her knuckles. Yeah.
• 26:39
  And she just beats the shit out of him. What's the Delmos Fire plan?
• 26:43
  During the song St. Delmos Fire.
• 26:45
  It's fucking brilliant. And what a song choice.
• 26:49
  Obviously, Ty West loves St. Elmo's Fire because the movie's playing as well
• 26:52
  in the marquee near the strip club that she's stripping at or whatever.
• 26:57
  Yeah. But it's, yeah, it was just. And also.
• 27:01
  And you're rooting for her because the people that, like the guy who gets his
• 27:05
  balls, the guy who's going to stab her. Yeah. Then you got Kevin Bacon.
• 27:09
  Brutal as it is. Yeah. They had to get it. You can't go, oh, this is too much.
• 27:14
  You're like, yeah, give it to me. Well, she's an anti-hero, very anti-heroine.
• 27:19
  And, you know, yeah, I mean, Bacon's just brilliant. And I love his accent,
• 27:23
  you know, that he uses in Deep South.
• 27:25
  He's just a sleazy sort of pulpy type old-school private detective.
• 27:30
  He steals the show from me, even over Goth.
• 27:33
  Yeah, I think they're all very good in here. When the detectives,
• 27:37
  Williams and Torres, are there, they steal the show when she's on the scene.
• 27:41
  Giancarlo as well, you know, especially. Yeah, but we'll talk about him now.
• 27:46
  There's a nice shot with him when Gino Carlo, Teddy Knight is her agent. Yes.
• 27:51
  And she decides she's going to tell him the story of what's happening. Yeah.
• 27:55
  And so instead of giving us this whole fucking dumbed down- Exposition.
• 28:01
  Exposition dump of what we saw in X, we've seen X, we don't need it.
• 28:05
  All it does is, all right, tell me what happened. And then there's a nice sweat.
• 28:10
  Yep. And he sits back down and goes, wow, why didn't you tell me this before?
• 28:14
  We didn't need to hear all that. Yeah. So it was nicely just cut in.
• 28:17
  Yeah, because Ty West knows what he's doing in terms of editing,
• 28:19
  especially, you know, and directing.
• 28:22
  Yeah, exactly. But, you know, the character of the agent is also a mentor to
• 28:26
  her, albeit he's more of a fucking, a violent badass of a mentor, you know?
• 28:35
  Yeah, I don't think he, yeah, I don't want to go with him. See,
• 28:38
  this character would be something you would see in Mulholland Drive.
• 28:41
  Yeah. This character right here.
• 28:43
  Kind of quirky as well. They don't give you enough to know, is he a bad guy or is he a good guy?
• 28:50
  You don't know, but he's there to help her. That's all we need to know.
• 28:53
  It's adult actual writing.
• 28:57
  So it is where that he's neither a good guy or a bad guy. He's just like a fully
• 29:01
  formed human being, you know, and he takes no shit.
• 29:05
  Either so yes yeah it's good it's very very well written all around and including the characters,
• 29:12
  when leon gets it her only really good friend
• 29:15
  yes which is sad yes terrible death very violent yeah
• 29:17
  but it's an there was a nice cutting forth cutting cutting
• 29:20
  forth cutting back cutting back and forth back and forth back and forth so
• 29:23
  every time she's highlighting a scene she's highlighting one
• 29:27
  of the scenes where she's killing something you know i you know she stares blah
• 29:29
  blah blah every time she highlights something we cut to
• 29:32
  his death of him being sliced he's reading a script exactly
• 29:35
  stabbing somebody in the fictional film within
• 29:38
  the film but yeah but also i love i love little touches like you know whenever
• 29:42
  he does get stabbed and the blood splatters over the videotapes you know again
• 29:47
  that's a whole sort of nod to video nasties and stuff and horror films on video
• 29:51
  so there's all there's so much going on here and you have to watch it more than
• 29:55
  once to truly appreciate it all.
• 29:58
  She goes to the morgue, I think, with them, and the cops are talking to her.
• 30:03
  And Torres has, I want a really good line, and he goes, you Hollywood girls
• 30:09
  are so desperate to become famous, you don't realize how easy it is to become infamous.
• 30:16
  It's a great line. Oh, yeah. Because the line sums up the film.
• 30:20
  And it's true. It sums up the film. And sort of reality as well, you know?
• 30:25
  And then we have the wonderful chase scene between Labatt and herself.
• 30:31
  And I love the psycho house. Yeah. I wish we were going to go in it,
• 30:35
  you know, but we weren't going to go that far.
• 30:38
  And, and, and, and as we know, the psycho house is, is in a,
• 30:42
  on a stage. There's no internal organs. Yeah, exactly.
• 30:44
  Of the psycho house. It's just a shell. Yeah. But there's a beautiful shot.
• 30:49
  I don't know if you caught it.
• 30:51
  When Kevin Bacon, she goes into the, She goes in the psycho house to hide from him.
• 30:57
  And Kevin Bacon comes up to the door. You see his shadow and you see the hat.
• 31:02
  Yeah. His hat. He wears the Pandora, whatever it is.
• 31:05
  And you see his shadow and you see him looking around and you see his hat,
• 31:08
  you know, like I said, his shadow. Front door. And he's going to come,
• 31:11
  he's going to come into the door.
• 31:12
  And then he gets interrupted by the security, yada, yada, yada.
• 31:15
  That whole shot is a remake of the original Psycho when Detective Arbogast,
• 31:21
  my favorite a character in Psycho, walks up to the house back in 1960.
• 31:26
  Yep, that's the exact same shot.
• 31:30
  And I thought, yep, that was really nice. And even the director of the film
• 31:35
  within the film, The Puritan, she talks about, you know, whenever at the end,
• 31:39
  whenever Maxine has the blonde wig on, you're like a Hitchcock blonde,
• 31:42
  you know, so there's all the Hitchcock stuff going on here as well.
• 31:46
  Yeah, I mean. Yeah, she looked at the end of the film, she looks like Janet Leigh.
• 31:50
  Yeah, oh yeah, and the director or say you're like a Hitchcock blonde, you know? Yeah.
• 31:55
  Now, Lily James is a very small cameo. Lily Cole? Lily Collins.
• 32:00
  Collins, Collins, sorry. Lily Collins.
• 32:02
  She's very good in this. It's a small scene, but she's the original actress in Puritan. Yes.
• 32:08
  And she's giving her good advice. You know, we us girls got to stick together,
• 32:12
  blah, blah, blah. But didn't you call her Nadine? She gets her name wrong.
• 32:17
  Does she? Yeah. And, but she still means well.
• 32:21
  Yeah. And at the end Before she goes into her trailer And the last scene we
• 32:26
  see her in We'll see some of her later,
• 32:28
  We'll get to it But it's her screaming It's
• 32:32
  really creepy actually She recreates her scream from the original Puritan Who
• 32:36
  she says My scream has become immortalised on a video cover Through over the
• 32:41
  world And I'm just a girl from an estate in North Yorkshire You know And then
• 32:45
  she does the scream But she does it silently And it's really weird Creepy right Again, it's Lynchian.
• 32:51
  It's like something from David Lynch, you know?
• 32:54
  And yeah, it's very weird. So it is.
• 32:57
  But it's even weirder whenever, well, what happens to her.
• 33:00
  And then you see later on, whenever the suitcase falls down the stairs and its
• 33:05
  contents open up and it's all her body parts and it's her severed head doing
• 33:10
  the scream. But in reality, you know what I mean?
• 33:12
  Or like her last act was that same scream before she was basically cut up by the father and his cult.
• 33:20
  And then, yeah, before we get to that scene, you're just messing there,
• 33:24
  we get the, like, the bat.
• 33:28
  Oh, my God, the poor bastard. This guy is so clueless and didn't know anything
• 33:34
  he was doing. He wasn't doing anything right.
• 33:37
  And you know what he almost played like, the character?
• 33:41
  He almost reminded me of the dream version of the hitman who can't do it right from Mulholland Drive.
• 33:51
  Drives oh yeah and he thinks he's
• 33:55
  great he goes i'm the best i'm the best there is i can
• 33:57
  find anyone but he's just but with maxine he's met as much and his is this but
• 34:05
  i love again this brilliant writing where he talks about i'm an atheist i don't
• 34:09
  buy myself i don't believe in god but see just before uh as he's about to be
• 34:14
  crushed to death he starts saying the lord's prayer,
• 34:19
  bring the touches but yes we might as well set it up or we'll just say that
• 34:23
  he dies we might as well say hi you know,
• 34:27
  yeah the crushing of the car you know it's funny you always see these movies
• 34:30
  where they do this you know like mob movies and stuff they're like oh we're
• 34:34
  gonna they're gonna crush you in the car yeah but you never see it this one
• 34:37
  they show it not only that a lot of the time it's like the mob guys just like
• 34:42
  threatening them to get the information or whatever then to stop right at the the last minute,
• 34:46
  they fucking get through with it here, really, and it's the touches.
• 34:50
  I think that's why he did it, because he's like, no, we're going to show it, and the blood just...
• 34:56
  And Kevin Bacon sells it, man. You kind of, there's a little part of me who
• 35:00
  says, oh, yeah, you're like, this guy's just a bumbling idiot.
• 35:03
  He's not a bad guy, is he? I don't want to die in here. Oh, come on,
• 35:06
  please don't do this to me. He's brilliant in it.
• 35:09
  And it's obviously, this is done by the agent guy, played by Giancarlo,
• 35:14
  and his sort of hitman with a couple of big vicious dogs, who then lick up Kevin
• 35:20
  Bacon's blood to clean the scene at the end.
• 35:23
  And it's not just blood, there's guts and all in it. Yeah.
• 35:29
  His death reminded me of Stuntman Mike's in Death Proof. Yep.
• 35:33
  When Kurt Russell was this badass for the whole film. And then when he gets
• 35:35
  surrounded by the girls and they're kicking his ass, he's like begging for,
• 35:38
  please don't hurt me. Please don't hurt me.
• 35:40
  It's kind of the same thing, you know? Yeah. But I do like the fact how she
• 35:44
  puts the pieces together.
• 35:45
  And I didn't catch it right away, which is nice. I do like when she thinks,
• 35:49
  when she remembers Molly, Amber, Tabby, and they all mentioned that they were
• 35:53
  going to the Hollywood Hills.
• 35:54
  Yes. To see this producer. So she realizes that's the link and she has this
• 35:59
  video where she sees the murder.
• 36:01
  Well, you don't see it. It's very well done actually. It's almost just like a snuff film. Yeah.
• 36:05
  And of Amber's death. And so she decides to go follow up. Luckily the police are following her.
• 36:12
  So she's got backup. She doesn't know it, but she's got backup.
• 36:15
  But we see the famous door.
• 36:17
  Yeah. That was in the video and, and we find out that it's this,
• 36:21
  this pretty much extremist who is anti-porn, anti-horror, anti-Sasha film.
• 36:28
  They're basically a religious group. They're nuts.
• 36:30
  You see them in the background throughout many of the scenes leading up to this.
• 36:35
  They're outside the studio and stuff protesting.
• 36:37
  And it sort of reminds you of the whole sort of Mary Whitehouse sort of protest and satanic panic.
• 36:43
  Horror films are from the devil. They're basically one of these groups.
• 36:47
  But they're even more extreme because they're basically killing. people, you know?
• 36:54
  And all of the cult members have had, like, family members who have run off
• 37:00
  to Hollywood and became porn stars or whatever, or appeared in horror films.
• 37:05
  So, yeah. So, I always want to know where you got the money.
• 37:09
  Who, the preacher? I guess he's, yeah. Well, I mean, basically those preachers are loaded.
• 37:15
  You know what I mean? You got it from the church. You know, those guys.
• 37:18
  Plus, there's a lot of members probably of the cult would have pumped money
• 37:21
  into it as well. No, I have no problem with that.
• 37:24
  But yes, we get the old showdown, the big gunfight, which is fun.
• 37:28
  And I like that in fact, it ends with pretty much a Hollywood sign, the big showdown.
• 37:33
  It sucks that Torres gets it. Yeah, he wanted to be- And Williams gets it, both cops. Yeah.
• 37:40
  But they do get their shots off and kill him at the same time.
• 37:43
  I love when she's, well, he's dying.
• 37:45
  He's dying at this point, but she just blows his head clean off and they fucking
• 37:49
  show it. That's our lady.
• 37:50
  See, the guys who deserve it in this, the funny thing about Ty West,
• 37:52
  The people who deserve it, whether it's Kevin Bacon,
• 37:55
  the fake serial killer that was going after her, or the preacher man here,
• 38:01
  they show their deaths because they're the ones that deserve it.
• 38:05
  Yes, I mean, it's like Robocop, for example.
• 38:08
  Robocop, I'm a massive fan of Robocop. It has some of the most vilest villains ever on screen.
• 38:15
  And you're sort of laughing because they're so over-the-top bad.
• 38:18
  But their deaths, their death scenes are completely over-the-top and gory as well.
• 38:22
  But they fucking deserve it. So it's like in this...
• 38:26
  Let me ask you this. So after she blows the guy's head off, we're at Man's Chinese
• 38:31
  Theater and she's going to the premiere of Puritan 2.
• 38:36
  That's just a dream, right? No, no, no. That's because there's a lot of chopping
• 38:39
  and changing between what do you call it? Time?
• 38:42
  At the very end. You know what I mean? We're jumping back. No,
• 38:45
  because that's why I don't understand.
• 38:49
  She's at Man's Chinese Theater. She's a huge celebrity, blah, blah, blah. Yeah.
• 38:52
  It had to have been a dream. because this is a month later after the killing of the evangelist.
• 38:59
  No, they're jumping between timeframes. So they are...
• 39:02
  Because now she's making...
• 39:05
  Yes, it goes back to when they're making it. But yes, don't get me wrong,
• 39:11
  it's open to interpretation.
• 39:12
  So it could be a dream because it is shot in sort of soft focus and all.
• 39:16
  I mean, with her coming out and getting out of the car.
• 39:18
  But no, no, I'm sort of leaning towards this. This is just a flash forward.
• 39:23
  To the premiere of The Puritan 2. Yeah, but why would you do that and then go
• 39:27
  back to the filming of the film? It's just a bit sort of artistic.
• 39:32
  I think it was just her seeing her future or something or dreaming it.
• 39:37
  I don't think because it wouldn't make any sense to show this scene and go back.
• 39:41
  It kind of threw me off a bit. Right, but yeah, I mean, yeah.
• 39:43
  Yeah, it's kind of sloppy. Kind of sloppy if that's the case.
• 39:46
  I think she was just reminiscing what she's going to get out of this film and
• 39:51
  this is why things are going to happen. And then she goes back to being on the
• 39:53
  set of that film, which would make sense.
• 39:55
  But if he's just showing her sets in the future and then going back to the film,
• 39:58
  it wouldn't make any sense. No, no, I get what you're saying.
• 40:00
  I think it was a dream. I think she was just hoping this was going to happen. Yeah, yeah, yeah.
• 40:05
  But at the end, I do like, she's in that gently kind of outfit and she's talking
• 40:08
  to our director and she just looks in the mirror and says, you're a fucking movie star. Yeah, yeah.
• 40:15
  And I love the final shot where you see her prop decapitated head for the film.
• 40:22
  Within the film the puritan too and to go to so it's
• 40:25
  so lifelike and stuff and then just it sort of zooms
• 40:28
  in on the the fake decapitated head and betty davis eyes starts playing by kim
• 40:34
  karnes and then it gives you the whole sort of you know the the sort of the
• 40:39
  oh it's not a helicopter shot these day be a drone shot you know where it pans
• 40:42
  out of the studio and then up into the hollywood Hells,
• 40:46
  but instead of the Hollywood saying, it says Maxine.
• 40:50
  Yeah. There you go. End of the trilogy. A very unique trilogy.
• 40:56
  No, the first, yeah, the X and Maxine are two solid films.
• 41:01
  And yeah, anyone who likes a slasher and, you know, the gritty,
• 41:08
  gritty, you know, like gritty crime dramas,
• 41:11
  like Cruising, Rhythm Freakins Cruising, or like I mentioned,
• 41:16
  Vice Squad or The Death Wishes.
• 41:18
  It's got that grittiness to it, but also has that slasher element.
• 41:21
  It's a fun little mystery, good, really quirky characters. That's where the
• 41:25
  kind of Lynch tone comes in.
• 41:27
  Lynch kind of ideas. But it's yellow there. And you've got, yeah,
• 41:30
  you've got Argento, you got Lynch.
• 41:33
  De Palma. You've got De Palma, especially from, you got a lot of blowout in
• 41:37
  there and body double. Yeah.
• 41:39
  You got a dress to kill. You got all these kinds of. And Hitchcock, you know?
• 41:43
  Well, of course Hitchcock. I mean, we don't have to say Hitchcock.
• 41:46
  That goes without saying.
• 41:48
  But yeah, it's solid. Both films, X and Maxine are just wonderful films.
• 41:52
  And i would say as well that you should
• 41:55
  check them out i've seen now seen maxine twice the first
• 41:57
  time i saw it i while i love the
• 42:00
  commentary and all of the sort of you know the overall commentary
• 42:04
  and horror film sort of history essentially i was a little underwhelmed dramatically
• 42:10
  but i very much really appreciated it so much more the second time what i'm
• 42:15
  saying is basically it improves it's very good on a first viewing but it improves on repeat viewing,
• 42:21
  X is still always going to be the better one.
• 42:24
  X is the, you know. Part for me.
• 42:27
  Oh, just fuck off. I'm curious. God, you guys are such suckers.
• 42:32
  Guys, don't listen to him. He goes to peep shows. They're clearly sad.
• 42:36
  Kieran gets off on slicers.
• 42:40
  Our listeners will probably go, cool, I like that guy. That's awesome.
• 42:43
  So do I. Fine, there you go. I meant fine. You go to peep shows. Yeah.
• 42:48
  They're my own private peep shows where I watch horror films.
• 42:52
  Oh, okay. Let's see. Yeah.
• 42:54
  No, just creepy. This is creepy.
• 42:58
  Yeah. So next up guys is the Mad Max franchise. Those would be fun ones to do.
• 43:03
  We've got Twisters come and with Twister.
• 43:07
  We're also going to do the new M. Night film Trap.
• 43:11
  I wanted to do it this weekend, but we're not getting it over here in the UK till next week.
• 43:15
  So now I got to hide from social media. So I do not see the twists and people saying it's pretty fun.
• 43:22
  So we'll try to get that out as soon as we can, once we see it.
• 43:25
  And then we got, God, we're already coming up in Halloween month.
• 43:29
  We haven't picked those scones yet, but we have a rough idea what we're going to do.
• 43:33
  But we'll surely announce those real soon. Oh, yeah.
• 43:37
  That's all I got for you. Guess we're going to end it. Yep. Bye-bye.
• 43:41
  All right, guys. What? Bye-bye, I said.
• 43:44
  Why are you saying bye? Okay. Cheerio, all right, cheerio, what the fuck, you know?
• 43:49
  I didn't say anything. Right. You just were saying bye, whatever. Right.
• 43:54
  God, these Sunday mornings. All right, guys, take care of yourselves,
• 43:58
  and give us a shout anytime you want at citizenframe underscore podcast on Instagram,
• 44:03
  and of course, Facebook.
• 44:04
  Until then, until then, until then. Oh, fuck it, we're done. See ya. Bye.
• 44:09
  Music.