Latest / Frightmares / Ep. 362 - Dawn Of The Dead (1978)

Transcript

Ep. 362 - Dawn Of The Dead (1978) · Frightmares

• 0:00
  Speaker 1: The following podcast will contain spoilers, tangents, hot takes, and
• 0:05
  Speaker 1: excessive foul language. Viewer discretion is advised enjoy the show.
• 0:49
  Speaker 2: Welcome back to Frightmar's podcast. I'm your host Austin Procter,
• 0:52
  Speaker 2: and joining me today for episode three sixty two is
• 0:56
  Speaker 2: my good friend Michael Ers. And this time it's recording
• 0:59
  Speaker 2: to Get Your Dance.
• 1:01
  Speaker 3: Yeah, you know it's it's a small window, but I'll
• 1:06
  Speaker 3: make it work.
• 1:08
  Speaker 2: Yeah. We're recording on riverside because I want to do
• 1:11
  Speaker 2: video stuff. Apparently people find it more engaging, so that's
• 1:14
  Speaker 2: what I'm trying to do.
• 1:17
  Speaker 3: I need to get on that, but I don't know
• 1:18
  Speaker 3: if I want to pay the amount.
• 1:21
  Speaker 2: Better than streamers like sixty four bucks. But today, on
• 1:24
  Speaker 2: the first installment of Zambrewery Attack, we're discussing our essential pick,
• 1:28
  Speaker 2: Dawn of the Dead from nineteen seventy eight, a movie
• 1:30
  Speaker 2: that shows us just how important malls can be in
• 1:33
  Speaker 2: an apocalypse. Let's see where this lands on the nightmare index.
• 1:43
  Speaker 2: All right, So what have we been watching, Michael? Anything good? Noteworthy?
• 1:49
  Speaker 3: Let me check myox.
• 1:52
  Speaker 2: Oh, we got to talk about the two movies that
• 1:54
  Speaker 2: we saw when we were up there.
• 1:56
  Speaker 3: Oh yeah, I forgot we talked about it on my show.
• 1:59
  Speaker 2: We didn't talk about it on this show. So I watched.
• 2:02
  Speaker 3: Actually more than two movies when you were here.
• 2:04
  Speaker 2: We watched Yeah, we watched Yeah. So we two in
• 2:07
  Speaker 2: theaters and then two at your house. Least at least two,
• 2:12
  Speaker 2: I know. We watched a gruesome Tusome, which was wacky.
• 2:15
  Speaker 3: And then we watched Amanda and the Alien.
• 2:17
  Speaker 2: Fucking like that movie is so ridiculously amazing, greatest blind
• 2:23
  Speaker 2: buy in the world.
• 2:25
  Speaker 3: Honestly, it might be, it might be. Yeah, I'm just
• 2:29
  Speaker 3: so glad that Amanda's like, hey, I don't see my
• 2:31
  Speaker 3: name very all.
• 2:33
  Speaker 2: Yeah, I don't see my name in a title very often.
• 2:35
  Speaker 2: Let's pick this up ten out of ten, Amanda. That
• 2:37
  Speaker 2: was the greatest pic ever.
• 2:38
  Speaker 3: So mm hmm. And now I can just have it
• 2:41
  Speaker 3: on my shelf and I'm happy.
• 2:43
  Speaker 2: From Vinegar Syndrome no less what the slipcover.
• 2:46
  Speaker 3: Yeah, gotta love those AGFA releases.
• 2:49
  Speaker 2: Did I tell you that I went halfway through watching it?
• 2:52
  Speaker 2: I bought it on eBay.
• 2:53
  Speaker 3: Oh yeah, I was sitting next to you. I was
• 2:55
  Speaker 3: watching you buy it.
• 2:58
  Speaker 2: It's like this, This is so some movies not even
• 3:01
  Speaker 2: over yet, and I'm like, I need to own this
• 3:03
  Speaker 2: good that makes sense. I'm not even gonna tell you,
• 3:06
  Speaker 2: guys anything about that one. Just go find it. Just
• 3:09
  Speaker 2: go find it and watch it.
• 3:10
  Speaker 3: Will not look at Paprika the same way.
• 3:12
  Speaker 2: That is exactly my review.
• 3:17
  Speaker 3: I want to make some deviled eggs, but I'm like, m.
• 3:21
  Speaker 2: Might get things might get real spicy if you start adding.
• 3:27
  Speaker 3: Also like I have, like, we're not gonna sport, We're
• 3:30
  Speaker 3: just gonna talk air. We're gonna talk about the movie
• 3:32
  Speaker 3: as if you've seen it and just leave you more confused.
• 3:36
  Speaker 3: The like that movie loved coffee so much, a.
• 3:40
  Speaker 2: Lot of coffee.
• 3:41
  Speaker 3: The way they use the making of a cappuccino to
• 3:46
  Speaker 3: signify the end of a sex scene was just.
• 3:51
  Speaker 2: There was a lot. There was an inordinate amount of
• 3:54
  Speaker 2: shots of coffee, espresso, all sorts of things, which was
• 3:58
  Speaker 2: really weird.
• 3:58
  Speaker 3: I was able to add it, so I'm for your
• 4:01
  Speaker 3: listeners out there. I'm a huge nerd when it comes
• 4:04
  Speaker 3: to making lists, but I make very hyper specific lists
• 4:07
  Speaker 3: face So for example, I it was I was able
• 4:11
  Speaker 3: to add it to my list called coffee Please, which
• 4:14
  Speaker 3: is where I any movie where there is a coffee
• 4:17
  Speaker 3: order or someone's drinking coffee, I make a note of it,
• 4:19
  Speaker 3: and I make a note of what their coffee order is.
• 4:22
  Speaker 2: Is mister congeniality on that list, because that's a that's
• 4:25
  Speaker 2: a long coffee order.
• 4:27
  Speaker 3: It's not yet because I usually only added as I as.
• 4:29
  Speaker 2: I gotcha, gotcha, like I have.
• 4:32
  Speaker 3: I have that list I have called deliciously Unnoticed Food
• 4:37
  Speaker 3: and Film, where I talk about meals that are featured
• 4:41
  Speaker 3: in movies. They'll like to give you a rundown of
• 4:44
  Speaker 3: some of those options. It's like we've got, you know,
• 4:47
  Speaker 3: kill Bill the whole bloody affair. There's a sandwich with
• 4:50
  Speaker 3: Bolooney American cheese, another slice of Boloney Swiss cheese, turkey
• 4:54
  Speaker 3: play yellow mustard, and male on white bread with the
• 4:57
  Speaker 3: crust cut off by a large fucking butcher n.
• 5:00
  Speaker 2: See, now you need to go on social like you
• 5:02
  Speaker 2: know your TikTok and stuff and make these these meals.
• 5:05
  Speaker 3: And I've thought about it, but I don't want Benji
• 5:07
  Speaker 3: with Babbage to come and sue me.
• 5:09
  Speaker 2: Oh fair, okay, fair.
• 5:14
  Speaker 3: I was able to add all that to say, I
• 5:15
  Speaker 3: was able to add it to my list for coffee
• 5:19
  Speaker 3: orders and movies.
• 5:23
  Speaker 2: Oh, let's see. So where did my, oh my, I'm
• 5:27
  Speaker 2: in my lists not we.
• 5:29
  Speaker 3: Never actually said what all we watched with us? We
• 5:32
  Speaker 3: watched the arrow blue Array of the Gruesome Twosome, first
• 5:36
  Speaker 3: time watch for all of us. We saw Park Chan
• 5:39
  Speaker 3: Wook's newest film, No Other Choice in the beautiful Oriental
• 5:43
  Speaker 3: Theater here in Milwaukee, Wisconsin. We watched the AGFA slash
• 5:48
  Speaker 3: Vinegar cindym Releas of Amanda and the Alien, and then
• 5:51
  Speaker 3: we saw on beautiful seventy milimeter The Testament of Ann Lee.
• 5:56
  Speaker 2: It was a wild week for cinema, honestly because even
• 6:00
  Speaker 2: before I came up there, I saw Primate, I saw
• 6:04
  Speaker 2: The Bone Temple. Then we had that weekend. Then I
• 6:07
  Speaker 2: watched Blade on my plane ride home. Of course, how
• 6:11
  Speaker 2: Sue for the podcast Blue Velvet was in like it was.
• 6:16
  Speaker 2: It was a hell of a week. But yeah, Tessamon
• 6:19
  Speaker 2: and Vanley was great. Love seeing that in seventy milimeter.
• 6:22
  Speaker 2: Park chan Wooks movie was also very good. Highly suggest
• 6:25
  Speaker 2: those don't want to talk about them in detail, They're
• 6:28
  Speaker 2: just good. You just need to go see them. Very yeah,
• 6:31
  Speaker 2: just go see them and support cinema. For the love
• 6:34
  Speaker 2: of God, let's see. I watched so oh yeah, I
• 6:39
  Speaker 2: watched some I already mentioned Dracula. I don't know if
• 6:42
  Speaker 2: I mentioned Kombucha, but it was a copy I've heard.
• 6:45
  Speaker 3: You can say the title Kombucha a lot, Okay.
• 6:49
  Speaker 2: I don't know if I've mentioned it on the podcast,
• 6:50
  Speaker 2: but it was a sent over to me by AV Entertainment,
• 6:54
  Speaker 2: and much like the title, it is centered around a
• 6:57
  Speaker 2: kombucha drink and it is it was described to me
• 7:00
  Speaker 2: as the Office meets David Cronenberg, which is all of
• 7:04
  Speaker 2: the information I needed, and it was a wild time
• 7:06
  Speaker 2: four stars so good. Watched the original nos Faratu because
• 7:12
  Speaker 2: I had another copy of something from AV Entertainment called
• 7:15
  Speaker 2: nos Faratu The Real Story the original No Saratu. I
• 7:19
  Speaker 2: gave a four. The documentary about nos Faratu, I gave
• 7:22
  Speaker 2: a four. And I watched the remake again of nos Faratu,
• 7:26
  Speaker 2: and it contextualized that movie so much more that I
• 7:30
  Speaker 2: gave that one four stars as well. So consistency. And
• 7:35
  Speaker 2: then I saw Whistle, which is not even out yet.
• 7:38
  Speaker 2: Well by the time this podcast comes out, I think
• 7:40
  Speaker 2: it'll be releasing the next day, but there was an
• 7:43
  Speaker 2: advanced screener at my AMC, so I went and checked
• 7:45
  Speaker 2: it out. I fucking loved it. I was. I went
• 7:48
  Speaker 2: by myself because that's that was my night to go out.
• 7:50
  Speaker 2: So I'm in the theater having the best time. The
• 7:53
  Speaker 2: audience did not understand the assignment. Clearly was not in there.
• 7:58
  Speaker 2: I don't know what they liked, because it was hilarious.
• 8:00
  Speaker 2: I'm sitting there cackling at all these.
• 8:02
  Speaker 3: Crazy advance those advanced screening sometimes have very weird audiences.
• 8:05
  Speaker 2: Yeah, they did not get the assignment. Because I'm sitting
• 8:08
  Speaker 2: there cackling at the jokes and all of the crazy
• 8:10
  Speaker 2: carnage and no one around me is doing anything. I'm like,
• 8:13
  Speaker 2: fuck you guys, I'm having fun. And then for my
• 8:16
  Speaker 2: cult movie challenge I was originally going to watch, it
• 8:20
  Speaker 2: was Angelo Mao ying Week, who I've never heard of,
• 8:24
  Speaker 2: but she's she's apparently a badass because she was one
• 8:26
  Speaker 2: of the first females to actually get into the kung
• 8:30
  Speaker 2: fu genre while it was and it still is, predominantly male,
• 8:34
  Speaker 2: but she was one of the first ones to break
• 8:35
  Speaker 2: through and do kung fu movies. And I originally picked
• 8:39
  Speaker 2: Ninja the Violent Sorcerer, which kill her name right, and
• 8:44
  Speaker 2: she's only an archive footage of that movie, So I
• 8:47
  Speaker 2: was like, Okay, that's not really fair. And the only
• 8:49
  Speaker 2: other two horror movies she was in, one of them
• 8:52
  Speaker 2: was also archive footage, and the other one I couldn't
• 8:54
  Speaker 2: find streaming, so I watched Enter the Dragon, which she
• 8:58
  Speaker 2: was only in five minutes of the movie. So I
• 9:01
  Speaker 2: guess that wasn't the greatest pick either. I had never
• 9:04
  Speaker 2: seen Enter the Dragon. My dad was a Bruce Lee fan.
• 9:07
  Speaker 2: I know, you know, I know Bruce Lee.
• 9:08
  Speaker 3: He's a bad That is that is wild to me
• 9:11
  Speaker 3: because I feel like I that was just a movie
• 9:13
  Speaker 3: that was so integral to my childhood. Okay, it is
• 9:21
  Speaker 3: strange to me when people haven't seen and it's not
• 9:23
  Speaker 3: in a judgmental way. It's just like sometimes you just like, oh,
• 9:26
  Speaker 3: well everyone is seen Under the Dragon.
• 9:28
  Speaker 2: Yeah. I mean, like I said, my dad was a fan.
• 9:30
  Speaker 2: I remember him having an on at one point when
• 9:32
  Speaker 2: I was younger, but I really liked it. Also, kung
• 9:35
  Speaker 2: fu has never been.
• 9:36
  Speaker 3: My genre, but that it is my genre.
• 9:41
  Speaker 2: See. But now what I've realized is is I've never
• 9:43
  Speaker 2: really explored the genre because outside of like Kung Pao,
• 9:48
  Speaker 2: Enter the Fist, Kung Fury and Kung Fu Hustle and
• 9:52
  Speaker 2: Jackie Chan movies I really haven't watched.
• 9:55
  Speaker 3: Can I? Can I make an assumption? Sure, I assume
• 9:59
  Speaker 3: you've seen a lot mostly Jackie Chan's American films.
• 10:03
  Speaker 2: Correct, Yeah, which, don't.
• 10:04
  Speaker 3: Get me wrong, still still a lot of fun. Can
• 10:08
  Speaker 3: I make some recommendations of just like primers to.
• 10:10
  Speaker 2: Start with, just for Jackie chann er, just coming in general,
• 10:15
  Speaker 2: like some all right, let me let me bust out
• 10:17
  Speaker 2: my notepad here, Kung Fu Rex by Michael hit me
• 10:21
  Speaker 2: with it? What do you got?
• 10:22
  Speaker 3: Okay? So some of these might be bordering on samurai films.
• 10:29
  Speaker 2: Fine, let's see first one, the last samurai.
• 10:33
  Speaker 3: Well, no, I was gonna recommend Lady snow Blood.
• 10:36
  Speaker 2: Lady snow Blood already like the title.
• 10:38
  Speaker 3: Okay, uh, it is a That one is definitely a
• 10:42
  Speaker 3: little bit more of a samurai film it is. You
• 10:45
  Speaker 3: watch that film, you will see a lot of influences
• 10:49
  Speaker 3: that Quentin Tarantino polled for kill Bill Bingcho Okay, especially
• 10:54
  Speaker 3: that ending fight scene. Okay, I also recommend come drink
• 10:58
  Speaker 3: with me.
• 11:00
  Speaker 2: Come drink with me.
• 11:02
  Speaker 3: This one is also kind of borderline. This is a
• 11:05
  Speaker 3: Wushaw film w u x I A. If you've ever
• 11:09
  Speaker 3: seen or seen clips of something like Chrochin, Tiger Head
• 11:13
  Speaker 3: and Dragon with like the Wirework. That's what a Wus
• 11:15
  Speaker 3: Shaw film is interesting. Okay, this was directed by a
• 11:20
  Speaker 3: very prolific Chinese filmaker by the name of King of
• 11:22
  Speaker 3: King who he has done quite a few films. Another
• 11:27
  Speaker 3: one that I recommend thirty sixth Chamber of the Shaolin.
• 11:31
  Speaker 2: Oh my god.
• 11:33
  Speaker 3: H Fans out there of the Wu Tang Klan will
• 11:37
  Speaker 3: probably recognize that name because they use that for one
• 11:40
  Speaker 3: of their They use clips from it in a lot
• 11:42
  Speaker 3: of their music within the I think that's the name
• 11:44
  Speaker 3: of one of their albums as well. Gordon lou is
• 11:47
  Speaker 3: the star of that movie. He pretty much you follow
• 11:50
  Speaker 3: his career, you're gonna find some good shit. He's been
• 11:54
  Speaker 3: in a lot of cool stuff. And then here's some
• 11:56
  Speaker 3: box sets that you can.
• 11:57
  Speaker 2: Just go like, h don't even get me started on
• 11:59
  Speaker 2: box at I know the Shaw Brothers.
• 12:01
  Speaker 3: I'm I'm well, Shaw Brothers is a great place to begin. Yes,
• 12:04
  Speaker 3: you want some essentials. Yeah, obviously, like Criterion and Arrow
• 12:10
  Speaker 3: have released the Jackie Chan Jackie Chan Sorry Bruce Films.
• 12:17
  Speaker 3: I have the Criterion. I didn't want to double dip
• 12:19
  Speaker 3: for their Arrow, but I feel like if you go
• 12:21
  Speaker 3: either either route. I just want criterions. I wanted them
• 12:24
  Speaker 3: all in one place. But then Criterion did release two
• 12:29
  Speaker 3: different Jackie Chan collections. They have Police Story one in two.
• 12:36
  Speaker 3: Those aren't exclusively kung ful films like they are, but
• 12:41
  Speaker 3: it's more of like traditional action because like Jackie Chan
• 12:44
  Speaker 3: plays a cop in modern it's kind of like the
• 12:47
  Speaker 3: mold that he would do with like rush Hour, but
• 12:49
  Speaker 3: when he was still in like China. Okay, that's a
• 12:53
  Speaker 3: really good set. And then there is a Jackie Chan
• 12:58
  Speaker 3: collection I'm just trying to get the name of it of.
• 13:02
  Speaker 3: It's called Jackie Chan Emergence of a Superstar and it's
• 13:05
  Speaker 3: got his early films. And what's fun about that is
• 13:08
  Speaker 3: Jackie Chan's biggest influence was like the Silent comedians like
• 13:12
  Speaker 3: Buster Keaton, So it kind of gives you an idea
• 13:15
  Speaker 3: of where his like his body control and everything comes from.
• 13:21
  Speaker 2: So I do have one that I am gonna watch
• 13:23
  Speaker 2: that's a horror movie. It's called the Legend of the
• 13:26
  Speaker 2: Seven Golden Vampires and it sounds amazing. Okay, So all right,
• 13:31
  Speaker 2: so I'm gonna start with these. I love the kung
• 13:33
  Speaker 2: fu tangent. We just went on that was great. So
• 13:36
  Speaker 2: I realized though after not really having a lot of
• 13:40
  Speaker 2: experience with the genre.
• 13:43
  Speaker 3: Move thirty six Chamber of the Show into the top
• 13:45
  Speaker 3: of that list.
• 13:45
  Speaker 2: All right, moved, So I'm gonna explore that a little
• 13:48
  Speaker 2: bit more. But yeah, that was my Cult Movie Challenge.
• 13:50
  Speaker 2: I gave that one a four. It was really good.
• 13:53
  Speaker 2: And there's one specific scene at the end of the
• 13:55
  Speaker 2: movie that I almost I almost fell out of my chair.
• 13:58
  Speaker 2: It was a kick to the that should have blown
• 14:02
  Speaker 2: this guy's head to pieces and he gets it. Was
• 14:05
  Speaker 2: fucking peak peak peak moment.
• 14:07
  Speaker 3: Yeah, so you're gonna see so much of that.
• 14:10
  Speaker 2: I love that. Okay, So if that's what I'm getting into,
• 14:12
  Speaker 2: then I'm here for it. I think that's all I've
• 14:14
  Speaker 2: got for recently watched here the Cult Movie Challenge, and
• 14:17
  Speaker 2: of course Don of the Dead that we're doing today.
• 14:19
  Speaker 2: So with that, let's roll onto the body accounts, all right.
• 14:27
  Speaker 3: It was much clearer than it was on streamyard.
• 14:29
  Speaker 2: Yeah see, And it's funny because I tried Riverside before
• 14:33
  Speaker 2: and it was not great, and then I was like,
• 14:34
  Speaker 2: let me just try it again. Maybe it's because it's
• 14:36
  Speaker 2: the pro version. I don't know, But here we are
• 14:39
  Speaker 2: so Don of the Dead from nineteen seventy eight not
• 14:42
  Speaker 2: released until May fourth of nineteen seventy nine in the US.
• 14:46
  Speaker 2: It is unrated, and there are some fun facts about
• 14:48
  Speaker 2: that I will throw into the episode. Mild sex and nudity,
• 14:52
  Speaker 2: severe violence and gore, moderate profanity, mild alcohol, drugs and smoking,
• 14:57
  Speaker 2: a dog barking in the background, and severe frightening and
• 15:00
  Speaker 2: and scenes.
• 15:01
  Speaker 3: Yeah, I'm gonna just warn you about that. Now there's
• 15:02
  Speaker 3: people outside fixing our stairs, and Ralphie's got big thoughts.
• 15:06
  Speaker 2: That's fine, Ralphie, you have those thoughts. So this run time,
• 15:11
  Speaker 2: since we are specifically doing, the Argento cut, was an
• 15:14
  Speaker 2: hour and fifty nine minutes. The theatrical cut, which is
• 15:17
  Speaker 2: Romero's preferred version, is two hours and seven minutes, and
• 15:20
  Speaker 2: then the Cans cut is like two seventeen two thirty seven.
• 15:26
  Speaker 3: Yeah, it's long. Yeah, the difference between the argentle cut
• 15:29
  Speaker 3: and the and the theatric cut isn't significant in terms of
• 15:33
  Speaker 3: length wise. But you've been doing this podcast for long
• 15:36
  Speaker 3: enough where I'm sure you've watched you know how how
• 15:40
  Speaker 3: different a couple minutes can be.
• 15:43
  Speaker 2: And yeah, I have a lot of thoughts on how
• 15:45
  Speaker 2: different this movie is for only cutting out about nine minutes,
• 15:48
  Speaker 2: so this is listed as a horror thriller directed by
• 15:52
  Speaker 2: the legendary George A. Romero rest in Peace, who of
• 15:55
  Speaker 2: course directed Night of the Living Dead, Day of the Dead,
• 15:59
  Speaker 2: many other of the deads, and he also directed Creep Show.
• 16:03
  Speaker 2: Written by Georgia Romero, he writes pretty much everything he
• 16:05
  Speaker 2: directs composed by Dario Argento, but that is the theatrical cut.
• 16:11
  Speaker 2: Most of the score in this on the the Argento
• 16:14
  Speaker 2: cut is actually by Goblin.
• 16:16
  Speaker 3: Well, it is both correct because Dario Argento was kind
• 16:20
  Speaker 3: of a member of Goblin. Okay, because the the theatrical
• 16:25
  Speaker 3: cut is a mixture of some Goblin cues of musical cues.
• 16:29
  Speaker 3: But then George Romero was huge on.
• 16:33
  Speaker 2: Like that stock not stock but stock sound right, is
• 16:37
  Speaker 2: that the name stock music?
• 16:38
  Speaker 3: Yeah? Like using library tunes.
• 16:40
  Speaker 2: There we go, library tunes. So yeah, there's so. But
• 16:43
  Speaker 2: for the purposes of this, it's mainly Goblin, who also
• 16:47
  Speaker 2: composed Deep Red, Beyond the Darkness phenomena, stuff like that.
• 16:51
  Speaker 2: Cinematography by Michael Gornick, who only shockingly has five credits,
• 16:55
  Speaker 2: but he did the cinematography for Martin, which is an
• 16:57
  Speaker 2: early Romero film Creep Show and then Day of the
• 17:00
  Speaker 2: Dead edited by George A. Romero, who also edited Nighted,
• 17:05
  Speaker 2: Living Dead, The Crazies and Martin, and then of course
• 17:08
  Speaker 2: for the Argento cut that was edited by Dario Argento.
• 17:11
  Speaker 2: He also edited Trauma, a movie that I could totally loathe,
• 17:14
  Speaker 2: and you can go listen to that on the fucking
• 17:18
  Speaker 2: whatever that appen whatever that month we did Trauma month, Yeah, whatever.
• 17:23
  Speaker 2: It was starring David MG as Steven, who only has
• 17:29
  Speaker 2: five credits, but he was in basket Case two is
• 17:32
  Speaker 2: Half Moon Ken Fora as Peter, who is a fucking legend.
• 17:36
  Speaker 2: He was in things like From Beyond as Bubba Brown
• 17:38
  Speaker 2: Lee uh and in I.
• 17:40
  Speaker 3: Caught he was also as he was the dad in
• 17:43
  Speaker 3: Keenan and Gil.
• 17:44
  Speaker 2: Oh shit, wow, I totally forgot about that. Okay, I
• 17:48
  Speaker 2: was looking for horror things, but okay I didn't. I
• 17:50
  Speaker 2: honestly didn't even know that.
• 17:52
  Speaker 3: Hey, you know that's what I bring to this a function?
• 17:53
  Speaker 3: You bring? You mentioned horror, and I mentioned.
• 17:55
  Speaker 2: Everything everything else. That's major. He was also in a
• 17:58
  Speaker 2: very very short iconic performance in Rob Zombie's Halloween as
• 18:02
  Speaker 2: Joe Grizzly. I'm Joe grizzly bitch.
• 18:06
  Speaker 3: Oh, kind of just a quick aside about the character
• 18:09
  Speaker 3: Joe Grizzly. Sure, Joe Grizzly is it? He just feels
• 18:12
  Speaker 3: like the like Rob Zombie described him in the commentary
• 18:15
  Speaker 3: as he feels like the guy who got laid with
• 18:19
  Speaker 3: that haircut back in back in the seventies and never
• 18:22
  Speaker 3: never changed. Can't on see that comparison, Like that's what
• 18:26
  Speaker 3: he looked like when he got laid for the first time,
• 18:28
  Speaker 3: So he's never changing.
• 18:29
  Speaker 2: It, and I'm sure he's still slaying ass. God. We
• 18:34
  Speaker 2: have Scott h ray Near as Roger who only has
• 18:38
  Speaker 2: eight credits. He was also in the Dawn of the
• 18:40
  Speaker 2: Dead remake two thousand and four as the General and
• 18:43
  Speaker 2: Galen Ross's fran Scene who only has four credits.
• 18:46
  Speaker 3: And she was also Ross is so good.
• 18:48
  Speaker 2: She was so good in this, and she is in
• 18:50
  Speaker 2: Madman as Betsy, but it's shocking.
• 18:53
  Speaker 3: She's good and Madman but she is like perfect.
• 18:56
  Speaker 2: She's perfect. Yeah, I agree. I don't think these numbers
• 18:58
  Speaker 2: are right because there was a bit of trivia that
• 19:00
  Speaker 2: said this was Romero's like highest grossing movie, like of
• 19:03
  Speaker 2: the Dead movie because it had a budget of six
• 19:05
  Speaker 2: hundred fifty thousand, but according to IMDb, only grossed one
• 19:09
  Speaker 2: hundred and sixty thousand. I don't I don't think that it.
• 19:11
  Speaker 3: Might be worldwide and it might be lifetime.
• 19:14
  Speaker 2: Okay, So this movie was filmed in the Monroevall of
• 19:18
  Speaker 2: Monroe Vall, Monroeville Mall in Pennsylvania and Pittsburgh. And this
• 19:23
  Speaker 2: is not streaming anywhere. It is a very hard title
• 19:26
  Speaker 2: to obtain. Michael and I have these second site releases.
• 19:29
  Speaker 2: He's got the super fancy seven disc. I only have
• 19:32
  Speaker 2: the four disc, so.
• 19:35
  Speaker 3: Well, you know, to be fair like three of those
• 19:36
  Speaker 3: discs or Southtrack fair.
• 19:39
  Speaker 2: But it is on Amazon for three ninety nine rental.
• 19:41
  Speaker 2: I assume it is just a theatrical cut. Movies that
• 19:44
  Speaker 2: came out around the same time. What a year to
• 19:47
  Speaker 2: be alive, The Warriors, The Deer Hunter, Alien, The Brood Fantasm.
• 19:56
  Speaker 3: I'm just gonna keep grunting, do It.
• 19:57
  Speaker 2: Do It? The Brood Fantasm, Some Rocky Too, Escape from Alcatraz,
• 20:03
  Speaker 2: The Muppet Movie, Moonraker, and the Frisco Kid. What a fucking,
• 20:08
  Speaker 2: just goddamn seventy nine was a great year. Man.
• 20:12
  Speaker 3: I wish I couldn't I wish. I wish I could
• 20:14
  Speaker 3: have had a time machine. I would just go back
• 20:15
  Speaker 3: and see movies when they first released.
• 20:17
  Speaker 2: That's I that is yeah, yeah, very well said I
• 20:21
  Speaker 2: would do the same thing quick. I AMDB summary. During
• 20:25
  Speaker 2: an escalating zombie epidemic. Two Philadelphia Swat team members, a
• 20:28
  Speaker 2: traffic reporter and his TV executive girlfriend seek refuge and
• 20:32
  Speaker 2: his decluded shopping mall. Let's hit the autopsy.
• 20:37
  Speaker 3: These sound effects are so much more pronounced.
• 20:40
  Speaker 2: All right, Michael. Overall thoughts, I know we have a
• 20:43
  Speaker 2: lot to say. I have like a scent. I just
• 20:46
  Speaker 2: tried to keep mine short. But what do we have
• 20:48
  Speaker 2: for overall thoughts on the Argento cut of the movie.
• 20:53
  Speaker 3: Not my not my favorite cut. Oh but I don't
• 20:56
  Speaker 3: mind it. Well, let's be real. Any cut of this
• 20:59
  Speaker 3: movie I think is just is perfect. But this is
• 21:03
  Speaker 3: the preferred cut when it's a little bit later and
• 21:05
  Speaker 3: you want to get out a little bit faster.
• 21:08
  Speaker 2: I agree. Yeah, so I feel the same way. I
• 21:12
  Speaker 2: don't know. I don't know. I watched the original before
• 21:15
  Speaker 2: we did the Dawn of the Dead episode last year,
• 21:18
  Speaker 2: and I really enjoyed it. I gave it four stars.
• 21:20
  Speaker 2: But this cut to me, I liked it more overall,
• 21:25
  Speaker 2: but there were definitely some elements I wish were still
• 21:28
  Speaker 2: there because it's weird, like the movie shorter, but some
• 21:32
  Speaker 2: of the scenes in the shorter cut are longer, which
• 21:34
  Speaker 2: we'll get to. But I think this is truly This
• 21:37
  Speaker 2: is why it's the essential pick. A lot of people
• 21:40
  Speaker 2: might think that Night of the Living Dead would be
• 21:42
  Speaker 2: the essential one, but I think this one is because
• 21:45
  Speaker 2: it really kicked off zombies in the eighties. Zombies were
• 21:49
  Speaker 2: all over the place in the eighties, so I think
• 21:51
  Speaker 2: this one is the one that got people interested in
• 21:53
  Speaker 2: the genre.
• 21:54
  Speaker 3: Yeah, absolutely, And also it's it's because, like I am
• 21:58
  Speaker 3: not the biggest fan of zombie films. Correct, George's films
• 22:03
  Speaker 3: are different for me in that way. And even though
• 22:06
  Speaker 3: this is clearly undoubtedly of zombie film, when I think
• 22:11
  Speaker 3: about it, I don't think of it as a zombie film.
• 22:12
  Speaker 3: Like it's like there's zombie films and then there's Donna
• 22:15
  Speaker 3: the Dead.
• 22:16
  Speaker 2: Yeah, it's like, the zombies are there, they're a main
• 22:18
  Speaker 2: part of the movie, but you're really more focused on
• 22:21
  Speaker 2: our group of four just trying to survive, So the
• 22:24
  Speaker 2: zombies almost feel like background noise. I don't know, it's
• 22:27
  Speaker 2: very strange. So the you know, the version that everyone
• 22:31
  Speaker 2: is most likely familiar with is going to be the
• 22:33
  Speaker 2: one hundred and twenty seven minute theatrical cut. It's the
• 22:36
  Speaker 2: most that's been released on home video, and it's considered
• 22:39
  Speaker 2: the quote default version. All of the most iconic Dona
• 22:43
  Speaker 2: the Dead moments are there, and the score is a
• 22:45
  Speaker 2: mix of music composed by Goblin and library tracks chosen
• 22:49
  Speaker 2: by Romero.
• 22:50
  Speaker 3: The extended I have a fun fact about that, whenever
• 22:53
  Speaker 3: we get.
• 22:53
  Speaker 2: There perfect the extended slash can cut if fleshes out
• 22:58
  Speaker 2: the characters, here we go runs one hundred and thirty
• 23:00
  Speaker 2: nine minutes.
• 23:01
  Speaker 3: There it is yep, no Goblin score.
• 23:04
  Speaker 2: Yeah. Noticeably, this version's score is almost entire entirely library
• 23:08
  Speaker 2: music and omits Goblin's work. It is also important to
• 23:11
  Speaker 2: note that the one hundred and thirty nine minute extended
• 23:14
  Speaker 2: cut is not Romero's director cut. The extended cut was
• 23:17
  Speaker 2: actually edded down into what became the theatrical cut, which is yeah,
• 23:20
  Speaker 2: which is his preferred version. Finally, we arrive at the
• 23:24
  Speaker 2: at the one we watched today. It's the European slash
• 23:27
  Speaker 2: Argento cut one hundred and nineteen minutes, which was edited
• 23:30
  Speaker 2: together by Argento himself, who produced the film. This is
• 23:33
  Speaker 2: a faster paced cut, removed some of the dialogue heavy
• 23:36
  Speaker 2: scenes and comedic bits, choosing to amp up the horror
• 23:39
  Speaker 2: and action factors within a score with a score that's
• 23:42
  Speaker 2: almost entirely Goblins and fuck, that soundtrack was so goddamn good. Yeah,
• 23:47
  Speaker 2: that is obviously the highlight for me. But it's crazy
• 23:50
  Speaker 2: how he only took out eight minutes and this movie
• 23:54
  Speaker 2: just felt like two hours went by like that. I
• 23:58
  Speaker 2: couldn't believe that only removing eight minutes made the movie
• 24:02
  Speaker 2: so much better place.
• 24:03
  Speaker 3: But when we got to the point where the the
• 24:05
  Speaker 3: bikers invaded, them all was like, oh shit, we're here already.
• 24:08
  Speaker 2: Okay, I said the same thing. That's like an hour
• 24:10
  Speaker 2: and thirty five. Then you're like, oh, we're almost done.
• 24:13
  Speaker 3: I also, and granted, you know they're working off the
• 24:15
  Speaker 3: same script and everything, but I do find it interesting
• 24:17
  Speaker 3: how similar our Gento end Romero's cuts were. I don't
• 24:22
  Speaker 3: know how how much they worked together on it, but
• 24:26
  Speaker 3: obviously they're they're both movies are gonna follow the same structure,
• 24:29
  Speaker 3: they're following the same script. But I was just actually
• 24:32
  Speaker 3: quite impressed by how similar they were at times, So
• 24:36
  Speaker 3: either they were just really in some patico with each
• 24:38
  Speaker 3: other or they were working together. Not one hundred percent sure.
• 24:41
  Speaker 3: I also and I didn't. I haven't rewatched the theatrical
• 24:44
  Speaker 3: cut close enough to say for sure, but I feel
• 24:48
  Speaker 3: like there was some scenes that I don't remember.
• 24:51
  Speaker 2: So there's there's a few that I mentioned. I mean,
• 24:54
  Speaker 2: I'm not gonna go through every single one, but there
• 24:56
  Speaker 2: there was two in particular. One is the basement seen
• 25:00
  Speaker 2: and the whole raid on that low income housing in
• 25:03
  Speaker 2: the beginning. It is much more extended, yes, way more violent.
• 25:08
  Speaker 2: Like in the theatrical cut, you don't you only see
• 25:12
  Speaker 2: Peter right Ken forret, you only see his perspective when
• 25:16
  Speaker 2: he's shooting, and our Gento's cut it cuts to everyone.
• 25:19
  Speaker 2: He's shooting in the head and just blood's going everywhere.
• 25:22
  Speaker 2: And it also focuses a little bit more on Peter
• 25:26
  Speaker 2: when he has to reload and he starts shedding tears.
• 25:30
  Speaker 2: It focuses on him and holds on him a lot
• 25:33
  Speaker 2: more before Steven comes over, or not Steven, the other
• 25:36
  Speaker 2: fucking guy, Roger comes over and shoots the zombie. That
• 25:39
  Speaker 2: was a noticeable difference.
• 25:41
  Speaker 3: One of the ones that I noticed too, was when
• 25:43
  Speaker 3: they were building the false wall. When I first noticed
• 25:48
  Speaker 3: it was when they were like matching the paint color.
• 25:52
  Speaker 3: It's like, oh, I don't remember that. They're being like
• 25:55
  Speaker 3: a cutaway of the making sure that they're matching the
• 25:57
  Speaker 3: paint color. But then it was intercut with Galen Rows
• 26:00
  Speaker 3: his character like having mourning sickness. It's like, I don't
• 26:03
  Speaker 3: remember this sequence. Yeah, but it feels like a very
• 26:07
  Speaker 3: important little thing.
• 26:09
  Speaker 2: It does because I remember that he takes the brown
• 26:11
  Speaker 2: paint and does that and he looks at you know,
• 26:14
  Speaker 2: Steven or whatever, and he's like, Yep, we're good. I
• 26:16
  Speaker 2: was like, oh, I don't remember that either. And the
• 26:19
  Speaker 2: one the one sin that I think Argento commits with
• 26:22
  Speaker 2: this movie is removing the helicopter zombie kill. Why that
• 26:27
  Speaker 2: kill was so fucking amazing when the blade hits him
• 26:30
  Speaker 2: in the head at the beginning. He removed that because
• 26:33
  Speaker 2: I was like, I feel like something's missing here when
• 26:34
  Speaker 2: they're refueling and it was it was a helicopter kill.
• 26:37
  Speaker 3: Yeah, I feel like there's one other personal sin that
• 26:40
  Speaker 3: he committed.
• 26:41
  Speaker 2: Oh do tell So.
• 26:43
  Speaker 3: While I love the zombie score, Argento definitely has a
• 26:48
  Speaker 3: habit of not letting up on score. Sometimes, Yes, I agree,
• 26:52
  Speaker 3: there's times like, you know, Romero would let a scene
• 26:56
  Speaker 3: kind of breathe or he if there was score, he
• 26:59
  Speaker 3: wouldn't let it be the main character always in the
• 27:03
  Speaker 3: see in the sequence. Our gentle doesn't give a fuck
• 27:05
  Speaker 3: about that. But that's just our gentle style. He is
• 27:08
  Speaker 3: a stylist, because there were there was I can't think
• 27:12
  Speaker 3: of any specific moments, but there was times like, oh,
• 27:14
  Speaker 3: I feel like this would be a little stronger if
• 27:16
  Speaker 3: the music wasn't so protruding in the scene.
• 27:20
  Speaker 2: Uh.
• 27:21
  Speaker 3: But that being said, there there was actually some really
• 27:23
  Speaker 3: nice piano bits in that in the score too, especially
• 27:27
  Speaker 3: like when Ken like fora is like about to kill
• 27:31
  Speaker 3: himself spoiler, or you know, some of the more melancholy
• 27:35
  Speaker 3: moments later like after they've gotten everything fortified. It's like, oh, man,
• 27:39
  Speaker 3: some of these I wish he I wish Romero would
• 27:41
  Speaker 3: have used a couple more of these, these these cues.
• 27:44
  Speaker 3: That being said, I also found myself missing some of
• 27:47
  Speaker 3: that library music At times I'm like, oh, this doesn't
• 27:49
  Speaker 3: feel like Dawn of the Dead.
• 27:52
  Speaker 2: Yeah, I missed it at some points, But then at
• 27:55
  Speaker 2: the ending when the helicopter flies away and then it
• 27:57
  Speaker 2: cuts to like that comic book music. That's how it
• 28:01
  Speaker 2: was described in the subtitles. I didn't like that. I
• 28:03
  Speaker 2: like the Goblin score at the end a little bit
• 28:05
  Speaker 2: better than what Romero did, but he's Argento is also
• 28:09
  Speaker 2: like you said, he's like, there's one particular part of
• 28:13
  Speaker 2: score that was very repetitive in this version. It was
• 28:17
  Speaker 2: a the song slapped like. I loved it, but he
• 28:21
  Speaker 2: utilized it a lot and it got a little tiresome.
• 28:24
  Speaker 3: But overall, when you're watching Phantasm, it's like, Okay, we've heard.
• 28:27
  Speaker 2: This, Yeah, we get the themes. There was another movie
• 28:31
  Speaker 2: I was watching recently where they do that oh House
• 28:34
  Speaker 2: to They have the same like one one song that
• 28:38
  Speaker 2: they play almost every five or ten minutes, and you're like, guys,
• 28:41
  Speaker 2: pick another song here, you could pick another tune.
• 28:45
  Speaker 3: So I feel though it's interesting though, after watching the
• 28:49
  Speaker 3: Argento cut, I was like, oh, I feel because like
• 28:53
  Speaker 3: they're the same movie. Yeah, in its bones, but I
• 28:56
  Speaker 3: just I feel like tonally they are, they feel different.
• 29:00
  Speaker 3: And I was watching it like, oh, because this is
• 29:02
  Speaker 3: my first time watching the Argento cut same, I feel
• 29:05
  Speaker 3: like this was the version that Zack Snyder and James
• 29:08
  Speaker 3: Gunn were ripping on absolutely, and I don't want to
• 29:12
  Speaker 3: say ripping off this the wrong word, but like riffing on,
• 29:14
  Speaker 3: riffing on, And they wrote their remake because it's like, oh,
• 29:18
  Speaker 3: this feels more like the was a twenty for two
• 29:21
  Speaker 3: thousand and six and four Donna the Dead two thousand
• 29:23
  Speaker 3: and four Donna the Dead more than the theatrical cut
• 29:27
  Speaker 3: does well.
• 29:28
  Speaker 2: And I remember too, when I watched the theatrical cut
• 29:31
  Speaker 2: of the nineteen seventy eight movie, how kind of shocked
• 29:34
  Speaker 2: I was with the blood and guts. I did not
• 29:37
  Speaker 2: I did not expect it, And watching the Argento cut,
• 29:41
  Speaker 2: I had to stop and say, I think this is
• 29:44
  Speaker 2: did they add more scenes of? They did? They added
• 29:46
  Speaker 2: a lot more scenes of like so much more violence
• 29:49
  Speaker 2: in those movies. So I really like that because for
• 29:53
  Speaker 2: a movie in seventy eight, I don't think, you know,
• 29:57
  Speaker 2: I mean, there was a lot of grindhouse stuff coming
• 29:58
  Speaker 2: out in the seventies that featured a lot of blood
• 30:01
  Speaker 2: and guts and sex, but I don't know, this for
• 30:04
  Speaker 2: me stands out in the seventies.
• 30:05
  Speaker 3: They also, you know, and we could talk about this
• 30:09
  Speaker 3: more when we get to it, but the ratings board
• 30:12
  Speaker 3: in the United States was kind of having a field
• 30:14
  Speaker 3: day with this movie. Italy I don't think was as
• 30:18
  Speaker 3: I'm sure they have a ratings board, I know everyone does,
• 30:21
  Speaker 3: but they they're not as anti violence they're uptight because yeah,
• 30:28
  Speaker 3: I feel like if anyone watches the document of the
• 30:32
  Speaker 3: Dead documentary, they're they're just kind of like at a point,
• 30:35
  Speaker 3: just kind of riffing and coming up with shit. So
• 30:37
  Speaker 3: I'm sure they just kind of let Tom Savini do
• 30:40
  Speaker 3: whatever he felt like he was capable of. And even
• 30:44
  Speaker 3: with like the really ultra red Blood, which I actually
• 30:47
  Speaker 3: really like. I like it too, they did it because
• 30:50
  Speaker 3: Ramera wanted to feel like a comic book. Yeah, and
• 30:53
  Speaker 3: you succeeded. But I feel like, yeah, they just kind
• 30:56
  Speaker 3: of went they went off on this film.
• 30:58
  Speaker 2: Yeah, they they really did with this one. Uh And
• 31:01
  Speaker 2: and they they also stay on the shots of the
• 31:03
  Speaker 2: blood and gore a little bit longer in the Argento
• 31:06
  Speaker 2: cut specific audience wants and it's and it's exactly this.
• 31:09
  Speaker 2: And the crazy thing about it why it's unrated is
• 31:12
  Speaker 2: because the MPAA or whatever it was back then, was
• 31:15
  Speaker 2: going to give this an X rating, and he fought
• 31:17
  Speaker 2: for it to just go unrated because he.
• 31:20
  Speaker 3: Did, like got yes, because like his whole thing was
• 31:22
  Speaker 3: is like, if you make this an X film, people
• 31:25
  Speaker 3: are gonna think that we're pornography correct, and he goes,
• 31:28
  Speaker 3: I'd rather go unrated because he's like, I don't think
• 31:31
  Speaker 3: that he's a He pretty much said, I'm not arguing
• 31:35
  Speaker 3: with your assessment that this film is violent and only
• 31:39
  Speaker 3: certain people should see it, but I'm gonna fight against
• 31:42
  Speaker 3: the distinction of it being considered pornographic.
• 31:45
  Speaker 2: Right because I don't think NC seventeen was a thing
• 31:47
  Speaker 2: back in the in the seventies. No, it was. It
• 31:50
  Speaker 2: was r PG, it was PG R and then X
• 31:53
  Speaker 2: and so it's just those are very drastic bump ups.
• 31:56
  Speaker 2: That's why eventually PG thirteen and NC seventeen came around.
• 31:59
  Speaker 2: Thanks Gremlins, Yeah, thanks Gremlins and Temple of Doom. Appreciate you.
• 32:03
  Speaker 2: But it's crazy. It's crazy to me to think that
• 32:05
  Speaker 2: the theatrical was almost given the X rating. I'm not
• 32:09
  Speaker 2: saying it's not shocking and bloody, but then you see
• 32:11
  Speaker 2: our Gento's You're like, this would would this have been
• 32:14
  Speaker 2: X if it.
• 32:15
  Speaker 3: Was like, oh, absolutely, holy shit? But then like I
• 32:20
  Speaker 3: feel like and please correct me if I'm wrong. I
• 32:22
  Speaker 3: feel like I remember you you saying on this show
• 32:24
  Speaker 3: a couple of times that you're kind of mixed on
• 32:26
  Speaker 3: the overall ouvra of Dari Argento. But I you know,
• 32:33
  Speaker 3: that man makes some incredibly violent films. They don't always
• 32:37
  Speaker 3: feel super violent because he's a very operatic and grandiose filmmaker, right,
• 32:43
  Speaker 3: but god damn they're violent.
• 32:46
  Speaker 2: He I'll give him. I'll give him this for this
• 32:48
  Speaker 2: movie and how he edited it. I am a fan
• 32:52
  Speaker 2: of him in this in this regard the really the
• 32:55
  Speaker 2: one thing that completely turned me off from him as
• 32:57
  Speaker 2: a directors is from the movie Drama where he had
• 33:00
  Speaker 2: his daughter in that movie underage and topless. That's just
• 33:05
  Speaker 2: gross to me, Like that's it's just gross. So that
• 33:07
  Speaker 2: turned me off from him as a filmmaker. And I've
• 33:10
  Speaker 2: tried a lot of his big hits. I mean, we
• 33:12
  Speaker 2: did Deep Red, we did Phenomenon in Dario r. Junta,
• 33:17
  Speaker 2: we did four or five of his movies, and I
• 33:20
  Speaker 2: just for some reason, I'm just not a big fan
• 33:23
  Speaker 2: of him, which is I guess a hot take, because
• 33:26
  Speaker 2: his movies all have great ratings, but his editing in
• 33:28
  Speaker 2: this I like, I said, I prefer it over the
• 33:32
  Speaker 2: theatrical cut to an extent, but there is something still
• 33:36
  Speaker 2: so much more atmospheric about Romero's original version that.
• 33:39
  Speaker 3: I really like. I also really like because if you
• 33:42
  Speaker 3: watch even just clips from Romero's cut and then watch Argento's,
• 33:47
  Speaker 3: Argento's color timing is different.
• 33:49
  Speaker 2: It is it is. His is a bit more darkened.
• 33:52
  Speaker 3: Yeah, and it's also like a big bit bluer in tone.
• 33:57
  Speaker 3: It's it's definitely going for a specific vibe. And yeah,
• 34:04
  Speaker 3: said not bad, just different.
• 34:06
  Speaker 2: Yeah, Ramaros is a little bit lighter. Because I saw
• 34:09
  Speaker 2: side by sides because I was curious because I noticed
• 34:12
  Speaker 2: that when I was watching the Argenta cut, I thought,
• 34:15
  Speaker 2: this movie kind of feels like it has some different
• 34:17
  Speaker 2: tinting or color grade something going on. So I got
• 34:20
  Speaker 2: side by sides of shots and I was like, oh, yes,
• 34:22
  Speaker 2: Romeros is a little bit more lighter, whereas Argento's is
• 34:26
  Speaker 2: a little bit more darker, kind of kind of vibrant.
• 34:29
  Speaker 2: The blood especially was really popping in his version. That shit,
• 34:34
  Speaker 2: and the makeup he used for the zombies was I mean,
• 34:38
  Speaker 2: he said he regrets it because they came off blue
• 34:42
  Speaker 2: instead of how he wanted them to come off looking
• 34:44
  Speaker 2: from the original Night of the Living Dad. I like
• 34:46
  Speaker 2: the look of the zombies in this.
• 34:48
  Speaker 3: He doo, And that also might be a hot take
• 34:51
  Speaker 3: because I'm actually kind of bored of realistic looking zombies.
• 34:54
  Speaker 2: Yeah, I like the kind of cartoonist just over the top.
• 34:59
  Speaker 2: It's like not an o the top look, but it's
• 35:01
  Speaker 2: just a look that's not done today anymore. But I
• 35:05
  Speaker 2: mean this movie, really, this movie really set the standard
• 35:08
  Speaker 2: and set a lot of the tropes, because you have
• 35:11
  Speaker 2: to remember, before this movie, there was Night of the
• 35:13
  Speaker 2: Living Dead, maybe a few other zombie movies in the seventies,
• 35:17
  Speaker 2: and then this movie, for me, is what started establishing
• 35:21
  Speaker 2: a lot of the tropes that would evolve to what
• 35:24
  Speaker 2: we know today. Obviously that would change too well twenty
• 35:28
  Speaker 2: eight days later when things were running at full speed.
• 35:32
  Speaker 2: But you know, I personally, if zombies were real, I've
• 35:36
  Speaker 2: said this before, I like the zombies slow. That's the
• 35:40
  Speaker 2: environment I could survive in in the apocalypse. If we
• 35:42
  Speaker 2: have twenty eight days later zombies, I'm out. I'm not
• 35:46
  Speaker 2: even gonna try with things that are sprinting or what
• 35:49
  Speaker 2: is it, world War ze that they're sprinting as well. No,
• 35:53
  Speaker 2: I'm good on that one. So I do want to
• 35:58
  Speaker 2: talk about how this movie set up, because it's very
• 36:02
  Speaker 2: it's a very interesting setup. It starts kind of the
• 36:05
  Speaker 2: way The Howling ends right both at a news station,
• 36:09
  Speaker 2: both both erupting into chaos, and with the Goblin score
• 36:14
  Speaker 2: behind the opening and Ourgento's cut. It was kind of
• 36:17
  Speaker 2: a melancholy, chill like score, but everyone's in a panic,
• 36:25
  Speaker 2: so I felt calm but also anxiety at the same time,
• 36:30
  Speaker 2: so it was a It gave me, from watching the
• 36:32
  Speaker 2: Argento cut, a very very high level of unease while
• 36:36
  Speaker 2: everyone's fucking panicking in the newsroom. It just really threw
• 36:41
  Speaker 2: me off because I the original score is not like that.
• 36:44
  Speaker 2: It's a little bit more fitting to what's going on.
• 36:46
  Speaker 2: But the opening is great. Of course, Argento's says zombie
• 36:51
  Speaker 2: instead of Dawn of the Dead because that was his title,
• 36:54
  Speaker 2: so there are some little differences there. There's also an
• 36:57
  Speaker 2: extended scene in Romero's where the is yelling at people
• 37:01
  Speaker 2: to come back and they're all running away. I think
• 37:04
  Speaker 2: that cutting that out was a good idea in my opinion,
• 37:06
  Speaker 2: because it really moved the story along quickly. I mean,
• 37:09
  Speaker 2: we get to that raid on that low income housing
• 37:12
  Speaker 2: very quickly, and then that whole scene is very much
• 37:15
  Speaker 2: extended in Our Gentle is much more bloody er, much
• 37:18
  Speaker 2: more violent, but it.
• 37:20
  Speaker 3: Was it's Trgento's almost feels like an action film.
• 37:23
  Speaker 2: It really does. He focuses so much more. It feels
• 37:26
  Speaker 2: like a horror action rather than a horror thriller. Because
• 37:30
  Speaker 2: the pacing, even though there's only eight minutes cut out,
• 37:33
  Speaker 2: was so good. Every time things kind of you're like, okay,
• 37:37
  Speaker 2: things are getting better, it just ramped right back up
• 37:39
  Speaker 2: and chaos was ensuing, and then it would kind of
• 37:42
  Speaker 2: taper off again and then more chaos would happen. Usually,
• 37:45
  Speaker 2: I like pacing to kind of sweep up, and his
• 37:47
  Speaker 2: kind of up and down pacing for me worked very
• 37:52
  Speaker 2: well in his cut, I was I was glued to
• 37:56
  Speaker 2: the TV even though I had seen this movie before.
• 37:59
  Speaker 2: It's like, this whole new cut gave me a whole
• 38:01
  Speaker 2: new perspective on how important or how crucial editing is.
• 38:06
  Speaker 2: Like you can take something that's already been done and
• 38:08
  Speaker 2: redo it and almost have an entirely different vibe, you know,
• 38:11
  Speaker 2: an entirely different vibe with.
• 38:14
  Speaker 3: Yeah, can I can? I have a little aside about editing.
• 38:16
  Speaker 2: Yeah, yeah, yeah, yeah, it feels important.
• 38:19
  Speaker 3: Correct, You're absolutely correct, because, like I said, just seeing
• 38:23
  Speaker 3: how two creatives are working off the same script, the
• 38:27
  Speaker 3: same footage can kind of will just their their focus
• 38:31
  Speaker 3: and how things can, you know, change is really fascinating.
• 38:36
  Speaker 3: If people would like to see another example of this,
• 38:39
  Speaker 3: I highly recommend the Knight of the Living Dead Criterion Edition,
• 38:42
  Speaker 3: and the reason being, oh, I have that. I talk
• 38:45
  Speaker 3: about this in my review for my one of my
• 38:48
  Speaker 3: more recent reviews for Night of the Living Dead. There
• 38:50
  Speaker 3: is a special work print edit of Night of Living
• 38:54
  Speaker 3: Dead call its original night is Night of a Nubis,
• 38:58
  Speaker 3: and it's not a huge change. It's kind of similar
• 39:01
  Speaker 3: to why it's like watching the It's like watching the
• 39:04
  Speaker 3: theatrical versus the argentle cut things. They're they're just different enough.
• 39:08
  Speaker 3: But the reason I mentioned this is because back in
• 39:12
  Speaker 3: the day, and once again, if you ever watch a
• 39:14
  Speaker 3: document of the Dead, watching George Romerow, he's he's cutting
• 39:17
  Speaker 3: this on a real to reel, a real to real setup,
• 39:22
  Speaker 3: just to see, like how they used to cut these
• 39:24
  Speaker 3: films together. The footage is usually spliced together with either
• 39:29
  Speaker 3: tape or glue, and that's how they that's how they
• 39:34
  Speaker 3: did it. When you watch the work print cut, the
• 39:38
  Speaker 3: edits are all very pronounced because they never smoothed it out.
• 39:42
  Speaker 2: Okay.
• 39:43
  Speaker 3: And the reason I mentioned that is it makes you
• 39:45
  Speaker 3: aware of the edits, and I think it's very interesting
• 39:49
  Speaker 3: because then you can kind of like you are since
• 39:51
  Speaker 3: you're more aware of the edits, you're more focusing on
• 39:53
  Speaker 3: the rhythm of the scenes. You're not because like the
• 39:56
  Speaker 3: job of an editor is, if you ever notice the edits,
• 39:59
  Speaker 3: they haven't done their job correctly. It should be it's
• 40:01
  Speaker 3: a invisible art form. Being aware of the edits and
• 40:06
  Speaker 3: how long he decides to hold on each shot I
• 40:09
  Speaker 3: think is truly.
• 40:10
  Speaker 2: Fascinating for what for Ourgenta or Romero Romero? Yeah, because
• 40:16
  Speaker 2: he And it's funny though, because there's.
• 40:18
  Speaker 3: That's why I recommend watching the work print cut on.
• 40:20
  Speaker 2: Okay, Okay, I have that criterion and I will absolutely
• 40:24
  Speaker 2: be checking it out because I you know, I've been
• 40:26
  Speaker 2: trying to watch the only problem with my second site
• 40:30
  Speaker 2: release is that the special features were region B and
• 40:34
  Speaker 2: I still need to get a Region B player, so
• 40:35
  Speaker 2: I was on I know you sent it to me,
• 40:37
  Speaker 2: but I did not have time. I am going to
• 40:39
  Speaker 2: watch it because That's what I'm trying to do this
• 40:41
  Speaker 2: year for the podcast, is watch any sort of special
• 40:43
  Speaker 2: features that I can.
• 40:45
  Speaker 3: Yeah, there's like several hours on that one, so.
• 40:48
  Speaker 2: That, oh okay, that makes sense.
• 40:49
  Speaker 3: You're not You're not going to get through it to
• 40:51
  Speaker 3: very quickly. Like almost every feature on there is like
• 40:53
  Speaker 3: at least an.
• 40:54
  Speaker 2: Hour while oh okay, Well, speaking about editing and kind
• 40:58
  Speaker 2: of the look and looking imagery of this movie, with
• 41:02
  Speaker 2: the four K scan we have on the second side,
• 41:05
  Speaker 2: I can say without a doubt that this does not
• 41:08
  Speaker 2: feel like it's from seventy eight outside of the outside
• 41:11
  Speaker 2: of the few tells of cars and some technology, almost
• 41:17
  Speaker 2: at some points is timeless, which is really because you know,
• 41:20
  Speaker 2: they're in a mall, you don't really see too much
• 41:23
  Speaker 2: detail until they go into some shops. But sometimes I'm
• 41:26
  Speaker 2: watching this like, man, this could have been put out
• 41:28
  Speaker 2: yesterday and I wouldn't know the difference. It's a very
• 41:31
  Speaker 2: very good scan. It had nice contrast, rich colors, The
• 41:35
  Speaker 2: blood was vibrant, and I loved it. And I also
• 41:38
  Speaker 2: really love Romero's camera work in this movie. Or you know,
• 41:42
  Speaker 2: the cinematographer obviously was in charge of that, but how
• 41:46
  Speaker 2: how Romero utilized some shots was very interesting. Like I
• 41:51
  Speaker 2: don't know if this was in the in the theatrical,
• 41:53
  Speaker 2: but in the Argendo cut there's a POV shot of
• 41:56
  Speaker 2: Stephen underneath the malt and the tunnels in the mall,
• 42:00
  Speaker 2: and then there's a POV of Peter's gun like with
• 42:03
  Speaker 2: the scope. That was such an impressive I don't even
• 42:07
  Speaker 2: know how you would fucking do that. Did they just
• 42:09
  Speaker 2: overlay that on the film? I mean, it's they are
• 42:14
  Speaker 2: optics on the camera.
• 42:15
  Speaker 3: Yeah, it's it's it's it's technically kind of like how
• 42:18
  Speaker 3: you would do titles. You shoot the footage and then
• 42:21
  Speaker 3: you'd give it to a title house and then they
• 42:23
  Speaker 3: would essentially layer film on top of it and shoot
• 42:27
  Speaker 3: it again. That's why sometimes if you ever notice that
• 42:31
  Speaker 3: titles are sometimes grainier, Yeah, it's because it's technically two
• 42:35
  Speaker 3: layers of film on top of each other. Okay, and
• 42:38
  Speaker 3: they probably did something very similar with I can't say
• 42:41
  Speaker 3: for sure, but knowing filmmaking process, that's probably how they
• 42:45
  Speaker 3: did it.
• 42:46
  Speaker 2: Yeah, those shots of looking down the looking through the
• 42:48
  Speaker 2: scope of Peter's gun was some really good shots. A
• 42:53
  Speaker 2: lot of solid seventy zooms because those are just my
• 42:56
  Speaker 2: favorite me too.
• 42:58
  Speaker 3: Man, you jump in into Kung Foo, You're gonna get
• 43:01
  Speaker 3: so many zooms.
• 43:02
  Speaker 2: Whooh, okay, I'm a I don't know. I'm a big
• 43:04
  Speaker 2: fan of zooms. But oh they oh I was watching
• 43:10
  Speaker 2: soh They did a split diopter crazy enough in Whistle Uh.
• 43:15
  Speaker 2: And the split diopter was fucking seamless. I couldn't even
• 43:18
  Speaker 2: you know how you can kind of usually see like
• 43:20
  Speaker 2: almost a dividing line. There's probably digital alteration, I guess,
• 43:24
  Speaker 2: but it was. It was very well done. But my
• 43:26
  Speaker 2: favorite zoom in this movie, because it really encapsulates the
• 43:29
  Speaker 2: dread and hopelessness that fran and Steven are feeling, is
• 43:37
  Speaker 2: it's it's towards the end of the movie, after they
• 43:39
  Speaker 2: have that fancy dinner and it's zoom out, so it's
• 43:42
  Speaker 2: it's really closed on Peter and then it slowly zooms
• 43:46
  Speaker 2: back and they both just have this thousand yard stare
• 43:49
  Speaker 2: on their face, and I was like, good, you can
• 43:52
  Speaker 2: just feel the hopelessness and just the dread. And it
• 43:56
  Speaker 2: was such a powerful scene with no dialogue, just camera work.
• 44:01
  Speaker 2: I think Romero utilized he was he was cooking with
• 44:06
  Speaker 2: the camera work in this film.
• 44:08
  Speaker 3: Oh. Absolutely, Like that's one thing I really like about
• 44:11
  Speaker 3: Romero as a filmmaker is he I've said this before,
• 44:16
  Speaker 3: I feel like even horror filmmakers should have influences outside
• 44:20
  Speaker 3: of the horror genre to pull from. Of Romero is
• 44:23
  Speaker 3: just so good at visual storytelling.
• 44:25
  Speaker 2: Mm hmm. Agreed.
• 44:26
  Speaker 3: He knows how to use the camera to tell the
• 44:30
  Speaker 3: story that he's trying to tell, because you could probably
• 44:33
  Speaker 3: watch Down of the Dead Silent and know what's going
• 44:37
  Speaker 3: on and even if you've never seen it.
• 44:39
  Speaker 2: And that's what I love about the storytelling in this
• 44:41
  Speaker 2: movie is it's front loaded, and not in a bad way,
• 44:44
  Speaker 2: but it's frontloaded with your exposition. You're put him into
• 44:47
  Speaker 2: this world that's going to shit and quickly introduced to
• 44:51
  Speaker 2: the characters who all meet up and they go on
• 44:53
  Speaker 2: their way, and after that it's really just about them surviving.
• 44:58
  Speaker 2: There's not much, there's not many layers to the story
• 45:01
  Speaker 2: outside of survival, trying not to lose your humanity and
• 45:06
  Speaker 2: just it's It's interesting because, like I was, I have
• 45:08
  Speaker 2: notes for storytelling, and I'm like, there's not much real storytelling.
• 45:13
  Speaker 2: It's all coming from what Romero is showing you rather
• 45:16
  Speaker 2: than telling you, and I find that fascinating.
• 45:19
  Speaker 3: Yeah, or like simple something is like, what's what's another
• 45:22
  Speaker 3: zombie film that your zombie property that you can think
• 45:25
  Speaker 3: of where characters are.
• 45:26
  Speaker 2: Bored, where characters are bored?
• 45:28
  Speaker 3: Yeah, like think about it. Like after they get them
• 45:30
  Speaker 3: all fortified and they've got they have everything they ever
• 45:33
  Speaker 3: want up until the bikers come, it's just kind of
• 45:37
  Speaker 3: a montage of boredom and complacency, and it's like it's
• 45:42
  Speaker 3: they've survived. Yeah, they're good, they're bored.
• 45:46
  Speaker 2: Interesting. Yeah, I know you're right because even in the
• 45:48
  Speaker 2: Dawn of the Dead remake, it's it's a very high
• 45:51
  Speaker 2: energy and they don't really I mean, the only you know,
• 45:54
  Speaker 2: they go they do the shopping thing at one point,
• 45:56
  Speaker 2: I think, and then of course there's definitely a nod
• 45:59
  Speaker 2: to that, and twenty eight days later when they go
• 46:01
  Speaker 2: to the grocery store and they go shopping. At least,
• 46:03
  Speaker 2: that's what I feel is a nod to Dawn of
• 46:06
  Speaker 2: the Dead. But you're right, I'm thinking about zombie movies
• 46:09
  Speaker 2: that I've seen, and there's really they don't ever showcase
• 46:12
  Speaker 2: kind of the boredom that would come from in a
• 46:15
  Speaker 2: pop lip setting with slow zombies.
• 46:18
  Speaker 3: Yeah, like maybe don't maybe maybe the walking dead heads
• 46:22
  Speaker 3: because they want they were on for so long, Like
• 46:24
  Speaker 3: I'm sure they might have done something with it, but
• 46:27
  Speaker 3: like it's not a very comment.
• 46:29
  Speaker 2: It's not you're right. Even in Night of the Living Dead,
• 46:32
  Speaker 2: that one was it was a little bit shorter, it
• 46:34
  Speaker 2: was a little bit more fast paced, but they don't
• 46:36
  Speaker 2: really have any boredom because they're experiencing in real time,
• 46:40
  Speaker 2: experiencing it in real time, just like we are. So
• 46:44
  Speaker 2: and that's what I love about this movie too, is
• 46:46
  Speaker 2: you're experiencing everything with the characters. We don't know anything
• 46:51
  Speaker 2: more than they do, and.
• 46:52
  Speaker 3: We don't have superior position.
• 46:54
  Speaker 2: We never weep, and so you know, sometimes I like,
• 46:57
  Speaker 2: I like that. Sometimes I wish I knew Moore, But
• 46:59
  Speaker 2: in this instance, I love that we are just along
• 47:01
  Speaker 2: for the ride with these people and we have no
• 47:04
  Speaker 2: idea what's going to happen, much like them. I think
• 47:06
  Speaker 2: it was a very good narrative choice from Romero that
• 47:09
  Speaker 2: you play it that way, because it just again, it
• 47:12
  Speaker 2: just it just really hit. In terms of character development
• 47:16
  Speaker 2: in this movie, there's not really much because I mean,
• 47:20
  Speaker 2: I know the theatrical cut has a little bit more
• 47:23
  Speaker 2: from Romero, but for me, in a zombie movie. It's
• 47:27
  Speaker 2: it's it's I find it interesting because I don't really
• 47:30
  Speaker 2: need character development. Who these people were before and where
• 47:34
  Speaker 2: they've come from is not relevant to the current situation
• 47:37
  Speaker 2: at hand, and I think a lot of zombie movies
• 47:39
  Speaker 2: can get away with that. Now. Trained to Bussan, on
• 47:41
  Speaker 2: the other hand, will have you in fucking tears by
• 47:44
  Speaker 2: the end. But that's another podcast. But for this one,
• 47:47
  Speaker 2: I mean, you don't really know who these people were before.
• 47:50
  Speaker 2: You know that two of them are swat, two of
• 47:52
  Speaker 2: them worked at a new station. You know that Francine
• 47:55
  Speaker 2: is pregnant and she is with Steven. But other than that,
• 47:58
  Speaker 2: I mean, they don't really give us much because I
• 48:00
  Speaker 2: just don't it's not really necessary to the plot. It's
• 48:03
  Speaker 2: not really going to add anything, at least in my opinion.
• 48:05
  Speaker 2: I don't know. I don't know how you feel about that.
• 48:08
  Speaker 3: Uh So, what I think is so beautiful about this film, though,
• 48:10
  Speaker 3: is well, there's there not may not be character development
• 48:13
  Speaker 3: in the traditional sense of where like here is here's
• 48:17
  Speaker 3: the character at the beginning of the movie, here's the
• 48:19
  Speaker 3: character at the end of the film. How have they
• 48:21
  Speaker 3: drastically changed? But there's so so many nice character moments, Yes,
• 48:27
  Speaker 3: Like there's a lot of character moments which I love,
• 48:30
  Speaker 3: and I would say, like maybe the biggest character development
• 48:34
  Speaker 3: in this film would be Gayalen Ross's character Fran realizing
• 48:41
  Speaker 3: that she has to take care of herself m hm,
• 48:44
  Speaker 3: and so like when she tells fly Boy that she
• 48:48
  Speaker 3: wants to know how to pilot the helicopter, she wants
• 48:51
  Speaker 3: to know she has to learn how to shoot and
• 48:55
  Speaker 3: all these other things and good things. She learned that
• 48:58
  Speaker 3: because like Rameier regretted the way that he had Barbara's
• 49:02
  Speaker 3: character play out in Night of the Living Dead where
• 49:04
  Speaker 3: she was just like she pretty much went in the
• 49:07
  Speaker 3: shock at the beginning of the movie and stayed that way, right,
• 49:10
  Speaker 3: you know, he said, I regret the way I did that.
• 49:14
  Speaker 3: So he wanted someone who's a little more self sufficient,
• 49:16
  Speaker 3: and you know, she was clearly from the beginning of
• 49:18
  Speaker 3: the film, but in a very different way because she
• 49:20
  Speaker 3: ran that news office and she was a person with authority.
• 49:24
  Speaker 3: And then the other one would be ken Forrey's character Peter,
• 49:28
  Speaker 3: like he is kind of at his lowest moment and
• 49:31
  Speaker 3: realizes like he's like, I don't want to continue what
• 49:35
  Speaker 3: I don't want to see what's next, but then he
• 49:37
  Speaker 3: has that moment so like Fran beginning of the movie
• 49:42
  Speaker 3: probably wouldn't have even considered leaving without someone from the team,
• 49:47
  Speaker 3: from their group, but she's like, fine, you're gonna you're leaving.
• 49:50
  Speaker 3: You don't want to come with I'm out.
• 49:52
  Speaker 2: Yeah, I'm out.
• 49:53
  Speaker 3: I'm at least gonna defend. I'm gonna protect myself. So
• 49:57
  Speaker 3: then like Peter's moment, of which I'll that he has
• 50:00
  Speaker 3: that vulnerability because he is such a badasster so much
• 50:04
  Speaker 3: of the film he's like, you know, this is how
• 50:06
  Speaker 3: I'm going out, And I think some of that is
• 50:09
  Speaker 3: also just because of him dealing with Rogers death still,
• 50:13
  Speaker 3: but then I also just love that he's like, no,
• 50:15
  Speaker 3: fuck this, I'm I want to survive.
• 50:17
  Speaker 2: I'm better than this. Yeah, there's two there's two moments
• 50:20
  Speaker 2: with you know, I mean Kenfera, he's a big, pretty
• 50:24
  Speaker 2: brolic dude, and he has that moment in the beginning
• 50:27
  Speaker 2: where he is shedding tears over having to kill these
• 50:31
  Speaker 2: people because he knows that at the end of the
• 50:33
  Speaker 2: day there's still human beings, they're just infected with whatever.
• 50:37
  Speaker 2: And then he has that scene at the end where
• 50:38
  Speaker 2: he's like, I just I can't do this anymore and
• 50:41
  Speaker 2: almost shoots himself but then says, no, I'm gonna survive.
• 50:45
  Speaker 2: So he you see his vulnerability the most, I think,
• 50:48
  Speaker 2: which was an interesting choice for him because I think
• 50:52
  Speaker 2: he was the most level headed person in this movie,
• 50:55
  Speaker 2: constantly thinking about what was best for the group and
• 50:58
  Speaker 2: what was best for everyone, because Steven was was like
• 51:01
  Speaker 2: I don't, I don't. I don't think we need to
• 51:03
  Speaker 2: show you how to fly or shoot, and Ken's like, no,
• 51:05
  Speaker 2: that's a good idea, we should do that, and it
• 51:07
  Speaker 2: ended up helping them in the end because that's how
• 51:09
  Speaker 2: they got away.
• 51:10
  Speaker 3: Yeah, Or like, one of my favorite moments in this
• 51:12
  Speaker 3: movie is like when Roger is just being really reckless
• 51:18
  Speaker 3: and he's pretty much just like, you gotta get your
• 51:19
  Speaker 3: head on fucking straight.
• 51:21
  Speaker 2: Yeah. Oh, when they were getting the two semis, Oh
• 51:23
  Speaker 2: my god.
• 51:24
  Speaker 3: Yeah, it's consistently one of my favorite sequences. And also
• 51:28
  Speaker 3: just like I know how that scene plays out in
• 51:31
  Speaker 3: the entire time, I'm just like gripped.
• 51:34
  Speaker 2: Yeah.
• 51:35
  Speaker 3: Yeah, so phenomenal sequence in this film.
• 51:37
  Speaker 2: It's a great sequence because Roger is very gung ho.
• 51:42
  Speaker 2: He's very like whoa, whoa, he's screaming, and Ken foret
• 51:45
  Speaker 2: is just like keeping it calm. And then of course
• 51:49
  Speaker 2: that over zealousness that Roger has ends up. You know,
• 51:53
  Speaker 2: he ends up getting bit in the arm first and
• 51:56
  Speaker 2: then the leg and they're like, we got to take
• 51:59
  Speaker 2: care of that leg. And what I really appreciate about
• 52:02
  Speaker 2: this movie is the fact that the transition from a
• 52:05
  Speaker 2: human to zombie, at least with Roger, was very slow.
• 52:10
  Speaker 2: It took its time, much like the slowness of the Zombies.
• 52:14
  Speaker 2: It made sense for it to take a little bit
• 52:16
  Speaker 2: of time, whereas the remake, you know, people get or
• 52:20
  Speaker 2: like twenty eight days later, people get bit and five
• 52:22
  Speaker 2: seconds later they're in a zombie.
• 52:23
  Speaker 3: You know, they're Yeah, because I feel like in this
• 52:25
  Speaker 3: movie because like, and I'm going mostly based on Night
• 52:30
  Speaker 3: of the Living Dead, okay and this assessment, but I
• 52:33
  Speaker 3: always kind of got the feeling that in George's world,
• 52:38
  Speaker 3: the dead come back to life. It's it's less an infection. Man.
• 52:42
  Speaker 3: Maybe that changes in this film or going forward, but
• 52:47
  Speaker 3: I always kind of took it as it's it's not
• 52:49
  Speaker 3: something that's necessarily changing you just you dying means you
• 52:53
  Speaker 3: will come back. So to me, it's like he is interesting,
• 52:58
  Speaker 3: you know, he is sick and he probably has an
• 53:00
  Speaker 3: infection or and they can't treat it, and he's not
• 53:04
  Speaker 3: going to turn until he actually dies. Maybe I'm wrong
• 53:07
  Speaker 3: with that's kind of the way that I've always interpreted this.
• 53:10
  Speaker 2: No, you're absolutely right, because the thing I was going
• 53:12
  Speaker 2: to bring up next is when I think it's Steven
• 53:15
  Speaker 2: who's in the elevator, who gets bit by the zombies
• 53:18
  Speaker 2: and there's a lot of blood. He comes back a
• 53:20
  Speaker 2: lot quicker, and I thought, why would there be a
• 53:23
  Speaker 2: difference in time, But one of them got sh Yeah,
• 53:28
  Speaker 2: one of them got shot or sorry, one of them
• 53:30
  Speaker 2: got bit twice and probably got an infection and died,
• 53:33
  Speaker 2: and the other ones death was so bloody and violent
• 53:36
  Speaker 2: that he probably died much quicker. I think you're absolutely
• 53:40
  Speaker 2: one correct with that. I don't think it's necessarily an infection.
• 53:43
  Speaker 2: It's you die, you come back, because that makes the
• 53:47
  Speaker 2: most sense now that i'm thinking about it.
• 53:49
  Speaker 3: Interesting like Knight of the Living Dead, like that first
• 53:55
  Speaker 3: zombie that that goes after them in the graveyard. I've
• 53:59
  Speaker 3: always taken it as a person who rose from his
• 54:02
  Speaker 3: grave like he was in a fresh grave, and he
• 54:03
  Speaker 3: rose up from his grave because the dead is was reanimated,
• 54:08
  Speaker 3: not necessarily the freshly dead, just the dead is reanimated.
• 54:11
  Speaker 2: And there is a little bit of talk of you know,
• 54:14
  Speaker 2: when Peter's talking about the voodoo and he's like, you know,
• 54:17
  Speaker 2: and then he has the iconic line of when hell
• 54:20
  Speaker 2: is full, the dead will walk the earth. So they
• 54:23
  Speaker 2: even there's even a little bit of mention of voodoo
• 54:25
  Speaker 2: in this, and that's the zombies do involve voodoo, and
• 54:30
  Speaker 2: the zombies we see today really technically aren't zombies as
• 54:33
  Speaker 2: it spreads to an infection. Zombies originally we were you know,
• 54:38
  Speaker 2: brought back to life through voodoo. So I like that
• 54:40
  Speaker 2: he threw that in there as well. But that makes
• 54:44
  Speaker 2: the most sense to me, honestly, and I like that
• 54:47
  Speaker 2: it's not necessarily an infection. It's just once you die,
• 54:50
  Speaker 2: you come back. I'm going to reiterate it. I think
• 54:52
  Speaker 2: I think you're one hundred percent correct with that.
• 54:55
  Speaker 3: Roger took so long because it took him a while
• 54:58
  Speaker 3: to die and couldn't really do much for him.
• 55:02
  Speaker 2: Yeah, I mean, they had limited medical supplies, but no
• 55:05
  Speaker 2: one is trained to you know, no one is trained
• 55:09
  Speaker 2: to uh you know, patch up bites, severe severe bites.
• 55:14
  Speaker 3: Like you get a chunk taken out of you. Unless
• 55:16
  Speaker 3: you get that taken care of a hospital. If you
• 55:19
  Speaker 3: don't bleed out, you're gonna get an infection.
• 55:21
  Speaker 2: Yeah, exactly. It's an open, like a very big open
• 55:25
  Speaker 2: wound on your leg and your arm. Sure they bandaged
• 55:27
  Speaker 2: him up, but if you don't have the correct you know, equipment,
• 55:32
  Speaker 2: then that makes the most sense. And that actually, that
• 55:36
  Speaker 2: actually makes me appreciate that more because I was trying
• 55:38
  Speaker 2: to figure that out the whole time. I didn't even
• 55:40
  Speaker 2: think it was it wasn't an infection because that's just
• 55:43
  Speaker 2: always it's your brain is just wired to think zombie
• 55:46
  Speaker 2: and infection. So interesting. I really like that a lot.
• 55:53
  Speaker 2: So my core fear of this movie is outside of
• 55:58
  Speaker 2: the obvious undead humans coming for your flesh, I would
• 56:01
  Speaker 2: say it's the breakdown of civilization, having to adapt to
• 56:04
  Speaker 2: a foreign environment where you are forced to rely on
• 56:07
  Speaker 2: instincts and survival in this apocalypsetting, because that is a
• 56:12
  Speaker 2: horrible thought to have, Like if civilization broke down, we
• 56:14
  Speaker 2: would have to go back to like hunting and gathering,
• 56:17
  Speaker 2: and like that's that's not something we know how to do.
• 56:19
  Speaker 2: Like we're so comfortable in our life that having to
• 56:22
  Speaker 2: adapt like that well being very hard.
• 56:25
  Speaker 3: They didn't adapt, like they went to a place where
• 56:28
  Speaker 3: they could get pretty much anything that they needed easily, right,
• 56:34
  Speaker 3: And you know, I get that, but I also feel
• 56:37
  Speaker 3: like it made them more of a target.
• 56:39
  Speaker 2: So you know, especially for the biker game.
• 56:42
  Speaker 3: I gotta say though, like you know, when This Week
• 56:45
  Speaker 3: came out in nineteen seventy eight, malls were a pretty
• 56:48
  Speaker 3: new thing, Like this was the like one of the
• 56:50
  Speaker 3: first malls in Pennsylvania, I think Romero said, and he
• 56:53
  Speaker 3: was friends with the guy who built it, which is
• 56:55
  Speaker 3: how they got to use it. It was nice to
• 56:59
  Speaker 3: see a mall again.
• 57:02
  Speaker 2: Yeah, right, because I noticed them saying in the helicopter's like, oh,
• 57:06
  Speaker 2: that's one of those big malls, and I was like, yeah,
• 57:10
  Speaker 2: it's a mall. I didn't I didn't even think that
• 57:12
  Speaker 2: the fact that they were newer back then, but it
• 57:14
  Speaker 2: was funny to hear that. It's funny to hear that dialogue.
• 57:16
  Speaker 3: And just like, I've been to this mall. It does
• 57:19
  Speaker 3: not look like this anymore, like skating rink and like
• 57:22
  Speaker 3: all the water fixtures and man, a couple of hallways
• 57:27
  Speaker 3: that looked like they did then. Like you know, when
• 57:29
  Speaker 3: they're like, I think there's a shot of the biker
• 57:31
  Speaker 3: gang driving down a hallway and there's like a brick
• 57:34
  Speaker 3: wall behind them that's still there, because like that's a
• 57:37
  Speaker 3: core thing. And there's a nice little bust of Georgia
• 57:42
  Speaker 3: Marrow there, which is kind of fun. And a little
• 57:47
  Speaker 3: zombie museum where they have like surviving elements from the
• 57:51
  Speaker 3: old mall that you can look at. Apparently Walmart's trying
• 57:54
  Speaker 3: to buy it, and I hope they don't.
• 57:55
  Speaker 2: Oh god, no, please, please no, please leave that mall intact.
• 57:59
  Speaker 3: And this I'm to take from Night of the Moving
• 58:00
  Speaker 3: Dead is like twenty minutes away.
• 58:02
  Speaker 2: Oh was it?
• 58:03
  Speaker 3: Yeah?
• 58:04
  Speaker 2: Nice? Yeah, I knew that one was shot in Pennsylvania
• 58:06
  Speaker 2: as well. I guess the only other thing I wanted
• 58:09
  Speaker 2: to mention was just the motorcycle raid, because it's it's
• 58:13
  Speaker 2: hard not to talk about this one. Yeah, after all
• 58:17
  Speaker 2: the things that have happened with this group already. You know,
• 58:21
  Speaker 2: it cuts to a few months later because Francine goes
• 58:24
  Speaker 2: from not pregnant to like full belly, so we kind
• 58:27
  Speaker 2: of have a time jump and they're just living their lives.
• 58:30
  Speaker 2: Ken Foat is on the roof hitting tennis balls off
• 58:32
  Speaker 2: and just doing whatever. And then that's when Tom Savini
• 58:36
  Speaker 2: and his biker gang noticed them, and later that night
• 58:39
  Speaker 2: radio them like you guys are fucked. And then it
• 58:42
  Speaker 2: is just one of the the most amped up, adrenaline
• 58:47
  Speaker 2: filled endings to a zombie movie, Like out There, I
• 58:51
  Speaker 2: mean it was. It comes out, it comes out of nowhere,
• 58:53
  Speaker 2: and you're like, what the.
• 58:55
  Speaker 3: Fuck is And like, I've seen more intense sequences, but
• 58:58
  Speaker 3: they still just this one still beats them. It's just
• 59:02
  Speaker 3: it's just it's it feels gritty, it feels di y,
• 59:05
  Speaker 3: it's just.
• 59:07
  Speaker 2: Yeah, works man. You've got motorcycles just careening around the mall.
• 59:12
  Speaker 2: Everyone is blasting all these zombies. They fucking cream pies
• 59:17
  Speaker 2: are like pies to the face zombies.
• 59:19
  Speaker 3: Thinking is how how much of a pain in the
• 59:21
  Speaker 3: ass was the clean up after these?
• 59:23
  Speaker 1: Oh?
• 59:23
  Speaker 2: I know, right, because they probably they can.
• 59:25
  Speaker 3: Only shoot while the mall was closed, so they had
• 59:28
  Speaker 3: to have it cleaned up of you know, no fucking
• 59:31
  Speaker 3: motorcycle like skid marks on the floor, all the blood
• 59:35
  Speaker 3: and cream pies. That sounds like a weird portou it
• 59:39
  Speaker 3: all cleaned up before shoppers came in, Like, that's just
• 59:43
  Speaker 3: wild to me.
• 59:44
  Speaker 2: It's just like Chopping mall. They shot after hours and
• 59:46
  Speaker 2: had to clean up as well. I love that there's
• 59:48
  Speaker 2: two movies that came out around the same time involving
• 59:51
  Speaker 2: real malls, and it's just having to do it after
• 59:54
  Speaker 2: hours as wild. But that that ending, it's just you
• 59:57
  Speaker 2: think everything's coming to you know, everything's come to a head.
• 1:00:00
  Speaker 2: We're gonna we're gonna end this movie. There's only about
• 1:00:02
  Speaker 2: twenty minutes left, and then it's just full blown chaos
• 1:00:05
  Speaker 2: when they enter the mall. And then of course that's
• 1:00:07
  Speaker 2: when you have the moment where Fran and Peter go
• 1:00:11
  Speaker 2: up to the roof. Peter has that moment and then
• 1:00:13
  Speaker 2: gets in the helicopter. And the ending, specifically, when I
• 1:00:16
  Speaker 2: watched this the first time, of them just flying, She's
• 1:00:19
  Speaker 2: like Peter's like, how much fuel do we have? Not much?
• 1:00:23
  Speaker 2: All right, and then they fly off into the distance.
• 1:00:25
  Speaker 2: I thought that ending was perfect. Sometimes I don't like
• 1:00:29
  Speaker 2: the open ended endings, but this one I was like perfect.
• 1:00:33
  Speaker 2: Ten out of ten could ask for a better way
• 1:00:34
  Speaker 2: to end it. We don't need to know what happened
• 1:00:37
  Speaker 2: to them. They've got a helicopter. They they they've survived enough,
• 1:00:40
  Speaker 2: they'll make it work. Loved the ending to this movie.
• 1:00:44
  Speaker 2: And then the music is a little different from the
• 1:00:46
  Speaker 2: Romero cut to the Argento cut. I like the kind
• 1:00:50
  Speaker 2: of goblin score that they lead out on. It's a
• 1:00:52
  Speaker 2: little bit more happy.
• 1:00:55
  Speaker 3: You don't like the d D D dent No no, no, no no.
• 1:00:59
  Speaker 2: Yeah, it doesn't fit. It doesn't fit at all. I
• 1:01:02
  Speaker 2: was like, no, no, no, no, no no. So other than that,
• 1:01:07
  Speaker 2: I don't think I have too much else. Is there
• 1:01:10
  Speaker 2: anything you wanted to mention? I think I think we
• 1:01:12
  Speaker 2: think we covered it pretty good on us.
• 1:01:13
  Speaker 3: Yeah we got I think we did. I think we did.
• 1:01:15
  Speaker 3: Like I said, ultimately, my preferred cut is still the
• 1:01:18
  Speaker 3: theatrical cut, okay. And I think it's just because I
• 1:01:23
  Speaker 3: do like our Gentles pacing. I do like that he
• 1:01:28
  Speaker 3: lets some of these scenes breathe a little bit more
• 1:01:30
  Speaker 3: like It's just it's a it's a different vibe of
• 1:01:34
  Speaker 3: the film. But I still I do really like our
• 1:01:36
  Speaker 3: Gentles cut. And like I said, I I feel like
• 1:01:38
  Speaker 3: it's one. They're like, it's a little bit later. I
• 1:01:39
  Speaker 3: want to watch Donna the Dead. Let's watch that one.
• 1:01:43
  Speaker 3: I need to revisit the can cut. Funny enough, that
• 1:01:47
  Speaker 3: was actually the first version of Donna. They dead I've
• 1:01:49
  Speaker 3: ever seen. Oh, okay, I have a VHS copy that's
• 1:01:53
  Speaker 3: incorrectly described as the director's cut. It's a two tape
• 1:01:57
  Speaker 3: thing then some special fatures on there, so I should
• 1:02:01
  Speaker 3: watch that and just see all on the second tape.
• 1:02:05
  Speaker 3: And I later found out that's the can cut and
• 1:02:07
  Speaker 3: MEMEO is so pissed that they call it the director's cut.
• 1:02:09
  Speaker 3: And so that was the first version I saw, which
• 1:02:11
  Speaker 3: is the really long and like I think because I
• 1:02:14
  Speaker 3: started there, I didn't know how I felt about Dona.
• 1:02:17
  Speaker 3: They did the first time I saw it, I feel
• 1:02:19
  Speaker 3: like I'd appreciate it more now. I also like, I
• 1:02:22
  Speaker 3: didn't realize that there was no Goblin music in that version,
• 1:02:27
  Speaker 3: so I was like, this is this music, This is
• 1:02:29
  Speaker 3: the this is the music that everyone is going on about.
• 1:02:32
  Speaker 3: Like I love the Library tracks, but like I had
• 1:02:35
  Speaker 3: Goblin in my mind because I had heard some of
• 1:02:38
  Speaker 3: their their scores, and I was like, this is kind of.
• 1:02:42
  Speaker 2: A yeah, that Goblin score. In the Argento cut, there's
• 1:02:47
  Speaker 2: a couple of scenes in particular where it's some really funky,
• 1:02:51
  Speaker 2: wavy synth sounds. I was like, I really liked it so.
• 1:02:55
  Speaker 3: So, but like I said, I think the theatrical is
• 1:02:58
  Speaker 3: still my perfect cut. I wish there was kind of
• 1:03:02
  Speaker 3: a Frankenstein version between all three of them that maybe
• 1:03:06
  Speaker 3: features a little bit more Goblin, not as much as
• 1:03:09
  Speaker 3: our gentle use, but just a little bit more and
• 1:03:12
  Speaker 3: some of the scene structures whilst still also having the exposition.
• 1:03:17
  Speaker 3: Like I know, there's a complete cut online that someone
• 1:03:21
  Speaker 3: made that's like every ounce of footage ever put out
• 1:03:23
  Speaker 3: for this movie, all in one place, but like.
• 1:03:26
  Speaker 2: That seems like a lot.
• 1:03:27
  Speaker 3: Yeah, But other than that, like, yeah, I love it.
• 1:03:31
  Speaker 3: And every time I've watched this movie, I just I
• 1:03:34
  Speaker 3: appreciate it more and more. And there was this most
• 1:03:36
  Speaker 3: recent rewatched them, like, yeah, this is a fucking five
• 1:03:38
  Speaker 3: star movie. Any cut of this movie I just find
• 1:03:41
  Speaker 3: really engaging and interesting and it's funny too. Going back
• 1:03:46
  Speaker 3: to that that ending sequence with the bikers, I remember
• 1:03:48
  Speaker 3: thinking like, okay, we're at the biker's sequence. Cool. I
• 1:03:51
  Speaker 3: checked the time. I was like, oh man, there's still
• 1:03:52
  Speaker 3: a good amount of time left in this movie. But
• 1:03:56
  Speaker 3: that scene just fucking flies by. It does, even though
• 1:04:00
  Speaker 3: it's a relatively large chunk of the movie.
• 1:04:03
  Speaker 2: Twenty minutes. Why yeah, and I have the same kind
• 1:04:07
  Speaker 2: of feeling about you. It's like it's like, what move?
• 1:04:10
  Speaker 2: What mood am I in tonight? Do I want to do?
• 1:04:12
  Speaker 2: I want to have a little bit more thematic or
• 1:04:15
  Speaker 2: drum uh, what's the word. I'm looking for more atmospheric time?
• 1:04:20
  Speaker 2: Or do I want to just get in and get out?
• 1:04:22
  Speaker 3: Yeah?
• 1:04:22
  Speaker 2: So I like that I have options. You know. Sometimes
• 1:04:24
  Speaker 2: I might be in a chiller mood. Let's watch the theatrical.
• 1:04:26
  Speaker 2: Sometimes I might be in a rampage action you know,
• 1:04:30
  Speaker 2: feeling and we'll do that.
• 1:04:31
  Speaker 3: So yeah, Or I feel like I feel like the
• 1:04:34
  Speaker 3: can cut is perfect for a Sunday afternoon, it's raining outside.
• 1:04:37
  Speaker 3: You make yourself a cup of coffee, you know.
• 1:04:40
  Speaker 2: Have yourself a nice little day of two hours and
• 1:04:45
  Speaker 2: seventeen minutes, I believe. So all right, Well, if that's
• 1:04:49
  Speaker 2: all we have. That was Don of the Dead from
• 1:04:52
  Speaker 2: nineteen seventy eight, the Argento cut, Let's move on to
• 1:04:56
  Speaker 2: the final cut. Funny enough, so taglines. There was a
• 1:05:02
  Speaker 2: lot of taglines that involved specific releases. So I just
• 1:05:06
  Speaker 2: picked these two because they made sense. So too horrific
• 1:05:08
  Speaker 2: to be advertised on television. And of course the iconic
• 1:05:11
  Speaker 2: line when there's no more room in hell, the Dead
• 1:05:13
  Speaker 2: will walk the Earth. We already kind of mentioned some
• 1:05:16
  Speaker 2: of these trivia facts, like the color that Tom Savigni
• 1:05:21
  Speaker 2: chose for the skin. He was unhappy with it. The
• 1:05:26
  Speaker 2: two children who attacked Peter at the airport are played
• 1:05:30
  Speaker 2: by Melissa Dunlap and Mike Savini, the real life niece
• 1:05:33
  Speaker 2: and nephew of Tom Savigni. They're the only zombies in
• 1:05:35
  Speaker 2: all of George Romero films that spontaneously run and never
• 1:05:39
  Speaker 2: do the trademark shuffle and then of course the NPAA
• 1:05:42
  Speaker 2: X rating. We've already talked about. This one's great if
• 1:05:46
  Speaker 2: it's true. You never know how true some of these are,
• 1:05:48
  Speaker 2: but if it's true, I love this. Some of the
• 1:05:50
  Speaker 2: actors playing zombies in the movie would frequently get drunk
• 1:05:52
  Speaker 2: at a late night bar called the Brown Derby, which
• 1:05:54
  Speaker 2: was in the Monroevo mall. One night they stole a
• 1:05:57
  Speaker 2: golf cart and crashed into a marble pillar, causing seven
• 1:06:01
  Speaker 2: thousand dollars worth of damage.
• 1:06:03
  Speaker 3: And they continue to want them shoot there.
• 1:06:06
  Speaker 2: Yep, ten out of ten. Much of the fake blood
• 1:06:08
  Speaker 2: used in the blood packets was a mixture of food coloring,
• 1:06:11
  Speaker 2: peanut butter and cane sugar. Syrup and this goof I
• 1:06:15
  Speaker 2: had to slow down to actually see, but it is there,
• 1:06:19
  Speaker 2: and it's hilarious. When Roger hits a zombie with his truck,
• 1:06:22
  Speaker 2: the trampoline the stuntman bounces off of can be seen
• 1:06:26
  Speaker 2: briefly before the truck passes over and purging the mall
• 1:06:31
  Speaker 2: of zombies. The character put their bodies in the freezers
• 1:06:33
  Speaker 2: with fresh food, which is strange because it's rotting flesh
• 1:06:37
  Speaker 2: that could coil it unused food. So rated seven point
• 1:06:43
  Speaker 2: eight out of ten for our on IMDb for our
• 1:06:46
  Speaker 2: purposes of the nightmare index. That is a three point
• 1:06:48
  Speaker 2: nine out of five, four point zero out of five
• 1:06:51
  Speaker 2: on letterbox, ninety two percent on the Tomato meter, no
• 1:06:56
  Speaker 2: shock there, and a ninety percent audience score, which is
• 1:06:59
  Speaker 2: quite of Michael already gave hisra Raiding Away of a five,
• 1:07:04
  Speaker 2: so that's what he's got. I gave it a I
• 1:07:07
  Speaker 2: actually bumped it up from a four to a four
• 1:07:09
  Speaker 2: point five, so that went up for me, which means
• 1:07:11
  Speaker 2: we have a nightmare index of four point three five,
• 1:07:14
  Speaker 2: which is just shy of House Sue at four point four.
• 1:07:18
  Speaker 2: So this will take the second spot on the nightmare index,
• 1:07:21
  Speaker 2: and that also means it is a Frightmare certified slap.
• 1:07:25
  Speaker 2: That is four weeks in a row with certified slabs.
• 1:07:29
  Speaker 2: I'm kind of shocked, but I mean, I'm shocked, but
• 1:07:32
  Speaker 2: I'm not shocked because I knew this one was gonna
• 1:07:34
  Speaker 2: be a slap. It's kind of hard for it not
• 1:07:35
  Speaker 2: to be. So similar movies. According to IMDb, we have
• 1:07:40
  Speaker 2: Day of the Dead, Night of the Living Dead, Dawn
• 1:07:43
  Speaker 2: of the Dead two thousand and four, Land of the Dead,
• 1:07:46
  Speaker 2: and Return of the Living Dead. No very yeah, very
• 1:07:51
  Speaker 2: on the nose, and then similar movies according to the Letterbox.
• 1:07:53
  Speaker 2: They also have on Letterbox related titles and then so
• 1:07:58
  Speaker 2: like his related titles were up there. But then we
• 1:08:00
  Speaker 2: have the Dawn of the Dead remake, Diary of the Dead,
• 1:08:03
  Speaker 2: Night of the Living Dead nineteen ninety, Day of the
• 1:08:06
  Speaker 2: Dead two thousand and eight, and Zombie Land. So those
• 1:08:09
  Speaker 2: are your recommendations to check out. Did we get some
• 1:08:14
  Speaker 2: funny reviews, sir?
• 1:08:16
  Speaker 3: I got a couple.
• 1:08:17
  Speaker 2: You got a couple, so many of them were.
• 1:08:19
  Speaker 3: Really long, I had to like wade through. So I actually, honestly,
• 1:08:23
  Speaker 3: what I did is I took I took reviews from
• 1:08:25
  Speaker 3: people who hated it.
• 1:08:26
  Speaker 2: Just oh, Okay, yeah, sometimes it's really hard to get
• 1:08:30
  Speaker 2: the short quippie reviews because people go really into them.
• 1:08:35
  Speaker 3: So also, do you want to mention? I couldn't find
• 1:08:37
  Speaker 3: a specific review for it, but I just love that
• 1:08:40
  Speaker 3: there were plenty of people online being like, Roger and
• 1:08:46
  Speaker 3: Peter are my favorite post apocalyptic gay couple.
• 1:08:51
  Speaker 2: Okay, so people are shipping them. I love this, Yeah,
• 1:08:53
  Speaker 2: I love it all right, hit me with what you've got.
• 1:08:56
  Speaker 2: I've got I don't have as many as I normally
• 1:08:58
  Speaker 2: do because they got like three of them. Yeah, that's
• 1:09:00
  Speaker 2: about what I got.
• 1:09:01
  Speaker 3: So this first one was five stars from Wiz, five
• 1:09:03
  Speaker 3: star and a heart. I can't believe Georgia Merrow movie
• 1:09:06
  Speaker 3: is Georgia Merrill made a zombie movie about a polycool?
• 1:09:09
  Speaker 2: What is a polycule?
• 1:09:10
  Speaker 3: It's when you are in a polyamorous relationship.
• 1:09:19
  Speaker 2: Oh, let's see. My first one is oh my Library
• 1:09:25
  Speaker 2: of movie. There we go. So four and a half
• 1:09:28
  Speaker 2: stars from kyler Man Black Friday. Sure was chaos last night.
• 1:09:33
  Speaker 3: That almost chose that one, but I figured you were
• 1:09:35
  Speaker 3: gonna do.
• 1:09:35
  Speaker 2: It all right.
• 1:09:38
  Speaker 3: This one is half star. Oh bye, someone just named
• 1:09:42
  Speaker 3: Max says, my DVD player stopped working when I had
• 1:09:46
  Speaker 3: seen like half the movie. But I don't give a fuck.
• 1:09:48
  Speaker 3: This movie was ass. Oh wow, Like I said, the Unfortunately,
• 1:09:52
  Speaker 3: my funny reviews are people who didn't like it.
• 1:09:54
  Speaker 2: That's fine. Uh, this one's not rated. Just a heart,
• 1:09:58
  Speaker 2: which you know some people do that. I'll never understand
• 1:10:00
  Speaker 2: why that dude had to check his blood pressure that bad. Yep,
• 1:10:06
  Speaker 2: you weren't there, man. It was the seventies. Things were different.
• 1:10:09
  Speaker 3: Yeah, we were really concerned about our blood pressure. All right,
• 1:10:13
  Speaker 3: let me see if I can find one that likes
• 1:10:15
  Speaker 3: it though, real quick. I would rather spread love.
• 1:10:19
  Speaker 2: Yeah, even if it's just a heart, that's fine.
• 1:10:23
  Speaker 3: Yeah, just you know, bear with me for a moment.
• 1:10:25
  Speaker 2: I'll read mine. This is my last one. Four stars
• 1:10:29
  Speaker 2: from Sam Thompson. These zombies really got around the Wonka gum,
• 1:10:34
  Speaker 2: didn't they.
• 1:10:37
  Speaker 3: All Right, here's one that's I think is kind of funny.
• 1:10:39
  Speaker 3: It's it's four and a half stars from Just Stop Hyt.
• 1:10:44
  Speaker 3: Why hasn't Family Gone? Why hasn't Family Guy done a
• 1:10:47
  Speaker 3: parody special for this yet? Main guy is literally named
• 1:10:50
  Speaker 3: Peter Roger getting pushed around in a wheelbarrow as an
• 1:10:53
  Speaker 3: easy Joe gag. Fly Boy just radiates quagmire. Energy. Plus
• 1:10:58
  Speaker 3: he's a pilot, friends, a pregnant girl who speaks your mind,
• 1:11:01
  Speaker 3: Bonnie and the zombie kid. They just shoot the shoot
• 1:11:03
  Speaker 3: at the start, could be Stewie. Any of these pieces
• 1:11:07
  Speaker 3: just for you not to use them. Seth.
• 1:11:09
  Speaker 2: Wow, that is very true. They have spoofed so many things.
• 1:11:15
  Speaker 2: All right, I'm I'm getting in Seth Macfarland's DMS right now, Sir, sir, please, I.
• 1:11:22
  Speaker 3: Don't even watch Family Guy and I would watch that.
• 1:11:24
  Speaker 2: Yeah, I've kind of stopped watching it a while ago.
• 1:11:26
  Speaker 2: They started doing almost every other episode was like a
• 1:11:29
  Speaker 2: time travel episode, and I was like, all right, I'm
• 1:11:31
  Speaker 2: kind of done here. All right. So, Michael, where can
• 1:11:35
  Speaker 2: people find the sultry sound of your voice on your podcast?
• 1:11:39
  Speaker 3: So my podcast is The Shameless Picture Show. We are
• 1:11:46
  Speaker 3: gearing up for episode two hundred, which is the start
• 1:11:49
  Speaker 3: of season ten. We have some when's awesome? When does
• 1:11:54
  Speaker 3: this drop?
• 1:11:55
  Speaker 2: This is dropping on February four?
• 1:12:01
  Speaker 3: Okay, so that because I feel like the first episode
• 1:12:05
  Speaker 3: of my show, because I'm recording the first episode next.
• 1:12:07
  Speaker 2: Week, so probably be the ninth week after.
• 1:12:10
  Speaker 3: Yeah, well I'll just spoil it here. So the The
• 1:12:15
  Speaker 3: Shameless Picture Show we are officially on a new podcast network.
• 1:12:20
  Speaker 3: It's called Somebody's Favorite Productions. We are officially a new
• 1:12:25
  Speaker 3: member of that podcast network, so make sure you give
• 1:12:28
  Speaker 3: that a like and a followup. And I am on
• 1:12:31
  Speaker 3: the podcast is on your favorite podcast app of choice
• 1:12:37
  Speaker 3: and should probably it will probably be in even more
• 1:12:39
  Speaker 3: because Austin's gonna show me how to get on even
• 1:12:41
  Speaker 3: more platforms.
• 1:12:43
  Speaker 2: Oh yeah, baby, it's gonna be everywhere. It will be
• 1:12:46
  Speaker 2: inescapable exactly.
• 1:12:48
  Speaker 3: And then if you want to know what I think
• 1:12:50
  Speaker 3: about movies that I'm watching, you can find me in
• 1:12:52
  Speaker 3: Letterbox Buyers ten, two thousand and eight. So it's my
• 1:12:55
  Speaker 3: last name, vis In Victor, I E R S one
• 1:12:58
  Speaker 3: zero two zero zero eight. Uh. Thus far, I have
• 1:13:01
  Speaker 3: actually reviewed every single movie I have watched this year,
• 1:13:06
  Speaker 3: and if this will be the third year of writing
• 1:13:09
  Speaker 3: a review for every single film, I love it. And
• 1:13:14
  Speaker 3: then you know social media, you can find me Mike
• 1:13:17
  Speaker 3: either my name Michael Ers or Shameless Picture Show. I
• 1:13:20
  Speaker 3: do physical media reviews, so on and so forth.
• 1:13:22
  Speaker 2: Okay, and if you enjoy this show, please rate and
• 1:13:26
  Speaker 2: review on your favorite podcast app of choice. Follow us
• 1:13:29
  Speaker 2: on Facebook, Instagram, TikTok, Slasher, threads, and YouTube at Frightmar's
• 1:13:35
  Speaker 2: podcast or email Stay Spooky at outlook dot com if
• 1:13:37
  Speaker 2: you want to follow me on letterbox, I am doctor Procter.
• 1:13:41
  Speaker 2: If you want to expand your movie podcast listening, obviously
• 1:13:45
  Speaker 2: check out the Shameless Picture Show, The Dead Eyed Millennial
• 1:13:47
  Speaker 2: Film Club, and One Week Rental as well. Next week,
• 1:13:52
  Speaker 2: Corey and I will be doing Dead and Buried from
• 1:13:55
  Speaker 2: nineteen eighty one as our deep cut, and it is
• 1:13:59
  Speaker 2: streaming on Amazon to be scream Box and Pluto, so
• 1:14:03
  Speaker 2: be sure to check that one out if you haven't,
• 1:14:05
  Speaker 2: and until then, stay tuned and stay
• 1:14:11
  Speaker 3: Spook