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EP165 - Armaggedon · Thirsty For More - Movie Review

• 0:19
  Hello, everyone, and welcome to Thirsty for More. I of course I'm
• 0:23
  your hosts Malenko and I'm Alex. Nice to meet you. And this is
• 0:26
  playing Bruce. Guys, welcome to nineteen ninety eight's Armageddon. Bruce Willis's nineteen
• 0:33
  ninety eight's Armageddon. He did a lot of movies in nineteen eighty eight,
• 0:37
  like a lot of big movies. And also like it's pretty ensemble. It's
• 0:41
  tough to call this a Verse Willis movie, but it's just more still decidedly
• 0:46
  the main character though, Yeah, definitely, he makes the ultimate sacrifice at
• 0:50
  sacrifice. Man. Yeah, I was like excited to talk about this movie
• 0:57
  and then I watched it and I'm like, man, this is so boring.
• 1:00
  But like it's like a Jerry Bruckheimer production. It's a Michael bay movie.
• 1:07
  What's her name? Uh Tyler? No, No, No, Like
• 1:11
  Galen produced it. Like a bunch of really big people produced it. So
• 1:18
  it's got like crossovers with so many things at this point, you know,
• 1:23
  we've talked about so many movies that everything's a crossover. But like, yeah,
• 1:30
  I mean incredible cast, Steve Michael Clark, Duncan, Steve as a
• 1:36
  child, Lester dude as the comedic comedic relief child Leicester, which is weird
• 1:42
  because the thing is, I think ultimately it's it's I'll tell you why the
• 1:48
  politics of this movie doesn't actually bother me, because well, can we say
• 1:53
  what the politics of this movie are, well, like clearly hard right,
• 1:56
  but let me let me just say, let me just pull us back,
• 2:00
  because pull us back from where we're pull us back from the edge of just
• 2:06
  calling this like aji prop or something like that, because it's not. The
• 2:10
  thing that I think people don't give credit for when it comes to either Jerry
• 2:17
  Rockheimer or Michael Bay is that it's really hard to set up seventeen cameras.
• 2:24
  No, but you're right, it is hard to set up decameras. But
• 2:30
  the thing that's interesting about him in general is that the movies it can't be
• 2:38
  for anybody serious, it can't. They all seem like they're they're appealing to
• 2:45
  the largest swath of people, but also that he hates those people so much
• 2:51
  to depict them in this way like if you watch them, because that's that's
• 2:55
  how I didn't say this during the movie because you were clearly mad. But
• 3:01
  part of the reason I was laughing at people using certain kinds of words is
• 3:07
  because he's getting people to clearly say things that aren't in them and they're like
• 3:15
  the words themselves nobody buys. In the movie itself, they're playing it pretty
• 3:22
  well, but everybody seems to understand what kind of movie this is? Would
• 3:25
  you elaborate, though, I feel like you're not saying the whole thing,
• 3:29
  like well, cause you're like, you seem to be laughing a lot at
• 3:31
  that word, and you were like, it was like, I mean,
• 3:34
  you're talking about something that nobody else has any context for. I understand,
• 3:38
  I understand, and the word was retarded, right, and getting Keith David
• 3:43
  to say it is really what telling talking about all the characters that are going
• 3:51
  to blow up this this asteroid. And the interesting thing about it is that
• 3:57
  part of the reason I laugh is because of the fact that it seems like
• 4:01
  Michael Bay hates his own audience. He's a smart guy, He's he went
• 4:06
  to university. He knows what he's doing in terms of the kinds of people
• 4:13
  he's been around and the kinds of people he knows how to appeal to,
• 4:17
  which is like large swaths of the American public. And it seems like when
• 4:25
  you watch these movies, not only are they all awful people, but they're
• 4:29
  played by some of the best people in the world. Right, well,
• 4:33
  okay, like let's let's let's let's do like a Boner show. I understand
• 4:38
  what you're saying, Let's do a Boner show style sort of like little recap.
• 4:42
  There's an asteroid that's coming to Earth. It's gonna it's it's called an
• 4:45
  Earth Ender. It's gonna wipe out everything. And basically the solution there's no
• 4:50
  Plan B. They only have like eighteen days to solve it. The solution
• 4:55
  is to send oil riggers up to space, but to dig get a hole
• 5:00
  deep enough into the asteroid to put a nuclear bomb in that hole so that
• 5:05
  they save the Earth. Like, does that sound like somebody is making fun
• 5:11
  of you from watching it? Yeah? I felt I really like, even
• 5:15
  like when we were watching it, because the last two episodes we've done,
• 5:17
  we've watched together with Leela and Anna together all as a family, and like,
• 5:25
  it's interesting because Leela was like, as we were watching it, she
• 5:29
  was like, I feel condescended too, Yeah, and yet the people who
• 5:32
  watch it don't feel condescended to right, Well, so like I get it.
• 5:40
  I get I get it, Like this is supposed to be again,
• 5:43
  it's every man Bruce. It's oil rig Bruce, like he has his own
• 5:47
  business. It's with a small loan of a million dollars. It feels like
• 5:51
  the types of people that would watch it misunderstand how things work so fundamentally that
• 5:59
  they would by the even the premise of this. Yeah yeah, because like
• 6:04
  even even the space stuff in this, it's like, yeah, mister President,
• 6:10
  I only get this much of a budget to watch three Percent of the
• 6:13
  Sky. Of course we didn't see it. Like the eggheads in the movie
• 6:16
  are even commenting on the fact that they're so underfunded that they missed this,
• 6:20
  you know, yeah, yeah, yeah, no, it's yeah, I'm
• 6:26
  I have less even to do. I feel like, you know, because
• 6:30
  with the movie we talked about yesterday, and that was Mercuryizing, you know,
• 6:38
  there was way more of a like political kind of like or like social
• 6:44
  commentary element to this. I'm like, it's pretty obvious who this is for,
• 6:51
  I guess, but I feel like there was a time when, like
• 7:00
  I don't know, there was like a more like this was considered a movie
• 7:08
  that anybody could enjoy, right, Like this is like considered like a family
• 7:12
  movie pretty much right, Well, yeah, I guess like it's PG.
• 7:15
  Thirteen, but it's like, oh yeah, we could take the kids to
• 7:16
  like an action flick, right, And it's like again, the broad swaths
• 7:21
  of it. I mean, J. J. Abrams wrote this. Tony
• 7:25
  Gilroy, like I wrote, Nightcrawler wrote this, and Nightcrawler is like like
• 7:30
  severe, severe, like commentary on American culture and American want of this a
• 7:38
  certain kind of news. Well there's there there is a if what you're saying
• 7:42
  and tell me if I'm wrong. What I think you're saying is that whoever
• 7:46
  wrote this is writing it in kind of like Shane black Way, this sounds
• 7:51
  like there's like a ridiculousness too and over the topness to the action that is
• 7:58
  supposed to like like uh that it's supposed to appeal to the kind of uh
• 8:13
  I guess in their mind's lowest common denominator what what I would says close,
• 8:20
  But I think it's more insidious than that. I think these guys don't like
• 8:26
  those people at all. Whereas Shane black is like, I'm going to include
• 8:31
  everyone by writing who would seem like your dad or your uncle and your mom
• 8:35
  and did like in this neighborhood or whatever, and these guys are are sane.
• 8:43
  Yeah, well, like I mean, it's like he well he writes
• 8:48
  people that are are like like in what's it called Long Kiss good Night,
• 8:52
  it's like the mom who's like really cool, but she's got a son who's
• 8:56
  a regular kid, and a dad who's a regular guy, and and what's
• 9:01
  his name? Samuel Jackson is like also kind of a regular dude, but
• 9:03
  he's like a heightened reality kind of dude. And she's like a superhero you
• 9:07
  know what I mean. And they're all reacting to her. All of this
• 9:11
  is heightened reality kind of stuff. Well, okay, how are you gonna
• 9:13
  how are you gonna do this? Well, I don't know how do you
• 9:16
  want to do it? But I'm but okay. What I'm saying about these
• 9:20
  guys, though, is I think these guys are the very kind of elites
• 9:24
  that make fun of people who are the quote unquote lowest common denominator, and
• 9:30
  they will keep making these movies until they run out of Oh, people are
• 9:35
  just bored of this, and I don't they don't care about this anymore.
• 9:39
  We'll write the next kind of dumb thing as explosions and whatever they want and
• 9:45
  kind of write a compelling story enough, and they all know that these are
• 9:48
  good actors. We've all told them these were good actors, So let them
• 9:50
  do it, you know what I mean? Because it is it is a
• 9:56
  it's such a condescending movie that it seems to me like almost satirical. How
• 10:01
  ridiculous this is. It does seem satirical. Yeah, it seems ridiculous,
• 10:05
  but it also seemed it also suffers from the Michael Bay problem of not seeming
• 10:11
  to understand where the satire is. The director himself doesn't know where the satire
• 10:16
  is, and the actors are being directed as though it's not a satire.
• 10:20
  So that's why things like Pain and Gain work really well, because it seemed
• 10:24
  like the two main guys, Mark Marky Mark and the Rock kind of knew
• 10:28
  what it was and it played off this like really funny, interesting darkness.
• 10:35
  But because it was very low stakes, there was no explosions, but it
• 10:41
  had all the over the top ridiculousness of the filmmaking and the camera styles,
• 10:46
  you could sort of get away with it being almost like a Cohen Brothers movie.
• 10:50
  Whereas this because it has so much of the over the top action,
• 10:52
  but the st it's the world exactly. And then but the sacrice sincerity that
• 11:01
  they're playing all these horrific lines, and it's just like, wait, is
• 11:07
  this supposed to be fun? You're confused as to when things are supposed to
• 11:09
  be like a joke where it's like like, well, when the first time
• 11:15
  the Steve Buscemi makes the underage girl comment, we were all turned to each
• 11:20
  other like what, Yeah, is this supposed to be a joke, And
• 11:24
  then it's a running gag. Yeah, it's a running gag. And it's
• 11:26
  like it's also like but they also want us to feel so much because you
• 11:31
  feel so much pathos for him at the end, but it doesn't feel like
• 11:35
  the sort of pathos that's earned. It just feels like he's a good enough
• 11:41
  actor to portray it that way. Yeah, I supposed to being written in
• 11:43
  a way where he's like, well, I'm not going to molest children anymore.
• 11:48
  I was saying. He ends up playing a similar character to his con
• 11:52
  Air character, just like total psycho at the end. But the interesting thing
• 11:56
  about con Air is that he is a bad like he's a want to call
• 12:00
  it, a bad guy in that movie and Jerry Brockkhimber also direct produced that
• 12:03
  movie too U and it was a different director than Michael bay By director Connor
• 12:11
  Simon something Simon Gruber, Simon, Yeah, exactly, it's Simon Simon Gruber.
• 12:20
  I'd like to speak to Simon Simon West, Yeah, who directed tomb
• 12:30
  Raider and a bunch of other crab expendables too, oh Man expendables for the
• 12:37
  posters. Dude, I'm really excited. I'm really excited to go to dust
• 12:39
  Out. That's the long cuts theme song. Dude, what did you think
• 12:43
  of Billy Bob? I thought Billy Bob was my favorite. Is the thing.
• 12:48
  Billy Bob is one of those actors who was like locked in where he
• 12:52
  knew exactly what edge to fucking ride in this movie. I mean, because
• 12:56
  he was hilarious. He was he was Southern Billy Bob. He worked with
• 13:03
  all of the components that make made him Billy Bob. Bruce did to Bruce
• 13:09
  worked. We'll get to Bruce. We'll get to Bruce. So like,
• 13:11
  let's let's go through some of these beats though, because like I really like
• 13:13
  I mean the Twin Towers, I really like that the first scene kind of
• 13:22
  when he finds out that the ben Affleck's coucking him with his own daughter because
• 13:28
  his daughter is important. His daughter is so important in this movie. His
• 13:31
  daughters live Tyler, And there's like some age questions that I have, but
• 13:37
  like, I guess it makes sense. What makes sense. Bruce would have
• 13:41
  had to be a young dad to have like an adult daughter, but she's
• 13:52
  having sex with ben Affleck, and ben Affleck is like. Also, Godzilla
• 13:56
  came out the same year and it was amphibious exactly, he is amphibious,
• 14:01
  and it was produced I think also by Jerry Brockheimer because the guy directed it.
• 14:07
  And then that scene where like it feels like they're almost making fun of
• 14:11
  the fact that it was such a trash movie. By the dog Little Richard
• 14:16
  biting at at the Godzilla the toys. Oh yeah, yeah, biting at
• 14:20
  the Godzilla toys and then getting exploded into a hole. Yeah, I mean,
• 14:24
  his movie a weird cameo. He's popping up all over the place back
• 14:33
  in the nineties. Yeah, totally, he's I think he's a good actor.
• 14:37
  I think he's a good actor. I think he could be always a
• 14:41
  good actor. His scenes are always really memorable too. Totally totally. It's
• 14:43
  kind of like they want to give you a little bit of an any Griffith
• 14:46
  experience, you know, They're like, yeah, you know this guy,
• 14:50
  he's funny. This is a funny guy, you know. But yeah,
• 14:54
  it doesn't like it's weird when they get to like the jaw that that Bruce
• 15:01
  Willis and Ben Affleck are doing, or how do you want to do it?
• 15:05
  I don't know, Sorry, I didn't mean to. I don't know,
• 15:07
  like we I don't I don't think we need to go beat biby.
• 15:09
  I really don't think we need to go beat baby. But let's set up
• 15:13
  the beginning because that's where the main plot is. Whenever we get the space
• 15:16
  and they're like exploding, we'll skip all of that because like I think that
• 15:22
  there's no point talking about it. Sure, well, do you want to
• 15:24
  get to the rig? Yeah? Oh okay, So like they get we
• 15:26
  get to the rig, and it just like what Bruce willis uh uh playing
• 15:33
  golf at the green Peace people protesting the oil rig is just like like here,
• 15:41
  here's the difference between something like a Ghostbusters and something like this is that
• 15:46
  Ghostbusters there are a group of scumbags who are trying to make money and they
• 15:50
  they find this thing and then they become less scummy, whereas in this movie
• 15:56
  there is no arc for for any of the characters. I mean, you
• 16:00
  know what. Like it's interesting though that this this was still a time in
• 16:03
  the nineties when like you made fun of people who who like activists who were
• 16:10
  like trying to like stop people from drilling for oil. I honestly wouldn't be
• 16:15
  surprised if this movie was like heavily funded by oil interests. I would not
• 16:19
  be surprised. Like the whole movie is about like how oil is good.
• 16:25
  It's oil riggers that like save the fucking planet. Yeah, yeah, Like
• 16:30
  it's pretty propagandistic, you know what I mean, Like, yeah, for
• 16:33
  sure, But I also think that that's part of like there's like an enterprise
• 16:41
  vibe to this movie of like American enterprise, American entrepreneurship, American exploration,
• 16:48
  American bravery, which it's very raw, raw totally. And the interesting contrast
• 16:55
  to that is this like notion that NASA is gonna save you while being hyper
• 17:03
  underfunded, but we're gonna comment on it, and yeah, it's trying to
• 17:10
  be like somewhat like no, we swear we were not taking it too seriously.
• 17:15
  We understand the the seriousness of not funding NASA because something like this could
• 17:22
  happen, you know, And it's like, what whose side are you on?
• 17:25
  What is this? What is this movie in favor of? And the
• 17:27
  side is big oil for sure, because like again, it like it seems
• 17:37
  to want to appeal to a certain crowd of people that's like, yeah,
• 17:41
  that's what a real worker looks like, not the fucking barista, you know
• 17:45
  what I mean. It's like like the same kinds of people who were like,
• 17:49
  yeah, the truckers were doing a good thing in Canada and they're the
• 17:53
  real working class. And it's like these guys who have fucking million dollar rigs
• 17:57
  drove across the country. I can't even get fucking a day off, a
• 18:02
  drive fucking a cab six days a week, like, and these guys are
• 18:07
  working, do you know what I mean? Like that's the kind of movie.
• 18:11
  This feels like it's for dumb people to enjoy themselves. And I resented
• 18:15
  for that, you know what I mean? Yeah, yeah, yeah,
• 18:18
  yeah, but you know, I'm like it's not even good, that's the
• 18:26
  I disagree. I actually really enjoyed the movie really, Yeah, yeah,
• 18:30
  I enjoyed the movie. I mean I laughed a lot. It's really stupid.
• 18:33
  I don't think they they I don't think that it was. It's not
• 18:38
  like it kept it kept my attention like I was, I was there the
• 18:42
  whole way through. It did suffer from some like action fatigue bloated, Yeah,
• 18:47
  yeah, for sure. Like I was like, oh, okay,
• 18:51
  four seconds left for this. There's so many countdowns yea me and I was
• 18:56
  just like, oh, thresholds, passing the point of return, deep penetration.
• 19:02
  There's also too many builds to the story, Like you get the misogynistic
• 19:07
  guy who finds the comment and then it's like, I'm gonna name it after
• 19:11
  my wife. She's a fucking gunt, you know what I mean. Like
• 19:17
  basically it's like Grayson Risky plays the role. But again, these are all
• 19:21
  people who are like, you know, she's some very smart things, very
• 19:26
  interesting things. Bruce has done a bunch of interesting things before this. Ben
• 19:33
  Affleck just came off fucking Goodwill hunting. It makes me wonder though about Bruce
• 19:38
  and some of his choices, because like now it's a it's a little bit
• 19:42
  of a string of movies at this point that feel a little bit like Slogs,
• 19:49
  not like just the same this. This feels like Mercury Rising, which
• 19:55
  feels like the Jackal, you know, they they it feels like he he's
• 20:00
  been being cast on the heels of each movie he's done sort of yeah,
• 20:04
  totally totally, and it's like also trying to figure out what to do with
• 20:10
  him totally, and like I'm also noticing like this is like getting into like
• 20:15
  so much self referential Bruce territory. Like they mentioned pulp fiction in this movie,
• 20:19
  which Bruce is in as a maiden character. It's also that type of
• 20:26
  like this this generation's bro culture of having watched a lot of those really smart
• 20:33
  movies and trying to make bigger versions of that. Like the studio bros now
• 20:37
  are are Zack Snyder, Christopher Nolan. A lot of people think those are
• 20:44
  smart guys who are like, oh, Christopher Nolan, he's like the new
• 20:47
  Stanley Kubrick. He's so cold, he's so blah blah blah, and you
• 20:51
  know what I mean. So it's like, yeah, but where's the substance.
• 20:53
  Yeah, So it's like it ends up being in this realm of of
• 21:00
  trying to do art but end ending up making something that's like really grating,
• 21:08
  Like all of his all of Michael bays movies, not Jerry Brockheimer's movies,
• 21:14
  like not the ones he produces. All of Michael Bay's movies are very grating
• 21:19
  in an aggressive way. And it's interesting how that makes people feel Like it
• 21:25
  makes me feel disturbed, uh and uncomfortable a lot of the time, not
• 21:34
  because of the sexuality, not because of the but because of what the or
• 21:38
  the action or anything like that, but what those things represent to him versus
• 21:42
  what the audience that like those movies take in, which is like, I
• 21:48
  can appreciate the filmmaking that he does because it is interesting. It's it's not
• 21:53
  my flavor, but it is interesting. But it's damn dude, some of
• 21:59
  the right for his movies because he has like some control over that in terms
• 22:03
  of like their producers and they tell them write this in, don't write that,
• 22:07
  and take this out and so on. But like Bruce coming in with
• 22:11
  a fucking gun to fucking murder Ben Affleck because he finds out that he's sleeping
• 22:18
  with my daughter, has it partant no? No, But he tells me
• 22:22
  he has one word chance, dude, he does, and the interesting thing
• 22:26
  is it what this type these types of movies do for the kinds of people
• 22:32
  that these guys hate, his wish fulfillment for that audience. I do have
• 22:38
  weird patriarchal views of my daughter. She can't have sex with people that I
• 22:42
  disapprove of, and I'm gonna shoot him if if he does. You know,
• 22:48
  there is like a boomer wish fulfillment like edge to these kinds of movies.
• 22:52
  I don't know why you think it's there. There's I feel like it
• 22:57
  takes more mental gymnastics to get to the conclusion you're getting to, because I'm
• 23:03
  like, where do you what's your proof that or what what do you take
• 23:08
  is like as like your sign that these guys are making fun of these guys?
• 23:15
  Oh, I don't necessarily, I don't know. Well. First,
• 23:18
  first of all, the two writers that I mentioned, Gilroy and J.
• 23:22
  J. Abrams, have since written things with more power that they have that
• 23:27
  they enjoy, which has a lot of heart, It has a lot of
• 23:30
  mystery. It's very Spielbergian, Spielberg classic like pussy left wing guy, but
• 23:37
  hiding messages of like you know, ah, Jews are okay and stuff like
• 23:42
  that. In movies where it's like casting people like Richard Dreyfus in an alien
• 23:48
  movie where he you know, leaves his family and like, but there's nuance
• 23:52
  to that. It's not like like he's like an evil person or anything.
• 23:57
  There's like three dimensions to his character, you know what I mean. JJ
• 24:03
  Abrams who's stolen a lot of his mojo and stuff like that. And Tony
• 24:07
  Gilroy, who has written things that are cutting satire. Uh. It feels
• 24:12
  like those are smarter writers that are are like putting in lines for like a
• 24:21
  large crowd of people in a similar way that James Cameron like wrote Rock Rocky
• 24:26
  Rambo two, And we know that he's not really like that given Avatar.
• 24:32
  Avatar is like, uh, what's it called? Like an environmental movie?
• 24:37
  And Rambo two is a movie about going back to Vietnam and winning, you
• 24:44
  know what I mean? He has that in him because he knows what Americans
• 24:47
  are like, well aliens, because it is that's a movie that's definitely also
• 24:55
  Vietnam inspired. Yeah, I mean interesting, interesting take, Well, where
• 25:04
  where are we in the in the oh, he's they're on the rig.
• 25:07
  He's chasing him around and fucking shooting at him. I didn't like that part.
• 25:15
  Well, no, it was it was annoying. It was like what
• 25:18
  is this? And like the thing the thing is like I know they're selling
• 25:23
  us this like character and it's a it's supposed to be like a character quirk,
• 25:27
  but like we're supposed to be the like convinced that this guy he's a
• 25:33
  working class guy. Who he's not a working class guy. I mean he
• 25:37
  owns a fucking oil ran. Like he's like us your eight million dollars to
• 25:41
  and it's like, bro, you have eight million dollars in nineteen ninety eight
• 25:45
  money. Yeah you know what I mean? Yeah, like like yeah,
• 25:48
  exactly. And there's this kind of like hyper capable, doesn't like bureaucracy,
• 25:55
  doesn't take shit like it's it's it's very much like a like a new frontier
• 26:00
  American. I kept making the joke of I'm an oil man. Yeah,
• 26:04
  like he he seems like he's like he's been the three generations of wild Hand.
• 26:11
  Definitely true. I mean, was your dad death, I mean he
• 26:15
  was Bruce Willis's partially in one year. Yeah, because of filmmaking, not
• 26:22
  because he's Daniel blamed your son. I just thought it would be interesting if
• 26:30
  you know, do we get Art's last name? Is it plained you?
• 26:37
  I'm annoyed. Oh man, he's produced. Listen to me, you're fiveling
• 26:42
  ass's he's got a good production. He's producing like fifty barrels a week.
• 26:48
  Harry S. Stamper is his name? Who Bruce Willis and r Agan?
• 26:57
  Oh yeah, Harry whose Art? No? Yeah? Fuck? I don't
• 27:08
  know if you know how to talk about movies you don't like maybe you're right,
• 27:11
  maybe you're right. It's just like I don't know, Like I had
• 27:15
  to like write an essay just now out of the thin air to like,
• 27:19
  no, I get like the show moving like it's it's hard sometimes you know.
• 27:23
  It's like like you're saying, I make it hard, well some only
• 27:27
  sometimes I make it hard sometimes too, But like it just feels like when
• 27:30
  you don't like the movie, you're just so checked out, and it's like
• 27:34
  I have to like watch the movie trying to figure out like, oh J
• 27:40
  J. Abrams, he's a smart guy. It's like I'm pulling that out
• 27:42
  of my ass. But like also at the same time, like yeah,
• 27:45
  it does. It really does seem like the movie hates its audience. There's
• 27:48
  like a whole like a sea of critique we could talk about, yeah,
• 27:53
  just being like, yeah, it's a Michael Bay movie. It's racist.
• 27:57
  Yeah, it's a Michael Bay movie. It's homophobe. Yeah, the girl
• 28:00
  doesn't do anything, but there's a lot of camera moves for it. Yeah,
• 28:03
  it's still woke because it's nineteen ninety eight. Yeah, you know what
• 28:06
  I mean, Like you can dive in a little bit more dive in Let's
• 28:10
  I'm I'm I'm I'm I'm asking you to help me. I'm not I'm not
• 28:14
  like in did I just I told you I wrote a fucking chat GPT just
• 28:18
  now with what it just met with nothing. It was like maybe maybe,
• 28:22
  but I don't think so because I don't like this movie. No, No,
• 28:26
  I just didn't. I just didn't know where to go from there.
• 28:29
  Well I don't know where to go. I'm vibing I yes and me Okay,
• 28:33
  Yeah, I mean the guy from Star Trek is in this, which
• 28:38
  one oh Lorca. Yeah yeah, he's in it. Piercing Blue Eyes.
• 28:47
  Michael Clark Duncan is in it. He's awesome. Yep. None of them
• 28:51
  really have characters because it's a Michael pay movie. It's sad because like these
• 28:56
  these writers are actually I like them. I liked Velvet buzz Saw, that
• 29:00
  weird Tony Gilroy movie with with the what's his name? With the art movie
• 29:06
  that with ghosts sitting for some reason? Do you remember that with also with
• 29:11
  uh, what's Jake Jillenhall where he's like a pretentious art guys like ghosts?
• 29:18
  I do remember something. Uh where where were we though? Like we're I
• 29:23
  mean we're in the point where where the oil rig starts shooting oil and everybody's
• 29:29
  cheering, and then when does New York get like rained on by by by
• 29:36
  New York has already been rained on and nine to eleven does happen? Pre
• 29:40
  nine to eleven which they deleted that scene in really yeh screen and subsequent screens
• 29:45
  they deleted that scene. I mean, it was like TV adits and stuff,
• 29:48
  you know what. It's It's interesting though, because like debris of Comet
• 29:53
  shot through all of those buildings and they didn't collapse at all. So no,
• 30:03
  it's just it's a bummer too, because like you know, I you
• 30:08
  know, something some interesting like post apocalypse type movies that do really exist in
• 30:18
  this realm of bureaucracy that's interesting is something like shin Godzilla, which is like
• 30:23
  movies, a movie about Godzilla like coming and smashing through a city, and
• 30:30
  then like bureaucrats like Inete trying to figure it out in rooms, and it's
• 30:36
  it's so interesting, it's so funny that like, oh shit, like we
• 30:41
  actually have to do something about this, and it's like figuring those things out
• 30:45
  is really difficult, and like the thing that this does, and American movies
• 30:49
  of this kind do this where everybody's hyper competent, but nobody's written competently at
• 30:56
  all. So in contrast to something like like shin Godzilla and this, you
• 31:02
  can look at that and be like, man, bureaucracy can kind of stifle
• 31:04
  things in a funny and mistaken identity kind of way. But then it's not
• 31:11
  written like Breaking Bad, where everybody's smart. Everybody's just smart and happens to
• 31:15
  do like the intelligent thing but in the dumbest way. So like Uli in
• 31:21
  this movie, fucking has to smash the thing to get into a work.
• 31:26
  Two episodes in a row. Dude, Yeah, that Leo character was in
• 31:29
  this also from the from Mercury Rising, which Leo the guy who was the
• 31:36
  nerd who gets killed. He was in one scene of this movie. He
• 31:40
  comes into the boardroom and is like I was in Mercury Rising with Bruce Willis
• 31:45
  as well. Is just giving homies' jobs. Yeah, totally. And and
• 31:51
  the thing is like in this is a good example of like in the plot,
• 31:55
  the dumbest thing works and it's the best thing to do, which is,
• 31:59
  instead of the hyper capable astronauts who've been to space know the engineering,
• 32:05
  know everything about the physics of it, know everything about the body of it
• 32:08
  because they've been there before operating giant machines, they get oil riggers to do
• 32:14
  it. That's the plan. And they give carte blanche to Bruce Willis,
• 32:19
  who's the best oil rigger. It's like insane, that's an insane plot that
• 32:23
  only it seems like only people who are like I don't know, like whatever,
• 32:28
  it's just it's funny whatever, you know, like dudes in a room
• 32:31
  snorting blow trying to get this shit done, and like funny smart dudes trying
• 32:37
  to get it done. And it's like, well it works for the plot.
• 32:38
  Let's just do it like that, you know what I mean? Yeah,
• 32:40
  And writerly, how the dumbness it gets solved, you know. And
• 32:46
  the bloat factor is the direction that's the bloat factor where it's like, Okay,
• 32:52
  this needs to be justified in this way, and this needs to be
• 32:54
  justified in this way, and it has to be funny. A lot of
• 32:59
  the special effects books Fantastic Eyes, a lot of the special effects looked awesome.
• 33:02
  It's it was very nineteen ninety eight special effect, totally totally, and
• 33:07
  it was like there were funny parts, but they were never the funny parts.
• 33:12
  They were never the laugh lines in the movie, like the guy who's
• 33:16
  like the slightly balding, fat guy who was like his mom tells him,
• 33:22
  you haven't been in trouble with the law, have you, And he's like,
• 33:24
  no, Mama, I haven't, and it Dolly's out and all the
• 33:28
  FBI comes in because obviously your mom would think you were, like something is
• 33:32
  wrong if the law is here, you know, And I'd like a couple
• 33:37
  of times when a bunch of officers come by, Stephen shows like I swear
• 33:42
  I didn't know how she was Jesus, yeah dude. PG. Thirteen movie.
• 33:46
  And this is the thing, this is what ultimately bothers me about people
• 33:52
  who claim morals on places like social media where it's like kids shouldn't be saying
• 33:58
  this. It's like, I'm sure some of these people took their kids to
• 34:01
  see this fucking movie laughed at this line, so it's like, who the
• 34:07
  fuck are you trying to fool? You know what I mean? Well,
• 34:08
  they don't want kids to see things that they don't think kids. Yeah,
• 34:13
  exactly, not not normal things like not known the age. I haven't known
• 34:17
  the age? Yeah, exactly exactly Jesus Christ, dude. But yeah,
• 34:24
  like fucking Owen Wilson riding on a horse sees a cowboy, you know what
• 34:30
  I mean. Owen Wilson was in fucking Bottle Rocket Like this dude is smart,
• 34:35
  Like you know what I mean. Steve bushimmy brilliant, smart guy.
• 34:38
  I've seen him talk, I've seen him write, I've seen him write movies
• 34:44
  with compelling characters. They know Bruce willis also Ben Affleck fucking co wrote quote,
• 34:52
  co wrote Goodwill Hunting. Put his name on the script of Goodwill Hunting.
• 35:00
  Why is that such a controversy. It's just funny to rag on him
• 35:06
  being the dumb one and and but we both know they're both the dumb one.
• 35:13
  Boston guys. Yeah, the the movie. Okay, so is Bruce
• 35:20
  willis sexual with his daughter? I mean he's very My daughter is important.
• 35:25
  My daughter is important. My daughter is definitely a fat pig. But wait,
• 35:30
  he's not Alec Baldwin. No, he's not Alec. He's abusive to
• 35:36
  his daughter. This like shooting at your daughter's boyfriend. That's like, dude,
• 35:40
  Like, whoa dude, that's uny hinged. I mean, yeah,
• 35:45
  he's American, dude, Americans dude, not in my backyard dude. Yeah.
• 35:53
  Yeah, And and he he's like he's a he's a I don't know.
• 36:00
  It's it's weird because the movie. What I found really jarring about the
• 36:07
  movie is it really wants to set up an emotionality with like the the love
• 36:10
  triangle between the daughter and the father and the father and the like boyfriend who
• 36:16
  is also the father's like surrogate son kind of because he like sees him that
• 36:21
  way. And like I'm like, I don't believe he's hyper capable. I
• 36:27
  don't believe he's like Bruce. Yeah, and I don't believe he's a good
• 36:31
  like dad or anything. They don't show it ever ever. Yeah, So,
• 36:37
  like all of the moments that like he's like, I'm sorry, baby,
• 36:43
  Like when he like leaves and he's gonna blow himself up, it just
• 36:46
  kind of rings hollow. I didn't feel the emotions of this movie. No,
• 36:51
  nothing really hit me in a way where I was like, oh man,
• 36:54
  and even like not even when her real dad was singing akispin my lie
• 37:00
  just breathing, but like even even some of the laughlines fell so flat because
• 37:08
  it was just like Bruce reading off the like demands or whatever, and maybe
• 37:15
  they're just like old timey like nineties, you know, get rid of fifty
• 37:21
  six tickets and in seven states, you know, and it's just like like,
• 37:29
  I'm sorry, that's that's up to the states. We have something called
• 37:31
  the states. Yeah, totally exactly. That's not in federal jurisdiction. Oh
• 37:37
  absolutely, dude, absolutely. I mean Trump can't get off of those charges
• 37:43
  non states charges. But yeah, just like just the sort of the out
• 37:53
  of timesness of this movie is fascinating to me because of the fact that like
• 38:00
  it feels like a relic and and that lady, the doctor lady like probing
• 38:07
  them being and yeah exed, like wanting to prove and being like the one
• 38:14
  guy being like I just came off a drill. Oh so did I like,
• 38:21
  but like the like balding, the white hair balding or the oh yeah
• 38:25
  yellow hair. Yeah totally yes, Yeah, he's great. He's one of
• 38:37
  those guys who who like old women. At this time, was like he's
• 38:42
  so handsome. He's definitely cast that guy. But yeah, everybody, everybody
• 38:50
  also feels like unhinged in different ways where like abnormal behavior even for this crowd
• 38:57
  of people, even as individual carearacters, like they would just be like,
• 39:02
  wait, what what is happening? What is going on? Like when fucking
• 39:07
  Michael Clarke Duncan starts ripping off the liked was amazing. He's like like showing
• 39:16
  off his muscles. Must jack fact for sure. And he's like he's got
• 39:24
  bad cholesterol. It's like I can believe that. I can believe that because
• 39:29
  he is like, yeah, here makes shows up. I mean he came
• 39:37
  directly from the set of the Make Me Bad music video with change his outfit
• 39:43
  and he's like my work here has done a yeah, and and and just
• 39:49
  like you know, doing the psychological exam and like Stebu Shimmy's like breasts breast
• 39:57
  you with breasts small breasts. It's like, but like, is this really
• 40:04
  a character from trade that he's a job lesser and also like I guess super
• 40:09
  into titties, and like none of them are passing the psychological test to be
• 40:15
  astronauts. And it's like, so why are you sending them? Why are
• 40:19
  we basing our lives on these people? Because they have to dig, because
• 40:23
  they have to dig a hole, and they're the working man. They are
• 40:27
  the working man. This is the popularism that from this is the kind of
• 40:32
  thing that bring back support. Pay dude. And but then the science changes
• 40:38
  and they freak out. So it's like, no, the science can't be
• 40:42
  right. They must be lying to us and creating conspiracies. We're not even
• 40:45
  on this job, Okay, So that's what I mean. Like, I
• 40:49
  feel like the people who would like this movie are now people who would storm
• 40:53
  the Capitol one hundred. These guys understand that this movie makes sense and the
• 41:00
  movie doesn't make sense. They're making their worldview is making this movie makes because
• 41:07
  they're like, fuck those bureaucrats. I know how deep I can dig this
• 41:10
  hole. I've done this before. I've done this before. The eggheads at
• 41:14
  the station who told me that the torque is too much and the transmission will
• 41:20
  break. They're lying to me. I know the feelings that I have,
• 41:23
  the feels, not the reels. I know the feeling that I have that
• 41:29
  can. I'm trusting my gut and gonna break through this iron core. I
• 41:34
  mean, dude, you know what, Like he's totally work Coner, sleep
• 41:39
  all day, bullshit, pay sleep all day for bullshit. Pay No,
• 41:51
  you love that song too, well, let me tell you something. I
• 41:53
  don't love. I don't love this song. There was never any love.
• 42:01
  There was never any love for that song. It didn't benefit me. Then
• 42:06
  it doesn't benefit me now. Yeah, they go through tests, they go
• 42:13
  through flying tests, they fail those flying tests. It does does it benefit
• 42:20
  me in any way? They make Star Wars references in this movie, like
• 42:24
  it's like, well, not like that fucking new Star Wars with that black
• 42:29
  guy. I like the old one. But the old one had a black
• 42:32
  eye too. Yeah, but he wasn't a stormtrooper. Yeah, but that
• 42:36
  was seventeen Yeah, I mean, yes, whoa. They show them a
• 42:45
  series of footage from the moon landing and it's like, that's not fucking real.
• 42:50
  The moon landing. They never landed on the moon. The Earth is
• 42:52
  fucking flat, dude, I love the what was it? What was it?
• 42:59
  Some it's kind of crazy seeing how far we've gone, Like, Okay,
• 43:06
  there was a sense in nineties movies that like we don't always have things
• 43:09
  right, but we figure it out. We know mostly everything. And like
• 43:15
  it's with that attitude that in one of the movies that we watched recently,
• 43:19
  someone was like they used to believe that the earth was flat and now it's
• 43:22
  and now we know it's round. And it's like it was said with such
• 43:24
  a conviction that like it would never be questioned ever again, only to now
• 43:30
  we live in a time where it's questioned the population of people that are that
• 43:35
  question that the world is round. Yeah, and that hidden in that idea
• 43:40
  of seemingly innocuous idea is somehow like so many other nefarious right wing conspiracies,
• 43:47
  like about the Jews and stuff, but which is always like it's globalish,
• 43:52
  the globalish, yeah, and it's just it's because the globalist only want us
• 44:00
  to think that the world that's what they think. Yeah, And like the
• 44:05
  thing that's to harburn sprinting our sleep all day, I don't even know if
• 44:12
  you're singing it right? Is that how it goes? I don't even know
• 44:15
  I make Bullshot. I don't even know. I can't. I don't like
• 44:20
  it's it's like, yeah, it's like so annoying. I love the song
• 44:24
  I remember, yeah, of course, but yeah, it's interesting to me
• 44:29
  that like later on in my experience watching films, uh and seeing people that
• 44:34
  I really like, like as actors uh in stuff that's like man like ray
• 44:38
  Wise in like I don't know, God's not Dead type movies. God's that
• 44:44
  dear? He surely, but only watching somebody like that performing a David Lynch
• 44:51
  show and movie, uh, and then watching him in something like that or
• 44:55
  like gray Cebriski or are you talking about that? Are you talking about the
• 44:59
  guy from the the the the beach House, the beach House? Yeah,
• 45:04
  ray Wise amazing, du yeah he is amazing. And then and then like
• 45:07
  you have not seen Wishes by Beach House check that music? Absolutely, but
• 45:12
  and it's like you know, like but performing in wild ass movies. And
• 45:17
  then I watch a movie like this and you know there's that scene with Ben
• 45:21
  Affleck in like the tube of an end of a rocket and kissing and asking,
• 45:27
  uh live Tyler to marry him while fucking Bruce is cucked in the corner
• 45:30
  watching them like be intimate with each other and and then going back to his
• 45:37
  friends and then being like, she's a crowing girl, and it's like,
• 45:40
  bro, she's like at least in her twenties, Like, what is happening?
• 45:44
  This was dialogue. There was also one off comment from Liv Tyler.
• 45:49
  That's Steve Buscemi, who is in this movie unknown child molester, like an
• 45:54
  openly admitted child molester. Well hot her, how to use a tampamp on
• 46:01
  at ten? Whoa who? Why didn't stick it in her? Or something
• 46:07
  like that. It was like, what, wait, this is the conservative
• 46:09
  values of two thousands and these people calling people groomsmers. Yeah, totally totally.
• 46:15
  I mean, weird lefty psychos probably wrote the movie, dude. It's
• 46:20
  probably trying to paint conservatives in a particular kind of way. This movie's super
• 46:25
  woke, dude. It's so ooked, dude, especially because of the casting
• 46:31
  of Michael Clarke. Duncan. Why why is that? Melichael? I'm just
• 46:37
  asking you a question. I'm just asking you a question. I just want
• 46:40
  to clarify. Why why what are your statements? Please? Why Michael Clark
• 46:45
  Duncan. Why mentioned him out of all the actors in this movie. There's
• 46:50
  so many, so many actors in this movie, And what do they all
• 46:53
  have in common? Malaco? What did they all have in common? Well?
• 47:01
  Well, you know, I mean Keith David is also well, I'm
• 47:05
  not talking about it's interesting. But William Victor also understood the kind of movie
• 47:15
  he was in. William Victor knows how to move his body in such angular
• 47:21
  ways. It's it's amazing. Victor knows how to look like famed porno actress
• 47:28
  Peter North. Yeah, totally, totally. Billy Bob and William Victor are
• 47:34
  are the top. Michael Clark also kind of knows h and also I will
• 47:38
  say probably Peter storm Mayer. He knows I'm a part of this piece of
• 47:45
  ship movie. But you know what I mean, he actually like a pretty
• 47:49
  good Russian accent. Pretty good. He was pretty good, pretty good.
• 47:52
  He kind of leaned into like just like a general kind But I liked it.
• 47:59
  I thought he would. I thought he was really good in this little
• 48:01
  ben Affleck going south on on liv Tyler with the animal Cracker. It's like
• 48:07
  this is Peag thirteen. And again, most people are gonna be like,
• 48:10
  well, whatever, it's normal. It's a normal couple. Oh, yes,
• 48:15
  what does normal mean? What what does normal mean? I'm just asking
• 48:20
  you to you what is to you normal mean in regards to this situation.
• 48:24
  Is it that it's heteronormative? Is that that? Why? Is that why?
• 48:31
  I don't know what that means. Will Will Patton when he goes to
• 48:37
  the sea is like, I don't know what that means. When he goes
• 48:39
  to see his abandoned son, and yeah, and the wife is like,
• 48:45
  I told you never to come back here. And he's like the kid honestly
• 48:51
  like little kid, casting like never is it this guy's kid, Like it
• 48:57
  looks like his child. It does look like his child. He looks like
• 48:59
  his Yeah, for sure. But nobody else gets that. Notice that nobody
• 49:04
  else gets a sort of role like that either, which is bizarre, Like
• 49:07
  it was like trying to include the cast of people who have like lives of
• 49:14
  their own to like fulfill or whatever. And then it cuts to like Steve
• 49:17
  Buscemi like being at a bar and then telling him that guy to buy a
• 49:22
  neck because he's so muscular bigger than him, in like a club, and
• 49:28
  then they get arrested and there's no consequence. There's no consequence to anything in
• 49:32
  this movie. That's why there's no emotional core to it. Right, you
• 49:36
  never believe anybody believe And the only people who do have steaks are the people
• 49:42
  who know what the movie is like, which is again the actors that I
• 49:45
  mentioned, Peter Stormayer, who's like, I want to be a hero of
• 49:47
  Russia, and Billy Bob. Billy Bob truly cared about the mission, like
• 49:55
  the NASA's name, like as as a world lead you're in like space exploration,
• 50:02
  NASA use remains something. Yeah, there's country used to remain something.
• 50:07
  Yeah, totally, That's that's how he talks called out GHI did he?
• 50:10
  Oh yeah, well it didn't call it just was an asshole too. Oh
• 50:15
  man, I just watched a video of Jesse Eisenberg just like being a total
• 50:22
  piece of shit in an interview to this like a young woman who's interviewing him,
• 50:27
  just like the most aggressive in cell energy of Like huh, I guess
• 50:32
  because because you're a fucking idiot. Huh yeah really yeah, Like basically like
• 50:37
  was just like like malfunctioning, Like you have to see it, dude,
• 50:43
  I do I really want to see a mental breakdown. It's so cringey because
• 50:46
  it's him too, Like it is such such in cell energy, dude.
• 50:51
  I mean, yeah, fair if it walks and talks, dude, but
• 50:54
  yeah, so if it pleas it leads. Where are we we're at when
• 51:00
  Bruce Willis is I mean, I'm skipping so much. But he's like telling
• 51:06
  Grace played by liv Tyler that he loves her, and then it's okay that
• 51:09
  he's going to come home, that he promises her that he did lie to
• 51:14
  her. He did, and he didn't need to. She wanted to be
• 51:23
  with him more than she wanted to be with the guy. She definitely wanted
• 51:28
  to have sex with her she didn't make. She didn't make Beneffleck promise he'd
• 51:30
  come back. Yeah, it's true, it's true, And they go out
• 51:34
  onto the ship. At this point, they're like, I'll see in a
• 51:37
  couple of days, honey, I'll see in a couple of days. And
• 51:43
  they're just the problem is is that they're just all too calm about what is
• 51:49
  happening, but and cracking jokes while at the same time wanting us to believe
• 51:52
  like yeah, we're yeah, and nobody scared. And then the streets are
• 51:57
  empty, and they show all kinds of like different kinds of people from all
• 52:01
  around the world gathering at places. Like they always have to show like e
• 52:09
  like or like here there's praying to Mecca. Yeah, yeah, it's it's
• 52:15
  like they always just have to like show that. I mean, they want
• 52:19
  to make it like worldly or whatever. But then they show like there's a
• 52:22
  couple of comets that actually do hit the ground, and like a city in
• 52:28
  China gets wiped out and Paris gets wiped out in this movie. Yeah,
• 52:32
  it's really intense. And also like the thing is too, is that you
• 52:37
  have to like realize, like this movie made fucking bang everywhere, dude,
• 52:44
  everywhere everybody watched this. Oh everybody, like everybody knows this movie. But
• 52:47
  also like I realized, like you know, you know movies that Europeans watch
• 52:52
  and they're like these American shit where they always think they're the best and they
• 52:58
  know everything that's like and always comments on movies like that. She was like,
• 53:01
  Oh, this American shit, But like I feel like this is one
• 53:07
  of those movies that kind of like totally justifies and is indicative of that kind
• 53:14
  of viewpoint. Well, they want to somehow be included in the notion that
• 53:21
  they can do a thing, but never in the smartest way. And the
• 53:24
  best writers, in my mind, can include you in the thought process of
• 53:29
  a very smart character while at the same time you understanding that this character would
• 53:32
  be smarter than you. Breaking Bad is a great example or even like capability
• 53:38
  of like people like Tony Soprano or what's his name from mad Men or like
• 53:45
  any of those Don Draper, any of those types of characters. You can
• 53:49
  understand what their motivations are and why they do certain things, whereas there is
• 53:53
  no motivation for these characters except for like, ah, big bomb, gonna
• 53:58
  blow up the world, right, Like that's the sort of motivation, and
• 54:01
  we're all working towards that. Right. There is this like simultaneous dichotomy that
• 54:08
  like conservative American culture has where they want to be this communitarian view, but
• 54:16
  they want to be individualistic, hyper individualistic about it, and that clashes in
• 54:23
  what I would say is a smarter person's brain. But at the same time
• 54:30
  it's like, yeah, we can solve all these problems by ourselves, but
• 54:35
  at the same time, like we need a community, like they solve this
• 54:37
  with the community, But at the same time it was like, no,
• 54:40
  Bruce, it's just with the bomb and has sacrificed himself by pushing ben Affleck
• 54:49
  into the pulling out his air, killing him almost. Yeah, totally pulls
• 54:57
  out his air. Are we already at that point? Yeah, Like a
• 55:01
  bunch of ships, like they crash land onto the comet after like getting shot
• 55:07
  up to the comet. There's like a whole Yeah, there's a whole part
• 55:10
  where one part of the ship explodes, splits off onto the other side of
• 55:15
  the asteroid and is it a conter asteroid. It's an asteroid. It doesn't
• 55:21
  have a tail, and then the other Also the design of this comet looks
• 55:25
  so menace. Yeah, it's very event horizon commet, like a new metal
• 55:31
  like swirly evil comet. Yeah, And like everybody's freaking out because the one
• 55:40
  ship they think is destroyed and then the other ship overshoots where they're supposed to
• 55:46
  go, and they're near an iron core or an iron plate that they can't
• 55:51
  drill through necessarily, and they fuck up a bunch of the transmissions, a
• 55:55
  bunch of things explode. More people kind of I or like it never seemed
• 56:01
  like this movie wanted to commit to when people died, so it always was
• 56:05
  like he's dead, Okay, yeah, let's go to another thing. And
• 56:07
  things are way too shaky, and they get they get into save Uli from
• 56:15
  the Russian ship, and he's psychotic, and they say he's gonna he's been
• 56:20
  up there for six months alone. He's probably gonna be a little weird,
• 56:22
  which I really liked. Yeah, And and like, you know, everybody
• 56:30
  is like sacrificing time to like save people, but at the same time,
• 56:36
  like understanding so hard when people die and I'd never believe it. That's also
• 56:42
  why I was like, man, are they like are they making fun of
• 56:44
  us? I think they are a little bit making fun of us, you
• 56:46
  know, yeah, like in the same way that I feel like like when
• 56:52
  somebody robs a genre of its like power, like Steven Soderberg, where he'll
• 57:00
  like just dismantle a genre to its bare bones and then shoot it like that
• 57:04
  and be like, yeah, let's see how that works. And it's still
• 57:07
  so effective and sometimes like triple quadruple more effective because it doesn't have anything any
• 57:16
  frills, whereas this is like all frills. But they know their audience wants
• 57:22
  to be smart, so it's like, oh, let's throw a pulp fiction
• 57:25
  reference. They also like that movie. They have posters of that movie,
• 57:30
  but they don't understand that movie. They don't dig deeper than in that movie.
• 57:34
  They just are told that they should like it and don't know that Marcellus
• 57:37
  Wallace is looking at his soul in that movie. Yeah, exactly, exactly
• 57:44
  that the cut in the back of his head is where the soul was cut
• 57:46
  out. Yeah, of course, and not a scar that they just covered
• 57:49
  up. Pelly and I'm going to punch it. You're going to punch it,
• 58:00
  Yeah, and a bunch of yeah. Yeah, you're carrying Live Tyler
• 58:06
  and I'm gonna fuck her in that movie Armageddon, layering it in a way
• 58:14
  where the movie exists and he's the character from both pulp fiction and that movie.
• 58:20
  Uh so uh. If you were to make a better version of this
• 58:24
  movie, you fucking dick. If I were to make a better version of
• 58:28
  this movie, what I would do is I would cut down so many characters
• 58:35
  because the characters don't serve the purpose. Or I would combine different characters into
• 58:40
  cominations, or I could do combinations. Yeah, because there's too little focus
• 58:45
  on everything for it to be an ensemble. Because nobody's really helping each other
• 58:52
  in ways that like nobody has a particular trait that helps them. Nobody molests
• 58:58
  a person because they're molested people from before. It's just played off as jokes.
• 59:04
  It's not like Michael Clark is like I'm the strongest one because I'm giant
• 59:07
  and I can pull the rig this way. It's just Ben Affleck is the
• 59:12
  only one who has this expertise of like I don't know, jerking this stupid
• 59:15
  machine off that it'll like fly through or whatever, and what's his name is?
• 59:22
  And I would not make them oil riggers or if I would not have
• 59:25
  done that, I guess, well that sounds like what would they make them?
• 59:30
  What would they make them? I don't make them fucking asternioids. But
• 59:35
  you know, I don't know, Like this this kind of action movie needs
• 59:39
  like spunk and spice, and like I'm just not that type of person to
• 59:45
  make this type of movie. My action movies would be like small action that
• 59:49
  are very impactful with story around it, you know what I mean? Because
• 59:53
  like I like my pacing uh to be like very deliberate, whereas this is
• 1:00:00
  like frenetic constant and it's exhausting. Can I tell you how I would make
• 1:00:06
  it, please, I would do exactly what you said, so like limit
• 1:00:09
  the characters. I would start the movie on the asteroid and revealed that the
• 1:00:17
  whole plan was everything that it was, and then from there start the movie
• 1:00:23
  like like like and and like having like a failed idea at the beginning,
• 1:00:30
  because then solving yeah, and the problems were yeah, and then just like
• 1:00:35
  have it also end on the comment and you don't know if they saved her.
• 1:00:39
  I mean, that's amazing, but that would never like, that would
• 1:00:44
  never fly. You could never make that movie at astro that recent movie with
• 1:00:47
  Brad Pitt where he's like looking for his dad in space to play played by
• 1:00:52
  Tommy ley Jones. It's like a movie Who's looking for his Dad? Yeah,
• 1:01:01
  and it's it's an interesting movie and it comments on like you know,
• 1:01:07
  and it's a space movie with like a lot of the effects and like a
• 1:01:10
  lot of money went into that movie. It's not good, but it's interesting.
• 1:01:17
  It's interesting in a different almost it has almost the opposite problems as this
• 1:01:22
  one, where like it's almost trying to be too subtle and some of the
• 1:01:27
  things apparently it's not the cut that the director wanted, but which I don't
• 1:01:34
  know. Maybe maybe it's a better cut, but who knows. But it's
• 1:01:38
  interesting to focus in just on one character and the existential dread that that follows
• 1:01:44
  him about, like taking this long journey just to reconnect with your dad is
• 1:01:50
  like an interesting thematic view. What are the themes of this movie? Well,
• 1:01:55
  yeah, that's what I don't want. There's themes of this movie.
• 1:01:59
  It's very will uh fucking patriotism. Patriotism which also is is not really oh,
• 1:02:07
  it's only reflected in either jingoism or in sort of with with the Billy
• 1:02:15
  Bob where he's like, but it's more like not patriotism, but like,
• 1:02:17
  I have pride in the the science that I do from y Yeah, there's
• 1:02:22
  like a pride in your work sort of yeah, which which also works for
• 1:02:27
  for Ben Affleck. I think like he he also has like he's like,
• 1:02:30
  but I work, but there's never any focus on it, and he does
• 1:02:35
  he pulls it off at the end, but by the you have like two
• 1:02:37
  hours between him being like, I'm super good at my job to when he
• 1:02:42
  gets to do his job. In the middle, I've never actually seen him
• 1:02:46
  because in the middle he stopped because he's a moron who's like they tell him
• 1:02:52
  your thing broke, our machine broke because of you, and then he does
• 1:02:57
  it again on the asteroid and it just works. Form No, that's when
• 1:03:00
  he's like your trust where is like where you did the exact exact same thing,
• 1:03:06
  it didn't work, whereas Top Gun Maverick has the exact same scene with
• 1:03:10
  Tom Cruise and he pulls it off. Okay, So so you know it's
• 1:03:14
  funny that you should mention to Maverick because that's what I was thinking when I
• 1:03:17
  saw this movie, because you're Brockhimmer also produced though that movie. Well,
• 1:03:21
  okay, that means Tony Scott is a way better director, and so is
• 1:03:23
  what's his name? I know Tommy Scott did direct the second one, but
• 1:03:27
  but what's his name? The other the guy who worked with Tom Cruise directed
• 1:03:30
  Anyway, Well, I wanted to say that it's it's interesting that that you
• 1:03:34
  know it's produced by JR. Bruckhummer, because like it does have that thing
• 1:03:37
  of like we have a mission, this is the mission. Here is us
• 1:03:42
  doing the mission. You know, like you say the thing, you show
• 1:03:45
  the thing, and then you do your thing, and it's kind of like
• 1:03:47
  it's exciting. It's like that's like a really good way of setting something up.
• 1:03:51
  It's the problem, that's the whole problem. You. This is what
• 1:03:54
  we're going to do to fix it. Let's see it work, and then
• 1:03:57
  all the things that go wrong along the way. It's great, but like
• 1:04:00
  it just like there's it's bloated. It's just bloated because there's like such a
• 1:04:04
  lack of like training. And then if there's such a lack of training,
• 1:04:09
  all of their fuck ups outside of the camp of training don't have impact because
• 1:04:15
  they just go back to it's like, oh, well, the government will
• 1:04:16
  just barre bel them out as opposed to getting reprimanded, as opposed to like
• 1:04:21
  Keith David being like, hey, dude, why are you doing this irresponsible
• 1:04:26
  thing of hiring these fucking morons. But I told you you have fucking scientists
• 1:04:30
  and people trained for this to go up there. You can train them on
• 1:04:33
  an oil rig but oil rings it's an art. Oil rigging is an art,
• 1:04:39
  and it's like, yeah, but no, it's not, dude,
• 1:04:41
  you need engineers to do that. You're an engineer talking about Like Also,
• 1:04:46
  all conservatives now are biting their tongues because they haven't been in the arts forever,
• 1:04:53
  and they've it's all gone, all that culture warshit is gone to left
• 1:04:59
  wingers who have all the art, all of them, that's all, and
• 1:05:01
  and now the conservative art is just garbage. And they're also acting like like
• 1:05:08
  like these scientists have absolutely no transferable skills exactly as opposed to oil riggers who
• 1:05:14
  somehow always are scientist. Are scientist, like they can operate these insane machines
• 1:05:20
  they're flying in space, Like Tata can't fly a fucking plane just because he
• 1:05:25
  knows how to like accurately say take this thing off because this will bring too
• 1:05:30
  much weight to this part of the plane. Like it's a different skill set.
• 1:05:38
  Yeah, well, I mean that's the thing, is like, what
• 1:05:44
  do you think ultimately this movie is trying to say, Well, it's like
• 1:05:48
  what they would say, what like I would say now in a very like
• 1:05:55
  tasteful way, is like, well, you know, it's a popcorn feature.
• 1:05:58
  It's it's something to go to the movies and enjoy. You know,
• 1:06:01
  it's like a spectacle, right, and that's what it is. That's what
• 1:06:03
  it does really well, hence the sort of criterion like labeling of it,
• 1:06:11
  like it's It's got a criterion status I think for good reason, because it
• 1:06:16
  does it bred an entire genre of film, the Roland emeric ification of movies
• 1:06:25
  like this. This felt like the movie that took it to the next level
• 1:06:30
  because you had Independence Day a couple of years before this, right, and
• 1:06:33
  you get that one fucking iconic like blowing up the White House and shit.
• 1:06:40
  But this is like everything is moving. All the actors are the top of
• 1:06:44
  their game, actors selling you this dialogue that's like whoa man. Even at
• 1:06:49
  that time, I'm like, whoa dude? Like this is this what we
• 1:06:55
  were like? Yeah, yeah, I mean like we really swallowed a lot
• 1:07:00
  of that kind of shit like it was. It was, but because you
• 1:07:04
  knew that when you were watching a movie, it was like movie mode.
• 1:07:09
  Lines like that were meant to exactly put you in a movie mode exactly.
• 1:07:13
  And now everything, because of you know, social media, the like sort
• 1:07:19
  of our general knowledge of how things work is like probably a bit more like
• 1:07:25
  we just have more access than knowing how things work exactly exactly. So it's
• 1:07:29
  like the realities of movies start to sort of break down because we know that
• 1:07:35
  people not only don't act like this, they act more like nah rou But
• 1:07:41
  also also I will say sometimes the insane decisions that get made that I used
• 1:07:46
  to think we're insane in movies, I'm like, now if people make it
• 1:07:49
  insane decisions like that, people do exactly insane decisions. They do, Yeah,
• 1:07:54
  they totally do. Like one of the things that's interesting is this is
• 1:08:03
  one thing that was written into one of the essays on the Criterion collection.
• 1:08:09
  This film makes these ordinary men noble lifting their efforts up into an epic event.
• 1:08:17
  If that isn't screenwriting, I don't know what is. It's like,
• 1:08:21
  it's interesting. It's an interesting take. And that's and that's what I was
• 1:08:26
  saying earlier with the with the like oh yeah, the working class man.
• 1:08:30
  But again it misses the point of of like this idea of oil rigging as
• 1:08:39
  either a noble profession or as a working class But maybe those the guys who
• 1:08:45
  are like Ben Affleck. But Bruce Willis again he's like, I've got eight
• 1:08:49
  million dollars in this project that I'm doing. It's like he's far from that.
• 1:08:55
  Maybe he's working with them on the rig which I doubt that that kind
• 1:09:00
  of guy would. But it's interesting to try and like mental gymnastics your way
• 1:09:06
  to that. And it feels also like a bit of like to get conspiratorial,
• 1:09:12
  which I love. It does feel a little bit like, oh well,
• 1:09:15
  Buena Vista and Disney had a contract with with Criterion, so they just
• 1:09:21
  kind of shoved this in and got like a nerd academic to write an essay
• 1:09:26
  justifying it. You know what I mean. I would totally believe that because,
• 1:09:30
  like it, something about having a movie like this in the Criterion collection
• 1:09:34
  feels a little weird, feels a little fishy. Wally just came out on
• 1:09:39
  Criterion, Like I felt like I was a bit that I like that movie,
• 1:09:45
  but I was a bit like come on, dude, well like get
• 1:09:48
  the fuck out of here, Disney, get the fuck out of here,
• 1:09:50
  you know what I mean. It's like there are more important movies than this
• 1:09:55
  that need more attention than Wally, you know what I mean? That was
• 1:09:59
  my give it to Wally over Armageddon. I don't know. I mean,
• 1:10:03
  yeah, it could be argued, but I don't know. I'm I'm just
• 1:10:09
  a person who doesn't want any Disney to be in there, you know what
• 1:10:12
  I mean, because they have access, they already have that audience. Everybody's
• 1:10:15
  gonna get those movies anyway. They don't need to be in my audience.
• 1:10:19
  They don't need to be in with me, you know what I mean.
• 1:10:21
  It's a little bit of like a protectiveness on my part, which is irrational,
• 1:10:27
  but like at the same time, it just feels like it's it's muscling
• 1:10:31
  in on territory that's just to get you to buy hard media rather than the
• 1:10:36
  people who are dedicated to films, watching them, enjoying them, making them,
• 1:10:43
  and so on. Man speaking of people who like want love making movies,
• 1:10:48
  watching him enjoying them. All of that what you were saying, Bruce
• 1:10:51
  Willis does such a good job in this movie. Like he does so exactly
• 1:10:57
  what this movie needs, and like help, it's his role in this movie
• 1:11:02
  that helps make the movie more unbelievable. I think, yeah, it just
• 1:11:05
  among among other things, but like and among other performances. But I think
• 1:11:11
  Bruce is really top notch casting in this I think they knew exactly what they
• 1:11:15
  were getting with him, and I think like seeing all the like the beautiful
• 1:11:19
  movements of like the camera and like how he kind of gracefully dances with that.
• 1:11:25
  Yeah, like when he's in a scene, there's a commanding nature to
• 1:11:30
  his presence that is very understated but is like delivering on all cylinders constantly.
• 1:11:39
  So I think that Bruce Willis is like was delivering iconography in this like the
• 1:11:43
  like half have face turns, the like noble wisdom looks, the like creasing
• 1:11:49
  of the eyes, the like use of his face, his like wonderful subtle
• 1:11:55
  face acting is just like the micro expressions, dude, Like it's all about
• 1:11:59
  the micro Russians. I think that he's like a phenomenal actor. Yeah,
• 1:12:03
  he did a really good job despite the dialogue. Everybody did a really good
• 1:12:09
  job despite the dialogue. But at the same time, when you're an actor
• 1:12:14
  and you have to fight with your own material, like it felt like Owen
• 1:12:19
  Wilson just didn't want to be there. Yeah, it makes it a slog
• 1:12:24
  for the audience too, because it feels like you're not you're not really like
• 1:12:29
  you know, but yeah, but it's a popcorn movie, no, But
• 1:12:33
  with someone like Owen Wilson for sure, Like it definitely feels like that actor
• 1:12:38
  was underutilized and really phoned it in in ways sometimes, yeah, for sure.
• 1:12:45
  And liv Tyler was so annoying, she was so annoyed. She didn't
• 1:12:48
  do anything. It was. It was so annoying because like they wanted her
• 1:12:54
  to be like this character. They gave her a lot of screen time,
• 1:12:59
  but not a lot of like they actually robbed her of character. Yeah,
• 1:13:02
  it was a lot of moving the camera around her to make it seem like
• 1:13:08
  she was doing things. She was doing things, but she wasn't. She
• 1:13:10
  was just crying or being mad about other characters that we care about. Yeah,
• 1:13:18
  it's the classic like mom on the phone, wife on the phone,
• 1:13:23
  yeah character. Yeah, and like then gets like a final moment of like,
• 1:13:27
  you're gonna do this because I'm telling you to do it, and Billy
• 1:13:30
  Bob being like I'm gonna go against the president's orders. Well, like,
• 1:13:35
  okay, so everyone's making really stupid decisions in this movie that are very last
• 1:13:41
  minute, and I'm like, yeah, I believe it. I believe this.
• 1:13:45
  But like also i'm watching it, I'm like, man, like the
• 1:13:47
  fact that the stupid decisions are working. I'm like, my god, you
• 1:13:53
  do think these things work? Yeah? I mean that's the thing is that
• 1:13:56
  it's written to work, right, There's no motivation behind anything, it's just
• 1:14:01
  they're written to work. Well, man, I gotta say I really hated
• 1:14:06
  the part in this movie where Ben Affleck and Uli and Michael Clark Duncan have
• 1:14:15
  to like ride on a car back to like to find the friends. Oh
• 1:14:20
  yeah, so they split off into two separate sections of the asteroid and then
• 1:14:24
  they drive the driller truck to the other asteroid and to get there. It's
• 1:14:30
  like they have outrageous plans. Everybody's got too many outrageous plans going at the
• 1:14:35
  same time, and they all work, and then the only one that doesn't
• 1:14:41
  work is, oh, I'm gonna send Ben Affleck down because he drew the
• 1:14:46
  short straw. Even though Steve Bushevi wants to kill himself and said he would
• 1:14:53
  kill himself, do you think that he would not have sacrificed himself for one
• 1:14:57
  of the other characters. Well, he probably wouldn't have done it at all,
• 1:15:00
  and just everybody, no what's his name? That's what I think.
• 1:15:04
  Seems he would have just been like, oh man, this is gonna be
• 1:15:08
  awesome and then destroy the world. Yeah, I mean that way he doesn't
• 1:15:12
  have to pay that money back. Dude, he bought a bunch of money
• 1:15:15
  to have a lot with like fucking like strippers. But yeah, I mean
• 1:15:23
  What did you think of the movie? What would you write it? Would
• 1:15:26
  you write it out of Bruce's that I'm interested in? Okay, Okay.
• 1:15:30
  I think the iconography is really really like on point, the hair, the
• 1:15:35
  filled in hair, the subtly filled in hair. I loved it. I
• 1:15:40
  loved the like pepper kind of gray. It's like slightly aged Bruce, so
• 1:15:45
  that it could be more believable that he's lived Tyler's dad Bruce Old. I
• 1:15:49
  mean, I feel like he's a totally normal age. No, no,
• 1:15:51
  no, but he's like in his mid forties and she's like in her tour
• 1:15:55
  her mid forties. He's in his mid forties at this point, nineteen ninety
• 1:15:59
  eight, yeah, no way, Yeah, well he's born in nineteen really
• 1:16:05
  yeah. Yeah. Let me see how old is Bruce willis in nineteen ninety
• 1:16:11
  eight, he's sixty eight now nineteen fifty five, so his mama's age.
• 1:16:31
  Yeah, so he would have been in his he would have been forty three,
• 1:16:39
  so he could have been her dad. Yeah, like if he had
• 1:16:42
  her like really young yeah yeah, no, I but I do think that
• 1:16:45
  they wanted to like age him a little bit. Yeah. I think he
• 1:16:49
  did a really good job a lot of like subtle face and body movements that
• 1:16:56
  really sold the iconography of the movie, like criminally underwritten and underused Bruce in
• 1:17:03
  a way, definitely underused, and also like just the basis of this type
• 1:17:12
  of person just it just irked me. It was grading. I'm gonna give
• 1:17:16
  a six, six bruces, six bruces. Yeah, I'm gonna say it's
• 1:17:23
  like there was nothing really redeemable about him except saving ben Affleck at the end.
• 1:17:27
  He was unhinged. He's kind of a loser. He's dick throughout the
• 1:17:32
  entire movie without any sort of like redeeming qualities about him. But like,
• 1:17:38
  I think that in terms of his performance, he did really Yeah, his
• 1:17:42
  performance is good as that thing, but the thing was really grading. Your
• 1:17:46
  thing was really grading and one dimensional. So it's like watching something all of
• 1:17:50
  those performers who I like historically, all of them. Yeah, I think
• 1:17:56
  I'd have to give it a six too, yeah, six, And then
• 1:17:59
  as a movie, like like I'd give it a six point eight seven,
• 1:18:04
  a soft seven yeah. Yeah. It's like I was entertained, Are you
• 1:18:11
  not entertained? Yeah? And entertainment on that level, and all those actors,
• 1:18:15
  I mean, we knew we we know. I'm really excited to see
• 1:18:17
  ambulance. I haven't seen ambulance. Maybe it's like as good as a Pain
• 1:18:23
  and Gain because I loved Pain and Gain. I've heard people talk about ambulance,
• 1:18:28
  and I mean I've heard ky talk about it. That's why I'm excited.
• 1:18:30
  I don't care what people say. I care what our audience. That
• 1:18:34
  is. Yeah, producers, it sharts companies just get Tom Cruise to make
• 1:18:41
  all your fucking action movies and they're awesome. Last the Last fucking Mission Impossible,
• 1:18:47
  which made less money than Sound of Freedom, Just embarrassing Sound of Freedom,
• 1:18:54
  the Jim caviezel a q Andon movie. It's just like, this is
• 1:19:00
  what people want, now, this is what you want. Culture war bullshit,
• 1:19:04
  like you hate another group of people, so you want to watch things
• 1:19:08
  that like reinforce your world to you. It's sickening because I can watch this
• 1:19:13
  movie and break it down so much better than most morons like nerdrotic and critical
• 1:19:19
  drinker. And they get called by fucking stupid brussel Brand. Sorry, they
• 1:19:27
  get called experts in cinema. And it's that's the grading part. That's the
• 1:19:33
  grading part. Yeah, I mean the miserableness of like having to put myself
• 1:19:39
  through all three of the fucking uh uh what's it called human Centipede movies to
• 1:19:45
  just have perspective on them and understand them in a real way and laugh at
• 1:19:50
  them too, because they're funny and stupid, and this movie is funny and
• 1:19:55
  stupid, and I can enjoy them on levels that those people could never for
• 1:20:00
  even think of enjoying a quote unquote woke movie. They have to like sit
• 1:20:04
  in their shit and piss and be like, I'm mad about this. It's
• 1:20:10
  like, we'll just take your fucking diaper off and be a grown up and
• 1:20:14
  watch some shit. Expose yourself to some shit that's not just enforcing your worldview,
• 1:20:18
  dude. Yeah, you know, that's what books are for, that's
• 1:20:23
  what art is for, that's what crags for, that's what es griggsolar is
• 1:20:27
  for. That's all he does. He'll find a ripper fucking heart good comb
• 1:20:32
  me. Like. They would never do that, They would never even think
• 1:20:36
  to comment on cone me because they're not those people. There are people who
• 1:20:43
  just swallow the shit that people will give them and then complain about it,
• 1:20:47
  yeah, and and then have overinflated egos about their skill set in terms of
• 1:20:53
  making those things. Because fucking critical drinkers making his garbage movie. We'll see
• 1:20:58
  how that turns out. We'll talk about that, you fucking dick. But
• 1:21:01
  sorry, this is just some personal beef I have. But but it's just
• 1:21:06
  the Okay, it's it's irritating to think that the same kind of people that
• 1:21:12
  grew up on shit like this and and are like, yeah, you know,
• 1:21:15
  why can't they make movies like in the nineties or in the old days.
• 1:21:19
  It's because things change and you have to roll with that. Yeah,
• 1:21:25
  yeah, And I think that expecting them not to change is like completely misguided,
• 1:21:30
  misguided. And also if you're if you're if you don't want the mainstream
• 1:21:36
  stuff, there's fucking thousands it's been fucking thirty years since those other movies.
• 1:21:44
  There's thousands of movies they come out every fucking year that you don't support.
• 1:21:48
  Because you watch the things that that everyone else consumes. You just complain about
• 1:21:54
  it. Yeah, yeah, exactly. You don't have a nostalgia podcast.
• 1:22:00
  I mean they do, but uh so so yeah so so you know,
• 1:22:05
  like mid mid though, because like it's disappointing, It is disappointing. I
• 1:22:11
  was expecting. I hadn't seen it in a while, and like some people
• 1:22:16
  were already like I think even Ks was like oil Riggers and like saying just
• 1:22:20
  like and I was like, oh man, yeah, and then just watching
• 1:22:25
  it was like that's what that movie is. Yeah. But like also you
• 1:22:30
  you and this is again this is no shade too. I understand that you're
• 1:22:34
  like a critical drinker, but you're a critical figure. But like at the
• 1:22:40
  same time, you do have have really like like intense reactions. Sometimes the
• 1:22:45
  things as opposed to like letting like a movie take you somewhere. Sometimes the
• 1:22:51
  like politics of a movie will just sap all of the energy from you in
• 1:22:57
  a way that's like hey man, like people made like no I can,
• 1:23:00
  I can, like yeah, And the times that I was enjoying this movie
• 1:23:04
  the most was the times when I was like suspending my disbelief the most and
• 1:23:09
  being like, yeah, okay, this is a world where oil Riggers are
• 1:23:11
  like blowing up a comet. That's fine. Yeah, Like I you know,
• 1:23:15
  I like I'm fine, Like I can do it, you know,
• 1:23:18
  No, I get it. It's just it's it's like, but these kinds
• 1:23:21
  of episodes have to be like like very me specific to like guide you through.
• 1:23:30
  It's like, yeah, so that's okay, Like I can't be like
• 1:23:33
  it's not the kind of movie that I know how to talk about, Like
• 1:23:35
  I know how to talk about like themes and like you know, like I
• 1:23:40
  can like throw things. But like sometimes with a movie like this, I'm
• 1:23:43
  just like, yeah, okay, like a whole bunch of things happen,
• 1:23:48
  and like it's not really that insightful about a lot of things. So it's
• 1:23:55
  got these technical things that are cool and like they're doing a thing, trust
• 1:23:59
  me, you know. It's like I get it. Yeah, they're doing
• 1:24:00
  a thing. He gets the sister, but like yeah, I'm like,
• 1:24:03
  yeah, it's cool. I don't care. I just like watched it for
• 1:24:06
  two and a half hours, and like I'm not sure that I'm better off
• 1:24:12
  having seen it. Yeah totally. And I'm like I'm just always better off
• 1:24:15
  seeing movies, that's the thing. Like I just enjoy the movies. Well
• 1:24:19
  yeah, and it's just I know, I know so much about it,
• 1:24:23
  and it sucks. It feels like sometimes not with you obviously, like I
• 1:24:29
  love talking to you about movies, but it just feels like the people that
• 1:24:32
  I mention and then like even like film criticism, art criticism, and cultural
• 1:24:41
  criticism all mix in these like gross ways where it's like all right, dude,
• 1:24:45
  like but like we're talking not you and me. This is not you.
• 1:24:48
  I'm talking like generally, but like we're talking about me and that guy
• 1:24:53
  are the same. But that guy has millions of fucking views and I have
• 1:24:58
  to do uber, you know what I mean. And it bugs me because
• 1:25:00
  that guy gets called a fucking film expert and I'm not talking like, oh
• 1:25:08
  it's me, it's I'm jealous and whatever. There's millions that other dude yms.
• 1:25:13
  Your movie sucks. That dude deserves fucking the audience that that this guy
• 1:25:17
  has. He at least like he'll go through like film festivals and be like,
• 1:25:23
  this is what I thought about this movie. Here are some technical points,
• 1:25:26
  here are the themes. This is what I didn't like about this movie.
• 1:25:29
  This is what I did like about this movie as opposed to like,
• 1:25:31
  man Wokeness really took over, didn't it. And it's like, is that
• 1:25:36
  what you have to say? Like what are you talking about? Take yeah,
• 1:25:42
  like Jesus Man, Like really, this is like the ninth or tenth
• 1:25:46
  year I'm hearing about this I see, like, I don't. I don't
• 1:25:49
  wanna on our show. I don't want to be like just the person who's
• 1:25:54
  always like, oh, this thing doesn't fit with today's standards. But like
• 1:26:00
  I like, I just I feel like for me, it's it's it is
• 1:26:06
  normal for me to talk about those things because I would talk to you about
• 1:26:10
  those things. You know what I mean, I would anyway talk to you
• 1:26:13
  about those things. So like I'm like, I feel like I can bring
• 1:26:15
  it up. I don't want to be annoying about it. I know.
• 1:26:18
  Like we've had comments on the about people who have commented on the show about
• 1:26:24
  like my like worldview, specifically being like oh lank goes to like outspoken about
• 1:26:31
  or like not out spoken or like well like say an opinion in a grading
• 1:26:35
  way. Who cares about any of that? I don't care about that.
• 1:26:39
  To me, the problem isn't isn't you talking about those things? Ever?
• 1:26:44
  I like those things. I think those things are interesting. It's just narrow
• 1:26:48
  my willingness to be like oh yeah, like like let's go, let's enjoy,
• 1:26:53
  let's be those people. There's a willingness I can I can do it.
• 1:26:57
  Yeah, totally. It's just but the movie has to be compelling enough
• 1:27:00
  for you to do it. I mean yeah, like sometimes like men,
• 1:27:04
  like I don't know, Like it's hard, it's hard. It's hard talking
• 1:27:08
  about this movie. It's it was hard talking about the last couple movies.
• 1:27:11
  I like, we did it and I enjoyed myself, and like, you
• 1:27:14
  know, but it's just like like it's not really there's no dance to the
• 1:27:18
  plot. It's like, you know, it's just it's really bad writing.
• 1:27:24
  Yeah, it's really bad writing, and like it suffers a lot from that.
• 1:27:28
  Yeah, because the technical aspect is like that can be somewhat my domain,
• 1:27:32
  like somewhat you know what I mean, because I have done it before.
• 1:27:36
  But like, it's it's even hard talking about You could talk about the
• 1:27:42
  direction of of all of his movies, but you need the side by sides
• 1:27:45
  with his movies. You need the the and the like. The themes that
• 1:27:49
  come from him are always these like Americana hyper sexualized men being men. That's
• 1:28:00
  why things like when he directs things like Pain and Gain, it's so interesting
• 1:28:04
  because it's men being men. But the men being men is the problem of
• 1:28:08
  the movie. Yeah, I recently rewatched that movie and I loved it.
• 1:28:12
  It's great. It really works really well. And the thing is, like,
• 1:28:15
  I don't have a problem with watching movies made by people who clearly have
• 1:28:20
  like differing viewpoints to me. Like we talked about as Craig Zoller, like
• 1:28:25
  I I like talking about John Millis. We talked about there's other people who
• 1:28:30
  are like and John Millius is like psychotically right wing. It's like guns,
• 1:28:34
  libertarianism. Nop who have extreme views can have like insight into certain things.
• 1:28:42
  It may not be like particular kinds of emotionality that's likes. It may not
• 1:28:45
  be like a good take or a good view, and I can, like
• 1:28:50
  myself, you know, make that reasoning choice to like understand something in context.
• 1:28:57
  But like, yeah, like you know, with a movie like this,
• 1:29:00
  I'm just like I don't know, I don't know. Yeah, it's
• 1:29:03
  really it's really hard. And that's why the interesting quote unquote dissection of it
• 1:29:11
  in the Criterion you know Universe as well. We talked about we even brought
• 1:29:16
  it up the sort of idea of this like working class man he's doing,
• 1:29:21
  you know, the work that America needs him to do. You can kind
• 1:29:26
  of frame it that way, but there's no justification there's no it's difficult.
• 1:29:30
  It would be so difficult to write an essay about this in that with that
• 1:29:34
  as the thesis, because there's too many one again, too many characters,
• 1:29:40
  too much plot is going on, not enough focus on one individual motivation besides
• 1:29:47
  the americanness of it. You know, sure, maybe they are elevated to
• 1:29:53
  noble men, but like what did that nobility get them? How did they
• 1:29:59
  get to this nobility through doing like a horrible job in their life, Like
• 1:30:03
  you know what I mean, there's no moral conflict with them doing that,
• 1:30:08
  you know what I mean. So it's like, yeah, it's missed opportunities
• 1:30:12
  after missed opportunities with a guy who's like hyper competent at doing this kind of
• 1:30:16
  action while at the same time, you know, churning out garbage. Yeah,
• 1:30:25
  you know, yeah, like Hollywood garbage. Yeah, and like I
• 1:30:30
  don't know if the net good is outweighs the net negative, you know,
• 1:30:36
  yeah, I mean it's it's good at what it is, you know.
• 1:30:40
  Yeah, And like they're like people study these like movies by Michael Bay and
• 1:30:45
  like, yeah, I know that he's like a revered and respected director.
• 1:30:49
  It's just that it's kind of trash sometimes and he's trash. And that's the
• 1:30:55
  thing that's that to me is like I was thinking about this more of an
• 1:30:58
  exploitation film. If I can think of this as an exploitation film, I
• 1:31:01
  could totally rip it apart in some sort of academic way, because exploitation films
• 1:31:08
  have a lot of these same kinds of problems, but at the same time,
• 1:31:13
  they're focused in on such like hard archetypes and a lot oftentimes focused in
• 1:31:17
  on characters that you don't see in movies often enough, so when they do
• 1:31:24
  do things that are as insane as this movie, it's like, Oh,
• 1:31:29
  this character is going to do this because he's been brought down or hurt in
• 1:31:33
  some way. He is irrational, he doesn't do things right or buy the
• 1:31:38
  book. He's going to do it the opposite way because everybody's put him down,
• 1:31:42
  you know what I mean. Whereas like an oil rigger who has eight
• 1:31:45
  million dollars to spend on his own project. That's not an underduck dude,
• 1:31:49
  you know what I mean. So there's nowhere to go, but you know,
• 1:31:54
  whatever, we give it its best. I you know, I don't
• 1:31:57
  know, like I feel like it's a good episode, you know, like
• 1:32:00
  it's it's that movie doesn't deserve better. I mean, I'm having an episode
• 1:32:04
  right now to me too. Follow us at Thirsty for More Presents on Instagram,
• 1:32:09
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• 1:32:12
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• 1:32:15
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• 1:32:19
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• 1:32:23
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• 1:32:30
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