Latest / The Kulturecast / The End of Oak Street (2026) — "God's not gonna let us die here."

Transcript

The End of Oak Street (2026) — "God's not gonna let us die here." · The Kulturecast

• 0:04
  Speaker 1: We're in Wayne Media.
• 0:45
  Speaker 2: It was exactly two years ago today that the neighborhood
• 0:48
  Speaker 2: of Oak Street disappeared in the middle of the night.
• 0:52
  Speaker 2: The US military contained the area by a two-mile circle.
• 1:12
  Speaker 1: The end of Oak Street.
• 1:13
  Speaker 3: Only in theaters August 14th. Oh, there you are.
• 1:15
  Speaker 1: I am now, but it didn't say I was because
• 1:17
  Speaker 1: you were a bitters. That's fucking.
• 1:19
  Speaker 3: Yes. You got my setting and I got yours.
• 1:22
  Speaker 1: Together with our powers combined, we will become Ultron. Mm-hmm. Okay. Oh,
• 1:27
  Speaker 1: who's host?
• 1:28
  Speaker 3: That's what I was saying. I didn't write an outline.
• 1:30
  Speaker 1: Oh, oh, perfect. Okay, that's fine. Hello, everyone, and welcome
• 1:33
  Speaker 1: to the CultureCast and the Projection Booth, a crossover. Once again,
• 1:36
  Speaker 1: this time with 100% less Marvel or DC. I am
• 1:40
  Speaker 1: the host of the CultureCast, Chris Tashew, and I am
• 1:42
  Speaker 1: joined by the host of the Projection Booth. He loves
• 1:45
  Speaker 1: a good film based on a Spielberg thing, or Spielbergian vibe,
• 1:49
  Speaker 1: Mike White.
• 1:50
  Speaker 3: Yes, I certainly do, and yes, this certainly is.
• 1:54
  Speaker 1: On this episode of The Projection Booth X, The Culture Cast,
• 1:57
  Speaker 1: we are going to be talking about David Robert Mitchell's
• 2:01
  Speaker 1: 2026 summer blockbuster sci-fi film, sci-fi action film, The End
• 2:06
  Speaker 1: of Oak Street. So the film is written and directed
• 2:09
  Speaker 1: by David Robert Mitchell. It is produced by J.J. Abrams.
• 2:12
  Speaker 1: I say that because you can't miss the bad robot
• 2:15
  Speaker 1: at the beginning.
• 2:17
  Speaker 3: Yes, at least it's a decent logo. I have to
• 2:20
  Speaker 3: say the domain entertainment logo is one of the worst
• 2:22
  Speaker 3: logos I've ever seen.
• 2:24
  Speaker 1: Is it worse than Miramax, though? Asking for a friend.
• 2:26
  Speaker 3: Well, I mean, Miramax carries a lot of baggage. I
• 2:30
  Speaker 3: don't think Domain carries that much baggage, but it just
• 2:32
  Speaker 3: looks like this is my first time I've ever used
• 2:35
  Speaker 3: a 3D program in my life.
• 2:37
  Speaker 1: It's shocking that it's not papyrus for the text. God, yes.
• 2:41
  Speaker 3: Yeah.
• 2:42
  Speaker 1: Good God. Yeah. The film stars Anne Hathaway, Ewan McGregor,
• 2:46
  Speaker 1: Maisie Stella, and Christian Convery as a family, the Platt family,
• 2:51
  Speaker 1: who are on Oak Street one night and the... oak
• 2:54
  Speaker 1: street disappears and reappears in the past maybe are on
• 2:58
  Speaker 1: a different planet who knows but where they are is
• 3:00
  Speaker 1: definitely somewhere that dinosaurs are running around dinosaurs with feathers
• 3:04
  Speaker 1: even which is uh as someone who was a dinosaur
• 3:07
  Speaker 1: nerd as a kid i was applauding for that minor
• 3:11
  Speaker 1: uh detail alone mike you and i decided to watch
• 3:13
  Speaker 1: this movie Because it seemed like an interesting movie coming
• 3:16
  Speaker 1: out over the summer. Why not kind of break up
• 3:18
  Speaker 1: the Marvel and the DC of it all? So we
• 3:21
  Speaker 1: will be talking spoilers at some point. But pre-spoilers, should
• 3:24
  Speaker 1: someone go and spend money to watch this movie? Because again,
• 3:27
  Speaker 1: that's the transactional nature of all of this now. It's
• 3:30
  Speaker 1: not cheap to go see movies. That's why we give
• 3:32
  Speaker 1: our opinions on these kinds of movies. Because you have
• 3:34
  Speaker 1: to pay money to go see these. At least $ 10,
• 3:37
  Speaker 1: maybe even more.
• 3:38
  Speaker 3: I would absolutely recommend people spend their money on this movie.
• 3:41
  Speaker 3: I had a lot of fun with this.
• 3:43
  Speaker 1: I agree 100%. I think this movie checked a lot
• 3:46
  Speaker 1: of boxes that other movies I was expecting this summer
• 3:48
  Speaker 1: to do that didn't. And this movie did. I think
• 3:51
  Speaker 1: we will probably talk about that movie a fair amount
• 3:53
  Speaker 1: when we talk spoilers. But I enjoyed this movie immensely.
• 3:57
  Speaker 1: And I can also say with absolute certainty, David Robert Mitchell,
• 4:01
  Speaker 1: I have not been a big fan of the thing
• 4:04
  Speaker 1: he's known for, which is It Follows. Under the Silver
• 4:07
  Speaker 1: Lake is pretty good, but I was not a big
• 4:09
  Speaker 1: fan of It Follows. So I was filled with trepidation
• 4:12
  Speaker 1: going to see this movie because i didn't know where
• 4:14
  Speaker 1: it was going to land in kind of his scheme
• 4:16
  Speaker 1: of making movies uh but i enjoyed this immensely i
• 4:19
  Speaker 1: would say this has a certain feel to it and
• 4:21
  Speaker 1: if you are into let's say probably a cross-section of
• 4:25
  Speaker 1: if you're into stranger things 80s movies or spielberg films
• 4:29
  Speaker 1: this is probably in your wheelhouse you're going to enjoy
• 4:32
  Speaker 1: uh i enjoyed it yeah yeah i.
• 4:35
  Speaker 3: Would add zemeckis in there and i feel like zemeckis
• 4:38
  Speaker 3: is kind of spielberg adjacent Uh, we will be talking
• 4:41
  Speaker 3: about spoilers, but I will just say up front, the
• 4:44
  Speaker 3: end of this movie felt very Zemeckis-y. Uh, I don't
• 4:48
  Speaker 3: know if that's the proper adjective for Zemeckis, Zemeckiosius.
• 4:52
  Speaker 1: A very specific Zemeckis film, one might even say.
• 4:56
  Speaker 3: Absolutely. Absolutely. So I don't know. I don't see that
• 5:02
  Speaker 3: many trailers on TV, commercials for movies that much. I
• 5:07
  Speaker 3: saw a trailer for this in front of something that
• 5:09
  Speaker 3: we watched a few months ago. I don't even remember
• 5:12
  Speaker 3: which movie it was. And said, oh, well, this looks interesting.
• 5:15
  Speaker 3: And at first I thought it was straight up horror,
• 5:18
  Speaker 3: the way that they were playing this. Something creepy is
• 5:21
  Speaker 3: on the end of Oak Street. You know, I kept
• 5:24
  Speaker 3: thinking of the monsters on Maple Street type of title.
• 5:27
  Speaker 3: Something weird is here. Oh my gosh, something is going
• 5:30
  Speaker 3: to happen. What is this creature? Is it aliens? I
• 5:33
  Speaker 3: don't understand. And then I saw dinosaurs and I was
• 5:36
  Speaker 3: just like, oh, dinosaurs, what a fun movie. I'm going
• 5:38
  Speaker 3: to take my wife to this because if it was
• 5:41
  Speaker 3: alien creatures or ghosts or demons or anything like that, no,
• 5:46
  Speaker 3: not taking my wife. But as soon as I saw
• 5:48
  Speaker 3: the dinosaurs, I said, well, this looks fun. Let's check
• 5:51
  Speaker 3: this out. And it kind of fits that bill. It
• 5:54
  Speaker 3: is very fun. There's one moment in the movie where
• 5:57
  Speaker 3: I actually said, oh, my God.
• 6:00
  Speaker 1: But I wonder if it's the same moment I said, oh,
• 6:04
  Speaker 1: my God. I bet you it is. I bet you
• 6:06
  Speaker 1: it is. I wager, I'll give you my left foot
• 6:09
  Speaker 1: that it is. I....
• 6:12
  Speaker 3: I liked Under the Silver Lake probably more than you did.
• 6:14
  Speaker 1: No, I liked Under the Silver Lake a lot. I
• 6:17
  Speaker 1: did not like It Follows at all. Under the Silver.
• 6:20
  Speaker 2: Lake is amazing.
• 6:21
  Speaker 3: No, I'm not a big It Follows fan either.
• 6:23
  Speaker 2: Um.
• 6:24
  Speaker 3: I have to say, he's really a big fan of
• 6:27
  Speaker 3: split diopters in this film. A lot of split diopters.
• 6:30
  Speaker 3: There's one sequence in the middle-ish of the film where
• 6:36
  Speaker 3: all the family's in the living room talking, and it
• 6:38
  Speaker 3: is just split diopter after split diopter. And even some
• 6:42
  Speaker 3: of the framing with Anne Hathaway when she's talking to
• 6:46
  Speaker 3: her older neighbor, and you've got the window outside. I'm
• 6:49
  Speaker 3: just like, are they split diopters? I don't think they
• 6:51
  Speaker 3: are here, but just some of the framing is very interesting.
• 6:54
  Speaker 3: But I have to say, very competently made. And I
• 6:57
  Speaker 3: really like the chemistry between Anne Hathaway and her kids
• 7:01
  Speaker 3: and Ewan McGregor. I love Anne Hathaway so much. I mean,
• 7:05
  Speaker 3: she ugly cries like nobody, and there's a lot of
• 7:08
  Speaker 3: good ugly crying in this, but she's just fantastic. I
• 7:11
  Speaker 3: just think that she's such a very sweet presence in movies.
• 7:17
  Speaker 3: And I like that she's kind of the protagonist of this.
• 7:20
  Speaker 3: I mean, I think it's kind of split between her
• 7:22
  Speaker 3: and ewan mcgregor but i'm i'm down with that and
• 7:26
  Speaker 3: i really like him as well he's just so charming
• 7:29
  Speaker 3: and these kids did not bother me at all because
• 7:31
  Speaker 3: normally it's just like oh fuck man what is the
• 7:34
  Speaker 3: this kid's problem you know and i like that they
• 7:37
  Speaker 3: talk really up front that they're just that the kids
• 7:40
  Speaker 3: know what's going on with their parents that they're not
• 7:43
  Speaker 3: having a good time And you can see how that's
• 7:47
  Speaker 3: affecting them. I was just like, yeah, this is nice.
• 7:49
  Speaker 3: This is very well made, very smart. I mean, I did.
• 7:53
  Speaker 3: I could almost feel the screenwriting book as I was
• 7:56
  Speaker 3: watching this. It's like, OK, now this has to happen.
• 7:59
  Speaker 3: Now this has to happen. But it just all came
• 8:01
  Speaker 3: together very well for me.
• 8:03
  Speaker 1: We should have also mentioned, I think, in that kind
• 8:05
  Speaker 1: of convergence chart here, Toby Hooper's poltergeist. Cause I think
• 8:10
  Speaker 1: it's also kind of in here. It, this is, this
• 8:13
  Speaker 1: is like sci-fi that's more horror. But again, like poltergeist
• 8:17
  Speaker 1: is a, like I would say, I wouldn't say like
• 8:19
  Speaker 1: baby's first horror movie, it is up there though. Like
• 8:22
  Speaker 1: it is very much like a horror movie that you
• 8:24
  Speaker 1: could watch with your kids or with your family. There's
• 8:27
  Speaker 1: a couple moments of like horror in that movie. I
• 8:30
  Speaker 1: would say the way that there are kind of horrifying
• 8:32
  Speaker 1: moments in this movie, but for the most part, and
• 8:35
  Speaker 1: I think in that movie, same with this one, we
• 8:37
  Speaker 1: have a film that by the conclusion is there were stakes.
• 8:42
  Speaker 1: The stakes have been resolved and there is a happy ending.
• 8:45
  Speaker 1: And again, If this had been something based on a
• 8:47
  Speaker 1: Stephen King story, there would be no happy end. But
• 8:50
  Speaker 1: because it's a Spielbergian thing, which I think similarly to
• 8:53
  Speaker 1: Stephen King, they're so good at crafting a vibe around
• 8:57
  Speaker 1: a family. Stephen King and Spielberg, I think, are very
• 8:59
  Speaker 1: similar in that regard. So much of Stephen King's books
• 9:02
  Speaker 1: are about families that are broken or are becoming broken
• 9:05
  Speaker 1: or have been broken. I mean, I think of The Shining, obviously.
• 9:10
  Speaker 1: as a big example. And then I think of E.T.
• 9:12
  Speaker 1: with Spielberg, which I think this movie reminds me of
• 9:14
  Speaker 1: a lot of E.T. as well. Just the family dynamic. Obviously,
• 9:18
  Speaker 1: there's no dad in E.T., but in this movie, like
• 9:21
  Speaker 1: we have.
• 9:22
  Speaker 3: I mean, E.T.
• 9:23
  Speaker 1: Is the dad in E.T. in a lot of ways.
• 9:24
  Speaker 1: But Ewan McGregor, I think in this movie and Anne
• 9:26
  Speaker 1: Hathaway are so good together in terms of their chemistry.
• 9:29
  Speaker 1: I think, as you put it so aptly, Ewan McGregor
• 9:32
  Speaker 1: is really charming and And he is very charismatic. He
• 9:36
  Speaker 1: still struggles with an American accent. It's been like this
• 9:41
  Speaker 1: since he was on Tales from the Crypt back in
• 9:43
  Speaker 1: the 90s. Yes, it certainly has. Yes, I say my
• 9:47
  Speaker 1: R's just like this. But at the same time, I
• 9:52
  Speaker 1: overlook it because he's so goddamn charming as an actor.
• 9:55
  Speaker 1: And so is Anne Hathaway. She's not for everybody. When
• 9:59
  Speaker 1: I was watching the film, my girlfriend was like, I
• 10:01
  Speaker 1: just don't like her. And I was like, I get it.
• 10:03
  Speaker 1: She's a little divisive as an actress. I think her
• 10:06
  Speaker 1: vibe and presence tend to always be in the same
• 10:10
  Speaker 1: quadrant maybe. And if you're not into that, I get it.
• 10:14
  Speaker 1: I like Anne Hathaway. I think she's great here. I
• 10:16
  Speaker 1: do like that as someone who's grown up with her.
• 10:19
  Speaker 1: I've gone from seeing her play the teenager role to
• 10:22
  Speaker 1: now playing the adult mom role in a movie that she,
• 10:25
  Speaker 1: if this was her when she was that age, she
• 10:27
  Speaker 1: could have played the kid actor in this movie. Because again,
• 10:30
  Speaker 1: she came from Princess Diaries where she was like in
• 10:32
  Speaker 1: her early teens. I like Anne Hathaway. I think I
• 10:36
  Speaker 1: like the movie overall. I do think that we have
• 10:39
  Speaker 1: this pastiche of Steven Spielberg that's like laid on thick
• 10:43
  Speaker 1: in this movie. But it it has worked in the past.
• 10:46
  Speaker 1: And so why wouldn't you do that? And and we
• 10:49
  Speaker 1: can have this discussion, I think, as the episode goes on.
• 10:52
  Speaker 1: Nobody else has really been able to nail this the
• 10:54
  Speaker 1: way that David Robert Mitchell has with this movie. This
• 10:57
  Speaker 1: is the closest in a long time that we've had
• 10:59
  Speaker 1: someone doing the Spielberg thing. And I'll go back to because, again,
• 11:03
  Speaker 1: you made me think about it by putting the bad
• 11:05
  Speaker 1: robot logo at the front of this movie. Super 8
• 11:08
  Speaker 1: wishes it was this movie.
• 11:10
  Speaker 3: Absolutely.
• 11:11
  Speaker 1: This movie is what Super 8 wishes it was. This
• 11:14
  Speaker 1: movie is the movie J.J. Abrams wishes he had made
• 11:17
  Speaker 1: when he made Super 8 because this is that Spielbergian
• 11:21
  Speaker 1: tribute that Super 8 tried so hard to do and
• 11:24
  Speaker 1: failed so miserably. Super 8 is a movie where I
• 11:28
  Speaker 1: saw it in theaters. I'm probably good. I don't think
• 11:31
  Speaker 1: I missed anything about it the first time I saw it.
• 11:33
  Speaker 1: I think I got what I needed to. This movie,
• 11:36
  Speaker 1: I think, has a little bit of nuance to it,
• 11:38
  Speaker 1: a little bit more than just a Spielberg tribute to
• 11:41
  Speaker 1: offer something to come back as an audience member, because
• 11:43
  Speaker 1: I enjoyed this a lot, even though it is wearing
• 11:47
  Speaker 1: its influences very openly on its sleeve. That's for sure. I.
• 11:51
  Speaker 3: Other than the over-sexualization of Elle Fanning, I don't remember
• 11:57
  Speaker 3: very much about Super 8 at all. I think that
• 12:01
  Speaker 3: guy who was in a lot of the Godzilla movies.
• 12:03
  Speaker 1: Was in it, too.
• 12:04
  Speaker 3: Yeah, the guy from Friday Night Lights.
• 12:06
  Speaker 1: Right, and Lanterns. He's in Lanterns, yeah.
• 12:08
  Speaker 3: Yeah, which I need to see that.
• 12:10
  Speaker 1: True detective, but in the DC universe. Okay, that works
• 12:15
  Speaker 1: for me.
• 12:16
  Speaker 3: Times a flat circle.
• 12:17
  Speaker 1: Yeah, exactly. I mean, if Matthew McConaughey was in it,
• 12:20
  Speaker 1: probably be two on the nose. I.
• 12:22
  Speaker 3: Uh, but yeah, I totally agree that this is such
• 12:25
  Speaker 3: a pastiche and it's very funny that you brought up poltergeist.
• 12:29
  Speaker 3: That was on my mind as well as, and you
• 12:31
  Speaker 3: brought up Stephen King also on my mind and it
• 12:34
  Speaker 3: was on my mind at a certain point in this
• 12:36
  Speaker 3: movie where I was just thinking, this reminds me a
• 12:39
  Speaker 3: lot of Stephen King. I hope that they don't fuck
• 12:42
  Speaker 3: up the ending and, and.
• 12:44
  Speaker 1: It's going to be the mist everybody.
• 12:46
  Speaker 3: Right. I, I, I was reminded a lot of under
• 12:50
  Speaker 3: the dome because of the whole, like the dome comes down.
• 12:53
  Speaker 3: Nobody knows what happened. Nobody knows what, what, why this
• 12:57
  Speaker 3: came about. Same thing with this, the entire neighborhood moves 200,000
• 13:01
  Speaker 3: or 200 million years in the past. And then they, yeah.
• 13:06
  Speaker 3: And I'm just like, oh, I wonder if. that piece
• 13:09
  Speaker 3: of land moved you know they flip-flopped kind of thing
• 13:12
  Speaker 3: so i like that there's the premise i like that
• 13:14
  Speaker 3: there's the little flashes of those things like the uh
• 13:18
  Speaker 3: neighbor lady who's got the old plant in her yard
• 13:22
  Speaker 3: or the uh very um not nice neighbor who's got
• 13:26
  Speaker 3: the big pile of shit in his yard i was.
• 13:28
  Speaker 1: Waiting for the ian malcolm delivery on that line that
• 13:30
  Speaker 1: is one big pile of shit.
• 13:32
  Speaker 3: I was wondering myself and I was kind of wondering
• 13:34
  Speaker 3: if they were going to dig through it and they'd
• 13:36
  Speaker 3: find like weird shit inside of the ship.
• 13:38
  Speaker 1: I assumed it was, I assumed that that's what they were. Again,
• 13:40
  Speaker 1: there's some imagery in this movie that is evocative of
• 13:43
  Speaker 1: a certain thing.
• 13:44
  Speaker 3: Oh yeah, absolutely.
• 13:46
  Speaker 1: That's being Jurassic Park.
• 13:48
  Speaker 3: And the whole idea of you said poltergeist. Yes. Same
• 13:52
  Speaker 3: year that this is set. And I, I like that
• 13:56
  Speaker 3: David Robert Mitchell is from Michigan and, He really tries
• 14:00
  Speaker 3: to put Michigan in his movies. He fails so hard
• 14:04
  Speaker 3: in this one because this is so Southern California. And
• 14:07
  Speaker 3: I'm just like, we don't have hills like that. We
• 14:09
  Speaker 3: do not have Michigan. It's supposed to be Michigan. Cause
• 14:12
  Speaker 3: you hear the, uh, they talk about the tigers on
• 14:16
  Speaker 3: the radio. They're talking about Alan Trammell. She's got a
• 14:19
  Speaker 3: Michigan magnet on their refrigerator. There's a lot of Michigan.
• 14:23
  Speaker 1: Stuff in here. Sorry. I just watched the frighteners. So
• 14:25
  Speaker 1: I just figured it's one of these, like, okay, sure.
• 14:28
  Speaker 1: just like this is supposed to be Southern California, but
• 14:30
  Speaker 1: it's New Zealand. Like this just looks like SoCal. It
• 14:32
  Speaker 1: looks like they filmed it like 20 minutes up the
• 14:35
  Speaker 1: road from the 20th century Fox studio or something.
• 14:38
  Speaker 3: Absolutely. I was waiting for like, I mean, this neighborhood
• 14:41
  Speaker 3: so looks like the poltergeist neighborhood. So it looks like it.
• 14:44
  Speaker 1: Yeah.
• 14:45
  Speaker 3: Yeah, it was pretty funny when I was just like,
• 14:48
  Speaker 3: oh yeah, this is supposed to be Michigan. This is
• 14:50
  Speaker 3: so not Michigan at all. When they can look up
• 14:53
  Speaker 3: and see the houses going up the hill to basically,
• 14:57
  Speaker 3: to me, a small mountain. I'm just like, yeah, no,
• 15:01
  Speaker 3: Michigan is flat. We are so flat. I'm sure you're
• 15:05
  Speaker 3: familiar with very flat lands where you're at. We are
• 15:08
  Speaker 3: very flat over here as well.
• 15:10
  Speaker 1: So it was actually filmed in Atlanta.
• 15:12
  Speaker 3: So really, that's so surprising.
• 15:15
  Speaker 1: On the coast, though. OK, still coastal weather, I guess
• 15:18
  Speaker 1: a different coast. But it doesn't it doesn't look like
• 15:20
  Speaker 1: the Midwest, which, you know, which I mean, again, like
• 15:23
  Speaker 1: I again, regardless of whether or not that's a thing
• 15:26
  Speaker 1: that needed to be successful. I will say they do
• 15:28
  Speaker 1: evoke exactly what they are going for, which is an
• 15:31
  Speaker 1: a neighborhood right out of the 80s. I think the
• 15:34
  Speaker 1: problem that is the comparative difference. obviously, is when I
• 15:37
  Speaker 1: think of something that was doing this better. I already
• 15:40
  Speaker 1: mentioned Stranger Things. Stranger Things nailed that thing specifically. Early seasons,
• 15:45
  Speaker 1: maybe not so much in the later seasons. When I
• 15:46
  Speaker 1: talk about Stranger Things, let's just pretend there's nothing past
• 15:49
  Speaker 1: the third season, essentially, in terms of what the show's
• 15:51
  Speaker 1: trying to do. But it nailed that more than this does.
• 15:55
  Speaker 1: But I will say, because this is not a... extended
• 15:58
  Speaker 1: period of time we're spending here it's just a film
• 16:01
  Speaker 1: it it's perfectly i think acceptable but yeah if you're
• 16:04
  Speaker 1: gonna set your movie in the midwest in the 80s
• 16:06
  Speaker 1: in this day and age post stranger things you you
• 16:09
  Speaker 1: gotta nail it a little bit more yeah.
• 16:11
  Speaker 3: I mean yeah absolutely and i'll i'll take it i
• 16:15
  Speaker 3: was just like okay that's kind of a nice little
• 16:17
  Speaker 3: thing that they're making these michigan references when she goes
• 16:20
  Speaker 3: to cornell at the end i was like Okay, I
• 16:23
  Speaker 3: was hoping for more like State or U of M,
• 16:26
  Speaker 3: but she wants to be like Carl Sagan. And I
• 16:29
  Speaker 3: was so happy to hear a Carl Sagan name drop
• 16:31
  Speaker 3: because I freaking love that guy and I love Cosmos.
• 16:34
  Speaker 3: I want to ask you, do you think that the
• 16:36
  Speaker 3: daughter is lesbian?
• 16:37
  Speaker 1: There's no love interest for her in the movie, which
• 16:40
  Speaker 1: feels intentional on me. I don't know.
• 16:42
  Speaker 3: So it's not the girl that they rescue? It's not
• 16:45
  Speaker 3: the one that the brother is ogling? The Jeanette Christensen character?
• 16:51
  Speaker 1: I don't know.
• 16:52
  Speaker 3: She's talking pretty hardcore to that blonde when they're doing
• 16:56
  Speaker 3: the whole tossing of the water balloon back and forth.
• 17:00
  Speaker 3: And then she gets real wet.
• 17:01
  Speaker 1: I was like, wow, is this going somewhere?
• 17:04
  Speaker 3: But no, I was curious because the brother is literally
• 17:08
  Speaker 3: spying on this girl. And that was, again, reminded me
• 17:11
  Speaker 3: of Super 8 with that over-sexualization of Elle Fanning. who
• 17:15
  Speaker 3: really shouldn't have been sexualized until like alien bad land
• 17:19
  Speaker 3: or predator badlands where she looks smoking hot.
• 17:22
  Speaker 2: Right.
• 17:23
  Speaker 3: And she's great by the way. absolutely she's so good
• 17:26
  Speaker 3: in that movie and playing a double role oh so good.
• 17:29
  Speaker 1: By the way talk about a movie i'm bummed we
• 17:31
  Speaker 1: did not talk about when it came.
• 17:33
  Speaker 3: Out i know it was so well done what.
• 17:35
  Speaker 1: A great film yeah i watched it recently it was
• 17:37
  Speaker 1: just like holy shit like look again i appreciate and
• 17:40
  Speaker 1: i'm someone who i think and this is me personally
• 17:43
  Speaker 1: i know you have a different feeling on it but
• 17:45
  Speaker 1: I hated Prometheus when I saw it. Prometheus and Saint
• 17:48
  Speaker 1: with Covenant. Prometheus and Covenant are two movies I go
• 17:50
  Speaker 1: back to a lot now. And that's because Romulus is
• 17:53
  Speaker 1: really bad. And Romulus is not a movie that I
• 17:55
  Speaker 1: have any interest in returning to. And so if there
• 17:57
  Speaker 1: is a more alien that can be returned to, I'm
• 18:00
  Speaker 1: okay with it being something more like Prometheus and Covenant
• 18:03
  Speaker 1: because it's kind of the Star Wars prequel thing where...
• 18:07
  Speaker 1: at least those were original ideas with Prometheus and Covenant
• 18:10
  Speaker 1: in a way. In Romulus, it was just alien again.
• 18:13
  Speaker 1: And that, I mean, I've seen some reviews about this
• 18:15
  Speaker 1: movie having that issue where it's like, this is a Spielberg,
• 18:18
  Speaker 1: like AI Spielberg vibe. And it's like, nah, why?
• 18:22
  Speaker 3: I mean, yeah, of course it is, but I'm okay
• 18:25
  Speaker 3: with that.
• 18:26
  Speaker 1: But why is Spielberg the only one allowed to do it?
• 18:29
  Speaker 3: Right, right.
• 18:30
  Speaker 1: To look at, and this is kind of the thing
• 18:31
  Speaker 1: I was talking about in my opening thesis here was,
• 18:34
  Speaker 1: Spielberg can't even do it anymore. You know how I know?
• 18:37
  Speaker 1: Because we watched him not be able to do it
• 18:39
  Speaker 1: with a movie that he should have been able to
• 18:41
  Speaker 1: do it with. A Spielberg alien movie, the first time
• 18:44
  Speaker 1: he's returned to aliens since Close Encounters of the Third Kind,
• 18:47
  Speaker 1: and it's that? Really?
• 18:48
  Speaker 3: Yeah, yeah.
• 18:50
  Speaker 1: I would really be curious to see what Spielberg returning
• 18:52
  Speaker 1: to dinosaurs looked like. Because if it was something like this,
• 18:56
  Speaker 1: I would get it. But I don't think it would
• 18:57
  Speaker 1: be this good. I think that this is a vibe.
• 19:01
  Speaker 1: This is a total tone overlay of your movie. And
• 19:05
  Speaker 1: if you're able to nail it, I think you doing
• 19:07
  Speaker 1: that is overlooked because it adds to what we're watching
• 19:11
  Speaker 1: as opposed to being the whole reason we're watching. Stranger
• 19:13
  Speaker 1: Things did so much without like... It did so much...
• 19:17
  Speaker 1: It didn't just hang its hat on the 80s nostalgia.
• 19:19
  Speaker 1: By the end of the show, it did. But early on,
• 19:21
  Speaker 1: it was like it was doing its own thing and
• 19:23
  Speaker 1: wasn't letting the 80s of it all get in the way.
• 19:25
  Speaker 1: That was just incidental. Same with this movie. Like, these
• 19:28
  Speaker 1: kind of movies work better being set in the 80s.
• 19:30
  Speaker 1: They just do. Like, that tone and expectation the kids feel. Like,
• 19:34
  Speaker 1: it's all a stereotype, but it's a stereotype that I
• 19:36
  Speaker 1: think works.
• 19:36
  Speaker 3: Well, and it's nice that the TV, you know, you've
• 19:40
  Speaker 3: got the love boat, you've got the Three Stooges, you've
• 19:42
  Speaker 3: got some other stuff on there. It's not... you know
• 19:44
  Speaker 3: totally awesome 80s kind of thing and I mean to
• 19:48
  Speaker 3: the point where there are a few times where I'm like, well,
• 19:50
  Speaker 3: why didn't she like when she sees the plant in
• 19:52
  Speaker 3: the old lady's yard? I'm like, why doesn't she just
• 19:55
  Speaker 3: take a picture of the plant and use AI to
• 19:57
  Speaker 3: draw it? And I was like, oh, wait, wait, wait.
• 19:59
  Speaker 1: There are times that were so boring, aren't they?
• 20:01
  Speaker 3: I know, I know.
• 20:02
  Speaker 1: They're the worst, the absolute worst. Yeah.
• 20:05
  Speaker 3: But then I would lie to her and just be like, no, no,
• 20:07
  Speaker 3: it's this thing. It's a it's a totally a pineapple plant.
• 20:10
  Speaker 3: It's like, what?
• 20:11
  Speaker 1: No, what? Well, that's the question I have. Like, if
• 20:13
  Speaker 1: this were to take place now, what in God's name
• 20:16
  Speaker 1: would I how would I react to that? If you
• 20:18
  Speaker 1: took a picture that you were just like, I have
• 20:21
  Speaker 1: found this out in the real world. I would just
• 20:23
  Speaker 1: be like, I'm reporting this to the FBI. Right. Yes.
• 20:26
  Speaker 1: It would be like, there's, there's, I don't know. It'd
• 20:28
  Speaker 1: be like, if you found a body that had a
• 20:30
  Speaker 1: thing that said Jimmy Hoff on it, it'd be like,
• 20:32
  Speaker 1: I'm taking a picture of this and uploading this to
• 20:34
  Speaker 1: claw to be like, I'm having to inform the CIA,
• 20:36
  Speaker 1: FBI and NSA all at once about this. That's it. Yeah. We,
• 20:41
  Speaker 1: I think what's funny is we live in a time
• 20:43
  Speaker 1: now that feels just so technologically advanced that the pastoral
• 20:47
  Speaker 1: nature of just not being able to look up something
• 20:49
  Speaker 1: on your phone is just like mind blowing now.
• 20:52
  Speaker 3: Yeah, no, it's, it's, Setting this in 82 is a
• 20:55
  Speaker 3: very smart move. And having these characters with these complications,
• 21:00
  Speaker 3: like the whole thing of how Ewan McGregor's character is
• 21:04
  Speaker 3: supposed to be working at Chrysler, but he actually hasn't been.
• 21:07
  Speaker 3: So he's been delivering pizzas on the side to try
• 21:10
  Speaker 3: to make ends meet. Her with her whole writing and
• 21:13
  Speaker 3: that she's actually a really good writer is fantastic. And
• 21:17
  Speaker 3: the moment when they find that the basement's flooded and
• 21:19
  Speaker 3: she's lost everything because this is not uploading to the cloud.
• 21:24
  Speaker 3: There are no backups. There are no flash drives. There
• 21:27
  Speaker 3: was a fucking paper that she was typing on, and
• 21:29
  Speaker 3: that was it.
• 21:31
  Speaker 1: I feel like a movie not as well-written as this
• 21:34
  Speaker 1: one would have spent more time on that scene, but
• 21:36
  Speaker 1: this movie, because of the pace and it feeling just
• 21:39
  Speaker 1: like a constant ball in motion, it doesn't allow the
• 21:43
  Speaker 1: characters that long to sit in that moment. And I
• 21:46
  Speaker 1: appreciate that about the movie. There's a lot of forward
• 21:49
  Speaker 1: momentum in this movie, and... In another movie, it could
• 21:52
  Speaker 1: be a bad thing because we don't get to spend
• 21:53
  Speaker 1: a lot of time with the characters, but I don't
• 21:55
  Speaker 1: need to. I understand the characters more or less immediately because, again,
• 21:59
  Speaker 1: they're an 80s stereotype. This is like, oh, they're having
• 22:02
  Speaker 1: family problems. In the 80s, it was, I didn't have
• 22:04
  Speaker 1: a job. Come on. Do you know how pastoral that
• 22:08
  Speaker 1: feels now? Right.
• 22:10
  Speaker 3: Or a bully that is... i like that the kid.
• 22:13
  Speaker 1: My bike like okay that's all we have to worry
• 22:16
  Speaker 1: about like.
• 22:17
  Speaker 3: And it's kind of serious the one kid's like you
• 22:20
  Speaker 3: could have killed that guy you know like he flew
• 22:22
  Speaker 3: off his fucking bicycle and broke his arm that's not
• 22:26
  Speaker 3: funny man so like i'm okay with the older brother
• 22:29
  Speaker 3: wanting to protect his younger brother and beat the shit
• 22:31
  Speaker 3: out of this kid exactly and i like that he's
• 22:34
  Speaker 3: kind of a threat but then when the threat actually
• 22:36
  Speaker 3: happens it's like What are we doing? We're in a
• 22:39
  Speaker 3: whole different world now. We just need to stop what
• 22:41
  Speaker 3: we're doing. We could get eaten by dinosaurs. And I really,
• 22:45
  Speaker 3: to go back to the Spielberg of it all, I
• 22:48
  Speaker 3: really think that the dinosaurs look really good in this.
• 22:52
  Speaker 3: And did it take me aback that they are furry
• 22:54
  Speaker 3: and feathery? Yes, it sure did, because I grew up
• 22:57
  Speaker 3: in a different time than you. Well, so did I,
• 22:59
  Speaker 3: to be fair.
• 23:00
  Speaker 1: So did I. Jurassic Park was no feather dinosaurs. No,
• 23:04
  Speaker 1: they weren't.
• 23:05
  Speaker 3: Towards the end.
• 23:06
  Speaker 1: Yeah, sure. But that's the bar that I think anyone
• 23:09
  Speaker 1: my age is setting is Jurassic Park. That's the last
• 23:14
  Speaker 1: vestige of those kinds of dinosaurs. Because now they have feathers.
• 23:17
  Speaker 1: Because if you're going to make a movie about scientifically
• 23:20
  Speaker 1: accurate dinosaurs anyways.
• 23:22
  Speaker 2: Mm-hmm.
• 23:23
  Speaker 3: While I felt so bad for my poor little Ankylosaurus,
• 23:26
  Speaker 3: he's just out there just chewing on some grass or
• 23:28
  Speaker 3: whatever and gets eaten up by a big old Diplodocus
• 23:32
  Speaker 3: or something. And I'm just like, I'm having a great
• 23:34
  Speaker 3: time watching these dinosaurs. I really liked the big turtle
• 23:37
  Speaker 3: dinosaurs that they had. I think the jump scares that
• 23:41
  Speaker 3: they have throughout this are very well-timed, and they do
• 23:45
  Speaker 3: what they need to do. I just felt like this was...
• 23:49
  Speaker 3: really running on all cylinders. Yeah, occasionally I was just like, oh,
• 23:53
  Speaker 3: this is kind of like that movie. But I wasn't
• 23:55
  Speaker 3: sitting there stewing in my own juices, just being like, damn,
• 23:58
  Speaker 3: this is a fucking Spielberg pastiche. This is terrible. I
• 24:02
  Speaker 3: was just like, no, this is nice. I like the
• 24:04
  Speaker 3: way that the story is running. I really like all
• 24:06
  Speaker 3: of these characters. Like I said, the kids aren't awful
• 24:09
  Speaker 3: and you get to follow them through quite a bit
• 24:11
  Speaker 3: of it. But I like that you're more following the
• 24:14
  Speaker 3: parents and just seeing their reactions to things. I think
• 24:17
  Speaker 3: that the You know, these two kids are so much
• 24:20
  Speaker 3: better than those two kids in that Jurassic. There was
• 24:23
  Speaker 3: the first Jurassic World one. where I'm just like, I
• 24:26
  Speaker 3: don't care if these kids live or die.
• 24:27
  Speaker 1: Well, and to juxtapose it against the kind of the
• 24:31
  Speaker 1: stressors in that story are the same ones in this one.
• 24:34
  Speaker 1: We just don't see it there. We see it here,
• 24:36
  Speaker 1: which is our parents are getting divorced.
• 24:38
  Speaker 3: Precisely.
• 24:39
  Speaker 1: Yeah, very apropos comparison. I think for me, this does
• 24:43
  Speaker 1: that better. And this is the whole movie. We're dealing
• 24:45
  Speaker 1: with it directly because we're seeing the Ewan McGregor and
• 24:48
  Speaker 1: Anne Hathaway character interacting. But I like that the film
• 24:51
  Speaker 1: actually because, again, like because it's a Spielberg and not
• 24:54
  Speaker 1: a King thing, it's going to have a a happy ending,
• 24:57
  Speaker 1: not a downer of an ending, though there was a
• 24:59
  Speaker 1: downer ending originally for the movie, which really. Yeah, I
• 25:03
  Speaker 1: look and I.
• 25:04
  Speaker 3: Should we branch into spoiler territory here?
• 25:07
  Speaker 1: I guess. Yeah, I think this is a movie worth
• 25:09
  Speaker 1: checking out in theaters. I don't. Yeah, I think go
• 25:13
  Speaker 1: and see it in theaters, because I think at this point,
• 25:15
  Speaker 1: if this is completely just a transactional way of doing things,
• 25:18
  Speaker 1: support people whose movies are worth supporting that are original movies, because, yes,
• 25:23
  Speaker 1: this is a Steven Spielberg thing, but it's still an
• 25:24
  Speaker 1: original movie. It's not a Marvel thing. It's not a
• 25:27
  Speaker 1: DC thing. And it, I think, deserves to have people
• 25:30
  Speaker 1: go out and see it in theaters because it needs
• 25:32
  Speaker 1: to make more money because these kinds of movies should
• 25:34
  Speaker 1: be existing more often, especially from directors who, if able to,
• 25:38
  Speaker 1: would probably work on other much bigger things. But this
• 25:41
  Speaker 1: is like how you get there in some ways, is
• 25:44
  Speaker 1: kind of cutting your teeth on something like this that
• 25:46
  Speaker 1: you make yourself. And now... If this movie is financially successful,
• 25:50
  Speaker 1: back the Brinks truck up to David Robert Mitchell's house
• 25:52
  Speaker 1: and let him make something with an IP preattached or
• 25:55
  Speaker 1: something like not just a thing of something else. But yeah,
• 25:59
  Speaker 1: go see this for sure. If we want to talk spoilers,
• 26:01
  Speaker 1: let's do it. All right. Yeah.
• 26:02
  Speaker 3: So tell me about the original ending to this.
• 26:04
  Speaker 1: So the the original ending is and again, I again,
• 26:09
  Speaker 1: I don't know if it's one of these like we
• 26:11
  Speaker 1: saw Army of Darkness one too many times thing. But
• 26:14
  Speaker 1: I think, you know, by me just mentioning that what
• 26:16
  Speaker 1: it is, they jump through the portal and they just,
• 26:19
  Speaker 1: you know, end up in early settler time.
• 26:22
  Speaker 3: I was wondering, like, when they were jumping into that portal, like,
• 26:25
  Speaker 3: they don't know where this is going to go. Where
• 26:28
  Speaker 3: is this going?
• 26:29
  Speaker 1: Yeah. And that's the romantic sci-fi of it. Like, that's
• 26:31
  Speaker 1: the Spielberg of it. There's that, like, the little, the
• 26:35
  Speaker 1: wind chimes, the little xylophone playing. Like, that's the Spielberg
• 26:38
  Speaker 1: of it, right? And that's the thing. Like, I know
• 26:41
  Speaker 1: that people hate that, but this is one of those
• 26:43
  Speaker 1: movies where when Ewan McGregor's character dies, even I was like, oh, shit.
• 26:48
  Speaker 3: Absolutely.
• 26:49
  Speaker 1: Right? Yes. It's an earned moment in a movie where
• 26:51
  Speaker 1: I know by the end of it, he will be
• 26:53
  Speaker 1: fine because it's a Steven Spielberg thing. And in those movies,
• 26:57
  Speaker 1: nothing bad things happen, but for a transformative reason, which
• 27:00
  Speaker 1: is why bad things happen, like bad things in these
• 27:03
  Speaker 1: universes where it's an exterior bad thing bearing down on
• 27:06
  Speaker 1: the characters. not a villainous bad thing, because even in E.T.,
• 27:10
  Speaker 1: by the end of it, Peter Coyote is a changed man.
• 27:13
  Speaker 1: At least that's the feeling you get by the end
• 27:16
  Speaker 1: of the movie. And that's a Spielberg thing. But man,
• 27:19
  Speaker 1: I wanted to hear your thoughts, because that scene is just...
• 27:22
  Speaker 1: wild to me.
• 27:23
  Speaker 3: Holy shit like i thought so when the dinosaur bites
• 27:27
  Speaker 3: his fucking leg off that's what i yelled in the
• 27:30
  Speaker 3: theater i was just like oh my god like i
• 27:32
  Speaker 3: did not think that i was going to be seeing
• 27:36
  Speaker 3: ewan mcgregor have his leg bit off and then i
• 27:39
  Speaker 3: thought for sure like wow he's going to spend the
• 27:41
  Speaker 3: rest of his uh this movie with his leg in
• 27:44
  Speaker 3: a tourniquet and this is going to be awful like
• 27:47
  Speaker 3: how are they going to do this no.
• 27:48
  Speaker 1: No worries there About two seconds, you thought that, huh?
• 27:51
  Speaker 3: Yeah, for about two seconds, and then he's just breakfast
• 27:54
  Speaker 3: food for the dinosaur. Yeah, I was wondering about that portal,
• 27:59
  Speaker 3: and I was wondering where it's going to go back
• 28:01
  Speaker 3: to and everything. But yeah, it's a nice romantic thing,
• 28:04
  Speaker 3: and it leads us right into a Robert Zemeckis ending
• 28:07
  Speaker 3: with that. But I want to talk a little bit
• 28:09
  Speaker 3: more about the movie now that we're kind of freed up.
• 28:12
  Speaker 3: The whole idea, though, of... So the Ewan McGregor that
• 28:15
  Speaker 3: we see add all up is... kind of a branched-off
• 28:20
  Speaker 3: version of the Ewan McGregor who delivers a pizza at
• 28:24
  Speaker 3: the end of the movie, who hasn't gone through this
• 28:26
  Speaker 3: harrowing experience.
• 28:28
  Speaker 1: Yeah, that's the fuckeroo of the whole movie, unfortunately.
• 28:32
  Speaker 3: Yeah, so now his arc isn't an arc anymore. It dead-ends,
• 28:38
  Speaker 3: and then it loops back around.
• 28:40
  Speaker 1: Right. We haven't gotten far enough in The Sopranos for this,
• 28:43
  Speaker 1: but the thing that always comes to mind is, where's
• 28:45
  Speaker 1: my arc, Tony? Where's my arc? What if I don't
• 28:48
  Speaker 1: have an arc? Which is a much later in the
• 28:50
  Speaker 1: show thing. But I think about that because he runs
• 28:53
  Speaker 1: into a wall. His character dies. The character that we see.
• 28:56
  Speaker 1: So it's what we have to then believe is that
• 28:59
  Speaker 1: Anne Hathaway, because I think you already alluded to this,
• 29:02
  Speaker 1: is the main character, which means that he is filled
• 29:05
  Speaker 1: in with what happens by her character. and the story
• 29:09
  Speaker 1: that she writes. And I think that we, as the audience, again, romantically,
• 29:14
  Speaker 1: are led to believe that he reads it and goes, okay.
• 29:18
  Speaker 1: And here's the thing, though, to be fair, and this
• 29:20
  Speaker 1: is where I come in, again, as someone who goes
• 29:23
  Speaker 1: to therapy and is emotionally kind of not in tune
• 29:27
  Speaker 1: with myself, but I think that's the best way of
• 29:28
  Speaker 1: putting it, just sounds kind of, I don't know, deep,
• 29:31
  Speaker 1: I think is a word that gets used in a
• 29:33
  Speaker 1: negative way. And I think this movie is about Anne
• 29:36
  Speaker 1: Hathaway's character having that emotional change. Because you and McGregor's point,
• 29:40
  Speaker 1: he's like, you were going to leave us, me and
• 29:42
  Speaker 1: the kids, which is really awful. And, you know, she talks,
• 29:46
  Speaker 1: we hear early on the story because she's a writer
• 29:48
  Speaker 1: that she's going to, she has this yellow suitcase always
• 29:52
  Speaker 1: ready and waiting. And then I kept.
• 29:54
  Speaker 3: Waiting for that yellow suitcase to show up in the movie.
• 29:56
  Speaker 1: And it shows up in the flooding scene where she
• 29:58
  Speaker 1: like sees it when the, and it's like, okay, so
• 30:01
  Speaker 1: metaphorically your, your, you know, your kind of like magic carpet,
• 30:05
  Speaker 1: your golden parachute, again, yellow is, is gone now. And
• 30:09
  Speaker 1: you have like no choice other than to accept the
• 30:12
  Speaker 1: fact that Ewan McGregor was right. And that you are
• 30:15
  Speaker 1: just trying to shirk responsibilities and be present the way, again, yes,
• 30:20
  Speaker 1: he's a goofball, but he's, it's not like he's not working, right?
• 30:23
  Speaker 1: He is going and doing the thing with the pizza,
• 30:26
  Speaker 1: which is better than nothing. He's drinking, though, which is, again,
• 30:29
  Speaker 1: that's the kind of Spielbergian thing where he's a flawed
• 30:31
  Speaker 1: character who has to learn the error of his own ways.
• 30:35
  Speaker 3: At least it's not Jack Torrance, I guess.
• 30:38
  Speaker 1: He's secondary to Anne Hathaway's character, like actually... accepting responsibility
• 30:43
  Speaker 1: and like owning up to stuff and it sounds like
• 30:46
  Speaker 1: like being an adult and being present and i think
• 30:50
  Speaker 1: that if you look at it that way ewan mcgregor's
• 30:52
  Speaker 1: character not ultimately having an arc doesn't matter that much
• 30:55
  Speaker 1: because anne hathaway is the main character but it is
• 30:56
  Speaker 1: kind of goofy because you're like oh well he's now
• 30:58
  Speaker 1: he's gonna have to be filled in it's like That
• 31:00
  Speaker 1: thing with Drew Barrymore in 50 First Dates, but that's
• 31:03
  Speaker 1: like the point of the movie is it's like, you're
• 31:05
  Speaker 1: going to have to watch this VHS every day. That's
• 31:08
  Speaker 1: funny because that's the conceit of the movie having to
• 31:10
  Speaker 1: be played out here. It's like, OK, I guess I
• 31:13
  Speaker 1: believe you. There are dinosaurs. I guess that's the redeeming thing.
• 31:16
  Speaker 1: It's like they're not full of it. There are the dinosaurs.
• 31:19
  Speaker 2: Right.
• 31:19
  Speaker 3: And at least there's photo evidence of him with that
• 31:22
  Speaker 3: sledgehammer and which I love that he uses a sledgehammer
• 31:26
  Speaker 3: in this movie.
• 31:26
  Speaker 2: Right.
• 31:27
  Speaker 3: It felt like they were, I don't know, like everybody
• 31:29
  Speaker 3: had like their own weapons. They're like a D &
• 31:31
  Speaker 3: D party or something, except for the girl. The girl
• 31:34
  Speaker 3: didn't have anything. But Boone McGregor's always got a bat
• 31:37
  Speaker 3: or a sledgehammer. The kids got the bow and arrow,
• 31:43
  Speaker 3: the most useless bow and arrow in the world. And
• 31:45
  Speaker 3: then Anne Hathaway's.
• 31:47
  Speaker 1: Got the mom from the Titan Boa with it.
• 31:49
  Speaker 3: Yeah, that's true. And I love her just stabbing that
• 31:53
  Speaker 3: Boa so much. That was really good. She gets some
• 31:56
  Speaker 3: really good hits in this movie, which I appreciate, and
• 32:00
  Speaker 3: uses the shotgun that the old lady has from across
• 32:04
  Speaker 3: the street. I like that they bring back the librarian
• 32:06
  Speaker 3: at the end, though, man, oh man, that librarian's husband
• 32:09
  Speaker 3: must be making bank, because I don't think she's making
• 32:11
  Speaker 3: that much in the library to own that house.
• 32:13
  Speaker 1: Absolutely. crazy like Elvira or like Rocky Horror Picture Show
• 32:17
  Speaker 1: house absolutely yes it's like what the hell yes um
• 32:22
  Speaker 1: I was gonna say you know because we have these
• 32:23
  Speaker 1: like really wide shots and you mentioned it like under
• 32:26
  Speaker 1: the dome which that was a television adaptation at one
• 32:29
  Speaker 1: point on like Amazon wasn't it I.
• 32:31
  Speaker 3: Think yeah it was a series for a bit yeah okay.
• 32:34
  Speaker 1: A lesser one, I guess. You want to talk about
• 32:37
  Speaker 1: something where it's like, okay, what's an IP? You could
• 32:40
  Speaker 1: do so much with this IP now. Their story is over.
• 32:44
  Speaker 1: But what if people jumped out of the thing? What
• 32:46
  Speaker 1: about the people that didn't get away? You just tell
• 32:48
  Speaker 1: the story of all the people that are running around
• 32:50
  Speaker 1: in the jungle with the dinosaur. Right. I have no idea.
• 32:54
  Speaker 1: So much of this is not explained in the best
• 32:57
  Speaker 1: way that you could just, if you really wanted to,
• 32:59
  Speaker 1: and if this is financially successful, you could do more
• 33:02
  Speaker 1: of these movies without any of these people. And there
• 33:04
  Speaker 1: you go. There's an IP that has dinosaurs that isn't
• 33:07
  Speaker 1: just Jurassic Park. Because, man, that's the thing I really
• 33:11
  Speaker 1: wanted to talk about for a second with this movie.
• 33:13
  Speaker 1: How bad dinosaur movies kind of have been since Jurassic Park.
• 33:18
  Speaker 1: And this is, again, I think this is an interesting...
• 33:21
  Speaker 1: side tangent for 30 to 40 seconds. The Jurassic Park
• 33:25
  Speaker 1: gets bad after you tell me, I'll tell you where
• 33:28
  Speaker 1: you come in at this. I have a different answer
• 33:30
  Speaker 1: than you do. And then does it come back at any?
• 33:34
  Speaker 3: OK, I get. Yeah, OK. It gets bad after the
• 33:37
  Speaker 3: first one. I despise the second movie. I really like
• 33:41
  Speaker 3: the third movie. And that's about it. We have watched
• 33:47
  Speaker 3: the last Jurassic World, not Dominion, Rebirth. We've watched that
• 33:54
  Speaker 3: several times.
• 33:54
  Speaker 1: Because that's not the last one anymore. The last one
• 33:57
  Speaker 1: that I thought was the last one isn't the last
• 34:00
  Speaker 1: one anymore. It's the xenomorph one now.
• 34:02
  Speaker 3: Which, with Colin Trevorrow... another Spielberg acolyte behind the camera.
• 34:09
  Speaker 3: that movie is just filled with Spielberg references.
• 34:12
  Speaker 1: So it's... To the point where they put the, what,
• 34:15
  Speaker 1: the river ride from the original movie that they didn't
• 34:19
  Speaker 1: put in the original movie that made it into the
• 34:23
  Speaker 1: most recent movie, which then answers why they didn't do
• 34:26
  Speaker 1: it in the original movie because it's really bad and not,
• 34:29
  Speaker 1: I wouldn't say dumb, but it's just logically such a
• 34:33
  Speaker 1: leap that a T-Rex can just eat you through a raft.
• 34:37
  Speaker 3: Right, right. like it's, it's, we're not eat you through
• 34:40
  Speaker 3: a raft. Yeah.
• 34:42
  Speaker 1: It's very goof. Yeah.
• 34:43
  Speaker 3: But there, I mean the, some of the stuff with
• 34:45
  Speaker 3: the boat at the beginning, I was just like, okay,
• 34:47
  Speaker 3: this is the Orca from jaws. And then they're just
• 34:51
  Speaker 3: using that, that Williams cue of the Jurassic park music,
• 34:54
  Speaker 3: like crazy. There's, I mean, there's a shot at the
• 34:59
  Speaker 3: end where somebody has got a flare and they're moving
• 35:01
  Speaker 3: the flare. And I'm just like, okay, yeah, this is,
• 35:03
  Speaker 3: It's like an homage to Spielberg movies, but mostly an
• 35:06
  Speaker 3: homage to the first Jurassic Park movie. It's really weird
• 35:09
  Speaker 3: how it's kind of like a remix of itself, but yeah. So,
• 35:13
  Speaker 3: so anyway, like that's where I land when it comes
• 35:15
  Speaker 3: to dinosaurs. Like I'm okay with this latest rebirth movie,
• 35:20
  Speaker 3: but all of the Jurassic worlds with Chris Pratt, not
• 35:24
  Speaker 3: a big fan of all the, the, the, the stuff
• 35:28
  Speaker 3: that went on in the second one, especially, I mean,
• 35:31
  Speaker 3: I was okay with the movie until the end of
• 35:33
  Speaker 3: the movie when Spielberg was just like, oh, I'm going
• 35:35
  Speaker 3: to do Godzilla now. That was awful to me. I
• 35:38
  Speaker 3: just cannot stand that.
• 35:40
  Speaker 1: So yours is like a sine wave. It's like up,
• 35:43
  Speaker 1: then down, then up again, then down, and just down.
• 35:46
  Speaker 1: Just down.
• 35:47
  Speaker 3: Very, very down. There's a little dead cat bounce at
• 35:50
  Speaker 3: the end, which is appropriate for this movie because they
• 35:53
  Speaker 3: kill so many cats in it.
• 35:54
  Speaker 1: Yeah, my girlfriend and I were joking. I was like,
• 35:56
  Speaker 1: because she's one of those people that, and I get it,
• 35:59
  Speaker 1: really sensitive to that in movies, which I feel for
• 36:03
  Speaker 1: because I've been able to divorce myself from it. long
• 36:06
  Speaker 1: ago because just you see so many movies but like
• 36:09
  Speaker 1: they do that thing in this movie so well it's
• 36:11
  Speaker 1: like cat moves in one shot next shot okay cat
• 36:15
  Speaker 1: must be dead.
• 36:17
  Speaker 3: Right and you even get those little copies or whatever
• 36:20
  Speaker 3: like I think they're eating the other cat that you
• 36:22
  Speaker 3: see because there's the the cat that's also in the
• 36:25
  Speaker 3: house that they go into and the cat leaves with
• 36:28
  Speaker 3: them and then later on you see those little dinosaurs
• 36:31
  Speaker 3: I think they're the same ones that ate John.
• 36:33
  Speaker 1: Hammond Oh, John Hammond in the book. Right. Right.
• 36:38
  Speaker 3: Oh yeah. I forgot that he lived in the movie.
• 36:41
  Speaker 3: I almost said in real life.
• 36:42
  Speaker 1: I was going to say Peter Stormare was the one
• 36:45
  Speaker 1: that they ate in the movie. I think.
• 36:47
  Speaker 3: Uh, yeah, no, you're, you're absolutely right. That was from,
• 36:50
  Speaker 3: Kind of my problem, too, is just being being a
• 36:52
  Speaker 3: fan of the book first and having like Ian Malcolm
• 36:56
  Speaker 3: live and then how like Creighton had to rewrite his
• 37:00
  Speaker 3: own stuff and be like, oh, no, no, he's not
• 37:02
  Speaker 3: actually dead.
• 37:02
  Speaker 1: They answered it in the first like couple lines of
• 37:05
  Speaker 1: the second book. They're like, hey, they thought I was
• 37:07
  Speaker 1: dead and I looked dead, but I wasn't dead like Yeah. Yeah.
• 37:11
  Speaker 3: So funny.
• 37:12
  Speaker 1: Yeah.
• 37:13
  Speaker 3: But yeah, I still in my mind, it's still John
• 37:16
  Speaker 3: Hammond dies. So it's a better movie for me.
• 37:19
  Speaker 1: I think for me, it goes Jurassic Park one up,
• 37:24
  Speaker 1: Lost World up. I think for me, it probably starts
• 37:27
  Speaker 1: getting bad because I've gone back and watched those Jurassic
• 37:29
  Speaker 1: World movies. Man, they are fantastic. And it's not just
• 37:34
  Speaker 1: because Chris Pratt, I would say the public discourse around
• 37:37
  Speaker 1: Chris Pratt has soured. It's probably a nice way of
• 37:39
  Speaker 1: putting it. Does he even act anymore in movies that matter?
• 37:43
  Speaker 1: Or does he just make things that look like either
• 37:45
  Speaker 1: they're made by Ben Shapiro or Amazon Prime or both?
• 37:49
  Speaker 1: It's just weird. Because wasn't he in that AI movie
• 37:51
  Speaker 1: where it's like, you're in an AI simulator? I'm just
• 37:55
  Speaker 1: not interested.
• 37:56
  Speaker 3: Mercy, I think it was called. And then, of course,
• 37:58
  Speaker 3: don't forget all the wonderful voice work of Italian... actor
• 38:02
  Speaker 3: chris pratt it's a me mario i.
• 38:05
  Speaker 1: Am here let's a go it's a let's a go
• 38:09
  Speaker 1: chris yeah let's say go indeed um i think i
• 38:12
  Speaker 1: i think that those jurassic world movies were good at
• 38:14
  Speaker 1: the time because people wanted a good dinosaur movie to
• 38:17
  Speaker 1: come out because nothing good had come out since jurassic
• 38:20
  Speaker 1: park let's call it for most people probably two maybe
• 38:23
  Speaker 1: three but for a lot of people it's just one
• 38:25
  Speaker 1: and definitely you know for i think financially one is
• 38:29
  Speaker 1: like the cornerstone of oh yeah But Jurassic World, I
• 38:33
  Speaker 1: think retroactively, if you go back and watch them, are
• 38:36
  Speaker 1: not movies that hold up very well, especially Jurassic World,
• 38:38
  Speaker 1: which just feels like a kind of lazy Jurassic Park pastiche,
• 38:42
  Speaker 1: if we want to use that word that's being leveled
• 38:44
  Speaker 1: against this movie. I think that Jurassic World 2, the
• 38:48
  Speaker 1: one that has cloning, which is just so bizarre to me,
• 38:51
  Speaker 1: and then Jesus, the last one that's just like three
• 38:55
  Speaker 1: hours long, I think, and it's about Grasshoppers? Again, dinosaurs
• 39:00
  Speaker 1: are out in the world, and it's about grasshoppers and
• 39:03
  Speaker 1: Henry Woo. All right.
• 39:05
  Speaker 3: What really gets me is that Andrea had to explain
• 39:07
  Speaker 3: to me that the Campbell Scott character is the guy
• 39:11
  Speaker 3: that Nedry's talking to.
• 39:13
  Speaker 1: We got Dodson here. Dodson, yes.
• 39:14
  Speaker 3: I'm just like, what?
• 39:15
  Speaker 1: Who's in the second book, too? I mean, he goes
• 39:18
  Speaker 1: to the island in the second book and dies in
• 39:20
  Speaker 1: the book. Right. Yeah, it's, you know, rebirth, I think
• 39:23
  Speaker 1: for me, like you said, dead cat bounce. I think
• 39:25
  Speaker 1: for me, rebirth is that kind of like, okay, it's weird.
• 39:29
  Speaker 1: And there's a lot of weirdness. stuff. There's like xenomorph
• 39:31
  Speaker 1: T-Rex thing. And Scarlett Johansson is weird. somehow uncharming, which
• 39:37
  Speaker 1: is weird because she's really charming and practically everything. And
• 39:40
  Speaker 1: she's just playing. She saw aliens and was like, that's
• 39:44
  Speaker 1: what I'm doing. Like, I'm going to do that. And
• 39:46
  Speaker 1: it's like, OK, like it's I don't know. It's not
• 39:48
  Speaker 1: that easy, I guess, in my mind, because that that
• 39:51
  Speaker 1: kind of stoic female presence doesn't always work. And that's
• 39:55
  Speaker 1: not Scarlett Johansson's strong suit. Like she's very charismatic. She's
• 39:59
  Speaker 1: a lot like Ewan McGregor. Like she's a really charismatic actress.
• 40:02
  Speaker 1: So just like Anne Hathaway, like, you know, you put
• 40:04
  Speaker 1: her in most things and she's okay. Anne Hathaway was
• 40:07
  Speaker 1: one of the better parts of that Batman. I think
• 40:09
  Speaker 1: the reason I ask is because since the original Jurassic Park,
• 40:13
  Speaker 1: there hasn't been a good dinosaur movie. I think that
• 40:15
  Speaker 1: this might actually be the first one since Jurassic Park.
• 40:18
  Speaker 3: Well, don't forget about 65, Chris. Come on. Adam Driver
• 40:22
  Speaker 3: would be very upset if you forgot that that movie existed.
• 40:26
  Speaker 1: No, 65. I was also saying After Earth as well.
• 40:29
  Speaker 3: Oh, After Earth.
• 40:30
  Speaker 1: Yes, yes. The Scientology film. I remember 65. The Adam
• 40:34
  Speaker 1: Driver dinosaur movie? Yes. Yeah. Okay.
• 40:38
  Speaker 2: Yeah.
• 40:38
  Speaker 1: That was a thing that happened. It did.
• 40:39
  Speaker 3: That was a thing. It did happen. And then, of course,
• 40:42
  Speaker 3: you've got all the Asylum films. But I would say
• 40:44
  Speaker 3: that Something that we were talking about a little bit
• 40:46
  Speaker 3: before we started recording. I think the closest you're getting is,
• 40:49
  Speaker 3: to go back to Mr. Spielberg, Godzilla. Like, that's the
• 40:53
  Speaker 3: dinosaur now that we are judging a lot against. And
• 40:56
  Speaker 3: the whole thing of how much.
• 40:58
  Speaker 1: Are you saying Peter Jackson's King Kong?
• 40:59
  Speaker 3: Oh, yeah. Yeah, definitely. I mean, but I forget that
• 41:03
  Speaker 3: there are even dinosaurs in there.
• 41:04
  Speaker 1: I remember when he breaks that dinosaur's mouth open.
• 41:08
  Speaker 3: Yeah, which was... Well, it's very similar to the original
• 41:11
  Speaker 3: thing in the 33 movie with the snake.
• 41:14
  Speaker 1: Right, right.
• 41:15
  Speaker 3: Yeah, which was my favorite part of the 76 movie
• 41:19
  Speaker 3: of King Kong. So I really enjoyed that movie when
• 41:23
  Speaker 3: I was a kid.
• 41:24
  Speaker 1: Yeah, I guess you're to your point. Godzilla has kind
• 41:26
  Speaker 1: of taken up the mantle of the dinosaur movie. I mean,
• 41:29
  Speaker 1: and again, I know that it is going to get
• 41:32
  Speaker 1: to get some eye rolls, but I have a zero
• 41:35
  Speaker 1: chill when it comes to voicing my opinion. I unabashedly
• 41:38
  Speaker 1: love the 1999 Godzilla. I don't see the problem with
• 41:41
  Speaker 1: that movie, especially in the face of super serious Godzilla,
• 41:44
  Speaker 1: where we can't have fun with things anymore because Godzilla
• 41:47
  Speaker 1: is the transgressions of the we know that he was
• 41:50
  Speaker 1: the transgressions of the Americans against Japan. That was the
• 41:52
  Speaker 1: original Godzilla movie.
• 41:54
  Speaker 3: It came out the same year as one of your
• 41:58
  Speaker 3: other favorite films, The Avengers, with.
• 42:01
  Speaker 1: Yeah, it's true.
• 42:02
  Speaker 3: With great finds, yes.
• 42:03
  Speaker 1: That's right. I look at that Godzilla movie, and it's
• 42:08
  Speaker 1: like a Jurassic Park ripoff in a lot of ways.
• 42:10
  Speaker 1: It's trying to do Jurassic Park stuff, and that Godzilla,
• 42:14
  Speaker 1: in quotations, I'll give it that, is more T-Rex than
• 42:17
  Speaker 1: anything else, and then you have the baby raptors running
• 42:20
  Speaker 1: around in Madison Square Garden. I would say that that movie...
• 42:23
  Speaker 1: In a lot of ways, again, like, yes, is it
• 42:25
  Speaker 1: a Godzilla movie? Sure. But is it a Jurassic Park thing? Yes. Again,
• 42:30
  Speaker 1: dinosaurs just haven't really been done well since Jurassic Park,
• 42:33
  Speaker 1: even when people try to like force something else into
• 42:35
  Speaker 1: a dinosaur mold with that Godzilla movie or trying to
• 42:38
  Speaker 1: do movies in the Jurassic Park universe. It took forever
• 42:41
  Speaker 1: to get a fourth Jurassic Park movie.
• 42:42
  Speaker 3: Well, I'll tell you what this also brings up is
• 42:46
  Speaker 3: another movie that not a lot of people talk about,
• 42:48
  Speaker 3: which was Big at the time, and also at J.J.
• 42:51
  Speaker 3: Abrams' property, which was Cloverfield. Which I feel is like
• 42:55
  Speaker 3: the Godzilla film for the United States. Because of it
• 43:00
  Speaker 3: coming about from the tragedy of 9-11. I mean, the
• 43:03
  Speaker 3: image of the Statue of Liberty's head rolling down the avenue.
• 43:08
  Speaker 3: And just the people walking across the bridge and everything.
• 43:11
  Speaker 3: It was so... 9-11 for me. So the way that
• 43:15
  Speaker 3: Godzilla was an answer to the atomic bomb as Cloverfield
• 43:18
  Speaker 3: was for 9-11. And it's a shame what's happened after
• 43:22
  Speaker 3: 10 Cloverfield Lane. You could almost call this a Cloverfield
• 43:26
  Speaker 3: movie if you wanted to, because why not?
• 43:29
  Speaker 1: You know, it's just be dinosaurs. That's why it didn't
• 43:32
  Speaker 1: have to have literally just been weird. Cree creosoid monsters
• 43:36
  Speaker 1: of undetermined origin race and like species. And again, like,
• 43:40
  Speaker 1: Like you said with the trailer, until it was dinosaurs,
• 43:43
  Speaker 1: it could have been anything. Absolutely. Was I excited it
• 43:46
  Speaker 1: was dinosaurs? Yes, because like I've already kind of gone
• 43:49
  Speaker 1: on this tangent, I don't think good dinosaur movies are
• 43:52
  Speaker 1: a thing that exist in our kind of... In a
• 43:55
  Speaker 1: lot of ways, it reminds me of what now would
• 43:58
  Speaker 1: be considered like pirate movies. Because remember, pirate movies were
• 44:01
  Speaker 1: really hot for a while. And I'm not talking about
• 44:04
  Speaker 1: Pirates of the Caribbean. I'm talking about Pirate movies of
• 44:06
  Speaker 1: like the 30s and 40s and 50s and 60s where
• 44:09
  Speaker 1: they're like big epic films. They made a lot of
• 44:11
  Speaker 1: money and then they've been attempted to be made since
• 44:14
  Speaker 1: in the same way and they fail. Cutthroat Island is
• 44:17
  Speaker 1: one of them. And, you know, Hook, even a Spielberg
• 44:20
  Speaker 1: thing to speak about that. But dinosaur movies are very
• 44:24
  Speaker 1: similar where it's like a bunch of people have tried
• 44:26
  Speaker 1: and I don't think anybody's ever hit that same note
• 44:29
  Speaker 1: the way the people who were making them at the
• 44:31
  Speaker 1: time or did in this, you know, Spielberg's case, make
• 44:34
  Speaker 1: the one movie. It's the one movie that people have
• 44:36
  Speaker 1: been trying to ape forever. And it's one movie. But
• 44:39
  Speaker 1: it was so immensely successful and such a cornerstone in
• 44:44
  Speaker 1: so many ways. Not to just speak to the fact
• 44:45
  Speaker 1: Sam Neill just passed away, which I think that's like
• 44:47
  Speaker 1: the only thing most people know him from. It was
• 44:52
  Speaker 1: such a big deal. I don't know. We have this
• 44:55
  Speaker 1: movie because of Jurassic Park.
• 44:56
  Speaker 3: Oh, absolutely. And yeah, we have these good special effects
• 45:00
  Speaker 3: because of Jurassic Park as well.
• 45:01
  Speaker 2: Right.
• 45:02
  Speaker 3: I just wanted to remind you of a really awful
• 45:06
  Speaker 3: movie that I saw last year, which is Primitive War.
• 45:11
  Speaker 3: Did you see that one? Oh, my God. It was
• 45:16
  Speaker 3: so bad. And it felt you were talking about how
• 45:19
  Speaker 3: long that that one movie felt. This felt so long.
• 45:24
  Speaker 3: And I just couldn't get over how how. dragged out
• 45:27
  Speaker 3: it felt i want to say it might have been
• 45:29
  Speaker 3: one of tom sizemore's last films um so that's the
• 45:34
  Speaker 3: the quality uh that you're dealing with here let me
• 45:37
  Speaker 3: see i'm looking at.
• 45:38
  Speaker 1: The cast right now oh asylum films that have dinosaurs and.
• 45:41
  Speaker 3: Jeremy piven is one of the leads in here oh
• 45:44
  Speaker 3: my i don't see i don't see tom sizemore i
• 45:47
  Speaker 3: thought for sure that he was but yeah this was
• 45:49
  Speaker 3: a really bad let's see Vietnam, 1968. So this is
• 45:53
  Speaker 3: Skull Island. A recon unit known as Vulture Squad is
• 45:57
  Speaker 3: sent to an isolated jungle valley to uncover the fate
• 45:59
  Speaker 3: of a missing Green Beret platoon. They soon discover they
• 46:04
  Speaker 3: are not alone. It felt like this movie was made
• 46:07
  Speaker 3: in Russia. I kept waiting for a Slots Now commercial
• 46:12
  Speaker 3: to come up in the middle of it because it
• 46:14
  Speaker 3: just looks so fucking bad.
• 46:16
  Speaker 1: Well, I made a kind of a I would say
• 46:19
  Speaker 1: a cranky comment on on my Facebook, on my social
• 46:23
  Speaker 1: media earlier in the week because I finally watched Evil Deadburn.
• 46:26
  Speaker 1: And I said, like, I think the thing the nicest
• 46:28
  Speaker 1: thing I can say about this movie is that it
• 46:29
  Speaker 1: was filmed indoors. So I don't have to be reminded
• 46:32
  Speaker 1: about the fact that it's being filmed in Romania. Because
• 46:35
  Speaker 1: anytime they go outdoors, I'm convinced that there's going to
• 46:38
  Speaker 1: be a woman selling like unleavened bread in a cart
• 46:41
  Speaker 1: on the side of the road.
• 46:42
  Speaker 3: I have a case full of leaks.
• 46:45
  Speaker 1: It's just, and it was so funny because like, oh,
• 46:47
  Speaker 1: the whole movie takes place inside of a house. Yeah,
• 46:49
  Speaker 1: because if they filmed outdoors, you'd be able to tell
• 46:51
  Speaker 1: they're filming in a farm in Bulgaria somewhere. Up the
• 46:56
  Speaker 1: road is where Mr. Seagal came to film his great
• 46:59
  Speaker 1: movie film and he sat in a chair for four hours. Yeah,
• 47:03
  Speaker 1: that's what he did in the movie, too. We were
• 47:07
  Speaker 1: joking early on that this movie doesn't look like it
• 47:09
  Speaker 1: takes place in Michigan, but at least it doesn't feel
• 47:11
  Speaker 1: like it takes place on a soundstage.
• 47:13
  Speaker 3: True, yeah.
• 47:14
  Speaker 1: Which, in this day and age, so much of everything
• 47:18
  Speaker 1: feels like it takes place on a soundstage. Oh, yeah.
• 47:20
  Speaker 3: No, the indoor-outdoor that they're doing, I don't know if
• 47:23
  Speaker 3: these were sets. I imagine they have to be, but
• 47:27
  Speaker 3: it looks so good and so seamless when they go
• 47:29
  Speaker 3: indoors and outdoors.
• 47:31
  Speaker 2: Oh, wow.
• 47:31
  Speaker 3: Yeah, that makes sense. I mean, It used to be
• 47:35
  Speaker 3: such a tell when it was like, oh, those don't
• 47:37
  Speaker 3: look like natural lights outside, but they have mastered that
• 47:40
  Speaker 3: over the years, and especially in the later part of
• 47:43
  Speaker 3: the film when they've got the boards and everything, so
• 47:47
  Speaker 3: the natural light outside is muted. So I think some
• 47:51
  Speaker 3: of that stuff, even despite the overuse of the diopter
• 47:54
  Speaker 3: in that scene, I feel like he really has a
• 47:58
  Speaker 3: good sense of when to bring the action indoors and
• 48:01
  Speaker 3: when to put it outdoors. And even though this is
• 48:05
  Speaker 3: a society that has collapsed so quickly because of fucking dinosaurs,
• 48:11
  Speaker 3: like you would, that still when they go inside of
• 48:15
  Speaker 3: a house that isn't theirs... there's a danger to it.
• 48:18
  Speaker 3: Like when she goes into the house of her neighbor,
• 48:21
  Speaker 3: the woman that was married to the writer, I'm just like,
• 48:25
  Speaker 3: Oh shit. Like for Anne Hathaway could get killed right
• 48:28
  Speaker 3: now because not from a dinosaur, but from a person
• 48:32
  Speaker 3: who's paranoid, you know.
• 48:33
  Speaker 1: It's all, I'm just like the strangers style. Yes.
• 48:36
  Speaker 3: It's all stand your ground errors all around here. Like,
• 48:39
  Speaker 3: I mean, I was afraid that the librarian was going
• 48:41
  Speaker 3: to accidentally shoot one of them, but instead, she does
• 48:45
  Speaker 3: that great headshot to the to the finish before she
• 48:47
  Speaker 3: gets fucking eight oh my.
• 48:49
  Speaker 1: God i was gonna say like we we've been conditioned
• 48:51
  Speaker 1: mike by night of the living dead too much to
• 48:53
  Speaker 1: expect movies to just be mean to the main characters
• 48:56
  Speaker 1: you know.
• 48:56
  Speaker 3: Well what happens to ewan mcgregor is very mean but
• 49:01
  Speaker 3: it's spielbergian me it is it is oh yeah when
• 49:05
  Speaker 3: i saw their neighbor getting picked up by the Uh,
• 49:08
  Speaker 3: pterodactyls and stuff. I was just like, oh, that totally
• 49:11
  Speaker 3: reminds me of, well, it actually reminded me of, uh,
• 49:13
  Speaker 3: I think skull island where you see a guy picked
• 49:16
  Speaker 3: up and he gets pulled apart you see the arms
• 49:18
  Speaker 3: go and stuff but it reminded me also of the
• 49:21
  Speaker 3: uh the people at the jurassic world park especially that
• 49:24
  Speaker 3: fucking that poor lady.
• 49:25
  Speaker 1: That gets hyped up that poor assistant a mean good
• 49:33
  Speaker 1: god swallowed whole by the damn pick yeah it's awful
• 49:37
  Speaker 1: it's just so mean But again, I think that I
• 49:40
  Speaker 1: would go back to the intention of the filmmakers that
• 49:43
  Speaker 1: why that scene feels mean in a movie. It shouldn't
• 49:46
  Speaker 1: is because they didn't understand what they were doing with
• 49:48
  Speaker 1: Jurassic Park. Like that's not a Jurassic Park thing. That's
• 49:51
  Speaker 1: a movie like this thing. And that's why I appreciated
• 49:53
  Speaker 1: this movie. This movie has a little bit of an
• 49:55
  Speaker 1: edge to it that look, the original Jurassic Park is
• 49:58
  Speaker 1: more of a family movie than this is like one
• 50:01
  Speaker 1: person dies in the original Jurassic Park that you see.
• 50:04
  Speaker 1: And then like, OK, you have a clever girl. He
• 50:08
  Speaker 1: gets eaten in a bush. Sam Jackson dies off screen.
• 50:12
  Speaker 1: Nedry dies in a car. It's all very, again, Spielbergian.
• 50:16
  Speaker 1: It's suggested. It's we we fill in the gaps, just
• 50:19
  Speaker 1: like with Bruce the Shark all those years earlier in Jaws.
• 50:22
  Speaker 1: Like he we don't see the shark for that much
• 50:24
  Speaker 1: in Jaws, not because we don't want to, but because
• 50:27
  Speaker 1: it looked like shit. And it didn't work very well,
• 50:30
  Speaker 1: but it works well enough to make it be a
• 50:32
  Speaker 1: movie that is still a perfect movie to this day. Like, genuinely.
• 50:35
  Speaker 1: Every time I watch it, I'm just like, this is
• 50:37
  Speaker 1: a perfect movie. Everything about this movie hums along in
• 50:40
  Speaker 1: a way because it's made by someone who just understands...
• 50:44
  Speaker 1: this kind of story and i would not say that
• 50:46
  Speaker 1: this is a perfect movie but i would say if
• 50:49
  Speaker 1: you asked me who directed this movie i would not
• 50:51
  Speaker 1: say the guy who directed it followed that's but absolutely
• 50:55
  Speaker 1: directed it follows the guy who direct and wrote it
• 50:58
  Speaker 1: follows because that's the other thing he wrote and directed
• 51:00
  Speaker 1: this movie which is impressive yeah i.
• 51:02
  Speaker 3: Was very curious who the writer was when i was
• 51:04
  Speaker 3: watching this i was also very curious who the composer
• 51:07
  Speaker 3: was because oh my It is so John Williams. Holy cow.
• 51:14
  Speaker 1: It's almost like it's modern day John Williams.
• 51:17
  Speaker 3: I mean, there are so many harps on the soundtrack,
• 51:20
  Speaker 3: which is amazing. And I'm just like, okay, so Michael Giacoccio?
• 51:27
  Speaker 1: Michael Giacino is the guy who did it. Cloverfield and
• 51:31
  Speaker 1: the Incredibles and there you go. Yeah. Oh, I thought, Oh,
• 51:34
  Speaker 1: Michael Giacchino did a star Wars. Like he's, he has been.
• 51:38
  Speaker 3: He's been heir to the throne, huh?
• 51:40
  Speaker 1: Yeah. He is really in a lot of ways, like
• 51:43
  Speaker 1: the modern way. If someone was like, who would you
• 51:45
  Speaker 1: say is the modern day John Williams? I think in
• 51:47
  Speaker 1: terms of the things he's worked on, it's Michael Giacchino,
• 51:50
  Speaker 1: you know, he worked on, he's worked on the MCU.
• 51:53
  Speaker 1: He's worked with Reeves and Brad Bird and JJ Abrams
• 51:56
  Speaker 1: and just a lot of people, people that are, you know,
• 51:59
  Speaker 1: I would say pretenders to the throne, but all of
• 52:01
  Speaker 1: a ilk. Yeah. Yeah. Okay.
• 52:03
  Speaker 3: Well, that makes sense.
• 52:04
  Speaker 1: Yeah. Yeah.
• 52:05
  Speaker 3: And I was very impressed that David Robert Mitchell wrote this.
• 52:09
  Speaker 3: I do kind of want to go back and try
• 52:11
  Speaker 3: to find the myth of the American sleepover from 2010,
• 52:14
  Speaker 3: which was his freshman film, because it's also set in Michigan.
• 52:18
  Speaker 3: And this one that's actually shot in Michigan back when
• 52:20
  Speaker 3: he was living here. So it's like, okay, cool. It's funny.
• 52:23
  Speaker 3: Cause when he, He's very place-centric. In the description of
• 52:30
  Speaker 3: the myth of the American sleepover, it talks about four
• 52:33
  Speaker 3: teens from Detroit or from Michigan. It follows very, very Michigan.
• 52:37
  Speaker 3: Under the Silver Lake, though, just so Silver Lake area
• 52:42
  Speaker 3: and just so specific to that. I'll be talking about...
• 52:48
  Speaker 3: inherent vice later on this year and just like that
• 52:51
  Speaker 3: and under the Silver Lake to me kind of drink
• 52:53
  Speaker 3: from the same drink from the same milkshake to put
• 52:57
  Speaker 3: it one way And that milkshake is this is an L.A.
• 53:01
  Speaker 3: story and you cannot do this anyplace else. Also, the
• 53:04
  Speaker 3: kind of like the Big Lebowski, the whole L.A.ness of that.
• 53:07
  Speaker 1: Thank you. I was going to say, man, under the
• 53:09
  Speaker 1: Silver Lake for me, if someone was like, what is
• 53:11
  Speaker 1: a spiritual successor to the Big Lebowski? I would genuinely
• 53:14
  Speaker 1: be like under the Silver Lake. It has that same
• 53:17
  Speaker 1: feel of like there is something else. And again, in
• 53:20
  Speaker 1: the Big Lebowski, they they it's not the case. They're
• 53:23
  Speaker 1: talking about it possibly being the case, but it's not
• 53:25
  Speaker 1: the case. And under the Silver Lake, it's like Big Lebowski.
• 53:28
  Speaker 1: If it turned out that the Lebowski had, in fact,
• 53:32
  Speaker 1: captured and taken his own wife hostage, which is what
• 53:35
  Speaker 1: they're talking about at that one point in the car,
• 53:37
  Speaker 1: where he's like, no, dude, he took his own wife. Whatever.
• 53:41
  Speaker 1: If that turned out to be true, the paranoids with proof,
• 53:44
  Speaker 1: that's under the Silver Lake. I don't even want to
• 53:45
  Speaker 1: say any more about it because there's so many things
• 53:47
  Speaker 1: in that movie that, similarly to this movie, benefit from
• 53:50
  Speaker 1: you not knowing about it going into. Right. You know,
• 53:53
  Speaker 1: Ewan McGregor dies, but then comes back to life at
• 53:55
  Speaker 1: the end of this movie like that moment doesn't work
• 53:57
  Speaker 1: as well. Absolutely. You you are invested in the character
• 54:02
  Speaker 1: in this movie so much because, again, it is a.
• 54:04
  Speaker 1: subversion of the expectation. We do expect, oh, he's the
• 54:07
  Speaker 1: drinking dad. So he's going to be the one that's
• 54:08
  Speaker 1: the problem. But then halfway through the movie, nope, it
• 54:11
  Speaker 1: turns out it's actually Anne Hathaway. That's the one that
• 54:13
  Speaker 1: is like the issue as it were. And that like
• 54:17
  Speaker 1: little like turn of the screw of a usual thing
• 54:21
  Speaker 1: that we see in these kinds of movies. but not
• 54:23
  Speaker 1: being the case. I don't know. Again, like it's just
• 54:26
  Speaker 1: that little, it's a step to the right that I
• 54:28
  Speaker 1: think makes us more than just a pastiche of Spielberg.
• 54:31
  Speaker 1: Like if you were just doing super eight, that's a
• 54:35
  Speaker 1: pastiche of Spielberg and not a successful one at that.
• 54:37
  Speaker 3: We have to talk about another Spielberg adjacent film, something
• 54:41
  Speaker 3: he produced back to the future. You've got at the
• 54:44
  Speaker 3: end of this movie, the characters coming back to the
• 54:47
  Speaker 3: future and, The rainstorm. I thought for sure Joe Flaherty
• 54:51
  Speaker 3: was going to pull up on his motorbike and have
• 54:53
  Speaker 3: a telegram for them. But no, they're in the rain.
• 54:57
  Speaker 3: And I just love this so much. this convenient bus
• 55:01
  Speaker 3: stop with the big clock on it. And it might
• 55:04
  Speaker 3: as well have been like the twin pines bus stop
• 55:07
  Speaker 3: bus line or something, you know?
• 55:08
  Speaker 1: And I wanted that. The little, the little, the sting.
• 55:12
  Speaker 1: I wanted the sting in this movie from back to
• 55:14
  Speaker 1: the future. So bad. Or their version of like, no, no, no, no.
• 55:17
  Speaker 1: Like the little, yeah. Yeah. Just give it to me.
• 55:20
  Speaker 3: Oh, so good. Dinosaurs become assholes.
• 55:23
  Speaker 1: Yes.
• 55:24
  Speaker 3: Ordering the pizza, getting the pizza, such a great family moment.
• 55:28
  Speaker 3: And then when she becomes a fucking writer, I'm like,
• 55:30
  Speaker 3: that's fucking George McFly right there. Who's becoming the writer
• 55:34
  Speaker 3: or Stephen.
• 55:35
  Speaker 1: King or the main characters. And so, I mean, even
• 55:38
  Speaker 1: the mist isn't the, isn't Tom Jane in the mist,
• 55:40
  Speaker 1: an artist, which again, like in the create, well, Oh,
• 55:43
  Speaker 1: he is an artist because remember at the beginning of
• 55:45
  Speaker 1: the mist, he's doing it. Yeah.
• 55:47
  Speaker 3: It's not Frank. What's that guy's name? That does all
• 55:51
  Speaker 3: those beautiful posters.
• 55:52
  Speaker 1: Oh, I don't know that you're talking about the guy
• 55:54
  Speaker 1: who does the artwork for the dark tower, right?
• 55:55
  Speaker 3: Well, he, uh, I thought that he was supposed to
• 55:58
  Speaker 3: be the guy who does like the. Struzan?
• 56:01
  Speaker 1: Struzan, Drew Struzan. No, he's literally working on like the
• 56:04
  Speaker 1: artwork of the dark tower. Like the, the, I'll forget. Yeah.
• 56:07
  Speaker 1: The character that Idris Elba plays in that really good movie. Uh,
• 56:10
  Speaker 1: I'd like to point out Super 8 is written and
• 56:13
  Speaker 1: directed by J.J. Abrams. Right. Which is the thing that, again,
• 56:15
  Speaker 1: like just to use it as the closest comparative, because
• 56:17
  Speaker 1: I don't really know what else you would compare this
• 56:20
  Speaker 1: movie to in terms of tone. If you were like,
• 56:22
  Speaker 1: I don't want to compare it to Spielberg direct. What
• 56:25
  Speaker 1: is it like? It's kind of like Super 8. It's
• 56:27
  Speaker 1: kind of like in a quiet place. That Krasinski, Emily
• 56:31
  Speaker 1: Blunt movie to go to the closer day connection of
• 56:34
  Speaker 1: it all. That's kind of a Spielberg thing, maybe a
• 56:36
  Speaker 1: little bit more horror than Spielberg. But they're kind of
• 56:39
  Speaker 1: doing that same thing. This has that Spielberg tone so
• 56:42
  Speaker 1: much more than Disclosure, which for me is the crazy
• 56:45
  Speaker 1: part because that's a Spielberg movie.
• 56:46
  Speaker 3: Right, yeah.
• 56:47
  Speaker 1: That's his bread and butter. He's working with David Koepp
• 56:49
  Speaker 1: of all people. You know, just go back to the
• 56:51
  Speaker 1: Jurassic Park.
• 56:51
  Speaker 3: And John Williams. Yeah, go back to the.
• 56:53
  Speaker 1: Jurassic Park of it all. This movie hits that tone
• 56:56
  Speaker 1: so much more. And I think that, you know, the
• 56:59
  Speaker 1: more I watch this movie because I'm only getting to
• 57:01
  Speaker 1: see it once and then, you know, halfway through another
• 57:03
  Speaker 1: time just because the internet and For Rob Bett are such...
• 57:08
  Speaker 1: giving and kind hosts on the internet you can watch
• 57:11
  Speaker 1: it right now it's a cam version online like the
• 57:13
  Speaker 1: more I get a chance to watch this movie and
• 57:15
  Speaker 1: enjoy it I feel like I will kind of appreciate
• 57:18
  Speaker 1: the probably subtler things that I missed the first time
• 57:21
  Speaker 1: I saw it in terms of the Spielberg stuff or
• 57:23
  Speaker 1: the non-Spielberg stuff because again like This movie doesn't exist
• 57:27
  Speaker 1: in a vacuum. Not saying this movie couldn't exist in
• 57:29
  Speaker 1: a vacuum, but it's it's much better because it understands
• 57:32
  Speaker 1: that it doesn't have to pretend it exists in a vacuum.
• 57:35
  Speaker 1: Super 8 was from J.J. Abrams and Steven Spielberg. But yet. Right.
• 57:40
  Speaker 1: It's like it was it was not that it was embarrassed,
• 57:42
  Speaker 1: but it was trying to be Cloverfield while being a
• 57:45
  Speaker 1: Steven Spielberg thing, which I would think to your point,
• 57:47
  Speaker 1: even like Cloverfield is more of a Spielberg thing than
• 57:50
  Speaker 1: Super 8 is.
• 57:51
  Speaker 3: Oh, yeah, I could see that.
• 57:52
  Speaker 1: Yeah, he's never done a found footage movie. But again,
• 57:55
  Speaker 1: that movie has those similar kind of notes. It ends
• 57:58
  Speaker 1: on too much of a downer to be a Spielberg movie.
• 58:00
  Speaker 1: That's the thing. Spielberg movies don't normally end on a
• 58:02
  Speaker 1: big downer.
• 58:03
  Speaker 3: Yes, you're very. Yeah, I'm trying to think of one
• 58:06
  Speaker 3: that does. And really, I'm not thinking of a whole lot.
• 58:10
  Speaker 3: I mean, even David gets to be a real boy
• 58:13
  Speaker 3: at the end of A.I.
• 58:14
  Speaker 1: They're not even the parents of the kids at the
• 58:16
  Speaker 1: end of Jurassic Park. But by the end of the movie,
• 58:18
  Speaker 1: you think that Dr. Grant and Ellie Sattler are going
• 58:20
  Speaker 1: to be those kids parents. Like that's, you know, again,
• 58:23
  Speaker 1: like it's it's so earned Spielberg just again, like it's
• 58:26
  Speaker 1: a romanticization of the family unit. And that like what
• 58:30
  Speaker 1: you know, it's like it's the it's the oh, the
• 58:33
  Speaker 1: film that the Scorsese film, the one where it's like
• 58:36
  Speaker 1: the one crazy night changes his life.
• 58:38
  Speaker 3: Oh, after hours.
• 58:39
  Speaker 1: Yeah. It's the same thing where it's like one crazy night,
• 58:42
  Speaker 1: one crazy thing will get my mom and dad back together.
• 58:45
  Speaker 1: And that's you know, I don't want to boil it
• 58:48
  Speaker 1: down to like this is a movie where the dinosaurs
• 58:50
  Speaker 1: are the divorce. But it is basically what it is like.
• 58:54
  Speaker 1: It is like in a lot of ways. E.T. is.
• 58:57
  Speaker 1: And again, the dad's not in the picture in E.T.
• 58:59
  Speaker 1: because he's dead or he left. Right. I don't. Do
• 59:01
  Speaker 1: they ever even say?
• 59:03
  Speaker 3: No, I don't know. I don't know if they do.
• 59:05
  Speaker 1: He is the dad in that movie. Right.
• 59:07
  Speaker 3: Like, and he's the force that brings them together. Yeah.
• 59:10
  Speaker 1: Right. And, and in this movie, the dinosaurs are the, the, the,
• 59:13
  Speaker 1: you know, dinosaurs serve as the divorce. So it's, it's,
• 59:16
  Speaker 1: you know, one crazy thing happening brings my family back together.
• 59:19
  Speaker 1: And yeah, everything like you said, with the back to
• 59:22
  Speaker 1: future of it all, of it all, they end up
• 59:24
  Speaker 1: all succeeding in the end. She gets into Cornell. She
• 59:27
  Speaker 1: becomes an author.
• 59:27
  Speaker 3: Yeah.
• 59:28
  Speaker 1: The family, you know, Ewan McGregor is no longer an alcoholic.
• 59:31
  Speaker 1: The family is saved. Oh, look, there's the other family
• 59:33
  Speaker 1: coming in. Like all of that feels just so Spielberg
• 59:36
  Speaker 1: without having to beat you over the head with it.
• 59:38
  Speaker 1: And I think if we want to talk about like
• 59:40
  Speaker 1: the real modern day successors to Spielberg, I mentioned that
• 59:45
  Speaker 1: King Kong movie. I would say Peter Jackson and Guillermo
• 59:48
  Speaker 1: del Toro are probably the ones that I would put
• 59:51
  Speaker 1: up there as like the closest in terms of doing
• 59:53
  Speaker 1: their own thing in the same vein as Spielberg, but
• 59:56
  Speaker 1: being different enough that they have kind of have people
• 1:00:00
  Speaker 1: in their own downline now doing a Guillermo del Toro thing.
• 1:00:05
  Speaker 1: And I think Guillermo del Toro is probably in my
• 1:00:06
  Speaker 1: mind more of Verhoeven, and Spielberg because he's a little
• 1:00:10
  Speaker 1: bit kind of darker. And I think for me, Peter
• 1:00:13
  Speaker 1: Jackson is Spielberg and Raimi mixed together. It's kind of
• 1:00:16
  Speaker 1: that like The weirdness of Raimi mixed with the kind
• 1:00:19
  Speaker 1: of the charmingness of Spielberg. But this is like pretty
• 1:00:22
  Speaker 1: very much distilled Spielberg. Almost I would say like millennial
• 1:00:27
  Speaker 1: Spielberg in a way. Like the parents feel real and
• 1:00:30
  Speaker 1: well thought out. The kids aren't like bickering and fighting
• 1:00:33
  Speaker 1: with each other. They're more well thought out than that.
• 1:00:35
  Speaker 1: Like there's that moment where, and we haven't mentioned it,
• 1:00:37
  Speaker 1: the two sloths are having sex up against the building.
• 1:00:40
  Speaker 1: Like a fucking strange thing that feels like it could
• 1:00:44
  Speaker 1: have been on the cutting room floor in another movie.
• 1:00:46
  Speaker 1: But in this one, it just adds to the kind
• 1:00:48
  Speaker 1: of charming tone of the film because it feels like
• 1:00:52
  Speaker 1: someone who likes Spielberg and wants to do their own thing,
• 1:00:54
  Speaker 1: not just ape him direct.
• 1:00:56
  Speaker 3: Absolutely. Yeah. It's funny that you brought up Del Toro
• 1:01:00
  Speaker 3: because when it comes to the more family movies, those
• 1:01:04
  Speaker 3: to me are his best work. The stuff that he
• 1:01:07
  Speaker 3: did with Kronos with the little girl and the grandfather,
• 1:01:10
  Speaker 3: the stuff he did in Backbone. Devil's Backbone, which I
• 1:01:15
  Speaker 3: think still, to me, is my favorite of all of
• 1:01:17
  Speaker 3: his films. And like the most genuinely scary and just
• 1:01:22
  Speaker 3: so effective. And then, of course, Pan's Labyrinth with the
• 1:01:26
  Speaker 3: little girl and her mother and then this kind of
• 1:01:28
  Speaker 3: surrogate father who's like a literal terrorist, you know, like
• 1:01:31
  Speaker 3: this horrible fascist guy. Those are the movies that really
• 1:01:34
  Speaker 3: count for me. Like the rest of it, like, yeah, sure.
• 1:01:36
  Speaker 3: I enjoy some Hellboy and this and that.
• 1:01:38
  Speaker 1: Hellboy is about the found family. Like, that's why, you know,
• 1:01:41
  Speaker 1: like it is like true. Yeah. Like I love Hellboy
• 1:01:44
  Speaker 1: because the found family.
• 1:01:45
  Speaker 3: It's all about the father. Yeah. And like, yeah, no, you're,
• 1:01:48
  Speaker 3: you're absolutely right.
• 1:01:49
  Speaker 1: Yeah.
• 1:01:49
  Speaker 3: Making the family, but like the rest of them, I'm like, okay, yeah, whatever.
• 1:01:53
  Speaker 3: I don't ever really need to see Nightmare Alley again,
• 1:01:56
  Speaker 3: you know, and I still haven't seen Crimson, whatchamacallit. I
• 1:02:01
  Speaker 3: wanted to say Crimson Tide, Crimson Peak.
• 1:02:03
  Speaker 1: Yes.
• 1:02:04
  Speaker 3: One of these days I will, but I'm not rushing
• 1:02:06
  Speaker 3: out to see it. And Frankenstein, you know, you're again,
• 1:02:09
  Speaker 3: you're getting back into the family stuff. So I think
• 1:02:11
  Speaker 3: that's why that was effective.
• 1:02:13
  Speaker 1: And I think that, you know, Del Toro and Jackson
• 1:02:15
  Speaker 1: have really cemented themselves and it's not just winning Oscars,
• 1:02:19
  Speaker 1: but that helps in terms of like genuine notoriety amongst
• 1:02:23
  Speaker 1: a large portion of people who watch movies. And look,
• 1:02:26
  Speaker 1: I can't pretend like people watch movies the way that
• 1:02:28
  Speaker 1: I do or you do. We are atypical in that
• 1:02:31
  Speaker 1: regard intentionally most people will just go watch a movie
• 1:02:33
  Speaker 1: and that's it and they'll enjoy it based on whether
• 1:02:35
  Speaker 1: or not they enjoyed it which is a valid way
• 1:02:37
  Speaker 1: of liking movies i'm not saying it's not which is
• 1:02:39
  Speaker 1: why spielberg's movies are so effective is because they understand
• 1:02:44
  Speaker 1: that people don't want to go home on a downer
• 1:02:46
  Speaker 1: they want to go out enjoying the experience that they
• 1:02:49
  Speaker 1: had sure they'll be challenged a little bit there will
• 1:02:51
  Speaker 1: be some stakes but ultimately that This movie has no stakes, ultimately. Like,
• 1:02:56
  Speaker 1: we know Ewan McGregor's gonna be fine. We hope he'll
• 1:02:58
  Speaker 1: be fine, and we have put ourselves in the hands
• 1:03:01
  Speaker 1: of the filmmaker knowing that if this is the kind
• 1:03:03
  Speaker 1: of movie you're making, you will have some trick at
• 1:03:05
  Speaker 1: the end to make this all work. Just like, and
• 1:03:08
  Speaker 1: you know, I think for a lot of people, the
• 1:03:10
  Speaker 1: best Harry Potter movie, I think for most people, is
• 1:03:13
  Speaker 1: the third one. The Alfonso Cuaron film, which at the
• 1:03:16
  Speaker 1: end of the movie, it has this fun little bait-and-switch
• 1:03:18
  Speaker 1: where everything bad happens, and then they time-turn her, And
• 1:03:22
  Speaker 1: they fix everything. And that for me is so Spielberg
• 1:03:24
  Speaker 1: in that moment. And this has that same thing of like,
• 1:03:27
  Speaker 1: everything turned out bad, but you know what? There's deus
• 1:03:30
  Speaker 1: ex machina. Because of course there is. Because it's a
• 1:03:32
  Speaker 1: Spielberg movie. And you know what? I'm not too cynical
• 1:03:34
  Speaker 1: to not enjoy that. Because in this day and age, like,
• 1:03:37
  Speaker 1: If I want a movie that's like this, but more cynical,
• 1:03:39
  Speaker 1: I'll go watch the mist, which Jesus, I mean, gee,
• 1:03:43
  Speaker 1: but it is like it's Spielberg through a darker lens
• 1:03:45
  Speaker 1: in a lot of ways. Like it has a lot
• 1:03:46
  Speaker 1: of those notes, but it like it perverts it in
• 1:03:49
  Speaker 1: a really kind of fun way where if that's the
• 1:03:51
  Speaker 1: movie you want to watch, which I'm not saying I
• 1:03:53
  Speaker 1: don't want to watch it, but it's a downer of
• 1:03:55
  Speaker 1: a movie. I know where to go. But if I
• 1:03:57
  Speaker 1: want to watch a movie where by the end of it,
• 1:03:58
  Speaker 1: like I went on a journey with the characters, but
• 1:04:00
  Speaker 1: I am OK leaving this here. And they all got
• 1:04:04
  Speaker 1: what they wanted in the end. Back to the future
• 1:04:06
  Speaker 1: one and two and three style. I'm OK with that.
• 1:04:09
  Speaker 1: There's nothing wrong with that. I'm not so cynical to
• 1:04:12
  Speaker 1: not be able to enjoy it because that's, I think,
• 1:04:14
  Speaker 1: where the movie wants me to meet it.
• 1:04:15
  Speaker 3: Frank, I'll tell you how cynical I am, Chris. I'm
• 1:04:18
  Speaker 3: so cynical. That when at the end of the movie,
• 1:04:21
  Speaker 3: David Robert Mitchell has a nice picture of his dad
• 1:04:25
  Speaker 3: and it's dedicated to his father. I'm the guy in
• 1:04:27
  Speaker 3: the theater that said, eaten by a dinosaur.
• 1:04:30
  Speaker 1: Yeah. Was this based on your father being eaten by
• 1:04:33
  Speaker 1: a dinosaur in real life? When he gets picked up
• 1:04:35
  Speaker 1: by his leg, I was like, oh, he's just going
• 1:04:37
  Speaker 1: to get thrown around. Oh, yeah.
• 1:04:38
  Speaker 3: Yeah.
• 1:04:39
  Speaker 1: Ludlow. And I think Jurassic Park 2, where he gets
• 1:04:42
  Speaker 1: picked up for a while and played with by the dinosaur.
• 1:04:44
  Speaker 1: When he's dropped on the ground and he's just like full.
• 1:04:47
  Speaker 1: Big stump. Yeah.
• 1:04:48
  Speaker 3: Yes right in the middle of his fucking thigh man
• 1:04:52
  Speaker 3: Jesus Christ.
• 1:04:53
  Speaker 1: Yes you know what you said it before I want
• 1:04:55
  Speaker 1: to mention this again like Anne Hathaway she is a
• 1:04:58
  Speaker 1: actor with a capital A and it's you know what
• 1:05:00
  Speaker 1: I love getting to see actors like her being a
• 1:05:03
  Speaker 1: fun movie because this is a fun movie that this
• 1:05:04
  Speaker 1: is I'm not saying that like this is a lark
• 1:05:06
  Speaker 1: but this is a fun popcorn movie that I think
• 1:05:10
  Speaker 1: is exactly what it needs to be and my hope
• 1:05:12
  Speaker 1: is like yeah would David Robert Mitchell like to go
• 1:05:14
  Speaker 1: make it follows again sure but maybe make something else
• 1:05:17
  Speaker 1: like this. I would love to see another one of
• 1:05:19
  Speaker 1: these or something else like this that gets him excited.
• 1:05:22
  Speaker 1: That's something that he clearly loves and resonates with.
• 1:05:25
  Speaker 3: Well, I just remembered that Anne Hathaway was in a
• 1:05:27
  Speaker 3: Kaiju film, which I still haven't seen, but I want
• 1:05:31
  Speaker 3: to colossal. Do you remember that one where she controls
• 1:05:34
  Speaker 3: the beast? Yeah. Yeah.
• 1:05:36
  Speaker 1: Cause David Robert Mitchell's like your age. He's 51. He's
• 1:05:39
  Speaker 1: not a contemporary of mine. He's a contemporary of yours,
• 1:05:41
  Speaker 1: which makes sense given this movie. Like this is, This
• 1:05:44
  Speaker 1: is not the experience I had growing up. This is
• 1:05:47
  Speaker 1: the experience that like you would have had, like the
• 1:05:49
  Speaker 1: Duffer brothers of Stranger Things. They're maybe a little younger
• 1:05:52
  Speaker 1: than David Robert Mitchell, but we haven't gotten to the
• 1:05:54
  Speaker 1: point where people my age are making movies nostalgically like
• 1:05:57
  Speaker 1: this about our experience yet. Because to be fair, the
• 1:06:01
  Speaker 1: 80s is such a fertile ground for this kind of stuff.
• 1:06:03
  Speaker 1: They're continuing to milk it. Like we might even, depending
• 1:06:06
  Speaker 1: on how successful this movie is, get a kind of
• 1:06:08
  Speaker 1: secondary wave of these kinds of movies making money. I
• 1:06:12
  Speaker 1: don't know. This movie so far hasn't made a ton
• 1:06:15
  Speaker 1: of money. So who knows? No.
• 1:06:17
  Speaker 3: You know, we talked recently, well, when we talked about
• 1:06:20
  Speaker 3: the Avengers recently, we talked about the old August is
• 1:06:24
  Speaker 3: the dumping ground. And then when we talked last week
• 1:06:27
  Speaker 3: about Spider-Man, it was like, oh, farthest thing from it. Also,
• 1:06:32
  Speaker 3: I think it might've been like July 30th that came out.
• 1:06:35
  Speaker 3: But yeah, right now it's like, This does feel like
• 1:06:37
  Speaker 3: it was just dumped here. And I'm like, this is
• 1:06:40
  Speaker 3: really good, guys. I don't want to sound like fucking
• 1:06:44
  Speaker 3: Bill Harris from Hollywood or something or Gene Shalit. don't
• 1:06:47
  Speaker 3: sleep on this movie. It was a lot of fun. So,
• 1:06:50
  Speaker 3: I mean, maybe, yeah, you don't have to pay for
• 1:06:52
  Speaker 3: it at the theater. You watch it on streaming, but
• 1:06:55
  Speaker 3: the effects were really good. Other than maybe the dog.
• 1:06:58
  Speaker 3: Sometimes I think that, uh, Starbucks had some, some issues
• 1:07:03
  Speaker 3: with being an animated dog, but at least they used
• 1:07:05
  Speaker 3: a real dog through the rest of it.
• 1:07:08
  Speaker 1: I will say, maybe my only criticism of the movie is,
• 1:07:12
  Speaker 1: how hard of hearing are these?
• 1:07:13
  Speaker 3: Oh, I know, when that one dinosaur sneaks right up
• 1:07:16
  Speaker 3: on them.
• 1:07:16
  Speaker 1: Or when the snake is just sneaking through the house, too.
• 1:07:21
  Speaker 1: I mean, I get it, but here's the thing I
• 1:07:23
  Speaker 1: have a hard time believing. Yes, those animals are not
• 1:07:25
  Speaker 1: making a lot of noise, but just by the sheer
• 1:07:27
  Speaker 1: volume of how big they are, they'd be making noise
• 1:07:30
  Speaker 1: in that space. Oh, yes. It's a giant dinosaur and
• 1:07:33
  Speaker 1: a giant snake, a snake the size of effectively the
• 1:07:36
  Speaker 1: inside of your house. So I was just watching that scene.
• 1:07:39
  Speaker 1: I was like, what the flying fuck is this? Like
• 1:07:41
  Speaker 1: the snake's huge. It's just like, well, you guys hear it.
• 1:07:43
  Speaker 3: You would hear it. Just the weight on the steps.
• 1:07:47
  Speaker 3: I was thinking at one point when it was kind
• 1:07:49
  Speaker 3: of thrashing around, I was like, it's going to break
• 1:07:52
  Speaker 3: their house.
• 1:07:53
  Speaker 1: Right. Yeah, and that for me is my point. I'm
• 1:07:56
  Speaker 1: just like, I don't understand. I appreciate some of this,
• 1:07:59
  Speaker 1: but it's, in my mind, a film that did something
• 1:08:03
  Speaker 1: like this better is like Annihilation, where it's just We're
• 1:08:05
  Speaker 1: using it coming up the stairs, making the noise as
• 1:08:08
  Speaker 1: the scary thing, not the fact that they can't hear it.
• 1:08:10
  Speaker 3: Like this thing's huge.
• 1:08:11
  Speaker 1: They'd hear it. Like it's it's the size of a house, literally. Yeah. Yeah.
• 1:08:15
  Speaker 1: And I do like that we don't just have dinosaurs.
• 1:08:17
  Speaker 1: We have like Titan boas and other things like giant
• 1:08:20
  Speaker 1: sloths because it is, again, I guess we didn't mention
• 1:08:22
  Speaker 1: what the twist of the movie is. But yes, they
• 1:08:25
  Speaker 1: can go back in time and then forward in time
• 1:08:27
  Speaker 1: again through the.
• 1:08:28
  Speaker 3: Use of wormholes because of Carl Sagan.
• 1:08:31
  Speaker 1: Yeah, which is fine. I don't need any more explanation
• 1:08:33
  Speaker 1: than that. I don't need all the characters standing around
• 1:08:36
  Speaker 1: a whiteboard going, did you know that the upside down
• 1:08:38
  Speaker 1: is a wormhole? Like, who cares?
• 1:08:39
  Speaker 3: Jesus, who cares?
• 1:08:41
  Speaker 1: Who cares? Like, this has no bearing on anything. You
• 1:08:43
  Speaker 1: know how I know that? Because you haven't done anything
• 1:08:46
  Speaker 1: with it up until this point. And this movie doesn't
• 1:08:47
  Speaker 1: need to. Like, the wormholes are there. They are, I
• 1:08:50
  Speaker 1: wouldn't say magical realism, but wormholes do exist, just not
• 1:08:54
  Speaker 1: like this. So I guess you could say magical realism
• 1:08:56
  Speaker 1: to some fantastical realism. And it makes the most of
• 1:08:59
  Speaker 1: it without it being like belaboring the point without having
• 1:09:02
  Speaker 1: a cutaway to the TV and doctor. Who's it? What's
• 1:09:05
  Speaker 1: talking about wormholes for five minutes. I think weapons did
• 1:09:09
  Speaker 1: that where it's like the, the fungus is a thing
• 1:09:12
  Speaker 1: that it's a, it's a, it takes over. It's parasitical.
• 1:09:15
  Speaker 1: It's like, Oh, get it. You're explaining that.
• 1:09:17
  Speaker 3: Like, well, That's that whole Jordan Peterson thing where you
• 1:09:20
  Speaker 3: introduce the metaphor up front, like the hands across America.
• 1:09:24
  Speaker 3: And you're just like, oh, what is this? How is
• 1:09:27
  Speaker 3: this going to play into it? And then it's like, oh,
• 1:09:28
  Speaker 3: this is how it's going to play into it. And
• 1:09:30
  Speaker 3: it's like, ah, very clever. I wish I was that clever.
• 1:09:34
  Speaker 3: Here I am making fun of him for that because
• 1:09:36
  Speaker 3: it's a little too clever. But I could never write
• 1:09:39
  Speaker 3: something like that. And it was nice that he does that.
• 1:09:42
  Speaker 3: But at the same time, it's like, pay attention, kids.
• 1:09:44
  Speaker 3: This means something.
• 1:09:46
  Speaker 1: Yeah, it's a little on the nose. And because you're
• 1:09:48
  Speaker 1: putting it as the cold open for the movie, it's
• 1:09:51
  Speaker 1: just too... I don't know. Again, I don't want to
• 1:09:52
  Speaker 1: sound like I'm the smartest guy in the room because
• 1:09:54
  Speaker 1: that's not the case. It's just I've probably watched too
• 1:09:56
  Speaker 1: many movies. That's what it is. And that is a
• 1:09:59
  Speaker 1: uniquely me problem because I appreciate that there are people
• 1:10:03
  Speaker 1: out there that watch maybe one or two movies a year.
• 1:10:05
  Speaker 1: I've heard that. And my response is just like, I
• 1:10:07
  Speaker 1: watched one movie since yesterday.
• 1:10:10
  Speaker 3: Yeah.
• 1:10:10
  Speaker 1: You know, in the last... Since... Since the last time
• 1:10:13
  Speaker 1: I talked to you, I've probably watched double digit movies
• 1:10:16
  Speaker 1: because I've been watching all these Godzilla movies, like because
• 1:10:18
  Speaker 1: I just have them on when I'm doing something else
• 1:10:20
  Speaker 1: and I'm watching them. But, you know, they are on
• 1:10:22
  Speaker 1: like most people just I don't know what they have
• 1:10:24
  Speaker 1: on when they're doing things. Maybe nothing, which is these
• 1:10:27
  Speaker 1: walk around the house cleaning with nothing on. Jesus, that's some.
• 1:10:31
  Speaker 3: Who are these psychopaths?
• 1:10:32
  Speaker 1: Well, I can hear myself thinking.
• 1:10:35
  Speaker 3: Yes. Well, it's like those people that don't have an
• 1:10:38
  Speaker 3: inner monologue.
• 1:10:39
  Speaker 1: Yeah. Right. Those people exist, folks. I know. One of them. Yeah.
• 1:10:44
  Speaker 1: I'm excited to see what David Robert Mitchell does next.
• 1:10:47
  Speaker 1: I think it's very funny. And that was maybe the
• 1:10:49
  Speaker 1: thing that I wanted to mention because, again, it follows
• 1:10:51
  Speaker 1: of it all is the reason I wasn't initially excited
• 1:10:54
  Speaker 1: about this movie because I just that movie wasn't my bag.
• 1:10:57
  Speaker 3: Mm hmm.
• 1:10:57
  Speaker 1: Yeah. His contemporaries, I would say, are Ari Aster and
• 1:11:02
  Speaker 1: Robert Eggers because they all had horror movies that came
• 1:11:05
  Speaker 1: out that same time.
• 1:11:06
  Speaker 3: It's funny. I was thinking Jane Schoenberg for some reason.
• 1:11:09
  Speaker 3: That's because I think I might have watched Under the
• 1:11:12
  Speaker 3: Silver Lake and... Why am I forgetting her biggest or
• 1:11:16
  Speaker 3: their biggest movie? Glow. I saw the TV glow. Yeah,
• 1:11:21
  Speaker 3: it feels like I watch those like in succession. So
• 1:11:24
  Speaker 3: I've always feel like there's a spiritual tie between those
• 1:11:26
  Speaker 3: movies for whatever reason.
• 1:11:28
  Speaker 1: I would say that they're a contemporary of those horror
• 1:11:30
  Speaker 1: directors as well. Like it's this breed of like horror
• 1:11:33
  Speaker 1: director that's doing not like the scariest movie ever made,
• 1:11:37
  Speaker 1: but they're trying to like elevate it and write a
• 1:11:39
  Speaker 1: little bit more with it.
• 1:11:41
  Speaker 3: You're talking elevated horror, Chris.
• 1:11:42
  Speaker 1: Yeah, I am talking elevated horror. That's a term everybody
• 1:11:45
  Speaker 1: knows because of Scary Movie 7, which I think is there.
• 1:11:48
  Speaker 2: Oh, God, really?
• 1:11:49
  Speaker 1: Or Scary Movie 6, whichever the one that... just came
• 1:11:51
  Speaker 1: out is people now know the term elevated horror as
• 1:11:53
  Speaker 1: like a joke term. Wow.
• 1:11:55
  Speaker 3: Well, which it always has been to me.
• 1:11:57
  Speaker 1: Right. Well, and that's, I mean, that's the thing, you know,
• 1:11:59
  Speaker 1: to talk about like dinosaurs as divorce, the movie is again,
• 1:12:03
  Speaker 1: like the, it follows of it all. I was expecting
• 1:12:07
  Speaker 1: David Robert Mitchell because of how successful it follows was
• 1:12:09
  Speaker 1: to do like Ari Aster and, and, Robert Eggers did,
• 1:12:12
  Speaker 1: which is continue to make these elevated horror movies. And
• 1:12:14
  Speaker 1: Ari Aster made Midsommar, which is one of my favorite movies.
• 1:12:17
  Speaker 1: And Robert Eggers made The Lighthouse, which I don't know
• 1:12:19
  Speaker 1: if you've seen it, but it is amazingly gay in
• 1:12:22
  Speaker 1: the best way possible. Oh, God, yes. Willem Dafoe's farting
• 1:12:25
  Speaker 1: and burping is just the greatest thing, Frank. There's something
• 1:12:30
  Speaker 1: to be said for being able to really pivot into
• 1:12:32
  Speaker 1: a genre that I would never have guessed. would have
• 1:12:35
  Speaker 1: been so successful for the director of It Follows to nail.
• 1:12:37
  Speaker 1: But this movie is just, like I said, it's really
• 1:12:40
  Speaker 1: the best kind of these movies that's been made. And J.J. Abrams,
• 1:12:43
  Speaker 1: who we both know this because we've been around for
• 1:12:45
  Speaker 1: a while, that's who people were talking about as like
• 1:12:48
  Speaker 1: the next Spielberg.
• 1:12:49
  Speaker 3: Oh, they were?
• 1:12:50
  Speaker 1: Bro, he never got there. No. And you know what?
• 1:12:54
  Speaker 1: No one's ever going to be the next Spielberg. Spielberg
• 1:12:56
  Speaker 1: is like Arnold Schwarzenegger. He is singular in presence and
• 1:12:59
  Speaker 1: he is singular in... He is singular. He really is.
• 1:13:03
  Speaker 1: And he's an iconoclast for a reason. And I don't
• 1:13:05
  Speaker 1: think that there is ever going to be another Spielberg
• 1:13:07
  Speaker 1: because if you made one of the movies he made,
• 1:13:09
  Speaker 1: you'd be happy, let alone all of the movies.
• 1:13:12
  Speaker 3: I don't feel like... Well, tell me if there's a
• 1:13:15
  Speaker 3: generational difference here. So many people of my generation, and
• 1:13:18
  Speaker 3: probably yours too, grew up on Spielberg movies, but it
• 1:13:21
  Speaker 3: feels like it's the thing now where you shit on Spielberg.
• 1:13:25
  Speaker 3: And you're just like, no, no, he's not a real auteur.
• 1:13:28
  Speaker 3: He just makes people happy with his cinema. Literally people
• 1:13:33
  Speaker 3: of my generation.
• 1:13:36
  Speaker 1: You're a pretty cynical generation. You're the 90s apathy grunge generation.
• 1:13:41
  Speaker 1: We're the Pepsi generation. Yeah, you guys made apathy cool.
• 1:13:44
  Speaker 1: That was the thing. And apathy is not as cool
• 1:13:47
  Speaker 1: as it used to be. We are very unapathetic podcasters.
• 1:13:51
  Speaker 1: If we were apathetic podcasters, we would not be doing
• 1:13:53
  Speaker 1: a very good job here and we would not be
• 1:13:55
  Speaker 1: putting our best foot forward. We are very unapathetic in
• 1:13:58
  Speaker 1: terms of the level of work that we're putting into
• 1:14:00
  Speaker 1: our podcast. I could see people of your generation that
• 1:14:04
  Speaker 1: are still apathetic and kind of, not bitter, but... Just
• 1:14:07
  Speaker 1: feel that apathy still towards certain things and cynicism I
• 1:14:10
  Speaker 1: get was souring on Spielberg because the world didn't work
• 1:14:13
  Speaker 1: out the way Spielberg wanted. But that's not the point
• 1:14:15
  Speaker 1: of his movies. They're like modern day fairy tales in
• 1:14:18
  Speaker 1: a lot of ways. Like Spielberg is like I wouldn't
• 1:14:20
  Speaker 1: say he's Hans Christian Andersen, but like for a lot
• 1:14:22
  Speaker 1: of kids growing up in the 80s, like Spielberg was
• 1:14:25
  Speaker 1: telling the kinds of stories that kids were getting read
• 1:14:27
  Speaker 1: to them at bedtime. hundreds of years and that's because
• 1:14:31
  Speaker 1: Spielberg understands that kind of the narrative structure and what
• 1:14:35
  Speaker 1: it means to have you know oh the dad dies
• 1:14:37
  Speaker 1: but then he comes back at the end or you
• 1:14:38
  Speaker 1: know ET dies but then he comes back at the
• 1:14:40
  Speaker 1: end like it's all it's like poetry it rhymes exactly
• 1:14:44
  Speaker 1: yeah I don't know I I'm surprised I haven't people
• 1:14:46
  Speaker 1: my age don't shit on Spielberg but I also don't
• 1:14:49
  Speaker 1: know if anybody younger than me really thinks about Steven
• 1:14:51
  Speaker 1: Spielberg because Steven Spielberg hasn't really made a movie for
• 1:14:54
  Speaker 1: people younger than.
• 1:14:55
  Speaker 3: Me in a long it's been a while yeah.
• 1:14:58
  Speaker 1: I don't even know what someone like me would say
• 1:15:01
  Speaker 1: that movie is. Maybe Minority Report? Ready Player One? I
• 1:15:05
  Speaker 1: don't know.
• 1:15:06
  Speaker 3: Yeah, I forgot that he did that one.
• 1:15:09
  Speaker 1: Ready Player One?
• 1:15:10
  Speaker 3: Yeah. I had successfully driven that title out of my
• 1:15:15
  Speaker 3: head to the point where there was a Jeopardy question
• 1:15:17
  Speaker 3: about it the other night, and I couldn't think of
• 1:15:18
  Speaker 3: the name. And I was like, I'm kind of glad.
• 1:15:20
  Speaker 1: I'm glad. And I want to point something out as
• 1:15:23
  Speaker 1: the final coda to this. Steven Spielberg did not produce
• 1:15:27
  Speaker 1: this movie. Steven Spielberg produced Super 8. And I think
• 1:15:29
  Speaker 1: if you want to talk about a movie that is
• 1:15:31
  Speaker 1: the Spielberg film that didn't need his involvement, it's this movie.
• 1:15:35
  Speaker 1: I'm not sure Steven Spielberg's involvement did anything for Super
• 1:15:38
  Speaker 1: 8 at all, like genuinely. But man, this movie I
• 1:15:42
  Speaker 1: think stands on its own. Super 8 made $ 290 million.
• 1:15:44
  Speaker 1: If this movie doesn't make five times its budget back,
• 1:15:47
  Speaker 1: what the hell? Have we really said, I mean, hey,
• 1:15:51
  Speaker 1: If people soured that much on it to this point,
• 1:15:52
  Speaker 1: I get it. But man, like this is a fun movie.
• 1:15:55
  Speaker 1: This is a summer blockbuster popcorn movie. Like they don't,
• 1:15:58
  Speaker 1: it's not that they don't make movies like this anymore,
• 1:16:00
  Speaker 1: but like this is unfranchised. This is just a thing.
• 1:16:03
  Speaker 1: I don't know. People used to just go see movies
• 1:16:05
  Speaker 1: like this.
• 1:16:06
  Speaker 3: I was getting kind of mad at you, Chris, when
• 1:16:07
  Speaker 3: you're just like, oh, they could spin this off. What
• 1:16:09
  Speaker 3: about the people that go out there? What about the people? Oh,
• 1:16:12
  Speaker 3: how about that? The end of, you know, Farvail Street,
• 1:16:14
  Speaker 3: you know, and I'm like.
• 1:16:15
  Speaker 1: No, no. Stop it. I'm just saying if we want
• 1:16:17
  Speaker 1: to use it as an opportunity to make more money,
• 1:16:19
  Speaker 1: because that's all anybody actually.
• 1:16:21
  Speaker 3: I like money. We should be friends.
• 1:16:23
  Speaker 1: Right. That's what I'm saying. Like, oh, we could turn
• 1:16:25
  Speaker 1: this into a thing if it made more money. But
• 1:16:27
  Speaker 1: if it doesn't make any money, they're not going to
• 1:16:29
  Speaker 1: do that. So it's a shame. I like this movie
• 1:16:32
  Speaker 1: a lot. Thank you for being the one to kind
• 1:16:34
  Speaker 1: of pick this one because it's just kind of you
• 1:16:35
  Speaker 1: were like, oh, the end of Oak Street. That sounds
• 1:16:37
  Speaker 1: like a good one. There's a good movie. It's a
• 1:16:39
  Speaker 1: fun movie. I think people who like the things we've
• 1:16:42
  Speaker 1: talked about, Ghostbusters, stuff like that, like you're going to
• 1:16:45
  Speaker 1: enjoy a movie like this and it hits those notes
• 1:16:48
  Speaker 1: better than the most recent Ghostbusters movie or any of
• 1:16:52
  Speaker 1: the kinds of. I don't know, maybe just not having
• 1:16:54
  Speaker 1: a franchise tied to it allowed them to do something
• 1:16:57
  Speaker 1: a little bit more interesting. Because while Super 8 was
• 1:17:00
  Speaker 1: in Cloverfield, it still was kind of in the mix
• 1:17:03
  Speaker 1: of those things.
• 1:17:05
  Speaker 3: Yeah, had a great time. Glad we got to see this.
• 1:17:08
  Speaker 1: So until the next time Mike and I talk about
• 1:17:10
  Speaker 1: a new movie, which will be a while because like
• 1:17:12
  Speaker 1: Mike said, August and September are apparently dumping grounds for
• 1:17:16
  Speaker 1: new movies. So we're not going to be going to
• 1:17:17
  Speaker 1: see a whole lot of new things for a while.
• 1:17:19
  Speaker 1: We'll be back in our respective lanes talking about movies
• 1:17:22
  Speaker 1: that are, I guess, what people actually want to hear
• 1:17:23
  Speaker 1: us talk about, not the things that They just hate
• 1:17:26
  Speaker 1: us for talking about. We will be talking about Digger
• 1:17:28
  Speaker 1: here in a couple months. The Tom Cruise movie, which
• 1:17:31
  Speaker 1: is apparently everybody forgot Tom Cruise was under makeup in
• 1:17:34
  Speaker 1: Tropic Thunder. They're like, look at how weird and unrecognizable
• 1:17:37
  Speaker 1: he is. Yeah, Les Grossman is raising his fat, weird
• 1:17:40
  Speaker 1: arms over somewhere, like dancing around. I'm excited to watch it,
• 1:17:44
  Speaker 1: but it'll be a while until we do a new
• 1:17:46
  Speaker 1: movie between the two of us. So until then... You
• 1:17:49
  Speaker 1: can find Mike and I over at weirdingwaymedia.com where this show,
• 1:17:53
  Speaker 1: whichever show you're listening to, be it The Projection Booth
• 1:17:56
  Speaker 1: or The Culture Cast, can be found. along with Midnight Viewing, Filmentaries,
• 1:18:00
  Speaker 1: The Feminine Critique, 80s TV Ladies, Required Viewing, which is
• 1:18:04
  Speaker 1: on my sub feed. There's a whole lot of new
• 1:18:06
  Speaker 1: things coming out, too. Podcast of Power is coming back
• 1:18:08
  Speaker 1: for the second season of Lord of the Rings and
• 1:18:10
  Speaker 1: the third season of Lord of the Rings. Yes, there's
• 1:18:12
  Speaker 1: still a Lord of the Rings TV show on and
• 1:18:14
  Speaker 1: a new season is coming. One other person who listens
• 1:18:17
  Speaker 1: to it, whose name is Mike White, who happens to
• 1:18:18
  Speaker 1: be here right now. They're just making it for us, Mike,
• 1:18:22
  Speaker 1: and nobody else.
• 1:18:23
  Speaker 3: Just for us. And we are the ones that podcast
• 1:18:25
  Speaker 3: about it. The only ones.
• 1:18:27
  Speaker 1: It's almost like we're being paid to do our job,
• 1:18:29
  Speaker 1: which would be funny if that were the case, but
• 1:18:31
  Speaker 1: it's not. But yeah, that's where you can find that
• 1:18:34
  Speaker 1: show and also Never Tell Me the Odds, our show
• 1:18:36
  Speaker 1: on Harrison Ford, which we are doing with our friend
• 1:18:38
  Speaker 1: Richard Haddam of Richard Haddam's Paranormal Bookshelf. So if you
• 1:18:41
  Speaker 1: want to hear those shows, weirdingwaymedia.com is where you can go.
• 1:18:44
  Speaker 1: If you want to kick a couple dollars to Mike
• 1:18:45
  Speaker 1: or I, patreon.com slash projection booth patreon.com slash culturecast is
• 1:18:49
  Speaker 1: where you can go at respective levels to get never
• 1:18:52
  Speaker 1: tell me the odds a month early and ad free
• 1:18:54
  Speaker 1: that's something you're into that's where you can go like
• 1:18:57
  Speaker 1: and rate the shows on itunes then spotify in that
• 1:19:00
  Speaker 1: order that's the order that helps and as always we'll
• 1:19:03
  Speaker 1: uh catch on the next episode