Latest / Citizen Frame / The Monkey (2025)

Transcript

The Monkey (2025) · Citizen Frame

• 0:00
  Hey, everybody. Welcome back to another episode of Citizen Frame.
• 0:03
  That's all I've got. But I'll tell you what.
• 0:06
  We are a little delayed with this one. I blame Trevor, personally.
• 0:10
  But I'm a kind person, so I'm going to go ahead and take the blame.
• 0:14
  Because it's your fault?
• 0:16
  Well, no. Maybe. Yes. I want to see one of the greatest bands of all time, Snow Patrol.
• 0:24
  And what a fucking great concert. If you've ever seen Snow Patrol live, they're incredible.
• 0:29
  But... I would tend to go to concerts and then sing along, and then you decide
• 0:34
  I'm going to leave the arena, and I'm going to walk halfway home,
• 0:39
  taking pictures, I don't know why, walking across the bridge of Belfast,
• 0:42
  and then you wake up the next day, you kind of got a flu,
• 0:45
  and then you're working, and you're like, uh-oh, I kind of might have fucked up there.
• 0:49
  Well, I'm going to translate that to what probably actually happened.
• 0:54
  Ciarán was at Snow Patrol, which is very middle of the road,
• 0:58
  soft rock. And he probably had got a cigarette lighter from somewhere.
• 1:01
  And he was probably singing along, you know, like it was like a boy band,
• 1:05
  take that concert or something.
• 1:06
  Then afterwards he got pissed. It's amazing. It's amazing.
• 1:09
  That's why he couldn't do the podcast.
• 1:11
  It's amazing. It's amazing you put down such a wonderful band.
• 1:14
  And it amazes me, the music you listen to and how you put down Snow Patrol and
• 1:20
  Snow Patrol's writing is so brilliant.
• 1:23
  And yet your music is just, fuck people.
• 1:29
  And we're supposed to go, wow, that's so beautiful. I'm a Radiohead fan.
• 1:33
  I have nothing against Snow Patrol, each to their own.
• 1:35
  Don't start adding other bands and stuff.
• 1:40
  And by the way, a lot of people who like Snow Patrol probably like Radiohead.
• 1:44
  A lot of people hate Radiohead. Yeah, that's fair enough. Each to their own.
• 1:48
  And I certainly... See, I like Radiohead. I'm not there to insult music.
• 1:52
  I take music in all of its own forms. No, I'm not there to insult music either. I'm there to insult you.
• 1:56
  You are. You just insulted Snow Patrol. I'm winding you up. You must call them
• 1:59
  a boy band. But anyway, yeah, they're not my cup of tea. No, you did.
• 2:03
  I want you to right now, you're going to apologize to Snow Patrol. No chance.
• 2:07
  But basically, I have certainly nothing against them. And I actually do,
• 2:10
  in a way, support them because they're a local band from Banger here in Northern
• 2:14
  Ireland, so I do wish them all the best, but their music is not my cup of tea.
• 2:19
  I'm more into punk and harder rock and Radiohead and The Prodigy and stuff like
• 2:24
  that. Nothing from Dundee.
• 2:27
  No, no, Snow Patrol are, well, sorry, their lead singer, Gary Lightbody, is from Bangor.
• 2:33
  He's from Bangor, yeah, the main heart, yeah, the writer and stuff.
• 2:36
  He's from Bangor. The rest, I think, are from Dundee. Possibly, yes.
• 2:40
  Where's Dundee, is that? Scotland. In Scotland? Yes, yes. I think I might be
• 2:45
  wrong, but I'm pretty sure they're mixed.
• 2:47
  So, yeah, that's what happened. I mean, you do a part, then you work all day,
• 2:50
  and then when you're going to record, you just beat.
• 2:53
  You just, you know, it wouldn't be fair. especially with this movie because
• 2:57
  we're gonna we're here to talk steven king's the monkey.
• 3:01
  So yeah we did see it and had to reprocess it
• 3:04
  a couple times because i don't like hating horror obviously i'm
• 3:07
  pretty easy going with horror films but when it comes from the
• 3:10
  guy osgood parkins just gave us the fucking great film
• 3:13
  long legs a few months back i was
• 3:17
  a little surprised what we got now when it first came
• 3:20
  out monkey was getting rave reviews but those reviews are starting to drop and
• 3:23
  so is the numbers so i think people are catching on a
• 3:26
  bit that this isn't what i thought it would be people
• 3:30
  have a tendency to put down slasher films or
• 3:33
  put down smart slash films even final destination would be a perfect example
• 3:37
  a lot of those get bum raps but i'm gonna tell you right now all the monkey
• 3:41
  is is a final destination film exactly and and it's not even well executed like
• 3:46
  a final destination film reading up on even more i was watching again,
• 3:52
  just to, you know, see what's going on.
• 3:56
  Got to see, you know, like we did with Smile. Seen a couple times after the fanfare dies down a bit.
• 4:02
  And reading up, the original script and the original book, I didn't read the
• 4:06
  book. Yes. It was a short story. Yes.
• 4:08
  Yes. It's a short story from a skeleton crew.
• 4:14
  And James Wan, come on, dude. I got your back.
• 4:17
  You and Atomic Monster, you know, I've gotten your back so many times,
• 4:22
  but you gave Osgood Park as I read the sub creative control pretty much because
• 4:27
  of the success of long legs.
• 4:29
  Big mistake because you know,
• 4:32
  The original script was terrifying and horror. It wasn't done for comedy.
• 4:38
  Like the original story, actually.
• 4:40
  What? Like the original Stephen King story. Okay.
• 4:43
  I didn't know that. So there you go. The original material and the original
• 4:49
  script were all dark takes.
• 4:51
  And then you give it to Osgood Perkins, and he goes, Bad shit,
• 4:54
  crazy, evil dead, Sam Raimi.
• 4:57
  And Osgood, I like some of your stuff, but you're not Sam Raimi.
• 5:02
  Sam Raimi could have pulled this off better. Like movies like drag me to hell and the evil dead.
• 5:06
  You did not. You don't do slapstick horror as well as those guys do.
• 5:12
  And so, well, I, I don't know why I think it, I don't, I don't give me a second here.
• 5:17
  Give me a second. I just don't get why you went this direction and why James
• 5:20
  won't let him go this direction.
• 5:22
  Kudos for your hit among legs, but it doesn't give him cop loss to do what he
• 5:26
  wants. So I don't understand why the studio went this way.
• 5:30
  And he's already got another film coming out. in like
• 5:32
  three months which is promoted in this film and it's
• 5:35
  like what are we well so is this guy a gun for hire now what do
• 5:39
  we got here he does seem to be pumping them out way
• 5:42
  too quick and obviously the quality will dip
• 5:45
  you know it appears to be quantity over quality
• 5:49
  i hope i'm wrong but going by this yes
• 5:52
  apparently from what i've read and um you
• 5:54
  know heard on videos on youtube and stuff apparently yes
• 5:58
  the original story by keen and there are differences between
• 6:01
  the film in terms of you know character relationships
• 6:04
  and stuff and the way the story goes but yes the original
• 6:07
  story by keen and apparently the original script was played
• 6:11
  dead straight then osgood perkins read it and said something along the lines
• 6:16
  of both my parents died in really crazy ways so i think the only way to approach
• 6:22
  this film which is essentially about death is that death and life are crazy
• 6:27
  so let's go a bit batshit crazy with this.
• 6:32
  And well you mentioned Sam Raimi I would also mention early Peter Jackson there
• 6:37
  is a certain skill to pulling off horror comedies and while we will get to it
• 6:42
  I in this case anyway Perkins does not pull off either.
• 6:48
  It's not good Coen brothers could have done this they could have pulled it off
• 6:51
  but it's it's yeah it's well here's him let's talk about some of the flaws we're tearing the shreds,
• 6:58
  and I'll give some credit of course 22 deaths, that's pretty good I'm happy
• 7:03
  with that, there's a lot of them people but the problem is I'd rather,
• 7:09
  I take that back. I'd rather have less than more because the deaths you see are quick, fast.
• 7:15
  A couple of them are a little more, some of the main characters.
• 7:19
  You dive a little more in the details of their deaths, but a lot of these 22
• 7:23
  deaths are real, real fast and batshit crazy.
• 7:27
  They also, like the busloader cheerleaders.
• 7:30
  Yeah. They also have no real emotional impact.
• 7:34
  Well, there's maybe a couple do, but there are some there that are just it appears
• 7:38
  to be just thrown in for the sake of it.
• 7:41
  On the subject of the cheerleaders, that is another aspect of the comedy that
• 7:46
  falls flat and just doesn't work, for me anyway you know, where the cheerleaders
• 7:51
  are popping up at these deaths and cheerleading and celebrating or something,
• 7:54
  it doesn't make any sense you know.
• 7:57
  Well let's talk about the plot real quick, you got twin brothers,
• 8:01
  in the book they weren't twin brothers, so right there the book's right,
• 8:05
  So you got twin brothers and they inherit, they get their father's toy monkey
• 8:11
  and they realize what it does.
• 8:14
  So they, they agree to toss it for the one brother realizes that the other brother
• 8:18
  used it to kill their mother, but it was by accident. He didn't mean to kill the mother.
• 8:23
  That wasn't his intent. He tried to kill the monkey. The whole thing is the monkey does not.
• 8:30
  Do what is told. The monkey will kill somebody but not necessarily somebody you want him to kill.
• 8:35
  Yes, whenever the main guy as a kid, Hal grabs the monkey because he's pissed
• 8:40
  off at his brother Bill who's sort of basically giving him a hard time and sort of bullying him.
• 8:44
  He screams at the monkey to kill Bill but then it kills the mother instead who they both love.
• 8:50
  And I mean they sort of love each other but it's one of those 12 year old,
• 8:54
  13 year olds, whatever age they are, fighting and he loses his temper and asks
• 8:57
  the monkey to kill him but it doesn't.
• 8:59
  It kills the mother instead. The monkey's basically like the devil.
• 9:04
  Now, Theo Rossi plays both roles of Hal and Bill. He's quite good in it, don't get me wrong.
• 9:10
  But I'll say this, I didn't care about the brothers, and that was the problem.
• 9:15
  But I did when they were younger, which is funny because when you have the younger,
• 9:20
  you have the more confident one.
• 9:21
  You know, the more playboy-ish one, the more, you know, you're younger,
• 9:25
  but you know, the more confident, the more going out there, sporty, yada, yada, yada.
• 9:29
  And then you had the more wearing the glasses, nerdy, reserved one. Yes.
• 9:35
  And the kids playing off each other. But it's actually one key to play that
• 9:38
  part. Good on them. Well acted.
• 9:41
  That was actually better than the Theo Rossi interpretation of the two brothers.
• 9:45
  It was all right. I mean, it wasn't perfect, but I was more invested.
• 9:50
  I have to be honest, in the adult versions of Hal and Bill, because kids are
• 9:55
  pretty annoying in films, as we've discussed.
• 9:57
  And they're quite annoying here. It's not really the kids themselves fault in this case,
• 10:04
  but it's more the ones around them, like the mother character,
• 10:08
  she's pretty annoying, and also
• 10:09
  the bullying girl gang who randomly throw bananas over them and stuff.
• 10:14
  There's a lot of stuff that just doesn't make sense and it's a bit too random.
• 10:19
  Yeah a lot of it's kind of what yeah and then you get all these characters that,
• 10:26
  you kind of got to juggle some of these characters you know uncle i think it's uncle chip played by,
• 10:31
  oswald yes the swinger i was good and then you i was good and then you've got louis louis,
• 10:36
  you got pd which is the son yes of bill no hal hal hal a son of hal you got
• 10:45
  ron campbell who plays Ricky,
• 10:47
  he's the one whose family got the monkey, and they want revenge because the
• 10:51
  monkey ended up killing his family.
• 10:53
  So everyone's out to get revenge on Hal, it looks like.
• 10:57
  Yeah, well, sort of, but they're also looking the, well, Bill's looking revenge
• 11:02
  on Hal, that's a definite.
• 11:04
  That's a definite, we got that one. We got that. Yes, but that other dipshit
• 11:08
  who disguises himself as a cop later,
• 11:11
  I think he's more out for his own ends to sort of get the monkey but it's not
• 11:15
  really fully explored what exactly his motivations are because he's sort of
• 11:19
  working for bill as well but he's just he's just like like a pound land sort of bill and ted.
• 11:26
  Only an annoying version i love bill and ted so he's just a bit yeah especially
• 11:31
  whatever he's well i like seeing ricky i like seeing ricky because that's played
• 11:34
  by rowan campbell yeah played cory in the halloween ends which is character
• 11:38
  i think yes that's yeah yeah Yeah,
• 11:41
  but the character here is just a bit stupid.
• 11:44
  Yeah, he's clueless. He's clueless. He's the higher help that really doesn't help.
• 11:50
  Yeah, but he's sort of out for himself as well and it's just that whole the
• 11:55
  tri-play of is that sort of stoner dude bro type comedy, but it isn't really
• 12:02
  pulled off. It just becomes irritating.
• 12:04
  Yeah, it fucking does. Liz Def is quite creative with the bees.
• 12:09
  I did like that one of all the deaths.
• 12:12
  It's, it's, it's, I think it's a good death.
• 12:16
  I would have preferred it done practically.
• 12:19
  I know you can't obviously need CGI for the bees themselves,
• 12:22
  but with the face falling off, that is another thing that we've discussed on this podcast before.
• 12:27
  CGI, whenever it's not 100% done right, does not work well in horror for me.
• 12:32
  And it does sort of jar a few times here with some of the deaths.
• 12:37
  I think it works fairly well, but when it mixed, when mixed with practical.
• 12:43
  Yes, yes. I think some of the, like the, there's the suicide. Yes.
• 12:50
  Of, is it the aunt? It's. Yeah.
• 12:53
  The aunt commits suicide and she shoves her face into the mailbox.
• 12:59
  Well, it's not really suicide. It's more sort of Final Destination type death.
• 13:04
  It appears sort of suicide-esque, but it's more like basically the monkey basically
• 13:11
  contrived to have all these fishing hooks and all stuck on her.
• 13:14
  She sets her face in fire, then runs out the door and whacks her face on the mailbox.
• 13:19
  So it's suicide by proxy.
• 13:22
  See, what worked about Final Destination, and people can sit there and roll
• 13:27
  their eyes, this is a Final Destination.
• 13:29
  It is. But a poor man's version. And I'll tell you why.
• 13:33
  Because what Final Destination knows, well, all the seeds are planted before
• 13:36
  each stuff happens. Yes, exactly.
• 13:38
  So you're introduced to the fish hooks. You'll be introduced to the fire extinguisher.
• 13:42
  You'll be in every little part.
• 13:44
  And that part and that fire extinguisher might not play a part in the scene,
• 13:47
  but they'll misdirect you there. But they'll plant something else on.
• 13:51
  Everything plays a part. Every tool or instrument used to take a person's life
• 13:56
  is a character itself in that death.
• 13:59
  Totally. This one just blew. Like the pull sequence was terrible.
• 14:04
  Yeah, it's too random. So it is.
• 14:06
  And also, as I was saying earlier, on with
• 14:09
  the final destinations you have characters that
• 14:12
  you're pretty much well invested in you
• 14:15
  know well for the most part so that so their deaths actually
• 14:18
  mean something i know there is an attempt to do it here especially with
• 14:22
  the aunt and uncle characters and certainly with the mother but it's
• 14:25
  just i wasn't it could be just me but you know well it's not just me but certainly
• 14:31
  i was one of the ones that just wasn't invested and didn't like these characters
• 14:35
  enough to actually give a shit I was actually happier whenever they got bumped
• 14:39
  off You know Because I didn't have to suffer listening to them Or looking at them on screen anymore.
• 14:45
  Yeah, it was definitely that. This is, I mean, a lot of Stephen King's short
• 14:49
  stories don't play well.
• 14:51
  The big screen, very, very rare hit off the park. For example, his graveyard shift.
• 14:57
  Then you got home runs like, obviously, Shawshank Redemption and The Mist.
• 15:02
  There's one I remember from back in the early 90s, which I enjoyed.
• 15:05
  I mean, I would have to revisit it, even for the podcast maybe.
• 15:09
  Sometimes They Come Back, which is based on one of his short stories, which I really liked.
• 15:13
  I remember really liking that. I mean, I watched it in the video.
• 15:15
  It wasn't bad. Yeah. It was made for TV in the States. Yeah.
• 15:20
  It's in one of his early short story collections, which I actually have.
• 15:25
  So do. And I remember really liking the story and the film. And I think it was
• 15:28
  a sequel made with somebody like Edward Furlong or something. Yeah. It's terrible.
• 15:33
  Sometimes they come back again. And then there's another one called,
• 15:37
  Sometimes They Come Back For More.
• 15:39
  It's like, oh, fuck off. This is terrible. But I remember the original story
• 15:42
  in film, It was a part like release in high school.
• 15:45
  There was a. Coming back. Tim Matheson.
• 15:48
  Tim Matheson was the lead on that one. Yeah. But it's not a bad,
• 15:52
  it's not a bad made for TV movie.
• 15:53
  Here's made for TV movies. I'd rather talk about King to be honest with you.
• 15:56
  Cause guys, listen, listen, this is, we're going to talk King a little bit here.
• 16:00
  I mean, guys, listen, I gave it a shot and I, you know, I mean,
• 16:04
  it's horror. I'll just let it go.
• 16:05
  But you know what? When I see the director behind it, I see the producer behind
• 16:09
  it and I see King's name on it. Let me see some pretty competent cast here. I was excited for this.
• 16:15
  So was I? This was just, this was a rush job to get to his next film.
• 16:19
  You took the words right out of my mouth. I think it's called The Kingdom.
• 16:22
  I think it's called The Kingdom or something.
• 16:25
  Yeah, I mean, I was just about to say that. That feels very rushed in terms
• 16:30
  of the script isn't fully refined.
• 16:33
  And the comedy just felt flat for me. It just, the jokes, they didn't pull the jokes off.
• 16:39
  I know people that have really enjoyed this film and i'm
• 16:42
  not just talking there's big critics who've really liked it
• 16:45
  and there's also you know people i know personally who respect their opinion
• 16:49
  and they've really enjoyed it but for me i was very disappointed and so much
• 16:53
  of it just fell flat in fact quite a bulk of it yeah and i think my my whole
• 16:58
  thing is the only reason i'm you know it was all gore and everything i used
• 17:03
  to just clap at a good time like the monkey.
• 17:06
  But when I see it done by five films that developed before this called Final
• 17:11
  Destination and they're done extremely better.
• 17:13
  Yeah. And you give us an A-list team behind this one and you can't do that?
• 17:19
  Yeah. You can't give us that? Something's been wrong.
• 17:22
  Something went wrong. I think it's the fact that it's been so rushed.
• 17:25
  And I'm actually, I was very surprised when I heard it was coming out so soon
• 17:28
  because it's only like been six months or so since Long Legs or eight months maybe.
• 17:32
  And then there's another film coming out in a few months time this is just yeah
• 17:37
  it needs to chill maybe you know you know Stephen King um.
• 17:43
  I really do think, I don't want to say peaked, because Jim King's the god of
• 17:49
  horror, really, in my eyes.
• 17:51
  But I think when it comes to films, he was taken more seriously in his earlier work.
• 17:57
  And I'm talking Carrie, Christine, The Dead Zone, The Shining. Yes, absolutely.
• 18:01
  Past Cemetery, It. Salem's Lot. Creepshow, Salem's Lot.
• 18:06
  All the way till mid-90s.
• 18:09
  And then The Stand, the miniseries was really a big event. And then it kind
• 18:13
  of faded, and then they just started piling on these books and films and adaptations
• 18:20
  of whatever they can get on King.
• 18:22
  Yes. And a lot of them don't work. If you look at Stephen King's,
• 18:25
  and this isn't King's fault, this is just, King is a fanboy of film.
• 18:30
  And he literally gives his stuff away to film. I know that. He loves people
• 18:33
  wanting to do his stuff. He's actually humbled by it, and I think that's cool.
• 18:37
  Kudos to him. But it doesn't have, they don't have the A-caliber list.
• 18:45
  I mean, when you think of the ones I just mentioned, those are all Oscar-nominated,
• 18:50
  Oscar-winning performances in there.
• 18:53
  And you had dark, I mean, dark stories that still stand the test of time today.
• 18:58
  Yeah. Dead Zone we talked about recently.
• 19:00
  And so when I see this stuff coming out,
• 19:04
  I was like, some you see but let me feel real quick when stephen king's stephen
• 19:10
  king's it stephen king's creep show well that was george merrill's but stephen
• 19:14
  king won't you know but people went to the theater to see that or there was
• 19:18
  the mini series of the week you can't wait to see the new stephen king now it's just like oh,
• 19:23
  Yeah, we've almost become so used to them. And yes, a lot of them haven't been
• 19:29
  right up there with quality.
• 19:31
  Some of the ones I have liked that wouldn't be the more big budget ones that
• 19:36
  I've enjoyed. Silver Bullet, Thinner.
• 19:38
  That's a good one. Yeah, that was based on his novella, A Cycle of the Werewolf. Yes, yeah.
• 19:43
  Secret Window, I remember, as well with Johnny Kep. Love it, love it.
• 19:47
  David Kep. David Kep wrote that and directed it. It was Johnny Kep. Yeah.
• 19:52
  Yeah, very good. Very good. Yeah. I mean, I have enjoyed, you know,
• 19:55
  even the, you know, the McGarris version of The Shining, you know,
• 19:59
  I've enjoyed, but there does seem to be just some,
• 20:02
  I mean, it's just, it's continual since the seventies, since Carrie,
• 20:06
  actually, the poem was Carrie.
• 20:08
  I think for every, for every good Stephen King movie you get, you get four bad ones.
• 20:12
  What about the one he directed himself? It's based on a short story, Trucks.
• 20:16
  Fucking love that movie. Maximum Overdrive. Maximum Overdrive.
• 20:19
  Yes, that's it. He was coked out of his mind when he made that fucking film.
• 20:24
  That's right. We should do that. It's fucking batshit crazy. I love that movie. Yeah.
• 20:31
  The stories, I remember really liking the story as a kid as well.
• 20:35
  It has a really good twist at the end, actually.
• 20:37
  Where basically, spoiler alert, well, obviously throughout it,
• 20:41
  you know, the trucks and stuff are coming alive and attacking people.
• 20:44
  But then at the end, yeah, it progresses. and it's actually the fucking airplanes are actually alive.
• 20:50
  And I remember really enjoying that as a kid.
• 20:53
  So do. What was the movie? It was Haley's Comet was causing it.
• 20:58
  Oh, it was something like that there. Yeah, yeah. Haley's Comet or something.
• 21:01
  And once it flew over. Yeah. And went out of our system.
• 21:04
  Yeah. All the machines died down. It was like really written off. That's right.
• 21:08
  Yeah. But I liked it. I thought it had the hot, the Green Goblin truck. That's right.
• 21:13
  Yes. I mean, a West of Asia. And then you had.
• 21:19
  I wouldn't know, ACDC to the soundtrack. Yes, yes, that's right.
• 21:22
  Yeah, yeah. I think what the problem is, certainly in the modern age with Keen
• 21:26
  adaptations, they are also, not just are they adaptations of Keen's work,
• 21:30
  they are also remakes of earlier adaptations.
• 21:34
  You know, It and stuff. They're new versions of It, new versions of The Stand,
• 21:39
  and you know all this here.
• 21:40
  And it's just, you know, it does feel like too much at times.
• 21:44
  You know, there's another Keen adaptation coming out. I didn't really like those
• 21:48
  new versions of it but I have issues with the 1990 miniseries,
• 21:53
  some of it well Tim Curry steals the show but I think he's the best thing about it but so yeah.
• 21:59
  I don't know, I think a lot of Stephen King's books can be revisited or retold,
• 22:06
  I don't think you're right, Better Left Alone Kerry's been done 3000 times and
• 22:12
  now they're doing a massive reboot coming up,
• 22:15
  but you're not going to touch Sissy's basic.
• 22:17
  Piper Laurie. Yeah, there's no chance. John Travolta, Nancy Allen,
• 22:21
  Brian De Palma. Fuck off. You're not touching that. Yeah.
• 22:24
  I also do very much enjoy the more non-horror, non-supernatural keen adaptations
• 22:29
  like Stand By Me directed by Walt Reiner. The Body, that was based on The Body, right?
• 22:33
  Yeah, yeah, the short story of The Body and yeah.
• 22:36
  And then even though there's ones that have supernatural elements like The Green
• 22:40
  Mile you know, and also Well, even one of my favorites,
• 22:45
  yeah, it's horror, I guess, but the both of them with our girl,
• 22:50
  Kathy Bates, Misery, which is more of a thriller.
• 22:52
  Yes. But then you've got the flip side of that, which is an incredibly,
• 22:56
  incredibly gut-wrenching performance by her in that, and Jennifer Tationalee,
• 23:01
  which is Dolores Claymore. That's right. Yes, I just watched that recently in my game.
• 23:05
  So it did. And then, of course, there's the classic Shawshank Redemption as
• 23:09
  well, which has no supernatural elements. Yeah.
• 23:12
  You have, but then you got the problem with a lot of King stuff.
• 23:15
  It gets fucked over because there's one great film with Ed Harris called Needful Things. Yes.
• 23:21
  And it's one. Yeah. Yeah. See how it worked.
• 23:26
  The cinema, I can't remember who released it. They wanted to put Stephen King in the theater.
• 23:32
  Yes. And there was a three hour version of this, right? Yeah.
• 23:35
  So they, well, they're like, well, we can't do a three hour version back then.
• 23:39
  We didn't do that. So we'll put the two-hour version out and people will enjoy
• 23:42
  it. Well, it tanked. People were like, what was going on here, blah, blah.
• 23:46
  Yeah. So then TNT or TBS, one of the Turner Networks, bought it the full version. Yes.
• 23:52
  So they played it on TV as a miniseries.
• 23:55
  We released it as a three-nighter. And that three-hour, excuse me,
• 23:59
  that three-hour version is so much better than what I saw in the theater.
• 24:03
  Yeah. And I can't find the three-hour version anywhere.
• 24:05
  Another one that I absolutely love, and it may be right up there with my favorite
• 24:10
  Keen adaptations, would be The Mist.
• 24:13
  I think it's... Yeah, I talked about that one, yeah. The Mist is...
• 24:16
  Yeah. Did they change the ending?
• 24:19
  They changed the ending from the original story, but even Keane himself said
• 24:24
  that the ending in the film is so much more powerful, but it bombed,
• 24:29
  I think. It bombed at the box office.
• 24:30
  It didn't do well, but... And a lot of people didn't like the ending.
• 24:34
  But you can say that, you've got to realize that was done by Frank Darabont.
• 24:38
  Yes. And Frank Darabont did...
• 24:41
  Is my guy who did Green Mile. Yes. He did Shawshank Redemption,
• 24:47
  and of course he did The Mist.
• 24:48
  Yes. So, and Green Mile was a big hit for him, but Shawshank and Mist weren't,
• 24:53
  but yet they found their footing. Yes, yes.
• 24:56
  No, The Mist is superb, but you know, with the whole Lovecraft,
• 24:58
  just that super Blake ending, it's just, it just blows you away,
• 25:03
  you know, and the big Lovecraftian monsters and stuff, you know,
• 25:08
  are superb, but I love all that shit anyway so do you know,
• 25:12
  well with Stephen King it's really hit or miss but he's got so so many good
• 25:16
  ones out there and it really does boil down to the director I think the fact
• 25:22
  with King as well he is as a writer he is so prolific you know what I mean,
• 25:28
  like non-stop all his career I mean he obviously it's well documented he has
• 25:33
  a very addictive personality so I sort of get the whole sort of you know shifting, you know,
• 25:40
  I know he's sober from the 80s, and he must be sober about 40 years,
• 25:43
  so he certainly seems to have sort of moved his addiction over to his writing,
• 25:49
  so there's so much keen material out there, there's so much people can, you know,
• 25:54
  use, and he does allow them to use, obviously. Cujo, there's another one.
• 25:58
  Yeah, Coochie was a good one. That was Louis Teague. Cat's Eye,
• 26:01
  I believe that was Louis Teague as well. Yeah.
• 26:03
  But again, he always had the same directors kind of watching him.
• 26:05
  I think Mark Lester did a couple of his stuff that were really good.
• 26:09
  Yeah. I'm getting those confused with Cat's Eye. But either way,
• 26:12
  he always had, it was always nice when he buddied up. He buddied up with George
• 26:15
  Amaro a couple of times with Creepshow.
• 26:17
  Yes. And with another underrated one called The Dark Half. Yes. Yes.
• 26:20
  Yeah. So again, our movie that Bob, but we forgot about, these are all films
• 26:23
  I think people need to look into as we talk about now. He's got a very incredible hit list.
• 26:29
  But my point we were ranting about King here is because it's just a disservice to the man's work.
• 26:36
  And he's out there promoting The Monkey himself. He's all happy the poster's
• 26:39
  there. I was, yeah. He's doing his job.
• 26:42
  Despite it, come on, man. I was going to say that as well.
• 26:45
  One thing that does irk me is any single King adaptation that comes out,
• 26:50
  you can bet your bottom dollar that Stephen King's going to be on Twitter saying,
• 26:55
  yeah this is superb best one yet you know he was even yeah I get it I get that
• 27:01
  he's doing his big bit even the recent Pet Sematary Bloodlines he was you know
• 27:06
  promoting the life out of it and it's pretty it's alright it's alright Duchovny's
• 27:10
  good as actually as Keane points out,
• 27:13
  and it's not bad but it's just I mean there was a remake of Firestarter and
• 27:17
  stuff in recent years that was terrible yeah well it was more just pointless
• 27:21
  and it was you know and I just again,
• 27:25
  we're going over all these keen adaptations, and there is some really enjoyable
• 27:29
  and excellent ones out there, but I think with me anyway,
• 27:33
  it's just the more it's the remakes of the ones that have already been adapted
• 27:37
  for the cinema that have more sort of irked me,
• 27:41
  Yeah, yeah. I just think he's just been, I don't know, I think a lot of stuff
• 27:46
  doesn't transition well into miniseries, especially if it's based on a short.
• 27:53
  Yes. And then it was based on, like, Needful Things, was based on... That's a novel?
• 27:59
  No, no, that was an actual book. That's a novel, yes.
• 28:03
  To cut it down to two hours and then put it out for a three-hour version.
• 28:07
  A year later, people will get confused and stuff, and you've already done the
• 28:09
  damage by releasing a cut version.
• 28:11
  We just talked about that with the salem's lot that just came out
• 28:14
  i really enjoyed the cut version of it but i
• 28:17
  i'm pissed off because i know there's a beautiful director's cut out there with
• 28:20
  an extra hour and there is i would like to see it here you just not give you
• 28:23
  you're doing a disservice to stephen king's work by doing this and i think that's
• 28:27
  what you're doing with the monkey by making it a fucking comedy here here's
• 28:30
  the thing as well with which i mean i'm i'm not a producer or a script writer
• 28:35
  or director obviously but i think it would be a big challenge because, I mean,
• 28:40
  some of Stephen King's novels are like around 700, 800 words long.
• 28:45
  So it's trying, I think that's why so many of them went to, you know,
• 28:48
  TV miniseries because it's hard to condense it into an hour and a half,
• 28:53
  two hour film, you know, without losing. That's my point. Yeah, exactly.
• 28:56
  That's my point. Don't put them in theatre. Those miniseries are great.
• 28:59
  I'll watch them all the time. Yeah, yeah.
• 29:00
  Or the ones he writes for, strictly for miniseries. He did one called Storm
• 29:04
  of the Century, which is fucking brilliant.
• 29:06
  Yeah, yeah. Storm of the Century is best. I love that miniseries.
• 29:10
  Give me what I want and I'll go away. It's incredible.
• 29:15
  Craig Baxley directed it. Guys, you want to check out Stephen King's,
• 29:18
  I think, well, he wrote it for TV, so, but check it out, Storm of the Century.
• 29:24
  But listen, we're going to end with this one. It's unfortunate.
• 29:27
  I'm surprised you and I came to terms with this one. We're usually fighting. Yeah, you know, yeah.
• 29:31
  And I couldn't make fun of you. Peace in our time. Really upsets me.
• 29:35
  Yeah, at least we've thought about music. So at least, you know,
• 29:38
  the listeners get some over usual peckering.
• 29:42
  All right, guys, we're going to wrap this one up. We're going to pepper in one more horror film.
• 29:46
  I know, yes, we said no more horror for a while, but we're doing it because
• 29:50
  I want people to know about this film.
• 29:52
  It's an indie horror film film in Cork in Ireland here, and people really need
• 29:57
  to see it. It was called The Oddity.
• 29:59
  That will be up next, and we're going to get that out real quick because we're
• 30:02
  kind of a little backlogged here.
• 30:03
  But again, thanks for your patience with that. We're going to wrap this one
• 30:06
  up. you can give us a shout at citizenframe underscore podcast on Instagram
• 30:10
  and of course Facebook that's all I've got anything?
• 30:15
  No? no that's it all good Audrey is up next alright take care guys.