Latest / Frightmares / Ep. 380 - Contamination (1980)

Transcript

Ep. 380 - Contamination (1980) · Frightmares

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  Speaker 3: Hewing podcast will contain spoilers, tangents, hot takes, and excessive
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• 1:49
  Speaker 4: Welcome back to Frightenmar's podcast. I'm your host Austin Proctor
• 1:52
  Speaker 4: and joining me today for episode three eighty is my
• 1:55
  Speaker 4: good friend Michael Virs.
• 1:58
  Speaker 3: Yeah, I'm here for episode three eighty.
• 2:02
  Speaker 4: Three eighty, a movie from nineteen eighty I got nothing
• 2:07
  Speaker 4: clever to say today. On another installment of Melian Invasion,
• 2:11
  Speaker 4: we're discussing our International Pit Contamination from nineteen eighty, a
• 2:16
  Speaker 4: movie that feels like somebody watched Alien during six Espressos
• 2:20
  Speaker 4: got distracted halfway through and somehow ended up making one
• 2:23
  Speaker 4: of the most weirdly entertaining sci fi horror oddities of
• 2:26
  Speaker 4: the decade. Uh, let's see where this lands on the
• 2:29
  Speaker 4: nightmare index. All right, my goal? So oh, actually I
• 2:39
  Speaker 4: have one thing from the corrections department. I forgot I said, nope,
• 2:43
  Speaker 4: was the first Jordan Peel movie we covered last episode,
• 2:47
  Speaker 4: but we actually did get out back in February of
• 2:50
  Speaker 4: twenty twenty three, episode one eighty one. So now all
• 2:53
  Speaker 4: I have left to do is us until he releases
• 2:57
  Speaker 4: another movie. So that's from the corrections department. What have
• 3:00
  Speaker 4: you been watching in the past week, Michael, What do
• 3:04
  Speaker 4: we have?
• 3:05
  Speaker 3: Let's take a look it has been Let's see, since
• 3:10
  Speaker 3: I try to be accurate, let's see what is considered
• 3:13
  Speaker 3: the last week. What day? What day is it today
• 3:17
  Speaker 3: that today's.
• 3:18
  Speaker 4: I would say, like, yeah, Sunday or Saturday to Friday,
• 3:21
  Speaker 4: let's do that. Let's do that.
• 3:23
  Speaker 3: For my podcast, I watched William Friedkin's Sorcerer, really tense ride.
• 3:33
  Speaker 3: I watched that to discuss with Susan Kerns, who is
• 3:37
  Speaker 3: the executive director of Milwaukee Film Love Susan. Yeah, Susan's great.
• 3:44
  Speaker 3: This movie it you know, it's a genre film. Let's
• 3:48
  Speaker 3: put it that way, because like, it's not a full
• 3:50
  Speaker 3: footed horror film, but this movie's fucking terrifying. Oh god, Okay,
• 3:56
  Speaker 3: my my one sentence letterbox review is cinophiles a Sorcerer
• 4:00
  Speaker 3: and go hell yeah while completely white knuckling their couch
• 4:03
  Speaker 3: the entire time. So that's where then you'll you'll probably
• 4:08
  Speaker 3: end up watching it because you'll be editing an episode
• 4:10
  Speaker 3: for that's exciting.
• 4:11
  Speaker 4: The only will William Freed can I have seen as
• 4:14
  Speaker 4: the Exorcist, So.
• 4:16
  Speaker 3: This is the movie He follows The Exorcis.
• 4:18
  Speaker 4: Up with hell yeah, okay, all right, Sorcerer. I love it, Sorcer.
• 4:22
  Speaker 3: And then I watched Uh, Pirates of the Caribbean at
• 4:25
  Speaker 3: World's End definitely has some horror elements to that movie.
• 4:32
  Speaker 3: What a fucking movie, man. They don't make blockbusters like
• 4:34
  Speaker 3: that anymore. I remember when this movie came out feeling
• 4:37
  Speaker 3: very like, so this was two thousand and seven. I
• 4:39
  Speaker 3: remember feeling like it was it was a step down
• 4:41
  Speaker 3: in quality from the other ones. But I just watched
• 4:46
  Speaker 3: this one, like I watched one and two last year,
• 4:48
  Speaker 3: and I realized I never got around to the third one.
• 4:50
  Speaker 3: So I just watched this one in a bubble. I
• 4:53
  Speaker 3: was like, holy shit, this movie actually holds up really well.
• 4:58
  Speaker 4: I agree. Yeah.
• 5:00
  Speaker 3: Yeah. The biggest thing I noticed is there's fucking it's wold,
• 5:04
  Speaker 3: it's expensive. The cinematography has contrast, shadow and fucking color.
• 5:09
  Speaker 3: That mailstream scene at the end of the film is
• 5:11
  Speaker 3: pure insanity. Uh, and there's like these eldritch horrors throughout.
• 5:16
  Speaker 3: It's like, what what was up my ass? Why? Why
• 5:18
  Speaker 3: did I not enjoy this movie?
• 5:20
  Speaker 4: That one? That one scene too, where Captain whatever of
• 5:24
  Speaker 4: the East India Trading Company is walking down the ship
• 5:27
  Speaker 4: as it's just flying to fucking pieces. Yeah, bro, that
• 5:30
  Speaker 4: is such an incredible scene. I really I love that scene.
• 5:35
  Speaker 3: Yeah, yeah, that though all those movies just uh they
• 5:39
  Speaker 3: scorre They just scratched something in my brain. Then I
• 5:43
  Speaker 3: watched Contamination which we will be discussing. And I had
• 5:47
  Speaker 3: a very late night Thursday night, and I went out
• 5:50
  Speaker 3: and saw the new Mandalorian Grogu movie.
• 5:54
  Speaker 4: Oh hell yeah, Okay, yeah, I liked it.
• 5:56
  Speaker 3: I didn't. I didn't love it, but I liked it.
• 5:59
  Speaker 4: Okay.
• 6:00
  Speaker 3: I think it's a most one that'll grow on me
• 6:02
  Speaker 3: a little more. It was like nine forty five at night,
• 6:03
  Speaker 3: and I started getting really sleepy at a certain point,
• 6:06
  Speaker 3: not because the movie, just because I had been up since.
• 6:08
  Speaker 4: Six, just because time age.
• 6:12
  Speaker 3: Yeah, yeah, it's it's a good time. It's it's a
• 6:15
  Speaker 3: little strange. I don't know how much time we want
• 6:17
  Speaker 3: to spend on this because it's not strictly horror, but
• 6:20
  Speaker 3: it's a little strange because it's it feels like three
• 6:23
  Speaker 3: or four episodes of the TV show just kind of
• 6:25
  Speaker 3: thrown together. And I feel like I read in an interview,
• 6:28
  Speaker 3: even Jon Favreau was like, why is this the movie
• 6:32
  Speaker 3: that we are breaking Star Wars seven year theatrical hiatus with?
• 6:39
  Speaker 4: Has it been seven years since.
• 6:41
  Speaker 3: The nineteen was the last time the last Jedi?
• 6:44
  Speaker 4: Or yeah, last Jedi?
• 6:46
  Speaker 3: Yeah? No, no, no? Last one was a Rise of Skywalker.
• 6:50
  Speaker 4: Right, Rise of Skywalker? Yes, that last Jedi is not
• 6:53
  Speaker 4: even a fucking movie, is it.
• 6:56
  Speaker 3: Yes, it's it's the second of the sequel trilogy. Oh,
• 7:00
  Speaker 3: Ryan Johnson. Yeah, So even he's like, why we do this?
• 7:05
  Speaker 3: And I have a feeling it's you know, I have
• 7:08
  Speaker 3: a feeling Disney had a spot to fill and was
• 7:11
  Speaker 3: just like Favreau, I know you have scripts. Just fucking
• 7:14
  Speaker 3: use though, get to it. Take the season four scripts
• 7:18
  Speaker 3: and just make it into something.
• 7:20
  Speaker 4: So where does this fall into the to the man,
• 7:24
  Speaker 4: is it just a continuation of season three?
• 7:28
  Speaker 3: It's essentially to view this is season.
• 7:30
  Speaker 4: Four, okay, all right, and like it's it's it's it's
• 7:33
  Speaker 4: pretty cool.
• 7:34
  Speaker 3: Uh you get to you get to see how the
• 7:36
  Speaker 3: Huts fight, and that's something that's interesting because there's like
• 7:39
  Speaker 3: a buff like job of the Hutson is buff as
• 7:42
  Speaker 3: fucking this movie job of the buff pretty much. The
• 7:46
  Speaker 3: funniest part though, is it's he's voiced by Jeremy Allen White,
• 7:50
  Speaker 3: the dude from the Bear, and it's funny like he's
• 7:53
  Speaker 3: they have they have him like his voice through so
• 7:55
  Speaker 3: many like voice filters. I'm like, why did we just
• 8:00
  Speaker 3: a voice actor that could do this? Register It sounds
• 8:03
  Speaker 3: nothing like Jeremy Allen White.
• 8:08
  Speaker 4: That's my job of that hut.
• 8:10
  Speaker 3: Also, can I it's it's Martin Scorsese has a cameo
• 8:14
  Speaker 3: in this movie.
• 8:16
  Speaker 4: What just coming in nowhere?
• 8:22
  Speaker 3: All right? All right? So that I was giving the
• 8:24
  Speaker 3: credits a man that looked at me and she goes
• 8:26
  Speaker 3: like Martin Scorse and like, apparently I don't, I din't know.
• 8:30
  Speaker 4: Like that, is there another Scorsese?
• 8:33
  Speaker 3: No, it is Martin Scorsese. And he's got a really
• 8:36
  Speaker 3: funny fucking scene in this movie. So that's hilarious. Wild.
• 8:39
  Speaker 3: So that's what I've been watching.
• 8:40
  Speaker 4: All right, So let's see here after after Nope, So
• 8:45
  Speaker 4: I followed up Nope. I went backwards and Jordan Peele's filmography,
• 8:50
  Speaker 4: watched Us and Get Out. I still think they're brilliant.
• 8:53
  Speaker 4: I got into Studio Ghibli probably in the worst way
• 8:58
  Speaker 4: I ever possibly by watching Grave of the Fireflies, which
• 9:02
  Speaker 4: is like the most heart wrenching film.
• 9:04
  Speaker 3: That's the only thing I know about that movie. So
• 9:06
  Speaker 3: it's the reason I haven't. I've been putting it off
• 9:08
  Speaker 3: because I've I've heard that's all I've heard.
• 9:10
  Speaker 4: Yeah, it's just sad and bleak, and I kind of predicted, well,
• 9:15
  Speaker 4: what happened. I gave it a three, like it's a
• 9:17
  Speaker 4: good movie, but it's like one of those movies I'll
• 9:19
  Speaker 4: never watch again because it's fucking sad.
• 9:22
  Speaker 3: So probably don't you don't occasionally just put in a
• 9:24
  Speaker 3: sad movie to feel some shit.
• 9:26
  Speaker 4: Yeah, I see, And that's that's what I've been trying
• 9:28
  Speaker 4: to do lately. I have been wanting. I'm just I've
• 9:31
  Speaker 4: needed a cry to get, like, just come out of me.
• 9:34
  Speaker 4: It's I need one. It's been too long. So I've
• 9:36
  Speaker 4: been trying to watch movies that'll hit a nerve and
• 9:39
  Speaker 4: just let the fucking water works come out, and I
• 9:41
  Speaker 4: cannot find one. I think I'm just gonna have to
• 9:44
  Speaker 4: watch twenty eight years later and wait for that Ralph
• 9:47
  Speaker 4: finds Memento moriy speech because that gets me every time.
• 9:51
  Speaker 4: I think, I'm just gonna have to do that.
• 9:53
  Speaker 3: Uh.
• 9:53
  Speaker 4: But yeah, now I will have to go watch other
• 9:55
  Speaker 4: Studio Ghibli films that are a little bit happier. But
• 9:58
  Speaker 4: I mean, it's a great commentary on what was going
• 10:00
  Speaker 4: on in Japan at the time, so I can I
• 10:05
  Speaker 4: can recommend it, just just know it's it's it's not
• 10:08
  Speaker 4: a feel good movie.
• 10:09
  Speaker 3: I recommend it I don't know if it'll get you
• 10:12
  Speaker 3: the cry that you're looking forward. I think it's just
• 10:15
  Speaker 3: it's a delightful movie. Is I got the chance to
• 10:18
  Speaker 3: rewatch Kiki's Delivery Service on Imax and that I saw
• 10:28
  Speaker 3: that a couple months ago, and I highly recommend you
• 10:30
  Speaker 3: check out that one. It I'm trying to think of
• 10:34
  Speaker 3: the best way to describe it. It meant more to
• 10:36
  Speaker 3: me like it was. It might have been one of
• 10:38
  Speaker 3: the first ones I saw, and it meant more to
• 10:40
  Speaker 3: me now than it did when I was a kid,
• 10:43
  Speaker 3: because there's this really interesting it's a story about this
• 10:47
  Speaker 3: young witch who in this in the this world that
• 10:50
  Speaker 3: it takes place, and they have a mandatory year where
• 10:54
  Speaker 3: they need to live independently away from their parents, and
• 10:58
  Speaker 3: she just discovers her witch powers and she can fly
• 11:03
  Speaker 3: in a broom and she goes, well, shit, I can
• 11:04
  Speaker 3: make some money by doing deliveries for people. When she
• 11:07
  Speaker 3: takes this thing that she loves deep down in her
• 11:09
  Speaker 3: soul and tries to monetize it, and then her love
• 11:14
  Speaker 3: for it goes away and she starts to lose her
• 11:16
  Speaker 3: ability to do it. Okay, that's like as a thirty
• 11:19
  Speaker 3: five year old who finds himself in the very similar situation.
• 11:23
  Speaker 3: It fucking hit me.
• 11:24
  Speaker 4: Okay, that actually sounds really interesting. I'm I'm into that
• 11:27
  Speaker 4: for sure. I know, uh, Gabby loves some studio ghibli.
• 11:31
  Speaker 4: I don't, I don't, and I don't know if she's
• 11:32
  Speaker 4: seen that one.
• 11:33
  Speaker 3: It's worth checking out. And there's a there's a character
• 11:36
  Speaker 3: in this movie by the name of Tombo who is
• 11:40
  Speaker 3: like the I don't I don't like, I don't. I
• 11:44
  Speaker 3: don't want to like say he's a love interest, because
• 11:45
  Speaker 3: that's that's very rudimentary, and but like he has got
• 11:49
  Speaker 3: a little crush on Kiki, and I find myself like
• 11:51
  Speaker 3: really just responding to that, to that scrappy, little fucking dude,
• 11:56
  Speaker 3: I was like, hell, yeah, Tombo, you're my favorite character.
• 11:59
  Speaker 4: Okay.
• 12:00
  Speaker 3: Of that, he loves the airplanes, that's all. That's all
• 12:02
  Speaker 3: he's obsessed with. He's just obsessed with airplanes.
• 12:04
  Speaker 4: Okay, So he's autistic then, you know, like.
• 12:07
  Speaker 3: Only is building his own airplane. Yes, it's the intentional flying.
• 12:11
  Speaker 4: I love it. So I think I hit a Mondela
• 12:18
  Speaker 4: effect because I swear the movie was called was it
• 12:23
  Speaker 4: not Journey to Atlantis? Is that not the movie? We
• 12:27
  Speaker 4: all know from the nineties with Michael J. Fox.
• 12:29
  Speaker 3: No, it's just Atlantis the Lost Empire.
• 12:32
  Speaker 4: I swear to god it was called Journey to Atlanta. Okay,
• 12:35
  Speaker 4: whatever rewatched that one? Uh love? It is probably five stars.
• 12:41
  Speaker 4: It's literally my favorite Disney animated movie of all time.
• 12:44
  Speaker 4: It is so fucking good, so funny, still holds up.
• 12:47
  Speaker 3: I have I don't know if you ever knew this
• 12:49
  Speaker 3: about me, I have an obsession with old timey explorers.
• 12:53
  Speaker 4: Oh okay, So.
• 12:55
  Speaker 3: A movie about people discovering a h discovering something that's
• 12:59
  Speaker 3: never been seen before, fucking appeals to shit, that's just
• 13:02
  Speaker 3: that's just catnip for me.
• 13:04
  Speaker 4: Okay. And the thing I love about Journey woll, I
• 13:07
  Speaker 4: guess just Atlantis the Lost Empires how every character is
• 13:10
  Speaker 4: just so wildly different and they all have such a
• 13:15
  Speaker 4: I don't even know how to explain it. They just
• 13:16
  Speaker 4: have such strong personalities and I think they all work
• 13:19
  Speaker 4: together very well. And the scene at the end with
• 13:22
  Speaker 4: Captain fucking dick House whatever his name is, where he's
• 13:26
  Speaker 4: got the crazy eyes still horrifying to this day. That
• 13:30
  Speaker 4: scene at the end when all the insanity's happening and
• 13:33
  Speaker 4: he's like trying to get Milo into this thit pod
• 13:35
  Speaker 4: or whatever, and he's just got this manic look on
• 13:38
  Speaker 4: his face, and I was like, Yeah, that's that's that's
• 13:39
  Speaker 4: the horrifying. So yeah, five out of five from that one,
• 13:43
  Speaker 4: rewatched Bob kat golf Waite's Willow Creek Bigfoot movie.
• 13:50
  Speaker 3: Uh.
• 13:52
  Speaker 4: I don't know how I feel about this one. I
• 13:54
  Speaker 4: think I need to get some context here because I
• 13:57
  Speaker 4: don't under I don't unders I don't understand, and I
• 13:59
  Speaker 4: can't talk about it without spoiling it. But yeah, two
• 14:03
  Speaker 4: and a half on that one. Not really my jam,
• 14:06
  Speaker 4: but you know, that's just how it works sometimes. And
• 14:09
  Speaker 4: then I saw two new movies in theaters, saw Obsession,
• 14:15
  Speaker 4: which not surprising at all that this is five out
• 14:19
  Speaker 4: of five for me. Curry Barker fucking directorial debut four
• 14:24
  Speaker 4: point two out of five on Letterbox, eight point two
• 14:27
  Speaker 4: out of ten on IMDb. Go check my review on
• 14:29
  Speaker 4: social media. I think it is. It is If it's
• 14:33
  Speaker 4: not the it is one of the best directorial debuts
• 14:37
  Speaker 4: from a horror film maker that I've ever seen, because
• 14:40
  Speaker 4: holy shit, what a movie. Can't really talk about it
• 14:43
  Speaker 4: because you just need to go in as blind as
• 14:46
  Speaker 4: you can. Outside of the one wish Willow and making
• 14:48
  Speaker 4: a wish. That's all you need to know.
• 14:50
  Speaker 3: Wait, wasn't Milk and Cereal his directorial debut.
• 14:53
  Speaker 4: No, that was straight to YouTube and it was sixty
• 14:56
  Speaker 4: two I mean, I guess technically a feature film, it's
• 15:00
  Speaker 4: technically a future film. But it went straight to YouTube
• 15:02
  Speaker 4: on his channel. So I'm calling this.
• 15:05
  Speaker 3: His feats theatrical debut.
• 15:08
  Speaker 4: There we go, his theatrical debut. Yeah, because he did
• 15:10
  Speaker 4: do Milk and Cereal from twenty twenty four, which was incredible.
• 15:15
  Speaker 4: Then last night, two nights ago, I don't know, time
• 15:17
  Speaker 4: is all a blur. I went and saw Corporate Retreat No.
• 15:20
  Speaker 3: Real quick in case you're curious. Oh yes, according to
• 15:23
  Speaker 3: the Academy, the Academy Motion Pictures, Arts and Sciences, they
• 15:27
  Speaker 3: define any movie with a running time more than forty
• 15:30
  Speaker 3: minutes as a feature film.
• 15:31
  Speaker 4: Okay, and that was sixty two minutes. Okay, good to know.
• 15:34
  Speaker 3: Yeah, all right, I thought that was interesting. I was
• 15:37
  Speaker 3: just like, what's what is the rule?
• 15:38
  Speaker 4: What is the rule?
• 15:39
  Speaker 3: Yeah, they are gonna be the ones I'm going.
• 15:42
  Speaker 4: To listen to.
• 15:43
  Speaker 3: They are the Academy. Like them or hate them, they
• 15:46
  Speaker 3: feel like they make the rule. Anyways, continue.
• 15:50
  Speaker 4: Yeah, so saw Corporate Retreat in theaters. Just expected it
• 15:54
  Speaker 4: to be a good popcorn flick, turn your brain off.
• 15:57
  Speaker 4: Genuinely one of the worst movies of horror movies I've
• 16:01
  Speaker 4: seen this year. One star the I feel it's chat
• 16:05
  Speaker 4: GPT like a I wrote this, There's no way around it.
• 16:09
  Speaker 4: The plot was nonsensical, the acting was so wooden outside
• 16:13
  Speaker 4: of one person, and really a storyline that's never fully explained.
• 16:20
  Speaker 4: Cannot recommend seeing that one, unfortunately. And then the last
• 16:23
  Speaker 4: one I saw that's brand new for this year on
• 16:25
  Speaker 4: two B. I don't think it's a to be original,
• 16:28
  Speaker 4: but it is. On two B it's called The Calling
• 16:30
  Speaker 4: Witch and great premise, great setup, great idea, but I
• 16:34
  Speaker 4: feel like they were trying to go in a too
• 16:37
  Speaker 4: many directions at once and they should have just kind
• 16:41
  Speaker 4: of stuck to one thing, because at one point the
• 16:44
  Speaker 4: story is trying to do like three separate things and
• 16:48
  Speaker 4: tied it all together. But I'm like, that's a little messy.
• 16:51
  Speaker 4: But three stars. I did enjoy it. Creepy imagery, really
• 16:55
  Speaker 4: good scares and setups, and it looked very good as well.
• 16:59
  Speaker 4: I did not do my cold Movie challenge this week
• 17:02
  Speaker 4: because Michael and I always record a little earlier than
• 17:06
  Speaker 4: I do with my other co host. But I am going, no,
• 17:09
  Speaker 4: You're fine, I just didn't have time. But I am
• 17:11
  Speaker 4: gonna be watched. It's the Shaw Brothers week, and I
• 17:14
  Speaker 4: am gonna be watching something called The Oily Maniac, which
• 17:18
  Speaker 4: just sounds like, yeah, well it sounds like the Greasy Strangler,
• 17:22
  Speaker 4: but from nineteen seventy six. I started it and I'm like, Okay,
• 17:26
  Speaker 4: this is gonna be fucking incredible. So that's gonna be
• 17:28
  Speaker 4: talked about on the next episode. But I'm very excited
• 17:32
  Speaker 4: to get into that.
• 17:33
  Speaker 3: Wow, it's a poster.
• 17:35
  Speaker 4: Yeah, dude it it's gonna be so much fun. And
• 17:40
  Speaker 4: even from where was I I think I was on
• 17:42
  Speaker 4: Prime and for nineteen seventy six, I just thought, Wow,
• 17:46
  Speaker 4: this production value is actually crazy, just how clear and
• 17:52
  Speaker 4: like the images for a fifty for fifty year old
• 17:55
  Speaker 4: movie blown away by that. So I will I will
• 17:59
  Speaker 4: come back with my thoughts and comments on that. I
• 18:02
  Speaker 4: say we move on to the body count here. So
• 18:10
  Speaker 4: our movie at Hand here contamination from nineteen eighty released
• 18:13
  Speaker 4: on June eleventh, nineteen eighty two in the US. Originally
• 18:17
  Speaker 4: released in Italy in nineteen eighty. It is rated R.
• 18:20
  Speaker 4: There is no sex in nudity, moderate violence and gore,
• 18:23
  Speaker 4: no profanity.
• 18:24
  Speaker 3: My moderate violence in gore.
• 18:26
  Speaker 4: That's what I said. That's what I said.
• 18:29
  Speaker 3: Okay, whatever, whatever, Captain Goofy.
• 18:34
  Speaker 4: No profanity, mild alcohol, drugs and smoking, and again moderate
• 18:37
  Speaker 4: frightening and intense scenes. I'd argue that would be severe,
• 18:40
  Speaker 4: but what do I know. I'm just some bitch. Runtime
• 18:42
  Speaker 4: of an hour and thirty five minutes listed as a
• 18:45
  Speaker 4: horror sci fi directed by Luigi Cosey, and this is interesting,
• 18:49
  Speaker 4: so stick with me here, right. He directed Godzilla from
• 18:51
  Speaker 4: nineteen seventy seven. But this is a re edited Italian
• 18:56
  Speaker 4: language dub version of the original Godzilla, featuring eighty minutes
• 19:02
  Speaker 4: of footage from the nineteen fifty four version and the
• 19:05
  Speaker 4: US version Godzilla King of Monsters, plus twenty five minutes
• 19:09
  Speaker 4: of World War two newsreel footage and clips from other
• 19:12
  Speaker 4: Monster nineteen fifties movies. It was re edited then colorized
• 19:17
  Speaker 4: via Specterrama seventy, consisting of applying various colored gels to
• 19:22
  Speaker 4: the black and white footage. It also features new music
• 19:25
  Speaker 4: score composed by Vince Tempura under the pseudonym Magnetic System
• 19:29
  Speaker 4: which I thought was interesting. He did Hercule Les from
• 19:33
  Speaker 4: nineteen eighty three, and he is an uncredited director credit
• 19:38
  Speaker 4: for Sindbad of the Seven Seas. So very interesting thing
• 19:44
  Speaker 4: that this guy's going on.
• 19:45
  Speaker 3: He also has a story by credit on Daria Rigento's
• 19:49
  Speaker 3: Four Flies and the Grave elvet Ah.
• 19:52
  Speaker 4: Okay, see because he also wrote this movie and he
• 19:56
  Speaker 4: wrote everything I just mentioned. But I must have missed
• 19:59
  Speaker 4: the Four Flies on Grave. Okay.
• 20:00
  Speaker 3: Yeah, I think he also has a story by credit
• 20:02
  Speaker 3: on Two Evil Eyes and the Stendall Syndrome.
• 20:06
  Speaker 4: I do love Two Evil Eyes.
• 20:08
  Speaker 3: And for those of you listening at home who were like,
• 20:11
  Speaker 3: we're watched this movie and be like, I didn't see
• 20:13
  Speaker 3: no fucking food named Luigi Kazi because his American name
• 20:18
  Speaker 3: was Lewis Coates. Because a lot of times studios would change,
• 20:25
  Speaker 3: or sometimes filmmakers do with themselves to change the names
• 20:30
  Speaker 3: to US. People didn't think it was a foreign film.
• 20:32
  Speaker 3: Good lord, It's a very common practice.
• 20:36
  Speaker 4: I get it.
• 20:37
  Speaker 3: It's also funny like if you go back and watch
• 20:39
  Speaker 3: trailers for foreign films at that time that were at
• 20:41
  Speaker 3: leased in the US, they usually don't feature any talking.
• 20:44
  Speaker 4: Yeah. I watched the trailer for this and I was like,
• 20:46
  Speaker 4: what's happening here?
• 20:48
  Speaker 3: Very strange. They're just trying to get people in the theater.
• 20:51
  Speaker 4: Also written by Eric Tomack, who has mostly written written
• 20:55
  Speaker 4: German films. Composed by Goblin. You know, they composed Deep
• 20:59
  Speaker 4: Red Donald the Dead nineteen seventy eight, which we watched,
• 21:02
  Speaker 4: the Argento cut which featured more Goblin score, and Beyond
• 21:06
  Speaker 4: the Darkness. Many other things as well, but those are
• 21:08
  Speaker 4: the three I put up here. Cinematography by Giuseppe Panori,
• 21:13
  Speaker 4: who also did the cinematography for Under the Sign of
• 21:16
  Speaker 4: the Scorpio, Murder, Rock Dancing Death, and something called Karate Warrior.
• 21:21
  Speaker 4: That's really that sounds fun.
• 21:23
  Speaker 3: Those Warriors of the Year twenty seventy two.
• 21:26
  Speaker 4: He has an interesting like all these people have very
• 21:28
  Speaker 4: interesting careers, especially the editor. Nino Baragley edited Django from
• 21:34
  Speaker 4: nineteen sixty six. The Good, Yeah, I loved the Good,
• 21:37
  Speaker 4: the bad and the ugly, and once upon a time
• 21:40
  Speaker 4: in the West. So he worked a lot in westerns,
• 21:42
  Speaker 4: which I find interesting, So yeah, good for good for Nino,
• 21:46
  Speaker 4: and then starring Ian McCulloch its commander Ian Hubbard. He
• 21:50
  Speaker 4: was also in Lucillo Folch Zombie from nineteen seventy nine
• 21:53
  Speaker 4: as Peter West, Louis Marlow as Colonel Stella Holmes. She
• 21:58
  Speaker 4: was in something called Heartbreak from nightteen seventy nine as
• 22:01
  Speaker 4: Celine Marino Massey as NYPD Lieutenant tonet Aris. He was
• 22:07
  Speaker 4: also in The Godfather Part three as Loopo. That just
• 22:10
  Speaker 4: felt fitting because you recently covered The Godfather Part two
• 22:14
  Speaker 4: on your podcast. And then we have Sigfried Rosch as Hamilton,
• 22:18
  Speaker 4: who was mostly in German films. Couldn't find a budget,
• 22:22
  Speaker 4: couldn't find a box office gross because I'm lazy and
• 22:24
  Speaker 4: don't go outside of IMDb. Filmed in New York, Anzio, Italy, Florida,
• 22:30
  Speaker 4: and then Atlantico, Columbia. You can watch us on Pluto
• 22:33
  Speaker 4: and Plex. Dude, the movies that came out around this time,
• 22:37
  Speaker 4: Holy Shit, dead Men Don't Wear Plaid, Eating Raoul, Forbidden World, Mortuary,
• 22:44
  Speaker 4: The House Were Evil, Dwells, Annie Smithereens plug for Susan
• 22:49
  Speaker 4: Kerns because didn't you do an episode on the Smith, Yeah,
• 22:52
  Speaker 4: we did. I knew that was going to come back up.
• 22:54
  Speaker 4: Poultry Guys, Rocky three, Et Star, Trek two, The Wrath
• 22:57
  Speaker 4: of Kahn, Grease to Blade Runner, The Thing Tron and
• 23:02
  Speaker 4: one of your favorite movies of all time, The Best
• 23:04
  Speaker 4: Little Whorehouse in Texas.
• 23:06
  Speaker 3: You know how I feel about some Dart Reynolds. Also,
• 23:10
  Speaker 3: Dolly Parton's a fucking fox in that movie.
• 23:12
  Speaker 4: Yeah, I so need to see it.
• 23:13
  Speaker 3: And it's musical, so go in expecting a musical.
• 23:17
  Speaker 4: Some music, alright, alright, it's a musical, all right, Uh, musicals.
• 23:22
  Speaker 3: It could be a date nights. Oh, it's not salacious,
• 23:26
  Speaker 3: it's not like despite the title, it's it's actually kind
• 23:30
  Speaker 3: of a very sweet movie.
• 23:32
  Speaker 4: All right, I'll get Yes, she loves musicals. I'll get
• 23:33
  Speaker 4: her to watch that.
• 23:35
  Speaker 3: I am Michael just recommended we watched Best Little Whorehouse
• 23:38
  Speaker 3: in Texas.
• 23:39
  Speaker 4: She's gonna be like, why, it's just just hold on,
• 23:41
  Speaker 4: let me, let me put it on, let me cook.
• 23:46
  Speaker 3: I am TB.
• 23:47
  Speaker 4: Summary, a former astronaut helps a government agent and a
• 23:50
  Speaker 4: police detective track the source of a mysterious alien pod
• 23:54
  Speaker 4: of mysterious alien pod spores filled with lethal flesh dissolving
• 23:58
  Speaker 4: acid to a South America and coffee plantation controlled by
• 24:02
  Speaker 4: alien pod clones. Let's go into the autopsy here.
• 24:07
  Speaker 3: Oh God, that sounds always just gets me.
• 24:10
  Speaker 4: E Leah, that's what it is there for? All right, Michael, Uh,
• 24:14
  Speaker 4: what do we feel about contamination? Because as it currently
• 24:17
  Speaker 4: stands for me, I have no idea how I feel,
• 24:20
  Speaker 4: and I'm hoping to get to some sort of a
• 24:23
  Speaker 4: rating by the end of this episode. So tell me
• 24:25
  Speaker 4: what you got for your overall thoughts.
• 24:27
  Speaker 3: Okay, so my overall thoughts are this movie features some
• 24:32
  Speaker 3: truly incredible special effects.
• 24:36
  Speaker 4: Agreed, But the.
• 24:37
  Speaker 3: Problem is you have to sit through the rest of
• 24:38
  Speaker 3: the movie to get to them. Also, we can we
• 24:44
  Speaker 3: can expand upon this a little bit later. I know
• 24:46
  Speaker 3: this movie is credited as being a what was it
• 24:50
  Speaker 3: an alien ripoff? Yes, it's This is not gonna make
• 24:55
  Speaker 3: sense because the movie I'm Bucked a reference came out afterwards.
• 24:58
  Speaker 3: But this also feels like Halloween three. Think about it,
• 25:06
  Speaker 3: think about it. Okay, maybe Halloween three wasn't Maybe maybe
• 25:08
  Speaker 3: maybe Halloween three was inspired off of this. So they
• 25:12
  Speaker 3: eventually go to this fucking Colombian coffee place, which is
• 25:16
  Speaker 3: this big factory that is up to no good. Uh
• 25:19
  Speaker 3: what do our we characters do? They pretend to be
• 25:22
  Speaker 3: married so they can get a tour throughout the fucking
• 25:24
  Speaker 3: factory to figure out what is going on. At this factory.
• 25:29
  Speaker 4: Holy shit, it's three it is Halloween.
• 25:37
  Speaker 3: And then they're there they find out this big, this
• 25:40
  Speaker 3: big conspiracy that's going on, and there's this evil guy
• 25:45
  Speaker 3: who's uh real evil and is trying to take over
• 25:48
  Speaker 3: the world.
• 25:48
  Speaker 4: Essentially, Yeah, obviously, in Halloween three you have some stonehinge
• 25:53
  Speaker 4: pieces and in this you have a giant alien monster.
• 25:56
  Speaker 4: But you're not wrong. There're the similarity beats, are there?
• 26:02
  Speaker 3: So even though this came out before Halloween three, that
• 26:05
  Speaker 3: was what I thought of.
• 26:06
  Speaker 4: I really love that overall thoughts for me, I mean
• 26:10
  Speaker 4: basically kind of mirroring what you said. It has a
• 26:14
  Speaker 4: killer opening and then really weird pacing through the middle.
• 26:20
  Speaker 3: At some point we go to Columbia and then.
• 26:22
  Speaker 4: Like a good ending. But I'm also confused. There's so
• 26:26
  Speaker 4: much going on and there's not enough context, sometimes too
• 26:30
  Speaker 4: much context at other times, and I am at the
• 26:33
  Speaker 4: end of the day, I'm wondering what is the motivation here,
• 26:37
  Speaker 4: which we will speculate on as we get through this movie.
• 26:41
  Speaker 4: So I don't know where I stand. I found myself
• 26:45
  Speaker 4: really into it sometimes and then I found myself like,
• 26:48
  Speaker 4: how much left? You know, how much is left in
• 26:50
  Speaker 4: this movie? At some point.
• 26:51
  Speaker 3: So so for me, if we want to start getting
• 26:56
  Speaker 3: into it more in depth, sure, for me, what worked?
• 27:00
  Speaker 3: I like the I like the beginning, like the intro.
• 27:02
  Speaker 3: I liked especially having just watched Gear mol Del Turtles Mimic.
• 27:07
  Speaker 3: I like this idea of this ship that ports into
• 27:11
  Speaker 3: New York and they have to call in essentially the
• 27:14
  Speaker 3: CDC or whatever to come investigate it because everyone is
• 27:19
  Speaker 3: just fucking dead and they're like, well, something's wrong, something,
• 27:23
  Speaker 3: you know, let's let's investigate this a little bit further.
• 27:26
  Speaker 3: Right A thought, all that was working has some of
• 27:29
  Speaker 3: the like truly fucking greatest chest explosions I've ever seen,
• 27:36
  Speaker 3: so kudos to contamination. Uh. And then once it starts
• 27:41
  Speaker 3: becoming like, okay, we got to investigate this and it's
• 27:43
  Speaker 3: like something to do about coffee. And once once our
• 27:48
  Speaker 3: lead character gets involved with that organization that's investigating this,
• 27:53
  Speaker 3: and it all kind of feels like everything takes place
• 27:55
  Speaker 3: on a spaceship. Those scenes weren't working for me. Anytime
• 27:58
  Speaker 3: they're in New York and doing that, that stuff's all working.
• 28:00
  Speaker 3: And then they do a fucking location change to Columbia. Yeah,
• 28:06
  Speaker 3: it didn't stop working for me. Again, that it's weird.
• 28:13
  Speaker 3: Actually liked the movie.
• 28:14
  Speaker 4: Yeah, that and that's what That's where I'm at, right,
• 28:17
  Speaker 4: So it's.
• 28:20
  Speaker 3: It's a James Bond movie at one point. It's very
• 28:23
  Speaker 3: very weird.
• 28:23
  Speaker 4: It's very strange.
• 28:24
  Speaker 3: It is.
• 28:26
  Speaker 4: So let's let's start from the beginning then real quick,
• 28:28
  Speaker 4: because I do, I do really think it is an
• 28:31
  Speaker 4: incredible opening. It is like we're we open on this
• 28:36
  Speaker 4: abandoned ship drifting into New York Harbor. No one knows
• 28:39
  Speaker 4: where it came from. The crew is missing, and then
• 28:42
  Speaker 4: there's this kind of thick.
• 28:44
  Speaker 3: Not only just missing, but like they make this great
• 28:46
  Speaker 3: point that they stopped whatever they were doing, like's they're
• 28:51
  Speaker 3: still half eaten food on plates and whatever they were doing,
• 28:54
  Speaker 3: they just got.
• 28:56
  Speaker 4: Up, and even the captain's log or whatever the it
• 28:59
  Speaker 4: just stops at one point. So once they get on
• 29:02
  Speaker 4: the ship, like the atmosphere is kind of like thick
• 29:05
  Speaker 4: with uncertainty. Everything feels wrong. It's very craft it is
• 29:10
  Speaker 4: it's almost STAPs into that cosmic elements. And then they
• 29:14
  Speaker 4: start exploring. You're beginning to question what's going on, like
• 29:18
  Speaker 4: why is all of this happening? And then someone discovers
• 29:21
  Speaker 4: the pods and suddenly the movie goes off the rails
• 29:24
  Speaker 4: because instead of slowly escalating into horror, people just start
• 29:28
  Speaker 4: fucking exploding. I was like, what the fuck you get
• 29:32
  Speaker 4: one jump scare a guy falling out of like this
• 29:35
  Speaker 4: closet or whatever, and then once they find the pods,
• 29:37
  Speaker 4: people just start exploding. Organs are launching across the room,
• 29:42
  Speaker 4: eyeballs are bulging, bodies are erupting like fireworks, and it's
• 29:46
  Speaker 4: like one of the most gloriously excess practical effects sequence
• 29:51
  Speaker 4: of the eighties.
• 29:52
  Speaker 3: I think, oh, absolutely, it's great.
• 29:55
  Speaker 4: Yeah, and in the movie, and the movie spins the
• 29:57
  Speaker 4: first ten to fifteen minutes building this suspend and all
• 30:00
  Speaker 4: this chaos, and then immediately rewards you with like these
• 30:05
  Speaker 4: human grenades essentially. But then the opening scene kind of
• 30:09
  Speaker 4: sets an expectation like this is what we're gonna get,
• 30:11
  Speaker 4: and the rest of the movie just spends ninety minutes
• 30:14
  Speaker 4: trying to live up to that opening, and it does
• 30:17
  Speaker 4: not live up to that opening. It's just like Vampire
• 30:20
  Speaker 4: in Brooklyn. It had a very good opening and a
• 30:23
  Speaker 4: good first act and then it just tapered the fuck off.
• 30:26
  Speaker 4: So it's just such a strange I got so excited
• 30:30
  Speaker 4: when I was watching this, like oh man, this is
• 30:33
  Speaker 4: this is gonna be a fun time.
• 30:34
  Speaker 3: And then yeah, that intro kind of just makes you
• 30:36
  Speaker 3: believe it's like, oh man, this is gonna be a
• 30:38
  Speaker 3: new classic that no one's talking about, right, And.
• 30:42
  Speaker 4: That's what I had hoped we'd stumbled onto. I don't
• 30:46
  Speaker 4: really think we have. But since we're speaking about those practical,
• 30:49
  Speaker 4: practical effects, I mean, I think there's one thing that
• 30:52
  Speaker 4: or you know, Italian genre cinema understood in the late
• 30:55
  Speaker 4: seventies and eighties is that if you're gonna show something disgusting,
• 30:58
  Speaker 4: fucking show it all. And they show at all. And
• 31:00
  Speaker 4: I love that you can see the what do you
• 31:04
  Speaker 4: what do they call the the things that make the
• 31:07
  Speaker 4: chests explode. There's a squibs. You can see the squibs,
• 31:10
  Speaker 4: you can see the things, you know. But it's all practical,
• 31:14
  Speaker 4: and somehow it adds to this charm and like these
• 31:16
  Speaker 4: these these it's not really necessarily realistic, but it's absolutely memorable.
• 31:21
  Speaker 4: Like I'll never forget people's chests just exploding, very reminiscent
• 31:25
  Speaker 4: of alien, but instead of an alien popping out, it's
• 31:28
  Speaker 4: just funck all your organs they're everywhere.
• 31:32
  Speaker 3: No, no, exactly, and it's it's always tough to like
• 31:35
  Speaker 3: figure out exactly who is contributed to the effects, at
• 31:41
  Speaker 3: least when you're going through IMDb, but I believe they
• 31:44
  Speaker 3: are contributed to a guy named Giovanni Corradari, who also
• 31:48
  Speaker 3: did effects later on for movies such as Leviathan and Cliffhanger.
• 31:52
  Speaker 3: Oh okay, so he's he's, you know, he's, he's. He's
• 31:56
  Speaker 3: also worked on some Argento films, and so this point
• 32:00
  Speaker 3: in his career, this was what nineteen.
• 32:02
  Speaker 4: Eighty, yeah, nineteen eighty doing.
• 32:06
  Speaker 3: He did the effects on tenebrae oh okay later so
• 32:10
  Speaker 3: like and he also did the effects on with Zombie
• 32:15
  Speaker 3: or Zombie two, depending on how you want to yeah,
• 32:17
  Speaker 3: roll with that, which makes sense because from my little
• 32:22
  Speaker 3: bit of research I did, they talked about how Zombie
• 32:26
  Speaker 3: was such a big fucking hit that they were trying
• 32:28
  Speaker 3: to recreate that magic by getting cast and crew members
• 32:32
  Speaker 3: who were involved with it.
• 32:34
  Speaker 4: And that's what I love about, you know, those Italian films,
• 32:37
  Speaker 4: is because you know, Zombie Zombie two is supposed to
• 32:40
  Speaker 4: be a sequel to Donna the Dead. You have Lacasa
• 32:45
  Speaker 4: three and four, which are supposed to be sequels to
• 32:48
  Speaker 4: Evil Dead two. I love that. I love this era
• 32:51
  Speaker 4: of Italian cinema where they're like, we see what Americans
• 32:54
  Speaker 4: are doing, and we're either going to like contamination. You know,
• 32:58
  Speaker 4: it's it's alien coded, but not by much. It feels
• 33:04
  Speaker 4: it feels like a combination of alien and like invasion
• 33:07
  Speaker 4: of the body Snatchers. But the body Snatchers aren't recreating people,
• 33:11
  Speaker 4: They're just exploding people. But I love this, this era
• 33:14
  Speaker 4: of Italian cinema because they makes like non direct sequels
• 33:18
  Speaker 4: to these American movies, which I just I find absolutely fascinating.
• 33:24
  Speaker 4: But yeah, the so and especially with this Italian film,
• 33:27
  Speaker 4: it understands that body horror is not all about realism.
• 33:31
  Speaker 4: It's just about excess sometimes and this is excessive, and
• 33:34
  Speaker 4: I'm here for it. I'm here for the excess of
• 33:37
  Speaker 4: body horror in this movie.
• 33:38
  Speaker 3: Beautifully excessive, and like I said, it's it's those effects
• 33:43
  Speaker 3: are are worthwhile.
• 33:46
  Speaker 4: Yeah, the effects are worthwhile.
• 33:48
  Speaker 3: You have this Unfortunately, there's like five minutes of them
• 33:51
  Speaker 3: if we're lucky, through the entire film, and then you
• 33:54
  Speaker 3: have to deal with the rest of the film.
• 33:55
  Speaker 4: And then yeah, exactly, because for large stretches contamination, I
• 33:58
  Speaker 4: feel succeeds because it's willing to embrace this excess. But
• 34:03
  Speaker 4: then we eventually discover that the exploding eggs aren't even
• 34:07
  Speaker 4: the strangest part of the movie. Kind of jumping around
• 34:09
  Speaker 4: a little bit with this one, just because this is
• 34:11
  Speaker 4: how I wrote it out. Because the weirdest part of
• 34:14
  Speaker 4: the movie, which was also one of the coolest parts,
• 34:17
  Speaker 4: is the Cyclops monster. I mean, how that thing fucking rules?
• 34:21
  Speaker 4: Oh my god. For most of the film, the movie
• 34:24
  Speaker 4: is building towards answers, But honestly, I had more questions
• 34:27
  Speaker 4: when I had when I saw the alien, because it's like, Okay,
• 34:31
  Speaker 4: so Hamilton who went to Mars with Hubbard? I think
• 34:38
  Speaker 4: they say Hamilton died, but he didn't die. He came
• 34:43
  Speaker 4: back with this alien spore that grew into the monster.
• 34:46
  Speaker 4: The monster makes the pods, the heat matures them. So
• 34:51
  Speaker 4: why is the monster eating Hamilton at the end? What
• 34:55
  Speaker 4: was that about?
• 34:56
  Speaker 3: What is?
• 34:56
  Speaker 4: They don't explain any part of why the alien would
• 34:59
  Speaker 4: con assume a human being. Do you have any speculation
• 35:03
  Speaker 4: as to why he got sucked into that fucking nasty tentacle?
• 35:07
  Speaker 3: I think just because they needed someone to get sucked
• 35:09
  Speaker 3: into the nasty just just for the excess, you know,
• 35:14
  Speaker 3: like just for the excess. Uh. One thing I want
• 35:17
  Speaker 3: to point out is I got re engaged in this
• 35:20
  Speaker 3: film when they were showing their flashbacks to Mars. Yes,
• 35:24
  Speaker 3: and I was like, Oh, this is cool, this is interesting.
• 35:27
  Speaker 3: Let's get some more of this being I had one
• 35:31
  Speaker 3: point I had to pause this this screen because when
• 35:33
  Speaker 3: they were going through that that weird cave, which who
• 35:36
  Speaker 3: would fuck would go through that cave because it very
• 35:39
  Speaker 3: clearly looks like a monster's mouth, like it does use
• 35:42
  Speaker 3: your They get into this weird fucking cave and they
• 35:46
  Speaker 3: see all these eggs, like all over the ground, and
• 35:51
  Speaker 3: I remember Santo Amanda. It's like I paused, like do
• 35:55
  Speaker 3: those look like peas? And we paused and she goes, no,
• 35:59
  Speaker 3: those are olives. You could see the divots in.
• 36:01
  Speaker 4: Yeah, because there was definitely a miniature. I looked at
• 36:04
  Speaker 4: it and I was like, that's a fucking miniature.
• 36:05
  Speaker 3: And she's convinced there olives.
• 36:07
  Speaker 4: That's amazing.
• 36:12
  Speaker 3: When they were in like the Mars section, like fuck, yeah,
• 36:14
  Speaker 3: we're gonna get some space ship up in here. And
• 36:17
  Speaker 3: like I said, it's probably just because I've been reading
• 36:20
  Speaker 3: so much HP Lovecraft, like I'm going through his entire works,
• 36:24
  Speaker 3: but like I just kept noticing all like the cosmic
• 36:26
  Speaker 3: dread of it, whether that was intentional or not. And
• 36:29
  Speaker 3: then like the creature and such, and I was like, oh,
• 36:32
  Speaker 3: I can see the connective tissue here with what Lovecraft
• 36:36
  Speaker 3: was doing back in the twenties. But and then it
• 36:39
  Speaker 3: just became strange. Like there was also this weird main
• 36:42
  Speaker 3: character shift at one point in the film, Like throughout
• 36:45
  Speaker 3: most of the film, we're following the the New York
• 36:48
  Speaker 3: Police Department guy and I think.
• 36:52
  Speaker 4: And Rus or whatever whatever his name is, aris Rus
• 36:56
  Speaker 4: something like.
• 36:56
  Speaker 3: That, Yeah, yeah, it was Urus. And then her female,
• 37:00
  Speaker 3: his name was Stella Holmes. We're following them through it
• 37:02
  Speaker 3: most of the film, and then they bring in Hubbard
• 37:05
  Speaker 3: and then it's like it's all it feels like a
• 37:08
  Speaker 3: love triangle where they're not actually into each other, like
• 37:10
  Speaker 3: because they're not like building a relationship character, but like
• 37:13
  Speaker 3: it feels like like Hubbard and Airis are just both
• 37:17
  Speaker 3: competing to be like, well, I was the main character,
• 37:20
  Speaker 3: Well now I'm the main character.
• 37:22
  Speaker 4: And then even Hamilton or was it us, I don't know.
• 37:27
  Speaker 4: One At one point Stella is tied up with someone
• 37:31
  Speaker 4: and they were talking about how like they had this
• 37:33
  Speaker 4: thing and She's like, turn around, and I was like,
• 37:35
  Speaker 4: if they kiss, I'm gonna lose my mind. And then
• 37:37
  Speaker 4: that's exactly what they do. And I'm like, what love
• 37:39
  Speaker 4: triangle is happening in this movie? I don't understand it
• 37:44
  Speaker 4: because Hubbard is the alien, the alien, the astronaut who
• 37:48
  Speaker 4: came back from the Mars mission that went crazy and
• 37:53
  Speaker 4: God like Hamilton Hubbard. Hamilton is the one that was
• 37:56
  Speaker 4: assumed to be dead even though he wasn't dead, or
• 37:59
  Speaker 4: maybe he's an alien now. But they also with the
• 38:01
  Speaker 4: Mars mission, bring it up like we're supposed to know.
• 38:05
  Speaker 4: They just mentioned like what happened on that mission to Mars?
• 38:08
  Speaker 4: And I was like, did I miss something? Is this
• 38:12
  Speaker 4: is this taking place because we've never gone to Mars?
• 38:14
  Speaker 4: So is this a canon event in your universe? And
• 38:17
  Speaker 4: it was so they don't a lot of the times
• 38:20
  Speaker 4: they would just talk about something without really giving you
• 38:23
  Speaker 4: the context of like, oh, yeah, remember that mission when
• 38:26
  Speaker 4: we went to Mars. It was like what happened with
• 38:28
  Speaker 4: the Mars mission? And I'm like, I feel like something
• 38:30
  Speaker 4: had to have got cut out.
• 38:31
  Speaker 3: I feel like there should have been a little bit
• 38:33
  Speaker 3: more exposition in this film.
• 38:36
  Speaker 4: Right, and for a film that spends i'd say, you
• 38:39
  Speaker 4: know that this most of the second act with exposition,
• 38:43
  Speaker 4: you feel like they would provide you a little bit
• 38:45
  Speaker 4: more because at one point, to me, it almost feels
• 38:47
  Speaker 4: like this Jallo in the sense of the investigation part
• 38:52
  Speaker 4: of it where they're trying to figure everything out. You know,
• 38:55
  Speaker 4: it has this you have a police guy involved, so
• 38:59
  Speaker 4: it's almost like they they go they go into this
• 39:01
  Speaker 4: kind of Jallo moment for a little bit where they're investigating,
• 39:05
  Speaker 4: like the like who done it, Who's who's involved in this,
• 39:07
  Speaker 4: and what's going on? It feels like they were just
• 39:09
  Speaker 4: they were just trying to put too many things into
• 39:11
  Speaker 4: this movie, and much like the Calling which I mentioned earlier,
• 39:16
  Speaker 4: they tried to do so much when they should have
• 39:19
  Speaker 4: just kind of honed it in more and made it
• 39:23
  Speaker 4: make more sense.
• 39:25
  Speaker 3: No, I completely agree, like it's it's nonsensical and not
• 39:29
  Speaker 3: in a fun way, like because sometimes you'll get those
• 39:31
  Speaker 3: those Jawo films like I don't know what the fuck
• 39:33
  Speaker 3: is happening and you don't care, Like to this day,
• 39:36
  Speaker 3: I couldn't tell you what's actually going on in Deep Red,
• 39:39
  Speaker 3: But every time I watched that movie, I feel like
• 39:41
  Speaker 3: it's washing it for the first time. But yeah, it's
• 39:47
  Speaker 3: I feel like this movie need need another fucking pass.
• 39:50
  Speaker 3: And I just feel like, man, there's been a time
• 39:52
  Speaker 3: where you can just rush rush something into production and
• 39:54
  Speaker 3: they would fucking get made for a couple of million bucks.
• 39:58
  Speaker 4: And I couldn't find too much trivia on it because
• 40:00
  Speaker 4: it is such a i'd say forgotten, but it's just
• 40:04
  Speaker 4: not really talked about that much. So I was trying
• 40:06
  Speaker 4: to find if maybe something happened with production, and you know,
• 40:10
  Speaker 4: I don't really know exactly because it does feel like
• 40:12
  Speaker 4: some segments are missing the pacing fields.
• 40:16
  Speaker 3: One thing I did find out is I did see
• 40:19
  Speaker 3: it did feel like there were some cuts to this film,
• 40:22
  Speaker 3: and I think the version I watched was like eighty
• 40:25
  Speaker 3: something minutes. Oh interesting, there is an Arrow Blu ray
• 40:30
  Speaker 3: that is uncut in it's ninety five minutes.
• 40:33
  Speaker 4: That's what I watched. I watched, I had the I
• 40:36
  Speaker 4: did buy the Arrow version of it, and it was
• 40:39
  Speaker 4: ninety five minutes.
• 40:40
  Speaker 3: So I'm watch I watched whoever was on Plex?
• 40:42
  Speaker 4: Oh my god. Now I'm wondering what they cut out
• 40:45
  Speaker 4: of that version because six extra minutes. That's that's a
• 40:49
  Speaker 4: pretty that's a substantial chunk of time.
• 40:51
  Speaker 3: Actually it's more than six because according to the runt,
• 40:55
  Speaker 3: granted this is just the runtime onedia the I believe
• 41:03
  Speaker 3: it was actually closer to eighty two minutes. But let's
• 41:07
  Speaker 3: see if I can find.
• 41:08
  Speaker 4: Who that that's a drastic difference.
• 41:12
  Speaker 3: Let's see if I can find out real quick, give
• 41:14
  Speaker 3: me one.
• 41:14
  Speaker 4: Moment, because you you'd think chopping it down to eighty
• 41:17
  Speaker 4: two minutes would give it a much more sprinting pace
• 41:21
  Speaker 4: at that point.
• 41:22
  Speaker 3: Yeah, well, I don't know, And I would say that
• 41:24
  Speaker 3: the version I watched was an hour and thirty five. Yeah,
• 41:29
  Speaker 3: well you must have watched the Aero version because it
• 41:31
  Speaker 3: says an hour thirty five.
• 41:32
  Speaker 4: Never mind, you watched it on Pluto plex plex. Yeah,
• 41:37
  Speaker 4: don't ever watch stuff on Pluto.
• 41:39
  Speaker 3: Pluto sucks. It's ever every two minutes, it feels like
• 41:43
  Speaker 3: there's an ad.
• 41:44
  Speaker 4: And it's like the six fucking ads. So yeah, every
• 41:47
  Speaker 4: time I see a movie's on Pluto that I say, hey,
• 41:49
  Speaker 4: this is streaming on Pluto. I don't like to recommend
• 41:52
  Speaker 4: watching it there, but it's like if it's only there,
• 41:55
  Speaker 4: it's kind of.
• 41:55
  Speaker 3: I will say, Plex Plex had fewer ads, but their
• 41:58
  Speaker 3: heads were like two and a half minutes each. So
• 42:02
  Speaker 3: it's like, man, do I put up with more ads
• 42:05
  Speaker 3: or longer ads? Just I'm gonna going on tangent here
• 42:08
  Speaker 3: for a second. I miss I don't mind. I don't
• 42:10
  Speaker 3: mind ads. I don't mind ads. And if you're gonna
• 42:13
  Speaker 3: let me want something without paying for it, fuck you
• 42:15
  Speaker 3: give me some ads. I don't give a shit. I
• 42:18
  Speaker 3: miss the I miss the old days of like Who,
• 42:22
  Speaker 3: when they were like, let's show you a couple ads
• 42:23
  Speaker 3: at the beginning of the movie and then you're done.
• 42:26
  Speaker 4: Yeah, dude, front load the movie with ten minutes of
• 42:30
  Speaker 4: ads and I'll go do something. Yeah, like I don't
• 42:32
  Speaker 4: care it, do it that way.
• 42:34
  Speaker 3: But then the way that they just automatically insert ads,
• 42:39
  Speaker 3: and I know that how I have a rough idea
• 42:42
  Speaker 3: of how it's done based on how ads are inserted
• 42:44
  Speaker 3: into our podcast through a spreaker. You know, it's looking
• 42:49
  Speaker 3: probably for like it's probably trying to scan for scene changes,
• 42:52
  Speaker 3: quieter moments, things like that. And for television shows it's
• 42:57
  Speaker 3: usually quite easy because like they cut the fucking black,
• 43:00
  Speaker 3: Like television shows have logical ad breaks built in, but
• 43:04
  Speaker 3: like Pluto's would legitimately cut a scene in the middle.
• 43:08
  Speaker 4: Yeah. The only thing I watch on Pluto is Bob
• 43:11
  Speaker 4: Ross And the only time I get commercials is when
• 43:13
  Speaker 4: they take commercials in the show. And I'm like, this
• 43:15
  Speaker 4: is perfect because they take two commercial breaks and that's it.
• 43:19
  Speaker 4: So yeah, Pluto, Pluto not the greatest, not the greatest
• 43:22
  Speaker 4: at all. So let's see here. Where was I next
• 43:26
  Speaker 4: in my notes?
• 43:27
  Speaker 3: Uh to talk about how much we hate Pluto some more,
• 43:29
  Speaker 3: because I can do.
• 43:29
  Speaker 4: That, just go on a tangent for an hour. I
• 43:34
  Speaker 4: just what I really appreciate about the effects, though, is
• 43:36
  Speaker 4: that the creature, especially with the Cyclops That's where that's
• 43:40
  Speaker 4: where we were at, is that it feels like an
• 43:42
  Speaker 4: alien and it doesn't feel like a guy in makeup.
• 43:45
  Speaker 4: It's not this, no no, and it's's like surreal.
• 43:48
  Speaker 3: Like I appreciate a good alien design because I feel
• 43:53
  Speaker 3: like so many people go for the more traditional big head,
• 43:56
  Speaker 3: long limbs alien, or they'll go something still a little
• 44:01
  Speaker 3: bit more anthropomorphic, like like the alien and Alien, which
• 44:05
  Speaker 3: I still think is one of the most unique alien
• 44:08
  Speaker 3: designs that we've seen on screen. Agreed, I appreciate that
• 44:10
  Speaker 3: this does something completely different I appreciate a good alien design,
• 44:14
  Speaker 3: and it's one of the reasons why I love watching
• 44:17
  Speaker 3: especially Classic Doctor Who, to figure out, like, how, you know,
• 44:21
  Speaker 3: how are we gonna make these aliens look on a budget.
• 44:24
  Speaker 3: I like a good alien design that's balling on a budget.
• 44:27
  Speaker 3: And this this one was unique.
• 44:30
  Speaker 4: It reminds so this is not gonna make sense to
• 44:32
  Speaker 4: anybody that can't see this picture, but my tattoo artist,
• 44:37
  Speaker 4: who does all of my work, he actually did a
• 44:41
  Speaker 4: alien tattoo, and weirdly enough, I don't know if I
• 44:46
  Speaker 4: don't know if he's seen this movie, but I swear
• 44:48
  Speaker 4: to god, the alien in this movie looks like the
• 44:52
  Speaker 4: alien that he tattooed on a guy. And I couldn't
• 44:55
  Speaker 4: stop thinking about that the entire time. I'm trying to
• 44:57
  Speaker 4: find it so I can show you. Can you see.
• 45:02
  Speaker 3: There?
• 45:02
  Speaker 4: We go? Yeah? You see that? Can you kind of shit? Yeah?
• 45:04
  Speaker 3: It is? Oh that's interesting.
• 45:06
  Speaker 4: Minus the I mean, this one has three eyes, not one.
• 45:10
  Speaker 4: But the cyclops was so fucking cool. It felt it
• 45:14
  Speaker 4: had this surrealness to it, like it's like it did
• 45:17
  Speaker 4: not belong on planet Earth. And clearly it wasn't from
• 45:20
  Speaker 4: planet Earth. But I loved that thing. And then it
• 45:23
  Speaker 4: had all these it was just oozing and dripping with
• 45:26
  Speaker 4: all this goop. And that brings me back to the
• 45:29
  Speaker 4: you know, like if you're gonna show discussing shit show
• 45:32
  Speaker 4: at all, and it sure does, and and then it
• 45:34
  Speaker 4: sucks Hamilton in there unfortunately. Uh but uh I would
• 45:38
  Speaker 4: also I also think it's hilarious that, like cauld you
• 45:40
  Speaker 4: imagine surviving all the alien eggs just to discover that
• 45:44
  Speaker 4: the movie saved a giant cyclops for the Fiole act
• 45:47
  Speaker 4: and now it's eating people. Like we we got through
• 45:49
  Speaker 4: all the eggs, no problem, but now there's a cyclops
• 45:52
  Speaker 4: and he's sucking people up through tentacles. This is not
• 45:55
  Speaker 4: gonna go well because what's her face almost gets eaten
• 45:58
  Speaker 4: as well, she's getting pushed toward it.
• 46:00
  Speaker 3: And then yeah, she said she had a weird like
• 46:04
  Speaker 3: she was putting danger throughout this movie quite a bit.
• 46:07
  Speaker 3: But I kept wonderings like are we in danger? Like
• 46:11
  Speaker 3: like obviously yeah, the technical thing, but like when she
• 46:13
  Speaker 3: was like locked in the bathroom with the egg right,
• 46:16
  Speaker 3: like I was just like how long is the sequence
• 46:18
  Speaker 3: gonna go on for? And then like the two dudes
• 46:21
  Speaker 3: are outside just being like we're waiting for her. Yeah. Women, yeah, no,
• 46:27
  Speaker 3: and like she's in there fucking like panicking. But then
• 46:30
  Speaker 3: I feel like a certain point she gets bored and
• 46:32
  Speaker 3: just sits there.
• 46:34
  Speaker 4: Yeah, she's trying to like figure out how to get out.
• 46:35
  Speaker 4: She she can't get out. And I love that the
• 46:38
  Speaker 4: guys go there to check on her, because you know,
• 46:40
  Speaker 4: one of them called their room and she didn't answer,
• 46:42
  Speaker 4: and he's like, there's a do not disturb sign on there, like,
• 46:45
  Speaker 4: you're not employees that work here, just fucking knock on
• 46:49
  Speaker 4: the door, and he takes it off, turns it around,
• 46:52
  Speaker 4: and then knocked. I thought that was so silly because
• 46:54
  Speaker 4: it's like, you're you're not workers, this is your friend. Uh,
• 46:58
  Speaker 4: it's okay if you just fucking knock the door. And
• 47:00
  Speaker 4: then he comes in to save the day. But the
• 47:02
  Speaker 4: thing I don't understand, right, what is the how do
• 47:06
  Speaker 4: these things explode? What makes them explode? Because in the beginning,
• 47:10
  Speaker 4: I think one of them got shot or something, but
• 47:13
  Speaker 4: this one's just sitting in the bathroom making that, which
• 47:15
  Speaker 4: I did like the noise it was making.
• 47:17
  Speaker 3: I imagine what it's going to do is it's whenever
• 47:19
  Speaker 3: it hatches, it's then going to spore into whatever host
• 47:25
  Speaker 3: it can find, and that's what makes it explode. I
• 47:28
  Speaker 3: don't know, it's not fucking.
• 47:30
  Speaker 4: It's just not explained. They don't explain the process outside
• 47:34
  Speaker 4: of the cyclops makes the eggs and then the heat
• 47:37
  Speaker 4: matures them. But they don't explain anything after that.
• 47:39
  Speaker 3: Like I imagine they're like, yeah, I've see an alien.
• 47:41
  Speaker 3: You know how this works?
• 47:43
  Speaker 4: Yeah? I guess so. Yeah. The plot it's it's not
• 47:49
  Speaker 4: the greatest uh it. It builds mystery at some points,
• 47:54
  Speaker 4: but it also creates confusion at the same time, Like
• 47:57
  Speaker 4: there's a difference between with holding information and having a
• 48:02
  Speaker 4: reveal or you know, and failing to communicate information. Like
• 48:06
  Speaker 4: that's what this movie was doing. It wasn't really holding
• 48:08
  Speaker 4: anything to have this big reveal outside of the Cyclops.
• 48:11
  Speaker 4: I just felt like they were failing to communicate pivotal
• 48:15
  Speaker 4: moments to us for us to be on the same
• 48:18
  Speaker 4: page with where the movie was going, because I I
• 48:20
  Speaker 4: had to rewind it. It took me like two hours
• 48:23
  Speaker 4: to watch this last night because I kept rewinding it,
• 48:25
  Speaker 4: like what did I miss? Okay, I didn't miss anything,
• 48:28
  Speaker 4: all right, I like, I don't And then I still
• 48:32
  Speaker 4: was confused by the end, so like, I'm not gonna lie.
• 48:36
  Speaker 3: I also watched this movie uh after having a teach
• 48:39
  Speaker 3: see drink ooh, Like, I was like, this feels like
• 48:42
  Speaker 3: the perfect movie to watch this with. And I was like,
• 48:45
  Speaker 3: what's happening?
• 48:47
  Speaker 4: Yeah.
• 48:47
  Speaker 3: First I was like, oh, it's because I'm you know,
• 48:49
  Speaker 3: under the influence of a substance. But I was like, no,
• 48:51
  Speaker 3: this movie just doesn't make sense because, like, to give
• 48:55
  Speaker 3: you an example, I sometimes hyper focus on things when
• 48:58
  Speaker 3: I am under the influence of some Yeah, and I
• 49:02
  Speaker 3: essentially could I wrote like I feel like I wrote
• 49:04
  Speaker 3: an essay one time about the use of music in
• 49:08
  Speaker 3: the Brady Bunch movie and so it's like and then
• 49:12
  Speaker 3: this one, I'm like I could barely follow what's happening?
• 49:15
  Speaker 4: Yeah, it does feel like the right movie to have,
• 49:18
  Speaker 4: like you know, like have a joint or something like that,
• 49:21
  Speaker 4: just based on the description. But then you're like, fuck,
• 49:24
  Speaker 4: am I confused because or is the movie confused? No,
• 49:28
  Speaker 4: the movie is just confusing. It's not you. It's definitely
• 49:31
  Speaker 4: the movie.
• 49:31
  Speaker 3: Yeah. Also, I feel miss saying this. Okay, the Goblin
• 49:37
  Speaker 3: score wasn't working for me in this movie. Ah, dude,
• 49:41
  Speaker 3: Like I feel like the music on its own is fine,
• 49:44
  Speaker 3: but it feels like it's counterscoring the film.
• 49:47
  Speaker 4: Yeah, so that is one of the points that I
• 49:50
  Speaker 4: had to is like whenever Goblin shows up, you know,
• 49:55
  Speaker 4: horror fans pay attention obviously for good reason. Their work
• 49:59
  Speaker 4: elevates most as they do. And while I was enjoying
• 50:04
  Speaker 4: the music, at some points, they really wasn't fitting with it.
• 50:09
  Speaker 4: There wasn't there definitely was not enough Goblin score, and
• 50:13
  Speaker 4: the stuff that they did play was very much like
• 50:15
  Speaker 4: Donna the Dead, where there was one main theme that
• 50:19
  Speaker 4: they kind of replayed over and over, but it wasn't
• 50:22
  Speaker 4: fully working for me. And I don't know if it's
• 50:25
  Speaker 4: because the movie wasn't that great or because like Goblin,
• 50:30
  Speaker 4: I always love Goblin. I've never not liked a movie.
• 50:34
  Speaker 3: It's also there's not all Goblin is created the same
• 50:39
  Speaker 3: because Goblin, as you probably know, is it's a collective name,
• 50:45
  Speaker 3: but the members switch out right, So, like I know,
• 50:53
  Speaker 3: one of my favorite members of Goblin is Claudio Simonetti.
• 50:57
  Speaker 3: He's not involved in this one.
• 50:59
  Speaker 4: Oh oh interesting, Okay, yes he's my favorite as well.
• 51:05
  Speaker 3: That being said, like I'm no, I'm no Goblin experts,
• 51:08
  Speaker 3: So it's really hard to like I'd have to actually
• 51:12
  Speaker 3: do a deep dive to figure out like the different
• 51:17
  Speaker 3: versions of Goblin, but so that you know, like I
• 51:23
  Speaker 3: know Claudio was a big member, Fabio Pig Pig Natelli
• 51:30
  Speaker 3: was a big member, and then Massimo Moranti was also,
• 51:35
  Speaker 3: Like I think they're all like Founding Memories members, right, Okay,
• 51:39
  Speaker 3: but then eventually they bring on some other members. They
• 51:42
  Speaker 3: switched things out, so.
• 51:44
  Speaker 4: Interesting, okay. So yeah, that that might be why this
• 51:48
  Speaker 4: one wasn't hitting as hard, because yeah, I love I
• 51:50
  Speaker 4: think Claudio Simonetti is like not not necessarily the heart
• 51:53
  Speaker 4: of Goblin, but I feel his influence must be very
• 51:58
  Speaker 4: very big when he's involved, because yeah, and I.
• 52:01
  Speaker 3: Also just want to mention too, like if there's anyone
• 52:03
  Speaker 3: out there who is like a Goblin fanatic and can
• 52:06
  Speaker 3: kind of break down the different eras of Goblin and
• 52:10
  Speaker 3: please reach out, because I'm not a I'm not an
• 52:13
  Speaker 3: expert in any way, shape or form, but I do
• 52:15
  Speaker 3: know that the members play a big part of it,
• 52:20
  Speaker 3: and like I believe these three members they were all
• 52:25
  Speaker 3: involved with donav the Dead m so like, but like
• 52:30
  Speaker 3: Donna the Den is also not my favorite Goblin score.
• 52:33
  Speaker 4: Yeah, yeah, we have and you can go listen to us.
• 52:36
  Speaker 4: Back in February, where Michael and I talked about the
• 52:39
  Speaker 4: Argento cut, It's funny that movie almost had too much
• 52:42
  Speaker 4: Goblin score, whereas Contamination did not have enough Goblin score,
• 52:47
  Speaker 4: And like, I feel.
• 52:48
  Speaker 3: Like Romero agrees, which is why he limited the amount
• 52:52
  Speaker 3: of Goblin in the theatrical cut. He's right, good shit,
• 52:55
  Speaker 3: but let's use some other music. Let's use a little
• 52:58
  Speaker 3: bit less so because like Goblin could eat and this
• 53:02
  Speaker 3: is coming from someone who's a fan of it, Goblin
• 53:05
  Speaker 3: can easily overtake a soundtrack because like one of my
• 53:12
  Speaker 3: favorite Goblin scores, where I think that abrasive, over the
• 53:19
  Speaker 3: top vibe works, is something like uh Spiria and Suspiria
• 53:27
  Speaker 3: had this exact lineup, but also with Claudio Seminetti. See yeah,
• 53:33
  Speaker 3: Ari Argenta was also helping.
• 53:35
  Speaker 4: In there is okay. Yeah, so let me some Goblin.
• 53:39
  Speaker 4: Wasn't huge on it. I did. I did like the
• 53:42
  Speaker 4: the whatever they played during the menu screen, I liked it.
• 53:46
  Speaker 4: I thought it was I thought it was fun, but
• 53:48
  Speaker 4: I didn't love everything about it. So I found myself
• 53:51
  Speaker 4: a little upset. I was like, oh man, that was
• 53:54
  Speaker 4: one of the selling points for doing this movie for me.
• 53:56
  Speaker 4: As I saw they scored it and I was like, oh,
• 53:58
  Speaker 4: a cheesy eighties movie, a cheesy eighties Italian movie with
• 54:02
  Speaker 4: Goblin you can't miss right. Well, I guess this is
• 54:05
  Speaker 4: like one of the rare occasions where you kind of
• 54:08
  Speaker 4: it's not a full hit for me. A couple of
• 54:11
  Speaker 4: things else I had to mention here kind of the
• 54:14
  Speaker 4: one of the biggest problems I had with this movie is, Okay, Hamilton,
• 54:19
  Speaker 4: what exactly is the plan here? He's a character that
• 54:23
  Speaker 4: feels like he should be fascinating. He's clearly important, he
• 54:25
  Speaker 4: is central to the plot. There's some larger conspiracy going on.
• 54:30
  Speaker 4: But what does he want because the aliens don't like
• 54:36
  Speaker 4: the Cyclops makes the aliens, and these aliens just make
• 54:39
  Speaker 4: people explode. So what world domination? Personal power? What is
• 54:45
  Speaker 4: his end goal with making all of these pods and
• 54:48
  Speaker 4: distributing them around the world, killing everybody so he can
• 54:51
  Speaker 4: have the world to himself. Like I don't understand the
• 54:53
  Speaker 4: motivations for this villain.
• 54:57
  Speaker 3: I also want to know, like did he start this
• 54:59
  Speaker 3: coffee company? Like did he did he create a successful
• 55:02
  Speaker 3: coffee company in just a couple of years, Because also impressive.
• 55:07
  Speaker 4: Right, also impressive? Did he take that over or did yeah?
• 55:11
  Speaker 4: Or did he fucking did he create that?
• 55:13
  Speaker 3: As an I want to see a film that's kind
• 55:16
  Speaker 3: of like riffing on this, where like this alien comes
• 55:18
  Speaker 3: to the planet and it's like, we need to take
• 55:22
  Speaker 3: over you need we need to create this coffee company too,
• 55:25
  Speaker 3: as a way to distribute our eggs. And he creates
• 55:28
  Speaker 3: the coffee company, but then he becomes so attached to
• 55:30
  Speaker 3: his coffee company. He's like, I don't know if I'm
• 55:32
  Speaker 3: ready to give this up, man, Like we just got
• 55:34
  Speaker 3: into Walmarts.
• 55:37
  Speaker 4: We're hitting fucking chain stores. I don't know if I want.
• 55:41
  Speaker 4: I think I want to just keep ragging in the dough.
• 55:43
  Speaker 3: Like I know, I started this coffee company as a
• 55:45
  Speaker 3: way for world domination, but like I think I have
• 55:47
  Speaker 3: I think we have a real chance of doing something.
• 55:51
  Speaker 4: Yeah, I don't know. His motivations are frustratingly vague, and
• 55:56
  Speaker 4: it weakens the overall narrative for me because I'm sitting
• 55:59
  Speaker 4: there like bad things are happening. That's it.
• 56:03
  Speaker 3: Yeah, because at least with at least with something like
• 56:09
  Speaker 3: going back to Halloween three, Like I didn't like I
• 56:12
  Speaker 3: get it. He did he wants to. It's it's complete
• 56:15
  Speaker 3: fucking utter world domination. Like I get that, yes, and
• 56:19
  Speaker 3: like I can make that assumption in this one, but
• 56:22
  Speaker 3: it's an it was convluded.
• 56:24
  Speaker 4: Yeah, it's just an assumption because the aliens the pods
• 56:28
  Speaker 4: are things to just make people explode. They don't.
• 56:33
  Speaker 3: What is it.
• 56:34
  Speaker 4: I mean, I think one exploded on the ship and
• 56:37
  Speaker 4: everyone got like blood and goop on them and then
• 56:40
  Speaker 4: they exploded as well, But they don't. They're not like
• 56:43
  Speaker 4: reproducing it.
• 56:45
  Speaker 3: Yeah, and I feel like I feel like a lot
• 56:48
  Speaker 3: of this could have been I could have been like,
• 56:50
  Speaker 3: oh shit, okay, I get it now. Is if when
• 56:52
  Speaker 3: they exploded, very much like their influence in an alien
• 56:56
  Speaker 3: if a creature would have come out of their chest
• 56:58
  Speaker 3: or something and then they killed that creature, is like,
• 57:01
  Speaker 3: oh okay, now I get it. This is a way
• 57:04
  Speaker 3: for these eggs to like because as of right now,
• 57:07
  Speaker 3: the eggs just are they're like essentially poppers, like you
• 57:10
  Speaker 3: remember those little fuck Yeah, that's that's all they're doing.
• 57:14
  Speaker 3: They're just blowing up. Why are the eggs? Then? You know?
• 57:16
  Speaker 4: Why are the eggs? And this movie could be fixed
• 57:18
  Speaker 4: with one thing to make the narrative make more sense
• 57:21
  Speaker 4: in my opinion, if the if the eggs infected someone
• 57:24
  Speaker 4: and it explodes, instead of taking the direct route of
• 57:28
  Speaker 4: alien where something pops out of their chest, it would
• 57:30
  Speaker 4: make so much more sense if anyone who was in
• 57:32
  Speaker 4: range of that explosion. Kind of because I don't feel.
• 57:35
  Speaker 3: Hamilton prend or something just yeah.
• 57:38
  Speaker 4: Gets impregnated, turns into an alien. I don't know, because
• 57:42
  Speaker 4: I don't feel Hamilton is necessarily human at this point.
• 57:44
  Speaker 4: I feel like he has been think about puppet masters
• 57:48
  Speaker 4: that we did like what was it two weeks ago,
• 57:50
  Speaker 4: one week ago, where it's like the the aliens were
• 57:53
  Speaker 4: attached to their backs controlling them, something like that, these
• 57:57
  Speaker 4: things explode, whatever gifts on anyone and range active acts
• 58:02
  Speaker 4: as some sort of way to take control of that
• 58:05
  Speaker 4: body and now it's part of a hive mind or
• 58:08
  Speaker 4: something like. But no, it's just everyone's exploding. It's great
• 58:12
  Speaker 4: shock value. But really, I don't under We're not really
• 58:15
  Speaker 4: spreading these eggs around. You're having to make them and
• 58:18
  Speaker 4: ship them, so what what are what are we doing here? Hamilton?
• 58:21
  Speaker 4: You're a very very confusing villain and I don't understand you,
• 58:25
  Speaker 4: but I do love the cyclops and I do love
• 58:27
  Speaker 4: the exploding exploding shit. I think that's really all I got.
• 58:32
  Speaker 3: Uh, yeah, there's I honestly, I was worried going into
• 58:36
  Speaker 3: this episode. Is like, man, I don't know if whatever
• 58:38
  Speaker 3: I'm all gonna have to say. But we got We
• 58:41
  Speaker 3: got more than I thought we were going to.
• 58:43
  Speaker 4: Yeah. I try to take just an insane amount of
• 58:46
  Speaker 4: notes about, you know, any problems, things I liked, and
• 58:48
  Speaker 4: then try to I don't really feel like there's any
• 58:51
  Speaker 4: you know. Sometimes I try to touch on subtext and
• 58:53
  Speaker 4: theming and stuff like that, but I don't really feel
• 58:55
  Speaker 4: like there's outside of like the loss of autonomy. But
• 58:59
  Speaker 4: every you you don't really have you have the loss
• 59:01
  Speaker 4: of autonomy for like five seconds before you explode, like.
• 59:04
  Speaker 3: We would be generally just grasped at straws right exactly.
• 59:09
  Speaker 4: And I guess the you know, the fear of something
• 59:12
  Speaker 4: foreign that can enter your body and completely destroy you
• 59:14
  Speaker 4: from the inside. This isn't like a military invasion or
• 59:17
  Speaker 4: a biological invasion psychological it's just this egg alien you
• 59:24
  Speaker 4: know whatever. That's all it is. And like I said,
• 59:29
  Speaker 4: the loss of bodily autonomy was something that was running
• 59:32
  Speaker 4: around in the seventies and eighties, but it doesn't really
• 59:35
  Speaker 4: feel like a theme or subtext here because they explode
• 59:39
  Speaker 4: within minutes of coming in contact with this If they.
• 59:44
  Speaker 3: I truly think we are putting more thought into this movie.
• 59:47
  Speaker 4: Yeah, exactly. So I don't know, but you know, obviously
• 59:54
  Speaker 4: this movie was riding the alien wave. Alien was nineteen
• 59:57
  Speaker 4: seventy nine, this was nineteen eighty. Uh You'd get a
• 1:00:01
  Speaker 4: lot more alien kind of movies in the eighties. And
• 1:00:05
  Speaker 4: I just think, you know, this contamination is messy. It
• 1:00:08
  Speaker 4: is confusing, it's uneven, it's occasionally frustrating, but I also
• 1:00:12
  Speaker 4: find it gross, creative at times, atmospheric at times, entertaining
• 1:00:17
  Speaker 4: at times, but mostly confusing. And uh I will I
• 1:00:22
  Speaker 4: do think though it is it is one of the
• 1:00:23
  Speaker 4: greatest opening sequences and in eighties sci fi horror. I
• 1:00:27
  Speaker 4: do think it is. That is genuinely one of the
• 1:00:29
  Speaker 4: greatest uh uh like starts to a movie. Because I
• 1:00:33
  Speaker 4: was fully fucking in, uh lean, leaning forward on the couch, like,
• 1:00:37
  Speaker 4: where are we going with this thrill house moment? Yeah?
• 1:00:40
  Speaker 4: I guess that was my threat life. Yeah, that's my
• 1:00:42
  Speaker 4: that's my thrill house moment, you know, And if you
• 1:00:45
  Speaker 4: you know, if you're into practical effects, Italian horror Goblin scores,
• 1:00:48
  Speaker 4: even though it didn't work for us, or movies that
• 1:00:51
  Speaker 4: occasionally seem powered by chaos, then this might be for you.
• 1:00:55
  Speaker 4: For me, it is, you know, it's it's probably just
• 1:00:59
  Speaker 4: think think it's just kind of sitting in the middle.
• 1:01:01
  Speaker 4: For me, I don't really know. I don't necessarily think
• 1:01:04
  Speaker 4: it was bad, but I don't necessarily think it was good.
• 1:01:06
  Speaker 4: So I think I've come to my rating. I think
• 1:01:09
  Speaker 4: this is gonna I think this is gonna be the
• 1:01:11
  Speaker 4: lowest rated film honestly, to be quite honest. So that's
• 1:01:15
  Speaker 4: all I've got. That's all Michael's got. Let's roll in
• 1:01:19
  Speaker 4: to the final cut, are right? So taglines, I actually
• 1:01:24
  Speaker 4: have some pretty good taglines here. They invade your body,
• 1:01:28
  Speaker 4: control your mind. I don't know about that, blow you apart.
• 1:01:33
  Speaker 3: I like that.
• 1:01:35
  Speaker 4: Yeah, A new plague on Earth will come from the
• 1:01:37
  Speaker 4: stars and you can feel them in your blood. Trivia. Uh,
• 1:01:41
  Speaker 4: there's not a lot, but there is some some good stuff.
• 1:01:44
  Speaker 4: I got three things here. According to director Luigi Coozy
• 1:01:47
  Speaker 4: during a Q and A, the film was partially funded
• 1:01:50
  Speaker 4: by Colombian drug dealers. When the movie made money, they
• 1:01:53
  Speaker 4: were very pleased with their investment, so there you go.
• 1:01:57
  Speaker 4: According to the director Luigi Coozi, the a the alien
• 1:02:01
  Speaker 4: Cyclops shown towards the end was supposed to be much
• 1:02:03
  Speaker 4: more animated, but this was not shown to problems with
• 1:02:06
  Speaker 4: the mechanics. That's fair, It's still looked fucking great. And
• 1:02:10
  Speaker 4: then lastly here writer director LUISG. Coozi's first script for
• 1:02:14
  Speaker 4: the film was titled Alien Arrives on Earth, making no
• 1:02:17
  Speaker 4: effort to hide that this was inspiration, that his inspiration
• 1:02:21
  Speaker 4: for really scot Alien, and that this was his idea
• 1:02:25
  Speaker 4: for the film sequel. Some countries also directly marketed the
• 1:02:28
  Speaker 4: film as a sequel to Britley Scott's film Goofs. I
• 1:02:32
  Speaker 4: got a couple of petty ones in here, which I
• 1:02:34
  Speaker 4: really love. The first one, though, is legitimately like an
• 1:02:37
  Speaker 4: actual like a goof, but the second two are very
• 1:02:40
  Speaker 4: very petty. When Commander Hubbard is telling Colonel Holmes about
• 1:02:44
  Speaker 4: the expedition tomorrow, she claims the eggs were green, just
• 1:02:47
  Speaker 4: as the ones in the photograph she showed him, But
• 1:02:49
  Speaker 4: the photographs she showed him were in black and white,
• 1:02:52
  Speaker 4: so he couldn't possibly know if they were green as well,
• 1:02:54
  Speaker 4: and then these are the two petty goofs. The uniforms
• 1:02:58
  Speaker 4: worn by the police in Columbia at the end of
• 1:03:00
  Speaker 4: the movie are the same worn as the police in
• 1:03:03
  Speaker 4: New York, which was great.
• 1:03:05
  Speaker 3: Hey, they don't have so many outfits.
• 1:03:06
  Speaker 4: I know, right. And then the general at the meeting
• 1:03:10
  Speaker 4: in question quotes is wearing a golden oak leaf insignia
• 1:03:14
  Speaker 4: of a major and what appears to be a lieutenant
• 1:03:17
  Speaker 4: bar on his epaulets. Whatever that is.
• 1:03:21
  Speaker 3: Do people just have no time? Like, yes, in their hands, yes,
• 1:03:25
  Speaker 3: what the fuck? Who cares? Yes?
• 1:03:27
  Speaker 4: People see that and they're like, that's not accurate. It's
• 1:03:29
  Speaker 4: a fucking movie, guys. If it was like a war movie. Oh,
• 1:03:33
  Speaker 4: all right, whatever. I understand the merit, I get it.
• 1:03:36
  Speaker 4: But so rated five point one out of ten on IMDb.
• 1:03:43
  Speaker 4: That gives us a two point five to five for
• 1:03:45
  Speaker 4: our purposes of the Nightmare Index, a two point seven
• 1:03:49
  Speaker 4: out of five on Letterbox, no score on the Tomato
• 1:03:52
  Speaker 4: Meter because there are not enough reviews by critics, A
• 1:03:55
  Speaker 4: thirty one percent audience score. Michael, what did you give
• 1:03:59
  Speaker 4: contemn Nation?
• 1:04:01
  Speaker 3: I gave it a two out of five, which in
• 1:04:05
  Speaker 3: my rating scale means it's a movie that I didn't
• 1:04:07
  Speaker 3: necessarily like, but there was some elements that I appreciated.
• 1:04:11
  Speaker 4: Okay, and that's exactly what my two point five is.
• 1:04:17
  Speaker 4: So that gives us, Oh, this is rough. Let's see.
• 1:04:19
  Speaker 4: That gives us a nightmare index of two point four five,
• 1:04:24
  Speaker 4: which is the lowest film we've rated under the Nesting
• 1:04:27
  Speaker 4: at a two point sixty seven. So contamination all taking
• 1:04:32
  Speaker 4: the bottom spot. Finally, the Nesting is not looking back.
• 1:04:36
  Speaker 3: It's like I didn't realize how good I had it
• 1:04:38
  Speaker 3: with the Nesting. I's looking back. It's like, man, I'd
• 1:04:43
  Speaker 3: rather watch the Nesting.
• 1:04:44
  Speaker 4: Yeah, yeah, I agree. I agree. Similar movies according to
• 1:04:49
  Speaker 4: IMDb Frankenstein nineteen seventy, Blue Monkey, Creature Extro, and Galaxy
• 1:04:58
  Speaker 4: of Terror, and then similar MO movies. According to Letterbox,
• 1:05:01
  Speaker 4: we have Creature Planet of the Vampires, which sounds fucking awesome.
• 1:05:06
  Speaker 4: I've never heard of that maybe film. Oh if it is,
• 1:05:10
  Speaker 4: I might have it in my collection. The Thing twenty eleven,
• 1:05:14
  Speaker 4: Species two, and then Alien Resurrection so very rand. Yeah.
• 1:05:20
  Speaker 3: I also appreciate because I think it's really funny that
• 1:05:26
  Speaker 3: they chose The Thing twenty eleven.
• 1:05:29
  Speaker 4: Yeah, like, why not the original The Thing? It came
• 1:05:33
  Speaker 4: out the same year in the US. Whatever, I'm not
• 1:05:36
  Speaker 4: gonna make it make sense. Oh, let's do some funny
• 1:05:40
  Speaker 4: reviews here. It was kind of hard for me to find. Okay,
• 1:05:45
  Speaker 4: I found some, but like, this is one of those
• 1:05:48
  Speaker 4: movies where people are writing just paragraphs on stuff and
• 1:05:53
  Speaker 4: the microphone. Oh you're fine, You're fine, all yet, Okay,
• 1:05:56
  Speaker 4: I start all right, let's see.
• 1:05:59
  Speaker 3: He also because the first one I was gonna go with,
• 1:06:01
  Speaker 3: I think is the most popular review, and I assumed
• 1:06:05
  Speaker 3: you're gonna do it, so I was giving you the honors.
• 1:06:07
  Speaker 4: Ah, look at you, what a gentleman. Yeah, it's probably Yeah,
• 1:06:10
  Speaker 4: I think I think it was the top one, just
• 1:06:12
  Speaker 4: because it's hilarious. Let's see three stars Benjamin Nason. The
• 1:06:18
  Speaker 4: first ten minutes of dialogue are spoken through muffled gas masks.
• 1:06:21
  Speaker 4: Then everyone's organs explode to goblin.
• 1:06:25
  Speaker 3: Yeah.
• 1:06:25
  Speaker 4: Ten out of ten.
• 1:06:26
  Speaker 3: That was the last review. Mine's a touch bit longer,
• 1:06:30
  Speaker 3: but I don't care.
• 1:06:31
  Speaker 4: That's fine.
• 1:06:32
  Speaker 3: This is four stars by Sean Dillon. What the fuck
• 1:06:36
  Speaker 3: this movie was made for me? Crappy Italian movie where
• 1:06:39
  Speaker 3: green Martian egg goog makes people's organs explode from the inside.
• 1:06:44
  Speaker 3: Sign me up. Alien Exvasion featuring Mastermind, Cyclops and Martian
• 1:06:50
  Speaker 3: that looks only a step above something out of an
• 1:06:53
  Speaker 3: early Roger Corban production. Also an instance where I can
• 1:06:56
  Speaker 3: understand why this was abandoned in Britain. They're blown up
• 1:07:00
  Speaker 3: everyone in this movie.
• 1:07:04
  Speaker 4: I love it. Let's see here, I've got you where
• 1:07:08
  Speaker 4: to go? Okay, uh No no rating, just a heart
• 1:07:14
  Speaker 4: from Carlo Van Spefout says green Eggs go ham.
• 1:07:24
  Speaker 3: Is uh is by someone named the LFA. They gave
• 1:07:28
  Speaker 3: it a half star. Occasionally gets near so bad. It's
• 1:07:30
  Speaker 3: good territory, but hardly ever makes it. Also, I realize
• 1:07:33
  Speaker 3: I'm thetin already, but I hate Goblin. I hate all
• 1:07:38
  Speaker 3: caps Goboa.
• 1:07:41
  Speaker 4: I mean, everyone has their own opinion, but that I
• 1:07:44
  Speaker 4: have not met someone that does not like Goblin. Two
• 1:07:47
  Speaker 4: stars from Justin Declaw. I like it when the people explode,
• 1:07:52
  Speaker 4: but that does not happen nearly enough.
• 1:07:56
  Speaker 3: I got a half star by reclination a schlock as
• 1:08:01
  Speaker 3: shlock can be. As a kid, I would have probably
• 1:08:03
  Speaker 3: shipped my pants, but now it's just a testament when
• 1:08:05
  Speaker 3: no budget meets no talent.
• 1:08:08
  Speaker 4: That's a kid. I probably could have shipped my pants.
• 1:08:10
  Speaker 4: I love it all right, last one from me. I've
• 1:08:13
  Speaker 4: got four stars from lri Orla that melancholy sigh of
• 1:08:18
  Speaker 4: a green alien egg that's about to rupture and make
• 1:08:21
  Speaker 4: your guts explode.
• 1:08:23
  Speaker 3: Alright. My last one is by Liz with three stars
• 1:08:26
  Speaker 3: and a heart. What is it with Italian exploitation movies
• 1:08:29
  Speaker 3: and animal cruelty in South American location?
• 1:08:32
  Speaker 4: Shooting animal cruelty? What was the animal cruelty on this?
• 1:08:38
  Speaker 3: I imagine it was the rat? Oh yeah, I don't
• 1:08:42
  Speaker 3: know if that was an actual.
• 1:08:43
  Speaker 4: Rat, but they fucking blew that shit up.
• 1:08:46
  Speaker 3: It was chunky, It was chunky.
• 1:08:49
  Speaker 4: Oh goodness. If you enjoy the show, please rate and
• 1:08:53
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• 1:08:56
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• 1:08:59
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• 1:09:03
  Speaker 4: You can also follow me personally on letterbox at Doctor Procter,
• 1:09:06
  Speaker 4: Michael is Virs Underscore ten two thousand and eight.
• 1:09:10
  Speaker 3: Ope, Just Buyers ten two thousand and eight on letterbox.
• 1:09:13
  Speaker 4: And where can everybody find the sultry sound of your
• 1:09:15
  Speaker 4: voice on your podcast?
• 1:09:17
  Speaker 3: You can find my podcast This shamelesst Picture Show and
• 1:09:20
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• 1:09:32
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• 1:09:34
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  Speaker 3: pretty much everywhere. Is Michael Underscore, virs or Shame lisst Picture.
• 1:09:43
  Speaker 4: Shoe Boo Yeah, I love it. Uh. If you'd like
• 1:09:46
  Speaker 4: to expand your movie podcast listening, be sure to check
• 1:09:49
  Speaker 4: out The Shameless Picture Show as I say every week,
• 1:09:52
  Speaker 4: the Dead Eyed Millennial Film Club, and One Week Rental
• 1:09:55
  Speaker 4: as well, also the vast library of Someone's Favorite Productions.
• 1:10:00
  Speaker 4: So many things going on there. Next week, Corey and
• 1:10:03
  Speaker 4: I will be doing Extraterrestrial from twenty fourteen. I believe
• 1:10:09
  Speaker 4: it is a found footage style movie. I believe I've
• 1:10:12
  Speaker 4: seen it, but I can't remember. It is our wild
• 1:10:15
  Speaker 4: card pick to close out Meleian Invasion and it is
• 1:10:19
  Speaker 4: currently streaming on AMC Plus if you'd like to check
• 1:10:23
  Speaker 4: it out. So until next week, stay tuned and stay spooky.
• 1:11:08
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